using . So , the add4 chord fits perfectly into this approach to pad playing .
If you ’ re not used to playing the add4 chord in your keyboard parts it can take some getting used to . The dissonance created by playing this chord , the D #/ E played next to each other in the Badd4 , for example , is quite potent . It has lots of tension as part of the chord . The great thing about this is that the tension wants to resolve . So , when you go to your next chord and the D # is no longer played , the sense of resolution is significant . I hope you won ’ t avoid playing the add4 chord because of the dissonance it provides . One of the reasons I love the chord so much is that it brings a powerful sense of movement to what otherwise might be a fairly bland pad part that featured only the 1 st and 5 th notes of the scale .
Phew . That was intense . The good news is that with time you won ’ t have to think about all these technical things related to adding color to your pad parts . Your fingers and your brain will get used to how they sound and what chords in your song have color tone options . Now , to the 6 chord .
THE 6 CHORD My premise in this article and my last one is that the 1 st and 5 th notes of the scale in the key of your song work nicely as sustained notes over the changing chords of a 1,4,5,6 progression . Crucial to this concept is the fact that your 6 chord in the key must be thought of as a 6minor7 chord for this to work . Even when your chord chart might just present the 6 chord as the 6minor , not the 6minor7 . Yep . More theory coming …
Continuing in the key of E , the 6 chord is C # minor . That ’ s spelled C # E G #. If we want to sustain the 1 st and 5 th notes of the E scale , E and B , both of those notes aren ’ t in the 6 chord . But , by simply thinking of the C # m as a C # minor 7 you can now “ justify ” that B in your pad part . Whoohoo !
As far as color tones go , the 7 of this C # minor7 |
brings some color to your arrangement when |
the E and B are sustained over a C # from your |
bass player or guitarists or whoever . But , there |
is another note that I ’ ve found to be an effective |
color tone when the 6minor7 chord is being |
played . It ’ s the 4 of the chord . So , in the key of |
E again , C # minor7 is the 6min7 chord . Think of |
what the notes of this chord are , and number |
them above the root of the chord . |
C # m7 |
NUMBER |
C # |
1 ( root ) |
E |
3 ( third ) |
G # |
5 ( fifth ) |
B |
7 ( seventh ) |
Now , we want add the 4 to our C # minor 7 . So , |
from the root of your 6 minor chord , C #, count |
up 4 notes in the scale . That takes you to the |
note F #. |
C # m7 |
NUMBER |
C # |
1 ( root ) |
E |
3 ( third ) |
F # |
4 ( add four ) |
B |
7 ( seventh ) |
So now , if you ’ ve been sustaining the 1 and 5 |
in the scale , E and B , you could add the F # to |
your voicing . Here are the stacked notes that |
result if you have the B on top , or if you have |
the E on top . |
TOP |
B |
E |
MIDDLE |
F # |
B |
BOTTOM |
E |
F # |
So now you see that you have lots of choices |
to make as you create pad parts . You could , |
of course , choose to play full triads , playing |
each note of your 1 , 4 , 5 and 6 chords . For |
example , here ’ s the 1-4-5-6 progression in E , |
with full triad voicings described for a potential |
pad part . |
1 4 5 6 B C # B C # G # A F # G # E E D # E
If you choose to voice your chords as shown above , your pad part will be correct theoretically speaking , but it will lack the character that pad parts on modern recordings have . Those recordings will feature wider intervals without multiple chord tones stacked right next to each other . That ’ s why holding the 1 st and 5 th notes of the scale work so well . That wide interval creates a great droning effect when sustained across chords .
There are infinite options for you if you opt to include any of the color tones I ’ ve described here and in my previous article . In this example of the same 1,4,5,6 progression I ’ ll show you some more colorful options for a pad part .
WITH 5 TH NOTE OF SCALE , B , ON TOP OF VOICING : 1 4 5 6 B B B B F # A E F # E E D # E
WITH 1ST NOTE OF SCALE , E , ON TOP OF VOICING : 1 4 5 6 E E E E B B D # B F # A B F #
I hope you ’ ll explore the options you have through the use of color tones . Go for it if you just want to use the commonly heard sustained 1 st and 5 th notes of the scale over your chord progression . If you choose to experiment with what these color tones add to your musical palette for creating pad parts , though , I ’ m confident you ’ ll discover the movement and musical richness these notes can add .
Ed Kerr Ed Kerr lives in Seattle with his family . He serves as worship arts director at First Free Methodist Church , teaches keyboards in Paul Baloche ’ s leadworship workshops and is a clinician with Yamaha ’ s House of Worship . He also manages the Yamaha Worship Facebook group and invites you to join the group . www . KerrTunes . com