Chords for awesome piano passing chords lesson
Tempo:
107.35 bpm
Chords used:
C
G
F
Am
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The second rule for using passing chords involves the use of diminished seventh [N] chords.
Let's see how those are formed.
The second rule for creating passing chords is the use of diminished seventh chords.
Diminished chords are almost always used as passing chords.
You form a diminished seventh chord by lowering
the fifth and the third and the seventh tones in a chord by one half a step.
So if we wanted to form a C diminished chord, [Eb] the regular [C] C chord is C, E, G.
We're going to lower the G [Am] to F sharp.
You lower the [Ebm] E to E flat.
The seventh is the flatted seventh, which is a B flat, and we have to lower it [D] also a half a step,
which is going to make it an A.
And then if we add the C [A] in with that, we can voice it like this.
C, E [C] flat, F sharp, [Eb] and A.
And that creates [Gb] a C diminished [N] seventh.
So you can do any diminished seventh voicing as long as it's a half a step above or a half a step below
the target chord that you're moving to, the target chord being the next chord in the music.
So in the example that I've given you here on Oh How I Love Jesus,
we're going to be passing from, at the end of [C] Jesus, we have a C chord.
We're passing from Jesus back into Oh How I Love Jesus, which is on a [G] G chord.
So in order to [G] get to the G chord, [C] in this example, we're going to use an F sharp diminished seventh chord.
[G] It's a [C] half a step below the G chord, so [Gb] it goes [G] F sharp to G.
And the [N] second passing chord that we're using, we're passing [G] from a G chord [E] to an A chord.
It passes to an A major nine chord.
To get there, we're going to walk up a half a [Ab] step and
play an A flat diminished seventh chord there
to [Am] get us back to the A major [N] nine chord.
So we're simply walking in half step increments.
Now I'm going to play it real slow, and then we'll [Gb] play it kind of fast
so we can show you how it would sound in real cadence time.
The first chord in this example is [C] a C major chord, G, B, E.
We go
The second chord is an F major nine chord, and I form it by an
[C] F and a C in the left hand, a [F] G, A, and E in the right hand.
[F] [C]
Then the F sharp diminished chord comes in.
Then the F sharp diminished chord comes in.
We form [Gb] it with this voicing.
It's an F sharp, [Am] A, C, and E flat in the [F] right hand
with just an F sharp note in the left [Gb] hand.
Just moves right up to the G.
[G]
Then we have a G13.
It's a G and an F note in the left hand,
[Em] a B and an E note in the right hand.
Now here comes the second passing chord, the A flat diminished seventh.
You're going to just move [G] your pinky in the left hand to an A flat.
[Ab] So you're going to have A flat, F in the left hand.
You're just going to make a slight change in the right hand and play B, D, [B] F.
This is your A flat diminished chord.
Then it moves in a very subtle [Ab] movement down to the A major nine chord.
This is formed by [A] playing A, C sharp, E in the left hand,
A flat, [E] B, and E in the right hand.
This is what we would call layering chords or stacking chords.
We've actually played two chords at the same time.
So we've got [Eb] A, C, sharp, E in the left hand, A flat, B, E in the right hand.
[E]
A very smooth chord, A flat major nine.
And then it just goes to a walk down on the A minor.
[Am] [A]
[F] It ends on an F major seven in this example.
Okay, let me just play it for you in more of a real cadence time
and you can see [A] how smooth the transition [C] works.
[F] [C] [Dm]
[C] [G]
[Em] [G]
[A]
[Am]
[F] Very nice.
[N] Okay, let's move on to number three.
Rule for using passing chords involves using the circle of fifths.
And I want you to look at the top of page five with me
and let's go over
Let's see how those are formed.
The second rule for creating passing chords is the use of diminished seventh chords.
Diminished chords are almost always used as passing chords.
You form a diminished seventh chord by lowering
the fifth and the third and the seventh tones in a chord by one half a step.
So if we wanted to form a C diminished chord, [Eb] the regular [C] C chord is C, E, G.
We're going to lower the G [Am] to F sharp.
You lower the [Ebm] E to E flat.
The seventh is the flatted seventh, which is a B flat, and we have to lower it [D] also a half a step,
which is going to make it an A.
And then if we add the C [A] in with that, we can voice it like this.
C, E [C] flat, F sharp, [Eb] and A.
And that creates [Gb] a C diminished [N] seventh.
So you can do any diminished seventh voicing as long as it's a half a step above or a half a step below
the target chord that you're moving to, the target chord being the next chord in the music.
So in the example that I've given you here on Oh How I Love Jesus,
we're going to be passing from, at the end of [C] Jesus, we have a C chord.
We're passing from Jesus back into Oh How I Love Jesus, which is on a [G] G chord.
So in order to [G] get to the G chord, [C] in this example, we're going to use an F sharp diminished seventh chord.
[G] It's a [C] half a step below the G chord, so [Gb] it goes [G] F sharp to G.
And the [N] second passing chord that we're using, we're passing [G] from a G chord [E] to an A chord.
It passes to an A major nine chord.
To get there, we're going to walk up a half a [Ab] step and
play an A flat diminished seventh chord there
to [Am] get us back to the A major [N] nine chord.
So we're simply walking in half step increments.
Now I'm going to play it real slow, and then we'll [Gb] play it kind of fast
so we can show you how it would sound in real cadence time.
The first chord in this example is [C] a C major chord, G, B, E.
We go
The second chord is an F major nine chord, and I form it by an
[C] F and a C in the left hand, a [F] G, A, and E in the right hand.
[F] [C]
Then the F sharp diminished chord comes in.
Then the F sharp diminished chord comes in.
We form [Gb] it with this voicing.
It's an F sharp, [Am] A, C, and E flat in the [F] right hand
with just an F sharp note in the left [Gb] hand.
Just moves right up to the G.
[G]
Then we have a G13.
It's a G and an F note in the left hand,
[Em] a B and an E note in the right hand.
Now here comes the second passing chord, the A flat diminished seventh.
You're going to just move [G] your pinky in the left hand to an A flat.
[Ab] So you're going to have A flat, F in the left hand.
You're just going to make a slight change in the right hand and play B, D, [B] F.
This is your A flat diminished chord.
Then it moves in a very subtle [Ab] movement down to the A major nine chord.
This is formed by [A] playing A, C sharp, E in the left hand,
A flat, [E] B, and E in the right hand.
This is what we would call layering chords or stacking chords.
We've actually played two chords at the same time.
So we've got [Eb] A, C, sharp, E in the left hand, A flat, B, E in the right hand.
[E]
A very smooth chord, A flat major nine.
And then it just goes to a walk down on the A minor.
[Am] [A]
[F] It ends on an F major seven in this example.
Okay, let me just play it for you in more of a real cadence time
and you can see [A] how smooth the transition [C] works.
[F] [C] [Dm]
[C] [G]
[Em] [G]
[A]
[Am]
[F] Very nice.
[N] Okay, let's move on to number three.
Rule for using passing chords involves using the circle of fifths.
And I want you to look at the top of page five with me
and let's go over
Key:
C
G
F
Am
A
C
G
F
_ _ The second rule for using passing chords involves the use of diminished seventh [N] chords.
Let's see how those are formed.
The second rule for creating passing chords is the use of diminished seventh chords.
Diminished chords are almost always used as passing chords.
You form a diminished seventh chord by lowering
_ the fifth and the third and the seventh tones in a chord by one half a step.
So if we wanted to form a C diminished chord, [Eb] the regular [C] C chord is C, E, G.
_ We're going to lower the G [Am] to F sharp.
You lower the [Ebm] E to E flat.
The seventh is the flatted seventh, which is a B flat, and we have to lower it [D] also a half a step,
which is going to make it an A. _
And then if we add the C [A] in with that, we can voice it like this.
_ _ _ C, E [C] flat, F sharp, [Eb] and A.
And that creates [Gb] a C diminished [N] seventh.
_ So you can do any diminished seventh voicing as long as it's a half a step above or a half a step below
the target chord that you're moving to, the target chord being the next chord in the music.
So in the example that I've given you here on Oh How I Love Jesus,
we're going to be passing from, at the end of [C] Jesus, we have a C chord.
We're passing from Jesus back into Oh How I Love Jesus, which is on a [G] G chord.
So in order to [G] get to the G chord, [C] in this example, we're going to use an F sharp diminished seventh chord.
[G] It's a [C] half a step below the G chord, so [Gb] it goes [G] F sharp to G.
_ _ And the [N] second passing chord that we're using, we're passing [G] from a G chord [E] to an A chord.
It passes to an A major nine chord.
To get there, we're going to walk up a half a [Ab] step and
_ play an A flat diminished seventh chord there
to [Am] get us back to the A major [N] nine chord.
So we're simply _ walking in half step increments.
Now I'm going to play it real slow, and then we'll [Gb] play it kind of fast
so we can show you how it would sound in real cadence time.
The first chord in this example is [C] a C major chord, G, B, E.
We go
_ _ The second chord is an F major nine chord, and I form it by an
[C] F and a C in the left hand, a [F] G, A, and E in the right hand. _ _ _ _ _ _ _
_ [F] _ _ _ [C] _ _ _ _
_ _ Then the F sharp diminished chord comes in.
_ Then the F sharp diminished chord comes in.
We form [Gb] it with this voicing.
It's an F sharp, [Am] A, C, and E flat in the [F] right hand
with just an F sharp note in the left [Gb] hand.
_ _ Just moves right up to the G.
[G] _ _ _ _ _ _ _ _
Then we have a G13.
It's a G and an F note in the left hand,
[Em] a B and an E note in the right hand.
_ _ _ Now here comes the second passing chord, the A flat diminished seventh.
You're going to just move [G] your pinky in the left hand to an A flat.
[Ab] So you're going to have A flat, F in the left hand.
You're just going to make a slight change in the right hand and play B, D, [B] F.
This is your A flat diminished chord.
_ _ _ Then it moves in a very subtle [Ab] movement down to the A major nine chord.
This is formed by [A] playing A, C sharp, E in the left hand,
A flat, [E] B, and E in the right hand.
This is what we would call layering chords or stacking chords.
We've actually played two chords at _ the same time.
So we've got [Eb] A, C, sharp, E in the left hand, A flat, B, E in the right hand.
[E] _
A very smooth chord, A flat major nine. _
And then it just goes to a walk down on the A minor.
[Am] _ _ [A] _
_ [F] _ _ It ends on an F major seven in this example.
_ Okay, let me just play it for you in more of a real cadence time
and you can see [A] how smooth the transition [C] works. _ _
_ _ [F] _ _ _ [C] _ _ [Dm] _
_ [C] _ _ _ _ [G] _ _ _
_ _ _ _ _ [Em] _ _ [G] _
_ _ _ _ _ [A] _ _ _
_ _ _ _ _ [Am] _ _ _
_ _ [F] _ _ _ Very nice.
_ _ [N] _ _ _ Okay, let's move on to number three.
_ _ Rule for using passing chords involves using the circle of fifths.
And I want you to look at the top of page five with me
and let's go over
Let's see how those are formed.
The second rule for creating passing chords is the use of diminished seventh chords.
Diminished chords are almost always used as passing chords.
You form a diminished seventh chord by lowering
_ the fifth and the third and the seventh tones in a chord by one half a step.
So if we wanted to form a C diminished chord, [Eb] the regular [C] C chord is C, E, G.
_ We're going to lower the G [Am] to F sharp.
You lower the [Ebm] E to E flat.
The seventh is the flatted seventh, which is a B flat, and we have to lower it [D] also a half a step,
which is going to make it an A. _
And then if we add the C [A] in with that, we can voice it like this.
_ _ _ C, E [C] flat, F sharp, [Eb] and A.
And that creates [Gb] a C diminished [N] seventh.
_ So you can do any diminished seventh voicing as long as it's a half a step above or a half a step below
the target chord that you're moving to, the target chord being the next chord in the music.
So in the example that I've given you here on Oh How I Love Jesus,
we're going to be passing from, at the end of [C] Jesus, we have a C chord.
We're passing from Jesus back into Oh How I Love Jesus, which is on a [G] G chord.
So in order to [G] get to the G chord, [C] in this example, we're going to use an F sharp diminished seventh chord.
[G] It's a [C] half a step below the G chord, so [Gb] it goes [G] F sharp to G.
_ _ And the [N] second passing chord that we're using, we're passing [G] from a G chord [E] to an A chord.
It passes to an A major nine chord.
To get there, we're going to walk up a half a [Ab] step and
_ play an A flat diminished seventh chord there
to [Am] get us back to the A major [N] nine chord.
So we're simply _ walking in half step increments.
Now I'm going to play it real slow, and then we'll [Gb] play it kind of fast
so we can show you how it would sound in real cadence time.
The first chord in this example is [C] a C major chord, G, B, E.
We go
_ _ The second chord is an F major nine chord, and I form it by an
[C] F and a C in the left hand, a [F] G, A, and E in the right hand. _ _ _ _ _ _ _
_ [F] _ _ _ [C] _ _ _ _
_ _ Then the F sharp diminished chord comes in.
_ Then the F sharp diminished chord comes in.
We form [Gb] it with this voicing.
It's an F sharp, [Am] A, C, and E flat in the [F] right hand
with just an F sharp note in the left [Gb] hand.
_ _ Just moves right up to the G.
[G] _ _ _ _ _ _ _ _
Then we have a G13.
It's a G and an F note in the left hand,
[Em] a B and an E note in the right hand.
_ _ _ Now here comes the second passing chord, the A flat diminished seventh.
You're going to just move [G] your pinky in the left hand to an A flat.
[Ab] So you're going to have A flat, F in the left hand.
You're just going to make a slight change in the right hand and play B, D, [B] F.
This is your A flat diminished chord.
_ _ _ Then it moves in a very subtle [Ab] movement down to the A major nine chord.
This is formed by [A] playing A, C sharp, E in the left hand,
A flat, [E] B, and E in the right hand.
This is what we would call layering chords or stacking chords.
We've actually played two chords at _ the same time.
So we've got [Eb] A, C, sharp, E in the left hand, A flat, B, E in the right hand.
[E] _
A very smooth chord, A flat major nine. _
And then it just goes to a walk down on the A minor.
[Am] _ _ [A] _
_ [F] _ _ It ends on an F major seven in this example.
_ Okay, let me just play it for you in more of a real cadence time
and you can see [A] how smooth the transition [C] works. _ _
_ _ [F] _ _ _ [C] _ _ [Dm] _
_ [C] _ _ _ _ [G] _ _ _
_ _ _ _ _ [Em] _ _ [G] _
_ _ _ _ _ [A] _ _ _
_ _ _ _ _ [Am] _ _ _
_ _ [F] _ _ _ Very nice.
_ _ [N] _ _ _ Okay, let's move on to number three.
_ _ Rule for using passing chords involves using the circle of fifths.
And I want you to look at the top of page five with me
and let's go over