Free Gospel Piano Lessons - Now Behold the Lamb, by Kirk Franklin - GospelMusicians.com



"It's not surprising that Kirk Franklin's second album, Kirk Franklin & the Family Christmas, sold over 500,000 copies in the first 14 weeks after it was released. This album is filled with 11 Christmas songs presented in true Franklin fashion. The album begins with calypso-like music and a sincere Christmas greeting from Franklin. Then the man and his 17 backup singers (the Family) begin singing an abbreviated version of "Silent Night" before proceeding to sing about God's amazing love in "Now Behold the Lamb." For more of Kirk Franklin's Review:

http://music.yahoo.com//read/review//142212843


Here's a video to Kirk Franklin Now Behold The Lamb that I found on line. Gospel Musicians is a great community of musicians who are willing to share what they know about Gospel playing! Listen to Jamal's phat chords!!
Free Gospel Piano Lessons - Now Behold the Lamb, by Kirk Franklin - GospelMusicians.com


http://GospelMusicians.com

Free gospel piano lessons. Now Behold the Lamb, by Kirk Franklin. Learn more gospel jazz phat chords riffs tricks tricks runs and even how to play music by ear INSTANTLY



* Chords to Now Behold The Lamb
I posted the chords to this song back in 2007 in the Hear and Play Musician's Zone.


http://zone.hearandplay.com/index.php?name=PNphpBB2&file=viewtopic&t=2491


Here is the song for everybody. Enjoy!!!

"Now Behold The Lamb" by: Kirk Franklin
Key Bb LH/RH

Intro:

D / Bb-F-C
/ F (2x)
Eb-G / Eb-Bb
/ Bb-C-F
F / A-C-F
/ F-F (octave higher)
/ Bb, C
D / Bb-F-C
/ F
Eb-G / C-F
/ Bb-C-F
F / A-C-F
/ Bb, C
D-Bb / D, Eb, D, Bb
Eb-G / F
/ Bb
F-A-C / A
F#-A-C / A, Bb, A, Bb, A, Bb, A
G-Bb / Bb
/ D
Bb /
/ D
C, G, Bb / Eb
/ Bb
F, C / Eb-G-Bb
F / A, Bb
Bb / C-F-Bb
/ Db, Bb
Bb /

Chorus and Verses (from sheet music):

D / Bb-C-D-F Now be-
Eb / G-Bb-C-F hold the
F / G-A-C-F Lamb
/ F-F (octave higher)
/ Bb, A the
D / C-F-Bb Precious
Eb / G-C-F Lamb of
F / A-C-F God
/ F-F (octave higher)
D / C-D-F-Bb born into
Eb / G-Bb-C-F sin that I

F / A-C-F may
F# / A-C-D live a-
G / G-Bb-D gain, the

OR

A / G-C-Eb or A / E-G-B-D may
D / F#-Bb-C-F live a-
G / F-A-Bb-D gain, the

C / Bb-Eb-G Precious
F, C, F / Bb-Eb-F Lamb of
Bb / Bb-D-F God
(repeat many times)

Modulation chord to C:

G / A-C-F

Modulate to C:

E-E / G-C-D-E Now be-
F-F / A-C-D-G hold the
G-G / C-D-G Lamb
/ B-D-G
G-G /
F-F / the
E-E / D-G-C Precious
F-F / A-D-G Lamb of
G-G / C-D-G God
/ B-D-G
G-G /
F-F /
E-E / D-E-G-C born into
F-F / A-C-D-G sin that I

G-G / B-D-G may
G#-G# / B-D-E live a-
A-A / G-C-E gain, the

OR

B-B / A-D-F or B-B / F#-A-C#-E may
D-D / G#-C-D-G live a-
A-A / G-B-C-E gain, the

D / C-F-A Precious
G / B-D-F-G Lamb of
C / C-E-G God

Vamp (don't know what to call this part):

E / C-E-G Ohhh
F / C-F-A Ohhh
F# / C-D-F#-A Ohhh
G / D-G-B Ohhh
B / B-D-G Ohhh
C / C-E-G Ohhh *go to next part from here
A / C-F-G
B / B-D-G
C / C-E-G
(repeat)

Why
E-E / D-E-G-C You love me
F-F / A-C-D-G so, Lord I

G-G / B-D-G shall
G#-G# / B-D-E never
A-A / G-C-E know

OR

B-B / A-D-F or B-B / F#-A-C#-E shall
D-D / G#-C-D-G never
A-A / G-B-C-E know
(repeat)

the
D / C-F-A Precious
G / B-D-F-G Lamb of
C / C-E-G God
(go back to Ohhh or end)

You can also find the chords to the song Now Behold The Lamb at Earnest and Roline Ministries

http://www.earnestandroline.com





http://christianmusic.com/kirk_franklin/kirk_franklin_ablums.htm


* Song from the album:
Christmas (1995)


01. Silent Night
02. Now Behold The Lamb
03. Jesus Is The Reason For The Season
04. Go Tell It On The Mountain
05. They Need To Know
06. There's No Christmas Without You
07. O Come All Ye Faithful
08. The Night That Christ Was Born
09. Thank You For Your Child
10. Love Song
11. Silver And Gold

http://music.yahoo.com/track/1072025


* Now Behold The Lamb Lyrics

http://www.sing365.com/music/lyric.nsf/Now-Behold-The-Lamb-lyrics-Kirk-Franklin/FB3F16D27F99007C48256CC540007E0E0


Chorus
Now behold the Lamb
the Precious Lamb of God
born into sin that I may live again
the Precious Lamb of God (2x)

Holy is the Lamb
the Precious Lamb of God
Why You love me so, Lord
I shall never know
the Precious lamb of God (2X)


Solo1
Now behold the Lamb
the Precious Lamb of God
Born into sin that I may live again
He's the precious Lamb of God

When I always didn't do right
I went left, He told me to go right
But I'm standing right here
in the midst of my tears, Lord
I found You to be the Lamb of God

chorus
Thank You for the Lamb
the Precious Lamb of God
Because of Your grace
I can finish this race
the Precious Lamb of God

solo2
Even when I broke Your heart
my sins tore us apart
But I'm standing right here
in the midst of my tears
I claim You to be the Lamb of God

New life can begin (yeah),
for You washed away, washed away every one of my sins
Whom the Son sets free, is truly free indeed
I claim You to be the Lamb of God

chorus
Now behold the Lamb
the Precious Lamb of God
born into sin that I may live again
the Precious Lamb of God

Oh Oh Oh
Oh Oh Oh

Why You love me so, Lord
I shall never know
Why You love me so, Lord
I shall never know
Why You love me so, Lord
I shall never know
the Precious Lamb of God

Oh Oh Oh
Oh Oh Oh
Oh Oh Oh

Why You love me so, Lord
I shall never know
the Precious Lamb of God

uh....
uh....oh....
You love me, Jesus
You died for me, Jesus
You shed your blood for me, Jesus On Calvary.


Thank you for Being Born For Me, Jesus
Thank you Jesus
For lovin' me so
Never never never know
For lovin' me so yeah.
Thank you for your blood yeah...
Why you love me so, Lord
I shall never know
the Precious Lamb of God



This is a great song to learn for Easter as well!
Until next time,

~ LadyD






Learn How to Play Piano Church Music by Ear- Shout!

I did not grow up in the church listening to Shouting Music. Nor have I had the opportunity to play Shouting Music. But I am surrounded by so many musician friends who play Shouting Music and play it well! I decided to share a little with you on what I have learned. There is so much info available to us from the pros online!

* T-Block's Ultimate Shouting Music Post
This post is all about what to do with your RH when playing shouting music. You can either play chords or runs in your RH. Here, I am going to focus on the chords. Your main chords for playing shouting music are the minor 1 and minor 2.

Here they are:

Eb-Gb-Bb (1) = Eb minor
F-Ab-C (2) = F minor


http://www.musicianslearningcenter.net/forum/index.php?topic=314.0


Also, you can add the minor 7th note to those chords and play them like that. Here they are:

Eb-Gb-Bb-Db (1) = Eb minor 7th
F-Ab-C-Eb (2) = F minor 7th

You can also play a combination of those chords above. You should really get used to playing those chords forwards and backwards. Here are a few practice sets for you:

/ Db-Gb-Bb
/ C-F-Ab
/ Bb-Eb-Gb
/ Ab-C-F
/ Gb-Bb-Eb
/ F-Ab-C
(repeat)

/ Db-Gb-Bb
/ F-Ab-C
/ Gb-Bb-Eb
/ Ab-C-F
/ Bb-Eb-Gb
/ C-F-Ab
(repeat)

/ Db-Eb-Gb-Bb
/ C-Eb-F-Ab
/ Bb-Db-Eb-Gb
/ Ab-C-Eb-F
/ Gb-Bb-Db-Eb
/ F-Ab-C-Eb
(repeat)

/ Db-Eb-Gb-Bb
/ F-Ab-C-Eb
/ Gb-Bb-Db-Eb
/ Ab-C-Eb-F
/ Bb-Db-Eb-Gb
/ C-Eb-F-Ab
(repeat)


Other RH chords that are used in my shouting music are:

Major 4 = Ab-C-Eb (Ab major chord)
Dominant 7th 4 = Ab / Gb-Bb-C-Eb or Ab / C-Gb-Bb (Ab 7th chord)
Fully diminished 1: Gb-A-C-Eb (Eb fully diminished chord)
*Dominant 7th chord = b7-3-5-1: Example = Db-G-Bb-Eb (Eb 7th chord)
*13th chord = b7-3-13-1: Example = Db-G-C-Eb (Eb 13th chord)

*These 2 chords can be formed on every bass note.

* Shouting Chords- Hear and Play
Jermaine Griggs has written about the Shouting Chord:
"I ALWAYS (I mean always) play this chord at church when playing during a jubilant period of the worship service. It’s simply a dominant chord with an added “flat 5th” tone. Now … the trick is that you don’t play all the tones of the dominant chord. JUST certain tones sound right and I’m going to show you which ones they are below:

In Ab Major:

Bass: There isn’t a particular bass for this chord. It can be played over a “running” bass if it is being used as a “fill-in” for shouting music OR … it can be played in a blues progression. Keep in mind that this chord is just a “fill in.” Play it when it “feels” right…

Right hand: Ab + D + Eb + Gb

Note: This chord should be played on the upper part of the piano (not too high but definitely not too low). Test it out at different locations for the best possible sound, ok?"

http://www.hearandplay.com/main/tag/shouting-chords




Hear and Play offers a Dvd Course just for Shouting Music:


Gospel Keys 500
will show you how to discover the
three main parts of shouting music and what it takes to
master this style of up-tempo playing. With this
over-the-shoulder approach, you will be sure to learn
tons of bass runs, right-hand movements, licks, and
tricks.

Master shouting music by learning never-before-seen techniques. In this
course, shouting music is broken into three key
sections: "The
Shouting Intro
," "The
Main Loop Period
" and "The
Cool-down
." You'll explore each part, step-by-step.
You won't find shouting music taught in these 3 steps
ANYWHERE ELSE!


Added benefit: You'll also learn about the power
tritones in shouting music and how they allow your right
hand to play super-fast movements, fill-ins, and runs
while maintaining the left hand. Other topics covered
are "stride piano," "modulation," "role
reversal techniques
," and "linear
shouting styles
!"





* God's Gospel

http://www.godsgospel.com/godsgospel_hearandplay_january_2006_newsletter.html

Because shouting music is so repetitive (it's generally the same bass run over and over), you want to include other things (like variations in bass runs and different right-hand chordal movements and fill-ins) to spice things up. Here's what I learned:
Three main parts of shouting music


1) The "Intro"

2) The "Main Loop" Period

3) The "Cool Down"



Part One: The Intro

The Intro is the start of the "shouting" period.

You won't find full-length ascending and descending bass runs like I've posted above.

Instead, you have teasers like:

C -- Db --- D --- Eb. Usually the C and Db are played in pairs and the D and Eb are played in
pairs.


That's your left hand. As for your right hand, as shown in GospelKeys 500, you'll play something
like:

Bb Eb Ab (over the "C" bass from above)

B Eb F Ab (over the "Db" bass from above)

B D F Ab (over the "D" bass from above)

C Eb Ab (over the "Eb" bass from above)


This generally repeats for a good amount of time. The "Main Loop" period will usually follow
right after.



* Jamal Hartwell
Shouting Music

"Of course, what would an old school service be like, without shouting music. The hardest part about shouting music is coordinating your left and right hands. I teach you this. It is also important to learn the difference between the devotional bass line walk and a shouting bass line walk. They are very different and I show you when, and how to use it. The #1 thing for a beginner is coordination and I'll show you the secrets to starting slow and building up to faster coordination tricks. I also teach you the important trick of how to shout in every key and how to find the sweet spots to shouting music."

http://gospelpianochords.com/movements.html


*YouTube - Sam's Gospel Music Course 2008 Basic Shout Patterns

First series of lessons on how to build your shout techniques for organ, keyboard and piano

http://www.youtube.com/watch?v=rAZfvXQEw9U



* Learn how to play piano church music by ear. Learn worship songs choruses tabs chords notes keys.

Basic Preaching Chords in Bb

LH/RH

D/C-F-Bb
Eb/C#-F-G-Bb
E/C#-E-G-Bb
F/Eb-G-Bb


Bb/Ab-C-Eb-G

Bb/C#-E-Bb
Bb/D-F-Bb

GOSPEL SCALE: Key of Ab
Ab, B, C#, D, Eb, F, Ab
***THIS IS THE STEPPING STONE TO PLAY A RUN!!!

SHOUT/ PREACHING: Key of Ab
*B, Bb, Ab, F (PLAY OVER A BASS LINE) "OR"
*B, Bb, Ab, F, Ab, F#, Eb, D, F#, F, Eb, D, Eb, D, C#, B, Ab
** PRACTICE SLOW UNTIL YOU GET USE TO YOUR OWN FINGERING.

WORSHIP RUN: Key of Bb
Bb, F, Eb, D, Bb
* PLAY UNTIL RUN OFF THE KEYBOARD THEN PRACTICE PLAYING IT BACKWARDS.






Common Chord Progressions

Chord progressions are just a way to get the harmony to support the melody. In any key, if your melody sticks to the key you are in then the one chord will harmonize three notes, the five chord will harmonize two additional notes and the four chord will harmonize the remaining two notes.

So the I IV V chords will harmonize every note in a given melody providing it stays in key. You can replace the two chord for the four chord, so now we get the 2 5 1...

You can expand the one chord, meaning if you are sitting on it for a while
you can play different bass notes under to help create motion. That is where we get the 1 3 6 2 5 1... the vi chord and the iii chord fill in for the 1 chord and the vii fills in for the V chord. The vi chord can also lead to the IV chord.


All this may seem confusing but it all starts with the I chord and the V chord and the IV. If you just use these three chords you can play with most songs. I wrote 3 Chords You Just Gotta know! You can check it out here:

http://zone.hearandplay.com/modules.php?op=modload&name=Reviews&file=index&req=showcontent&id=48


When you get more advanced you can use the 2 5 1 as a little intro to each new chord you will play.

So to introduce the I chord you play ii V and then I... When you want to go to the IV chord you introduce it by playing a ii V I in the key of the IV chord. So if you were in the key of C and you want to go to the F, you introduce the F by playing g min7 C7
Fmaj...2 5 1... Now you have it! 2 5 1 are derived from 4 5 1 and they have over time become embellishments as well static chords to rest on to support the melody.

Where to apply them:
2-5-1 is used most times at the end of a piece of music to resolve the progression back to 1. See both examples below.

No Weapon by Fred Hammond Example-Key of Ab

/Ab, Bb, C – There, is, No
8. Ab-Ab/EbGBbC, Bb, Ab – Weapon
7. G-G/DbFGBb(7), C/DbEGBb(3)- Formed (Circle of 4th – G, C, F or 7-3-6)
6. F-F/EbFAbC(6), Bb, Ab – Against Me
5. Eb-Eb/DbGbBb(5), Ab-Ab/CGbBb(1) – That Shall (Circle of 4th – Eb, Ab, Db or 5-1-4)
4. Db-Db/EbFAbC(4), Bb, Ab – Not Prosper

(Now look at the last five notes of the Ab ex. Above C, F, Bb, Eb, Ab – all using the circle of 4th 3-6-2-5-1)

3. C-C/BbEbAb(3), FCEb/BbCEbAb(6)– Use this chord instead of previous
2. Bb-Bb/CDbFAb(2) – It Won’t
Eb-Eb/DbFAbBb(5) - Work
1. Ab-Ab/EbGBbC(1), Bb, Ab – Weapon

Jesus is Love by Commodores-Key of Ab

8. Ab-Ab/EbGBbC – Father
7. G-G/DbFGBb(7), C/DbEGBb(3)- Help Your (Circle of 4th – G, C, F or 7-3-6)
6. F-F/CEbAb(6) – Children
5. Eb-Eb/DbGbBb(5), Ab-Ab/CGbBb(1) – And Don't let them (Circle of 4th – Eb, Ab, Db or 5-1-4)
4. Db-Db/AbCEbF(4) – Fall

(Now look at the last five notes of the Ab ex. Above C, F, Bb, Eb, Ab – all using the circle of 4th 3-6-2-5-1)

3. C-C/BbEbAb(3), FCEb/BbCEbAb(6)– by the side of the
2. Bb-Bb/CDbFAb(2) – road.
Eb-Eb/DbFAbBb(5)
1. Ab-Ab/EbGBbC(1) – Walk-on

2 5 1 (or ii V I in roman numerals as most theory books will use) is a basic cadential progression throughout music. In other words it leads to a "resting" point, temporary or permanent. The thing is you need to think beyond the ii V I of just the given key (such as in F -- G C F) because, although the song is in F, there may be ii V I patterns leading to other keys.

Take the beginning of "Amazing Grace"

C7 F Cm7 F7 Bb C7 F
A - Mazing Grace How Sweet the Sound

The Cm7 F7 Bb is ii V I in the key of Bb and we have temporarily rested in Bb
Note that IV and ii are almost functionally identical and often interchangeable. A Bb6 chord has the same notes as a Gm7. We could then add a Gm7 between the Bb and the C7 and get a II V I in F.

Am7 Dm7 Gm7 C7 F
Was blind but now I See

Again Gm7 C7 F is ii V I in the key of F.
Note that you could change the Gm7 to a G7

Often ii V I is taught the ii is minor and V is Dominant and I is either Tonic Major or Minor. But actually, they can be about any quality -- the II dominant 7 etc. Note that the Am7 Dm7 G(m)7 progression could be ii V I in G (though functionally here that is stretching things a little bit.

Learn to listen to the bass line for that pattern and note that it may not be in a temporary key of a song.



Another common chord progression is the I IV V IV I... You'll hear this chord progression in Rock, Gospel and Jazz.

Then there's the 12 Bar Progressions, those blues chord progressions.



A great source for these blues chord progressions can be found at the Classic Cat

http://www.classiccat.net/dictionary/chord_progressions.htm




C is the one chord- I Major
Dm is the two - ii minor
Em is the three - iii minor
F is the four - IV Major
G is the five - V Major
Am is the six - vi minor
B diminished is the seven - vii diminished

When you know every chord in the key of C, we can create a chord progression. Here are ten common progressions in the key of C:

I - V
C - G
I - vi - ii - V
C - Am - Dm - G
I - IV
C - F
I - vi - IV - V
C - Am - F - G
I - vi
C - Am
I - vi - ii - vii
C - Am - Dm - Bdim
I - IV - V
C - F - G
I - vi - IV - vii
C - Am - F - B dim
I - ii - V
C - Dm - G
I - vi - V
C - Am - G

Songs which use a simple chord progression (some are above):

1. (I - IV - V) 'La Bamba' - Richie Valens
2. (I - IV) 'You Can't Always Get' - Rolling Stones
3. (IV - V - I) 'Mr. Tambourine Man' - Bob Dylan

My friends over at HearandPlay have posted great information on their blog regarding common chord progressions:

http://www.hearandplay.com/main/learn-these-most-common-chord-progression-types-and-never-get-stuck-again


Stray411 has shared a great video for us on how to build chord progressions using minor chord progressions for an example.

http://www.youtube.com/watch?v=gs2Yb3whXDA





Then there are great ear training and fun, free games about learning chord progressions!

http://www.hry.in/Music_Flash_hry_games/20080418/3034.html


Plus, you can print out this great newsletter from Jermaine Griggs on Gospel Chord Progressions.

http://www.hearandplay.com/piano-chords-piano-chord-progressions/gospel-bass-runs.html


So, chord progressions are definitely related to the scale!








Jazz Piano Chords- Rootless Voicings

You can develop your skills in learning how to play piano without having to use a bass line. This is true, especially if you're playing the keys with a bass player in the band. You certainly do not want a battle going on between the keyboard bass line and the electric bass line.

Have you ever heard a musician use the term "Pocket"? A good "pocket" is achieved when the rhythm is playing together and establishing a groove that is soothing. Each musician is functioning in their roll in a tasteful non-abrasive manner and not competing and playing over each other.

So how do you develop this skill? You have to gain an understanding of left hand chord voicings. These are chords played in the left hand that are rootless. The term "rootless" means that there is no bass note in the chord. Playing this type of chord voicing will allow the bass player to play the bass notes and free the keyboard player to improvise or create more intricate harmony with the right hand.

Contemporary musicians usually play these chords using sevenths, ninths, elevenths, and thirteenth chords. All the chords for the right hand can be played with the left hand. Here is a diatonic chord exercise. For example, in the key of C major there at eight diatonics derived from the C major scale.

C maj7= C/B E G

D min7= D/C F A

E min7= E/D G B

F maj7= F/E A C

G add2= G/G A B D

A min7= A/G C E

G/B= B/G B D

C= C/G C E


Notice that each chord is spelled out with the root. When you practice these chords only play the right hand portion. For example when you play the Cmaj7, only play B E and G. The C is played by the bass player. These chords will also serve as substitutions for your major and minor triads. If you normally play a Dm chord, play a Dm7. The 2-5-1's in both major and minor keys should also be practiced in the left hand.

Jazz piano chords played as rootless chord voicings give that open, airy sound that I love. For further study of rootless voicings visit

http://www.jazzcenter.org







Martha Munizzi- At All Times


"Along with figures like Ron Kenoly, CeCe Winans, and Israel Houghton, Munizzi is pioneering cross-cultural worship music that not only connects with both black and white Christian congregations but also reaches the masses... A native of central Florida, Martha Munizzi was born into a Christian musical family. The daughter of evangelists, Martha and her twin sister Mary Alessi were born in Lakeland, Florida and grew up traveling and ministering through music with her family. She began performing at age 8, touring the country with her family in concerts and crusades around the United States and Canada."

http://en.wikipedia.org/wiki/Martha_Munizzi

Included in the songbook "Say The Name" by Martha Munizzi, are the songs:
* At All Times
* Because Of Who You Are
* Blessed Be The Lord
* Filled With Praise
* God Has A Way
* Holy Spirit Fill This Room
* It's Time To Dance
* Rejoice
* Say The Name
* Shout


Chords To At All Times

At All Times
Martha Munizzi
Key: E
Intro:
Em7 Em6 Am7/E Em
Em7 Em6 N/C
Verse 1:
E5
Em7
E5
A7sus F#7aug(b9) A/B
Chorus:
Em7
Em7
A7sus
F#7aug(b9) A/B
Bridge 1:
Em7 Em6 Am7/E
Em Em7 Em6 Em7
Bridge 2:
Em7
Em7
Em7
Em7
Ending:
A7sus
F#7aug(b9) A/B
A7sus
A/B Em7
You can change the key to this song here

http://www.pwarchive.com/song.aspx?SongID=2965&v=1

* Martha Munizzi Signs With Integrity Music
Martha Munizzi has signed a long-term marketing and distribution agreement with Integrity Music, announced Danny McGuffey, Integrity’s chief marketing officer. 2005

http://christianmusic.about.com/b/a/200505.htm?p=1

*Incredible God, Incredible Praise
The African American Lectionary

http://www.theafricanlectionary.org/PopupCulturalAid.asp?LRID=48

* At All Times Lyrics
At All Times
Martha Munizzi
Key: E
Intro:
Em7 Em6 Am7/E Em
(3x)
Em7 Em6 N/C
Verse 1:
E5
The Lord is my rock
Em7
My fortress my deliverer
E5
The Lord is my strength
A7sus F#7aug(b9) A/B
And salvation (repeat)
Chorus:
Em7
I will bless the Lord, I will bless the Lord
Em7
I will bless the Lord
A7sus
I will bless the Lord at all times
F#7aug(b9) A/B
At all times I will bless the Lord
Bridge 1:
Em7 Em6 Am7/E
I will I will I will I will I will
Em Em7 Em6 Em7
I will I will I will I will I will I will bless the Lord
Bridge 2:
Em7
I will bless the Lord,
Em7
I will bless the Lord
Em7
I will bless the Lord
Em7
I will bless the Lord
Ending:
A7sus
At all times at all times
F#7aug(b9) A/B
At all times at all times
A7sus
At all times (repeat as needed)
A/B Em7
I will bless the Lord
* What Does Em6 Chord Look Like?

http://www.chriscortez.net/articles14.html

* What does F#7aug(b9) Look Like?

http://forum.saxontheweb.net/showthread.php?t=72873

* Power Chord- Wikipedia, the free encyclopedia
What Does E5 Chord Look Like?


http://en.wikipedia.org/wiki/Power_chord


Say The Name - Worship Tracks By Martha Munizzi. Worship Tracks. Accompaniment CD. Published by Word Music. (080688695323)
See more info...
I love this song. I hope you enjoy playing At All Times by Martha Munizzi!
~ LadyD

http://LadyDpiano.com




Enhanced by Zemanta

Piano Voicing- What Does It Mean?

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. Why? 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 of course. 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. 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.

Have you heard of Quartal Voicings? A new field in harmony is to build chord structures in fourths (quartals). It produces a more open harmony and is a very practical resort for pianists. Left hand plays chord voicing in fourths. Do Quartal Voicings departing from 3. from 13, from 9, from 7
In the upper staff: Take notes of C scale in fourth intervals departing from B.
All are notes of extended C chord: 7, 3, 13, 9, 5, 1. Play in r.h.arpeggiated:
B-E-A-D-G-High C
B-E-A-D-G-High C
B-E-A-D-G-High C
B-E-A-D-G-High C

Practice these four voicings:

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

Have a great week ahead!
LadyD
Low C-E-A-D, Low C-A-D-G, Low C-D-G-C, Low C-B-E-A







Paul Simon- Bridge Over Troubled Waters

Where were you in 1969 and what were you listening to? How about Paul Simon's "Bridge Over Troubled Waters"? One might ask, "How old is Paul Simon?" Paul Simon is 67 years old as of October 13, 2008. He was born October 13, 1941.

http://wiki.answers.com/Q/How_old_is_Paul Simon

I have always loved this song, Like A Bridge Over Troubled Waters. It seems to have a very calming effect and offers hope. Well, I know that I'm not alone in this because many share the same opinion as me. In fact, countless of artists have recorded this very popular song from Elvis to Clay Aiken! Have a listen to orderandnumber play the song on piano with his good singing voice.

http://www.youtube.com/watch?v=pfvhVMBjX4U

* Words & Music by Paul Simon
Recorded by Simon & Garfunkel, 1969 (Song of the Year, 1969)
Intro: ||: A A9 D9 :||
D9 A A9 D9 A A9 D9
When you're weary, feelin' small,
G D A D
When tears are in your eyes,
A A9 D9 A E F#m E E7
I'll dry them all. I'm on your side.
E7 E7/6 E7 A AM7 A7
Oh, when times get rough
A6 D B7 E
And friends just can't be found,
E7/6 E7 D Cdim A F#m D E7 F#m
Like a bridge over troubled waters, I will lay me down,
E7/6 E7 D Cdim A F#m D E7 A A9 D9
Like a bridge over troubled waters, I will lay me down.
D9 A A9 D9 A A9 D9
When you're down and out, when you're on the street,
G D A D
When eve -nin' falls so hard
A A9 D9 A E F#m E E7
I will comfort you I'll take your part.
E7 E7/6 E7 A AM7 A7
Oh, when dark-ness falls
A6 D B7 E
And pain is all a-round,
E7/6 E7 D Cdim A F#m D E7 F#m
Like a bridge over troubled waters, I will lay me down,
E7/6 E7 D Cdim A F#m D E7 A A9 D9
Like a bridge over troubled waters, I will lay me down.
D9 A A9 D9 A A9 D9
Sail on, Silver Girl, sail on by;
G D A D
Your time has come to shine -
A A9 D9 A E F#m E E7
All your dreams are on their way . . . see how they shine?
E7 A AM7 A7
Oh, if you need a friend,
A6 D B7 E
I'm sailing right be-hind,
E7/6 E7 D Cdim A F#m D E7 F#m
Like a bridge over troubled waters, I will ease your mind;
A7 D Cdim A F#m D E7 F#m F#m7 B7
Like a bridge over troubled waters, I will ease your mind,
A D9 Cdim(IV) Cdim A
Your mind.

http://www.theguitarguy.com/bridgeov.htm

* Lyrics To Bridge Over Trouble Waters

http://english.baladre.org/sedaviwebfront/bridgewatersfull.htm

When you're weary(=tired) feelin' small
When tears are in your eyes I will dry them all.
I'm on your side Oh when times get rough (=get difficult)
And friends just can't be found.
Like a bridge over troubled(=moving) waters
I will lay me down. (=help you)
Like a bridge over troubled waters
I will lay me down.
When you're down and out (=impoverished) when you're on the street
When evening falls so hard I will comfort you.
I'll take your part, Oh when darkness comes
And pain is all around
Like a bridge over troubled waters
I will lay me down.
Like a bridge over troubled waters
I will lay me down.
Sail on children, sail on by
Your time has come to shine, all their dreams are on their way
See how they shine, Oh when you need a friend
I'm sailing right behind
Like a bridge over troubled waters
I will ease your mind
Like a bridge over troubled waters,
I will ease(=cure) your mind.
I'll ease your mind.
* Chords To Bridge Over Troubled Waters
|Eb |
When you're weary
Ab |Eb |
Feeling small
Ab Db Ab |Eb |Ab
When tears are in your eyes
|Eb Ab|Eb Ab|
I will dry them all
Eb Bb Cm |Bb |
I'm on your side
|Eb Eb/D|
Oh, when times get rough
Eb7 |Ab F |Bb
And friends just can't be found
Eb7 Eb9|Ab Adim|Eb/Bb C7 |
Like a bridge over troubled water
Ab G7 |Cm
I will lay me down
Eb7 Eb9|Ab Adim|Eb/Bb C7 |
Like a bridge over troubled water
Ab Bb Bb7|Eb |Ab |Eb |Ab |Eb |
I will lay me down
* Here's A Cool Document I Found
Bridge Over Troubled Water Chords by Simon and Garfunkel
Look inside this title
Bridge Over Troubled Water - sheet music at www.sheetmusicplus.com
Bridge Over Troubled Water By Simon And Garfunkel. Songbook for voice, piano and guitar chords. 47 pages. Published by Paul Simon. (MS.PS10172)
See more info...
Happy Piano Playing,
~ LadyD



Enhanced by Zemanta

I want To Be More Like You- Clint Brown

Biography: In the vein of Ron Kenoly, Tommy Walker, and Alvin Slaughter, Clint Brown belongs to a short list of worship leaders who have mixed CCM and contemporary gospel stylings in their corporate songs of praise.

http://music.aol.com/artist/clint-brown/biography/1295508


Influenced by: Israel Houghton

Genre: R & B

I love this sweet song, so powerful in it's simplicity and easy to play. And yes, to modulate to the next key is even more exhilarating! I'm talking about "I Want To Be More Like You" written by Clint Brown. Are you familiar with the song?


* I Want To Be More Like You Lyrics


http://www.mexicobeachcwc.com/IwanttobemorelikeYou.html


I want to be more like You.
I want to be more like You.
I want to be a vessel You work through.
I... want to be more like You.


* I want To Be More Like You Mp3 Sample


http://www.afsanctum.com/pages/sg202665


* Lyrics and Chords to I Want To Be More Like You


http://www.higherpraise.com/lyrics/awesome/awesome6968.html


I Want To Be More Like You by Clint Brown

F Am7 Bb Bb/C
I want to be more like You

F Am7 Bb Bb/C C/Bb
I want to be more like You

Am7 A D2sus Dm Dm/C
I want to be a vessel You work through

Gm7 F/A Bb Bb/C C F Bb/C
I want to be more like You


G Bm7 C C/D
I want to be more like You

G Bm7 C C/D D/C
I want to be more like You

Bm7 B E2sus Em Em/D
I want to be a vessel You work through

Am7 G/B C C/D D G C/D
I want to be more like You
Artist: Clint Brown
Copyright Credits: Written By: Clint Brown Copyright: © 1989 Integrity's Hosanna! Music

* Clint Brown has 16 Albums
Here's a few recent ones:

Fall Like Rain
Tribe
2/26/2008

Back 2 Brown
Tribe
4/03/2007

Praise Heard Around the World
Tribe
9/05/2006

Mercy & Grace
Tribe/Tribe Music Group
10/04/2005

Until next time,
~ LadyD






I Need You To Survive- Hezekiah Walker

I love this song so much... I Need You To Survive- Hezekiah Walker

* I Need You To Survive- Listen For Free

http://iLike.com/s/VBBP


* I Need You To Survive by Hezekiah Walker & The Love Fellowship Choir

http://iLike.com/s/4SYn


* Hezekiah Walker I Need You To Survive Lyrics

http://www.urbanlyrics.com/lyrics/hezekiahwalker/ineedyoutosurvive.html


I need you, you need me.
We're all a part of God's body.
Stand with me, agree with me.
We're all a part of God's body.
It is his will, that every need be supplied.
You are important to me, I need you to survive.
You are important to me, I need you to survive.
[x3]
I pray for you, You pray for me.
I love you, I need you to survive.
I won't harm you with words from my mouth.
I love you, I need you to survive.
[x8]
It is his will, that every need be supplied.
You are important to me, I need you to survive.

* Chords To I Need You To Survive Hezekiah Walker

I NEED YOU TO SURVIVE!


Hezekiah Walker - Db
Arr. By Hammondman!
LH/RH- Words (SINGLE NOTES)

Intro: (F_Bb_C)__ BbF / Bbm7___(Ab_Gb)_FC / EbAbDb__(Ab_Db_Db_Eb_F_Ab)

BGb / Ebm7___BbF / Bbm7__EbBb / FF#BbDb___(Ab_C)___AbEb / Bbm7__(C_Bb)

CAb / Ab___(Ab_Gb)___DbAb / Db___(Bb_Ab)___ EbBb / Eb___(F)___AbEb / Ab

DbAb / Db I NEED YOU
FC / Db YOU NEED ME
GbDb / Gb WERE ALL A-
AbEb / Gb PART OF
AEb / Aaug - GOD'S BOD
BbF / Bbm7 DY, STAND WITH ME
FC / Gb9 AGREE WITH
EbBb / FF#BbDb ME, WE'RE ALL A-
AbEb / Gb6 PART OF GOD'S BO
BbF / Bbm7 DY, IT IS
~~~~~~~~~~~~~~~~~~~~~~
Ebb / Ab HIS
FC / BbEbAb WILL, THAT
DbAb / BM7(b5) EVERY
EbBb / FF#BbDb NEED HE
EbBb / Ebm7 WILL
EbBb / FF#BbDb SUPPLY
EbBb / FF#BbDb YOU
EbBb / Gb6 ARE
FC / Ab - IM
BbF / Bbm7 PORTANT
BbF / AbDbGb TO ME, I
EbBb / FF#BbDb NEED YOU
AEb / Aaug TO
(F_Bb_C)__ BbF / Bbm7 SURVIVE___________(REPEAT, USE LAST OF INTRO TO LEAD IN)
HE DOES THE VERSE AGAIN, SAME MUSIC UNTIL KEY CHANGE

EbBb / Eb I PRAYED FOR
GD / FBbEb YOU, YOU PRAYED FOR
AbEb / Cm ME, I LOVE YOU I
BbF / Ab NEED YOU
BF / Bdim6 TO
CG / Cm7 - SURVIVE
EbBb / Eb - I WON'T HARM
GD / FbbEb - YOU, WITH WORDS FROM MY
DbAb / Fm7 MOUTH, I LOVE YOU, I
BbF / AbM7 NEED YOU TO SURVIVE

KEY CHANGE

FC / F I PRAYED FOR
AF / F9 YOU, YOU PRAYED FOR
BbF / Dm7 ME, I LOVE YOU I
CG / Bb6 NEED YOU
DbG / Bbdim6 TO
DA / Dm7 - SURVIVE
FC / F - I WON'T HARM
AF / F9 - YOU, WITH WORDS FROM MY
EbBb / Gm7 - MOUTH, I LOVE YOU, I
CF / Bb6 NEED YOU TO SURVIVE
"NO MUSIC" THE HITS ARE THE CHORDS THEN THE CHORUS AND ALL THAT BACK TO THE INITIAL
VERSE AND END!
NEED YOU TO
FC / F SURVIVE____(A_G)___GD / (B_D_A)____GDbF / Gdim7___FC / F__(END)

http://www.learngospelmusic.com/forums/index.php?yopic=7701.0


* ddw4e Spells Out The Chords

C#Ab / FAbC# I NEED YOU
FC / FAbC# YOU NEED ME
F#C# / F#BbC# WERE ALL A-
AbEb / F#BbC# PART OF
AEb / AC#F - GOD'S BOD
BbF / BbC#FAb DY, STAND WITH ME
FC / F#AbBbC# AGREE WITH
EbBb / FF#BbC# ME, WE'RE ALL A-
AbEb / BbC#EbF# PART OF GOD'S BO
BbF / BbC#FAb DY, IT IS
~~~~~~~~~~~~~~~~~~~~~~
EbBb / AbCEb HIS
FC / BbEbAb WILL, THAT
C#Ab / BEbFBb EVERY
EbBb / FF#BbC# NEED HE
EbBb / EbF#BbC# WILL
EbBb / FF#BbC# SUPPLY
EbBb / FF#BbC# YOU
EbBb / BbC#EbF# ARE
FC / AbCEb - IM
BbF / BbC#FAb PORTANT
BbF / AbC#F# TO ME, I
EbBb / FF#BbC# NEED YOU
AEb / AC#F TO
(F_Bb_C)__ BbF / BbC#FAb SURVIVE___________(REPEAT, USE LAST OF INTRO TO LEAD IN)
HE DOES THE VERSE AGAIN, SAME MUSIC UNTIL KEY CHANGE
EbBb / EbGBb I PRAYED FOR
GD / FBbEb YOU, YOU PRAYED FOR
AbEb / CEbG ME, I LOVE YOU I
BbF / AbCEb NEED YOU
BF / BDFAb TO
CG / CEbGBb - SURVIVE
EbBb / EbGBb - I WON'T HARM
GD / FbbEb - YOU, WITH WORDS FROM MY
C#Ab / FAbCEb MOUTH, I LOVE YOU, I
BbF / AbCEbG NEED YOU TO SURVIVE
KEY CHANGE
FC / FAC I PRAYED FOR
AF / FGAC YOU, YOU PRAYED FOR
BbF / DFAC ME, I LOVE YOU I
CG / BbDFG NEED YOU
C#G / BbC#EG TO
DA / DFAC - SURVIVE
FC / FAC - I WON'T HARM
AF / FGAC - YOU, WITH WORDS FROM MY
EbBb / GBbDF - MOUTH, I LOVE YOU, I
CF / BbDFG NEED YOU TO SURVIVE
"NO MUSIC" THE HITS ARE THE CHORDS THEN THE CHORUS AND ALL THAT BACK TO THE INITIAL VERSE AND END!
NEED YOU TO
FC / F SURVIVE____(A_G)___GD / (B_D_A)____GC#F / GBbC#E___FC / F__(END)

* Listen To firetracks play I Need You To Survive on Keyboard
Great view of chords and easy to listen to


http://www.youtube.com/watch?v=SJK2YZcQQ5k


* Juanita Bynum sings a song made famous by Hezekiah Walker

http://www.youtube.com/watch?v=LBp5J2qsm


Have a great week ahead!
~ LadyD






Allen Toussaint- Sweet Touch of Love



"In its 4-star review, the Los Angeles Daily News calls this CD, created in the wake of the disaster of Hurricane Katrina, the fruits of a songwriting partnership made in R&B heaven. Our matching songbook contains all 13 tracks: Ascension Day · Broken Promise Land · International Echo · Nearer to You · On Your Way Down · The River in Reverse · Who's Gonna Help Brother Get Further? · and more."

http://www.stagepass.com/allproduct/item_detail.hperl?Invnum=30689


George Varga, Pop Music Critic, wrote a great article (Big) Easy on the ear
LOS ANGELES — This feels like history,” Allen Toussaint said last month, just before receiving his Lifetime Achievement Grammy Award at an invitation-only ceremony.


"The New Orleans rock, funk and R&B legend was referring to his fellow Lifetime Achievement Award recipients. They included Motown vocal greats The Four Tops, jazz piano icon Hanks Jones, 100-year-old classical music composer Elliot Carter and singer Brenda Lee, along with posthumous honorees Gene Autry, Dean Martin and electric guitar innovator Clarence “Leo” Fender." For more read on Allen Toussaint


http://www3.signonsandiego.com/stories/2009/mar/05/lzlw04gvargal82650-easy-ear/?zIndex=62038


Allen Toussaint's happy music just makes me feel so good!
His song, Sweet Touch Of Love, set to a cool slide show can be found here

http://www.youtube.com/watch?v=GZmkMp7


Sweet Touch Of Love Chords

http://www.ultimate-guitar.com/tabs/a/allen_toussaint/sweet_touch_of_love_crd.htm


One of the most influential figures in New Orleans R&B, many of Toussaint's songs have become familiar through their numerous cover versions, including "Working in the Coalmine", "Ride Your Pony", "Brickyard Blues", "Get Out My Life Woman", "Southern Nights" and "Everything I Do Gonna Be Funky".



Southern Nights
Working in the Coal Mine
Get Out of My Life
Java
Nearer To You
Get Your Way
Piano chords available here


http://www.freehandmusic.com/Search.aspx?All=Allen=Toussant


"Producer, songwriter, arranger, session pianist, solo artist Allen Toussaint has worn all these hats over the course of his lengthy and prolific career, and his behindthescenes work alone would have been enough to make him a legend of New Orleans RB. Thanks to his work with numerous other artists, Toussaint bore an enormous amount of responsibility for the sound of RB"

http://shopping.yahoo.com/p:Music%20of%Ennio%20Morricone:1921140919


Elvis Costello and Allen Toussaint - The River in Reverse






Look inside this title
Elvis Costello and Allen Toussaint - The River in Reverse - sheet music at www.sheetmusicplus.com
Elvis Costello and Allen Toussaint - The River in Reverse By Allen Toussaint, Elvis Costello. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. 90 pages. Published by Hal Leonard. (306839)
See more info...


Allen turned 71 in January! He's 10 years older than me! lol He sure doesn't look it! His music compliments approaches to the New Orleans music traditions that helped shape rock 'n' roll and pop. Do you have some favorites? Mine are Working In The Coal Mine and Southern Lights.

Until next time,
LadyD



http://LadyDpiano.com


P.S. He's playing in San Diego tomorrow!

DETAILS

“The Keys to New Orleans,” with Allen Toussaint, Henry Butler and Jon Cleary

When: Tomorrow, 7:30 p.m.

Where: Birch North Park Theatre, 2891 University Ave., North Park

Tickets: $38-$51

Phone: (619) 239-8836

Online: birchnorthparktheatre.net






How To Form Left Chord Inversions On Piano

How to Do a Left Chord Inversion on the Piano

Summary: Chord Inversions are helpful when playing the piano so that you have more options for playing. Here is how you would play a chord inversion with your Left Hand.

* Start with a C chord. The notes for a C chord are C, E, G. This is also called the root. A C chord will always be C, E, G no matter how you rearrange it. Just like 1 + 2 + 3 = 6, no matter how you rearrange the numbers. Play the C, E, G with your #5 finger, #3 finger and #1 finger.

* To play the 2nd inversion of the chord you need to rearrange the 3 notes. For the 2nd inversion, the notes will be in this order, E, G, C. Use your #5 finger, #3 finger and # 1 finger.

* The 3rd inversion is the same notes rearranged again, G, C, E. There is just a little change in the finger numbers, though. Use #5, #2 and #1.

* This same format is used for every chord. Have your fingers use the same pattern for all the chord inversions.

* How to Put Together Chord Inversions

For jazz, rock, guitar, piano and everything that involves playing or writing music, chord inversions are a must to know. They give you the ability to create a better flow to the song and to make it easier to get from one chord to the other.

The basic concept to keep in mind with chord inversions is that you are simply taking the notes from the regular stack of notes and moving them to a different place on the guitar, piano or staff.

* Practice playing the major chords in different inversions. Inversions of a chord use the same notes, but place a different note in the bass. For example, a C major chord is C, E, G. The first inversion of the C-major chord is E, G, C. The second inversion is G, C, E.[1]

PIANO CHORD FINGERING for the LEFT HAND:
The same principle as the right hand, just reversed.

BASIC IDEA FOR CHORD FINGERING for the LEFT HAND:

Chords are every other note so use every other finger. 5-3-1

Using C chord inversions for examples: It's all about spacing.

FIRST INVERSION C CHORD = E - G - C Use 5-3-1

1. E TO G = 3 note interval E - F - G, smallest grouping of notes
2. G TO C = 4 note interval G - A - B - C, largest grouping of notes


FIRST INVERSION CHORDS SHOULD USE FINGERING 5-3-1.
This is very easy fingering in the left hand, because when playing
G and C, we can use the widest range in our hand the 3 to the thumb.


SECOND INVERSION C CHORD = G - C - E Use 5-2-1
1. G to C = 4 note interval, G - A - B - C largest grouping of notes,
2. C TO E =3 note interval, C - D - E smallest grouping of notes

SECOND INVERSION CHORDS SHOULD USE FINGERING 5-2-1
WHY? G to C is the largest grouping of notes, so we have to
accommodate that with using the 2 finger on C, adding more
space between our fingers.


Remember, the basic principles of fingering is to use your fingers and hand
in natural positions. Always think of how the black keys are used in your
songs, and how to use the tight and open hand spans. I hope you get the idea of
chord fingerings to help you play left hand chord inversions.

All the best,
LadyD






More than I Can Bear- Kirk Franklin



FROM KIRK FRANKLIN'S NU NATION won the 1998 Grammy Award for Best Gospel Album By A Choir Or Chorus. "Stomp" was nominated for 1998 Grammy Awards for Best R&B Performance ... I love this song, it speaks to me. Listen to the words. Listen to the choir. Just listen to the music and be encouraged today!

*More than I Can Bear

From the God's Property Album a song by Kirk Franklin.



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


* More Than I Can Bear Mp3

http://www.imeem.com/people/aktYTX/music/hLO1Ua-E/kirk-franklin-more-than-i-can-bear


* Lyrics to More Than I Can Bear
I've gone through the fire
And I've been through the flood
I've been broken into pieces
Seen lightnin' flashin' from above
But through it all I remember
That He loves me
And He cares
And He'll never put more on me
Than I can bear

I said
Never put more on me
No no
Never put more on me
Unh unh
Never put more on me
Never
His word said He won't
I believe it
I recieve it
I claim it
It's mine
No he'll never
Put more on me
Than I can bear
Can bear

http://apps.facebook.com/lyricsdomain/artist/kirk_franklin/song/more_than_i_can_bear


* Chords to More Than I Can Bear
LH/RH

B/G-I've
C/C-gone through the fire
B/G-and I've
C/C-been through the flood,
C/C-I've been
F/Fmaj7-broken
E/E7(#5#9) "G#CDG"-into
A/Am7-pieces, seen lightnin'
F/Fmaj9-flashin'
G/Fm6 "DAbC"-from a_
C/C-bove,
CBb/EA-But
F/Dm-through it all I re_
E/Eaug "G#CE"-member that He
A/Am7-loves me
G/C-and He
F#/Am-cares,
D/Fm
F/Fm-and He'll
G/C-never
E/E7(b5) "EG#A#D"-put more
F/Fmaj9-on me
D/Fm-than
G/C-I can
C/C-bear
REPEAT FOR SECOND VERSE
------------------------
D/Fm
F/Fm-No, He'll
G/C-never
E/E7(b5)-put more
F/Fmaj9-on me, I said,
G/Gm7-never
Gb/Gb7(b5) "EGbBC"-put more
F/Fmaj9-on me,
D/Fm
F/Fm-uh, uh
G/C-never
E/E7(b5)-put more
F/Fmaj9-on me.
D/Fm
F/Fm
G/C-Never,
G/Fmaj7-Never,
G/G-"filler"
A/Am7-Never,
D/Fm(#7) "FAbCE"-Never,
D/Fm
F/Fm-His
G/C-Word said He won't, I be_
G/Fmaj7-lieve it,
E/E7(#5#9)-I re_
A/Am7-ceive it,
G/C-I
F#/Am-claim it,
D/Fm
--------------------
F/Fm-it's
G/C-mine, it's
G/Fmaj7-mine,
E/E7(#5#9)-it's
A/Am7-mine, it's
D/Fm-mine
REPEAT IT'S MINE PART
--------------------
F/Fm-No, He'll
G/C-never
E/E7(b5)-put more
F/Fmaj9-on me
D/Fm
F/Fm-than
G/C-I can bear_______
------------------
A/Am7-______________
B/G-____________
C/Gm7-_______________
C/C7-_____________
F/Fmaj9-____________
F/F6 "FACD"-___________
G/F-_________
G/G-Can bear___________
REPEAT CAN BEAR__________
-----------------------
NICE VARIATION TO CAN BEAR
A/Am7 "EGCE"
B/G "DGD"
C/Bbmaj7 "ABbDF"
Gb/Gb7(b5) "EBCE"
F/Fmaj9 "EGCE"
F/F6 "DFAD"
G/G "DGBD"
----------------------
FOR THE LAST CAN BEAR...
G/DGBD-Can
C/EGCE-Bear_______________

* Revealed Silence Mime performing during MCHS Chorus Annual Concert

http://www.youtube.com/watch?v=t70H9IgfLXk




Thanks for stopping by and taking the time to read my blog.
~ LadyD







Related Posts Plugin for WordPress, Blogger...

© copyright 2008-2016 – All rights reserved

LadyD Piano
Related Posts with Thumbnails