The 1-4 chord progression is one of the most commonly used progressions in gospel and blues music. In our 300-pg course, we cover several ways to play 1-4 chord progressions.

In this lesson, I will show you a couple of ways to transition from a 1 chord to a 4 chord. These techniques are taken from pages 292 and 293 out of my 300-pg course…

1) Adding a Vmin9 — I 9 / 6 Chord Progression:

This progression can always lead to the IV chord. I play it all the time! In C major, this progression is: Cmaj - Gmin9 - C9 / 6 - F9

Don’t worry about all the terminology like C9 / 6 as this is covered in our workbook. Below, you will find the notes of each of the chords.

REFERENCE:

Cmaj = C + E + G
Gmin9 = F + A + Bb + D
C9/ 6 = E + A + Bb + D
F9 = Eb + G + A + C

Now … try playing them giving the Cmaj and F9 twice the amount of duration than the Gmin9 and C9 / 6 (pronounced “C minor nine with added 6th”).

Cmaj Gmin9 C9/6 F9

How did it sound? If it worked out for you, try adding it to some of your songs when you need to transition from any 1 chord (like Cmaj) to a 4 chord (like Fmaj) … that is, just simply add a Gmin9 –> C9/6. And don’t forget, the only REAL difference between the Gmin9 and C9 / 6 chord is the lowered F to E.

For more information on these types of chord progressions, check out my 300-pg “The Secrets to Playing Piano By Ear!” at http://www.hearandplay.com/course or http://www.hearandplay.com/ordernow.html

2) Add a IV#9 right before the IV chord:

If the IV chord is a dom9 chord, then simply add the dom9 chord a half step higher to create a IV# 9 — IV 9 progression. This sounds great in blues and gospel music! For example, in C major, this is: C9 - F#9 - F9

REFERENCE:

C9 = Bb + D + E + G (this chord is inverted so that Bb is on the bottom)

F#9 = E + G# + A# + C#

F9 = Eb + G + A + C

… Try it!

C9 F#9 F9

>>> These two progressions can be used when you are in a situation that requires a fill-in between a C7 or C9 and an F7 or F9 (or any 1-4 relationship in another key). For more fills and progressions like the ones above, visit: http://www.http://www.hearandplay.com/course

This concludes this month’s lesson on “1-4 Chord Progressions.”

Popularity: 7% [?]

If you're new here, you may want to subscribe to my RSS feed for regular updates. If you'd rather subscribe by e-mail, click here. Thanks for visiting.

Popularity: 6% [?]

The “3-6-2-5-1″ progression is common in gospel music and creates a distinct sound. In this month’s classroom 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 March. 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 the addition 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):

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

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

“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

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

Popularity: 5% [?]

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. However, it can be used in several situations (I can only go over a few in this lesson but encourage you to visit: http://www.hearandplay.com/course.html 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 - Major
2 tone - Minor
3 tone - Minor
4 tone - Major
5 tone - Major (dominant when a 7th chord)
6 tone - Minor
7 tone - Diminished (half-diminished when a 7th chord)

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 major
2 = D minor
3 = E minor
4 = F major
5 = G dominant
6 = A minor
7 = B half - diminished
8 = 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 not use 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 = dominant
maj = 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)

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 is said to be played in its “first inversion”

Note: I love playing this chord progression in gospel music. You try playing it and let me know 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 simply play 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 chord alteration:

D9 b5 —> G13 —-> Cmaj

*** 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 today’s online classroom lesson.

Popularity: 7% [?]