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I'll start this thing off by giving some basic theory you all may know already.
If you have followed my posts here on LGM, u probably learned this stuff in
the key of C. Here it is in the next key, C#. Please keep in mind that this key
is 2 keys in 1. It is the key of C# as well as the key of Db. These keys are
what we call enharmonic, same note on the keyboard, different on paper.
I'll start with the major scales:
Major Scales
1 2 3 4 5 6 7
C# major scale: C# D# E# F# G# A# B#
Db major scale: Db Eb F Gb Ab Bb C
Scale Degree Chords
C# Db
1 = C#‐E#‐G# 1 = Db‐F‐Ab
2 = D#‐F#‐A# 2 = Eb‐Gb‐Bb
3 = E#‐G#‐B# 3 = F‐Ab‐C
4 = F#‐A#‐C# 4 = Gb‐Bb‐Db
5 = G#‐B#‐D# 5 = Ab‐C‐Eb
6 = A#‐C#‐E# 6 = Bb‐Db‐F
7 = B#‐D#‐F# 7 = C‐Eb‐Gb
BASIC PROGRESSIONS
1‐5‐1
C# / C#‐E#‐G# (1) C# / C#‐E#‐G# (1) C# / E#‐G#‐C# (1) C# / G#‐C#‐E# (1)
G# / G#‐B#‐D#(5) G# / B#‐D#‐G# (5) G# / D#‐G#‐B#(5) G# / G#‐B#‐D# (5)
(repeat) (repeat) (repeat) (repeat)
Db / Db‐F‐Ab (1) Db / Db‐F‐Ab (1) Db / F‐Ab‐Db (1) Db / Ab‐Db‐F (1)
Ab / Ab‐C‐Eb (5) Ab / C‐Eb‐Ab (5) Ab / Eb‐Ab‐C (5) Ab / Ab‐C‐Eb (5)
(repeat) (repeat) (repeat) (repeat)
1‐V7‐1 progression
C# / C#‐E#‐G# (1) C# / C#‐E#‐G# (1) C# / E#‐G#‐C# (1)
G# / G#‐B#‐D#‐F# (5) G# / B#‐D#‐F#‐G# (5) G# / D#‐F#‐G#‐B# (5)
(repeat) (repeat) (repeat)
C# / G#‐C#‐E# (1) C# / G#‐C#‐E# (1)
G# / F#‐G#‐B#‐D# (5) G# / G#‐B#‐D#‐F# (5)
(repeat) (repeat)
Db / Db‐F‐Ab (1) Db / Db‐F‐Ab (1) Db / F‐Ab‐Db (1)
Ab / Ab‐C‐Eb‐Gb (5) Ab / C‐Eb‐Gb‐Ab (5) Ab / Eb‐Gb‐Ab‐C (5)
(repeat) (repeat) (repeat)
Db / Ab‐Db‐F (1) Db / Ab‐Db‐F (1)
Ab / Gb‐Ab‐C‐Eb (5) Ab / Ab‐C‐Eb‐Gb (5)
(repeat) (repeat)
1‐4‐1 progression
C# / C#‐E#‐G# (1) C# / C#‐E#‐G# (1) C# / E#‐G#‐C# (1) C# / G#‐C#‐E# (1)
F# / F#‐A#‐C# (4) F# / C#‐F#‐A# (4) F# / F#‐A#‐C# (4) F# / A#‐C#‐F# (4)
(repeat) (repeat) (repeat) (repeat)
Db / Db‐F‐Ab (1) Db / Db‐F‐Ab (1) Db / F‐Ab‐Db (1) Db / Ab‐Db‐F (1)
Gb / Gb‐Bb‐Db (4) Gb / Db‐Gb‐Bb (4) Gb / Gb‐Bb‐Db (4) Gb / Bb‐Db‐Gb (4)
(repeat) (repeat) (repeat) (repeat)
1‐4‐5‐1 progression
C# / C#‐E#‐G# (1) C# / C#‐E#‐G# (1) C# / E#‐G#‐C# (1) C# / G#‐C#‐E# (1)
F# / F#‐A#‐C# (4) F# / C#‐F#‐A# (4) F# / F#‐A#‐C# (4) F# / A#‐C#‐F# (4)
G# / G#‐B#‐D# (5) G# / B#‐D#‐G# (5) G# / D#‐G#‐B# (5) G# / G#‐B#‐D# (5)
(repeat) (repeat) (repeat) (repeat)
Db / Db‐F‐Ab (1) Db / Db‐F‐Ab (1) Db / F‐Ab‐Db (1) Db / Ab‐Db‐F (1)
Gb / Gb‐Bb‐Db (4) Gb / Db‐Gb‐Bb (4) Gb / Gb‐Bb‐Db (4) Gb / Bb‐Db‐Gb (4)
Ab / Ab‐C‐Eb (5) Ab / C‐Eb‐Ab (5) Ab / Eb‐Ab‐C (5) Ab / Ab‐C‐Eb (5)
(repeat) (repeat) (repeat) (repeat)
1‐4‐V7‐1 progression
C# / C#‐E#‐G# (1) C# / C#‐E#‐G# (1) C# / E#‐G#‐C# (1)
F# / F#‐A#‐C# (4) F# / C#‐F#‐A# (4) F# / F#‐A#‐C# (4)
G# / G#‐B#‐D#‐F# (5) G# / B#‐D#‐F#‐G# (5) G# / D#‐F#‐G#‐B# (5)
(repeat) (repeat) (repeat)
C# / G#‐C#‐E# (1) C# / G#‐C#‐E# (1)
F# / A#‐C#‐F# (4) F# / A#‐C#‐F# (4)
G# / G#‐B#‐D#‐F# (5) G# / F#‐G#‐B#‐D# (5)
(repeat) (repeat)
Db / Db‐F‐Ab (1) Db / Db‐F‐Ab (1) Db / F‐Ab‐Db (1)
Gb / Gb‐Bb‐Db (4) Gb / Db‐Gb‐Bb (4) Gb / Gb‐Bb‐Db (4)
Ab / Ab‐C‐Eb‐Gb (5) Ab / C‐Eb‐Gb‐Ab (5) Ab / Eb‐Gb‐Ab‐C (5)
(repeat) (repeat) (repeat)
Db / Ab‐Db‐F (1) Db / Ab‐Db‐F (1)
Gb / Bb‐Db‐Gb (4) Gb / Bb‐Db‐Gb (4)
Ab / Ab‐C‐Eb‐Gb (5) Ab / Gb‐Ab‐C‐Eb (5)
(repeat) (repeat)
Dominant 7th chord to 4
C# / C#‐E#‐G#‐B C# / C#‐E#‐G#‐B C# / E#‐G#‐B‐C#
F# / F#‐A#‐C# (4 of C#) F# / C#‐F#‐A# (4 of C#) F# / F#‐A#‐C# (4 of C#)
(repeat) (repeat) (repeat)
C# / G#‐B‐C#‐E# C# / B‐C#‐E#‐G#
F# / A#‐C#‐F# (4 of C#) F# / A#‐C#‐F# (4 of C#)
(repeat) (repeat)
Db / Db‐F‐Ab‐Cb Db / Db‐F‐Ab‐Cb Db / F‐Ab‐Cb‐Db
Gb / Gb‐Bb‐Db (4 of Db) Gb / Db‐Gb‐Bb (4 of Db) Gb / Gb‐Bb‐Db (4 of Db)
(repeat) (repeat) (repeat)
Db / Ab‐Cb‐Db‐F Db / Cb‐Db‐F‐Ab
Gb / Bb‐Db‐Gb (4 of Db) Gb / Bb‐Db‐Gb (4 of Db)
(repeat) (repeat)
7‐3‐6 progression
B# / B#‐D#‐F# (7) B# / B#‐D#‐F# (7) B# / B#‐D#‐F# (7)
E# / E#‐G#‐B# (3) E# / G#‐B#‐E# (3) E# / B#‐E#‐G# (3)
A# / A#‐C#‐E# (6) A# / A#‐C#‐E# (6) A# / C#‐E#‐A# (6)
(repeat) (repeat) (repeat)
B# / D#‐F#‐B# (7) B# / F#‐B#‐#D (7)
E# / E#‐G#‐B# (3) E# / G#‐B#‐E# (3)
A# / E#‐A#‐C# (6) A# / A#‐C#‐E# (6)
(repeat) (repeat)
C / C‐Eb‐Gb (7) C / C‐Eb‐Gb (7) C / C‐Eb‐Gb (7)
F / F‐Ab‐C (3) F / Ab‐C‐F (3) F / C‐F‐Ab (3)
Bb / Bb‐Db‐F (6) Bb / Bb‐Db‐F (6) Bb / Db‐F‐Bb (6)
(repeat) (repeat) (repeat)
C / Eb‐Gb‐C (7) C / Gb‐C‐Eb (7)
F / F‐Ab‐C (3) F / Ab‐C‐F (3)
Bb / F‐Bb‐Db (6) Bb / Bb‐Db‐F (6)
(repeat) (repeat)
2‐5‐1 progression
D# / D#‐F#‐A# (2) D# / A#‐D#‐F# (2) D# / D#‐F#‐A# (2) D# / F#‐A#‐D# (2)
G# / G#‐B#‐D# (5) G# / B#‐D#‐G# (5) G# / D#‐G#‐B# (5) G# / G#‐B#‐D# (5)
C# / C#‐E#‐G# (1) C# / C#‐E#‐G# (1) C# / E#‐G#‐C# (1) C# / G#‐C#‐E# (1)
(repeat) (repeat) (repeat) (repeat)
Eb / Eb‐Gb‐Bb (2) Eb / Bb‐Eb‐Gb (2) Eb / Eb‐Gb‐Bb (2) Eb / Gb‐Bb‐Eb (2)
Ab / Ab‐C‐Eb (5) Ab / C‐Eb‐Ab (5) Ab / Eb‐Ab‐C (5) Ab / Ab‐C‐Eb (5)
Db / Db‐F‐Ab (1) Db / Db‐F‐Ab (1) Db / F‐Ab‐Db (1) Db / Ab‐Db‐F (1)
(repeat) (repeat) (repeat) (repeat)
3‐6‐2‐5‐1 progression
E# / E#‐G#‐B# (3) E# / G#‐B#‐E# (3) E# / B#‐E#‐G# (3) E# / E#‐G#‐B# (3)
A# / A#‐C#‐E# (6) A# / A#‐C#‐E# (6) A# / C#‐E#‐A# (6) A# / E#‐A#‐C# (6)
D# / D#‐F#‐A# (2) D# / A#‐D#‐F# (2) D# / D#‐F#‐A# (2) D# / F#‐A#‐D# (2)
G# / G#‐B#‐D# (5) G# / B#‐D#‐G# (5) G# / D#‐G#‐B# (5) G# / G#‐B#‐D# (5)
C# / C#‐E#‐G# (1) C# / C#‐E#‐G# (1) C# / E#‐G#‐C# (1) C# / G#‐C#‐E# (1)
(repeat) (repeat) (repeat) (repeat)
F / F‐Ab‐C (3) F / Ab‐C‐F (3) F / C‐F‐Ab (3) F / F‐Ab‐C (3)
Bb / Bb‐Db‐F (6) Bb / Bb‐Db‐F (6) Bb / Db‐F‐Bb (6) Bb / F‐Bb‐Db (6)
Eb / Eb‐Gb‐Bb (2) Eb / Bb‐Eb‐Gb (2) Eb / Eb‐Gb‐Bb (2) Eb / Gb‐Bb‐Eb (2)
Ab / Ab‐C‐Eb (5) Ab / C‐Eb‐Ab (5) Ab / Eb‐Ab‐C (5) Ab / Ab‐C‐Eb (5)
Db / Db‐F‐Ab (1) Db / Db‐F‐Ab (1) Db / F‐Ab‐Db (1) Db / Ab‐Db‐F (1)
(repeat) (repeat) (repeat) (repeat)
7‐3‐6‐2‐5‐1 progression
B# / B#‐D#‐F# (7) B# / B#‐D#‐F# (7) B# / B#‐D#‐F# (7)
E# / E#‐G#‐B# (3) E# / G#‐B#‐E# (3) E# / B#‐E#‐G# (3)
A# / A#‐C#‐E# (6) A# / A#‐C#‐E# (6) A# / C#‐E#‐A# (6)
D# / D#‐F#‐A# (2) D# / A#‐D#‐F# (2) D# / D#‐F#‐A# (2)
G# / G#‐B#‐D# (5) G# / B#‐D#‐G# (5) G# / D#‐G#‐B# (5)
C# / C#‐E#‐G# (1) C# / C#‐E#‐G# (1) C# / E#‐G#‐C# (1)
(repeat) (repeat) (repeat)
B# / D#‐F#‐B# (7) B# / F#‐B#‐D# (7)
E# / E#‐G#‐B# (3) E# / G#‐B#‐E# (3)
A# / E#‐A#‐C# (6) A# / A#‐C#‐E# (6)
D# / F#‐A#‐D# (2) D# / A#‐D#‐F# (2)
G# / G#‐B#‐D# (5) G# / B#‐D#‐G# (5)
C# / G#‐C#‐E# (1) C# / C#‐E#‐G# (1)
(repeat) (repeat)
C / C‐Eb‐Gb (7) C / C‐Eb‐Gb (7) C / C‐Eb‐Gb (7)
F / F‐Ab‐C (3) F / Ab‐C‐F (3) F / C‐F‐Ab (3)
Bb / Bb‐Db‐F (6) Bb / Bb‐Db‐F (6) Bb / Db‐F‐Db (6)
Eb / Eb‐Gb‐Bb (2) Eb / Bb‐Eb‐Gb (2) Eb / Eb‐Gb‐Bb (2)
Ab / Ab‐C‐Eb (5) Ab / C‐Eb‐Ab (5) Ab / Eb‐Ab‐C (5)
Db / Db‐F‐Ab (1) Db / Db‐F‐Ab (1) Db / F‐Ab‐Db (1)
(repeat) (repeat) (repeat)
C / Eb‐Gb‐C (7) C / Gb‐C‐Eb (7)
F / F‐Ab‐C (3) F / Ab‐C‐F (3)
Bb / F‐Bb‐Db (6) Bb / Bb‐Db‐F (6)
Eb / Gb‐Bb‐Eb (2) Eb / Bb‐Eb‐Gb (2)
Ab / Ab‐C‐Eb (5) Ab / C‐Eb‐Ab (5)
Db / Ab‐Db‐F (1) Db / Db‐F‐Ab (1)
(repeat) (repeat)
MORE ADVANCED PROGRESSIONS
Key C#
7‐3‐6 progression
B# / A#‐D#‐F# (7) B# / A#‐D#‐F# (7) B# / F#‐A#‐D# (7)
E# / A‐C#‐D#‐G# (3) E# / A‐B#‐D#‐F# (3) E# / F#‐A‐B#‐D# (3)
A# / G#‐C#‐E# (6) A# / G#‐C#‐E# (6) A# / E#‐A#‐C# (6)
(repeat) (repeat) (repeat)
B# / G‐A#‐D‐E# (7)
E# / A‐C#‐D#‐G# (3)
A# / G#‐C#‐E# (6)
(repeat)
2‐5‐1 progression
D# / G‐A#‐C#‐E# (2) D# / A‐C#‐D#‐F# (2) D# / G‐A#‐C#‐E (2)
G# / F#‐G#‐C#‐D# (5) G# / G#‐C#‐E# (5) G# / F#‐A#‐B#‐E (5)
G# / F#‐G#‐B#‐D# (5) G# / F#‐G#‐C#‐D# (5) OR
C# / E#‐G#‐C# (1) G# / F#‐G#‐B#‐D# (5) G# / F#‐G#‐B#‐E (5)
(repeat) C# / E#‐G#‐C# (1) C# / B‐E#‐A#‐C# (1)
(repeat OR
C# / B‐E#‐G#‐C# (1)
(repeat)
D# / B#‐E#‐A or D#‐C# / B#‐E#‐A (2)
G# / C#‐F#‐A# (5)
C# / C#‐E#‐G# (1)
(repeat)
2‐3‐4‐5‐1 progression
D# / A‐C#‐D#‐F# (2)
E# / G#‐C#‐E# (3)
F# / A‐C#‐D#‐F# (4)
G# / G#‐C#‐E# (5)
G# / F#‐G#‐C#‐D# (5)
G# / F#‐G#‐B#‐D# (5)
C# / E#‐G#‐C# (1)
(repeat)
7‐3‐6‐2‐5‐1 progression
B# / A#‐D#‐F# (7)
E# / A‐C#‐D#‐G# (3)
A# / G#‐C#‐E# (6)
D# / A‐C#‐D#‐F# (2)
G# / G#‐C#‐E# (5)
G# / F#‐G#‐C#‐D# (5)
G# / F#‐G#‐B#‐D# (5)
C# / E#‐G#‐C# (1)
(repeat)
7‐3‐6‐2‐3‐4‐5‐1 progression
B# / A#‐D#‐F# (7)
E# / A‐C#‐D#‐G# (3)
A# / G#‐C#‐E# (6)
D# / A‐C#‐D#‐F# (2)
E# / G#‐C#‐E# (3)
F# / A‐C#‐D#‐F# (4)
G# / G#‐C#‐E# (5)
G# / F#‐G#‐C#‐D# (5)
G# / F#‐G#‐B#‐D# (5)
C# / E#‐G#‐C# (1)
(repeat)
6‐2‐5‐1 progression
A# / G#‐C#‐E# (6) A# / G#‐C#‐E# (6) A# / G#‐C#‐E# (6)
D# / G‐C#‐E# (2) D# / G‐A#‐C#‐E# (2) D# / G‐B#‐E (2)
G# / F#‐B‐D# (5) G# / F#‐B‐D# (5) G# / F#‐B‐D# (5)
C# / E#‐B‐D# (1) C# / E#‐G#‐B‐D# (1) C# / E#‐A#‐D (1)
(repeat) (repeat) (repeat)
A# / G#‐B#‐C#‐E# (6) A# / G#‐B#‐C#‐E# (6)
D# / G‐B#‐C#‐E# (2) D# / G‐A#‐C#‐E# (2)
G# / F#‐A#‐B‐D# (5) G# / F#‐A#‐B‐D# (5)
C# / E#‐A#‐B‐D# (1) C# / E#‐G#‐B‐D# (1)
(repeat) (repeat)
6‐b6‐5‐1 progression
A# / G#‐C#‐E# (6) A# / G#‐C#‐E# (6) A# / G#‐B#‐C#‐E# (6)
A / G‐B#‐E (b6) A / G‐B#‐E (b6) A / G‐B‐C‐E (b6)
G# / F#‐B‐D# (5) G# / F#‐B‐D# (5) G# / F#‐B‐D# (5)
C# / E#‐B‐D# (1) C# / E#‐A#‐D (1) C# / E#‐B‐D# (1)
(repeat) (repeat) (repeat)
6‐2‐5‐1‐4 progression
A# / G#‐C#‐E# (6)
D# / G‐C#‐E# (2)
G# / B‐D#‐F#‐A# (5)
C# / B‐D#‐E#‐G# (1) or C# / B‐D#‐G‐A#
F# / A#‐C#‐E#‐G# (4)
(repeat)
2‐1‐b7‐b6‐5 progression
D# / C#‐F#‐A# (2)
C# / D#‐G#‐B# (1)
B / E‐A‐C# (b7)
A / F#‐B‐D# (b6)
G# / G#‐C#‐E# (5)
(repeat)
D# / F#‐A#‐C# (2)
C# / G#‐B#‐D# (1)
B / A‐C#‐E (b7)
A / B‐D#‐F# (b6)
G# / C#‐E#‐G# (5)
(repeat)
D# / A#‐C#‐F# (2)
C# / B#‐D#‐G# (1)
B / C#‐E‐A (b7)
A / D#‐F#‐B (b6)
G# / E#‐G#‐C# (5)
(repeat)
4‐3‐2‐3‐4‐6‐2‐3 progression
F# / E#‐A#‐C# (4)
E# / D#‐G#‐B# (3)
D# / C#‐F#‐A# (2)
E# / D#‐G#‐B# (3)
F# / E#‐A#‐C# (4)
A# / D#‐G#‐B# (6)
D# / C#‐F#‐A# (2)
E# / D#‐G#‐B# (3)
(repeat)
F# / A#‐C#‐E# (4)
E# / G#‐B#‐D# (3)
D# / F#‐A#‐C# (2)
E# / G#‐B#‐D# (3)
F# / F#‐A#‐C# (4)
A# / G#‐B#‐D# (6)
D# / F#‐A#‐C# (2)
E# / G#‐B#‐D# (3)
(repeat)
F# / C#‐E#‐A# (4)
E# / B#‐D#‐G# (3)
D# / A#‐C#‐F# (2)
E# / B#‐D#‐G# (3)
F# / C#‐E#‐A# (4)
A# / B#‐D#‐G# (6)
D# / A#‐C#‐F# (2)
E# / B#‐D#‐G# (3)
(repeat)
3‐4‐5‐6 progression
E# / C#add9 (3)
F# / F#add9 (4)
G# / C#add9 (5)
A# / F#add9 (6)
(repeat)
E# / D#‐E#‐G#‐C# (3)
F# / C#‐F#‐G#‐A# (4)
G# / C#‐D#‐E#‐G# (5)
A# / G#‐A#‐C#‐F# (6)
(repeat)
4‐4‐3‐6‐5 progression
F# / A#‐C#‐E# (4)
F# / G#‐B#‐D# (4)
E# / G#‐B#‐D# (3)
A# / G#‐B#‐D# (6)
G# / E#‐A#‐D (5)
(repeat)
6‐3‐4‐5‐b6 progression
A# / E#‐A#‐C# (6)
E# / D#‐G#‐B# (3)
F# / E#‐A#‐C# (4)
G# / D#‐G#‐B# or G# / F#‐A#‐C# (5)
A / D#‐F#‐A‐B# (b6)
(repeat)
MORE ADVANCED PROGRESSIONS
Key Db
7‐3‐6 progression
C / Bb‐Eb‐Gb (7) C / Bb‐Eb‐Gb (7) C / Gb‐Bb‐Eb (7)
F / A‐Db‐Eb‐Ab (3) F / A‐C‐Eb‐Gb (3) F / Gb‐A‐C‐Eb (3)
Bb / Ab‐Db‐F (6) Bb / Ab‐Db‐F (6) Bb / F‐Bb‐Db (6)
(repeat) (repeat) (repeat)
C / G‐Bb‐D‐F (7)
F / A‐Db‐Eb‐Ab (3)
Bb / Ab‐Db‐F (6)
(repeat)
2‐5‐1 progression
Eb / G‐Bb‐Db‐F (2) Eb / A‐Db‐Eb‐Gb (2) Eb / G‐Bb‐Db‐Fb (2)
Ab / Gb‐Ab‐Db‐Eb (5) Ab / Ab‐Db‐F (5) Ab / Gb‐Bb‐C‐Fb (5)
Ab / Gb‐Ab‐C‐Eb (5) Ab / Gb‐Ab‐Db‐Eb (5) OR
Db / F‐Ab‐Db (1) Ab / Gb‐Ab‐C‐Eb (5) Ab / Gb‐Ab‐C‐Fb (5)
(repeat) Db / F‐Ab‐Db (1) Db / Cb‐F‐Bb‐Db (1)
(repeat) OR
Db / Cb‐F‐Ab‐Db (1)
(repeat)
Eb / C‐F‐A or Eb‐Db / C‐F‐A (2)
Ab / Db‐Gb‐Bb (5)
Db / Db‐F‐Ab (1)
(repeat)
2‐3‐4‐5‐1 progression
Eb / A‐Db‐Eb‐Gb (2)
F / Ab‐Db‐F (3)
Gb / A‐Db‐Eb‐Gb (4)
Ab / Ab‐Db‐F (5)
Ab / Gb‐Ab‐Db‐Eb (5)
Ab / Gb‐Ab‐C‐Eb (5)
Db / F‐Ab‐Db (1)
(repeat)
7‐3‐6‐2‐5‐1 progression
C / Bb‐Eb‐Gb (7)
F / A‐Db‐Eb‐Ab (3)
Bb / Ab‐Db‐F (6)
Eb / A‐Db‐Eb‐Gb (2)
Ab / Ab‐Db‐F (5)
Ab / Gb‐Ab‐Db‐Eb (5)
Ab / Gb‐Ab‐C‐Eb (5)
Db / F‐Ab‐Db (1)
(repeat)
7‐3‐6‐2‐3‐4‐5‐1 progression
C / Bb‐Eb‐Gb (7)
F / A‐Db‐Eb‐Ab (3)
Bb / Ab‐Db‐F (6)
Eb / A‐Db‐Eb‐Gb (2)
F / Ab‐Db‐F (3)
Gb / A‐Db‐Eb‐Gb (4)
Ab / Ab‐Db‐F (5)
Ab / Gb‐Ab‐Db‐Eb (5)
Ab / Gb‐Ab‐C‐Eb (5)
Db / F‐Ab‐Db (1)
(repeat)
6‐2‐5‐1 progression
Bb / Ab‐Db‐F (6) Bb / Ab‐Db‐F (6) Bb / Ab‐Db‐F (6)
Eb / G‐Db‐F (2) Eb / G‐Bb‐Db‐F (2) Eb / G‐C‐E (2)
Ab / Gb‐Cb‐Eb (5) Ab / Gb‐Cb‐Eb (5) Ab / Gb‐Cb‐Eb (5)
Db / F‐Cb‐Eb (1) Db / F‐Ab‐Cb‐Eb (1) Db / F‐Bb‐D (1)
(repeat) (repeat) (repeat)
Bb / Ab‐C‐Db‐F (6) Bb / Ab‐C‐Db‐F (6)
Eb / G‐C‐Db‐F (2) Eb / G‐Bb‐Db‐F (2)
Ab / Gb‐Bb‐Cb‐Eb (5) Ab / Gb‐Bb‐Cb‐Eb (5)
Db / F‐Bb‐Cb‐Eb (1) Db / F‐Ab‐Cb‐Eb (1)
(repeat) (repeat)
6‐#5‐5‐1 progression
Bb / Ab‐Db‐F (6) Bb / Ab‐Db‐F (6) Bb / Ab‐C‐Db‐F (6)
A / G‐C‐E (#5) A / G‐C‐E (#5) A / G‐B‐C‐E (#5)
Ab / Gb‐Cb‐Eb (5) Ab / Gb‐Cb‐Eb (5) Ab / Gb‐Cb‐Eb (5)
Db / F‐Cb‐Db (1) Db / F‐Bb‐D (1) Db / F‐Cb‐Eb (1)
(repeat) (repeat) (repeat)
6‐2‐5‐1‐4 progression
Bb / Ab‐Db‐F (6)
Eb / G‐Db‐F (2)
Ab / Cb‐Eb‐Gb‐Bb (5)
Db / Cb‐Eb‐F‐Ab (1) or Db / Cb‐Eb‐G‐Bb
Gb / Bb‐Db‐F‐Ab (4)
(repeat)
2‐1‐b7‐#5‐5 progression
Eb / Db‐Gb‐Bb (2)
Db / Eb‐Ab‐C (1)
Cb / Fb‐A‐Db (b7)
A / Gb‐Cb‐Eb (#5)
Ab / Ab‐Db‐F (5)
(repeat)
Eb / Gb‐Bb‐Db (2)
Db / Ab‐C‐Eb (1)
Cb / A‐Db‐Fb (b7)
A / Cb‐Eb‐Gb (#5)
Ab / Db‐F‐Ab (5)
(repeat)
Eb / Bb‐Db‐Gb (2)
Db / C‐Eb‐Ab (1)
Cb / Db‐Fb‐A (b7)
A / Eb‐Gb‐Cb (#5)
Ab / F‐Ab‐Db (5)
(repeat)
4‐3‐2‐3‐4‐6‐2‐3 progression
Gb / F‐Bb‐Db (4)
F / Eb‐Ab‐C (3)
Eb / Db‐Gb‐Bb (2)
F / Eb‐Ab‐C (3)
Gb / F‐Bb‐Db (4)
Bb / Eb‐Ab‐C (6)
Eb / Db‐Gb‐Bb (2)
F / Eb‐Ab‐C (3)
(repeat)
Gb / Bb‐Db‐F (4)
F / Ab‐C‐‐Eb (3)
Eb / Gb‐Bb‐Db (2)
F / Ab‐C‐Eb (3)
Gb / Bb‐Db‐F (4)
Bb / Ab‐C‐Eb (6)
Eb / Gb‐Bb‐Db (2)
F / Ab‐C‐Eb (3)
(repeat)
Gb / Db‐F‐Bb (4)
F / C‐Eb‐Ab (3)
Eb / Bb‐Db‐Gb (2)
F / C‐Eb‐Ab (3)
Gb / Db‐F‐Bb (4)
Bb / C‐Eb‐Ab (6)
Eb / Bb‐Db‐Gb (2)
F / C‐Eb‐Ab (3)
(repeat)
3‐4‐5‐6 progression
F / Dbadd9 (3)
Gb / Gbadd9 (4)
Ab / Dbadd9 (5)
Bb / Gbadd9 (6)
(repeat)
F / Eb‐F‐Ab‐Db (3)
Gb / Db‐Gb‐Ab‐Bb (4)
Ab / Db‐Eb‐F‐Ab (5)
Bb / Ab‐Bb‐Db‐Gb (6)
(repeat)
4‐4‐3‐6‐5 progression
Gb / Bb‐Db‐F (4)
Gb / Ab‐C‐Eb (4)
F / Ab‐C‐Eb (3)
Bb / Ab‐C‐Eb (6)
Ab / F‐Bb‐D (5)
(repeat)
6‐3‐4‐5‐#5 progression
Bb / F‐Bb‐Db (6)
F / Eb‐Ab‐C (3)
Gb / F‐Bb‐Db (4)
Ab / Eb‐Ab‐C or Ab / Gb‐Bb‐Db (5)
A / Eb‐Gb‐A‐Cb (#5)
(repeat)
Some tips for playing in this key:
1. Utilize your 4th finger on your RH. As a rule of "thumb", anytime I play a
chord that ends with a black note, I use my 4th finger to play that last note.
Anytime I play a chord that ends with a white note, I use my pinky to play
that last note. Trust me, putting that 4th finger into play will greatly
improve the smoothness and speed of your chords.
2. The white notes. 95% of the time, the white notes in this key will be
played by your thumb and pinky.
3. Scales & runs. Anytime u play a scale or run in this key, if there are any
black notes contained (which there most likely will be), u will NOT use your
thumb or pinky to play those black notes. Trust me, those fingers will only
get in the way, just save them for the white notes u encounter. In fact, u
probably not gonna use your pinky at all for scales or runs.
These are Chords you can play if the bass note is a 1 which is Db
Db Ab / C Eb F Ab
Db Ab / C F Bb
Db Ab / Bb Eb Ab
Db Ab / A Db Eb Ab
Db Ab Eb / Db F Ab Db
These are Chords you can play if the bass note is a 2 which is Eb
Eb Bb F / Gb Bb Db F
Eb Bb / F Gb Bb Db
Eb Bb / Db F Gb Bb
These are chords you can play if the bass note is a 3 which is F
F C G / Ab C Eb Ab
F C / Eb G Ab C
F A / Eb Ab Db
These are chords you can play if the bass note is a 4 which is Gb
Gb Db Ab / Bb Eb F Ab
Gb Db / F Ab Bb Db
Gb Db Gb / F Bb Db F
Gb Db Gb / Bb F Bb
These are chords you can play if the bass note is a 5 which is Ab
Ab Eb Bb / C F Gb Bb
Ab Eb / F Gb Bb Db
Ab Eb Bb / Gb Bb Db Ab
Ab Eb Ab / B Eb Gb Bb
Ab Eb Ab / Bb B Eb Gb
These are chords you can play if the bass note is a 6 which is Bb
Bb F C / Db F Ab C
Bb F Bb / Ab C Db F
Bb F C / Ab Db F Ab
Bb F / Ab Db Gb
Bb F Bb / Eb Ab C Eb
These are chords you can play if the bass note is a 7 which is C
C F C / Ab C Eb Ab
C G / Bb Eb Ab
C E / Bb Eb Ab
These are the chords which is part of the theory of Jamal.
These are the additional part of the theory which is a part of Jamal
These are the chords you can play if the bass note is either #1 or b2 which is
D
D Ab Bb / D F Ab B
D Ab Bb / D Gb Ab Db
D Gb / C F Bb
These are the chords you can play if the bass note is either #2 or b3 which is
E
E Bb / E Gb B Db
E / C E Ab
E Ab / D G C
These are the chords you can play if the bass note is either #4 or b5 which is
G
G D B / F Bb Eb
G B / F Bb Eb
G B / F Ab Bb Db
These are the chords you can play if the bass note is either #5 or b6 which is
A
A Eb / A C Eb Gb
A Db / G C F
These are the chords you can play if the bass note is either #6 or b7 which is
B
B Gb / Bb Db Eb Gb
B Gb / Ab Db Gb
B Gb Db / Eb Ab C Db
These are the chords you can play if the bass note is either #1 or b2 which is
D
D Ab Bb / D F Ab B
D Ab Bb / D Gb Ab Db
D Gb / C F Bb
These are the chords you can play if the bass note is either #2 or b3 which is
E
E Bb / E G Bb Db
E / C E Ab
E Ab / D G C
These are the chords you can play if the bass note is either #4 or b5 which is
G
G D B / F Bb Eb
G B / F Bb Eb
G B / F Ab Bb Db
These are the chords you can play if the bass note is either #5 or b6 which is
A
A Eb / A C Eb Gb
A Db / G C F
These are the chords you can play if the bass note is either #6 or b7 which is
B
B Gb / Bb Db Eb Gb
B Gb / Ab Db Gb
B Gb Db / Eb Ab C Db
Here is a few progression you can put in your vocabulary tool box
Bb E / Bb Eb Gb
A Eb / Ab Db F
Ab C Db F / Ab C Eb
Progression 2
Ab C Db F / Ab C Eb
G Db / Gb B Eb
Gb Bb B Eb / Gb Bb Db
Progression 3
Bb / Ab C Db F
G / F Bb B Eb
C / Bb D Eb G
F / A Db Eb Ab
B / Ab C Db Eb
Progression 4
Bb F / Ab C Db F
Eb G / Db E A
I am going to give a secret to effectively play songs with a different twist and
the secret is inversions. Inversion is changing the order of chord
arrangement. Now some might be thinking well why should I learn
inversion? Inversion gives different avenues in playing‐ going a different way
in either a verus in a song, end of a song, or even in the beginning in a song
lets say you are playing a 2‐5‐1 in the key of Db which is Eb‐ Ab‐Db
Ebminor7
Absus7
Dbmajor7
which is
Eb Bb / Gb Bb Db
Ab Eb / Db Eb Gb
Db Ab / F Ab C
now you can invert the order of the chord either this way
Bb Eb / Bb Db Gb
Eb Ab / Eb Gb Db
Ab Db / Ab C F
or
Eb Bb / Db Gb Bb
Ab Eb / Gb Db Eb
Db Ab / C F Ab
or you can just change just one or two of the order
Eb Bb / Db Gb Bb
Eb Ab / Db Eb Gb
Db Ab / C F Ab
the concept of a musician is to make it easier on you and to be different
from other musicians.
these are more progression you can do in Db it is a 4‐6‐2 progression it is a
popular movement in gospel music
Gb / A C Eb Gb
Bb F / Ab B D F
Eb / Gb B Db F
more advance version in Db
Gb / Ab Bb Db F Ab
Bb / Ab Bb Db F Ab
Eb / Gb Bb Db F
Here is a few progression you can put in your vocabulary tool box
Bb E / Bb Eb Gb
A Eb / Ab Db F
Ab C Db F / Ab C Eb
Progression 2
Ab C Db F / Ab C Eb
G Db / Gb B Eb
Gb Bb B Eb / Gb Bb Db
Progression 3
Bb / Ab C Db F
G / F Bb B Eb
C / Bb D Eb G
F / A Db Eb Ab
B / Ab C Db Eb
progression 4
Bb F / Ab C Db F
Eb G / Db E A
These are more progression you can do in Db it is a 4‐6‐2 progression it is a
popular movement in gospel music
Gb / A C Eb Gb
Bb F / Ab B D F
Eb / Gb B Db F
more advance version in Db
Gb / Ab Bb Db F Ab
Bb / Ab Bb Db F Ab
Eb / Gb Bb Db F
Here's some stuff that can help with Congregational Songs and shouting
music:
Alternate minor 1 and minor 2 chords
Key C#
B‐E‐G# or C#‐E‐G# (start high on keyboard, go all the way down, go all the
way back up)
A# D# F#
G# C# E
F# A# D#
E G# C#
D# F# A#
(repeat)
Key Db
Cb Fb Ab or Db Fb Ab (start high on keyboard, go all the way down, go all the
way back up)
Bb Eb Gb
Ab Db Fb
Gb Bb Eb
Fb Ab Db
Eb Gb Bb
(repeat)
Alternate major 1 and minor 2 chords
Key C#
C# E# G# (start high on keyboard, go all the way down, go all the way back
up)
A# D# F#
G# C# E#
F# A# D#
E# G# C#
D# F# A#
(repeat)
Key Db
Db F Ab (start high on keyboard, go all the way down, go all the way back
up)
Bb Eb Gb
Ab Db F
Gb Bb Eb
F Ab Db
Eb Gb Bb
(repeat)
Various Bass Lines
Key C#
C#, E#, F#, G, G#, A#, B, B#, C#
C#, D#, E, E#, F#, A#, B, B#, C#
C#, E#, G#, A#, B, A#, G#, E#, C#
C#, E#, G#, G, F#, A#, B, B#, C#
C#, B, G#, G, F#, A#, B, B#, C#
C#, A#, G#, G, F#, A#, B, B#, C#
C#, D#, E, G#, F#, A#, B, B#, C#
C#, D#, E, E#, F#, E, D#, D, C#
C#, D#, E, E#, F#, E#, F#, G, G#, B, C#, E, F#, A#, B, B#, C#
G#, A, A#, E, D#, A#, G#, G#, C#
G#, G, G#, A, A#, A, A#, F#, G, A#, C#, E, D#, C#, A#, C#
C#, B, A#, E, D#, A#, G#, A#, B, B#, C#
Key Db
Db, F, Gb, G, Ab, Bb, Cb, C, Db
Db, Eb, Fb, F, Gb, Bb, Cb, C, Db
Db, F, Ab, Bb, Cb, Bb, Ab, F, Db
Db, F, Ab, G, Gb, Bb, Cb, C, Db
Db, Cb, Ab, G, Gb, Bb, Cb, C, Db
Db, Bb, Ab, G, Gb, Bb, Cb, C, Db
Db, Eb, Fb, Ab, Gb, Bb, Cb, C, Db
Db, Eb, Fb, F, Gb, Fb, Eb, D, Db
Db, Eb, Fb, F, Gb, F, Gb, G, Ab, Cb, Db, Fb, Gb, Bb, Cb, C, Db
Ab, A, Bb, Fb, Eb, Bb, Ab, Ab, Db
Ab, G, Ab, A, Bb, A, Ab, Gb, G, Bb, Db, Fb, Eb, Db, Bb, Db
Db, Cb, Bb, Fb, Eb, Bb, Ab, Bb, Cb, C, Db
7‐3‐6‐2‐5‐1‐4‐b7
[7] C / Db Eb Gb Bb
[3] F / C Eb G Ab
[6] Bb / Db F Ab C, D G Ab C
[2] Eb / Db F Gb Bb
[5] Ab / C F Gb Bb
[1] Db / Bb Db Eb F Ab
[4] Gb / Bb Db Eb F Ab
[b7] Cb / Bb Eb Gb Ab
(repeat)
In Db
b7‐6‐2‐5‐1
[b7] Cb / Gb Bb Db Eb F
[6] Bb / Eb G Ab C
[2] Eb / Db F Gb Bb
[5] Ab / C F Gb Bb
[1] Db / F Ab Bb Eb
(repeat)
The following one was a big 1 for me.
I 1st did a 7‐3‐6‐2‐5‐1‐4‐b7 in Gb, then I did 1 in Db. Thereafter I combined
the progressions to come up with this 1..Of course I modified my inversions
so that I didn't move around too much.
I use a very deep bass on my left (like Fretless/ House etc) & piano on the
RH.
The exciting part about the following progression is that you can actually
play the 1st chord, then jump to the 3rd, then 5th & it sounds like that's how
it's "ought" to be. So experiment around it & personalise if you like the jazzy
sound. For instance, straight after the 1st chord, you could go to the 6 in Gb
chord then the 5 in Db etc:
[key I based the chord on] Bass/ RH or LH
[b7 in Gb] Fb / Cb Db Eb Gb Ab
[7 in Db] C / Bb Db Eb Gb Bb
[7 in Gb] F / Cb Eb Gb Ab
[3 in Db] F / C Eb G Ab
[3 in Gb] Bb / Db F Ab C
[6 in Db] Bb / D G Ab C
[2 in Db] Eb / Db F G C
[6 in Gb] Eb / Db F Gb Bb
[2 in Gb] Ab / Cb Eb Gb Bb
[5 in Db] Ab / C F Gb Bb
[5 in Gb] Db / C F Gb Bb
[1 in Db] Db / Bb Eb F Ab
[1 in Gb] Gb / Bb Db Eb Ab
[4 in Db] Gb / Bb Db Eb F Ab
[b7 in Db] Cb / Bb Eb Gb Ab
[4 in Gb] Cb / Bb Db Eb Gb Ab
(repeat)
Now the great thing with the above system is you are actually modulating
temporarily all the time. The more keys you base your chords on, the more
challenging it will be.
The brackets there are very useful for me because when I am coming up
with chord combos, I just use the numbers & if what I have chosen requires
me to jump around, I just play the inversion that allows minimal movement.
I hope this helps you to start thinking "outside the box" when dealing with
progressions.
Alternative To The 2‐5 Walkup & 5‐1..
in Db
#1‐#2‐#4 or #5‐5 then 5‐#5‐#6‐1
D / A Db Eb Gb
E / Ab Db Eb F
G or A / A Db Eb Ab
Ab / Ab Db ^Eb F ^=trill
Ab / Gb Bb C Eb
A / E A C#
B / F# B D#
C# / G# (B#) C# F
(repeat)
Hey T, for your last post, what is the timing for those bass-lines? What is
the timing for the chords?
For most of the bass lines, it's 4/4 time, meaning one note per beat. Only one
of them is different, and I'll try to explain the timing of it:
G#, G, G#, A, A#, A, A#, F#, G, A#, C#, E, D#, C#, A#, C#
Ab, G, Ab, A, Bb, A, Ab, Gb, G, Bb, Db, Fb, Eb, Db, Bb, Db
This bass line is to be played fast with a ragtime feel to it. They will be
played like triplets, except the middle beat of the triplet will be a rest. So, it's
like this:
Normal triplets played like this: [1, and, a] [2, and, a] [3, and, a] *each #
and word is a note played
Triplets with a rest in the middle: [1, , a] [2, , a] [3, , a] *notice the
middle note of the triplet is not to be played
Now that we understand that, let me explain the timing for the bass line:
Key Db
[1] Ab /
[ ]
[a] G /
[2] Ab /
[ ]
[a] A /
[3] Bb /
[ ]
[a] A /
[4] Ab /
[ ]
[a] Gb /
[1] G /
[ ]
[a] Bb /
[2] Db /
[ ]
[a] Fb /
[3] Eb /
[ ]
[a] Db /
[4] Bb /
[and] Db /
Try it slow, then increase speed as u get more comfortable with the notes. U
can find this bass line in the song "Praise Him" by Smokie Norful on his
Limited Edition CD.