Music Theory for the Gospel
Musician
All about Seventh Chords Part
2
If you
asked most jazz musicians what is the most important chord type to get that
jazzy sound, most of them would say the seventh chord. This is also true of
gospel musicians as well. In part 1 of this article we defined the various types
of triads. Although the triad established the foundation for all harmony, the
seventh chord is especially important to the gospel
musician.
The
seventh chord sets the stage for the sound that we hear in contemporary music.
It’s safe to say that without the seventh being present in a chord; ninths,
elevenths, and thirteen chords could not exist. All the rich plush modern harmony that we
hear in contemporary music such as gospel, Jazz, R&B, Hip-Hop, Pop and soul
music would not be possible without the presence of the seventh. Gospel
musicians take heed; you need to fully understand the function of the seventh
chord to be recognized as a serious player in the
game.
Let’s
get started. Remember all harmony can be constructed from the major scale. If
you’re a serious gospel musician you will want to play and memorized the major
scale and its intervals.
Lets
look at the major scale as we did in part 1. Remember in order to construct the
C major triad we must first apply the
formula.
Formula = 1 3
5
1
2
3
4
5
6
7
8
C D E F G A B
C
C Major = C E
G
There are also formulas for the various types of seventh
chords. Each quality of seventh chords begin will the basic triad formula with
the addition of the seventh scale tone added to the chord.
Learn and memorize the formulas to all the different
types of seventh chords below.
The Major Seven Chord
Formula = 1
3 5 7
C D E F G A B
C
C
Major Seven = C E
G
B
Commonly used Symbols: Cmaj7, CM7, C∆
The Dominant Seventh
Chord
Formula = 1 3 5 b7
The
dominant seventh chord, often referred to as the seventh chord
is
a major triad with an added flat seven.
1
2
3
4
5
6 b 7 8
C D E F G A Bb C
C
Dominant Seventh Chord = C E
G Bb
Commonly used symbols =
C7
The Minor Seven Chord
Formula = 1 b3
5 b7
The
minor seven chord is just a minor triad with an added flat seven. That flat
seven can be created by lowering the seventh note of the major scale a half
step. If you don’t understand what I mean by a flat (b) please refer to part 1 of this
article under The Sharp (#) and
the Flat (b) sign.
1
2
b3
4
5
6 b7
8
C D Eb F G A Bb C
C
Minor Triad = C Eb
G
Bb
Commonly used Symbols: Cm7, Cmin7, C-
The Half Diminished Seventh
Chord.
Formula = 1 b3
b5 b7
Take note gospel musicians this chord is also commonly
referred to as a minor seven flat
five. That’s right it’s just a minor seven chord (see illustration above)
but the fifth is flatten and lowered a
half-step.
It may sound a little weird when played by itself, but it's one of the best kept secrets of today’s modern gospel music especially when it's used in a 2-5-1 progression in a minor key.
1
2 b3 4 b5 6 b7
8
C D Eb F Gb A Bb C
C
Half-diminished Chord = C Eb
Gb Bb
Commonly used symbols =
Cm7b5,
Co,
Co7
The Diminished Seventh
Chord
Formula = 1 b3
b5 bb7
If
you’ve been playing gospel music for a while, you should be extremely familiar
with this chord. You can’t make is through most traditional gospel songs without
using a few of these.
Note that this formula may look a little weird but don’t
be alarmed. We have 2 flats in front of the seven. We call this note a double
flat. You will only see a double flat in a diminished chord. This means that the
seventh is lowered two half-steps.
Normally in a C major scale the seventh note is a B
natural (regular B). By placing the double flat (bb) sign in front of the B it is lowered
2 half steps. It’s safe to say that a Bbb is the same note as “A” natural.
FYI: There are only three diminished seventh
chords. Once a gospel musician learns all three diminished chords and their
inversions other musicians will tremble when you come around.
1 b3 b5 b
b7
C Eb Gb A
C
Diminished Seventh Chord = C Eb Gb A
Commonly used symbols =
Cdim7,
Co,
Co7
Let’s
review the diatonic seventh chords.
1
= C maj7
C E G B 1 3
5 7
2
= Dm7
D F A C
1 b3 5 b7
3 =
Em7
E G B D
1 b3 5 b7
4
= Fmaj7
F A C E
1 3 5
7
5
= G7
G B D F
1 3 5 b 7
6
= Am7
A C E G 1
b3 5 b7
7 =
Bm7b5
B D F A 1 b3 b5
b7
8
= Cmaj7
C E G B
1 3 5
7
Now
that we’ve learned “All about the Seventh Chord” lets play a few. Below is
perhaps one of the most commonly used chord voicing for the diatonic seventh
chord. Practice all the chords below. Get use to the different sound of each
type of seventh chord.
These
will come in handy when you’re reading lead sheets and charts or when you want
to produce a jazzier sound from your gospel music.
Practice and memorized the following
chords and there names:
1 =
C maj7
C / B E G
2 =
Dm7
D / C F A
3 =
Em7
E / D G B
4 =
Fmaj7
F / E A C
5 =
G7
G / F B D
6
= Am7
A / G C E
7 =
Bm7b5
B / A D F
8 =
Cmaj7
C / B E G
Wow, that was a long lesson but we learned some good
information. Remember, gospel
musician who are at the top of their game really know there music
theory.
There’s more to come so stay
tuned.
Understanding Chord names
and Symbols Pt. 3
Chord extensions: 9ths 11ths and
13ths
Understanding Chord names
and Symbols Pt.4
The 2-5-1 chord progression
in major and minor keys
Understanding Chord names
and Symbols Pt. 5
Commonly used chord voicing
in gospel
If
you want to learn more about the modern day sound of contemporary gospel music
and how to play all the fancy runs and fills you hear all the time. Order my
latest DVD video on “Worship Chords, Intros, Ending and More” .