14 Thinking Down in Thirds

©2012 Barry Liesch ch14 Chord Substitutions—Thinking in Thirds 1

12.03.2012 Chapter 14

Chord Substitutions—Thinking in Thirds

• 13 pages

• 35 examples

Do you want to go beyond what is in the chorusbook, hymnbook, or Internet? Then thischapter is for you! We'll learn to "think in music" by thinking down thirds. Our intentionis to freshen expression and "go outside of the box."

We'll explore chord substitutions that move up or down in thirds. These substitutionswill add smoothness, warmth, and richness to your songs.

OUTLINE REPERTOIREDescending Third Substitutions Great is Thy FaithfulnessSubstitute a Descending Third Holy, Holy, HolyAscending Third Substitutions Jesus Draw Me CloseThinking Down Several Thirds Come Thou FountDeveloping Good Continuation Cry of My HeartA Series of Descending Thirds Refiner's FireWalking the Bass Down Emmanuel

Angels We Have Heard on HighBe Thou My Vision

Descending Third Substitutions

A typical chord substitution is the third relationship—substituting the given chord withone a third higher or lower. For instance, a C chord could be substituted with an A minorchord (a descending third relation) or with an E minor chord (an ascending third relation).

Descending third relations. The example below demonstrates substitutions a thirdbelow—descending third relations are more frequent than ascending ones. We're in thekey of C. Focus on the common tones, the solid (filled in) note heads.

Example 14.1 Common Tones (solid note heads) in Third Relation Chords

How many common tones are there? There are two in each measure. In measure one thecommon tones are C and E: in measure two, F and A; in measure three, A and C. Thismeans that if you have a melody with the notes G or E (like m. 1 above), the chords C or

C

I

mA

vi

F

IV

mD

ii

mA

vi

F

IV


A minor could likely be interchanged. The same applies to measures two and three. Inother words, the idea can be extended to different scale degrees.

Below, the first measure of Holy Holy Holy uses a C chord (I), whereas the next twovariations substitute (SUB) an A minor chord (vi).

Example 14.2 I Substituted with a vi

Notice (m.5), it's possible even to begin the phrase with a vi chord.

Opportunities for using third relations are usually available. Below, an F chord (IV) inthe second half of the opening phrase of Holy Holy Holy is substituted with a D minorseventh chord (ii7).

Example 14.3 IV Substituted with a ii

Minor sevenths project a warm feeling useful in expressing intimate words like "love,""adore," "Father." Below, an A minor, D minor, and F minor seventh is now included.

Example 14.4 Common Tones (solid note heads)

C

Ho-ly, h o - l y ,

I

G C

ho - ly

V I

C mA

SUB

I vi

G C

V I

mA

SUB

vi

G C

V I

C

I

7mA

vi7

F

IV

7mD

ii7

mA

vi

7maF

IV7

SUBOriginal

F GF

I IV

C

I

7mD GF

ii7 V

C

I


How many common tones do you see this time? Yes, three solid note heads instead ofthe two above. When you use a seventh chord (or any chord extensions) you are creatingmore chord substitution opportunities. Let's add a seventh to the Am chords this time.But one more point first.

Incredibly easy! When you substitute a vi for a I or a ii for a IV chord on a keyboard,your task is incredibly easy—hold onto the notes in your right hand and lower the bassnote a third. It's that easy. Let's us show you what we mean.

Example 14.5 Great is Thy Faithfulness

Note the vi7 substitution in measure three, beat three. The right hand chord stays thesame, only the left hand changes. That makes it easy!

We call the chord in measure two (above) a Dm/F because the E in the melody acts as astruck 7-6 suspension. More precisely, the Roman numeral would be a two-six.Alternatively, we could think of it as an F major seventh. Let's look at another example.

Example 14.6 Seventh Chord in a Substitution

Observe, again, the chord quality in the right hand does not change in measure three andsix when substituting a vi for a I. Note, the Am7 projects a softer, more tender feeling.

Original

C

I

G C

V I

C 7mA

SUB

I vi7

G C

V I

C

I

7mA

SUB

vi7

ReharmonizationOriginalC

Great is thy

I

FmD

faith - fu l -ness

ii

C 7mA

Great is thy

I vi7

FmD

faith - ful -ness

ii


Substitute a Descending Third

Cross out some of the chord symbols below, and write a new bass part with descendingthird substitutions. Redo the chord symbols and indicate the Roman numerals. Use taste.Strive for an impacting result.

Example 14.7 Jesus Draw Me Close

Example 14.8 Cry of My Heart

Example 14.9 Refiner's Fire

E A

Re -fin-er's fire:

B E A

my heart'sonede-sire

B E

is to be

B

ho-ly

D G

It is the cry of my heart

A G

to fol - low You.

D G

It is the cry of my heart

A G D

to be close to You.

F C

Je - sus draw meclose,

7mD B F

clos - e r , L o r d to You

C


Ascending Third Substitutions

A I chord in the key of C major can be substituted with a iii, a ii chord with a IV, and aIV with a vi, or a vi with a I chord. The solid notes below indicate common tones.

Example 14.10 Ascending Third Relations (common tones)

Below an Em7 is substituted for a C chord (m.2).

Example 14.11 Substitutions Using Scale Degree Three (Holy Holy Holy)

Notice, the presence of the seventh (m.2, beat 1) warms up the sound.Three exercises. Revise the three examples (below) substituting ascending third relations.Cross out the pop symbols (as needed) and provide your substitutes. Write the bass lineand indicate the Roman numerals.

Example 14.12 Lamb of God

C

I

mE

iii

mD

ii

F

IV

F

IV

mA

vi

mA

vi

C

I

SUB

C

I

7mE

iii7

7maF GF C

C

O Lambof

F GF

God, sweet Lamb of

C

God, I lovethe

F

ho - ly Lambof

G

God!


Example 14.13 Doxology

Example 14.14 Come Thou Fount

General Principle. As extensions (7ths, 9ths) are added to chords, more common tonesexist and thus more chord substitution possibilities.

Importance. Why are these third relation options so important? It's one way to preventharmonic boredom and/or accent the text. For instance, the tune of the first four measuresof Holy Holy Holy is repeated at measure nine (as below). Therefore we might want tovary measure nine harmonically in order to express more clearly the meaning of thewords, or to introduce a new nuance of feeling.Example 14.15 Phrase Repeated at Measure Nine

In the example below we're jumping to measure seven of Holy Holy Holy. Whereas thehymnbook version harmonized measure nine (above) with a C chord, measure nine(below) is reharmonized with a third relation Am chord (vi), which then passes throughthe F chord (IV) on the way to a ii chord. A minor, F major, and D minor are all thirdrelations.

1 2 3 9 10 11

ETC.

C

Ho-ly, ho-ly,Ho-ly, ho-ly,

ho-ly!ho-ly!

F

LordAl l

C

Ho-ly, ho - l y ,Cher-u-bim and

ho - ly!ser-a-phim

mer -fa l l -

G

Praise

G

God from whom all

C D G

bless - ings flow; praise

D A

Comethou

D

fount of ev-ery

A D

bless-ing, tunemy

D AD

heart to sing thy

D

praise.


Example 14.16

Notice that measure three begins with a third relation substitute (Am is substituted for Cmajor), but then the chords descend by thirds (F, and then Dm9). The use of a series ofdescending thirds harmonically is our next idea.

Thinking Down Several Thirds

So far we have stressed substitutions up or down one third, that is, substituting a C chordwith an A minor chord or an E minor Chord. Now we'll extend that concept by includingsubstitutions down a series of thirds to an F chord and a D minor chord. Visually theconcept looks like this. The first measure below represents what we've been focusing on,the second the new extension.

Example 14.17 Thirds Down from C Major (A minor, F major, D minor)

Example 14.18 Series of Descending Thirds for Scale Degrees 1-5

The descending thirds chords could be simple triads or possess the seventh (as below).

7 8 9 10

earth and sky and sea;

mA F 9mD

On - ly Thou art

vi IV ii9

EC

ho - ly

Vocals

C 7mA F 7mD mD 7øB 7G 7mE mE 7maC 7mA 7maF F 7mD 7øB GF G 7mE 7maC 7mA

I vi IV ii I vi IV ii


Let's use descending thirds in the hymn, Holy, Holy, Holy.

Example 14.19 F Chord Substituted for C major

You won't find the above subsittutions (Am, F, and Dm7) in the hymnbook. But theycould be effective for the second or third stanza, or in the middle of the hymn where themelody repeats (m.9), as below. Think up something appropriate after the substitution.

Example 14.20 Dm7 Substituted for C major

Example 14.21 Thirds Down from C2 and C2Q

7 8 9 10

earth and sky and sea;

7mD 9mD

On - ly Thou art

ii7 ii9

EC

ho - ly

2C Q2C

C

I

7mA

vi7

F

IV

7mD

ii7

Descending thirds also work withAdded seconds and quartalchords.


Example 14.22 Quartals with Descending Thirds (Emmanuel)

The first chord in each excerpt descends in thirds (C, A, F, D respectively). The quartalchord remains fixed the right hands.

Some harmonic adjustments were made after the first chord in each case. When youchange one chord, then for consistency's sake you often need to change another. Whichalternative do you like best? The C2Q/A is attractive, isn't it.

A I chord is typically used for the last phrase of Be Thou My Vision on the word"waking." The G and Em chords create melodic extensions harmonically (9th, 11th).

Example 14.23 Extensions Resulting from Change in Bass

In the exercises below you'll substitute a vi, IV, and a ii chord for the I chord.

Q2C

E - man - u - el

AQ2C

E - man - u - el

FQ2C

E - man - u - el

DQ2C

E - man - u - el

(Hymnbook) (Down a 7th)(Down a 5th)(Down a 3rd)

1

D

3 5Wak - ing or

I

mB

5 7Wak - ing or

3

vi

5

G

7 9Wak - i n g or

IV

7

mE

9 11Wak - ing or

ii


Developing Good Continuation

Your challenge is to continue the chord changes in a craftsmanship-like way to the end ofthe line. Use no more than one chord change per measure. Indicate the pop symbols, theRoman numerals, and write the bass part.

Example 14.24 Try it! B minor Substituted for D major

Example 14.25 Try it! G major Substituted for D major

Example 14.26 Try it! Em7 Substituted for D major

For the exercises above a D2 or D2Q could have substituted for the D major triad.

Example 14.27 Jesus Paid It All

Below, your task is to provide good continuation. The bass, in the harmonic variations oflines 2, 3, and 4 of measure two, descends in thirds to B, G, and E. Provide a secureharmonic progression that links measure two to measure four. Write the bass notes andfurnish Pop symbols. Play your result in order to test its effectiveness.

G

7mE

mB

Wak - ing or sleep - ing, Thy pres - ence my light.


Here are some chord spacings for measure two (above) to help create some atmosphere.

Example 14.28 Ways to Space Your Chord Substitutions

You'll get a nice effect if you roll the tenths in the bass so that the tenth (3rd of chord)sounds flush with the right hand (as in m.5). Apply the pedal at the onset of the lowestnote.

A Series of Descending Thirds

Example 14.29 Model of Descending Thirds (Be Thou My Vision)

Etc.

D

Be Thoumy

I

mB

vis-ion

vi

7majG

OLordof

IVmaj7

9mE

life.

iim9

Naught be all else to me

Vocals

1

2

3

4

D

Je - sus paid it

D

D

D

D

all,

mB

7maG

7mE

D

All to him I

A

owe

A

A

A

Je - sus paid it

mB

all

vi

9maG

all

IV

11mE

all

ii

11mE

all

ii


Do some tweaking, and create a series of thirds for the melodies below. Indicate the Popsymbols, the Roman numerals, and write the bass notes.

Example 14.30 Descending Thirds (Be Thou My Vision)

Example 14.31 Descending Thirds (Great is Thy Faithfulness)

Walking the Bass Down

The bass can walk down the scale and fill in the space between the third relationships.

Example 14.32 Stepwise Movement Down the Scale (Be Thou My Vision)

Wak - ing or sleep - ing Thy pres - ence my light.

Great is Thy faith - ful -ness O God my fa - ther

D

Be thou my

7mB

Vis - ion O

7majG

Lord of my

9mE

heart.


Example 14.33 Chord Reinforcement of the Stepwise Movement

Now it is your turn. Do something similar with the examples below.

Example 14.34 Great is Thy Faithfulness

Example 14.35 Come Thou Fount

Thought. When we improvise in public we reveal what we have mastered in private.Ideally we should be able to render every phrase a dozen different ways. This implies adeep need in our part to discover what is possible.

D C2A

Be thou my

7mB AmB

Vis - ion O

7majG 7mF

Lord of my

11mE

heart.

Great is Thy faith - ful - ness O God my fath - er

Come Thou fount of ev - ry bless - ing

14 Thinking Down in Thirds

Documents

minor chord

c chord

f chord

iv chord

chord extensions

measure of holy holy

given chord withone

d minorseventh chord