This topic comes from a viewer question. Connie asks, “How do I get beyond the I, IV, and V chords when improvising Christmas music.” I thought this would make a great topic to cover all sorts of music and improvisation.
Before we begin, you might be wondering what the I, IV, and V chords are. Well if you are in C major, an I chord is built on C (C -E -G). The fourth note in the C major scale is F, so the IV chord is built on F (F – A – C.) And the V chord is built on G (G – B – D). These are referred to as primary chords, they are major triads and you can harmonize almost anything with the I, IV, and V chords!
In the video accompanying this article, I show an example of harmonizing using this technique with the song “On Top of Old Smokey” in A major. I use the I, IV, and V chords to create a simple harmony to accompany the melody. In A major that is the A major chord (A – C-sharp – E) the D major chord (D – F-sharp – A) and the E major chord (E – G-sharp – B). But what other chords could you add beyond the I, IV, and V?
You can start by using the secondary chords. Secondary chords are pretty much the rest of the chords beyond I, IV, and V. So they would be II, III, and VI-VII not so much because it’s diminished. The II, III and VI are minor chords. So in A major, the II chord is B minor (B – D – F-sharp), the III chord is C# minor (C-sharp – E – G-sharp), and the VI chord will be an F# minor (F-sharp – A – C-sharp). But where can you use these in the harmony?
The best thing to do is experiment. Try different combinations and see what sounds good. You can try substituting an II chord for the IV chord; you could even keep the same D in the bass inverting the chord. This creates a seamless change in harmony with a new flavor!
The beauty of improvisation is that there are no absolutes of right and wrong. While some combinations won’t sound as good as others, you can experiment and find out what sounds good to you. Keep working at it and eventually creating new and interesting sounds will become second nature.
Thanks again for joining me, Robert Estrin Robert@LivingPianos.com (949) 244-3729
3 thoughts on “How to Add Harmonic Spice to Your Music – Advanced Piano Lessons”
Great question! I’d like to offer two possibilities for experimentation. 1) INVERSIONS. Put a note of the chord – other than the root (or letter name) in the bass. This will often provide more direction when moving from chord to chord, and is a simple way to play with different chord colors. 2) This is more advanced: place either a dominant chord — root/maj.3rd/5th/ min. 7th — or diminished chord –root/min. 3rd/diminished 5th (lowered one half-step)/ diminished 7th (lowered two half-steps) — one half-step above the target chord, on your way to that chord. For example: In “O’ Tannenbaum,” say you are going from the I-chord (let’s say ‘C maj’) to the next chord, A7. On your way, put a Bb7 chord on the beat just before you play the A. This is known as a “passing chord,” and can add harmonic interest, as well as enhanced rhythmic motion. For more on harmony, jazz, and improvisation, visit my website, Dharmajazz.com. Happy practicing!
I was going to add secondary dominants, but just heard you say you’ll be talking about them next. I hope you will keep going with this topic. What comes after secondary dominants?
Loved this lesson. My husband and his friends play country and rock music (no keyboards anywhere)..and they are good! They poke fun at me because I’m not so free playing with my piano (play almost strictly classical) – and nervously in front of people. But I’m going to practice On Top of Old Smokie with these chords and wow them..I absolutely loved this lesson!!!