This week’s free Irish guitar lesson from Folk Friend is for complete beginners who want to learn how to accompany Irish traditional music on the guitar by ear. I’ll be showing you which chords fit with a tune in a major key and how you can train your ears to recognise where those chords should fit. I’ll also be giving you some examples using my free playalong video with on screen guitar chords for a classic Irish reel called Maid Behind The Bar. You can find that video here:
This tune is in A mixolydian. This means that the complete list of chords with which you would expect to accompany it are the same ones available in D major, but beginning and ending from the A chord. Therefore your complete list of likely chord choices would be A major (or A7, as this would be chord V in D ionian), B minor, C# diminished, D major, E minor, F# minor and G major.
The melody uses a trick common in Irish tunes and changes the flattened seventh note from the A mixolydian scale to the normal seventh from the scale of A major / ionian in the final bars of each section. This means that your chord V becomes E major in these bars only.
Bar 3 has to take a G chord (chord VII) or its related minor, Em, because the tune notes clearly outline a G chord (G B D G – -). Bar 4 more or less outlines a B minor chord or its related major, D (B D G B – -). I have plumped for D as I prefer its bright, optimistic sound and it is easier to play!
Bars 1 and 2 of the B part contain the same notes, and hence the same chords, as bars 3 and 4 of the A part.
The tune is somewhat unusual in that the fourth bar of the B part does not have a chord V section, but simply outlines an A chord throughout. However the section does finish with a clear chord V – I cadence as usual. You can tell that the final bar of the A part needs chord five as it contains the seventh note of the A major scale. The seventh note is a very unstable tone and appears in the fifth chord- A major’s seventh tone is G#, which is the major 3rd of A’s chord V, E major. For this reason you can usually take it as a given that a bar containing this note on a dominant beat or for any longer than a quaver is a chord V bar.
Substitutions
In this version I have inverted the D chord in the fourth and eighth bars so that its 3rd, F#, is at the lowest pitch within it. This makes my chords sound more coherent as the large jump in bass notes from G all the way to D is replaced by a smaller gap of 1 semitone from G down to F#. To play this chord, make a D major shape and then loop your thumb around the back of the neck in order to fret the second fret of the bottom E string.
Jazzy substitutions
In this version I have substituted A to A7. This works because the mode of A mixolydian contains the same notes, and therefore chords, as the mode of D ionian (major). In D major, A would be chord V and when we begin to use tetrads, four note jazzy chords with 7ths in them, the V chord in a major key is always a dominant chord. This also means that the I chord in the mixolydian mode is always dominant.
Chord VII, G, has been substituted to G7. This is because in every mode other than ionian, chord VII becomes a dominant 7 chord if tetrads are being used. Strictly speaking, the D (IV) chord in the fourth bar should be a major 7 type chord, but I have borrowed the use of a dominant IV chord from blues. This works ok, because the note in the D9 chord which is not in the scale of A mixolydian is a Câ™®, and there is no C# in the tune in this bar.
