vadimwit
71d5e445c7
5 gospel progressions x 2 plays: cascading 2-5-1s, 6-2-5-1 + plagal Amen, IV-#iv°7-I passing dim, modern sus/9th praise vamp, iii-vi back-door. Shell/sus/9th voicings, all pitch-class-verified. Registered in kb/index.js. Validator: 9 styles / 45 progressions / 90 plays. Critic PASS. Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
217 lines
13 KiB
JavaScript
217 lines
13 KiB
JavaScript
// Gospel guitar pack. Every shape's pitch classes were verified by note-spelling
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// against standard tuning (EADGBe) and the chord quality before authoring.
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// Voicing/comping references: hearandplay.com (gospel guitar comping, passing
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// chords), pianogroove.com (sus/add9 colour, hymn reharmonization),
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// jenslarsen.nl & jazzguitar.be (shell voicings, voice leading).
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// --- Shell voicings (root + 3rd + 7th, fifth omitted) — the gospel-comp backbone ---
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const SHELL_6 = { // root on the low-E string
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maj7: { rootStr: 6, offsets: [0, 'x', 1, 1, 'x', 'x'], fingers: [1, 0, 3, 4, 0, 0] }, // R–7–3
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dom7: { rootStr: 6, offsets: [0, 'x', 0, 1, 'x', 'x'], fingers: [1, 0, 2, 3, 0, 0] }, // R–♭7–3
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min7: { rootStr: 6, offsets: [0, 'x', 0, 0, 'x', 'x'], fingers: [1, 0, 2, 3, 0, 0] }, // R–♭7–♭3
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}
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const SHELL_5 = { // root on the A string
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maj7: { rootStr: 5, offsets: ['x', 0, -1, 1, 'x', 'x'], fingers: [0, 2, 1, 4, 0, 0] }, // R–3–7
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dom7: { rootStr: 5, offsets: ['x', 0, -1, 0, 'x', 'x'], fingers: [0, 2, 1, 3, 0, 0] }, // R–3–♭7
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min7: { rootStr: 5, offsets: ['x', 0, -2, 0, 'x', 'x'], fingers: [0, 3, 1, 4, 0, 0] }, // R–♭3–♭7
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}
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// --- 9th / colour voicings (the gospel "shine") ---
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const MIN9_5 = { rootStr: 5, offsets: ['x', 0, -2, 0, 0, 0], fingers: [0, 2, 1, 3, 3, 3] } // R–♭3–♭7–9–5
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const MAJ9_6 = { rootStr: 6, offsets: [0, -1, 1, -1, 'x', 'x'], fingers: [2, 1, 4, 1, 0, 0] } // R–3–7–9
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const DOM9_6 = { rootStr: 6, offsets: [0, -1, 0, -1, 'x', 'x'], fingers: [3, 1, 2, 1, 0, 0] } // R–3–♭7–9
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const DOM9_5 = { rootStr: 5, offsets: ['x', 0, -1, 0, 0, 'x'], fingers: [0, 2, 1, 3, 4, 0] } // R–3–♭7–9
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// --- add9 / sus colour for the modern praise vamp ---
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const ADD9_5 = { rootStr: 5, offsets: ['x', 0, -1, 2, 0, 'x'], fingers: [0, 2, 1, 4, 3, 0] } // R–3–(root)–9
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const ADD9_6 = { rootStr: 6, offsets: [0, -1, 'x', -1, 0, 'x'], fingers: [2, 1, 0, 1, 3, 0] } // R–3–9–5
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const SUS4_5 = { rootStr: 5, offsets: ['x', 0, 'x', 'x', 3, 0], fingers: [0, 1, 0, 0, 4, 1] } // R–4–5
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const SUS4_6 = { rootStr: 6, offsets: [0, 0, 'x', 'x', 0, 'x'], fingers: [1, 2, 0, 0, 3, 0] } // R–4–5
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// --- plain triads (the plagal "Amen" wants no extensions) ---
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const MAJ_6 = { rootStr: 6, offsets: [0, 2, 2, 1, 'x', 'x'], fingers: [1, 3, 4, 2, 0, 0] } // R–5–R–3 (E-shape)
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const MAJ_5 = { rootStr: 5, offsets: ['x', 0, 2, 2, 2, 'x'], fingers: [0, 1, 2, 3, 4, 0] } // R–5–R–3 (A-shape)
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// --- the passing diminished 7th (#iv°7) ---
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const DIM7_5 = { rootStr: 5, offsets: ['x', 0, 1, -1, 1, 'x'], fingers: [0, 2, 3, 1, 4, 0] } // R–♭5–𝄫7–♭3 (symmetric)
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export default {
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styleIntro:
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'Gospel guitar lives between the organ and the choir: short, voice-led grips that comp the changes without crowding the keys. The signature sounds are guide-tone shells for the moving 2–5–1 chains, 9th and add9 colour on the resting chords, sus tension in the modern praise vamp, and a single passing diminished that makes a plain hymn sound like church. Keep the fifth and often the root to the bass — your job is the 3rds, 7ths, and the colour note.',
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comping: [
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{
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label: 'Triplet shuffle (12/8 church feel)',
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rhythm: '♪♪♪ ♪♪♪ (compound, lilting)',
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description: 'The default slow-gospel groove: a swung 12/8 with the chord landing on beat 1 and a soft stab on the last triplet partial of each beat. Let the long notes ring under the choir; chop the pickups.',
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},
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{
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label: 'Anticipated push into the change',
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rhythm: 'tied from the "and" before the bar',
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description: 'Strike the next chord an eighth (or final triplet) early and tie it over the barline — telegraphs the move to the band, the same anticipation gospel organists use to lead the turnaround.',
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},
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{
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label: 'Sustained pads (praise-vamp register)',
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rhythm: '𝅗𝅥 𝅗𝅥 (held, no chop)',
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description: 'For the sus/add9 vamp: let each grip ring its full bar high on the neck, no percussive damping — a guitar "pad" under the worship leader. Move only the changing voices between chords.',
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},
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],
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plays: {
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'gospel-cycle-251': [
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{
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label: 'Shell chain, guide-tone glue',
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level: 'intermediate',
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chords: [
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{ shape: SHELL_5.min7, note: 'iii7 — R–♭3–♭7' },
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{ shape: SHELL_6.dom7, note: 'VI7 — the ♭3 of iii falls a half-step to the 3rd of VI7' },
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{ shape: SHELL_5.min7, note: 'ii7 — back to the minor grip' },
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{ shape: SHELL_6.dom7, note: 'V7 — ♭7 leads down to the maj-3rd of I' },
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{ shape: SHELL_6.maj7, note: 'Imaj7 — home' },
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],
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tips: 'Roots alternate 5th-string → 6th-string at nearly the same fret; the two guide tones move 0–1 fret per change. Follow the D and G strings — that thread is the whole cascade.',
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},
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{
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label: '9th-coloured cycle (upper register)',
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level: 'intermediate',
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chords: [
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{ shape: MIN9_5, extensions: ['9'], note: 'iii9 — R–♭3–♭7–9–5' },
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{ shape: DOM9_6, extensions: ['9'], note: 'VI9 — R–3–♭7–9' },
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{ shape: MIN9_5, extensions: ['9'], note: 'ii9 — same grip slid down' },
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{ shape: DOM9_6, extensions: ['9'], note: 'V9 — the dominant shine' },
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{ shape: MAJ9_6, extensions: ['9'], note: 'Imaj9 — resolve with the 9 on top' },
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],
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tips: 'Same harmony as the shells but each chord gains its 9th for the gospel "shimmer". The two dominant grips are identical shapes a 5th apart — learn one and transpose.',
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},
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],
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'gospel-amen-625': [
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{
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label: 'Shells through the turnaround + plain Amen',
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level: 'intermediate',
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chords: [
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{ shape: SHELL_6.min7, note: 'vi7' },
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{ shape: SHELL_5.min7, note: 'ii7' },
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{ shape: SHELL_6.dom7, note: 'V7' },
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{ shape: SHELL_5.maj7, note: 'Imaj7' },
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{ shape: MAJ_6, note: 'IV — plain triad: the plagal "Amen" wants no extensions' },
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{ shape: SHELL_6.maj7, note: 'Imaj7 — final resolution' },
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],
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tips: 'Comp the 6–2–5–1 with the small shells, then drop to bare IV–I triads for the Amen so the cadence lands clean and hymn-like. The contrast between busy turnaround and plain plagal tag is the whole effect.',
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},
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{
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label: '9th turnaround, triad Amen high',
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level: 'intermediate',
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chords: [
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{ shape: MIN9_5, extensions: ['9'], note: 'vi9' },
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{ shape: MIN9_5, extensions: ['9'], note: 'ii9 — same grip down the neck' },
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{ shape: DOM9_5, extensions: ['9'], note: 'V9' },
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{ shape: MAJ9_6, extensions: ['9'], note: 'Imaj9' },
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{ shape: MAJ_5, note: 'IV — A-shape triad for the Amen' },
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{ shape: MAJ9_6, extensions: ['9'], note: 'Imaj9 — back home with colour' },
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],
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tips: 'A richer reading: 9ths through the turnaround, then a clean triad IV for the plagal cadence before the maj9 resolves it. Keep the Amen quieter than the turnaround — dynamics sell the cadence.',
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},
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],
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'gospel-iv-passing-dim': [
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{
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label: 'Open-string add9 with the passing diminished',
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level: 'intermediate',
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chords: [
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{ shape: ADD9_6, note: 'Iadd9 — R–3–5–9, low register' },
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{ shape: MAJ_5, note: 'IV — plain A-shape triad' },
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{ shape: DIM7_5, note: '#iv°7 — chromatic passing chord, bass walks 4 → #4' },
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{ shape: ADD9_6, note: 'Iadd9 — resolve up to I as the bass reaches 5/1' },
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],
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tips: 'The whole move is one bass walk: 4 → #4 → home. Hold the upper voices steady and let the diminished slide through underneath — that single borrowed chord is the gospel signature.',
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},
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{
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label: 'Compact add9 voicing up the neck',
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level: 'intermediate',
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chords: [
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{ shape: ADD9_5, note: 'Iadd9 — R–3–(root)–9 on the A-string root' },
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{ shape: MAJ_6, note: 'IV — E-shape triad' },
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{ shape: DIM7_5, note: '#iv°7 — same diminished grip, one shape' },
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{ shape: ADD9_5, note: 'Iadd9 — back home' },
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],
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tips: 'A higher, tighter version of the same idea for when the bass and keys own the low end. The °7 is symmetric — the identical grip works from any of its four notes, so you can place it nearest the chords around it.',
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},
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],
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'gospel-sus-vamp': [
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{
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label: 'Praise-vamp pads (sustained, high)',
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level: 'intermediate',
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chords: [
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{ shape: MIN9_5, extensions: ['9'], note: 'vi9 — full ringing grip' },
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{ shape: ADD9_5, note: 'IVadd9 — R–3–9 colour, no chop' },
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{ shape: SUS4_6, note: 'Vsus4 — R–4–5; the 4th hangs, never resolving to the 3rd' },
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{ shape: ADD9_6, note: 'Iadd9 — R–3–5–9 to land the loop' },
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],
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tips: 'Let every chord ring its full bar like a synth pad — no percussive damping. The unresolved sus over V is what keeps the vamp lifting; loop it and the tension never closes.',
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},
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{
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label: 'Two-voice movement vamp (different register)',
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level: 'intermediate',
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chords: [
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{ shape: SHELL_6.min7, note: 'vi7 — leaner shell to contrast the pads' },
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{ shape: ADD9_6, note: 'IVadd9 — R–3–5–9 low' },
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{ shape: SUS4_5, note: 'Vsus4 — A-string root, R–4–5' },
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{ shape: ADD9_5, note: 'Iadd9 — compact, A-string root' },
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],
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tips: 'Same vamp, sparser: a shell vi instead of the wide min9, and the sus voiced low. Use this when a second guitar or keys is already holding the pad — you supply motion, not width.',
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},
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],
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'gospel-backdoor': [
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{
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label: 'Shells through the back door',
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level: 'intermediate',
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chords: [
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{ shape: SHELL_5.min7, note: 'iii7' },
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{ shape: SHELL_6.min7, note: 'vi7 — soft diatonic drop' },
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{ shape: SHELL_5.dom7, note: '♭VII7 — the back-door dominant, a whole step below I' },
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{ shape: SHELL_6.maj7, note: 'Imaj7 — resolves UP by step, not down a fifth' },
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],
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tips: 'Listen for how ♭VII7 → I rises by a whole step into home rather than falling a fifth like V7 — a warmer, less expected cadence. The ♭7 of ♭VII7 is the ♭7 of the key: keep it under your fingers between the chords.',
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},
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{
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label: '9th-coloured back door',
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level: 'intermediate',
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chords: [
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{ shape: MIN9_5, extensions: ['9'], note: 'iii9' },
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{ shape: MIN9_5, extensions: ['9'], note: 'vi9 — same grip slid up a fourth' },
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{ shape: DOM9_6, extensions: ['9'], note: '♭VII9 — back-door dominant with its 9' },
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{ shape: MAJ9_6, extensions: ['9'], note: 'Imaj9 — soft landing' },
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],
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tips: 'The two min9 chords are the identical shape a fourth apart — one of the easiest gospel moves to internalize. The maj9 resolution sounds especially plush after a back-door dominant.',
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},
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],
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},
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improv: {
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scales: [
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{ over: 'ii7 / iii7 / vi7', scale: 'dorian', why: 'Minor 7 chords in a major key take Dorian — the natural 6 keeps them bright, not mournful, which suits gospel.' },
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{ over: 'V7', scale: 'mixolydian', why: 'The built-in ♭7 fits the dominant; over the praise-vamp Vsus4, stay on the 4th (suspension) and avoid the leading tone until you want to resolve.' },
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{ over: 'VI7 / ♭VII7', scale: 'mixolydian', why: 'Borrowed dominants are still dominants — Mixolydian off their own root. Over ♭VII7 that scale is the key\'s major scale starting on ♭7, so it stays diatonic-sounding into the resolution.' },
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{ over: 'Imaj7 / Iadd9', scale: 'major', why: 'The home major (or its pentatonic) sings over the tonic; the major 6th and 9th are the gospel sweet notes — lean on them.' },
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{ over: '#iv°7', scale: 'dim', why: 'A symmetric diminished (half-whole/whole-half) over the passing chord; it lasts a beat or two, so an arpeggio of its four notes usually says more than a run.' },
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],
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targetNotes:
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'On the resting chords land the 6th or 9th, not just the root — those are the gospel colour tones. Through the 2–5–1 chains, target the 3rd of each new chord on the downbeat; the ♭7 of one dominant falls a half-step into the 3rd of the next chord, the same guide-tone rail as in jazz.',
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licks: [
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{
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over: 'gospel-amen-625',
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description: 'Classic plagal turn over the Amen: walk the bass/lowest voice down from the 1 of IV to the 5 then 1 of I (e.g. degrees 4-chord root → 3 → tonic), letting the major 3rd of I ring on the resolution. The whole point is the smooth descent into the cadence.',
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source: 'hearandplay.com — "Who Else Wants To Learn The Famous Amen Cadence?"; Wikipedia: Plagal cadence',
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},
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{
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over: 'gospel-iv-passing-dim',
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description: 'Over the IV → #iv°7 → I, run the diminished arpeggio (R–♭3–♭5–𝄫7, all minor-3rds apart) connecting the IV chord tones to the I chord tones — the symmetric shape lets you start it from whichever note sits nearest your IV grip and land on the 3rd of I.',
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source: 'hearandplay.com — "The [Extended] Resolution Of The #4-Diminished Seventh Chord"; pianogroove.com gospel passing chords',
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},
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],
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},
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}
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