Page 63Altered harmony
The correct sequence of sevenths for a major key is Imaj7 IIm7 IIIm7 IVmaj7 V7 and VIm7 (in C major: Cmaj7
Dm7 Em7 Fmaj7 G7 Am7). Using different types of sevenths changes the effect. Take, for example, a I bIII IV
sequence. If this were in G major, it would be G Bb C and given the presence of the bIII might suggest a G7 Bb7 C7
blues harmony. In the Dylan-Harrison song 'I'd Have You Anytime', the effect of these chords is considerably altered
by the harmony, which is Gmaj7 Bbmaj7 Cm7, an unusual but beautiful progression for a verse. The first three
chords of the verse of 'Absolute Beginners' are D Bm Amaj7. For D major chord V should be A7. The Amaj7 is
startling.
Similarly 'Protection' (Massive Attack with Tracy Thorn) uses a three chord change where the first chord is initially
Bmaj7 but then turns into Bm7.
If a song has some unsettling changes, it makes good artistic sense to juxtapose them with conventional ones. 'The
Ballad Of Tom Jones' starts in fine John Barry-esque style with Em G Fm Bb, a sequence that cannot sit in any one
key. It is followed by a Dm-G change, repeated four times, that turns out to be II-V in C and then a chorus of Cmaj7
Fm G (I IVm V) – exotic but not weird. As for Barry himself, the verse of 'Thunderball' is based on I IV Vmaj in Bb
minor, but in bar 10 a wonderfully unexpected Dm chord appears as Barry neatly works in part of the 007 theme.
The middle eight has a key change to Ebm that leads to some colourful changes.
Linking Unrelated Chords
Odd chord juxtapositions can be made less so if the chords have a note in common. Consider 'Avalon': the verse is a
stately I V IV V in F (F C Bb C). The chorus / hook (where Ferry sings 'Avalon') goes to a chilly bVII VI V (Eb Dm
C). These three chords would normally have no note in common to all of them, with the addition of an F (right hand
box) makes all the difference:
Now the chords are linked by the note F. Notice how whilst its pitch remains constant its harmonic function alters. In
the first chord (Eb) F is a ninth; in the second (Dm) it is a third; and in C it is the suspended fourth which finally
resolves to E. This is a technique which can apply to a host of musical situations.
Having looked at many different harmony and chord ideas in this chapter, it is now time to think about song
structure and how these chord progression ideas can slot into place in verses and choruses.