LadyDpiano

Progressions Used in Souled Out by Hezekiah Walker

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

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

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