You’ve probably heard of “3-chord songs” before. These songs tend to be catchy and popular and only feature a few select chords – usually the same ones repeating themselves over and over.

Have you seen these books in music shops: “How to play 3 chord guitar” or “1000 songs with 3 chords”? It might sound like exaggeration but there really are a huge number of songs which rely on just 3 chords. You might be surprised just how much variety is possible despite this simple musical basis.

The good news? These songs are great for beginner musicians and are also the perfect tool to train your ears and learn how to recognize certain chords. Ear training exercises are great, of course, but nothing beats the capacity of recognizing chords in actual pieces and songs you hear.

Popular 3-chord songs

Let’s start by looking at some of the most well-known 3 chord songs:

• Ring of Fire (Johnny Cash)
• Sweet Home Alabama (Lynyrd Skynyrd)
• Leaving on a Jet Plane (John Denver)
• Shook me All Night Long (AC/DC)
• All Shook Up (Elvis Presley)
• Love is a Rose (Neil Young)
• Donna (Richie Valens)
• Amazing Grace (Daniel Thomas)

You can also explore The Beatles’ early releases, though some of these push the 3-chord concept a little bit further by adding a few extra chords.

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If you haven’t read Part One of this article, here’s a quick summation: in ear training, as in most musical pursuits, some of the most productive moments don’t come from dedicated practice time or specific exercises. In fact, they come from those fleeting moments of inspiration that strike you powerfully when hearing a surprisingly great song, seeing a favorite band live, and myriad other unexpected and seemingly random musical occurrences.

It follows, then, that a great deal can be accomplished by creating personal methods for capitalizing on these moments, rather than letting them pass by (and eventually fade).

I also mentioned that the operative word in this approach is “personal” – hence why this advice should be taken as informal suggestions for developing methods that work with your creative process.

The tricks we’ll look at today, along with those from Part One, are ways I’ve found helpful in reframing ear training as a constant daily process. In order to make any of them fit snugly with the rest of your daily responsibilities and pursuits, it will probably have to be tweaked!

So let’s continue, with some ideas that might inspire you to approach ear training, composition, and learning music theory in less orthodox and more personal ways…

Suggestion #3: Theory’s Not Math – It’s Grammar!

Musicians have an unfortunate tendency to compare theory with mathematical rules and equations. It’s easy to see why: in a theory class it’s likely that you’ll be graded on your ability to follow the rules (e.g. of proper part-writing), stick to guidelines (e.g. for clear notation), and obey other (arguably arcane) specificities.

The trouble is that unlike, say, the quadratic formula, we can look around after class… and find a nearly unlimited body of music that intentionally breaks any of these rules!

It’s more accurate, therefore, to compare the rules of theory (which, of course, define what we are attempting to train our ears for) to a proper dialect – like “Standard Written English”.

In English, there are all sorts of arguments for and against obeying rules (like avoiding split infinitives, and so on). Somehow I can’t help but think of corresponding musical issues (like the dreaded ‘parallel fifths’) when I remember my old English classes.

Treat musical styles as dialects

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Songwriting and ear training are two concepts that are strongly linked together, which is often overlooked. The goal of songwriting is to create music for an audience to hear. The goal of ear training is to develop a sense of hearing better able to listen to musical ideas.

A musician with better ear training is going to be better at listening to songs written by others for ideas. In addition, it helps to be able to objectively listen for those same ideas in your own songs. There are few areas of ear training in particular where songwriters should focus.

Dynamics

The pitch and rhythm of notes are an important aspect to writing a song, but dynamics also play a substantial role in songwriting. Dynamics is the area of music where a songwriter plays with how loud a song is. This is not necessarily the same idea as altering the volume of different instruments in a mix, but it can sometimes be related.

The ‘palm mute’ used by guitarists is an example of a guitarist using dynamics to alter a part. Both examples below are A power chords played with a straight eighth note pattern. The second example uses a power chord to introduce a dynamic change. There is no chord or rhythm change – but the dynamic change from the palm mute changes the line by accentuating the first downbeat and second upbeat of the passage.

Example 1 - Power chords without dynamics

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