Progressions Used in Souled Out by Hezekiah Walker

Image by Getty Images via Daylife

Next to Total Praise, there's another frequently requested song and that is "Souled Out" by Hezekiah Walker. I posted video tutorials awhile back from some great Gospel musicians and you can find more information at:

http://ladydpiano.blogspot.com/2009/05/souled-out-by-hezekiah-walker.html

I wanted to take the time to share with you about another special musician of gospel music and a great teacher, Greg Hannon. You can reach him at greghannon@giftedplayer.com You will receive weekly lessons from him so you will want to sign up... especially if you love gospel music, play for your church or just want to learn how to play popular songs. Greg also sells music resources and has an affiliate program if you're interested. You can visit his website at:

http://www.giftedplayer.com

Here is a sample of what I'm talking about:

GiftedPlayer Weekly Lesson
Progressions Used In Souled Out - Part 1
Hezekiah Walker & LFC - Souled Out

Another great commonly used progression in gospel music:

Intro & Main Theme

1) 3 = F2/A

2) 4 = Bb

3) b7 = Eb

4) 6 = Bb/D

5) 1 = Bb/F

6) 1 = F

GiftedPlayer Weekly Lesson
Progressions Used In Souled Out - Part 2
Hezekiah Walker & LFC - Souled Out

Slow this progression down and use it for worship chords.

Intro

1) b7 = Ebmaj9

2) 6 = Bb2/D
3) 3 = F2/A

* Part 3

Vamp

1) F

2) Eb/F

3) Bb/F

4 F

For keyboard tips, tricks and more, visit the Gifted Player!

Here's what Candace Walker says in her article about Hezekiah Walker:

http://www.bellaonline.com/articles/art59688.asp

After Hezekiah Walker put out the double disc CD “The Essential Hezekiah Walker” I thought…well this is the last Hezekiah Walker CD I will need. It has all the hits on it including my favorite “I Need You to Survive” but I was wrong…way wrong! Long considered one of the greatest when it comes to gospel choir music, Walker and the Love Fellowship Choir have put out another project that will become a staple for choirs for decades to come. Opening with the high tempo, horn infused and bass driven title track “Souled Out!” Walker and LFC give us that signature big choir track that we have all come to know and love from the group. Next they move to “Keep Moving On” where the finger snapping groove usher this track to an easy sing along state. Produced by the incomparable Donald Lawrence, Souled Out offers the trademark Lawrence qualities of good ensemble music that features heart capturing lyrics. Another song of notice is the Ricardo Sanchez “Moving Forward” which speaks of leaving the past behind and moving forward in Christ. Lastly the strong ballad “God Favored Me” ends with the power vocals of Marvin Sapp and the crystal tenor of DJ Rogers and drives home the point that in spite of our problems we have the Favor of God upon us. Listen to Hezekiah Walker’s cd at www.myspace.com/hezekiahwalkerlfc"

My favorite review by Gerard Bonner of GospelFlava.com can be found at:

http://www.gospelflava.com/reviews/hezekiahwalkersouledout.html

"Since 1985, the gospel choir scene has had an indelible imprint on it with roots tracing back to Brooklyn, New York. During that time, a young man named Hezekiah Walker made serious moves with his Love Fellowship Crusade Choir to infuse fiery East Coast grooves into choir music... Once again, Walker and LFC deliver another gem of a project. Showing comfort in both the familiar and new areas, Walker and LFC remain leaders within this genre and cement that with this effort. Souled Out is destined to be another sell out at local stores. It's another definitive add to your musical collection."

Souled Out

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How Great Is Our God: Chris Tomlin

Chris Tomlin via last.fm

I just got back from a wonderful vacation to San Francisco. The journey was fantastic, just to look out over our beautiful California coastline. Along the way, I stopped to visit Morro Bay. Immediately many worship songs came to my mind... here is one to share with you. Are you familiar with How Great Is Our God by Chris Tomlin?




* How Great is our God (Basic Chords)
Key of Db
arr. by sjonathan02

Ab How
Db / Ab Db F great is our God
Ab / Ab C Eb say with me how
Bb / Ab Db F great is our God
Ab / Ab C Eb all will see how
Gb / Gb Bb Db great, how
Ab / Ab C Eb great, is our
Db / Ab Db F God


The chords are basically the same for the next part:

You’re the name above all Names
You are worthy of all praise
And, my heart will say how great
Is our God

If you learn the chord progression, then you can play it in any key.

Gospel Guitar 101

The song is so simple yet what stays with me over and over is that the song is perfect in describing what I saw on my trip... God is great and I live in a beautiful place.



* Chord Chart in Key of C

CHORUS:
C G/B
How great is our God, sing with me,
Am7 G/B
How great is our God, all will see
F2 G C Csus C
How great, how great is our God.

VERSE 1:
C Am7
The splendor of a King, clothed in majesty,
F2
Let all the earth rejoice, all the earth rejoice.
C Am7
He wraps Himself in light, and darkness tries to hide
F2
And trembles at His voice, trembles at His voice.

VERSE 2:
C Am7
Age to age He stands, and time is in His hands,
F2
Beginning and the end, beginning at the end.
C Am7
The Godhead, three in one: Father, Spirit, Son,
F2
The Lion and the Lamb, the Lion and the Lamb.

BRIDGE:
C G/B
Name above all names,
Am7 G/B
Worthy of all praise,
F2
My heart will sing
G C Csus C
How great is our God.

* How Great is Our God: Key of F

* Tony Jones (Mr IDissectMusic) dissects the beautiful tune How Great is Our God by Chris Tomlin on the piano. He adds a lot of flavor to it and puts some true LIFE into it! Be Blessed!



Gospel Guitar 101

Intro:
F C/E Dm7 C Bb C F

Verse 1:
F Dm7
The splendor of a King, clothed in majesty
Bb C
Let all the earth rejoice, all the earth rejoice
F Dm7
He wraps Himself in light, and darkness tries to hide
Bb C
And trembles at His voice, trembles at His voice


Chorus:
F C/E
How great is our God, sing with me
Dm7 C
How great is our God, and all will see
Bb C F
How great, how great is our God


Verse 2 (same chord progression as verse 1):
Age to age He stands, and time is in His hands
Beginning and the End, Beginning and the End
The Godhead three in one, Father Spirit Son
The Lion and the Lamb, the Lion and the Lamb


CHORUS


Bridge (with backup chorus):
F C/E Dm7 C
Name above all names, worthy of all praise
Bb C F
My heart will sing, how great is our God!


CHORUS "x" times, end with little/no music



* Chord Chart in G:

VERSE:1
G Em
The splendor of a King, clothed in majesty
C
Let all the earth rejoice
D
All the earth rejoice


G Em
He wraps himself in Light, and darkness tries to hide
C
And trembles at His voice
D
Trembles at His voice

CHORUS:

G
How great is our God, sing with me
Em
How great is our God, and all will see
C D
How great, how great is our God

VERSE:2

Age to age He stands
And time is in His hands
Beginning and the end
Beginning and the end

The Godhead Three in One
Father Spirit Son
The Lion and the Lamb
The Lion and the Lamb

BRIDGE:

G
Name above all names
Em7
Worthy of all praise
C
My heart will sing
D
How great is our God

Gospel Guitar 101



It is good to be back home. Keep playing your music and thanks again for stopping by!
~ LadyD

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Learn the Circle of Fifths- Patterns

The Circle of Fifths, is a concept used by jazz musicians to practice playing ii, V, I chord patterns in all keys. It’s called the circle of fifths because you will come full circle back to where you started. The root moves down in fifths and up in fourths, or up in fourths and down in fifths around a circle. In the right hand you play the 3rd and 7th (or 6th) of the chord. The left hand plays the root or 1 chord tone. It’s best to play the left hand root an octave below the right hand 3, 7th voicing.. Also you can play the root(1) and the seventh(7th) in the left hand for a more fuller sound. The third and seventh determine the chord type. Whether it is major, minor, or dominate. This method allows the jazz musician to play a melody on top of the 3, and 7 or 7, and 3, in the right hand. Check out Jazz Open Voicings for Keyboards by Dick Grove for more information.

I get so many requests on the Circle of Fifths and I can understand why because it is like a musician's bible. Once you begin to see the importance of the circle, you'll be free to play and not locked in to sheet music. The circle is a very good way to learn your chords and scales... so here goes. Total reading time on this blog post 10 mins.

* CIRCLE OF 5THS

C7 introduces F
F7 introduces Bb
Bb introduces Eb
Eb introduces Ab
Ab introduces Db
Db aka C# introduces F#
F# introduces B
B introduces E
E introduces A
A introduces D
D introduces G
and G introduces C making a circle back to C

* In this lesson you learn how to play open position chords around the circle of fifths while improvising melody in the right hand.

http://www.quiescencemusic.com



* The circle of 5ths tells you how many sharps or flats are in each key. Moving clockwise (right), the notes move in 5ths. Moving counter-clockwise (left), the notes move in 4ths. I can't show you a circle, but I can put it in a form that illustrates this, u can try to draw it if you want to:

C = 0 sharps or flats (12 o'clock)
G = 1 sharp; F# (1 o'clock)
D = 2 sharps; F#, C# (2 o'clock)
A = 3 sharps; F#, C#, G# (3 o'clock)
E = 4 sharps; F#, C#, G#, D# (4 o'clock)
B/Cb = 5 sharps; F#, C#, G#, D#, A# (5 o'clock) / 7 flats; Bb, Eb, Ab, Db, Gb, Cb, Fb
F#/Gb = 6 sharps; F#, C#, G#, D#, A#, E# / 6 flats; Bb, Eb, Ab, Db, Gb, Cb (6 o'clock)
Db/C# = 5 flats; Bb, Eb, Ab, Db, Gb (7 o'clock) / 7 sharps; F#, C#, G#, D#, A#, E#, B#
Ab = 4 flats; Bb, Eb, Ab, Db (8 o'clock)
Eb = 3 flats; Bb, Eb, Ab (9 o'clock)
Bb = 2 flats; Bb, Eb (10 o'clock)
F = 1 flat; Bb (11 o'clock)

The keys C# and Cb aren't usually present in the circle (i just added them there), but there is a reason why. Notice that the circle starts with C, having no sharps or flats. Now, the key of C# has everything being sharped, and the Cb has everything being flatted. So, what you can do is make a separate circle for the sharps, and a separate circle for the flats, and it could go on forever. I'll show you a little of each:

Sharps Circle

C = 0 sharps (12 o'clock)
G = 1 sharp; F# (1 o'clock)
D = 2 sharps; F#, C# (2 o'clock)
A = 3 sharps; F#, C#, G# (3 o'clock)
E = 4 sharps; F#, C#, G#, D# (4 o'clock)
B = 5 sharps; F#, C#, G#, D#, A# (5 o'clock)
F#= 6 sharps; F#, C#, G#, D#, A#, E#

C# = 7 sharps / all sharps; F#, C#, G#, D#, A#, E#, B# (12 o'clock)
G = 1 double sharp; F## (1 o'clock)
D = 2 double sharps; F##, C## (2 o'clock)
A = 3 double sharps; F##, C##, G## (3 o'clock)
etc.

Flats Circle

C = 0 flats (12 o'clock)
F = 1 flat; Bb (11 o'clock)
Bb = 2 flats; Bb, Eb (10 o'clock)
Eb = 3 flats; Bb, Eb, Ab (9 o'clock)
Ab = 4 flats; Bb, Eb, Ab, Db (8 o'clock)
Db = 5 flats; Bb, Eb, Ab, Db, Gb (7 o'clock)
Gb = 6 flats; Bb, Eb, Ab, Db, Gb, Cb (6 o'clock)

C = 7 flats / all flats; (12 o'clock)
F = 1 double flat; Bbb (11 o'clock)
Bb = 2 double flats; Bbb, Ebb (10 o'clock)
Eb = 3 double flats; Bbb, Ebb, Abb (9 o'clock)
The circle of 5ths tells you how many sharps or flats are in each key. Moving clockwise (right), the notes move in 5ths. Moving counter-clockwise (left), the notes move in 4ths. I can't show you a circle, but I can put it in a form that illustrates this, u can try to draw it if you want to:

C = 0 sharps or flats (12 o'clock)
G = 1 sharp; F# (1 o'clock)
D = 2 sharps; F#, C# (2 o'clock)
A = 3 sharps; F#, C#, G# (3 o'clock)
E = 4 sharps; F#, C#, G#, D# (4 o'clock)
B/Cb = 5 sharps; F#, C#, G#, D#, A# (5 o'clock) / 7 flats; Bb, Eb, Ab, Db, Gb, Cb, Fb
F#/Gb = 6 sharps; F#, C#, G#, D#, A#, E# / 6 flats; Bb, Eb, Ab, Db, Gb, Cb (6 o'clock)
Db/C# = 5 flats; Bb, Eb, Ab, Db, Gb (7 o'clock) / 7 sharps; F#, C#, G#, D#, A#, E#, B#
Ab = 4 flats; Bb, Eb, Ab, Db (8 o'clock)
Eb = 3 flats; Bb, Eb, Ab (9 o'clock)
Bb = 2 flats; Bb, Eb (10 o'clock)
F = 1 flat; Bb (11 o'clock)

* musictheoryguy:
Once you have a circle of fifths you can use it to calculate how many sharps or flats are in a key signature. Watch this video to help you use your circle of fifths for the major keys.




The circle of 5ths is used to show how many sharps or flats are in each key. It is like a clock. You start at the top with C that has no sharps or flats. Then you move clockwise (to the right) to G, which has 1 sharp, then to D, which has 2 sharps, then to A, which has 3 sharps, then to E, which has 4 sharps, then to B, which has 5 shaprs, then to F#, which has 6 sharps, then to C#, which has 7 sharps. From there, you switch to flats with Cb, which has 7 flats, then to Gb, which has 6 flats, then to Db which has 5 flats, then to Ab, which has 4 flats, then to Eb, which has 3 flats, then to Bb, which has 2 flats, then to F, which has 1 flat, then you are back at C. Here is an illustration:

C = 0 sharps or flats
G = 1 sharp (F#)
D = 2 sharps (F#, C#)
A = 3 sharps (F#, C#, G#)
E = 4 sharps (F#, C#, G#, D#)
B = 5 sharps (F#, C#, G#, D#, A#)
F# = 6 sharps (F#, C#, G#, D#, A#, E#)
C# = 7 shaprs (F#, C#, G#, D#, A#, E#, B#)
(switch)
Cb = 7 flats (Bb, Eb, Ab, Db, Gb, Cb, Fb)
Gb = 6 flats (Bb, Eb, Ab, Db, Gb, Cb)
Db = 5 flats (Bb, Eb, Ab, Db, Gb)
Ab = 4 flats (Bb, Eb, Ab, Db)
Eb = 3 flats (Bb, Eb, Ab)
Bb = 2 flats (Bb, Eb)
F = 1 flat (Bb)
C = 0 sharps or flats

* The circle of 4ths is where your progressions come from. In other words, it has solely to do with bass/LH notes. To me, that is the only significance of it. Just take the circle of 5ths and read it backwards.

See what I mean by keys and note? Circle of 5ths is for keys and circle of 4ths is for notes.

To get chords, you use the bass notes to come up with chords. How? Well, you can start by taking a bass note and writing down all the possible chords that could go with that note, that are associated to the key you are in. I will be back later to better explain how to figure out chords and stuff.








Key: Signature LH=Root(1) RH= 3rd, 7th Pattern Chord

1: C: D F, C 2 Dmi7
G F, B 5 G7
C E, B 1 Cmaj7


2: F; b G Bb, F 2 Gmi7
C Bb, E 5 C7
F A, E 1 Fmaj7

3: Bb bb C, Eb, Bb 2 Cmi7
F, Eb, A 5 F7
Bb D A 1 Bbmaj7

4: Eb bbb F Ab, Eb 2 Fmi7
Bb Ab, D 5 Bb7
Eb G D 1 Ebmaj7

5: Ab bbbb Bb Db, Ab 2 Bbmi7
Eb Db G 5 Eb7
Ab C G 1 Abmaj7

6: Db bbbbb Eb Gb Db 2 Ebmi7
Ab Gb C 5 Ab7
Db F C 1 Dbmaj7

7. Gb bbbbbb Ab B Gb 2 Abmi7
Db B F 5 Db7
Gb Bb F 1 Gbmaj7

8. F# ###### G# B F# 2 G#mi7
C# B F 5 C#7
F# A# F 1 F#maj7

9. B ##### C# E B 2 C#mi7
F# E A# 5 F#7
B D# A# 1 Bmaj7

10. E #### F# A E 2 F#mi7
B A D# 5 B7
E G# D# 1 Emaj7



11. A ### B D A 2 Bmi7
E D G# 5 E7
A C# G# 1 Amaj7

12. D ## E G D 2 Emi7
A G C# 5 A7
D F# C# 1 Dmaj7

13. G # A C G 2 Ami7
D C F# 5 D7
G B F# 1 Gmaj7


14. C D F C 2 Dmi7
G F B 5 G7
C E B 1 Cmaj7







I'll be on vacation for awhile. I won't be gone long. Enjoy your summer and keep practicing! I'd love to hear from you. Stop by and let me know how things are going with your piano playing!

All the best,
~ LadyD

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How To Use Grace Notes

Image via Wikipedia

Are you familiar with grace notes, or crushed notes? Do you use them in your piano playing? Nothing gets your sound more soulful quicker than throwing in some grace notes. Grace notes are notes that a played very briefly and often very softly before the "main" note is played.

Grace notes sound good because they introduce an element of notes that do not fall into the scale you are using. It brings a bit more emotion to your sound -- sometimes playfulness, sometimes sadness.

Like everything else in music, it's not a matter of throwing in any old chromatic note. Let me give you three principles for using grace notes that I learned:

1) Blues Grace Notes - if you are working in the major scale (or in the minor scale as well, I suppose, though I haven't worked that out yet) identify your major scale, then identify the minor blues scale of that same key. Like this:

C major scale: C, D, E, F, G, A, B, C
C minor blues: C, Eb, F, Gb, G, Bb, C

Now, you don't have to pay in the minor blues scale per se (indeed, many major scale songs won't "allow" it), but you want to "borrow" notes from this second scale strategically.

You can apply this in your right hand soloing. Next time you're doing a run up the major scale, introduce some of the blues minor scale notes, very briefly, as grace notes.

Example. Instead of playing:

F, G, A, B

play

F, G, A, (Bb), B [Bb is your grace note]

You can also apply it to your chords. Instead of just playing

G - B - D [G major]

play

G - (Bb slide into) B - D

Practice doing it very lightly and subtly for a nice soul feel. But why does this work, besides the fact that you are borrowing from the blues scale? Well...

2) Minors into Majors - The basic idea is that just about any major chord can be made to sound soulful by sliding from its minor to its major in a split second. Works on piano, works even better on guitar.

Some examples:

C major = C, (Eb into) E, G
F major = F, (Ab into) A, C
G major = G, (Bb into) B, D

3) Tension and Release - Tension and Release is a major concept in writing lead parts. It is the process of building up a bit of tension via dissonance and then release that tension by creating consonance. In other words...

in the chord of C major (C-E-G) in your left hand with an F in your right hand
would be considered a dissonance, because although F falls into the C major scale, it is not part of the chord. However, slide that F up to G and now that G is consonant. Congratulations -- you've just created a tension and release.

Now, we can use this as another principle for grace noting. Instead of going straight into your intended note, touch on a dissonant, yet diatonic, note on the first beat then glide into your intended note. That should create a lovely bit of sweet emotion.


Some more applications of grace notes:

a) use it to create lovely 7th chords. Can't decide whether you want to use a bluesy dominant seventh or a jazzy major seventh? Use both! Crush the dominant into the major like this:

C-E-G-(Bb into) B

furthermore this relatively "open" voicing sounds pretty sophisticated, even "Burt Bacharach-ish."

b) create phat bass lines in a piano roll.

http://www.flipside.singingcrane.com/FL/index.php?topic=1725.0

c) relearn your major scales with blues grace notes thrown in to enhance your soloing.




* Related Posts:

http://ladydpiano.blogspot.com/2008_09_01_archive.html

* Urban Pro600

Beef up your playing drastically by adding these small
little grace notes, slides, and fill-ins to your chord
transitions. Jon utilizes this trick at least 80% of the
time and he spills the beans on exactly what to do to "own"
it.

http://ladydpiano.blogspot.com/2007/09/west-coast-urban-feel.html


http://www.hearandplay.com/441295/gkurban.html

Clip from GospelKeys Urban... How To Use Grace Notes

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Here I Am To Worship by Tim Hughes- Israel and New Breed and Hillsong

Today was a good day at the Biker Church. People love to worship. I enjoy hearing the sound of a Harley coming through the parking lot, right up to the church doors. Beautiful bikes today. And we had a great drummer and a very good bass player on the team playing a wonderful set of songs... yours truly on the keys! It was an awesome day!

Here I Am To Worship
by Israel and New Breed
arranged by quintinab
Key of E

Left Hand/Right Hand

Intro:

E
E/A
E/D
E/A

Verse:

E Light of the

E/B world, You stepped

E/D down into

E/A darkness

E Opened my

E/B eyes let me

E/D see

E/A ------

E Beauty that

E/B made

E/D heart

E/A adore You

E hope of a

E/B life spent with

A2 You

Chorus:
A/F#m Here

A/E I am

A/F#m to

E worship here I am to

D#/B bow down

G#/E say that You're my

A2 God You're

E lovely

D#/B worthy

G#/E wonderful to

A2 me

A/B -------

B/A ---------


B I'll never

G#/E know how much

A2 it cost

B my sin

G#/E upon

A2 that cross


B, C#, D#, E, F#, G#, A upon

A/E that cross

Repeat I'll never Know

D#/B to see myt sin

G#/E upon

A2 that

A/F#m, A/E cross

A/B --------

A/E ----------

A/B ----------


C#m9 Here I am to worship

Bm9 bow down

A/E Here I am to say

C/G You're my

F#m7(4) God

G#7(#5) altogether

C#m9 lovely

Bm9 worthy

A/E wonder

F#m7 me


G#7(#5) Here I am to

C#m9 worship

Bm9 bow down

A/E say that

F#m7 God

G#7 al

A#/G#sus to

B#/G# gether

C#m9 love----ly

Bm7 WOR---THY

A/E wonderful to

F#m7 ME


A/F#m Here

A/E I

A/F#m to

E worship

E/B You

E/D Hallelujah

E/A ---------

E worship

E/B You

E/D Are

E/A ---------

E worship

E/B You

E/D Hallelujah

E/A -------

G#/E2 worship

Bm9 You

C For who you are

C/D --------
Repeat last 2 til the end

D END

* * * * * * * * * * * * * *

Verse 1:
D Asus Em G
Light of the World you stepped down into darkness
D Asus G
Open my eyes let me see
D Asus Em G
Beauty that made this heart adore you
D Asus G
Hope of a life spent with you

Chorus:
D
Here I am to worship
A/C#
Here I am to bow down
D/F# G
Here I am to say that you're my God
D
You're altogether lovely
A/C#
Altogether worthy
D/F# G
Altogether wonderful to me

Verse 2:
D Asus Em G
King of all days oh so highly exalted
D Asus G
Glorious in heaven above
D Asus Em G
Humbly you came to the Earth you created
D Asus G
All for love's sake became poor

BRIDGE:
A/C# D/F# G
I'LL NEVER KNOW HOW MUCH IT COST
A/C# D/F# G
TO SEE MY SIN UPON THAT CROSS (repeat)


tag: (from recording)
D A Bm- G
CALL UPON THE LORD AND BE SAVED
D A Bm- G
CALL UPON THE LORD AND BE SAVED

Artist: Hillsong
Copyright Credits: Written By: Tim Hughes Copyright: © 2000 Thankyou Music

* * * * * * * * * * *

Verse 1
G Dsus Am
Light of the world, You stepped down into darkness
G Dsus C
Opened my eyes, let me see.
G Dsus Am
Beauty that made this heart adore You.
G Dsus C
Hope of a life spent with You.

Verse 2
G Dsus Am
King of all days, oh so highly exalted
G Dsus C
Glorious in heaven above.
G Dsus Am
Humbly You came to the earth You created
G Dsus C
All for love’s sake became poor.

CHORUS
G D
Here I am to worship, here I am to bow down,
G C
Here I am to say that You’re my God
You’re altogether lovely, altogether worthy,
Altogether wonderful to me.

BRIDGE
D G C D G C
I’ll never know how much it cost to see my sin upon that cross.

Artist: Tim Hughes

* * * * * * * * * * * * *

Capo 2

Verse 1
G D Am
Light of the world you stepped down into darkness
G D C2
Open my eyes let me see
G D Am
Beauty that made, this heart adore you
G D C2 - - - - - -
Hope of a Life spent with You


(Chorus)
G
Here I am to Worship
D
Here I am to Bow down
G C2
Here I am to Say that You're my God (Repeat 2x's)
G
Your all together Lovely
D
All together Worthy
G C2 - - - - - -
Your all together wonderful to me


Verse 2
G D Am
King of All Days oh so highly exalted
G D C2
Glorious in Heaven above
G D Am
Humbly you came to the Earth you created
G D C2 - - - - - -
All for Love's sake became poor



(Bridge)
D G C2
I'll never know, how much it'd cost (Repeat 3x's)
D G C2 (At End - C2 - - - - - -)
To see my sin upon that cross (Go back to Chorus 1x)

Artist: Heaven Bound
Copyright Credits: SonicFlood ©Copyrighted by Sonicflood: Justin Helms - Heaven Bound HBC.

* * * * * * * * * * * * *

I Do Worship You

Key Gb
L H / R H

Intro:

Gb/ Ab-Bb-Db-Gb
/ Bb
E / D#-F#-G#-B
F / Db-F-Ab-Db
(Repeat)

Gb/ Ab-Db-F I
Eb / Bb-Db-Gb do
Ab / Gb-Cb-Eb wor-
Db / Ab-Db-F ship
B / A-Cb-F-Ab
Bb / Ab-Db-F I
Eb / Bb-Db-Gb do
Ab / Bb-Cb-Eb wor-
Db / Ab-Db-F ship
F / A-Db-F-Ab
Bb / Ab-Db-F I
Eb / Bb-Db-Gb do
Ab / Bb-Cb-Eb wor-
Db / Ab-Db-F ship
G / Gb-Bb-Db you
(Repeat)

Ab / C-D-F-Bb For Your
C# / D#-E-G#-B, B goodness
E / D#-E-G#-B, B and Your
F# / D#-E-G#-B, B glory
A, Bb / D-G-B, Eb-A-C
F# / C#-F#-A# for
/ d#-G#-B the
B / D#-F#-A#-C# joy
/ D#-F#-A#-C# in-
/ D#-F#-A#-C# side
/ D#-F#-A#-C# Your
E / D-F#-G#-B-D story
C# / B-D#-F#
B / A-C#-F-Ab
Bb / F-b-Db I
Eb / Gb-Bb-Db do
Db / F-Ab-Db ship
Gb / Gb-Bb-Db You.
C, Db, E, D / A, Bb, Db, Cb, Ab
G / Bb
Gb, Eb, F / Db-Eb-Bb, Eb-Gb-Ab-C, Db-F-Ab-Db

Gb/ Ab-Db-F Oh
Eb / Bb-Db-Gb how
Ab / Gb-Cb-Eb excel-
Db / Ab-Db-F lent
B / A-Cb-F-Ab
Bb / Ab-Db-F is
Eb / Bb-Db-Gb Your
Ab / Bb-Cb-Eb pres-
Db / Ab-Db-F ence
F / A-Db-F-Ab
Bb / Ab-Db-F we
Eb / Bb-Db-Gb will
Ab / Bb-Cb-Eb bless
Db / Ab-Db-F your
G / Gb-Bb-Db name

Ab / C-D-F-Bb For Your
C# / D#-E-G#-B, B goodness
E / D#-E-G#-B, B and Your
F# / D#-E-G#-B, B glory
A, Bb / D-G-B, Eb-A-C
F# / C#-F#-A# for
/ D#-G#-B the
B / D#-F#-A#-C# joy
/ D#-F#-A#-C# in-
/ D#-F#-A#-C# side
/ D#-F#-A#-C# Your
E / D-F#-G#-B-D story
Eb / Bb-Db-F-Ab
Ab / C-D-F-Bb for
C# / D#-E-G#-B, B the
E / D#-E-G#-B, B peace You
F# / D#-E-G#-B, B gave to me
A, Bb / D-G-B, Eb-Ab-C
F / C#-F#-A# for
/ D#-G#-B the
B / D#-F#-A#-C#, C# day You
/ D#-F#-A#-C#, C# set me
Bb / G#-C#-D-F#
(no music) set me free
Ab / C-D-F-Bb For Your
C# / D#-E-G#-B, B goodness
E / D#-E-G#-B, B and Your
F# / D#-E-G#-B, B glory
A, Bb / D-G-B, Eb-A-C
F# / C#-F#-A# for
/ D#-G#-B the
B / D#-F#-A#-C# joy
/ D#-F#-A#-C# in-
/ D#-F#-A#-C# side
/ D#-F#-A#-C# Your
E / D-F#-G#-B-D story
C# / B-D#-F#
B / A-C#-F-Ab
Bb / F-b-Db I
Eb / Gb-Bb-Db do
Db / F-Ab-Db ship
B / A-C#-F-Ab
Bb / F-Ab-Db I
Eb / Gb-Bb-Db do
Ab / Eb-Gb-Cb wor-
Db / F-Ab-Db ship
F / A-Bb-Db-F-Ab
Bb / F-Ab-Db I
Eb / Gb-Bb-Db do
Ab / Eb-Gb-Cb wor-
F / F-Ab-Db ship
B / A-C#-F-Ab
Bb / F-Ab-Db I
Eb / Gb-Bb-Db do
Ab / Eb-Gb-Cb wor-
Db / F-Ab-Db ship
C / D-D (hit 5x)

Key Change G

B / D-F#-A-D I
E / D-G-B-D do
A / C-E-G-C wor-
D / D-F#-A-D ship
C / Bb-D-F#-A
B / D-F#-A-D I
E / D-G-B-D do
A / C-E-G-C wor-
D / D-F#-A-D ship
F / Bb-D-F#-A
B / D-F#-A-D I
E / D-G-B-D do
A / C-E-G-C wor-
D / D-F#-A-D ship
C# / B-E-C
C / D-G-B-D you
C / A-B-D-E-G (hit 2x)
C#, D /
B/ A-D-G
B / A-B-Eb-G (hit 2x)
E, B / G-A-D-F#
F# / D-A
A / C#-F#-B-D#, E
D, A / F-G-C-E
F, D / A-C-E-G
G, D, G / D-C#-E-A
/ D-G-B, E-A-C For Your
C / E-G-B-D, E-G-B-D goodness
C / A-B-D-E-G (hit 2x)
G, F / D-G-B, E-A-C and Your
E / G-B-D, G-B-D glory
/ G-B-D-F
A / G-B-C#-F#, D#-F#
D, F, A / A-C-E-G
/ A-C-E-G
D / F-A-C
G, G, G / E-G#-B
G / D-G-B, E-A-C For Your
C / E-G-B-D, E-G-B-D goodness
C / A-B-D-E-G (hit 2x)
C#, D /
B / A-D-G
B / A-D-Eb-G (hit 2x)
/ D-G-B and
B / E-A-C Your
E / G-B-D, G-B-D glory
E / halle-
/ G-B-D-F# lu
A, A, A, A / G-B-C#-F# hallelu, halle-
A, A, A / D# lu-
A / D#-F# jah
D, D, D, D / A-C-E-G
D, D, D / F-A-C-E
D / A-C-E-G
G, G, G, G / A-B-E-G
Ab / Db-Bb-F, Ab
Ab / Eb-Ab-C He’s
Ab / F-Bb-Db so

Key Change Ab

Db / F-Ab-C-Eb, F-Ab-C-Eb faithful
Ab / C-F-Ab
C, C, Bb / Bb-C-Eb-Ab
Ab / Bb-C-Eb-Ab
G / Bb-Db-F-Bb
F / F-Bb-Db-F
/ Eb-Ab-C-Eb, D-G-Bb
C / D-G-Bb-Db
/ Eb-Ab-C, F-Bb-Db He’s so
F / Eb-Ab-C-Eb, Eb-Ab-C-Eb faithful
F / F-Ab-C-Eb-G
Bb / Ab-C-D-G
Bb / E, E-G
Eb, Bb, Gb / Bb-Db-F-Ab
/ Bb-Db-F-Ab
Eb / Gb-Bb-Db
Ab, Ab, Ab / F-A-C
Ab / Eb-Ab-C, F-Bb-Db He’s so
Db / F-Ab-C-Eb, F-Ab-C-Eb faithful
Db / C-F-Ab
C, C, Bb / Bb-C-Eb-Ab
Ab / Bb-C-Eb-Ab
G / Bb-Db-F-Bb
F / F-Bb-Db-F
/ Eb-Ab-C-Eb, D-G-B-D
C, Eb / Eb-Ab-C
E / E-Ab
/ Eb-Ab-C, F-Bb-Db He’s so
F / Eb-Ab-C-Eb, Eb-Ab-C-Eb faithful, yes He
F / Ab-C-Eb-G is
Bb, Bb, Bb, Bb / Ab-C-D-G yes He is, yes
Bb, Bb, Bb / E He is
Bb / E-G yes
Eb, Eb, Eb, Eb / Bb-Db-Ab-C
Eb, Eb, Eb / Gb-Bb-Db-F
Eb / Bb-Db-F-Ab
Ab, Ab, Ab, Ab / Bb-C-F-Ab
A, A / B-D-F#-A
A, A / E-A-C#, F#-B-D Lord, I

Key Change A

D / F#-A-C#-E, F#-A-C#-E love You
A / D-C#-E-A
D / D-C#-E-A
/ C#-C#
G# / B-D-F#-G#
F# / F#-G#-D-F#
/ E-A-C#-E / D#-G#-B-D#
C# / D-G-B-D
/ E-A-C#, F#-B-D Lord I
F# / E-A-C#-E, E-A-C#-E love You
F# / A-C#-E-G#
B / A-C#-D#-G#
B / E#, E#-G#
E, B, G / B-D-F#-A
/ B-D-F#-A
E / G-B-D
A, A, A / F#-A#-C#
A / E-A-C#, F#-B-D Lord I
D / F#-A-C#-E, F#-A-C#-E love You
D / D-C#-E-F#-A (hit 2x)
/ A
C# / B-E-A
C# / E-A-D
C# / E-A-C#
E# / E-A
/ E-A-C#, F#-G#-B Lord I
D / F#-A-C#-E, F#-A-C#-E love You!

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Learn How To Play: It's Rainin' -Kirk Franklin and Great Is Your Mercy

Image via Wikipedia

This video is amazingly cute and this old song of Kirk Franklin is awesome with great powerful voices... enjoy! Actually it's not really rainin' here in beautiful sunny California but you get the idea...

Kirk Franklin- God's Property, Track #3




* Chord Chart to It's Rainin

It’s Rainin’ (Send It On Down)
By: Kirk Franklin
Posted by: Val215

Key Bb
L H / R H

Intro:

Bb / F-Ab-Db, Eb-G-C
G / Db-F-Bb, Eb-G-C
Ab, Ab / Db-F-Bb
Bb / F-Ab-Db, Eb-G-C
G / Db-F-Bb, Eb-G-C
Ab, Ab / Db-F-Bb
Bb / F-Ab-Db, Eb-G-C
G / Db-F-Bb, Eb-G-C
Ab, Ab / Db-F-Bb
Bb / F-Ab-Db, Eb-G-C
G / Db-F-Bb, Eb-G-C
Ab, Ab / Db-F-Bb
(Repeat)

Bb / F-Bb-D
C / G-C-Eb
D / Ab-D-F
Eb / Bb-Db-G
E / Bb-Db-G
F / Ab-D-F
Ab / Bb-D-F
G / G-C-Eb
F / F-Bb-D
Bb / F-Bb-D
C / G-C-Eb
D / Ab-D-F
Eb / Bb-Db-G
E / Bb-Db-G
F / Ab-D-F
Ab / Bb-D-F
G / G-C-Eb
F / F-Bb-D
(Repeat)

Chorus:

Bb / F-Bb-D Send it
C / G-C-Eb on
D / Ab-D-F down
Eb / Bb-Db-G send it
E / Bb-Db-G on
F / Ab-D-F down
Ab / Bb-D-F send Your
G / G-C-Eb rain
F / F-Bb-D down
(Repeat 4x)

Verse:

Bb, Bb / F-Bb-D We
/ Bb-D-G need to
G / Bb-D-G feel
F / Ab-C-F some holy
Bb / C#, F drops
Bb / D-Bb from You
G / G-Bb-Eb Send
/ G-Bb-Eb it
/ G-Bb-Eb on
F / F-Bb-D down
Bb / Lord
/ Bb-D-g we are
G / Bb-D-G will-
F / Ab-C-F ing to go
F / F through and
G / G through
Ab / Ab send it on
A / A down

Bb, Bb / F-Bb-D Shower
/ Bb-D-G down a
G / Bb-D-G bless-
F / Ab-C-F in’ on Your
Bb / C#, F peo-
Bb / D-Bb ple
G / G-Bb-Eb Send
/ G-Bb-Eb it
/ G-Bb-Eb on
F / F-Bb-D down
Bb / Lord
/ Bb-D-G we
G / bb-D-G need
F, F / Ab-C-F You to
Bb, Bb / Bb shower
D / D down
F / your
Eb, Eb / Eb blessings
G, Bb / G, Bb on us
(Repeat)

Bridge:

D, D, D, D / F#-C-F
G, G, A, A, Bb, Bb, D / Bb-D-F-A We’re waiting here for a
D, C / Bb-D-F-A bless-
C, D, D / Bb-D-E-G ing
Eb, Eb, E / let it
/ Bb-Eb-F fall
F, F, A /
A / Bb-D-F down
Bb, Bb, G /
G / A-C-F on
A, A, Eb /
Eb / F#-C-F me
D, D, F#, F# /

G, G, A, A, Bb, Bb, D / Bb-D-F-A We need to feel Your
D, C / Bb-D-F-A anoint-
C, D, D / Bb-D-E-G ing
Eb, Eb, E / let it
/ Bb-Eb-F fall
F, F, A /
A / Bb-D-F down
Bb, Bb, G /
G / A-C-F on
A, A, Eb /
Eb / F#-C-F me
D, D, F#, F#

G, G, A, A, Bb, Bb, D / Bb-D-F-A We’re waiting here for a
D, C / Bb-D-F-A bless-
C, D, D, Eb / Bb-D-E-G ing
Eb, E, E let it fall
F / A-C-F
down
Bb / Bb-D-F
on
A / C-Eb-G
me
D, D / F#-C-F

G, G, A, A, Bb, Bb, D / Bb-D-F-A We need to feel Your a-
D, C / Bb-D-F-A noint-
C, D, D, Eb / Bb-D-E-G ing
Eb, E, E let it fall
F / A-C-F
fresh
Bb / Bb-D-F
on
A / C-Eb-G
me
D / C-F-Bb
D /

Vamp (note: with the bass, switch from low octave to high octave):

Bb, Bb, Bb / Ab-Bb-G-Bb Rain-
/ Ab-Bb-G-Bb in
Bb, D / Oh
/ Ab-D-G I
D, F / wonder can
/ Ab-D-G you feel it
Bb, G, A it’s
Bb, Bb, Bb / Ab-D-G-Bb rain-
/ Ab-D-G-Bb in
Bb, D
/ Ab-D-G
D, F /
/ Ab-D-G
Bb, G, A / it’s

Bb, Bb, Bb / Ab-Bb-G-Bb rain-
/ Ab-Bb-G-Bb in
Bb, D / Oh
/ Ab-D-G I
D, F / wonder can
/ Ab-D-G you feel it
Bb, G, A / it’s
Bb, Bb, Bb / Ab-D-G-Bb rain-
/ Ab-D-G-Bb in
Bb, D /
/ Ab-D-G
D, F /
/ Ab-D-G
Bb, G, A / it’s
Bb, F, Bb / Ab-C-D-F rain-
Bb / Ab-C-D-F in
Bb /
B, F# / A-C#-D#-F# rain-
B /
B / A-C#-D#-F# in
B /
C, G, C / Bb-D-E-G rain-
/ Cb-Eb-F-Ab in

Key Change Db

Db, Db, Db / rain-
Db / Cb-Eb-F-Ab in
Db, Db, D, Ab /
Gb / Ab-Db-Fb, Gb-Bb-Eb
Gb / Fb-Ab-Db
Gb, Bb, B /
C / it’s
Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-Eb-F-Ab in
Db, Db, D, Ab /
Gb / Ab-Db-Fb, Gb-Bb-Eb
Gb / Fb-Ab-Db
C / it’s
Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-Eb-F-Ab in
Db, Db, D, Ab /
Gb / Ab-Db-Fb, Gb-Bb-Eb
Gb / Fb-Ab-Db
Gb, Bb, B /
C / it’s
Db, Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-Eb-F-Ab in
Db, Gb, G /
Ab / it’s
Gb, Gb, Gb / Bb-Fb-Ab rain-
Gb / Bb-Fb-Ab in
Gb, Bb, B /
C / it’s
Db, Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-Eb-F-Ab in
Db, Db, D /
Ab / it’s
Gb, Gb, Gb / Bb-Fb-Ab rain-
Gb / Gb-Fb-Ab in
Gb, Bb, B /
C / it’s
Gb, Gb, Gb / Bb-Fb-Ab rain-
Gb / Bb-Fb-Ab in
Gb, Bb, B /
C / it’s
Db, Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-Eb-F-Ab in
Db, Db, D /
Ab / it’s
Gb, Gb, Gb / Bb-Fb-Ab rain-
Gb / Gb-Fb-Ab in
Gb, Bb, B /
C / it’s
Gb, Gb, Gb / Bb-Fb-Ab rain-
Gb / Bb-Fb-Ab in
Gb, Bb, B /
C / it’s
Db, Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-F-Bb-Db in.

http://zone.hearandplay.com/index.php?name=PNphpBB2&file=viewtopic&p=16140#16140

I love the piano on this song... so beautiful!



* Chord Chart Great Is Your Mercy

C / A D Gb ---------- Great
Bb / Bb D F G ---------- is
A / C D F A ---------- Your
G / Bb D F A,Bb ---------- Mer - cy
D / Bb C D F ---------- t'wards
C / G Bb C E ---------- me
C / G Bb C E ---------- Your
D / Bb D F ---------- lov
E / Bb C E G ---------- ing
F / C E G ---------- kind
F / C F A ---------- ness
Bb / A C D F ---------- t'wards
D / F A C D ---------- me
D / A C D Gb ---------- Your
E / Bb C E G ---------- tend
Gb / C D Gb A ---------- er
G / Bb D F A,Bb ---------- Mer-cies
D / A Bb D F ---------- I
C / G Bb C E ---------- see
A / G C E ---------- day
A / A D F ---------- af
A / B D G ---------- ter
D / B D Gb A ---------- day
A / B D G
D / A C D ---------- Gb
C / A C D Gb ---------- For
Bb / Bb D F G ---------- ev
A / C D F A ---------- er
G / Bb D F A,Bb ---------- Faith-ul
D / A Bb D F ---------- t'wards
C / G Bb C E ---------- me
C / G Bb C E ---------- You're
C / G Bb C E ---------- al
D / A Bb D G ---------- ways
E / C E G ---------- pro
F / E G C ---------- vid
F / C F A ---------- ing
F / A C F ---------- for
D / F A C D ---------- me
C / A C F ---------- Great
Bb / Bb D F G ---------- is
A / C D F A ---------- Your
G / Bb D F A,Bb ---------- Mer-cy
D / Bb C D F ---------- t'wards
C / G Bb C E ---------- me
A / G C E ---------- day
A / A D F ---------- af.......
A / B D G ---------- ter
D / B D Gb A ---------- day
A / B D G
D / A C D Gb

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Improvised Solos

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Have you learned your piano soloing from a pro? Sometimes it seems that I learn quickly and easily by copying what a musician shows me and then change things for my style and improve upon that... Do you find that as well? I hope you'll leave me a message on what works for you.

I discovered a great article by Miles Donahue who plays tenor sax and is known for his hard-bop and post-bop music. I wanted to list some main points that I gleaned from the article.

* Referencing the Masters

1. Michael Petrucciani revealed that as a young player he transcribed and could play between 15-20 solos by Wes Montgomery.
2. Bill Evans said that he couldn't learn jazz through osmosis, but rather had to approach the subject through analytical study.
3. Lennie Tristano had his students sing and play certain transcribed solos as part of their jazz education.

* Academic Benefits
The intermediate jazz student can benefit most from transcribed solos if they have the right approach. There is benefit to be gained from transcribing the solos yourself, and there are benefits to playing solos from published books. If you do the transcription, you would likely have to sing what you hear and write it down. This would serve as ear training. At college auditions students are often tested on call and response, which is when someone plays a melody and then the student must play it back. When you improvise, the ability to remember melodic ideas and invent new ones is absolutely necessary.

* Rules
1. Do not try a solo that is technically beyond you.
2. Find a solo based on a chord progression you know (if we don't know the chord progression we cannot analyze the solo)
3. Sing and internalize the solo bassed on intervals, relationship to the chords, and upon what tools of music are used, such as bebop scales, pentatonic scales, approach notes, tension notes and more.
* 12 Bars and the Truth

A blues is only 12 bars long and there are many solos based on the standard jazz blues chord progression, therefore a blues is a good starting point. I recommend just learning 12 bars of a transcribed solo and then playing in every key or learn 3 or 4 different 12 bar solos in the same key.

What can be learned from only four bars of a transcribed blues solo? One thing I learned is that on the 4th bar many jazz players use notes from the altered scale to produce a stronger resolution to the IV chord on the 5th bar.

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