Piano Diana Blog: Chord progression

Showing posts with label Chord progression. Show all posts

How To Play Brave

Brave

Words and Music by Sara Bareilles and Jack Antonoff

Key: Bb
Time: 4/4 (Moderately)

Intro
Bb

Bb
You can be amazing

You can turn a phrase into a weapon or a drug
Gm
You can be the outcast

Or be the backlash of somebody’s lack of love
Eb  F
Or you can start speaking up
Bb
Nothing’s gonna hurt you the way that words do

When they settle ‘neath your skin
Gm
Kept on the inside and no sunlight
                    Eb
Sometimes a shadow wins
       F
But I wonder what would happen if you

+

Bb
Say what you wanna say
Gm                     Eb
And let the words fall out
         F   
Honestly I wanna see you be brave
Bb
With what you want to say
Gm                     Eb
And let the words fall out
         F
Honestly I wanna see you be brave

Bb
I just wanna see you
Eb
I just wanna see you
Gm
I just wanna see you
F
I wanna see you be brave

Bb
I just wanna see you
Eb
I just wanna see you
Gm
I just wanna see you
F
I wanna see you be brave
[ Tab from: http://www.guitaretab.com/s/sara-bareilles/351630.html ]
Bb
Everybody’s been there, everybody’s been stared down

By the enemy
Gm
Fallen for the fear and done some disappearing
Em
Bow down to the mighty
Eb         F
Don’t run, just stop holding your tongue
Bb
Maybe there’s a way out of the cage where you live
Gm
Maybe one of these days you can let the light in
Eb       F
Show me how big your brave is

Bb
Say what you wanna say
Gm                     Eb
And let the words fall out
         F   
Honestly I wanna see you be brave
Bb
With what you want to say
Gm                     Eb
And let the words fall out
         F
Honestly I wanna see you be brave

Gm         Bb
And since, your history of silence
Bb/D           Eb
Won’t do you any good
Bb/D          Eb
Did you think it would?
Gm                Bb
Let your words be anything but empty
Fsus                           F
Why don’t you tell them the truth?

Bb
Say what you wanna say
Gm                     Eb
And let the words fall out
         F   
Honestly I wanna see you be brave
Bb
With what you want to say
Gm                     Eb
And let the words fall out
         F
Honestly I wanna see you be brave

Bb
I just wanna see you
Eb
I just wanna see you
Gm
I just wanna see you
F
I wanna see you be brave

Bb
I just wanna see you
Eb
I just wanna see you
Gm               
I just wanna see you
Bb                  F
I wanna see you be brave

Bb
I just wanna see you
Eb
I just wanna see you
Gm               F
I just wanna see you

© 2013 Sony/ATV Music Publishing

Chord Progression

L.H. / R.H.

Bb = Bb/BbD and Bb/FBb and Bb/DFBb

Gm = G/BbD and G/DGBb

Eb = Eb/GBbEb

F = F/FAEb and F/ACEb and F/FAC

Fsus = F/FBbC

Bb/D = Bb/FBbD

If you're not familiar with sus chords, here's an article you may be interested in reading...

How To Play A Suspended Chord

Key of G

Intro
G

G
You can be amazing
G
You can turn a phrase into a weapon or a drug
Em
You can be the outcast
Em
Or be the backlash of somebody’s lack of love
C
Or you can start speaking up
G
Nothing’s gonna hurt you the way that words do
G
And they settle ‘neath your skin
Em
Kept on the inside and no sunlight
C
Sometimes a shadow wins
D
But I wonder what would happen if you

G
Say what you wanna say
Em                     C
And let the words fall out
         D   
Honestly I wanna see you be brave
G
With what you want to say
Em                     C
And let the words fall out
         D
Honestly I wanna see you be brave

G
I just wanna see you
Em
I just wanna see you
C
I just wanna see you
D
I wanna see you be brave

G
I just wanna see you
Em
I just wanna see you
C
I just wanna see you
D
I wanna see you be brave
[ Tab from: http://www.guitaretab.com/s/sara-bareilles/351630.html ]
G
Everybody’s been there, everybody’s been stared down
G
By the enemy
Em
Fallen for the fear and done some disappearing
Em
Bow down to the mighty
C
Don’t run, stop holding your tongue
G
Maybe there’s a way out of the cage where you live
Em
Maybe one of these days you can let the light in
C       D
Show me how big your brave is

G
Say what you wanna say
Em                     C
And let the words fall out
         D   
Honestly I wanna see you be brave
G
With what you want to say
Em                     C
And let the words fall out
         D
Honestly I wanna see you be brave

Em         G
And since, your history of silence
C
Won’t do you any good
C
Did you think it would?
Em                G
Let your words be anything but empty
C                           D
Why don’t you tell them the truth?

G
Say what you wanna say
Em                     C
And let the words fall out
         D   
Honestly I wanna see you be brave
G
With what you want to say
Em                     C
And let the words fall out
         D
Honestly I wanna see you be brave

G
I just wanna see you
Em
I just wanna see you
C
I just wanna see you
D
I wanna see you be brave

G
I just wanna see you
Em
I just wanna see you
C
I just wanna see you
D
I wanna see you be brave

G
I just wanna see you
Em
I just wanna see you
C
I just wanna see you
D
I wanna see you be brave

G
I just wanna see you
Em
I just wanna see you
C
I just wanna see you
D
I wanna see you be brave

More Sara Bareilles songs:

How To Play Manhattan

Love Song

If you need a brush up course on music chords, here's an audio set to learn the formation of many triads you just have to know in order to play songs. Visit, Chords 101 & 102

Blessings,

-- LadyD

"Jazz washes away the dust of every day life." -- Art Blakey

The Power of Pentatonics

Minor pentatonic blues scale on A (Photo credit: Wikipedia)

Last time we discussed the Pentatonic Scale and Pentatonic Patterns. Chaim Burstein said, "Your own ear will always be your best guide as to what works and what doesn't." Let's continue with his very informative article.

Chord Scale Relationships

Most heptatonic scales such as locrian and lydian are useful for only one type of chord or another. In contrast, pentatonic scales may be used for over a dozen different chord sounds. There are 12 different uses of the pentatonic scale. There are chord types, like Major, Minor, Dominant, Altered Dominant, Sus4, Half Diminished,etc. Then there are scale degrees from which to build the major pentatonic and then we have the chord tones and tensions that each chord/scale relationship will produce. Thus, when the improvisor is given the chord CMaj7, he has the option of playing a pentatonic from the root 9th or 5th of the chord.

Generally, the easiest way to apply these new chord/scale options is by practicing them over modal or static chord progressions.

Modal/Free Playing

Many improvisors complain of feeling boxed in or trapped by modal tunes and free playing over ostinatos. Pentatonics can provide a tonal framework with which to create new sounds that are not only interesting but structurally coherent as well.

Chord / Scale Options

CMaj7

C, D, E, G... D, E, G, A / D, E, F#, A... E, F, A, B / G, A, B, D... A, B, D, E / D, C, A, G, A

There are three possible chord/scale options for the chord CMaj7. (See above example) Notice how the scalar pattern (from the last lesson) creates a consistency that links each new chord sound to the previous one.

Side Sweeping

CMaj7

C, D, E, G... D, E, G, A / Db, Eb, F, Ab... Eb, F, Ab, Bb / C, A, G, E... A, G, E, D / G, E, D, C, A

A technique known as 'side-stepping' is shown above. In this example the improvisor defines the tonal center by clearly outlining a C major pentatonic scale in the first measure. Upon reaching the second measure, you play the same pattern a 1/2 step above from Db, thus taking the listener 'outside' of the prescribed harmony. Measures 3-4 bring the listener back 'inside' the changes by playing the descending version of the original C major pentatonic sequence.

You can combine the concept of alternative chord/scale options with side-stepping. Try playing the examples below and creating a few of your own. Notice how your ear recognizes the sequence and thus accepts each transposition of the pentatonic scale as a development of the previous idea.

Chord / Scale Options & Side Stepping Combined

CMaj7

C, D, E, G...Ab, F, Eb, Db / D, E, F#, A... Bb, G, F, Eb / E, F#, G#, B... C, A, G, E / D, C, D, E, G

To be continued... more later.

You may be interested in Jazz Intensive Training Center

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"Jazz washes away the dust of every day life." -- Art Blakey

How to Play You Are Loved

Josh Groban

Awake

Joshua Grobin is an American singer, songwriter, musician, actor and record producer. His first four solo albums have been certified multi-platinum, and in 2007, he was charted as the number-one best selling artist in the U.S. with over 21 million records in the nation. To date, he has sold over 25 million records worldwide. For more information, visit Wikipedia, Josh Groban




Chord Chart from azchords.com



Intro 
G - D - Bm - A (2X)


G              D
  Don't give up 
Bm               A               G
  It's just the weight of the world 
      D                  
When you're heart's heavy
Bm           A              G
I...I will lift it for you 
              D
  Don't give up 
Bm            A            G
  Because you want to be heard 
   D
If silence keeps you 
Bm           A              D
I...I will break it for you 
G    D                A         D
Everybody wants to be understood 
     G      D    A
Well I can hear you
D G    D      A          D
  Everybody wants to be loved 
G          D     A
Don't give up

         D  A   G
Because you are loved 

D - Bm - A

G             D
 Don't give up 
Bm              A               G
 It's just the hurt that you hide 
      D
When you're lost inside
Bm             A                G
I...I will be there to find you 
            D
Don't give up 
Bm              A             G
  Because you want to burn bright 
     D
If darkness blinds you 
Bm           A                D
I...I will shine to guide you 
G    D                A         D
Everybody wants to be understood 
     G     D     A
Well I can hear you
D G   D      A           D
 Everybody wants to be loved 
G         D    A
Don't give up
        D   A    G
Because you are loved 

D - Bm - A


G - D - Bm - A   To finish(overlapping vocals)

You are loved 
Don't give up 
It's just the weight of the world 
Don't give up 
Every one needs to be heard 
You are loved

I like to play the song in the Key of D, with a moderate tempo, 4/4 time.

Chord Breakdown

Intro (2 x's)

GG/GBD

DD/ADF#

BB/BDF#

AA/AC#E

Verse

GG/GBD

DD/ADF#

BB/BDF#

AA/AC#E

GG/GBD

DD/ADF#

BB/F#B

AA/AC#

GG/GBD

DD/ADE

BB/BDF#

AA/AC#E

GG/GBD

DD/ADF#

BB/F#B

AA/AC#

F#/F#AD

F#F#AD

G/DGD

D/DF#A

A/AC#

A/AC#A

F#/ADA

G/BDG

D/ADF#

A/AC#E

F#/F#AD

G/DGD

D/DF#A

A/AC#A

F#/ADA

G/BDG

D/ADF#

A/AC#E

DF#/AF#

C#E/AE

G/DGBD

2nd ending

D/ADF#

B/F#DBD

A/AC#F#

G/GBD

D/ADF#A

B/F#BDF#

A/EAC#

G/DGA

D/ADF#

B/F#BD

A/AC#E

G/GBD

D/ADF#

B/F#BD

A/EAC#

G/DGA

D/ADG

B/F#BD

A/AC#E

G/BDA

D/ADF#

B/F#BD

A/AC#F#

G/GBD

D/ADF#

B/F#BD

A/EAC#

* G/GBD

D/ADF#

B/F#BD

A/EAC# * repeat and fade

*optional ending

A/EAC#

G/GBD

You Are Loved

"Jazz washes away the dust of every day life." -- Art Blakey

Helping Students Find Their Voice as a Composer

Teaching Composition

I recently read this great article from Ezra Weiss, Helping Students Find Their Voice as a Composer. He suggests students attempt to write a tune every day. I especially like #11. Here's part of Mr. Weiss' notes.

My students generally spend their first year writing lead sheets before moving on to writing for jazz combo, then big band, and then studio orchestra and traditional chamber ensembles. This initial emphasis on lead sheets allows us to focus on melody, harmonic motion, and form. These elements provide the foundation of a composition, so they must be strong before we build an arrangement on top of them...

Most importantly, writing a lead sheet every day allows us to experiment with writing many different types of tunes. Students often find it helpful to keep a list of ways to write tunes. While this list initially may seem creatively limiting, our most creative ideas are often born out of these limitations. Here is a sample list.

Some Ways to Write Tunes:

1. Sing a melody
2. Feel a groove
3. Come up with the rhythm first, then hear the pitches
4. Based on a musical concept, polytonality, set theory, mixed meter, etc.
5. Inspired by a mood
6. Inspired by a place
7. Inspired by an emotion
8. Programmatic music
9. Use words: text-oainting, lyrics
10. Traditional forms: AABA. ABAC, Blues
11. Come up with the chord changes first
12. Bass Line
13. Use a phrase from the "stream of consciousness" exercise
14. Use elements of music from a different culture
15. Write for a specific performance space (concert hall, football game, recording studio, etc.)
16. Write with someone else's band in mind
17. Imitate someone else's style
18. Ask yourself, "What do I want to hear?"
19. Ask yourself, "What do I want to say?"
20. Ask yourself, "What do I want to play?"

As students seek inspiration for new tunes, they may also find it useful to keep a notebook filled with other lists.

1. Musical ideas: melodic phrases, rhythms, chord progressions, etc.

2. List of words to look at while composing: melody, harmony, rhythm, dynamics, space, range, color, timbre, structure, form, etc.

3. Listening log: include title, composer, performers, year, personal observations about the piece.

4. List of "Moving Musical Moments": specific points in a piece of music that the student finds personally moving. These are powerful moments that strike a nerve, give chills, or cause a sudden smile. An example would be "The Beatles" - "Golden Slumbers" (0:32) - drums enter going into the chorus.

5. List of titles for pieces to write someday

Studying the works of other composers also plays an important role in a student's development... Students may also choose to study musical scores and fake books. Of course, reading books about music is also essential to obtaining necessary compositional skills... As we help students to find their compositional voice, certain practical tips will provide invaluable.

1. Go for walks. Get out of the practice room and walk around somewhere that inspires the music in your head. Once you hear it in your head, then you can go back to the practice room, figure out what it is, and write it down. As Wendell Logan often said, "Music is not about music."

2. Don't push the music around. Rather than trying to force the music to fit our preconceptions, we will find much more success in trying to hear what direction the music wants to go.

3. Take risks. You will either discover a new musical possibility, or you will learn of something to avoid in the future. Either way, trial and error is a valid approach to composition and learning.

4. Set specific goals with deadlines. Compositions requires time, and time management skills will help give you that.

5. Have lots of staff paper handy. As you throw away 90 percent of your writing, you do not want to be worrying about running out of paper. Think bulk quantities.

Finally, we as teachers can directly help students find their own compositional voice by asking what they think about their music. What effect does this have? Is that the effect you were hoping to create? How could we create more tension/surprise/continuity/etc?

By seeking students' thoughts, we directly help them find their compositional voice.

Ezra Weiss is a composer/pianist who holds a Bachelors in Jazz Composition from the Oberlin Conservatory and a Masters in Piano from Queens College. For more information visit, www.ezraweiss.com

So, have you tried writing some songs or have song writing friends? Do you hear the melody first or do you write out the lyrics at the beginning? I work on the chord progressions and then go back and fill my song in. I'm new at this so I am learning from other songwriters.

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"Jazz washes away the dust of every day life." -- Art Blakey

The Two-Sided Tritone and Other Puzzles

English: Dominant seventh tritone resolution chords (Photo credit: Wikipedia)

Many keyboardists feel right at home with simple triads or seventh chords, but run into difficulty when it comes to some of the more sophisticated, "jazzy" harmonies in "big band" and contemporary music. Where do these sounds come from and how can they be used? Here's a way to think about these sounds and a simple technique you can use to spruce up any harmony with them.

Let's begin with one of the most basic chord progressions in both pop and classical music: V7 - I. In the Key of F, this would represent a C7 chord moving to an F chord. Are you familiar with this progression? There is no question that it "works." Many people are not aware of why it "works." The answer is "voice-leading." The notes of the C7 chord move smoothly to the notes of the F chord.

This is most apparent if we telescope in on the two notes in the C7 chord which form the interval of a tritone: Bb and E.

The tritone is a very jazzy but unstable interval, and in the C7 - F progression, it finds stability by moving outward - the Bb down to A (the third in the F chord), and the E up to F. This resolution is pleasing, and it gives the progression a strength and inevitability. (BbE to AF)

The same two notes, called by the names A# and E, occur in the F#7 chord, which is the V7 of B. Here, though, the notes of the tritone move inward to find their resolution in the notes of the B chord.
(A#E to BD#)

The fact that our tritone interval can lead strongly in either direction makes possible the art of chord substitution; contemporary players often substitute the F# for C7 and vice versa. (These chords lie opposite each other on the "circle of fifths."

Musicians can make use of the two-sided tritone to add new flavors to old chord progressions. Suppose you were faced with the progression F#7 to B7. Remember, that interval of A# and E can move outward as well as inward. Here the base line moves from F# to B, but the tritone in the right hand acts as if we were playing C7 to F. We have purposely confused the harmonic movement, taking advantage of the vagueness of the tritone. (F#/A#E to B/AF)

Try playing a whole circle of fifths, using this concept. If you keep in mind the idea that each hand is capable of "voice-leading" in its own direction. the result can be refreshing and quite beautiful. To start off, here is a sample using C7 - F7 - Bb7 :

C/BbE to B/AEbF then Bb/AbDG

Article credit: Stuart Isacoff

You may be interested in Tritone

"Jazz washes away the dust of every day life." -- Art Blakey

Aural Awareness by Miles Donahue

Many have been led to believe that the blues scale is really all one needs to know in order to play over a blues chord progression. Although this is certainly a viable jazz tool when playing the blues, it is misleading to tell students it is the "main scale" used for improvising in this genre.

"Multi-instrumentalist Miles Donahue didn't get serious about jazz until he was forty-five years old."
http://www.allaboutjazz.com

Here's an article from Miles Donahue...

Aural Awarenss: Out With The Blues Scale; In With The Mixolydian

Understanding the Blues Scale

When you use the blues scale of the key you are in, it's not usually used over the

I chord, but over the IV or V chord. This means in the key of C, you would play

the C blues scale against the F7 or the G7.

If you are a beginner, sit at the piano and experience improvising by hitting any

black key while someone else (a teacher) vamps on the two chords of a song.

These five notes are the minor pentatonic scale and when you add the A natural it

changes to the blues scale.

When you ask a student what the Mixolydian scale is, they usually tell you it is

the scale where you flat the 7th. Well, this isn't exactly correct. Definitely that's the

difference between a major scale and a Mixolydian scale.

Think of the Mixolydian scale as the scale within a major scale that starts on

the fifth degree of that scale. Now the key signature for G Mixolydian has no sharps

and no flats (key of C).

So, you're not having sharps and flats but depending on simply knowing the notes in

each major scale. A Mixolydian is 2 sharps (C# and F#), etc.

Here are some examples of Mixolydian Melodies in popular songs:

* Stevie Wonder's "Signed, Sealed, and Delivered" starts with the descending line,

1, 7, 6, 5, 4, 3, 1. Play these notes; E, D, C#, B, A, G#, E.

* "Pretty Woman" starts with an arpeggio of the Mixolydian chord (dominant 7th) -

and then the line ascends to the 9th - 1, 1, 3, 5, 7, 9, 8, 7. Play the following notes;

E, E, G#, B, D... E,E, G#, B, D, F#, E,D,...

* The Beatles' "Birthday" uses the passing tone of the 6 in its opening line, 1, 1, 3, 5,

7, 6, 5, 1. Play the notes; E, E, G#, B, D, C#, B.

* "Norwegian Wood" is a more difficult melody because it is longer and has bigger

interval skips. Play these single notes; B, C#, B, A, G#, F#, A, G#, E, D, A, C#, B.

* Another Beatles song, "Day Tripper," has a half step approach to the third (non Diatonic

note), as well as the 9th as part of the introductory melody. Diatonic means "from the key"

and generally diatonic melodies are much simpler than melodies that use non diatonic

notes. Play; E, G, G#, B, E, D, B, F#, B, D, E.

* George Benson's version of "Broadway" (5, 3, 1, 2, 5, 3, 1, 7, 2, 1, 5) is played in six

different mix keys. The song starts in Ab mix and modulates to Db, A, D, Bb, and Eb.

At the end of the song, the band vamps on Bb mix and that is where the improvising

takes place. You will play; B, G#, E, F#, B, G#, E, D, F#, E, D.

I think we all need examples of many jazz tools before we can incorporate them into
into our own style of improvising. Now you have an understanding of the Mixolydian scale and
and you're learning one of the most important scales used in jazz.

For more information, visit his website, http://www.milesdonahue.com

Here's some Miles Donahue songs in iTunes:

Lights Out
Miles Donahue Standards Vol. 3 (Someone to Watch Over Me)
Close to You

If you're interested in reading some of my articles, here's a few:

Learn The Jazz Language

Four Tips To Playing Scales

Best,

"Jazz washes away the dust of every day life." -- Art Blakey

The Minor Ninth Chord in Db

Let's talk about the Minor Ninth chord in Db.

Bass = Db

Right Hand = E + Ab + B + Eb

I like to use this chord progression in a 1-4 turn around. For example, it creates a nice groove when you change the 3rd finger from B to Bb.

Now, if you do this, you must also change the bass from Db to Gb. That is why it is called a 1-4 turnaround because Gb is the 4th tone in the Db Major Scale.

Basically, you switch from the Db minor chord (the third tone is simply lowered to Bb and the bass to Gb.

Summary:

Dbmin9 --> Gb13

Bass: Db * Right Hand: E + Ab + B + Eb

Bass: Gb * Right Hand: E + Ab + Bb + Eb

Try it out. I think you'll agree, this one is pretty nice. You might want to check on these:
Advanced Gospel Courses

Best,

-- Piano Diana

-- LadyD Have a heart that never hardens and a touch that never hurts. Be kinder than necessary, for everyone you meet is fighting some kind of battle.

Maintain a Groove

(de) Klavier, Tastatur; (en) piano, keys.

Image via Wikipedia

Another great piano man that I admire on YouTube is Mr.Ron
You can go directly to his video http://www.youtube.com/watch?v=IBV7gnH1bho&feature=digest or watch below. You'll learn simple chord progressions and the inversions. But mostly you'll hear Ron say over and over... just keep the groove going. it really does get easier with practice, like anything else.

Comments are welcomed and encouraged! Thanks for stopping by. I hope you enjoy your stay at Piano Diana.

Blues Chord Progression

You may know how to build:

* minor thirds
* major thirds
* perfect fifths
* major chords
* minor thirds
* seventh chords

Do you know these chords?
C7, F7, G7?

Here's another way to figure out seventh chords:

1. Start from the root note of the chord you want to play. That is ( F ) or ( G )...
2. Add a major third ( 4 half steps )
3. Then add a minor third (which is the same as a perfect fifth from the root).
4. Then add another minor third.

Seventh chord = major third + minor third + minor third ... or

Major third (combined with perfect fifth + minor third

* * * * * * * * * * * * * * * * * * * *

C7 = C + E + G + Bb

F7 = F + A + C + Eb

G7 = G = B + D + F

* * * * * * * * * * * * * * * * * * * *

Blues Chord Progression

A "chord progression" is a series of chords played one after the other.

A "blues chord progression" is usually 12 bars long.

In this progression, a bar equals 4 beats. Clapping your hands 4 times (in a rhythmical beat) equals 1 bar. thus, 12 bars equals 48 beats.

Each bar begins at 1 again. That is, "1-2-3-4" - - - "1-2-3-4" as opposed to "1-2-3-4 - - - 5-6-7-8"

How To Read The Blues Chart

1. The chord is listed first; the beat numbers are listed below the chord names.
2. Play the chord for the given amount of beats listed (the bar # is also listed).

For example,

C7
(1-2-3-4)
Bar 1

This means that you will play a C7 chord while counting to 4

--------------------------------
CHORD PROGRESSION
--------------------------------

C7
(1-2-3-4)
bar 1

C7
(1-2-3-4)
bar 2

C7
(1-2-3-4)
bar 3

C7
(1-2-3-4)
bar 4

F7
(1-2-3-4)
bar 5

F7
(1-2-3-4)
bar 6

C7
(1-2-3-4)
bar 7

C7
(1-2-3-4)
bar 8

G7
(1-2-3-4)
bar 9

F7
(1-2-3-4)
bar 10

C7
(1-2-3-4)
bar 11

C7
(1-2-3-4)
bar 12

Thanks for stopping by.
I hope you enjoy your stay at Piano Diana.