Do you feel that worship choruses often sound bland harmonically? Progressions down a fifth can create not only harmonic interest but harmonic strength. They have a strong, forward movement. Progressions down a fifth are often launched with a iii or vi chord. For example, iii – vi – ii – V – I. Learn how to do it.
Extensions (9ths, 13ths, etc) can be added to the basic chords giving them nuanced color. Introducing chord substitutions, such as the use of half-diminished chords, into the sequence can also have a dramatic effect. This chapter provides over fifty illustrations and exercises to help you integrate the concepts into your style of playing while using hymns and worship choruses.
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Updated 2.2014. 24 pages, 54 examples.
We explore sus chord extensions. Various spacings/voicings with more subtlety of sound and greater shading.
Sus chords (eg., from bottom to top, C – F -G) omit the third of the chord and substitute a fourth. They have a broad application to both contemporary and traditional worship styles. They provide a colorful alternative to the standard dominant seventh which occurs frequently in hymn and chorus cadences. They are valuable in creating segues and in effecting modulations in the free-flowing praise format. They are eminently playable on both guitars and keyboards. We’ll look at how the sus4, sus7, and sus9 chords function.
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Play God is so Good and AmazingGrace in various keys using a lead sheet and a Roman Numeral chart. Many of the same progressions occur.