Help with dominant movements

[T-Block]

I was in the chat room yesterday talking to a fellow LGMer about dominant and secondary dominant chord movements. This person wanted to know more about it, so I typed up some stuff. I've decided to share it with everyone else as well.  So, here it is (kinda long):

I've put together every dominant move I've heard and/or played in gospel. Before you start this practice, I want u to just scroll down through it.  You will notice that as u move down the progressions, it seems like ur going backwards through the musical zip code:  (7)-3-6-2-5-1-(4)  So, u might wanna start at the end, then build up.

If you need more help understanding them or finding songs where they use these movements, just holla back at me.

Dominant movements in pairs
Key C  LH/RH


1-4 (secondary dominant motion)

C / G-C-E  *C major
F / A-C-F  *F major

C / G-Bb-C-E  *C7
F / A-C-F  *F major

C / G-C-E  *C major
F / Bb-D-F  *Bb major, F in the bass
F / A-C-F  *F major

C / G-C-E  *C major
F / G-C-E  *C major, F in the bass

C / G-B-D  *G major, C in the bass
F / G-C-E  *C major, F in the bass

C / Bb-D-F  *Bb major, C in the bass
F / G-C-E  *C major, F in the bass

C / E-Bb-D  *C9
F / F-A-C  *F major

C / E-A-Bb-D  *C13
F / E-A-C  *FM7

Bb / G-C-E  *C major, Bb in the bass (C7 chord in 3rd inversion)
A / A-C-F  *F major, A in the bass (F major chord in 1st inversion)

E / G-C-E  *C major w/E in the bass; this is the 1 chord in 1st inversion
F / A-C-F  *F major

Special 1-4 movements

C / G-C-E  *C major
*D / Bb-D-F  *Bb major w/D in the bass; passing chord to create strong movement up to 4
*E / C-E-G  *C major w/E in the bass; passing chord to create even stronger movement up to 4
F / C-F-A  *F major

C / G-C-E  *C major
*D / A-C-F  *Dm7; passing chord, creating a walk-up to 4
*D# / A-C-D#-F#  *D#dim7; passing chord, creating a walk-up to 4
*E / C-E-G  *C major w/E in the bass ; passing chord, creating a walk-up to 4
F / C-F-A  *F major



5-1 (true dominant motion)

G / G-C-E  *C major, G in the bass
G / G-B-D *G major
C / G-C-E  *C major

G / F-A-C *F major w/G in bass
C / G-B-E  *CM7

G / F-A-C-E  *FM7 w/G in bass
G / F-Ab-B-D  *G7 (b9)
C / B-D-G  *G major w/C in bass

G / B-Eb-F-Bb  *G7 (#5/#9)
C / Bb-E-A-C  *C13

G / F-Bb-D  *Gm7
C / E-Bb-D  *C9

G / F-A-Bb-D  *Gm9
C / E-A-Bb-D  *C13

G / Bb-D-F-A  *Gm9
C / Bb-D-E-G  *C9

G / Bb-D-F-A  *Gm9
C / Bb-D-F#-A  *BM7(#5) w/C in the bass; this is another one of them layered chords, only this time instead of playing a chord 1 whole step higher in the bass, it's the chord 1 whole step lower in the bass, u see the C in the bass, then there's a B major type chord in the RH

B / G-B-D  *G major w/B in the bass; this is the 5 in 1st inversion
C / G-C-E  *C major

F / G-B-D  *G major w/F in the bass (G7 chord); this is the 5 chord in 3rd inversion
E / G-C-E  *C major w/E in the bass; this is the 1 in 1st inversion



2-5 (secondary dominant motion)

D / G#-C-D-F  *Dm7(b5)
G / G-C-E  *C major, G in the bass
G / G-B-D *G major

F / G#-C-D-F  *Dm7(b5) w/F in the bass; this is the Dm7(b5) chord in 1st inversion
G / G-C-E  *C major, G in the bass
G / G-B-D *G major

G# / G#-C-D-F  *Dm7(b5) w/G# in the bass; this is the Dm7(b5) chord in 2nd inversion
G / G-C-E  *C major, G in the bass
G / G-B-D *G major

D / F#-A-C-E  *D9
G / F-A-C-E  *FM7 w/G in bass
G / F-Ab-B-D  *G7 (b9)
 
D / A-C-E  *A minor, D in the bass; this chord is an easy substitute for the D9 chord above
G / G-B-D *G major

F# / A-C-E  *F#m7(b5); this chord is really a rootless chord cuz it's missing the D, this is another easy substitute for the D9, which would be the D9 in 1st inversion
G / G-B-D  *G major

D / F-A-C  *Dm7
G / G-B-D *G major

D / F-A-C-E  *Dm9
G / F-A-B-E  *G13

D / E-G#-B or D-C / E-G#-B  *E major, D in the bass
G / F-A-C  G / F-A-C *F major w/G in bass
The 2 chord used here is called a layered chord, it's when u play a chord 1 whole step above the bass, so since the bass here is D, u play an E major chord, u hear this chord in songs like "I Really Am Grateful" by Lamar Campbell, "Closer" by Lamar Campbell, "Beyond The Veil" by Daryl Coley, "Couldn't Tell It If I Tried" by Karen-Clark Sheard

D / D-F#-A  *D major
G / D-G-B  *G major

F# / D-F#-A  *D major w/F# in the bass; this is the 2 chord in 1st inversion
G / D-G-B  *G major

C / D-F#-A  *D major w/C in the bass (D7 chord); this is the 2 chord in 3rd inversion
B / D-G-B  *G major w/B in the bass; this is the 5 chord in 1st inversion

Special 2-5 movements

D / G#-C-D-F  *Dm7(b5)
*E / G-C-E  *C major w/E in the bass; passing chord, creating a walk-up to 5
*F / G#-C-D-F  *Dm7(b5) w/F in the bass; passing chord, creating a walk-up to 5
G / G-C-E  *C major w/G in the bass

D / A-D-F  *Dm
*E / G-C-E  *C major w/E in the bass; passing chord, creating a walk-up to 5
*F / A-D-F  *Dm w/F in the bass; passing chord, creating a walk-up to 5
G / G-C-E  *C major w/G in the bass

D / A-D-F  *Dm
*E / G-C-E  *C major w/E in the bass; passing chord, creating a walk-up to 5
*F / A-D-F  *Dm w/F in the bass; passing chord, creating a walk-up to 5
*F# / A-C-E  *F#m7(b5), really the rootless D9 u saw ealier; passing chord, creating a walk-up to 5
G / G-B-D  *G major



6-2 (secondary dominant motion)

A / C#-F-G-C  *A7 (#5/#9)
D / F-A-C  *Dm7

A / G-Bb-C#-E  *A7 (b9)
D / A-D-F  *Dm

A / G-C-E  *Am7
D / F#-C-E  *D7

A / G-B-C-E  *Am9
D / F#-B-C-E  *D13

A / G-C-E  *Am7
D-C / G#-B-E  *E major, D in the bass

A / G-B-C-E  *Am9
D-C / G#-B-E  *E major, D in the bass

A / A-C#-E  *A major
D / A-D-F  *Dm

C# / A-C#-E  *A major w/C# in the bass; this is the 6 in 1st inversion
D / A-D-F  *Dm

A / G-B-D  *G major chord w/A in the bass
D / A-C-F  *Dm7

Special 6-2 movements

A / G-C-E  *Am7
*F / G#-B-D-F  *Fdim7; passing chord, creating a walk-down to 2
*E / G-Bb-C#-E  *Edim7; passing chord, creating a walk-down to 2
D / F-A-C-E  *Dm9

A / G-C-E  *Am7
*B / G#-B-D-F  *Bdim7; passing chord, creating a walk-up to 2
*C# / G-Bb-C#-E  *C#dim7; passing chord, creating a walk-up to 2
D / F-A-C-E

A / E-A-C#  *A major
*B / G-B-D  *G major w/B in the bass; passing chord, creating a walk-up to 2
*C# / A-C#-E  *A major w/C# in the bass; passing chord, creating a walk-up to 2
D / A-D-F

A / E-A-D  *Asus4
*G / E-A-C#  *A major w/G in the bass (A7 chord); passing chord, creating a walk-down to 2
*F / G#-B-D-F  *Fdim7; passing chord, creating a walk-down to 2
*E / G-Bb-C#-E  *Edim7; passing chord, creating a walk-down to 2
D / F-A-C-E  *Dm9



3-6 (secondary dominant motion)

E / G-B-D  *Em7
A / G-C-E  *Am7

E / G#-C-D-G  *E7 #5/#9
A / G-B-D  *G major, A in the bass

E / D-G-Bb  *Em7(b5)
A / C#-F-G-C  *A7 #5/#9

E / E-G#-B  *E major
A / E-A-C  *Am

G# / E-G#-B  *E major w/G in the bass; this is the 3 in 1st inversion
A / E-A-C  *Am

E / D-F#-A  *D major w/E in the bass; this is another one of them layered chords
A / D-G-B  *G major w/A in the bass

Special 3-6 movements

E / B-E-G#  *E major
*F# / D-F#-A  *D major w/F# in bass; passing chord, creating a walk-up to 6
*G# / E-G#-B  *#E major w/G# in bass; passing chord, creating a walk-up to 6
A / E-A-C  *Am

E / B-E-G#  *E major
*F# / C-D#-F#-A  *F#dim7; passing chord, creating a walk-up to 6
*G# / D-F-G#-B  *G#dim7; passing chord, creating a walk-up to 6
A / E-A-C  *Am

E / B-E-G#  *E major
*C / C-D#-F#-A  *Cdim7; passing chord, creating a walk-down to 6
*B / D-F-G#-B  Bdim7; passing chord, creating a walk-down to 6
A / E-A-C  *Am

E / B-E-G#  *E major
F# / C#-E-A  *F#m7; passing chord, creating a walk-up to 6
G / C#-E-G-Bb  *Gdim7; passing chord, creating a walk-up to 6
G# / E-G#-B  *E major w/G# in bass; passing chord, creating a walk-up to 6
A / E-A-C  *Am



7-3 (secondary dominant motion)

B / A-D-F  *Bm7(b5)
E / G#-C-D-G  *E7(#5/#9)

B / A-D-F  *Bm7(b5)
E-D / G#-C-E-G  *E7(#5/#9)

B / F#-A-C#-E  *B11 w/out the 3rd; this is an incomplete dominant 11th chord, notice that it sounds good w/out the 3rd, which is D
E / G#-C-D-G  *E7(#5/#9)

B / F#-A-C#-E  *B11 w/out the 3rd; this is an incomplete dominant 11th chord u encountered above
E-D / G#-C-E-G  *E7(#5/#9)



#4-7 (secondary dominant motion)

This is a special movement right here that is found in rare occasions.  It's so rare that the #4 doesn't make the musical ZIP Code, but this has a great sound to it.

F# / A-C-E  *Fm7(b5)
B / A-D-F  *Bm7(b5)



4-7 (secondary dominant motion)

F / G-C-E  *C major w/F in the bass
B / A-D-F  *Bm7(b5)

F / A-C-E  *FM7
B / A-D-F  *Bm7(b5)

F / G-C-E  *C major w/F in the bass
B / D#-G-A-D  *B7(#5/#9)

F / A-C-E  *FM7
B / D#-G-A-D  *B7(#5/#9)

[T-Block]

Now that you've seen how the dominant movements break down into pairs, here is a list of movements that you will find in their entirety.  This is how you will usually hear them in a song.  They're not in any order, just as I think of them.

Dominant movements period
Key C  LH/RH


6-2-5-1-4-#4-7-3

A / G-C-E
D / F#-C-E
G / F-Bb-D
C / E-Bb-D
F / E-A-C
F# / A-C-E
B / A-D-F
E / G#-C-D-G

You can find this movement in the song "A Praying Spirit" by Karen Clark-Sheard on the part when they sing: "Lord when I pray give me what to say..."



2-5

D / G#-C-D-F
*E / G-C-E
*F / G#-C-D-F
G / G-C-E

This move is found in so many gospel songs it's ridiculous.  You should recognize this whenever u hear it.



1-4-2-5-3-6

E / C-E-G
F / C-F-A
F# / D-F#-A
G / D-G-B
G# / E-G#-B
A / E-A-C

This move is found in a lot of gospel songs like "Hossana" by Kirk Franklin on the part when they sing: "For your patience and kindness..."  U can also find this move in some John P. Kee songs.



1-6-2-1-4-2-5

C / G-C-E
C# / A-C#-E
D / A-D-F
E / C-E-G
F / C-F-A
F# / D-F#-A
G / D-G-B

This is just like the move above, just started on a different note.  This song is found in the song "We Must Praise" by J Moss at the end when they sing "Praise His holy, holy name..."



4-7-3-6

F / C-F-A
B / D#-G-A-D
E / D-G-Bb
A / C#-F-G-C

This move is found in many gospel songs.  The one that comes to mind the most is the song "Miracle" by Marvin Sapp.  Another song is "Come In The House" by New Direction.



2-4-3-6

D / F-A-C
F / D#-G-A-D
E / D-G-B or E / E-G-C
A / E-G-C
*F / G#-B-D-F  *walk-down to 2
*E / G-Bb-C#-E  *walk-down to 2

This move is most noticeable in the song "I Told The Storm" by Greg O'Quin.  It's found in other songs as well, but I can't think of any at the moment.



7-3-6

B / F-A-D
*A / D#-F#-A-C  walk-down to 3
*G# / D-F-G#-B  walk-down to 3
E / F-G#-B-D
*C / D#-F#-A-C  walk-down to 6
*B / D-F-G#-B  walk down to 6
A / C-E-A

This move is found in the song "Holy Spirit" by Ricky Dillard.  It uses a lot of dim7 walk-downs in a row.  This is the only song that I've seen this being used in, but I'm sure parts of this is found in other songs.



2-3-6

D / F-A-C-E
/ G, A
E / D-G-Bb
/ A-D-F
A / G-Bb-C#-E

This move is found in a lot of gospel songs.  2 songs that come to mind are "Where The Spirit Of The Lord Is" by John P. Kee and "This Is Your Invitation" by Joe Pace.



5-1-4-6-2-5-1

G / Bb-D-F
C / G-C-E
F / A-C-E
A / G-B-D
D / F-A-C
G / G-B-D
C / G-C-E

This move is found in the song "This Is Your Invitation" by Joe Pace.  Parts of it can be found in other gospel songs as well.



1-4-2-5

Bb / G-C-E
A / A-C-F
G# / G#-C-D-F
G / G-C-E

This is another move that's found in so many gospel songs it's ridiculous. Some ones that come to mind are "My Worship Is For Real (Vamp)" by Bishop Larry Trotter, "Holy Spirit" by Ricky Dillard, and "Seasons" by Donald Lawrence.  A lot of Donald Lawrence's songs has this movement in it.

[NJDBalla]

Lol kinda long was an understatement, don't you think?

[T-Block]

Lol kinda long was an understatement, don't you think?

LOL, maybe I did stretch it a bit.

[SoundofJoy]

In all thy getting, get and understaning. This is great stuff here. I'm gonna link this to my site if you don't mind.

[T-Block]

In all thy getting, get and understaning. This is great stuff here. I'm gonna link this to my site if you don't mind.

Go ahead man. I just wanna get the information out to as many people as I can.

[T-Block]

*bump*

[kmccray]

This is some good stuff.  Thanks for posting.  I haven't been on the site for a while but this is going to be very helpful to me.   

[berbie]

Thanks, T. You are a blessing to this site. I have benefited more than I can say from your posts.

berbie

[MemphisKeys]

thanks T-block man...they're right its very useful...how do you come up with some of the chords because as i was reading i start to see that you mention many different chords i took a few of them as chords sub...but most of all ima use this 2 the best of my ability...thanks alot man..you rock....

[T-Block]

how do you come up with some of the chords

I've done lots of experimenting with basic chords. Plus, anytime I hear music from somewhere that catches my attention, I analyze what's being played. Anything from gospel, rap, classical, jazz, pop, R&B, commercials on T.V., music from movies, etc. I learn different stuff everyday. And anytime i learn something, i immediately put it into practice so it becomes a part of my playing.

[docjohn]

you be a monster bro!

[bullet1]

I am going to use this for tomorrow morning practice.