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Aug 2, 2023 · Taking the same flexible approach to timing, we start with an SRV/John Mayer-type doublestop lick, before landing at a Wind Cries Mary-style F major chord. From here, we opt for a fragment of the shape 5 F major pentatonic (aka D minor pentatonic!) heading for the Gb diminished chord.
- Add 9 Chords
- Minor 9 Chords
- Diminished 7th Chords
- Half Diminished Chords
- Major 9 Chords
- 6/9 Chords
- Minor 11th Chords
- Dominant 7 Flat 9 Flat 13
- The Dominant 7 Sharp 5 Sharp 9
- Dominant 9 Sus 4
Take a major triadand add the second note of the chord. For example, in a C major chord, you’d add a D note somewhere in the voicing of the chord to make it a Cadd9. Gospel piano players like to tuck the add9 note between the root and third, to create a crunchier sound that sticks out. You can use add9 on any major chord in the diatonic scale—meani...
Minor 9 chords contain a minor seventh chordand add a major second from the root within the voicing of the chord. In the diatonic major chord scale, you’ll find minor chords on the second, third and sixth degrees—so you can very easily add some gospel vibes by changing those minor chords into minor 9 chords. Just be careful on the third degree, sin...
The diminished 7this a very symmetrical chord because it’s essentially three minor third intervals stacked on top of each other. This chord type is a bit unique because they’re really only three unique diminished chords that C, C# and D. Every other kind of diminished chord is just an inversion of those three. Because of that diminished chords crea...
The half-diminished chord is very similar to the diminished chord, except that the top note of the chord is a minor seven instead of a diminished seven. In jazz and gospel, this chord may also be called the minor 7 flat 5 chord. For some, it’s an easier way of understanding the chord, since the half-diminished chord is a minor 7 chord with a flatte...
The major 9 chord is a chord you’ll find in a lot of genres like lo-fi, R&B and neo-soul, so it’s no surprise that gospel music makes use of it too. Major 9 chords add a ninth extensionto a major 7th chord—adding even more smoothness and richness to the major 7th chord. Consider using it to add extra color to your voicings on the four and five chor...
In a 6/9 chord, you take a major chord and extend it by adding a sixth and ninth—it’s a great way to sweeten up your typical major triad. And when voiced well in the bass, it can be a great way to give your one chord some interesting qualities beyond the add nine sound. A 6/9 on the one is often used in gospel music when coming out of a 2-5-1 progr...
The minor 11th chord is another chord that gets used a lot in lo-fi, neo-soul and of course gospel music—this chord was a favorite of Miles Davis in Kind of Blue too! In theory, the minor 11th chord adds an 11th to the minor 9th chord, meaning you have the minor seventh chord with two extensions on top. In reality, this chord is often played omitti...
Okay, we’re getting into more complicated territory with this chord that fits into the altered chord category. Before diving into this one make sure you understand how dominant chordswork—specifically their use of the minor seventh interval forming a tritone with the major third. Dominant seventh chords with flat ninth and flat thirteenth extension...
The dominant seven sharp 5 sharp 9 chord is another altered chord that works well as a substitute for dominant chords. You may use it as a variant of the dominant seventh flat nine flat thirteen chord mentioned above—except with a sharp seventh and sharp ninth. In a 3-6-2-5-1 progression, it’ll sound great on the three or sixth chords, for example.
As I mentioned earlier, dominant chords work well on the four and five chords, especially in blues and gospel contexts. A great way to alter these dormant seventh chords, especially when going back to the one chord is by suspending the third to the fourth interval of the chord. Suspended chords are always beginning to resolve to the root chord, and...
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Mark lesson as complete. 12 Bar Blues in 12 Keys 19:34. 12 Bar Shuffle Picking Techniques 15:09. 12 Bar Chord Sequence Variations 15:03. 12 Bar Riff Ideas & Approach Chords 15:03. Dominant 7th Chord Grips 18:52. Blues Chord Extensions 17:08. Blues Gospel Slide Chords 11:00. Mini Blues 7th Chord Grips 14:52.
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Practice Tips. Play the progression slowly to achieve a smooth connection between the 3 chords in the 145 gospel blues progression. Use a metronome to lock into the shuffle pattern and the groove of the gospel blues. Pay attention to the suggested fingering to achieve proper technique and hand positioning when playing through the 145 changes.
