Using Right-Hand Triads with Single Notes in the Left Hand

Next, we’ll look at an arrangement of the classic Sarah McLachlan gospel ballad “Angel.” This is in 3/4 time and uses triads with the melody in the right hand, over a static left-hand part playing mainly the roots of the chords, with some “walkdowns” (descending scale passages) added.

This example also has some new chord symbols, so I need to tell you about these!

Let’s look at some of the new chords used in this song.

• The ( add9 ) suffix after a major or minor triad, means “add the 9th” to the triad. A 9th interval is an octave plus a 2nd, so you can think of the 9th as a 2nd above the root. For example, on the F(add9) chord in measure 49, the 9th (G) has been added. We also have an F(add9)/C chord in measures 3 and 7; this is an F(add9) chord inverted over C in the bass.
• We’ve already seen several examples of triads in first and second inversion, and now we have some four-part chords that are inverted, i.e., the Fmaj7/A chords in measures 14 and 30.
• The C/F chords in measures 44 and 60 are just C chords with F in the bass. If you look at the bass line in these measures, you’ll see how it’s moving down smoothly by half steps. Putting the root of the C chord would interrupt this flowing line.

The right-hand part mostly forms triads below the melody at the points of chord change, adding some 3rd intervals and “counter lines” in the spaces between the melody. Use this interesting arrangement as a springboard for your own melody treatment ideas!