LadyDpiano

Improvised Solos

LadyDpiano-lessons@yahoo.com (LadyD) — Sun, 02 Aug 2009 17:28:00 +0000

Have you learned your piano soloing from a pro? Sometimes it seems that I learn quickly and easily by copying what a musician shows me and then change things for my style and improve upon that... Do you find that as well? I hope you'll leave me a message on what works for you.

I discovered a great article by Miles Donahue who plays tenor sax and is known for his hard-bop and post-bop music. I wanted to list some main points that I gleaned from the article.

* Referencing the Masters

1. Michael Petrucciani revealed that as a young player he transcribed and could play between 15-20 solos by Wes Montgomery.
2. Bill Evans said that he couldn't learn jazz through osmosis, but rather had to approach the subject through analytical study.
3. Lennie Tristano had his students sing and play certain transcribed solos as part of their jazz education.

* Academic Benefits

The intermediate jazz student can benefit most from transcribed solos if they have the right approach. There is benefit to be gained from transcribing the solos yourself, and there are benefits to playing solos from published books. If you do the transcription, you would likely have to sing what you hear and write it down. This would serve as ear training. At college auditions students are often tested on call and response, which is when someone plays a melody and then the student must play it back. When you improvise, the ability to remember melodic ideas and invent new ones is absolutely necessary.

* Rules

1. Do not try a solo that is technically beyond you.
2. Find a solo based on a chord progression you know (if we don't know the chord progression we cannot analyze the solo)
3. Sing and internalize the solo bassed on intervals, relationship to the chords, and upon what tools of music are used, such as bebop scales, pentatonic scales, approach notes, tension notes and more.

* 12 Bars and the Truth

A blues is only 12 bars long and there are many solos based on the standard jazz blues chord progression, therefore a blues is a good starting point. I recommend just learning 12 bars of a transcribed solo and then playing in every key or learn 3 or 4 different 12 bar solos in the same key.

What can be learned from only four bars of a transcribed blues solo? One thing I learned is that on the 4th bar many jazz players use notes from the altered scale to produce a stronger resolution to the IV chord on the 5th bar.

Learn How To Play: It's Rainin' -Kirk Franklin and Great Is Your Mercy

LadyDpiano-lessons@yahoo.com (LadyD) — Wed, 05 Aug 2009 20:19:00 +0000

Image via Wikipedia

This video is amazingly cute and this old song of Kirk Franklin is awesome with great powerful voices... enjoy! Actually it's not really rainin' here in beautiful sunny California but you get the idea...

Kirk Franklin- God's Property, Track #3

* Chord Chart to It's Rainin

It’s Rainin’ (Send It On Down)
By: Kirk Franklin
Posted by: Val215

Key Bb
L H / R H

Intro:

Bb / F-Ab-Db, Eb-G-C
G / Db-F-Bb, Eb-G-C
Ab, Ab / Db-F-Bb
Bb / F-Ab-Db, Eb-G-C
G / Db-F-Bb, Eb-G-C
Ab, Ab / Db-F-Bb
Bb / F-Ab-Db, Eb-G-C
G / Db-F-Bb, Eb-G-C
Ab, Ab / Db-F-Bb
Bb / F-Ab-Db, Eb-G-C
G / Db-F-Bb, Eb-G-C
Ab, Ab / Db-F-Bb
(Repeat)

Bb / F-Bb-D
C / G-C-Eb
D / Ab-D-F
Eb / Bb-Db-G
E / Bb-Db-G
F / Ab-D-F
Ab / Bb-D-F
G / G-C-Eb
F / F-Bb-D
Bb / F-Bb-D
C / G-C-Eb
D / Ab-D-F
Eb / Bb-Db-G
E / Bb-Db-G
F / Ab-D-F
Ab / Bb-D-F
G / G-C-Eb
F / F-Bb-D
(Repeat)

Chorus:

Bb / F-Bb-D Send it
C / G-C-Eb on
D / Ab-D-F down
Eb / Bb-Db-G send it
E / Bb-Db-G on
F / Ab-D-F down
Ab / Bb-D-F send Your
G / G-C-Eb rain
F / F-Bb-D down
(Repeat 4x)

Verse:

Bb, Bb / F-Bb-D We
/ Bb-D-G need to
G / Bb-D-G feel
F / Ab-C-F some holy
Bb / C#, F drops
Bb / D-Bb from You
G / G-Bb-Eb Send
/ G-Bb-Eb it
/ G-Bb-Eb on
F / F-Bb-D down
Bb / Lord
/ Bb-D-g we are
G / Bb-D-G will-
F / Ab-C-F ing to go
F / F through and
G / G through
Ab / Ab send it on
A / A down

Bb, Bb / F-Bb-D Shower
/ Bb-D-G down a
G / Bb-D-G bless-
F / Ab-C-F in’ on Your
Bb / C#, F peo-
Bb / D-Bb ple
G / G-Bb-Eb Send
/ G-Bb-Eb it
/ G-Bb-Eb on
F / F-Bb-D down
Bb / Lord
/ Bb-D-G we
G / bb-D-G need
F, F / Ab-C-F You to
Bb, Bb / Bb shower
D / D down
F / your
Eb, Eb / Eb blessings
G, Bb / G, Bb on us
(Repeat)

Bridge:

D, D, D, D / F#-C-F
G, G, A, A, Bb, Bb, D / Bb-D-F-A We’re waiting here for a
D, C / Bb-D-F-A bless-
C, D, D / Bb-D-E-G ing
Eb, Eb, E / let it
/ Bb-Eb-F fall
F, F, A /
A / Bb-D-F down
Bb, Bb, G /
G / A-C-F on
A, A, Eb /
Eb / F#-C-F me
D, D, F#, F# /

G, G, A, A, Bb, Bb, D / Bb-D-F-A We need to feel Your
D, C / Bb-D-F-A anoint-
C, D, D / Bb-D-E-G ing
Eb, Eb, E / let it
/ Bb-Eb-F fall
F, F, A /
A / Bb-D-F down
Bb, Bb, G /
G / A-C-F on
A, A, Eb /
Eb / F#-C-F me
D, D, F#, F#

G, G, A, A, Bb, Bb, D / Bb-D-F-A We’re waiting here for a
D, C / Bb-D-F-A bless-
C, D, D, Eb / Bb-D-E-G ing
Eb, E, E let it fall
F / A-C-F
down
Bb / Bb-D-F
on
A / C-Eb-G
me
D, D / F#-C-F

G, G, A, A, Bb, Bb, D / Bb-D-F-A We need to feel Your a-
D, C / Bb-D-F-A noint-
C, D, D, Eb / Bb-D-E-G ing
Eb, E, E let it fall
F / A-C-F
fresh
Bb / Bb-D-F
on
A / C-Eb-G
me
D / C-F-Bb
D /

Vamp (note: with the bass, switch from low octave to high octave):

Bb, Bb, Bb / Ab-Bb-G-Bb Rain-
/ Ab-Bb-G-Bb in
Bb, D / Oh
/ Ab-D-G I
D, F / wonder can
/ Ab-D-G you feel it
Bb, G, A it’s
Bb, Bb, Bb / Ab-D-G-Bb rain-
/ Ab-D-G-Bb in
Bb, D
/ Ab-D-G
D, F /
/ Ab-D-G
Bb, G, A / it’s

Bb, Bb, Bb / Ab-Bb-G-Bb rain-
/ Ab-Bb-G-Bb in
Bb, D / Oh
/ Ab-D-G I
D, F / wonder can
/ Ab-D-G you feel it
Bb, G, A / it’s
Bb, Bb, Bb / Ab-D-G-Bb rain-
/ Ab-D-G-Bb in
Bb, D /
/ Ab-D-G
D, F /
/ Ab-D-G
Bb, G, A / it’s
Bb, F, Bb / Ab-C-D-F rain-
Bb / Ab-C-D-F in
Bb /
B, F# / A-C#-D#-F# rain-
B /
B / A-C#-D#-F# in
B /
C, G, C / Bb-D-E-G rain-
/ Cb-Eb-F-Ab in

Key Change Db

Db, Db, Db / rain-
Db / Cb-Eb-F-Ab in
Db, Db, D, Ab /
Gb / Ab-Db-Fb, Gb-Bb-Eb
Gb / Fb-Ab-Db
Gb, Bb, B /
C / it’s
Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-Eb-F-Ab in
Db, Db, D, Ab /
Gb / Ab-Db-Fb, Gb-Bb-Eb
Gb / Fb-Ab-Db
C / it’s
Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-Eb-F-Ab in
Db, Db, D, Ab /
Gb / Ab-Db-Fb, Gb-Bb-Eb
Gb / Fb-Ab-Db
Gb, Bb, B /
C / it’s
Db, Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-Eb-F-Ab in
Db, Gb, G /
Ab / it’s
Gb, Gb, Gb / Bb-Fb-Ab rain-
Gb / Bb-Fb-Ab in
Gb, Bb, B /
C / it’s
Db, Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-Eb-F-Ab in
Db, Db, D /
Ab / it’s
Gb, Gb, Gb / Bb-Fb-Ab rain-
Gb / Gb-Fb-Ab in
Gb, Bb, B /
C / it’s
Gb, Gb, Gb / Bb-Fb-Ab rain-
Gb / Bb-Fb-Ab in
Gb, Bb, B /
C / it’s
Db, Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-Eb-F-Ab in
Db, Db, D /
Ab / it’s
Gb, Gb, Gb / Bb-Fb-Ab rain-
Gb / Gb-Fb-Ab in
Gb, Bb, B /
C / it’s
Gb, Gb, Gb / Bb-Fb-Ab rain-
Gb / Bb-Fb-Ab in
Gb, Bb, B /
C / it’s
Db, Db, Db / Cb-Eb-F-Ab rain-
Db / Cb-F-Bb-Db in.

http://zone.hearandplay.com/index.php?name=PNphpBB2&file=viewtopic&p=16140#16140

I love the piano on this song... so beautiful!

* Chord Chart Great Is Your Mercy

C / A D Gb ---------- Great
Bb / Bb D F G ---------- is
A / C D F A ---------- Your
G / Bb D F A,Bb ---------- Mer - cy
D / Bb C D F ---------- t'wards
C / G Bb C E ---------- me
C / G Bb C E ---------- Your
D / Bb D F ---------- lov
E / Bb C E G ---------- ing
F / C E G ---------- kind
F / C F A ---------- ness
Bb / A C D F ---------- t'wards
D / F A C D ---------- me
D / A C D Gb ---------- Your
E / Bb C E G ---------- tend
Gb / C D Gb A ---------- er
G / Bb D F A,Bb ---------- Mer-cies
D / A Bb D F ---------- I
C / G Bb C E ---------- see
A / G C E ---------- day
A / A D F ---------- af
A / B D G ---------- ter
D / B D Gb A ---------- day
A / B D G
D / A C D ---------- Gb
C / A C D Gb ---------- For
Bb / Bb D F G ---------- ev
A / C D F A ---------- er
G / Bb D F A,Bb ---------- Faith-ul
D / A Bb D F ---------- t'wards
C / G Bb C E ---------- me
C / G Bb C E ---------- You're
C / G Bb C E ---------- al
D / A Bb D G ---------- ways
E / C E G ---------- pro
F / E G C ---------- vid
F / C F A ---------- ing
F / A C F ---------- for
D / F A C D ---------- me
C / A C F ---------- Great
Bb / Bb D F G ---------- is
A / C D F A ---------- Your
G / Bb D F A,Bb ---------- Mer-cy
D / Bb C D F ---------- t'wards
C / G Bb C E ---------- me
A / G C E ---------- day
A / A D F ---------- af.......
A / B D G ---------- ter
D / B D Gb A ---------- day
A / B D G
D / A C D Gb

Here I Am To Worship by Tim Hughes- Israel and New Breed and Hillsong

LadyDpiano-lessons@yahoo.com (LadyD) — Sun, 09 Aug 2009 21:15:00 +0000

Today was a good day at the Biker Church. People love to worship. I enjoy hearing the sound of a Harley coming through the parking lot, right up to the church doors. Beautiful bikes today. And we had a great drummer and a very good bass player on the team playing a wonderful set of songs... yours truly on the keys! It was an awesome day!

Here I Am To Worship
by Israel and New Breed
arranged by quintinab

Key of E

Left Hand/Right Hand

Intro:

E
E/A
E/D
E/A

Verse:

E Light of the

E/B world, You stepped

E/D down into

E/A darkness

E Opened my

E/B eyes let me

E/D see

E/A ------

E Beauty that

E/B made

E/D heart

E/A adore You

E hope of a

E/B life spent with

A2 You

Chorus:
A/F#m Here

A/E I am

A/F#m to

E worship here I am to

D#/B bow down

G#/E say that You're my

A2 God You're

E lovely

D#/B worthy

G#/E wonderful to

A2 me

A/B -------

B/A ---------

B I'll never

G#/E know how much

A2 it cost

B my sin

G#/E upon

A2 that cross

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

A/E that cross

Repeat I'll never Know

D#/B to see myt sin

G#/E upon

A2 that

A/F#m, A/E cross

A/B --------

A/E ----------

A/B ----------

C#m9 Here I am to worship

Bm9 bow down

A/E Here I am to say

C/G You're my

F#m7(4) God

G#7(#5) altogether

C#m9 lovely

Bm9 worthy

A/E wonder

F#m7 me

G#7(#5) Here I am to

C#m9 worship

Bm9 bow down

A/E say that

F#m7 God

G#7 al

A#/G#sus to

B#/G# gether

C#m9 love----ly

Bm7 WOR---THY

A/E wonderful to

F#m7 ME

A/F#m Here

A/E I

A/F#m to

E worship

E/B You

E/D Hallelujah

E/A ---------

E worship

E/B You

E/D Are

E/A ---------

E worship

E/B You

E/D Hallelujah

E/A -------

G#/E2 worship

Bm9 You

C For who you are

C/D --------
Repeat last 2 til the end

D END

* * * * * * * * * * * * * *

Verse 1:
D Asus Em G
Light of the World you stepped down into darkness
D Asus G
Open my eyes let me see
D Asus Em G
Beauty that made this heart adore you
D Asus G
Hope of a life spent with you

Chorus:
D
Here I am to worship
A/C#
Here I am to bow down
D/F# G
Here I am to say that you're my God
D
You're altogether lovely
A/C#
Altogether worthy
D/F# G
Altogether wonderful to me

Verse 2:
D Asus Em G
King of all days oh so highly exalted
D Asus G
Glorious in heaven above
D Asus Em G
Humbly you came to the Earth you created
D Asus G
All for love's sake became poor

BRIDGE:
A/C# D/F# G
I'LL NEVER KNOW HOW MUCH IT COST
A/C# D/F# G
TO SEE MY SIN UPON THAT CROSS (repeat)

tag: (from recording)
D A Bm- G
CALL UPON THE LORD AND BE SAVED
D A Bm- G
CALL UPON THE LORD AND BE SAVED

Artist: Hillsong
Copyright Credits: Written By: Tim Hughes Copyright: © 2000 Thankyou Music

* * * * * * * * * * *

Verse 1
G Dsus Am
Light of the world, You stepped down into darkness
G Dsus C
Opened my eyes, let me see.
G Dsus Am
Beauty that made this heart adore You.
G Dsus C
Hope of a life spent with You.

Verse 2
G Dsus Am
King of all days, oh so highly exalted
G Dsus C
Glorious in heaven above.
G Dsus Am
Humbly You came to the earth You created
G Dsus C
All for love’s sake became poor.

CHORUS
G D
Here I am to worship, here I am to bow down,
G C
Here I am to say that You’re my God
You’re altogether lovely, altogether worthy,
Altogether wonderful to me.

BRIDGE
D G C D G C
I’ll never know how much it cost to see my sin upon that cross.

Artist: Tim Hughes

* * * * * * * * * * * * *

Capo 2

Verse 1
G D Am
Light of the world you stepped down into darkness
G D C2
Open my eyes let me see
G D Am
Beauty that made, this heart adore you
G D C2 - - - - - -
Hope of a Life spent with You

(Chorus)
G
Here I am to Worship
D
Here I am to Bow down
G C2
Here I am to Say that You're my God (Repeat 2x's)
G
Your all together Lovely
D
All together Worthy
G C2 - - - - - -
Your all together wonderful to me

Verse 2
G D Am
King of All Days oh so highly exalted
G D C2
Glorious in Heaven above
G D Am
Humbly you came to the Earth you created
G D C2 - - - - - -
All for Love's sake became poor

(Bridge)
D G C2
I'll never know, how much it'd cost (Repeat 3x's)
D G C2 (At End - C2 - - - - - -)
To see my sin upon that cross (Go back to Chorus 1x)

Artist: Heaven Bound
Copyright Credits: SonicFlood ©Copyrighted by Sonicflood: Justin Helms - Heaven Bound HBC.

* * * * * * * * * * * * *

I Do Worship You

Key Gb
L H / R H

Intro:

Gb/ Ab-Bb-Db-Gb
/ Bb
E / D#-F#-G#-B
F / Db-F-Ab-Db
(Repeat)

Gb/ Ab-Db-F I
Eb / Bb-Db-Gb do
Ab / Gb-Cb-Eb wor-
Db / Ab-Db-F ship
B / A-Cb-F-Ab
Bb / Ab-Db-F I
Eb / Bb-Db-Gb do
Ab / Bb-Cb-Eb wor-
Db / Ab-Db-F ship
F / A-Db-F-Ab
Bb / Ab-Db-F I
Eb / Bb-Db-Gb do
Ab / Bb-Cb-Eb wor-
Db / Ab-Db-F ship
G / Gb-Bb-Db you
(Repeat)

Ab / C-D-F-Bb For Your
C# / D#-E-G#-B, B goodness
E / D#-E-G#-B, B and Your
F# / D#-E-G#-B, B glory
A, Bb / D-G-B, Eb-A-C
F# / C#-F#-A# for
/ d#-G#-B the
B / D#-F#-A#-C# joy
/ D#-F#-A#-C# in-
/ D#-F#-A#-C# side
/ D#-F#-A#-C# Your
E / D-F#-G#-B-D story
C# / B-D#-F#
B / A-C#-F-Ab
Bb / F-b-Db I
Eb / Gb-Bb-Db do
Db / F-Ab-Db ship
Gb / Gb-Bb-Db You.
C, Db, E, D / A, Bb, Db, Cb, Ab
G / Bb
Gb, Eb, F / Db-Eb-Bb, Eb-Gb-Ab-C, Db-F-Ab-Db

Gb/ Ab-Db-F Oh
Eb / Bb-Db-Gb how
Ab / Gb-Cb-Eb excel-
Db / Ab-Db-F lent
B / A-Cb-F-Ab
Bb / Ab-Db-F is
Eb / Bb-Db-Gb Your
Ab / Bb-Cb-Eb pres-
Db / Ab-Db-F ence
F / A-Db-F-Ab
Bb / Ab-Db-F we
Eb / Bb-Db-Gb will
Ab / Bb-Cb-Eb bless
Db / Ab-Db-F your
G / Gb-Bb-Db name

Ab / C-D-F-Bb For Your
C# / D#-E-G#-B, B goodness
E / D#-E-G#-B, B and Your
F# / D#-E-G#-B, B glory
A, Bb / D-G-B, Eb-A-C
F# / C#-F#-A# for
/ D#-G#-B the
B / D#-F#-A#-C# joy
/ D#-F#-A#-C# in-
/ D#-F#-A#-C# side
/ D#-F#-A#-C# Your
E / D-F#-G#-B-D story
Eb / Bb-Db-F-Ab
Ab / C-D-F-Bb for
C# / D#-E-G#-B, B the
E / D#-E-G#-B, B peace You
F# / D#-E-G#-B, B gave to me
A, Bb / D-G-B, Eb-Ab-C
F / C#-F#-A# for
/ D#-G#-B the
B / D#-F#-A#-C#, C# day You
/ D#-F#-A#-C#, C# set me
Bb / G#-C#-D-F#
(no music) set me free
Ab / C-D-F-Bb For Your
C# / D#-E-G#-B, B goodness
E / D#-E-G#-B, B and Your
F# / D#-E-G#-B, B glory
A, Bb / D-G-B, Eb-A-C
F# / C#-F#-A# for
/ D#-G#-B the
B / D#-F#-A#-C# joy
/ D#-F#-A#-C# in-
/ D#-F#-A#-C# side
/ D#-F#-A#-C# Your
E / D-F#-G#-B-D story
C# / B-D#-F#
B / A-C#-F-Ab
Bb / F-b-Db I
Eb / Gb-Bb-Db do
Db / F-Ab-Db ship
B / A-C#-F-Ab
Bb / F-Ab-Db I
Eb / Gb-Bb-Db do
Ab / Eb-Gb-Cb wor-
Db / F-Ab-Db ship
F / A-Bb-Db-F-Ab
Bb / F-Ab-Db I
Eb / Gb-Bb-Db do
Ab / Eb-Gb-Cb wor-
F / F-Ab-Db ship
B / A-C#-F-Ab
Bb / F-Ab-Db I
Eb / Gb-Bb-Db do
Ab / Eb-Gb-Cb wor-
Db / F-Ab-Db ship
C / D-D (hit 5x)

Key Change G

B / D-F#-A-D I
E / D-G-B-D do
A / C-E-G-C wor-
D / D-F#-A-D ship
C / Bb-D-F#-A
B / D-F#-A-D I
E / D-G-B-D do
A / C-E-G-C wor-
D / D-F#-A-D ship
F / Bb-D-F#-A
B / D-F#-A-D I
E / D-G-B-D do
A / C-E-G-C wor-
D / D-F#-A-D ship
C# / B-E-C
C / D-G-B-D you
C / A-B-D-E-G (hit 2x)
C#, D /
B/ A-D-G
B / A-B-Eb-G (hit 2x)
E, B / G-A-D-F#
F# / D-A
A / C#-F#-B-D#, E
D, A / F-G-C-E
F, D / A-C-E-G
G, D, G / D-C#-E-A
/ D-G-B, E-A-C For Your
C / E-G-B-D, E-G-B-D goodness
C / A-B-D-E-G (hit 2x)
G, F / D-G-B, E-A-C and Your
E / G-B-D, G-B-D glory
/ G-B-D-F
A / G-B-C#-F#, D#-F#
D, F, A / A-C-E-G
/ A-C-E-G
D / F-A-C
G, G, G / E-G#-B
G / D-G-B, E-A-C For Your
C / E-G-B-D, E-G-B-D goodness
C / A-B-D-E-G (hit 2x)
C#, D /
B / A-D-G
B / A-D-Eb-G (hit 2x)
/ D-G-B and
B / E-A-C Your
E / G-B-D, G-B-D glory
E / halle-
/ G-B-D-F# lu
A, A, A, A / G-B-C#-F# hallelu, halle-
A, A, A / D# lu-
A / D#-F# jah
D, D, D, D / A-C-E-G
D, D, D / F-A-C-E
D / A-C-E-G
G, G, G, G / A-B-E-G
Ab / Db-Bb-F, Ab
Ab / Eb-Ab-C He’s
Ab / F-Bb-Db so

Key Change Ab

Db / F-Ab-C-Eb, F-Ab-C-Eb faithful
Ab / C-F-Ab
C, C, Bb / Bb-C-Eb-Ab
Ab / Bb-C-Eb-Ab
G / Bb-Db-F-Bb
F / F-Bb-Db-F
/ Eb-Ab-C-Eb, D-G-Bb
C / D-G-Bb-Db
/ Eb-Ab-C, F-Bb-Db He’s so
F / Eb-Ab-C-Eb, Eb-Ab-C-Eb faithful
F / F-Ab-C-Eb-G
Bb / Ab-C-D-G
Bb / E, E-G
Eb, Bb, Gb / Bb-Db-F-Ab
/ Bb-Db-F-Ab
Eb / Gb-Bb-Db
Ab, Ab, Ab / F-A-C
Ab / Eb-Ab-C, F-Bb-Db He’s so
Db / F-Ab-C-Eb, F-Ab-C-Eb faithful
Db / C-F-Ab
C, C, Bb / Bb-C-Eb-Ab
Ab / Bb-C-Eb-Ab
G / Bb-Db-F-Bb
F / F-Bb-Db-F
/ Eb-Ab-C-Eb, D-G-B-D
C, Eb / Eb-Ab-C
E / E-Ab
/ Eb-Ab-C, F-Bb-Db He’s so
F / Eb-Ab-C-Eb, Eb-Ab-C-Eb faithful, yes He
F / Ab-C-Eb-G is
Bb, Bb, Bb, Bb / Ab-C-D-G yes He is, yes
Bb, Bb, Bb / E He is
Bb / E-G yes
Eb, Eb, Eb, Eb / Bb-Db-Ab-C
Eb, Eb, Eb / Gb-Bb-Db-F
Eb / Bb-Db-F-Ab
Ab, Ab, Ab, Ab / Bb-C-F-Ab
A, A / B-D-F#-A
A, A / E-A-C#, F#-B-D Lord, I

Key Change A

D / F#-A-C#-E, F#-A-C#-E love You
A / D-C#-E-A
D / D-C#-E-A
/ C#-C#
G# / B-D-F#-G#
F# / F#-G#-D-F#
/ E-A-C#-E / D#-G#-B-D#
C# / D-G-B-D
/ E-A-C#, F#-B-D Lord I
F# / E-A-C#-E, E-A-C#-E love You
F# / A-C#-E-G#
B / A-C#-D#-G#
B / E#, E#-G#
E, B, G / B-D-F#-A
/ B-D-F#-A
E / G-B-D
A, A, A / F#-A#-C#
A / E-A-C#, F#-B-D Lord I
D / F#-A-C#-E, F#-A-C#-E love You
D / D-C#-E-F#-A (hit 2x)
/ A
C# / B-E-A
C# / E-A-D
C# / E-A-C#
E# / E-A
/ E-A-C#, F#-G#-B Lord I
D / F#-A-C#-E, F#-A-C#-E love You!

How To Use Grace Notes

LadyDpiano-lessons@yahoo.com (LadyD) — Tue, 11 Aug 2009 20:52:00 +0000

Image via Wikipedia

Are you familiar with grace notes, or crushed notes? Do you use them in your piano playing? Nothing gets your sound more soulful quicker than throwing in some grace notes. Grace notes are notes that a played very briefly and often very softly before the "main" note is played.

Grace notes sound good because they introduce an element of notes that do not fall into the scale you are using. It brings a bit more emotion to your sound -- sometimes playfulness, sometimes sadness.

Like everything else in music, it's not a matter of throwing in any old chromatic note. Let me give you three principles for using grace notes that I learned:

1) Blues Grace Notes - if you are working in the major scale (or in the minor scale as well, I suppose, though I haven't worked that out yet) identify your major scale, then identify the minor blues scale of that same key. Like this:

C major scale: C, D, E, F, G, A, B, C
C minor blues: C, Eb, F, Gb, G, Bb, C

Now, you don't have to pay in the minor blues scale per se (indeed, many major scale songs won't "allow" it), but you want to "borrow" notes from this second scale strategically.

You can apply this in your right hand soloing. Next time you're doing a run up the major scale, introduce some of the blues minor scale notes, very briefly, as grace notes.

Example. Instead of playing:

F, G, A, B

play

F, G, A, (Bb), B [Bb is your grace note]

You can also apply it to your chords. Instead of just playing

G - B - D [G major]

play

G - (Bb slide into) B - D

Practice doing it very lightly and subtly for a nice soul feel. But why does this work, besides the fact that you are borrowing from the blues scale? Well...

2) Minors into Majors - The basic idea is that just about any major chord can be made to sound soulful by sliding from its minor to its major in a split second. Works on piano, works even better on guitar.

Some examples:

C major = C, (Eb into) E, G
F major = F, (Ab into) A, C
G major = G, (Bb into) B, D

3) Tension and Release - Tension and Release is a major concept in writing lead parts. It is the process of building up a bit of tension via dissonance and then release that tension by creating consonance. In other words...

in the chord of C major (C-E-G) in your left hand with an F in your right hand
would be considered a dissonance, because although F falls into the C major scale, it is not part of the chord. However, slide that F up to G and now that G is consonant. Congratulations -- you've just created a tension and release.

Now, we can use this as another principle for grace noting. Instead of going straight into your intended note, touch on a dissonant, yet diatonic, note on the first beat then glide into your intended note. That should create a lovely bit of sweet emotion.

Some more applications of grace notes:

a) use it to create lovely 7th chords. Can't decide whether you want to use a bluesy dominant seventh or a jazzy major seventh? Use both! Crush the dominant into the major like this:

C-E-G-(Bb into) B

furthermore this relatively "open" voicing sounds pretty sophisticated, even "Burt Bacharach-ish."

b) create phat bass lines in a piano roll.

http://www.flipside.singingcrane.com/FL/index.php?topic=1725.0

c) relearn your major scales with blues grace notes thrown in to enhance your soloing.

* Related Posts:

http://ladydpiano.blogspot.com/2008_09_01_archive.html

* Urban Pro600

Beef up your playing drastically by adding these small
little grace notes, slides, and fill-ins to your chord
transitions. Jon utilizes this trick at least 80% of the
time and he spills the beans on exactly what to do to "own"
it.

http://ladydpiano.blogspot.com/2007/09/west-coast-urban-feel.html

http://www.hearandplay.com/441295/gkurban.html

Clip from GospelKeys Urban... How To Use Grace Notes

Learn the Circle of Fifths- Patterns

LadyDpiano-lessons@yahoo.com (LadyD) — Sun, 16 Aug 2009 17:42:00 +0000

The Circle of Fifths, is a concept used by jazz musicians to practice playing ii, V, I chord patterns in all keys. It’s called the circle of fifths because you will come full circle back to where you started. The root moves down in fifths and up in fourths, or up in fourths and down in fifths around a circle. In the right hand you play the 3rd and 7th (or 6th) of the chord. The left hand plays the root or 1 chord tone. It’s best to play the left hand root an octave below the right hand 3, 7th voicing.. Also you can play the root(1) and the seventh(7th) in the left hand for a more fuller sound. The third and seventh determine the chord type. Whether it is major, minor, or dominate. This method allows the jazz musician to play a melody on top of the 3, and 7 or 7, and 3, in the right hand. Check out Jazz Open Voicings for Keyboards by Dick Grove for more information.

I get so many requests on the Circle of Fifths and I can understand why because it is like a musician's bible. Once you begin to see the importance of the circle, you'll be free to play and not locked in to sheet music. The circle is a very good way to learn your chords and scales... so here goes. Total reading time on this blog post 10 mins.

* CIRCLE OF 5THS

C7 introduces F
F7 introduces Bb
Bb introduces Eb
Eb introduces Ab
Ab introduces Db
Db aka C# introduces F#
F# introduces B
B introduces E
E introduces A
A introduces D
D introduces G
and G introduces C making a circle back to C

* In this lesson you learn how to play open position chords around the circle of fifths while improvising melody in the right hand.

http://www.quiescencemusic.com

* The circle of 5ths tells you how many sharps or flats are in each key. Moving clockwise (right), the notes move in 5ths. Moving counter-clockwise (left), the notes move in 4ths. I can't show you a circle, but I can put it in a form that illustrates this, u can try to draw it if you want to:

C = 0 sharps or flats (12 o'clock)
G = 1 sharp; F# (1 o'clock)
D = 2 sharps; F#, C# (2 o'clock)
A = 3 sharps; F#, C#, G# (3 o'clock)
E = 4 sharps; F#, C#, G#, D# (4 o'clock)
B/Cb = 5 sharps; F#, C#, G#, D#, A# (5 o'clock) / 7 flats; Bb, Eb, Ab, Db, Gb, Cb, Fb
F#/Gb = 6 sharps; F#, C#, G#, D#, A#, E# / 6 flats; Bb, Eb, Ab, Db, Gb, Cb (6 o'clock)
Db/C# = 5 flats; Bb, Eb, Ab, Db, Gb (7 o'clock) / 7 sharps; F#, C#, G#, D#, A#, E#, B#
Ab = 4 flats; Bb, Eb, Ab, Db (8 o'clock)
Eb = 3 flats; Bb, Eb, Ab (9 o'clock)
Bb = 2 flats; Bb, Eb (10 o'clock)
F = 1 flat; Bb (11 o'clock)

The keys C# and Cb aren't usually present in the circle (i just added them there), but there is a reason why. Notice that the circle starts with C, having no sharps or flats. Now, the key of C# has everything being sharped, and the Cb has everything being flatted. So, what you can do is make a separate circle for the sharps, and a separate circle for the flats, and it could go on forever. I'll show you a little of each:

Sharps Circle

C = 0 sharps (12 o'clock)
G = 1 sharp; F# (1 o'clock)
D = 2 sharps; F#, C# (2 o'clock)
A = 3 sharps; F#, C#, G# (3 o'clock)
E = 4 sharps; F#, C#, G#, D# (4 o'clock)
B = 5 sharps; F#, C#, G#, D#, A# (5 o'clock)
F#= 6 sharps; F#, C#, G#, D#, A#, E#

C# = 7 sharps / all sharps; F#, C#, G#, D#, A#, E#, B# (12 o'clock)
G = 1 double sharp; F## (1 o'clock)
D = 2 double sharps; F##, C## (2 o'clock)
A = 3 double sharps; F##, C##, G## (3 o'clock)
etc.

Flats Circle

C = 0 flats (12 o'clock)
F = 1 flat; Bb (11 o'clock)
Bb = 2 flats; Bb, Eb (10 o'clock)
Eb = 3 flats; Bb, Eb, Ab (9 o'clock)
Ab = 4 flats; Bb, Eb, Ab, Db (8 o'clock)
Db = 5 flats; Bb, Eb, Ab, Db, Gb (7 o'clock)
Gb = 6 flats; Bb, Eb, Ab, Db, Gb, Cb (6 o'clock)

C = 7 flats / all flats; (12 o'clock)
F = 1 double flat; Bbb (11 o'clock)
Bb = 2 double flats; Bbb, Ebb (10 o'clock)
Eb = 3 double flats; Bbb, Ebb, Abb (9 o'clock)
The circle of 5ths tells you how many sharps or flats are in each key. Moving clockwise (right), the notes move in 5ths. Moving counter-clockwise (left), the notes move in 4ths. I can't show you a circle, but I can put it in a form that illustrates this, u can try to draw it if you want to:

C = 0 sharps or flats (12 o'clock)
G = 1 sharp; F# (1 o'clock)
D = 2 sharps; F#, C# (2 o'clock)
A = 3 sharps; F#, C#, G# (3 o'clock)
E = 4 sharps; F#, C#, G#, D# (4 o'clock)
B/Cb = 5 sharps; F#, C#, G#, D#, A# (5 o'clock) / 7 flats; Bb, Eb, Ab, Db, Gb, Cb, Fb
F#/Gb = 6 sharps; F#, C#, G#, D#, A#, E# / 6 flats; Bb, Eb, Ab, Db, Gb, Cb (6 o'clock)
Db/C# = 5 flats; Bb, Eb, Ab, Db, Gb (7 o'clock) / 7 sharps; F#, C#, G#, D#, A#, E#, B#
Ab = 4 flats; Bb, Eb, Ab, Db (8 o'clock)
Eb = 3 flats; Bb, Eb, Ab (9 o'clock)
Bb = 2 flats; Bb, Eb (10 o'clock)
F = 1 flat; Bb (11 o'clock)

* musictheoryguy:
Once you have a circle of fifths you can use it to calculate how many sharps or flats are in a key signature. Watch this video to help you use your circle of fifths for the major keys.

The circle of 5ths is used to show how many sharps or flats are in each key. It is like a clock. You start at the top with C that has no sharps or flats. Then you move clockwise (to the right) to G, which has 1 sharp, then to D, which has 2 sharps, then to A, which has 3 sharps, then to E, which has 4 sharps, then to B, which has 5 shaprs, then to F#, which has 6 sharps, then to C#, which has 7 sharps. From there, you switch to flats with Cb, which has 7 flats, then to Gb, which has 6 flats, then to Db which has 5 flats, then to Ab, which has 4 flats, then to Eb, which has 3 flats, then to Bb, which has 2 flats, then to F, which has 1 flat, then you are back at C. Here is an illustration:

C = 0 sharps or flats
G = 1 sharp (F#)
D = 2 sharps (F#, C#)
A = 3 sharps (F#, C#, G#)
E = 4 sharps (F#, C#, G#, D#)
B = 5 sharps (F#, C#, G#, D#, A#)
F# = 6 sharps (F#, C#, G#, D#, A#, E#)
C# = 7 shaprs (F#, C#, G#, D#, A#, E#, B#)
(switch)
Cb = 7 flats (Bb, Eb, Ab, Db, Gb, Cb, Fb)
Gb = 6 flats (Bb, Eb, Ab, Db, Gb, Cb)
Db = 5 flats (Bb, Eb, Ab, Db, Gb)
Ab = 4 flats (Bb, Eb, Ab, Db)
Eb = 3 flats (Bb, Eb, Ab)
Bb = 2 flats (Bb, Eb)
F = 1 flat (Bb)
C = 0 sharps or flats

* The circle of 4ths is where your progressions come from. In other words, it has solely to do with bass/LH notes. To me, that is the only significance of it. Just take the circle of 5ths and read it backwards.

See what I mean by keys and note? Circle of 5ths is for keys and circle of 4ths is for notes.

To get chords, you use the bass notes to come up with chords. How? Well, you can start by taking a bass note and writing down all the possible chords that could go with that note, that are associated to the key you are in. I will be back later to better explain how to figure out chords and stuff.

Key: Signature LH=Root(1) RH= 3rd, 7th Pattern Chord

1: C: D F, C 2 Dmi7
G F, B 5 G7
C E, B 1 Cmaj7

2: F; b G Bb, F 2 Gmi7
C Bb, E 5 C7
F A, E 1 Fmaj7

3: Bb bb C, Eb, Bb 2 Cmi7
F, Eb, A 5 F7
Bb D A 1 Bbmaj7

4: Eb bbb F Ab, Eb 2 Fmi7
Bb Ab, D 5 Bb7
Eb G D 1 Ebmaj7

5: Ab bbbb Bb Db, Ab 2 Bbmi7
Eb Db G 5 Eb7
Ab C G 1 Abmaj7

6: Db bbbbb Eb Gb Db 2 Ebmi7
Ab Gb C 5 Ab7
Db F C 1 Dbmaj7

7. Gb bbbbbb Ab B Gb 2 Abmi7
Db B F 5 Db7
Gb Bb F 1 Gbmaj7

8. F# ###### G# B F# 2 G#mi7
C# B F 5 C#7
F# A# F 1 F#maj7

9. B ##### C# E B 2 C#mi7
F# E A# 5 F#7
B D# A# 1 Bmaj7

10. E #### F# A E 2 F#mi7
B A D# 5 B7
E G# D# 1 Emaj7

11. A ### B D A 2 Bmi7
E D G# 5 E7
A C# G# 1 Amaj7

12. D ## E G D 2 Emi7
A G C# 5 A7
D F# C# 1 Dmaj7

13. G # A C G 2 Ami7
D C F# 5 D7
G B F# 1 Gmaj7

14. C D F C 2 Dmi7
G F B 5 G7
C E B 1 Cmaj7

I'll be on vacation for awhile. I won't be gone long. Enjoy your summer and keep practicing! I'd love to hear from you. Stop by and let me know how things are going with your piano playing!

All the best,
~ LadyD

How Great Is Our God: Chris Tomlin

LadyDpiano-lessons@yahoo.com (LadyD) — Wed, 26 Aug 2009 20:39:00 +0000

Chris Tomlin via last.fm

I just got back from a wonderful vacation to San Francisco. The journey was fantastic, just to look out over our beautiful California coastline. Along the way, I stopped to visit Morro Bay. Immediately many worship songs came to my mind... here is one to share with you. Are you familiar with How Great Is Our God by Chris Tomlin?

* How Great is our God (Basic Chords)
Key of Db
arr. by sjonathan02

Ab How
Db / Ab Db F great is our God
Ab / Ab C Eb say with me how
Bb / Ab Db F great is our God
Ab / Ab C Eb all will see how
Gb / Gb Bb Db great, how
Ab / Ab C Eb great, is our
Db / Ab Db F God

The chords are basically the same for the next part:

You’re the name above all Names
You are worthy of all praise
And, my heart will say how great
Is our God

If you learn the chord progression, then you can play it in any key.

Gospel Guitar 101

The song is so simple yet what stays with me over and over is that the song is perfect in describing what I saw on my trip... God is great and I live in a beautiful place.

* Chord Chart in Key of C

CHORUS:
C G/B
How great is our God, sing with me,
Am7 G/B
How great is our God, all will see
F2 G C Csus C
How great, how great is our God.

VERSE 1:
C Am7
The splendor of a King, clothed in majesty,
F2
Let all the earth rejoice, all the earth rejoice.
C Am7
He wraps Himself in light, and darkness tries to hide
F2
And trembles at His voice, trembles at His voice.

VERSE 2:
C Am7
Age to age He stands, and time is in His hands,
F2
Beginning and the end, beginning at the end.
C Am7
The Godhead, three in one: Father, Spirit, Son,
F2
The Lion and the Lamb, the Lion and the Lamb.

BRIDGE:
C G/B
Name above all names,
Am7 G/B
Worthy of all praise,
F2
My heart will sing
G C Csus C
How great is our God.

* How Great is Our God: Key of F

* Tony Jones (Mr IDissectMusic) dissects the beautiful tune How Great is Our God by Chris Tomlin on the piano. He adds a lot of flavor to it and puts some true LIFE into it! Be Blessed!

Gospel Guitar 101

Intro:
F C/E Dm7 C Bb C F

Verse 1:
F Dm7
The splendor of a King, clothed in majesty
Bb C
Let all the earth rejoice, all the earth rejoice
F Dm7
He wraps Himself in light, and darkness tries to hide
Bb C
And trembles at His voice, trembles at His voice

Chorus:
F C/E
How great is our God, sing with me
Dm7 C
How great is our God, and all will see
Bb C F
How great, how great is our God

Verse 2 (same chord progression as verse 1):
Age to age He stands, and time is in His hands
Beginning and the End, Beginning and the End
The Godhead three in one, Father Spirit Son
The Lion and the Lamb, the Lion and the Lamb

CHORUS

Bridge (with backup chorus):
F C/E Dm7 C
Name above all names, worthy of all praise
Bb C F
My heart will sing, how great is our God!

CHORUS "x" times, end with little/no music

* Chord Chart in G:

VERSE:1
G Em
The splendor of a King, clothed in majesty
C
Let all the earth rejoice
D
All the earth rejoice

G Em
He wraps himself in Light, and darkness tries to hide
C
And trembles at His voice
D
Trembles at His voice

CHORUS:

G
How great is our God, sing with me
Em
How great is our God, and all will see
C D
How great, how great is our God

VERSE:2

Age to age He stands
And time is in His hands
Beginning and the end
Beginning and the end

The Godhead Three in One
Father Spirit Son
The Lion and the Lamb
The Lion and the Lamb

BRIDGE:

G
Name above all names
Em7
Worthy of all praise
C
My heart will sing
D
How great is our God

Gospel Guitar 101

It is good to be back home. Keep playing your music and thanks again for stopping by!
~ LadyD

Progressions Used in Souled Out by Hezekiah Walker

LadyDpiano-lessons@yahoo.com (LadyD) — Sat, 29 Aug 2009 12:05:00 +0000

Image by Getty Images via Daylife

Next to Total Praise, there's another frequently requested song and that is "Souled Out" by Hezekiah Walker. I posted video tutorials awhile back from some great Gospel musicians and you can find more information at:

http://ladydpiano.blogspot.com/2009/05/souled-out-by-hezekiah-walker.html

I wanted to take the time to share with you about another special musician of gospel music and a great teacher, Greg Hannon. You can reach him at greghannon@giftedplayer.com You will receive weekly lessons from him so you will want to sign up... especially if you love gospel music, play for your church or just want to learn how to play popular songs. Greg also sells music resources and has an affiliate program if you're interested. You can visit his website at:

http://www.giftedplayer.com

Here is a sample of what I'm talking about:

GiftedPlayer Weekly Lesson
Progressions Used In Souled Out - Part 1
Hezekiah Walker & LFC - Souled Out

Another great commonly used progression in gospel music:

Intro & Main Theme

1) 3 = F2/A

2) 4 = Bb

3) b7 = Eb

4) 6 = Bb/D

5) 1 = Bb/F

6) 1 = F

GiftedPlayer Weekly Lesson
Progressions Used In Souled Out - Part 2
Hezekiah Walker & LFC - Souled Out

Slow this progression down and use it for worship chords.

Intro

1) b7 = Ebmaj9

2) 6 = Bb2/D
3) 3 = F2/A

* Part 3

Vamp

1) F

2) Eb/F

3) Bb/F

4 F

For keyboard tips, tricks and more, visit the Gifted Player!

Here's what Candace Walker says in her article about Hezekiah Walker:

http://www.bellaonline.com/articles/art59688.asp

After Hezekiah Walker put out the double disc CD “The Essential Hezekiah Walker” I thought…well this is the last Hezekiah Walker CD I will need. It has all the hits on it including my favorite “I Need You to Survive” but I was wrong…way wrong! Long considered one of the greatest when it comes to gospel choir music, Walker and the Love Fellowship Choir have put out another project that will become a staple for choirs for decades to come. Opening with the high tempo, horn infused and bass driven title track “Souled Out!” Walker and LFC give us that signature big choir track that we have all come to know and love from the group. Next they move to “Keep Moving On” where the finger snapping groove usher this track to an easy sing along state. Produced by the incomparable Donald Lawrence, Souled Out offers the trademark Lawrence qualities of good ensemble music that features heart capturing lyrics. Another song of notice is the Ricardo Sanchez “Moving Forward” which speaks of leaving the past behind and moving forward in Christ. Lastly the strong ballad “God Favored Me” ends with the power vocals of Marvin Sapp and the crystal tenor of DJ Rogers and drives home the point that in spite of our problems we have the Favor of God upon us. Listen to Hezekiah Walker’s cd at www.myspace.com/hezekiahwalkerlfc"

My favorite review by Gerard Bonner of GospelFlava.com can be found at:

http://www.gospelflava.com/reviews/hezekiahwalkersouledout.html

"Since 1985, the gospel choir scene has had an indelible imprint on it with roots tracing back to Brooklyn, New York. During that time, a young man named Hezekiah Walker made serious moves with his Love Fellowship Crusade Choir to infuse fiery East Coast grooves into choir music... Once again, Walker and LFC deliver another gem of a project. Showing comfort in both the familiar and new areas, Walker and LFC remain leaders within this genre and cement that with this effort. Souled Out is destined to be another sell out at local stores. It's another definitive add to your musical collection."

Souled Out

I Guess That's Why They Call It The Blues by Elton John

LadyDpiano-lessons@yahoo.com (LadyD) — Wed, 02 Sep 2009 19:27:00 +0000

Image by Getty Images via Daylife

By far, this is a great piano tutorial I found for playing Elton John's I Guess That's Why They call It The Blues.

* Chord Chart

http://www.eltonchords.com/chord_librart/iguess.txt

I Guess That's Why They Call It The Blues
by: Elton John, Bernie Taupin and Davey Johnstone

intro: C - Em - F

G
Don't wish it away
Em F C-F-C-F-C-F
Don't look at it like it's forever
C G
Between you and me
Bm F C-F-C-F-C-F
I could honestly say that things can only get better
C G B7 Em G/D C
And while I'm away bust out the demons inside
C G
And it won't be long before you and me run
Am F C G/B G7
To the place in our hearts where we hide

Chorus :
C G F
And I guess that's why they call it the blues
C G F
Time on my hands could be time spent with you
C G
Laughing like children
Am
Living like lovers
C F D/F#
Rolling like thunder, under the covers
F G
And I guess that's why they call it the blues

2nd verse:
G
Just stare into space
Em F C-F-C-F-C-F
Picture my face in your hands
C G
Live for each second
Bm F C-F-C-F-C-F
Without hesitation, never forget I'm your man
C G B7 Em G/D
Wait on me girl, cry in the night if it helps
C G
But more than ever I simply love you
Am F C G/B G7
More than I love life itself

Song Facts:
Elton's lyricist Bernie Taupin wrote this as a love letter to his wife at the time Toni Russo, who is the sister of the actress Rene Russo. In the album credits, Bernie wrote, "Hey Toni, this one's for you." (thanks, Jim - Dunedin, FL)

Stevie Wonder played harmonica on this track.

This song was the comeback collaboration between Elton John and his longtime songwriting partner Bernie Taupin, after a few years' break.

http://www.songfacts.com/detail.php?id=1420

* Free Sheet Music- I Guess That's Why They Call It The Blues

http://pianotte.szm.com/I.htm

* One of the best piano playing videos of the song:

* More of Elton John music:

ELTON JOHN - CANDLE IN THE WIND
ELTON JOHN - CROCODILE ROCK
ELTON JOHN - DANIEL

ELTON JOHN - DON'T LET THE SUN GO DOWN ON ME
ELTON JOHN - FUNERAL FOR A FRIEND
ELTON JOHN - I GUESS THAT`S WHY THEY CALL IT BLUES
ELTON JOHN - LEVON
ELTON JOHN - NIKITA
ELTON JOHN - ROCKET MAN
ELTON JOHN - SACRIFICE
ELTON JOHN - SOMETHING ABOUT THE WAY YOU LOOK TONIGHT
ELTON JOHN - SORRY SEEMS TO BE THE HARDEST WORD
ELTON JOHN - STAN
ELTON JOHN - TAKE ME TO THE PILOT
ELTON JOHN - THE LAST SONG
ELTON JOHN - TINY DANCER
ELTON JOHN - YOUR SONG

http://my-piano.blogspot.com

Have fun with the song, pretty easy to play. I love to hear the intro melody playing in thirds with the right hand. And there are some great walk downs & walk ups for the left hand.

~ LadyD

How To Play a Blues Scale

LadyDpiano-lessons@yahoo.com (LadyD) — Sat, 05 Sep 2009 12:21:00 +0000

Image via Wikipedia

Surfing around the web this week, I was thinking a lot about blues scales and I found an interesting article that talked about how to play a blues scale on the piano. It was rather informative and made me realize that blues scales are important. I've pasted this article below for you to check out yourself. It's a great way to begin moving your right hand with blues scales and playing chords with the left hand.

How to play a blues scale on the piano
By SuzDoyleMusic

http://www.ehow.com/how_4455659_play-blues-scale-piano.html

* PLAY THE REGULAR C Major SCALE.
On the keyboard, play notes 1 through 8, also called the letter names C, D, E, F, G, A, B and C.

* NOW PLAY THE NOTES OF THE C BLUES SCALES
Instead of C scale notes (1,2,3,4,5,6,7, and 8), play notes number 1, b3, 4, #4, 5, b7 and 8 (note names C, Eb, F, F#, G, Bb and C). Use your Thumb on the white notes and the pointer or middle finger on the black notes.

For additional information on the C,D and A Blues Scale visit:

http://ladydpiano.blogspot.com/2008/07/learn-blues-piano.html

* BONUS
Can you figure out the riffs to Smoke on the Water, Iron Man, and Indagadadavida? They all use notes of the C Blues scale (hint: They start on the C note)

* PLAY THE BLUES - C CHORD
Press and hold the C chord with your left hand, and play the C Blues scale with your right hand

* PLAY THE BLUES - F CHORD
Play the F chord in your left hand, and play the C blues scale with your right hand.

* PLAY THE BLUES - G CHORD
Play the G chord in your left hand, and play the C Blues scale with your right hand.

Tips & Warnings

The C blues scale (based on the 1 chord of the scale), also works well with the 4 chord (F), and the 5 chord (G).

Most blues songs are made out of just 3 chords (the 1, 4 and 5 chords). You can improvise and make up melodies using the blues scale built on the 1 chord, which goes nicely with all 3 chords used in the song.

Learn How To Play The Piano>

* Just for fun listen to this 2 min. video
A great old number that always seems to go down well!

Old Piano Roll Blues!

Cheers,
~ LadyD

Learn How To Play Gospel Music

LadyDpiano-lessons@yahoo.com (LadyD) — Thu, 17 Sep 2009 12:30:00 +0000

Learn how to play gospel piano, gospel piano lessons!

Learn Gospel Songs By Ear

Learn how to play gospel piano by ear. For free gospel piano lessons visit our gospel piano site. There are lots of gospel piano courses from beginner to advance.

Musicians, check out gospel piano lessons at:

http://www.icanplaygospel.com

Ascending bass run (1-5):

Ab C Db D Eb F Gb G Ab

Descending bass run (1-5):

Ab Gb F E Eb F Gb G Ab

So, a good break down on l.h. bass walk downs can be found by the best teacher of Gospel music, Jermaine Griggs at his blog on "How to Play Uptempo Shouting Music By Ear!"

http://www.hearandplay.com/main/how-to-play-uptempo-shouting-music-by-ear

Ascending bass run (1-4):

Ab Bb B C Db F Gb G Ab

Descending bass run (1-4):

Ab Gb Eb D Db F Gb G Ab

Play Shouting Music Today!

So, what are bass runs?

"In popular music, a walking bass is a style of bass accompaniment or line, common in jazz, which creates a feeling of regular quarter note movement, akin to the regular alteration of feet while walking.

Thus walking basslines generally consisting of unsyncopated notes of equal value, usually quarter notes (known in jazz as a "four feel"). Walking basslines use a mixture of scale tones, arpeggios,chromatic runs, and passing tones to outline the chord progression of a song or tune, often with a melodic shape that alternately rises and falls in pitch over several bars.

Walking basslines are usually performed on the double bass or the electric bass, but they can also be performed using the low register of a piano, Hammond organ, or other instruments. While walking bass lines are most commonly associated with jazz and blues, they are also used in rock, rockabilly, ska, R&B, gospel, latin, country, and many other genres."

http://en.wikipedia.org/wiki/Walking_bass

Another article I found regarding playing shout music can be found at:

http://www.strugglingchurchmusician.us/shouting-music

And another great resource you will want to sign up for free newsletters:

http://www.learngospelmusic.com/articles/view.php?1gmid=4

Now let's say you want to slow things down a bit. I found this cool technique online from Matthew Stephens newsletter:

http://thepianobyear.com

* Hand Technique

The tenth chord is an excellent technique you can use on your left hand. The 10th chord is basically following this:

Every major chord is made up of these three numbers 1-3-5 of the scale played simultaneously. Basically, the 10th chord is made up of these three numbers inverted and played either simultaneously or in a "roll" form.

1-5-3 (the 3 actually becomes the 10)

For example:

C D E F G A B C D E F G A B C
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1
1 2 3 4 7 6 7 8 9 10 11 12 13 14 15

That means that on the left hand you would play C-G-E. Now this may be rather hard for some of you. In fact, when I started playing the 10th chord I have to "roll" it until my fingers stretched out enough to play it as a chord. I have small hands...lol!

* How Do I Use The 10th Chord On Slow To Moderate Songs?

The most common way of using the 10th chord is to use the left hand on most "down" beats. It creates a wonderful full sound. Another common way to use the 10th chord is in a roll. This would mean the pianist would create the rhythm to the song playing the following numbers:

Moving up the keyboard: 1-5-3-5-1 (repeat)

Give your left hand a work out with Gospel piano bass runs!

All the best,
~ LadyD

How To Transpose, Modulate and Memorize Music

LadyDpiano-lessons@yahoo.com (LadyD) — Mon, 21 Sep 2009 12:31:00 +0000

Image by Getty Images via Daylife

Have you ever tried to memorize a song? Have you ever experienced the frustration of finding that no matter how many times you played the melody, it still eluded you? One of the best ways to memorize involves transposition, or "moving" a melody from one key to the other. When you transpose, even though the notes change, the distance between them (the intervals) remain the same. First, let's look at one of the easier transpositions- up a half step- and next we'll use this as an aid in memorizing.

There are different ways to transpose. Following is one of the simplest involving cooperation between the eye and ear. This is what I share with my piano students:

1. Select a melody and get to know it by playing it a few times.
2. Then, to transpose it up a half step, play the melody while visualizing sharps being added to all the notes. For example, C would become C#. If a note already has a sharp, make it double sharp. Don't forget to change the accidentals in the key signature, too.

Let's try this out on a song, "I've Got The Whole World on a String". Work slowly- one phrase at a time- while listening to what you're playing, letting your ear sometimes take the lead.

Example: single right hand melody notes

C, F, A, D, C, Eb, D, C, B, F, B, A, G... becomes

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

I found this great article called Transposition and Modulation: How To Transpose To a Different Key & Modulate Between Keys by Duane Shinn.

http://www.artiiclesauce.com/Article?Transposition-and-Modulation--How-To-Transpose-To-a-Different-Key---Modulate-Between_Keys/24805

"How do transposition and modulation relate? Are they the same? Let's take a look at both of them and see what makes them tick.

I am sure that you have had the experience sometime in your piano-playing life when someone asks you to play a song -- but in a different key than in which it is written. It might be a singer wanting you to lower the song a step so he/she doesn't screech. It might be a song leader wanting you to play a song in a more comfortable keys for a congregation or group. It might be a trumpet player looking over your shoulder and wanting to play along with you -- but when he/she plays the same note you are playing, it sure doesn't sound the same!

So....it's your job, as pianist, to get that song moved to a different key. That's transposition -- playing or writing a song in a different key than in which it was originally written.

Modulation is similar but different -- modulation means the process of getting from the old key to the new key. In other words, if I'm playing in the key of C, and then want to play in the key of Eb, I have to learn to modulate -- move smoothly from one key to another without being too abrupt and jarring."

Duane goes on to say that:

"There are basically 3 ways to transpose:

1. by intervals

2. by scale degrees

3. by solfege -- the moveable "do" system.

But since solfege applies mostly to singers, we will ignore that possibility and just take up the first two:

1. Intervals: If the new key is an interval of a minor 3rd above the old key, then all notes in the song will also be an interval of a minor 3rd higher. In other words, if you are transposing from the key of C to the key of Eb, which is a minor 3rd higher (or major 6th lower -- whichever way you want to look at it), then all melody notes will also be a minor 3rd higher:

"G" in the key of C would become "Bb" in the key of Eb. "E" in the key of C would become ":G" in the new key of Eb. "A" would become "C", "B" would become "D", and so on. All chords would also move a minor 3rd higher. The "C chord" would become the "Eb chord", the "F chord" would become the "Ab chord", and so on.

2. Scale degrees: Each key you play in has it's own scale degrees. In the key of C the scale degrees are: C=1, D=2, E=3, F=4, G=5, A=6, B=7, C=8. In the key of Eb, however, Eb=1, F=2, G=3, Ab=4, Bb=5, C=6, D=7, Eb=8. So if I want to transpose Silent Night, for example, from the key of C to the key of Eb, I need to notice what scale degrees I am using in the key of C, and then use those same scale degrees in the key of Eb. For example, Silent Night starts on the 5th degree of the scale, goes up to the 6th, back to the 5th, then down to the 3rd. In the key of C that is: G-A-G-E. But in the key of Eb it is Bb-C-Bb-G. Why? Because the scale degrees 5-6-5-3 are constant -- we just need to apply them in each key. What about chords? Same idea. If the chord progression on Silent Night is the I chord followed by the V chord, followed by the I chord, followed by the IV chord, etc. -- then in the key of C that means C-G-C-F-etc., but in the key of Eb it means Eb-Bb-Eb-Ab-etc.

Modulation means getting between keys, so let's say you are playing in the key of C, but you want to get to the key of Eb smoothly, without jarring the nerves of the listeners. There are lots of ways to do it, but the main point is that you have to get to the V7 chord of the new key. So from the key of C to the key of Eb, that means getting to Bb7. How do we do that smoothly? We look for chords with common notes. Since the V of the V of the new key would be Fm7, we have C as a common note. So we hold the C in the C chord, and move the rest of the C chord to Fm7, then Bb7, then Eb, and presto -- we are there!"

Transposition means to play a song in a different key. Over the years of having the experience to play with various worship teams, I've learned that tenor worship leaders usually select songs in their voice range that they're comfortable singing in. So we would play lots of songs in the Key of E or G. Remember that modulation is the process of getting from key to key. So, when playing some of Israel Houghton's songs, as a team we would modulate several times in just that one song. It produces a very effective, professional sound.

Thanks for taking the time to read this music theory lesson. Learn to play one song in all twelve keys... have fun learning!

~ LadyD

Finding Thirteenth Chords On The Keyboard

LadyDpiano-lessons@yahoo.com (LadyD) — Tue, 29 Sep 2009 13:38:00 +0000

Image via Wikipedia

Of all the common chords, thirteenths are the biggest - and the hardest to visualize on the keyboard. Any given type of thirteenth, for example, makes twelve different visual patterns of black and white keys, one for each root along the chromatic scale. Each pattern, of course, can be individually memorized. But such learning by rote is tedious. Here's an easier way to learn thirteenth chord patterns, a way that requires only the recognition of Major and minor thirds or the recognition of Major and minor triads.

* Major and Minor Third Recognition

White key Major thirds always enclose two black keys; white key minor thirds enclose only one. Example: Major 3rds F to A, C to E, G to B and Minor 3rds: B to D, A to C, E to G, D to F

Black key Major thirds always enclose another black key; black key minor thirds do not.
M 3rd: Gb to Bb and mi 3rd: Eb to Gb and Bb to Gb

Black and white key Major thirds always enclose two white keys; black and white key minor thirds enclose only one. M 3rds (white over black): Db to F, Ab to C, Eb to G, Bb to D. Then we have M 3rds (black over white): D to F#, A to D#, E to G#, B to D#

mi 3rds (black over white) F to Ab, C to Eb, G to Bb and (white over black) Gb to A, Db to E, Ab to B

* Thirteenth Chord Structures

Alternate letters along the musical alphabet specify chord components above the root. As the next example shows, thirteenth chords contain all seven:
1 3 5 7 9 11 13
C E G B D F A

Here's an easier way to learn thirteenth chord patterns. Just spot the Major and minor triads.

* The Model Thirteenth Chord Types

Among all the types of thirteenth chords, three predominate. The first type, the Major thirteenth (#11), alternates Major and minor thirds upward:
CM 13(11#) = C to E (M3), E to G (m3), G to B (M3), B to D (m3), D to F# (M3), F# to A (m3)

The second type, the minor thirteenth, alternates minor and Major thirds upward, just the reverse of the first, Cm13:
C to Eb (m3), Eb to G (M3), G to Bb (m3), Bb to D (M3), D to F (m3) and F to A (M3)

The third type, the Dominant thirteenth(#11), groups its inner thirds in orderly pairs. It encloses two successive minors then two successive Majors between its bottom Major and its top minor: Major, minor-minor, Major-Major, minor. C13 (11#):
C to e (M3), E to G (m3), G to BB (m3), Bb to D (M3), Gb to A (m3)

So the three types also look like stacked triads: Major-Major-Major, minor-minor-minor and Major-minor-Major. Altered notes produce additional types. and there's a way to find all the possible thirteenth chords types. Either position of the third (Major or minor) combines with any position of the fifth (Perfect, augmented, or diminished) to yield six types. Then, mixing in various positions of the seventh, ninth, eleventh, and thirteenth multiplies the number of possible types to more than two hundred! lol

I highly recommend the 300 page course book to you. Jermaine Griggs of HearandPlay.com
has a great theory instructional book for you that you will want to have and refer to it often.
Music Theory book

All the best,
~ LadyD

How To Play A Minor Third

LadyDpiano-lessons@yahoo.com (LadyD) — Mon, 12 Oct 2009 15:09:00 +0000

With the changing of the leaves, experiencing cooler nights in California and seeing Halloween decorations all about, my ears turn towards those minor sounds. From wikipedia you can learn a bit about minor thirds:

"A minor third is a musical interval of three semitones. It is the smaller of two commonly occurring musical intervals compounded of two steps of the diatonic scale. The prefix 'minor' identifies it as being the smaller of the two (by one semitone); its larger counterpart being a major third. The minor third is abbreviated as m3 and its inversion is the major sixth. The minor third may be derived from the harmonic series as the interval between the fifth and sixth harmonics, or from the 19th harmonic.

The minor scale is so named because of the presence of this interval between its tonic and mediant (1st and 3rd) scale degrees. Minor chords too, take their name from the presence of this interval built on the chord's root (provided that the interval of a perfect fifth from the root is also present or implied)... The minor third is classed as an imperfect consonance and is considered one of the most consonant intervals after the unison, octave, perfect fifth, and perfect fourth."

http://en.wikipedia.org/wiki/Minor_third

I wanted to share a piano exercise I found online. MrRon on YouTube provides a great Warm Up Exercise in 3rds Through the First 5 Notes of the Major and Minor Scale!

* Play Piano - Warm Ups in Major and Minor 3rds!

I love this piano exercise. Try it in all 12 keys!

Another valuable resource I found online is from Hear and Play Learning Center where Jermaine Griggs explains on his blog that minor thirds in songs contain 3 half steps.
You can visit their site at:

http://www.hearandplay.com/main/tag/minor-thirds

One more wonderful site for music lessons to share with you can be found at Zebra Keys.
How Does the Natural Minor Scale Apply to Songs?
"Some sad sounding songs are written using notes of the natural minor scale. When a song is written in the natural minor scale, most if not all of its melody notes as well as harmony chord notes come from that scale."
Here you will learn about the Natural Minor Scale:

http://www.zebrakeys.com/lessons/intermediate/musictheory/?id=32

If you're interested in Classical music, JS Bach comes to mind with Toccata and Fugue in D Minor. Perhaps you have seen many of Yoke Wong's piano teaching videos on YouTube. Here is one especially for this time of year:

http://www.yokewong.net/halloweenmusic.html

Do you like the blues? a friend on facebook, Gilbert DeBenedetti has a site for free sheet music. Have you heard of Big Bad Goblin Blues?

http://gmajormusictheory.org/Freebies/Holidays/Halloween.html

* Other related Topics:
How To Form Chords

http://ladydpiano.blogspot.com/2009_02_01_archive.html

Chord System

http://ladydpiano.blogspot.com/2008_08_01_archive.html

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Martha Munizzi: Forever You're My King

LadyDpiano-lessons@yahoo.com (LadyD) — Mon, 19 Oct 2009 10:38:00 +0000

Do you like the upbeat Martha Munizzi songs or the slow worshipful ones? No matter what you choose, one thing for sure that we can all agree upon is her great voice and awesome stage presence that defines her music ministry in spirit and in song!

Audible Faith says, "Martha Munizzi has been the best-selling independent artist in Christian music. With No Limits Martha is firmly established as a top level artist."
Listen to her Mp3 at:

http://www.audiblefaith.com/pages/cd200474

*Integrity Music
Martha Munizzi

Catch the energy and passion in one of the most anticipated album of 2006. Grammy and Dove Award nominated and Stellar Award winner Martha Munizzi is back with this incredible 2 CD set of electrifying new LIVE worship. Recorded Live At Bethany World Prayer Center In Baton Rouge, LA.

* Review by John Ausmus

What can I say about an album by Martha Munizzi? She has had two Top 5 Billboard Gospel albums and has been recognized by Grammy, Dove and Stellar with nominations from each organization. She has toured extensively, ministered in mega-churches, with mega-ministers, appeared on TV, and the list of accomplishments goes on and on. Martha has an incredible voice and an even more incredible passion to bring to her audience her heart for praising Jesus.

Martha's music on No Limits is alive with positive confession and exuberance, delivered to a live audience that eats up her every word. The feel of a live concert is captured well as she engages the crowd often with words that exhort and uplift.

The musicianship is also top notch. It's a big band, with no less than three keyboards in action. And the arrangements are inventive, not your typical I - IV - vi - V chord progressions. She often has the feel of a club singer, and that's not to disparage her, it's just that she is comfortable singing with a big band and backup singers, as well as alone with a piano playing jazz chords.

I'll confess that I don't attend a black gospel church, nor do I particularly call this style of music my own. A music reviewer's code of ethic is to critique music based on how he felt the artist did in communicating their message and passion. In that respect, I have to grade Munizzi's "No Limits Live" an A. Her passion is unquestioned. Her message is that we have a relationship with Jesus and He provides for us.

When you come across an album that offers different styles and perspectives for worship, I think it's important to be gracious. God's kingdom swells with so much diversity, as His people come to Him from so many different places. How one person worships, another may find dry. The truly important review comes from God Himself.

My church is just at the beginning of moving from the suburbs into the city. Reviewing this album has been a great teaching tool to me, because it reminds me that I may one day be sitting next to people for whom this style of worship is the expected norm. I must say that I am richer for it. You may be as well.

http://www.worshipmusic.com/38602.html?wm_source=sq_38602

* Forever You're My King Lyrics

Forever You're My King
by Martha Munizzi
Written by James Mitchell
Album: No Limits- Live
I love You forever
With all my heart
I love You forever
Forever You're my King
I'll serve You forever
With all my heart
I'll serve You forever
Forever You're my King
I'll praise you forever
With all my heart
I'll praise you forever
Forever You're my King
Forever You're my King
Forever You're my King

http://www.higherpraise.com/lyrics/anniversary/k/kim_burrell/kim_burrell-forever_youre_my_king.html

* Chords TO Forever You're My King by Martha Munizzi

C/E-G-C I
D/F-G-C LOVE
D/F-G-B YOU
E/G-C-E FOR-EV
F/F-A-D VER
G/E-G-C WITH
G/G-C-E ALL
G/C-D-G MY
G/B-D-G HEART
*BASS WALK UP(A,B,C)
C/E-G-C I
D/F-G-C LOVE
D/F-G-B YOU
E/G-C-E FOR-EV
F/F-A-D VER
G/E-G-C FOR-E
G/D-G-B VER
G/C-F-A YOU'RE
G/D-G-B MY
C/E-G-C KING
*KEY CHANGE TO Db*
Bb/Db-F#-Bb
C/ Eb-Ab-C
Db/F-Ab-Db MY
Eb/F#-Ab-Db SHEL
Eb/F#-Ab-C TER
F,F#/ Ab-Db-F FOR,EV
F#/F#-Bb-Db VER
Ab/F-Ab-Db IN
Ab/Ab-Db-F TIME
Ab/Db-F-Ab OF
Ab/C-Eb-Ab STORMS
*BASS WALK UP(Bb,C,Db)*
Db/F-Ab-Db MY
Eb/F#-Ab-Db SHEL
Eb/F#-Ab-C TER
F,F#/Ab-Db-F FOR,EV
F#/F#-Bb-Db VER
Ab/F-Ab-Db FOR-E
Ab/Eb-Ab-C VER
Ab/ Db-F#-Bb YOU'RE
Ab/Eb-Ab-C MY
Db/F-Ab-Db KING

KEY CHANGE TO Eb(SKIP D)
C/Eb-Ab-C
D/F-Bb-D
Eb/G-Bb-Eb YOUR
F/Ab-Bb-Eb MER
F/Ab-Bb-D CY
G/Bb-Eb-G FOR-E
Ab/Ab-C-F VER
Bb/G-Bb-Eb SHALL
Bb/Bb-Eb-G FOL
Bb/Eb-G-Bb LOW
Bb/D-F-Bb ME
Bb/F-Bb-D EEEEEEE
Eb/G-Bb-Eb YOUR
F/Ab-Bb-Eb MER
F/Ab-Bb-D CY
G/G-Bb-Eb FOR
Ab/Ab-C-F E
Bb/Bb-Eb-G E
Bb/Ab-C-F VER
Bb/ G-Bb-Eb FOR-E
Bb/F-Bb-D VER
Bb/Eb-Ab-C YOU'RE
Bb/F-Bb-D MY
Eb/G-Bb-Eb KING

THEN YOU HAVE(IN SAME KEY AS Eb):
ALL THE GLORY AND THE HONOR
BELONGS TO YOU
ALL THE GLORY AND THE HONOR
THEN:

Bb/G-Bb-Eb FOR-E
Bb/F-Bb-D VER
Bb/Eb-Ab-C YOU'RE
Bb/F-Bb-D MY
C/G-C-Eb KING
REPEAT TWICE THEN:
Eb/G-Bb-Eb HOLY
C/Bb-Eb-G HOLY
Bb/D-F-Bb HO-
Bb/Eb-G-Bb LY
Ab/Eb-Ab-C LORD GOD AL-
Bb/Eb-G-Bb MIGH
Bb/Bb-Eb-G TY
C/G-C-Eb GOD
Eb/G-Bb-Eb IN
Ab/Eb-Ab-C THREE PER
C/C-E-G SONS
F/C-F-Ab BLES-
F/Ab-C-F SED
Bb/Bb-D-F TRI-
Eb/G-Bb-Eb NITY

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Sounds of the '50s

LadyDpiano-lessons@yahoo.com (LadyD) — Wed, 21 Oct 2009 12:23:00 +0000

Image via Wikipedia

Are you familiar with the sounds of the '50s? Have you heard the Doo-wop-Doo-wop style?
Early rock and roll piano styles are easy and fun to play. Music of th 1950s simplified the more complicated rhythms of 1940s blues and boogie-woogie, and made them more accessible.

To get you started on playing in this style, I've combined an introduction (which can be repeated as a vamp) with an 8-bar section. The chords of the intro are built on the first (I), sixth (vi), fourth (IV) and fifth (V) degrees of the C Major Scale. Many songs of the '50s such as "Silhouettes on the Shade" and "The Book of Love" use just these chords in the same I-vi-IV-V-I progression. The next section is based on an 8-bar blues and uses only three chords- I, IV, and V. "Blueberry Hill", popularized by "Fats" Domino, is an example of this type of tune.

Notice how smoothly the chords change. This is accomplished by keeping the "common tone" of C in the pinky of the right hand whenever possible. Also notice that the real "action" is in the bass line which should be brought out in your performance. In the 8-bar section, the left hand arpeggiates the chords of the right hand. After you can play it in C, work it out in other keys such as Bb, F and G major.

Bar 1: C/E G C, B/E G C, A/E A C, G/E A C (r.h. chords, C then Am)

Bar 2: F/F A C, D/F A C, E/F A C, F/F A C, G/F A C, G/F G B, A/ F G B, B/F G B (r.h. chords, F then Gsus4-7)

Bar 3: C/C E G, D/ F C, E/G C, F/ A C, E/G C, D/F C (r.h. chords C then F)

Bar 4: C C/E then play r.h. notes C then CB, CBb, GC, G#C (r.h. chords C then C7)

Bar 5: F/F A C, A/F A C, C/F A C, A/F A C, C/F A C (r.h. chord F)

Bar 6: F/F A C, A/F A C, C/F A C, A/F A C, C/F A C (r.h. chord F)

Bar 7: C/E G C, E/E G C, G/E G C, E/E G C, G/E G C (r.h. chord C)

Bar 8: C/E G C, E/E G C, G/E G C, E/E G C, G/E G C (r.h. chord C)

Bar 9: G/ F G B D, B/F G B D, D/F G B D, B/F G B D, D/F G B D (r.h. chord G7)

Bar 10: F/F A C, A/F A C, C/F A C, A/F A C, C/F A C (r.h. chord F)

Bar 11: C/E C, D/F C, E/G C, F/A C, E/G C, D/F C (r.h. chords C then F)

Bar 12: C C/E G C (r.h. chord C)

Hope you enjoy playing the doo-wop sounds of the '50s. Chord chart above played with 12/8 time signature so that you hear and feel those 12 eighth notes played in the r.h. per measure with your l.h. bass line. Feel free to add those bluesy devices to the right hand part.

All the best,
~ LadyD

Related Topics:

http://ladydpiano.blogspot.com/2008_09_01_archive.html

http://ladydpiano.blogspot.com/2008_08_01_archive.html

http://ladydpiano.blogspot.com/2008/08/esbjrn-svensson-trio.html

http://ladydpiano.blogspot.com/2007/10/jazz-101-blast-off.html

More info:

The Fifties

I VI II V7

/ / / / / / / /

[Key of C: C A- D- G7 ] / = One beat

http://web.mac.com/ashby_stokes/iWeb/Ashby%20Stokes/Instructional_files/Table%20B%20Chords.htm

Try moving this chord progression to another key. It should sound like a typical 50’s song in any key. For more common cord progressions, see:

* General Chord and Scale Study: 12 bar blues

http://www.medallions.com/ashbystokes/GeneralMusicInfo.htm

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No Weapon- Fred Hammond

LadyDpiano-lessons@yahoo.com (LadyD) — Sat, 24 Oct 2009 13:12:00 +0000

I love the song No Weapon by Fred Hammond. I can listen to it over and over... same for you? Fred Hammond's No Weapon Formed Against Thee Shall Prosper is based on the scripture Isaiah 54:17. The song is in the Key of Ab. I wanted to share the piano chords with you along with this great piano tutorial by hns music on YouTube. You will learn so much from this great teaching video and you probably will find yourself wanting to emulate his playing style, very smooth and a pleasure to hear.
Listen for the tritones, so professional!

* No Weapon

* No Weapon Lyrics and MP3

(Chorus)
No weapon formed against me shall prosper, it won’t work
No weapon formed against me shall prosper, it won’t work

God will do what He say He would do
He will stand by His word
And He will come through
God will do what He say He would do
He will stand by His word
And He will come through

God will do what He said He would do
He’s not a man that He should lie
He will come through
God will do what He said He would do
He will stand by His word
He will come through

(Bridge)
Oh I won’t be afraid of the arrows by day
From the hand of the enemy
I can stand my ground with the Lord on my side
For the snares they have set will not succeed

(Repeat Chorus)

Don’t be afraid
Of the arrows or the snares
Set by your enemies
If you believe it say, ooo, Ooo

There just ain’t one,
There just ain’t one weapon, no
There just ain’t one
There just ain’t one weapon, no

http://www.actionext.com/names_f/fred_hammond_lyrics/no_weapon.html

* No Weapon Chord Chart

No Weapon-Chords
By: King David, M.U.S.I.C

No Weapon-Fred Hammond Key:Ab

Eb/Eb-Ab-Bb-Eb.............No-o-o
Ab/Eb-Ab-C...............weapon
G/Eb-G-Bb...............formed a-
F/Eb-Ab-C..................gainst me
Eb/Eb-G-Bb..................(filler) shall
Db-F-Ab/C-F-Ab................prosper
C-C-Eb-Ab....................no
B/F-Ab-Db.....................it
C/Eb-Ab-C.....................won't
Db/F-Ab-Db.............work
Eb/Eb-G-Bb................(filler)
F/Db-F-Ab...................(filler)
G/Eb-G-Bb.....................No
Ab/Eb-Ab-C...................weapon
C-G-Bb/E-Ab-Bb-Eb..................formed a-
F-C-Eb/Eb-Ab-C......................gainst me
Eb-Ab-C/F-A-C..................(filler) shall
Db-F-Ab/C-F-Ab.....................prosper
C/C-Eb-Ab...................no
Bb/Db-F-Ab.....................it won't
Eb/Db-Eb-G-Bb...................work

Ab/Eb-Ab-C....................God will
C-G-Bb/E-Ab-Bb-Eb................do, what He
F-C-Eb/F-Ab-C.................said He will
Eb-Ab-C/F-A-C................do. He will
Db-F-Ab/C-F-Ab...............stand by His
C/Bb-Eb-Ab..................word
Bb/F-Ab-Db......................He
C/Eb-Ab-C.......................will
Db/F-Ab-C................come
Eb/Eb-G-Bb.......................through
*repeat above chords. When you get to through the 2nd time. Go to :For I
Eb/Db-Gb-Bb................won't be afraid of the
F/C-F-A.................arrows by
F/C-F-A.....................day
G/Eb-G-Bb.....................from
A/C-F-A.........................the
Bb-F-Ab/Db-F-Bb..................hand of my
Ab/Eb-Ab-C..........................ene-
Gb/Db-Gb-Bb.....................my. I can
Eb/Db-Gb-Bb...............stand my ground with the
F/C-F-A................Lord on my side
G/Eb-G-Bb...................(filler)
A/C-F-A......................(filler) For the
B-F-Ab/Db-F-Bb................snares they have set will
Eb/Eb-G-Bb....................not succeed
*Go to :No weapon. The modulation come on- God will do. Raise everything 1/2
step to A natural.
*Play the chorus chords for: There just ain't one. There just ain't one weapon
,no(vamp)

I hope that this blesses you.

http://www.earnestandroline.com/Music/Chords/noweapon.html

* Related Video Tutorials of different playing styles on No Weapon:

http://www.youtube.com/watch?v=L752tr-QE3w

http://www.youtube.com/watch?v=wWJkHQchVPA

http://www.youtube.com/watch?v=SyN3hJ--e_s

Christian sheet music - piano, vocal, karaoke, and more at Sheet Music Plus.

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Mastering Stride Piano

LadyDpiano-lessons@yahoo.com (LadyD) — Tue, 27 Oct 2009 20:11:00 +0000

Image via Wikipedia

The swinging, stride sound of early jazz pianists like Fats Waller and James P.Johnson is undergoing a new found popularity. Suddenly, everyone wants to play and hear this bouncy style again. So here are some exercises to help you get in the stride groove. Remember, when playing stride you should not be thinking about lightning-fast tricks or an amazing left hand, but rather a steady left hand and an all-around relaxed feeling.

Exercise #1 (play 2 x's)

Bb/Bb D F

G/G Bb D F

C/ G Bb C Eb

F/ F A C Eb

Exercise #2

D/D F# A C

E/D F# A C

F/D F# A C

F#/D F# A C

G/D F G B

A/D F G B

A#/D F G B

B/D F G B

C/C E G Bb

D/C E G Bb

D#/C E G Bb

E/C E G Bb

F F/ l.h. octaves

F, Eb, D,C/ l.h. single notes

Exercise #3

C/G A C E

C#/G Bb C# E

D/ G B D F

G/G B D# F (repeat)

C/ C E

Bb/Bb C E

A/A C F

Ab/Gb Ab C Eb

G/G C E

G/G B E

C,B,A,G/ l.h octave single notes (repeat)

Puttin' On the Ritz - Solo Stride Piano

Chris Dawson plays this great rendition from the title song of the 1930 film. Clear crisp lines! Everything between the melody bookends is improvised. None of this was arranged beforehand. Chris is a consumate improviser.

* Related Topic:

http://ladydpiano.blogspot.com/2009_03_01_archive.html

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Piano Lesson: Improvising Melody

LadyDpiano-lessons@yahoo.com (LadyD) — Sat, 31 Oct 2009 12:02:00 +0000

Image by liquidsunshine49 via Flickr

Introducing the Pentatonic Scale

The Pentatonic scale is probably the most widely used scale in the world. It can be found in all kinds of music, particularly popular and folk music, from countries as far apart as China and Peru. The Pentatonic scale is formed of notes 1 2 3 5 and 6 of the major scale. Starting on C this produces C D E G A - a five note scale, hence the name penta-tonic. If you know your scales that makes finding another pentatonic scale easy - it's just a major scale with two notes missing - notes 4 and 7!

For more information on pentatonic scales,visit:

http://en.wikipedia.org/wiki/Pentatonic_Scale

You can Google Pentatonic Scales and Improvising Melody for free articles on line. I have received many letters from students asking me for tips on runs and riffs for the right hand. My response has always been do you know your scales? Let's start with the Pentatonic Scale. For the beginner, you might want to take a look at this short tutorial that I found to be very helpful and informative. Plus, DeepWaterMusic offers a background tape that you can jam along with here on their video. Enjoy improvising with the Pentatonic Scale and let me know how you do with your practice session. Just 5 mins. of your time is well worth the investment of piano practice... your on your way to improvising!

Piano Lesson: Improvising Melody

DeepWaterMusic.net. Free Worship Piano Lesson from the publisher of "Pop Piano For Worship: The 30-Day Crash Course". As Seen In WORSHIP LEADER MAGAZINE!

Best,
LadyD

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Learn Improvisation Concepts: Repeating Riffs

LadyDpiano-lessons@yahoo.com (LadyD) — Fri, 06 Nov 2009 11:55:00 +0000

Image via Wikipedia

Sometimes the best lessons are the simplest. Too much theory and too many technical terms can kill the best of intentions and enthusiasm for improvisation. Students are quickly engaged in playing chord changes by rote using the basic 12-bar blues progression:
I, I, I, I, IV, IV, I, I, V, IV, I, I

With simple repeating rhythms and melodic intervals, students flow through the basics of blues improvisation.

Example 1: Simple Blues Riffs

C7/ C, C ( 4 x's)
F7/ F, F ( 2 x's)
C7/ C, C ( 2 x's)
G7/ G, G
F7/ F, F
C7/ C, C ( 2 x's)

Roots... 1, flat 7, 1... 1, flat7 1, b3

Example 2: Blues Riff Transposed

By getting the students to sing the riffs, they can overcome their instrumental shyness and start to hear the changes. They become better oriented and don't get lost while they're mentally and aurally manipulating the root, flat third and flat 7th of three chords with a series of simple rhythms.Now they're improvising. Once that can be done smoothly, we expand the riffs to include:

First time comping
Example with Blues Riff Transposed

C7/ C,C, Bb, C,C, Eb - 4 x's (play r.h. single notes while holding C7 chord w/ l.h.)

F7/ F, F, Eb, F, F, Ab - 2 x's

C7/ C, C, Bb, C, C, Eb - 2 x's

G7/ G, G, F, G, G, Bb

F7/ F, F, Eb, F, F, Ab

C7/ C, C, Bb, C, C, Eb - 2 x's

Example 3: More Complex Blues Riffs

1, flat 7, 5, flat 7, 1... 1, 3, 5, 3... 1, 3, 5, 8, flat 7

* C7/ C, C, Bb, C
F7/ F, F, Eb, F
G7/ G, G, F, G

* C7/ C, C, Bb, C, C, Eb
F7/ F, F, Eb, F, F, Ab
G7/ G, G, F, G, G, Bb

* C7/ C, C, Bb, G, Bb, C
F7/ F, F, Eb, c, Eb, F
G7/ G, G, F, D, F, G

* C7/ C, C, E, G
F7/ F, F, A, C
G7/ G, G, B, D

* C7/ C, E, G, C, Bb
F7/ F, A, C, F, Eb
G7/ G, B, D, G, F

Teaching improv concepts and using a rhythm section are really two different tasks that need to be done simultaneously. Practice along with a play-along recording.

You might also enjoy reading Willie Myette's article on comping:

http://pianodiana.blogspot.com/2009/11/how-to-comp-chords-comping-chords-on.html

All the best,
~ LadyD

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How To Play Unbreakable by Alicia Keys

LadyDpiano-lessons@yahoo.com (LadyD) — Sun, 08 Nov 2009 13:24:00 +0000

Alicia Keys via last.fm

I love the smooth sounds of Alicia Keys' Unbreakable! Here is a wonderful breakdown of the song by pianokid100... enjoy!

How To Play Unbreakable - Alicia keys - Piano Lesson

Video Transcription

www.myspace.com Making the band for Alicia Keys - Unbreakable Alright, this is another free piano lesson video, this time I am going to be doing Unbreakable by Alicia Keys. It was requested. And it is pretty simple actually, it only has four chords. And I am going to start by first playing the way it should sound by the time you are done learning this video. [Demonstration] Let us start with the bass line. The bass line keys are going to go C#, F#, B, and A flat, and then just repeat C#, F#, B, A flat. The right hand chord, for the first chord for the C# key is going to be B, E flat, E, and A flat with your right hand. And you play the C# bass. And then we move to the second chord, we move the bass to the F#. You are just going to move your thumb down to B flat. So you are going to be playing a B flat, E flat, E, and A flat. So similar looking chord except you move down to the B flat from here to here. You move the bass from C# to F#. Then we play the B bass, you are going to be Am7 with your right hand if you do not know what that looks like. It is basically an A, C#, E, and A flat. And the last chord, you are going to be play an A flat, B, C. and on your right hand, you are going to be playing A, C, E, and F#. [Demonstration] And those are the chords now there is a little part when you go. [Demonstration] That is basically A flat, A, and B flat. You are going to play where you have an A flat up here, A, A, and you are going B flat. And the last two chords

INTRO:

(just bass notes)
G# A A# B

VERSE/CHORUS (the chords never change from here on out)

Amaj7/B Adim/G# C#7 F#7
--------------------------------

And that's it.

NOTES
For that C#7 chord (on the piano) I always use
the 3rd inversion which would be (from bottom note to top)

G#
B
C#
E

http://www.e-chords.com/guitartab.asp?idmusica=115715&keyb=true

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Soloing Techniques

LadyDpiano-lessons@yahoo.com (LadyD) — Wed, 11 Nov 2009 20:53:00 +0000

Another one of my favorite keyboard players is Jamal Hartwell. Listen to his instruction on soloing. You will learn lots just by watching this clip. Jamal covers the G Blues Scale... G, Bb, C, Db, D, F, G (sometimes A) I've added a bit more here:

"The first key we're going to start with is the key of G and you're going to do a G blues. So we are going to start right on G and play our G seven scale. The blues is compressed with all seven scales so all the scales we're going to learn is our seven scales. We start on G two, three, four, five, six, seven, one. Notice all the way notes very easy and we're just going to go for a bass line. One, three, five, seven, right, one, two, three, four, five, six, seven, that way we can know what notes we're actually playing when I say one, three, five, seven. Also when we go to the four chord we are playing the forth scale so our C is our four chord and our five chord will be our D. So there is your scale, we are also going to learn the blue scale out of G which is (playing). So you have G and B flat C D flat D and then the F at the top (playing). That's blues works over all of our three chords and all of our three minor chords as well, it's a pretty universal chord that we are going to use throughout the whole piece. We are going to start by playing a one, three, five, seven and G and doing a little blues with my right. (playing) That's your G blues one chord, G."

http://www.ehow.com/video_4393461_playing-1st-chord-g-major.html

* Song: 107 degrees in the shade by Alex Bugnon

Swiss-born keyboardist and composer Alex Bugnon has played in New York and Europe.

“After exploring all of the sophisticated and progressive funk that helped me find my sound, I knew I needed to get back to a sound that was more laid back and straight to the point, where the songs, rather than fancy
production, are the focus,” he says. “With the success of artists like Norah Jones and Alicia Keys, it’s clear to me that, like myself, people are tired of the overproduced, heavy machine-oriented music that excited them in the past. These are complicated times we live in, and it’s inspiring to see a trend towards making life simpler and focusing on the more important things.”

http://www.alexbugnon.com

* Preview Song 107 Degrees in the Shade

http://www.amazon.com/exec/obidos/ASIN/B)))))27ST/ladydpicom-20 />
* Reviews on Amazon:

"Alex Bugnon exhibits a high level of creativity and playfulness throughout this work, plenty of suggestive and smooth pieces, but signed with a very personal style. 107 in the shade, for instance, initiates with an exotic melody played in accordion. His French roots are shown in the first two tracks. Elegance and brightness would be the most appropriate terms to describe this notorious CD.

So if you additionally consider there is not minor track, the recommendation is almost an invitation to acquire this interesting album plenty of joyful inspiration and creative rapture.

This is really my first incursion around this young talent, but keeping in mind the rest of good positive reviews, we are in front of another brilliant finding."

"this is sunday morning,read the paper in bed, snuggle up and just plain mellow out! Best of a great artist".

* From a Gm9--> Am9--> D7b5#9

Piano Lessons - Soloing Techniques and Freestyle - LearnGospelByEar.com

Urban and Contemporary Worship Play by Ear is the quickest way to learn any song by ear. After learning how to play by ear with no one to show me, it forced me to develop an easy and quick process and procedure to learning songs by ear quickly. Many of the musicians, when I was learning how to play, did not know theory nor were they able to explain the process to learning songs. After so many years of finally learning theory, I began to see a remarkable pattern to all songs and I am exposing these secrets to you. By learning these secrets, you will not only be able to create your own music without knowing how to read it, but you will be able to play any song you hear GUARANTEED! "It just cannot get any easier than this......" This is the ultimate DVD for beginners and for musicians looking to get back into playing.

http://LearnGospelByEar.com

Warmest Regards,
~ LadyD

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Go Tell It On The Mountain

LadyDpiano-lessons@yahoo.com (LadyD) — Thu, 19 Nov 2009 14:04:00 +0000

I may be a bit early and perhaps it's not politically correct to talk about one of my favorite Christmas holiday songs before Thanksgiving... but soon this Grandma will be busily gathering food and presents for her adorable Grandsons. So, why not start practicing those bass lines for up tempo shouting music now or a slow Gospel feel of Go Tell It On The Mountain.

I wanted to share one of my favorite artists with you. This lovely lady has the voice and feel for this special song. I am also truly blessed to look out my window every day and see this incredible view... enjoy!

* Go Tell It on the Mountain by CRYSTAL LEWIS

* (Chorus)
F BbM7/F F Dm
Go tell it on the mountain
Gm Bb/C C7 F BbM7/F F
Over the hills and everywhere
BbM7/F F Dm
Go tell it on the mountain
Dm7 G9 Gm7/C C F
That Jesus Christ is born

(Verse 1)
F C/E Dm7
Down in a lowly manger
Gm Bb/C C7 F
The humble Christ was born
Bb/F F C/E Dm7
And brought us God's salvation
G F/G G Fsus C7
That blessed Christmas morn

http://www.higherpraise.com/lyrics/awesome/awesome2874.html

* L.H. Bass Runs for Chorus in Key of F (single notes)

Ascending F A C D Eb Descending C G Ab

Ascending A B C C# D E F F#

Descending G F E D C Ascending D Eb E

Descending F Eb D C# C Bb A G

Ascending F A C D Eb Descending C G Ab

Ascending A B C C# D E F F#

Descending G F D Bb Ascending G A Bb B

Descending C Bb A G Ascending

* Go Tell It On The Mountain

G Cmaj7 G
Go tell it on the mountain
D7 G D
Over the hills and everywhere
G Cmaj7 G C
Go tell it on the mountain
Am G D7 G
That Jesus Christ is born

Verse:
G C G
When I was but a seeker, I sought both night and day
G A7 D D7
I asked the Lord to help me, and He showed me the way

http://www.higherpraise.com/lyrics/fabulous/1492.htm

*GO TELL IT ON THE MOUNTAIN
By John W Wrok, Jr. Public Domain

E B E
Go tell it on the mountain, over the hills and everywhere
C#m F#m B E
Go tell it on the mountain that Jesus Christ is born

E
While shepherds kept their watching
B E
O'er silent flocks that night
C#m
Behold throughout the heavens
F# B 7
There shone a holy light

http://www.higherpraise.com/lyrics/fabulous/353.htm

* Related Videos

Go Tell it On the Mountain (Extended Version) HearandPlay

http://www.youtube.com/watch?v=J0i-zqaRtNY

Harmonizing Chords to Melody of Go tell It HearandPlay

http://www.youtube.com/watch?v=LGtqySxTGJc

Learn to Play All your Favorite Christmas Songs by this Holiday Season!

Best Wishes,
~ LadyD

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Musician Transformation Collection

LadyDpiano-lessons@yahoo.com (LadyD) — Mon, 23 Nov 2009 22:33:00 +0000

My inbox has been flooded with tons of messages from Jermaine Griggs over at HearandPlay.com He has offered some great downloads for free that you will want to take advantage of. Jermaine is a great teacher who shows you how to play the piano by ear. It's taken me awhile to go through everything he has recently offered to the public. If you know me at all, I am very careful with what I endorse and recommend to others. Yes, it is true I am an affiliate member with hearandplay products, plus an affiliate member with Willie Myette and also Yoke Wong. So here's the list of Jermaine's new products and I believe ordering is taking place tomorrow.

* 44-pg Piano Guide

http://www.hearandplay.com/mtreport

http://www.hearandplay.com/mtreport.pdf

It's 44 pages and loaded with detailed, step-by-step
strategies that will TRANSFORM your playing.

If nothing else, view the "MUSICIAN TRANSFORMATION" formula
on the first page, which charts the exact recipe for
next-level growth and how to overcome some of the most
common pitfalls.

* 29-pg Piano Guide

http://www.hearandplay.com/mtreport

"MUSICIAN TRANSFORMATION - THE MISSING CHAPTER"
is available for download! (at no cost)

https://hearandplay.infusionsoft.com/link/2009e2920/19f0a0

* Full-size, high quality version of Musician
Transformation "Next Level" Troubleshooting Guide

http://www.hearandplay.com/mtchart.pdf

* Candid audio talk about how hearandplay.com got started and how the musician
transformation concept came to be:

https://hearandplay.infusionsoft.com/link/2b8de21e0/1cfde0

http://www.hearandplay.com/getaudio

* This program is 5 dvds, 7 cds...12 discs TOTAL and the most comprehensive
package of its kind. The packages will be released on Tuesday, Nov 26, 2009 at
exactly 6pm pacific (that's 9pm eastern) at this website:

http://www.hearandplay.com/mt.html

The first dvd, "Fundamental Factory" specializes in
teaching you everything you need to know to get started.

If you recall in the 44-pg report, this section covered note
names, major and minor scales, the number system, major-minor
relationships, the law of 12, and more. And not only pure
'fundamental' stuff, but how they fall into the WHOLE system
(the most important part).

In other words, if you have no experience, F.F. will take care
of you!

(Remember, this package is 5 dvds in 1. "Fundamental Factory"
is only ONE of the dvds. Once you master it, you'll be
comfortable enough to move on to "Chord County," "Pattern
Paradise," "Song Station," and "Ear Elevator." But you'll start

* 2 New Videos

http://www.hearandplay.com/morecoolstuff

One video is 30 minutes and taken directly from the 3rd
dvd ("Pattern Paradise") in the Musician Transformation
collection. It's really good.

The second video is a 14-minute lesson taken directly from
the Gospel Music Training Center, which you'll also have
access to on Tuesday while you wait for your Musician
Transformation package to arrive in the mail.

* 90-minute teleseminar
explaining each element of the M.T. formula

https://hearandplay.infusionsoft.com/opt?o=0&i=102898&e=322e83e7&m=71420

* VIDEO LESSON: The MISSING PIECE OF THE PUZZLE to playing almost any song out there

Jermaine Griggs, Founder of Hearandplay.com shares even more great information on how to play virtually any song pattern you want by understanding how scales and chords connect together. THIS INFORMATION CONNECTS EVERYTHING TOGETHER FOR YOU.

Order The Musician Transformation Collection tomorrow!

All the best,
~ LadyD

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Chord Chart: Say So by Israel Houghton

LadyDpiano-lessons@yahoo.com (LadyD) — Thu, 26 Nov 2009 00:06:00 +0000

Chord Chart | Say So (Israel Houghton)

VERSE

EM9 D
What does it mean to be saved? Is it more than just a prayer to pray?

A/C# D EM9
More than just a way to heaven?

EM9 D
What does it mean to be His? To be formed in His likeness

A
Know that we have a purpose

BRIDGE

C#m
To be salt and light in the world in the world

D
To be salt and light in the world in the world

CHORUS I

E
Let the redeemed of the Lord say so

Bm7
Let the redeemed of the Lord say so

A D E
Let the redeemed of the Lord say so, say so

CHORUS II

E
I am redeemed, I am redeemed

D
I am redeemed, I am redeemed

C#m D E
I am redeemed, I am redeemed, say so

* Alternate Chords:

I would play this intro: EM7 DM9 C#m7 DM9 E5 EM7

I would play DM9 for D

I would play A sus for A

I would play C#m7#5 over More Than

I would play E5 over Redeemed

Israel and New Breed with Hillsong - Say So

* Another Chord Chart:

VERSE 1
EM7 DM9
What does it mean to be saved? Isn't it more than just a prayer to pray,
C#m7#5 DM9 EM7
More than just a way to heaven?
EM7 DM9
What does it mean to be His, to be formed in His likeness,
Asus
Know that we have a purpose?

PRE-CHORUS
C#m7
To be salt and light in the world, in the world
DM9
To be salt and light in the world

CHORUS
E5 Bm7
Let the redeemed of the Lord say so, let the redeemed of the Lord say so
A5 D6 E5
Let the redeemed of the Lord say so, say so, say so (Repeat Chorus)

VERSE 2
EM7 DM9
Oh the church would arise, oh, that we would see with Jesus' eyes
C#m7#5 DM9 EM7
We could show the world heaven.
EM7 DM9
Show what it means to be His, to be formed in His likeness,
Asus
Show them they have a purpose.

PRE-CHORUS
C#m7
To be salt and light in the world, in the world
DM9
To be salt and light in the word.
F#m7
To be salt and light in the world, in the world
C#m7 DM9
To be salt and light in the world

BRIDGE
E5 EM7 E5 EM7 D6
I am redeemed, I am redeemed, I am redeemed, I am redeemed
C#m7#5 DM9 E5
I am redeemed, I am redeemed.

CHORUS 2
E5 Bm7
Let the redeemed of the Lord rise up, let the redeemed of the Lord rise up
A5 D6 E5
Let the redeemed of the Lord rise up, rise up, rise up

http://www.ultimate-guitar.com/tabs/i/israel_houghton/say_so_crd.htm

Say So - Israel Houghton - Piano Lesson - How To Play - Deeper Level

“I awoke this morning with devout thanksgiving for my friends, the old and the new."
~ Ralph Waldo Emerson

Happy Thanksgiving to all my readers!
Thank you for stopping by,

~ LadyD

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How To Play Slow Gospel Blues Piano

LadyDpiano-lessons@yahoo.com (LadyD) — Tue, 01 Dec 2009 13:48:00 +0000

Image by zen via Flickr

My friend dazza from the zone community at hear and play sure can play the blues! You will learn so much from dazza's piano tutorial on playing slow blues. I have posted a chord chart for his chord progressions. Those quick grace notes add such a cool sound!

learn this at:

http://www.learnasongseries.com, plus loads of free videos on how to play piano

* Chord Chart

Pick Up - (r.h. notes) Bb, B, D, E

G D/B G

B B/A B D G

C C/Bb, (Eb), E G, (Bb, B, D, E) (C9)

D D/F# C D (D7)

/ D Bb, C A

G D/(Bb) B G

E E/Gb D G (E7 add9)

A A/G C# (A7)

D D/F# C (D7)

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