Sienna Rhodes
Scar by Missy Higgins is a popular song for those learning to play the ukulele or guitar. The song's chords and lyrics are available online for those who want to learn how to play it. The song's chorus includes the line, Doesn't that sound familiar, which is where the song gets its name from. The song's chorus also includes the lines, Doesn't that his too close to home, and Doesn't that make you shiver.
| Characteristics | Values |
|---|---|
| First line | Doesn't that sound familiar |
| Chords | G, C |
| Second line | Doesn't that his too close to home |
| Chords | G, Am |
| Third line | Doesn't that make you shiver |
| Chords | F |
| Fourth line | The way things could have gone |
| Chords | G, C |
| Fifth line | Doesn't that feel peculiar |
| Chords | G |
| Sixth line | That everyone wants a little more |
| Chords | Am |
| Seventh line | And so that I do remember |
| Chords | F |
| Eighth line | To never go that far |
| Chords | G, C |
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What You'll Learn
Substituting chords outside the diatonic family
Tritone Substitutions
Tritone substitutions are a common technique in jazz. They involve substituting the diatonic dominant seventh chord with a dominant chord built with a root note a flat fifth interval above the root. For example, in the chord progression II – V – I, you can substitute the E7 chord with a B♭7 chord in the key of A major. This type of substitution can add harmonic variance to your progression.
Secondary Dominants
Secondary dominants are another way to explore chord substitutions beyond the diatonic family. A secondary dominant chord temporarily tonicizes a non-tonic chord in a progression. It is created by taking a target chord and preceding it with a non-diatonic dominant chord a perfect fifth below or perfect fourth above. For example, in a iii-vi-ii-V chord progression in C major, you can replace the iii (E-7) with E7 (III7), the V7 of the vi chord. This type of substitution is common in jazz music and can enhance the harmonic progression.
Modal Interchange
Modal interchange allows you to borrow chords from a parallel minor or major key, adding a blues or rock edge to your progression. For instance, in a major key progression, you can borrow the bIII, bVI, or bVII chords from the parallel minor key. This technique expands your chord options and can lead to interesting melodic ideas.
Major and Minor Substitutions
You can experiment with substituting diatonic minor chords with their relative major chords or vice versa. For example, replacing a diatonic major IV with a minor iv or a diatonic major V with a minor v. The Beatles often used these substitutions to differentiate sections of their songs. For instance, in "I Want to Hold Your Hand," the verse and chorus use the V, while the bridge begins with a minor v, creating a distinct shift in mood.
Remember, when substituting chords outside the diatonic family, let your ears be your guide. Pay attention to the momentum and direction of the progression, and don't be afraid to experiment to discover new and exciting sounds.
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Swapping a major chord with its relative minor
In the song "Scar" by Missy Higgins, for example, the chorus includes the chord progression G, C, Am, and F. Swapping the G major chord with its relative minor, Em, would create a smooth but noticeable change in the sound of the progression. This substitution can be effective as the G major and Em chords share two of their three notes, allowing for a seamless transition while introducing a different emotional colour.
Every major chord has a relative minor, and vice versa. For instance, the relative minor of G major (G, B, and D) is Em (E, G, and B). This means that you can substitute one for the other while maintaining a harmonious relationship between the chords. This substitution can be applied regardless of the key you are playing in, providing a versatile tool for songwriters and musicians.
When making this type of chord substitution, it is important to consider the overall harmony and progression of the song. While swapping a major chord with its relative minor can create interesting variations, it should be done in a way that complements the existing chord structure. Additionally, using a pivot chord or melody can help smooth the transition between major and minor, enhancing the effectiveness of the substitution.
By understanding the relationship between major and minor chords, musicians can experiment with substitutions to create unique and captivating progressions. This technique can be a valuable addition to any songwriter's toolbox, allowing for the exploration of new sounds and the ability to convey different moods and emotions in their compositions.
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Using chord substitutions to create new melodies
Chord substitutions can be a powerful tool for creating new melodies and adding interest to your music. By substituting one chord for another, you can explore different harmonic colours and create unique variations of a melody. Here are some ways you can use chord substitutions to craft new melodies:
Understanding Chord Progressions: Familiarise yourself with common chord progressions in the key of your choice. For example, in the key of C major, a simple progression could be C - F - G - C. By understanding these basic progressions, you can start to substitute chords to create variations.
Substituting with Chord Degrees: One approach is to substitute chords based on their degree within the scale. For instance, if you have a progression of C - G - Am - F, you could substitute G (the dominant chord) with G7, adding a new flavour to the melody.
Tonicisation: This technique involves temporarily treating a chord other than the tonic as the tonic, creating a temporary key change. For example, in the progression C - Am - F - G, you could substitute F with Fmaj7, implying a temporary modulation to the key of F major.
Modal Mixture: This involves borrowing chords from the parallel minor or major scale. For instance, in a major key, you could borrow a chord from the relative minor scale to create a unexpected, yet pleasing, sound. This adds interest and a sense of the familiar to your melody.
Tritone Substitutions: This is an advanced technique where you substitute a dominant seventh chord with another dominant seventh chord a tritone (three whole steps) away. For example, substituting G7 with Db7. This creates a very distinctive sound and is commonly used in jazz music.
Chord Inversions: While not a substitution per se, using chord inversions can create a smoother melody by minimising large voice leading intervals. This technique alters the order of notes within a chord to create a different flavour without changing the chord itself.
By utilising these chord substitution techniques, you can create new melodies, add interest to your compositions, and develop your unique sound. Remember to experiment and trust your ear as you explore these methods.
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Identifying chord progressions by ear
To identify chord progressions by ear, there are several steps you can take to train your ear and improve your musical skills. Here are some tips to help you get started:
- Familiarize yourself with basic music theory: Understanding the fundamentals of music theory will greatly assist you in identifying chord progressions. Familiarize yourself with the names of the chords, the structure of a chord progression, and the concept of chord quality (major, minor, diminished, augmented).
- Start with simple songs: Begin with songs that have simple and common chord progressions. Folk, pop, and rock genres often use basic chord progressions that are perfect for beginners. Look for songs that use three-chord or four-chord patterns, as these are commonly used and will help you get a feel for how chords typically progress in a song.
- Listen actively and focus on the harmony: When listening to a song, actively try to identify the chord changes and harmony. Focus on the movement of the chords rather than the melody. Pay attention to how the chords create a sense of tension and resolution.
- Identify the tonic: The tonic chord is the one that feels like "home" in a song and is often the first chord played. It creates a sense of resolution and stability. Try to identify this chord, as it will give you a reference point for understanding the other chords in the progression.
- Listen for common patterns: Many songs use common chord progressions, such as the 12-bar blues or the I-V-vi-IV progression. Familiarize yourself with these patterns, as they will help you identify chord progressions more quickly.
For example, let's consider the chord progression of the song "Scar" by Missy Higgins:
Verse:
"Doesn't that sound familiar / Doesn't that hit too close to home / Doesn't that make you shiver / The way things could have gone"
Chords: G, C, G, Am, F
In this example, the tonic chord is G, which is the first chord of the progression and creates a sense of resolution. The progression then moves to C, creating a sense of movement away from the tonic. The pattern G-C-G establishes a familiar harmonic framework. The following chords, Am and F, create variations and add interest to the progression while still maintaining a sense of key stability due to their relationship with the tonic G.
By breaking down the chord progression and analyzing the individual chords and their relationships, you can start to identify patterns and harmonies that will help you recognize chord progressions by ear in other songs as well.
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Chord progressions in jazz standards
Chord progressions are foundational to jazz music, and jazz standards are often constructed using these progressions. Jazz theory provides some common functional chord progressions that are used across many songs. By practicing these common progressions in different keys and styles, jazz musicians can improve their ability to play standards.
The most foundational chord progression in jazz is the Major ii-V-I, which can be found in countless tunes, in all 12 keys, and with many different permutations, both rhythmically and harmonically. The minor ii-V-I is another important progression, and it can be heard in the classic tune "Stray Cat Strut." This progression features the tricky 7alt chord, which can be tougher to master than the major-key version.
The backdoor progression is another type of chord progression used in jazz standards. It is related to the ii-V-I progression but differs in its strong voice leading, which allows it to resolve confidently. Diminished chords are often used in this progression, as they can smoothly connect chords that are a whole step away from each other. This technique is used in the opening sequence of "Ain't Misbehavin'."
Another common chord progression in jazz standards is the I to IV progression, which is often used in jazz blues. The IV minor chord is also commonly used in jazz standards and pop songs. Jazz standards also frequently use the Rhythm Changes Bridge progression, which is based on the cycle of fifths.
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Frequently asked questions
The chords for the song "Scar" by Missy Higgins are C, G, Am, F, Dm, and G.
Yes, ukulele chords and tabs for the song "Scar" by Missy Higgins are available on UkuTabs.
Using the right accessories when playing the ukulele can elevate your playing experience, protect your instrument, and even improve your sound.
Yes, there are different versions of the chords for the song "Scar" by Missy Higgins available online. For example, one version suggests using the chords G, C, Am, and F for the chorus.
