For the Church Guitarist - Understanding Chord Progressions (Part 2)

In the last post we looked at a bit of music theory and how you can number chords. This time, we're going to look at the numbering thing a little more deeply (really helpful), how to apply this to the songs you play, and how to practice it all.

Different approaches to theory have slightly different takes on numbering systems. Really, they just tell you if a chord is major or minor. Here are the two most popular (both can be really useful to understand):

1) Traditional Numbering System

This method uses Roman numerals. Uppercase/big for major chords, lowercase/small for minor chords."°" is diminished if you ever use it (not often in pop music). So the chord progression,

| C      | F      | G     | Am      |

(or with numbers: one, four, five, six) would be,

| I      | IV     | V     | vi      |

with traditional numbering. See how the lowercase "vi" stands for minor 6? Make sense? So all the chords in the key of C would look like this then:

C   Dm   Em     F     G    Am     B diminished

I       ii      iii     IV     V     vi       vii°

Here’s another method:

2) Nashville Numbering System

Nashville numbering uses plain old numbers. A minus sign "-" tells you a chord is minor. A small circle "°" is diminished (if you ever use it). So again, the chord progression

| C      | F      | G     | Am     |

would be,

| 1       | 4      | 5      | 6-      |

with nashville numbering. Notice that "-" on the 6- that tells you its minor? That's how it works. All the chords in the key of C then would look like this:

C   Dm   Em     F     G    Am    B diminished

1      2-     3-      4     5     6-     7°

Do you get the idea? Again, your chords take on number names. Certain chords are major and certain ones are minor and that is where the traditional or nashville systems can help you. Its very helpful to think this way.

Let's try a common chord progression for a song. Something with chords like this (key of C):

|  C    |  Am     |  F       |  G        |

Can also be thought of like this:

|  I      |  vi       |  IV      |   V       |   (using the traditional method)

or

|  1     |  6-      |  4        |   5       |   (using the nashville method)

You'll hear musicians talk all the time about "the one chord" or "the five chord" etc.. They are just talking about the numbers associated with the chords.

Try this one (key of G):

|  G           |               |  C            |                | Em         |               |  D          |            |                *(answers at the end of the post)

So, take your chord charts for the next couple months and write the numbers that correspond to the chord nearby until you don't have to think about it any more. It will happen faster then you may think. Even just think about it as you encounter charts. Or, just focus on one song a week (of course you can do more) and work out the numbers for the chords. You'll find it starts to come easily as most sections of songs repeat over and over again.

This is the first step. Do what you can. With consistent work it will become second nature and be very, very useful. Trust me. The next step would be to use it while playing to change the key of a song by sight without having to write the chords out. More on that later.

Practice up and let me know if you have any questions!

PA

P.S. If you haven't already, check out the rest of the series here.

*Answers:

Traditional:  |  I          |                |  IV             |                  |

                    |  vi         |                |  V              |                  |

Nashville:    |  1          |                |  4              |                  |

                    |  6-        |                |  5              |                  |

For the Church Guitarist - Understanding Chord Progressions (Part 1)

We've been looking at lots of things relating to your guitar playing. Well, we're going to take a little trip into some music theory that will serve as a huge resource for your playing. Its a practical, simple concept that will unlock chord progressions for you, help you transpose (change keys) on the fly and use a capo and not feel like you’re cheating.

Have you ever heard someone in rehearsal say something like "let's end on the four chord," or "let's not do those chords, let's do one, five, six, four instead"? A lot of people shy away from music theory, but trust me, this is useful and really easy once you get it. Here goes:

Think about a scale in C. Here are the notes:     C   D   E    F   G    A   B

So far, so good? In music theory, the notes get numbered like this:

C   D   E   F   G    A   B

1    2    3   4   5    6   7

So, C is the first note in the key of C. D is the second, E is the third and so on. What would be the fourth? F, right? Good.

Well, the chords you play in the key of C are based on those same notes and take on the same numbers. So your chords (in C) get numbered like this:

C    Dm   Em   F   G    Am   Bdim* 

1      2       3     4    5     6       7

*diminished (you don't play diminished chords much in basic pop music)

So, just like above, a C chord in the key of C is called the “1” chord. The “2” chord is D minor in the key of C. E minor is the “3” chord and F is the “4” chord, etc. All the chords in C would numbered like this:

C = the 1 chord
Dm = the 2 chord
Em = the 3 chord
F = the 4 chord
G = the 5 chord
Am = the 6 chord
B = the 7 chord

Does is make sense then how someone might say “let’s play 1, 4 and 5 in C” and that it would mean playing C, F and G? The numbers just associate with the chords in the key. And its relative to whatever key you are in. For example, C in the key of C was the “1” chord but in the key of G, it would be something else because in the key of G, G is the “1” chord. In the key of G the chords would be numbered like this:

G = the 1 chord (in G)
Am = the 2 chord
Bm = the 3 chord
C = the 4 chord
D = the 5 chord
Em = the 6 chord
F# = the 7 chord

So in the key of G a chord progression like G – C – D – Em would be what numbers (answer at the bottom of the post)?

Chew on it for a little while. Start thinking about your chords in terms of numbers. In the next post we’ll take it a little further to look at how you can use this with songs and the different numbering systems (traditional and Nashville) that are used.

Try it out on some songs and let me know if you have any questions! You can find part two, here.

PA

* G – C – D – Em = 1, 4, 5 and 6 in the key of G.

For the (electric) Church Guitarist - Playing higher up the Neck - Triads pt. 2

As an electric player, you have the ability to move out of the low parts of the neck, get away from where the other guitars or keys are playing and create a part up high. This can make your arrangements, playing, etc. way more interesting (so that everyone isn't playing in the same zone).

So, now that you've had a chance to check out the first group of triads up the neck, try moving them over a string. The first group was on the first three strings (E, B and G) and these will be on the second (B, G and D). Anyway, the new shapes look a little different but are easy enough to pick up. Really necessary for you to learn and so, so useful. Also, even though these are the same chords moved over a string, they can sound a little different, a little warmer, being on the inside strings. Here's a chart with both groups of triads, major and minor:

Orlando guitarist church musician - Triads full - maj:min

Major and Minor Triads (C)  (<-----.pdf chart here)

With these, you should be able to play any major or minor chord you need to, higher up the neck. In the next post we'll talk about how you can practice this stuff if you're interested in digging more deeply, but for now I wanted to talk about how to use them.

One thing I would see when my students started getting these into their playing, was that it was easy to be so focused on trying to play the right chord that they'd forgot to make music out of it. Plugging in the right chord at the right time might be correct, but it isn't necessarily always the best musical choice. Plenty of times I've heard Bob Kauflin mention in rehearsal "play a part, not the chart." So, let's take a look at some examples of how to use these things and turn them into music:

Here's a simple example:

Orlando guitarist church musician

This comes from a song called The Funeral by Band of Horses. The chord progression runs through the bulk of the song and uses, mostly, one shape that is just slid around. Wait! Isn't that just plugging in the right chord at the right time? Yes, but it creates an interesting melody line along the way, kind of a hook, and that's important. Keep your ears open and don't think it has to be too complicated to sound good.

Here's an example that's a little more involved. This comes from Elevation Worship and its a song called "Give Me Faith" (the TAB is from a live version, of which there are many so there may be a little variation)

Elevation Worship - Give me Faith (Lead) - INTRO

The song is recorded in the key of A. In the intro, the guitarist plays a slightly tweaked A triad up on the 9th and 10th frets (the one that looks like a D chord; second inversion if you know about that). Feel free to move notes around on these shapes. If it sounds good, go for it even if you don't know what it is. In this case it makes an "A2" shape (more on 2's, 7's, 11's and that stuff later) and the player picks through the notes in a constant pattern. With delay added, a little reverb, this creates a nice wash of sound. In fact, though you could definitely do more, sometimes just finding a high version of the chord for the key the song song is in (i.e. an A chord in the key of A) is a great place to start, will create a nice higher layer of sound, and will give you lots of ideas.

Let's start with the verse:

Orlando guitarist church musician - Give Me Faith - Verse 1

The chords are: A  - E  - F#m  - D. The guitarist starts off playing an A chord (looks like a D shape you might strum down low); just a stock chord and lets it ring.  Don't think you have to play too much. It sits above where the rest of the band is and creates nice high layer of sound. Over the next chord (E) they move over to the next set of strings and play a high E triad. Feel free to move the chords around; don't  stick to one set of strings every time, but always be aware of how it sounds. Next they arpeggiate some notes based around the original A triad (again, feel free to explore and move notes around) and just let it hang over the F#m. That's a good example of not playing over every single chord change. Sometimes nothing is the best thing you can play. It gives the music space. Over the next D in the progression 94th measure), they play a variation of a D triad up high (actually a D2). Even just in those first four chords you can see some good principles to try:

1. Don't play too much, let it sit. The rest of the band fills the space
2. Think melodically, even with your chords. Mess with the notes or even the strings you play them on.
3. Play nothing! Playing less is a surefire way to improve your playing without actually practicing ;)
4. Don't always just play the block chord. Sometimes picking a few notes and letting it sit is a refreshing change.
5. Also, if you listen to the song and compare the above, you'll notice the guitarist does not overplay while the singer is singing. That's important. Don't get in the way or distract from the main melody.

Check out the next four chords. You see some of the same ideas, just varied a bit: sometimes playing the straight chord, sometimes playing a few notes, sometimes nothing. Anyway, take some of these ideas and try to come up your own version over these chords or another song. This is where a "part" comes from: taking a bit of a song you're playing and practicing different ideas over it. Over time you'll find something you really like. Stick with it. Don't think that a good idea always comes immediately. That's why they call it "carving out a part."

Quickly, one more section. The chorus:

Elevation Worship - Give Me Faith - CHORUS

In the chorus the chords move more quickly. Instead of trying to play every single chord change as they go by, the part is built off the same, basic A triad you saw in the verse (and combines it with the A triad right next to it, making a bigger shape). They pick though (arpeggiate) the chord adding a few extra notes here and there. In the second half they create a little melody, while keeping the same basic A triad shape as a base. This is another great example: don't feel like you have to play every chord change. Sometimes a simplified part, even just one chord, will sound good over multiple chord changes. Try it out. Play guitar with your ears, not just your fingers.

We could go on and on. There really are unending examples, but this is a good place to start (I'll post more as I get to them). Keep listening. Keep working on this stuff and the creativity will come.

Let me know if you have any questions. In the meantime, practice up and thanks for serving your local church!

PA

P.S. Full TAB for intro, verse and chorus of Give Me Faith:Elevation Worship - Give Me Faith (Lead) - Intro, Verse, Chorus

For the (Electric) Church Guitarist - Playing Higher Up the Neck - Triads 1

Alright electric players*, this is a good place to start, especially if you're looking to break out of first position and move up the neck. Be sure to check out the acoustic posts on CAGED families as a lot of that will apply  to you as well but I wanted to start with something that would be pretty immediately useful (though you can go really deep with this too): chord triads. Fancy name for very useful little chord voicings. You may go to some of these already. In fact, if you play any chords at all you already do play them, either way, you're hearing these particular voicings of chords ALL the time. We'll look at examples in songs soon but for the next couple of posts we'll talk about what they are, how to use them, and how practice them.

What They Are:A triad is the raw material of a chord stripped down to its basics. Just like the name implies, it has three things going on. In this case, notes. 3 notes to be specific: the Root (R), the third (3), and the fifth (5). That's what makes up a chord at its basic level. Ok, enough theory, lets move on to the chords:

Consider the example to the right (Figure 1), Triads in C major (if the term triads freaks you out, just think "little chords").

If you're not familiar with these they might look a little strange but the example shows you two things: First, there are three shapes, and second, they move up the neck.

So, for one C chord, you have 3 choices that move from the bottom of the neck all the way up to the twelfth fret (even more if you keep repeating the shapes). That's a lot of distance and will help you not be stuck on only one zone of the neck.. Again, as I've mentioned before this stuff is like building your musical vocabulary. You want to have options and be able to be as creative as possible. These will help you loads and is absolutely essential for an electric player (really any guitarist).

The diagram is a representation of the guitar neck starting at the first fret (top of the pic) moving all the way to the 12th fret. Certain frets are numbered for guidance. The chords are also labeled with R, 3 and 5 for root, third, and fifth. The black dots are for your fingers and the open circle is the root. Finger them however it makes sense. OK, so check the chords. Play each one. Don't just strum through them but play the notes one by one. Try playing the notes in different orders. Move them around. Chances are it will start sounding like something you've heard before. You might even start getting a creative idea.

If you have something to play against, even better. A looper works well. If you don't have that, check out these ambient pads in all 12 keys. Play the one in C for about 8 minutes of washed out C majory goodness. Its waaaay more interesting and fun to play/practice this stuff in some sort of musical context.   Now you have to get these into your fingers. We'll hit that up in another post but quickly:

1. Get used to the shapes.
2. Notice where the roots are. These are all moveable chords so they become whatever chord you want them to be depending on where you move them.
3. Practice with a simple chord chart. Can you move these around to become other chords? It helps to get to know the notes on the neck, but well talk about that soon if you're unfamiliar with that.

So, dig in to these. Start becoming familiar with them and check out part 2 here.

Practice up, let me know if you have questions and thanks again for serving your local church!

PA

*This is great stuff for any guitarist, not just electric players, though they will tend to use these more than open chords like and acoustic player would in this style.