Warning!  Pause and reverse as needed for this short tutorial!

This video gives suggestions on how to ease through an abrupt chord change in a hymn.  The hymn in this lesson is entitled “Where Jesus Is, ‘Tis Heaven”.

I had NEVER heard of this hymn until one of my readers recently shared it with me. Thanks Karen!

Download the two pages below before viewing the video. (For ease of reference)

Where Jesus Is, ‘Tis Heaven (original version)

Where Jesus Is, ‘Tis Heaven (improvised version)

This is a clarification for those who have purchased the “Diatonic Chord Substitution Lesson One” tutorial.  But…anyone can glean from this post!

I recently received an email with this question…

“You said if there are four different notes…then it is a 7 chord.” (She’s referring to analyzing chords from the hymnal.)

She goes on to say, “…however, on your example of “It is Well” (page four of the handout)…on the word “like”, there are four different notes and I don’t think it’s a C7 chord. It looks more like a G¹¹ chord or something…but you say to play a C chord for that whole measure.” Click on image for enlarged view.

Excellent question!

So…here’s the answer…

When coming across this situation where the chord can’t be placed in consecutive thirds…you are more than likely dealing with “passing tones”.  The passing tones are found in the right hand part for this particular example.

Passing tones are secondary notes you have to pass through to move from one note to the next.  Passing tones are not meant to be factored in… to the underlying chordal structure of a measure.

So…look at the word “like” in the picture above.  The right hand notes are “D & F”

Now…step back and look at the overall note ingredients within that measure. The majority of the notes favor what chord? Yes! The C chord.  That’s why I played within a C chord frame for that measure as you’ll see in the next picture below. (I should have made the left hand note “E” a half note.)

Passing tones to music are like joints to the human body. Our joints support movement as the passing tones do to music.  Passing tones are like the accessories/dress-up to the overall melody of a song.

Thanks to one of my readers for a great question!

Just published my first tutorial on Diatonic Chord Substitution Lesson One!

Wow!   WHAT a time I had creating this tutorial!

I focused on making it as easy to understand as possible!

The seventeen minute companion video is loaded with visuals!

Diatonic Chord Substitution Lesson One

Diatonic Chord Substitution....one of the easiest to learn! Enjoy this short; concise easy-to-learn chord substitution lesson! Materials include: Seven page PDF (downloadable) handout; Seven page answer key, companion video chock full of visuals and explanations! *Special note: Buyer receives a private video link via email... within two days after purchase. *Jenifer will email the video link to the buyer's email address used at time of purchase. On sale now through May 25, 2020

Price: $12.00

One of my readers recently asked for ideas on left hand octave chord patterns. This is just one of many patterns possible!

I started with a fairly easy one and will share another pattern when able.  Sorry for this quick-thrown-together video due to time restraints.

I’m preparing to help out my Mom after she has same day surgery on her knee.  Much going on but I will try to at least share quick tips or such for at least the next month…then maybe the dust will settle by then ;).

Ever have a hard time trying to figure out what to use for an interlude between verses when accompanying a vocalist or other small ensemble?

Here’s just one interlude method I use to help the soloist find his way back to the next verse…

Click HERE to access the free two page handout for today’s video session. (July 6, 2018)

Here’s the answer key below…

Page one

Page two

Need to brush up on chord theory?

I have a chord speller book by John Thompson that I use to teach my church pianist students who need to brush up on theory.

This book  provides foundational information needed for the church pianist to effectively improvise.

 Short synopsis of book:

John Thompson’s Chord-Speller

The purpose of this book is to present the Triads (including the Dominant and Diminished Seventh Chords) in a way that will enable the student to read them, write them and recognize them by sight or sound.

Having a working knowledge of  scale and chord structure will help the church pianist with improvising hymns.

If you’re interested in seeing sample pages or purchasing the book…just click on the image of the book above.

I’m always looking for simple-approach type books and this one fits the bill!  (I don’t get paid to sell this book)  🙂

This book has been around for awhile so you may find it on Ebay or Amazon.

Introduction 

Modulating during any type of prelude (church, funeral, wedding or other occasion)…creates a smooth transition between songs. Without a smooth transition between different keys, the music will sound interrupted or very abrupt.  The articles associated with this lesson and future lessons will deal with modulating to a higher key.  Modulating to a lower key can also be effective but such a topic belongs in a different set of lessons.

The modulation chord formula that works for most any key change uses the  ii7 to V7 chords of the new key.

(I personally like to use the V7 sus instead of a plain V7…but will will illustrate  at the appropriate time).

*Part two will provide a FREE pdf with several examples of modulating up a fifth. (C Major to G Major)

Keyboard visuals of the ii7 & V7 chords in the key of G Major are shown below. (The upcoming examples will cover C to G, G to D and F to C using this chord formula)

ii7 of G Major

V7 of G Major

Working on the examples now and hope to share this week!