Chorus chords
Effective in its simplicity, this progression uses “target” chords, which are played on the first three beats of each measure, and “passing” chords, which are on beat four of each bar. What’s nice about this progression is that you need only change one note from the first chord to get the following passing chord. Each chord diagram shows the main chord (two yellow notes plus one blue) and also what note you would change in order to get the next chord (the red note plus the same two yellow notes). The notes lay under your hands easily, so you won’t have to change fingers on the notes common to both chords. Your right hand may or may not be used to these types of fingerings, but give them a try. If you feel pain from too much of a stretch, stop and try another fingering. But if it’s something you’re simply not used to, keep at it and you’ll develop more efficient ways of playing these chords.
Chords that move vs. chords that stay
Notice that the main chords of each measure are either major or minor in quality. Both major and minor chords are consonant, or “agreeable with the ears” — these are chords that don’t seem to need to move somewhere else. Conversely, the passing chords are slightly more exotic: Suspended (“sus”), inverted (G#min with B in the bass), or extended (F#min, add9) are all chords that, while still certainly pleasing to the ear, have more action to them. They sound magically incomplete somehow, and your ear wants them to keep moving.
