Download - Progressions eBook

Transcript
  • 5/20/2018 Progressions eBook

    1/21

    ICANPLAYGOSPEL COM

    Chord Progressions Guide

  • 5/20/2018 Progressions eBook

    2/21

    1

    ICANPLAYGOSPEL.COM

    ICANPLAYGOSPEL.COM

    Thank you for picking up this special Chord Progressions Guide e-book. We have

    specifically designed and hope that this e-book will take your piano playing up anotch. We suggest that you take each lesson one step at a time. Mastering each

    lesson before you move on to the next will allow you to gain the most out of this e-

    book.

    Did you received this e-book from a friend? This e-book is one of the many tools we

    offer to our ICANPLAYGOSPEL.COM newsletter subscribers . To join the

    subscribers list so that you to can receive our many free piano playing resources

    visit www.icanplaygospel.comto sign up. We continuously post exclusive subscriber

    only materials. Dont miss the opportunity to take your piano playing to another

    level. Sign-up for FREE TODAY!

    Copyright 2008 ICANPLAYGOSPEL.COM

    Special Thanks to:

    Jermaine Griggs

    http://www.icanplaygospel.com/http://www.icanplaygospel.com/http://www.icanplaygospel.com/http://www.icanplaygospel.com/
  • 5/20/2018 Progressions eBook

    3/21

    2

    ICANPLAYGOSPEL.COM

    ICANPLAYGOSPEL.COM

    Chord Progressions Guide(starting with the most basic to more advanced)

    Table of Contents

    "Using 5-1 Progressions to Enhance Your Playing!"

    Page 3

    "Opening and Closing Your Songs with 2-5-1 Progressions!"Page 6

    "The Incredible Power of 6-2-5-1 Progressions in Gospel Songs!"Page 10

    "How to Add Bigger 3-6-2-5-1 Progressions to your Songs!Page 12

    "The 7-3-6-2-5-1 Progression and How to Use It!"

    Page 15

    "Exploring Fancy Chords and Progressions!"

    Page 17

  • 5/20/2018 Progressions eBook

    4/21

    3

    ICANPLAYGOSPEL.COM

    If you know anything about chord progressions, you'll understand that each one has itsown functions and roles. For example, one progression may be common for beginning a

    song, while another progression may be common for ending a song.

    Certain progressions are likely to be played during modulations to new keys while others

    aren't. In other words, you want to understand the ROLES of chord progressions.

    To know a "2-5-1" chord progression, for example, but not know where to play it is

    useless when it comes to playing by ear. So as we travel through the lessons of this book,

    we will explore different progressions and where to use them!

    The "5-1" Progression

    The "5-1" progressions will commonly end a song, chorus, or verse. Being that the "1"

    chord represents the actual key that you're song is being played in, it makes sense for it tobe the very last chord played.

    So again, in most cases, the "1" chord will end the song. However, there are times when

    other tones of the scale will end the song instead (like the sixth degree played as a majorchord or the fourth degree played as a dominant chord in fast gospel songs). But for the

    purposes of this lesson, we will focus on the majority of songs that end on the "1" chord.

    Think of the "5-1" chord progression like this:

    If you were watching a live theatrical performance or even a musical concert of some sort,when would you know to clap? Isn't it true that the audience as a whole always knows

    when to clap even though they're not all musicians? How do they know when the song is

    over? How do we know when to clap?

    Because, we have already been trained to recognize "5-1" progressions whether we're

    musicians OR not!

    The "5" chord by itself is that chord right BEFORE the end of the song. You know thesong is about to end because you hear the "5" chord (and of course, I am referring more

    to slow songs than fast ones). Perhaps, the pianist will hold the "5" chord for awhile ... but you still don't clap because you know it's not the last chord. So, in essence,

    the "5" chord prepares us for the "1" chord. It creates such a strong pull towards the "1"

    chord that we can even predict how the next chord is suppose to sound in our minds.

    "Using 5-1 Progressions to Enhance Your Playing!"Lesson #1

  • 5/20/2018 Progressions eBook

    5/21

    4

    ICANPLAYGOSPEL.COM

    Imagine if a pianist was holding the "5" chord and all of a sudden gets up and walks away.

    The audience would totally be shocked because we would think he didn't finish his song

    completely. That's because the "5" gives us the feeling of something about to end, but notquite at the absolute ending (again, that's why we don't clap yet). And in cases where the

    song doesn't actually end, it will alert us that the song is returning back to the beginning

    of the verse or chorus for another round.

    Examples of "5-1" endings:

    a) "Hap-py Birth - Day to You"

    Ending on the "5" in this example would be like not singing the final "you." You've sung

    the "happy birthday to..." but until you say "you," the song hasn't ended.

    The "5" in this example is the word "to," while the final "1" chord would be played on

    "you."

    Are you following me?

    b) "... Was blind, but now I see"

    This line is taken from "Amazing Grace." Can you figure out where the "5-1" progressionwould be played in this line?

    If you're having trouble, just think this to yourself...

    If I wasn't a musician at all and simply listening to this song, at what point would I knowthe song is JUST about to end???

    The word "I" prepares you for the ending so it would definitely be accompanied by a "5"

    chord. But don't think that a "5" chord only applies to the one last word before the ending.

    You can play a chord over multiple words.

    So in this case, I would say that the "5" chord begins on "now" and is held until "I" is

    sang. Finally, when "see" is sung, the song ends and obviously you'd play a "1" chord.

    Actual "5-1" Progressions You Can Play

    Here are some nice-sounding "5-1" progressions you can start playing right away. Make

    sure to listen for them in some of your favorite songs (especially slow ballads).

    These progressions will be based in the key of Db major. For simplicity, I will simply

    "spell out" each chord, one by one. Feel free to mix and match different chords from the

    "5" and "1" columns.

  • 5/20/2018 Progressions eBook

    6/21

    5

    ICANPLAYGOSPEL.COM

    A " / " slash means that the note to the right will be played on the bass (left hand).

    "5" chord "1" chord

    C + F + A / Ab Bb + Eb + Ab / Db

    Gb + Bb + Db + F / Ab Eb + Ab + Db / Db

    C + E + Ab + B / Ab B + Eb + Gb + Bb / Db

    Eb + Ab + Bb + C / Ab Db + Eb + F + Ab / Db

    More Progressions

    This concludes lesson #1

    http://course.icanplaygospel.com/http://course.icanplaygospel.com/
  • 5/20/2018 Progressions eBook

    7/21

    6

    ICANPLAYGOSPEL.COM

    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 iscommonly the series of chords that end a song or phrase. However, it can be used in

    several situations (I can only go over a few in this lesson but encourage you to visit:

    http://course.icanplaygospel.com for further instruction).

    In this chord progression, the 2 chord (you'll learn what this is later on in this lesson)

    leads to the 5 chord which in turns, produces a strong pull towards the ending chord(which is usually the 1st major chord of the scale).

    First, let me start by showing you what chords correspond to each tone of a major scale:

    1 tone - Major2 tone - Minor3 tone - Minor4 tone - Major5 tone - Major (dominant)6 tone - Minor7 tone - Half Diminished

    To understand the chart above, you must understand that each tone of a major scale has a

    chord which 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]

    To further understand progressions, lets number each chord:

    1 = C major2 = D minor3 = E minor4 = F major5 = G dominant

    "Opening and Closing Your Songs with

    2-5-1 Progressions!"Lesson #2

    http://course.icanplaygospel.com/http://course.icanplaygospel.com/
  • 5/20/2018 Progressions eBook

    8/21

    7

    ICANPLAYGOSPEL.COM

    6 = A minor7 = B half - diminished8 = C major

    "2-5-1" Chord Progressions

    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 notuse the 3,4, 6, or 7 chord.

    The 2 chord is D minor; the 5 chord is G dominant; and the 1 chord is C major.

    This right here is the most basic "2-5-1" chord progression you'll ever see:

    Dmin --- Gdom --- Cmaj

    min = minor

    dom = dominantmaj = major

    REFERENCE 1A:

    D minor chord = [D] + [F] + [A]

    G dominant chord = [G] + [B] + [D] + [F]

    C major chord = [C] + [E] + [G]

    Example: To play a Dmin chord simply play all three of the notes shown above at the

    same time (D+F+A)

    Moving on...

    Now that we have covered some theory (I'm glad that's out of the way), let me just show

    you a few chords that I love to play. I will try not to be as theoretic ... I will simply give

    you the chord changes and you'll have to apply them to your understanding of chords and

    alterations. All of these progression will be shown in the key of C major:

    1) "Churchy 2-5-1 Chord Progression" Style #1

    D7 (b9) --- G13 ---- Cmaj (pronounced "D seven, flat nine ----- G thirteenth --- C major")

    D7 (b9) = Bass * Play "D" --------- F# + A + C + D#

    G13 = Bass * Play "G" ---------- F + A + C + E

    Cmaj = Bass * Play "C" ----------- E + G + C (1st inversion)

  • 5/20/2018 Progressions eBook

    9/21

    8

    ICANPLAYGOSPEL.COM

    Example: For D7 (b9), we would play F# + A + C + D# with "D" on the bass (left hand).

    Inversion just refers to the way the chord is played. Since "C" is the highest note, it issaid to be played in its "first inversion"

    Note: I love playing this chord progression in gospel music. You try playing it and let meknow what you come up with!

    2) "Churchy 2-5-1 Chord Progression" Style #2

    For this progression, every chord will be the same except for the D7 (b9). We will simplyplay a regular D9 chord.

    D9 = F# + A + C + "E" (not D#)

    Notice: The only difference in a D9 and a D7 (b9) is the difference in the "ninth" tone.

    Since we are not flatting the 9th tone, we use "E" instead of "D#."

    D9 = Bass * Play "D" --------- F# + A + C + E

    G13 = Bass * Play "G" ---------- F + A + C + E

    Cmaj = Bass * Play "C" ----------- E + G + C

    3). "Contemporary 2-5-1 Chord Progression" Style #1

    For this progression, we are going to use:

    D9 add 6 ---> G13 ---> Cmaj

    D9 add 6 = Bass * Play "D" --------- F# + B + C + E

    G13 = Bass * Play "G" ---------- F + A + C + E

    Cmaj = Bass * Play "C" ----------- E + G + C

    4.) "Contemporary 2-5-1 Chord Progression" Style #2

    This progression will follow the same exact pattern as #3 with the following chordalteration:

    D9 b5 ---> G13 ----> Cmaj

  • 5/20/2018 Progressions eBook

    10/21

    9

    ICANPLAYGOSPEL.COM

    *** You are going to have to extend your fingers for this one!

    D9 b5 = Bass * Play "D" --------- F# + B + C + E + A#G13 = Bass * Play "G" ---------- F + A + C + E

    Cmaj = Bass * Play "C" ----------- E + G + C

    This concludes lesson #2

  • 5/20/2018 Progressions eBook

    11/21

    10

    ICANPLAYGOSPEL.COM

    By now, I doubt I need to go over the individual scale tones and corresponding chords, as

    we've covered these basic fundamentals in the last two lessons.

    Let's get right to work.

    The following chart will list my favorite "6-2-5-1" progressions. I will start each

    progression with the "1" chord just so that you get a sense of what major key the chordprogressions start and end on.

    "6-2-5-1" Chord Progressions

    The following examples will be in the key of Db major:

    A " / " slash means that the note to the right will be played on the bass (left hand).

    "1" "6" "2" "5" "1"

    Bb Eb Ab / Db Ab C Db F / Bb Gb Bb Db F / Eb C F A / Ab Bb Eb Ab / Db

    Db Eb F Ab / Db Ab C Eb G / Bb Gb Bb Db F / Eb F A C E / Ab Eb Ab Db / Db

    B F Bb / Db Ab D F / Bb G C Db F / Eb Gb C F / Ab B F Bb / Db

    F B / Db D Ab / Bb Db G / Eb C Gb / Ab B F / Db

    Ab Db Eb F / Db Ab B D F / Bb G Bb Db E /Eb Gb B C E / Ab B F Bb / Db

    Bb Eb Ab / Db Ab Bb C Eb / Bb G C Db F / Eb C F A / Ab Bb Eb Ab / Db

    Also, keep in mind that just because the progressions says "6-2-5-1" doesn't mean you

    must only play one chord on the "6," one chord on the "2," and so on...I actually like to play multiple chords on the "6." Here are some examples below.

    "The Incredible Power of 6-2-5-1 Progressions

    in Gospel Songs!"Lesson #3

  • 5/20/2018 Progressions eBook

    12/21

    11

    ICANPLAYGOSPEL.COM

    From the "1" chord in Db:

    (1) Ab Db Eb F / Db

    (6) Ab C Eb G / Bb

    (6) Ab B D F / Bb

    (2) Ab C Db F / Eb

    (2) G C Db F / Eb

    (5) Db Gb Bb / Ab

    (5) C F A / Ab

    (1) Bb Eb Ab / Db

    Notice how many chords I used in the above "6-2-5-1" progression. The first chord ofeach scale tone was usually more subtle but the second chord of the two would always

    push us towards the next chord. For example, the first "6" chord above led to a stronger

    "6" chord, which ultimately led us to our "2" chord. Keep these types of ideas in mind

    when playing "6-2-5-1" or any other progressions for that matter!

    This concludes lesson #3

  • 5/20/2018 Progressions eBook

    13/21

    12

    ICANPLAYGOSPEL.COM

    The "3-6-2-5-1" progression is common in gospel music and creates a distinct sound. In

    this lesson, I am going to share with you a few of my favorite "3-6-2-5-1" progressions

    and how to use them in your gospel music.

    Like every other progression we've learned, this one simply adds on to the "6-2-5-1"

    progression from the previous lesson. In fact, the "3" chord simply pulls us towards the

    "6-2-5-1 progression. So it is safe to say that any "6-2-5-1" chord progression with theaddition of the "3" chord can be transformed into a "3-6-2-5-1" progression.

    First, I want to explore "3" chords that will actually pull us towards our "6-2-5-1"

    progression. Let's explore the following chords:(In the key of Db major):

    D major scale = Db - Eb - F - Gb - Ab - Bb - C - Db

    1)

    F7 (#9#5)

    Left hand = F * Right hand = A + Db + Eb +Ab

    2)

    F7 (b9#5)

    Left hand = F * Right hand = A + Db + Eb + Gb

    3)

    Dmaj / F

    Left hand = F * Right hand = A + D + F#

    4)

    F7 (b9)

    Left hand = F * Right hand = Gb + A + C + Eb

    "How to Add Bigger 3-6-2-5-1 Progressions

    to your Songs!"Lesson #4

  • 5/20/2018 Progressions eBook

    14/21

    13

    ICANPLAYGOSPEL.COM

    5)

    Fmin7 (b5)

    Left hand = F * Right hand = Ab + B + Eb

    6)

    Ab (add 9) / F

    Left hand = F * Right hand = Eb + Ab + Bb + C

    Ok, now that we have learned a few "3" chords, let's combine them with "6-2-5-1" to

    create our "3-6-2-5-1"progressions.1)

    "3" chord: A + Db + Eb + Ab / F

    "6" chord: Ab + C + Db + F / Bb

    "2" chord: G + C + Db + F / Eb

    "5" chord: C + F + A / Ab

    "1" chord: Bb + Eb + Ab / Db

    2)

    "3" chord: A + Db + Eb + Gb / F

    "6" chord (1): Ab + C + Eb + G / Bb"6" chord (2): Ab + B + D + F / Bb

    "2" chord: Gb + Bb + Db + F / Eb

    "5" chord: F + A + C + F / Ab

    "1" chord: Eb + Ab + Db / Db

    3)

    "3" chord: A + D + F# / F

    "6" chord: Ab + C + Db + F / Bb

    "2" chord: Db + Gb + Bb / Eb

    "5" chord: C + F + A / Ab

    "1" chord: Bb + Eb + Ab / Db

  • 5/20/2018 Progressions eBook

    15/21

    14

    ICANPLAYGOSPEL.COM

    4)

    "3" chord: Gb + A + C + Eb / F

    "6" chord (1): F + Ab + Db / Bb

    "6" chord (2): F + Ab + B + D / Bb

    "2" chord: Gb + Bb + Db + F / Eb

    "5" chord: Gb + Bb + C + F / Ab

    "1" chord: Eb + Ab + Db / Db

    5)

    "3" chord: Ab + B + Eb / F

    "6" chord: Ab + B + D / Bb

    "2" chord: A + Db + Eb + Gb / Eb

    "5" chord (1): Ab + Db + F / Ab

    "5" chord (2): C + F + A / Ab

    "1" chord: Bb + Eb + Ab / Db

    6)

    "3" chord: Eb + Ab + Bb + C / F

    "6" chord: F + Ab + Db / Bb

    "2" chord: Gb + Bb + Db + F + Ab / Eb"5" chord: F + A + C + F / Ab

    "1" chord: Eb + Ab + Db / Db

    This concludes lesson #4

  • 5/20/2018 Progressions eBook

    16/21

    15

    ICANPLAYGOSPEL.COM

    In the past, I've given you one-fingered bass notes to play on your left hand. In this lesson,I will give you three-fingered left hand voicings so that you'll get used to playing

    "bigger" chords.

    These progressions will also be in the key of Db major:

    NOTES IN PARENTHESIS ( ) DON'T NECESSARILY HAVE TO BE PLAYED IFYOU CAN'T REACH THEM.

    #1

    Left hand

    C + G + Bb ("7")

    Right hand

    Eb + G + Bb + D + (F)

    F + C + Eb ("3") A + Db + Eb + Ab

    Bb + F + Ab ("6") Ab + C + Db + F + (Ab)

    Eb + Bb + Db ("2") G + C + Db + F + (A)

    Ab + Eb + Gb ("5") Gb + Bb + B + Eb

    Db + Ab + B ("1") F + Bb + B + Eb

    After the "1" chord, it is common to go to a "4" chord:

    Left hand: Gb + Db + F / Right hand: F + Bb + Db

    or...

    Left hand: Gb + Db + F / Right hand: Bb + Eb + F Bb

    "The 7-3-6-2-5-1 Progression and How to Use It!"Lesson #5

  • 5/20/2018 Progressions eBook

    17/21

    16

    ICANPLAYGOSPEL.COM

    #2

    Left hand Right hand

    C + G + Bb ("7") Bb + Eb + Gb

    F + C + Eb ("3") A + D + Gb

    Bb + F + Ab ("6") Ab + C + Eb + G

    Eb + Bb + Db ("2") Gb + Bb + Db + F

    Ab + Eb + Gb ("5") C + F + A

    Db + Ab + B ("1") Bb + Eb + Ab

    This concludes lesson #5

  • 5/20/2018 Progressions eBook

    18/21

    17

    ICANPLAYGOSPEL.COM

    I will introduce a couple of "spicy" progressions that you can play in the place of classicprogressions like "2-5-1's" or "6-2-5-1's!"

    I will start by giving you a basic way to play the progression. I will then show you how to

    "spice up" the same progression.

    #1) Key of F majorThis example is based on a "7-3-6" progression. We covered "7-3-6-2-5-1" progressions

    in the previous lesson. A "7-3-6" is simply an abbreviation of the larger progression.

    For simplicity, I will use one of the progressions that you learned in the last lesson. Now...

    keep in mind, that this progression is pretty contemporary in and of itself. However, there

    are ways to take an "already-contemporary" progression and spice it up as you'll seebelow.

    NOTES IN PARENTHESIS ( ) DON'T NECESSARILY HAVE TO BE PLAYED IFYOU CAN'T REACH THEM.

    Common Example of 7-3-6 progression:Left hand

    E + B + D ("7")

    Right hand

    G + B + D + F# + (A)

    A + E + G ("3") Db + F + G + C

    D + A + C ("6") C + E + F + A + C

    Now... let's spice it up a little bit!

    Ok, to start:

    For the "7" chord above, let's replace the left hand with a tritone: "G+Db."

    BUT INSTEAD OF PLAYING JUST A TRITONEON THE LEFT, we will add an "F"

    to create this three-fingered triad:

    G + Db + F

    "Exploring Fancy Chords and Progressions"Lesson #6

    http://urban600.icanplaygospel.com/http://urban600.icanplaygospel.com/
  • 5/20/2018 Progressions eBook

    19/21

    18

    ICANPLAYGOSPEL.COM

    TIP:When spicing up your chords, sometimes the lowest note won't correspond with the

    traditional way to play a progression. You'll be playing things like "tritones," various

    inversions of the left hand, altered chords, and more! So don't worry about trying todecipher why a "G" is the lowest note instead of an "E" (like in the common example

    above). As you'll notice, the same type of sound will be produced, but more jazzier. The

    end result is always more important --- that is, you'll still end up going to the "6" chord,which is on "D."

    So, let's continue:

    On the left, we will play G+Db+F, which is like a G7 (b5), but very abbreviated.

    On the right hand, we will simply play a Gbmaj triad (Db + Gb + Bb) in its secondinversion. Let's look at the whole chord now:

    Left hand Right hand

    G + Db + F Db + Gb + Bb

    The next chord is pretty simple. Just take the left hand chord you're playing and move the

    "F" to "E" so that you get this chord:

    G + Db + E

  • 5/20/2018 Progressions eBook

    20/21

    19

    ICANPLAYGOSPEL.COM

    Left hand Right hand

    D + A + C C + E + G

    So as you can see, this last chord is simply a D7 on the left and a Cmaj triad on the right.

    Now, let's combine all three chords for our final "7-3-6" progression:

    Left hand Right hand

    G + Db + F Db + Gb + Bb

    G + Db + E C + F + A

    D + A + C C + E + G

    #2) Key of Ab major

    The following progression can be used to replace a classic "6-2-5-1." So that youunderstand how a "6-2-5-1" might normally be played, I have listed one below for you:

    A " / " slash means that the note to the right will be played on the bass (left hand).

    "1" "6" "2" "5" "1"

    Bb Eb Ab / Db Ab C Db F / Bb Gb Bb Db F / Eb C F A / Ab Bb Eb Ab / Db

    Note: The "1" chord has been added above just to give you a sense of what chord a "6"would proceed.

    Now replace the same chords above with these:Left hand Right hand

    Eb + Ab Db + F + Ab + Db

    D + Ab C + E + G + C

    Eb + Bb + Db G + B + Db + Gb

    Ab + Eb + Gb Gb + Bb + C + F

  • 5/20/2018 Progressions eBook

    21/21

    20

    ICANPLAYGOSPEL.COM

    ... So can you tell the difference?

    What do I do next?Start learning these progressions in all twelve keys! Just because I played them in F and

    Ab major doesn't mean you have to be confined to those major keys. Use the 300-pgcourseto figure out how to transpose these chords into other keys.

    Remember, chords have different functions. Try using the chords above in other keys.

    For example, though the second example I listed was posted in Ab as a "6-2-5-1"

    progression, isn't it true that an F to Bb to Eb to Ab is also a "3-6-2-5" in the key of Dbmajor? So in essence, what might be one progression in one key WILL BE A TOTALLY

    DIFFERENT PROGRESSION in another key! Try those same chords out and see if they

    work. You'll be surprised at the results.

    So once you learn the progressions in all keys, then start mixing and matching their roles.

    Use them as "2-5-1s" in some keys but as "1-4" progressions in others! You'll see thepower of this technique as soon as you start using it!

    The End

    Dont Miss Out

    Did you received this e-book from a friend? This e-book is one of the many tools we

    offer to our ICANPLAYGOSPEL.COM newsletter subscribers . To join thesubscribers list so that you to can receive the many free piano playing resources

    visit www.icanplaygospel.comto sign up. We continuously post exclusive subscriber

    only materials. Dont miss the opportunity to take your piano playing to another

    level. Sign-upfor FREE TODAY!

    http://course.icanplaygospel.com/http://course.icanplaygospel.com/http://www.icanplaygospel.com/http://www.icanplaygospel.com/http://www.icanplaygospel.com/http://www.icanplaygospel.com/http://course.icanplaygospel.com/http://course.icanplaygospel.com/

Top Related