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Author Topic: C-A7-D7-G7??  (Read 2335 times)

Offline Blessingss

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C-A7-D7-G7??
« on: May 31, 2011, 01:46:35 AM »
It's just one of the examples;

So how is one suppose to know which inversions were used :(
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Offline betnich

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Re: C-A7-D7-G7??
« Reply #1 on: May 31, 2011, 11:40:34 AM »
Assuming this is a progression (I - VI - II - V7)

Your ears can tell you which note is on the bottom, which on top, maybe even the notes in between. If your musical ear is not developed, experiment by trial/error, or if it's a video, watch the musician's fingers. YouTube has lots of Gospel tutorials...

Offline funkStrat_97

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Re: C-A7-D7-G7??
« Reply #2 on: May 31, 2011, 11:54:15 AM »
Unless a specific voicing is noted, I would just stick with the root position chords.  Otherwise, let your ears guide you.
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Offline T-Block

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Re: C-A7-D7-G7??
« Reply #3 on: May 31, 2011, 11:02:59 PM »
It's just one of the examples;

So how is one suppose to know which inversions were used :(

By listening for the top note of each chord. Once know the top note, chord underneath it. For example:

top notes: E, E, F#, D

C / G-C-E
A / G-C#-E   or   A / G-A-C#-E
D / A-C-F#   or   D / A-C-D-F#
G / F-B-D   or   G / F-G-B-D
Real musicians play in every key!!!
Music Theory, da numbers work!

Offline Blessingss

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Re: C-A7-D7-G7??
« Reply #4 on: June 01, 2011, 04:28:16 AM »
Thank you so much guys you are a great blessing in my musical journey.
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Offline Blessingss

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Re: C-A7-D7-G7??
« Reply #5 on: June 06, 2011, 02:53:45 AM »
How would you play the following progressions:

C | B7 | Em | E7 | Am | D7 | G7

C | F#m7b5-B7 | Em | Bm7b5-E7 | Am | D7 | G7.

C | F#m7b5|Bm7b5|E7 | Am | D7 | G7

I mean the spelling for each chord.
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Offline floaded27

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Re: C-A7-D7-G7??
« Reply #6 on: June 06, 2011, 10:08:22 AM »
I think it all depends. Sometimes on the song, but i think more so on the style of playing. (Otherwise, wouldnt everyone play the same song the exact same way?)

For me, if handed those progressions, i'd play any inversion i felt like playing, sometimes switching up for variety. Some of your space fillers could actually be continuous inversions of the same chord (that sustain pedal is ur best friend during those times). I was taught if you have an instrument or voice (also an instrument in my opinion) carrying that top melody note, why limit yourself to that particular inversion. Its kinda the same concept of a keyboardist doing rootless voicings when playing with a bass player.


For those who do open voicings, they can toss that melody note on top, but the way the notes are played from left to right, its not an inversion at all. For example a B7, any inversion would either be:
B - Eb - F# - A (root)
Eb - F# - A - B (1st)
F# - A - B - Eb (2nd)
A - B - Eb - F# (3rd)

but if someone played something like
B - F# / A - Eb - A

thats not really a specific inversion (unless you come from the school of thought that the inversion is determined by the bass note only, which in this case this is a root position chord)

also some people suggest you play in the inversion that creates the least movement across the keyboard. if u play everything in root position, depending on the progression u'd be jumping all around the board. Some would suggest to user those inversions to prevent this.
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Offline T-Block

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Re: C-A7-D7-G7??
« Reply #7 on: June 06, 2011, 02:55:23 PM »
How would you play the following progressions:

C | B7 | Em | E7 | Am | D7 | G7

C | F#m7b5-B7 | Em | Bm7b5-E7 | Am | D7 | G7.

C | F#m7b5|Bm7b5|E7 | Am | D7 | G7

I mean the spelling for each chord.

What is the timing (4/4, 6/8), tempo (fast, slow), genre, etc. that these chords come from?

There's a lot to consider when voicing chords as floaded mentioned. The way I would chord these progressions will different from the way any other musician will voice them. That's the beauty in chord symbols, there really isn't a right or wrong way to chord, as long as u have all the necessary notes.

Take the last progression, there are about 4 ways I can think of right now as to how I would chord that. Pluse for each way, I may change an inversion, or the entire chord itself, exponentially increasing the number of ways to play it. Example:

C | F#m7b5|Bm7b5|E7 | Am | D7 | G7

C / G-C-E
F# / A-C-E
B / A-D-F
E / G#-C-D-G
A / B-C-D-G
D / F#-A-C-E
G / F-G#-B-D

Now what I can do is keep one chord the same, and change the inversion of every other chord. Then repeat for the other chords. That's about 50 different ways right there. Each change gives you a different sound and feel. The one I use depends on the song. So, just memorizing this and using it as the end all way to chord it would be a big mistake. Ya feel me?

Every progression I play I have at least 3 additional ways of playing it. It could be as simple as changing the inversion, but it's still a different way to play it. Just in case I have to play it continously, it won't be the same exact thing every time. This is where your experimenting comes in handy.
Real musicians play in every key!!!
Music Theory, da numbers work!

Offline Blessingss

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Re: C-A7-D7-G7??
« Reply #8 on: June 07, 2011, 03:19:12 AM »
Thank you so much guys, this information is very healthy to my musical life, thank you for the unusual care you give & may God bless you.

I basically like to practice stuff using the 4/4, slow:45

I will be working on those and I'll come back with questions where I need help, please don't get tired.
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Offline Blessingss

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Re: C-A7-D7-G7??
« Reply #9 on: June 10, 2011, 04:28:19 AM »
What is the timing (4/4, 6/8), tempo (fast, slow), genre, etc. that these chords come from?

There's a lot to consider when voicing chords as floaded mentioned. The way I would chord these progressions will different from the way any other musician will voice them. That's the beauty in chord symbols, there really isn't a right or wrong way to chord, as long as u have all the necessary notes.

Take the last progression, there are about 4 ways I can think of right now as to how I would chord that. Pluse for each way, I may change an inversion, or the entire chord itself, exponentially increasing the number of ways to play it. Example:

C | F#m7b5|Bm7b5|E7 | Am | D7 | G7

C / G-C-E
F# / A-C-E
B / A-D-F
E / G#-C-D-G
A / B-C-D-G
D / F#-A-C-E
G / F-G#-B-D

Now what I can do is keep one chord the same, and change the inversion of every other chord. Then repeat for the other chords. That's about 50 different ways right there. Each change gives you a different sound and feel. The one I use depends on the song. So, just memorizing this and using it as the end all way to chord it would be a big mistake. Ya feel me?

Every progression I play I have at least 3 additional ways of playing it. It could be as simple as changing the inversion, but it's still a different way to play it. Just in case I have to play it continously, it won't be the same exact thing every time. This is where your experimenting comes in handy.


While I was reading the the print out I realized that I didn't answer this this question, so here is the link to the source: http://www.acousticguitarforum.com/forums/showthread.php?t=2869 
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