Take Me to Church
We have already discussed Gospel-Jazz in a previous lesson. In this lesson we will revise what we have already learned and cover a common chord progression and scale that is often used in Gospel-Jazz. As the name implies, Gospel-Jazz takes elements of Gospel music and applies it to Jazz. Some of the techniques used (and already covered in the previous lesson) in Gospel Jazz are:
- Use of octaves (both in right hand and left hand)
- Tremolos (both in right hand and left hand)
- Diminished passing chords
- Couple chords (AKA Approach/Neighbour passing chords)
- Secondary Dominants
- Use of triads (rather than 7th chords) for Major and minor chords, but the full 7th chord for Dominant 7 chords
But as well as these techniques you will also find a particular chord progression and scale that are very often in ‘Gospel’ style or soulful Jazz songs.
Gospel-Jazz Chord Progression
First let’s deal with the chord progression. Below is a chord progression that you will very often find in Gospel-Jazz songs. Naturally, it has a number of variations all derived from the same basic template. Below it is shown in the key of C Major (with the harmonic analysis highlighted in blue).
Gospel-Jazz Scale
And on top of this chord progression, you will often find that the melody just uses the plain old Major Pentatonic scale (or occasionally the full Major scale). Below is a selection of Gospel/soulful songs that use the above chord progression and (mostly) use the Major pentatonic scale.
In the below video I play through these songs using the aforementioned techniques. Have a listen and see how soulful, dense, full and beautiful this chord progression and scale can sound when we add in a few octaves. I also take this template Gospel-Jazz chord progression and apply it to a traditional hymn (in this case – Amazing Grace). This works quite well because (as you may have guessed) the melody exclusively uses the Major pentatonic scale.