Gospel Piano. Beginner - Lesson 1A. iv 4 V 5

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ospel Piano Beginner - Lesson 1A Martin ureasko The Naked Keyboardist EXAMPLE 1 REEW - The Scale Tone hords These triads (three-note chords) are built on each tone of the scale, using only those

As you ill see in Example 2, e are going to add something to this in this lesson and e're only scratching the surface.

1 ospel Piano Beginner - Lesson 1A Martin ureasko The Naked Keyboardist EXAMPLE 1 REEW - The Scale Tone hords These triads (three-note chords) are built on each tone of the scale, using only those notes found ithin the scale. Please keep in mind, this is foundational. cannot stress enough ho important it is to build upon this foundation. As you ill see in Example 2, e are going to add something to this in this lesson and e're only scratching the surface. n subsequent lessons, e ill be covering chromatic scale tone chords, hich is basically ust altering the chords e have no. But there are also 7th, 9th, 11th, and 1th chords and you ill also have options of making a chord maor, minor, diminished, or augmented. So you see, it's important not to rush by this phase. B m D # o # 1 2m i m iv 4 5 6m i 7 1 The harmony of gospel music (and ALL popular music for that matter, i.e. country, azz, rock, bluegrass...) is based on the diatonic maor scale. ant to sho you the frameork for this scale so that you can take any note and build the maor scale on it (even if you don't read music) and once you've built that scale, you can then build the scale tone chords. The formula for the scale is: W W h W W W h W - hole step (to half steps) h - half step (from one note to the next note ith no notes in beteen) Scale of. No sharps or flats. W W h W W W h Diatonic harmony moves in TWO directions: horizontal and vertical HORZONTAL ERTAL nakedkeyboardist.com

2 2 ospel Piano When you combine these to movements, you derive the scale-tone chords in the key of. (see Example 1 - essentially, you build the triads by selecting every other note)) o B i i The Scale Tone Seventh hords By extension, e can also create the scale tone seventh chords. (using the ) ma 7 ma 7 B m7(b 5) ma EXAMPLE 2 ma # TON i B m7 i ma D 7 DOMNANT 7 i # m7(b 5) i ma The - adence (also called perfect cadence, authentic cadence, closed cadence, or standard cadence. The The Harvard oncise Dictionary of Music and Musicians says, "This cadence is a microcosm of the tonal system, and is the most direct means of establishing a pitch as tonic. t is rtually obligatory as the final structural cadence of a tonal ork." t is very common to add the 7th to the chord (making it a dominant 7th) hen resolng to a chord. # # 7 Ne rooves: (and yes, as in the last lesson, 'm flatting the 7th degree of the scale) # # 4 4 n n.. b b n n n n n n J...

3 ospel Piano ant to address chord substitutions. Ho do you kno hich chord ill ork for another chord The easiest ay to think about it is to look for chords that have to common notes (hen orking ith triads; if you have chords of a 7th or more, you ant to look for to or more common notes) n the example belo, sho the most common chord substitution possibilites. ill use the key signature of. o B 4 4 i i Let's take a look at Jesus Paid t All. 'm merely making substitutions using the scale tone chords. The chord symbols are above the melody line. The left hand simply plays the root of the chord, unless it is a split chord, in hich case the right hand plays the "numerator" and the left hand plays the "denominator.) 4 Ó

4 4 ospel Piano Here are the scale tone chords in ALL 12 keys. B o i i Db b b b b b Eb m m b Bb m o Db i i D # # # m A B m # o D i i Eb b b b m m Bb m D o Eb i i E # # # # # m # m A B # m D # o E i i b m Bb E o i i

5 b b b b b b b m Bb m ospel Piano B Db Eb m o b 5 i i # B m D # o i i Bb m m Db Eb m o b b b b i i A B m # m D E # m # o A # # # i i Bb m Eb m A o Bb b b i i B # m D # m E # # m A # o B # # # # # i i

6 6 ospel Piano Here are the Scale Tone Seventh hords in ALL 12 keys. ma 7 ma 7 B m7(b 5) ma i i b b b b b Db ma Eb m7 m7 b ma 7 Bb m7 m7(b 5) Db ma i i # # a 7 # m7 ma A 7 B m7 # m7(b 5) a i i b b b Eb ma m7 m7 ma Bb 7 m7 (b 5) Eb ma i i # # # # a # m7 # m7 a B 7 # m7 D # m7(b 5) a i i b ma m7 Bb ma 7 7(b 5) ma i i

7 ospel Piano 7 b ma m7 Bb m7 B ma Db 7 Eb m7 m7(b 5) b ma b b b b b b i i ma B m7 ma D 7 7 # m7(b 5) ma # i i ma Bb m7 m7 Db ma Eb 7 m7 m7(b 5) ma b b b b i i a B m7 # m7 a E 7 # m7 # m7(b 5) a # # # i i Bb ma m7 Eb ma 7 m7 (b 5) Bb ma b b i i B ma # m7 D # m7 a # 7 # m7 A # m7(b 5) B ma # # # # # i i

8 NTRO 8 ospel Piano Jesus Paid t All Arrangement by Martin ureasko ± M7 Em7 4 4 ±.. Œ.. J. 2. g b 7 # b b (add 9). ±. g ± B + 7 # ± # ø # E 2 ##.. b 9 b 7 A 7(b 9).... b b 1 b b U b. ±. Œ g m(add 9)/ b J U U

Contents. Beginning Theory for Adults. Introduction Chapter One 5

Contents. Beginning Theory for Adults. Introduction Chapter One 5 2 Contents Introduction... 4 Chapter One 5 Lesson 1: What Is Music?... 5 Pitch... 5 Time... 5 Lesson 2: The Musical Alphabet and Reading Pitch (Treble)... 6 Notes... 6 The Musical Alphabet... 6 Lesson