What's going on musicians this is Corey Taylor from SkilledMusician.com Thank
you all so much for checking out this video today. Now today's video is going
to be on gospel piano endings like what do you do at the end of a song do you
just hold the 1 chord...Okay don't worry I have you covered. I have 14 different
endings I want to share with you... yeah 14 of them, ranging from basic to a little more advanced.
I've even created mini files and sheet music and I put the link in the description box
below so definitely check that out. But let's not waste any more time. Let's Get Started!
Here's the first gospel ending all right so I'll play it for
you and then we'll talk about it.
And that's that's just a beautiful ending. It's like the foundation for all
other endings we'll kind of see going forward. It's just a beautiful ending in
and of itself.
Okay so let's break down what exactly i's happening here. So we're in the key
of C right so it has no flats no sharps in the key signature. Alright now we start
off with the octave C's right and then we have the inner motion.
So we add B in the left-hand and G in the right hand. And then A and F.
And then F and D. And then G and E. Let's break down why. So we started with kind of the one chord,
the home tonic. And then we do what I call adding tension. So where's the tension?
Well listen. You hear that? That's tension. It's this rub. So we start with the
one chord and then add tension. And so in this case it's a C major seventh chord.
Why do we know that? Well let's bring this G down and look at it. It looks like
a C major seventh just missing the third
So
The next court is... Well let's bring it down, figure it out. F from down here...
Let's move the C up here so...Aah just a regular old F major triad in first or
second inversion right. Or you can just call it F major over C. Now the next
chord mmm now what is that? Well let's figure it out.
Let's bring D down; let's bring the C up so we can kind of see everything.
Ah now this looks like a D minor chord which makes sense but I'm going to
theorize that it's not actually D minor. I believe that this chord is actually D
minor 7 flat 5, or D half diminished, or another way to call it is F minor 6.
Same notes just different way calling it. Why? Well between this A of D minor and
the A-flat of D minor 7 flat 5, this A-flat tends to push more strongly to G.
So when resolving it because next chord coming up is C major, it wants to resolve
harder so the pull is stronger with this versus
Let me play this with chords so you can kind of hear it.
this whole ending. C major, C major seventh, F major
now here's the F minor 6th. See how that pulls. Alright let's let's play with D minor
and hear how it sounds. So C major - C major seventh sorry
F major and D minor. It's okay. But for me, the D minor 7 flat 5 or the
F minor 6 how I'm going to call it, pulls harder so I'm gonna theorize that this
chord in our template is D minor 7 flat 5 or F minor 6 and I think I'm probably
gonna refer to it more as F minor 6. It goes back to one. You see that?
So let's kind of see this template so we have a one chord basically and then one
major 7 so I'll call thi's one with tension. So one then one with tension and
then this is the four chord in C which is F and then four minor six
and back to one. Right so you see the template? One - One major seven - four
Four minor six - Back to one. So that's the template.
You hear me call these numbers. It's really really important that you
understand, that you have a good knowledge of your scales.
Alright so I'm going to explain the number system or was created the Nashville number
system. The number system is just a way of identifying chords really quickly
based on their number. So we just look at the C major scale alright 1 2 3 4 5 6 7
back to 1. So if we give excuse me if we give each note a number so 1 2 3 4 5 6 7
and build a chord off of each note so it's C
it's my one chord. It's my 2 chord D minor - my 3 chord E minor - our 4 chord F
major - my 5 chord G major- my 6 chord A minor- my 7th is B diminished
Ok so when I'm referring to 1-4-5, I'm referring to these chords built off
these scale degrees.
Number two all right so I'll play for you or stay in the key of C
you
I'll do it again
all right and you can see this is kind of similar to the last one we start off
with our outside notes again and C major right and then we go down to this well
let's see what it is let's bring this down
I should so see diminished right so
and back so this whole kind of tension and release tension and release matter
of fact limit pause right there and say listen anytime you have opportunity to
add tension in you into your playing take it music is about tension and
release this it there's this war going on I want to say war but there's this
tension release that's happening all the time that creates interest in the music
so whenever you can create tension and then resolve it it's it's it's a
beautiful thing so alright so here we go so interesti diminish back to our C and
then we go back to our one with tension for one hour for minor six but look at
this I go back to four over one or sign for a four chord F major and we resolve
it to one so we just kind of add a little extra
and then
I could even kind of mess with a little more
you sorted it
all right so we're just kind of at this point kind of having fun with them but
kindness the principle remains we have this kind of one then
seat diminish going away and then come right back to one and then we start on
okay so that's Indy number two
ending number three this ending I actually heard the famed gospel
keyboardist and producer Kevin bond play it if you don't know who Kim bond is
he's kind of the father of the gospel west coast sound modern playing he's
produced just by a ton of Records in the in the 90s and 2000's he really was
producing everybody's record he's a phenomenal musician and I'm actually got
a chance to hear him and I heard him do this and he kind of blew my mind for a
moment but but let me just play for you so you can hear it and I'm gonna stay in
the key of C
all my time
okay well what was different there it looked a lot well very similar to what
we've done before well there's really one note that's changed from our initial
first gospel ending well it has actually changed one that was added so watch we
start with the octave C's but now instead of just adding B and G in the
middle like we would normally do we also add another C so this has the effect of
really pushing this sound like right up front in your ear
so even Creek makes the attention even more apparent and then we resolve it and
then back to normal right so
all right there's one other thing I'm doing in this ending if you watch right
here I did I'm doing a slow motion this
it's kind of its way a grasing off from one note to the next wheel and got some
interests you call it they call it twanging or from one note to the next
but simply grace from the F to the G in this case and you hear that in country
music and gospel that kind of moving from one note to the next gracing so
you'll hear this source button played again
play a little quicker
that's absolutely beautiful all right that's number three
this one is our traditional gospel ending are you hear it a lot in the
traditional music alright so let's play it for you we're going to be in the key
of F all right it is
I was it again
all right so what was going on there so in the key of F we just started with our
one core and you might have seen me play it kind of different ways I'm gonna roll
down here I might have added to see there I might have so with the ideas
we're playing the one chord and I'm actually adding the 9 and this note the
9 1 2 3 4 5 6 7 8 9 in this case would be G is kind of one of the safest notes
to add to give a little more color but not drastically changed your overall
sound so if you're looking to add more notes to your chords and jazz my little
bit the 9 is a great one that ok right now we do this thing all right so
there are a lot of waves to look at this a lot of a ton of ways to analyze but
I'm gonna go for the simple one are you gonna remember this is music theory not
music truth so there are a lot of ways to analyze these things so imma stop on
the last quarter there so this is just simply a f7 and a abdominis ever
measured and this was to prepare you to the four chord
so I view the first two as just chromatic passes to get me to this corn
right and then we go to our four core which is B flat and those guys and then
what is this chord well it's our four minor six or two half
diminished to half diminished seven but I'll refer to as for minor six
so there it is again and then back to one so we see that the pattern is
holding we have one right just one have you put the one chord and then char 4
then 4 minus 6
all right cool so that was number four
so this is more of what ending I started hearing in the late 90s and 2000 when I
first started playing gasps music my definitely heard from Kevin bond and a
lot of the West Coast guys so I'm gonna be in the key of e-flat
all right and so let's play
that's pretty sweet let's try it again
okay now what exactly was going on there so the first chord is our one chord now
our second chord is our one with tension right well let's examine what it is what
what is this so we have the E flat and E flat in the left hand so that's the one
in flat seven the third is G the thirteenth is C and F
is the nine so we have two flat nine with the thirteenth that it right if you
noticed like grace from the B flat to the sea so make sense all right let's do
it from top and then we went to all right now what is this chord does
anybody know like your moment to guess what it is
remember the template that we've been using so we have one one with tension
what should come next yeah you got it it's the 4 chord which is a flat
I'm just not playing the a flat but that's the chord you see
so listen I'm gonna do so we have E flat and C which are the third and fifth and
third growing up we have the 13th of a flat which is the F the 9 and the 5 so
just simple a flat six nine four and then the next chord we would expect if
it follow the template we would expect the next court to be a flat minor six
our four minor six so let's see what happens
what did we do here alright so what is that under seminary so we have this kind
of past melodic pass it looks like seven notes that we can land on so we have
let's move up right there just a flat minor six you see and then we did a to
get back to one so let's and let's play it all from the
beginning I went
those are sweating
have you noticed I keep changing how I'm playing it Oh subtle differences
mindless right this Court's next court right here this for minor stakes I could
keep my pinky on the E flat and move my thumb to be so so we have this I could
add a little more so the key is just to get the pattern and then you can start
experimenting with different color tones different notes you can add and take
away
this is another one that I heard a lot when I first started playing in the late
90s so I'll give it to you we're gonna stay in the key of E flat again
I said yeah I noodle
all right cool that rundown that's just the E flat major pentatonic one two
three five six five so let's give it away
all right so let's see what let's see you that well there was first you start
with the 1 chord so an E flat it's a flat right and then we have this
chromatic melodic move down starting at G going down and then whoa what is this
what is that well it's just a 1 with tension again so it's B flat D flat so
that's one five seven watch this flat nine third thirteen and sliding on again
so it's just an E flat 13 with the flat 9 right which is just another tension
core attention will enter alright so check there's our one tension going to
our four major with it at 9 or 4 major add to a flat major a tube and then our
four minor 6 back to so this is just another way to play the
same idea one one with tension for 4-6 back to one okay so that was number six
so going forward we're going to start messing with the template the template
of one what one with tension four and four minor six we're gonna start messing
with it and see what what comes up so here is number seven and the key of B
flat right here goes
all right I was pretty cool let's try together
all right that's pretty cool you see we're something that's been a little bit
some Accords but the idea is this
okay so let's break down what I was doing there so the first chord so we
would expect in the key of E flat to playing one chord right but that's what
we happen to you we get this sucks social spin this was
the B flat 13 sus sus meaning the third has been suspended so instead of playing
the third it's up an air waiting to resolve
so we have our one son so it's not shrink wa1 but once sus but then what
comes after it i believe i play at that at one time well what is this chord
let's examine it so we have a 1 in flat 7 so we know it's a B 5 7
flat nine flat five and one or sharp eleven so one seven flat nine five five
that's just so simple ultra court but it's in in a nutshell it's one with
tension there's a different tension and I did this kind of move
it's kind of double neighbor tone like encapsulating where I'm going so I know
I want to go to a flat I went up to and I approached it from above and the end
approached from below just I cut it this way
all right so the point is all right so let's try it again from top so I'd be
flat 13 cents then our B flat seven altered and then we go to what court is
this this is kind of similar as to other key one of the other ones we did where I
wasn't actually playing the root of the court what chord is this remember the
template one one with tension for this is actually flat E flat six nine and
then
well let's this is nothin what I'm not actually playing the root but this Court
is our four minor sticks I actually added the nine there so I'm gonna have I
had the root there
all right let's try
still our four minor sticks we just add smaller color tones and I can get the
back to the just simple 4-6 and then back to what
alright so try to go
all right argument and you see me playing these differently it because I
want you to get the concept you can play it for beta miss how I'm playing it but
the point is I want you to get the concept than what I'm doing all right
let's see if I can play it any more other ways I think I just did one ah
what is that instead just playing this I added the G in there which is the
thirteenth for b-flat so so just a simple b57 with a whole bunch of
alterations and additions it's a flat 9 flat 5 ad the 13th
disgracing here to the guitar each by six nine and then what time I did this
right to get re 4-6 I did this manner
just kind of walk up I don't want to play this to get to my you Flemish minor
six but I just kind of preceded it by two half steps and then back to water
all right so the point is the idea is it's a pattern and then you can mess
with it however you see fit whatever sounds good to you okay so that was
number seven
this is one of my favorites favorite endings I I do often matter of fact
there's a video of my bro doing this very same ending or something very
similar I'll put it in the description box so I'll link to it in the
description box so you can check it out definitely check it out all right so let
me play it for you and then we'll explain it so we're gonna be in the key
of E alright and that Ryan just simply E major pentatonic so one two three five
six one alright cool so let's explain it I mean let's do it and then we'll
explain it here it is
eyes again
all right now what was that first chord
well in this case we we would expect to play one major and then go to attention
cord some attention and then the form this can do it right to the tension cord
which in this case is the e7 you have flat nine there's a three there's a
thirteen so we can say e thirteen the flat knot and then
this is our a major nine over you and then back to our four minor states with
distant which is melodic move I just enjoy doing right so that kind of holds
it still holds to our template we're just kind of messing with it a little
bit while attention first then we go to our for an hour for minor six that's a
one okay and again like I said you can mess with these let's just try mess with
a form for a moment
all right I'm see if I can remember what I did but home attention
I changed the tension we had this tension but I like this one which is our
inai with the 13 at it then went to her a but listen I decided to invert it was
just doing random of a major sent him with a drop to forcing and then a minor
a minor six you see it and then back to one do that one again
they're here
and if you see the notes the names of the chords on the screen some of them
aren't correct because I'm playing a lot of the history and our context this is
actually a minor but it - AC major seven or something different so that's just
even some time just kind of give you the root but if I was playing you know
I might not play the root for all of all so
all right and that still holds to our trip template still holds true to our
template whoever won one well in this case we skip the one we just went right
to a woman's attention we changed attention so it's one
retention plus another bone attention all right when are for another 4 and
then 4 minor so do image 9 and then a major a minor sorry a minor 9 then a
minor 6 back to 1 so the point is you can mess with these all you want but
just get get the idea and I'm gonna put a link to that micro video cuz he does
an amazing job he's actually in the key of a-flat if I remember correctly but
check his video too
all right so this is ending that is was really popular when I first started
playing and it's actually still popular today so we're gonna do it in the key of
D flat so I'll play for you of a d fun right D flat there it is
pretty cool this right here
all right cool so let's break down what's happening here so we start again
with our one chord and again you can play as one chords however you want and
then you can use my left hand I'm kind of rolling it up or you can just kind of
band on it but here's where it gets interesting so we would expect if it
keeps to the pattern that we've struck at the one chord and that's what happens
we start with the one chord and normally we'd expect one with
tension
but it's still kind of it's one with some weird kind of tension I guess so
let's break down what that is so we do this melodic move up one two three five
let me go to the sharp eleven which is G but we actually harmonized it so I make
it an E flat major over to D flat we're holding our left hand so and I actually
played this between my two hands so I'm just inverted the chord down you see
all right so okay so if it helps us mattered we would expect to go to maybe
for next and then go to four minor six but actually it goes right to the four
minor six and then resolves back to one so
you see
all right so that's number nine
alright this is anything I enjoy playing um and it sort turned out that I was
playing one day and one of my buddies said hey Cory that's a hard be ending
like I mean it's an R&B song yesterday I did not know that but if you know that's
a quick trivia if you know what this song this is to put in the description
box below you'll get bonus points all right so I'm gonna doing the key of B
here we go here it is
was it again
omerta
okay all right so let's break down what's happening there and does it still
hold true to our template of 1:1 with tension then 4 then 4 minor stakes back
to 1 so see if the hell it's true to it alright so starting with but just our
octave beads will function as our one oh wait a minute this is a departure we go
to this looks like a b-flat diminished
B flat diminished 7 so and then oh wait a second that's our B 7 that's Abby's
time that's one with tension so
so here's here's what I believe happened here they have one
let me have a passing court to get us to our one with tension normally we've been
going one one with tension right but now we have a passive core all right now
what comes next
so we have we go to our four chord there's been a lot of moveable table
we see it we're on our 4 chord and then it's just
our four minor six or a minor six this little bit move
and then this is a classic like Ahmed
so just for one just throwing and you could have went straight to one stop
late again
you see it one more time
okay so that's number two
Allen Marvell who's an unbelievable musician posted a video of him
practicing and I heard him doing anything that was actually very similar
to the one we just did so i'ma post a link to that video in the description
box below definitely check him out he's an unbelievable musician so let me play
for you his ending I'm gonna doing the same key of B so you can see the
differences here it is
I did again
I'm Sam
oh sorry let's try to give
all right so let's break down what's happening here so we have now he
precedes it as
so
so we have our regular beat was just one our B major seven
now here comes beam h9 through adding tension b7 Wow
so though add type tension
antigen add more attention so we go from one to a little bit of tension to more
kitchen
and then here's our our four core or e if I put it down here you might say it
in the core description but
sorry I just have been the bass
you see it
as that 4-6
any justice
so I played it
all right so that's number 11
so this ending is a friend of mine karma Reese here from Atlanta Georgia she
actually talked this to me she's a phenomenal musician if you haven't heard
of her check her out karma Reese with a see karma Reese so let me play for you
I'm doing the cube G so G has one shot F sharp
here it is
I did again
omerta
all right so let's talk about that ending did it hold true to the template
to the pattern all right let's see if it did so we have a one one seven four we
have this passing chord to take us back to one this diminished chord that's not
diminished or you can look at it as d7 flat nine get us back to one then we're
gonna wrap around again one with tension here's our four chord and our four minor
six all right cool that was number of twelve
so these are someone give you two versions of this one these are the two
that I enjoy playing a lot and they're very very similar so I'll include them
in the same group okay here it is so we're gonna be in the key of a-flat so
any gospel were a flats considered the anthem key alright so here it is
Shadia
all right cool so this first four so generally if we're
gonna keep it that we'd expect if it holds true to the pattern would expect
one chord just a flat that's not what we get though we get this a flat major a
flat diminished major seven which is the next I played a kind of a melodic move
to get us right so this is kind of this one with tension so we skip there just
one regular we wear right to one with some sort of tension and then we added
more attention what changed attention so just kind of a a flat altered type chord
so let's this examine it so we have we have the flat seven the one flat nine
the 3 flat 5 13th and one so at this point just call an altered chord so the
alterations get so much all the extra notes you're adding if you we just go to
alter chord so here it is so alright and then what's this what's this next chord
can you tell it's actually our fourth chord so we go from one with tension to
this dominant one with tension so one seven two four I played it based on here
here and there's our four minor six back to
one I hope
cool so echoes that was number 13 a
so it's the same idea is 13a it's just for changing them the melodic note maybe
adding a little more here it is so
right side it again that's the core it a really sets it apart
so that's talking with like first core so it's just a simple a flat diminish
right with the major seventh and benign at it right that's all that is so you
see it so I thought diminish with the major 7th and the 9th adding and then
we go to our a flat seven flat nine chart a 5:13 the flat nine and satisfied
and then our D flat a four chord that I'm poor much at four minus six
and I did there was I played the 406 then passing or so diminish take get to
then that's another just in a very good version of the four minor six I could
keep doing that and load it so passing inversion right
okay so inflate one more time
you
all right all right cool so that's 13 the Oliveira team
and then 1414 here's number 14 so this is a quarry special something you might
hear me play on her Sunday maybe not exact like this but similar to it so
let's just let's do a try
all right let's try to you
former time
on the time
now that was I was a good bit right there so let's kind of break down what
he's like was going on there all right so I just started I'm there's a rule
that says any court can be preceded by its fifth so the first of all we
normally expect to start what if I'm in the key of C we start with C but I
started with the five I said five one so just trying to get it kick started now
here we are
this is just a C major seven and vote it but just the C major seven so one so we
have our one with tension never seems so this is more attention so we take the
major seventh and add this suspended to kind of so you don't see it three here
and this kind of had the kind of passing b2
now this is F major nine so we went once there's five one getting started at one
with tension more tension for here's a for now I just inverted the
four so this is F major seven still this is still F major seven if I put still
actually say F major nine excuse me just invert it and then I came to this
diminish this C sharp diminished and all this is Seashore 307 it's just a passing
give me to the for minor six which is F minor six or questions we called D minor
7 flat 5 so you might see dem identify five there
now what is all that so do you - Oh F - 647 D minor 7 flat 5 that do it diminish
pass so be sure to Michigan I just invert it down so it's still F minor 6
I just never breaded it down doesn't diminish pass F minor 6 again diminish
pass F minus 6 again diminish pass and -6
and then I ended it at sea does it make sense try to
so you know this is elongated but it still goes to draw our template which
was one one with tension we had two extra warm attention for our we just
inverted four four four pass to give us two four minor six
and we doing this whole bunch of for minor sixes and then back to one so in
essence it kind of basically a whole it's true to our theory or hypothesis
about these endings having the same kind of one than one with tension and then
four and then four minor six back to one and so you can kind of see the pattern
and you're free to kind of mess with these however you want you know you
let's say I want to before the one I wanna and then go to one
no I'm just taking the same ideas and just kind of messing with them now
bonus all right if those weren't enough I have one more for you and this is one
of my specials it's one that I do often you'll hear me play it matter of fact
I've actually actually did a video that I posted on YouTube I'll link it in the
description box where I where I actually play this ending as part of a song that
I hear on my plate for one of my friends that are in my my mentee group so uh so
let me demonstrate for you I wanna be in the key of C right so here's their name
I did
all right so what exactly is it so we start with this light little run and
what
I wanna see
and I got a G minor
and then see then I do the same thing a whole step down
then
all right so the question is Cory you've been talking about this pattern this one
one with tension for for minor stakes back to one what does this hold to it Oh
loosely so let's let's examine it it's it's it's loosely holding to it to start
with this is kind of yeah it's kind of this spot so that's kind of like one
loosely alright alright and then we go to G minor know how to where does that
come in well G minor is there's constantly since two and five are the
same so in the key of F 2 is G privacy c7 so G minor c7 so I could say that
this G monitors functioning taking the place of the c7 or the one with tension
so we have one and this G minor which is taking the place of the one with tension
we go to the four and then go to one for a moment miss I guess this one is acting
as a passing chord and then we go to AH for minor right there for minor
and we end on b-flat whoa there's the same idea so f minor and B flat nose are
constants it's to empower the same so f minor and be financed aim so this is
kind of my four minor six but then back to one
it's okay loosely loosely loosely does it hold but the pattern is such that you
know you can kind of adjust it and mess with it a little bit and you there are
some amazing ending so let me place when one more times are really enjoy
wow that was a lot of material recovered and hopefully we found at least one
thing you can use to enhance your playing now please don't forget in the
description box below I had links to sheet music and MIDI
files so definitely go check them their great resource also thumbs up this video
share it with everybody how many buddies everybody and hit the
subscribe button wherever it is it's somewhere around here and lastly please
post your ideas for new videos in the comment section below
I'm making new videos every day and would love to make the videos you want
to see so definitely post your ideas through
the comment section below and I will try to make those videos as soon as possible
alright again my name is corey taylor from skill musician comm where we're
helping musicians improve so hopefully this videos helps you improve so thank
you so much and until the next one be blessed
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