| Gospel music is full of history and soul. It comes from a | | | | octave above the 6th. This is where using different |
| rich tradition of folk songs and church hymns. Gospel | | | | hands for different chord tones really comes in handy. |
| stays alive by remaining relevant, taking various | | | | A well-played gospel chord shouldn't sound cluttered. |
| aspects of the musical culture of the day and bringing | | | | Now that you have studied all those extended gospel |
| those aspects into the spiritual fold. In modern gospel, | | | | chords, when are you going to use them? Now that |
| jazz has been introduced into traditional songs. This | | | | you have studied all those extended gospel chords, |
| has sparked the musical term "gospel chords." | | | | where are you going to use them? To start with, any |
| Gospel chords are extended chords, such as the 9th, | | | | gospel number can be spiced up with some jazz |
| 11th and 13th. Maybe you're not familiar with these | | | | gospel chords. Try them out and see what works for |
| chords. If you're not sure how to form these chords, | | | | you. |
| here's a brief lesson. | | | | Take a standard like The Old Rugged Cross. In the |
| Start with a dominant seventh chord. This is a basic | | | | key of A, the progression is A, A7, D, B7, E, E7, A. To |
| triad with a flatted seventh added. For example, in the | | | | give it some flavor, substitute any of the dominant |
| key of C, the basic triad is C-E-G. This is a C major | | | | seventh chords with 9th, 11th or 13th chords. |
| chord. In the C major scale, the seventh is a B, so the | | | | Experiment with them to see what suits your taste. |
| flatted seventh is a Bb. To get a dominant seventh, | | | | Change the tonalities of the chords. Take the B7 and |
| we'll add the Bb to the basic triad. | | | | make it a Bm7. When they are worked into a simple |
| This chord can be played in many different ways. You | | | | progression, extended gospel chords make things a bit |
| can use the left hand for the root and leave the other | | | | more musical. They give the song more depth and |
| three notes for the right hand. You can play all of the | | | | color, creating a rich sonic picture. |
| notes on one hand. You can switch them around to | | | | Gospel music is always evolving, taking different |
| your heart's content. When you switch the notes of a | | | | aspects of modern styles and incorporating them into |
| chord around like these, you are using inversions. | | | | a whole. Practice bringing some extended chords into |
| To get the 9th, 11th, and 13th you'll have to add more | | | | old arrangements and see what sounds good to you. |
| notes to the chord. Since the notes of the octave are | | | | With a little practice and experimentation, you'll find |
| number 1-7, you must continue past one octave with | | | | yourself livening up any traditional praise song with a |
| numbering. The 9th tone is an octave above the 2nd; | | | | series of well-placed gospel chords. |
| the 11th is an octave above the 4th, and the 13th is an | | | | |