If You Play The Same 4 Chords, Watch This

Main ideas / lesson

• The video teaches a way to stop getting stuck playing the same four chords by using intentional chord exploration.
• The approach is to set constraints (“limits”) that force you to discover new chords rather than defaulting to familiar ones.
• Three exploratory methods are presented, each designed to help you generate new harmonic options from either:
  • random notes you choose, or
  • notes from chords you already know.

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Method 1: Find a chord between two randomly chosen notes (highest/lowest limit)

1. Pick one note for the melody (treated as the “highest” note).
   • Example: choose G as a random highest note.
2. Pick one note for the bass (treated as the “lowest” note).
   • Example: choose D♭ as a random bass note.
3. Impose a restriction: find a chord that “fits” within those two boundaries.
   • “Find a chord within these two notes.”
4. Build/search by trying chord tones between the limits.
   • The example adds A♭ (noted as forming a perfect fifth with the other chosen note).
   • Then it adds right-hand tones like F and C.

Resulting example chord:

• Described as D♭ major 7 with augmented 11 (based on the described tones).

Key takeaway:

• You won’t get the chord instantly—it involves trial and error.
• The constraint (highest note + lowest note) guarantees you’re exploring new territory.

More example (still Method 1):

• Choose E♭ for the melody and C for the bass.
• Choose chord tones using intervals between those notes.
• The speaker mentions getting a “tritone sound” as another cool chord outcome.
• Core idea remains: lowest note + highest note → search for a chord that works between them.

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Method 2: Take a chord you already know and change one note

1. Start with a chord you already know.
   • Example: E♭ major 7 with augmented 11.
2. Change only one chord tone within it.
   • Example action: move one note (described as moving “la” to “do”), specifically A → B.

Resulting example chord:

• The original turns into E♭ major 13.

Key takeaway:

• This is a simple but effective way to get new harmony while staying grounded in familiar shapes.
• Repeatedly try: change one note → listen → feel what changes.

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Method 3: Rearrange chord notes (optionally remove/add) to land on a new chord

1. Start with another chord you like.
   • Example: C minor 11.
2. Use the chord’s existing notes as the raw material.
3. Rearrange notes to find a new chord identity.
4. Optionally remove notes and/or add a note to adjust tension/dissonance.
   • Example steps mentioned:
     • Try octave shifts (move F down an octave).
     • Move E♭ up an octave.
     • Consider adding A♭ for intensity.
     • If it becomes too dissonant, remove a tone for “breathing room.”

Resulting example outcome:

• The speaker reports arriving at a “completely different sound,” described as beautiful.

Key takeaway:

• Even when starting from the “same” notes, reordering and minor edits can create a totally new chord.

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Overall conclusion / lesson reinforced

• If you keep playing the same four chords:
  • Be an intentional explorer
  • Set limits
  • Use one of the three strategies:
    • Random highest + random lowest → find chords between
    • Change one note in a familiar chord
    • Rearrange (and optionally remove/add) notes from a familiar chord
• The speaker claims many great chords were found using these techniques.

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Speakers / sources featured

• The video speaker/instructor (only an unnamed individual is present in the subtitles).