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Chord Progressions Guide

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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 a notch. 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

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Copyright © 2008 ICANPLAYGOSPEL.COMSpecial Thanks to:Jermaine Griggs

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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

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If you know anything about chord progressions, you'll understand that each one has its own 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 othersaren'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 to be 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 major chord 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 the song 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 a while ... 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

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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 not quite 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" progression would 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 know the 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.

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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

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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 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 - Major 2 tone - Minor 3 tone - Minor 4 tone - Major 5 tone - Major (dominant) 6 tone - Minor 7 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 major 2 = D minor 3 = E minor 4 = F major 5 = G dominant

"Opening and Closing Your Songs with2-5-1 Progressions!"

Lesson #2

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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)

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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

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*** 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

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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 chord progressions 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 Progressionsin Gospel Songs!"

Lesson #3

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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 of each 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

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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 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):

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 Progressionsto your Songs!"

Lesson #4

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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

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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

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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 IF YOU 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

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#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

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I will introduce a couple of "spicy" progressions that you can play in the place of classic progressions 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" progressionsin 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 see below.NOTES IN PARENTHESIS ( ) DON'T NECESSARILY HAVE TO BE PLAYED IF YOU 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 TRITONE ON THE LEFT, we will add an "F" to create this three-fingered triad:

G + Db + F

"Exploring Fancy Chords and Progressions"Lesson #6

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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 to decipher 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 second inversion. 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 <<<<<<<<<<<< Left hand.

Now for the right hand, simply move the Gbmaj triad to an Fmaj triad. That means moving (Db+Gb+Bb) down to (C+F+A).

C + F + A <<<<<<<<<<<< Right hand.

The entire chord will look like this:Left hand Right hand

G + Db + E C + F + A

Now, we will look at the last chord of this series.

Very very simple again.

Tip: With a lot of these "spicier" voicings, it's not all about playing huge chords. In actuality, a lot of these "spicier" voicings are simply two small chords combined (aka "polychords"). Play around with smaller chords until you come up with sounds that you've never heard before. You'll surprise yourself!

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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 you understand 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

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... 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-pg course to 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 Db major? 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 the power of this technique as soon as you start using it!

The End

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