Basically, a “2-5-1″ progression on the piano is still a “2-5-1″ progression on the organ. For example, in the key of C major, the progression would still consist of some kind of D chord (almost always minor) going to a G chord, finally ending at a C chord. While this doesn’t change on the organ, how you play each particular chord will differ from the piano.

I would argue that if you understand the way music works… how scales create chords >>> chords create progressions >>> progressions create songs — then you already have a head-start when it comes to picking up a new instrument (…even guitar).

Don’t get me wrong… there are some differences:

One major difference between the piano/keyboard and organ is what I call the “third element.” You’re now managing a foot pedal along with both your left and right hands.

Right off the bat, it requires more coordination. Then… there’s the “don’t lift your fingers” rule and the “slide” technique to make your chords sound smooth. Of course, you have to know how to operate the organ (the drawbars, settings, switches, percussions, etc.).

With all of this aside, what it all amounts to is the foot and left hand, in my opinion.

In gospel music, most of us are familiar with playing chords on the right hand. If you play with a band, then you’re probably already accustomed to splitting up your chords into two hands with both your left and right hands constantly at work.

If you’re solo, then you’ve probably grown to play bass patterns (or power chords) on your left with full chords on your right.

The organ changes all of this because it gives you a “bass player” (so to speak) — YOUR FOOT!

The good thing about this is that it frees your left hand up to do many things.

==> For example, you can play chords on your left and solo with scales, modes, and “licks” on your right hand.

==> You can play a huge chord by starting it on your left and ending it on your right.

==> You can take what you are playing on your right hand and play a variation of it on the left hand making your chord sound full!

==> You can play the same “lick” on your left and right hands while walking the bass on your foot.

… and the list goes on.

So on that note, I want to give you some of the same chord progressions you’ll be learning in GospelKeys 450 – Worship Chords & Voicings!” I warn you… the chords taught in 450 aren’t for the pure beginner.

Note: You will hear a piano sound on the midi files that accompany these written examples. However, these chords sound best when played on the organ with a foot pedal, left hand, and right hand (exactly as shown).

Example Chord Progression #1

First, I’ll give you a 2-5-1 progression.

“2-5-1″ progressions are very popular and commonly used to end a song or to wrap a verse back around to the beginning.

They are called 2-5-1’s because each number represents a tone of the major scale you’re playing in.

C major:

C D E F G A B C

C=1

D=2

E=3

F=4

G=5

A=6

B=7

C = 8 (or basically “1″ again).

In the key of C major, the 2nd degree of the scale is D. Likewise, the 5th degree is G and if you’re catching on, the 1st degree is C itself.

So basically any chord based on D (usually minor) going to any 5… then back home to the 1st tone would constitute a “2-5-1″ progression.

On the organ, this is no different.

Since there are 12 major scales, there are 12 major keys a chord progression could possibly be in.

In GospelKeys 450, we’re in the key of Db major.

Therefore, our numbers would come from the Db major scale:

Db Eb F Gb Ab Bb C Db

Db = 1

Eb = 2

F = 3

Gb = 4

Ab = 5

Bb = 6

C = 7

Db = 8 (or basically “1″ again).

Now for the chord progression:

Ebmin11 (pronounced “E flat minor eleventh”)

Left hand: Db F Ab Bb

Right hand: Db F Ab

Bass pedal: Eb

Ab13 (b9)

Left hand: C Gb

Right hand: C F A C

Bass pedal: Ab

Db 9/6

Left hand: F Bb

Right hand: Eb Ab Db

Bass pedal: Db

Midi file example (must be logged in):

http://zone.hearandplay.com/soundexample1

*With a program like Van Basco’s Karaoke ( http://www.vanbasco.com ), you can load these midi file examples and it will show you exactly what notes are being played.

Need help? Visit our message board at http://www.hearandplay.com/board

Example Chord Progression #2

This next set of chords is also a “2-5-1″ chord progression.

Ebmin11 (voiced differently)

Left hand: Gb Ab Bb

Right hand: Db F Ab

Bass pedal: Eb

Ab13 (b9)

Left hand: Eb Gb A C

Right hand: F A C

Bass pedal: Ab

Db 9/6

Left hand: F Ab Bb C

Right hand: Eb Ab C

Bass pedal: Db

Midi file example (must be logged in):

http://zone.hearandplay.com/soundexample2

*With a program like Van Basco’s Karaoke ( http://www.vanbasco.com ), you can load these midi file examples and it will show you exactly what notes are being played.

Example Chord Progression #3

Now, we’ll change things up a little bit and learn examples of the “7-3-6″ progression. In GospelKeys 450, you’ll learn how to apply these progressions in real-life songs. For now, I’ll introduce them just so that you can get an idea of how chords are voiced on the organ.

Similar to the 2-5-1 progression, the numbers come from the major scale that you’re playing in.

In our case, it’s Db major:

Db Eb F Gb Ab Bb C Db

Db = 1

Eb = 2

F = 3

Gb = 4

Ab = 5

Bb = 6

C = 7

Db = 8 (or basically “1″ again).

So in the key of Db major, a 7-3-6 progression would be some kind of C chord going to an F chord… then resting on a Bb chord. Let’s check out an example:

C7 (#9#5)

Left hand: E Bb

Right hand: Eb Ab C

Bass pedal: C

F7 (#9#5)

Left hand: Eb A Db

Right hand: F Ab Db

Bass pedal: F

Bbmin9

Left hand: Db F Ab C

Right hand: Eb Ab C

Bass pedal: Bb

Midi file example (must be logged in):

http://zone.hearandplay.com/soundexample3

*With a program like Van Basco’s Karaoke ( http://www.vanbasco.com ), you can load these midi file examples and it will show you exactly what notes are being played.

Example Chord Progression #4

Here’s another version of the 7-3-6 progression:

C7 (#9b5)

Left hand: C E

Right hand: Bb Eb Gb

Bass pedal: C

F13
Left hand: Eb G

Right hand: Bb D F

Bass pedal: F

Bbmaj9 (add 6)
Left hand: D F G

Right hand: A C D F

Bass pedal: Bb

Midi file example (must be logged in):

http://zone.hearandplay.com/soundexample4

*With a program like Van Basco’s Karaoke ( http://www.vanbasco.com ), you can load these midi file examples and it will show you exactly what notes are being played.

Example Chord Progression #5

My last example has the same purpose as the previous two progressions (…that is, to get you to the 6th degree of the scale). However, instead of using conventional ways to get there like the 7-3-6, it uses the #4 and #5 (”sharped fourth and sharped fifth”) to get to the 6th degree.

Bass pattern: G >>> A >>> Bb

G7 / 6 (#5)

Left hand: F B Eb

Right hand: F B E

Bass pedal: G

Amin7 (#5)

Left hand: G C F

Right hand: G C F

Bass pedal: A

Bbmin11
Left hand: Ab C Db F

Right hand: Ab C Eb

Bass pedal: Bb

Midi file example (must be logged in):

http://zone.hearandplay.com/soundexample5

Conclusion:

I hope you enjoyed these worship chord voicings for the organ. As you can see, these aren’t basic chords and may take some time to get used to. However, once you learn the secrets to how these fancy worship chords are constructed, you’re playing will never be the same.

If you were intrigued by the lesson above, I invite you to check out http://www.hearandplay.com/organ for more information on GospelKeys 350 and GospelKeys 450.

Until next time!

To review:

Half Step (h): From key to key (no keys in between)
Whole Step (w): Every other key (one key in between)

Equivalents:

2 Half steps = 1 whole step
2 Whole steps = 4 Half Steps
1 Half Step = 1 / 2 Whole Step

Examples:

C to E = 2 Whole Steps / or 4 Half Steps
F to F# = 1 Half Step
G to C = 5 Half Steps / 2.5 Half Steps

—————–
Intervals
—————–

Intervals are important. They form major, minor, and other type of chords.

Do you know what an interval is?

An Interval in music, is the “distance in pitch between two notes.” In our 300-pg course, we cover over 7 different types of Intervals (major, perfect, melodic, harmonic, minor, augmented, diminished, etc)

In this lesson, we will cover only two:

Major Intervals & Perfect Intervals

————————————————————

Major Third:

Is the distance between the root and the (3) degree of a major scale.

For example, in (C major), the root is (C) of course, and the (3) degree is: (E).

(C) and (E) played together is classified as a “major third.” This is the beginning of a major chord.

Perfect Fifth:

Is the distance between the root and the (5) degree of a major scale.

For example, in (C major), the root is (C), and the 5th degree is: (G)

(C) and (G) played together is classified as a “perfect fifth.”

As you will learn tomorrow, these two intervals combine to make up the “major chord.”

Try to figure out the major third and perfect fifth intervals in all 12 major keys!

See you later and thank you for your time!

Learning to play natural minor scales (04)

Note: Please pay close attention to this lesson as you will need to know minor scales when forming minor chords.

Get the rest of this lesson by clicking here

Note: Disregard the “SLXYZ” numbers (if any) as they refer to sound examples. Our 300-pg course comes with a CD with over 330 sound examples which can be heard with the click of a button. (Example: SL003)

Note: Please pay attention to this lesson as you will need to know how to play scales when forming various major chords.

Get the rest of this lesson by clicking here

Note: Disregard the “SLXYZ” numbers (if any) as they refer to sound examples. Our 300-pg course comes with a CD with over 330 sound examples which can be heard with the click of a button. (Example: SL003)

Scales are important. They are the basis of melodies and chords. Without knowing your scales, you are a car mechanic without his tools.

What are scales? A good way to define a scale is to list the following characteristics:

-A scale is an organized series of pitches
-A scale utilizes accidentals, when necessary
-A scale consist of a series of notes that differ in sound
-A scale is linked to the concept of “Keys” in that a song which utilizes a given scale is said to be in that key (For example: “Mary had a little lamb in C major”).

In our 300-pg course, we teach the following principle:

A major scale has 8 tones. The (C major scale) is: C-D-E-F-G-A-B-C. In other words, the (C major scale) consists of all the white keys in between to the “C” notes.

It is very important that you remember this poem:

“Half steps are from key to key with NO keys in between,
Whole steps always skip a key with ONE key in between.”

(H) Half Step: key to key (for example, C to C# is a half step because there are no skipped notes)

(W) Whole step: every other key (for example C to D because C# is skipped —- or F to G because F# is skipped).

The major scale is built using the following pattern:

W-W-H-W-W-W-H

For example, in C major:

C to D is a whole step (w).
D to E is a whole step (w).

However, E to F is a half step (h).

F to G is a whole step (w).
G to A is a whole step (w).
A to B is a whole step (w) and …

B to C is a half step (h).

With this principle, you should be able to learn your major scales in all 12 keys! Just start with the first note and build on top of it.

C = C + D + E + F + G + A + B + C

You try the rest …

C# = __ + __ + __ + __ + __ + __ + __ + __
D = __ + __ + __ + __ + __ + __ + __ + __
Eb = __ + __ + __ + __ + __ + __ + __ + __
E = __ + __ + __ + __ + __ + __ + __ + __
F = __ + __ + __ + __ + __ + __ + __ + __
F# = __ + __ + __ + __ + __ + __ + __ + __
G = __ + __ + __ + __ + __ + __ + __ + __
Ab = __ + __ + __ + __ + __ + __ + __ + __
A = __ + __ + __ + __ + __ + __ + __ + __
Bb = __ + __ + __ + __ + __ + __ + __ + __
B = __ + __ + __ + __ + __ + __ + __ + __

Thank you for your time!

In this chord progression, the 2 chord (you’ll learn what this is later on in this lesson) leads to the 5 chord which in turns, produces a strong pull towards the ending chord (which is usually the 1st major chord of the scale).

First, let me start by showing you what chords correspond to each tone of a major scale:

1 tone – Major
2 tone – Minor
3 tone – Minor
4 tone – Major
5 tone – Major (dominant when a 7th chord)
6 tone – Minor
7 tone – Diminished (half-diminished when a 7th chord)

To understand the chart above, you must understand that each tone of a major scale has a chord which goes along with it. For example, the following is a C major scale:

[C — D — E — F — G — A — B — C]

Each tone above has a matching chord. Simply add the endings of the chart above to the scale as shown below:

[C MAJOR]
[D MINOR]
[E MINOR]
[F MAJOR]
[G MAJOR / DOM]
[A MINOR]
[B HALF-DIMINISHED]

To further understand progressions, lets number each chord:

1 = C major
2 = D minor
3 = E minor
4 = F major
5 = G dominant
6 = A minor
7 = B half – diminished
8 = C major

“2-5-1″ Chord Progressions

Now, to create a “2-5-1″ chord progression (or any numbered chord progression), simply take the 2, 5, and 1 chord out of the entire series of chords above. That is, we would not use the 3,4, 6, or 7 chord.

The 2 chord is D minor; the 5 chord is G dominant; and the 1 chord is C major.

This right here is the most basic “2-5-1″ chord progression you’ll ever see:

Dmin — Gdom — Cmaj

min = minor
dom = dominant
maj = major

REFERENCE 1A:

D minor chord = [D] + [F] + [A]
G dominant chord = [G] + [B] + [D] + [F]
C major chord = [C] + [E] + [G]

Example: To play a Dmin chord simply play all three of the notes shown above at the same time (D+F+A)

Moving on…

Now that we have covered some theory (I’m glad that’s out of the way), let me just show you a few chords that I love to play. I will try not to be as theoretic … I will simply give you the chord changes and you’ll have to apply them to your understanding of chords and alterations. All of these progression will be shown in the key of C major:

1) “Churchy 2-5-1 Chord Progression” Style #1

D7 (b9) — G13 —- Cmaj (pronounced “D seven, flat nine —– G thirteenth — C major”)

D7 (b9) = Bass * Play “D” ——— F# + A + C + D#
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C (1st inversion)

Example: For D7 (b9), we would play F# + A + C + D# with “D” on the bass (left hand).

Inversion just refers to the way the chord is played. Since “C” is the highest note, it is said to be played in its “first inversion”

Note: I love playing this chord progression in gospel music. You try playing it and let me know what you come up with!

2) “Churchy 2-5-1 Chord Progression” Style #2

For this progression, every chord will be the same except for the D7 (b9). We will simply play a regular D9 chord.

D9 = F# + A + C + “E” (not D#)

Notice: The only difference in a D9 and a D7 (b9) is the difference in the “ninth” tone. Since we are not flatting the 9th tone, we use “E” instead of “D#.”

D9 = Bass * Play “D” ——— F# + A + C + E
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C

3). “Contemporary 2-5-1 Chord Progression” Style #1

For this progression, we are going to use:

D9 add 6 —> G13 —> Cmaj

D9 add 6 = Bass * Play “D” ——— F# + B + C + E
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C

4.) “Contemporary 2-5-1 Chord Progression” Style #2

This progression will follow the same exact pattern as #3 with the following chord alteration:

D9 b5 —> G13 —-> Cmaj

*** You are going to have to extend your fingers for this one!

D9 b5 = Bass * Play “D” ——— F# + B + C + E + A#
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C

This concludes today’s online classroom lesson.

a) Dmin9 Chord (pronounced “D minor ninth chord”)

Bass = D

Right hand = F + A + C + E

b) G13 chord (pronounced “G thirteenth chord”)

Bass = G

Right hand = F + A + C + E

Note: This is the same chord above but since the bass is different, the chord is titled “G13″ instead of “Dmin9.”

c) Cmaj9 chord (pronounced “C major ninth chord”)

Bass = C

Right hand = E + G + B + D

Now, play each chord consecutively (right after the other)…

Dmin9 –> G13 –> Cmaj9

*** This type of progression is commonly heard in jazz and worship music! I hope you enjoyed … see you tomorrow!

In this chord progression, the 2 chord (you’ll learn what this is later on in this lesson) leads to the 5 chord which in turns, produces a strong pull towards the ending chord (which is usually the 1st major chord of the scale).

First, let me start by showing you what chords correspond to each tone of a major scale:

1 tone – Major
2 tone – Minor
3 tone – Minor
4 tone – Major
5 tone – Major (dominant)
6 tone – Minor
7 tone – Half Diminished

To understand the chart above, you must understand that each tone of a major scale has a chord which goes along with it. For example, the following is a C major scale:

(C — D — E — F — G — A — B — C)

Each tone above has a matching chord. Simply add the endings of the chart above to the scale as shown below:

>C MAJOR<
>D MINOR<
>E MINOR<
>F MAJOR<
>G MAJOR / DOM<
>A MINOR<
>B HALF-DIMINISHED<

To further understand progressions, lets number each chord:

1 = C major
2 = D minor
3 = E minor
4 = F major
5 = G dominant
6 = A minor
7 = B half – diminished
8 = C major

Now, to create a “2-5-1″ chord progression (or any numbered chord progression), simply take the 2, 5, and 1 chord out of the entire series of chords above. That is, we would not use the 3,4, 6, or 7 chord.

The 2 chord is D minor; the 5 chord is G dominant; and the 1 chord is C major.

This right here is the most basic “2-5-1″ chord progression you’ll ever see:

Dmin — Gdom — Cmaj

min = minor
dom = dominant
maj = major

REFERENCE 1A:

D minor chord = (D) + (F) + (A)
G dominant chord = (G) + (B) + (D) + (F)
C major chord = (C) + (E) + (G)

Example: To play a Dminor chord simply play all three of the notes shown above at the same time (D+F+A)

Moving on…

Now that we have covered some theory (I’m glad that’s out of the way), let me just show you a few chords that I love to play. I will try not to be as theoretic … I will simply give you the chord changes and you’ll have to apply them to your understanding of chords and alterations. All of these progression will be shown in the key of C major…

(For more chord progressions, check out our 300-pg course! It is currently on special.)

1) “Churchy 2-5-1 Chord Progression” Style #1

D7 (b9) — G13 —- Cmaj (pronounced “D seven, flat nine —– G thirteenth — C major”)

D7 (b9) = Bass * Play “D” ——— F# + A + C + D#
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C (1st inversion)

Example: For D7 (b9), we would play F# + A + C + D# with “D” on the bass (left hand).

Inversion just refers to the way the chord is played. Since “C” is the highest note, it is said to be played in its “first inversion”

Note: I love playing this chord progression in gospel music. You try playing it and let me know what you come up with!

(For more chord progressions, check out our 300-pg course! It is currently on special.)

2) “Churchy 2-5-1 Chord Progression” Style #2

For this progression, every chord will be the same except for the D7 (b9). We will simply play a regular D9 chord.

D9 = F# + A + C + “E” (not D#)

Notice: The only difference in a D9 and a D7 (b9) is the difference in the “ninth” tone. Since we are not flatting the 9th tone, we use “E” instead of “D#.”

D9 = Bass * Play “D” ——— F# + A + C + E
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C

3). “Contemporary 2-5-1 Chord Progression” Style #1

For this progression, we are going to use:

D9 add 6 —> G13 —> Cmaj

D9 add 6 = Bass * Play “D” ——— F# + B + C + E
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C

4.) “Contemporary 2-5-1 Chord Progression” Style #2

This progression will follow the same exact pattern as #3 with the following chord alteration:

D9 b5 —> G13 —-> Cmaj

*** You are going to have to extend your fingers for this one!

D9 b5 = Bass * Play “D” ——— F# + B + C + E + A#
G13 = Bass * Play “G” ———- F + A + C + E
Cmaj = Bass * Play “C” ———– E + G + C

Well, that’s it for this lesson. See ya next time!

(Leave your comments about this lesson below. Did you like the chords I shared? Have you tried them out? Have your own 2-5-1’s to share?)

(Oh, by the way, a chord progression is simply a series of chords played one after the other).

To know a “2-5-1″ chord progression, for example, but not know where to play it is useless when it comes to playing by ear. So in the next few lessons, we will explore different progressions and where to use them!

The “5-1″ Progression

The “5-1″ progressions will commonly end a song, chorus, or verse. Being that the “1″ chord represents the actual key that you’re song is being played in, it makes sense for it to be the very last chord played.

So again, in most cases, the “1″ chord will end the song. However, there are times when other tones of the scale will end the song instead (like the sixth degree played as a major chord or the fourth degree played as a dominant chord in fast gospel songs). But for the purposes of this lesson, we will focus on the majority of songs that end on the “1″ chord.

Think of the “5-1″ chord progression like this:

If you were watching a live theatrical performance or even a musical concert of some sort, when would you know to clap? Isn’t it true that the audience as a whole always knows when to clap even though they’re not all musicians? How do they know when the song is over? How do we know when to clap?

Because, we have already been trained to recognize “5-1″ progressions whether we’re musicians OR not!

The “5″ chord by itself is that chord right BEFORE the end of the song. You know the song is about to end because you hear the “5″ chord (and of course, I am referring more to slow songs than fast ones). Perhaps, the pianist will hold the “5″ chord for a while … but you still don’t clap because you know it’s not the last chord. So, in essence, the “5″ chord prepares us for the “1″ chord. It creates such a strong pull towards the “1″ chord that we can even predict how the next chord is suppose to sound in our mind.

Imagine if a pianist was holding the “5″ chord and all of a sudden gets up and walks away. The audience would totally be shocked because we would think he didn’t finish the song completely. That’s because the “5″ gives us the feeling that something is about to end, but hasn’t quite ended yet (again, that’s why we don’t clap yet). And in cases where the song doesn’t actually end, it will alert us that the song is returning back to the beginning of the verse or chorus for another round.

Examples of “5-1″ endings:

a) “Hap-py Birth-Day to You”

Ending on the “5″ in this example would be like not singing the final “you.” You’ve sung the “happy birthday to…” but until you say “you,” the song hasn’t ended.

The “5″ in this example is the word “to,” while the final “1″ chord would be played on “you.”

Are you following me?

If not, feel free to post messages on our board about this lesson.

b) “… Was blind, but now I see”

This line is taken from “Amazing Grace.” Can you figure out where the “5-1″ progression would be played in this line?

If you’re having trouble, just think this to yourself…

If I wasn’t a musician at all and simply listening to this song, at what point would I know the song is JUST about to end???

The word “I” prepares you for the ending so it would definitely be accompanied by a “5″ chord. But don’t think that a “5″ chord only applies to the one last word before the ending. You can play a chord over multiple words.

So in this case, I would say that the “5″ chord begins on “now” and is held until “I” is sang. Finally, when “see” is sang, the song ends and obviously you’d play a “1″ chord.

Actual “5-1″ Progressions You Can Play

Here are some nice-sounding “5-1″ progressions you can start playing right away. Make sure to listen for them in some of your favorite songs (especially slow ballads).

These progressions will be based in the key of Db major. For simplicity, I will simply “spell out” each chord, one by one. Feel free to mix and match different chords from the “5″ and “1″ columns.

A ” / ” slash means that the note to the right will be played on the bass (left hand).

“5″ chord ————————- “1″ chord
C + F + A / Ab ——————– Bb + Eb + Ab / Db
Gb + Bb + Db + F / Ab ————- Eb + Ab + Db / Db
C + E + Ab + B / Ab —————- B + Eb + Gb + Bb / Db
Eb + Ab + Bb + C / Ab ————- Db + Eb + F + Ab / Db

This concludes today’s Classroom Lesson.

For example, if one composed a melody which included the i, iii, iv, vi, vii, and viii tones of a scale, harmonizing this melody would mean playing a chord to accompany every note of the melody (either one chord or a combination of chords). The above melody in C major is:

C – E – F – A – B – C

Using a few techniques (as explained in my workbook; http://www.hearandplay.com/course), you can easily find the corresponding chords to each of those notes.

To HARMONIZE a melody means to create a chord accompaniment for it. Since the I, IV & V chords contain all the notes of the major scale, many melodies in a major key can be harmonized with just these three chords.

To determine the chords to be used, analyze the melody notes. Refer to the following chart to see which chord is generally used with each melody note of a major scale. When more than one chord can be chosen, your EAR should always be the final guide.

SCALE DEGREE —————— CHORD

1 , 3 , 5 ——————– I Chord (Major Chord)
2 , 4 , 5 , 7 —————– V Chord (Dominant Chord)
1 , 4 , 6 ——————— IV Chord (Major Chord)

There is also one scale degree which can be accompanied by a minor chord

SCALE DEGREE —————— CHORD

2 —————————- ii Chord (Minor Chord)

From personal experience, here are the most common chords that I play with the following scale tones:

SCALE DEGREE —————— CHORD

1 , 3 , 5 ——————– I Chord (Major Chord)
2 —————————- ii Chord (Minor Chord)
4 , 6 ————————- IV Chord (Dominant Chord)
7 —————————– V Chord (Major Chord)

Using the above table, here is an example in C major.

“Joyful, Joyful, We Adore Thee”

E — E — F — G — G — F — E — D — C — C — D — E — E — D — D

With this “one-fingered” melody, I am going to show you how I can turn each and every one of the notes above into 3-fingered chords. However, if you are REALLY serious about learning this technique, you owe it to yourself to at least read about my 300-pg course as it covers several techniques to harmonize melodies. For more information on how you can receive my course at over 50% off (If you order by tomorrow), visit: http://www.hearandplay.com/special.html?offer

…. Because I prefer the melody to always be the highest tone of my accompanying chords, I use different inversions of each chords. If you do not know what inversions are, please visit: http://www.hearandplay.com/course

Notice that the first 2 notes of the melody above is E (the 3rd scale degree of the C major chord). If you look on my chart above, I most commonly associate E with the (I) Major Chord. The (I) chord in the key of C major happens to be a C major chord! So, the first two chords are C major chords in the 2nd inversion (which makes E the highest tone).

REFERENCE:
If you do not fully understand inversions, you need to check out my 300-pg course as these FUNDAMENTALS are key to your success!

Root Position: The keynote will always be the lowest note (for example, C major = C – E – G in Root position).

1st Inversion: The keynote will always be the highest note (for example, C major = E – G – C in 1st inversion). Keep in mind that the notes are the same, but they are simply arranged differently with C on top instead of the bottom.

2nd Inversion: The keynote will always be embedded in the middle. This inversion will always put the third tone on top. (for example, C major = G – C – E in 2nd inversion). Notice that the “E” is on top.

More References: http://www.hearandplay.com/course — Chapter 4-6

… … Back to the lesson … Since we want E on top, we will choose a C major chord (2nd inversion) because it is this inversion which makes E the highest tone.

By simply following this same pattern, you can figure out all of the other chords. I have already done the work for you below.

“Joyful, Joyful, We Adore Thee”

E — E — F — G — G — F — E — D — C — C — D — E –

E — E — F — G — G — F — E — D — C — C — D — E –
C — C — C — E — E — C — C — A — G — G — A — C –
G — G — A — C — C — A — G — F — E — E — F — G –

E — D — D (end)

E — D — D
C — A — A
G — F — F

Above, you will find each melody / harmony combination (written vertically from highest tone to lowest tone). As we studied earlier, the first two chords are inverted C major chords. The third chord is an inverted F major chord. Try to figure out the other chords … HINT: There are only 3 different types of chords (different inversions however) used in this example and I have given you two of them already!

Until next time —