Chords for Lyricists (Progressions That Derve The Story)

You write lines that sting. Now make chords that punch the same spot. Too often lyricists treat harmony like wallpaper. It is not wallpaper. Harmony is the lighting, the street, the cheap motel check in the back of the scene. Chords say where the story lives. They push or pull the listener through the narrative. They make jokes land. They make tears arrive at the exact syllable.

This guide is for people who love words and want chords that behave like collaborators rather than background furniture. No heavy music theory textbooks. No jargon without explanation. You will get practical progression templates, emotion maps, step by step workflows, and micro exercises you can use in the next writing session. Every term gets a plain English translation and a tiny real life scene so the idea sticks.

Why Harmony Matters for a Lyricist

Lyrics deliver meaning with words. Harmony colors that meaning with expectation. A chord can say welcome or warning. A change at the right moment tilts the sentence into new feeling. You can write the same lyric over many chords and hear three different stories. That is the power you want.

• Mood control Chords create emotional color. Major chords often feel open and bright. Minor chords feel smaller or sadder. Add a seventh chord and you get tension and personality.
• Directional force Some chords pull toward a resolution. Use that pull to underline a lyrical decision or to delay closure when the lyric needs uncertainty.
• Timing and surprise A sudden chord change can reframe everything you just heard. This is how you get a lyric line to land like a mic drop.
• Memory hooks Repeating a chord shape at key lyrics creates association. The moment a listener hears that shape they remember the line that came with it.

Core Terms for Lyricists and What They Mean in Real Life

Music people use words fast. Here are the core terms with plain language and an everyday example.

• Tonic The home chord. In C major that is C. Think of the tonic as your apartment. You come back to it when nothing else matters.
• Dominant The chord that wants to go home. In C major that is G. The dominant is like a friend who insists you finish the night and go home already.
• Subdominant The chord that moves away from home gently. In C major that is F. This is the cab ride before the door.
• Cadence A musical punctuation that says stop or keep going. Perfect cadence is like a period. Deceptive cadence is like a joke that makes you look. You expect closure but you get a twist.
• Chord progression The ordered set of chords. Think of it as the route your story takes. Route A runs scenic. Route B runs fast through a tunnel.
• Modal interchange Borrowing a chord from the parallel key to change color. Imagine wearing a leather jacket with a party dress. The outfit becomes interesting.
• Inversion Same chord different bass note. It is like speaking the same sentence in a softer voice. The meaning is similar but the attitude shifts.
• Pedal point One sustained note while chords change above it. Like someone holding a grudge while life rearranges itself around them.
• Secondary dominant A temporary push toward a chord that is not the home. Like cheering a friend into a stage spotlight before returning to the group.

Read This Before Choosing Your First Progression

Ask three questions before you play any chord.

1. What is the emotional spine of the lyric line? Pin it down in one sentence.
2. Does the lyric end with a decision or with a question? Decide or defer with your chords accordingly.
3. Which syllable needs the musical emphasis? Align a harmonic change or a long chord on that syllable.

Example. Line: I opened the door and it smelled like leaving. Emotional spine: quiet resignation. Decision status: not decided. Emphasis syllable: leaving. Chord choice: keep the verse on a minor tonic to sit with resignation and switch to a deceptive cadence on the word leaving to push the listener into unresolved sadness.

Progression Patterns and the Stories They Tell

Below are progression templates with plain labels and story uses. All examples are shown in the key of C so you can play without thinking in too many keys. Swap the key to suit your vocal range.

Pattern 1: I IV V I

In C this is C F G C. Story use: friendly, conversational, moving forward. This is the classic pop route. Use it when the lyric feels like telling a memory with acceptance.

Scene

You are on a porch with a warm drink describing a silly fight that ends with eye rolls and forgiveness. The chords say we are safe enough to laugh about it.

Pattern 2: vi IV I V

In C this is Am F C G. Story use: nostalgic or bittersweet. This progression carries forward momentum while keeping an undertow of melancholy. Use it for lines that look back and then draw a little hope.

Lyric sketch

Am       F
The picture on the stair,
C       G
we always swore we would keep.

Why it works. The vi chord opens with sadness. The loop resolves to C and then spins back to G which has forward energy. It supports a lyric that ends with the speaker choosing memory over action.

Pattern 3: I V vi IV

In C this is C G Am F. Story use: uplifting hero move or triumphant shrug. This is huge in modern songwriting. Use it when the lyric reaches a moment of acceptance that feels like a small victory.

Real life comparison

This progression is like getting a compliment from someone you did not expect. The world seems slightly brighter for a second and your words match that lift.

Pattern 4: i VII VI V

In A minor this is Am G F E. Story use: cinematic descent. Use when the lyric describes falling, decay, or a dark memory. The descending progression pulls the listener down with the narrator.

Pro tip

If you want a horror edge add E7 instead of E to make the last step more urgent and almost collapsing.

Pattern 5: Pedal point on tonic with slow changes

Hold C in the bass while the top chords move. Story use: fixation or obsessing. When the lyric circles around one idea, keep the bass steady like a heartbeat. It suggests immobility while the mind wanders.

Example

C       C
Am      F
C       C
G       Em

Use this if your narrator cannot move and the words are their internal monologue. The bass says we are stuck even as colors change above it.

Pattern 6: Deceptive cadence to prolong tension

Typical deceptive cadence is V vi instead of V I. In C that is G Am. Story use: the lyric sets you up for a resolution and then the music refuses to give it. This is perfect for lines that end with a promise that the narrator does not keep.

Lyric sketch

C            G
I promised I would stay,
Am
but the bus already pulled.

That bus is a metaphor. The chords show the promise and the failure at the same time.

Pattern 7: Modal interchange for color shift

Borrow a chord from C minor like Eb or Ab to add darker, more dramatic color. Story use: a memory that taints a present moment. Use this when a lyric mentions a flashback or a sudden realization that changes perspective.

Example progression

C     Eb     F     C

That Eb is not native to C major. Its presence feels like a memory wearing darker clothes. It is a moment that says something has shifted.

How to Map Chords to Lyric Phrases Step by Step

Follow this simple workflow every time you set a line to harmony.

1. Read the lyric out loud and mark the emotional spine in one sentence.
2. Identify the cadence of the spoken line. Where do you naturally breathe?
3. Decide if the line needs closure. If it does, plan a strong cadence. If it does not, plan a deceptive cadence or delay.
4. Pick a progression shape that matches the spine. Use the templates above as starting points.
5. Place the strongest harmonic change on the syllable you want to emphasize.
6. Sing it slowly on vowels to confirm the chord choice feels natural with the melody.
7. Adjust inversions so the bass line supports the syllable stress.

Example applied

Lyric line: I keep the keys in the jacket you forgot. Spine: stubborn clinging. Breath: before jacket. Emphasis: forgot. Chord choice: pedal or minor tonic with deceptive cadence on forgot. Progression: Am F C G then G to Am at the end. The final G to Am refuses closure and keeps the clinging unresolved.

Using Bass Motion Like a Story Beat

Bass notes are narrative. A rising bass can feel like hope. A stepwise descent can feel like sinking. Changing only the bass note under a chord can flip the sentence meaning without changing the top harmony.

Technique

• Walk the bass up under repeating chords when the lyric moves toward decision.
• Use a lowered second bass for a glint of unease on an otherwise stable chord.
• Keep the bass static when the lyric is stuck in thought.

Example

C     C/E     F     F
You said you would call and then you did not

The move from C to C over E feels like leaning into the statement. The bass change gives momentum without changing the chord name. The listener feels the sentence step forward.

Harmonic Devices That Echo Lyric Techniques

Songwriters use lyrical devices like ring phrase, list escalation, and callback. Harmony has its own versions of those devices. Use them to underline your text techniques.

• Harmonic ring phrase Repeat the same progression at the start and the end of a chorus. The repetition frames the lyrical idea like a trademark.
• Harmonic escalation Raise the progression a third up for the second chorus to give a lift that mirrors intensified lyrics.
• Callback chord Play a unique chord under a key lyric in verse one and then return to it at the emotional punch in verse three.

Real life analogy

This is like using the same emoji to punch a recurring joke. The icon signals the moment before the text arrives.

Using Non Standard Progressions to Tell Complex Stories

Not all stories are satisfied with standard loops. Use these more advanced options when the lyric needs complexity. Each one is explained simply and paired with a scenario.

Chromatic mediants

Move between chords a third apart where roots shift by chromatic steps, for example C to E. This gives a cinematic unexpected color. Use it for lines that reveal a secret or show a sudden change of heart.

Imagine discovering a photo you did not know existed. The harmony should look like you just walked into a different room.

Secondary dominants

Temporarily apply a dominant to a chord other than the tonic. In C you might play D7 to G which increases the pressure toward G. Use this when a lyric wants to emphasize a smaller promise before returning home.

Scenario

You promise to call at midnight and then you actually mean it. The secondary dominant is the moment you put your phone on vibrate and tell yourself you will not chicken out.

Modal interchange and borrowed chords

Borrow a chord from the parallel minor or major to tint the emotional palette. In C major, take an Ab or Eb from C minor to add a darker shade. Use this when the lyric flashes to a memory that makes the present feel tainted.

Static harmony with melodic motion

Keep one chord under many lyric lines while the melody shifts above. This can create a sense of claustrophobia or fixation. Use it when the lyric shows a repeated action or obsession.

How to Create a Harmonic Arc for a Song

A song is not just a verse followed by a chorus. It is an arc. Think like a filmmaker. Build three harmonic acts.

1. Establish. Use simple, clear harmony to give the listener a home reference.
2. Complicate. Introduce a borrowed chord, a deceptive cadence, or a different mode to show the problem or the memory.
3. Resolve or refuse to resolve. Either return to tonic with satisfaction or keep tension if the story refuses closure.

Application

Start verse one with I IV V I to make the world clear. In the chorus bring in vi IV I V to complicate it. In the bridge borrow from the parallel minor to give the reveal weight. Then return to the chorus with one change in chord voicing to show growth.

Quick Tricks to Make Chords Serve Words Immediately

• Place a chord change on the verb. If your lyric uses action words they deserve musical shifts.
• Use longer chord duration on abstract words and shorter changes on concrete words. That contrast forces attention to the image.
• If a word sounds like a question, finish the phrase with a chord that wants to go home but does not get there right away.
• When you have a title word, land it on a chord that returns later in the song so the title has a sonic anchor.

Voice Leading and Inversions for Subtlety

Simple changes in how you play a chord can alter lyrical perception.

• Use first inversion when you want soft landing into a chord. It is less final than root position and can make a big lyric feel intimate.
• Use second inversion for a suspended feel. It is great under lyrics that hang on details.
• Move inner voices stepwise to match internal rhymes or alliteration in the line. It makes the music mimic the text rhythm.

Example

Am/C    G/B    F/A    C
I fold the letter with its freckles intact

The descending inner bass creates a sense of closing and packing. The lyric feels like folding a memory into a drawer.

Arrangement Choices That Amplify Chord Meaning

The same chord in different textures says different things. Pick instrumentation to support the lyric image.

• Piano with sparse left hand gives intimacy for confessional lines.
• Electric guitar with chorus effect makes a chord feel nostalgic.
• Organ pads on a borrowed chord make a memory feel ghostly.
• Stripped acoustic with single guitar keeps the listener close to words.

Real life tip

If your lyric mentions a specific object like a train include a plucked rhythm that feels like a train click. The small production detail sells the chord choice.

Common Mistakes Lyricists Make with Chords and How to Fix Them

• Picking chords first then forcing words Instead, write the lyric and then audition progressions. The chords must answer the lines not dominate them.
• Too many changes under a single sentence Fix by simplifying. Give a single chord time to color a sentence. Change only when the meaning shifts.
• Using only major or only minor all the time Add one borrowed chord for contrast. Even one out of key moment can make the lyric feel true.
• Ignoring the bass Use inversions and step motion to mirror lyric cadence.

Exercises to Train Your Chord Sense as a Lyricist

These are timed drills you can do with your phone and an instrument.

Exercise 1: One line, three colors

Take one lyric line. Play three progressions that you think fit. Record each take. Listen back and name the emotion each progression gives. Pick the one that best matches your original spine or surprises you with a better angle.

Exercise 2: Emphasis placement

Pick a four bar phrase. Sing the lyric and put the chord change on different syllables in each bar. Note where the line feels strongest and where it feels off. This trains you to align harmonic change with textual stress.

Exercise 3: Borrow and notice

Write a short chorus in a major key. Now borrow a chord from the parallel minor and swap it in for one bar. Record. Notice how it alters meaning. Try describing that change in one sentence without music words.

Three Micro Case Studies

These short studies show how subtle harmonic choices change lyric meaning. All examples are original snapshots to avoid lyric copying.

Case study A: A promise that fails

Lyric: I said I would wait for the bus until you came back.

Option one chords: C F G C. This gives a grounded promise. It sounds like a genuine plan.

Option two chords: C G Am G. The G before Am makes the promise wobble and feel less certain. The listener hears a hesitation. The lyric becomes hopeful but fragile.

Case study B: The memory that becomes accusation

Lyric: You left the kettle running like you did not care.

Simple progression: Am F C G. Sad and resigned.

Add borrowed chord: Am Eb F C. The Eb makes the memory feel sharper and colder. The lyric moves from sadness to accusation.

Case study C: Resignation turned into ritual

Lyric: I put your shirt back in the drawer and close it slow.

Static harmony: C held for the whole bar with melody motion on top. The static base creates ritual. The small deliberate action becomes a ceremony.

Workflow Templates You Can Steal

Pick one and use it in your next session.

Template A: The Confession

1. Start verse with I IV V I for clarity.
2. Chorus moves to vi IV I V to add bittersweet color.
3. Bridge borrows a minor iv chord to make the reveal heavier.
4. Return to chorus with second inversion chords for intimacy.

Template B: The Unreliable Narrator

1. Verse uses rootless voicings and static bass to sound uncertain.
2. Pre chorus adds secondary dominants to build pressure.
3. Chorus resolves deceptively to a minor chord.
4. Final chorus adds a chromatic mediant for a twist that reveals the truth.

Template C: The Nostalgia Loop

1. Start with vi IV I V for gentle yearning.
2. Keep the first chorus instrumentation sparse.
3. Second chorus modulates up a whole step for emotional lift.
4. End with a single borrowed chord to leave a residual ache.

Production Notes for Lyric Forward Harmony

Production can bury lyrics or make them sing. Here is how to ensure chords amplify words.

• Keep midrange instruments light when the vocal is dense with words. A heavy midrange guitar fights consonants.
• Use pad swells under long lyric vowels to create space for emotional weight.
• Automate reverb or delay tails to swell at the end of a phrase to underline a closing word.
• When a borrowed chord appears, carve a small EQ notch so it appears as a highlight rather than a mud bath.

How to Test If a Progression Actually Serves the Lyric

1. Play just the vocal acapella and say the lyric to two people. Ask them how it lands emotionally.
2. Play the lyric over the progression but mute everything else. Does the chord make the line clearer or blur it?
3. If the chord causes confusion, try one small change rather than rewriting the progression. Change inversion, or delay the chord change one beat, or borrow a single chord. Small moves often solve big problems.

FAQ

How do I pick a key that suits both voice and story?

Pick the key where the title line sits on a comfortable vowel for your voice. The emotional color is less tied to key than to progression, so prioritize singability. If the chorus needs lift move it a third or a whole step up and test the melodic comfort. Use a capo if you play guitar to find a sweet spot quickly.

Can I write lyrics first and add chords later?

Yes. Many lyricists do that. The important part is to treat chords as an editorial tool. Don’t let them overwrite the text. Audit the harmony after you add it and ask if it sharpens or obscures the story. If it obscures, simplify the harmony and try again.

What if I do not know enough theory to use these ideas?

Start with shapes you can play and listen. You do not need to know names to hear that a borrowed chord feels different. Use the templates. Learn one small concept like deceptive cadence and practice it. Theory is a vocabulary that speeds decisions. You can always learn vocabulary on demand when you need it.

How many chords are too many under a sentence?

If the chord changes more than once every two syllables the listener can get dizzy. A good rule is to let one chord color a clause or a breath. Change on the next clause. Exceptions exist when the lyric lists many small images. In that case quick changes can mimic the listing energy.

How do I make a chorus feel bigger harmonically?

Raise the range. Use more open voicings. Add a relative major or lift the key by a step. Use fuller instrumentation and stack harmonies. Harmonically add a chord that was not present in the verse to make the chorus feel like territory you have not been to yet.

Get Contact Details of Music Industry Gatekeepers

Looking for an A&R, Manager or Record Label to skyrocket your music career?

Don’t wait to be discovered, take full control of your music career. Get access to the contact details of the gatekeepers of the music industry. We're talking email addresses, contact numbers, social media...

Packed with contact details for over 3,000 of the top Music Managers, A&Rs, Booking Agents & Record Label Executives.

Get exclusive access today, take control of your music journey and skyrocket your music career.

Unlock Instant Access