In “Take It Home (Part 1)” you were introduced to the tension/resolution feelings of “HOME to IV to HOME” and “HOME to V to HOME”. Of course, you don’t always have to go straight home – you can make a few other stops along the way. The examples in this article will introduce you to feeling two tensions before going HOME.
First, “HOME” will renamed “I“. So “HOME to IV to HOME” will now be referred to as “I to IV to I” or just “I–IV–I“. “HOME to V to HOME” will now be referred to as “I to V to I” or just “I–V–I“. This is the common way to describe the feeling of cord progressions.
The chord progression which these examples focus on is “I–IV–V–I“. Now instead of “I–?–I“, you will see “I–?–?–I“. Since this article is specifically focused on feeling “I–IV–V–I“, you already know that the first “?” will be “IV” and the second “?” will be “V“. You just need to feel when they happen.
The examples are presented using the same format used in “Take It Home (Part 1)”, with a few refinements:
- double vertical lines are used to define each distinct section in the core form of the song. These are called “Double Bar Lines”;
- instead of referring to these sections as “verse” or “chorus”, they are each given a boxed lettered name; and,
- “Repeat Signs” are used. These are the thick line/thin line/double dots you see. One repeat sign is facing forward (“Forward Repeat Sign”), and one is facing backward (“Backward Repeat Sign”). The first time you reach the backward repeat sign you go back and play from the corresponding forward repeat sign. The second time you reach the backward repeat sign, you ignore it. Repeat signs only work once. Therefore, the core form of “Heartaches By the Number” is [A], [A]. [B], [B]. The core form of “That’s All Right Mama” is [A], [A]. [B] (because [B] doesn’t have repeat signs).
As with the examples in “Take It Home (Part 1)”, it is up to you to sort out how the information given in the core form is used to create the entire song.