○ Exercises: Playing Scales in Different Keys

Table of Contents 6. Chapter 5: Introduction to Chords

○ What Are Chords?
1. Introduction ○ Triads: Major, Minor, Diminished, and Augmented
○ Overview of Gospel Music and Piano Playing ○ Building Major and Minor Chords
○ The Purpose of This Book ○ Common Gospel Chord Progressions (I-IV-V)
○ How to Use This Book ○ Inversions and Their Use in Gospel
2. Chapter 1: Getting Started 7. Chapter 6: Advanced Chords and Voicings
○ Understanding the Piano ○ Seventh Chords: Major, Minor, Dominant, and
■ Notes on the Piano Half-Diminished
■ Middle C and Its Importance ○ Ninth, Eleventh, and Thirteenth Chords
○ Proper Hand and Finger Position ○ Open Voicing vs. Closed Voicing
○ Basic Music Theory for Beginners ○ Cluster Chords for Rich Gospel Sound
■ The Musical Alphabet ○ Altered Chords and Their Application
■ Intervals and Tones 8. Chapter 7: Gospel Chord Progressions and
○ Simple Rhythms and Time Signatures Application
3. Chapter 2: Basic Gospel Rhythms ○ Classic Gospel Progressions
○ Quarter Notes, Half Notes, and Whole Notes ○ The “Turnaround” in Gospel Music
○ Introduction to Gospel Swing and Syncopation ○ Moving Between Keys Smoothly
○ Clapping Exercises to Learn Rhythm ○ Examples of Common Progressions (I-IV-V, II-V-I)
○ Playing Simple Chords with the Left Hand ○ Using Chord Substitutions
○ Basic Gospel Piano Patterns (Chords and Rhythm) 9. Chapter 8: Modes and Their Use in Gospel Music
4. Chapter 3: Melody and Harmony ○ What Are Modes?
○ What Is a Melody? ○ Introduction to the Church Modes
○ How to Play Simple Melodies ○ Ionian, Dorian, Phrygian, Lydian, Mixolydian,
○ What Is Harmony? Aeolian, Locrian
○ The Role of Harmony in Gospel Music ○ How to Apply Modes in Gospel
○ Playing Basic Harmonies with Chords ○ Mode Practice Examples
○ Voice Leading and Smooth Transitions 10. Chapter 9: Rhythmic Feel and Groove
5. Chapter 4: Building Scales ○ Understanding Groove in Gospel Music
○ What Are Scales? ○ The Role of Rhythm in Expressing Emotion
○ Major and Minor Scales (With Examples) ○ Syncopation and Swing in Gospel Piano
■ C Major Scale: C - D - E - F - G - A - B - C ○ Advanced Rhythmic Patterns
■ A Minor Scale: A - B - C - D - E - F - G - A ○ Playing with a Backing Track or Band
○ Gospel Scale Concepts 11. Chapter 10: Reharmonization Techniques
■ Pentatonic Scales and the Blues Scale ○ What Is Reharmonization?
 ○ Basic Reharmonization Techniques ○ Use in Progressions: vi (in C major key)
○ Substituting Chords in Gospel Progressions
○ Adding Passing Chords and Chord Extensions
○ Advanced Reharmonization Ideas 3. G Dominant Seventh Chord
○ Examples of Reharmonized Songs ○ Notes: G - B - D - F
12. Chapter 11: Advanced Gospel Piano Techniques ○ Chord Type: Dominant Seventh
○ Comping vs. Soloing in Gospel ○ Use in Progressions: V7 (in C major key)
○ How to Add Expression to Your Playing
○ Advanced Left-Hand Techniques (Walking Bass, 2. Gospel Progressions
Rootless Voicings)
○ Advanced Right-Hand Techniques (Fast Runs, 1. I - IV - V Progression in C Major
Ornamentations) ○ I: C - E - G
○ The Art of Improvisation ○ IV: F - A - C
13. Chapter 12: Putting It All Together ○ V: G - B - D
○ Playing Full Gospel Songs (Sheet Music 2. I - vi - IV - V Progression in C Major
Examples) ○ I: C - E - G
○ How to Arrange a Gospel Song ○ vi: A - C - E
○ Practice Techniques for Improvement ○ IV: F - A - C
○ How to Build Your Own Gospel Style ○ V: G - B - D
○ Tips for Playing with a Band
3. Reharmonization Example:
14. Conclusion
○ Final Words of Encouragement Original: Amazing Grace
○ Resources for Further Learning
○ Continuing the Journey as a Gospel Pianist ● Key: G Major

Sample Chord Sheets and Examples Original Chords:

G-C-G-D-G
1. Basic Chord Construction
Reharmonized Version:
1. C Major Triad Gmaj7 - Cmaj7 - G13 - D9 - Gmaj7
○ Notes: C - E - G
○ Chord Type: Major 4. Advanced Chord Example:
○ Use in Progressions: I (in C major key)
2. A Minor Triad 1. Cmaj7 - Am7 - Dm7 - G7 (ii-V-I Progression)
○ Notes: A - C - E ○ Cmaj7: C - E - G - B
○ Chord Type: Minor ○ Am7: A - C - E - G
 ○ Dm7: D - F - A - C 1.2 Key Figures in Early Gospel
○ G7: G - B - D - F
The genre owes much to pioneers like Thomas A. Dorsey, often
called the "Father of Gospel Music." His fusion of blues and
Introduction: Exploring the Essence of Gospel Christian themes revolutionized gospel in the 1930s. Other
influential artists include Mahalia Jackson, whose powerful voice
Gospel music transcends mere sound, echoing the heart of brought gospel to the mainstream, and Rev. Charles A. Tindley, a
spirituality and the soul of a people. Born from a rich history of composer of enduring hymns.
struggle, faith, and community, gospel has evolved into a genre
that uplifts and inspires listeners worldwide. This book explores
the roots, development, and enduring impact of gospel music,
while offering insights into its various forms and its role as a The Elements of Gospel Music
vehicle of hope and worship.

2.1 Vocal Power

The hallmark of gospel music is its vocal strength. Choirs,

The Origins of Gospel Music
soloists, and congregational singing are characterized by:

1.1 Historical Context ● Call and Response: A leader sings a line, echoed or
answered by the choir.
Gospel music emerged in the African-American communities of ● Improvisation: Singers often add emotional flourishes,
the United States during the late 19th and early 20th centuries. melismas, and ad-libs.
Influenced by spirituals, work songs, and hymns, gospel became ● Harmony: Rich, layered harmonies evoke a sense of
a powerful medium for expressing faith amidst the trials of slavery community and shared worship.
and racial segregation.

Key Influences: 2.2 Instrumentation

● Spirituals: Songs of faith and resilience sung by enslaved Traditional gospel ensembles feature:
people.
● Piano/Organ: Provides harmonic foundation and rhythmic
● Hymns: European church music adapted with emotional
drive.
depth and improvisation.
● Drums: Infuses energy and maintains tempo.
● Work Songs: Rhythmic expressions of labor and
● Bass Guitar: Adds depth and groove.
endurance.
● Tambourines/Clapping: Reflect the communal and
rhythmic roots of gospel.
2.3 Lyric Themes The Role of Gospel in Society
Gospel lyrics center on faith, salvation, and hope, often derived 4.1 A Voice for the Oppressed
directly from scripture. Songs like "Amazing Grace" and "How
Great Thou Art" epitomize the genre's focus on divine praise and From the Civil Rights Movement to modern social justice
personal redemption. campaigns, gospel music has been a rallying cry for change and
resilience.
Gospel's Evolution Over Time
4.2 A Tool for Worship
3.1 Traditional Gospel
Gospel remains a cornerstone of Christian worship, bridging
Early gospel was deeply rooted in church settings, with songs like denominations and uniting believers in song.
"Precious Lord, Take My Hand" serving as staples of worship.
4.3 A Source of Inspiration
3.2 Contemporary Gospel
Beyond religious settings, gospel uplifts individuals with its
Artists like Kirk Franklin and Mary Mary have introduced modern messages of perseverance and divine love.
elements, blending gospel with R&B, hip-hop, and pop influences
to reach broader audiences.

3.3 Global Influence

Gospel's reach now extends worldwide, inspiring genres like

South Africa’s Soweto Gospel and Caribbean gospel music.
Choirs across Europe and Asia have embraced the genre,
translating its messages of hope into diverse cultural contexts.
 Chapter 1: Getting Started Chapter 2: Basic Gospel Rhythms

1.1 Understanding the Piano 2.0 Understanding Rhythm

● The Piano Layout: Rhythm is the temporal aspect of music, organizing sounds and
○ The piano has 88 keys in total, consisting of 52 silences into patterns over time. It is a fundamental component
white keys and 36 black keys. These keys that provides structure, energy, and flow to music. Without
represent the notes of the musical scale. rhythm, music would lack coherence and direction.
○ Middle C: This is the reference note. It divides the
keyboard into low and high sections. Middle C is 2.1 Elements of Rhythm
located roughly in the middle of the piano.
● The Musical Alphabet: 1. Beat: The basic pulse of music, often steady and
○ The musical alphabet consists of 7 notes: A, B, C, repetitive.
D, E, F, G. After G, it cycles back to A. 2. Tempo: The speed at which the beats occur, measured in
○ The white keys on the piano follow this sequence beats per minute (BPM).
of notes. 3. Duration: How long a note or silence lasts, ranging from
○ C - D - E - F - G - A - B - C is a complete cycle of whole notes to sixteenth notes and beyond.
the scale. 4. Accent: The emphasis placed on certain beats or notes,
creating dynamic interest.
1.2 Basic Music Theory
Practical Example:
● Intervals:
○ The interval is the distance between two notes. For Clap your hands to a steady beat. Count "1-2-3-4" repeatedly.
example, the distance between C and D is a whole This represents a simple rhythm. Adding a clap on "2" and "4"
step, while the distance between C and C# is a while stomping on "1" creates a syncopated rhythm.
half step.
○ Intervals are important for understanding how 2.1.1 Simple Rhythms
scales and chords are built.
● Quarter Notes: A quarter note gets one beat. In gospel,
● Time Signatures:
the left hand often plays a steady rhythm of quarter notes,
○ The most common time signature in gospel music
while the right hand adds melody or fills.
is 4/4, where each measure (bar) contains 4 beats.
○ Example:
○ A quarter note gets one beat, a half note gets
■ Left Hand (C chord): C - C - C - C
two beats, and a whole note gets four beats.
■ Right Hand (Melody): C - E - G - E
● Syncopation: Syncopation is a rhythmic concept where
emphasis is placed on off-beats or weak beats, which is a
key feature of gospel music.
 ○ Example: Chapter 3: Melody and Harmony
■ Left Hand (C chord): C - C - (C) - C
■ Right Hand (Melody): E - G - E - G 3.1 Melody
(Syncopated)
What is a Melody?
2.2 Simple Gospel Chords and Rhythms
A melody is a series of musical notes that are perceived as a
● Left-Hand Chords: single, cohesive line. It is often the most memorable part of a
○ The left hand plays the root of the chord (e.g., C, F, piece of music, evoking emotion and guiding the listener through
G). the composition. Melodies can be simple or complex, but they
○ Example: always serve as the core narrative of a musical work.
■ Left Hand (C chord): C - C - C - C
● Right-Hand Chords: ○ The melody is the main tune or theme of a piece of
○ The right hand typically plays the full chord (triad music. In gospel music, melodies are often soulful,
or seventh chord). with lots of emotional expression.
○ Example (C Major Chord): ○ Example (Simple melody in C Major):
■ Right Hand (C chord): C - E - G C-E-G-E-C-D-E-G

2.3 Basic Gospel Patterns 3.1.1 Characteristics of a Melody:

● The "Walking" Bass Line: ● Pitch: The highness or lowness of the notes.
○ The left hand plays a walking bass line, often in ● Rhythm: The duration and timing of the notes.
quarter notes, moving stepwise between the root ● Contour: The shape of the melody as it ascends,
notes of the chords. descends, or remains static.
○ Example: ● Range: The span between the lowest and highest notes.
■ Left Hand (Walking Bass): C - D - E - F - G ● Phrasing: How the melody is divided into musical
(C major scale) sentences or ideas.

3.2 Harmony

● What is Harmony?
○ Harmony is the combination of different notes
played together. In gospel, harmony usually
accompanies the melody and is played using
chords.
 ○ Example (C chord): Chapter 5: Introduction to Chords
■ Left Hand (C chord): C - E - G
■ Right Hand (Melody): G - E - C - G Chords are formed by combining intervals to create harmonic
structures. They are the foundation of harmony and can be
categorized as follows:

Chapter 4: Building Scales 5.1 Types of Chords

4.1 The Major Scale 1. Triads: The simplest chords, consisting of three notes:
○ Major Triad: Root, major third, perfect fifth.
● C Major Scale: The C major scale has no sharps or flats,
making it a good scale to start with. The notes are: Ex: C Major: C - E - G
C-D-E-F-G-A-B-C
○ Minor Triad: Root, minor third, perfect fifth.
○ Exercise: Practice playing the C major scale
ascending and descending with both hands. Ex: A Minor: A - C - E

4.2 The Minor Scale ○ Diminished Triad: Root, minor third, diminished
fifth.
● A Minor Scale: The A minor scale is the relative minor of ○ Augmented Triad: Root, major third, augmented
C major. It has a slightly different feel and is often used in fifth.
gospel music for more somber or emotional moments. 2. Seventh Chords: Adding a fourth note (seventh) to a
A-B-C-D-E-F-G-A triad:
○ Exercise: Practice the A minor scale ascending ○ Major Seventh: Major triad + major seventh.
and descending. ○ Dominant Seventh: Major triad + minor seventh.
○ Minor Seventh: Minor triad + minor seventh.
4.3 The Blues Scale ○ Half-Diminished Seventh: Diminished triad +
minor seventh.
● C Blues Scale:
○ Fully Diminished Seventh: Diminished triad +
C - Eb - F - F# - G - Bb - C
diminished seventh.
○ This scale is essential for playing gospel music
with a bluesy feel. 5.2 Common Gospel Chord Progressions
○ Exercise: Play the C blues scale in eighth notes
and experiment with creating melodies. ● I - IV - V Progression (C - F - G in C Major)
○ C-F-G-C
○ This is the most basic chord progression used in
gospel music.
 Chapter 6: Advanced Chords and Voicings ○ V: G - B - D
● This is the foundation of many gospel songs, and
6.1 Seventh Chords variations of this progression create the backbone of the
genre.
● Cmaj7: C - E - G - B
○ The major seventh chord adds a smooth, jazzy 7.2 The "Turnaround"
color to your playing.
● Am7: A - C - E - G ● A turnaround is a set of chords that brings the song back
○ The minor seventh chord is common in gospel and to the beginning.
R&B. ○ Example: In C Major, a typical turnaround could
● G7: G - B - D - F be:
○ The dominant seventh chord creates tension, ■ G7 - Cmaj7 - Am7 - Dm7 - G7
making it feel like it needs to resolve.

6.2 Ninth Chords

Chapter 8: Reharmonization
● C9: C - E - G - Bb - D
○ The C9 chord adds richness and tension. 8.1 Adding Extensions and Substitutions

6.3 Open Voicings ● Cmaj7 (I chord) can be substituted with C9 to add color.
○ Example:
● Open Voicing Example: ■ Original Progression: C - F - G - C
○ Cmaj7: C (left hand) - B (right hand) - E (right ■ Reharmonized Progression: Cmaj7 - Fmaj7
hand) - G (right hand) - G9 - Cmaj7
○ Open voicings create a more spacious and fuller
sound. 8.2 Passing Chords

● A passing chord is a temporary chord that connects two

more stable chords.
Chapter 7: Gospel Chord Progressions and ○ Example: Between C and F, you could use D9 as
Application a passing chord:
C - D9 - F
7.1 I - IV - V Progression

● In the key of C Major, the progression would look like:

○ I: C - E - G
○ IV: F - A - C
Extended chords are those that add notes beyond the basic triad ○ (The 11th is often omitted; the 9th may also be
(root, third, and fifth) and the seventh. Here’s a comprehensive omitted in simpler voicings.)
list of extended chords, categorized by type, along with their
construction: Minor Extended Chords

1. Minor Seventh Chords:

○ Cm7: C - Eb - G - Bb
Major Extended Chords 2. Minor Ninth Chords:
○ Cm9: C - Eb - G - Bb - D
1. Major Seventh Chords: 3. Minor Eleventh Chords:
○ Cmaj7: C - E - G - B ○ Cm11: C - Eb - G - Bb - D - F
2. Major Ninth Chords: ○ (The fifth may be omitted to avoid dissonance.)
○ Cmaj9: C - E - G - B - D 4. Minor Thirteenth Chords:
3. Major Eleventh Chords: ○ Cm13: C - Eb - G - Bb - D - A
○ Cmaj11: C - E - G - B - D - F ○ (The 11th is often omitted for smoother voicing.)
○ (Sometimes the third or fifth is omitted to avoid
dissonance.)
4. Major Thirteenth Chords:
○ Cmaj13: C - E - G - B - D - A Half-Diminished (Minor 7 Flat 5) Extended Chords
○ (The 11th is often omitted to reduce dissonance.)
1. Half-Diminished Seventh Chords:
○ Cm7♭5: C - Eb - Gb - Bb
2. Half-Diminished Ninth Chords:
Dominant Extended Chords ○ Cm9♭5: C - Eb - Gb - Bb - D
3. Half-Diminished Eleventh Chords:
1. Dominant Seventh Chords: ○ Cm11♭5: C - Eb - Gb - Bb - D - F
○ C7: C - E - G - Bb 4. Half-Diminished Thirteenth Chords:
2. Dominant Ninth Chords: ○ Cm13♭5: C - Eb - Gb - Bb - D - A
○ C9: C - E - G - Bb - D
3. Dominant Eleventh Chords:
○ C11: C - E - G - Bb - D - F
○ (The third is often omitted to avoid dissonance with Diminished Extended Chords
the 11th.)
4. Dominant Thirteenth Chords: 1. Diminished Seventh Chords:
○ C13: C - E - G - Bb - D - A ○ Cdim7: C - Eb - Gb - A
2. Diminished Ninth Chords:
 ○ Cdim9: C - Eb - Gb - A - D Suspended Extended Chords
3. Diminished Eleventh Chords:
○ Cdim11: C - Eb - Gb - A - D - F Suspended chords replace the third with the second (sus2) or
fourth (sus4). Extensions can be added to create complex
Augmented Extended Chords suspended chords.

1. Augmented Seventh Chords: 1. Sus2 Chords:

○ C7#5: C - E - G# - Bb ○ Csus2: C - D - G
2. Augmented Ninth Chords: 2. Sus4 Chords:
○ C9#5: C - E - G# - Bb - D ○ Csus4: C - F - G
3. Augmented Eleventh Chords: 3. Extended Sus Chords:
○ C11#5: C - E - G# - Bb - D - F ○ C9sus4: C - F - G - Bb - D
○ C13sus4: C - F - G - Bb - D - A

Altered Dominant Extended Chords

Simplified Voicing Tips
Altered chords are dominant chords with modifications to the fifth
and/or ninth. These are common in jazz and gospel for adding Extended chords can be simplified for practical playing by
tension and leading to resolution. omitting certain notes:

1. Dominant Seventh Flat Nine: ● Omit the root if a bass player covers it.
○ C7♭9: C - E - G - Bb - Db ● Omit the 5th if it adds no distinctive character to the
2. Dominant Seventh Sharp Nine: chord.
○ C7#9: C - E - G - Bb - D# ● Omit the 11th if it clashes with the 3rd.
3. Dominant Seventh Flat Thirteen:
○ C7♭13: C - E - G - Bb - Ab
4. Dominant Seventh Sharp Eleven:
○ C7#11: C - E - G - Bb - F# Example Chord Voicings for Gospel Piano
5. Fully Altered Dominant Chord:
○ C7alt: C - E - G# - Bb - Db - D# Here are practical voicings for extended chords and examples of
how to apply them in gospel progressions. Each chord is voiced
to provide smooth transitions and a rich gospel sound.
1. Major Extended Chords 3. Minor Extended Chords

Cmaj9 (C Major Ninth) Cm11 (C Minor Eleventh)

● Voicing: ● Voicing:
Left Hand: C - G Left Hand: C - G
Right Hand: E - G - B - D Right Hand: Bb - D - F

Progression Example: Progression Example:

Cmaj9 → Dm7 → G13 → Cmaj9 Cm11 → F7 → Bbmaj9

● Left Hand: Root and 5th of each chord. ● Gospel Application: Use this in the bridge or verse of a
● Right Hand: slow gospel song for a rich, moody feel.
○ Cmaj9: E - G - B - D
○ Dm7: F - A - C - E
○ G13: F - A - E (omit 11th and 5th)
4. Tritone Substitution Example
This progression can be used as a soulful vamp at the end of a
song like "Great Is Thy Faithfulness." Db9 (Substitute for G7)

● Voicing:
Left Hand: Db - Ab
2. Dominant Extended Chords Right Hand: F - Bb - Eb

G13 (G Dominant Thirteenth) Progression Example:

Cmaj9 → Db9 → Cmaj9
● Voicing:
Left Hand: G - F ● This substitution adds tension and a jazzy feel before
Right Hand: B - E - A resolving back to the tonic. A perfect fit for traditional
hymns or modern gospel transitions.
Progression Example:
Cmaj7 → A7 → D9 → G13 → Cmaj7

● Gospel Application: This is a typical II-V-I progression, 5. Modal Interchange

used for songs like "Amazing Grace."
Borrowed Chords (From Parallel Minor):
Borrow an Abmaj7 in the key of C Major.
Voicing: Progression Example:
Left Hand: Ab - Eb C13sus4 → Fmaj9 → G13 → Cmaj9
Right Hand: G - C - F
● Application: Commonly used in choir intros and outros for
Progression Example: songs like "Blessed Assurance."
Cmaj7 → Abmaj7 → G13 → Cmaj9

● Application: Use this in the introduction or turnaround for

"Total Praise." How to Apply These Chords in Gospel
Progressions

Progression 1: Traditional II-V-I with Extensions

6. Altered Dominant Chords
Dm11 → G13 → Cmaj9
G7♭9 (G Dominant Seventh Flat Nine)
● Voicings:
● Voicing: ○ Dm11: (LH: D - A, RH: F - G - C - E)
Left Hand: G - F ○ G13: (LH: G - F, RH: B - E - A)
Right Hand: Ab - B - D ○ Cmaj9: (LH: C - G, RH: E - G - B - D)

Progression Example: Progression 2: Advanced Turnaround

Cmaj7 → A7 → G7♭9 → Cmaj7
Cmaj9 → Abmaj7 → G13 → Db9 → Cmaj9
● Use this for a dramatic resolution in songs like "Lord, I Lift
Your Name on High." ● Voicings:
○ Cmaj9: (LH: C - G, RH: E - G - B - D)
○ Abmaj7: (LH: Ab - Eb, RH: G - C - F)
○ G13: (LH: G - F, RH: B - E - A)
7. Suspended Extended Chords ○ Db9: (LH: Db - Ab, RH: F - Bb - Eb)

C13sus4 (C Dominant Thirteenth Suspended) Progression 3: Gospel Ending Vamp

● Voicing: Cmaj9 → A7 → Dm11 → G7#5 → Cmaj13

Left Hand: C - G
Right Hand: F - Bb - D - A ● Voicings:
○ Cmaj9: (LH: C - G, RH: E - G - B - D)
○ A7: (LH: A - G, RH: C# - F - G)
 ○ Dm11: (LH: D - A, RH: F - G - C - E) 1. Using Substitutions
○ G7#5: (LH: G - F, RH: B - E - G#)
○ Cmaj13: (LH: C - G, RH: E - A - D) Tritone Substitution:

● This is a favorite in gospel music, as we’ve already

explored. It involves replacing a dominant seventh chord
Tips for Applying These Chords with another dominant seventh chord a tritone away.
Example:
1. Voice Leading: Focus on smooth transitions between ○ G7 → Db7 (a tritone substitution) → Cmaj7
chords. Keep common tones where possible, and move
notes by the smallest interval.
2. Dynamics: Play extended chords softly during verses and
Chromatic Substitution:
louder during climactic sections for emotional impact.
3. Rhythm: Use syncopation and rhythmic variation to give a ● Chromatic substitution involves moving a chord up or
lively feel to your voicings. down by a half-step to create a smooth, chromatic
4. Repetition with Variation: Repeat progressions with transition. This is common in jazz and gospel to add
slight changes in voicing or rhythm for interest. movement and color.
5. Bass Lines: Let the bass guide the harmony. When Example:
possible, emphasize walking bass lines that connect the ○ Cmaj7 → Bmaj7 → Bbmaj7 → Amaj7
chords seamlessly.
Relative Major/Minor Substitution:

● The relative minor of any major chord or vice versa can

Reharmonization Techniques be used to reharmonize the progression.
Example:
Reharmonization refers to changing the original harmony or ○ Cmaj7 → Am7 → D9 → G7 (here, Am7 is the
chords of a song to make it sound different, often more relative minor of Cmaj7)
sophisticated or modern, without altering the melody. Here are
several reharmonization techniques commonly used in gospel Parallel Substitution:
music:
● In parallel substitution, you shift the whole chord up or
down in parallel motion by a half-step or full step.
Example:
○ Fmaj7 → F#maj7 → Gmaj7 → Amaj7
2. Modal Interchange (Borrowed Chords) Example:

Modal Interchange is borrowing chords from a parallel mode ● Cmaj7 → B7 → Bbmaj7 → A7

(e.g., using chords from C minor when the song is in C major).
This adds color and complexity to the progression.

Example: 5. Using Secondary Dominants

● In C major, borrow a chord from C minor: A secondary dominant is a dominant seventh chord that
○ Cmaj7 → Abmaj7 → G7 resolves to a chord other than the tonic. It temporarily makes a
● The Abmaj7 is borrowed from C minor, creating a soulful, non-tonic chord feel like the tonic, adding surprise and spice to
unexpected sound. the progression.

3. Chord Extensions and Alterations Example:

Extensions like the 9th, 11th, and 13th add richness to chords. ● Cmaj7 → D7 (secondary dominant) → G7 → Cmaj7
You can add these extensions to chords to create a more
complex sound. In this example, D7 is a secondary dominant (V of G), which
resolves to G7 before returning to Cmaj7.
Example:

● Cmaj7 → Cmaj9 → Cmaj13

Improvisation Techniques
Alterations to dominant seventh chords, like flat 9, sharp 9, and
sharp 13, make the dominant chord more tense and powerful, Improvisation in gospel music is all about creativity, feel, and
which is often resolved in gospel. expression. Here are some techniques that can help you to
improvise effectively:
Example:

● G7 → G7b9 → Cmaj7
1. Using the Blues Scale

The blues scale is a powerful tool in gospel, as it adds emotion

4. Descending or Ascending Chord Movements and soul to your improvisation. It’s a six-note scale with a "blue"
note (flattened 5th), which creates a bluesy, soulful feel.
You can create movement by using descending or ascending
chord patterns. For example, a descending chromatic line can ● C blues scale: C - Eb - F - F# - G - Bb
add tension and resolution.
When improvising, try using the blues scale over dominant This back-and-forth approach adds dialogue and expressiveness
seventh chords or pentatonic-based patterns. to the performance.

Example: Over a G7 chord, use the C blues scale to create

soulful, gospel-inspired riffs.
4. Playing with Rhythm and Syncopation

In gospel, rhythmic variation is key to a vibrant improvisation. Use

2. Pentatonic Scales for Improvisation syncopation to emphasize off-beats, which gives the music more
energy and drive.
The pentatonic scale (especially the major pentatonic scale) is a
key tool in gospel improvisation. The major pentatonic scale skips ● Example: Play a Cmaj7 chord on beat 1, and then play a
the 4th and 7th notes of the major scale, giving it a smooth, open quick, syncopated G7 chord on the off-beat (2-and) to add
sound. excitement.

● C major pentatonic scale: C - D - E - G - A 5. Using Arpeggios and Broken Chords

This scale works great for improvising over I - IV - V progressions You can use arpeggios (broken chords) to add movement and
in major keys. texture to your improvisation. Instead of playing chords in a block
form, break the chord into individual notes, and play them in a
Example: Over a Cmaj7 → Fmaj7 → G7 progression, you can flowing, arpeggiated pattern.
improvise using the C major pentatonic scale.
● Example: For a Cmaj7 chord, arpeggiate the notes C - E
- G - B, and use this pattern to create smooth lines while
improvising.
3. Call and Response

In gospel music, call and response is a common improvisation

technique. The "call" is a short musical phrase, and the 6. Modal Improvisation
"response" is a variation or answer to that phrase.
In modal improvisation, you can use scales based on the modes
Example: of the major scale (e.g., Dorian, Mixolydian, etc.) to create
different emotional colors.
● Call: Play a simple melody like C - E - G.
● Response: Play a response with variations like C - D - E - ● C Dorian mode (starting on D): D - E - F - G - A - Bb - C
F. ● C Mixolydian mode (starting on G): G - A - B - C - D - E -
F
Each mode provides a different flavor to your improvisation and 5. Focus on Feeling: Gospel is all about expression, so
can be used over corresponding chords. For example, C Dorian don’t be afraid to experiment and let the music flow
works great over a Dm7 chord, while C Mixolydian works well through you.
over G7.

By combining reharmonization techniques and improvisation

7. "Passing Chords" and "Passing Tones" skills, you’ll be able to elevate your gospel piano playing and
bring your own unique sound to the music.
A passing chord is a temporary chord that creates a smooth
transition between two chords in a progression.

● Example: If moving from Cmaj7 to D7, you can insert a

C#dim7 as a passing chord.

A passing tone is a note that "passes" between two harmonies.

Tritone and Its Role in Gospel Music
In gospel improvisation, passing tones often fill the space
What is a Tritone?
between the root notes or chord tones.
● A tritone is an interval that spans three whole steps (or
six half-steps). It is often referred to as an “augmented
fourth” or “diminished fifth,” and it is one of the most
Final Practice Tips for Reharmonization and dissonant intervals in music. Its dissonance creates
Improvisation tension, which is often resolved when it moves to a more
consonant interval.
1. Start Simple: Begin by reharmonizing simple ● Example of a Tritone:
progressions, using basic substitutions and extensions. ○ From C to F# (or Gb) is a tritone.
Gradually add complexity as you become comfortable. ■ C - D - E - F - F# (C to F# is a tritone).
2. Experiment with Chord Extensions: Play around with
9ths, 11ths, and 13ths to add flavor to your progressions. Tritone in Chords
Try replacing basic triads with these extended chords.
3. Improvise Daily: Try improvising over a basic In gospel, tritones play an important role in chord construction,
progression (e.g., Cmaj7 - Fmaj7 - G7 - Cmaj7) and particularly in dominant seventh chords and chord
focus on incorporating the blues scale, pentatonic scale, substitutions. A tritone between two notes can create tension,
and call-and-response techniques. which typically resolves to a more stable chord.
4. Record Yourself: Recording your improvisations can help
you hear the areas where you need improvement and
refine your playing.
 Tritone in Dominant Seventh Chords Tritone Substitution Example in Gospel
Progressions
● Dominant Seventh Chords and Tritones:
○ A dominant seventh chord consists of a root, major 1. Original Progression:
third, perfect fifth, and a minor seventh. The third ○ G7 → Cmaj7
and seventh of the dominant seventh chord form a 2. G7 (G - B - D - F) → Cmaj7 (C - E - G - B)
tritone interval, which creates tension and a desire ○ The F in G7 resolves smoothly to E in Cmaj7.
for resolution. 3. Tritone Substitution:
○ Example: ○ G7 → Db7 → Cmaj7
■ G7 (G - B - D - F) 4. G7 is substituted with Db7 (a tritone away from G7). The
■ The third (B) and the seventh (F) Db7 (Db - F - Ab - Cb) can resolve to Cmaj7, as Ab in
create a tritone interval. Db7 moves smoothly to G in Cmaj7.
■ This tritone creates a strong pull ○ Example of the Progression:
toward C (the tonic or I chord), ■ G7 → Db7 → Cmaj7
where the tension resolves. ○ This substitution gives the progression a more
● How It Works in Progressions: sophisticated, jazzy feel while maintaining the
○ G7 (dominant seventh) wants to resolve to C (tonic same harmonic function.
chord). The tritone between B (major third) and F
(minor seventh) in G7 resolves naturally to C (C -
E - G), which is consonant.
Using Tritones in Reharmonization
Tritone Substitution
Reharmonization is a technique where you take a standard chord
● What is Tritone Substitution? progression and add new chords or substitutions to make it more
○ Tritone substitution involves replacing a interesting. Tritones are a powerful tool in reharmonization
dominant seventh chord with another dominant because they can lead to surprising but pleasing chord shifts.
seventh chord a tritone away from the original
chord. This creates a smooth yet surprising Example: Reharmonizing "Amazing Grace"
harmonic shift, which adds complexity to gospel
progressions. Let’s take a common I - IV - V progression in C major:
○ For example, in a II-V-I progression (e.g., D7 - G7 -
C), you could substitute D7 (II chord) with Ab7 (a ● Original:
tritone away), resulting in Ab7 - G7 - C. ○ C→F→G→C
● Now, let’s use tritone substitutions and reharmonize this
progression:
● Reharmonized:
 ○ Cmaj7 → F#7 → G7 → Cmaj7 move smoothly to the next chord. The tritone
● Here, F#7 is a tritone substitution for F, and it still leads to interval between the third and seventh of the
G7 before resolving back to Cmaj7. dominant seventh chord is the focal point for
creating tension and smooth voice leading.

Advanced Tritone Substitution:

Tritone in Advanced Gospel Patterns
Let’s take a ii-V-I progression in C major:
Tritone-Based Chord Voicings
● Original:
○ Dm7 → G7 → Cmaj7 You can also use tritone-based voicings for smooth, rich sound.
○ Dm7 (D - F - A - C) → G7 (G - B - D - F) → Cmaj7 Here's how:
(C - E - G - B)
● Tritone Substitution: ● Cmaj7 (C - E - G - B)
○ Ab7 → G7 → Cmaj7 ○ Right Hand: Use E and B (major third and major
○ Ab7 (Ab - C - Eb - Gb) replaces Dm7, and the seventh).
tritone relationship between Ab7 and G7 gives the ○ Left Hand: Use C and G (root and fifth).
progression a more chromatic, jazzy feel. ● Tritone Substitution Example:
○ Ab7 (Ab - C - Eb - Gb)
○ Left Hand: Play Ab and Eb.
○ Right Hand: Play C and Gb (which is the tritone
Tritone for Smooth Voice Leading interval).

Tritones can help create a smoother voice leading between

chords. Here’s how:

● Example:
○ Cmaj7 (C - E - G - B) → B7 (B - D# - F# - A)
○ The B in Cmaj7 resolves smoothly to the B in B7,
and the tritone between E and D# creates tension
that resolves in the context of B7.
● Tritone Voice Leading:
○ This technique works by ensuring that the inner
voices (the notes between the root and the fifth)
 Final Thoughts on Tritones Original Progression:

● Tritones are a powerful tool in both creating tension and ● C→F→G→C

smooth voice leading.
● They’re especially useful in dominant seventh chords Reharmonized with Tritone Substitutions:
and substitutions, and can be used to create
● Cmaj7 → F#7 (tritone substitution for F) → G7 → Cmaj7
sophisticated harmonic movements.
● When reharmonizing or using tritone substitution, you Explanation:
introduce surprising changes that keep the music fresh
and engaging. ● The F#7 is a tritone substitution for F. It leads smoothly to
the G7, and finally resolves to the Cmaj7 chord. This
creates a more complex and jazzy progression without
losing the original structure.
Exercises with Tritones

1. Tritone Practice:
○ Play the G7 chord (G - B - D - F), then play the 2. "Oh Happy Day" (Edwin Hawkins Singers)
Db7 chord (Db - F - Ab - Cb).
○ Practice resolving these chords to Cmaj7. In the iconic song "Oh Happy Day," gospel musicians often apply
2. Tritone Substitution: tritone substitutions and dominant seventh chords to add
○ Take a simple progression like I - IV - V (C - F - G - richness. Here’s an example of a simple progression and how it
C), and experiment by substituting the F with F#7 can be reharmonized using tritones.
(a tritone away), creating a smoother chromatic
feel. Original Progression (Verse):

● C → F → G7 → C

These examples highlight how tritones are used in chord

progressions, substitutions, and reharmonization to create
tension and resolve smoothly. Reharmonized with Tritone Substitutions:

● Cmaj7 → F#7 (tritone substitution for F) → Bb7 (tritone

1. "Amazing Grace" (Traditional Gospel Song) substitution for G7) → Cmaj7
In "Amazing Grace," we can apply tritone substitutions to Explanation:
enrich the chord progressions. Here's an example of how to
reharmonize the familiar I - IV - V progression in C major: ● F → F#7 (F to F# is a tritone substitution).
 ● G7 → Bb7 (G7 to Bb7 is a tritone substitution). This Original Progression (in A major):
smooths out the movement between chords and adds a
bit of surprise. ● A → D → E7 → A
● The final Cmaj7 resolves the tension.
Reharmonized with Tritone Substitutions:

● Amaj7 → D#7 (tritone substitution for D) → E7 → Amaj7

3. "Total Praise" (Richard Smallwood) Explanation:

"Total Praise" has an elegant harmony that includes dominant ● D → D#7 is a tritone substitution that adds a chromatic
seventh chords, tritone substitutions, and extended chords. Below flavor and leads smoothly to the E7, creating tension that
is an example of how tritones function in the key of Eb major, resolves back to Amaj7.
focusing on the I - IV - V progression. ● The use of D#7 (a dominant seventh) makes the
progression more interesting and adds more color to the
Original Progression:
movement.
● Eb → Ab → Bb7 → Eb

Reharmonized with Tritone Substitutions:

5. "I Smile" (Kirk Franklin)
● Ebmaj7 → A7 (tritone substitution for Ab) → Bb7 →
Ebmaj7 "I Smile" by Kirk Franklin features gospel progressions with
extended chords and some nice twists on traditional
Explanation: progressions. In this example, we can apply a ii-V-I progression
with tritone substitution.
● Ab → A7 is a tritone substitution, which creates a
chromatic movement toward Bb7. Original Progression (in C major):
● Bb7 moves naturally back to Ebmaj7 (the tonic chord),
completing the harmonic cycle with a smooth resolution. ● Dm7 → G7 → Cmaj7

Reharmonized with Tritone Substitution:

● Ab7 (tritone substitution for Dm7) → G7 → Cmaj7

4. "Take Me to the King" (Tamela Mann)
Explanation:
"Take Me to the King" features rich harmonic movement with
major and minor chords. Here's an example of how to apply
tritone substitutions in the context of this modern gospel song.
 ● Dm7 → Ab7 (a tritone substitution). The Ab7 leads to G7, 7. "Let’s Go Higher" (Hezekiah Walker)
and then to Cmaj7, creating a smooth yet unexpected
shift. In "Let’s Go Higher," tritone substitutions and dominant seventh
● This reharmonization makes the progression more jazzy chords are used frequently for harmonic tension and release.
and sophisticated, common in modern gospel music.
Original Progression (in G major):

● G → C → D7 → G
6. "Blessed Assurance" (Traditional Hymn with
Reharmonized with Tritone Substitutions:
Gospel Influence)
● Gmaj7 → C#7 (tritone substitution for C) → D7 → Gmaj7
"Blessed Assurance" is a beautiful hymn that’s often played with
gospel embellishments. The progression often uses dominant Explanation:
seventh chords, and we can apply tritone substitutions to give it a
more contemporary feel. ● C → C#7 (a tritone substitution for C). The C#7 creates a
chromatic shift that leads to D7, which then resolves
Original Progression (in F major): smoothly back to Gmaj7.
● This reharmonization adds a jazzy flair while preserving
● F → Bb → C7 → F the energy and movement of the original song.

Reharmonized with Tritone Substitutions:

● Fmaj7 → B7 (tritone substitution for Bb) → C7 → Fmaj7

Explanation:

● Bb → B7 is a tritone substitution that adds harmonic

tension. The B7 chord creates a smooth chromatic
movement toward C7 before resolving back to Fmaj7.
● This gives the song a more modern feel while retaining
the original melody and harmony.
 Key Points on Using Tritones in Gospel Music:

1. Tritone Substitution: Moving from one dominant seventh

chord to another a tritone away, often provides harmonic
movement that sounds fresh and unexpected.
2. Voice Leading: Tritones create smooth voice leading by
resolving dissonance. For example, the B in G7 moves
smoothly to C in Cmaj7, and F in G7 moves smoothly to E
in Cmaj7.
3. Chromatic Movement: By using tritone substitutions, you
can create chromatic progressions that make gospel
songs sound more modern or sophisticated.
4. Tension and Resolution: Tritones create tension in the
music, which is why they are often used in dominant
seventh chords. This tension seeks resolution in more
consonant chords, like major or minor seventh chords.

Practice Tip:

To internalize tritone substitutions, try reharmonizing some of your

favorite gospel songs by replacing dominant seventh chords with
their tritone substitutes. Play around with the ii-V-I progressions
and I-IV-V progressions, and experiment with major and minor
seventh chords.