Gospel Style Chord Changes in C
In this module, we delve into gospel-style chord changes that can be applied to the 12-bar blues in the key of C. This first lesson builds on what we’ve covered so far, including the primary chords, passing chords, walk-ups, walk-downs, and the #IV diminished chord in bar 6.
We now switch our focus and attention to bars 7 and 8 and introduce some rich gospel-style chord changes.
Gospel Chord Progressions In The Blues
Gospel-style chord changes add a soulful feel to the 12 bar blues progression. In bars 7 and 8, we introduce a new sequence of chords that are commonly found in gospel and church music.
These chords include a dominant III chord and a minor vi chord which bring a distinctly gospel flavour to the 12 bar blues progression.
Learning these chord changes involves an understanding of diatonic harmony and the functional roles of the chords within the key of C. We complete this analysis at the start of the lesson to ensure that you understand how the chord qualities of diatonic chords can be changed to create gospel style chord progressions.
Related Lessons
In this lesson we focus on a III-vi-II-V Gospel turnaround and it’s variations that are well suited to turnaround section of the blues.
In this lesson we broaden the harmony of the 145 progression by introducing alternate chord changes, reharms, and passing chords.
We examine some of the most common gospel chord progressions that are used for introductions in churches and for solo piano performance.
Practice Tips
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Visualise Inversions: Practice the different inversions of the new chords to familiarize yourself with their shapes and sounds.
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Smooth Transitions: Work on transitioning smoothly between the chords by using different inversions. Use whole and half step melodic movement connect the chords.
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Incorporate Chromatic Movement: Use chromatic movement over the E7 chord where the triad becomes a 7th chord by dropping the top and bottom notes of the triad chromatically.
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Count Aloud: Practice counting aloud to ensure you place the chords correctly in the 12/8 rhythmic framework.
