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Church Chords

I had a kind of silly question. I play at my church on sundays, and just pounding out the roots of the chords is getting ol dfo rme. If I understand what notes are in each chord, how can I piece it together? Im just looking to add a littl ebit to my playing, besides just hitting roots all day.
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Re: Church Chords

11/15/2008 11:36 PM

Brad Mock (15518) wrote:

It would all depend on the type of music and service but you have to remember that you are a foundational part of the musical whole and you don't want to let everyone else down. I would try to find appropriate passing tones or in some music double the bass vocal part if the music is arranged that way.

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Re: Church Chords

11/16/2008 8:20 AM

John Crosley (7150) wrote:

I agree with Brad on this one. What is the basic
musical genre that is being played? Blues,jazz,
folk, bluegrass, rock? Find passing tones, etc.
If you want an immediate answer, start with
throwing in a fifth somewhere. You would be
suprised at how much on little change like that
can make to the overall feel and sound of the
music.

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Re: Church Chords

11/16/2008 8:30 AM

Shawn Moline (45) wrote:

The basic style is contemporary rock. All i get is the lyrics with the chords over top of the words. Ive just been pounding roots for so long now, I wanna add a little bit to the rythym section. Whenever I try to throw in a third or fifth on a major chord, it just sounds off.



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Re: Church Chords

11/16/2008 8:47 AM

David Muise (15739) wrote:

For me Bass is melodic and rhythmic. Try giving the root on 1 & 3 & play with what happens on 2 & 4. Keep with the kick drum & chord's structure, & dance with it.

The 3rd shouldn't sound off unless you hit a minor when it's a major or vice versa. The 5th sure shouldn't sound off.



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Re: Church Chords

11/16/2008 12:35 PM

Dave Magaro (20517) wrote:

Just stay away from a diminished fifth, they don't like that.

Dave



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Re: Church Chords

11/16/2008 12:53 PM

Paul Warren (14577) wrote:

hahaha The devil's chord. Can you say NIB? The pastor would't like me since I'd be trying to work that in to all the songs. lol



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Re: Church Chords

11/17/2008 10:48 AM

Eugene Shults (361) wrote:

That's hilarious. I always thought that the diminished chord sounded dark but kept that to myself. It's amusing to see that its considered by some as the "devil's chord" if what you say is true.



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Re: Church Chords

11/17/2008 11:17 AM

David Muise (15739) wrote:

A flattened 5th being the Devil's Note is an old rumour. VERY old.





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Re: Church Chords

11/17/2008 11:50 AM

Dave Magaro (20517) wrote:

It's not just a rumor. If you play it in church the place will burst into flames and Satan himself will appear. Go ahead... try it!

; )

Dave





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Re: Church Chords

11/17/2008 2:29 PM

Pete Wallace (14866) wrote:

Nobody plays a sus 4th in popular music. Wait we had this discussion a long time ago. Gotta say I've played the devils chord at Church before.... maybe that's why I'm not playing there anymore. hmmm I thought it was because I had gray hair LOL





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Re: Church Chords

11/17/2008 4:54 PM

Dave Magaro (20517) wrote:

LOL! That explains it! It's a wonder Ozzy didn't show up mumbling something unintelligible making devil horns with his hand....LOL!

: )

Dave



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Re: Church Chords

11/17/2008 11:54 AM

Paul Warren (14577) wrote:

It's true alright. While I doubt anyone was burned at the stake for playing it, it was definately frowned upon. Read the history here.

"The name diabolus in musica ("the Devil in music") has been applied to the interval from at least the early 18th century."



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Re: Church Chords

11/18/2008 11:32 AM

Eugene Shults (361) wrote:

That's interesting. Standing alone the diminished 4th is pretty dark. But it could sound like not a dark thing depending on what other chords you are using.

But I guess Pete tried doing that at church lol



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Re: Church Chords

11/18/2008 11:44 AM

Paul Warren (14577) wrote:

You're right that the context will influence how 'dark' the tritone will sound. Look up Black Sabbath on wiki. I'm pretty sure there's a section describing their 'discovery' of the tritone and how they made heavy use of it to define their sound.

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