Note that I often added 9ths and 13ths to my voicings - I even вЂњcheatedвЂќ by using a 6/9 chord in Bar 3. ItвЂ™s good to try different chord qualities, so hereвЂ™s a version based on all major seventh chords, including the use of the sharp-11th color tone: This exercise is a great place to start since you donвЂ™t have to worry about choosing from so many possibilities - you know that all your chords are going to have the same quality, so you can just search for a sound that supports the melody.ДЇinally, letвЂ™s try to change the chords more often, using some advanced voicings: Of course, thereвЂ™s always another way to do things, so hereвЂ™s a different set of options: Here are the same harmonies, but with jazzier voicings:Д«ecause youвЂ™re not clearly in any given key, the sound is open and floating I especially like the вЂњliftвЂќ that the last chord provides. In this example, IвЂ™ll be using all minor chords, but note that the melody can be any part of the chord, from the root all the way to color tones like the 9th and 11th: To illustrate, letвЂ™s use a melody that I employed in Part 1: Creating Structure Within ChaosДЄ good place to start is to choose one particular chord quality and then use it for every subsequent chord change. So it helps to start with some guiding principle to help you to explore this newfound freedom. If it is the ninth (or a second) of a chord it will be some sort of B-flat, B Dominant 7th or A Dominant 7th chord:ДЇinally, if it is used as the fourth or the 11th of a chord, we get these choices:ДЇor many people, this is a mind-blowing array of possibilities - IвЂ™ve listed almost 70 choices! Given so much latitude, it can be difficult to know what to do. If we use it as the seventh of a chord, it will be some type of D or D-flat chord type: If we think of it as the sixth (or 13th) of a chord we get these options: Or we can treat it as the fifth of a chord, which gives us these possibilities:

This gives us the choice of either an A minor or A-flat major chord quality: Now letвЂ™s think of a C as being the third of a chord.

(Note: A low bass note has been added to this and the following six audio clips to help you hear the chord qualities more clearly.)

In this first example, itвЂ™s serving as the root. To illustrate, here are some ideas for how a C can be incorporated. Start with an understanding that any given note can be treated with a wide selection of possibilities when it comes to making it a part of a chord. In this installment, weвЂ™ll explore harmony as color, without worrying about function or even staying within a key center. In Part 1 of this three-part series, we covered functional harmony and traditional concepts for making a song more sophisticated.

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