LearnGospelMusic.com Community
Gospel Instruments => General Music Hangout => Topic started by: T-Block on May 10, 2007, 06:57:50 PM
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This chord chart was posted in the Piano Room by Eman345. I decided to repost it in here and add the formulas for each chord. Yall should know how I am by now, all examples will be in the key of C:
Major = 1-3-5 (C Major or C = C-E-G)
Minor = 1-b3-5 (C Minor or Cm = C-Eb-G)
Dominant 7th = 1-3-5-b7 (C7 = C-E-G-Bb)
Minor 7th = 1-b3-5-b7 (Cm7 = C-Eb-G-Bb)
Major 7th = 1-3-5-7 (Cmaj7 or CM7 = C-E-G-B)
Dominant 7th (b5) = 1-3-b5-b7 (C7b5 = C-E-Gb-Bb)
Dominant 7th (#5) = 1-3-#5-b7 (C7#5 = C-E-G#-Bb)
Minor 7th (b5) / half-diminished 7th = 1-b3-b5-b7 (Cm7(b5) = C-Eb-Gb-Bb)
Dominant 7th (b9) = 1-3-5-b7-b9 (C7b9 = C-E-G-Bb-Db)
6th = 1-3-5-6 (C6 = C-E-G-A)
Minor 6th = 1-b3-5-6 (Cm6 = C-Eb-G-A)
6/9 = 1-3-5-6-9 (C 6/9 = C-E-G-A-D)
Dominant 9th = 1-3-5-b7-9 or 1-3-b7-9 (C9 = C-E-G-Bb-D or C-E-Bb-D)
Minor 9th = 1-b3-5-b7-9 (Cm9 = C-Eb-G-Bb-D)
Major 9th = 1-3-5-7-9 (Cmaj9 = C-E-G-B-D)
Add9 = 1-3-5-9 or 1-2-3-5 (Cadd9 = C-E-G-D or C-D-E-G)
Dominant 13th = 1-3-5-b7-9-11-13 or 1-3-b7-13 (C13 = C-E-G-Bb-D-F-A or C-E-Bb-A)
Sus2 = 1-2-5 (Csus2 = C-D-G)
Sus4 = 1-4-5 (Csus4 = C-F-G)
Diminished = 1-b3-b5 (Cdim = C-Eb-Gb)
Diminished 7th / Fully Diminished = 1-b3-b5-bb7 (Cdim7 = C-Eb-Gb-Bbb)
Augmented = 1-3-#5 (Caug = C-E-G#)
Here is the link to the original chord chart in the Piano Room: http://www.learngospelmusic.com/forums/index.php/topic,42683.0.html
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Thanks “T-Block” much appreciated... :)
PianoWiz...
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Thanks SO much T-Block, i find reading it as a formula much better. Thanks
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Thanks for breakin' it down, T-Block! This is helpful.
Ladymusic88
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Here is an updated chord list that includes just about every chord there is to play:
Chord Chart
*( ) = optional notes & examples using C root
Major = 1-3-5 (Cmaj, C, or CM = C-E-G)
5 (power chord = 1-5 (C5 = C-G)
Minor = 1-b3-5 (Cm = C-Eb-G)
Diminished / Minor (b5) = 1-b3-b5 (Cdim or Cm b5 = C-Eb-Gb)
Augmented / Major (#5) = 1-3-#5 (Caug or C #5 = C-E-G#)
Sus2 = 1-2-5 (Csus2 or C2 = C-D-G)
Sus4 = 1-4-5 (Csus4 = C-F-G)
6 = 1-3-5-6 (C6, Cmaj6, or CM6 = C-E-G-A)
Minor 6th = 1-b3-5-6 (Cm6 = C-Eb-G-A)
Dominant 6/9 = 1-3-5-6-9 (C 6/9 or C6add9 = C-E-G-A-D)
Minor 6/9 = 1-b3-(5)-6-9 (Cm 6/9 = C-Eb-G-A-D)
Major 7th = 1-3-5-7 (Cmaj7 or CM7 = C-E-G-B)
Major 7th (#5) = 1-3-#5-7 (CM7 #5 = C-E-G#-B)
Minor 7th = 1-b3-5-b7 (Cm7 = C-Eb-G-Bb)
Minor 7th (b5) / half-diminished 7th = 1-b3-b5-b7 (Cm7 (b5) = C-Eb-Gb-Bb)
Minor/Major 7th = 1-b3-5-7 (CmM7 = C-Eb-G-B)
Dominant 7th sus4 = 1-4-5-b7 (C7sus4 = C-F-G-Bb)
Dominant 7th = 1-3-(5)-b7 (C7 or Cdom = C-E-G-Bb)
Dominant 7th (b5) = 1-3-b5-b7 (C7 b5 = C-E-Gb-Bb)
Dominant 7th (#5) = 1-3-#5-b7 (C7 #5 = C-E-G#-Bb)
Dominant 7th (b9) = 1-3-(5)-b7-b9 (C7 b9 = C-E-G-Bb-Db)
Dominant 7th (#9) = 1-3-(5)-b7-#9 (C7 b9 = C-E-G-Bb-D#)
Dominant 7th (b5/b9) = 1-(3)-b5-b7-b9 (C7 b5/b9 = C-E-Gb-Bb-Db)
Dominant 7th (#5/b9) = 1-(3)-#5-b7-b9 (C7 #5/b9 = C-E-G#-Bb-Db)
Dominant 7th (b9/#11) = 1-(3)-(5)-b7-b9-#11 (C7 b9/#11 = C-E-G-Bb-Db-F)
Dominant 7th (#11) = 1-(3)-(5)-b7-9-#11 (C7 #11 = C-E-G-Bb-D-F#)
Dominant 7/6 = 1-3-(5)-6-b7 (C7add6 = C-E-G-A-Bb)
Dominant 7/13 = 1-3-(5)-b7-13 (C 7/13 = C-E-G-Bb-A)
Diminished 7th / Fully Diminished = 1-b3-b5-bb7 (Cdim7 = C-Eb-Gb-Bbb)
Add9 = 1-3-5-9 or 1-2-3-5 (Cadd9 = C-E-G-D or C-D-E-G)
Minor Add9 = 1-b3-(5)-9 (Cm9 = C-Eb-G-D)
Major 9th = 1-3-(5)-7-9 (Cmaj9 or CM7add9 = C-E-G-B-D)
Minor 9th = 1-b3-5-b7-9 (Cm9 = C-Eb-G-Bb-D)
Minor/Major 9th = 1-b3-(5)-7-9 (CmM9 = C-Eb-G-B-D)
Dominant 9th = 1-3-(5)-b7-9 (C9 = C-E-G-Bb-D)
Dominant 9th (b5)= 1-(3)-b5-b7-9 (C9 b5 = C-E-Gb-Bb-D)
Dominant 9th (#5) = 1-(3)-#5-b7-9 (C9 #5 = C-E-G#-Bb-D)
Dominant 9/6 = 1-(3)-(5)-6-b7-9 (C 9/6 or C9add6 = C-E-G-A-Bb-D)
Dominant 9th (#11) = 1-3-(5)-b7-9-#11 (C9 #11 = C-E-G-Bb-D-F#)
Major 11th = 1-(3)-5-7-(9)-11 (Cmaj11, CM11, or CM7add11 = C-E-G-B-D-F)
Minor 11th = 1-b3-(5)-b7-(9)-11 (Cm11 = C-Eb-G-Bb-D-F)
Dominant 11th = 1-(3)-5-b7-(9)-11 (C11 or C7add11 = C-E-G-Bb-D-F)
Dominant 11th (b9) = 1-(3)-(5)-b7-b9-11 (C11 or C7add11 = C-E-G-Bb-Db-F)
Major 13th = 1-3-(5)-7-(9)-(11)-13 (CM13 or CM7add13 = C-E-G-B-D-F-A)
Minor 13th = 1-b3-(5)-b7-(9)-(11)-13 (Cm13 = C-Eb-G-Bb-D-F-A)
Dominant 13th = 1-3-(5)-b7-(9)-(11)-13 (C13 or CM7add13 = C-E-G-Bb-D-F-A)
Dominant 13th (b9) = 1-(3)-(5)-b7-b9-(11)-13 (C13 b9 = C-E-G-Bb-Db-F-A)
Dominant 13th (b5/b9) = (1)-(3)-b5-b7-b9-(11)-13 (C13 b5/b9 = C-E-Gb-Bb-Db-F-A)
Dominant 13th (b9/#11) = (1)-(3)-(5)-b7-b9-#11-13 (C13 b9/#11 = C-E-G-Bb-Db-F#-A)
Dominant 13th (#11) = 1-(3)-(5)-b7-(9)-#11-13 (C13 #11 = C-E-G-Bb-D-F#-A)
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Once again. THanks TB. You're a real blessing bro. ;)
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Thanks again 4 the useful chart T-Block...
I really appreci8 your work.
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WOW :o :o :o You have got lotsa time!!!!! Fantastic stuff.
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WOW :o :o :o You have got lotsa time!!!!! Fantastic stuff.
Man, u just don't know. I have to make time to do this stuff. Sometimes I work on posts a little at a time on my computer before posting. I got like 5 different post topics in the works right now, LOL. Thank God summer is just around da corner.
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Man, u just don't know. I have to make time to do this stuff. Sometimes I work on posts a little at a time on my computer before posting. I got like 5 different post topics in the works right now, LOL. Thank God summer is just around da corner.
No wonder you don't post that often. One of the lead worship singers in our choir is a music major. She is too intense and i will she would chill, but i kinda understand how hard it must be.
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No wonder you don't post that often. One of the lead worship singers in our choir is a music major. She is too intense and i will she would chill, but i kinda understand how hard it must be.
Fenbox, I have an idea..since these music folks are doing so much to help us lay people understand music, why don't U employ your expertise to help them minimize their tax expense etc..
U know how the likes of Chevonee buy those MO8s & how Metronome & ddw4e seem to be buying the latest released keyboard--I'm actually wondering what they plan to add to their collection now..
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Fenbox, I have an idea..since these music folks are doing so much to help us lay people understand music, why don't U employ your expertise to help them minimize their tax expense etc..
U know how the likes of Chevonee buy those MO8s & how Metronome & ddw4e seem to be buying the latest released keyboard--I'm actually wondering what they plan to add to their collection now..
How would i help minimize their tax expense? I got hit real bad this past year with taxes and i ain't feelin' too happy with the gouging i got from Uncle Sam.
I think i need a new board. I think my skill level has gotten to the point where i deserve a new board. My current board is a cheap $220 Yamaha PSR 60. I am going to look at a more expensive board.
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How would i help minimize their tax expense? I got hit real bad this past year with taxes and i ain't feelin' too happy with the gouging i got from Uncle Sam.
Just educate them on the theoretical tax laws & the practical aspects of it there..
If I was there I would start a thread on it because I've learnt that the guys there spend so much on music equipment but never get the maximum deductions from uncle Sam.. >:( But you better make sure you know the rules well otherwise te punitive measures are very severe-at least they are here down south.
I think i need a new board. I think my skill level has gotten to the point where i deserve a new board. My current board is a cheap $220 Yamaha PSR 60. I am going to look at a more expensive board.
Yeah, perhaps U do need a new board..
But be careful, don't buy with just your pocket--buy with your head as well...
There were some entry-level Rolands I could have purchased at the price I got my Casio for, but I knew what I wanted from the Casio (sure it has it's many shortfalls, but now it's causing me problems coz people want to exchange boards with me for a month or so--they struggle to get the best out of their Yamahas, Korgs & Rolands)...
The key lies in knowing what you want in a board; If you will ever be able to make maximum use of the many features/ control units in it..
I can already see a swarm of other Roland diehard fans getting a same Casio for it's othersounds :P
I'm really taking my time deciding on my new board -which should have really good pianos & have weighted keys..
The horns & basses should also be ultra good coz I like what I hear on the Casio more than most boards..
So think before U buy something just coz it's popular ;)
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I'll say this only once...Casio boards SUCK!!!!!!!
I bought a Casio board once and promptly returned it the next day. I hated the piano sounds...absolutely horrible.
I just want a board with a decent grand piano voice. I frankly find all the extra voices on boards worthless cuz i don't use them. What imma do with 400+ voices.
I am seriously looking into just getting a digital piano. All i need are the piano, strings, brass, a Fender rhodes voice, a good electric piano sound like DX Modern or Funky EP and i am good.
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I'll say this only once...Casio boards SUCK!!!!!!!
I bought a Casio board once and promptly returned it the next day. I hated the piano sounds...absolutely horrible.
I just want a board with a decent grand piano voice. I frankly find all the extra voices on boards worthless cuz i don't use them. What imma do with 400+ voices.
I am seriously looking into just getting a digital piano. All i need are the piano, strings, brass, a Fender rhodes voice, a good electric piano sound like DX Modern or Funky EP and i am good.
Go for a Fantom or Motif & you won't miss out on anything man, serious..
That's what I'm looking for in a board as well..especially the fender rhodes voice, some cool electric pianos& an awesome grand...
But I certainly wont go for the Fantom X because there was nothing much in it for me based on what I expected & the price tag :-\
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I don't recommend the Fantom X for the piano sounds. I play one in church and i stay away from the piano. It has some good EP and great strings sounds though. The Motif has much better piano sounds overall IMO.
My price range is very narrow right now. I ain't lookin' to spend more than $500 as i am now. I can't be buying a $2000+ board at this stage.
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I'll say this only once...Casio boards SUCK!!!!!!!
I bought a Casio board once and promptly returned it the next day. I hated the piano sounds...absolutely horrible.
I just want a board with a decent grand piano voice. I frankly find all the extra voices on boards worthless cuz i don't use them. What imma do with 400+ voices.
I am seriously looking into just getting a digital piano. All i need are the piano, strings, brass, a Fender rhodes voice, a good electric piano sound like DX Modern or Funky EP and i am good.
Go for a Fantom or Motif & you won't miss out on anything man, serious..
That's what I'm looking for in a board as well..especially the fender rhodes voice, some cool electric pianos& an awesome grand...
But I certainly wont go for the Fantom X because there was nothing much in it for me based on what I expected & the price tag :-\
Whatcha gonna do with 400+ voices?
Well, if you start doing variety of stuff & playing various songs, you realize just how handy those other sounds are..
There's a whole lot U can..
4 instance, I prefer goblins voices for worship/ prayer music instead of the over-used strings..
Trust me, those voices are magical..
& a whole lot more..soon you realize how little 400 is--so to me, quantity counts as well.
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Go for a Fantom or Motif & you won't miss out on anything man, serious..
That's what I'm looking for in a board as well..especially the fender rhodes voice, some cool electric pianos& an awesome grand...
But I certainly wont go for the Fantom X because there was nothing much in it for me based on what I expected & the price tag :-\
Whatcha gonna do with 400+ voices?
Well, if you start doing variety of stuff & playing various songs, you realize just how handy those other sounds are..
There's a whole lot U can..
4 instance, I prefer goblins voices for worship/ prayer music instead of the over-used strings..
Trust me, those voices are magical..
& a whole lot more..soon you realize how little 400 is--so to me, quantity counts as well.
You...you use Goblins voice IN CHURCH????????
Goblins are demonic creatures and there is nothing worshipful about them. I hate the voice...feels like ants crawling over my skin.
Although i HAVE been trying to not use strings. They are kind of generic. What i have been doing is using very soft synth sounds. I can't recall the name on my Yamaha but its a really soft sound. Strings,
The thing about strings is that they are not proerly used. We have a secondary keys player and i am trying to tell this dude to play softer, do not play the melody along with the singer and remember that it is strings so your transition between chords should be smooth not a sudden transition.
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Oh snap! I will have to add this to my piano notebook!
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Fenix
If you're still looking for a digital piano you might want to check out the NEW Yamaha P85 Digital Piano at
http://www.yamaha.com/namm/w2008/PressReleaseDetail.html?CTID=5041913&CNTID=565899
It lists for $599.99
Maybe a retailer will take your PSR in trade, hopefully.
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Here is an updated chord list that includes just about every chord there is to play:
Chord Chart
*( ) = optional notes & examples using C root
Major = 1-3-5 (Cmaj, C, or CM = C-E-G)
5 (power chord = 1-5 (C5 = C-G)
Minor = 1-b3-5 (Cm = C-Eb-G)
Diminished / Minor (b5) = 1-b3-b5 (Cdim or Cm b5 = C-Eb-Gb)
Augmented / Major (#5) = 1-3-#5 (Caug or C #5 = C-E-G#)
Sus2 = 1-2-5 (Csus2 or C2 = C-D-G)
Sus4 = 1-4-5 (Csus4 = C-F-G)
6 = 1-3-5-6 (C6, Cmaj6, or CM6 = C-E-G-A)
Minor 6th = 1-b3-5-6 (Cm6 = C-Eb-G-A)
Dominant 6/9 = 1-3-5-6-9 (C 6/9 or C6add9 = C-E-G-A-D)
Minor 6/9 = 1-b3-(5)-6-9 (Cm 6/9 = C-Eb-G-A-D)
Major 7th = 1-3-5-7 (Cmaj7 or CM7 = C-E-G-B)
Major 7th (#5) = 1-3-#5-7 (CM7 #5 = C-E-G#-B)
Minor 7th = 1-b3-5-b7 (Cm7 = C-Eb-G-Bb)
Minor 7th (b5) / half-diminished 7th = 1-b3-b5-b7 (Cm7 (b5) = C-Eb-Gb-Bb)
Minor/Major 7th = 1-b3-5-7 (CmM7 = C-Eb-G-B)
Dominant 7th sus4 = 1-4-5-b7 (C7sus4 = C-F-G-Bb)
Dominant 7th = 1-3-(5)-b7 (C7 or Cdom = C-E-G-Bb)
Dominant 7th (b5) = 1-3-b5-b7 (C7 b5 = C-E-Gb-Bb)
Dominant 7th (#5) = 1-3-#5-b7 (C7 #5 = C-E-G#-Bb)
Dominant 7th (b9) = 1-3-(5)-b7-b9 (C7 b9 = C-E-G-Bb-Db)
Dominant 7th (#9) = 1-3-(5)-b7-#9 (C7 b9 = C-E-G-Bb-D#)
Dominant 7th (b5/b9) = 1-(3)-b5-b7-b9 (C7 b5/b9 = C-E-Gb-Bb-Db)
Dominant 7th (#5/b9) = 1-(3)-#5-b7-b9 (C7 #5/b9 = C-E-G#-Bb-Db)
Dominant 7th (b9/#11) = 1-(3)-(5)-b7-b9-#11 (C7 b9/#11 = C-E-G-Bb-Db-F)
Dominant 7th (#11) = 1-(3)-(5)-b7-9-#11 (C7 #11 = C-E-G-Bb-D-F#)
Dominant 7/6 = 1-3-(5)-6-b7 (C7add6 = C-E-G-A-Bb)
Dominant 7/13 = 1-3-(5)-b7-13 (C 7/13 = C-E-G-Bb-A)
Diminished 7th / Fully Diminished = 1-b3-b5-bb7 (Cdim7 = C-Eb-Gb-Bbb)
Add9 = 1-3-5-9 or 1-2-3-5 (Cadd9 = C-E-G-D or C-D-E-G)
Minor Add9 = 1-b3-(5)-9 (Cm9 = C-Eb-G-D)
Major 9th = 1-3-(5)-7-9 (Cmaj9 or CM7add9 = C-E-G-B-D)
Minor 9th = 1-b3-5-b7-9 (Cm9 = C-Eb-G-Bb-D)
Minor/Major 9th = 1-b3-(5)-7-9 (CmM9 = C-Eb-G-B-D)
Dominant 9th = 1-3-(5)-b7-9 (C9 = C-E-G-Bb-D)
Dominant 9th (b5)= 1-(3)-b5-b7-9 (C9 b5 = C-E-Gb-Bb-D)
Dominant 9th (#5) = 1-(3)-#5-b7-9 (C9 #5 = C-E-G#-Bb-D)
Dominant 9/6 = 1-(3)-(5)-6-b7-9 (C 9/6 or C9add6 = C-E-G-A-Bb-D)
Dominant 9th (#11) = 1-3-(5)-b7-9-#11 (C9 #11 = C-E-G-Bb-D-F#)
Major 11th = 1-(3)-5-7-(9)-11 (Cmaj11, CM11, or CM7add11 = C-E-G-B-D-F)
Minor 11th = 1-b3-(5)-b7-(9)-11 (Cm11 = C-Eb-G-Bb-D-F)
Dominant 11th = 1-(3)-5-b7-(9)-11 (C11 or C7add11 = C-E-G-Bb-D-F)
Dominant 11th (b9) = 1-(3)-(5)-b7-b9-11 (C11 or C7add11 = C-E-G-Bb-Db-F)
Major 13th = 1-3-(5)-7-(9)-(11)-13 (CM13 or CM7add13 = C-E-G-B-D-F-A)
Minor 13th = 1-b3-(5)-b7-(9)-(11)-13 (Cm13 = C-Eb-G-Bb-D-F-A)
Dominant 13th = 1-3-(5)-b7-(9)-(11)-13 (C13 or CM7add13 = C-E-G-Bb-D-F-A)
Dominant 13th (b9) = 1-(3)-(5)-b7-b9-(11)-13 (C13 b9 = C-E-G-Bb-Db-F-A)
Dominant 13th (b5/b9) = (1)-(3)-b5-b7-b9-(11)-13 (C13 b5/b9 = C-E-Gb-Bb-Db-F-A)
Dominant 13th (b9/#11) = (1)-(3)-(5)-b7-b9-#11-13 (C13 b9/#11 = C-E-G-Bb-Db-F#-A)
Dominant 13th (#11) = 1-(3)-(5)-b7-(9)-#11-13 (C13 #11 = C-E-G-Bb-D-F#-A)
Well I've got another sin to confess; 'was kinda lazy to enter into this practice room but ever since I've started a couple of days ago, I'm having a chording breakthrough. What I plan to do (which I've already started) is take one or two new chords and find a place for them in playing till comfortable then another one, two or something, its another great moment.
As I continued with practice, some thoughts and questions came:
I know that basically for example: the following chords can be used like
I Major
ii minor
iii minor
IV Major
V Major
vi minor
vii diminished
1. Does this mean any chord that has major, minor, or diminished in its name can basically be used in those areas e.g. m9, m11, M13, b5b9, e.t.c
2. Is there any theory page some where that teaches all basic chord functions like above and beyond for chords such as:
sus2 chord
sus4 chord
6th chord
6/9 chord
quartal chord ;D
#5#9 e.t.c
I'm having trouble with googling most of the above.
All contributions will be a blessing.
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1. Does this mean any chord that has major, minor, or diminished in its name can basically be used in those areas e.g. m9, m11, M13, b5b9, e.t.c
Yes. Diminished chords will have a b5 in the chord symbol. Just remember to use your ears to make sure it sounds good. Just because it can be used doesn't necessarily mean it should be. Just pick something that works and keep it moving.
2. Is there any theory page some where that teaches all basic chord functions like above and beyond for chords such as:
sus2 chord
sus4 chord
6th chord
6/9 chord
quartal chord ;D
#5#9 e.t.c
I'm sure there are various theory posts and song posts that have these chords in them. Here's a quick and dirty explanation for those chords above:
The sus2 and sus4 chords are merely major chords with the 3rd switched to those scale degrees mentioned. So, anywhere a major chord is used, try to substitute with one of those.
The 6th chord is basically a major chord with an added 6th. Same application as the above chords.
The 6/9 chord is just a major chord with an added 6th and 9th. Same application as the above chords.
Quartal chords are just chords where every note is a 4th apart. U can also substitute those for major chords.
The #5/#9 chord is an augmented type chord. You can substitute this with any dominant chord.
Your ear will (should) be the final judge on what chord to use when. It's up to you to practice and experiment to find out what works and what doesn't work. Anyone else with some inputs, go right ahead and add (or correct) what i've posted.
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That was loud & clear T, thank you so much. I will be continuing with practice, so I'll come at any time for more questions.
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That was loud & clear T, thank you so much. I will be continuing with practice, so I'll come at any time for more questions.
Can someone share with me how do you experiment with chords such that you would integrate them to elements such as:
a) Zip chord (7-3-6-2-5-1-4)
b) secondary dominants (more info here please) not yet fully grasped the concept though much interested
c) chromatic progression
Yes I've heard much of "use what sounds good to you" and now my question now is: What sounds good to anybody based on the examples above and may be beyond.
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Can someone share with me how do you experiment with chords such that you would integrate them to elements such as:
a) Zip chord (7-3-6-2-5-1-4)
b) secondary dominants (more info here please) not yet fully grasped the concept though much interested
c) chromatic progression
Yes I've heard much of "use what sounds good to you" and now my question now is: What sounds good to anybody based on the examples above and may be beyond.
Due to time constraints I'll attempt to answer whatever I can now and I know someone will complete whatever I am not able to answer.
a) on the circle: there are many posts here which cover the various things you can do with various chords. Please look up posts by DaNatiMaestro to see practical examples.
Here is one of the many examples I am talking about and I have directly benefited from:
http://www.learngospelmusic.com/forums/index.php/topic,78650.0.html (http://www.learngospelmusic.com/forums/index.php/topic,78650.0.html)
I am reluctant to start new threads on the circle because there are so many and I would not want them to be forgotten just because they are old.
I have my own way of experimenting with various chords in the circle [ if you search for some of my really old posts on progressions, you will see that I used to assign numbers and name the chords in the progressions- that was my way of analysing how and where each chord can be used ;)
An example of one of my all time favourites is the minor 9th chord, as below [just an extract]:
Circle of 4ths I like he grand piano voice on this. It sounds great with many voices though
Key of Cb
7- Bb/ Ab-C-Db-F [Bbm9]
3- Eb/ G-C-Db-F [just drop the thumb from the Ab to the G]
6- Ab/ Gb-Bb-Cb-Eb [Abm9]
2- Db/ F-Bb-Cb-Eb
5- Gb/Fb-Ab-Bb-Db [notice how this becomes a DOM9 -GbDom9]
1- Cb/Gb-Bb-Db-Eb [Cbmaj9] or Cb/ Ab-Db-Gb
from here you have many options:
You can swipe your RH across all the black notes and hit the Gb note to end; or/ and
You can play the 4th.
Again, there are tons of things you can do with the 4th [I'll list those I can think from the top of my head]:
1) Play a quartal that will lead you to a specific song or to continue the circle.
so in this specific key, the quartal would be:
4- Fb/ Ab-Db-Gb or Fb/ Bb-Eb-Ab or Fb/Db-Gb-Cb
2) if you want to continue with the 4th, you can explore with other chords, eg
Fb/ C-Fb-Ab [or Caug with 3 bass], if the C note sounds off to you, you can lower it to the Cb to make it an E triad
from there you can continue with the circle and play something like
A/B-C#-E-A# and so on...
I have not mentioned trying out a variation of inversions of the same chords here- so it's literally impossible to say you have mastered this progression until you can pull off a couple of the tricks I've just brushed on.
About chromatic progressions:
Again, I can only give one example. I know chromatic progressions are on top of my favorites list as well.
Nowadays, you will come many gospel songs that use a chromatic progression- i assign you the task to go and find some of those songs.
For example, you will find the song uses a descending bass from the 1 to the 5. a 1 to the 2 ascending is also nice. a 4 to the 5 is common. a 6 to the 5 sounds great.
You will pick up the examples I've given by listening to the bass [99% of the time].
Why do I say 99% of the time?
because if you look at the 7-3-6-2... example I just gave above, you will notice that the RH thumb moved chromatically from Ab to Fb 8)
I would like you to play that progression again now and listen for the descending chromatic progression produced by the thumb alone- do you hear now that the 7-3-6... is given it's rich qualities [as opposed to the mere bass note :o], one of those qualities in this particular example is the chromatic descending.
Just like the circle of 4th, I would encourage you to search for "chromatic" because I know I have posted several examples of chromatic progressions.
I just sat down to come up with this one.
Something to note about chromatic progressions:
The effectiveness will be determined by the voice you use, for example, I used strings to come up with the progression I'm about to share below. I don't know how it will sound with other voices- it's up to you to explore:
[Brackets mean the note is optional]
Gb/ Db-Gb-Bb
F/ Db-F-(Ab)-Bb
E-Ab/ Db-E-Gb-Bb
Eb/Cb-Eb-Gb-Bb
D/ Eb-Gb-Ab-Db
Db-Ab-Cb/ Eb-Gb-Ab-Db
C-Ab-Bb/ Eb-Gb-Bb
Cb/ Bb-Eb-Ab
Bb/ Ab-Db-Gb
A/ G-Db-Eb-Gb
Ab/ Db-F-Gb-Cb
G-Db-F/ Ab-C-F
Gb-(Ab)/ Db-F-Bb
(repeat)
That sounds like something I would like to play during intercession, preaching of a "serious" message or altar call. I would play my RH from centre of the keyboard and my LH just above.
I hope his helps a bit.
-
Due to time constraints I'll attempt to answer whatever I can now and I know someone will complete whatever I am not able to answer.
a) on the circle: there are many posts here which cover the various things you can do with various chords. Please look up posts by DaNatiMaestro to see practical examples.
Here is one of the many examples I am talking about and I have directly benefited from:
[url]http://www.learngospelmusic.com/forums/index.php/topic,78650.0.html[/url] ([url]http://www.learngospelmusic.com/forums/index.php/topic,78650.0.html[/url])
I am reluctant to start new threads on the circle because there are so many and I would not want them to be forgotten just because they are old.
I have my own way of experimenting with various chords in the circle [ if you search for some of my really old posts on progressions, you will see that I used to assign numbers and name the chords in the progressions- that was my way of analysing how and where each chord can be used ;)
An example of one of my all time favourites is the minor 9th chord, as below [just an extract]:
Circle of 4ths I like he grand piano voice on this. It sounds great with many voices though
Key of Cb
7- Bb/ Ab-C-Db-F [Bbm9]
3- Eb/ G-C-Db-F [just drop the thumb from the Ab to the G]
6- Ab/ Gb-Bb-Cb-Eb [Abm9]
2- Db/ F-Bb-Cb-Eb
5- Gb/Fb-Ab-Bb-Db [notice how this becomes a DOM9 -GbDom9]
1- Cb/Gb-Bb-Db-Eb [Cbmaj9] or Cb/ Ab-Db-Gb
from here you have many options:
You can swipe your RH across all the black notes and hit the Gb note to end; or/ and
You can play the 4th.
Again, there are tons of things you can do with the 4th [I'll list those I can think from the top of my head]:
1) Play a quartal that will lead you to a specific song or to continue the circle.
so in this specific key, the quartal would be:
4- Fb/ Ab-Db-Gb or Fb/ Bb-Eb-Ab or Fb/Db-Gb-Cb
2) if you want to continue with the 4th, you can explore with other chords, eg
Fb/ C-Fb-Ab [or Caug with 3 bass], if the C note sounds off to you, you can lower it to the Cb to make it an E triad
from there you can continue with the circle and play something like
A/B-C#-E-A# and so on...
I have not mentioned trying out a variation of inversions of the same chords here- so it's literally impossible to say you have mastered this progression until you can pull off a couple of the tricks I've just brushed on.
About chromatic progressions:
Again, I can only give one example. I know chromatic progressions are on top of my favorites list as well.
Nowadays, you will come many gospel songs that use a chromatic progression- i assign you the task to go and find some of those songs.
For example, you will find the song uses a descending bass from the 1 to the 5. a 1 to the 2 ascending is also nice. a 4 to the 5 is common. a 6 to the 5 sounds great.
You will pick up the examples I've given by listening to the bass [99% of the time].
Why do I say 99% of the time?
because if you look at the 7-3-6-2... example I just gave above, you will notice that the RH thumb moved chromatically from Ab to Fb 8)
I would like you to play that progression again now and listen for the descending chromatic progression produced by the thumb alone- do you hear now that the 7-3-6... is given it's rich qualities [as opposed to the mere bass note :o], one of those qualities in this particular example is the chromatic descending.
Just like the circle of 4th, I would encourage you to search for "chromatic" because I know I have posted several examples of chromatic progressions.
I just sat down to come up with this one.
Something to note about chromatic progressions:
The effectiveness will be determined by the voice you use, for example, I used strings to come up with the progression I'm about to share below. I don't know how it will sound with other voices- it's up to you to explore:
[Brackets mean the note is optional]
Gb/ Db-Gb-Bb
F/ Db-F-(Ab)-Bb
E-Ab/ Db-E-Gb-Bb
Eb/Cb-Eb-Gb-Bb
D/ Eb-Gb-Ab-Db
Db-Ab-Cb/ Eb-Gb-Ab-Db
C-Ab-Bb/ Eb-Gb-Bb
Cb/ Bb-Eb-Ab
Bb/ Ab-Db-Gb
A/ G-Db-Eb-Gb
Ab/ Db-F-Gb-Cb
G-Db-F/ Ab-C-F
Gb-(Ab)/ Db-F-Bb
(repeat)
That sounds like something I would like to play during intercession, preaching of a "serious" message or altar call. I would play my RH from centre of the keyboard and my LH just above.
I hope his helps a bit.
Wow, thank you so much I'll be working on those this week :)
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Thank you so much for all the work you put in to help us get to that next level. I am grateful for the things you have posted.