Chromatic Movement

AS UNUSUAL AS IT SEEMS, THIS TOOL CAN BE ESSENTIAL TO WHIPPING UP SOME BEAUTIFUL HARMONIES.

Although this sounds like a type of esoteric philosophy, it’s actually a useful harmonic tool that allows us to create ascending or descending lines within a chord progression, graduating between different chords or creating a melody, depending on how you arrange them. As we’re moving just one single note within the chord, we could make that note the top line and imply a melody (as we did previously with the “Summertime”-style chords), or work within the chord as these examples do here.

The example chords are all based in the context of E minor so are named in that context. For instance, as a separate entity, Example #4 (Emin6) could be seen as an A7/E but in this context it is the final variant on E minor, providing a nice set up for Cmaj7/E, the next chord in the sequence. The open strings available in E minor provide a nice tidy way of laying this idea out, but it is, of course, possible in all keys – if you can find the shapes to do so!

EXAMPLE #1

An unconventional way of playing E minor, this doubles the fifth (G) in the middle, which can give a nice ‘chorused’ effect, especially on a strummed acoustic guitar. It also paves the way for our descending pattern using similar shapes. John Lennon was certainly a big fan of this type of voicing on acoustic guitar.

EXAMPLE #2

Like in Example #1, you could use the open first string for extra jangle, but this chord is probably served better here by leaving it out. You’ll hear George Harrison playing an arpeggiated version of something similar on Help! This Emin/maj7 is all about the context rather than a ‘standalone’ chord.

EXAMPLE #3

This Emin7 chord is unusual in that the seventh (flat/dominant seventh to be specific!) is featured in the lower register of the chord. This gives it a much darker sound and the feeling of a passing chord – a little like the previous example but without the dissonance!

EXAMPLE #4

This Emin6 chord is also very Beatles in feel and is great for fingerstyle/arpeggiated playing. The open first string offers a nice jangly extension at the high-end, also giving an extra root/melody note, which can come in handy in the context of a chord/melody arrangement.

EXAMPLE #5

This Cmaj7/E is interchangeable with the more conventional shape, but there is something about the continuity of staying with these voicings with the double G in the middle that fits well. It’s also good to change the mood sometimes, but that is probably a decision for you as songwriter.