Chords for Holy Holy Holy Alvin Slaughter | Playbyhear.com

Tempo:
110.5 bpm
Chords used:

C#

D#m

G#

F#

A#m

Tuning:Standard Tuning (EADGBE)Capo:+0fret
Show Tuner
Holy Holy Holy Alvin Slaughter | Playbyhear.com chords
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[C#]
[G#] [F#] [C#] [F#] [C#]
[G#] [C#] [F] [G] [A#]
[C#] [G#] Holy, [D#m] holy, [C#]
[D#m] holy, [C#] holy, [G#] holy, [D#m] [C#] holy, [F#] [C#] [G#] holy [F#] is [C#] the Lord [F#] [G#] God
[D#m] [G#] Almighty.
[C]
[C#] Worthy [F#] to receive [C#] our [D#m] praise.
[C#] Worthy [G#] to [D#m] receive [C#] our [F#] praise.
[G#] [C#] Worthy to [F#] [C#] receive [F#] [C#] our [G#]
praise.
[C#] [F] [G] [A#] [G#]
[C#] [C#m] Okay, [N] that song, believe it or not, is mostly major, minor, major.
That song, Alvin Slaughter, I think, was made that popular.
But if you know your major, minor, major, that means whenever you have [C#] a D flat major chord,
[D#m] the E flat minor beside it works with it, right?
It [C] helps you to keep a rhythm and [G#m] helps you to play [N] the melody of the song, [C#] actually.
So D flat, F, A flat, then you go right [B] next door to E flat, [D#m] F sharp, B flat, [C#] right?
[D#m] [C#] [D#m] [C#] When [D#m] you get [C#] those, then you try a [D] different inversion of the D [G#] flat, [C#] A flat, D flat, F, right?
Just move the A flat to the other side, [D#m] and then you go right next to the E flat minor,
next to B flat, E flat, [C#] F sharp.
And [D#m] you kind of [C#] get [D#m] those.
You get [C#] those real [D#m] good.
[C#] [D#m] [C#]
[D#m] [C#] And then when you [D#m] can do those, then [C#] you put the [D#m] other ones [C#] with it.
[F#] [C#] E flat, D [D#m] flat, [C#] E flat, [B] D flat, E [A#m] flat, [D#m] D flat, [C#] E flat, [D#m] D flat, E [A#m] flat, D [D#m] flat.
[C#]
And then you come down to this D flat, F, A flat, D flat.
Once [D#m] again, the E flat minor is right next [F#] to it.
F sharp, [D#m] B flat, E [C#] flat.
[D#m] [C#] [G#] And when you do [C#] that for a while, [B] then you [C#] add it to [D#m] the other.
[C#] [D#m] [C#]
[D#m] [C#] And then you can actually go up to the D [D#m] flat here.
[A#m]
[D#m] [A#m] If you can't do that [C] easily, it's well worth it to [C#m] do that.
That's all over the place.
Then [C#] you end up with holy, [D#m]
holy, [C#] holy.
See how just with the major, minor, major, you can play that melody.
But then holy, D flat again.
[D#m] Holy, [C#] holy.
All that is just D [F#] flat major and E flat minor.
That's major, minor, major.
[C#] Then a holy, right, which is D flat [G#] again.
Is, which is A flat, E flat, A flat, C.
[D#m] The [C#]
Lord.
Back [C#] to major, minor, major again.
So when you say holy, [D#m] holy, [C#] holy.
[G#] See [C#] how you do like a bass player, go [G#] back and forth.
Your [C#] main is D flat, but you bounce [G#] off of that A flat.
[C#] Because that's alternate bass.
It's in the D flat chord.
Holy, [G#] holy, [C#] [D#m] holy.
[C#] Now when I say [G#] holy, [C#] [D#m] holy, [C#] holy, I need to fill in.
Guess what?
I use the same [D#m] chords to fill in.
[C#] Right?
Holy, [F#] holy, holy.
[C#] Holy, [G#]
[F#] holy, [C#] holy.
If I [D#m] wanted to, I could do that too.
The [C#] second time I say holy, [G#]
[D#m] holy, [C#] holy.
[F#] [Fm]
[C#] I just holy, [F#]
which is another part of major, minor, major.
[C#] But I just leave the [F#] D flat there, [G#]
[F#] which is A [G#] flat.
[C#] Then holy, [Fm] which is D flat again with F in the [F#] bass.
Is [G#] A flat, E flat, A flat, C [F#] with F sharp in the bass.
The, which is still E flat minor, but you can put the dominant there if you want to.
[C#]
D flat major with A flat in the bass.
[F#]
E flat minor again.
[C#] D flat.
[G#] Okay.
Now that's A flat major with the dominant.
[D#m]
[G#] Now if you go to complementary chords and are sprucing up your music,
put complementary chords in the search engine.
But basically you go from A flat [F#] dominant to A flat 11th.
Right?
[G#]
So you got a dominant, you need something to do, you go to 11th.
[D#m] [G#]
Key:  
C#
12341114
D#m
13421116
G#
134211114
F#
134211112
A#m
13421111
C#
12341114
D#m
13421116
G#
134211114
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_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [C#] _ _ _
[G#] _ [F#] _ [C#] _ _ _ [F#] _ _ [C#] _
[G#] _ _ _ _ [C#] _ [F] _ [G] _ [A#] _
_ _ [C#] _ [G#] Holy, [D#m] holy, [C#]
[D#m] holy, _ _ _ [C#] holy, [G#] holy, [D#m] _ [C#] _ holy, [F#] _ [C#] _ [G#] holy [F#] is [C#] the Lord [F#] [G#] God _
_ _ [D#m] _ [G#] Almighty.
_ [C] _ _
[C#] _ _ Worthy [F#] to receive [C#] our [D#m] praise.
_ _ [C#] _ Worthy [G#] to [D#m] receive [C#] our _ [F#] praise.
[G#] _ [C#] Worthy to [F#] _ [C#] receive _ [F#] [C#] our [G#] _
praise.
_ _ [C#] _ [F] _ [G] _ [A#] _ [G#] _
[C#] _ _ [C#m] Okay, [N] that song, believe it or not, is mostly major, minor, major.
_ That song, Alvin Slaughter, I think, was made that popular.
But if you know your major, minor, major, that means whenever you have [C#] a D flat major chord,
[D#m] the E flat minor beside it works with it, right?
It [C] helps you to keep a rhythm and [G#m] helps you to play [N] the melody of the song, [C#] actually.
So D flat, F, A flat, then you go right [B] next door to E flat, [D#m] F sharp, B flat, [C#] right?
[D#m] _ [C#] _ [D#m] [C#] When [D#m] you get [C#] those, _ _ then you try a [D] different inversion of the D [G#] flat, [C#] A flat, D flat, F, right?
Just move the A flat to the other side, [D#m] and then you go right next to the E flat minor,
next to B flat, E flat, [C#] F sharp.
And [D#m] you kind of [C#] get [D#m] those.
You get [C#] those real [D#m] good.
_ [C#] _ [D#m] _ [C#] _
_ [D#m] [C#] And then when you [D#m] can do those, then [C#] you put the [D#m] other ones [C#] with it.
[F#] _ [C#] E flat, D [D#m] flat, [C#] E flat, [B] D flat, E [A#m] flat, [D#m] D flat, [C#] E flat, [D#m] D flat, E [A#m] flat, D [D#m] flat.
[C#] _
And then you come down to this D flat, F, A flat, D flat.
Once [D#m] again, the E flat minor is right next [F#] to it.
F sharp, [D#m] B flat, E [C#] flat.
[D#m] _ _ [C#] [G#] And when you do [C#] that for a while, [B] then you [C#] add it to [D#m] the other.
[C#] _ [D#m] _ [C#] _
[D#m] _ [C#] And then you can actually go up to the D [D#m] flat here.
[A#m] _ _
[D#m] [A#m] If you can't do that [C] easily, it's well worth it to [C#m] do that.
That's all over the place.
Then [C#] you end up with holy, [D#m]
holy, [C#] holy.
See how just with the major, minor, major, you can play that melody.
But then holy, _ D flat again.
[D#m] Holy, [C#] holy.
All that is just D [F#] flat major and E flat minor.
That's major, minor, major.
[C#] Then a holy, _ right, which is D flat [G#] again.
Is, which is A flat, E flat, A flat, _ _ _ C.
[D#m] The [C#]
Lord.
Back [C#] to major, minor, major again.
So when you say holy, _ [D#m] holy, [C#] holy.
[G#] See [C#] how you do like a bass player, go [G#] back and forth.
Your [C#] main is D flat, but you bounce [G#] off of that A flat.
[C#] Because that's alternate bass.
It's in the D flat chord.
Holy, [G#] holy, [C#] _ [D#m] holy. _ _
[C#] Now when I say [G#] holy, [C#] [D#m] holy, [C#] holy, I need to fill in.
Guess what?
I use the same [D#m] chords to fill in. _
_ [C#] Right?
Holy, [F#] holy, _ holy.
_ _ [C#] Holy, _ [G#]
[F#] holy, [C#] holy.
_ If I [D#m] wanted to, I could _ _ do that too.
The [C#] second time I say holy, [G#]
[D#m] holy, [C#] holy.
_ [F#] _ [Fm] _ _
[C#] I just _ holy, _ _ [F#] _
which is another part of major, minor, major.
[C#] But I just leave the [F#] D flat there, _ _ [G#] _
_ [F#] _ which is A [G#] flat.
[C#] Then holy, [Fm] which is D flat again with F in the [F#] bass.
Is [G#] A flat, E flat, A flat, C [F#] with F sharp in the bass.
The, _ _ _ _ which is still E flat minor, but you can put the dominant there if you want to.
[C#] _
_ D flat major with A flat in the bass.
[F#] _
_ E flat minor again. _ _
_ _ [C#] D _ flat. _
[G#] _ Okay.
Now that's A flat major with the dominant.
_ _ _ _ [D#m] _
[G#] Now if you go to complementary chords and are sprucing up _ your music,
put complementary chords in the search engine.
But basically you go from A flat [F#] dominant to A flat 11th.
Right?
[G#] _
_ _ So you got a dominant, you need something to do, you go to 11th.
_ [D#m] _ _ [G#] _ _ _ _ _
_ _ _ _ _ _ _ _

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