e) Sometimes, it is possible to create progressions that sustain tensions throughout a melody. I call this system “camouflage”—chords built with 4th interval notes that open tremendous possibilities for substitutions. “Vive Haïti” written and sung by Lumane Casimir is a perfect example where I use it as substitutions for the ii,V, I progression played in this song. On my guitar, these are usually 5 or 6 notes barred chords, those notes played all vertically one below one another with one 3rd interval note on the 5th or B string.

This passage from the previous “Natif” page is totally relevant to this approach:

Among the endemic elements of Natif music is the omission of the 3rd degree of a chord; the addition of a sharp 9 to a major chord; the coexistence of both the fifth and its flat within a chord, the use of inversions and substitutions using different notes from the root, the 3rd or the 5th on bass. Suffice to say that Natif music answers to a novel harmonic conceptualization.

In order to see the scores clearly, click on them and you may enlarge as you please.

Full arrangement of this song where I play the same chords can be heard on this link:

I must add that the “camouflage” system was widely used in my book “Kantik Natif, Volim I” and “Pyè Aleman Lèmiso Batala”, one of my favorite songs, is a perfect illustration which you can appreciate by watching this clip below:

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