Basic Progressions (Part Two)

Along with yesterday's post on basic progressions, let's continue with these patterns and progressions.

I-IV-V7-I progression


This is a variation of the 1-4-5-1 progression. Instead of playing a regular 5 chord, you can play a V7 chord:

C/CEG (1)
C/CEG (1)
C/EGC (1)
F/FAC (4)
F/CFA (4)
F/FAC (4)
G/GBDF (5)
G/BDFG (5)
G/DFGB (5)

C/GCE (1)
C/GCE (1)
F/ACF (4)
F/ACF (4)
G/GBDF (5)
G/FGBD (5)

Dominant 7th Chord to IV


Whenever you have a major chord, you can add the minor 7th of that chord. Now it becomes a dominant 7th chord. It naturally wants to go to the IV chord.

C/CEGBb
C/CEGb
C/EGBbC

F/FAC 
F/CFA
F/FAC


C/GBbCEC
C/BbCEG
F/ACF
F/ACF


7-3-6 Progression


This is a progression that isn't that great by itself but when you add another progression to it, well it sounds really good:


B/BDF (7)
B/BDF (7)
B/BDF (7)
E/EGB (3)
E/GBE (3)
E/BEG (3)
A/ACE (6)
A/ACE (6)
A/CEA (6)


B/DFB (7)
B/FBD (7)
E/EGB (3)
E/GBE (3)
A/EAC (6)
A/ACE (6)


2-5-1 Progression


This progression can be used instead of the 1-4-5-1 progression, sort of like a substitution progression.


D/DFA (2)
D/ADF (2)
D/DFA (2)
D/FAD (2)
G/GBD (5)
G/BDG (5)
G/DGB (5)
G/GBD (5)
C/CEG (1)
C/CEG (1)
C/EGC (1)

C/GCE (1)

3-6-2-5-1 Progression

If you want your chords to flow smoothly fromm chord to chord, follow this pattern:

E/EGB (3)

E/GBE (3)

E/BEG (3)

E/EGB (3)

A/ACE (6)

A/ACE (6)

A/CEA (6)

A/EAC (6)

D/DFA (2)

D/ADF (2)

D/DFA (2)

D/FAD (2)

G/GBD (5)

G/BDG (5)

G/DGB (5)

G/GBD (5)

C/CEG (1)

C/CEG (1)

C/EGC (1)

C/GCE (1)

7-3-6-2-5-1 Progression

Now, let's combine all of the progressions into one big progression:

B/BDF (7)

B/BDF (7)

B/BDF (7)

E/EGB (3)

E/GBE (3)

E/BEG (3)

A/ACE (6)

A/ACE (6)

A/CEA (6)

D/DFA (2)

D/ADF (2)

D/DFA (2)

G/GBD (5)

G/BDG (5)

G/DGB (5)

C/CEG (1)

C/CEG (1)

C/EGC (1)

B/DFB (7)

B/FDF (7)

E/EGB (3)

E/GBE (3)

A/EAC (6)

A/ACE (6)

D/FAD (2)

D/ADF (2)

G/GBD (5)

G/BDG (5)

C/GCE (1)

C/CEG (1)

For now, that wraps up basic progressions. Get familiar with all these progressions. Listen to how each one sounds. Recognize the different inversions used. Also, see how you are using inversions of each chord that let you flow to the next chord easily without moving your hands too much.

UrbanXtreme 

UrbanClassic 

Keep practicing and Happy Mother's Day!

-- Lady

Basic Progressions (Part One)

I have learned so much about progressions from other musicians and I am truly grateful for their input and help. Once you learn your chords then you can connect them together and the particular progression becomes a song.

A progression is simply a group of two or more chords. Each chord you play leads to the next chord. The goal is to get back to the I chord of the key you are in.

Progressions get their name from the bass/left hand notes you play. This is based on the Circle of 5ths. Here are some progressions that others have shared with me in that are used the most in gospel music. Here they are in the Key of C.

Remember, the numbers of C:

C=1 D=2 E=3 F=4 G=5 A=6 B=7


1-5-1 Progression

This progressions is usually found at the end of the song. Once you play the 5, you should feel a strong urge to go to the 1 chord.

C/CEG (1)
C/CEG (1)
C/EGC (1)
C/GCE (1)
G/GBD (5)
G/BDG (5)
G/DGB (5)
G/GBD (5)

1-V7-1 Progression

Here is a little variation of the 1-5-1 progression. By adding in the minor 7th, it creates an even stronger urge to go to the 1. So, you don't add the 7th of the key you are in, you add the 7th of the chord. the V7 chord id the dominant 7th chord:

C/CEG (1)
C/CEG (1)
C/EGC (1)
G/GBDF (5)
G/BDFG (5)
G/DFGB (5)


C/GCE (1)
C/GCE (1)
G/FGBD (5)
G/GBDF (5)


1-4-1 Progression (The "Amen" Progression)


C/CEG (1)
C/CEG (1)
C/EGC (1)
C/GCE (1)
F/FAC (4)
F/CFA (4)
F/FAC (4)
F/ACF (4)


1-4-5-1 Progression


This is the most basic progression that can be used for playing a whole song. Lots of hymns follow this progression:


C/CEG (1)
C/CEG (1)
C/EGC (1)
C/GCE (1)
F/FAC (4)
F/CFA (4)
F/FAC (4)
F/ACF (4)
G/GBD (5)
G/BDG (5)
G/DGB (5)
G/GBD (5)


Be sure and stop by and visit these music resources for purchase:

Advanced Gospel

gkcore

gkorgan350

gkorgan450

See you next time,


-- LadyD

How To Form Basic Piano Chords

How To Form Basic Chords
Although chord finders are valuable tools on the Internet, what do we do when we’re sitting at the piano and don’t have access to the computer, trying to figure out chords?
Here’s a breakdown on forming many chords you’ll use in your piano playing. Yes, there are augmented chords, and there are 9, 11 and 13 chords. I have chosen a few basic ones to start with.
Major
Minor
Dominant 7th
Sus4
Sus2 and add9
Diminished
Major Sevenths
Major Chords
Starting from the root note, count up FIVE semi-tones (5 half steps). Always use the root note when counting. This will bring you to the second note in the chord. From and including this note, count up FOUR semi-tones (4 half steps). This will bring us to the final note in the chord.
Example: C Major - C is the root note in this chord. Count up 5 semi-tones from the C: C=1, C#= 2, D=3, Eb=4, E=5. Then, count up 4 semi-tones from the second note in the chord: E=1, F=2, F#=3, G=4. Play the C, E and G together and you have a C Major chord. By using this 'FIVE then FOUR' rule, you can work out any major chord.
Minor (m) Chords
For minor chords, simply reverse the rule for working out major chords. Instead of counting 5 then 4, count 4 then 5.
Example: C Minor - C is the root note in this chord. Count up 4 semi-tones from the C: C=1, C#=2, D=3, Eb=4. Then, count up 5 semi-tones from the second note in the chord: Eb=1, E=2, F=3, F#=4, G=5. Play the C, Eb and G together and you have a C Minor chord. By using this FOUR then FIVE' rule, you can work out any minor chord.
Dominant 7th (7) Chords
With 7th chords, you add an extra note onto the chord. This extra note is always the note two semi-tones (1 whole step) below the root note. However, you don't play this note at the bottom of the chord, you simply move it to the top of the chord.
Example: C7 – Form a C major chord... C, E, and G. The root note of this chord is C. Two semi-tones (1 whole step) below the root note is Bb. Add this Bb to the top of the chord and we have a C7 chord- C, E, G and Bb. The same rule applies for working out minor 7th chords.
Sus4 Chords
Example: Csus4
Play C major - C, E, G. Move the middle note of the chord UP one semi-tone (1 half-step). In this example, move E up one semi-tone. This brings us to F. Play the C, F and G together and we have a Csus4 chord.
Sus2 and add9 Chords
Sus2 Chords - Example: Csus
Play C major - C, E, G. Move the middle note of the chord DOWN two semi-tones (1 whole step). In this example, move the E down two semi-tones. This brings us to D. Play the C, D and G together and we have a Csus2 chord.
Add9 Chords - These chords are nearly identical to sus2 chords. The only difference is, is that you play the middle note as well. So, Cadd9 is made up of, C, D, E and G
Diminished (dim) Chords
Example: Cdim
Play C major - C, E and G. Move the TOP TWO NOTES of the chord DOWN one semi-tone (1 half-step). In this example, move the E and G down one semi-tone. This brings us to Eb and F#. Play the C, Eb and F# together and we have a C dim chord.
Major Seventh (M7) Chords
These chords are used a lot in Jazz music. With major 7th chords, you add an extra note onto the chord. This extra note is always the note ONE semi-tone (1 half-step) below the root note. However, you don't play this note at the bottom of the chord. You simply move it to the top of the chord.
Example: CM7 – Form a C major chord... C, E, and G. The root note of this chord is C. One semi-tone (1 half-step) below the root note is B. Add this B to the top of the chord and we have a CM7 chord... C, E, G and B.
Now you have some music theory to apply to your piano playing. Forming chords will lead to playing chord progressions which will then produce songs.
Until next time,
LadyD

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

7 3 6 5 1 4 Progressions

* Learn To Fill In Your Gospel Music Songs!

http://www.learngospelmusic.com/piano/progressions.php
* My friend Hammondman, from many Gospel online communities, shares with us these chord progressions, the 7 3 6 5 1 4
7. BF / Dm
3. ED / Ab dim
6. AE / CM7
5. GD / BbM7
1. CBb / BbM7(b5)
4. FC / Am7
7. EBb / Gm
3. AG / C#dim7
6. DA / FM7
5. CG / EbM7
1. FBb / D
4. BbF / Dm7
7. AD# / Cm
3. DC / GbCFAb
6. GD / BbM7
5. FEb / AbM7
1. BbAb / G
4. EbBb / Gm7
7. DAb / Fm
3. GF / E
6. CG / EbM7
5. BbF / DbM7
1. EbDb / C
4. AbEb / Cm
7. BbM7 / F
3. Edim / C
6. Fm7 / Ab6
5. Ebm7 / GbM7
1. AbGb / F
4. DbAb / Fm
7. CGb / Ebm
3. FEb / D
6. BbF / DbM7
5. AbEb / BM7
1. DbB / Bb
4. GBDb / Bbm7
7. FEb / Abm
3. BbAb / G
6. EbBb / GbM7
5. DbAb / EM7
1. GbE / E
4. BGb / Ebm7
7. BbE / Dbm
3. EbDb / C
6. AbEb / BM7
5. BA / Ab
1. EA / Abm
7. EbA / Gbm
3. AbGb / F
6. DbAb / EM7
5. BGb / DM7
1. ED / Db
4. AE / Dbm
7. AbD / Bm
3. DbB / Bb
6. GbDb / Bbm7
5. EB / GM7
1. AG / Gb
4. DA / Gbm
7. DbG / Em
3. GbE / Eb
6. BGb / Ebm7
5. AE / GM7
1. DA / BC#EF#A
4. GD / Bm7
7. GbE / Am
3. BA / Ab
6. EB / Abm
5. DA / FM7
1. GF / E
4. CEbG / G
* The 7 3 6 2 5 1 Progression and How To Use It

http://www.hearandplay.com/main/the-7-3-6-2-5-1-progression-and-how-to-use-it
* HearandPlay.com Newsletter May 2004

http://www.hearandplay.com/Newletters-May%2004.html

http://www.LadyDpiano.com

Progressions and Theory

Here is a handbook of videos, I've put together, from many artists on YouTube that teach chord progressions and the theory behind them!
* 7-3-6-2-5-1-4 Progressions in Eb Part 1 (ddw4e)

* 7-3-6-2-5-1-4 Progressions in Eb Part 2 (ddw4e)

* Common Progressions in Db

* Piano Chords I IV V- In The Mood (pianomother)


* Free Piano Lessons- Beginning Chords (pianosecrets)

* Passing Chords and Progressions by Kevin "K.C." Conley (prettysimplemusic)

* Runs on a 7 3 6 2 5 1 Progression (prettysimplemusic)

* Free Piano Lessons- Coordinating Your Left & Right Hands (pianosecrets) Amazing Grace

* Blues on Piano in G for Beginners (jbmaggs)

* Tritone (Jamal Hartwell)
http://www.hearandplay.com/at.cgi/441295/urban


http://www.LadyDpiano.com

2- 5- 1 Chord Progression

In teaching my students over the years to play by ear and put aside their sheet music, we learn to play chord progressions. It is very important to learn music theory!
"If you listen to music, you've definitely heard a "2-5-1" progression. They are found in just about any type of music --- regardless of style, genre, or rhythmical pattern. It is commonly the series of chords that end a song or phrase. In this chord progression, the 2 chord leads to the 5 chord which in turn, produces a strong pull towards the ending chord (which is usually the 1st major chord of the scale)". For more info on this progression
http://www.learngospelmusic.com/articles/view.php?1gmid=85
Perhaps, yes I think I will post the rest of the article here because I refer to it often to help others.
"Let me start by showing you what chords correspond to each tone of a major scale:
1 tone - Major
2 tone - minor
3 tone - minor
4 tone - Major
5 tone - Major (dominant)
6 tone - minor
7 tone - Half Diminished
To understand the chart above, you must understand that each tone of a major scale has a chord that goes along with it. For example, the following is a C major scale:
(C -- D -- E -- F -- G -- A -- B -- C)
Each tone above has a matching chord. Simply add the endings of the chart above to the scale as shown below:
>C MAJOR< >D MINOR< >E MINOR< >F MAJOR< >G MAJOR / DOM< >A MINOR< >B HALF-DIMINISHED< href="http://www.hearandplay.com/at.cgi/441295">
Learn to Play the Piano By Ear
On page 185, you'll be able to study the 2 5 1 chord progression.
To further understand progressions, lets number each chord:
1 = C Major
2 = D minor
3 = E minor
4 = F Major
5 = G dominant
6 = A minor
7 = B half - diminished
8 = C Major
Now, to create a "2-5-1" chord progression (or any numbered chord progression), simply take the 2, 5, and 1 chord out of the entire series of chords above. That is, we would not use the 3,4, 6, or 7th chord.
The 2 chord is D minor; the 5 chord is G dominant; and the 1 chord is C Major.
Here is the most basic "2-5-1" chord progression:
Dmin --- Gdom --- Cmaj
min = minor
dom = dominant
Maj = major
D minor chord = (D) + (F) + (A)
G dominant chord = (G) + (B) + (D) + (F)
C Major chord = (C) + (E) + (G)
Example: To play a D minor chord simply play all three of the notes shown above at the same time (D+F+A)
If you want to learn Churchy 2-5-1 Chord Progressions, and Contemporary 2-5-1 Chord Progression, you'll be stretching your fingers and adding the ninth tone!
Play Shouting Music Today!
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:
I chord will harmonize three notes, V chord will harmonize two additional notes and the IV 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 2 chord for the 4 chord. So now we get the 2 5 1. You can expand the one chord if you are sitting on it for a while
and can play different bass notes under to help create motion. That is where we get the 1 3 6 2 5 1.
The 6 chord and the 3 chord fill in for the 1 chord. And the 7 fills in for the 5 chord. The 6 chord can also lead to the 4 chord. All this may seem confusing but it all starts with the one chord, the 5 chord and the 4r chord.
If you just use these three chords you can play with most songs.
When you get more advance you can use the 2 5 1 as a little intro to each new chord you will play. So to introduce the one chord you play 2 5 and then 1. When you want to go to the four chord, you introduce it by playing a 2 5 1 in the key of the 4 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 and Fmaj (2 5 1)
So, now you have it! 2 5 1 are derived from 4 5 1 and they have over time become embellishments and static chords to rest on to support the melody.
Jermaine Griggs, the founder of Hear and Play, offers a 2 5 1 chord progression lesson here:
http://www.hearandplay.com/sstpky98.html
While you're learning about progressions, why not take the opportunity to join one of the fastest growing on-line musician's community on the net? It's free to join. You'll be greeted by many fellow musicians who are learning to play piano by ear. I sincerely hope you'll join us!
http://zone.hearandplay.com/user.php?op=register&module=NS-NewUser&refid=3017

http://www.LadyDpiano.com

How To Play Suspended Chords

Suspended chords leave you hanging in mid air. They create suspense or anticipation. They sound and feel as though they should be resolved. And so they are used in endings. Also, they are perfect for extending the measure to do a run in your right hand.
A suspended chord (or a chord suspension) is usually made by holding one of the tones of a chord a tone higher, then resolving it to its resting place. This can be done with any tones of a chord, but one of the more common suspensions is to manipulate the third of the chord, by first playing the fourth, and resolving it to the third. So a C suspended chord has the tones of the root, the fourth and the fifth:
A C suspended chord of this type is often shown in chord charts as either a "Csus", or a "C sus4". "Sus4" means that the third is initially played as a fourth, and resolved to a third.
http://www.en.wikipedia.org/wiki/Suspended_chord
In "real music", let's suppose you're playing a simple tune which uses three chords, C, F, and G, then returning to C. Try adding a little flavor to the mix: turn that final chord into two chords. Make it a suspended C chord, followed by a C chord. Your chord progression would look like this: C - F - G - Csus - C. You can try this on a guitar or a piano.
Experiment with other suspended chords. Put them in places where you need a bit of emotion in your music. Might be just what you're looking for. Take a Christmas carol book (one that has chord symbols in it is good for this purpose), and try adding suspensions to dominant or tonic triads.
In the Key of C:
Sus 4 chords- Formed by raising the 3rd of the chord you are playing by a half step.
C-E-G is your basic major triad C chord. The E in bold is your 3rd.
C-F-G: The F in bold is your suspended 4th. Notice that the distance between E to F is a half step. This chord now becomes your suspended 4th chord. If you play a I IV V progression, the IV is the best chord to play as a suspended 4th.
Sus 2 chords- Formed by lowering the 3rd of the chord you are playing by a whole step.
C-E-G This is your basic major triad C. The E in bold is your 3rd.
C-D-G The D in bold is your suspended 2nd. Notice that the distance between E to D is a whole step. This chord now becomes your suspended 2nd chord.
Take a look at this tutorial for an example of my explanation on Suspended Chords. They say a picture is worth a thousand words. Here is a great video example:

For further learning on formation of chords, I highly recommend this Audio Course that you can listen to at home or in your car stereo
http://www.hearandplay.com/441295/hpchords.html

http://www.LadyDpiano.com

What Are Gospel Turnarounds?

Exactly what are gospel turnarounds? And when and how are they used? I would say a gospel turnaround by definition is a combination or sequence of chords or combination or sequence of single notes that are used to get back to a certain point in a song usually the beginning. A 3-6-2-5-1 progression is a very common turnaround in gospel or wherever.
This is a basic 3-6-2-5-1 turn around. You can use it nearly everywhere you see a 2-5-1
Key C
L.H/RH and (1) = tone chord number
(3) E-D/G-B-D-Gb
(6) A/ G-B-Db-F
(2) D-F-A-C/F-A-C-E or you can just use D-C on the bass
(5) G/ B-E-Ab or you can use G/F-A-B-E
(1) C/ B-D-E-G
Here is another example but the difference is in the chord voicing:
(3) E-G/Gb-G-B-D
(6) A-G/E-G-Bb-Db
(2) D-F/F-C-E-G
(5) G-F/F-Ab-B-Eb
(1) C-E/B-D-E-G
So a 5-1 progression can be just as powerful as a 7-3-6-2-5-1. In fact, as I mentioned earlier, the 5-1 progression is in the 7-3-6-2-5-1. Each progression has its own role.And you can use each of these progressions at different points in a song. One progression is not better than the other. You see they all contribute to the songs that you hear every day, whether gospel, jazz, blues or rock. Learn where to find the 3 6 2 5 1
The First Step To Playing Tons Of Gospel Songs By Ear Starts Right Here

http://www.LadyDpiano.com