The incredible power of 6-2-5-1 chord progressions in gospel songs!

by Jermaine Griggs 17 comments in Chords & Progressions,Gospel music By now, I doubt I need to go over the individual scale tones and corresponding c hords, as weve covered these basic fundamentals in the last two months of lessons. If you havent read January and Februarys newsletter, scroll above to get the link to the newsletter archives, where you can view all 2004 newsletters. Meanwhile, lets get right to work. The following chart will list my favorite 6-2-5-1 progressions. I will start each progression with the 1 chord just so that you get a sense of what major key the ch ord progressions start and end on. 6-2-5-1 Chord Progressions The following examples will be in the key of Db major: A / slash means that the note to the right will be played on the bass (left hand ). 1 6 2 5 1 Bb Eb Ab / Db Ab C Db F / Bb Gb Bb Db F / Eb C F A / Ab Bb Eb Ab / Db Db Eb F Ab / Db Ab C Eb G / Bb Gb Bb Db F / Eb F A C E / Ab Eb Ab Db / Db B F Bb / Db Ab D F / Bb G C Db F / Eb Gb C F / Ab B F Bb / Db F B / Db D Ab / Bb Db G / Eb C Gb / Ab B F / Db Ab Db Eb F / Db Ab B D F / Bb G Bb Db E /Eb Gb B C E / Ab B F Bb / Db Bb Eb Ab / Db Ab Bb C Eb / Bb G C Db F / Eb C F A / Ab Bb Eb Ab / Db Also, keep in mind that just because the progressions says 6-2-5-1 doesnt mean you must only play one chord on the 6, one chord on the 2, and so on I actually like to play multiple chords on the 6. Here are some examples below. From the 1 chord in Db: (1) Ab Db Eb F / Db (6) Ab C Eb G / Bb (6) Ab B D F / Bb (2) Ab C Db F / Eb (2) G C Db F / Eb (5) Db Gb Bb / Ab (5) C F A / Ab (1) Bb Eb Ab / Db Notice how many chords I used in the above 6-2-5-1 progression. The first chord of each scale tone was usually more subtle but the second chord of the two would a lways push us towards the next chord. For example, the first 6 chord above led to a stronger 6 chord, which ultimately led us to our 2 chord. Keep these types of idea s in mind when playing 6-2-5-1 or any other progressions for that matter! Now that we have covered some theory (Im glad thats out of the way), let me just s how you a few chords that I love to play. I will try not to be as theoretic I wi ll simply give you the chord changes and youll have to apply them to your underst anding 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 wi ll 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 t one. 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 cho rd 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 Using 5-1 Progressions To Enhance Your Playing by Jermaine Griggs 8 comments in Chords & Progressions If you know anything about chord progressions, youll understand that each one has its own functions and roles. For example, one progression may be common for beg inning a song, while another progression may be common for ending a song. Certai n progressions are likely to be played during modulations to new keys while othe rs arent. In other words, you want to understand the ROLES of chord progressions. (Oh, by the way, a chord progression is simply a series of chords played one aft er the other). To know a 2-5-1 chord progression, for example, but not know where to play it is u seless when it comes to playing by ear. So in the next few lessons, we will expl ore 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 ch ord represents the actual key that youre 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 w hen other tones of the scale will end the song instead (like the sixth degree pl ayed as a major chord or the fourth degree played as a dominant chord in fast go spel 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? Isnt it true that the audience as a whole always knows when to clap even though theyre 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 were mu sicians 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 dont clap because you know its not the last chord. So, in e ssence, the 5 chord prepares us for the 1 chord. It creates such a strong pull towar ds 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 didnt fini sh the song completely. Thats because the 5 gives us the feeling that something is

about to end, but hasnt quite ended yet (again, thats why we dont clap yet). And in cases where the song doesnt actually end, it will alert us that the song is retu rning 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. Youve sung t he happy birthday to but until you say you, the song hasnt 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 youre having trouble, just think this to yourself If I wasnt a musician at all and simply listening to this song, at what point wou ld 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 dont think that a 5 chord only applies to the one last word before the e nding. 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 san g. Finally, when see is sang, the song ends and obviously youd 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. Mak e sure to listen for them in some of your favorite songs (especially slow ballad s). 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 chor ds 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