Unusual chord progressions
11 guitar teachers share their favorite chord sequences
In this small
Questions & Answers
series we are going to ask
11 guitar
experts
three questions related to the guitar learning process.
Getting inspiration from different points of view is one of the best ways to get insights and fuel our inspiration.
Be sure to take advantage of these very interesting answers and try to incorporate them into your practice.
The question for this article is all about chord progressions .
Chord progressions are the foundation of music: we all know the popular rock-blues progression I IV V , or the four-chords sequence used in the most of pop-rock songs ( I V vi IV).
Now it's time to explore new horizons, by learning something new.
So we asked our guitar teachers:
Question "What is your favorite unusual chord progression?"
Experts Answers
Let's check together the insights generated from this question.
There's a turnaround I've been using in "Fly Me To The Moon" to get between the C and Dm7 when you tag,
"
Please be true...
", and here's the turnaround:
Cmaj6/9
- G2/B - Bb13 -
A7
.
Then you go on
to the Dm7 and G "
In other words, I love you
".
If you play it at the 8th fret, and keep your pinky on the B string (8th fret), it feels like an
unusually tight and smooth piece of voice-leading.
Jesse Paliotto -
theguitarjournal.com
So many to choose from, so I'll go with what's been on my playlist recently. The opening section of
Dave Brubeck's Strange Meadow Lark
always leaves me motionless and
wide-mouthed with awe, as
does anything from Bill Evans. But that's jazz.
More down the mainstream,
Killer Queen by
Queen
is an underrated (if only because of the hype of Bohemian Rhapsody)
masterpiece of almost
unfathomably meandering modulation.
And I must add
It's Not Me by Supergrass
(yes,
the band that brought us that crudely pop-tastic "Alright") for its unpredictable, albeit
structured
changes
that still sounds as fresh today as they did when I was studying for my GCSE's. Incidentally and
unashamedly, Supergrass remains one of my favorite rock bands of all time.
Mike Beatham -
fretjam.com
E5 - E5/D# - C#5 - B5
E5/D# = X69XXX
There is nothing especially spectacular with that progression, but the use of power chords with a
changed bass note is pretty uncommon, even that they are easy to play, and by small means
delivers a fresh sound to an otherwise very recognized area of progressions.
Oscar Steen -
guitar-chord.org
The variation on the
'Round Midnight
chord progression by Miles Davis on the album
Round About Midnight.
... the typical progression is:
[bar 5] |
Bm7 E7 Bbm7 Eb7
|
but this is plain silly and boring. So Miles recorded:
[bar 5] |
F7 / Emaj7
/ |
With the guitar, you get that bottom open E chord, and if I may share one of my fetish:
Emaj9 = 0X4140 or even 024140
Marc-Andre Seguin -
jazzguitarlessons.net
I like unusual turnarounds - so for example instead of say
G - E7 - Am - D7
I might
play
Gmaj7 - Bb13 - Ebmaj9 - Ab13
.
Or perhaps
Bm7 - Bb13 -
Am7 -
Ab13
Tim Robinson -
timrobinsonguitar.com
Original Star Trek theme
. Alexander Courage rocks!
Very much an orchestrated piece with horns and lots of depth. Lots of jazz influence in a style that was
prevalent in many of the TV shows during the mid 60's.
Key of Bb at 154 bpm.
My best recollection of the essential chord progression would go something like this:
Of course there's a lot of nuance in the original, but the above transcript gives you the basic
idea. The
Cmaj7
modulation is nicely dissonant, and the last phrase has a
very cool
progression
built over staggered
V's
that lead to the penultimate
II IV I
finale.
Steve Blundon -
guitarniche.com
I like chords that move in
3rds
, as opposed to
4ths
in traditional
harmony. So chord progressions like
Amaj7-Cmaj7-Emaj7
etc. They push me to
think outside the normal harmonic
norms and explore
other options beyond my normal bag of tricks when comping and soloing.
Matt Warnock -
mattwarnockguitar.com
My favorite unusual chord progression uses a lot of open strings to create tension. The progression is:
Emadd9 - Cmaj7 #11(no 3rd) - D6 add4 - B add#5/D#
John Gorbe -
elmore-music.com
I'm a sucker for short four-chord progressions that stray from the chords strictly inside a key. Songs
like Sublime's "
Santeria
" and
Radiohead's "Creep"
hit you
with a secondary dominant
immediately after the tonic chord. Lately, I'm enjoying Otis Redding's "
Sittin' on the Dock of
the Bay
":
G B7 C A7
. It's in the key of G, so B7 is the III or
the V of vi. And C is the IV. And A
is the II or the V of V. Really subtle and tasty.
Joe Walker -
deftdigits.com
Stevie Wonder's version of
For Once In My Life
is one of the greatest songs ever. The
chord progression is as intricate as most of what you'll find in prog rock or fusion, but
the song itself is
a snappy pop tune that'll still pack a wedding dance floor fifty years after it came out.
(And just as a bonus, you get to hear James Jamerson throw down one of the most iconic baselines of all
time—an improvised romp over that progression that never once repeats itself.)
Can you believe Berry Gordy initially vetoed its release and had to be coerced into letting it see the
light of day?
Joshua Skaja -
fretboardanatomy.com
I love progressions that use the "spy chord" like
E minor Major 9
. This is usually
based on melodic minor scale harmony. I like to arpeggiate it after playing the I chord. Here
is an example.
Play a
ii-V-I
then play the
I minor Major 9
.
Fm7-B7-Emaj7-EmM9
. Play around with different variations. It gives a fun spy
feeling.
Patrick MacFarlane -
guitarlessonworld.com
My favorite is one I came up with on accident for a song I wrote called, "Got To End." It goes from a
G#min11 to a G7(#11) and then back to the Bminor. I still can't explain why it works but it sounds great
to me and was a great accident.
Griff Hamlin -
bluesguitarunleashed.com/
Conclusions and More Resources
Hope you found these answers interesting. You should now have new cool chord sequences to experiment with.
And of course, please share your favorite unusual chords progressions in the comments below!
For a complete resource about the topic of this interviews, check my chords progressions tutorial
Here are the other Questions & Answers of this series:
- 2) In your guitar learning path, what is your greatest 'aha' moment?
- 3) How do you manage the fretboard? (CAGED? note name memorization? shapes?)
That's all for now, if you want to stay updated on new content, please subscribe for free here.
FAQ
What defines an 'unusual' chord progression, according to the guitar experts?
An unusual chord progression deviates from common patterns like I-IV-V or I-V-vi-IV. Experts highlight elements such as unexpected harmonic movement (chords moving in 3rds instead of 4ths), specific voicings with changed bass notes, complex or extended chords (like 13ths, maj6/9, or minor Major 9), the use of open strings for tension, or incorporating secondary dominants in unexpected places. The goal is often to create a fresh, unpredictable, or uniquely flavored sound.
How can exploring unusual chord progressions improve my guitar playing?
Engaging with unusual chord progressions can significantly expand your harmonic vocabulary, offering fresh sounds for your compositions and improvisations. It pushes you to think beyond standard harmonic rules, leading to new insights and creative avenues for comping and soloing. Experimenting with these progressions can also enhance your voice-leading skills and understanding of how chords create different moods and textures.
Are these unusual progressions only suitable for advanced jazz guitarists?
While some examples provided by the experts have a jazz influence, unusual progressions are not exclusive to advanced jazz. The tutorial mentions examples from pop, rock, and R&B, showing that unconventional harmony can be found across various genres. Some suggestions involve simpler concepts like power chords with changed bass notes, making them accessible to a wider range of players looking to add unique flavors to their music.
What is the benefit of chords moving in 3rds instead of 4ths?
Traditionally, many chord progressions move in 4ths (e.g., C to F, G to C), which forms the basis of functional harmony. When chords move in 3rds (e.g., Amaj7-Cmaj7-Emaj7), it creates a sound that is less conventional and breaks away from typical harmonic expectations. This approach can lead to a fresh, less predictable sound, pushing guitarists to explore different harmonic relationships and expand their creative options.
How do secondary dominant chords make a progression 'unusual'?
A secondary dominant chord is a dominant 7th chord that temporarily emphasizes a non-tonic chord, making it sound like a temporary tonic. Joe Walker notes that using a secondary dominant immediately after the tonic (the 'home' chord) can create an unusual and tasty effect. This unexpected harmonic pull introduces tension and interest early in the progression, deviating from a strictly diatonic sound and surprising the listener.
What is a 'spy chord' and how can I incorporate it into my playing?
The 'spy chord' refers to an E minor Major 9 chord, which often derives from the melodic minor scale harmony. Patrick MacFarlane suggests using it to create a fun, suspenseful 'spy feeling.' A practical way to incorporate it is to play it after a ii-V-I progression, such as Fm7-B7-Emaj7-EmM9. Experimenting with its placement and variations can add a distinctive and unique flavor to your compositions.
Can I adapt these expert examples to fit my own songs or improvisations?
Absolutely. The experts' examples serve as inspiration and starting points. You can adapt them by analyzing the underlying harmonic concepts, like using changed bass notes, incorporating specific extended chords, or exploring movements in 3rds. Try playing these progressions in different keys or applying the 'unusual' elements to familiar progressions. The goal is to internalize these ideas to fuel your own creative exploration and integrate them into your personal style.