My LGM Piano and Organ Posts

-B3Wannabe

James hall
He Is Sweet I know, basically follows this pattern:

Verse:
BbMaj7, Ab9

Chorus:
Ebm9, Ab7 b9, Fm7, Bb7 b9

Bridge:
E13 #5 b9, C7 #9, Fm7, Bb7 b9, Bb7 #9

Vamp:
Ebm9, Fm7, Bb7 b9

Ending:
Gbsus2, Db/Gbsus2, Fm7 *tap the B to get that off sound* (repeat)
A7 #5 #9, Bb

That's the gist of it. Just play around with the chords.

Yea. As dd said, he uses a lot of classical jazz. If you study Ella Fitzgerald, you'll get
close to his sound. There is one Ella song, called "Bei Mir Bist du Schön", that I'd like to
snatch the music from. It'll sound sweet with some Gospel.

One scale for five keys: Blues Scale Modes

Here is something I just learned today, while playing preacher chords.

Each blues scale can be played in five keys. Let's take the C blues scale.

C, Eb, F, Gb, G, Bb, C

You can play this same scale in Eb, F, G, and Bb.

Eb, F, Gb, G, Bb, C, Eb

F, Gb, G, Bb, C, Eb, F

G, Bb, C, Eb, F, Gb, G

Bb, C, Eb, F, Gb, G, Bb

When I tried starting on G and Bb, it didn't stick too well. Although it worked better in G
than Bb, it sounded better when I used it as a transition to C or Eb. Maybe you can get it
to work.
It doesn't seem to work in Gb at all. So to sum it up, if a minister is preaching in C, Eb,
F, G or Bb; you can use this same scale.

Fat runs in 15 minutes!

This is one that got dropped down on me over the weekend, causing my runs to sky-
rocket. It's nothing that new, but I'm just now understanding how sweet it is.

Ok. Here is the secret: use the major scale that begins a whole step below the key
you're in. Check out the example using the key of F.

Key: F

F / Eb-G-Bb-D-F
RUN: Ab, Bb, C, D, Eb, F, G, Ab - "Ab Lydian"

A / G-B-Db-F
RUN: A, Bb, C, D, Eb, F, G, Ab, Bb, C - "Bb Mixolydian" with an extension to C

Bb / Ab-C-D-F
RUN: C, D, Eb, F, G, Ab, Bb, C, D, Eb, F, Eb, D, C, Bb, Ab - "C Aeolian" with a decending
F Dorian
You can also switch to the keys of Bb or Eb and use chords from each.

B / Ab-B-D-F
RUN (Decending): Bb, Ab, G, F, Eb, D, C, Bb, Ab - "Bb Mixolydian" extension to Ab

F-G / Ab-C-E-G
You can change the "E" to "Eb" if you want.

You can even run the two scales on top of each other. Try playing the Eb scale starting
from Ab, while you play a normal F scale in the bass. Sweet!

I do some things extra, like running the scale up and down or throwing in chromatics,
every now and then, but it all works around that Eb scale. To do the runs fast, your
thumb has always land on C or F. If it touches any of the other keys, your speed will be
limited.

I'll post a clip later. I have a working video camera now.

Substitute that 7-3-6 for a 5-1-4 or 3-6-2

God dropped this one on me yesterday.

I can't remember what song I was playing, but at a certain point, the singers started
looping the vamp. You know, it's that point where you would normally keep doing
7-3-6-2-5-1. Instead of doing that you can do a 5-1-4-2-5-1 or a 3-6-2-2-5-1. It'll
definitely break up the monotony.

Key Bb.

Normal:
A-C# / G-C-Eb
D-C / Gb-C-F
G-D / G-Bb-D-F
C / Gb-Bb-C-Eb
F-Eb / Bb-D-F
5-1-4:
F-Eb / Ab-C-Eb-G
Bb-D / Ab-C-D-G
Eb-Bb-Eb / G-Bb-D-F
Ab-C / Gb-Bb-C-F
C / Gb-Bb-C-Eb
F-Eb / Bb-D-F

3-6-2:
D-C / F-A-C
G / F-Bb-D
C-G-Eb / G-Bb-D-F
C / Gb-Bb-C-Eb
F-Eb / Bb-D-F

Major/Natural Minor Scale Fingering Demystified

Here is something that I just realized.

The fingering is the same for all white keys, with the exception of F and B(Cb).

Right hand: 123123412312345

Left hand: 543213214321321

For the key of F:

Right hand: 123412312341234

Left hand: 543213214321321

Key of B / Cb: (same as F, but the hands are switched and reversed)

Right hand: 123123412312345

Left hand: 432143213214321

Rules for black keys:

Right hand: 2nd finger always lands on C#/Db or F#/Gb (unless starting on Ab or Bb)
Left hand: 2nd finger always lands on Bb or Eb

6-1-4 Progression
I had this one dropped on me during my practice last night. It can't be used all the time,
but you can drop it in place of a 5-1-4 every now in then.

I dropped this in "Welcome into this Place".

Key Gb:

Welcome
Eb-Bb / Gb-Bb-Db-F
...in
Gb-Gb / Fb-Ab-Cb-Eb ...to this
Cb-Bb / Eb-Gb-Bb-Db ... broken vessel
Let me know, if you find any uses for it.

Elstree*

James Hall - Jesus Lives

James Hall: Jesus Lives
Key Fmin
Transcribed by: B3Wannabe

INTRO:
F-A-Eb \ F, C
E-G#-D \ Eb, C
Eb-G-Db \ B, Bb, Ab, F
D-F#-C \ Ab, Bb
Db-F-B \ B, Ab, F
C-E-Bb \ Ab, Bb, F
B-D#-A \ Ab
Bb-D-Ab
A-C#-G \ F, C
Ab-C-Gb \ Eb, C
G-B-F \ B, Bb, Ab, F
Gb-Bb-E \ Ab, Bb
D, A, F# \ B, Ab, F
G, D, B \ Ab, Bb, F
E-Bb, C-E-Bb \ Ab

Db, Ab, Gb, F \ Db-F-Ab

F, E, C \ C-E-G
(REPEAT 4X)

E-Bb \ E-G-Bb-Eb

VERSE:
F-C-Eb \ G-Ab-C-Eb...My re...
Ab-Eb \ Gb-Bb-Db-F....deem
D-F#-C \ F-Bb-D....er
Db-F-B \ E-A-Db...He lives! He lives today!
G-D-F \ D-G-B
C-E-Bb \ Eb-Ab-C

F-C-Eb \ G-Ab-C-Eb
Ab-Eb-Gb \ F-A-C-F
D-F#-C \ F-Bb-D
C-E-Bb \ E-A-Db, Eb-Ab-C
F-C-Eb \ E-A-Db

Bb \ Db-Eb-F-Ab (2X)..........Hung him up

Bb, C, Db, C, Bb \ Db, Eb, F, Eb, Db... on the cross
Ab \ Db-Eb-F-Ab (2X)..............buried him
Ab, Bb, C, Bb, Ab, G \ C, Db, Eb, Db, C, Bb-E..... in the grave
G-D-F \ B-F......thought they had killed him dead

C, E, G, Bb, Db, C, E, G, Db, C (both hands)

E-Bb \ E-G-Bb-Eb

(repeat verse)

CHORUS:
Db, Ab, Gb, F \ Db-F-Ab....Stone rolled a...
F, E, C \ C-E-G....way
(REPEAT 4X)

(repeat verse x2)

(repeat chorus)

James Hall: Wonderful ( http://www.learngospelmusic.com/forums/index.php/

topic,54915.0.html )
Key: Eb
Transcribed by: B3Wannabe

LH \ RH

INTRO:
Db-G \ Eb-G-Bb-Eb, Eb-Ab-C
F-C-Eb \ Eb-G-Bb, C-Eb-Ab, Bb-Eb-G
Bb-F \ Ab-Bb-C-Eb
Bb \ Bb-D-F
B, Db, D \ Ab-B-Eb-Gb
Eb, Gb, G \ Db-F-Ab
Ab \ Gb-Bb-Db
D \ F-Bb-D
Eb \ Eb-G-Bb-Eb
G, F-B \ D-F-Bb
C-E-Bb \ Eb-G-Bb

CHORUS:
D \ C-E-G
Eb \ Db-F-Ab
E \ D-F#-A

F-Eb \ Eb-G-Bb
Bb-F-Ab \ Bb-D-F-Bb
C-E-G-Bb \ Db-E-G-Bb
(REPEAT)

Ab-Eb-Gb, Gb \ Eb-Gb-Ab-B
F-Eb \ A-Db-F-Ab
E-D, Eb, Db, B \ Ab-Db-Gb-Bb
Bb-F-Ab \ Eb-G-Bb-Eb
G-F \ B-D-F-Bb

C-E-Bb \ Eb-Ab-C

F-Eb, Bb, B \ Eb-G-Bb, C-Eb-Ab, Bb-Eb-G

C-E-G-Bb \ Db-E-G-C
F-Eb \ Eb-G-Bb, C-Eb-Ab, Bb-Eb-G

Bb-F \ Bb-Eb-G, Bb-D-Gb-Bb

Bb, Ab, Gb, F \ Ab-Db-F
Bb, Db, D \ Db-F-Ab
Eb \ Eb-G-Bb

A-E-G \ G-C-Eb
Ab-Eb-Gb \ Gb-B-Eb
G-D-F \ F-Bb-Eb

G-F \ B-D-F
C-E-G \ Bb-Db-E

C-E-Bb \ Eb-G-Bb-Eb, Eb-Ab-C

F-Eb \ Eb-G-Bb, C-Eb-Ab, Bb-Eb-G
Bb-F \ Ab-Bb-C-Eb
Bb \ Bb-D-F
B, Db, D \ Ab-B-Eb-Gb
Eb, Gb, G \ Db-F-Ab
Ab \ Gb-Bb-Db
D \ F-Bb-D
Eb \ Eb-G-Bb-Eb

VERSE 2 AND 3:
F-F \ B-Db-F
Gb-E \ Bb-Db-Gb

Gb, Eb, Db \ Ab-Bb-C-E

B-Eb-Gb \ Bb-Db-Eb-Gb
Bb-F-Ab \ Db-Eb-Ab
Bb-F-Ab \ Bb-D-F
Db \ Bb-Eb-G

C \ C-Eb-Ab
D \ D-F-Bb
Eb \ Eb-G-Bb
F-F \ B-Db-F
Gb-E \ Bb-Db-Gb

C-E \ Bb-Eb-Ab

B-Eb-Gb \ Bb-Db-Eb-Gb
Bb-F-Ab \ Db-Eb-Ab
Bb-F-Ab \ Bb-D-F
Db \ Bb-Eb-G

C \ Eb-Ab-G
D \ F-Bb-D
Eb \ Eb-G-Bb-Eb
G-D-F \ Eb-G-Bb
C-E-Bb \ Db-E-G-C

F-C-Eb \ C-Eb-G-Bb
C-G-Bb \ Db-E-G-Bb
F-C-Eb \ C-Eb-G-Bb
C-G-Bb \ Db-E-G-Bb

F-C-Eb \ Eb-G-Bb, C-Eb-Ab, Bb-Eb-G

Bb-F \ Ab-Bb-C-Eb
Bb \ Bb-D-F
B, Db, D \ Ab-B-Eb-Gb
Eb, Gb, G \ Db-F-Ab
Ab \ Gb-Bb-Db
D \ F-Bb-D
Eb \ Eb-G-Bb-Eb

(REPEAT CHORUS)

A-G \ B-Eb-G-Bb

VAMP 1:
Ab-Eb \ Bb-D-F, Bb-Eb-G
C-G-Bb \ D-F-Bb, Eb-G-Bb
(REPEAT 7X)

VAMP 2:
Ab-Eb \ Bb-D-F, Bb-Eb-G
Eb-G-Bb \ D-F-Bb (or D-G-Bb-D)
G-D-F \ Eb-G-Bb (or D-G-Bb-D)
C-E-Bb \ Eb-G-Bb (or D-G-Bb-D)
A-Db-F \ C-F-A-C
(REPEAT 7X)

HAPPY BIRTHDAY sONG!!!!

Here is a plain version:

http://media.learngospelmusic.com/displayimage.php?pos=-1716

C, C........................Happy
F-C-F \ A-D, C..............Birthday
A, Bb, B \ A-C-F............to
C \ G-C-E...................you
C, C........................Happy
G-D-F \ Bb-D, C.............Birthday
C-E-G \ Bb-D-G..............to
F-C-F \ A-C-F...............you
C, C........................Happy
F-C-F \ C-F-A-C, C-A, A-F...Birthday to
Bb-D-F \ Bb-E, D............yooooou
Bb-D-F-A \ C-F-Bb, Bb.......Happy
G-D-F \ C-A, C-F............Birthday
C-E-G \ Bb-D-G..............to
F-C-F \ A-C-F...............you

That's pretty much it. Repeat it for the other verses.

James Hall: The Blood

Key: Bb

Bb-F \ Bb-D
Bb-F \ Bb-D
Bb-E \ A-Db
Bb-F \ Bb-D
Bb-Gb \ C-Eb
Bb-Gb \ Bb-D-F
\ F, G
Bb-Gb-Bb \ D-F-Ab, G, F, Ab
B-G \ B-D-G
B-G \ B-D-G, Gb, G, A
G-Eb, D, C, D \ Eb-G-B
G-F, E, Eb, D \ Eb-G-B-D
Gb-Gb, F, E, Eb, D, Db, C, Db \ Eb-Gb-Bb-Db
C-E-Bb \ E-Gb-Bb, A, Ab, G
Bb-Ab \ Gb, F, E, F
Ab-F, Eb, D, Db, C, Bb, A, Ab \ B-D-F-Bb, Ab, G, Gb, E, D, Db, B
F, Gb, Ab, A, B, Db, Eb, F \ Db, Eb, F, Gb, Ab, A, B, Db
Db, C, Bb, A, F, Db, C, Bb, A, F \ F, E, Db, C, A, F, E, Db, C, A

D, Gb, C \ Ab-B-D-G, F, Eb
B, Db, A \ F-Ab-B-D
C-G, Ab, A \ Bb-C-Eb, F, G
\ C, D
A, D-G \ Eb-G-C-Eb
D-A-C \ D-Gb-Bb, D-Gb-C
G, D-F \ Db-F-Bb-Db
C-G-D \ C-E-Ab, C-E-Bb
F-C-Eb \ B-Eb-Ab-B

Karen Clark: Be Sure

Here are chords to Karen Clark's "Be sure" from the 2nd Chance cd. It's the first song.
I'll follow up with the rest later....

Key F
Arranged by: Your Truly

Intro:

F, G
F \ CFA
G \ DFBb
A \ FAC
G \ DFBb
F \ CFA
E \ CEG
D \ BbDF
C \ GCE
Bb \ FBbD
A \ GCF
Ab \ GCEb
G \ FBbD
F \ FGAC

Verse #1:

F, G ...If you
FF \ CFA ...ask me why it
ADb \ GCF ....really took so
BbD \ FBbD ....long....it was like
BEb \ ADG ....waiting for that
DbF \ BEA ...picture perfect
D \ ACF ...song

F, G ...If you
GF \ CFA ...ask me why it
A \ FGAC ...took so many
Bb \ FBbD ...years...it's never
BEb \ ADG ...easy
CE \ GCE ...coping with your
FF \ ACF ...fears

(Repeat verse)

Verse #2:

Bb (high) \ EbAbC ....sun--

Ab (high) \ CEbAb ....ny
G (high) \ BbEbG ....days

F (high) \ Eb ....don't

Bb \ AbDbF ....mean that it

Ab \ AbCEb ....won't ever
GG \ AbDbF ...rain

Bb (high) \ EbAbC ....mon--

Ab (high) \ CEbAb ....ney
G (high) \ BbEbG ....may

F (high) \ Eb ....bring

Bb \ FBbDb ....things but it

Ab \ AC ....won't erase the
C \ FGAC ...pain

Bridge:

F \ FA ....I
G \ GBb ...love
A \ AC ....you
Bb \ BbD ...You
C \ CE ...love
D \ DF ...me
E \ CEG ...but we
F \ CFA ...must
AbAb \ BbCEbAb ...be
GG \ BbDG ...sure

CF \ BbCD (passing chord)

F \ FA ....We
G \ GBb ...may
A \ AC ....be
Bb \ BbD ...the best
C \ CE ...of
D \ DF ...friends
E \ CEG ...but
F \ CFA ...in
E \ CEG ...the
D \ DF ...end it's true
C \ CE ...love that
BEb \ ADG ...wins

(repeat the following twice)

A \ FBbD ...Gotta be
Ab \ GCEb ...love that
G \ FBbD ...will en--
F \ FGAC ...dure

I'm Modal CRAAAAZY Over Here!

I just had an eye-opener, last night. I was practicing my modes, and it just came to my
attention that in aeolian mode, the 3rd and 6th are major and the 7th is dominant. I
know, this may not seem like a big deal, at first, but this led me to test out a few
progressions with this new found knowledge....

8O

I was dumbfounded!

8O

There was some phatness, craziness, and nastiness in them thar chords! And all I did
was play them within the modes!

I'm going to be digging into these modes a lot over the next two months, so I can finish
this year out gooooood!

Take a look at it for yourselves. I'm not posting any chords or clips for this one! Ask
questions, if you have them though.

This is just crazy!

Roots and Fifths never sounded so good!

Here is a sweet root-fifth voicing....

C-G-C \ E-B-E

If you put both hands together, they make a Major7th chord. Play with this voicing,
when you need to play either a Maj or Major7th chord.

Here is the minor7 version....

C-G-C \ Eb-Bb-Eb
I'll post a clip of some uses for these chords later....You can move it diatonically though.
It's really effective, when you're going from 1 to 4 or 1-5, diatonically.

Root-less Contemporary "Power" Fills #1

I've been contemplating making this post, but here it goes. These are a couple fills that
I've learned over the last few months that I'd share them. Beware, you may have to
frown, in order for them to sound good.

:wink: :lol:

1. This fill can be used in a lot of keys. C, Eb, Db, Bb....etc....it's just placement. This
one is a good pass to tonic or IV chord, for other keys, you'll have to add some to the
end, in order for it to resolve properly.

A / Eb-Ab-C
Ab / E-A-C#
A / Eb-Ab-C
F / B-E-G#
G / Db-Gb-Bb

2. This one can also be used in a lot of keys.

F / Bb-Eb-Ab
Eb / Ab-Db-Gb
E / A-D-G

I'll post clips and more later.

Marvin Sapp: Lift Those Hands

Here's the intro to Marvin Sapp's, "Lift Those Hands":

Key Eb:

LH \ RH

Bb, C
FEb \ AbCEb
GEb \ GBbEb
AEb \ GCEb
BbEb \ BbEbG
C \ BbDF
D \ ACF
Db \ AbDbEbAb

D, Eb, E \ GCEG

FEb \ BbEbG
GEb \ BbDF
AEb \ BbEbG
BbGb \ DbEbGbBb
EbGb \ DbEbGbBb
AbGb \ CbEbGbBb
B, C, DbF \ CbEbFAb
F, F#, EbG \ BbEbGBb

....I'll post the rest later.

Diatonic variations of a 7-3-6 progression

We all know (or have heard) this common gospel transition from 7-3-6.

Key: C

B \ A-D-F
E \ Ab-C-D-G
A \ G-B-C-E

http://www.brownfloyd.com/gallery/displayimage--1445.html

What I learned is that, you can transpose your right hand diatonically and still play the
same bass. Here are the different variations....

1. Right hand playing from Emin.

B \ B-E-G
E \ Bb-D-E-A
A \ G-B-C-E

http://www.brownfloyd.com/gallery/displayimage--1444.html

2. Right hand playing from FMaj.

B \ C-F-A
E \ Bb-D-E-A
A \ G-B-C-E

http://www.brownfloyd.com/gallery/displayimage--1443.html

3. Right hand playing from GMaj.

B \ D-G-B
E \ C-E-Gb-B
A \ A-C-E-G

http://www.brownfloyd.com/gallery/displayimage--1451.html

4. Right hand playing from Amin.

B \ E-A-C
E \ Db-F-G-C
A \ C-E-G-B
http://www.brownfloyd.com/gallery/displayimage--1450.html

5. Right hand playing from Bdim.

B \ F-B-D
E \ Eb-G-A-D
A \ C-E-G-B

http://www.brownfloyd.com/gallery/displayimage--1449.html

6. Right hand playing from CMaj.

B \ G-C-E
E \ Eb-G-A-D
A \ C-E-G-B

http://www.brownfloyd.com/gallery/displayimage--1448.html

Here are all seven....

http://www.brownfloyd.com/gallery/displayimage--1446.html

Tell me what you guys think, and for those that already use these variations, post your
versions.

Group Groove: Add your chords

Group Groove: Add your chords

Karen Clark-Sheard: We Acknowledge You

Here are the chords to Karen Clark-Sheard's, "We Acknowledge You":

Key Ab:

Bb \ AbBbDb
C \ AbCEb
Db \ AbCF
Db \ AbCF
C \ AbCEb
Ab \ AbCEb
Eb, E \ Ab, Bb
F \ GAbC
F \ GAbC

Bb \ AbBbDbAb
C \ BbCEbAb
Db \ CFAb
Db \ CFAb
C \ BbEbG
Ab \ EbGBb
Eb, F (high with left hand)
F \ GBbEbG
F \ GBbEbG

Bb \ AbBbDb
C \ AbCEb
Db \ AbCF
Bb \ AbCF
C \ BbEbG
Ab \ BbEbG
Eb \ EbGBb
E, F \ EbGBbEb
F \ EbGBbEb

Bb \ AbBbDb
C \ AbCEb
Db \ AbCF
Bb \ AbCF
C \ AbCEb
Ab \ AbCEb
Eb, F \ GAbC
F \ GAbC
(Repeat)

Bb \ AbBbDb
C \ AbCEb
Db \ AbCF
Bb \ AbCF
C \ AbCEb
Ab \ AbCEb
Eb, F \ GAbC

BbFAb \ DbFAb
GF \ EbGBb
AbF \ CEbAb

Verse:
Bb \ AbBbDb
C \ AbCEb
Db \ AbCF
Bb \ AbCF
C \ AbCEb
Ab \ AbCEb
Eb, F \ GAbC
F \ GAbC

Bb \ AbBbDb
C \ AbCEb
Db \ AbCF
Bb \ AbCF
DGb \ FAbC
DGb \ FAbC
DGb \ FAbC
EbG \ EbGBb
EbG \ EbGBb
Bb \ AbBbDb
C \ AbCEb
Db \ AbCF
Bb \ AbCF
ED \ DGC
ED \ DGC
ED \ DGC
FBb \ CFBb
FBb \ CFBb

BbFAb \ DbFAb
GF \ EbGBb
AbF \ CEbAb

FBb \ AbCEb

Bridge:

CE \ AbBbCEbAb
DbF \ AbDbFAb
DbGb \ BbDFBb
EbG \ BbEbGBb
(Repeat)

GF \ GBbEb
Ab \ AbCEb

Key change (to Bb):

BbFAb \ DbFAb
CGBb \ EbGBb
BGbA \ DGbA
DbAbB \ EAbB
CGBb \ EbGBb
EAbD \ GC
FC \ EbGBb

DGb \ FBbD
EbG \ GBbEb
EAbD \ GC
FAC \ FA
(Repeat)

ADbG \ CFA
BbDAb \ DFA

(Transpose the verse up a whole step for the last part.)

A 2-5-1 or 5-1-4 substitution I just learned....

Here's a progression I just learned. Now, I just have to learn it in all the keys....

8O
Key Eb or Bb

F-C \ F-Bb-D
G-Db \ G-C-F
A-Eb \ A-D-G
Bb-F \ Bb-C-Eb-G
C-Gb \ C-F-A
D-Ab \ D-G-C
Eb-G \ C-D-F-Bb

Play the whole thing straight through without stopping. You can substitute this for a
2-5-1 or 5-1-4 progression (they both use about the same chords)

Diatonic variation of a 2-5-1

This is a sweet jazzy sound right here!

I just learned this diatonic variation last night!

This is a combination of the 6-5 chromatic walk-down and a 2-5-1. You can see the 6-5
walkdown here:

http://www.learngospelmusic.com/ftopict-15356.html

....but instead of walking down from 6-5, you walk down chromatically from 3-2. Here
are the chords, I'll post clips later today.

Key C:

E \ A-D-F#
Eb \ Ab-Db-F
D \ G-B-C-E
G \ Gb-B-C-E
C \ E-G-B-D

Try playing with the chords and moving the around diatonically. I've already came up
with different variations of this.

What A Friend We Have In Jesus: Ending variation

Here are some chords that I came up with last night. They're jazzy and disonant, so it
may take some time to get used to....

Key A:

F-Eb \ Ab-Db-Gb-A ---- Ev

E-D \ Bb-Eb-Ab-B ---- ry
Bb-D-Ab \ Db-E-Ab-Db, B ---- thing to
Eb-Db \ C-Gb-A ---- God
E-D \ B-E-Ab ---- in
G-F \ A-Db-E-A ---- prayer
Video: Praise the Lord Everybody/I'm a Soldier
Here's a video of Praise the Lord Everybody.

http://www.brownfloyd.com/bgallery/displayimage.php?album=18&pos=7

Let's Shout : 2-5-1s

Here's another bass/chord variation that God blessed me with.

Take a normal shout 2-5-1 turnaround in Ab:

Bb (2)-C-Db-D-Eb (5)-F-Gb-G-Ab (1)

Here are 3 variations for this:

1) Normally, you'd probably play a type of major chord on the root, A Bb chord for a Bb
bass, C chord for a C bass, etc. However, you can play the same bass, and shift the
chord downs a whole step.

Bb\Ab, C\Bb, Db\B, D\C, etc.

2) Play the bass a whole step above, for the first half, so it'll sound like you're switching
to Bb.

C-D-Eb-E-F ...then... F-Gb-G-Ab

3) This one is played with the normal bass but different chords. It has a jazzier sound
than #1.

Bb\Db
C\Eb
Db\Ab
D\Db2
Eb\Dbmaj7
F\Db2
Gb\Dbmaj7
G\E2
Ab\Eb2

Here's an extra bite: Instead of doing the last chord, "Ab\Eb2", you can switch the key
to Eb by doing the following.

D\Gbmaj7 flat 5 (no 3rd)

G\Fmaj7
C\Ab

...then you just play in Eb or just jump back and do the regular 2-5-1. I'll make a video
of this later.

Progression: 7-3-6 (Db)

C-E-Bb \ Db-Gb-Bb
F-Eb \ Eb-Ab-C
Bb-F-Ab \ Db-Eb-F-Ab
C-E-Bb \ Db-Gb-Bb
B-Eb-A \ Bb-Eb-Ab
Bb-Eb-Ab \ Bb-Db-F

C-E-Bb \ F-Ab-Db
B-Db-Gb \ Db-F-Ab
A-Db \ G-C-F
Bb-F \ Ab-Bb-C-Eb

C-E \ Bb-Eb-Gb
F-Bb \ C-F-A-C
A-Db-G \ G-C-F
Bb-F-Ab \ F-Bb-Db

Videos coming later...

John Peter's type workout

Here is a little John Peter's type thing that I learned the other day....

Take this chord...

B-E-A \ Eb-Ab-C

and break it up, playing it like this....

B-A \ C
E \ Eb-Ab
Eb \ D-G
Bb-Ab \ B
A-G \ Bb
D \ Db-Gb

You should see the pattern after that. Also try this crazy variation, moving in opposite
directions....

B-A \ C
E \ Eb-Ab
Eb \ E-A
Bb-Ab \ Db
A-G \ D
D \ F-Bb

Here are a few clips:

http://www.brownfloyd.com/gallery/displayimage--1877.html (fourth in left, Major in

right)
http://www.brownfloyd.com/gallery/displayimage--1876.html (Same chord in both
hands)
http://www.brownfloyd.com/gallery/displayimage--1875.html (Diminished movement)
I was able to come up with about 10 variations (before I got tired of trying), using
different chords and intervals (moving in whole-steps or using an arpeggio as a guide).

Tell me what you guys thing.

Ab Intro
Here's an intro in Ab:
(Do each chord for 1/2 a count, starting on 4.)

> - higher
< - lower

4. EbGBbDb\FACF
+. DbFAbB\EbGBbEb
1,+. CEBb\EbAbC, Bb
2. FBb\FBbDb
+. ADbG\DGC
3,+. BbAb\DbFBb, Ab
4. >Ab\CEG
+. >G\F (single notes)
1. Eb\GAbCEb
+. >E\BbEbAb
2,+. <EbEb\DbEbFAbC, Bb
3. AbFAb\BbCEbAb

This is the day: Ragtime Style

Here's another way to play "This is the day". It has a slight ragtime feel to it.

Your left hand should bounce between the bass line and the chord, at the beginning. Also
the right hand and left hand are played slightly out of sync. The left hand should have a
steady 1-2-3-4 beat, when it's bouncing, while the right hand is playing chords based on
the melody.

Key Ab:

Ab, FAb \ CEbAb …. This

F, FAb \ CEbAb, DbFBb …. is the
Bb, DGb \ DbFAbC …. day
Eb, EbG \ DbEGC

Ab, FAb \ CEbAb …. This

F, FAb \ CEbAb, DbFBb …. is the
Bb, DGb \ DbFAbC …. day

A, G \ EbAbC, Db …. That the

Bb, Ab \ EbAbC …. Lord
D, C \ CDFBb …. has
Eb, Db \ CEbGBb ….made
(repeat)

EbG \ BbEbG …. I
EbG \ BbEbG …. will
EbG \ CEbAb …. re…
EbG \ BbEbGBb .... joice

Eb, Db (same octave going down)

C \ BbEbG …. I
Gb \ BbEbG, CEbAb …. will re…
F \ BbEbGBb …. joice

F \ DbFBb, C …. and be
GbE \ BbFBb, Bb …. glad in
AbGb \ CEbAb …. Him

AbGb \ DbFBb, C …. and be

AbGb \ DbFBb, Bb …. glad in
AbGb \ DbFGbBb …. Hi…
C \ CFAbC …. mmm

DbFAbB \ FBbDF …. This is the

DGbAC \ AbBDG …. day that the
EbGBbDb \ GBbEb …. Lord
EbGBbC \ DGC, Bb …. has
AbGb \ DGC …. made

CEGBb \ EADbE
DbFAbB \ FBbDF …. I will re…
DGbAC \ AbBDG …. joice and be
EbGBbDb \ GBbEb, Db …. glad
EbGBbC \ DGC, Bb …. in
AbFAb \ CEbAb …. it

AbFAb \ CEbAb …. This

AbFAb \ CEbAb, DbFBb …. is the
AbFAb \ EbAbC …. day

AbFAb \ CEbAb …. This

AbFAb \ CEbAb, DbFBb …. is the
AbFAb \ EbAbC …. day

A, G \ EbAbC, Db …. That the

BbAb \ EbAbC …. Lord
DC, EbDb \ CDFBb …. has…
AbFAb \ BbEbAb …. made

I'll post of video of this later this week.

A Dissonant voicing for "Oh Magnify The Lord"

Key Db

Note the chords played for "is worthy to". There are a couple more voicings that I came
up with, but I'll just post this one for now.

Db-Ab-Db \ F-Ab-C-F ..............................OH

Eb-Bb-Eb \ Gb-Bb-Db-Gb, F, Gb, Bb...........MAGNIFY THEY
F-C-F \ Ab-C-Eb-Ab.................................LO
E-B-E \ Ab-B-Eb-Ab, Bb...........................RD FOR
Eb-Bb-Eb \ Db-F-Ab-Db...........................HE

E-Bb-Eb-Ab...........................................IS
Ab-D \ Ab-Db-Gb...................................WOR
Ab-Db \ G-C-F.......................................THY
Ab-D \ Ab-Db-Gb, Eb.............................TO BE

Db-Ab-Db \ F-Ab-Db..............................PRAISED

J. Moss: Livin' 4
Here's the verse

Intro:

BbDA\CFA
ADbG\DbEG
BbDA\CFA
ADbG\CEG
G\BbDFBb
A\ACFA
D\GBbDG
ADb\GBbDbE

Verse/Chorus:

D\FACE
FEb\GCEb
GF\GACF
AG\ADG

BbDA\CFA
ADbG\DbEG
BbDA\CFA
ADbG\CEG
G\BbDFBb
A\ACFA
D\GBbDG
ADb\GBbDbE

:: Repeat verse

.... I'll post the rest later, but there isn't much more to this song.

Some Db progressions
7-3-6-2-5: http://www.brownfloyd.com/gallery/displayimage--683.html

2-5-1 (whole-tone style): http://www.brownfloyd.com/gallery/displayimage--682.html

6-2-5 (no 1): http://www.brownfloyd.com/gallery/displayimage--685.html

I'll post the chords later.

Rhodesy Mess (audio clip)

Rhodesy Mess (audio clip)

Piano video: God Wants A Yes

Piano video: God Wants A Yes

Diatonic variations of a 7-3-6 progression

We all know (or have heard) this common gospel transition from 7-3-6.

Key: C

B \ A-D-F
E \ Ab-C-D-G
A \ G-B-C-E

http://www.brownfloyd.com/gallery/displayimage--1445.html

What I learned is that, you can transpose your right hand diatonically and still play the
same bass. Here are the different variations....

1. Right hand playing from Emin.

B \ B-E-G
E \ Bb-D-E-A
A \ G-B-C-E

http://www.brownfloyd.com/gallery/displayimage--1444.html

2. Right hand playing from FMaj.

B \ C-F-A
E \ Bb-D-E-A
A \ G-B-C-E

http://www.brownfloyd.com/gallery/displayimage--1443.html

3. Right hand playing from GMaj.

B \ D-G-B
E \ C-E-Gb-B
A \ A-C-E-G

http://www.brownfloyd.com/gallery/displayimage--1451.html

4. Right hand playing from Amin.

B \ E-A-C
E \ Db-F-G-C
A \ C-E-G-B

http://www.brownfloyd.com/gallery/displayimage--1450.html

5. Right hand playing from Bdim.

B \ F-B-D
E \ Eb-G-A-D
A \ C-E-G-B

http://www.brownfloyd.com/gallery/displayimage--1449.html

6. Right hand playing from CMaj.

B \ G-C-E
E \ Eb-G-A-D
A \ C-E-G-B

http://www.brownfloyd.com/gallery/displayimage--1448.html

Here are all seven....

http://www.brownfloyd.com/gallery/displayimage--1446.html

Tell me what you guys think, and for those that already use these variations, post your
versions.

How to get ugly voicings instantly.... ;)

LOL

I'm going to piggyback off of diverse379's post with this one...

LOL

Anyway, if you're like me, I know you've heard people play chords that "just don't sound
right" but somehow they fit in a song. Also, you'll notice that these dudes...ok...there
are some dudettes too...be making some UGLY faces while playing these chords. Given
this knowledge, and your eagerness to learn, we're going to learn both of these.

.........

To make these chords sound right, it's FIRST AND FOREMOST important that you learn
to make the proper "ugly" face to match the chord. NOTE: The wrong ugly face will
throw the whole chord off and your ugly face will quickly change to an "oops" face to
match the mess-up you just made.

Common ugly faces are the "nose crunch", "frown", "OMG" or "Oh My God", "smile",
"pucker" and the "underbite". I'll cover the proper way to make all these faces, and
which chords they match.

(Everything here is written in the key of "D", but a lot of these chords can be used in
other keys as-is. I'm not covering this here.)

NOSE CRUNCH:
This face is made by tightening ur mouth and pushing it up into your nose. This face is
good with the following chords or progressions.

Chords:
1. F#-Eb \ A-D-G
2. E-B-E \ G-A-B-D-F# (common chord Em11)
3. E-C# \ Bb-D-E-G

Progression: (2-5 walkup)

E-C# \ Bb-D-E-G
F#-C \ A-D-F#
G-B-E \ Bb-D-E-G
A-E \ A-D-E-F#-A

FROWN:
This face is made by squeezing your eyebrows together. This is good when you're not
sure of the outcome of the chord you're about to play. Like the "smile" and "underbite"
it's a good generic ugly face. Use this one, if you've never made an ugly face before. It's
good with the following chords or progressions...

Chords:
1. D-E-G \ A-B-D-G
2. A-E \ G#-C#-F#
3. G-C \ F#-B-E

Progression:
G-E \ G-A-B-D-F#
F#-C# \ F#-A-C#-E
A-Eb, B, G#-C \ G#-C#-F#
G-B \ F#-B-E

OMG:
This face is made by rounding your mouth, raising your eyebrows, and widening your
eyes, as if shocked. However, since the chord that this face is associated with is
becoming standard, usually a person will just sharply jerk their head back and frown.

Chord:
1. G-B \ F-A#-D#

Progression: (Used to move to the 2nd)

G-B \ F-A#-D#
A-Db \ G-C-F
B-Eb \ A-D-G
E-B-E \ G-A-B-D-A

SMILE:
This one is really simple, and according to science, uses the least muscles of your face.
It's done simply by pulling the corners of your mouth up. HOWEVER, the smile must be
sincere, or it'll take away from the chord, giving the effect of a frown on a happy chord.

Chords:
1. D-F#-A-B \ C#-F#-B
2. D-F# \ B-E-A
3. C-E-G-B \ D-F#-A-D

Progression: (7-3-6-2-5-1 substitution)

D-F#-A-B \ C#-F#-B
C#-F-Ab-Bb \ D-G-C
C-E-G-B \ D-F#-A-D
B-Eb-A \ C#-F#-B
Bb-D-Ab \ D-G-C
A-E-G \ D-F#-A-D

PUCKER:
This face is done by tightening and rounding your mouth, while pushing your lips out.
This one is used sparingly, most of the time, you can substitute this face for the
"underbite".

Chords:
1. F, F#, A \ B-E-A
2. C, C#, D, Eb \ A-D-G
3. D, E, F# \ G-B-D-F#

Progression: (Used to move to the 4th)

F, F#, A \ B-E-A
D, E, F# \ G-B-D-F#

UNDERBITE:
Make this face by pushing your lower jaw out. A simpler version just involves pushing
the lower lip out. It is also common to nod your head, with the beat, while making this
face. For an even greater effect, nod your head in double time! CAUTION: Only nod in
double time, on slow songs!!! This ugly face is generic so it's used a lot while padding.
Here are some common padding chords. Also note that padding chords are usually on
the 1, 2, 4 or 5. You can play around with progressions for these chords.

Chords:
1. E-B-E \ G-A-B-D-F#
2. D-G-D \ G-C-D-G
3. G-E-G \ B-D-F#-A
4. A-C#-G \ A-D-E-A

Hope this helps you guys out! Try these out slowly at first, so your face gets used to the
different chords. You don't want to go to fast, your face can get stuck!

Two 7th-based arpeggios

Here is a Maj7 and Dim7 arpeggio that I learned, with midis. Fingering is below the
notes.

Dim7: (A tritone interval apart)

G, Bb, Db, E, Eb, D, C, C#, E, G, Bb, A, Ab, (REPEAT)

1, 2, 3, 4, 3, 2, 1, 2, 1, 2, 4, 3, 2
http://www.brownfloyd.com/gallery/displayimage-2308.html

Maj7: (A minor-third interval apart)

F#, G, B, D, Db, B, A, Bb, D, F, A, Ab, G, (REPEAT)

2, 1, 2, 4, 3, 2, 1, 2, 1, 2, 4, 3, 1

http://www.brownfloyd.com/gallery/displayimage-2307.html

I haven't fit them in anywhere yet. They just came to me during practice.

The Secret to Perfect Pitch: You can have it in 1 hour!

Ok....

I know I really have your attention! I promise you, however, that this is one of the most
important and easiest things that you'll learn, and you will not forget it!

The critical piece of information that I have for you, is what I have learned that will
enable you to recognize AT LEAST 7 keys--that's over half the musical notes--strictly by
ear! Many musicians say that they wish they had perfect pitch, but you, with these
simple steps that I'm about to show you can have it right now! Within the next hour, you
can proudly say to people, I have perfect pitch! It's really that easy! With the
information that I'm about to give you, you can confidently back any vocalist and not
worry about fumbling over keys to find the pitch that the person is singing in! You can
listen any group of musicians and instantly know what key they're in!

I'm telling you, you will be happy that have this ability! Musicians sometimes go their
whole career, without obtaining perfect pitch! Students throughout the country spend
millions each year to learn it, but rest assured, my method for obtaining perfect pitch
will be the cheapest thing you've ever bought! Do you really want it?

My method for obtaining perfect pitch will give you the credibility and gigs that you
deserve! Let's face it, word of mouth is the most powerful advertisement method there
is, and with my 2 step method, perfect pitch will be yours! I could have easily just told
you what this exciting information is, but you would not have believed me! Why? People
feel that it should be hard. It's not.

Here are the steps that will give you this ability that you've been waiting on!...

1. Look at the keyboard.

2. Sing the letter notes, while playing them from A-G until you can hear the A
automatically.

You'll find that it's easier to memorize them, this way!

Don't believe me?! It's that easy! Practice those 7 notes, and you will, within 1 hour,
be able to hear those notes!

So, now that you have this information, how much are you willing to pay for it!
...just kidding...you can paypal me! LOL

This is really has to be the easiest way to get perfect pitch.

 Copyright © 2006 B3Wannabe All rights reserved.

Various Dissonant Progressions in C

Here is a root-less pass to throw in a 3-6-2

Bb \ E-A-C
Ab \ D-G-B
Gb \ C-F-A
D-A-F \ G-A-C-E-G

5-6 (This just moves a whole step)

G-Eb, E \ A-D-F
A-F \ B-E-G

This can SOMETIMES substitute a 3-6-2

F-C-Eb \ Ab-C-Eb-G
Bb-F-G \ B-D-G
Eb-Bb-Eb \ G-Bb-D-G
Ab-Eb-Gb \ C-F-Ab
D-A-F \ G-A-C-E-G

or you can use a 5-1-4-b7-2 for a 3-6-2

G-D-F \ Bb-D-F-A
C \ Bb-D-E-G
F-C-F \ Ab-C-Eb-G
Bb-F-Ab \ D-G-Bb
D-A-F \ G-A-C-E-G

Various Dissonant Progressions in C

Here are various dissonant progressions for the key of C:

6-b6-5-1-2
A-Db \ G-b-C-E
Ab-D \ Ab-C-Db-F
G-Eb \ A-Bb-D-Gb
C-Gb \ Bb-Db-F-G
D-A-F \ A-C-E-G

5-4-3-6-2
G-E \ A-D-G
F-D \ Ab-Db-F
E-Db \ G-C-E
A-Db-G \ Bb-Db-F
D-A-F \ G-A-C-E

2-5-1
D-A-Eb \ A-D-G
G-D-Gb \ Db-Gb-Bb
C-G-Eb \ A-D-G-B

5-1-4
G-D \ A-D-G
C-G-Eb \ B-E-A
F-C-E \ G-A-C-E-G

3-6-2
E-Db \ G-C-E
A-F \ B-E-G
D-A \ F-G-C-E

I learn this trick a few weeks ago...Instead of doing a normal 2-5-1, you can drop it a
major 3rd and do...

b7-b3-#5
Bb \ F-Bb-D
Eb \ Bb-Eb-G
Ab \ Eb-Ab-C

(usually I move to the 5 after this, but you can resolve to the 1)

G-D-F \ D-G-B

These are extremely useful in slow songs, but you can throw them in a fast song, every
now and then.

If you guys got any post away.

3-in-1 Run
Here is a run that uses 3 scales.

F Phrygian
F, Gb, Ab, Bb, C, Db, Eb, F

C# Locrian
C#, D, E, F#, G, A, B, C#

G Locrian
G, Ab, Bb, C, Db, Eb, F, G

Now you combine them to form this:

Bb, Ab, Gb, F, Gb, Ab, Bb, C, Db, Eb, F, Eb

C#, D, E, F#, G, A, B, C#, B, A
G, Ab, Bb, C, Db, Eb, F, G, Ab, Bb

You can play it with these chords in the left hand:

Key Db:

bass \ left \ right

Bb, Ab, Gb,

Eb \ Db-F-Gb-Bb \ F, Gb, Ab, Bb, C, Db, Eb, F, Eb, C#
A \ D-F#-G-B \ D, E, F#, G, A, B, C#, B, A, G
F \ Eb-G-Ab-C \ Ab, Bb, C, Db, Eb, F, G, Ab, Bb
Bb \ F-Ab-Bb-D \ (still holding the Bb)
D \ F-Ab-B-D \ (still holding the Bb)
Practice the Phrygian and Locrian in all the keys. You can stick scales in from other keys
easily.

C Phrygian scale with 6-2 progression

F, C-Eb \ (no right hand)
C-Eb \ C, Db, Eb, F, G, Ab, Bb, C, Db, Eb
Bb, F-Ab \ (holding Eb from the run)
(holding F-Ab from previous) \ D, Db, C, Eb, Db

Random Mode Fact

Here's something I just learned....and it might sound confusing....but...

There are 2 ways to think of modes.

1. Modes within a particular key

2. Modes for a particular note

With the first one, if you're in C, then all the modes for C will consist of notes within the
C major scale....
But, with the second, all the modes will be based on notes within the key a major third
below that note, so if you want to play all the modes for the NOTE C, you'd build major
scales off each note in the Ab major scale, but starting on C. Just confused you?

Watch the notes.

C Ionian - C-D-E-F-G-A-B-C (C major scale)

C Dorian - C-D-Eb-F-G-A-Bb-C (Bb major scale)
C Phrygian - C-Db-Eb-F-G-Ab-Bb-C (Ab major scale)
C Lydian - C-D-E-F#-G-A-B-C (G major scale)
C Mixolydian - C-D-E-F-G-A-Bb-C (F major scale)
C Aeolian - C-D-Eb-F-G-Ab-Bb-C (Eb major scale)
C Locrian - C-Db-Eb-F-Gb-Ab-Bb-C (Db major scale)

If you look at the bold notes, you'll see that they follow the Ab major scale. This should
make it really easy to play the modes for a particular note, if you don't know them all by
heart, in all keys.

Extra questions....
So, now that I know this, why is this true? What does it mean?...I don't know that part
yet, but I'm sure that once I answer those two, the answer will lead me to something
else that I won't fully understand.

Scale Bits
Here are some more scale facts....

Whole-tone Scale
This scale is pretty sweet, not only when you listen to it, but also when you pay attention
to how it's constructed. This scale is symetrical. It is based around off a consecutive
notes a whole step apart. Consequently, this scale is also built on a tritone....

C-D-E, F#-G#-A#

...The first three notes are from the major scale of C and the second group of notes are
from the major scale of F#. Sweet. What else does this show us?
Let's look at the tritone. If you know your tritones, you'll understand that there are 6
distinct tritones, if you don't use the notes twice. Ok. The whole-tone scale is built on a
tritone, and since six notes are being used, there can only be two possible distinct
whole-tone scales, without repeating any notes.

C-D-E, F#-G#-A#
C#-D#-E#, G-A-B or Cb-Db-Eb, F-G-A

Tritones
This lead me to look at how tritones are built. Tritones are symetrical. The definition of a
tritone is a that it is "an augmented fourth, consisting of three whole steps". If you look
at it deeper, a tritone is also part of a diminished 7th chord, which is also symetrical.
There is a lot of symetry going on here! A diminished 7th chord is built off of two tritones
a minor 3rd apart. This lead me to revisit the whole "tritone substitution" idea. Maybe a
"tritone substitution" is just a "minor third substitution" and applies to all the tritone's
companion notes in the diminished 7th chord? When I tried this out, most of the time it
worked. It sounded kind of disonant sometimes, but for me it's playable, so not only can
you substitute a V7 chord for a bii7 chord, but it's also interchangable with a iii7 or bvii7.

EX.
Key G

D7 is replaced by Ab7, B7, F7

Augmented Chords
After playing with minor 3rd substitutions, this lead me to augmented chords, which are
also symetrical, because part of that minor 3rd relation forms a major 3rd with the tonic.
G and B. This chord is based off of two major 3rd steps, or 4 whole steps. I tried the
same thing as before but using major 3rds, so instead of V7 I tried iii7 and #V7.

D7 is replaced by B7 or D#7

...I played the D#7 chord over and over again, but my ears still can't handle the sound
yet. It might need the right approach chord....but...I noticed one thing.

D#/Eb falls a major third below G, so this is our magic key that builds all the modes for
G. This may be the reason why it's so disonant....

This lead be back to playing modes. I tried all of G's modes over this D#7 chord. This
sounded nice. I still can't figure out what to do with this chord though.

Three runs for a IV Maj7 chord.

Here are three runs I just learned:

Key F

(Descending)
1. Bb-D-F-A \ E, F, E, D, C, Bb, A, G, F, Eb, E

2. Bb-D-F-A \ F, E, A, C, F, E, A, C, Eb, E

(Ascending)
3. Bb-D-F-A \ Eb, E, F, G, A, Bb, C, D, F, E
The scale is a descending Locrian over a Maj7

Modal Scale Theory

1. When playing a I Maj chord, you can run a IV Mixolydian scale.

For the key of C, that'll be a Bb scale starting on F, over a C major chord.

Ex.

C-G-C \ F, G, A, Bb, C, D, Eb, F, G-C-E

2. When playing a V7, you can run a V Aeolian or VI Locrian scale.

For the key of C, that'll be a Bb scale starting on G or A over a G7 chord.

Ex.

G-D-F \ G, A, Bb, C, D, E, F, G, B-E-A

G-D-F \ A, Bb, C, D, E, F, G, A, G-C-E

3. When playing a IV Maj7, you can run a ii Aeolian or iii Locrian scale.

For the key of C, that'll be a F scale starting on D or E over a FMaj7 chord.

Ex.

F-C-E \ D, E, F, G, A, Bb, C, D, A-C-F

F-C-E \ E, F, G, A, Bb, C, D, E, G-C-E

4. When playing a IV7, you can run a ii Locrian scale.

For the key of C, that'll be a Eb scale starting on D over a F7 chord.

Ex.

F-C-Eb \ D, Eb, F, G, Ab, Bb, C, D, G-C-E

5. When playing any chord, you can run a major scale built of the 5th of the chord.

For the key of C, that'll be a G scale over a C chord, but you can pick any diatonic chord.

Ex.

E-B-D \ G#, A, B, C#, D, E, F#, G#, D-G-B

(I'll post a clip later.)

Nice sounding root-less voicing

I'm sure you all know this voicing....

E-Bb-Eb-G
Here's a slightly different voicing that I came up with during practice yesterday.

E-Ab-Bb-Eb-G-Eb

It has just a little more color than the last one. I'll post some placements later.

Ending Run: Phrygian

Here's something that I picked up the other day, while practicing....

When you end a song on a I Maj or I Maj7 chord, you can do a decending phrygian run.

Try this:

Key A:

LH\RH

A-E-G# \ A, B, C#, B, A, G#, F#, E, D, C#

Chord Tricks 301

Here are some little chord tricks for you:

Trick#1:

While playing a chord in your left hand, play the next 1-3 highest notes from the circle of
4ths.

Example:

LH\RH

1. C\Bb2
2. Eb\Bb2
3. G2\Bb2

Trick#2:

While playing a chord in the right hand, do the reverse of trick #1.

Example:

1. G2\C
2. G2\Eb
3. G2\F

Trick#3:

While playing a chord in the right hand, play 1-3 notes from the circle of 4ths starting a
tri-tone interval below the right-hand chord.
Example:

1. Ab2\D
2. Ab2\G
3. Ab2\Bb

Trick#4:

While playing a chord in the right hand, play the same chord a half-step higher in the left
hand.

Example:

1. Gb\F
2. B2\Bb2
3. Am\Abm

Trick#5:

Same as trick#4, but a half-step lower.

Example:

1. Gb\G
2. B2\C2
3. Am\Bbm

Play with these tricks, and see where you can fit them in while you're playing. Note that
some of these chords are a little too wide for organ, if you play low, so you may have to
drop a note or two on the bottom. Again, play with them and see what sounds good to
you. Experiment with different bass notes.

Hope this helps....

Gotta Love Those Locrians: 2-5 or 5-1 run with F# Locrian & G Locrian
While practicing the other day, I came up with these two runs for a 2-5 or 5-1
turnaround...

Key G or D:

Here are the two runs and the fingerings:

F#G A BC D EGoing up
2 1 2 31 2 3
D C B AAb Going down
2 1 4 32

G AbBbCDbEbFG - Going up
1 2 3 12 3 45

The whole progression looks like:

LH \ RH

. \ F#
A-E-G-B \ G, A, B, C, D, E, D, C, B, A, Ab, G
D-F#-A-C \ Ab-Bb-C-Db-Eb-F-G

This turnaround can resolve well to a Imaj7...but wait there's more...

Here's a neat trick! You can break up that Imaj7 (G-B-D-F#) and play ANY ONE of the
notes as the bass!

These are some resolution chords:

1. G-D-G \ B-D-F#-B
2. B-Eb \ A-D-G
3. D-F#-C \ F#-B-E
4. F#-Bb \ E-A-C

...If you pause at the five longer, you can add this run to where you left off....

F#, E, D, C, B, A, G, F#, E (down)

D, E, F#, G, A, B, C, D (up) ... This is the D Mixolydian scale.

Fingering: Chromatic scale

I've been practicing the chromatic scale. (Joe Sample uses a lot of chromatics, so I need
to get them down.) Here's how the fingering works out:

Right hand:
1. On all the black keys, use the third (middle) finger.
2. On F and C, use the second finger.
3. On all the other white keys, use the thumb.

Left hand:
1. On all the black keys, use the third (middle) finger.
2. On B and E, use the second finger.
3. On all the other white keys, use the thumb.

So, if you start on C, the fingering would look like this: (going up)

RH: 2313123131312
LH: 1313213131321
Here are two examples of a chromatic scale:

This one is a straight chromatic scale.

http://www.brownfloyd.com/gallery/displayimage--1028.html

This one is built on sections of chromatics.

http://www.brownfloyd.com/gallery/displayimage--1029.html

For those that don't have a metronome, you can download Weird Metronome from this
thread: http://www.learngospelmusic.com/ftopict-10705.html

Practice it starting at 60bpm with a 2/4 or 4/4 beat, playing each note as a 16th note (4
notes per beat).

Fingering: Diminished scale

This is partially related to another post.

Here is the fingering for the diminished scales...

Right hand:
1. When starting on a black key, use the 2nd or 3rd finger.
2. When starting on a white key, use the 1st finger.

Examples....

E (1), G (2), Bb (3), Db (4) *repeat going up*

Ab (2), B (1), D (2), F (3), Ab (4) *repeat fingers 1-4 going up*
Eb (2), Gb (3), A (1), C (2), Eb (3), Gb (4)

...basically, your thumb will always land on a white key.

The left hand is a little trickier...

Here are some examples....

E (5), G (4), Bb (3), Db (2), E (1), *then use fingers 4-1 going up*
Ab (2), B (1), D (4), F (3), Ab (2), B (1)
Eb (3), Gb (2), A (1), C (4), Eb (3), Gb (2), A (1)

Music 101: Lesson 2

Here's another music lesson for you beginners:

LET'S GET STARTED:

Circle of Fifths (Circle of Fourths)

There are 12 notes in the circle of fifths:

C, G, D, A, E, B, Gb, Db, Ab, Eb, Bb, and F

These notes are usually placed in the order shown on here:

http://www.people.fas.harvard.edu/~desmith/guitar/chords/circle.htm

(This page also talks about the circle of fifths)

Sometimes, you'll hear people call the circle of fifths the circle of fourths, both are the
same. It's just the same circle counter-clockwise.

Learn this, and also, learn the lydian and mixolydian scales. The mixolydian scale relates
to the fifth interval, and the lydian relates to the fourth. A simple of each is:

C scale
C, D, E, F, G, A, B, C

F lydian scale

F, G, A, B, C, D, E, F

G mixolydian scale

G, A, B, C, D, E, F, G

Both the F lydian, and G mixolydian scales relate to the C major (ionian) scale. Note that
they both use the same notes as the C scale, just shifted.

Hope this helps....

Music 101: Lesson 1

Here's a lesson in music theory, for all the musicians that are having a hard time
understand what a "2-5-1" or "7-3-6" means and how to construct a scale.

LET'S GET STARTED:

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

This is the C major scale.

All other scales and keys are deviations of this scale, by either sharping or flatting notes
with the C scale and changing the root note. Why is that? Because the scale of C, in
music notation, has neither sharps or flats.
This can also be seen using the circle of 4ths and the circle of 5ths:

4ths:

C - 0 sharps, 0 flats
F - 0 sharps, 1 flat
Bb - 0 sharps, 2 flats
Eb - 0 sharps, 3 flats
Ab - 0 sharps, 4 flats
Db - 0 sharps, 5 flats*
Gb - 0 sharps, 6 flats*
Cb(B) - 0 sharps, 7 flats*

Cb key:
Cb-Db-Eb-Fb-Gb-Ab-Bb-Cb

(This circle is formed by flatting the 7th note then playing all the notes starting from the
4th to form the next key. So to get the key of F, you flat B to Bb, then play all the notes
starting from F to the next higher F, substituting the B for Bb. The F then becomes 1 and
all the other keys are renumbered starting from there.)

5ths:

C - 0 sharps, 0 flats
G - 1 sharp, 0 flats
D - 2 sharps, 0 flats
A - 3 sharps, 0 flats
E - 4 sharps, 0 flats
B - 5 sharps, 0 flats*
F# - 6 sharps, 0 flats*
C# - 7 sharps, 0 flats*

C# key:
C#-D#-E#-F#-G#-A#-B#-C#

(This circle is formed by sharping the 4th note then playing all the notes starting from
the 5th to form the next key. So to get the key of G, you sharp F to F#, then play all the
notes starting from G to the next higher G, substituting the F for F#. The G then
becomes 1 and all the other keys are renumbered starting from there.)

Though all the keys except for D, G and A have 2 names, these are the only "true"
names of the keys, when refering to scales and when naming a key signature. Note the
keys with the asterices. These keys can be called by either name, depending on whether
it has sharps or flats in the key signature, so if you have a key signature of 7 flats, then
the key is "Cb" and not "B" be cause all the notes are flatted, even the C and F.
However, in the key of "B" there are 5 sharps, with B and E not being sharped.

Since there are only 7 possible notes A-G, there are only 7 possible sharps or flats. Note
the "or". You'll never see them combined within the key signature of a musical staff.

NATURAL MINOR KEY:

To form a natural minor key, just flat the 3rd, 6th, and 7th notes.
Example:

C minor key:
C-D-Eb-F-G-Ab-Bb-C (3 Flats)

A minor key:
A-B-C-D-E-F-G-A (0 sharps)*

NOTE: The 3 sharps in the key of A, C#, F# and G#, are cancelled by the flats for its
minor scale.

More to come....

Hope this helps....

Little Brother, Big Brother: sus2 and 6/9 chords

Try this:

Instead of playing a regular major chord, for instance:

CEbAb (Abmajor)

try

BbEbAb (Absus2 or Ab2)

or it's big brother the 6/9 chord

FBbEb or CFBb (both of these are Ab6/9 chords one goes off the fifth the other goes off
the third)

I use sus2 and 6/9 chords all the time. They're grrrrrreat! However, like everything,
don't overuse them, balance is important. Here's some examples of how I use them:

Piano:

Ab\BbEbAb (Absus2)
AbEb\CFBb (Ab 6/9)
AbGb\CFBb* (Ab13 not the same as Abm13 or Abmaj13) Be careful with this one, it's
dominant.
CEb\Bb (Absus2) Use this one in between chords, within a progression.
Eb\BbF (Ab 6/9)

Basically, if you notice, you can move the notes around anyway you want. Just make
sure that the 6 and 9 are in there and that you're playing either the third or fifth, for the
6/9 chord, and that the 2 is somewhere, if you're playing a sus2 chord. However, if you
add the b7 (dominant seventh) all the keys change name, 6 becoming 13, 2 becoming 9,
4 becoming 11. The only ones that really stay the same are the 1st, the 3rd and the 5th.

One thing to remember when naming your chords is, and this can cause a lot of
confusion, Ab7, or any chord with just the number next to it--if the number is greater
than or equal to 7, implies that a b7 is added, since this is normally used to denote
dominant chords.

Ab9 = AbCEbGbBb
Abmaj9 = AbCEbGBb
Abm9 = AbBEbGbBb
Abminmaj9 = AbBEbABb

*I just went off topic, but maybe that's what this lesson really needed to be about.

Hope this helps

Let's Shout : The Dimished Way

Here's a shout that God blessed me with recently that I'm going to share with everyone:

Take a normal shout.

Usually it's done one of two ways, a 1-5:

Ab (1) ,C,Db,D,Eb (5),F,Gb,G,Ab

or 1-4

Ab (1),Bb,B,C,Db (4),F,Gb,G,Ab

Here's a new way:

Ab (1),Ab,A,Bb,B (b3),F,Gb,G,Ab

I do this by playing a high Ab then a low Ab as the second one. Ok, so why do I call this
dimished? Simple, it's because of the F,Ab and B together form a dimished F chord,
which also happens to be the relative minor of Ab. This bass line moves between those
relative minors to form a dimished sound. You can test it by playing a dimished F chord
(F,Ab,B) while doing this bass line.

Chord it as you would a 1-4 shout, the minor of those chords go well with the slightly-off
sound of the bass. I don't recommend staying on this too long, because you'd probably
get stares from people thinking that you got the devil in you or something. Just throw it
in there rarely, and you'll get the more desirable what-was-that look.

I'll make a video if this later and also one showing how to use this in "I'm a soldier"
:wink:

Music 101: Circles

Get this book: "The Gig Bag Book of Theory & Harmony"

This book will give you guys that are trying to learn some theory an idea of what's going
on. One of the things that it talks about is the Circle of 5ths:
I'll add a small lesson later. Until then, look at this image and post your idea of what it
means.

Weird Circle of 5th

This was dropped on me during choir rehearsal. It's kind of rough.

http://www.brownfloyd.com/gallery/displayimage-2313.html

Chords:

F-Db \ Ab-C-Eb
F#-D \ A-C#-E
B-F# \ A-D-F#
E-G \ B-D-G
Bb-F \ Ab-Db-F
Eb-Gb \ Bb-Db-Gb
A-C# \ G-C-E
D-F# \ A-C-F
Eb-G \ Bb-Db-Gb
(repeat)

Various Dissonant Progressions in C - Gospel Music

Here are various dissonant progressions for the key of C:

6-b6-5-1-2
A-Db \ G-b-C-E
Ab-D \ Ab-C-Db-F
G-Eb \ A-Bb-D-Gb
C-Gb \ Bb-Db-F-G
D-A-F \ A-C-E-G

5-4-3-6-2
G-E \ A-D-G
F-D \ Ab-Db-F
E-Db \ G-C-E
A-Db-G \ Bb-Db-F
 D-A-F \ G-A-C-E

2-5-1
D-A-Eb \ A-D-G
G-D-Gb \ Db-Gb-Bb
C-G-Eb \ A-D-G-B

5-1-4
G-D \ A-D-G
C-G-Eb \ B-E-A
F-C-E \ G-A-C-E-G

3-6-2
E-Db \ G-C-E
A-F \ B-E-G
D-A \ F-G-C-E

I learn this trick a few weeks ago...Instead of doing a normal 2-5-1, you can
drop it a major 3rd and do...

b7-b3-#5
Bb \ F-Bb-D
Eb \ Bb-Eb-G
Ab \ Eb-Ab-C

(usually I move to the 5 after this, but you can resolve to the 1)

G-D-F \ D-G-B

These are extremely useful in slow songs, but you can throw them in a fast
song, every now and then.

If you guys got any post away.

Various Dissonant Progressions in C - Gospel Music

Here is a root-less pass to throw in a 3-6-2

Bb \ E-A-C
Ab \ D-G-B
Gb \ C-F-A
D-A-F \ G-A-C-E-G

5-6 (This just moves a whole step)

G-Eb, E \ A-D-F
A-F \ B-E-G

This can SOMETIMES substitute a 3-6-2

F-C-Eb \ Ab-C-Eb-G
Bb-F-G \ B-D-G
 Eb-Bb-Eb \ G-Bb-D-G
Ab-Eb-Gb \ C-F-Ab
D-A-F \ G-A-C-E-G

or you can use a 5-1-4-b7-2 for a 3-6-2

G-D-F \ Bb-D-F-A
C \ Bb-D-E-G
F-C-F \ Ab-C-Eb-G
Bb-F-Ab \ D-G-Bb
D-A-F \ G-A-C-E-G

alright look, I know this aint the...... - Gospel Music

TITLE: WHAT HE'S DONE FOR ME

AUTHOR: JAMES HALL
KEY: Gb

TRANSCRIBED BY: B3Wannabe

INTRO:
Ab-Eb-Gb \ Eb-Gb-Cb-Eb
Bb-F-Ab \ F-Ab-Db-F
Eb-Bb-Eb \ Gb-Bb-Eb
Db-F-Ab-Cb \ Eb-F-Ab-Db

CHORUS:
Gb-Db-Gb \ Db-Gb-Bb-Db ---- OH...
Db-F-Ab-Cb, C \ Eb-G-Bb-Eb *SECOND TIME: C-E \ Bb-Eb-Ab*
Cb-Eb-Gb-A \ Db-Eb-Gb-Bb-Db
Ab,A,Bb-F-Ab \ Db-Gb-Bb ---- OH...
C-E-Ab-Bb \ Eb-Gb-Ab-B
Db-Gb-Ab-Bb \ Db-Gb-Bb
D-Gb-A-C \ F-A-C-F
Eb-Ab-Bb-Db \ Gb-Bb-Db-Gb

F,Gb-Db-Gb \ Gb-Bb-Eb, Ab-Db-F ---- THAT...

G-D-F \ Bb-Db-Gb ---- IS
Ab-Eb-Gb \ Cb-Eb-Ab ---- WHAT
Bb-D-F-Ab \ Bb-Db-Gb ---- HE
Cb-Eb-Gb-A \ Gb-Bb-Eb ---- DONE
Db-F-Ab-Cb \ Ab-Db-F ---- FOR

1:
Gb-Db-Gb \ Eb-Ab-Db ---- ME
G-D-F \ Db-E-Bb
Ab-Eb-Gb \ Eb-Gb-Ab-Cb
Db-F-Ab-Cb \ Eb-Ab-Db ---- OH...
(REPEAT from CHORUS)

2:
Bb-F-Ab \ F-Ab-Db ---- ME...
Eb-G-Bb-Db \ E-G-C
Ab-Eb-Gb \ Eb-Gb-Cb
Db-F-Ab-Bb \ D-F-Bb
Eb-Ab-Bb-Db \ Eb-Gb-Bb-Db

F-C-Ab \ D-Gb-Bb-C#
Gb-Db-A \ Eb-Gb-Bb-Eb
G-D-F \ Gb-Bb-Db-Gb, Ab-C-Eb-Ab ---- HE BROUGHT ME
Ab-Eb-Gb, Gb \ Gb-Bb-Db-Gb ---- OUT
Eb \ Ab-C-F
Gb \ G-B-E
Ab-Eb-Gb, Bb \ Gb-Bb-Eb

Cb-Eb-Gb-A \ Ab-Db-F ---- A LIFE...

C-E-Ab-Bb, Db-F-Ab-Cb \ Ab-Db-F
\ Gb-Bb-Eb
Db-F-Ab-Cb \ F-Ab-Db
Cb-Eb-Gb-A \ Eb-Ab, Gb-Ab-Bb-Db ---- OF LIES
Bb-F-Ab \ Gb-Ab-Bb-Db, Eb-Ab-Cb, Db-Gb-Bb

TURN AROUND:
Ab-Eb-Gb \ D-Gb-Ab-Cb
Bb-F-Ab \ Db-Gb-Bb
Cb-Eb-Gb-A, Ab \ D-Gb-Ab-Cb
Bb-F-Ab \ Db-F-Ab-Db
C \ Db-Gb-Bb ---- I
Db \ Db-Gb-Bb, Eb-Ab-Cb ---- NEVER
D, Eb, F \ Gb-Ab-Bb-Db ---- SHALL
Gb \ Db-Gb-Bb ---- FOR
G, Ab, Bb, Cb, C \ Db-Gb-Bb, Eb-Ab-Cb ---- GET
Db-F-Ab-Cb \ Ab-Db-F ---- WHAT
Db-F-Ab-Cb \ Gb-Bb-Eb ---- HE'S
Db-F-Ab-Cb \ F-Ab-Db ---- DONE
Db-F-Ab-Cb \ Eb-Ab-Cb ---- FOR
Gb-Db-Gb \ Db-Gb-Bb ---- ME
Db-F-Ab-Bb \ Eb-Ab-Cb, Db-Gb-Bb
Db-F-Ab \ Cb-Eb-Ab, Eb-Ab-Cb
Gb-Db-Gb \ Db-Gb-Bb

1:
Db-Db , Db-Db)
(REPEAT from CHORUS)

2:
Eb, Db, C, Bb (BOTH HANDS)
Ab-Eb-Gb \ Ab-Db-F ---- A
Db-F-Ab-Cb \ Ab-Db-F, Gb-Bb-Eb, F-Ab-Db ---- LIFE...
Cb-Eb-Gb-A \ Eb-Ab, Gb-Ab-Bb-Db ---- OF LIES
Bb-F-Ab \ Gb-Ab-Bb-Db, Eb-Ab-Cb, Db-Gb-Bb
(REPEAT)

TURN AROUND:
Ab-Eb-Gb \ D-Gb-Ab-Cb
Bb-F-Ab \ Db-Gb-Bb
Cb-Eb-Gb-A, Ab \ D-Gb-Ab-Cb
Bb-F-Ab \ Db-F-Ab-Db
C \ Db-Gb-Bb ---- I
Db \ Db-Gb-Bb, Eb-Ab-Cb ---- NEVER
D, Eb, F \ Gb-Ab-Bb-Db ---- SHALL
Gb \ Db-Gb-Bb ---- FOR
G, Ab, Bb, Cb, C \ Db-Gb-Bb, Eb-Ab-Cb ---- GET
Db-F-Ab-Cb \ Ab-Db-F ---- WHAT
Db-F-Ab-Cb \ Gb-Bb-Eb ---- HE'S
Db-F-Ab-Cb \ F-Ab-Db ---- DONE
Db-F-Ab-Cb \ Eb-Ab-Cb ---- FOR
Gb-Db-Gb \ Db-Gb-Bb ---- ME
Db-F-Ab-Bb \ Eb-Ab-Cb, Db-Gb-Bb
Db-F-Ab \ Cb-Eb-Ab, Eb-Ab-Cb
Gb-Db-Gb \ Db-Gb-Bb

BRIDGE:
Gb, Eb \ Cb-E-Ab ---- ME...
Db, Eb \ Cb-E-Ab
Gb, Eb \ Cb-E-Ab
Db \ Cb-E-Ab
Eb, Gb \ Db-Gb-Bb
(SINGLE NOTES)
Bb \ Bb ---- THAT'S
Cb \ Ab, Gb ---- WHAT
C \ Eb ---- HE'S
Db, Eb \ Ab ---- DONE
E \ Gb ---- FOR
F \ Cb-E-Ab ---- ME...
(REPEAT from BRIDGE)

Eb-G-Bb-Db \ Fb-G-Bb-Eb
Bb-F-Ab \ Db-F-Ab-Db
C \ Db-Gb-Bb ---- I
Db \ Db-Gb-Bb, Eb-Ab-Cb ---- NEVER
D, Eb, F \ Gb-Ab-Bb-Db ---- SHALL
Gb \ Db-Gb-Bb ---- FOR
G, Ab, Bb, Cb, C \ Db-Gb-Bb, Eb-Ab-Cb ---- GET
Db-F-Ab-Cb \ Ab-Db-F ---- WHAT
Db-F-Ab-Cb \ Gb-Bb-Eb ---- HE'S
Db-F-Ab-Cb \ F-Ab-Db ---- DONE
Db-F-Ab-Cb \ Eb-Ab-Cb ---- FOR
Gb-Db-Gb \ Db-Gb-Bb ---- ME...
Gb-Db-Gb \ D-Gb-Ab-Cb
Gb-Db-Gb \ Db-Gb-Bb
(REPEAT from BRIDGE)

E \ Eb-Ab-Cb
Eb \ Db-Gb-Bb ---- THAT'S WHAT HE'S
Db \ Eb-Ab-Cb ---- DONE FOR
(REPEAT from BRIDGE)

Eb-G-Bb-Db \ Fb-G-Bb-Eb, Db-Gb-Bb

Ab-Eb-Gb \ D-Gb-Ab-Cb

VAMP:
Bb-F-Ab \ Db-Gb-Bb
Cb-Eb-Gb-A, Ab \ D-Gb-Ab-Cb
Bb-F-Ab \ Db-F-Ab-Db
C \ Db-Gb-Bb ---- I
 Db \ Db-Gb-Bb, Eb-Ab-Cb ---- NEVER
D, Eb, F \ Gb-Ab-Bb-Db ---- SHALL
Gb \ Db-Gb-Bb ---- FOR
G, Ab, Ab \ Db-Gb-Bb, Eb-Ab-Cb ---- GET
[
UNTIL Ab:
Gb-E, Gb \ Bb-Eb-Ab
E-D \ D-Ab-Bb-Cb, Db-Gb-Bb, D-Ab-Bb-Cb, D-Ab-Bb-Cb
(REPEAT VAMP and MODULATE TO Ab)

B-F#-A \ F-A-B-D
C#-G#-B \ E-A-C#
D-F#-A-C \ F-A-B-D
B-F#-A \ F-A-B-D

VAMP 2:
(HIT TWICE)
C#-E-G#-B \ E-G#-B-E
F#-C#-E \ E-A-C#-E
B-D-F#-A \ F#-B-D
G-D-F \ F-A-B-D
G#-D#-F# \ F-A-C-F (HIT ONCE)
(REPEAT from VAMP 2 and MODULATE TO Bb)

D-A-C \ F-A-C-F
E \ F-Bb-D ---- I
F \ F-Bb-D, G-C-Eb ---- NEVER
Gb, G, A \ Bb-C-D-F ---- SHALL
Bb \ F-Bb-D ---- FOR
B, C, D, Eb, E \ F-Bb-D, G-C-Eb ---- GET
F-A-C-Eb \ C-F-A ---- WHAT
F-A-C-Eb \ Bb-Eb-G ---- HE'S
F-A-C-Eb \ A-C-F ---- DONE
F-A-C-Eb \ G-C-Eb ---- FOR
Bb-F-Ab \ F-Bb-D ---- ME...
Bb-F-Ab \ Gb-Bb-C-Eb
Bb-F-Ab \ F-Bb-D

chords to "CAUGHT UP" by james hall - Gospel Music

James Hall: Caught Up (Key: Cm, Eb, Gb, OMG... :wink: )

Drawbar setting: 888888008

X = NOT PLAYED
. = DO LAST\Hold

Ab \ X \ EbMaj
Db \ X \ Fm7
Gb \ X \ DbMaj
B \ X \ Gb2 (Ab-Db-Gb)
D \ X \ Cmaj
G \ X \ G7b5

(START)

C \ X \ Bb6
. \ X \ G7#5
. \ X \ Bb6
D \ X \ CMaj
G \ X \ G7b5

(CHORUS)

C \ X \ Bb6 HO...
. \ X \ Cm7 LY... (YOU MUST BE)
. \ X \ Bb6 HO...
. \ X \ G7#5 LY...

G \ Bb \ BMaj7b5, Abm6 (REPEAT FROM "CHORUS")

G,Ab,A \ x \ EbMaj

Bb \ X \ EbMaj, Fm, EbMaj, AbMaj ...HOLINESS WITH...

Eb \ X \ EbMaj ...OUT
Ab \ X \ EbMaj (INVERT) ...WHICH

...NO MAN CAN SEE

(FIRST TIME)
D \ X \ CMaj SEE
G \ X \ G7b5 ...
(REPEAT FROM "START")

(2ND TIME)
X \ X \ GEb, AbF, GEb, BbG, GBb ...NO MAN CAN SEE
D \ FGA \ CG, GE, EC, CG
G \ ABb \ Bmaj7b5, Am6

...SEE THE LORD

C \ FG \ BbMaj
. \ . \ BMaj#5
. \ . \ BbMaj

(CHORUS 2)
Eb \ X \ EbMaj
F \ X \ Fm
G \ X \ EbMaj

...I WANNA BE

G \ FG \ EbMaj ...READY WHEN HE

Ab \ FAb \ AbMaj ...COMES
C \ X \ AbMaj
D \ X \ BbMaj
Eb \ X \ EbMaj

G \ FG \ EbMaj ...READY WHEN HE

Ab \ FAb \ AbMaj ...COMES
A \ BbMaj \ BbMaj
Bb \ EbMaj \ EbMaj
F \ EbF \ DbMaj
Gb \ EbGb \ GbMaj

...I WANNA BE

Bb \ EAb \ GbMaj ...READY WHEN HE

B \ EbGb \ BMaj ...COMES

Db \ X \ BMaj
F \ X \ DbMaj
Gb \ X \ GbMaj

Bb \ EAb \ GbMaj ...READY WHEN HE

B \ EbGb \ BMaj ...COMES

C \ EBb \ C7#9 (FILLER)

F,C,B,Bb \ X \ EbMaj, Fm, EbMaj, AbMaj ...HOLINESS WITH...

Eb \ X \ EbMaj ...OUT
Ab \ X \ EbMaj (INVERT) ...WHICH

(FIRST TIME)
...NO MAN CAN SEE
D \ FGA \ CMaj ...SEE
G \ ABb \ Bmajb5, Abm6 ...SEE THE
C \ FG \ BbMaj ...LORD
. \ . \ BMaj#5
. \ . \ BbMaj
(REPEAT FROM "CHORUS 2")

(2ND TIME)
...NO MAN
X \ X \ EbMaj, AbMaj, EbMaj, EbMaj (INVERT) ...CAN SEE
D \ FGA \ CG, GE, EC, CG ...SEE
G \ GB \ BbMaj (INVERT UP TWICE) ...SEE THE

C \ FGBb \ BbMaj ...LORD

. \ FGB \ Eb#5 ...
(REPEAT)

(VAMP)
...I WANNA BE
B \ GbAbB \ Abm6 ...CAUGHT
Bb,Eb \ GbAbBb \ Gb6 ...UP
 Ab \ GbAbB \ Abm6
Db \ Db6 \ DbMaj
Gb \ GbAbBb \ GbMaj (add 9)

...I WANNA BE
B \ GbAbB \ Abm6 ...CAUGHT UP IN THE
Bb,Eb \ GbAbBb \ Gb6 ...RAPTURE
Ab \ GbAbB \ Abm6
Db \ Db6 \ DbMaj
Gb \ GbAbBb \ GbMaj (add 9)
(Modulate Vamp +1/2 step to C)

Let's Shout : Breaks

Here are some breaks that I do:

1) Jeopardy

C\Eb,Ab(high)
F\Eb,Ab(low)
Bb\Eb,Ab(high)
Eb\Eb

2) Catdog

...\Eb
B,Gb,B\Gb
...\Ab
B\...
Ab,Eb,Ab\Eb

3) Old McDonald (I'll just post the bass for this one, since everyone should know the
melody.)

Ab-C-Db-C-Bb-Eb-Ab

4) Sonic-the-Hedgehog

This one, I play the normal 1-5 bass with the melody from the bonus round on sonic.

I come out of all of them by doing a 2-5-1. I'll make a video later.