{"id":12896,"date":"2019-06-10T09:34:28","date_gmt":"2019-06-10T14:34:28","guid":{"rendered":"https:\/\/online.berklee.edu\/takenote\/?p=12896"},"modified":"2025-10-23T15:50:57","modified_gmt":"2025-10-23T20:50:57","slug":"8-tools-to-richer-chord-progressions","status":"publish","type":"post","link":"https:\/\/online.berklee.edu\/takenote\/8-tools-to-richer-chord-progressions\/","title":{"rendered":"Chord Progressions: 8 Tips for Richer Songwriting"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\" id=\"h-discover-songwriting-techniques-that-transform-ordinary-chord-progressions-into-fresh-and-expressive-music\">Discover Songwriting Techniques That Transform Ordinary Chord Progressions Into Fresh and Expressive Music<\/h2>\n\n\n\n<p>We know a great chord progression when we hear it. We shush our loved ones over it, wade through mind-numbing verses to get to it, and try to lure these progressions out with a guitar in our skivvies at 2 in the morning. For the everyday songwriter, great chord progressions are rare gems buried just under the surface. We know they\u2019re there. We know because other songs have them. They make crowns out of them.<br><\/p>\n\n\n\n<p>Chords are a driving element of many songs. When we\u2019ve got four elements of songwriting to manipulate (melody, chords, lyrics, and groove), it\u2019s natural to credit them or blame them for a successful song. But how do we songwriters find and use great chord progressions? Is the answer to delve deep into music theory? If it is, are we fated to forever feel stuck if we don\u2019t crack the chord code? I\u2019d like to offer specific tools that songwriters\u2014not composers, arrangers, or jazz harmony graduate students\u2014use to write songs, using a richer chord vocabulary.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-music-theory-is-a-powerful-tool-but-it-s-not-the-answer-for-everyone\">Music theory is a powerful tool, but it\u2019s not the answer for everyone. <\/h2>\n\n\n\n<p>Having a healthy understanding of basic theory can make identifying chord progressions in other songs quicker and easier. It can enrich our feeling for utilizing new chords and pushing the envelope as we understand the function of our chords in the broader context of the progression. But writing is more than a theoretical process, and so theory is a tool like any other learned skill to inform and guide our natural creativity. Furthermore, theory just isn\u2019t everybody\u2019s cup of tea. Without the motivation to get a strong handle on it or an innate sense for how music flows, most writers never get to the point where theory knowledge is a useful tool. But by all means go ahead, be the exception.<br><\/p>\n\n\n\n<p><strong>For some basic theory for songwriters, check out my book,&nbsp;<\/strong><em><a rel=\"noreferrer noopener\" href=\"https:\/\/www.amazon.com\/Beginning-Songwriting-Writing-Lyrics-Melodies\/dp\/0876391633\/ref=sr_1_1?ie=UTF8&amp;qid=1539803158&amp;sr=8-1&amp;keywords=beginning+songwriting+andrea+stolpe\" target=\"_blank\"><strong>Beginning Songwriting<\/strong><\/a><strong>,<\/strong><\/em><strong> available on Amazon. <\/strong><\/p>\n\n\n\n<p>I believe the secret for songwriters looking to harness the power of chords lies in the answer to this question: What are specific tools songwriters use to break the monotony of our standard chord progressions? To answer this question, we need to look individually at what is happening in our writing process when we\u2019re dissatisfied with our chord progressions.<br><\/p>\n\n\n\n<p><strong><em><a href=\"https:\/\/online.berklee.edu\/faculty\/andrea-stolpe\/?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-link-from-article\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">TAKE A SONGWRITING COURSE WITH ANDREA STOLPE<\/a><\/em><\/strong><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-1-nbsp-we-gravitate-towards-the-same-chords-and-the-same-keys\"><strong>1.&nbsp;We gravitate towards the same chords and the same keys. <\/strong><\/h2>\n\n\n\n<p>When we\u2019re tired of what we\u2019re creating, it means we\u2019re aware that what we\u2019re creating is a recreation of what we\u2019ve already created. Or said without redundancy: we\u2019re copying ourselves. Pat yourself on the back because that means you\u2019ve grown. You\u2019re no longer satisfied with the status quo. But don\u2019t stop there. Make some concrete changes to encourage a new direction. A few of the changes songwriters can make are:<br><\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-choose-a-new-key-to-write-in\">Choose a New Key to Write In<\/h3>\n\n\n\n<p>This might mean a capo on the guitar, a new tuning, or switching over from major keys to minor keys. It might just mean writing in the key of Db when you typically write in D major or G major.<br><\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-start-on-a-new-chord\">Start on a New Chord\ufeff<\/h3>\n\n\n\n<p>This means being aware of the fact that we may typically start a verse or chorus on the tonic. Or perhaps we start on the vi minor and move to the IV chord. Whatever the tendency, the earlier in the section we break the pattern, the easier it will be to hear a pull towards something different.<br><\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-change-the-tempo\">Change the Tempo<\/h3>\n\n\n\n<p>Instead of that middle-of-the-road strumming pattern, we can slow way down or speed way up. This jars the brain, and we no longer have assumptions for how the song is going to progress. If we re-imagine the song early on, it inspires some new chord progressions too.<br><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-2-we-try-to-involve-new-chords-like-our-favorite-songs-do-but-we-end-up-sounding-like-a-copy-of-the-original\"><strong>2. We try to involve new chords like our favorite songs do, but we end up sounding like a copy of the original.<\/strong><\/h2>\n\n\n\n<p>I remember a time before I had written my first 150 songs when I struggled with feeling ordinary. The fact is, I was. Pretty much everything I wrote was heavily influenced by those who came before me. The secret was to finish songs, and not dwell too long on the writing of any particular one, so that I could feel in my mind and my fingers what it\u2019s like to emulate lots of different grooves, melodic shapes, and lyric lines. <\/p>\n\n\n\n<p>I\u2019ve got my Sheryl Crow songs, my Sting songs, my Coldplay songs. I\u2019ve even got my songs-that-people-say-are-Broadway. It\u2019s okay. Stepping back, I can see them as threads in the tapestry of my sound. It\u2019s not clear by looking at any one thread what characterizes my music. Weave them all together though, and that\u2019s where the originality emerges. Lucky songwriters, or resourceful ones, find collaborators and producers who can identify and augment that thread. &nbsp;<br><\/p>\n\n\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-3-we-write-a-lot-of-little-sections-of-songs-and-then-can-t-find-a-chord-progression-to-follow-them\"><strong>3. We write a lot of little sections of songs and then can\u2019t find a chord progression to follow them.<\/strong><\/h2>\n\n\n\n<p>The trouble here can come down to contrast. A few simple tools to help with this problem are illustrated beautifully in John Mayer\u2019s tune \u201cDaughters.\u201d <br><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"John Mayer - Daughters (Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/rZLbUIa7exE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong> <\/strong><\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-keep-the-chords-change-the-frequency\"><strong>Keep the Chords, Change the Frequency<\/strong><\/h3>\n\n\n\n<p>The verse of \u201cDaughters\u201d has four chords. And for a guy who can play every chord in existence, this verse is as simple as it gets. With one chord per measure, we hear a vi followed by a ii, then a V and the I. In 6\/8 time, the whole verse is just four revolutions of this progression. <\/p>\n\n\n\n<p>What\u2019s remarkable is the energy and contrast he\u2019s able to bring to the chorus with merely one new chord. He switches out the ii chord for the II chord, a borrowed chord. But there\u2019s one other tool that\u2019s even more important than the kind of chords he\u2019s playing: the frequency with which he changes chords. This tool is so simple, and so overlooked by songwriters. In the chorus of \u201cDaughters,\u201d the chords change two times per measure instead of just once like they did in the verse. Try this tool in your own writing. Instead of searching for a brand new chord, try simply using the same chord progression and changing chords more or less frequently than you did in the prior section. <\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-find-a-borrowed-chord\"><strong>Find a Borrowed Chord<\/strong><\/h3>\n\n\n\n<p>Borrowed chords are those that don\u2019t belong to the key you\u2019re writing in. To identify the chords in the key you\u2019re writing in, you\u2019ll need a bit of theory. I\u2019m sure there is even an app out there you can input your chords into and it will tell you the key. Once you\u2019ve got the key, you can move on to finding a few borrow chords.<br><\/p>\n\n\n\n<p>Borrowed chords should be used sparingly and with intention. Too many and they hijack the song to make it all about them. But used at the right moment, they create a beautiful moment for the section and add meaning and emphasis to a lyric line. In a mostly diatonic progression, try the simple action of switching out a major chord for its minor, i.e. instead of A major, play an A minor chord. A favorite song of mine that utilizes a simple borrowed chord switch is \u201cCrazy\u201d by Gnarls Barkley. They play with the i suddenly becoming a I and then it switches back again. It\u2019s a moment in the song where the shadow of a minor suddenly brightens under the effect of a major chord. <br><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio wp-embed-aspect-16-9\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Gnarls Barkley - Crazy (Official Video) [4K Remaster]\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/-N4jf6rtyuw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>One very common borrowed chord to try at the end of a pre-chorus or chorus is the II in place of the ii chord. It signals to the listener that something important is just around the corner: either the first line of the chorus, or the last line. <br><\/p>\n\n\n\n<p>I recommend writing a whole song around just one borrowed chord in a progression. Get the sound of that borrowed chord and its potential to highlight the lyric and create a musical moment under your belt. Then write another song with the use of a different borrowed chord. The key for songwriters is to break down these larger concepts into smaller pieces. That way we can clearly identify the effect of the borrowed chord, and recall by muscle memory the way it feels to move into that borrowed chord within our progression.<\/p>\n\n\n\n<p><em><a rel=\"noreferrer noopener\" href=\"https:\/\/online.berklee.edu\/songwriting?pid=8023&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-promotion\" target=\"_blank\">STUDY SONGWRITING ONLINE WITH BERKLEE!<\/a><\/em><br><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-4-we-ve-stopped-listening-to-a-wide-array-of-music\"><strong>4. We\u2019ve stopped listening to a wide array of music.<\/strong><\/h2>\n\n\n\n<p>There\u2019s no better way to stop growing than to stop immersing ourselves in a variety of music. The smaller the world we expose ourselves too, the smaller our sound becomes. Conversely, the wider our listening pleasure, the more pathways we\u2019re forming to channel all those different perspectives into our own lyrics, melodic shapes, chord progressions, and grooves. That doesn\u2019t mean we won\u2019t go weeks or even months at a time when we\u2019re focused on creating something specific. But after a project is done, don\u2019t forget to open up again with a curious spirit and refill the well that may have run a bit dry.<br><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-5-our-melodies-are-becoming-more-static-passing-responsibility-onto-the-chords-to-make-the-song-jive\"><strong>5. Our melodies are becoming more static, passing responsibility onto the chords to make the song jive.<\/strong><\/h2>\n\n\n\n<p>Sometimes we\u2019re quick to point the finger at our chords when it\u2019s our melody that could use some livening up. Long strings of static pitches, clustered notes with no real definition or long melodic phrases can put all the responsibility on the chords to create any real interest. A good tool to consider is to think more rhythmically when it comes to writing melody. Short, distinctive rhythmic hooks instantly give a melody shape. Conversely, melodies that are long and winding may provide very little shape, though they work well for very long-winded lyrics. Remember that melody is made up of both pitch&nbsp;<em>AND<\/em>&nbsp;rhythm. To ignore the rhythmic element of melody is to turn a blind eye to a very powerful tool.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-6-we-overlook-the-element-of-groove-putting-all-the-weight-on-what-chords-we-re-using\"><strong>6. We overlook the element of groove, putting all the weight on what chords we\u2019re using.<\/strong><\/h2>\n\n\n\n<p>Instead of searching for a better chord, we can search out a great groove to complement our melody and lyric. To do this, I sometimes spend hours listening to old and new music, imagining my song idea over each groove I find. Since I\u2019m not a producer, I find my groove vocabulary trails behind my songwriting vocabulary, and to deal with that I utilize other people\u2019s examples. I even brainstorm song ideas while listening to music faintly in the background. Their ideas inspire new ones in me, and help me see past my weaker points as a writer to embrace ideas I never would have considered.<\/p>\n\n\n\n<p><em><a href=\"https:\/\/online.berklee.edu\/certificates\/songwriting-professional?pid=8023&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-promotion\" target=\"_blank\" rel=\"noreferrer noopener\">EARN A CERTIFICATE IN SONGWRITING THROUGH BERKLEE ONLINE<\/a><\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-7-we-think-using-proven-chord-progressions-is-cheating\"><strong>7. We think using proven chord progressions is cheating.<\/strong><br><\/h2>\n\n\n\n<p>Part of the value of taking a songwriting course is learning how to break larger concepts down into smaller tools. We focus on a single tool, using it once, then again, and again, until finally the tool is a recognizable part of our toolbox. Without study, we don\u2019t know how to distinguish one tool from another, much less what tools we have to choose from.<\/p>\n\n\n\n<p>A great smaller tool is taking a chord progression from a song we love and simply using it as is to write our own song. Chord progressions are not copyrightable, and many songs across decades utilize the same progression to a vastly different end result. We\u2019re getting the new sound into our brains and fingers, and most likely integrating just one or two new movements into our chord vocabulary. <\/p>\n\n\n\n<p>So if you love how the flat iii moves into the flat vi and then cadences from the major V into the major I, use it in your next song. Or, allow yourself to write the typical IV V I cadence in your next song, and then go back and edit. Substitute a simple flat III major to the IV major to the I. Or try a flat VI major to a flat VII major to the I. Just one change in cadence, or one single borrowed chord in a specific position can help us untangle why chords function as they do in a progression.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-8-we-re-not-collaborating\"><strong>8. We\u2019re not collaborating.<\/strong><\/h2>\n\n\n\n<p>Nothing speeds up the writing process like a good collaborator. Writers with strong collaborative circles write more, write faster, and grow quicker. When chords are weighing us down, working with a good instrumentalist can unlock new songs. They get the benefit of working with you and your melodies and lyrics, and you get the benefit of their perspective on harmony.<br><\/p>\n\n\n\n<p>Don\u2019t let your songs go unfinished because they lack the perfect chords. We write the best way we know how at any given time, and nobody is equally exceptional at solving a song \u2018problem\u2019 from each vantage point of groove, melody, chords, and lyric. Our strengths always lead, and when chords are getting us down, that just means we\u2019re looking for ways to refresh our sound in an area that may trail behind our other strengths. And remember: It\u2019s not how many new chords we can employ that makes a great progression. It\u2019s the purpose those chords serve to support the emotion of the song.<\/p>\n\n\n\n<p><em><a href=\"https:\/\/online.berklee.edu\/music-degrees\/undergraduate\/songwriting?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-link-from-article\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">EARN A BACHELOR\u2019S DEGREE IN SONGWRITING WITH BERKLEE&nbsp;ONLINE<\/a><\/em><br><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Chords are a driving element of many songs. When we\u2019ve got four elements of songwriting to manipulate (melody, chords, lyrics, and groove), it\u2019s natural to credit them or blame them for a successful song. But how do we songwriters find and use great chords?<\/p>\n","protected":false},"author":6,"featured_media":12897,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1,9568,29],"tags":[6157,6026,302,6299,6300],"class_list":["post-12896","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-music-business-articles","category-songwriting-lessons","tag-andrea-stolpe","tag-chord-progressions","tag-chords","tag-gnarles-barkley","tag-john-mayer"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.8 (Yoast SEO v25.8) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Chord Progressions: 8 Tips for Richer Songwriting - Take Note<\/title>\n<meta name=\"description\" content=\"Berklee Online songwriting instructor Andrea Stolpe offers eight tips for creating richer chord progressions in your songs.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/online.berklee.edu\/takenote\/8-tools-to-richer-chord-progressions\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Chord Progressions: 8 Tips for Richer Songwriting\" \/>\n<meta property=\"og:description\" content=\"Berklee Online songwriting instructor Andrea Stolpe offers eight tips for creating richer chord progressions in your songs.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/online.berklee.edu\/takenote\/8-tools-to-richer-chord-progressions\/\" \/>\n<meta property=\"og:site_name\" content=\"Berklee Online Take Note\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/berkleeonline\" \/>\n<meta property=\"article:published_time\" content=\"2019-06-10T14:34:28+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-10-23T20:50:57+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/online.berklee.edu\/takenote\/wp-content\/uploads\/2019\/06\/PianoMoney.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1206\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Andrea Stolpe\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@berkleeonline\" \/>\n<meta name=\"twitter:site\" content=\"@berkleeonline\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Andrea Stolpe\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/online.berklee.edu\/takenote\/8-tools-to-richer-chord-progressions\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/online.berklee.edu\/takenote\/8-tools-to-richer-chord-progressions\/\"},\"author\":{\"name\":\"Andrea Stolpe\",\"@id\":\"https:\/\/online.berklee.edu\/takenote\/#\/schema\/person\/7b73193524090385e8c9513212a44c7c\"},\"headline\":\"Chord Progressions: 8 Tips for Richer Songwriting\",\"datePublished\":\"2019-06-10T14:34:28+00:00\",\"dateModified\":\"2025-10-23T20:50:57+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/online.berklee.edu\/takenote\/8-tools-to-richer-chord-progressions\/\"},\"wordCount\":2268,\"commentCount\":3,\"publisher\":{\"@id\":\"https:\/\/online.berklee.edu\/#org\"},\"image\":{\"@id\":\"https:\/\/online.berklee.edu\/takenote\/8-tools-to-richer-chord-progressions\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/online.berklee.edu\/takenote\/wp-content\/uploads\/2019\/06\/PianoMoney.jpg\",\"keywords\":[\"Andrea Stolpe\",\"Chord Progressions\",\"chords\",\"Gnarles Barkley\",\"John Mayer\"],\"articleSection\":[\"Articles\",\"Music Business\",\"Songwriting\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/online.berklee.edu\/takenote\/8-tools-to-richer-chord-progressions\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/online.berklee.edu\/takenote\/8-tools-to-richer-chord-progressions\/\",\"url\":\"https:\/\/online.berklee.edu\/takenote\/8-tools-to-richer-chord-progressions\/\",\"name\":\"Chord Progressions: 8 Tips for Richer Songwriting - 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