Blues & Gospel Piano: Passing Chords & Groove

Welcome to this deep dive into blues and gospel piano, focusing on passing chords, groove, and left-hand variations. This lesson explores how to create movement using chord substitutions, how gospel influences blues piano, and techniques for maintaining a strong groove at slower tempos.

Understanding Passing Chords in Blues

Passing chords and substitutions are essential tools in blues and jazz. They add motion and harmonic interest, guiding the listener through a song while creating tension and release.

One of the most common substitutions in blues is the use of the dominant 7th chord to lead into the IV chord. For example, in a 12-bar blues in C, instead of playing a plain C chord, you can use C7 to signal the upcoming F chord:

• C to F (basic)
• C7 to F (creates tension and expectation)

By using passing chords like G-7 to C7 before resolving to F, you create a smoother and more sophisticated transition. These substitutions work because they share common tones with the original chords, making them feel natural in context.

Gospel Influence on Blues Piano

Gospel and blues piano share a deep connection. While gospel music often avoids strong dissonance, blues embraces it to create a more raw and emotional sound. The biggest distinction comes from the use of blue notes—flattened 3rds, 5ths, and 7ths that create tension and release.

In gospel, you’ll hear rich harmonies and strong bass movement, often using descending 6th progressions and walk-ups. A great example of this is the 1-6-2-5 progression (C to A7 to D-7 to G7), which is common in both gospel and jazz.

Blues borrows these harmonic movements but adds more grit by emphasizing blues licks and chromatic passing tones. For example, playing an E over a C7 creates tension, which resolves naturally to the F chord in a blues progression.

Left-Hand Variations & Bass Note Choices

A strong left-hand technique is crucial for both blues and gospel piano. While many beginners stick to root position bass notes, using the 3rd or 5th in the bass can create new textures and movement.

For example, instead of playing a simple C bass note, try:

• G (5th) in the bass – Creates an unresolved tension before resolving back to C
• E (3rd) in the bass – Softens the harmonic movement and gives a gospel feel

This technique is commonly used in gospel walk-ups and boogie-woogie bass lines, helping to keep your playing fresh and dynamic.

The Role of the Cycle of 5ths in Blues

The cycle of 5ths (or 4ths when moving counterclockwise) is deeply embedded in blues and gospel harmony. Many chord progressions follow this natural movement, making it easier to anticipate and internalize harmonic changes.

For example, a dominant chain like:
C7 → F7 → Bb7 → Eb7 → Ab7
moves around the cycle of 4ths, creating a sense of forward motion. This concept is especially useful in turnarounds and jazzy blues variations, where dominant chords push the progression forward.

Maintaining Groove at Slow Tempos

Playing a slow blues while keeping the groove tight requires strong internal timekeeping. The key is to subdivide the beat—rather than counting in quarter notes (1, 2, 3, 4), feel the smaller subdivisions like triplets or 16th notes in your head.

For example, if playing a slow 12/8 blues, instead of counting 1-2-3-4, feel the triplets:
🎵 1 & a 2 & a 3 & a 4 & a

This internal pulse helps maintain the groove and prevents unintentional speeding up or slowing down.

Keeping Boogie Woogie Fresh

Boogie-woogie bass lines can start to feel repetitive after a few choruses. To keep them fresh, try:

1. Switching between different left-hand patterns – Walking bass, stride, and rolling octave patterns add variety.
2. Using fifths and double octaves – Instead of playing single notes, reinforce the groove by doubling notes in the bass.
3. Adding chromatic movement – Passing tones between bass notes help create momentum.
4. Syncopating the rhythm – Slightly delaying some notes adds swing and excitement.
5. Listening to classic boogie players – Studying Meade Lux Lewis, Albert Ammons, and Pete Johnson provides inspiration for variations.

By integrating these techniques, your left hand will sound more dynamic and engaging throughout a performance.

5 Practice Tips

1. Explore passing chords – Practice moving from C7 to F using different substitutions like G-7 to C7 to F.
2. Experiment with left-hand bass notes – Play root, 3rd, and 5th bass variations to hear how they affect the harmony.
3. Subdivide the beat in slow blues – Count in triplets or 16th notes to keep a steady pulse.
4. Learn classic gospel progressions – Practice 1-6-2-5 and 6-2-5-1 to develop a gospel feel.
5. Mix up boogie-woogie patterns – Alternate between walking bass, stride, and rolling octaves to avoid monotony.

By mastering these techniques, you’ll develop a deeper understanding of blues and gospel piano, enhancing both your harmonic vocabulary and rhythmic groove. 🎹