Chords for Grateful - Hezekiah Walker (Piano Chords)

Hi, this is JJ from PianoDownloads.com and I'm going to show you Grateful by Hezekiah Walker.
I'm also going to give you [F] a [C] little advice for intermediate players.
So if you're an [Db] intermediate player, _ this [Dbm] video [Dm] is _ [Bb] _
for you.
So [Eb] if you look, in this particular video I have the on-screen display. _ _
And for you intermediate players, let me break it to you like this.
Learn the number system.
Learn your major and minor chords.
Right.
[B] Once you've got that, [Bb] this particular song is in A flat.
_ _ [Ab] _ Right.
And it's going to go from the I chord, A flat major, II [Bbm] chord, B flat minor, [Cm] III chord,
C minor, and to the [Db] IV chord.
So to start that off, you've got four chords the bass [Ab] player goes.
_ Right.
[Bb] _
Bass player is doing [Db] his or her thing or whatever.
And _ that's how you start that off.
So you would play those chords.
An intermediate player might do something like [Ab] this.
Right.
Which [Bbm] doesn't sound bad.
[Cm] _ _ [Db] _ _
Now, what I mentioned in the video before is that what makes gospel sound gospel are
licks [Gbm] and voicings.
Okay.
So let me bring in some voicings to that without [E] any licks.
Just block chords.
So check it out.
_ [Gb] Let me see. _
[Eb] _ _ [Ab] _ Right.
That sounds nice and vanilla.
Block [Ab] chords.
_ [Db] _ Right.
So let me play that again.
_ _ _ Right.
You start off like that.
And then let's play a couple of block chords to make it sound more [Bbm] gospel.
This is a lick of chords, if you will.
_ So check it [Ab] out.
_ _ _ _ _ _ Just to explain this, in gospel music, choir voicings, choir directors love to voice this
way between the one and the two chords.
So check it out.
_ _ _ [Bbm] _ [Ab] _ _ [Db] _ _
_ _ _ _ _ _ _ _
_ _ _ [Eb] _ _ So they do a lot of bouncing back and forth between [Ab] two chords.
So _ let's go back to the song.
_ Right. _
_ Oh, that was a lick there.
I got to play block chords right.
_ _ _ [Gb] _ _ _ _ [Fm] _
_ _ Right.
So [Eb] _ those are the voicings that are going to make you sound thicker and fuller.
Now let's add some licks into it to make it sound more gospel.
And this lick is actually in the song.
_ [Ab] _ _ _ So check [Db] it out.
_ _ [Ab] _ _ [Fm] _ _ [Bbm] _
_ _ _ [Db] _ _ [Cm] _ _ [Ab] _
_ _ _ [Db] _ _ [Bb] _ _ [C] _
_ [Db] So all [F] I'm doing _ is_
[C] _
_ _ [Ab] Right.
_ _ [Db] _ _
_ _ _ [F] _ _ So if you look at the display, those chords are still [Bbm] coming across.
Right.
You still got your B [Db] minor.
You still [Cm] got your C minor.
_ _ [Ab]
Right.
And you still got your [Db] D flat minor. _
_ [A] _ _ [Bbm] _ _ Now there _ [Db] is a member of learngospelmusic _ .com named S Jonathan [Gb] O2.
And he asked the question_
Here, let me pull this up because this is a question that I wanted to answer.
And also taking the advice [F] of his signature that says the human [Eb] voice is_
_ You know, the human voice is not or is more effective.
Despite our communication technology, no invention is as effective as the sound of the human voice.
So let me explain this to you.
He asked what is the theory behind 7-3-6.
And the reason why I'm asking this question here is because in this song, they use a 7 chord that is a G7 and not a G minor.
So normally in A [Ab] flat, if you were to do 7-3-6, you [Bb] would do G minor.
Right.
And then, _ [Bb]
so something like this.
[C] _ _ [C] _ _ [Cm] _
So you would [Bb] do G [Cm] minor, C minor to make it sound vanilla [Fm] and then F minor.
So but in this particular song, they use G7 in order to [Eb] _ _ [Gb] _ _ [C] pass to the C minor.
And once upon a time when people wrote vanilla music, they use 7 chords to get to a 4th up.
Let me give you an example.
I'm on C7.
I'm on C.
I need to get to the 4th chord.
So let me bust C7 real quick.
_ _ Oh, check that out.
[F] _ _ _
That's fly [Ab] right there.
So check it out.
So what they did in this song.
So grateful for the [Cm] things that you [Db] have done.
Right. _ _
_ [Eb] _ _ [Bb] _ _ _ _ [F] _
_ Now check this out.
G7.
[G] _ _
G7.
And then they use that to pass to the 3 chord [F] or the C minor.
_ [Cm] _ _ [Cm] So now they're on C minor.
Now they're F minor on the _ [Fm] 6th.
Walking [Db] down to the 4.
And then they do it again.
[G] _ _ [Cm] _ _ [Ab] 3.
_ [F] _ _ _ _ [Db] _ _ _
[Bbm] And then they do [Ab] this.
_ [Dbm] _ _ [Ab] _
_ So this is an A flat.
_ This is an A flat chord.
A [Eb] flat major chord _ _ with a E flat on the bass.
And what you would call this theory wise is an A flat with a 6 4 inversion.
Because there's an interval [Cm] of a 6 and an interval [Ab] of a 4th.
For those of you who have taken theory and studied figured bass and all that.
But this is just A flat over E flat.
So it's A flat major chord with an E flat on the bass.
And then they do that.
_ And then they do this thing.
[Dbm] _ _ _ _ _ _
_ So this [Eb] I could dissect this.
This chord scanner says D flat minor add 9 over E flat.
_ _ You know if you want to think of it [Ab] easily.
Play an A flat 2nd inversion and [Cm] then just take the 2 notes at the end and bring them up a [Dbm] half step. _
So and then they do this which is a common lick in gospel.
Check this out.
What that is.
_ _ _ _ [Ab] _
So they actually climb up.
[Bb] And so you can climb up and if you can see the chord scanner says B flat.
B [Bbm] flat diminished [Dbm] 7.
Because if you add that [Dbm] in _ _ _ diminished _ [Db] with a 7 in there.
So check it out.
[Dbm] _ This is just another way to play [Bb] B flat diminished 7.
So _ that's just cool right there.
Check this out.
[Ab] _ _
Flowing from my heart.
[Db] _ _ [Ab] _ _ [Dbm] _
_ _ _ _ _ [Ab] _ _ _
_ _ So to the 3 chord.
To the 6.
_ _ [Dbm] _ _ _ _ _ _
_ _ _ _ _ _ _ [Bb] _