Reharmonising a worship ballad with passing chords

As a Gospel Worship Music Director or an Amapiano producer, you’re likely familiar with the concept of reharmonisation and its potential to elevate your music. One effective technique for adding depth and complexity to a worship ballad is the use of passing chords. In this guide, we’ll explore the theory behind reharmonisation with passing chords and provide practical examples for implementation.

Reharmonisation involves substituting chords within a progression to create a new, often more interesting, harmonic landscape. Passing chords are a type of non-functional chord that serves to connect two functional chords, typically the tonic and dominant. By introducing passing chords into a worship ballad, you can create a sense of tension and release, adding emotional depth to the music.

The Underlying Theory of Passing Chords

To effectively use passing chords, it’s essential to understand the underlying theory. In Western tonal harmony, chords are typically classified as functional (tonic, dominant, subdominant) or non-functional (passing, neighbor, borrowed). Passing chords are often built from scales or modes, such as the diatonic, melodic minor, or harmonic minor.

A common approach to creating passing chords is to use the chromatic passing chord, which involves inserting a chromatic chord between two diatonic chords. For example, in the key of C major, a chromatic passing chord could be used to connect the tonic (Cmaj7) and the dominant (G7) chords: Cmaj7 → Dbmaj7 → G7. The Dbmaj7 chord serves as a passing chord, creating a sense of tension that resolves when the progression reaches the dominant chord.

Another approach is to use diatonic passing chords, which are built from the key’s diatonic chords. In the key of C major, a diatonic passing chord could be used to connect the tonic (Cmaj7) and the subdominant (Fmaj7) chords: Cmaj7 → Am7 → Fmaj7. The Am7 chord serves as a passing chord, creating a sense of continuity between the tonic and subdominant chords.

Roman-Numerical Analysis of Passing Chords

Roman-numeral analysis is a useful tool for understanding the function of passing chords within a progression. By analyzing a progression in terms of its Roman numerals (I, IV, V, etc.), you can identify opportunities to introduce passing chords. For example, in the key of C major, a progression such as I → V could be reharmonised using a passing chord: I → vii° → V (Cmaj7 → B°7 → G7). The vii° chord serves as a passing chord, creating a sense of tension that resolves when the progression reaches the dominant chord.

Worked Examples in Different Keys

To illustrate the use of passing chords in reharmonisation, let’s consider a few worked examples in different keys.

• In the key of G major, a worship ballad progression such as G → Em → C → D could be reharmonised using passing chords: Gmaj7 → Am7 → Cmaj7 → D7. The Am7 chord serves as a passing chord, creating a sense of continuity between the tonic and subdominant chords.
• In the key of Eb major, a progression such as Eb → Ab → Db could be reharmonised using a chromatic passing chord: Ebmaj7 → Dbmaj7 → Ab7. The Dbmaj7 chord serves as a passing chord, creating a sense of tension that resolves when the progression reaches the subdominant chord.
• In the key of C minor, a progression such as Cm → G7 → Am could be reharmonised using a diatonic passing chord: Cm7 → Ebmaj7 → G7. The Ebmaj7 chord serves as a passing chord, creating a sense of continuity between the tonic and dominant chords.

Applying Passing Chords in a Live or Production Setting

When applying passing chords in a live or production setting, it’s essential to consider the overall feel and mood you want to create. Passing chords can add a sense of sophistication and complexity to a worship ballad, but they can also create a sense of tension that may not be suitable for every song.

To put this into practice in the studio tools, you can use Tshepho Piano’s interactive chord progressions to experiment with different passing chords and reharmonisations. By working through different examples and applying the concepts to your own music, you can develop a deeper understanding of how to effectively use passing chords in your worship ballads.

In a live setting, you can use passing chords to add a sense of spontaneity and improvisation to your performance. By listening to the other musicians and responding with passing chords, you can create a sense of dynamic tension and release that engages the audience and enhances the overall worship experience.

Common Mistakes to Avoid When Using Passing Chords

When using passing chords, there are several common mistakes to avoid. One of the most common mistakes is overusing passing chords, which can create a sense of clutter and confusion in the music. It’s essential to use passing chords judiciously, introducing them only where they serve a clear harmonic purpose.

Another common mistake is using passing chords that don’t fit the key. Passing chords should be chosen carefully to fit the key and chord progression, avoiding dissonance and clash. By choosing passing chords that fit the key, you can create a sense of continuity and coherence in the music.

• Use passing chords sparingly to avoid clutter and confusion.
• Choose passing chords that fit the key and chord progression.
• Experiment with different types of passing chords (chromatic, diatonic, neighbor, borrowed) to find the one that works best for your music.

Practice Routine for Mastering Passing Chords

To master the use of passing chords, it’s essential to develop a regular practice routine. Here’s a suggested practice routine to help you get started:

• Warm-up exercises: Begin by warming up with some simple scales and arpeggios in different keys.
• Chord progressions: Practice playing through different chord progressions, focusing on the use of passing chords to connect the chords.
• Improvisation: Improvise over a drone or a simple chord progression, using passing chords to create a sense of tension and release.
• Ear training: Listen to recordings of worship ballads and try to identify the use of passing chords. Transcribe the chord progressions and analyze the use of passing chords.

By following this practice routine and experimenting with different passing chords and reharmonisations, you can develop a deeper understanding of how to effectively use passing chords in your worship ballads. Remember to always listen to the music and respond with sensitivity, using passing chords to enhance the overall feel and mood of the song.