four chords in our progression .
Similar changes can be applied to the 5 chord , A , to make the D and A notes from the scale function as common tones . There are a couple of options . First , instead of playing the root ( A ), third ( C #) and fifth ( E ) of the A chord you could change the chord to an Asus . That ’ s spelled A , D , E . See it ? Now our two notes , the D and A , are part of this chord , common tones that can be played when your song has the 5 chord in its progressions .
Another option you have when your song has a 5 chord in it is to make the chord an add4 chord . This chord has a rich dissonance in it and provides beautiful color in your arrangement . The chord ’ s dissonance comes from the presence of the 3 rd and 4 th of your chord being played . The A chord , again , is spelled A ( root ), C # ( third ) and E ( fifth ). The Aadd4 for does just what its name suggests . Besides having the A C # and E of the chord available , you ’ ll add D , the 4 of the chord . That ’ s the same D that you used in the Asus earlier . Here , though , we ’ re choosing to have the D AND the C # heard . Listen closely to recent recordings of five of your favorite worship songs . I ’ m sure that you ’ ll hear many examples of add4 chords used when the 5 chord is part of the progression .
Here ’ s a note about the add4 chord . You can play three notes on this one , not just two . Yippee ! Take advantage of the rich dissonance present between the D and C # of this chord . In other words , rather than just playing the 2 notes I ’ ve spent my time discussing here , play the C # right next to your D . Sound a little intense for you ? Exactly . The beautiful thing about dissonance is that it begs to be resolved . When you reach the next chord of your progression and you release the C #, there ’ s a great sense of release , and a nice sense of musical movement created . Don ’ t be afraid of the dissonance . And if someone else in the band is playing an A or Asus as you play the Aadd4 , don ’ t stress . The result for the listener will be hearing the beautiful dissonance the Aadd4 provides .
To complete our work with the 1,4,5,6 chords in the key of D , the 6 chord , B minor , includes the D from our pad ’ s held notes but not the A . We want both of our 2 notes , D and A , to be common tones through our progression . This happens if you simply change the Bm , spelled B ( root ), D ( third ), F # ( fifth ), to a B minor 7 . That adds an A as the 7 th to the chord , so now the D and A are both parts of the 6 chord . And now each chord in the 1,4,5,6 progression features our 2 notes , the D and A , as common tones between the chords .
REMEMBER 2 NOTES . If your brain ’ s exploding from my venture to Music Theoryville , relax . The essential element to take away here is that in whatever key your song is in you can hold the first and fifth notes of the scale when playing a pad sound and get a very satisfying and effective result . The next step is up to you . As you listen to your pad sound and listen to what the rest of your team is playing , try different positions on your keyboard for these two notes . You might , for example , play the D and the A just above middle C , with the A on top . Or you might choose to play the D right next to middle C with the A below middle C . Generally , the lower your notes when playing a pad sound the more “ mud ” they can bring to the arrangement . Beware of playing your notes below middle C . Let your ear be the judge . And don ’ t avoid taking the 2 notes higher on your instrument . Again , try different hand positions as you listen not just to your sound but how it fits with what your band is playing at the moment .
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