Chords for Traditional Gospel Chord Progressions | I Really Love The Lord (Tutorial)

_ _ _ _ [G] _ _
[Dm] _ _ _ [Ab] _ _ _
[Eb] _ _ _ [Bb] _ _ _
_ [D] _ _ _ [Cm] _ _
_ _ _ _ _ _
[Bb] _ _ [E] _ _ [F] _ _
[Fm] _ _ _ [F] _ _ _
[Gm] _ _ _ [Bb] _ _ _
[Eb] _ _ _ [C] _ _ _
[F] _ _ _ _ [E] _ _
[D] _ _ _ _ _ _
_ _ [B] _ _ [C] _ [Ebm] _
_ [Bb] _ _ _ _ _
_ [Ab] _ _ _ [G] _ _
_ [Cm] _ _ _ _ _
_ [Bb] _ _ _ [F] _ _
_ [Fm] _ _ _ _ _
_ [Bb] _ _ _ _ _
_ [Eb] _ _ _ [C] _ _
_ [F] _ _ _ _ _
_ [D] _ _ _ _ _
_ _ _ _ [C] _ _
_ [Bb] _ _ _ _ _
_ [Ab] _ _ _ [G] _ _
_ [Cm] _ _ _ _ _
[Eb] _ _ [Bb] _ _ [Gm] _ [F] _
_ _ [Bb] _ _ _ _
_ _ _ What's up, [E] _ GiftedHands family, it's Elidja bringing you another lesson.
And today, we're going to break down [B] the traditional gospel song, I Really [Gb] Love The Lord.
And we're playing it in B flat major today.
[Bb] Let's get to the heart of the matter.
Very good.
So, it's like [C] a congregation song, a traditional gospel [Gb] song.
And [Eb] it's a very simple song in terms of form.
There are actually only two sections.
[G]
I just call it a chorus [Bb] and a bridge.
Chorus and bridge.
Very good.
And [N] then there's a turnaround at the end.
So we're also going to talk about the turnaround.
So technically, three sections.
Chorus, bridge and turnaround.
[Bb] Very good.
So let's dive into it.
Our scale in B flat [D] major. _
_ [A] _ _ _ _ _
[Bb] _ Two flats, B flat and E flat.
Very good.
The rest are [A] blank notes. _
[Bb] _ _ _ _ Very good.
[Eb] Let's start with the [Bb] chorus, which is just I really love [Dm] the _ [Bb] _
[C] Lord.
_ _ _ _ [D] _
_ [B] _ _ _ [Cm] _ _
I love it a lot.
[Bb] _ _ [F] _
_ [Bb] _ _ _ _ _
_ _ _ _ _ _
Very good.
So, let's start with the 1.
I love _ _ [Dm] it a lot.
Then we move on to the 3. _ _
_ [Bb] _ A4.
[G] It's the easiest way to [Bb] play it.
I don't know. _ _
[D] I really want 3. _ _ _ _
[Bb] The 4.
_ _ [Eb] _
_ _ _ _ _ [Cm] _
2. _ _ _ _
[Bb] _ A5.
1 [F] over 5.
A5.
The lowest.
[Bb] _ _ _ _ _ _
[Eb] _ _ _ [Bb] _ _ _
[Eb] _ Very good.
[E] So it's the [Bb] easiest way to play this chord section.
_ [Dm] 1.
A3.
A4.
_ [Bb] _ _
_ _ [Eb] _ _ _ _
A2.
[Cm] _ _ _
[F] A5.
1 over 5.
[Bb] 5.
1.
Okay.
It seems a little empty to me.
[N] And we can do more with the song.
Okay.
So when we accompany, we want to fill the blank spaces.
[Bb] And there would be a lot of them there.
So we can do 1.
We go to [Dm] 3. _
Let's move on to 3.
[Bb] Let's do 1. _ _
[G] _ _ Let's do this chord here.
_ [A] So, it will be [Abm] a [D] secondary dominant.
Most of the time, if you hear a passing chord, [C] it will probably be a [Bb] secondary dominant, right?
Especially in gospel.
So, [D] we go to 3.
So, what is [A] a fifth of D or 3?
It will be A.
Who is 7?
[Eb] The 7 always goes to 3.
That's why I like the [Gb] progression 7-36.
[B] 73, it's because there's a fifth of difference between one [C] and the other, and the 3 is the fifth of difference of 6.
So, [A] the fifth of difference.
Very good.
_ Secondary dominant.
So, we're going to make a dominant chord.
And in this case, I [F] just like the fifth of D, the [Am] ninth of D for some reason.
_ Okay.
_ _ [F] So, we have a triad [G] of F major on a dominant on the left.
[A] _ _
_ _ Superior [F] structure triad.
The [Cm] best way to think about it is a [A]
major triad based on the fifth of D of our chord. _
[F] _ So, [A] F is a fifth of D for the A.
There is the A, right?
A major chord.
F is a fifth of D.
_ So we make a major triad based on F.
[A] _ _ Okay.
And [Bb] we have_
_ [G]
Really.
And then all I do is that instead [Ab] of just playing the [G] root because it's a passing chord and it sounds really [Dbm] weird, I'm just going to play the [G] root without root.
Very good.
It _ _ is pitiful.
So, [A] yeah.
Here we are.
Right here.
In short, our left hand just plays the trio for this dominant chord there.
And then [F] our right hand plays the [Am] triad in F major.
[Bb] Okay.
I [Dm] really like the 3. _
[F] Okay.
Then [Bb] we move on to the 4.
So [Ab] I'm going to add another [Am] passing chord.
I really like [Bb] _ _ _ the_
_ _ _ _ [Ab] _ _
_ _ And it will be a [Bb] chord to 1.
_ It will be a dominant to 1.
It will be a 9 flat.
_ [Abm] So that's what I play to go to [G] the 4.
Okay.
Not necessary.
None of these chords are necessary, but if [Bb] you want to add them, you can.
[Dm] So I really like _ _
_ _ [Bm] _ _ [Gm] the lord to the 4. Okay.
And then we make the 4 resonate.
[Eb] _ Once [Bb] again. _
_ _ [G] I [Dm] really like. _
_ _ _ [F] And even if we are on the 3, we could play something like [Dm] that.
_ _ _ [Bb] Which is technically still our only dominant chord, _ [Ab] but it has no root.
_ So [Bb] my left hand plays like the trio for the only chord, which allows me to stay on the 3.
_ _ _ [D] _ _
_ _ And then my right hand will play my D flat for B flat, my third [A] for B flat and my fifth.
_ _ [Dm] _ _
[Abm] And that actually gives me a diminished chord.
[Bb] Okay.
_ _ The [Bb] lord. _
_ _ And we have [Eb] all this space until we move on to the 2.
[Cm] _ [F] Okay.
So there are two or three things we can [Bb] do here.
[G] _
_ [F] _ _ _ _ [Bb] _
_ _ _ _ [G] _ _
_ _ _ _ [Eb] _
Very good.
So the simplest thing we can do to eat a little of this dead space is to go to the [D] 6. _
_ _ So we could do like a 6 [G] suspended on the dominant 6. _ _
Okay.
[Cm] To the 2.
_ _ [Bb] It would look like_
_ _ [Dm] _ _
_ [Bb] _ _ [Gm] A fourteenth.
_ [Bb] _ _ _ [G] _ _
_ [Em] _ _ _ [Cm] Sorry, [Ab] I heard a [Db] melodic line in my head and it was different from what I just explained.
[Em] So let me [Bb] play what I just told you.
E.
[G] I really like.
[Dm] _
_ _ [Bb] _ _ _ _
[Eb] _ _ _ _ [G] _ _
_ _ _ _ [Eb] A two.
There it is.
Very good. _
I really [Bb] am.
_ _ [Fm] _ [Bb] _
_ [Eb] _ _ A one.
_ [D] _ _ [G] So you have this suspended 6 on the dominant where we can [N] do like a 25.
Which I like a little more than to say on this 6. _ _
_ So we could make a progression from 2 to 5 to bring us [Eb] to 2.
Okay.
And so it's going to be E.
It's [F] going to be that. _