Release Your Power: Passing Chords Series

On page 252 of Jermaine Grigg's, The secrets To Playing Piano By Ear, he explains Passing Tones and Neighboring Tones. As a piano teacher I am continually using this wonderful resource book for information on music theory. Yes, I am an affiliate member and have many of the Hear and Play music products in my library that I personally have reviewed. This music theory book is complete. Piano Course


Jermaine Griggs, the founder of http://www.hearandplay.com
explains passing chords:

"Most melodies include tones that are not apart of the chord used for harmony. These non-chord tones are called NON-HARMONIC TONES. When a melody passes from one chord tone to a different chord tone with a non-harmonic tone (a half or whole step) between, the non-harmonic tone is called a PASSING TONE."

I thought I would enclose a song for you to practice chord tones with. I've enjoyed sharing some information regarding passing tones on this series with you.

Jermaine Griggs, teaching folks how to play the piano by ear continues with neighboring tones from
Learn The Secrets To Playing Piano By Ear

"When a melody passes from one chord tone back to the same chord tone with a non-harmonic tone (a half or whole step) between, the non-harmonic tone is called a NEIGHBORING TONE. It is an UPPER NEIGHBORING TONE when it is above the chord tone, and a LOWER NEIGHBORING TONE when it is below the chord tone."

 "Release Your Power" feat. Jimmie Thomas
on the "T.D. Jakes Presents WTAL Worship 2002 : Run To The Water…The River Within" album
arr. by ppKey : F to Ab

* L.H./R.H. notes - (chord/bass) symbols - words
* (,) notes in parentheses are single notes [runs/riffs]
* everything to left of slash is bass [either single notes or bass runs]/
* /everything to right of slash is done in right hand [either chords, single notes or runs]

Verse 1:

F/CFA – (FM) – Lord
F/BbDG – (Gm/F) - we
F/CFA – (FM) – pro-
F/DGBb – (Gm/F) -claim
F/CFA – (FM)– You
E/CDG – (CM(add9)/E) - now
/(F,G) – and Your
F/CFA – (FM) – migh-
A/GCF – (FM(add9)/A) –ty
Bb/FACD – (BbM9) - power
/(D,E) – and Your
A/GCF – (FM(add9)/A) – awe-
D/FAC – (Dm7) -some
G/FBbD – (Gm7) - ma
/(E) -ja
C/GCE – (CM) – sty

D/BbCF – (BbM(add9)/D) – (passing)
E/CDG – (CM(add9)/E) – (passing)

F/CFA – (FM) – Lord
F/BbDG – (Gm/F) - come
F/CFA – (FM) – u-
F/DGBb – (Gm/F) -pon
F/CFA – (FM)– us
E/CDG – (CM(add9)/E) - now
/(F,G) – and re-
F/CFA – (FM) –lease
A/GCF – (FM(add9)/A) – Your
Bb/FACD – (BbM9) - power
/(D,E) – and
A/GCF – (FM(add9)/A) – let
D/FAC – (Dm7) - Your
G/FBbD – (Gm7) - pre
C/GCE – (CM) –sence
FEb/GBbDF – (EbM9/F) – fa-
FEb/GbADF – (EbmM9(b5)/F) –a-
FD/FACF – (Dm7/F) –a-
FDb/FGCF – (DbM7(b5)/F) –a-
FC/GACF – (FM(Add9)) -all

C/BbFGC – (C7sus4) – (passing)
C/BbEGC(Bb) – ( C7) – (passing)

(repeat verse)

Chorus:

C/BbFGC – (C7sus4) – (passing)
C/BbEGC – ( C7) – (passing)

C/CFA – (FM/C) – O-
Bb/DGBb – (Bb6) –h
A/FAC – (FM/A) – Lo-
/DGBb
/CFA
Bb/DGBb – (Bb6) –o-
/CFA
/ACF
C/CDEG – (CM(add9)) -ord

D/ADF – (Dm) – (passing)
E/CEG – (CM(add9)/E) – (passing)

C/CFA – (FM/C) – O-
Bb/DGBb – (Bb6) –h
A/FAC – (FM/A) – Lo-
/DGBb
/CFA
Bb/DGBb – (Bb6) –o-
/CFA
/ACF
C/CDEG – (CM(add9)) -ord

/(A) -Re
F/CFA – (FM) –lease
A/GCF – (FM(add9)/A) – Your
Bb/FACD – (BbM9) – po
A/DbFGC – (A7(#5add#9)) -wer
/(D,E) – and
D/GCF – (Dm7) – let
D/FAC – (Dm7) - Your
G/FBbD – (Gm7) - pre
C/GCE – (CM) –sence

FEb/GBbDF – (EbM9/F) – fa-
FEb/GbADF – (EbmM9(b5)/F) –a-
FD/FACF – (Dm7/F) –a-
FDb/FGCF – (DbM7(b5)/F) –a-
FC/GACF – (FM(add9)) -all

C/BbFGC – (C7sus4) – (passing)
C/BbEGC – ( C7) – (passing)

C/CFA – (FM/C) – O-
Bb/DGBb – (Bb6) –h
A/FAC – (FM/A) – Lo-
/DGBb
/CFA
Bb/DGBb – (Bb6) –o-
/CFA
/ACF
C/CDEG – (CM(add9)) -ord

Key Change (F to Gb):

Db/AbDbF – (DbM) – (passing)
Eb/BbEbGb – (Ebm) – (passing)
F/DbFAb – (DbM/F) – (passing)

Db/DbGbBb – (GbM/Db) – O-
B/EbAbB – (B6) –h
Bb/GbBbDb – (GbM/Bb) – Lo-
/EbAbB
/DbGbBb
B/EbAbB – (B6) –o-
/DbGbBb
/BbDbGb
Db/DbEbFAb – (DbM(add9)) –ord

/(Bb) -Re
Gb/DbGbBb – (GbM) –lease
Bb/AbDbGb – (GbM(add9)/Bb) – Your
B/GbBbDbEb – (BM9) – po-
Bb/DGbAbDb – (Bb7(#5add#9)) -wer
/(Eb,F) – and
Eb/BbDbGb – (Ebm7) – let
Eb/GbBbDb – (Ebm7) - Your
Ab/GbBEb – (Abm7) - pre
Db/AbDbF – (DbM) –sence

GbE/AbBEbGb – (EM9/Gb) – fa-
GbE/GBbEbGb – (EmM9(b5)/Gb) –a-
GbEb/GbBbDbGb – (Ebm7/Gb) –a-
GbD/GbAbDbGb – (DM7(b5)/Gb) –a-
GbDb/AbBbDbGb – (GbM(add9)) -all

Db/BGbAbDb – (Db7sus4) – (passing)
Db/BFAbDb – ( Db7) – (passing)

Db/DbGbBb – (GbM/Db) – O-
B/EbAbB – (B6) –h
Bb/GbBbDb – (GbM/Bb) – Lo-
/EbAbB
/DbGbBb
B/EbAbB – (B6) –o-
/DbGbBb
/BbDbGb
Db/DbEbFAb – (DbM(add9)) –ord

Key Change (Gb to G):

D/ADF# – (DM) – (passing)
E/BEG – (Em) – (passing)
F#/DF#A – (DM/F#) – (passing)

D/DGB – (GM/D) – O-
C/EAC – (C6) –h
B/GBD – (GM/B) – Lo-
D/EAC – (Am/D) –o-
G/DGB – (GM) –o-
C/EAC – (C6) –o-
A/DGB – (GM/A) –o-
C/BDEG – (CM9) –o-
D/DEF#A – (DbM(add9)) –ord

/(B) -Re
G/DGB – (GM) –lease
B/ADG – (GM(add9)/B) – Your
C/GBDE – (CM9) – po-
B/D#GAD – (B7(#5add#9)) -wer
/(E,F#) – and
E/BDG – (Em7) – let
E/GBD – (Em7) - Your
A/GCE – (Am7) - pre
D#/ACF# – (D#dim7) –sence
E/BDG – (Em7) – fa-
F#/DEA – (F#M(add9)) –all
(repeat as desired)

/(B) -Re
G/DGB – (GM) –lease
B/ADG – (GM(add9)/B) – Your
C/GBDE – (CM9) – po-
B/D#GAD – (B7(#5add#9)) -wer
/(E,F#) – and
E/BDG – (Em7) – let
E/GBD – (Em7) - Your
A/GCE – (Am7) - pre
D/ACF# – (DM) –sence

GF/ACEG – (FM9/G) – fa-
GF/GBEG – (FmM9(b5)/G) –a-
GE/GBDG – (Em7/G) –a-
GD/GADG – (DM7(b5)/G) –a-
GD/ABDG – (GM(add9)) -all

D/CGAD – (D7sus4) – (passing)
D/CF#AD – ( D7) – (passing)

D/DGB – (GM/D) – O-
C/EAC – (C6) –h
B/GBD – (GM/B) – Lo-
/EAC –o-
/DGB –o-
C/EAC – (C6) –o-
/DGB –o-
/BDG –o-
D/DEF#A – (DbM(add9)) –ord

Key Change (G to Ab):

Bb/CDbFAb – (Bbm9) – (passing)
B/BDFAb – (Bdim7) – (passing)

-Oh
C/BbEbEAb – (C7(#5add#9)) – Lo-
Db/CEbFAb – (DbM9) –o-
D/CFBb – (BbM(add9)) –o-
Eb/EbFGBb – (EbM(add9)) -ord

/(C) -Re
Ab/EbAbC – (AbM) –lease
C/BbEbAb – (AbM(add9)/C) – Your
Db/AbCEbF – (DbM9) – po-
C/EAbBbEb – (C7(#5add#9)) -wer
/(F,G) – and
F/CEbAb – (Fm7) – let
F/AbCEb – (Fm7) - Your
Bb/AbDbF – (Bbm7) - pre
E/BbDbG – (Edim7) –sence
F/CEbAb – (Fm7) – fa-
G/EbFBb – (GM(add9)) –all
(repeat as desired)

/(C) -Re
Ab/EbAbC – (AbM) –lease
C/BbEbAb – (AbM(add9)/C) – Your
Db/AbCEbF – (DbM9) – po-
C/EAbBbEb – (C7(#5add#9)) -wer
/(F,G) – and
F/CEbAb – (Fm7) – let
F/AbCEb – (Fm7) - Your
Bb/AbDbF – (Bbm7) - pre
Eb/BbEbG – (Edim7) –sence

Ending:

Ab/GbBbDbF – (GbM7/Ab) – Fa
Ab/GbACF – (GbmM7(b5)/Ab) –a-
Ab/FAbCEb – (Fm7/Ab) –a-
Ab/EAbBbEb – (EM7(b5)/Ab) –a-
Ab/GbBbDb – (GbM/Ab) – a-
Ab/GbAC – (GbmM(b5)/Ab) –a-
Ab/FAbC – (Fm/Ab) -all
Ab/EAbBb – (EM(b5)/Ab)
(repeat as desired)

AbG/CEbFBb – (AbM13) - Fall

All the best,
Lady D

Charlie Parker once said "Learn the changes and then forget them."

Neighboring Tones Series

 A neighbor tone (NT) or auxiliary note (AUX) is a nonchord tone that passes stepwise from a chord tone directly above or below it (which frequently causes the NT to create dissonance with the chord) and resolves to the same chord tone:
http://en.wikipedia.org/wiki/Nonchord_tone

In practice and analysis, neighboring tones are sometimes differentiated depending upon whether or not they are lower or higher than the chord tones surrounding them. A neighboring tone that is a step higher than the surrounding chord tones is called an upper neighboring tone or an upper auxiliary note while a neighboring tone that is a step lower than the surrounding chord tones is a lower neighboring tone or lower auxiliary note.

Learn 12 Secret gospel passing chords from http://www.gospel-chords.com

Here are some Passing and Neighboring Tones in the Melody:

1. CEG/ C, Passing Tone D, E  Chord Tones in melody- C-E-G
(play these single notes in r.h. melody)


2. FAC/ A,  Passing Tone G, F Chord Tones in melody-F-A-C


3. DFA/ D, Upper Neighbor E, Chord Tone D


4. GBD/ G, Lower Neighbor F, Chord Tone G


The G, B, and D notes of the G chord can be played in succession, one after the other, as another way  to harmonize the melody.


What are neighboring tones?


NEIGHBORING TONES


A non harmonic embellishing tone (note) can usually be found in the melody between two chord tones (notes) of the same pitch. It's an "upper neighbor", if the non harmonic tone is a scale step (either a whole or half step) ABOVE the previous chord tone and a "lower neighbor", if it's a scale step BELOW. 

One of my favorite Dvd resources is shown on this short clip by Jonathan Powell from http://www.hearandplay.com:

Gospel Keys Urban Pro Clip - Learn Phat Passing Chords 

Gospel Keys Urban Pro

All the best,
LadyD




Charlie Parker once said "Learn the changes and then forget them."

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Series on Passing Tones

 I received so many wonderful letters from beautiful musicians requesting more information on jazz chords, passing tones and inversions. In the weeks ahead I will try to post a series on popular requests from my readers. Let's begin with a series on...


PASSING TONES:


A "Chord Tone" is a note in the melody with the same letter-name as a note in the harmonizing chord. A "non-harmonic" tone (non-chord tone) is a note in the melody between two chord tones that doesn't appear in the harmonizing chord. "Passing tones" are the non-harmonic tones (notes) that are in between two chord tones and are in the scale of the two chord tones. The chord tones and passing tones are either all ascending or descending in the same direction. A passing tone provides a smooth melodic transition from one chord tone to the next. Usually, if there is an interval of a third between two chord tones, there is one passing tone. Below is an example of Non-Chord Tones.

Former posts on passing tones:

LadyDpiano: What's A Tritone?

The tritone can be used as a passing tone in gospel and jazz movements. It's usually that dynamic sounding chord you usually hear especially in spacious ...
ladydpiano.blogspot.com/2008/09/whats-tritone.html

LadyDpiano: Learn How To Play Gospel Music

Walking basslines use a mixture of scale tones, arpeggios,chromatic runs, and passing tones to outline the chord progression of a song or tune, ...
ladydpiano.blogspot.com/2009/09/learn-how-to-play-gospel-music.html

LadyDpiano: 12 Secret Gospel Passing Chords

"Passing chords are formed by the stepwise movement of one or more of the voices from a ... Diatonic Chords, gospel chords, Passing Chords, Passing Tones ...
ladydpiano.blogspot.com/2008/12/12-secret-gospel-passing-chords.html

LadyDpiano: October 2008

Oct 1, 2008 ... Apply this knowledge and begin combining the scale tones to form chords ... Letting your fingers walk to the next chord, passing the note of ...
ladydpiano.blogspot.com/2008_10_01_archive.html

Three Steps To Passing Chords

Learn how to use cool Passing Tones, Turnaround Chords and Endings that Black Gospel And Jazz Music are so famous for. Any chord can be changed or altered, ...
ladydpiano.blogspot.com/2008/08/three-steps-to-passing-chords.html

 

Passing Chords
One last detail: instead of jumping down three half steps from the I to the VI chord in bars 7 and 8, we “walk down” by half step, filling in the gap between G and E chords (G13–G¯13–F13–E7˜9). You can always play chords on the half steps between two chords. The essential chord progression doesn’t really change. It’s still a I–VI movement, but embellished by the passing chords (G¯13 and F13), which simply fill in the space between the essential chords of the progression (G13 and E7˜9). Passing chords don’t really change the basic chord movement. You can ignore them when improvising. By using the same chord voicings on the first three chords, the walkdown sounds smoother.

The comping rhythm alternates between the 13th (G13 and C13 chords) and 7th (G7 and C7 chords). Both are built on the 1–7–3–5 structure.

http://www.premierguitar.com/Magazine/Issue/2010/Mar/Chord_Extensions_Jazzin_Up_the_Blues_with_Ninth_Thirteenth_and_Passing_Chords.aspx

 

Piano Resources:

 

Improve Piano Playing Now

If You Can Read Simple Treble-Clef Melody Notes, You Can Quickly and Easily Learn To Play 9 Popular Songs!

Play Piano With Easy Fake Book

Charlie Parker once said "Learn the changes and then forget them."
Until next time... Have a wonderful Mother's day weekend!
~ LadyD