low-level passing chords that can be used to approach any chord

Welcome back

Today's post will introduce low-level passing chords that can be used to approach any chord.
Level: Beginner

Prerequisite: Major and minor triads and their inversions
We will use plain simple minor triads for our passing chords.
Intro:

Passing chords don't need to be extremely phat to sound lush. If in doubt, ask Cory Henry.
Minor triads sound best in their first inversions and major triads sound best in the 2nd inversions. This is just the sounds with no context in mind.

Let me tell you why. Chords are gotten when notes are stacked on top each other. If all the notes are heard at the same time, it is said to be harmonic. If the notes are heard one after another, it is said to be melodic.

Now, these notes have spaces between them which form intervals. Intervals have diverse levels of brightness or harshness. Major and perfect intervals have the brightest sounds. These bright sounds are said to be consonant, and the harsh ones are said to be dissonant.

So the arrangement of the notes in a chord [called chord voicing] goes a long way to affect how the overall sound will be heard.
Major triads in 2nd inversion have a stack of perfect 4th and major 3rd interval, unlike the root position that has a stack of major 3rd and minor 3rd.
Cmaj is CEG. C-E is a major 3rd and E-G is a minor 3rd.
GCE is Cmaj in 2nd inversion and G-C is a perfect 4th and C-E is a major 3rd. You can see why a P4+M3 sounds better than an M3+m3.
Our focus is the minor triad. In root position, Cmin is CEbG. C-Eb is a minor 3rd interval and Eb-G is a major 3rd interval. In the 1st inversion, Cmin becomes EbGC. Eb-G is a major 3rd interval and G-C is a perfect 4th interval. So you see why an M3+P4 sounds better than an m3+M3.
Method:

We will use minor triads a whole step above our target chord to approach it in descending semitones. So if we are to approach a Gmin chord, we will start from Amin because Amin has its root, A, a whole step above G, the root note of Gmin which is our target chord.
We will then have Amin > Abmin > Gmin.
Amin > Abmin will be our passing chords.
We voice it to have the root note on top because we know [ or at least think] it sounds better like that.
/CEA > /BEbAb > /BbDG would be what our RH will play. on the last chord which is our Gmin chord, we can play the root on the LH or any other combo of notes e.g. GDF or GDA.
This gives LH/RH:
/CEA > /BEbAb > GDF/BbDG [Gmin7] or GDA/BbDG [Gminadd9]
Quick usage:

Say we want to play a 4 chord in key Cmaj e.g. Fmaj6/9 [FACDG], we can approach it from a Gmin chord and approach the Gmin chord with the passing chord we have just learnt.
/CEA > /BEbAb > GDF/BbDG [Gmin7] > FCG/ADG [Fmaj6/9]

We will take this up a bit higher in the next post.

Humblekeyz

Hallelujah chorus complete sheet.

Welcome back

Hallelujah chorus composed by Gorge Frideric Handel (1685 -1759)

Complete sheets.. 12pages.

Click images to zoom...

PASSING/APPROACH CHORDS

Posted in a tutorial forum

Welcome back, 

This lesson is directed to the question folks ask about Passing and/or Approach Chords. It is to my fellow beginners and those at the borderline of beginner and intermediate levels [where I found myself for some time now].

Definitions:

In music, a passing chord is a non-diatonic chord that connects, or passes between, the notes of two diatonic chords. Any chord that moves between one diatonic chord and another one nearby diatonic chord may be loosely termed a passing chord. A diatonic passing chord may be inserted into a pre-existing progression that moves by a major or minor third in order to create more movement. 'In-between chords' that help you get from one chord to another are called passing chords.

A chromatic passing chord is, a chord that is not in the harmonized scale.

In music, an approach chord (also chromatic approach chord and dominant approach chord) is a chord one half-step higher or lower than the target chord. An approach chord may also be the chord immediately preceding the target chord such as the sub-dominant (BbMaj7) preceding the tonic (FMaj7) creating a strong cadence through the contrast of no more than two common tones - BbD(FA) – (FA)CE [common tones in brackets].

Approach chords may thus be a semitone or a fifth or fourth from their target chords.
Having explained all those, let's look at the very last sentence above: Approach chords may thus be a semitone or a fifth or fourth from their target chords. This is where we will build this lesson on.
In the Circle of Dominants [COD], which most know as the circle of 4ths/5ths, one can see that for example, an F has a Bb and C bordering it. C to F is a Perfect 4th interval [P4] and F to C is a Perfect 5th interval [P5]. From F to Bb is a P4 interval and Bb to F is a P5 interval.

A 4th interval above is called a sub-dominant while a 5th above is called a dominant. A P4 inverts to a P5 and vice versa.
Now, because both are dominants, you can move to any from another i.e. from F to C and from C to F i.e. in 4ths or 5ths [depending on which direction you count towards].

This is why you can use an approach/
passing chord that is a 4th interval away in any direction, to get to your target chord. For example, to get to an F chords, we can use a P4 interval above i.e. a Bb chord, or a P4 interval below i.e. a C chord.

So, when you use a chromatic chord to approach a target chord, you are either using the Leading Tone/Note idea or the Tritone substitution idea. Let me show you:

Let our target be an F chord, say Fmaj7 [FACE]. We have established that we can use say C7 or Bb7 to approach it, because Bb is a P4 above and C is a P4 below [or we say Bb is a P4 above and C is a P5 above].

Now, when we use an E chord or a Gb chord to approach the Fma7, we might be employing any of the 2 ideas pointed out above [leading tone or tritone substitution].

The Leading Tone/Note is the diatonic 7th note of the scale and is a min7b5 chords when harmonized with scale notes [only]. It is therefore a semitone below the tonic note.

If F were to be the tonic note, then E is the leading note and therefore, we can use Emin7b5 to approach the Fmaj7 chords:
LH/RH: E/EGBbD > F/FACE

The tritone sub idea is based on the fact that two dominant chords a tritone interval away share the same notes as their shells [3 and b7]. If we are to use an E chord to appraoch the Fmaj chord, we might think of it as the tritone sub of using a Bb chord [because Bb and E are tritone pairs]. So we can use any E dominant chord, altered or not, to approach the Fmaj7 chord. The popular one used is the 7#5#9 chord.

So, we can use the E7#5#9 chord to approach an Fmaj7 chord:
LH/RH: E/G#B#DFx [that's E+G#+B#+D+F double # and enharmonically equivalent to EG#CDG].
You can try E7b5b9 i.e. EG#BbDF or a plain E9 chord i.e. EG#BDF#.

Now, if we are to approach the Fma7 chord from Gb [I said Gb and not F# because Gb tends to an F while F# tends to a G when resolving], then we might be implying the tritone sub of a C7 chord, because C and Gb are tritone pairs. Any Gb dominant chord, altered or not, would work just fine.

Gb7#5#9 would be good to lead to an Fmaj7 chord:
LH/RH: Gb/BbDFbA [enharmonically equivalent to GbBbDEA].

As per voicings, you can try the Diatone Voicing or the Tritone Voicing, both based on quartal harmony.

[LH/RH voicings used below]
E7#5#9 can be voiced as EG#/DGC [Ditone Voicing] and G#D/GCE or DG#/CEG [Tritone Voicings].

Gb7#5#9 can be voiced as GbBb/EAD [Ditone Voicing] and BbE/ADGb or EBb/DGbA [Tritone Voicings].

Okay. That's enough already.

Let me know what you think.

HUMBLEKEYZ

7-3-6-2-5-1-4 In the Key of Ab

Written by Benny keys

7-3-6-2-5-1-4 In the Key of Ab

L.H:   G/D
R.H:  F-A-Bb-d

C chord

L.H:  C/E
R.H:  Bb-Db-Gb (Raise the Gb to G to give it some flava😉)

F minor chord
L.H:  F/C
R.H: Ab-C-Eb-G

Bb Minor chord

L.H:   Bb/F
R.H:   Ab-C-Db-F

Eb chord

L.H:   Eb/B
R.H:  A-C-Db-F

Ab major 

L.H: Ab/Db
R.H:  Ab-Db-Eb-Ab (resolve on moving the Db to C)

Db chord

L.H:   Db/Ab
R.H:  C-Eb-F-Ab

Note: LH means LEFT HAND while RH means RIGHT

HUMBLEKEYZ

Piano tips for Sunday's ministration

Welcome back,


Hello everyone and welcome to our blog. Today i will be showing you PREFERRED CHORDS TIPS  FOR SUNDAY 

WORSHIP MINISTRATION. 
This tips will give you guidelines  to sound professional when ministration. 
Good luck..  

PREFERRED CHORDS TIPS  FOR SUNDAY 

WORSHIP MINISTRATION

        

 Doh chord
Lefth hand.         Right hand

Do - mi - so.             Do - mi - so

❌❌not preferred ❌❌

Left hand.              Right hand

Do - so - do.           Mi - so - ti - mi

    ✅✅preferred ✅✅

Lah chord

Left hand.       Right hand

La - do - mi.          La - do - mi

❌❌not preferred ❌❌

Left hand.              Right hand

La - mi - lah.      Do - mi - so - ti

✅✅preferred ✅✅

Tor chord

Left hand.              Right hand

Tor - re - fa.               So - to - re

❌❌not preferred ❌❌

Left hand.              Right hand
Re - La.             Fa - tor - do - fa
                  *Or*
Tor fa la.               Re fa toh re

✅✅preferred ✅✅

Zih chord

Left hand.             Right hand

Mih - ti - mi         zi - tor - re - soh

✅✅preferred ✅✅

Read also: 5 steps that makes famous as a pianist

Tips two

➤ sometime in a song you can substitute the *doh chord* with the *fah chord* and then replace the *fah chord* with *tor chord*✅✅✅✌😉✌

➤During worship set the voice of the piano as *Grand piano* or *e-piano*  and dual it with *Synth strings* increase the volume of the string to a bit lower or higher from the grand piano. 😉😉✌

➤ During worship avoid running scale much so as to avoid distractions from congregation connecting to their maker. *Arpeggio chords* are preferred✅✅✅✌✌

 ➤ When you notice someone singing off during, don't stop immediately. Just lower the piano and search for the key chromatically. ✅✅✅✅😉😉

➤ Be in church in time and pray before the program.   😉😉✌✌

Have a blessed Sunday

Humblekeyz

Passing chords and note to the 6th chord

Welcome back,


Hello everyone and welcome to our blog. Today i will be showing you passing chord and note to the sixth chord (lah chord)

When playing and moving to the 6th chord which is the lah chord. You can try this movement

Passing chords 1

Left hand note ..... Di reh moi me. (single note)

Right hand chord... Ti reh fih lah (chord)

Left hand. Zi   fah (chord)

Right hand zi ti reh so (chord)

Left hand.. La Mi (chord)

Right hand so ti do mi







Passing chords 2

Left hand note ..... Di reh moi me. (single note)

Right hand chord... Ti reh fih lah (chord)

Left hand. Zi   fah (chord)

Right hand zi ti reh so (chord)

Left hand.. Ti so La  (chord)

Right hand.... Re fih so tih

Watch video below to understand better..

<<<Click here to download video>>>

To get more lessons please follow blog...
<<CLICK HERE TO LIKE FOLLOW OUR FACEBOOK PAGE FOR
UPDATE OF OUR TUTORIAL>>

Don't forget to place your questions in the comment box below