Mastering Chord Suspensions

Adventures in Harmony – Mastering Chord Suspensions
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1. Cycling on the Suspension ................................................................................................................. 5

1.1 Cycles - Passing Chords............................................................................................................ 6
2. Master the (V) as the Suspension ...................................................................................................... 7
3. A Note on Alternate Keys and Transposing ....................................................................................... 8
4. The Harmonization Process and Required Reference Volumes ...................................................... 10
5. Harmonize - What a Friend We Have in Jesus ................................................................................. 11
5.1 The word - ”What” ................................................................................................................ 13
5.1.1 The Complicated Traditional Key Shift............................................................................... 16
5.1.2 Example – Understanding the Base Tone .......................................................................... 16
5.1.3 Example – Using the Numbers ........................................................................................... 17
5.1.4 Example – Shifting an Entire Cycle..................................................................................... 19
5.1.5 Example – The Cycle .......................................................................................................... 21
5.1.6 Example – The Cycle – An Application ............................................................................... 28
5.2 Harmonization of the word – a ............................................................................................. 29
5.2.1 An Alternate Cycle ............................................................................................................. 30
5.2.2 Chords on out of Scale Tones ............................................................................................ 33
5.2.3 A cycle moving in Fourths .................................................................................................. 36
5.2.4 Additional Chords .............................................................................................................. 38
5.2.5 Out of Scale Sequences...................................................................................................... 39
6. A Chord on Every Tone................................................................................................................. 43
7. Summary .......................................................................................................................................... 44
8. What a friend we have in Jesus........................................................................................................ 46
8.1 Harmonization of the words “What a” ..................................................................................... 46
8.1.1 More Possibilities .................................................................................................................. 48
8.1.2 Personal Tip ........................................................................................................................... 49
8.2 Harmonization of the Word “Friend” ....................................................................................... 50
8.3 Harmonization of the word “We” ............................................................................................. 51
8.4 Harmonization of the word “Have” .......................................................................................... 52

8.4.1 Harmonization of the word “In” ............................................................................................ 53
8.5 Harmonization of the partial word “Je” .................................................................................... 55
8.6 Harmonization of the partial word “sus” .................................................................................. 56
9. Completed Harmonization “What a Friend” .................................................................................... 58
10. Never Transpose Again .................................................................................................................. 61
10.1 The Lazy Slide ........................................................................................................................ 63
10.2 Memorize the Chords in Every Key ....................................................................................... 64
10.3 Use the Number System ........................................................................................................ 66
10.4 The Old Result of Transposing ............................................................................................... 71
10.5 The New Method ................................................................................................................... 74
11. The Completed Harmonization in (Eb) – Using Chords on Db ....................................................... 83
11.1 A Closer Look ......................................................................................................................... 85
1. Cycling on the Suspension
In this volume we are going to focus on one method of how to create and make beautiful
chord transitions and movements in your favorite songs. We are going to use the technique
described in the Adventures in Harmony Handbook of Harmony where we harmonize on the
melody note. This technique was initially introduced using the voicings contained in the
volume – Advanced Voicings for Melody and Suspension Harmonization.
We are going to take a detailed look at one method of melody harmonization called cycling
on the suspension. The suspension is the topmost note of any given chord. When we do
melody harmonization, this topmost note corresponds to the melody note of your song.
Cycling on the suspension is where you play many chord transitions for that single melody
note almost as if you were playing chords in a cycle. Every chord that you play when you
make a chord change must have the same melody note on top.
For example, suppose the melody note is a (Bb), and you wanted to play a four chord cycle.
You would play four different chords in sequence, and each chord would have the (Bb) as
the top most note; but the chord tone (bass), could be any of the twelve possible notes. This
could be an (Ab) chord followed by a (C) chord, (Gb) chord, and then a (D) chord, and each
one of those chords, have the (Bb) as the topmost note.
By using the technique of cycling on the suspension, you will see that one can easily create
beautiful chord transitions for your favorite song. Here is a sample three chord cycle with the
note (Gb) as the suspension.
1.1 Cycles - Passing Chords
Cycling on the suspension is one method of adding beautiful passing chords to your favorite
song. Passing chords are additional chords that are played in between two existing chords.
Adding these additional chords will give your music much color and flavor.
Insert Chords between (Ab) and (Bb)
If we cycle on the (Ab) suspension (in the figure above) any additional chords between the
(Ab) and (Bb), would all have (Ab) as the suspension. These additional chords can be
considered passing chords. When we are done with our cycle on the (Ab), we would move
to the next note (Bb).
Move to the next suspension (Bb)
We would repeat this process and cycle on the (Bb) suspension and add additional chords
between the (Bb) and (Ab) (in the figure above). If we repeat this process for our entire
song, moving from note to note, we will end up with a beautiful harmonization filled with
passing chords.
Please note, the passing chords that are created by cycling on the suspension, all have the
same melody note. It is also possible to have passing chords that do not have the same
melody note as the suspension, but that technique will not be addressed in this volume.
2. Master the (V) as the Suspension

There are twelve tones on the keyboard (C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb and B). Each
one of those tones can function as the melody note (suspension) in some song. You need to
master the chords that go with each one of the twelve suspensions.
Once you know chords for each suspension, you can then immediately harmonize any song.
It will no longer be important what key the song is in. You will no longer care what key the
song is in. The whole concept of song key will become less important and you will look at it
in an entirely different way.
In this volume, as an exercise, we will completely master cycling on the suspension for a
single tone. We are going to master the (Ab). You will need to repeat this process for the
other eleven tones. The song that we are going to use in our example is written in the key of
(Db). You can see in the following table that the (Ab), is a (V) in the key of (Db). The tones
in any scaled are numbered with Roman Numbers (I) through (VII).
Db Scale
Note Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb C Db
I II III IV V VI VII I II III IV V VI VII I
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
Therefore we are going to master the (V) as the suspension.
The information in this volume will work with a song in any key as long as you are working
with the (V) in that key. You will then have to transpose all the chords to the key that you are
working with. I recommend that you do not do that right now, because I will introduce you to
a concept that makes transposing a thing of the past. So for now, our example song will be
in the key of (Db) which makes the (V) equivalent to the (Ab) note.
3. A Note on Alternate Keys and Transposing
The technique described in this volume will work on any song in any key. If you have a song
that is in a different key, I strongly recommend that you DO NOT transpose this information
to an alternate key.
For example, if your song is in the key of (C), the (V) of (C) is a (G), DO NOT transpose
everything in Adventures in Harmony reference manuals, down ½ step down from the key of
(Db) to the key of (C) in attempt to transpose the chords to match your song.
You may have heard in other courses, or in your musical career that once you learn a chord
in one key, learn it in every key.
DO NOT DO THIS! IT NOT NECESSARY!!!!
If you did do that, you will find yourself in a slump of sounding boring in your playing. This is
because all you have done by transposing is changing the pitch of what you are playing.
You will end up playing the song exactly the same way, with the same chords, but only in a
different pitch.
It is also a very long process to learn every chord in every key, and it’s not worth the time
invested if the only result is you playing a song the same exact way, but in a different pitch.
Instead of transposing the (G) (V in the key of (C)), to the new key of (Db), I would rather
you treat the (G) as a new suspension, relative the key of (Db). This would make (G) a (bV),
now pick completely new chords to harmonize on the (bV).
In short:
1) You have a song in the key of (C) or some other key that is not (Db).
2) You have only learned or are familiar with chords relative to the key of (Db).
3) In the key of (C) the chord or tone is a (V) (G).
4) We are asking you not to transpose this (G) in the key of (C) to the key that you are
familiar with. Don’t transpose this (G) to an (Ab) so that you are in a familiar key
(Db).
5) Simply treat the chord or tone on the (V) (G), as if it was in the key that you are
familiar with.
6) Therefore this (G) in now treated as a (bV) relative to the key that you are familiar
with (Db). In the key of (Db), the note (G) is a (bV).
The main point I am trying to get across to you is DO NOT TRANSPOSE.
Look at this information in the Adventures in Harmony chord reference volumes as being
key non-specific. For example, look at the information in this volume with regard to
mastering the (Ab) suspension. I want you to look at it as if you are mastering the (Ab) note
and forget about the key.
I want you to make believe that the name of this volume is really called Mastering the (Ab)
note. Then carry the ideas presented in this volume to the other 12 tones. The applications
for this will be discussed later with examples.
Please follow along and you will learn a big secret with regard to this concept.
The secret is that it is not necessary to transpose ever again.
I will show you how to immediately play in any key even though you have never played in
that key before.
For example if you learn a chord in one key, you do not have to learn it in the other eleven
keys. I know that is a very hard one to swallow, but after you finish this volume, you might be
able to see this. If not, just hold on for more details later.
If you feel the need to transpose, feel free to do so ~ but you will find out later that it was a
waste of time after you discover and understand this unspoken secret.
4. The Harmonization Process and Required Reference Volumes
In this volume, we are going to use the Hymn “What a friend we have in Jesus” to
demonstrate the harmonization process of cycling on the suspension.
This course does not focus on timing, therefore all the notes are quarter notes. The purpose
is simply to indicate the notes, not the timing.
Here are the notes in the first phrase of that song:
In going through this harmonization process, you will also see our technique of harmonizing
on the melody.
The technique of harmonizing on the melody was first introduced in the Handbook of
Harmony Tutorial Volume - Introduction to the Play by Number System. The original
reference volume containing voicings for that technique was in the Volume – Advanced
Voicings for Melody and Suspension Harmonization.
You may still use the chord voicings in that volume to create cycles on the suspension.
However, the examples in this volume are going to use the voicings from the volume:
1) Gospel Chords.
It does not matter which chord voicing reference you use, the process is still the same.
5. Harmonize - What a Friend We Have in Jesus
In this example, we will harmonize on every single note in the melody. This is going to give
your music the most color and flavor and result in very interesting harmonic changes and
progressions.
Below is the first line of the hymn, “What a friend we have in Jesus.”
This melody line is in the key of (Db). The first step in this process is to write down the tone
number in the scale that corresponds to each melody note. We discussed this process in
detail in the Introductory volume.
I have done this with the Roman Numbers above. The first phrase of this song is written in
the key of (Db), so the (Ab) is the fifth note in the (Db) scale hence the Roman Number V.
The (Bb) is the 6th note in the Db scale, hence the Roman Number (VI); the (F) is the 3rd
note in the (Db) scale, hence the Roman Number (III), etc.
The following table should assist you in identifying the numeric representation for each tone.
Db Scale
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
Be sure to use the scale that corresponds to the key that you song is in. We are using the
(Db) scale because our song “What a Friend We Have In Jesus,” is in the key of (Db).
You may use the process we are about to describe to harmonize any song. We have
identified the tone for every single melody note because we are going to harmonize every
single melody note with a different chord.
If you are unable to identify the numbers that correspond to each of the notes in the melody,
please refer to the beginner material in the introductory volume. The introductory volume
contains all of the instructional material for the entire Adventures in Harmony Series. If you
are using this volume alone and have not purchased any of our other introductory materials,
it will be assumed that you are a very advanced player and that information contained within
is sufficient.
By harmonizing on every single melody note, you are going to give your song the most color
and flavor. It is not necessary to harmonize on every single note, the choice is yours.
Identifying the tone number for each melody note in your song is the first step in this
process.
Identify Tones for each Melody Note
In the figure above, we have identified the tone numbers for each note in the first phrase of
the hymn “What A friend We Have In Jesus.”
After writing down all of the tone numbers that correspond to each one of the melody notes
in your song, the next step will be to harmonize each one of the melody notes.
We do this by referring to the appropriate chapter in the either of the reference manuals
1) Melody Harmonization - Advanced Voicings for Melody and Suspension

Harmonization
2) Melody Harmonization - Gospel Chords
The examples in the volume use the voicings in the volume Gospel Chords.
Each one of the Roman Numbers on the notes that you have labeled will correspond to a
chapter in the reference volume. We will simply turn to that chapter in the reference, and
pick one of the many voicings that are available to harmonize that melody note.
The following pages contain an example of our harmonization of the first line of “What a
Friend We Have in Jesus.” Remember this is our harmonization. In using this course, you
may come up with a completely different harmonization, and that’s what I expect. I want you
to create and explore.
We will do this step-by-step and harmonize each note of the first phrase of this song. This is
just an example of how I would approach this. You may have a different technique in
choosing chords or deciding which notes get harmonized on. That is totally up to you, the
artist. I am simply going to present you with my way of thinking going through this process.
5.1 The word - ”What”
We see that this first note of this song is an (Ab), and (Ab) is a (V) in the key of (Db). We
need to select a chord that will be played to harmonize on this (V). If you have had enough
experience with this course, you may already know a chord that you can play to harmonize
on this (Ab). Feel free to play that chord that you already know. If you already know a chord,
try it out and see if you like it, otherwise we can pick another one.
In choosing this chord, you should not have any preconception about which tone the chord
should be based on. The chord could be any of 12 possibilities; it could be an F chord, a G
chord, a Bb chord, etc. Do not make the mistake of restricting yourself to any particular set
of tones, they are all good possibilities. It does not matter that the chord tone that you
choose is not in the key the song is written in. In this case we are in the key of (Db), we
could even play some kind of (E) chord to harmonize one of the melody notes, even though
there is no (E) in the key of (Db). If you have had enough experience with this course, you
will have discovered that it is preferred that at times you choose tones that are not in the key
that the song is written in. By doing this, you are giving your harmonization that color that is
part of those beautiful chord transitions that you like to hear. It is totally up to the artist to
determine what sounds pleasing.
We have removed the complicated rules of harmony, and you the artist are free to choose
any chord tone at any time to harmonize a particular melody note. You no longer have to
worry about what chord is next, because the answer is whatever one you want. You simply
have to know the chord voicing after you have chosen the tone.
Let’s examine some of the possibilities that I would consider in harmonizing on this (Ab) (V)
note. Open up any one of your books in this course on Melody Harmonization and turn to
the chapter on harmonizing on the (V). You may even want to try every single chord and see
what one appeals to you ~ remember, there is no wrong answer. Another possibility is that
you already decided that you want a particular chord tone; for example you want the first
chord to be some type of (Eb) chord. It’s also fine to make that determination ahead of time;
that of which tone you desire to base a chord on for each melody note.
Here are a few of my favorite selections for harmonizing on the first note of this song. All of
these voicings have the (Ab) melody note on top and sound pleasing to me as a choice as
the first chord to harmonize this song.
When you try out a chord, what I would like you to do is play the entire melody line, but
substitute the chord in for the melody note that you are trying to harmonize. Therefore, you
would play the chord chosen to harmonize for the word “What” (Ab), and then play the rest
of the single notes for the remainder of the phrase, and hear how it sounds.
In this instance, since the (Ab) is repeated twice in the song; once for the word “What,” and
again for the word “a”; play the chosen chord twice, and then, the remaining notes for the
song. So you would play the following sequence:
What a Friend we have in Je sus
CHORD CHORD Note Note Note Note Note Not

e
Repeat Bb Ab F Eb Db Bb
Previous
chord
Previous
chord
Previous
chord
Previous
chord
Try each one of these chords above one at a time and you will see that they are all good
possibilities.
5.1.1 The Complicated Traditional Key Shift
The chord choices above were obtained by opening up the book on melody harmonization,
and turning to the chapter on harmonizing on the (V). All of the example chord pictures
represent the chord possibilities for a song that is written in the key of (Db). You will see that
our example song “What a friend we have in Jesus,” is written in the key of (Db). If your
song is in the key of (Db), you can simply look at the picture to determine the correct chord.
All of the chord pictures in the chapter on harmonizing on the (V) have an (Ab) as the top
melody note; and (Ab) is the (V) in the key of (Db). If your song is not in the key of (Db), you
cannot look at the picture to determine the proper chord; the example picture is an example
only for the key of (Db).
If your song is not in the key of (Db), you need to use the numbers on the bottom of the
page to create the chord in the key that corresponds to your song.
5.1.2 Example – Understanding the Base Tone
The first chord possibility that was selected is an Eb min 11, chord (119). This chord
appears in the chapter on harmonizing on the (V) as follows:
The picture is the chord that should be played if the song is in the key of (Db). The picture
represents an Eb min 11. The general name of the chord that should be played when the
melody note is a (V) is a (II) minor 11. This general name is indicated in the title. This
general name is a (II) minor 11. This name is very important. The (II) indicates that the chord
is based on the second tone of the scale. The second tone of the Db scale is (Eb), hence
this chord being called an Eb min 11.
If your song was in the key of (Ab), the chord that you would play would still be a (II) min 11,
but do not use the picture to determine the chord to play.
The (II) in the key of (Ab) would be a (Bb), therefore the chord that you would play, would be
a Bb min 11.
Another example would be if your song as in the key of (G), the chord to play would be an
(A) min 11, because (A) is the (II) in the key of (G). Now that we know the bass (tone) of the
chord if your song was in another key, the next step is to create the chord for that different
key.
5.1.3 Example – Using the Numbers
When your song is not in the key of (Db), you need to use the numbers and not the chord
picture to create the chord. Here is the table for the minor 11. The first row of numbers
indicates the note numbers to create the minor 11 in any key. Here we see that the minor 11
is created by playing the 1, -3, 5, 7, 9 and 4.
If we play the note numbers 1, -3, 5, 7, 9 and 4, in the key corresponding to the chord name,
we will have created the chord. If we play the 1, -3, 5, 7, 9 and 4 in the (Eb) scale, we then
have an Eb minor 11.
The 1,-3, 5, 7, 9 and 11 in the (Eb) scale are the notes (Eb), (Gb), (Bb), (Db), (F) and (Ab).
Eb Scale
Note Eb F G Ab Bb C D Eb F G Ab Bb C D Eb
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 14 15
We need to know what the (-3) is to create the chord, but the (Eb) scale table does not
contain the notes for the accidentals. It only indicates what the (3) is. It indicates that the (3)
is a (G), but we need the (-3), so the (-3) would be a ½ step below the (3). Therefore the (-3)
would be a (Gb). And similarly, the (Eb) scale table only indicates what the M7 is. It indicates
that the (M7) is a (D), but we need the (7), so the (7) would be ½ step below the (M7).
Therefore the (7) would be (Db).
If your song is in a different key, as an example, if it is in the key of (Ab), and the melody
note is a (V) (Eb), we need to create the proper chord by looking at the general name and
then using the table. The general name of (II) minor 9 tells us that the chord we need to
create is a Bb minor 9. This is because (Bb) is the (II) in the key of (Ab). We now simply use
the (Bb) scale and the numbers to create the proper chord.
Bb Scale
Note Bb C D Eb F G A Bb C D Eb F G A Bb
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 14 15
The 1,-3, 5, 7, 9 and 11 in the (Bb) scale are the notes (Bb), (Db), (F), (Ab), (C) and (Eb).
Above is the Bb minor 11 that you would play if your song was in the key of (Ab) and the
melody note was a (V). (Ab) is the (V) in the key of (Ab) and you are playing the (II) chord
which corresponds to a (Bb). You can see that the chord constructed has the (V) (Eb) on
top.
5.1.4 Example – Shifting an Entire Cycle
We have just seen the chords that create the cycle for a song in the key of (Db) with a (V)
(Ab) as the suspension. As an exercise, let’s recreate this cycle for the key of (Ab). We need
to know the general names of the chords that we selected.
General Chord Number In Db In Ab

name
(II) min 11 119 Eb min11 Bb min

11
(I) Maj 9 658 Db Maj 9 Ab Maj 9
(Maj VII) 7#9#5 941 C7#9#5 G7#9#5
(I) 6,9 57 Db 6,9 Ab 6,9
From the general name we can determine the bass chord tone for each chord. The Roman
Numbers in the general name indicate the bass chord tone for any given key.
In the key of (Db) the (II) is an (Eb), so the first chord is an Eb min 11. In the key of (Db) the
(I) is a (Db) so the next chord is a Db Maj 9. The (Maj VII) in the key of (Db) is a (C), so the
next chord is a C7#9#5 and the last chord is a (I) which we already know is a (Db) in the key
of (Db) making the last chord a Db 6,9.
In the key of (Ab) the (II) is a (Bb), so the first chord is a Bb min 11. In the key of (Ab) the (I)
is an (Ab) so the next chord is an Ab Maj 9. The Maj VII in the key of (Ab) is a (G), so the
next chord is a G7#9#5 and the last chord is a (I) which we already know is an (Ab) in the
key of (Ab) making the last chord an Ab 6,9.
Below is the completed cycle of chords for a song in the key of (Ab) with (Eb) (V) as the
suspension.
Chord TONE
1 (II)
(Bb)
-3,5,7,9,11
Chord TONE
2 (I)
(Ab)
5,M7,9,10,12
Chord TONE
3 (Maj
VII)
(G)
1,3,7,b10,#12
Chord TONE
4 (I)
(Ab)
3,6,9,12
Now you have sufficient knowledge to apply the chords and notations in this course to any
key. Now we can get back to our example for a song in the key of (Db) where the
suspension is in an (Ab) (V).
5.1.5 Example – The Cycle
Now let’s have some real fun. We are going to take a temporary detour from our
harmonization, and take a closer look at what we have in front of us with these chords. All of
the chord possibilities above have the (V) (Ab) as the melody top most note. This top note is
called the suspension. Instead of using just one of these chords as the chord to harmonize
on the (V), let’s play all of these chords in sequence, Eb min11, followed by Db Maj 9,
followed by C7#9#5 and then Db 6,9.
I call this cycling through the suspensions; when the melody note stays the same and the
bass note cycles through chord changes. Listen to just how beautiful these changes sound.
Chord 1 Chord 2
Chord 3 Chord 4
Look at what has just been done; you have just created your own progression! This is a mini
cycle of chord changes. I call this a cycle because you can play these chords in almost any
order.
I say almost, only because of what was taught in the introductory volume with regard to
consonance and dissonance. When you play the chords in this cycle, you have to end it
somewhere ~ one of the chords in this sequence will be the last chord played. In the
example above, the Db 6,9 (57) is the last chord played and this might be a chord that you
hold down for a few beats. As indicated in the Tutorial, whenever a chord is to be held down
for an extended period of time, make sure that chord has either has no dissonance, or has
open harmony. Remember, open harmony refers to how spread apart the notes are in the
voicing, and dissonance refers to the amount of tension that exists in the chord due to
accidentals.
Therefore it’s ok to end on this chord (Db 6,9) or hold it down for an extended period of
beats, because this chord has open harmony within itself, and in comparison to the other
chords in the cycle. If you look at the picture of the notes in the Db 6,9, you can visually
determine that the notes are about as spread out (open) as they can be. If we moved the
notes (Ab) and (Eb) an octave lower, the chord would not be open anymore. You can
visually look at it with the (Ab) and (Eb) an octave lower and see that the notes are
“bunched up,” not as open with the (Ab) and (Eb) in the upper position.
Db (6,9) not in open position
The chord voicing is perfectly legal, but we can’t end on this voicing of the Db 6,9 chord
because it is in a closed position, the notes are very close together. When the notes are
close together, you get a very harsh or dissonant sound and it not very pleasing to the ear.
Try not to end on such a harsh sound. By simply playing this chord with open harmony, and
spreading the notes apart as we did in the cycle above, the sound becomes more pleasing
to the ear.
When you have a group of chords, you can just look at them visually and make a
determination as to which one has the notes spread out the furthest. You can even count
the distance between the notes in ½ steps and make a guess at which chord is more open.
Just as an example, if you look at the distance between the notes in C7#9#5 chord, we get
the following:
1) The distance between the (C) and (E) is 4 notes.

2) The distance between the (E) and (Bb) is 6 notes.
3) The distance between the (Bb) and (Eb) is 5 notes.
4) The distance between the (Eb) and (Ab) is 5 notes.
5) So you have 4, 6, 5 and 5.
And if you look at the distance between the notes in Db 6,9 chord, we get the following:
1) The distance between the (F) and (Bb) is 5 notes.

2) The distance between the (Bb) and (Eb) is 5 notes.
3) The distance between the (Eb) and (Ab) is 5 notes.
4) So you have 5, 5 and 5.
So we have the Db 6,9 with (5, 5, 5) and the C7#9#5 with (4, 6, 5, 5). I would say that the
Db6,9 is more spread apart because it does not have that (4) in it like the C7#9#5. The (4)
meaning that there are (4) notes between the (C) and the (E) in the C7#9#5. This is just my
way of looking at it, you may have some other way which is fine, it is just my opinion visually
that the Db 6,9 is more open than the C7#9#5,
The goal here in ordering the chords, is to have a chord movement from dissonance to
consonance as we discussed in the Tutorial. We want to start with dissonant chords and
end on consonant chords.
We have assigned numbers to each chord in this course to represent the tension in the
chord and how open the chord is. The tension number represents the dissonance, and the
open represents the open harmony.
The larger the tension number, the more dissonant the chord is, the larger the open number,
the more open the chord is.
In looking at our chords in this cycle we have the following tensions and opens:
Chord name Number Tension Open
Eb min 11 119 0.8 3.5
Db Maj 9 658 0.4 3.0
C7#9#5 941 1 5.0
Db 6,9 57 0.5 5.0
From looking at the tension and opens for the chords in this cycle, one can make the
following opinions:
1) You do not want to end on the chord that has the lowest open number.
2) You do not want to end on the chord that has the largest tension number
But remember you can end on a chord that has dissonance (large tension), as long
as it is open.
3) In looking at the chords above, one can clearly see that the Db 6,9 has a large open
(5.0). Therefore this chord is ok to play as the last chord in the cycle. This chord also
has a low tension (0.5) in comparison to the other chords. The Db Maj 9 also has a
low tension and is also ok to play as the last chord in the cycle.
The movement from chords dissonance to chords consonance is called chord resolution.
This is the same as going from a harsh sound (dissonance) with a lot of tension to a smooth
sound with no tension (consonance).
There is always a natural pull for chords to resolve. The ear does not like to hear chords in a
state of tension (dissonance). Any chord that is in a state of tension (dissonance) must
eventually move to a chord that has no tension (consonance). There can be many dissonant
chords in a row, as long as the one at the last one played has no dissonance. The only
caveat to this is that the last chord can have dissonance as long as it has open harmony. A
chord that is dissonant, but has open harmony, will sound like a chord that has consonance.
The spreading apart of the notes of a dissonant chord makes it sound consonant. So in this
case, it is ok to end on a dissonant chord.
What does this all mean? It means in looking at our cycle of chords 1) Eb min 11, 2) Db Maj
9, 3) C7#9#5, and 4) Db 6,9, these chords can be played in ANY order as long as we leave
the Db 6,9 as the last chord.
By leaving the Db 6,9 as the last chord, we are assured that the overall chord movement
moves to consonance, which means we can hold down the last chord (Db 6,9) for several
beats if necessary.
This gives a total of six possible chord sequences. Leave the Db 6,9 as the last chord, and
arrange the other three chords in any order. In short, this means you can play the chords in
ANY order as long as the last chord played is the Db 6,9.
The possible chords are listed below, with the Db 6,9 as the last chord:
Chord 1 Chord 2
Chord 3 Last Chord ( consonance)
The six possible chord sequences using the above chords ending on the Db 6,9 are as
follows:
1. Eb min 11 Db Maj 9 C7#9#5 Db 6,9
2. Db Maj 9 Eb min 11 C7#9#5 Db 6,9
3. Eb min 11 C7#9#5 Db Maj 9 Db 6,9
4. Db Maj 9 C7#9#5 Eb min 11 Db 6,9
5. C7#9#5 Eb min 11 Db Maj 9 Db 6,9
6. C7#9#5 Db Maj 9 Eb min 11 Db 6,9
Play each one of the above six chord sequences and listen to the beautiful changes.
Another possibility using these same chords would be to do the same thing, but this time
end on the DbMaj 9. We can end on the Db Maj 9 because it has the least tension of all the
four chords. The Db Maj 9 has a tension of (0.4). Remember, you can either end on the
chord that has the least tension (dissonance), or the chord that is the most open. As long as
we do that, we still preserve our general movement to consonance; when we move to
consonance, we have resolution. Remember, chord movements like to be resolved; they
don’t like being in a state of tension.
Therefore, if we do the same thing, and end on the Db Maj 9, we have six additional
possible chord sequences.
1. Eb min 11 Db 6,9 C7#9#5 Db Maj 9
2. Db 6,9 Eb min 11 C7#9#5 Db Maj 9
3. Eb min 11 C7#9#5 Db 6,9 Db Maj 9
4. Db 6,9 C7#9#5 Eb min 11 Db Maj 9
5. C7#9#5 Db 6,9 Eb min 11 Db Maj 9
6. C7#9#5 Eb min 11 Db 6,9 Db Maj 9
Play each one of the above six chord sequences, and again listen to the beautiful changes.
5.1.6 Example – The Cycle – An Application
What do we do with these cycles? We just created 12 cycles using the (V) (Ab) as the
suspension. These cycles become possible chord sequences that you can play in ANY
song, anytime the melody note is an (V) (Ab). So anytime you are playing a song, and the
(V) (Ab) is the melody note, you can play any one of these sequences and make beautiful
chord changes. Just make sure that you have enough time to make these changes. For
example, if the note is a sixteenth note, or a note that is not held down long, you will not
have enough time to fit in all the chord changes.
In this example, we are working with four chords, and from these four chords, we have come
up with a total of 12 cycles (chord progressions) on the suspension. The wrong thing to do
would be to memorize each one of these cycles. There are too many, and it would take too
long to memorize each one.
The thing that you need to do is simply memorize the four chords that are available for that
(Ab) (V) note. These four chords are now part of your personal library of chords that you will
use for the (Ab) (V) note. Now when you play any song, and you get to an (Ab) (V) note in
the melody, simply dig into your personal mental library and play the available chords in any
sequence. The order does not matter, just pick one and play it, and then change to a
different one; you can use two, three or all four in making your chord changes on this
melody note. If the melody note is one that you can hold for a length of time, you might be
able to fit in all four changes or it may be less if there is not that much time. It is totally at
your discretion as to how many chord changes and which chords you use in your cycle. Now
that have some available choices to harmonize on the (Ab)(V), Let’s get back to our song
“What a friend we have in Jesus” and make some decisions and move forward.
5.2 Harmonization of the word – a

Now that there are some chords in our personal mental library for the (Ab) (V) suspension,
we can now harmonize on the first two words (“What a ”) of our song. Both of these notes
are an (Ab), so we are free to pick two chords from our personal mental library of four
chords. You are free to pick any two of the four chords, and play them in any order to
harmonize on these first two words. Below are some of the possibilities.
1. Db 6,9 (57) “What” 2. Db Maj 9 (658) “a”
1. Eb min 11 (119) “What” 2. Db 6,9 (57) “a”
1. Db 6,9 (57) “What” 2. Eb min 11 (119) “a”
1. C7#9#5 (941) 2. Db 6,9 (57)
When you actually play this song do not memorize any particular sequence; otherwise you
are going to sound boring because you have memorized the song and play it the same way
every single time. I would like you to make the decision of what chords to play, as you play.
Simply have a mental image of your chord library for the (Ab) (V) and pick one of the chords
at random as you play. By doing this, you are able to play the song a different way, every
single time. You may even surprise yourself with some of the chord changes that you make.
5.2.1 An Alternate Cycle
The cycle we just created on the (Ab) suspension with the four chords is just one of
thousands of possibilities. We can create another cycle with completely different chords.
The cycle can have as many or as few chords as you want. The decision with regard to the
number of chords in the cycle is up to you. Below is a three chord cycle on completely
different chords.
When you create a cycle, you really do not have to worry about the actual tension and the
open; just pick ANY CHORDS. The trick is to always resolve your cycle, and you can do this
by always knowing a single chord that you can play at anytime that will resolve a particular
cycle on a suspension. Suppose we played the following three chord cycle: B13b5, Gb min
11, and Eb13sus. Play these chords in sequence and you will hear that the last chord Eb13
sus has a lot of tension (1.0).
Chord name Tension Open
B13b5 1.0 2.75
Gb min 11 0.83 3.2
Eb13sus 1.0 5.0
You can hear that the Eb13sus needs to be resolved, and that you cannot just hold this
chord down, and stop playing on this chord.
At this point you need to pull a chord out of your mental library that you know is open, and
has very little tension. That chord can be the Db 6,9 that we looked at earlier. This chord
has a tension of (0.4) and an open of (5.0). This chord has qualities, a small tension, and a
big open. You cannot get any better than that!
So the Db 6,9 is a chord that you can play at ANYTIME to resolve a cycle on the (Ab) (V)
suspension. You can play as many chords as you want in a cycle and not worry about the
tension. And when you feel like stopping, just play the Db 6,9 to end the cycle. You can use
the Db 6,9 to close out and resolve anything.
The Db 6,9 is a personal choice of mine, feel free to pick your own chord that you can use to
resolve a cycle on the (V) (Ab).
As an example of another possibility, you can use the Ab13sus (1077), it has a low tension
of (0.67) and a large open of (2.8).
Play the chord sequence that we looked at earlier (B13b5, Gb min 11, Eb13sus) that ends
on that Eb13sus chord that has a lot of tension.
Now close out the previous cycle with one of the following chords below.
These chords have open harmony and minimal tension.
Chord Tension Open

Name
Db 6.9 0.40 5.00
Ab13sus 0.67 2.8
5.2.2 Chords on out of Scale Tones
The tones that you use to create the cycle are also up to you. Each major scale has seven
tones (I, II, III, IV, V, VI, and Maj VII).
In an earlier example, the bass tones for the four chords were (I), (II) and (Maj VII) in the key
of Db (Ebmin11, DbMaj 9, C7#9#5, Db 6,9). This corresponds to (Db), (Eb) and (C) for
chords. It just so happens that these three tones (Db), (Eb) and (C), are in the Db major
scale.
Db Scale
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
We can also pick tones that are not in the (Db) scale to create chords for our cycle. Every
single tone is a possibility, even (D), (E), (G), (A), and (B),
In other words, the key signature of the song that you are harmonizing is not important in
determining the bass tones for the chords. For example, just because there is no (D) in the
key of (Db), does not mean you cannot play a (D) chord. A (D) is a (-II) in the key of (Db).
There is absolutely no restriction on the bass tones that you may pick for chords in your
cycle. When you use tones that are not in the major scale corresponding to the key of the
song, you give your harmonization extra color; this is desired and perfectly fine.
You can either add chords to the existing cycle, or create an entirely new cycle. The choice
is yours. Any new chords simply extend your personal mental library of chords available to
harmonize on the (Ab) (V).
In the cycle below, we have added a (G) and (D) chord. Both of these tones (bV) and (bII)
are not part of the (Db) major scale, but it is perfectly fine to add these chords to our cycle.
Play the following cycle with the (D) and (G) chords and you will hear that they sound fine.
Chord Tens Open

name ion
D7#9b5 1.25 4.67
Note:
There is no
D in the
key of (Db)
Ebmin 11 0.8 3.50
F min 7 0.67 3.40

(new)
Gb9 sus 1.0 3.40

add 6
G 6,9 b9 1.0 3.67

(new)
Note:
There is no
G in the
key of (Db)
Ab 9 sus 0.6 3.5

(new)
Open
Harmony
I know that many of you have been told in prior instruction that you should only use the (I),
(IV) and (V) chords to harmonize a melody. The (I), (IV) and (V) chords in the key of (Db)
would be (Db), (Gb) and (Ab). If you just stick to these chords, your music is going to sound
pretty boring.
Db Scale
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
Playing the (I), (IV) and (V) chords, is nothing more than some rule that you have to
remember. If you actually follow this rule, your music will sound boring and have no color.
Forget the rules, rules are meant to be broken. Music is an art. It is the breaking of the rules
that has caused us to have all this new music of today. If rules were not broken, then there
would only be classical music. Start to break the rules and now you have genres like jazz
and gospel.
With the Adventures in Harmony Course, forget all the rules, there are no restrictions.
The cycle we just looked at resolves to an Ab9sus that has open harmony. Remember open
harmony means that the notes are relatively spread out.
You may remove any chord from the above cycle, as long as you resolve the cycle. If you
keep the Ab9sus as the last chord, you will be fine. Remember the key to any cycle is to
resolve.
5.2.3 A cycle moving in Fourths
Here is a cycle consisting of some chords that we are familiar with. This cycle has an
interesting property in that it moves in fourths. Moving in fourths means that the next chord
is always the fourth tone of the scale that the current chord is based on. The first chord in
this cycle is a (D). The next chord would be the fourth tone in the (D) scale; this would be a
(G) chord. Then we simply repeat the process from the current chord of (G). The fourth tone
in the (G) scale is (C). So the next chord is a (C) chord. Now, the forth tone in the (C) scale
is an (F), etc.
Whenever you move in fourths it always sounds good; so whatever chord you are currently
playing in any song, you can always start moving in fourths. Just make sure that you resolve
on the last chord that you play. In the example below, we stopped in the (Bb) chord, but we
could have kept going in fourths until we felt like stopping.
Chord Tension Open

name
D7#9b5 1.25 4.67
G7b9 1.0 5.0

add 6
C7#9#5 1.0 5.0
F7#9#5 1.0 4.25
Bb9sus 0.6 3.75
5.2.4 Additional Chords
There are two remaining tones in the (Db) scale that we have not shown any sample chords
for. These two tones are (E) and (A), the (bII) and (#V). Both of these tones are again not in
the (Db) major scale, but we are going to go ahead make chords on these tones and use
them in a cycle. The fact that the two tones are not in the (Db) major scale makes them
dissonant already with respect to the scale. It does not even matter what the tension or open
is at this point.
The two chords are an E6 (1262), and A Maj 7(1258). Play the following two chords to begin
our cycle.
Now resolve the cycle by playing these two chords Ab9 sus (1256), and Bb9 sus (418). Any
movement from tones that are not in the major scale to tones that are in the scale is a
resolution.
Play the four chords in sequence and hear the cycle and resolution. You can even leave out
any one or the first three chords (E5), (A Maj 7) or (Ab9sus) and leave the Bb9sus as the
last chord for resolution. It really does not matter what the chords in the cycle are, as long as
they cycle resolves. Here we are using the Bb9sus for resolution. You can use the Bb9sus
as another one of those chords in your mental library that can resolve any cycle on the (Ab)
suspension.
5.2.5 Out of Scale Sequences
Here is a two-chord cycle based on two out of scale tones in the key of (Db); The (#V) and
(bII), tones (D), and (A) are not in the (Db) Major Scale. Play and listen to this two-chord
cycle, AMaj 7 followed by D7#9b5.
In playing these two chords, you can hear that this cycle is not complete. Something is
missing, it needs to be resolved. This cycle can be resolved by simply playing a chord on a
tone that is in the (Db) scale. We are going to choose a chord on the (VI) (Bb). We are going
to play the Bb9sus to resolve this sequence. Resolve the two-chord sequence by playing
this Bb9sus.
Play all three chords in sequence and just hear how sweet this movement sounds.
Here is another example of ending of a different (Bb) (VI) chord. Before we ended on a
Bb9sus, now let’s end on a Bb min 11.
The possibilities with this system are limitless. No two musicians will come up with the same
harmonization. You will never have to copy a chord sequence from anybody else; they will
all be coming to you from now on.
You may be asking yourself, “how come the chords in this course go together so easily and
how come one could never do this before?” The answer to that question is that Creative
Music is not just a music lesson company; we are a music research company. We do
research, design, analysis and engineering to create the chord voicings in this course. All of
the chords in this course have been modeled and designed by a computer system so that
they all fit together. We at Creative Music have already done the hard work. Just stick with
the voicings in our course materials and you will be fine.
6. A Chord on Every Tone
The following chart has a chord for every single tone (C,Db,D,Eb,E,F,Gb,G,Ab,A, Bb) with
the (Ab) as the suspension. Make sure you can play these chords instantly just based on
calling out a bass note. For example, if somebody called out (G), you should be able to
immediately play the G 6,9 b9, if they then called out (F) you should immediately be able to
play the F7#9#5. Some of the bass tones even have more than one possibility. For example
(Bb) has two possibilities.
7. Summary
You now know a chord to play for every single bass note, when you have the (V) (Ab), as
the suspension in the key of (Db). This is a very powerful tool that you have now mastered.
Now whenever you come across that (Ab), you can randomly pick a bass note, and play a
chord and know that it will sound good. You do not have to memorize ahead of time the
chord that you are going to play next, you can make that decision at the very instant that you
are about to play the melody note. You can even switch between the chords at random and
play as many as you like.
The only thing you need to remember it that anytime a chord is held for any length of time, it
needs to be resolved. And it is perfectly fine to have a favorite chord that you can always
resolve to.
If you are not holding the chord down on a suspension for any length of time, you do not
need to resolve! You can move to another suspension, for example, you can move from
(Ab) in the melody to (Bb) in the melody, and play chords or cycles on that tone. It is not
until you hold a chord down for a length of time, that it becomes necessary to resolve.
An an example, you can play cycles on the (Ab) just as we saw here, and then move right to
an (F) and play cycles on that, and keep moving and playing cycles and not worry about
dissonance or tension; It is not until you stop playing or hold a chord down, that the ear
wants you to resolve the chord tension.
While you are playing, you should be able to hear if a chord that you have held down needs
to be resolved, and if it does simply pull that favorite resolution chord out of your mental
library, and resolve.
You can also visually look at a chord and see if it has tension and needs to be resolved. If
you look at a chord and see notes close together, it has tension. The more notes you see
close together, the more tension the chord has.
We have now mastered the (Ab) (V) suspension. At this point, you simply need to do the
same thing for the remaining 11 notes. You may be thinking to yourself that you have
mastered the (V) in (Db), and that you need to transpose this to every other key before you
move on to the other 11 notes. This is not the case. DO NOT DO THAT. THIS IS VERY
IMPORTANT, I DO NOT WANT YOU TO TRANSPOSE. I want you to forget about the key
signature! At this point, focus on that fact that you have completely mastered the (Ab) note
by learning at least 12 chords, one for each possible bass tone. Feel free to move on to
another note and learn 12 different chords for that note. Ignore the fact that you are in a
particular key.
You have just learned chords for (Ab) as the suspension. Now learn chords for the other 11
possible suspension notes, (C), (Db), (D), (Eb), (F), (Gb), (G), (A), (Bb) and (B).
8. What a friend we have in Jesus
Now we have many chords in our personal library to harmonize on the (Ab) (V) suspension.
Let’s take another look at harmonizing the song “What a friend we have in Jesus.”
8.1 Harmonization of the words “What a”
We see two (Ab) notes as the first two notes in this song. Ab is the (V) in the key of (Db).
Figure 8.1-1 What a Friend

Db Scale
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
You can open either of these two reference manuals to the chapter on harmonizing on the
(V).
1) Advanced Voicings for Melody and Suspension Harmonization.

2) Gospel Chords.
Choose one of the voicings in that chapter to harmonize on the (V) note (Ab).
We already know many chords that we can play for the (Ab) suspension. At this point you
should be able to just pick two chords that you now know to harmonize of the (Ab). You can
pick any two, it does not matter.
The tension doesn’t even matter because you are not stopping on the word a“, you are not
holding this chord down for any length of time, so there is no need to worry about chord
resolution. You are going to be moving right on to the word “friend.” It is not until you get to
the last note in this phrase, the (Bb) that is necessary to resolve. If you know this song, you
know that you hold down that last (Bb).
Here are the two chords I selected to harmonize on the first two words of this song. You may
have totally different selections. Each artist has their own preferences and tastes. Feel free
to make different choices if these two chords are not appealing to you.
“What” “a”
We just looked at sixteen possible chords to use harmonizing on the (Ab) suspension. If we
restricted ourselves to these sixteen possible choices, and had to pick two, to harmonize the
(Ab) suspension, there are 240 possibilities.
If you open the reference manual – Preaching Chords, there are more than 40 possible
choices. So if you go to the book there are thousands of possibilities.
It is highly unlikely that any two musicians are going to come up with the same
harmonization by using this course. What you create will be something that has never been
played before.
8.1.1 More Possibilities
Here are just a few additional possibilities to harmonize on the first two words of this song.
These chords are from the reference volume – Advanced Voicings for Melody and
Suspension Harmonization.
“What” “a”
“What” “a”
“What” “a”
And yes, you can even mix the chords above, with the chords in the Volume “Gospel
Chords.”
“What” “a”
Yes this last pair is very smooth, Bb min9 to Gb7 6,9. The Gb7 6,9 is not from the set of
sixteen we picked earlier. The possibilities are unlimited with this course.
8.1.2 Personal Tip
Here is my personal thought process so you understand how I approach the choosing of
chords. The goal is for you not to practice and memorize a sequence of chords. Even if you
play this song every single day, don’t play it from a sequence of chords that you have
memorized.
You may have to change the way you look at music. You need to see the song in your mind
or on the music as a series of individual tones.
In this case, see the first notes are (Ab) (V). In your mind at this point, you know you are
working with the set of chords that have the (Ab) (V) as the suspension. You need to choose
two of those chords, to harmonize the first two words of this song. You should not have
those chords picked out ahead of time. You need to pick them right now at the same
moment you are identifying that the tone is an (Ab). At this point you have many choices in
your mental library.
Pick two bass tones at random, and play the chords associated with the tones that you
picked. Pick any two bass tones because you know chords that go with any tone having the
(Ab) as the suspension.
I just happened to pick bass notes (Db) and (F), and played the chords that matched those
bass tones from my mental library of chords having (Ab) as the suspension.
The next time I sit down, I may pick two completely different tones.
It should not be necessary to look in any kind of book or manual to choose chords because I
know all the possibilities for the (Ab) tone. You should be able to master a set of twelve
chords for a tone in no more than a day or so. If you are at this point in this volume, you
should be able to immediately play a chord for any tone that has (Ab) as the suspension.
If you can successfully play the appropriate chord immediately for any bass tone, you should
be able to randomly pick two tones and choose appropriate chords for the first two notes of
this song and play them naturally and not need any practice.
8.2 Harmonization of the Word “Friend”
The (Bb) note is a (VI) in the key (Db). Open the reference material to the chapter on
harmonizing when the (VI) is the suspension. Choose one of the available chords to
harmonize on this tone.
Db Scale
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
I have selected the following chords to harmonize on the (VI). Here I am actually playing
two chords to harmonize the single (Bb). You may play one or the other or both of them.
The following chord is also possible to harmonize on this tone.
8.3 Harmonization of the word “We”
The (Ab) note is a (V) in the key (Db). Open the reference material to the chapter on
harmonizing when the (V) is the suspension. Choose one of the available chords to
Db Scale
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
I have selected the following chord to harmonize on the (V).
The following chord is also possible choices to harmonize on this tone.
8.4 Harmonization of the word “Have”
The (F) note is a (III) in the key (Db). Open the reference material to the chapter on
harmonizing when the (III) is the suspension. Choose one of the available chords to
Db Scale
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
I have selected the following chord to harmonize on the (III).
8.4.1 Harmonization of the word “In”
The (Eb) note is a (II) in the key (Db). Open the reference material to the chapter on
harmonizing when the (II) is the suspension. Choose one of the available chords to
Db Scale
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
I have selected the following chord to harmonize on the (II).
8.5 Harmonization of the partial word “Je”
The (Db) note is a (I) in the key (Db). Open the reference material to the chapter on
harmonizing when the (I) is the suspension. Choose one of the available chords to
Db Scale
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
I have selected the following chord to harmonize on the (I).
8.6 Harmonization of the partial word “sus”
The (Bb) note is a (VI) in the key (Db). Open the reference material to the chapter on
harmonizing when the (VI) is the suspension. Choose one of the available chords to
Db Scale
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
I have selected the following three chord cycle to harmonize on the (VI).
-S-
-U-
-S-
9. Completed Harmonization “What a Friend”
Here is our completed harmonization for the first phrase of this song.
Chord
1
What
Chord
2
Chord
3
Fri-
Chord
4
-end
Chord
5
We
Chord
6
Have
Chord
7
in
Chord
8
Je
Chord
9
-s-
Chord
10
-u-
Chord
11
-s-
10. Never Transpose Again
We are going to briefly examine a concept where it no longer necessary to transpose to play
a song in a different key. This also addresses the issue of seeing a song written in a key that
you have never played in before; you will still be able to immediately play the song in that
new key. The material in this chapter is just going to be a brief introduction, but you will have
enough knowledge to point you in the right direction to further explore this before we
dedicate a volume to the details.
Here is our example song “What a Friend We Have in Jesus,” in the key of (Db).
Here is the same song written in the key of (Eb).
You may be thinking that in order to play this song in the new key you need to take all the
chords that you used to harmonize this song when it was in the key of (Db), and transpose
all those chords to the key of (Eb). Well you are in for a surprise, and this may be a hard one
to swallow, but you do not have to transpose any of the chords. That is the wrong way to
approach this task.
If you did do the actual transposition, you would have quite a bit of work to do, and probably
would not be able to play this in the new key immediately. This means you would have to
know all the chords in every key! That is not easy to do and is a lot of work and
memorization. Let’s take a quick look at how hard this would be before we clue you in on a
secret.
Look at the first two chords that we used to harmonize the first two words of this song, when
it is in the key of (Db). We used the Db 6,9, followed by the F7#9#5.
Chord
1
What
Chord
2
If we are going to move these chords from the key of (Db) to the key of (Eb), we need to
figure out the distance from the current key to the new key. This is the same as figuring out
the distance between the notes (Db) and (Eb). The distance between the notes (Db) and
(Eb) is one whole step. Therefore is we wanted to transpose this entire song to this new key,
we need to move every note in every chord up one whole step. This also means that the
name of the chord would move up one whole step.
Therefore instead of playing a Db 6,9 as the first chord, we would have to play an Eb 6,9;
and instead of playing an F7#9#5 on the second chord, we would play a G7#9#5. We simply
moved the names of the chords up one whole step.
To play the new chords in the new key, you would have to do one of the following:
1) Do the lazy man slide and actually play the chord on the keyboard in the original key
and then try to physically move every note by sliding each finger up ½ a step at a
time, until you have moved all fingers in the chord up one whole step, or
2) Already know these chords in the new key, because you memorized these chords in
all 12 keys, or
3) Use the number system and recreate the chord in the new key, or
4) DO NOT DO ANY OF THE ABOVE, AND USE OUR NEW TECHNIQUE
Let’s look at each one of these methods before we introduce the new technique.
10.1 The Lazy Slide
I see musicians do this all the time where they have a chord in one key and they need it in
another key. They get the chord in the new key by actually playing the chord on the
keyboard in the original key and then try to physically move every note in the chord by
sliding each finger up ½ a step at a time, until they have moved all fingers in the chord up
the number of ½ steps to the new key.
In this instance, if you started with a Db 6,9 and you needed to get to an Eb 6,9, you would
have to move each finger up one whole step to reach the chord in the new key. Remember
the distance from (Db) to (Eb) is one whole step.
So you would start on Db 6,9
And then slide each finger up ½ step to reach a D 6,9
And then slide each finger up another ½ step to reach an
Eb 6,9. Remember ½ step + ½ step.
In this example we only had to move two ½ steps. Suppose we had to move a larger
distance, like ten ½ steps! Anyway, it’s very easy to mess this up while you are moving
your fingers, and if you are one of the musicians that use this technique, let’s end it right
now.
10.2 Memorize the Chords in Every Key
All the other music courses tell you to learn every chord in every key. So hear you are with
your Db 6,9 chord, and you need to play the Eb 6,9 chord.
So they are telling you that when you learned this chord, you should have learned the other
11 chords.
Wow, that’s a real hard road to go memorizing all those chords! And that would only be for
the first note in the song. Earlier in this volume, we learned sixteen chords to harmonize on
the (V)(Ab) suspension. If we wanted to learn all sixteen of those chords in every key, that is
a total of 192 (16 x 12) chords! That is way too many chords to try to remember. Imagine if
you had to do all twelve tones, that would be (192x12), or 2304 chords! That would be a
very boring task and would probably discourage many people.
If I had to learn that many chords, I would need years and would probably give up. DO NOT
MEMORIZE ALL OF THOSE CHORDS. It is not necessary to learn all of the chords in every
key.
You will eventually learn them, but you will accomplish it by following a much more exciting
and rewarding path. There is a better, quicker and easier way. And remember the end result
of doing an old fashioned transpose is merely playing the same song, the same way, in a
different pitch. How boring!
10.3 Use the Number System
If we use the number system, we know that the Db 6,9 (57) is made up of the following
tones:
Bass Left and Right Hand Tension Open
1 3 6 9 5 0.5 5.67
We can see in the following table how to create this chord for any tone.
Bass Left and Right Hand Name

Song
Chord Key
Key 1 3 6 9 5 6,9
Db Key Db Db F Bb Eb Ab Db 6,9
C Key C C E A D G C 6,9
B Key B B Eb Ab Db Gb B 6,9
Bb Key Bb Bb D G C F Bb 6,9
A Key A A Db Gb B E A 6,9
Ab Key Ab Ab C F Bb Eb Ab 6,9
G Key G G B E A D G 6,9
Gb Key Gb Gb Bb Eb Ab Db Gb 6,9
F Key F F A D G C F 6,9
E Key E E Ab Db Gb B E 6,9
Eb Key Eb Eb G C F Bb Eb 6,9
D Key D D Gb B E A D 6,9
We indicated that the first chord would now be built on the (Eb) tone and be an Eb 6,9. This
would be the following chord.
You can see that we could have the same result if we took the original chord (Db 6,9) and
slid all the notes up 1 whole step.
ORIGINAL CHORD
NEW CHORD
We can do this same thing for the second chord. If we use the number system, we know
that the F7 #9#5 (1101) is made up of the following tones:
Bass Left and Right Hand Tension Open
1 7 3 #5 1 -3 0.6 4.2
We can see in the following table how to create this chord for any tone.
Bass Left and Right Hand Name

Song
Chord Key
Key 1 7 3 #5 1 -3 7#9#5
Db Key F F Eb A Db F Ab F 7#9#5
C Key E E D Ab C E G E 7#9#5
B Key Eb Eb Db G B Eb Gb Eb 7#9#5
Bb Key D D C Gb Bb D F D 7#9#5
A Key Db Db B F A Db E Db 7#9#5
Ab Key C C Bb E Ab C Eb C 7#9#5
G Key B B A Eb G B D B 7#9#5
Gb Key Bb Bb Ab D Gb Bb Db Bb 7#9#5
F Key A A G Db F A C A 7#9#5
E Key Ab Ab Gb C E Ab B Ab 7#9#5
Eb Key G G F B Eb G Bb G 7#9#5
D Key Gb Gb E Bb D Gb A Gb 7#9#5
We indicated that the second chord would be built on the (G) tone and be a G7#9#5. This
would be the following chord.
You can see that we could have the same result if we took the original chord (F7#9#5) and
slid all the notes up 1 whole step.
ORIGINAL CHORD (F7#9#5)
NEW CHORD (G7#9#5)
We now know the two chords we would have to play for this song in the new key of (Eb). Eb
6,9 followed by G7#9#5.
Chord
1
What
Chord
2
Remember the original suspension was a (V) which was an (Ab) in the key of (Db); if we
slide everything up one whole step that will move us to the key of (Eb). That means our
suspension should have moved up also.
We see here that our suspension has moved from (Ab) to (Bb) in using our new chords. And
notice that we are still harmonizing on the (V), but we are on the (V) in the key of (Eb). The
(V) is a (Bb) in the key of (Eb).
Eb Scale
I II III IV V VI MVII I II III IV V VI MVII I
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
The (V) in the key of (Eb) is (Bb), and (Bb) is the suspension in our new chords.
These are the original chords for when the song is in the key of (Db). These original chords
have (Ab) as the suspension.
Chord
1
What
Chord
2
These are the new chords for the key of (Eb). These chords have a (Bb) as the suspension.
Chord
1
What
Chord
2
10.4 The Old Result of Transposing
We went through a lot of work in the last section to make the transpositions happen, and we
didn’t even finish the first phrase of the song.
There is a lot of work involved in transposing, especially if you do not know all the chords in
every key.
The other bad thing about transposing is the fact that after you are finished transposing, and
you play the song, the resulting chord changes are exactly the same. The song sounds
exactly the same way except that the pitch has changed. This result is pretty darn boring;
especially since all the work you had to go through to make it happen.
Earlier we learned sixteen possible chords to harmonize on the (V) suspension. It is not
necessary to learn that many. Two or three should be sufficient for now So, if there are
twelve tones and we ask you to learn two or three chords for each tone, that’s only 24-36
chords total. That amount is very easy to manage and should not take that long.
At that point, you then know a few chords to play for every possible suspension (C, Db, D,
Eb, E, F, Gb, G, Ab, A, Bb and B).
In looking at our song in the original key of (Db), we see that (Ab) is the suspension, and we
know one possible chord to play for that suspension is the Db 6,9.
Since the (Ab) note is repeated twice, we can play a different chord for the second (Ab)
note. The chord that we played earlier was the F7#9#5.
Remember this is the original movement for these first two notes in this song in the key of
(Db).
Chord
1
What
Chord
2
On the straight transpose to the new key of (Eb), where the first melody note is now a (Bb),
We are simply playing the same chord types slid up or down to a different pitch.
We are playing a 6,9 chord moving to a 7#9#5 chord.
It’s the same boring movement in a different pitch.
These are the new chords for the key of (Eb).
Chord
1
What
Chord
2
You can see that all the notes have moved up one whole step in moving from the old chords
in the key of (Db) to the new chords in the key of (Ab).
Again, this result is very boring and is a lot of work!!!
10.5 The New Method
Let’s take a look at a method that is a lot easier and gives a more exciting result.
Instead of transposing chords to accommodate for the tone in the new key, simply make
your chord selection from the chords that you already know for that note. Notice I said NOTE
and not TONE. This distinction is very important. Let me give you a simple example.
Here we have the song in a new key (Eb). You see that the suspension is now a (Bb) for the
first two notes. Yes the (Bb) is a (V) in the key of (Eb); and if you played the 6,9 as you did
earlier, it would be that Eb 6,9.
As we said earlier you would have to know the 6,9 chord in that key or go through that long
transposition process. We do not want you to do this.
What you should do is look at the (Bb) as being a NOTE and not a TONE.
Simply play one of the chords that you know for the (Bb) note.
When you played the harmonization of this song when it was in the key of (Db), it did have a
(Bb) in it, but the (Bb) was in a different position. The (Bb) was on the word “friend,” when
the song was in the key of (Db).
But in the new key of (Eb), the (Bb) are on the words “What a.”
But wait, we already know a chord and used a chord to harmonize on the (Bb) when the
song was in the key of (Db)!
Hmmm, so why can’t we use that same chord that was used on the (Bb) when the song was
in the key of (Db), on the song now when it is in the key of (Eb)? The answer is that we
can!!!
These are the two chords that we used earlier to harmonize on the (Bb) suspension when
the song was in the key of (Db).
Here is the earlier harmonization from the key of (Db). We used these two chords at the end
of our harmonization.
Now all you have to do is use those same two chords that you used to harmonize on the
(Bb), on our song in the new key!
As soon as you know enough chords for each one of the twelve tones as a suspension (C,
Db, D, Eb, E, F, Gb, G, Ab, A, and Bb), you can forget about the tones, and just look at it as
you know chords to play for every melody note.
So in this case, in the new key of (Eb), look at is as being that you need to use a chord that
can harmonize the (Bb) as the suspension. Look at the (Bb) as just being a note.
You know chords to harmonize on the (Bb) use those chords to harmonize on a (Bb) in any
key!
If you do this you will get completely different color!!
You get a completely different movement.
Look at the new movement that we have now. A 13 chord moving to a 7 6,9b5 chord!!!
Chord
1
What
Chord
2
These are the chords that we used in our original harmonization, on the (Bb) suspension
when the song was in the key of (Db). We are simply using those same chords on this (Bb)
suspension in the new key of (Eb)!
The tone number is different in this new key, but we don’t care, all we care about is the fact
that the note is a (Bb) and we know chords to harmonize on that suspension!
And you didn’t have to learn chords in all 12 keys! Or do that tedious transpose.
Once you know a few chords for each tone, you play immediately in the new key
because you already know chords for all the tones.
And the beauty is that you get a different movement and different color!!!
And if we move on to harmonize on the word “friend” we can use the following chord.
C7#9#5 (938) “FRIEND”
This is a chord that is the book on the section harmonizing on the (Maj VII), as if we were in
the key of (Db). We are using this chord because it’s a chord that we know we can use to
harmonize on the (C). Forget about the fact that we are now in the key of (Eb), and this tone
is a (VI) in that key! Just look at this as a chord that you know to use on the (C) as the
suspension.
Now once this song is in the key of (Eb), the suspension is now (Bb); however the tone
number is still (V). Bb is a (V) in the key of (Eb).
If we did this the old fashioned way, and did the transposition, the new chord would still be a
6,9, but instead of a Db 6,9 it would be an Eb 6,9 as we saw earlier. This is not the result we
want because it involves knowing all the chords in all the keys. When you want to play in
another key, the thing to do is to look at this song in terms of the notes and not as tone
numbers in the new key. Do not look at the Bb note as a (V) in the key of (Eb) (even
though it is). Look at the (Bb) just as a note in the key you are already familiar with.
Make believe you are in your familiar key of (Db), and this (Bb) would be a (VI) in the
key of Db.
Guess what? If you do this, you would already know a chord for the (Bb), because
you know one chord for each tone (C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb and B). Just
make believe you are in the key that you know (Db), and play the chord that you know
for that note.
That’s why I’m saying just look at is as a note (Bb) and not as a tone number in the new key.
In this volume, you learned chords for the (Ab) note. You didn’t get to the (Bb) note, but you
did use a chord to harmonize on the (Bb) suspension in the song “What a Friend” in the key
of (Db). You may only know one or two chords at this point to harmonize of the (Bb)
suspension in the key of (Db), but you can use that same chord that you used on (Bb) to
harmonize on this (Bb) in this new key of (Eb).
In other words if you know chords to harmonize on a particular suspension by note name -
for example (Ab), use those chords to harmonize on (Ab) in any key. If you see a song with
an (Ab), choose from the chords that you know that have (Ab) as a suspension and forget
about the tone number and the key. If you see a song with an (F), then choose from the
chords that you know that have an (F) as the suspension.
In other words just look at the note and ignore the tone number and the key.
But you can only do this after you have learned chords for each tone in some key.
If you do this, the amazing result is you get flavor and color in your music without the work of
transposing!
In this example, you would simply play two chords that you already know to use on the (Bb)
suspension. If you look back at the completed harmonization of this phrase in the key of
(Db), you can see two chords that we used to harmonize on the (Bb).
You used a (Bb 13) and an (E7 6,9 b5).
Simply use those chords here!!!
Our original chord progression for this phrase in the key of (Db) was as follows:
Db 6,9 F7#9# Bb7#5 Bb Maj 9 C7#9#5 Ab7b9 F min 9 Ab min Bb7 E7 6,9 Bb13
5, add 6 b5 11 #9#5 b5
add 6
And in doing the old fashioned standard transpose to (Db) the entire progression we would
have the following:
Eb 6,9 G7#9#5, C7#5 C Maj D7#9#5 Bb7b9b5 G min Bb min C7 F7 6,9 C13
9 add add 6 9 11 #9#5 b5
6
We simply moved up the chord names by one whole step. The (Db) chord became an (Eb)
chord, etc…
You can look at both of these chord progressions and see that the movements are still the
same for both.
WHAT A FRIEND WE HAVE IN JE SUS
Db 6,9 F7#9#5, Bb7#5 Bb Maj C7#9#5 Ab7b9b5 F min Ab Bb7 E7 6,9 Bb13
9 add add 6 9 min 11 #9#5 b5
6
Eb 6,9 G7#9#5, C7#5 C Maj D7#9#5 Bb7b9b5 G min Bb C7 F7 6,9 C13

9 add add 6 9 min 11 #9#5 b5
6
It’s a II 6,9 to a III7#9#5, to a VI7#5, to a VIMaj 9 add 6, to a Maj VII#9#5 to a V7b9b5,

etc……
But if we transpose using our new technique, we have a complete different movement!!!
The old progression is in the top row and the new progression is in the bottom row.
WHAT A FRIEND WE HAVE IN JE SUS
Db 6,9 F7#9#5 Bb7#5 Bb C7#9#5 Ab7b9b5 F min Ab Bb7 E7 6,9 Bb13

Maj 9 add 6 9 min #9#5 b5
add 6 11
Bb13sus E76,9 Eb9sus E7 6,9 Db9b5 Gb F min Bb9sus

b5 sus add 6 Maj 9 9
add 6
The interesting result in using this new technique is that every time you play the song in a
new key, the harmonization is completely different!! You will even surprise yourself with
some of the resulting movements.
Here is a completed harmonization in the new key of (Eb) without doing chord transposition.
We simply used chords that you would already know and have used in a harmonization from
a harmonization in (Db).
11. The Completed Harmonization in (Eb) – Using Chords on Db
This is a completed harmonization of “What a Friend” played in the key of (Eb). We simply
used chords that already knew for suspensions on notes in the Db scale. Example: The first
note here is a (Bb). We simply choose chords that we would already know from harmonizing
on the (VI) as if we were really in the key of (Db) where the (Bb) is a (VI). Just ignore the fact
that the (Bb) is really a (V) and that we are really in the key of (Eb).
Chord
1
What
Chord
2
Chord
3
Friend
Chord
4
We
Chord
5
Have
Chord
6
in
Chord
7
Je
Chord
8
sus
AMAZING!!
YOU NOW PLAY THE SONG IN A DIFFERENT KEY WITHOUT TRANSPOSING!!!
AND THE RESULT IS A COMPLETELY DIFFERENT SOUND COLOR AND FLAVOR!!!!!
11.1 A Closer Look
Now I am going to show you step-by-step how you would arrive at the above harmonization,
by looking at the process for the first note. Simply repeat this process for all notes.
Imagine yourself looking at this song in the new key of (Eb), and you already learned to play
it in the key of (Db).
Imagine that you have already been through the course, and you know a few chords for
each one of the tone for a song in the key of (Db). In all of our reference volumes, the large
chord picture at the top of every page corresponds to the chord to play if you were in the key
of (Db), and the table at the bottom of every page, tells you how to play the chords in all
other keys.
Now you want to find chords to harmonize this song in the new key of (Eb)
Forget that fact that this song is in a different key and use the key signature only to
determine what the individual notes are.
1) The first note is a (Bb). Use chords that you already know to harmonize on a (Bb)
suspension.
a. Do not look at the (Bb) as a tone number in the (Eb) scale. Just look at the
note as being a (Bb). Yes, a (Bb) happens to be a (VI) in the key of (Db), and
when you learned chords that have the (VI) as the suspension, that note was
a (Bb); but remember, it was a (VI) when we were in the key of (Db). This
song is no longer in the key of (Db); so we cannot call this (Bb) tone number
(VI). The (Bb) is now tone number (V) in the key of (Eb)!
Eb Scale
I II III IV V VI MVII I II III IV V VI MVII I
Number 1 2 3 4 5 6 M7 8 9 10 11 12 13 M14 15
We could look up chords to harmonize on the (V) and then transpose the
chord possibilities to this new key, by the methods that we described earlier
(transposing, number system or sliding), but it’s easier just to forget about
looking at the (Bb) as a tone number (V) in the new key of (Eb) and look at is
as just being a Bb note.
2) If you look at the (Bb) as being simply a note, you already know how to harmonize on
the (Bb). The (Bb) was a (VI) in our familiar key of (Db). All we did was choose from
those chords. All those chords had the (Bb) as the suspension. This is the chord that
we selected. This chord is in the chapter of chords that have the (Bb) as the
suspension.
3) Now repeat the process for the next note (C). You already know how to harmonize
when the suspension is a (C). Just forget the fact that you are in a different key.
Choose from the chords that have the (C) as the suspension. (These would be all the
chords that are in the chapter on harmonizing on the (Maj VII), because a (C) was a
(Maj VII) in the key of (Db).
Simply learn the chords for the suspension in a single key. For example our course chord
examples are based on (Db); then use those chords for songs in ANY KEY!
Example you see a song in the key of (F#), and you probably think to yourself that you can
never play in that key, there are way too many sharps.
You look at the song and see that the first note is an (A#).
Just treat that note as a (Bb), and you already know how to harmonize on the (Bb) as a
suspension.
Choose a chord and move to the next note!!!!
YOU NO LONGER CARE WHAT THE KEY SIGNATURE IS!!!
THE (Bb) IS JUST A NOTE TO YOU!
AND YOU KNOW HOW TO HARMONIZE ON A (Bb).
LOOK AT ALL THE NOTES LIKE THIS AND FORGET ABOUT THE KEY!
I hope this gives you some insight.
This is just a brief introduction of this concept!

We will go into more detail in a future volume. We hope you have enjoyed this leg of your
Adventure in Harmony.
“Once you know how to harmonize all 12 suspensions, you can then immediately play any
song every written in any key with full chords” - Gregory Moody
The chords in this system are truly like Lego building blocks that you can put together thousands of
ways. To aid in your experimentation we also have all of our chords available on 4x6 cards. You may
use these cards to arrange chords and try out new progressions while sitting at your instrument. The
front of the cards contains a large picture of the chords so that you may easily put your hands right
on the chord. The back of the cards contains the chords detailed note-by-note in all 12 keys. The
cards are available at our website www.gospel-chords.com.

Mastering Chord Suspensions

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Mastering Chord Suspensions

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Adventures in Harmony – Mastering Chord Suspensions

1. Cycling on the Suspension ................................................................................................................. 5

8.4 Harmonization of the word “Have” .......................................................................................... 52

1. Cycling on the Suspension

1.1 Cycles - Passing Chords

Insert Chords between (Ab) and (Bb)

Move to the next suspension (Bb)

2. Master the (V) as the Suspension

I II III IV V VI VII I II III IV V VI VII I

Therefore we are going to master the (V) as the suspension.

3. A Note on Alternate Keys and Transposing

DO NOT DO THIS! IT NOT NECESSARY!!!!

3) In the key of (C) the chord or tone is a (V) (G).

The main point I am trying to get across to you is DO NOT TRANSPOSE.

The secret is that it is not necessary to transpose ever again.

4. The Harmonization Process and Required Reference Volumes

Here are the notes in the first phrase of that song:

5. Harmonize - What a Friend We Have in Jesus

I II III IV V VI VII I II III IV V VI VII I

Identify Tones for each Melody Note

1) Melody Harmonization - Advanced Voicings for Melody and Suspension

5.1 The word - ”What”

What a Friend we have in Je sus

CHORD CHORD Note Note Note Note Note Not

5.1.1 The Complicated Traditional Key Shift

5.1.2 Example – Understanding the Base Tone

5.1.3 Example – Using the Numbers

5.1.4 Example – Shifting an Entire Cycle

General Chord Number In Db In Ab

(II) min 11 119 Eb min11 Bb min

(I) Maj 9 658 Db Maj 9 Ab Maj 9

(Maj VII) 7#9#5 941 C7#9#5 G7#9#5

(I) 6,9 57 Db 6,9 Ab 6,9

5.1.5 Example – The Cycle

Db (6,9) not in open position

1) The distance between the (C) and (E) is 4 notes.

1) The distance between the (F) and (Bb) is 5 notes.

Chord name Number Tension Open

Eb min 11 119 0.8 3.5

Db Maj 9 658 0.4 3.0

C7#9#5 941 1 5.0

Db 6,9 57 0.5 5.0

Chord 3 Last Chord ( consonance)

1. Eb min 11 Db Maj 9 C7#9#5 Db 6,9

2. Db Maj 9 Eb min 11 C7#9#5 Db 6,9

3. Eb min 11 C7#9#5 Db Maj 9 Db 6,9

4. Db Maj 9 C7#9#5 Eb min 11 Db 6,9

5. C7#9#5 Eb min 11 Db Maj 9 Db 6,9

6. C7#9#5 Db Maj 9 Eb min 11 Db 6,9

1. Eb min 11 Db 6,9 C7#9#5 Db Maj 9

2. Db 6,9 Eb min 11 C7#9#5 Db Maj 9

3. Eb min 11 C7#9#5 Db 6,9 Db Maj 9

4. Db 6,9 C7#9#5 Eb min 11 Db Maj 9

5. C7#9#5 Db 6,9 Eb min 11 Db Maj 9

6. C7#9#5 Eb min 11 Db 6,9 Db Maj 9

5.1.6 Example – The Cycle – An Application

5.2 Harmonization of the word – a

1. Db 6,9 (57) “What” 2. Db Maj 9 (658) “a”

1. Eb min 11 (119) “What” 2. Db 6,9 (57) “a”

1. Db 6,9 (57) “What” 2. Eb min 11 (119) “a”

1. C7#9#5 (941) 2. Db 6,9 (57)

5.2.1 An Alternate Cycle

Chord name Tension Open