Ever found yourself stuck in a rut when writing guitar chord progressions? Many guitarists start by randomly strumming chords hoping for a magical combination. While experimentation is valuable, understanding a bit of music theory can significantly streamline your songwriting process. Today, we’ll explore a structured approach known as the “Chain Method” to inspire your chord progressions. This isn’t about rigid rules, but rather a creative framework to break through writer’s block and add depth to your guitar playing.
To understand the Chain Method, let’s first consider the building blocks of music: scales. A major or minor scale consists of seven notes, and on each of these notes, we can build a triad – a fundamental three-note chord. Take the C major scale as an example:
| Degree | I | ii | iii | IV | V | vi | vii |
|---|---|---|---|---|---|---|---|
| C Major Scale | C | D | E | F | G | A | B |
| Triad | C | Dm | Em | F | G | Am | Bdim |
Within any key, these seven triads can be categorized into functional groups, each playing a distinct role in creating harmonic movement and interest in your chord progressions. These groups are like links in a chain, guiding you through logical and pleasing chord sequences.
The Functional Groups of Chords
Let’s break down these groups: Tonic, Dominant, and Subdominant, along with an “Other” category.
Tonic Group: Establishing the Home Key
The Tonic group is all about establishing the key center, the “home base” of your progression. It primarily consists of the I chord. In the key of C major, this is the C major chord (C-E-G). Think of the tonic chord as providing a sense of resolution and stability.
Dominant Group: Creating Tension and Leading to Tonic
The Dominant group’s role is to create harmonic tension and pull strongly towards the Tonic. The key players here are the V chord and the vii chord. Both of these chords share a crucial element: the leading tone. The leading tone is a note that is a half step below the tonic, creating a strong desire to resolve upwards to the tonic.
In C major, the V chord is G major (G-B-D) and the vii chord is B diminished (B-D-F). Notice that both G major and B diminished chords contain the note B, which is the leading tone in C major (a half step below C). This leading tone is what gives dominant chords their characteristic tension and drive towards the tonic.
Subdominant Group: Moving Towards the Dominant
The Subdominant group acts as a bridge, leading from the Tonic (or other chords) towards the Dominant. Chords with a subdominant function are the ii chord and the IV chord.
In C major, the ii chord is D minor (D-F-A) and the IV chord is F major (F-A-C). Subdominant chords create a sense of movement away from the tonic, preparing the ear for the tension of the dominant.
Other Group: Adding Color and Variety
The “Other” group includes the remaining chords: the iii chord and the vi chord. These chords, while not as functionally strong as the Tonic, Dominant, and Subdominant, can add color, interest, and harmonic variety to your progressions.
In C major, the iii chord is E minor (E-G-B) and the vi chord is A minor (A-C-E). The vi chord (relative minor) is particularly useful and commonly used, often acting as a substitute for the tonic or subdominant.
The Chain Method in Action: Linear Chord Movement
The core of the Chain Method is thinking of chord progressions in a linear fashion, following this directional flow:
OTHER → SUBDOMINANT → DOMINANT → TONIC
The key principle is to move forward in the chain. When constructing your progression, after you choose a chord, the next chord should either:
- Stay in the same group: You can repeat or use different chords within the same functional group to prolong a particular harmonic feel.
- Move to the next group in the chain: Progress logically from “Other” to “Subdominant,” then to “Dominant,” and finally to “Tonic.”
- Skip ahead to a group further down the chain: You can create interesting harmonic jumps by skipping a group, for example, moving directly from “Other” to “Dominant.”
Crucially, avoid moving backward in the chain. Going from a Dominant chord back to a Subdominant chord, for instance, breaks the forward momentum and the fundamental principle of the Chain Method.
Let’s look at some examples to illustrate this:
Chain Method Examples:
-
ii-V-I (Subdominant → Dominant → Tonic): This classic jazz progression perfectly exemplifies the Chain Method. The ii chord (subdominant) leads to the V chord (dominant), which resolves beautifully to the I chord (tonic).
-
vi-V-I (Other → Dominant → Tonic): Here, we skip the subdominant group. The vi chord (A minor in C major), from the “Other” group, moves directly to the V chord (G major), creating a slightly different but still effective pathway to the tonic.
-
IV-ii-V-I (Subdominant → Subdominant → Dominant → Tonic): This progression stays within the subdominant group for two chords before moving through the dominant and resolving to the tonic. The IV chord (F major) followed by the ii chord (D minor) both function as subdominants, creating a richer subdominant section before the resolution.
Non-Chain Method Example (Avoid This):
- V-IV-I (Dominant → Subdominant → Tonic): This progression moves backward from the dominant to the subdominant, violating the Chain Method principle. While this progression might sound pleasing in some contexts, it doesn’t utilize the directional flow of the chain and misses the intended harmonic movement.
Experiment and Explore
The Chain Method is a fantastic starting point for crafting chord progressions, but it’s not a set of rigid rules. Think of it as a guide to understand harmonic function and create logical chord sequences. Don’t be afraid to experiment, listen to what sounds good to your ear, and adapt the method to your own creative voice.
Start by practicing progressions within the Chain Method framework in different keys and musical styles. As you become more comfortable, you can explore variations, add passing chords, and further personalize your songwriting. The Chain Method is a tool to unlock your creativity and build a stronger understanding of how chords work together to create compelling music on the guitar.
