©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
1
12.3.2012
Chapter 17
Substitutions Down/Up Thirds
• 15 pages
• 38 examples
Do you want to go beyond what is in the chorusbook, hymnbook, or Internet? Then this
chapter is for you! We'll learn about chords that go down/up in thirds. Our task is to
substitute (replace) a single given chord with another. We'll be working with chord
replacement, not chord progressions, though progressions could be a secondary result.
Substitutions up/down a third can add smoothness, warmth, and richness to your songs.
OUTLINE
Descending Third Substitutions
Substitute a Descending Third
Ascending Third Substitutions
Thinking Down Several Thirds
Developing Good Continuation
A Series of Descending Thirds
Walking the Bass Down
Looking Ahead
REPERTOIRE
Great is Thy Faithfulness
Holy, Holy, Holy
Jesus Draw Me Close
Come Thou Fount
Cry of My Heart
Refiner's Fire
Emmanuel
Angels We Have Heard on High
Be Thou My Vision
Descending Third Substitutions
A typical chord substitution involves thirds—substituting the given chord with one a third
higher or lower. For instance, a C chord could be substituted with an A minor chord (a
descending third) or with an E minor chord (an ascending third).
Descending thirds. The example below demonstrates substitutions a third
below—descending replacements are more frequent than ascending ones. We're in the
key of C (below). Focus on the common tones, the solid (filled in) note heads.
Example 17.1 Common Tones (solid note heads) between Chords a Third Apart
C
Am
F
Dm
I
vi
IV
ii
G
V
Em
Am
iii
vi
F
IV
How many common tones are there? Two in each measure. If you have a melody with the
notes C or E (black notes in m.1), the chords C or A minor could likely be interchanged.
The same idea applies to measures two through four. In other words, the concept can be
extended to different scale degrees.
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
2
Below, the first measure of Holy Holy Holy uses a C chord (I), whereas the next two
variations substitute (SUB) an A minor chord (vi).
Example 17.2 I Substituted with a vi
C
G
C
C
Am
V
I
C
Am
SUB
Ho-ly, h o - l y , ho - ly
I
G
I
vi
G
C
V
I
SUB
V
I
vi
Notice (m.5 above), it's possible even to begin the phrase with a vi chord.
Opportunities for using thirds are usually available. Below, an F chord (IV) in the second
half of the opening phrase of Holy Holy Holy is substituted with a D minor seventh chord
(ii7). Notice, we are dealing with single substitutions, not a series of them.
Example 17.3 IV Substituted with a ii
F
F G
Dm F G C
C
SUB
Original
IV IV/5
I
ii
V
I
Minor sevenths especially project a warm feeling useful in expressing intimate words like
"love," "adore," "Father." Below, an A minor, D minor, and F minor seventh is included.
Example 17.4 Common Tones (solid note heads)
C
I
A m7
vi7
F
IV
Dm 7
ii7
G
V
E m7
iii7
Am
vi
F maj7
IV7
How many common tones do you see this time? Yes, three solid note heads instead of
the two above. When you use a seventh chord (or any chord extensions) you are creating
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
3
more chord substitution opportunities. Let's add a seventh to the Am chords this time.
But one more point first.
Incredibly easy! When you substitute a vi for a I or a ii for a IV chord on a keyboard,
your task is incredibly easy—hold onto the notes in your right hand and lower the bass
note a third. It's that easy. Let's us show you what we mean.
Example 17.5 Great is Thy Faithfulness
Note the vi7 substitution in measure three, beat three. The right hand chord stays the
same, only the left hand changes. That makes it easy!
Original
Great
Reharmonization
A m7
C
Dm F
C
is
thy
faith - f u l - n e s s
I
ii
Great
is
I
thy
vi7
Dm F
faith - ful -ness
ii
We call the chord in measure two (above) a Dm/F because the E in the melody acts as a
struck 7-6 suspension. More precisely, the Roman numeral would be a two-six (ii/6).
Alternatively, we could think of it as an F major seventh. Let's look at another example.
Example 17.6 Seventh Chord in a Substitution
C
G
C
C
Original
I
A m7
G
C
C
SUB
V
I
I
vi7
A m7
SUB
V
I
I
vi7
Observe, again, the chord quality in the right hand does not change in measure three and
six when substituting a vi for a I. Note, the Am7 projects a softer, more tender feeling.
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
4
Substitute a Descending Third
Cross out two or three of the chord symbols below. Substitute a descending third. Write
the new bass part, redo the chord symbols, and indicate the Roman numerals. Use taste.
Test the new sounds. Focus on single substitutions, not a continuous series of them.
Example 17.7 Jesus Draw Me Close
F
Dm7
C
Je - sus draw
B
meclose,
F
clos - e r , L o r d
C
to You
Example 17.8 Cry of My Heart
D
G
It
is
the
D
cry
A
of
my heart
G
It
is
the
cry
G
to
fol
A
of
my heart
-
low
You.
G
to
be close
D
to
You.
Example 17.9 Refiner's Fire
E
A
Re -fin-er's fire:
B
E
A
my heart'sonede-sire
B
E
is to be
B
ho-ly
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
5
Ascending Third Substitutions
A I chord in the key of C major can be substituted with a iii, a ii chord with a IV, and a
IV with a vi, or a vi with a I chord. The solid notes below indicate common tones.
Example 17.10 Ascending Third Relations (common tones)
C
Em
Dm
I
iii
ii
F
F
IV
IV
Am
Am
C
vi
vi
I
Ascending third relations are more rare than descending ones. Below an Em7 is
substituted for a C chord (m.2).
Example 17.11 Substitutions Using Scale Degree Three (Holy Holy Holy)
E m7
C
F ma7
F G
C
SUB
I
iii7
Notice, the presence of the seventh (m.2, beat 1) warms up the sound.
Three exercises. Revise the three examples (below) substituting two or three ascending
third relations. Cross out the pop symbols (as needed) and provide your substitutes.
Write the bass line. Indicate the Roman numerals. Test your result; avoid strong clashes.
Example 17.12 Lamb of God
C
F
O Lambof God,
F G
sweet Lamb of
C
God,
F
G
I l o v ethe ho - ly Lambof God!
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
6
Example 17.13 Doxology
G
G
Praise
God
C
from
whom
all
D
bless - ings
G
flow;
praise
D A
D
Example 17.14 Come Thou Fount
D
A
D
A
Comethou fount of
ev-ery
D
D
bless-ing, tunemy heart to sing thy
praise.
General Principle. As extensions (7ths, 9ths) are added to chords, more common tones
become available and thus more chord substitution possibilities.
Importance. Why are these third relation options so important? It's one way to accent the
text and prevent harmonic boredom. For instance, the tune of the first four measures of
Holy Holy Holy is repeated at measure nine (as below). Therefore we might want to vary
measure nine harmonically in order to express more clearly the meaning of the words, or
to introduce a new nuance of feeling. Look at m.1 and then m.9.
Example 17.15 Phrase Repeated at Measure Nine
1
C
2
3 F
9
C
10
11
ETC.
Ho-ly, ho-ly, ho-ly!
Ho-ly, ho-ly, ho-ly!
Lord
All
H o - l y , ho - l y , ho - ly! m e r Cher-u-bim and ser-a-phim f a l l -
Below we're jumping to measure seven of Holy Holy Holy. Whereas the hymnbook
version harmonized measure nine (above) with a C chord, measure nine (below) is
reharmonized with a third relation Am chord (vi), which then passes through the F chord
(IV) on the way to a ii chord. A minor, F major, and D minor are all third relations.
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
7
Example 17.16
7
8
earth and sky
and
9
sea;
Am
F
On
- ly
vi
IV
Dm 9
10
Thou art
C E
ho
-
ly
ii9
Notice that measure three above begins with a third relation substitute (Am is substituted
for C major), but then the chords descend by thirds (F, and then Dm9). The use of a
series of descending thirds harmonically is our next idea.
Thinking Down Several Thirds
So far we have stressed substitutions up or down one third, that is, substituting a C chord
with an A minor chord or an E minor Chord. Now we'll extend that concept by including
substitutions down a series of thirds to an F chord and a D minor chord. Visually the
concept looks like this. The first measure below represents what we've been focusing on,
the second measure, the new extension.
Example 17.17 Thirds Down from C Major (A minor, F major, D minor)
I
vi
IV
ii
I
vi
IV
ii
Example 17.18 Series of Descending Thirds for Scale Degrees 1-5
The descending thirds chords could be simple triads or possess the seventh (as below).
Vocals
C A m7 F Dm7 Dm B ø7 G 7 E m7 E m C ma7A m7 F ma7 F Dm7B ø7F G G E m7C ma7A m7
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
8
Let's use descending thirds in the hymn, Holy, Holy, Holy.
Example 17.19 Observe Am7, F, and Dm7 Substitutions for the C major Chord
A m7
C
I
vi7
Dm7
F
IV
ii7
You won't find the above substitutions (Am, F, and Dm7) in the hymnbook. But they
could be effective for the second or third stanza, or in the middle of the hymn where the
melody repeats (m.9), as below. Think up something appropriate after the substitution.
Example 17.20 Dm7 Substituted for C major
7
8
earth and
sky
and
9
sea;
Dm 7
Dm 9
On - ly Thou art
ii7
ii9
10
C E
ho
-
ly
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
9
Example17.21 Amazed By You (Lincoln Brewster recording, beginning at 4:47)
E A
how
deep
IV
E C
B
how
V
wide
vi
E F
B
how
B
great
V
ii
V
Above, scale degree 4 (IV) in the bass is substituted with a 6 (vi) and a 2 (ii).
Example 17.22 Thirds Down from C2 and C2Q
C2
C 2Q
Descending thirds also work with
added seconds and quartal chords.
Example 17.23 Quartals with Descending Thirds (Emmanuel)
The first chord in each excerpt descends in thirds (C, A, F, D respectively). The C chord
remains fixed the right hands.
C2Q A
C 2Q
E - man - u
- el
C 2Q F
E - m a n - u - el
E - man - u - el
C2Q D
E - man - u - el
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
10
Some harmonic adjustments were made after the first chord in each case. When you
change one chord, then for consistency's sake you often need to change another. Which
alternative do you like best? The C2Q/A is attractive, isn't it?
A I chord is typically used for the last phrase of Be Thou My Vision on the word
"waking." The G and Em chords create melodic extensions harmonically (9th, 11th).
Example 17.24 Extensions Resulting from Change in Bass
D
Bm
3
1
Wak - ing
5
or
I (Hymnbook)
Em
G
5
3
Wak - ing
7
or
vi (Down a 3rd)
5
7
Wak - i n g
9
or
IV (Down a 5th)
9
7
Wak - ing
11
or
ii (Down a 7th)
In the exercises below you'll substitute a vi, IV, and a ii chord for the I chord.
Developing Good Continuation
Your challenge is to continue the chord changes in a craftsmanship-like way to the end of
the line. Use no more than one chord change per measure. Indicate the pop symbols, the
Roman numerals, and write the bass part.
Example 17.25 Try it! B minor chord Substituted for D major
Bm
Wak - ing
or
sleep
-
ing,
Thy
pres - ence
Example 17.26 Try it! G major chord Substituted for D major
G
my
light.
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
11
Example 17.27 Try it! Em7 chord Substituted for D major
E m7
For the exercises above a D2 or D2Q could have substituted for the D major triad.
Example 17.28 Jesus Paid It All
Below, your task is to provide good continuation. The bass, in the harmonic variations of
lines 2, 3, and 4 of measure two, descends in thirds to B, G, and E. Provide a secure
harmonic progression that links measure two to measure four. Write the bass notes and
furnish Pop symbols. Play your result in order to test its effectiveness.
D
D
D
all,
All
A
Vocals
Je
-
sus
paid
it
to
him
I
owe
1
D
Bm
A
D
G ma7
A
D
E m7
A
2
3
4
Example 17.29 Ways to Space Your Chord Substitutions
Bm
Je
-
sus
paid
it
G ma9
E m11
all
all
all
vi
IV
ii
E m11
all
ii
Above are some chord spacings for measure two (above) to help create some atmosphere.
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
12
You'll get a nice effect if you roll the tenths in the bass so that the tenth (3rd of chord)
sounds flush with the right hand (as in m.5). Apply the pedal at the onset of the lowest
note.
A Series of Descending Thirds
Example 17.30 Model of Descending Thirds (Be Thou My Vision)
D
G maj7
Bm
Be Thoumy
vis-ion
I
E m9
O L o r dof
vi
IVmaj7
life.
Naught be all
Etc.
else to me
iim9
Do some tweaking, and create a series of thirds for the melodies below. Indicate the Pop
symbols, the Roman numerals, and write the bass notes.
Example 17.31 Descending Thirds (Be Thou My Vision)
Wak - ing
or
sleep
-
ing
Thy
pres - ence
my
light.
Example 17.32 Descending Thirds (Great is Thy Faithfulness)
Great
is
Thy
faith - ful - n e s s
O
God
my
fa - ther
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
13
Walking the Bass Down
The bass can walk down the scale and fill in the space between the third relationships.
Example 17.33 Stepwise Movement Down the Scale (Be Thou My Vision)
B m7
D
Be
thou
my
Vis - ion
G maj7
O
Lord
E m9
of
my
heart.
Example 17.34 Chord Reinforcement of the Stepwise Movement
D
Be
thou
A2 C
B m7
Bm A
my
Vis - ion
O
G maj7
Lord
F m7
of
my
E m11
heart.
Now it is your turn. Do something similar with the examples below.
Example 17.35 Great is Thy Faithfulness
Great
is
Thy
faith - ful - ness
O
God
my
fath - er
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
14
Example 17.36 Come Thou Fount
Come Thou
fount
of
ev - ry
bless - ing
Looking Ahead
So far we have been working mostly within traditional tertian harmonythat is,
harmonies comprised of thirds. Hopefully you have learned to play major, minor, major
sevenths, and minor seventh (probably in that order) up and down the neck of the guitar
or across the keyboard.
The next several chapters focus on sus chordschords that have a fourth instead of a
third above the root noteand added second chords and quartals (inversions of added
seconds) which contain an added second above the root. Think of these two entities not
as departures from but as extensions or developments to basic traditional music theory.
Example 17.37 All Three Versions Can Resolve
C sus4
1
4 5
C2
C
1 2
5
C 2Q
C
2
5
C
1
In measures one (above), the fourth would likely fall (resolve) to the third of the C chord,
in traditional music theory.
In measure two, the second can rise (resolve) to a third (as in much Rock and Country
music), but would likely fall in traditional theory and practice.
In measure three, the second of the quartal can also rise to the third of the C chord.
These sounds (C2 and C2Q) are not found or discussed in classical music theory.
As mentioned, in traditional theory, the interval of a second in measures two and three
would likely fall to the root (C) whereas in contemporary music it may risethat's one of
the differences.
©2012 Barry Liesch
ch17 Substitutions Down/Up Thirds
15
Example 17.38 Unresolved Csus4, C2, and C2Q
C sus4
C2
C 2Q
Alternatively, in contemporary music the Csus4 , C2, and the C2Q may not resolve. They
can be considered chords (entities) in their own right.
This is a a little preview of what we will get into in more detail in the next few chapters.
Thought. When we improvise in public we reveal what we have mastered in private.
Ideally we should be able to render every phrase a dozen different ways. This implies a
deep need in our part to discover what is possible.