Chords for Larry Goldings - Jazz Organ Lesson 1
Tempo:
83.975 bpm
Chords used:
Bb
G
Gm
Ab
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
When you're playing organ, you can be more orchestral, and you can have stuff moving
around that just adds to the texture of what's going on in the band.
You take your ninth tone and you move [Bb] it down to [Gm] the root, to [Gb] the major seven, [Bb] to the dominant
seven, and you sus it, and you [Bbm] resolve that with the nine to a flat nine.
You do the same [Fm] thing here.
[Ab] [Bb] The point is, I'm not just plotting down the [C] chords, chord to [F] chord, chord to chord, [Bb] chord to chord.
I want to be very economical in how I do it.
So let's look at this G minor, [F] D flat nine, I'm not moving anywhere.
I didn't want to harmonize this E, but I don't want it to [Gm] sound pedestrian, you know?
So what do I do?
I
[B] [C] go
[A] I wanted to get some crunchy notes in there.
Go to the two chord, just go right for your minor major seven.
Right, Larry?
You love that one.
I love it.
I've heard it.
[Bb]
[Am] [E] [Ab]
[G] Substituting a dominant chord for a minor seven chord.
[Eb]
[Cm] Now you say, Larry, how can you dominantize a chord [G] if the melody is on the four?
You're so naive.
You just do it.
You just [Eb] do it.
[B] [D] You just do it, and look, look how I'm doing it.
I'm doing it like this.
[G] The reason why that works is because you've got distance.
You've got nice distance here, and you've got the seven in between.
around that just adds to the texture of what's going on in the band.
You take your ninth tone and you move [Bb] it down to [Gm] the root, to [Gb] the major seven, [Bb] to the dominant
seven, and you sus it, and you [Bbm] resolve that with the nine to a flat nine.
You do the same [Fm] thing here.
[Ab] [Bb] The point is, I'm not just plotting down the [C] chords, chord to [F] chord, chord to chord, [Bb] chord to chord.
I want to be very economical in how I do it.
So let's look at this G minor, [F] D flat nine, I'm not moving anywhere.
I didn't want to harmonize this E, but I don't want it to [Gm] sound pedestrian, you know?
So what do I do?
I
[B] [C] go
[A] I wanted to get some crunchy notes in there.
Go to the two chord, just go right for your minor major seven.
Right, Larry?
You love that one.
I love it.
I've heard it.
[Bb]
[Am] [E] [Ab]
[G] Substituting a dominant chord for a minor seven chord.
[Eb]
[Cm] Now you say, Larry, how can you dominantize a chord [G] if the melody is on the four?
You're so naive.
You just do it.
You just [Eb] do it.
[B] [D] You just do it, and look, look how I'm doing it.
I'm doing it like this.
[G] The reason why that works is because you've got distance.
You've got nice distance here, and you've got the seven in between.
Key:
Bb
G
Gm
Ab
C
Bb
G
Gm
_ _ When you're playing organ, you can be more orchestral, and you can have stuff moving
around that just adds to the texture of what's going on in the band.
You take your ninth tone and you move [Bb] it down to [Gm] the root, to [Gb] the major seven, [Bb] to the dominant
seven, and you sus it, and you [Bbm] resolve that with the nine to a flat nine.
You do the same [Fm] thing here.
_ [Ab] _ _ _ [Bb] _ The point is, I'm not just plotting down the [C] chords, chord to [F] chord, chord to chord, [Bb] chord to chord.
I want to be very economical in how I do it.
So let's look at this G minor, [F] D flat nine, I'm not moving anywhere.
I didn't want to harmonize this E, but I don't want it to [Gm] sound pedestrian, you know?
So what do I do?
I _
_ [B] _ [C] go_
_ [A] I wanted to get some crunchy notes in there.
Go to the two chord, just go right for your minor major seven.
Right, Larry?
You love that one.
I love it.
I've heard it.
[Bb] _ _ _
_ [Am] _ _ [E] _ _ _ [Ab] _ _
_ _ _ [G] Substituting a dominant chord _ for a minor seven chord.
[Eb] _ _ _
[Cm] _ _ _ _ Now you say, Larry, _ how can you _ dominantize a chord [G] if the melody is on the four? _ _ _
You're so naive.
_ You just do it.
You just [Eb] do it.
[B] _ _ _ [D] You just do it, and look, look how I'm doing it.
I'm doing it like this.
_ [G] The reason why that works is because you've got distance.
You've got nice distance here, and you've got the seven in between. _
around that just adds to the texture of what's going on in the band.
You take your ninth tone and you move [Bb] it down to [Gm] the root, to [Gb] the major seven, [Bb] to the dominant
seven, and you sus it, and you [Bbm] resolve that with the nine to a flat nine.
You do the same [Fm] thing here.
_ [Ab] _ _ _ [Bb] _ The point is, I'm not just plotting down the [C] chords, chord to [F] chord, chord to chord, [Bb] chord to chord.
I want to be very economical in how I do it.
So let's look at this G minor, [F] D flat nine, I'm not moving anywhere.
I didn't want to harmonize this E, but I don't want it to [Gm] sound pedestrian, you know?
So what do I do?
I _
_ [B] _ [C] go_
_ [A] I wanted to get some crunchy notes in there.
Go to the two chord, just go right for your minor major seven.
Right, Larry?
You love that one.
I love it.
I've heard it.
[Bb] _ _ _
_ [Am] _ _ [E] _ _ _ [Ab] _ _
_ _ _ [G] Substituting a dominant chord _ for a minor seven chord.
[Eb] _ _ _
[Cm] _ _ _ _ Now you say, Larry, _ how can you _ dominantize a chord [G] if the melody is on the four? _ _ _
You're so naive.
_ You just do it.
You just [Eb] do it.
[B] _ _ _ [D] You just do it, and look, look how I'm doing it.
I'm doing it like this.
_ [G] The reason why that works is because you've got distance.
You've got nice distance here, and you've got the seven in between. _