[bostykid]

I'm sick and tired of using the usual diatonic chords and their add2, add9, sus4 spin offs...
They just sound too open and lack dynamic, tension, and emotion.

Example
I ii I/iii iii IV V vi V/vii
E F#m E/G# G#m A B C#m B/D#

How would I incorporate tension chords into common songs with the usual chord progressions? I see people do it all the time on Youtube! They either substitute a diatonic chord with tension chords or sneak them in between diatonic chords like a walk up/down. For example, David Choi, Gabe Bondoc, Passion, and AJ Rafael do it all the time (Especially Gabe Bondoc). Here are few examples...

Gabe Bondoc - Superhuman
Gabe Bondoc - Suitcases and Travelbags
David Choi - So Systematic

I know they use chords like (x)7, (x)aug, (x)dim, (x)m7b5, (x)m9, (x)m7b, (x)7b9, (x)Mb9, and other 11 13 extensions...


1. Can you guys provide me with general outline of how to use non diatonic chords.
2. Can you guys give me guidelines with working with specific chords.(ex (x)dim)
2. Can you guys link me to sites with chord progression theories
(That's what this is right?)
3. Can you guys apply your knowledge to a simple song like "Here I Am To Worship" ?
Here I Am To Worship Chords by Hillsongs @ Ultimate-Guitar.Com

This would help me a whole lot, thanks!!!

[Rainer.]

I find the best way to learn these sorts of things is to just start learning the chord progressions to songs you like with this sort of thing. Play a lot of jazz and jazz-influenced music. Some extensions aren't non-diatonic, and tense chords usually happen in passing or as part of the dominant (V) in a progression.

[B7#5b9]

Learn a few Beatles tunes. Several make great use of chords borrowed from other keys. But, even their diatonic tunes have a creative quality that is hard to match.

[gtrdave]

I learned to play outside the box by learning a lot of Tommy Walker's songs as well as a lot of black Gospel music and, believe it or not, Christmas Carols.

Best thing you can do is to start intensely listening to that which you wish to emulate. Also, a course in jazz improv might do you well. Check your local schools and teachers.

btw: the majority of the "so systematic" tune that you posted above is made up of M7, m7 and 9 chords. They're are not non-diatonic at all and as Rainer. said, the tension usually occurs in the turnarounds and very brief passing chords.

[Jon_]

Time to start exploring harmony and theory. There are many different theoretical concepts that can fill out your harmonies. First try to get away from just triads. They're pretty open sounding by themselves. Fill out the harmony with some seventh or extended chords. Also, try some secondary dominants, diatonic chord substitution, and also don't discount the effectiveness of key changes. If you're really looking to start introducing some real tension you might want to start looking into jazz harmony. Jazz harmony is phenomenally good at creating and resolving tension in very sophisticated ways.

[Melting]

Edley's Music Theory for practical people, available now at a bookstore near you. only about $20 and an easy read. This will give you the tools you need to build and utilize the chords you want. Also you will understand how to apply them to an existing progression or even build your own. This is not a quick fix but if you apply yourself a month from now you could be answering this question for someone else. I was going to suggest Jazz guitar for Dummies, but Dummies can't play Jazz so they didn't publish it.

[Mudokwan]

As someone already mentioned, Secondary Dominant chords are very useful if you're looking for something non-diatonic. They're pretty easy to incorporate into simple progressions and if done with the right inversions can give that "walk-down" feel in the bass someone else talked about already. I would recommend that as a good place to start.