Chords for Take Me To The King Tamela Mann | PlaybyHear.com
Tempo:
158.8 bpm
Chords used:
Db
Bbm
Ab
Gb
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Db]
[Eb]
[Gbm]
Take me to [Db] the king.
[F] Okay, this is Take Me to the King by Tamela Mann.
I would put it on the [N] easy level,
but there's some other things that they do
that's real nice that I'm gonna show you.
All right, but most of it is very easy.
All right, when it says [A] take me to the king,
it's just C sharp, [Db] C sharp, A flat, D flat,
and F sharp, I mean, F natural, I'm sorry.
But [Bb] you arpeggiate it, it means you take the chord
and you [C]
play them one note at a time.
And [F] remember we said plus two,
whenever there's a major chord, D flat [Cm] major,
you put the [F] two of the scale in it,
which if we're in D flat, is E flat, to make it fuller.
[Db]
So you have a much two, and then what you [Eb] do
is add the dominant, which [G] is B, to [Db] bring my heart,
this tone in, right?
One thing [Eb] that they do is E flat major,
which is E flat, G, B flat.
Now after the second verse, they'll just do the four chord,
[Bbm] which is [Gb] F sharp, [Bb]
F, A flat, [Gb] B flat, D flat.
You get, or B flat, D flat, F, B flat,
which is just inverted in pieces, [Bb] right?
It's my [Gbm] offering, that's [Ebm]
[Db] E flat, [Gbm] F, F sharp, A,
D flat, F sharp, truth.
Okay, [Eb] that's the first time,
but then they go to the first.
The [Ab] second time, they'll put [D] the rest of the chorus to it.
[C]
All right, but it's just truth is [Bbm] on time,
which is your sixth chord, [Eb]
in D flat,
one, two, three, four, [Bb] five, six.
You [Fm] notice when I teach the number system,
it's [Db] major ninth, which most of the time,
contemporary is major ninth, I mean,
I'm sorry, minor ninth, but this time,
[Bb] it's just a plain minor.
[Bbm] F, B flat, D flat,
[Db] right,
to D flat, which is F, A flat, D flat.
Truth is I'm [Bbm] tired, options are few,
which is D flat with A flat in the bass.
I'm [Ab] all, let's see, I'm [Bbm] trying to pray,
but where [Db]
are you, right?
I'm all [Bbm] churched out, and if you want to,
you can arpeggiate, [Db]
right, right.
I can't fake [Ab] [Db] what's left [Gb] to do, right?
So, which is A flat to D [Ab] flat, A flat, C, E flat,
alternate bass, C in the [Db] bass, up to D flat major.
[Ab] [Db]
D flat again, F, A flat, D flat, F in the bass, [Gb] right?
Okay, up to F sharp major, F sharp, B flat, D flat.
Truth is [Bbm] I'm weak, no strength,
[Db]
see how right before you change,
you hit them one at a time, no tears to [Bbm] cry,
even if I cry, inverted [Db] I try,
[Ab] but [Bbm] still my soul refuses [Db] to die.
Then [Ab] [Db] one touch [Ab]
will [Db] change [Gb] my life,
take me to the [Db] king, all right?
All right, [Bb]
[F] then you'll say,
then when you get to the [B] part, no rules, no [Bbm] religion,
[A]
[F] oh, I see, I'm sorry, [B] no rules, no [Bbm] religion,
[Db]
[Gb] I've made my decision [A] to run to you,
the healer that [Bb] I need.
Okay, then no rules, since you're in the key of D flat,
[Eb] one, two, three, four, five, [C] six, seven,
[Db] back to your [Cm] root, there's seven,
there's a [Abm] flat seven or dominant seven,
a lot of times you could [B] make chords [A] off of that,
there's a whole lesson [Abm] explaining that,
chords off [F] of the dominant seven, all right?
But if you wanna study [C] that later on,
just put [Eb] understanding the dominant seven,
and [Ab] then you can [E] study all the logic [Gb] behind that,
the theory [Db] behind that, but you say [B] no rules,
that's B in the base, [Gb] B flat, D flat, E flat, F sharp,
use no [Bbm] religion, which is your B flat again,
but it's minor seven, and then [A] you A, G, B, C sharp, E,
[Em] and in other words, you're chromatic and down,
so when you're chromatic and you can put chords
with the chromatics, [Ab] I've made my, which is A flat,
11, A [Gb] flat, F sharp, B flat, D flat, my decision,
all right, [Dbm] to run to you, all right, that's a modulation,
[A]
all right, A, A [Abm] flat, [Dbm] B, D flat, E, run to you,
the healer that [Gb] I need, all right,
that's back to the A flat, 11 again, now they say,
but since [E] it's in the key of D flat,
and all your black notes are in D [A] flat,
the run to [Gb] you, the run [E] to you, the healer that I [Ab] need,
[Bbm] right, get that five chord, and then just let your hand
go limp and slide it, [Ab]
right, okay,
[Db] and then you're back [F] to the course again, all right,
and then when you get to the end of the course,
that next time, [Bb]
then [D] you say,
[Bb] Lord, we're in the way, all right, we're in the way,
which is B flat again, but it's a [Bb] dominant,
and alternate bass, so you end up with D, A flat, B flat,
D, F, [Ebm] we keep making mistakes, you go up to the two chord,
which is E flat minor, B flat, E flat, F sharp, [N] make one.
[Eb]
[Gbm]
Take me to [Db] the king.
[F] Okay, this is Take Me to the King by Tamela Mann.
I would put it on the [N] easy level,
but there's some other things that they do
that's real nice that I'm gonna show you.
All right, but most of it is very easy.
All right, when it says [A] take me to the king,
it's just C sharp, [Db] C sharp, A flat, D flat,
and F sharp, I mean, F natural, I'm sorry.
But [Bb] you arpeggiate it, it means you take the chord
and you [C]
play them one note at a time.
And [F] remember we said plus two,
whenever there's a major chord, D flat [Cm] major,
you put the [F] two of the scale in it,
which if we're in D flat, is E flat, to make it fuller.
[Db]
So you have a much two, and then what you [Eb] do
is add the dominant, which [G] is B, to [Db] bring my heart,
this tone in, right?
One thing [Eb] that they do is E flat major,
which is E flat, G, B flat.
Now after the second verse, they'll just do the four chord,
[Bbm] which is [Gb] F sharp, [Bb]
F, A flat, [Gb] B flat, D flat.
You get, or B flat, D flat, F, B flat,
which is just inverted in pieces, [Bb] right?
It's my [Gbm] offering, that's [Ebm]
[Db] E flat, [Gbm] F, F sharp, A,
D flat, F sharp, truth.
Okay, [Eb] that's the first time,
but then they go to the first.
The [Ab] second time, they'll put [D] the rest of the chorus to it.
[C]
All right, but it's just truth is [Bbm] on time,
which is your sixth chord, [Eb]
in D flat,
one, two, three, four, [Bb] five, six.
You [Fm] notice when I teach the number system,
it's [Db] major ninth, which most of the time,
contemporary is major ninth, I mean,
I'm sorry, minor ninth, but this time,
[Bb] it's just a plain minor.
[Bbm] F, B flat, D flat,
[Db] right,
to D flat, which is F, A flat, D flat.
Truth is I'm [Bbm] tired, options are few,
which is D flat with A flat in the bass.
I'm [Ab] all, let's see, I'm [Bbm] trying to pray,
but where [Db]
are you, right?
I'm all [Bbm] churched out, and if you want to,
you can arpeggiate, [Db]
right, right.
I can't fake [Ab] [Db] what's left [Gb] to do, right?
So, which is A flat to D [Ab] flat, A flat, C, E flat,
alternate bass, C in the [Db] bass, up to D flat major.
[Ab] [Db]
D flat again, F, A flat, D flat, F in the bass, [Gb] right?
Okay, up to F sharp major, F sharp, B flat, D flat.
Truth is [Bbm] I'm weak, no strength,
[Db]
see how right before you change,
you hit them one at a time, no tears to [Bbm] cry,
even if I cry, inverted [Db] I try,
[Ab] but [Bbm] still my soul refuses [Db] to die.
Then [Ab] [Db] one touch [Ab]
will [Db] change [Gb] my life,
take me to the [Db] king, all right?
All right, [Bb]
[F] then you'll say,
then when you get to the [B] part, no rules, no [Bbm] religion,
[A]
[F] oh, I see, I'm sorry, [B] no rules, no [Bbm] religion,
[Db]
[Gb] I've made my decision [A] to run to you,
the healer that [Bb] I need.
Okay, then no rules, since you're in the key of D flat,
[Eb] one, two, three, four, five, [C] six, seven,
[Db] back to your [Cm] root, there's seven,
there's a [Abm] flat seven or dominant seven,
a lot of times you could [B] make chords [A] off of that,
there's a whole lesson [Abm] explaining that,
chords off [F] of the dominant seven, all right?
But if you wanna study [C] that later on,
just put [Eb] understanding the dominant seven,
and [Ab] then you can [E] study all the logic [Gb] behind that,
the theory [Db] behind that, but you say [B] no rules,
that's B in the base, [Gb] B flat, D flat, E flat, F sharp,
use no [Bbm] religion, which is your B flat again,
but it's minor seven, and then [A] you A, G, B, C sharp, E,
[Em] and in other words, you're chromatic and down,
so when you're chromatic and you can put chords
with the chromatics, [Ab] I've made my, which is A flat,
11, A [Gb] flat, F sharp, B flat, D flat, my decision,
all right, [Dbm] to run to you, all right, that's a modulation,
[A]
all right, A, A [Abm] flat, [Dbm] B, D flat, E, run to you,
the healer that [Gb] I need, all right,
that's back to the A flat, 11 again, now they say,
but since [E] it's in the key of D flat,
and all your black notes are in D [A] flat,
the run to [Gb] you, the run [E] to you, the healer that I [Ab] need,
[Bbm] right, get that five chord, and then just let your hand
go limp and slide it, [Ab]
right, okay,
[Db] and then you're back [F] to the course again, all right,
and then when you get to the end of the course,
that next time, [Bb]
then [D] you say,
[Bb] Lord, we're in the way, all right, we're in the way,
which is B flat again, but it's a [Bb] dominant,
and alternate bass, so you end up with D, A flat, B flat,
D, F, [Ebm] we keep making mistakes, you go up to the two chord,
which is E flat minor, B flat, E flat, F sharp, [N] make one.
Key:
Db
Bbm
Ab
Gb
Bb
Db
Bbm
Ab
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Db] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [Eb] _ _ _ _ _ _ _
_ _ _ [Gbm] _ _ _ _ _
Take me to [Db] the king.
_ _ [F] _ _ _ Okay, this is Take Me to the King by Tamela Mann. _ _ _
_ I would put it on the [N] easy level,
but there's some other things that they do
that's real nice that I'm gonna show you.
All right, but most of it is very easy.
All right, when it says [A] take me to the king,
it's just C sharp, [Db] C sharp, _ _ A flat, D flat,
_ _ and F sharp, I mean, F natural, I'm sorry.
But [Bb] you _ arpeggiate it, it means you take the chord
and you [C]
play them one note at a time.
And [F] remember we said plus two,
whenever there's a major chord, D flat [Cm] major,
you put the [F] two of the scale in it,
which if we're in D flat, is E flat, _ _ to make it fuller.
[Db] _ _
_ _ _ So you have a much two, _ and then what you [Eb] do
is add the dominant, which [G] is B, to _ [Db] bring _ _ _ my heart,
this tone in, right? _ _ _ _ _
One thing [Eb] that they do _ is _ _ _ _ _ _ _
E _ flat major,
which is E flat, G, B flat.
Now after the second verse, they'll just do the four chord,
[Bbm] which _ _ _ _ _ _ _ _
is [Gb] F sharp, _ [Bb] _
F, A flat, [Gb] B flat, D flat.
You get, _ _ _ or _ _ _ _ _ _ _
B flat, D flat, F, _ B flat,
which is just inverted in pieces, [Bb] right?
It's my _ [Gbm] offering, _ _ _ _ _ _ that's [Ebm] _ _
_ [Db] E flat, [Gbm] F, _ _ _ _ _ F sharp, A,
D flat, F sharp, _ _ _ _ _ _ truth.
Okay, [Eb] that's the first time,
but then _ they go to the first.
The [Ab] second time, they'll _ _ put _ [D] _ _ the rest of the chorus to it.
_ _ _ [C]
All right, but it's just truth is [Bbm] on time, _
which is your sixth chord, _ _ [Eb]
in D flat,
one, two, three, four, [Bb] five, six. _
You [Fm] notice when I teach the number system, _
it's [Db] major ninth, which most of the time,
contemporary is major ninth, I mean,
I'm sorry, minor ninth, but this time,
[Bb] it's just a plain minor.
[Bbm] F, B flat, _ D flat, _ _
_ [Db] _ right,
to _ _ D flat, which is _ F, A flat, D flat.
_ Truth _ _ is I'm [Bbm] tired, _ _ _ _ options are few,
which is D flat with A flat in the bass.
I'm [Ab] all, let's see, _ I'm [Bbm] trying to pray,
_ _ _ _ but where [Db]
are you, right?
_ _ _ I'm all [Bbm] churched out, and if you want to,
you can _ arpeggiate, _ _ [Db] _ _ _
right, _ _ _ _ right. _
I can't fake _ _ [Ab] [Db] what's left [Gb] to do, right?
So, which is A flat to D _ [Ab] flat, A flat, C, E flat,
_ _ alternate bass, C in the [Db] bass, up to D flat major.
_ _ [Ab] _ [Db] _ _ _ _
D flat again, F, A flat, D flat, F in the bass, [Gb] _ _ _ right? _
_ Okay, _ _ up to F sharp major, F sharp, B flat, D flat.
_ Truth is [Bbm] I'm weak, _ _ _ no strength,
_ [Db]
see how right before you change,
you hit them one at a time, no tears to [Bbm] cry, _ _
_ _ _ even if _ I cry, _ inverted [Db] I try,
_ _ [Ab] _ but [Bbm] still my _ soul _ _ _ refuses [Db] to die. _ _ _ _ _
_ Then [Ab] [Db] one touch [Ab]
will [Db] _ change [Gb] my life, _ _
_ _ take me to the [Db] king, all right?
All right, _ [Bb] _ _
_ _ [F] then you'll say,
then when you get to the [B] part, no rules, no [Bbm] religion,
_ [A] _
_ _ [F] oh, I see, I'm sorry, [B] no rules, no [Bbm] religion,
_ [Db] _ _
_ [Gb] I've made my _ decision _ [A] to run to you,
the healer that [Bb] I need.
Okay, then no rules, _ since you're in the key of D flat,
[Eb] one, two, three, four, five, [C] six, seven,
[Db] _ back to your [Cm] root, there's seven,
_ there's a [Abm] flat seven or dominant seven,
a lot of times you could _ [B] make _ _ _ chords [A] off of that,
there's a whole lesson [Abm] explaining that,
_ _ chords off [F] of the dominant seven, all right?
But if you wanna study [C] that later on,
just put _ [Eb] understanding the dominant seven,
and [Ab] then you can [E] study all the logic [Gb] behind that,
the theory [Db] behind that, but you say [B] no rules,
that's B in the base, _ [Gb] B flat, D flat, E flat, F sharp,
use no [Bbm] religion, _ which is your B flat again,
but it's minor seven, _ _ and then [A] you _ _ _ _ _ _ _ A, G, B, C sharp, E,
[Em] and in other words, you're chromatic and down,
so when you're chromatic and you can put chords
with the chromatics, _ _ [Ab] _ I've made my, which is A flat,
11, A [Gb] flat, F sharp, B flat, D flat, my decision,
_ _ _ _ all right, [Dbm] to run to you, _ all right, that's a modulation,
_ [A] _ _ _ _
all right, _ A, _ _ A [Abm] flat, _ [Dbm] B, D flat, E, run to you,
the healer that [Gb] I need, all right,
that's back to the A flat, 11 again, now they say, _
_ _ _ _ but since [E] it's in the key of D flat,
and all your black notes are in D [A] flat,
the run to [Gb] you, the run [E] to you, the healer that I [Ab] need, _ _ _ _
_ [Bbm] right, _ _ _ _ get that five chord, and then just let your hand
go limp and slide it, _ _ _ [Ab] _
_ right, _ _ _ _ _ _ okay,
[Db] and then you're back [F] to the course again, all right,
and then when you get to the end of the course,
that next time, _ [Bb] _
_ _ _ then _ [D] you say,
_ _ [Bb] Lord, we're in the way, _ _ _ _ all right, we're in the way,
_ which is B flat again, but it's a [Bb] dominant, _
_ and alternate bass, so you end up with D, A flat, B flat,
_ D, F, [Ebm] we keep making _ mistakes, _ you go up to the two chord,
which is E flat minor, B flat, E flat, F sharp, [N] make one.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Db] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [Eb] _ _ _ _ _ _ _
_ _ _ [Gbm] _ _ _ _ _
Take me to [Db] the king.
_ _ [F] _ _ _ Okay, this is Take Me to the King by Tamela Mann. _ _ _
_ I would put it on the [N] easy level,
but there's some other things that they do
that's real nice that I'm gonna show you.
All right, but most of it is very easy.
All right, when it says [A] take me to the king,
it's just C sharp, [Db] C sharp, _ _ A flat, D flat,
_ _ and F sharp, I mean, F natural, I'm sorry.
But [Bb] you _ arpeggiate it, it means you take the chord
and you [C]
play them one note at a time.
And [F] remember we said plus two,
whenever there's a major chord, D flat [Cm] major,
you put the [F] two of the scale in it,
which if we're in D flat, is E flat, _ _ to make it fuller.
[Db] _ _
_ _ _ So you have a much two, _ and then what you [Eb] do
is add the dominant, which [G] is B, to _ [Db] bring _ _ _ my heart,
this tone in, right? _ _ _ _ _
One thing [Eb] that they do _ is _ _ _ _ _ _ _
E _ flat major,
which is E flat, G, B flat.
Now after the second verse, they'll just do the four chord,
[Bbm] which _ _ _ _ _ _ _ _
is [Gb] F sharp, _ [Bb] _
F, A flat, [Gb] B flat, D flat.
You get, _ _ _ or _ _ _ _ _ _ _
B flat, D flat, F, _ B flat,
which is just inverted in pieces, [Bb] right?
It's my _ [Gbm] offering, _ _ _ _ _ _ that's [Ebm] _ _
_ [Db] E flat, [Gbm] F, _ _ _ _ _ F sharp, A,
D flat, F sharp, _ _ _ _ _ _ truth.
Okay, [Eb] that's the first time,
but then _ they go to the first.
The [Ab] second time, they'll _ _ put _ [D] _ _ the rest of the chorus to it.
_ _ _ [C]
All right, but it's just truth is [Bbm] on time, _
which is your sixth chord, _ _ [Eb]
in D flat,
one, two, three, four, [Bb] five, six. _
You [Fm] notice when I teach the number system, _
it's [Db] major ninth, which most of the time,
contemporary is major ninth, I mean,
I'm sorry, minor ninth, but this time,
[Bb] it's just a plain minor.
[Bbm] F, B flat, _ D flat, _ _
_ [Db] _ right,
to _ _ D flat, which is _ F, A flat, D flat.
_ Truth _ _ is I'm [Bbm] tired, _ _ _ _ options are few,
which is D flat with A flat in the bass.
I'm [Ab] all, let's see, _ I'm [Bbm] trying to pray,
_ _ _ _ but where [Db]
are you, right?
_ _ _ I'm all [Bbm] churched out, and if you want to,
you can _ arpeggiate, _ _ [Db] _ _ _
right, _ _ _ _ right. _
I can't fake _ _ [Ab] [Db] what's left [Gb] to do, right?
So, which is A flat to D _ [Ab] flat, A flat, C, E flat,
_ _ alternate bass, C in the [Db] bass, up to D flat major.
_ _ [Ab] _ [Db] _ _ _ _
D flat again, F, A flat, D flat, F in the bass, [Gb] _ _ _ right? _
_ Okay, _ _ up to F sharp major, F sharp, B flat, D flat.
_ Truth is [Bbm] I'm weak, _ _ _ no strength,
_ [Db]
see how right before you change,
you hit them one at a time, no tears to [Bbm] cry, _ _
_ _ _ even if _ I cry, _ inverted [Db] I try,
_ _ [Ab] _ but [Bbm] still my _ soul _ _ _ refuses [Db] to die. _ _ _ _ _
_ Then [Ab] [Db] one touch [Ab]
will [Db] _ change [Gb] my life, _ _
_ _ take me to the [Db] king, all right?
All right, _ [Bb] _ _
_ _ [F] then you'll say,
then when you get to the [B] part, no rules, no [Bbm] religion,
_ [A] _
_ _ [F] oh, I see, I'm sorry, [B] no rules, no [Bbm] religion,
_ [Db] _ _
_ [Gb] I've made my _ decision _ [A] to run to you,
the healer that [Bb] I need.
Okay, then no rules, _ since you're in the key of D flat,
[Eb] one, two, three, four, five, [C] six, seven,
[Db] _ back to your [Cm] root, there's seven,
_ there's a [Abm] flat seven or dominant seven,
a lot of times you could _ [B] make _ _ _ chords [A] off of that,
there's a whole lesson [Abm] explaining that,
_ _ chords off [F] of the dominant seven, all right?
But if you wanna study [C] that later on,
just put _ [Eb] understanding the dominant seven,
and [Ab] then you can [E] study all the logic [Gb] behind that,
the theory [Db] behind that, but you say [B] no rules,
that's B in the base, _ [Gb] B flat, D flat, E flat, F sharp,
use no [Bbm] religion, _ which is your B flat again,
but it's minor seven, _ _ and then [A] you _ _ _ _ _ _ _ A, G, B, C sharp, E,
[Em] and in other words, you're chromatic and down,
so when you're chromatic and you can put chords
with the chromatics, _ _ [Ab] _ I've made my, which is A flat,
11, A [Gb] flat, F sharp, B flat, D flat, my decision,
_ _ _ _ all right, [Dbm] to run to you, _ all right, that's a modulation,
_ [A] _ _ _ _
all right, _ A, _ _ A [Abm] flat, _ [Dbm] B, D flat, E, run to you,
the healer that [Gb] I need, all right,
that's back to the A flat, 11 again, now they say, _
_ _ _ _ but since [E] it's in the key of D flat,
and all your black notes are in D [A] flat,
the run to [Gb] you, the run [E] to you, the healer that I [Ab] need, _ _ _ _
_ [Bbm] right, _ _ _ _ get that five chord, and then just let your hand
go limp and slide it, _ _ _ [Ab] _
_ right, _ _ _ _ _ _ okay,
[Db] and then you're back [F] to the course again, all right,
and then when you get to the end of the course,
that next time, _ [Bb] _
_ _ _ then _ [D] you say,
_ _ [Bb] Lord, we're in the way, _ _ _ _ all right, we're in the way,
_ which is B flat again, but it's a [Bb] dominant, _
_ and alternate bass, so you end up with D, A flat, B flat,
_ D, F, [Ebm] we keep making _ mistakes, _ you go up to the two chord,
which is E flat minor, B flat, E flat, F sharp, [N] make one.