The Contemporary Gospel Sound
Posted by Letron Brantley at 5/7/2008 9:54 AM and is filed under Training-Education,Beginners Corner 
I have gotten a lot of feedback from those that say they are still having problems with achieving the “Contemporary Sound”. “I can play the chords in exercises, but when it comes time to put them in a song, I’m lost!” Some even go as far as to conclude that some people HAVE IT! and some people DON'T! and therefore want to quit. COME ON PEOPLE!! We got enough complications with the 2008 Democratic Primary. Let’s not bring it to the music!! It’s supposed to be fun and rewarding and we have to keep it that way or we will all be confused and frustrated – just like we are with the Democratic Primary, but I won't go there :o) Let’s talk about this Contemporary Sound.
Well when we say “Contemporary Sound” in Gospel Music, we typically talk about the added tension in the music. The great philosopher Plato stated that musical harmony has the power to manipulate human emotions. This extra tension in contemporary gospel music moves people. Think about all of the great songs out there and the music that’s played with them. Each song moves you in a different way. Here is another example for those of you who had the opportunity to grow up in a church that didn’t have the greatest musicians. In my hometown church, our musician didn’t play contemporary style at all. Everything was root position triads and 1, 4, 5 movements. But for someone who didn’t know any different, that was fine for me and everyone else in the church. It wasn’t until (at 18) I moved to Atlanta to attend school that I heard something was different about church music. The first church I attended in Atlanta was World Changers Ministries led by Creflo Dollar in College Park, GA. In my first service there I couldn’t believe the difference in the music. I didn’t know what to call it at the time, but it caught my attention. I was hooked to that “Contemporary Sound” and from there, I got introduced to John P. Kee, and Hez and my world changed completely. Like I said, I am from a small town :o)
So what was it about the difference in the music that reeled me in? Well the sound is no mystery. It all has to do with (as I stated earlier) tension created by intervals. An interval is basically the distance between two notes. Therefore the distance between “C” and “C# or Db” would be 1 half step also known as a Minor 2nd interval. The distance between “C” and “D” would be 2 half steps also known as a Major 2nd interval. See Figure1. Well there are some key intervals that give that tension in the music to make it more interesting. Some of the more popular tension intervals are the Minor 2nd (described earlier) and the Tritone. A Tritone is 6 half steps between two notes. Ex: “C to F#” is a Tritone and if you play it you see that it has a very distinct sound. Minor 2nds and Tritones are two intervals alone that can spice a song up to make it more interesting.
Figure 1:
Tritones and Minor 2nds are not normally played by themselves (although they can be) they usually sound more interesting when played with other chords. (Note: I will be doing a series of video theory lessons soon that will get you squared away with understanding chords and intervals better, so don’t get discouraged if you don’t quite understand everything yet.)
Example:
Try playing a dominant chord on your keyboard or piano. Let’s play a “B” dominant chord. B-D#-F#-A. Dominant chords are played all of the time in not only Gospel Music but all kinds of music; Jazz, Country, R&B etc. This chord can be played in many different inversions (or positions), but the quality will essentially be the same…Dominant. Now Dominant chords function as transition chords to other chords such as the 1 chord or the 3 chord, so as transition chords, it’s great that we have some options as to how the chord transitions. This is done through altering the dominant chord. For the sake of time I want you to try playing this example chord: Leave the root “B” off and just play with both hands (LH: A-D#) (RH: G#-C#-F). How does that sound? What you have just played (Assuming that “B” is played in the root with your foot on organ or by a bass player) is a B13b5 named “B Thirteen with a Flat 5). In the left hand we played a Tritone (A-D#) and in the right hand we played a G#-C#-F (C# Major Triad in 2nd Inversion where the Root and 3rd are moved to the top). This is a rootless voice which even when played without the root (or bass note) sounds interesting and contemporary. You see how it sounds like it should go somewhere? I won’t keep you hanging. Let’s resolve this chord to a Bbm11 (B Flat Minor 11) rootless voicing. (LH: Ab-C-Db-F) (RH: Ab-C-Eb)
There are plenty of other chords and techniques that contribute to the contemporary sound, but I can hear the question now, “Letron, all of that theory and everything is good, but when it comes time to play it, how do I fit it in?” Well the key to this is very simple. Listen, Listen, Listen! Think about all of the musicians around you that play like you want to play. 95% of those musicians learned what they know from growing up around other musicians and being exposed to the music on a regular basis. It’s like learning a language. The only real way to become fluent in a language is to spend time with people that speak the same language that you do. Same thing with learning to play by ear, you need to be able to recognize how these chords fit into songs. There use to be a time where I couldn’t hear these transitions or contemporary chords at all. I would struggle trying to figure out how these musicians could just throw them in. It’s because they have heard the chord progression so many times that they can hear and anticipate placement of these chords. Another name for this is “Substitutions”. Now with all of this said the point is you have to listen to the music you want to play. There is enough GREAT Gospel music out there with AWESOME musicians that it should be no problem for you to expose yourself to the music. Listen as much as you can and also when you are around other musicians, listen to what they are doing. Even if the musicians around you are not contemporary players, if you listen enough to contemporary music, you will find that you can hear transitions that they could have done. This is when you know you are on the right track.
Thanks for reading this blog and please share your thoughts on this.
Letron Brantley (CEO & Founder)
GospelSkillz.com
Well when we say “Contemporary Sound” in Gospel Music, we typically talk about the added tension in the music. The great philosopher Plato stated that musical harmony has the power to manipulate human emotions. This extra tension in contemporary gospel music moves people. Think about all of the great songs out there and the music that’s played with them. Each song moves you in a different way. Here is another example for those of you who had the opportunity to grow up in a church that didn’t have the greatest musicians. In my hometown church, our musician didn’t play contemporary style at all. Everything was root position triads and 1, 4, 5 movements. But for someone who didn’t know any different, that was fine for me and everyone else in the church. It wasn’t until (at 18) I moved to Atlanta to attend school that I heard something was different about church music. The first church I attended in Atlanta was World Changers Ministries led by Creflo Dollar in College Park, GA. In my first service there I couldn’t believe the difference in the music. I didn’t know what to call it at the time, but it caught my attention. I was hooked to that “Contemporary Sound” and from there, I got introduced to John P. Kee, and Hez and my world changed completely. Like I said, I am from a small town :o)
So what was it about the difference in the music that reeled me in? Well the sound is no mystery. It all has to do with (as I stated earlier) tension created by intervals. An interval is basically the distance between two notes. Therefore the distance between “C” and “C# or Db” would be 1 half step also known as a Minor 2nd interval. The distance between “C” and “D” would be 2 half steps also known as a Major 2nd interval. See Figure1. Well there are some key intervals that give that tension in the music to make it more interesting. Some of the more popular tension intervals are the Minor 2nd (described earlier) and the Tritone. A Tritone is 6 half steps between two notes. Ex: “C to F#” is a Tritone and if you play it you see that it has a very distinct sound. Minor 2nds and Tritones are two intervals alone that can spice a song up to make it more interesting.
Figure 1:
| Interval Name | Interval Abreviation | Half Steps |
| Half Step - Minor Second | H - min 2nd | 1 |
| Whole Step - Major Second | W - Maj 2nd | 2 |
| Minor Third | min 3rd | 3 |
| Major Third | Maj 3rd | 4 |
| Perfect Fourth | 4th | 5 |
| Tritone - Flat Fifth | b5th | 6 |
| Perfect Fifth | 5th | 7 |
| Minor Sixth | min 6th | 8 |
| Major Sixth | Maj 6th | 9 |
| Minor Seventh | min 7th | 10 |
| Major Seventh | Maj 7th | 11 |
| Octave | 8va | 12 |
Tritones and Minor 2nds are not normally played by themselves (although they can be) they usually sound more interesting when played with other chords. (Note: I will be doing a series of video theory lessons soon that will get you squared away with understanding chords and intervals better, so don’t get discouraged if you don’t quite understand everything yet.)
Example:
Try playing a dominant chord on your keyboard or piano. Let’s play a “B” dominant chord. B-D#-F#-A. Dominant chords are played all of the time in not only Gospel Music but all kinds of music; Jazz, Country, R&B etc. This chord can be played in many different inversions (or positions), but the quality will essentially be the same…Dominant. Now Dominant chords function as transition chords to other chords such as the 1 chord or the 3 chord, so as transition chords, it’s great that we have some options as to how the chord transitions. This is done through altering the dominant chord. For the sake of time I want you to try playing this example chord: Leave the root “B” off and just play with both hands (LH: A-D#) (RH: G#-C#-F). How does that sound? What you have just played (Assuming that “B” is played in the root with your foot on organ or by a bass player) is a B13b5 named “B Thirteen with a Flat 5). In the left hand we played a Tritone (A-D#) and in the right hand we played a G#-C#-F (C# Major Triad in 2nd Inversion where the Root and 3rd are moved to the top). This is a rootless voice which even when played without the root (or bass note) sounds interesting and contemporary. You see how it sounds like it should go somewhere? I won’t keep you hanging. Let’s resolve this chord to a Bbm11 (B Flat Minor 11) rootless voicing. (LH: Ab-C-Db-F) (RH: Ab-C-Eb)
There are plenty of other chords and techniques that contribute to the contemporary sound, but I can hear the question now, “Letron, all of that theory and everything is good, but when it comes time to play it, how do I fit it in?” Well the key to this is very simple. Listen, Listen, Listen! Think about all of the musicians around you that play like you want to play. 95% of those musicians learned what they know from growing up around other musicians and being exposed to the music on a regular basis. It’s like learning a language. The only real way to become fluent in a language is to spend time with people that speak the same language that you do. Same thing with learning to play by ear, you need to be able to recognize how these chords fit into songs. There use to be a time where I couldn’t hear these transitions or contemporary chords at all. I would struggle trying to figure out how these musicians could just throw them in. It’s because they have heard the chord progression so many times that they can hear and anticipate placement of these chords. Another name for this is “Substitutions”. Now with all of this said the point is you have to listen to the music you want to play. There is enough GREAT Gospel music out there with AWESOME musicians that it should be no problem for you to expose yourself to the music. Listen as much as you can and also when you are around other musicians, listen to what they are doing. Even if the musicians around you are not contemporary players, if you listen enough to contemporary music, you will find that you can hear transitions that they could have done. This is when you know you are on the right track.
Thanks for reading this blog and please share your thoughts on this.
Letron Brantley (CEO & Founder)
GospelSkillz.com
Letron, this is indeed an extremely good
blog you've written. Thanks for your sound professionalism when it comes to helping people like me and so many others. Thanks a million!!!
Joseph Roe
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Joseph,
No problem. It is my desire to do what I can help those that I can, However I can!
Thanks for your input.
Letron
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I cannot express how much all the information you make available at this site has changed my playing. I think what has helped me the most is accidentally making mistakes which sound good......then your website info comes along and explains to me why that is. I am just at the very beginning of this whole thing, but WHOA!!!!! Thank you so much...and I agree that the Democratic Primary is enough of a worry. Just turn the television OFF and practice! Love all you guys,
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Hey Susan. I'm glad you were able to get some valuable info at my site. This is exactly the purpose I am trying to achieve with my visitors. I have a whole lot more in store where that came from. Stay tuned!
Also Good Suggestion about turning the television off :o)
Letron
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This is a very cool article.
I can relate completely to what you are saying.
I am at that stage where I just listen to what musicians around me are playing & what they could have played instead of what they played.
Someone else might not find that beneficial, but I find it to be invaluable because I analyze the whole context the substitution was used in & I add to my progression bank & look for songs where I can immediately apply it in.
I'm glad to see that my thinking is aligned with great minstrels like yourself 8-)
keep up the good work.
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musallio,
Thanks for the feedback. It is great that you are at that stage where you can hear the substitutions and assimilate them into your own repository. This is the ultimate goal, because remember that music is ultimately an aural skill. Everyone thinks about Mozart being a great classical composer and Pianist which he was, but not many people talk about his ear. He would go around and embarass other musicians at concerts and parties, by playing thier compositions by ear after hearing it only once and make changes where he felt necessary. Now we are not looking to be that arrogant, but the skill is something to be desired.
Thanks for the encouragement,
Letron
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Thank you my brother for the encouragement. I can identify with everything you said especially about rehearsing. I thank GOD for you and what you are doing Stay strong in the Lord and in the power of His might.
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WOW, to have an ear like Mozart is an increble thing but how many Mozart's are there in this world. This is the place where we all would like to get to. That's why I practice like I do because I desire to have an ear like that.
Joseph
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I do agree, there's nothing like having
your alone time with your instrument and
your music materials. That time of such
thought is a growing experience each and everytime you come together. It becomes the kind of relationship that no one is suppose to come between you.
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That's why I appreciate you so much Latron because you take the time out and give such nuggets of wisdom to us. I thank God for you and the gift you bring to the table in helping others. Thanks a million!!!
Joseph
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Letron,
Thanks for all the information keep up the God Work. In the above blog you outlined A B13b5 and didn't leave us hanging and resolved it to A Bbm11 which sounds great I have been playing around with this and am wondering where can it go from here and just with these two chords it really doesn't define a key does it? I have a lot of questions, I know you have some answers. Maybe you could take the time and give a progression that uses these chords!
Avouched by God,
Minister James E. Davis
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Another great article. I would love if you explore some applications of those rootless voicings you touched on in the 'O How I Love Jesus' advanced video. You have a great teaching style and a great sound on the keyboard. You are doing a great service to musicians like myself who desire exposure to that contemporary feel.
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