Sunnykeyz Production

18/11/2023

Unto the Next...

11/09/2022

God Turned It Around Afro Cover
This Is Your New Song This Week...Enjoy...

Title God Turned it Around by

23/06/2016

http://www.pianoscales.org/pentatonic.html

The pentatonic scale is frequently used in lots of popular music styles. There is both pentatonic major and minor – in this case the minor is more used. Note that C minor pentatonic has identical notes as Eb major pentatonic but in another order, D minor pentatonic has the same notes as F major pent...

24/12/2015

hello Gods people....lgpc would like to wish u a merry Xmas and happy new year....lgpc would like to give out 100 books of hanon virtuoso pianist to our members...we would like to make it easier..kindly drop your email address ...this is to the first 100 people who would like this post and comment with their mail address....be fast..

20/11/2015

Hello to Gospel Pianist all over the world.....Here LGPC would like to know your chalenges in playing the piano...Leave a comment and we might suggest the best solutions...stay blessed..

17/09/2015

Gospel Piano Scales
When it comes to gospel piano scales, you have
many options.
I’d say the most popular gospel piano scales are:
Blues scale 1 2 3
Pentatonic scale
Minor pentatonic scale
Super “Locrian” scale 1 2 3 4
Whole tone scale
Diminished scale
In fact, there’s really no such thing as “gospel piano
scales” — scales are scales and regardless of
whether you’re playing gospel, jazz, or blues, there’s
places to fit all scales. Granted, some styles utilize
certain ones more than others.
Gospel Piano Scales – Whole tone

When it comes to gospel piano scales, the whole tone
scale is a great tool to have in your arsenal and
pretty simple to understand. It’s basically all whole
steps.
Half steps are from key to key with no keys in
between. Whole steps always skip a key with one
key in between.
C Whole Tone: C – D – E – F # – G # – A #
And because every note is the same distance apart
(equidistant), there are really only two unique whole
tone scales.
Why? Because if you play this same scale above
starting and ending on D, you get the same exact
notes.
Starting and ending on E, same thing.
Basically, pick a note in the scale and play the same
notes and you’ve got yourself a brand new whole
tone scale without changing up anything.
So the only other whole tone scale is on B (or any
other note of that scale, as explained above):
B Whole Tone: B Db Eb F G A B
These are great gospel piano scales to use with:
Augmented chords
Augmented 7th chords
Dominant 7 #9 #5 (very popular in gospel)
Dominant 7 b9 #5 (very popular as well)
…and many others.

They can be used on the 2, b3, 3, b5, and 6 — but
most popular on the 3 as passing chords. You’d
simply play the chord in your left hand and
experiment with different whole tone gospel piano
scales in your right, knowing that there are really
only 2 unique scales… and all the rest just start on
different tones but use the same notes).
Gospel Piano Scales – Diminished Scale
The diminished scale is also a pretty cool gospel
piano scale you can use with diminished chords (…
which occur a lot in gospel).
Just like the whole tone scale, you don’t have to
remember 12 distinct scales because they repeat.
There are only 3 unique diminished scales.
E♭ diminished (F♯/G♭, A, C diminished): E♭, F,
F♯, G♯, A, B, C, D, E♭
D diminished (F, A♭, B diminished): D, E, F, G, A♭,
B♭, B, C♯, D
D♭ diminished (E, G, B♭ diminished): D♭, E♭, E,
F♯, G, A, B♭, C, D♭
How do you remember which scales share the same
notes?
Answer: Just remember which diminished chords
share the same notes!
Let’s look at these 4 diminished chords:
C diminished 7: C + Eb + Gb + A
Eb diminished 7: Eb + Gb + A + C
Gb diminished 7: Gb + A + C + Eb
A diminished 7: A + C + Eb + Gb
They share the same notes don’t they? Therefore,
their corresponding diminished scales will be the
same. So just commit the three diminished scales
above to memory, remember which ones group
together, and you’ll have even more gospel piano
scales to add to your repertoire!
And because diminished 7 chords are commonly
found on the b2, b3, 3, b5, b6, and 6 tones of the
scale, you’ll have many opportunities to employ these
gospel piano scales.
When it comes to gospel piano scales, if you master
the 6 here, you’ll never run out of ideas

13/07/2015

Progressions Practice Routine

Here’s a routine that you can practice every time you get to a keyboard to get you used to playing in all 12 keys. Don’t miss a key now, alright? It doesn’t matter what key you start at, but I recommend starting at C. The progression in this routine is the 1-7-3-6-5-2-1 progression. It is used a lot in gospel music as a full progression or in bits and pieces.

The first few chords are an intro into the key utilizing the 1 in the bass. Then, it starts into the 7-3-6-2-5-1 part. In between 2 and 5 & 5 and 1 there are some filler chords. As an added bonus, there is also a modulation chord to go to the next key. That modulation chord contains the 5th of the new key in the left hand and the 4th scale degree chord of the new key in the right hand.

All chords are played LH/RH
_______________________________________ ____________

Key C

C / E-G-C or C / D-E-G-C (1)
C / G-C-E or C / G-C-D-E
C / Ab-C-D-F
C / G-C-E or C / G-C-D-E
/ D, E
B / A-D-F (7)
E / G #-C-D-F (3)
A / G-C-E (6)
D / Ab-C-D-F (2)
E / G-C-E
F / Ab-C-D-F
G / G-C-E (5)
G / F-G-C-D
G / F-G-B-D, C
C / E-G-C or C / D-E-G-C (1)

Modulation chord to Db: Ab / Gb-Bb-Db or Ab / Gb-Ab-Bb-Db

Key Db (also C #)

Db / F-Ab-Db or Db / Eb-F-Ab-Db (1)
Db / Ab-Db-F or Db / Ab-Db-Eb-F
Db / A-Db-Eb-Gb
Db / Ab-Db-F or Db / Ab-Db-Eb-F
/ Eb, F
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
Gb / A-Db-Eb-Gb
Ab / Ab-Db-F (5)
Ab / Gb-Ab-Db-Eb
Ab / Gb-Ab-C-Eb, Db
Db / F-Ab-Db or Db / Eb-F-Ab-Db (1)

Modulation chord to D: A / G-B-D or A / G-A-B-D

Key D

D / F #-A-D or D / E-F #-A-D (1)
D / A-D-F # or D / A-D-E-F #
D / A #-D-E-G
D / A-D-F # or D / A-D-E-F #
/ E, F #
C # / B-E-G (7)
F # / A #-D-E-A (3)
B / A-D-F # (6)
E / A #-D-E-G (2)
F # / A-D-F #
G / A #-D-E-G
A / A-D-F # (5)
A / G-A-D-E
A / G-A-C #-E, Db
D / F #-A-D or D / E-F #-A-D (1)

Modulation chord to Eb: Bb / Ab-C-Eb or Bb / Ab-Bb-C-Eb

10/06/2015

MODES

A mode is simply a scale that starts and ends on each degree of the major scale. It uses only the notes of the major scale, but it just starts and ends on each note. There are 7 modes altogether. Each mode name signifies what degree of the major scale it starts on. First, let's review the major scale:

Major scale formula = __ WS __ WS __ HS __ WS __ WS __ WS __ HS __
(WS means whole step, HS means half step)

C major scale = C D E F G A B C

Key of C scale degrees: C=1 D=2 E=3 F=4 G=5 A=6 B=7

Ionian / Major Mode

Ionian is just the proper name for the major scale. The formula is already written above, so you can go back and review if you have to.

Dorian Mode

This mode starts on the 2nd degree of the major scale.

Formula = __ WS __ HS __ WS __ WS __ WS __ HS __ WS __

Example in C = D E F G A B C D

*If someone says play _ dorian mode, count back 1 whole step to find the key

Phrygian Mode

This mode starts on the 3rd degree of the key you are in

Formula = __ HS __ WS __ WS __ WS __ HS __ WS __ WS __

Example in C: E F G A B C D E

*If someone says play _ phrigian mode, count back 2 whole steps to find the key

Lydian Mode

This mode starts on the 4th degree of the key you are in.

Formula = __ WS __ WS __ WS __ HS __ WS __ WS __ HS __

Example in C: F G A B C D E F

*If someone says play _ lydian mode, count back 2 1/2 steps to find the key

Mixolydian Mode

This mode starts on the 5th degree of the key you are in.

Formula = __ WS __ WS __ HS __ WS __ WS __ HS __ WS __

Example in C: G A B C D E F G

*If someone says play _ mixolydian mode, count back or up 3 1/2 steps to find the key

Aeolian / Minor Mode

Aeolian is just the proper name for the natural minor scale. This mode starts on the 6th degree of the key you are in.

Formula = __ WS __ HS __ WS __ WS __ HS __ WS __ WS __

Example in C: A B C D E F G A

*If someone says play _ aeolian / minor mode, count back 4 1/2 steps or up 1 1/2 steps to find the key

Locrian Mode

This mode starts on the 7th degree of the key you are in.

Formula = __ HS __ WS __ WS __ HS __ WS __ WS __ WS __

Example in C: B C D E F G A B

*If someone says play _ locrian mode, count back 5 1/2 steps or up 1/2 step to find the key

Now go back and read through the explanations of each mode and try to connect it to the pattern for major scales. Hint: Look at the phrases with * beside them

Utilizing the modes is a great way of improvising your playing. It will make you seem like you are playing all kinds of wierd scales, when really you are just playing different versions of the major scale

15/05/2015

Scale Degrees

By now, we should all know what a scale degree is. This post is just a little more in-depth look at them. Let's review what we you all should already know from my previous posts, examples will be in the key of C:

Major scale formula = __ WS __ WS __ HS __ WS __ WS __ WS __ HS __

C major scale = C D E F G A B C

From the major scale, each note get's a number:

1 = C
2 = D
3 = E
4 = F
5 = G
6 = A
7 = B

If the scale goes past an octave, u can keep going with the numbering:

8 = C
9 = D
10 = E
11 = F
12 = G
13 = A

That's as far as the numbering goes. All of that above should be familiar to most of you. Here are a few things you may or may not know about the scale degrees:

Roman Numerals

In the early start of music theory, they used Roman Numerals to name the scale degrees. So, if you go to a real theory class, you will see the scale degrees number like this:

1 = I
2 = II
3 = III
4 = IV
5 = V
6 = VI
7 = VII

Scale Degree Names

Each of the 1st seven scale degrees also has a specific name. Let me break it down for you:

I = tonic (principle note in a key)

II = supertonic (the next note above the principle note)

III = mediant (half-way between the tonic and the dominant)

IV = subdominant (5th below tonic)

V = dominant (5th above tonic, the dominant element in a key)

VI = submediant (half-way between the dominant and the tonic)

VII = leading tone (has melodic tendency to lead to tonic)

Roman Numeral Chord Naming

Another important factor in naming these Roman Numerals is whether it's upper case or lower case. Upper case Roman Numerals signify that the base of the chord is major. Lower case Roman Numerals signify that the base of the chord is minor. Example:

Major chords = I II III IV V VI VII
Minor chords = i ii iii iv v vi vii

The Roman Numerals stop there, no 9 = IX, etc. These Roman numerals are used in naming chords associated with music. These 1st seven scale degrees are the roots for all chords in a particular key. So:

I = major chord built off the 1st scale degree
II = major chord built off the 2nd scale degree
etc.

i = minor chord built off the 1st scale degree
ii = minor chord built off the 2nd scale degree
etc.

For chords other than major or minor, you have to notate them differently:

diminished - the base of a diminished chord is minor, so it starts with a lower case roman numeral, then a small degree symbol is placed in the upper right hand corner of it. Example:

i* (i don't know how to make a degree symbol, so i used an asterik to represent it)

augmented - the base of an augmented chord is major, so it starts with an upper case roman numeral, then a small + symbol is placed in the upper right hand corner of it. Example:

I+

9ths, 11ths, 13ths - these chords are in a whole different league than the rest of the chords. So, I'm just gonna give you the naming of them in dominant form. The base of a dominant 9th, 11th, or 13th is major, so give it the appropriate Roman Numeral, then after that a small 9, 11, or 13 is placed in the upper right hand corner of it. Example:

I9
I11
I13

I'll have to do another post of 9ths, 11ths, and 13ths as it pertains to scale degrees and chord naming as soon as I organize the information in a way I think will be understood by yall. If anyone has any questions on this, don't be afraid to ask