Doo Wop Progression

Posted on April 7, 2016 by songtive

funny girl student with glasses reading books

Today in Songtive.com we’ll be analyzing a popular chord progression. It’s called the ‘Doo Wop Progression’, and is one of the most popular harmonic cycles ever! It consists of a I – VI – IV – V progression that defined an era, as you will see. Many songs going from jazz standards to timeless classics of pop ballads and rock and roll hits spawning around 50 years of music history! Wow! Now that’s something, doesn’t it? Let’s check out some examples:

  • The Righteous Brothers – “Unchained Melody”
  • Billy Joel – “Uptown Girl”
  • Carly Rae Jepsen- “Call Me Maybe”
  • Ben E. King – “Stand By Me”
  • Green Day – “Jesus of Suburbia”
  • The Police – “Every Breath You Take”
  • Destiny’s Child – “Say My Name”
  • Chubby Checker – “Let’s Twist Again”
  • David Bowie – “Ashes to Ashes”
  • Lana Del Rey – “Prom Song (Gone Wrong)”

That’s quite a list, don’t you think? And this is just a small part of the long repertoire containing this popular chord progression!

Where does it come from?

This progression is born out of the Doowop style, a genre which was very popular during the 1940s to the early 1960s. It consisted of a 3 to 4 part choir using close harmonies, usually male choirs. It takes some influence from gospel music and introduces the concept of making it just for fun, treating more relaxed subjects from everyday life, without the praising element of gospel music.

They relied on simple-but-effective chord progressions that helped to define the style, like the one we are discussing today!

Why does it work?

If look closely to the order of the chords, you can see that it resembles an authentic cadence, which is a device to give conclusion to a musical idea – as we already discussed in a previous article. The first part goes from I – VI – IV and all the chord contained in here are sharing common notes, which makes it sound good and coherent; the final part closes this musical thought with a cadence V – I which happens when you repeat the progression, making it a wonderful resource for a verse or a chorus because of its length.

A Musical Example

Let’s take Ben E. King’s ‘Stand By Me’ to analyze the effect this progression has. The overall impact ‘Stand By Me’ had in the music history is undeniable, and the mix of lyrics and 50s feel this progression gives to it is one of the elements that made it unforgettable:

From the start you can hear the bass setting up the Doo Wop Progression:

Let’s take it upon the analysis we talked before:

  1. Break the first part into chord tones:
    A major: A – C# – E
    F# minor: F# – A – C#
    D major: D – F# – A
    As you can see every chord shares two common notes with the next one, making it sound great due to consonance principles we discussed in a previous article
  2. Check the cadence:
    When you repeat the chord progression you create a cadence going from V to I. Going from E major (E- G# – B) to A major (A – C# – E) makes the G# (a leading tone) go to A (the tonic of the song), thus making it a sure hit to close a musical phrase

That’s it! Now you can go and share your musical thoughts exploring a new chord progression that will quickly structure your music using Songtive for iOS/Android/Web! See you next time!

The Minor Fourth Chord

Posted on March 30, 2016 by songtive

funny girl student with glasses reading books

Today we’re gonna learn about a curious chord progression that you all can identify in a wide number of popular songs. We are talking about the use of a minor fourth degree (IVm) that adds a melancholic feeling to the phrases’ endings – which we already discussed with the name of cadences.

There are many examples in the music literature using this little cadential chord progression, let’s take a look:

  • The Beatles – Blackbird
  • Green Day – Wake Me Up When September Ends
  • Queen – Bohemian Rhapsody
  • Doris Day – Dream a Little Dream of Me
  • Santo & Johnny – Sleepwalk

As you can see there are plenty of songs and different musical genres on the list using this small but effective chord progression!

Building a IVm Progression

This progression is made out of 2 chords: a IV chord from a major key that will be turned into a minor chord flattening its third (one fret lower/one key lower) and the I chord from the same major key. This process of altering the original IV chord is also called “borrowing”, because they do not belong to that major key’s original triads – which we discussed in a previous article. However, it can be expanded in multiple ways as we will see. Let’s check it out in detail:

  1. Identify the IV chord of a major key: You get one major key to practice and identify the IV chord (a major one) and break it into chord tones.
  2. Flat the Third: Once you got the chord tones forming the IV chord, it’s time to turn it into a minor chord by lowering the third down one half-step. If you have a C major chord (C – E – G) and you low its third down one half step it will become C – Eb –G, therefore turning it into a minor chord.
  3. Close the Progression: The next step is to bring the chord progression to an end by placing the I chord – but not limited to – right after the IVm chord; this will give us a conclusion feeling – which is what makes it work.

Three easy steps to make it sound and put into use right now! Let’s take it for a test drive:

“Sleepwalk” by Santo & Johnny

We are going to explore the possibilities of our just-learned chord progression by break it popular hit ‘Sleepwalk’ into its chord progression and analyze how the IVm chord is working in there!
Let’s take a listen:

Even when it is a mostly solo performance on a lap steel guitar, we can hear an underlying chord progression played by rhythm guitar on the background:

At 0:19 we can hear that melancholic and sweet feeling the Fm chord gives to the whole progression. Let’s get into details according to the process we learned:

  1. Identify the IV chord of a major key: Since the song starts and finish with a C major chord, we can positively assume it is written in the C major key. We identify the IV chord – that being F major – and break it into its chord tones: F – A – C.
  2. Flat the Third: Since we already know how the IV chord in C major key is formed, we flat its third to turn it into a minor chord: F – Ab – C.
  3. Close the Progression: Even when we discussed that the I chord is next in line, that principle can be expanded with the purpose of enlarging the chord progression. After the IVm chord (F minor) follows a V7 chord (G7) that will act as a leading chord to C major, since it contains the leading tone of the C major key – a B note.

Going Beyond

When it comes to learning chord progressions and harmonic principles, which is what we’re doing, the most convenient way to understand them is to explore diverse keys. This will give you a different view and a mastery of all keys, which will make you a resourceful composer!

Use our Songtive app to explore all the possibilities! Let’s transpose the ‘Sleepwalk’ progression and try it around another major keys. Remember to use the Songtive Transpose feature for easy transposition:

In D major key:

In F major key:

You can check out our most popular app Piano Companion which helps you to better understand chords and scales.

4 Ways to Develop Instrumental Solos

Posted on March 23, 2016 by songtive

tutorial

This time we will get some new resources to our composition toolbox. We will learn how to focus the creation of an instrumental solo – be it for guitar, piano, bass or any other instrument. But enough talk, let’s check it out!

The Resources

The musical resources we are going to discuss can be applied to any genre or style you like, because they won’t affect the singularities of any of them. You can list them in this way:

  1. Arpeggios
  2. Thirds & Sixths
  3. Passing Tones
  4. Chord/Scale relationship

The most important thing to keep in mind is that all of them work within the harmony; this means you have to use them being careful of the chord tones! That’s it! 4 powerful tips will really get you to start developing really nice signature solos for you. Let’s get into the details:

1. Arpeggios

Arpeggios are the way in which chords are broken into their chord tones and rearranged. Let’s take the following chord progression for example:

And break it into their chord tones:

Bm: B – D – F#
F#: F# – A# – C#
A: A – C# – E
E: E – G# – B
G: G – B – D
D: D – F# – A
Em: E – G – B

This is the chord progression for Hotel California by The Eagles. When you take those notes and combine them in a creative way, playing along with the chords behind, you get an epic solo! Check it out:

Thanks to YouTube user hutgreen for his great performance!

The arpeggios start at 1:29, take a good look at how only the chord tones are used during each change of the harmony behind it.

2. Thirds & Sixths

When you already have a melody and you’d like to add some interest to it, or you’d like to sound fresh and can’t-go-wrong in terms of harmony, using thirds and/or sixths below or above the melody will be an excellent choice. Thirds and/or sixths tend to sound good because they are consonant with the notes they part from.

If you’re doing a run like the B – D – B – A – G like the one at 1:18, and add up the thirds below them: G – B – G – F# – E, you will get a beautiful harmonization of the main melody!

3. Passing Tones

If all the melodies were based entirely in chord tones it would be really dull doesn’t it? So we will add some “outside” notes that will color our solo adding a singing quality to it! How? Just place one note “passing” between two chord tones! Let’s see another example:

At 2:46 the solo starts with a G – C – B and a C major chord behind it. The B note doesn’t belong to the C major chord tones’ but hitting it right after a note that does adds a nice color effect. Then it goes C – D – E behind a C major chord again, the D note keeps the melody singing!

4. Chord/Scale Relationship

Remember all those scale patterns you learned? Major scales, minor scales, minor pentatonic scales? It’s time to put them to use!
The ideal way to use those patterns is to apply the one that contains the notes of the chord we are playing above and experiment with different rhythms and positions! For those piano players out there: let’s take the A minor pentatonic pattern from Piano Companion as an example:

The notes are, from left to right: A – C –D – E – G – A and it repeats again on the remaining keys.

Check out how the Stairway to Heaven solo starts at 0:13 using E as the first note (chord tone of A minor) and A as the closing one at 0:16. Both notes right on the pentatonic pattern you already know, but giving relevance to the chord tones!

Now that you own these awesome resources it’s time to create your perfect solo using Songtive! Get your melody tool and use the Piano Companion tool to experiment with the music I am sure is sounding in your head!