Connecting Chord Progressions

                While traveling from one chord to the next of a large scale progression, it is possible to use small scale chromatic progression as a mode of transport.  These connecting chord progression provide interest and variety to an otherwise predictable chord progression.  The shortest distance between two points is a straight line, but music is not always about efficiency.  Sometimes the scenic route through a chord progression is more beautiful and expressive. 

                 Referring back to the illustration of typical large scale harmonic motion that I provided in the chord progressions lesson is helpful when studying this concept of connecting progressions.  The ultimate destination in this illustration is the final tonic chord.  However, any chord along the way can be thought of as a temporary target point.  When using this thought process, the composer or performer can think of the target chord as a temporary key center.  Although the large scale key signature has not changed, it is temporarily displaced by a progression that is leading to the target chord.

                The strongest relationship in any chord progression is dominant to tonic movement.  The thought process discussed in the previous paragraph suggests that we are not limited to the dominant and tonic of our main key when experiencing this type of motion.  Any target chord that is major or minor in quality can be approached by its dominant chord.  Although this V of the target may be chromatic to the main key, the strength of the V to I progression causes our ears to allow (even enjoy) a chromatic diversion. 

                The chromatic V to I progression used to approach target chords can be elaborated on in several ways.  The tritone substitution can be used interchangeably with the dominant of the target.  Also, additional chords can be added before the dominant to form a more elaborate progression.  The two-five-one progression is a common example of this.  A further expansion could be the three-six-two-five-one progression.  The possibilities extend to any progression that ends with a five-one motion.  However, the longer the progression becomes, the greater the possibility that the listener will get lost and forget the original key.  It is tasteful to refrain from elaborate chromatic progressions that stray too far from the main key.

                Another technique, beside five-one chromatic progressions, is the use of diminished chords.  A diminished triad or seventh chord who's root is half a step below the target chord's root can be used as another mode of travel.  This technique is successful even when approaching a diminished target chord. 

                 The best way to acquaint ourselves with connecting chord progressions is through practice and exploration.  Remember the concept of target chords and the fact that they can be seen as temporary key centers.  Use either diminished or dominant harmonies to travel to the target chord.  Then build on the connecting progression by adding other chords.  Start with the progressions mentioned in this lesson, practicing them on your instrument.  Then experiment with creating more complex progressions.

                This Learning Music With Ray video discusses the chord progressions used to connect one structural chord to another.  While playing chord progressions, it is common practice to think of the chord we are traveling to as a target or temporary key.  In this video, I discuss chromatic chord progressions that can be used to travel to temporary key centers or target chords.  I refer back to the illustration of large scale harmonic motion and point out ways that target chords could be approached.   I also demonstrate these connecting chord progressions on the piano.