Piano Lesson- Chord Voicing


It always amazes me when I hear different piano players and how they voice their chords. Voicing is one of those skills that is not talked about a lot but in my experience makes the biggest difference in a pianist’s overall sound.
What does voicing mean exactly? Simply put, voicing is the way chords are played which gives them their timbre or richness. In other words it’s how many notes are played, the distance between each of the notes and the quantity and quality of extensions.
There are literally thousands of ways to play a single chord. There are also millions of ways to play a chord progression if you consider that each chord can be played a thousand different ways. However, it’s likely a good idea to start off with a few solid possibilities instead of a thousand.
For example, let’s take a Cmaj7 chord. The chord itself is simple enough and is made up of C E G and B. However, depending on how rich you want the chord to sound you can also add D and A to the chord as extensions because D and A come from the C major scale and do not clash with the basic chord.
These are what we call extensions. In other words, a good pianist will already consider D and A in their chord voicing when they see the chord symbol Cmaj7. It doesn’t have to be written Cmaj7 (9 13) for them to understand this.
So, how would a pianist then voice this chord? Well, for starters, that depends on the melody. Whatever the melody note is will become the highest note of the chord. For example, let’s say D is the melody note of prominence while the chord is being played. That means that for a pianist our 9th is already understood as part of the chord and is the top note.
Next, it’s generally a good idea to play the bass note in the left hand which is C. Then the next 2 most important notes are the 3rd and the 7th because these notes give the chord its flavor. Consider playing the 7th in the left hand above the bass note. That would mean playing the C with finger 5 (baby finger) and B with finger 1 (thumb).
Then, play the 3rd, 5th and melody (9th) in the right hand with the 1st, 2nd and 5th fingers respectively. What’s left? The 13th or A which, you can cover with the 3rd finger of the right hand. So, from bottom to top you would have the notes in this order; C B E G A and D. That right there is a very rich sounding chord and you’d have to go a long way to find one richer.
However, this is only one way of voicing the chord. Like I said there are literally thousands of ways. My suggestion is this; learn one way at a time until it becomes second nature. Voicing the root and 7th in the left hand and covering the 3rd and the melody in the right hand is a very good system to start with. Then with your left over fingers in the right hand cover the 5th and any other extension that’s available. This works for all chords including major, minor, dominant and diminished chords.
Once you’ve learned this way of voicing chords it becomes much easier to tackle a new formula because this one is already clear and concrete and will help you hear very clearly the difference between the chords. Until next time, keep practicing.
* Jazz Piano Lesson E-lesson #12 [2-5-1 with Rootless Chords]- jazzpianolessons


* Piano Lessons - Phat Chord Voicings Ch. 2 (Updated)- playpianotoday.com

http://www.youtube.com/watch?v=hbZqCtf5c8I

* Piano Chord Voicing Tips- expertvillage

http://www.youtube.com/watch?v=JSJ3PH5KdPI

* Gospelkeysurban.com-Learn Phat Chords Musicians Don't Share!- HearandPlay

http://www.youtube.com/watch?v=IggaFMuVbKM&featured=related


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Kirk Franklin- He Reigns (Awesome God)



Kirk Franklin : The Rebirth of Kirk Franklin Released Feb-19-2002

This Kirk Franklin release, "The Rebirth Of Kirk Franklin", returns to the style and feel of the early work that his fans love. There are many black and white photos of Franklin throughout the book as well as 12 great songs in the Piano / Vocal format.

Kirk Franklin - Awesome God


Chords by: ddw4E

Intro:
D/ A D F - 2nd inv (2 Hits)
A/ A C# E- (2 Hits rhythm is the key)
D/ A D F
D/ A D F -(2 Hits)
A/ A C# E-(2 Hits rhythm is the key)
D/ A D F
A/ A C E
Bb/ Bb D F
Ab/ F# C Eb
D/ A D F
Verse
Our God
D/ A D F - 2nd inv (2 Hits)
A/ A C# E- Is an Awesome God He Reigns (After 1st hit)
D/ A D F -From Heaven above with
D/ A D F -(2 Hits)wis-
A/ A C# E-(2 Hits rhythm is the key-dom,power and love Our God is an awe-
D/ A D F -some God
Repeats
Chorus
D/ A D F -You're Marvelous and You're
A/ G C# E-Glorious Your love has made me victo-
D/ A D F -rious You took away the
A/ G C# E -fear in us Now we praise You cause You, You deliv-
D/ A D F -ered us!!
No Chord-There ain't no stopping us- A/ G C# E (octave down)
No Chord-Devil, there ain't no blockin us- D/ A D F
Come on and clap-C/ C E G
your hands-B/ B D F Ab
with us!
Like this y'all Like that y'all-Bb/ Ab D F
A/ G C# E
repeat verse
Bridge He Reigns Part
Arppegiate the chords in both hands
(Bb-D-F)
(A-C#-E)
(D-F-A)
(C-Eb-G)
(Left Hand F-C-A, Right Hand F-A-C)
Single notes-F, E, D, C
Repeat
*For Color on this part on the third time after they are familiar with it play these chords
He Reigns
Bb/Bb-D-F#-Bb
A/B-Eb-F-A
D/C-E-G-C
C/ Bb D Eb G
F/ A D Eb G (THEN BACK TO Bb/Bb-D-F#-Bb)
Just Repeat
* * * * * * * * * *

This song is a syncopation thing. Listen to Cd. The intro is actually the drive of the whole song.
Intro-intro-Just two notes D in left hand, right hand D and F back and forth
Intro:
Dm- 2nd inv (2 Hits)
Amaj- (2 Hits rhythm is the key)
Dm
Dm-(2 Hits)
Amaj-(2 Hits rhythm is the key)
Dm
Am
Bb
Ab7
Dm
Verse
Our God
Dm- 2nd inv (2 Hits)
Amaj- Is an Awesome God He Reigns (After 1st hit)
Dm-From Heaven above with
Dm-(2 Hits)wis-
Amaj-(2 Hits rhythm is the key-dom,power and love Our God is
an awe-
Dm-some God
Repeats
Chorus
Dm-You're Marvelous and You're
A7-Glorious Your love has made me victo-
Dm-rious You took away the
A7-fear in us Now we praise You cause You, You deliv-
Dm-ered us!!
No Chord-There ain't no stopping us-A7(octave down)
No Chord-Devil, there ain't no blockin us-Dm
Come on and clap-C
your hands-Bdim
with us!
Like this y'all Like that y'all-Bb
A7
repeat verse
Bridge He Reigns Part
Arpeggiate the chords in both hands
Bb (Bb-D-F)
Amaj (A-C#-E)
Dm (D-F-A)
Cm (C-Eb-G)
Fmaj (Left Hand F-C-A,Right Hand F-A-C)
Single notes-F,E,D,C
Repeat
*For Color on this part on the third time after they are familiar with it play these chords
He Reigns
Bb/Bb-D-F#-Bb
A/B-Eb-F-A
D/C-E-G-C
Cm7Add9
Fmaj
A/C-Eb-F-A

http://www.learngospelmusic.com/forums/index.php?topic=2625.0


* Preview Chord Charts and Sheet Music


http://www.praisecharts.com/index.php?modile=shopping&action=search&what=details&ID=2009


* Buy Songbook





Look inside this title
The Rebirth of Kirk Franklin - sheet music at www.sheetmusicplus.com
The Rebirth of Kirk Franklin By Kirk Franklin. Songbook for voice, piano and guitar (chords only). 119 pages. Published by Brentwood-Benson. (HL.75706697)
See more info...


* Kirk Franklin's Profile


http://www.celebrityfuzz.com/Kirk-Franklin




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Never Would Have Made It- Marvin Sapp





Never Would Have Made It

This song is a 7-3-6-2-5-1-4 Progression
C= D=2 E=3 F=4 G=5 A=6 B=7


1-----C G C / E G C
7-----B / A D F
3-----E B E / Ab B E
6-----A / E A C

2-----D A C / E Gb C
5-----G / F A Bb D
1-----C G C / D G C
4-----F C / E A C

3-----E / D G C
A / D G B (FILLER)
6-----A / E G C
7-----B / G B D

b2----Db / G Bb Db E
2------D A D / A D F
3------E B E / G C E
4------F-C-F / A-C-F

6------A / F-A-C
7------G-B-D
1------C-G-C/ G-C-E
* * * * * * * * * * * * * *

* Never Would've Made It by Marvin Sapp- Instructional Video by ddw4e



Song: Never Would Have Made It/ Marvin Sapp
By: Ferrente
Key Of: C

LH/RH
*A little different from the CD*
*This is the way we do it*


CG/CDEG Never would have
BD/ADF Made it
ED/AbBDE (filler)
/Ab,B,D,E (single notes quickly)
GF/FABbD (filler)
C/EGBbD (filler)
/E,G,Bb,D (single notes quickly)
D/GbBCE Never would have
G/FABbD Made it
C/EGBbD Without
A/EAC You
F/GACE I would have lost it
B/GBD All
C#/GBbC#E But
D/ADF Now I
E/GCE See
E/GCE How you Were
F/GFAC There For
GD/ACF Me

/G,C,E I can say, I'm

C/GCE Stronger
B/ADF (filler)
ED/AbBE Wiser
A/GBCE Better
D/GbBCE So
GD/ABbDF Much
C/BbDEG Better

F/GACEG When I look back, over
E/BDG All you brought me
A/CEG Trough

Gb/ADGb.....( Bounce this chord) I can see, that you've the
Gb/ADGb " " " " " "
Gb/ADGb " " " " " "

GF/ACFG One that was there for me

CG/CDEG Never would have
BD/ADF Made it
ED/AbBDE (filler)
D/GbBCE Never Would have
GF/FABbD Made it
C/EGBbD Without
CE/GACE You

* Video Lesson " Never Would Have Made It" in C by Soundofjoy



* Piano Tutorial:

http://www.youtube.com/watch?v=izf2-9Mz_p4



http://zone.hearandplay.com/index.php?name=PNphpBB2&file=viewtopic&p=24571#24571





http://www.LadyDpiano.com

Imagine Me Without You- Jaci Velasquez

* Here I am playing Jaci Velasquez Imagine Me Without You



* Tutorial for Imagine Me Without You


http://www.youtube.com/watch?v=CrRHc0DuDUY


* Chords I'm playing on tutorial:

Intro: F2 F C/E Dm7(4) Dm7 F/C Gm7(4) Gm7 Asus A Dm

Verse: Am/C Bb2 F/A Gm7 Asus A
Dm Am/C Bb2 F/A Gm7 Asus A
Gm9 Csus C Fsus F Esus E

Chorus: A2 A E/G# F#m7(4) F#m7 C#m/E Bm7 A/C# Esus E D/F# E/G#
A2 A E/G# F#m7(4) F#m7 D2(#4) D Bm7(b5) F#m7
C#m/E Bm A/C# D2 A

* CaringMelody MMV- Imagine Me Without You



* Easier Chord Chart

Intro:
C C/B Am G Dm E Am

Am Em/G
As long as stars shine down from heaven
F C
And the river runs into the sea
Dm
Till the end of time forever
E
You're the only love I need
Am Em/G
In my life you?re all that matters
F C
In my eyes the only truth I see
Dm
When my hopes and dreams have shattered
E
You're the one that's there for me

Dm G
When I found you I was blessed
C
And I will never leave you
B
I need you

E E/D#
Imagine me without you
C#m B
I'd be lost and so confused
F#m
I wouldn't last a day
G#m B/C#
I'd be afraid without you there to see me through
D# E E/D#
Imagine me without you
C#m A
Lord you know it's just impossible
F#m C#m
Because of you it's all brand new
B F#m G#m
My life is now worth while
A B E
I can't imagine me without you

Am Em/G
When you caught me I was falling
F C
You have lifted me back on my feet
Dm
It was like you heard me calling
E
And you rushed to set me free

Dm G
When I found you I was blessed
C
And I will never leave you
B
I need you

E E/D#
Imagine me without you
C#m B
I'd be lost and so confused
F#m
I wouldn't last a day
G#m B/C#
I'd be afraid without you there to see me through
D# E E/D#
Imagine me without you
C#m A
Lord you know it's just impossible
F#m C#m
Because of you it's all brand new
B F#m G#m
My life is now worth while
A B E
I can't imagine me without you


http://www.911tabs.com/link/?2546658




http://www.LadyDpiano.com

Simple Plan- Welcome To My Life


SIMPLE PLAN - Welcome To My Life (PIANO)

My friend, RegiSeuga, made another MMV - Welcome To My Life - Simple Plan

* Chord Chart
Verse: C
Do you ever like breaking down?
Am
Do you ever feel out of place?
C
Like somehow you just don't belong,
G
and no one understands you.
C
Do you ever wanna run away?
Am
Do you lock yourself in your room?
C
With the radio on turned up so loud,
G
and no one hears you screaming.
Prechorus:F
No you don't know what its like
Am
When nothing feels alright
F G
You don't know what its like to be like me...
Chours: Am F C G
To be hurt, to feel lost, to be left out in the dark
Am F C G
To be kicked when you're down, to feel like you've been pushed around
Am F C G
To be on the edge of breaking down, when no one's there to save you
Dm
No you don't know what its like
F -No Strings- C
Welcome to my life
Verse: Do you wanna be somebody else?
Am
Are you sick of being so left out?
C
Are you desperate to find something more,
G
before your life is over?
C
Are you stuck inside a world you hate?
Am
Are you sick of everyone around?
C
With the big fake smiles and stupid lies,
G
While deep inside your bleeding
Prechorus:F
No you don't know what its like
Am
When nothing feels alright
F G
You don't know what its like to be like me...
Chorus: Am F C G
To be hurt, to feel lost, to be left out in the dark
Am F C G
To be kicked when your down, to feel like you've been pushed around
Am F C G
To be on the edge of breaking down, when no ones there to save you
Dm
No you don't know what its like
F -No Strings- C
Welcome to my life..
Verse:F
No one ever lies straight to your face
Am
And no one ever stabs you in the back
F
You might think I'm happy
C G
But I'm not gonna be okay
F
Everybody always gave you what you wanted
Am
You never had to work it was always there
F G
You don't know what it's like what it's like..
Strum here
Chorus: Am F C G
To be hurt, to feel lost, to be left out in the dark
Am F C G
To be kicked when you're down, to feel like you've been pushed around
Am F C G
To be on the edge of breaking down, when no ones there to save you
Dm F
No you don't know what its like, what its like
Am F C G
To be hurt, to feel lost, to be left out in the dark
Am F C G
To be kicked when you're down, to feel like you've been pushed around
Am F C G
To be on the edge of breaking down, when no ones there to save you
Dm
No you don't know what its like
F -No Strings- C Am
Welcome to my life
C G
Welcome to my life
C
Welcome to my life..
* Chord Chart
Verse: D
Do you ever like breaking down?
Bm
Do you ever feel out of place?
G
Like somehow you just don't belong,
A
and no one understands you.
D
Do you ever wanna run away?
Bm
Do you lock yourself in your room?
G
With the radio on turned up so loud,
A
and no one hears you screaming.
Prechorus:G
No you don't know what its like
Bm
When nothing feels alright
G A
You don't know what its like to be like me...
Chours: Bm G D A
To be hurt, to feel lost, to be left out in the dark
Bm G D A
To be kicked when you're down, to feel like you've been pushed around
Bm G D A
To be on the edge of breaking down, when no one's there to save you
Em Em-F#m
No you don't know what its like
G (Let Ring)
Welcome to my life
D
Verse: Do you wanna be somebody else?
Bm
Are you sick of being so left out?
G
Are you desperate to find something more,
A
before your life is over?
D
Are you stuck inside a world you hate?
Bm
Are you sick of everyone around?
G
With the big fake smiles and stupid lies,
A
While deep inside your bleeding
Prechorus:G
No you don't know what its like
Bm
When nothing feels alright
G A
You don't know what its like to be like me...
Chorus: Bm G D A
To be hurt, to feel lost, to be left out in the dark
Bm G D A
To be kicked when your down, to feel like you've been pushed around
Bm G D A
To be on the edge of breaking down, when no ones there to save you
Em Em-F#m
No you don't know what its like
G (Let Ring)
Welcome to my life..
Interlude:
G
No one ever lies straight to your face
Bm
And no one ever stabs you in the back
G
You might think I'm happy
A
But I'm not gonna be okay
G
Everybody always gave you what you wanted
Bm
You never had to work it was always there
G A (Let Ring)
You don't know what it's like what it's like..
Strum softly on this chorus:
Bm G D A
To be hurt, to feel lost, to be left out in the dark
Bm G D A
To be kicked when you're down, to feel like you've been pushed around
Strum harder on this part of the chorus:
Bm G D A
To be on the edge of breaking down, when no ones there to save you
Em G
No you don't know what its like, what its like
Bm G D A
To be hurt, to feel lost, to be left out in the dark
Bm G D A
To be kicked when you're down, to feel like you've been pushed around
Bm G D A
To be on the edge of breaking down, when no ones there to save you
Em Em-F#m
No you don't know what its like
G (Let Ring) D
Welcome to my life
G D
Welcome to my life
G D (Let Ring)
Welcome to my life..
Look inside this title
Welcome to My Life - sheet music at www.sheetmusicplus.com
Welcome to My Life By Simple Plan, composed by Simple Plan. Single for voice, piano and guitar (chords only). Db Major. 7 pages. Published by Alfred Publishing. (AP.PVM04094)
See more info...

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How To Get Better- Piano Practice



Practice plan for the musician:

1. Technique

Have the ability to execute chords, runs, and fillers with little or no thought. It is automatic because of all the time spent developing the skill. Develop this by lots and lots of practice. Franz Lizt had his students spend four or five hours running scales. He would also demand that they play progressions and runs for hours and hours because it then becomes automatic. Develop technique by doing arpeggios, chords, runs, and progressions over and over.

2. Scales

In order to learn your scales and basic triads get a Hannon book. It is all written in the key of C. At first get yourself a primer reading book to learn how to read basic music. You should spend about 15-30 minutes with your reading book if you don’t already know how to read. When you practice for good technique just don’t go through the motions. Listen to what you’re playing. Does it sound clean? If you were a listener would it sound pretty to you? Even a scale or an arpeggio can sound pretty. If you make it sound pretty go for evenness and exactness. There are several books on technique I use if you read notes:
Hannon and Clementi

Technique is not just being able to play a scale but playing it clean.
Not just playing it clean but playing it very fast.
Not just very fast and clean but fast clean and even.
Not just fast clean and even but fast clean, even and with feeling.

And this goes with scales in octaves, thirds, sixths and trills and bass lines. Everything that you utilize in your playing can be broken down into technique. Bass lines are scales and runs done in your left hand.

3. Theory

The understanding of how music is made. How to create the sound you are looking for by using principles such as understanding progressions and the chords that make up the progressions and to be able to alter the sound by altering your chords. It is understanding scale theory, chordal theory, improvisation, ear training , and rhythm.

It is extremely important but not necessary to play. Many readers don’t know theory and many ear players don’t know theory but I will say that theory can only help you grow at a faster rate, what ever your method of understanding ear or theory is.

4. Harmony

Every other day devote some time, at least 1/4 of your time to harmony. Understand how to put together chords in their various scales. How to do substitutions, how to harmonize melodies, how to form new phat chords.

An example may be running a 2-5-1 in every key or playing the 2-5-1 with bass notes other then the root. You can utilize a book for your harmony practice or you can use a DVD and take a section that deals with harmony.

5. Runs - Improvisation

Dedicate the other days of the week to the practice of runs and improv.
You can imitate horns or other keyboardists or you can get a book on improvisation and work out of it.

You have so many scales. You can play major scales, minor scales, Arabic scales, blues scales, whole tone, chromatic, diminished. The idea is to first learn how to play them cleanly and efficiently, always striving for evenness and beauty. Learn to play melodies at first. If you don’t know how to solo, learn how to play the melody very well to every song you are learning and use this melody as a guide to assist your soloing.

There are other methods as well. Most jazz books and blues books talk about soloing. So you can go that route or listen to a run and duplicate it. That way you are using your ear. This alternate method is very effective. Above all, remember it is not going to come over night but work on it every day! Be patient with yourself.

6. Copy Your Favorite Artist

I like this approach because artists have styles that you will notice. They do the same sort of things over and over. So your growth will be faster if you study a particular artist at first. Also because you like him or her, you will be motivated to learn from that artist.

The best way to study an artist is to learn them by ear because usually when you read the music from a songbook you are not involving all of your senses in the learning process. Although the book can yield more accurate results, the ear will yield the most lasting results.

Play along with the songs of your favorite artists. Put yourself right there on the stage with them. Listen to all the instruments. Each time you go back and hear a song over and over, you can play a little more. I hear a little more each day and my feel improves each day.

If you had an hour your schedule would look like this:

20 minutes on technique

20 minutes on harmony

20 minutes learning from your favorite artist

On the other days:

20 minutes on technique

20 minutes on scales and runs improvisation

20 minutes learning from your favorite artist

You will find that in a relatively short time you will be growing.
Why is this method so effective? Well, the technique that you learn gets applied as you practice the harmony and the improv. And the things you learn in the improv and harmony gets utilized in the studying your favorite artist.

Now, what if your ear is not that good? Well, learn how to read from primer method books, Bastien and Alfred. After you go through the second book, you can grab a blues or jazz method book like Alfred jazz or blues keyboard.

Learn how to read chord charts. They have books on this, too. You need to be able to provide a chord just from a chord symbol.

7. Buy Song Books

Songbooks have both the notes and the chord symbols. This is great because you can create your own chord dictionary. When you see a chord symbol you don’t understand, just look to see how they play it.

WOW gospel makes a songbook for every year. The arrangements are developed for piano. They are not exactly note for note. Correct for the instruments because they are assuming you are playing solo piano.
This is good because after working with the wow for a while you will get a feel for translating what you hear to your keyboard (figuring out how to balance a good bass line with horn hits and chord voicings and melody treatment).

Kirk Franklin had a songbook for every album he did. And the chords are very accurate. Israel Houghton has songbooks also.

Between listening to the music and reading the notes, even if you are not a good reader or good hearer, the two resources will help you.
One thing that theory people miss out on in the beginning is feel. And sometimes ear players miss things that they are not used to. They have a tendency to put in too much or not enough depending on their level. I have heard many a person say, “less is more”. Don’t overplay a hymn turning it into a jazz or funk song.

Play a song like it is meant to be played. There is a time and a place for everything. Can you play the song straight the first two times and then add the creative stuff on the third and fourth verse?

Last note, all songbooks have the melody and choir parts written out. If you are working out of songbooks, learn how to play the choir parts. This is great for developing your ear and your technique at the same time because contrary to popular opinion, gospel music is about the words and singing more then the musician. So learn how to play those melodies and how to harmonize the melody. Technique will help your execution. So if you can, spend as much time as you can by developing your technique.










There are

four main ATTITUDES
that hinder musicians from
progressing in their abilities to play gospel music by ear.
Let me explain...









Attitude #1
:
"Learning songs by myself is too
difficult so I'd rather just get the chords from someone
else..."



Relying on others to show us chords and progressions is one
of the leading causes why we don't move to the next level in
our playing. While we might sound, look, and play
beautifully, the reality is that we don't understand
anything we're playing. Sure enough, we might be playing
some of the prettiest

"2-5-1" progressions
ever heard, but we lack substance
... knowledge ... and the know-how to advance to the next
level.





Attitude #2
: "Ok... I'll learn the song in 'Ab'
major but I'd rather

transpose
it to all of the other keys..."



This is one of the biggest hindrances known not only to
gospel musicians --- but to musicians in general. Why?
Because every chord has multiple roles. By just playing in
the key of "Ab"
or "Eb",
you've only used "Abmin9" or "Ebmin11" chords as it relates
to those particular keys. But did you know that "Ebmin11"
also has a role in the key of "Gb" or even the key of "B"
major? It's not that you have to learn a whole new way of
playing --- YOU JUST HAVE TO TRANSFORM YOUR MIND TO THINK IN
PATTERNS ... that's all.





Attitude #3
: "I'll just learn new songs by pressing
different notes and chords on my piano until it sounds
right..."



"Guessing" may or may not work for you but I can say that it
is far from the best method of learning new songs. And while
it may sound funny, tons of musicians rely on this very
technique to "play by ear" --- though I wouldn't call it
exactly that. It is the absolute opposite of learning music
theory and patterns and ultimately leads to frustration and
exhaustion. In other words, you simply get tired of doing
the same thing over and over again.





Attitude #4
: "I'm a trained sight reader so I can
survive in a church setting by getting the sheet music to
all of the songs..."



This may work until there's either no sheet music for a
particular song or until someone ends up improvising on a
song without giving you prior notice. I would honestly say
that in most church settings, the ability to play by ear is
absolutely a must! To be quite frank with you, reading sheet
music will only go so far --- especially if you're playing
piano or organ in an uptempo, charismatic church. Rather,
developing your ear and being on alert for sudden changes in
a song will assure your

"survivability"
in a church setting.







http://www.LadyDpiano.com

Love by Kirk Franklin




Love - Kirk Franklin

* Chord Symbol with Bass Note on Left

Cm7 - Love a word that
Bb/Cm - comes and
A/F2 - goes but few people real
F - ly know
Bb - what it means
G/Eb - to real
Eb - ly
Eb+
Abmaj9 - love some
D/Fm - body
G7(#5) - Oh, Love
Cm7 - though the tears may
Bb/Cm - fade a-
A/F2 - way I'm so glad your
F - love
F/Cm - will stay
Bb - cause I
G/Eb2 - love you
Eb2 - and
Eb/Fm - You've
Abmaj9 - shown me
Db9 - Jesus
G/Eb2 - what it
Gb13 - really means
Fm9
Bb7 - to love
G/Eb2 - Patient
Ab2 - love kind love
Bb7 - sweet
Cm7 - love, kind love
A/F2 - Patient love, kind love
Bb - sweet love
G7 - kind love
Return to the verse

G/Eb2 - what it
Gb13 - really means
Cbmaj7 -
Bb7 - to
Bb7sus - love
Cm7
Cm7 - The nights that I've
A/F2 - cried you loved
Bb - me, when
Eb2 - I should have died
G/Eb2 - You loved
Abmaj7 - me
G/Eb2 - I'll never know
A/F2 - why you love
Bb - me it's a
G/Eb - mystery to me now I'm glad I see
Bb - Jesus
Cm7
Cm7 - When all hope was
A/F2 - gone you loved
Bb - me
Eb2 - You gave me a
G/Eb2 song that you loved
Ab/Eb - me
Ab/Fb
Ab/Eb
G/Eb2 - Now I can go on
A/F2 - cause you love
Bb - me it's a
G/Eb - mystery to me, now I'm glad I see
Bb - Jesus
Cm7
A/F2

G/Eb - What it
Gbdim7 - really
Fm7 - means
Bb7
Ab/Bb
Repeat 2X

Cm7 - Patient, patient, kind, kind, that's
Abmaj9 - love
Bb - To love

* Kirk Franklin & CeCe Winans - Love





http://www.learngospelmusic.com/forums/index.php/topic,55880.0.html



http://zone.hearandplay.com/index.php?name=PNphpBB2&file=viewtopic&p=24525#24525






http://www.LadyDpiano.com

Modulating With Parallel Chains


Another method that one can use is doing the Parallel ii-V7-I

Modulating w/ Parallel ii-V-I Chains

ii- V Chains


Some tunes chain ii-V progressions then resolve to I chord. Any ii-V’s can be used. They work well because of the strong movement (up a 4th) of each ii-V. The example below chains several ii- V’s. It begins with a ii-V in the key of C Major, adds a ii-V in Db
Major, ends with ii- V- I in E Major.

Dm7 G7 | Ebm7 Ab7 |F#m7 B7 | EMa7
(ii - V in C -------) (ii - V in Db --) (ii- V -I in E ----------)

You can also simplify ii-V by playing only I or ii scale across both chords.

Parallel ii- V

Like ii-V-I chains, ii-V’s often move up or down by a constant interval, creating a parallel movement.

Chain Interval Example
1/2-step up Dm7- G7, Ebm7- Ab7
1/2-step down Dm7- G7, C#m7- F#7 (the V and ii is an augmented 4th apart)
1-step up Dm7- G7, Em7- A7
1-step down Dm7- G7, Cm7- F7 (circle of fourths)
4th up Dm7-G7, Gm7-C7 (the V and ii are on the same pitch)

Modulating with Parallel V-I Chains

Minor ii-V and V-i Chains


Minor ii-V progressions can be chained together to modulate. The example below modulates from C minor to Db minor to E minor. The ii chords are m7-5 in quality. This gives the feeling of minor ii-V progressions, even though the minor i chord is not actually played.

Dm7-5 G7-9| Ebm7-5 Ab7+9 | F#m7-5 B7-9| Em7
(ii- V in C min) (ii-V in Db minor) (ii-V-i in E minor -----)

Modulating with minor ii-V chains


Minor V-i progressions can also be chained together to modulate to other keys. The example below modulates from C minor to F# minor to Bb minor.

Dm7-5 G7-9 | Cm7 C#7+9 | F#m7 F7 | Bbm7
(ii- V- i in C minor ----) (V- i in F# min) (V- i in Bb minor--)
....................................... ...........................

Using Minor ii-V and V-i Chains

1) A V chord can resolve to a new I chord by moving down a half step, or up or down an augmented 4th.

2) A V chord can also resolve to a substitute I chord, such as the vi or iii.

3) ii- V- I progressions can be chained together to modulate to another key. The interval between each progression can be random or parallel.

4) ii-V progressions and V-I progressions can be chained together to modulate to another key.

5) V-I progressions usually start in an even-numbered position (halfway through a bar if there are two chords per bar, or on an even-numbered bar if one chord per bar).

6) Consecutive major, minor, or dominant chords can be used to modulate quickly.


* Other Resources on Modulation:


http://ladydpiano.blogspot.com/2008/09/modulation-progression.html



http://ladydpiano.blogspot.com/2008/11/minor-chord-progressions.html



http://ladydpiano.blogspot.com/2008/11/harmony-progressions.html




http://www.LadyDpiano.com

Play By Ear- Imagine Me by Kirk Franklin


"Imagine Me" by Kirk Franklin is a very pretty song from the Hero album.
The song is in the Key of C and you'll hear a repeated pattern of just 4 chords:
F E B C


Jermaine Griggs has a great tutorial on the song, Imagine Me. He is a great teacher and you'll learn to play this song by ear. He goes on to explain:
1. Find The Key
A home-base chord doesn't need to resolve.
A key that you can hold down through the whole song.
2. Determine The Melody
C chord ends the phrase.
3. Recognize The Pattern
F C G (IV to I) (V to I)
4. Determine Correct Chords
Mostly Major Chords
Then take the song to any key.



* Chord Chart To Imagine Me

"Imagine Me" by: Kirk Franklin
Key C LH/RH

Part 1:

*F / G, F, C *everything starts above middle C, notes played backwards
/ G, F, C
E / G, E, C
/ G, E, C
/ G, E, C, G
(repeat 2x)

B / G, F
/ *G, B, D, G *1st G drops an octave, then goes up
C / G-D, E *slide D to E

Part 2:

B / G-D
A / E-*A-C *A is optional
(don't know all the single notes here)
B / G-*B-D *B is optional
C / G-D, E *slide D to E
/ D, E
D / A-*D-F *D is optional
C / G-*C-E *C is optional
Bb / F-G-A-C

Part 3:

F / G, F, C *everything drops an octave from beginning, notes played backwards
/ G, F, C
E / G, E, C
/ G, E, C
/ G, E, C, G
B / G, D, B
/ G, D, B
G / Bb-D-F, F
C / G-C-E
F / G, F, C
/ G, F, C
E / G, E, C
/ G, E, C
/ G, E, C, G
B / G, F
/ *G, B, D, G *1st G drops an octave, then goes up
C / G-D, E *slide D to E

* Kirk Franklin: Imagine Me piano cover By David Sides




Gospel





Look inside this title
Kirk Franklin - Hero - sheet music at www.sheetmusicplus.com
Kirk Franklin - Hero By Kirk Franklin. This edition: 306771. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). 128 pages. Published by Hal Leonard. (306771)
See more info...



http://www.LadyDpiano.com

Harmony Progressions


There is so much to learn about music! Ever wonder what should you study first? Do you know tritones, substitutions, left hand chords, upper structures, tertial chords, fourths, fifths, two hand voicings, left hand voicings, and suspensions? There are two things you should learn first and then after that go and explore!


1. First learn the four basic seventh chords:

Major seventh /major 6 1, 3,5,7 1,3,5,6

Minor seventh 1, b3, 5, b7

Dominant seventh 1, 3,5,b7

Diminished 1, b3, b5, bb7

Minor seventh b5

Learn how to form these. Play them in every key and in every inversion. Knowing them is not enough. You need to be able to apply them in a song content, in every key, ballads and fast songs.

The second thing you need to learn:

2. How the above chords work in the context of a key.

Traditional Harmony

I= major 7 or major6
II- minor 7
III= minor 7
IV= major 7
V=Dominant7
VI=minor7
VII= minor7b5

Jazz Harmony

Is the same as above but the
VI=dominant 7 very often but not always.

Blues Harmony

I=Dominant 7
II=Dominant 7
III=Dominant7
IV= Dominant7
V=Dominant7
VI=Dominant7
VII= V7 same as chord as you would use on the five so its a slash chord

Gospel Harmony

Combines the above three harmonic structures.

I= major7 major 6 or dominant 7
II= minor 7 or dominant 7 or minor 7 b5
III= dominant7#5 or minor 7 or dom7#5#9
IV=major7 or dominant7
Vi minor7 or dominant 7 or dom7#5#9
VII= V/Vii or Minor7b5 or diminished or dom7b5

Which quality you use depends on the song.

For a down home, church quality, backwater style, you use more of the dominants on the I, IV and V chords

For ballads and hymns, you use major 7 or major 6 or triads with doubled roots and an added 9

On the I and Iv chords, the II will sometimes be played as a dominant or a minor depending on how you wish to interpret the song.

Altering and playing with the III and the VI will give you very nice sounds and will determine your sound by what you prefer to play on these chord stations.

Finally, I would practice the above formulas using the
7,3,6,2,5,1,4 chord progression.


http://ladydpiano.blogspot.com/2008/11/7-3-6-5-1-4-progressions.html


Start on the one chord then play the 7 chord followed by the 3 chord.


http://ladydpiano.blogspot.com/2008/10/progressions-and-theory.html


Play them the best way you know. You may have to jump around at first. That’s o.k. to start with but you should learn how to voice lead them. Any good theory book will teach you about voice leading.

I recommend “The Contemporary Keyboardist” by John Novello and he just came out with a book for beginners. It’s cheaper and you will be able to dig in right away.





Look inside this title
The Contemporary Keyboardist for Beginners - sheet music at www.sheetmusicplus.com
The Contemporary Keyboardist for Beginners By John Novello. Keyboard instruction. Softcover with CD. 104 pages. Published by Hal Leonard. (310967)
See more info...




http://www.LadyDpiano.com

Ordinary People- John Legend



* 9 year old Jamael playing John Legend's Ordinary People



* The chords for most of the song is Bbmaj7, Ebmaj9, and Fmaj7 w/a lot of improvising.
It is actually a 4-b7-1 progression in the key of F


"Ordinary People" by: John Legend
Key F LH/RH

Intro (from sheet music):

/ D-D (high)
/ C-C
Bb / A-D-F-A
Bb / G-C-D-G
/ C-F-G-C
Eb / Bb-D-G-Bb
Eb (2x) /
/ Bb
Bb /
Eb / Bb-D-G-Bb
Bb /
Eb / G-Bb-D-G
/ D-G-Bb-D
F / C-E-A-C
C /
F /
/ D-D (high)
/ C-C
Bb / A-D-F-A
Bb / G-C-D-G
/ C-F-G-C
Eb / Bb-D-G-Bb
Bb /
Eb /
/ G, Bb, C, D, G, low G
Bb /
Eb / G-Bb-D-F
Bb /
Eb / Eb-G-Bb-D
/ Bb
F / C-E-A-C
C /
F /

Verse 1 (my version):

/ C, D *Go to Chorus from here
Bb / A-C-D-F
F / Girl, I'm
Bb / in love with you
/ A-C-D-F
Eb / F-G-Bb-D
Eb (2x) / This ain't the honeymoon
Bb /
Eb / F-G-Bb-D we're
Bb / past the
Eb / F-G-Bb-D infatua-
/ F-G-Bb-D tion
F / G-A-C-E phase
C /
F /
(repeat)

Chorus:

Bb / A-C-D-F
F / We're just
Bb / C-D-F-A ordi-
/ C-D-F-A nary
Eb / Bb-D-F-G people
Eb (2x) /
/ Bb-D-F-G
Bb /
Eb / Bb-D-F-G
Bb / We don't
Eb / Bb-D-F-G know which
/ Bb-D-F-G way to
F / C-E-G-A go
C /
F / C-E-G-A
/ D-D
/ C-C
(repeat)

Verse 2:

Bb / Ab-Db-F Maybe we'll live and learn
Eb / G-Bb-Db-F Maybe we'll crash and burn
F / G-A-C-E Maybe you'll stay, maybe you'll
F / G-A-C-E leave, maybe you'll return
(repeat)

Go back to chorus chords and play it through. End on the Fmaj7 chord, F / G-A-C-E.

I suggest playing the chords without trying to match words to it first because it's kind a hard to match every word exactly with every chord.

* Buy Ordinary People by John Legend





Look inside this title
Ordinary People - sheet music at www.sheetmusicplus.com
Ordinary People By John Legend. Single for voice, piano and guitar (chords only). 8 pages. Published by Cherry Lane. (HL.2500823)
See more info...




http://www.LadyDpiano.com

Fill Ins For Beginners



* Every fill in pattern uses a group of notes. For instance in a basic arpeggio fill in pattern, the set of notes are none other than the chord notes itself. To spice things up, you can include the 9th note (or the 2nd note). So, now you have these group of notes: 1st, 2nd, 3rd & 5th for a fill in pattern.

These are some examples of fill in patterns in C chord using the 1st, 2nd, 3rd & 5th:

C chord = C (1st ) D (2nd ) E (3rd ) G (5th )

Using the 1st, 2nd, 3rd & 5th normally is the safest, in the sense that it works literally on every chord. Of course there are many possibilities to other groups of notes use in a fill in situation, apart from using 1st, 2nd, 3rd & 5th. For instance:

C, E, F, G (on any chord in C key) --- or
C, B, G, D (on any chord in C key)

Experiment with other groups of notes that you can come up with. Realize that not every formula or groups of notes works for every chord or situations. It depends on many factors. Use your ears!

Here is a free PDF James Stevens designed that shows different patterns that you can use with chords to make your own accompaniment. Hope this helps with the "filling in."


http://www.jamesmstevens.com/chordpatterns.html


Sometimes it helps in playing chord patterns like this by thinking of your right hand as the "guitar player" and your left hand as the "bass player."

Play the R.H. in patterns like the guitar might play and add a "boom, boom" here with the bass by simply playing the bass note of the chord or the note on right or below if saw a slash chord like C/D. Here you would play D in your left hand as the bass and C in your right hand as the chord.

Patterns in the chords is just taking the notes of the chords that are right under your hands and breaking them up a note at a time in a way where you like the sound. This just gives some variety.

If you want some extra notes for a fill or a run, just use the notes of the scale you are in such as "G" in this song which would included G, A, B, C, D, E, F#. Just start on a note of the chord you are playing and end on a note of the chord you are going to.

And most of the time "less is best." A few notes tastefully chosen and played within your own skill level is better than trying to throw in the "kitchen sink."

In a typical "boom chick" sound in a country gospel feel you might have the bass playing on 1 and 3 and the chords (guitar) hitting on 2 and 4. In this type of playing, particularly when the chords are in ROOT position or NOT a slash chord, on the 1st beat the bass would hit on the Root note (the same as the name of the chord) and on the 3rd beat the bass would hit on the 5th note of the scale which would be a 5th up or a 4th down.

So, if you were playing a C chord, the bass would alternate between playing C on the strong beats and G on the weaker beats. Notice if you count from C to G going up or to the right that it is 5 notes, but if you count from C to G going down or to the left it is 4 notes, but it is still the same letter "G" regardless.

Now this doesn't work the same with the Slash chords for different reasons so you would just stay on the bass note listed on the right of the Slash or use your ear to choose a note that sounds right.

* Simple Fills- Tips For Beginners


'Outline' your chord
. ex. you hit your C chord, then you just hit each note of that chord, in any order, go up, hit the notes C, E, G, go down and hit G, E, C, go out of order it doesn't matter. This sounds really pretty if you have chords close together in a slow song, don't hit the chord just 'outline' or hit the notes of the chord. Another thing you can do with your chord is a 'roll'. Hit your chord, then go up higher on the keyboard and 'roll' the chord down. Ex. hit C chord,then move hand higher up, and quick like hit G E C, your three fingers you just used to play the chord just kind of roll this chord down.

The third trick
is for a faster song, but sometimes you can make it sound right in slower songs. It's called the major/minor trick. If you are on a major chord, say C, and you need to fill in with a little beat of chords, find the piano/keyboard key a whole step up from C, which is D, so your going to move to a D minor, move back and forth from C chord to D minor chord in a beat kind of, it sounds great if you can get a good sounding rhythm.If you are on a MAJOR chord you move UP a whole step to MINOR...IF you are on a MINOR chord...like D minor...you move down a whole step to the MAJOR, which in D the whole step down is C. Once you get good at the major minor, it sounds really awesome when you move up and down the keyboard with it in inversions of the chord instead of staying the same place. If you need a quick fill in, inversions of the same chord are great. It gives you a little different sound from the same chord.

* Examples

C-E-G
D-F-A
E-G-C
F-A-D
G-C-E
A-D-F
(repeat going up)

C-E-G
A-D-F
G-C-E
F-A-D
E-G-C
D-F-A
(repeat going down)

Here is one for shouting music:

Bb-Eb-G or C-Eb-G
A-D-F
G-C-Eb
F-A-D
Eb-G-C
D-F-A
(repeat going down)


http://www.LadyDpiano.com

Minor Chord Progressions


One of the most informative sites on minor chord progressions, can be found here:


http://www.jacmuse.com/hermonic%20resources/chordprogressions/newpage110.htm


* How To Find The Melodic Minor For Any Dominant Chord



* Things To Remember When Playing In Melodic Minor



* Order JAZZ 201 today!

Jazz 201

* Minor Chord Progressions To Practice

Cm7 1. C-G-C/ Bb-D-Eb-G

4. F-C-F/ Ab-C-Eb-Ab

5. G-F / B-Eb-F-Bb


Dbm7 1. Db-Ab-Db/ B-Eb-E-Ab

4. Gb-Db-Gb/ C-E-Gb-B

5. A-G/ Db-F-G-C


Dm7 1. D-F-D/ C-E-F-A

4.G-D-G/ Bb-D-F-A

5. A-G/ Db-F-G-C


Ebm7 1. Eb-Bb-Eb/ Db-F-Gb-Bb

4. Ab-Eb-Ab/ B-Eb-Gb-B

5. Bb-Ab/ D-Gb-Ab-Db


Em7 1. E-B-E/ B-D-E-G

4.A-E-A/ C-E-G-B

5.B-A/ Eb-G-A-D


Abm7 1. Ab-Eb-Ab/ Gb-Bb-BEb

4. Db-Ab-Db/ E-Ab-B-E

5. Eb-Db/ G-B-Db-Gb


Am7 1. A-E-A/ G-B-C-E

4. D-A-D/ F-A-C-E

5. E-D/ Ab-C-D-G


Bbm7 1. Bb-F-Bb/ Ab-CDb-F

4. Eb-Bb-Eb/ G-Bb-D-F

5. F-Eb/ A-D-Eb-Ab

Fm7 1. F-C-F/ C-Eb-F-Ab

4. Bb-F-Bb/ Db-F-Ab-C

5. C-Bb/ E-Ab-Bb-Eb



Gbm7 1. Gb-Db-Gb/ Db-E-Gb-A

4. B-Gb-B/ D-Gb-A-Db

5. D-C/ F-A-B-E



Gm7 1. G-D-G/ D-F-G-Bb

4. C-G-C/ Eb-G-Bb-D

5. D-C/ Gb-Bb-C-F



http://www.LadyDpiano.com

Yesterday - Mary Mary



* Mary Mary, singing a fine song with passion, called "Yesterday!"
Influenced by: Kirk Franklin, Fred Hammond, Winans, Donnie McClurkin, Yolanda Adams, The Clark Sisters. Read their Biography, 18 Albums, 5 Videos:



http://music.aol.com/artist/mary-mary/1131180


* Have a listen:


http://www.youtube.com/watch?v+ghjgno6gtwg


* StarlingSounds Tutorial in Key of Db


http://www.youtube.com/watch?v=YUcvkq9IVC4


* Chord Chart

LH/RH

C/GCE I'VE HAD ENOUGH
C/GCE HEARTACHES

E/AbBD HAD ENOUGH
E/ AbBD HEADACHES

A/EAC I'VE HAD SO MANY UPS AND
G/EGBbC DOWNS

F/EbFAC DON'T KNOW HOW MUCH
F#/EbF#AC MORE I CAN TAKE

REPEAT *

ON SECOND TIME AROUND GO TO

G/EGC BUT I
A/EAC DEDIDED THAT I
A/EAC CRIED MY LAST
D/F#ACE TEARS

G/FAC YESTER-
C/EGC DAY

HERE'S THE FILL IN CHORDS BEFORE YOU GO TO NEXT PART

E/EGBbC
F/EbFAC
F#/EbF#AC
G/EGC
GF/BEG

REPEAT FILL IN CHORDS (2X)
THEN GO TO

C/BbCEG
C-D-E/BbCEG
F/CFA

F/CFA YESTER-
FC/CFA DAY
F#/EbF#AC (THIS IS A FILL IN CHORD)
F#/EbF#AC YESTER-
F#/EbF#AC DAY

G/EGC
F/DFGB
E/EGC

E/CEA OH
Ab/DEAbB OH
A/EAC OH
A/EAC YESTER-
A/EAC DAY
D/EF#AC
D/EF#AC YESTER-
D/EF#AC DAY

* Yesterday - Mary Mary by cstyle20




* Sheet Music Available





Look inside this title
Mary Mary (Piano/Vocal/Guitar) - sheet music at www.sheetmusicplus.com
Mary Mary (Piano/Vocal/Guitar) By Mary Mary. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). 76 pages. Published by Hal Leonard. (306755)
See more info...



http://www.LadyDpiano.com

4 Basic Types of Chords



Now that you know your major scales, the next thing is to learn the formulas for your 4 basic types of chords. Once you learn the formulas, apply them to each key one at a time until you go through all 12 keys. Here is the order that you should learn and play them in:

Major = 1-3-5
Minor = 1-b3-5
Diminished = 1-b3-b5
*Fully diminished = 1-b3-b5-bb7 *just an extension of the regular diminished chord
Augmented = 1-3-#5


As you go through learning and practicing the chords in this order, you will find that the last note for the augmented chord is also the last note for the major chord in the very next key. The next thing you should learn are the chords that are built off each scale degree of the major scale for every key. Again, learn it one key at a time until you go through all 12 keys:

1st - major
2nd - minor
3rd - minor
4th - major
5th - major
6th - minor
7th - diminished

Then move on to learning progressions. Play progressions like the 1-4-5, 2-5-1, 7-3-6, etc. I posted some of these progressions earlier:

http://ladydpianoblogspot.com/2008/11/7-3-6-2-5-1-4-progressions.html


Here’s a hand book of video tutorials I listed on a previous blog post to help you with these progressions:

http://ladydpiano.blogspot.com/2008/10/progressions-and-theory.html


Learn the Amen progression and practice many other listed progressions here:

http://ladydpiano.blogspot.com/2008/09/chord-progression.html


Finally, here's the best Audio Course offered by Jermaine Griggs. I have these 2 discs and highly recommend the product. Disc #1 is for beginners and lays a great foundation for chord theory. Disc #2, you'll learn more advanced chord theory on the go! Here's what the folks over at HearandPlay.com have to say:

Dear Fellow Musician,

What if you could pop a CD into your home or car
stereo and learn everything you needed to know to
start playing beautiful chords on the piano? I'm
talking about all the same chords used to play
practically every popular song out there! The
ones you grew up listening to... the songs you
now enjoy... classic holiday tunes... even your
kids' favorite songs... and more!

What if you could learn all the chords that make
up those songs in just an hour or so? Would you
be excited? Well... You should be! Because at
www.HearandPlayChords.com, Jermaine over at Hear
and Play Music is going to reveal an approach
that allows you to learn anywhere: at your piano,
in your car, on your ipod® while at the gym ---
ANYWHERE!

So, if you have a CD player and two hours to
spare, then you have what it takes to start
mastering chords by ear.

Read the rest of this story at:

==>
http://www.HearandPlay.com/441295/hpchords.html/Learn Chords




(Over 20 minutes of audio lesson clips at the
website)


You'll definitely find this new resource very
beneficial, especially if you're struggling to
grasp the concepts of chords! Believe it or not,
once you master chords, half of the battle is won
because songs are created ALL BY CHORDS!

Rush over to
http://www.HearandPlay.com/441295/hpchords.html/Learn Chords

and read his entire report.



Step-by-step, you'll learn:



- How to form various types of chords: major,
minor, diminished, augmented and the easy theory
behind them. DO NOT BE INTIMIDATED. *

-The classes of chords and the difference
between triads, sevenths, ninths, elevenths, and
thirteenths... all broken down in "normal,"
down-to-earth, language. *

- One magic formula that creates all the
chords you'll ever need to know. All I'll tell
you is that it involves two words: Quality &
Quantity (and you need both in order to create
all chords). *

- How to form any major scale in seconds
using my "Why Won't He Wear White When Hot"
trick. *

- Easy ways to understand intervals (which
are merely distances between notes). There are
melodic intervals and harmonic intervals and
you'll learn both.

- The secret behind the "number system" and
how to use it to learn practically any chord out
there. I'll prove it to you with 7 practical
examples.



So I highly recommend that you go over to the
site. Don't forget to check out the 20+ minutes
of audio lessons! You'll be glad you did.


http://www.HearandPlay.com/441295/hpchords.html/Learn Chords




http://www.LadyDpiano.com

Learn To Play Give Thanks



Are you familiar with this song, "Give Thanks"? I have always loved this song and have played it many times through the years. Here are the words to refresh your memory.


http://www.atthewell.com/thanks


* "Give Thanks" by Cassandra O'Neil (showmethat.com)
One of the nicest rendition of this worship song. I have Cassandra's Dvd "West Coast Piano" and highly recommend it!




* Chord Chart in G - easy chords

Give Thanks

G D/F#
Give thanks with a grateful heart
Em Bm7
Give thanks unto the Holy One
C G/B Em7 F Dsus D
Give thanks because He's given Jesus Christ, His Son
G D/F#
Give thanks with a grateful heart
Em Bm7
Give thanks unto the Holy One
C G/B Em7 F Dsus D
Give thanks because He's given Jesus Christ, His Son



Bm7 Em7 Am7
And now let the weak say, "I am strong"
D7 Gmaj7
Let the poor say, "I am rich
Em F D7
Because of what the Lord has done for us"
Bm7 Em7 Am7
And now let the weak say, "I am strong"
D7 Gmaj7
Let the poor say, "I am rich
Em F D7
Because of what the Lord has done for us"
G
Give thanks...

* Chord Chart in F- Let's Take It To Another Level!

F / C-F-A Give thanks
G,Ab / (LH only) with a
A / C-E-G greatful heart, give
D / A-E-F, A-D-F (slide E to D) thanks
C,Bb / (LH only) to the
A / G-C-E Holy one

C / G-Bb-Eb (filler)
F / A-C-F (filler) give OR
F / Eb-G-A-D (octave higher) give

Bb / F-Bb-D thanks
B / F-Ab-B-D because He's
A / G-C-E given
D / A-C-F Jesus
Eb / Bb-Eb-F-G, Bb-Eb-G Christ

Db / F-B-Eb-G (optional filler) for OR
Db / G-B-Eb-G (optional filler) for

C / Bb-C-F-G , Bb-C-E-G (slide F to E) us
(repeat, 2nd time go to next part)

Part 2:

Bb / Bb-C-E-G
* / F-A-C and
A / E-G-C now let the
D / F-A-C weak say
E / Bb-Db-E-G I
Gb / C-Eb-Gb-A am
G / D-F-Bb strong
F / D-F-G-Bb let the
C / C-E-G-Bb poor say
D / Bb-D-F I
E / C-E-G am
F / C-F-A rich

B / Eb-A-Db-F (filler) because of
OR
B-Eb / A-Db-F (for those w/small hands) because of

Bb / Bb-D-F-A what the
A / G-C-E Lord
D / A-C-F has
Eb / Bb-Eb-F-G, Bb-Eb-G done

Db / F-B-Eb-G (optional filler) for OR
Db / G-B-Eb-G (optional filler) for

C / Bb-C-F-G , Bb-C-E-G (slide F to E) us
(repeat)

Ending:

C / Bb-D-F give
F / *(G)-A-C-F thanks
F / G-Bb-Db-F give
F / *(G)-A-C-F thanks
*You can add the 9th for a different sound

Special Part:

F / Bb-Eb-G
F / A-Eb-G
F / Bb-D-F
F / G-Bb-Db-F



http://www.LadyDpiano.com

Josh Groban- You Raise Me Up


One of my favorite songs, You Raise Me Up, by Josh Groban.
The song just says it all quite beautifully!


Intro: Eb Ab Eb...Eb Ab Bb...Bb7 Ab Bb Gm Cm...Eb Bb Eb
Verse 1:
Eb Ab Eb
When I am down and, oh my soul, so weary;
Eb Ab Eb Bb Bb7
When troubles come and my heart burdened be;
Ab Bb Gm Cm
Then, I am still and wait here in the silence,
Eb Bb Eb Bb7
Until you come and sit awhile with me.
Chorus 1:
Ab Bb Eb Bb7
You raise me up, so I can stand on mountains;
Ab Bb Eb Bb7
You raise me up, to walk on stormy seas;
Ab Bb Eb Ab
I am strong, when I am on your shoulders;
Eb Bb Eb
You raise me up: To more than I can be.
Instrumental: F Bb F...F Bb C Bb C Am Dm F C F
Chorus 2:
C7 Bb C F C7
You raise me up, so I can stand on mountains;
C7 Bb C F
You raise me up, to walk on stormy seas;
C7 F C F C7
I am strong, when I am on your shoulders;
F C Bb F
You raise me up: To more than I can be.
Chorus 3:
C#7 F# C# F#
You raise me up, so I can stand on mountains;
C#7 F# C# F#
You raise me up, to walk on stormy seas;
C#6 F# C# F# C#7
I am strong, when I am on your shoulders;
F# C# B F#
You raise me up: To more than I can be.
(Repeat Chorus 3)
F# C# B F#
You raise me up: To more than I can be.
Intro: D#
D# G# D# Bb
When I am down and, oh my soul, so weary;
D# G# Bb
When troubles come and my heart burdened be;
Cm G# D#
Then, I am still and wait here in the silence,
G# Bb D#
Until you come and sit awhile with me.
Cm G# D# Bb
You raise me up, so I can stand on mountains;
Cm G# Bb
You raise me up, to walk on stormy seas;
Cm G# D# Cm
I am strong, when I am on your shoulders;
G# Bb D#
You raise me up: To more than I can be.
Instrumental : F Bb F C Dm Bb C Dm Bb F Dm Bb C F
F Bb F C
You raise me up, so I can stand on mountains;
Dm Bb C
You raise me up, to walk on stormy seas;
Dm Bb F Dm
I am strong, when I am on your shoulders;
Bb C F
You raise me up: To more than I can be.
F# B F# C#
You raise me up, so I can stand on mountains;
D#m B F# C#
You raise me up, to walk on stormy seas;
D#m B F# D#m
I am strong, when I am on your shoulders;
B C# B F#
You raise me up: To more than I can be.
* How to play " You raise me up" Josh Groban Part 1 Brad99r

http://www.youtube.com/watch?v=_QZeAyCMGXA

* You Raise Me Up on piano RememberSeptember

* Josh Groban You Raise Me Up PDF

http://notesnkeys.awardspace.com/sheet/j.htm

Look inside this title
You Raise Me Up - sheet music at www.sheetmusicplus.com
You Raise Me Up By Josh Groban. Single for voice, piano and guitar chords. Eb Major. 7 pages. Published by Hal Leonard. (HL.352697)
See more info...

http://www.LadyDpiano.com

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