melody on their own. I often describe my We can also look to how we structure chords in for chords to sit in. Movement within chords
process in that way, in that I prefer my chord conversation with one another. Not just by their and passing figures between chord changes
progressions to “sing to me” before I add a proximity, but in how their fragments (notes) is normal for them. It’s territory they know
melody. I often weave melodies into the sort might persist even through chord changes. well. This sort of relationship is different from
of progressions that I would find interesting “Pedaling” a note, or having it “drone” through pedaling or droning a note, but it contributes
even without a melody. This can be a delicate a progression, can add a tranquil or meditative to a sense of interconnectedness in our writing
balance, and there’s usually a healthy tension quality to a song. (This is useful in sacred all the same.
between the more standard moments and music especially!) Imagine talking with a group. the more unique and expressive ones, but Someone brings up an idea, while another It’s all about texture, and using it to properly
I am endlessly fascinated by good chord carries it and develops it further. And along evoke what the song is aiming for.
progressions and the chord melody they imply. that trajectory the conversation goes—each new voice casting the central idea (or note) in a There’s more to consider, but we’ll have to
So many of the great songwriters of history new light. In the same way, we can play to the wait until next time to do so. Until then, be
were not just masters of melody, but masters strengths of our chords being in conversation encouraged, and be bold. Move those fingers
of chord melody as well. I often joke about how with each other. around, and see what happens. Elevate the
weird it is that everyone in Nashville seems to
form.
love the Beatles for their creativity and diversity Further, conversations can also pivot to as songwriters… and yet none of us are new ideas and inspire new thoughts as they In striking the right chord, we become better
“allowed” to take on that same approach when develop, and chord progressions can mirror songwriters. We see so much more of what
we write. We can plainly see the output of the that relationship as well. Being aware of leading chords can accomplish when they’re allowed
defining songwriters of the 20th century, and tones, ascending and descending figures to venture beyond the backdrop.
yet we’re now encouraged to build a “signature as you change chords, alternate bass notes sound” which evolves less over an entire career (etc.) can be tremendously empowering to than the Beatles might have evolved on a single a songwriter. Inversions are not just for keys album! players; guitarists benefit from them, too. And
there’s a reason good bass players tend to
Does anyone else feel that disconnect with come up with such interesting things when they
me? Can I get an “amen”? take up another instrument: they are already
used to providing expressive new contexts
February 2020
Kevin MacDougall
Worship leader, published and recorded songwriter,
musician, and podcast producer.
[email protected]
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