•BREAKING•

•THE•
•TRANSPOSE•
•ADDICTION•

PRACTICAL STEPS TO HELP YOU OVERCOME

THE ADDICTION TO TRANSPOSITION ON THE
KEYBOARD
 Copyright © Contemporary Music Consult
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 A WORD FROM THE AUTHOR

I am Gideon Kofi Dzikunu, the leader of Contemporary

Music Consult (CMC) based in Accra, Ghana. CMC is a
music organization determined to train people in Africa
and around the world to become outstanding musicians.
The company has many skilled resource people who are
authorities in their respective musical disciplines and are
committed to creating musical content to help beginners
and intermediate musicians. CMC has impacted the
music lives of people in Ghana, Sierra Leone, Nigeria,
Cameroon, USA, Zambia, Kenya, Zimbabwe, Burundi
and South Africa amongst others.

Over the years, CMC realized that, many

instrumentalists (keyboardists) had developed an
addiction to the transpose feature on the keyboard. For
many of them, this had limited them to playing in just a
single key or two and they are not able to freely express
themselves musically in the keyboard. After so many
years of their addiction to transposition, some have given
up on the possibility of being able to break free from the
habit.

CMC in its bid to rescue these precious musicians from

their compulsive habits put together this material to
rehabilitate their music lives. “Breaking the Transpose
Addiction” is a comprehensive and practical resource
that helps you understand the root cause of your
challenge and provides simple modalities to help you
overcome them.

To make the best out of this resource, it is highly

recommended that you secure for yourself a personal
keyboard. This will help you with the practice sessions
detailed in this material.

With commitment and practice you will be able to break

free from transposition and begin to fully enjoy your
music life as an instrumentalist. I wish you all the best as
you journey through this book.

Best Regards,
Gideon (CMC, Ghana)
[email protected]
 TABLE OF CONTENTS

Acknowledgements
Dedication
Abbreviations/Notations

Chapter 1
 Introduction………………………………………….1
 The Psychology of Addictions………………………3
 Transposition………………………………………...5
 The Real Truth Behind Transposition………………7
 The Dangers of Transpose Addiction……………….7
 The Joy of Freedom………………………………..11

Chapter 2
 The 14 Days Challenge…………………………….13
 The Key of C……………………………………….14
 Nomenclature in the Key of C……………………..15
 Rationale for Identifying Notes of a Key………......15
 Fingering for the C Major Scale…………………...16
 Basic Chords in the Key of C……………………...17
 Slash Chords……………………………………….21
 Examples of Songs Using Basic Chords of C……..23

Chapter 3
 Accidentals………………………………………....34
 Add9 Chords in C………………………………….35
 Sus Chords…………………………………………35
Chapter 4
 Taking Up the Challenge…………………………..38
 The Key of D……………………………………….38
 Nomenclature in the Key of D……………………..39
 Basic Chords in the Key of D……………………...40
 Examples of Songs Using Basic Chords of D…......42
 Accidentals in the Key of D……………………….52

Chapter 5
 There is Hope……………………………………....54
 The Key of E……………………………………….55
 Nomenclature in the Key of E……………………...55
 Basic Chords in the Key of E………………………56
 Examples of Songs Using Basic Chords of E……...58
 Accidentals in the Key of E………………………..68

Chapter 6
 Jack of all Keys, Master of All…………………….70
 The Key of F……………………………………….71
 Nomenclature in the Key of F…………………......72
 Basic Chords in the Key of F……………………...73
 Examples of Songs Using Basic Chords of F……..75
 Accidentals in the Key of F……………………......85

Chapter 7
 Withdrawal Symptoms…………………………….87
 The Key of G………………………………………88
 Nomenclature in the Key of G……………………..89
 Basic Chords in the Key of G……………………...90
  Examples of Songs Using Basic Chords of G……..92
 Accidentals in the Key of G………………………102

Chapter 8
 Gradually Outwit the Addiction………………….104
 Using the Transpose to your Advantage………….105
 The Key of A……………………………………...106
 Nomenclature in the Key of A…………………....107
 Basic Chords in the Key of A…………………….108
 Examples of Song Using Basic Chords of A……..109
 Accidentals in the Key of A……………………....120

Chapter 9
 The Addiction is Broken………………………….122
 The Key of B……………………………………...123
 Nomenclature in the Key of B……………………123
 Basic Chords in the Key of B…………………….124
 Examples of Song Using Basic Chords of B……..126
 Accidentals in the Key of B………………………137

Chapter 10
 True Freedom Indeed……………………………..139
 Final Words………………………………………139
 ACKNOWLEDGEMENTS

My greatest gratitude goes to God Almighty who has

enabled me to gather this knowledge throughout the
years and has also convicted me to put this book together
to help others develop their musical talents.

I say a big “Thank You” to all (both local and foreign)

who in one way or the other have contributed to my skill
development over the years. These include Minister
Danny Nettey (blessed memory), Dr. Alex Sarpong
(1nine Studios), Michael Adutu, Augustine Sobeng
(Harmonious Choralé, Ghana), Mark Levine (The Jazz
Piano Book), Andrae Crouch (blessed memory) and
many others.

Not forgetting my team members in Contemporary

Music Consult (CMC, Ghana) who contributed in one
way of the other to the construction of this material.

Worthy of special mention are the artistes whose songs

have made the demonstration of the concepts taught in
this book possible. These are Sinach, Steve Crown,
Prospa Ochimana ft. Osinachi Nwachukwu, Mercy
Chinwo, Eben, Tim Godfrey ft. Travis Greene, Nathaniel
Bassey, Don Moen and Frank Edwards, Dunsin Oyekan,
Nathaniel Bassey ft. Enitan Adaba and Uche.
 DEDICATION

This book is dedicated to all musicians (keyboardists)

who desire to break free from transposition.
 ABBREVIATIONS/NOTATIONS

maj, M – Major
min, m – Minor
sus – Suspended
b – Flat
# – Sharp
♮ – Natural
dim, o – Diminished
dom – Dominant
LH – Left hand
RH – Right hand
W.S – Whole step (Tone)
H.S – Half step (Semitone)
R – Root
 CHAPTER 1
Introduction

Generally, as humans, we are very excited whenever we are

about to learn something new. This trait spans across every
facet of our lives. For instance, when a young man is learning
to drive a car for the first time, he will certainly be excited
about the opportunity and will seriously commit himself to
practicing this new skill all day long. He will use the
opportunity to learn how to drive in each gear, use the foot
pedals, and control the steering wheel amongst others. While
doing all these, he will actually take note of his shortcomings,
and give himself several chances to correct his mistakes.
Eventually, his continual practice makes him a master and
paves way for him to become a driver who can be trusted with
the lives of others as he drives them for the rest of his life.

This same excitement is observed in the life of a youngster

(eg. Emeka) who gets the opportunity to learn a musical
instrument (eg. the keyboard). At the beginning of his training,
he is ever ready to do all that is required to become as good as
his tutor or even better than him. Emeka pays attention to the
lessons being taught, asks questions regarding areas he doesn’t
really understand and practices every assignment given him.
This very good lifestyle of Emeka continues until his tutor
teaches on the topic of transposition. Emeka avails himself to
learn this concept very well and then says to himself, “Wow!
This is a very easy way to dodge the pressure and discomfort of
playing in the other eleven (11) unfamiliar keys. To God be the

1
glory! Finally, I can now stay away from my most dreaded
keys”.

Emeka only learns to play in the key of C and then reminds

himself that, whenever a vocalist is singing in a key other than
C, he will just do the necessary calculations and transpose the
keyboard so that he can play the song using the notes in the key
of C. He successfully did this for several rehearsals, events and
church services he played for. For the past nine (9) years
Emeka has just been playing the key of C and he feels hooked
to the transpose button because even though he desires to
express himself naturally in the other keys, he is very much
unable to. He feels like he is still a beginner keyboardist
because of this great limitation.

Emeka has become addicted to the key of C. Occasionally, he

tells himself that, in the coming week he will do well to start
practicing some songs in the key of D. He starts to play some
few simple songs in D and then realizes that, he is not able to
flow as much as he would have done in the key of C. So he
reverts to the key of C and it strengthens his addiction.
However, in the deepest part of Emeka’s heart, he wants to
break free from this terrible addiction which makes him an
unhappy and unfulfilled musician.

This resource has been put together to help all musicians

(instrumentalists) who find themselves in Emeka’s situation
and desire to break free. All this material requires from you is
to religiously commit yourself to its step-by-step rehabilitation

2
process to totally heal and fully restore your music dexterity.
There will certainly be some few challenges and discomfort
along the line but with your mind made up to break free from
this addiction, you will have some extra energy within you to
will help you overcome the challenges and eventually be set
free.

It is highly recommended that, you get yourself a personal

keyboard to enhance your practice and help you make the best
out of this resource.

The Psychology of Addictions

In simple terms, when a person engages in an activity that

seems to stimulate the reward center of the brain, the individual
seeks to repeat that activity to enable him continue
experiencing that “good feeling” of reward. This process
involves certain chemicals in the brain (neurotransmitters and
hormones). Once the individual commits himself to repeating
this activity over a period, the brain learns of this activity and
then establishes a relationship between the activity and the
“good feeling” of happiness, joy, comfort, relief, relaxation etc.
The continual release of the neurotransmitters/hormones in
response to your activity eventually reinforces the strength of
the relationship the brain creates between the activity and its
reward.

3
Initially, this cognitive relationship is very fragile and its
strength can be compared to that of a spider’s web which can
easily be broken with a broomstick. However, with the
individual’s continual participation in this activity over the
period, this “spider web trap” transforms into a prison
barricaded with robust steel chains. It then becomes an
addiction and a rather compulsive behavior (this is where the
individual doesn’t want to do it, but he finds himself doing it
regardless; he feels hurt, useless, low self-esteem, trapped etc.).
Such morbid addictions are seen in the lives of drug addicts,
alcoholics etc.

Nevertheless, if these addictions are attended to in time, the

victims are able to reclaim their lives and live a life free from
their compulsive behaviors. Yet, the healing and restoration
processes do require some dedicated time which involves
targeted retraining of the mind to weaken the addictive force
and build more constructive habits.

Similarly, many musicians (instrumentalists) expose

themselves to the habit of transposition mainly because it gives
them some degree of comfort and relief while playing.
Unknown to them, they are creating an association between the
habit of transposition and the mental reward of comfort
(convenience). Through the seconds, minutes, hours, days,
weeks, months and years of playing with the help of the
transpose button, the brain (mind) successfully builds the
addiction and entraps the musician. He notices that, he is not
unleashing his best with the instrument he is playing but his

4
willpower to break free and explore the other keys is so weak
to help him.

There is hope for you even if you find yourself in the situation
of being trapped/addicted to just playing a single key or two.

Transposition (A Present Help in Time of Need)

Transposition is a practice in music where a musician moves

the scale of a key (usually an uncomfortable key) to the
position of another key (usually a comfortable key). In simple
terms, a musician who is not comfortable with playing a song
in the key of B may decide to move (transpose) the B scale to
say, the key of C, and then play the song in C. The sound being
produced from the keyboard is the key of B even though
physically he plays along a C scale. This is done with the
assistance of a transpose button(s) (fig. 1). Actually, the
transpose feature is available on the keyboard to help the
musician play in a comfortable key.

Fig. 1. Transpose buttons on the keyboard

5
A very simple technique is used during transposition. The
musician just has to count in a semitone fashion, [you can get
my resource titled: “Triads - Major • Minor • Diminished •
Augmented (A Basic Introduction to Contemporary Piano)” to
learn more about tones and semitones] the notes that separate a
familiar key from an unfamiliar one. The interval between
these keys is set up in the transpose and then the musician
beings to play. Using a real-life example; if the singer is
singing in the key of F but the keyboardist is comfortable in
playing only the key of C; the interval (semitones) between C
and F is “5 notes” ie (C#, D, Eb, E, F). Therefore, the
keyboardist sets the transpose to +5 (because the notes were
read to the right) and happily proceeds to play in key C. For
another keyboardist, the vocalist may be singing in the key of
Ab while he wants to play in the key of C, so he sets the
transpose to -4 (counting the semitone notes to the left: B, Bb,
A, Ab). The general rule underlying the transposition technique
is counting the number of notes from the key you are familiar
with (your so-called comfortable key) to the unfamiliar
(uncomfortable) key.

The transpose feature on keyboards is not necessarily an evil

one; it has many constructive uses. However, because of the
quick relief and comfort it offers to its users, the rate of
addiction is high. Truth be told, every great musician/
keyboardist has used the transpose button before. Personally,
the transpose button saved me from shame several times in the
past. I remember attending an event as the main keyboardist

6
sometime in 2009, and the vocalist lifted a certain song that I
was supposed to play. Now, she was singing in the key of Eb
while I was only able to play that song in C. So the obvious
happened, I just set the transpose to +3 and played the song
using the key C notes. It was an amazing performance though!

The Real Truth behind Transposition

In as much as transposition alleviates the burden of playing in

uncomfortable keys, it does not solve the problem in any way
but rather worsens the situation of the keyboardist. It is just
comparable to an alcoholic who decides to drink a bottle of
alcohol so that he “overcomes” the troubles of his life. The
truth is that, for a moment he feels relieved, but in no time his
eyes are cleared of the alcohol and he meets the problems
again, even worse off.

The transpose button also inherently possesses the ability to

help you learn to play comfortably in every key (its
constructive use). This will be discussed later in this book and
will even serve as one of the rehabilitation tools to help you
overcome the addiction to transposition.

The Dangers of Transpose Addiction

Many musicians do not notice the dangers associated with

being addicted to transposition. In fact, they are so consumed

7
by the “freedom”, comfort and convenience they experience
while playing in their comfortable key (comfort zone) so the
negative impact of the habit is not seen. I will want to share
some six (6) dangers associated with being a transpose person.

Firstly, when a musician is hooked up to playing only a single

key and is always transposing, a real challenge comes up when
he is supposed to play on a keyboard/piano which doesn’t have
a transpose button. Because he can only play in his comfortable
key, when the vocalist lifts a song in a different key, he cannot
play it. He may end up forcing the vocalist to sing in his
comfortable key of play, thereby stressing the singer. There’s a
story of a friend whose choir was invited to sing at an event
and in view of this program, the choir did a rehearsal of their
songs. During the rehearsals, the vocalist sang in the key of C#
and the keyboardist, being a transpose person, transposed to F
and played the song beautifully. Now, on the day of the event,
the choir was called upon to perform their song and to the utter
disappointment of the keyboardist, he realized the keyboard on
stage was without a transpose button. So the obvious happened;
he played in the natural key of F for the choir. Now, the key of
F was so high for the vocalist and the choir at large so they
struggled greatly throughout the whole song. The song got
messed up and the choir members were very enraged against
the keyboardist. They didn’t want him to play for them any
longer.

8
Also, the keyboard keys of transpose musicians damage easily
and faster. This is because, they are always playing on a
particular set of notes (notes that comprise their comfortable
key) and the continuous pressure on these notes eventually
damages them. I have visited several churches in Ghana to play
the keyboard and I realized that for most churches, certain
notes were either broken, not producing sound or don’t bounce
back after being played. In certain churches, I realized that the
notes F, Bb, C and D were either broken or weak and when a
little research was done, it was revealed that the keyboardists in
those churches were chronic “key F addicts”. Irrespective of
the key being sung by the choir, they will just transpose the
keyboard and play in F.

Many transpose musicians use the transpose button to help

themselves through songs with modulations. Generally, when
the modulation (new key) is a semitone or a tone away from
the first key, the musician just adds +1 (semitone) or +2 (tone)
on the transpose and continues to play the new key using the
same old notes (comfortable key). Now, the third danger of
being addicted to transposition is being greatly limited when
playing songs that require dramatic modulation schemes. A
song like Nobody Greater by VaShawn Mitchell does not
move straight into the new key. There is a bridge of
chords/progressions that leads away from the present key into
the new one. A transpose musician will not be able to do this
easily and may decline from playing such a song at an event.

9
The chords and progressions of transpose musicians sound the
same every time because they (the keyboardists) are totally
oblivious of certain chord structures that could be used to
embellish their playing. This limitation is due to the fact that,
they do not play in the other keys, so transcribing chords or
scales from a foreign key into the present key of play is
difficult. When your music sounds “one-way”, there’s a high
probability that your audience will not be wowed by your
performance.

There are certain songs with intros starting in other keys before
finally settling in the main key of play, for instance Shout unto
God by Marvin Sapp. For other songs too, the intro is much
easily played in the original key of the song than in any other
key (mostly due to the specific chord structures used in the
intro). If the musician can only play in one or two keys because
of the transpose habit, he will certainly find it increasingly
difficult to play songs of this nature.

Finally, the transpose can severely ruin your music

performance and that of other musicians who may be playing
right after you at an event. This happens when the transpose is
set to a particular number and used to play say, the first song
and the musician forgets to clear the transpose setting to zero
or the next appropriate number for the next song. He ends up
playing in a wrong key for the singers. Most times, transpose
musicians do not neutralize the transpose setting to zero after
they are done playing, thence the next keyboardist who intends
to play in an original key and doesn’t check the transpose

10
setting has his performance messed up because the key he will
be playing will be totally different from what he rehearsed with
his team therefore making his team members and audience
disgruntled. I have personally seen several of such incidents at
events.

The Joy of Freedom

People are willing to pay any amount to have them delivered

from the clutches of a compulsive behavior. Freedom from any
form of addiction is associated with great joy and relief. A
similar response is seen in the lives of musicians who are set
free from the power of transposition. After the habit is broken,
musicians become joyous because the prison gates have been
opened and they are now able to freely express themselves in
any key.

The musician’s dexterity on the keyboard increases incredibly

because he is now able to transcribe chords between keys
which eventually introduces variety into his playing. There’s
therefore no fear in playing the instrument because irrespective
of the key the vocalist sings, he will be able to play it naturally.

The musician is also free from all the horrifying dangers of the
transpose behavior discussed above.

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12
 CHAPTER 2

The 14 Days Challenge

The only way to overcome the power of transposition is to

avail yourself to have your mind retrained on the very basics of
music on the keyboard. You must be willing to unlearn certain
wrong things and relearn the right ones. It is also important to
note that, change is quite difficult but when it is applied
gradually, it gains grounds and yields the expected results.

The 14 days challenge is a module put together to help you

spend some quality time with each key. During this time, you
will practice various simple chords and concepts in each key
and with the help of some simple songs; you will practice
adequately in the key. So within a given 14-days interval, your
practice is just in a single key. The rationale behind this is, as
you spend more time in the key, your eyes, mind and fingers
get familiar with the notes in the key and playing chords within
it becomes progressively easier.

In this book, I will walk you through seven (7) different keys,
teaching you the simple chords within the key, some simple
chord concepts and as well provide you with a repertoire of
songs to practice with. The onus lies on you to commit at least
14 days to each key so as to perfect your knowledge and skill
in the key before moving to the next. Do not be in a rush to
complete the lesson in each key. Even if within the first few
days you are familiar with the notes of the key, still spend a
minimum of 14 days with it.
13
If in the course of your practice you encounter any
challenge/difficulty, you can contact us via email:
[email protected] and we will be more than willing to assist
you to succeed with your practice.

The Key of C

This key appears to be one of the easiest key on the keyboard

and also doubles as one of the most addictive keys. Many
musicians will find this section easy because key C is a very
familiar key and is naturally known to contain just white keys;
so navigating through it is relatively comfortable.

In this chapter, I will reintroduce you to the key of C, its

composition, chords and a few other things and then give you
some songs for practice.

14
Nomenclature in the Key of C

The naming of notes in the key of C involves four (4) systems

referred to as the alphabetical, musical (solfa), number and
Roman numeral systems. These systems also do apply to the
other keys as well.

C D E F G A B C (Alphabetical system)
do re mi fa so la ti do (Musical – Solfa system)
1 2 3 4 5 6 7 1 (Number system)
I ii iii IV V vi viio I (Roman numeral system)

The notes that make up the key of C (also referred to as the C major
scale)

Rationale for Identifying Notes of a Key

There is a basic rule that governs the identification of notes that

make up the major scale of key. The scale contains eight (8)
notes which are separated from each other using the following
intervals:

R – W.S – W.S – H.S – W.S – W.S – W.S – H.S

R – root (first note), W.S – Whole step, H.S – Half step

15
With this in mind, the notes that make up the various keys can
easily be identified [If you are not familiar with whole
step/tone and half step/semitone concept, you can get my
resource titled: “Triads - Major • Minor • Diminished •
Augmented (A Basic Introduction to Contemporary Piano)” to
help you through].

Fingering for the C Major Scale

LH RH

To play the notes that make up the C major scale with left hand
(LH) and right hand (RH) correctly, you have to label the
fingers of the LH and RH as follows: thumb (1), index finger
(2), second finger (3), ring finger (4) and the small finger (5).

Playing the notes (CDEFGABC) singly with the LH fingers in

the forward direction, you play as 54321321 and in the
backward direction 12312345.You will notice that in the
forward direction, after the 54321, your finger labeled “3” will

16
have to cross over the thumb to reach its note enabling you to
complete the scale. Also in the backward direction, after the
initial 123, your thumb will have to cross beneath the finger
labeled “3” in order to reach the next note.

Similarly, for the RH notes in the forward direction, after the

123, your thumb will cross beneath the finger labeled “3” to
reach the next note of the scale to continue and in the backward
direction, after the 54321, the finger labeled “3” crosses over
the thumb to reach the next note of the scale.

Generally, when you overly struggle to play/run the notes of a

particular scale, you are most probably using the wrong fingers
in playing. There is always a smooth flow of play when the
correct fingers are used.

Basic Chords in the Key of C

Chords simply refer to three or more notes being played

together. This section deals with the very basic chords in the
key of C for the RH and LH.

LH RH
do – CGC do – CEG
re – DAD re – DFA
mi – EBE mi – EGB
fa – FCF fa – FAC
so –GDG so – GBD
la – AEA la – ACE
ti – BFB ti – BDF
do – CGC do – CEG

17
 The LH Chords in C

do chord (C) re chord (D)

mi chord (E) fa chord (F)

so chord (G) la chord (A)

ti chord (Bdim) do chord (C)

The RH Chords in C

do chord (C) re chord (Dm)

mi chord (Em) fa chord (F)

18
 so chord (G) la chord (Am)

ti chord (Bdim) do chord (C)

[“m” refers to the minor version of the chord, “dim” refers to

the diminished version of the chord].

The chords are played using the thumb, index finger and the
small finger on both hands. The remaining fingers will be
useful in other chord types.

LH RH

19
 Practice the chords of the key of C with both the RH and LH.
Walk yourself up and down the major scale and devise a means
of remembering the names and positions of each chord. After
you get used to playing the chords with both hands, practice the
following exercises (RH first, then LH and a combination of
both).

Practice these sets of chords, playing each chord 4X each.

1. do, re, fa, mi, la (play the do chord 4x, then the re chord 4x, then the fa
chord 4x, mi chord 4x and la chord 4x)
2. so, fa, mi, so, do
3. re, mi, re, so, do
4. fa, do, re, la, fa
5. la, so, re, fa, so
6. do, ti, la, so, fa
7. do, mi, re, fa, so
8. do, re, la, so, mi
9. ti, do, mi, fa, la
10. re, fa, do, la, ti

Practice this set of chords, playing each chord 2X each

1. do, fa, do, so
2. la, fa, do, so
3. re, do, so, la
4. do, mi, fa, so, ti
5. fa, re, so, do, la

20
6. ti, fa, re, so
7. mi, la, fa, re
8. fa, so, la, do, fa
9. re, mi, do, fa
10. so, re, fa, do, mi

Practice this set of chords, playing each chord 1X each

1. do, fa, so, la
2. re, mi, so, re
3. do, mi, la, fa
4. do, so, fa, so, re, fa
5. do, fa, re, so
6. do, fa, do, so
7. do, fa, la, so, re, fa
8. do, la, fa, so
9. fa, do, so, la, fa
10. do, fa, ti, mi, so

Slash Chords

I will want to briefly touch on the concept of slash chords.

These types of chords belong to a family of chords known as
bichords (polychords). It involves playing two different chords
with your hands; the LH playing one chord and the RH playing
another. These two chords sound over each other and produce
certain unique chord voicings.

21
Slash chords are written as X/Y or ; where X represents the
RH chord and Y represents the LH chord. This is commonly
quoted as “X over Y”. An “X over Y” chord is totally different
from a “Y over X” chord.

Some simple examples of slash chords are; C/G, C/A, Fm/D,

F/D, F/G etc. So in the first example, the RH plays a “C” chord
while the LH plays a “G” whilst the second example shows the
RH chord as “C” and the LH chord as an “A” and so on and so
forth.

[To learn more about slash chords, you can get my resource
titled: “Slash Chords and More”]

22
Examples of Songs Using Basic Chords of C

Way maker
(Sinach)
F C
You are here, moving in our midst
G Am
I worship you, I worship you
F C
You are here, working in this place
G Am
I worship you, I worship you
F
Way maker, miracle worker
C G
Promise keeper, light in the darkness
Am
My God that is who you are

You are great

(Steve Crown)
C F
You are great yes you are holy one
C G
Walked upon the sea, raised the dead
C F
You reign in majesty mighty God
C/G G C
Everything written about you is great

C F
You are great (response), you are great (response)
C G
You are great (response), you are great (response)

23
 C F
You are great (response), you are great (response)
C/G G C
Everything written about you is great

C
Mighty mighty God
F
Worship You today
C
Give You all the praise
G
As we lift our hands to You
C
With pleasure in our hearts
F
We raise our voice to say
C/G G C
Everything written about you is great

C F
Demons tremble at your presence
C
What a mighty God we serve
G
What a mighty God we serve
C
Glory, glory halleluyah
F
Glory, glory halleluyah
C/G G C
Everything written about you is great

24
Ekuweme
(Prospa Ochimana ft Osinachi Nwachukwu)
F/A G/B C
Onye Nwe anyi ezitewo
F/A G/B C
Ndi Mmozi------ya ---ka ha nonyere
Am G
You are the living God ooo!
F/A G/B C
Eze, no one like you

F G C F G C
Ekuweme, -------ekuweme; ekuweme, ------ekuweme
G
You are the living God ooo!
F/A G/B C
Eze no one like you

Excess love
(Mercy Chinwo)
F C G C
Your love is kind, -------your love is patient
F C G C
Your fill my heart ------with so much peace and joy
F C G C
You’re amazing, -------You make my life feel brand new
F C G C
You’re amazing, ------You make my life feel brand new
F
Jesus you love me too much ooo
C G C
Too much ooo, too much ooo excess love ooo
F
Jesus you love me too much ooo
C G C
Too much ooo, too much ooo excess love ooo 2X

25
 F C G C
Your love is kind, ------your love is patient
F C G C
Your fill my heart ------with so much peace and joy
F C G C
You’re amazing, ------You make my life feel brand new
F C
All your promises are yea and amen
G
You’re not a man you never lie

Jesus Omekannaya
(Mercy Chinwo)
C C7 F
Oooo oooo oooo oooo ooo oooo oooo
G
Oooo oooo oooo oooo

C C7 Dm
Jesus omekannaya, I worship you today
G C
Jesus omekannaya eh, I bow before your throne 2X

C C7 F F/D C/G G C
Nara nara nara oh, nara ekelem jiri bia, onye di nso 2X
C C7 F
Onye di nso, I lift my hands to you
F/D C/G G C
Onye di nso, cause only you deserve it

C C7 F
Onye di nso, idi mereme ebuka
F/D G/C G C
Chionye di nso, to you I give my all
C C7 F F/D
Men may not understand, how far you’ve brought me
C/G G C
They may not understand 2X

26
At the center of it all
(Eben)
F…….G……F2 C
------------------------At the center of it all
Am G F
It’s you that I see, it’s you that I see 2X
F…….G……F2 C
------------------------There is power in your name
G Am
Miracles happen in your name
F C
As we lift our voice in praise
Am G F
It’s you that I see, it’s you that I see

C
You are bigger, bigger than the biggest
G
You are stronger, stronger than the strongest
Am G/B C
You are higher, higher than the highest
F
You are greater, greater than the greatest

C G Am G/B C
Jesus, Jesus, Jesus, Jesus
F C G C
Jesus, Jesus, Jesus, Jesus

Nara
(Tim Godfrey ft. Travis Greene)
C F Dm
You’ve done so much for me, I cannot tell it all
C/G G C
Nare ----kele mo
C F Dm
If I had ten thousand tongues, it still won’t be enough

27
C/G G C
Nare ----kele mo
C
Chukwu na gwom o ria le
F Dm
When You heal You heal completely
C/G G C
Nare ----kele mo
C
Chukwu mara obim o
F Dm
Isi ikendu le
C/G G C
Nare ---kele mo
C G/E F Dm
What shall I render t-----o Jehovah
G C
For He has done so very much for me
C G/E F Dm
What shall I render t-----o Jehovah
G C
For He has done so very much for me

C F Dm C/G G C
Nara nara eh, nare ekele, nare ekele mo
C F Dm C/G G C
Nara nara eh, nare ekele, nare ekele mo

Halleluyah eh
(Nathaniel Bassey)
C F
Hallelujah eh! Hallelujah o oh!
G C
Hallelujah eh! It’s the sound of victory
C F Dm
Hallelujah eh! Hallelujah o oh!
G C
Let the sound of rejoicing fill this house. 2X

28
 C F
He has made a way, where there was no way
G C
Hallelujah eh! It’s the sound of breakthrough

Jesus did it again

(Sinach)
C
It is coming from my heart
Am
Praise and thanks unto you Lord
F
All the things that you have done
G C
I’m grateful for your love, I give you the praise 2X

C Am
I’m counting my blessings, I just can’t keep it to myself
F
When I thought that he had done too much
G C
Oh oh oh, Jesus did it again!

F G C F G C
I can tell in Him now, oh oh oh, I shout it loud, from the mountain top 2X

C
I dance and praise the Lord
C F C G/B C
I clap and praise the Lord
C
I shout and praise the Lord
F
And when I thought that he had done too much
G C
Oh oh oh, Jesus did it again

29
Eze ndi eze
(Don Moen and Frank Edwards)
C F G
----Eze ndi eze
F C
Onye obi oma
F G F C
Nara ekele Papa oh ooo
F G
Mmalite na ogwugwu
F C
Forever you will be
F G F
Nara otuto Papa
C F G F
Blessed be your holy name
C F G F
You are worthy to be praised
C F G
------Imara nma eh
F C
Imara nma eh
F G F C
Imara nma eh, Papa
F G F C
Idi ebube di ngozi, idi ebube di ngozi,
F G F C
Idi ebube di ngozi, idi ebube di ngozi,

(The same chords flow through the remaining verses and chorus of the
song).

30
If all I say is Jesus
(Dunsin Oyekan)
F
You have captured my heart
C G
Consumed my heart with your love
F
You have captured my heart
C G
Consumed my heart with your love (sing several times)

F
If all is say is Jesus, Jesus
C G
Jesus; that’s more than enough
F
If all is say is Jesus, Jesus
F/G C
Jesus; that’s more than enough

Imela
(Nathaniel Bassey ft. Enitan Adaba)
C
When I think upon your goodness
G/B
And your faithfulness each day
Dm
I’m convinced it’s not because I am worthy
C/G G
To receive the kind of love that you give
C
But I’m grateful for your mercy
G/B
And I’m grateful for your grace
Dm
And because of how you’ve poured out yourself
C/G G
I have come to sing this song out in praise

31
 C G/B Dm C/E F
Imela, imela, okaka, onye---ke---ruwa
C G/B Dm C/E F/G
Imela, imela, eze mo

C
Who am I to sing to your praises?
G/B
Who am I to worship you?
Dm
It’s your blood that makes a difference in me
C/G G
And made a way to enter into your throne
C
I could not come near your presence
G/B
I could never sing your song
Dm
But the sacrifice on Calvary’s tree
C/G G
Is the reason I can cry out today

Am G/B C F
Onyedikagi? Ekene diri gi, onye ne mema
Am G/B C/E F
Onyedikagi? Ekene diri gi, onye nagworia

32
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33
 CHAPTER 3

Accidentals

Accidentals refer to the notes that do not naturally occur or fall

within a particular scale of notes being played. For instance,
the major scale of the key of C comprises of CDEFGABC
(white keys). Now, the black keys do not form part of this scale
of notes so they are referred to as accidentals.

Also, accidentals describe the raising or lowering of a pitch by

a semitone as well as the returning of a raised or lowered pitch
to its natural state. When a pitch is raised by a semitone it is
denoted as a sharp (♯), when lowered by a semitone, it is
denoted as a flat (b) and when returned to its normal state, it is
denoted as a natural (♮).

So the accidentals that occur along the C major scale (which

describes the black keys) are as follows; using the alphabetical,
musical (solfa) and number notations:

C♯/Db D♯/Eb F♯/Gb G♯/Ab A♯/Bb

#1/b2 #2/b3 #4/b5 #5/b6 #6/b7
de mor fe ze tor

These accidentals become very useful when playing chords that

require the use of notes outside the major scale of C. These
chord types include majors, minors, diminished, 7ths,
augmented etc.

34
Add9 Chords in C

Add9 chords (which are different from 9th chords) occur in two
forms; the major add9 and the minor add9. The major add9
[also notated as maj(add9) or add9] refers playing a major
chord and adding the 9th note of its major scale to it. In the key
of C, when a Cmaj chord is played (C-E-G), the 9th note along
the C major scale is a “D” note. Therefore a Cmaj(add9) will
be played as C-E-G-D (1-3-5-9) or better yet as a C-D-E-G (1-
2-3-5). An Fmaj(add9) will be constructed using an Fmaj chord
(F-A-C) with the added 9th note along the F major scale which
is the “G” note. Thus, Fmaj(add9) is rendered as F-G-A-C.
Similarly, a Gmaj(add9) is played as G-A-B-D.

Major add9 chords can be used to replace their respective maj

chords anytime. They sound heavier and more colourful as
compared to their original maj chords.

Sus Chords

Suspended (sus) chords are very simple chords which can

assume complex conformations also. Let me introduce you to
suspended 2 (sus2, sometimes notated as “2”) and suspended 4
(sus4) chords in simple terms. Sus2 chords are basically chords
that assume the “1-2-5” conformation instead of the “1-3-5” in
major chords. For instance, whilst a Cmaj chord is C-E-G, a
Csus2 or C2 is C-D-G. Similarly, an Fmaj chord is F-A-C,
whilst an Fsus2 or F2 is F-G-C. Sus4 chords assume a “1-4-5”

35
conformation as against a major chord which is “1-3-5”. A
Csus4 chord is played as “C-F-G”.

Sus chords have a hanging feel/appeal and desire to resolve

unto a more stable chord type. Sus2 chords do well in replacing
major chords without inflicting any damage to the music. They
sound quite light and colorful improving the audience interest
in the music.

[Add9s and sus chords have been expanded more in my

resource titled: “Slash Chords and More”]

Consider the following songs in the key of C.

You are wonderful
(Uche)
C Gadd9 C
We give you glory Lord a------s we honour you
C Gadd9 C
We give you glory Lord a------s we honour you
F2 C Gadd9 C
You are wonderful, you are worthy oh Lord
F2 C Gadd9 C
You are wonderful, you are worthy oh Lord

Son of God
(Nathaniel Bassey)
Cadd9 F/C C
The son of God is lifted high
Am G/B C
The son of God is lifted high

36
 Cadd9 F/C C
The son of God is lifted high
Am G/B C
The son of God is lifted high

C2/E F C/G G
Oh --oh oh wonderful and glorious
C2/E F C/G G C
Je-------sus! The son of God is lifted high

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37
 CHAPTER 4

Taking up the challenge

Breaking addictions require more than just the desire to let go

of the habit. It actually involves the conscious effort made to
break the barriers that keeps you bound. The conscious effort
in this case is taking the step of faith to learn to play a second
key in its natural way. After practicing a while in this new key,
the desire to go back to the key you are already accustomed to
will certainly come, but you will have to be strong-willed and
give yourself a good time to practice this new key.

Actually, the key of D may be the key someone is addicted to.

Nevertheless, all are encouraged to give enough time to this
key and learn how the notes and chords relate to each other.

Being ready to take up the challenge of breaking the transpose

addiction should be a generic decision which spans throughout
your studies of the other keys as well.

The Key of D

The major scale of key D contains only two black keys and can
be as easy as the key of C if time is dedicated to its learning.

38
Nomenclature in the Key of D

Naming the notes in key of D also involves the four (4)

systems; the alphabetical, musical (solfa), number and Roman
numeral systems.

D E F# G A B C# D (Alphabetical system)
do re mi fa so la ti do (Musical – Solfa system)
1 2 3 4 5 6 7 1 (Number system)
o
I ii iii IV V vi vii I (Roman numeral system)

The notes that make up the key of D (also referred to as the D major
scale)

[The correct way to play the D major scale with the RH and
LH has been described in my resource: “Triads - Major •
Minor • Diminished • Augmented (A Basic Introduction to
Contemporary Piano)”.

39
Basic Chords in the Key of D

LH RH
do – DAD do – D F# A
re – EBE re – EGB
mi – F# C# F# mi – F# A C#
fa – GDG fa – GBD
so –AEA so – A C# E
la – B F# B la – B D F#
ti – C# G C# ti – C# E G
do – DAD do – D F# A

The LH Chords in D

do chord (D) re chord (Em)

mi chord (F#) fa chord (G)

so chord (A) la chord (B)

ti chord (C#dim) do chord (D)

40
 The RH Chords in D

do chord (D) re chord (Em)

mi chord (F#m) fa chord (G)

so chord (A) la chord (Bm)

ti chord (C#dim) do chord (D)

Practice these key D chords with your LH and RH.

Revisit the chord sets on pages 20 and 21 of this book and
practice them in the key of D. Take the time to religiously go
through all of it.

41
Examples of Songs Using Basic Chords of D

Way maker
(Sinach)
G D
You are here, moving in our midst
A Bm
I worship you, I worship you
G D
You are here, working in this place
A Bm
I worship you, I worship you
G
Way maker, miracle worker
D A
Promise keeper, light in the darkness
Bm
My God that is who you are

You are great

(Steve Crown)
D G
You are great yes you are holy one
D A
Walked upon the sea, raised the dead
D G
You reign in majesty mighty God
D/A A D
Everything written about you is great

D G
You are great (response), you are great (response)
D A
You are great (response), you are great (response)
D G
You are great (response), you are great (response)
D/A A D
Everything written about you is great

42
 D
Mighty mighty God
G
Worship You today
D
Give You all the praise
A
As we lift our hands to You
D
With pleasure in our hearts
G
We raise our voice to say
D/A A D
Everything written about you is great

D G
Demons tremble at your presence
D
What a mighty God we serve
A
What a mighty God we serve
D
Glory, glory halleluyah
G
Glory, glory halleluyah
D/A A D
Everything written about you is great

Ekuweme
(Prospa Ochimana ft Osinachi Nwachukwu)

G/B A/C# D
Onye Nwe ---anyi ezitewo
G/B A/C# D
Ndi Mmozi------ya ---ka ha nonyere
Bm A
You are the living God ooo!

43
G/B A/C# C
Eze, no one like you
G A D G A D
Ekuweme, -------ekuweme; ekuweme, ------ekuweme
A
You are the living God ooo!
G/B A/C# D
Eze no one like you

Excess love
(Mercy Chinwo)
G D A D
Your love is kind, -------your love is patient
G D A D
Your fill my heart ------with so much peace and joy
G D A D
You’re amazing, -------You make my life feel brand new
G D A D
You’re amazing, ------You make my life feel brand new
G
Jesus you love me too much ooo
D A D
Too much ooo, too much ooo excess love ooo
G
Jesus you love me too much ooo
D A D
Too much ooo, too much ooo excess love ooo 2X

G D A D
Your love is kind, ------your love is patient
G D A D
Your fill my heart ------with so much peace and joy
G D A D
You’re amazing, ------You make my life feel brand new
G D
All your promises are yea and amen
A
You’re not a man you never lie

44
Jesus Omekannaya
(Mercy Chinwo)
D D7 G
Oooo oooo oooo oooo ooo oooo oooo
A
Oooo oooo oooo oooo

D D7 Em
Jesus omekannaya, I worship you today
A D
Jesus omekannaya eh, I bow before your throne 2X

D D7 G G/E D/A A D
Nara nara nara oh, nara ekelem jiri bia, onye di nso 2X
D D7 G
Onye di nso, I lift my hands to you
G/E D/A A D
Onye di nso, cause only you deserve it

D D7 G
Onye di nso, idi mereme ebuka
G/E D/A A D
Chionye di nso, to you I give my all
D D7 G G/E
Men may not understand, how far you’ve brought me
D/A A D
They may not understand 2x

At the center of it all

(Eben)
G…….A……G2 D
------------------------At the center of it all
Bm A G
It’s you that I see, it’s you that I see 2X
G…….A……G2 D
------------------------There is power in your name
A Bm
Miracles happen in your name

45
G D
As we lift our voice in praise
Bm A G
It’s you that I see, it’s you that I see

D
You are bigger, bigger than the biggest
A
You are stronger, stronger than the strongest
Bm A/C# D
You are higher, higher than the highest
G
You are greater, greater than the greatest

D A Bm A/C# D
Jesus, Jesus, Jesus, Jesus
G D A D
Jesus, Jesus, Jesus, Jesus

Nara
(Tim Godfrey ft. Travis Greene)
D G Em
You’ve done so much for me, I cannot tell it all
D/A A D
Nare ----kele mo
D G Em
If I had ten thousand tongues, it still won’t be enough
D/A A D
Nare ----kele mo
D
Chukwu na gwom o ria le
G Em
When You heal You heal completely
D/A A D
Nare ----kele mo

46
 D
Chukwu mara obim o
G Em
Isi ikendu le
D/A A D
Nare ----kele mo

D A/F# G Em
What shall I render t-----o Jehovah
A D
For He has done so very much for me
D A/F# G Em
What shall I render t-----o Jehovah
A D
For He has done so very much for me

D G Em D/A A D
Nara nara eh, nare ekele, nare ekele mo
D G Em D/A A D
Nara nara eh, nare ekele, nare ekele mo

Halleluyah eh
(Nathaniel Bassey)

D G
Hallelujah eh! Hallelujah o oh!
A D
Hallelujah eh! It’s the sound of victory
D G Em
Hallelujah eh! Hallelujah o oh!
A D
Let the sound of rejoicing fill this house. 2X

D G
He has made a way, where there was no way
A D
Hallelujah eh! It’s the sound of breakthrough

47
Jesus did it again
(Sinach)
D
It is coming from my heart
Bm
Praise and thanks unto you Lord
G
All the things that you have done
A
I’m grateful for your love
D
I give you the praise 2X

D Bm
I’m counting my blessings; I just can’t keep it to myself
G
When I thought that he had done too much
A D
Oh oh oh, Jesus did it again!

G A D
I can tell in Him now, oh oh oh
G A D
I shout it loud; from the mountain top 2X

D
I dance and praise the Lord
D G D A/C# D
I clap and praise the Lord
D
I shout and praise the Lord
G
And when I thought that he had done too much
A D
Oh oh oh, Jesus did it again

48
Eze ndi eze
(Don Moen and Frank Edwards)
D G A
----Eze ndi eze
G D
Onye obi oma
G A G D
Nara ekele Papa oh ooo
G A
Mmalite na ogwugwu
G D
Forever you will be
G A G
Nara otuto Papa
D G A G
Blessed be your holy name
D G A G
You are worthy to be praised
D G A
------Imara nma eh
G D
Imara nma eh
G A G D
Imara nma eh, Papa
G A G D
Idi ebube di ngozi, idi ebube di ngozi,
G A G D
Idi ebube di ngozi, idi ebube di ngozi,

(The same chords flow through the remaining verse and chorus of the song)

49
If all I say is Jesus
(Dunsin Oyekan)
G
You have captured my heart
D A
Consumed my heart with your love
G
You have captured my heart
D A
Consumed my heart with your love (sing several times)

G
If all is say is Jesus, Jesus
D A
Jesus; that’s more than enough
G
If all is say is Jesus, Jesus
G/A D
Jesus; that’s more than enough

Imela
(Nathaniel Bassey ft. Enitan Adaba)
D
When I think upon your goodness
A/C#
And your faithfulness each day
Em
I’m convinced it’s not because I am worthy
D/A A
To receive the kind of love that you give
D
But I’m grateful for your mercy
A/C#
And I’m grateful for your grace
Em
And because of how you’ve poured out yourself
D/A A
I have come to sing this song out in praise

50
 D A/C# Em D/F# G
Imela, imela, okaka, onye---ke---ruwa
D A/C# Em D/F# G/A
Imela, imela, eze mo

D
Who am I to sing to your praises?
A/C#
Who am I to worship you?
Em
It’s your blood that makes a difference in me
D/A A
And made a way to enter into your throne
D
I could not come near your presence
A/C#
I could never sing your song
Em
But the sacrifice on Calvary’s tree
D/A A
Is the reason I can cry out today

Bm A/C# D G
Onyedikagi? Ekene diri gi, onye ne mema
Bm A/C# D/F# G
Onyedikagi? Ekene diri gi, onye nagworia

You are wonderful

(Uche)
D Aadd9 D
We give you glory Lord as we honour you
D Aadd9 D
We give you glory Lord as we honour you
G2 D Aadd9 D
You are wonderful, you are worthy oh Lord
G2 D Aadd9 D
You are wonderful, you are worthy oh Lord

51
Son of God
(Nathaniel Bassey)
Dadd9 G/D D
The son of God is lifted high
Bm A/C# D
The son of God is lifted high
Dadd9 G/D D
The son of God is lifted high
Bm A/C# D
The son of God is lifted high (sing several times)

D2/F# G D/A A
Oh --oh oh wonderful and glorious
D2/F# G D/A A D
Je-------sus! --The son of God is lifted high

Accidentals in the Key of D

Eb F♮ Ab Bb C♮
b2 b3 #4 b6 b7
de mor fe ze tor

These accidentals are not totally alienated when playing in the

key of D. They are used when certain chord and scale types are
being played. [Learn more about these in my resource titled:
“Triads - Major • Minor • Diminished • Augmented (A Basic
Introduction to Contemporary Piano)”].

52
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will help develop your music life. Click on the email address and
send “subscribe” to join now!

Whatsapp/call (CMC): +233268234126/+233249768566

53
 CHAPTER 5

There is Hope

Congratulations! For you to have arrived on this page means

that, you have successfully learnt to play in two different and
independent keys. I really appreciate your efforts and
encourage you to march on. You have demonstrated to yourself
that it is possible to break the age long addiction to the
transpose button. With determination and continual practice,
you will fully break free from transposition.

In this chapter, we are going to discuss the key of E in real

simple terms. This key may be the key some few very few
musicians are addicted to. As a matter of fact, many transpose
musicians hate the key of E. Another very dreaded key is that
of B. The reasons are best known to them. However, in the real
sense, these keys (E and B) are not as terrible as they are
presented. When time is committed to learning them, they
prove to be simple and end up being the favorite keys of some
people.

54
The Key of E

Nomenclature in the Key of E

Naming the notes in the key of E with the four (4) naming
systems; the alphabetical, musical (solfa), number and Roman
numeral systems.

E F# Ab A B C# Eb E (Alphabetical system)
do re mi fa so la ti do (Musical – Solfa system)
1 2 3 4 5 6 7 1 (Number system)
I ii iii IV V vi viio I (Roman numeral system)

[The correct way to play the E major scale with the RH and LH
has been described in my resource: “Triads - Major • Minor •
Diminished • Augmented (A Basic Introduction to
Contemporary Piano)”]

55
Basic Chords in the Key of E

LH RH
do – E B E do – E Ab B
re – F# C# F# re – F# A C#
mi – Ab Eb Ab mi – Ab B Eb
fa – A E A fa – A C# E
so – B F# B so – B Eb F#
la – C# Ab C# la – C# E Ab
ti – Eb A Eb ti – Eb F# A
do – E B E do – E Ab B

The LH Chords in E

do chord (E) re chord (F#)

mi chord (Ab) fa chord (A)

so chord (B) la chord (C#)

ti chord (Ebdim) do chord (E)

56
 The RH Chords in E

do chord (E) re chord (F#m)

mi chord (Abm) fa chord (A)

so chord (B) la chord (C#m)

ti chord (Ebdim) do chord (E)

Kindly revisit the chord sets on pages 20 and 21 of this book

and practice them in the key of E. Take the time to religiously
go through all of it.

57
Examples of Songs Using Basic Chords of E

Way maker
(Sinach)
A E
You are here, moving in our midst
B C#m
I worship you, I worship you
A E
You are here, working in this place
B C#m
I worship you, I worship you
A
Way maker, miracle worker
E B
Promise keeper, light in the darkness
C#m
My God that is who you are

You are great

(Steve Crown)
E A
You are great yes you are holy one
E B
Walked upon the sea, raised the dead
E A
You reign in majesty mighty God
E/B B E
Everything written about you is great

E A
You are great (response), you are great (response)
E B
You are great (response), you are great (response)
E A
You are great (response), you are great (response)
E/B B E
Everything written about you is great

58
 E
Mighty mighty God
A
Worship You today
E
Give You all the praise
B
As we lift our hands to You
E
With pleasure in our hearts
A
We raise our voice to say
E/B B E
Everything written about you is great

E A
Demons tremble at your presence
E
What a mighty God we serve
B
What a mighty God we serve
E
Glory, glory halleluyah
A
Glory, glory halleluyah
E/B B E
Everything written about you is great

Ekuweme
(Prospa Ochimana ft Osinachi Nwachukwu)
A/C# B/Eb E
Onye Nwe ---anyi ezitewo
A/C# B/Eb E
Ndi Mmozi------ya ---ka ha nonyere
C#m B
You are the living God ooo!
A/C# B/Eb E
Eze, no one like you

59
 A B E A B E
Ekuweme, -------ekuweme; ekuweme, ------ekuweme
B
You are the living God ooo!
A/C# B/Eb E
Eze no ---one like you

Excess love
(Mercy Chinwo)
A E B E
Your love is kind, -------your love is patient
A E B E
Your fill my heart ------with so much peace and joy
A E B E
You’re amazing, -------You make my life feel brand new
A E B E
You’re amazing, ------You make my life feel brand new

A
Jesus you love me too much ooo
E B E
Too much ooo, too much ooo excess love ooo
A
Jesus you love me too much ooo
E B E
Too much ooo, too much ooo excess love ooo 2X

A E B E
Your love is kind, ------your love is patient
A E B E
Your fill my heart ------with so much peace and joy
A E B E
You’re amazing, ------You make my life feel brand new
A E
All your promises are yea and amen
B
You’re not a man you never lie

60
Jesus Omekannaya
(Mercy Chinwo)
E E7 A
Oooo oooo oooo oooo ooo oooo oooo
B
Oooo oooo oooo oooo

E E7 F#m
Jesus omekannaya, I worship you today
B E
Jesus omekannaya eh, I bow before your throne 2X

E E7 A A/F# E/B B E
Nara nara nara oh, nara ekelem jiri bia, onye di nso 2X
E E7 A
Onye di nso, I lift my hands to you
A/F# E/B B E
Onye di nso, cause only you deserve it

E E7 A
Onye di nso, idi mereme ebuka
A/F# E/B B E
Chionye di nso, to you I give my all
E E7 A A/F#
Men may not understand, how far you’ve brought me
E/B B E
They may not understand 2X

At the center of it all

(Eben)
A…….B……A2 E
------------------------At the center of it all
C#m B A
It’s you that I see, it’s you that I see 2X
A…….B……A2 E
------------------------There is power in your name
B C#m
Miracles happen in your name

61
A E
As we lift our voice in praise
C#m B A
It’s you that I see, it’s you that I see

E
You are bigger, bigger than the biggest
B
You are stronger, stronger than the strongest
C#m B/Eb E
You are higher, higher than the highest
A
You are greater, greater than the greatest

E B C#m B/Eb E
Jesus, Jesus, Jesus, Jesus
A E B E
Jesus, Jesus, Jesus, Jesus

Nara
(Tim Godfrey ft. Travis Greene)
E A F#m
You’ve done so much for me, I cannot tell it all
E/B B E
Nare ----kele mo
E A F#m
If I had ten thousand tongues, it still won’t be enough
E/B B E
Nare ----kele mo
E
Chukwu na gwom o ria le
A F#m
When You heal You heal completely
E/B B E
Nare ---kele mo

62
 E
Chukwu mara obim o
A F#m
Isi ikendu le
E/B B E
Nare ---kele mo

E B/Ab A F#m
What shall I render t-----o Jehovah
B E
For He has done so very much for me
E B/Ab A F#m
What shall I render t-----o Jehovah
B E
For He has done so very much for me

E A F#m E/B B E
Nara nara eh, nare ekele, nare ekele mo
E A F#m E/B B E
Nara nara eh, nare ekele, nare ekele mo

Halleluyah eh
(Nathaniel Bassey)
E A
Hallelujah eh! Hallelujah o oh!
B E
Hallelujah eh! It’s the sound of victory
E A F#m
Hallelujah eh! Hallelujah o oh!
B E
Let the sound of rejoicing fill this house. 2X

E A
He has made a way, where there was no way
B E
Hallelujah eh! It’s the sound of breakthrough

63
Jesus did it again
(Sinach)
E
It is coming from my heart
C#m
Praise and thanks unto you Lord
A
All the things that you have done
B
I’m grateful for your love
E
I give you the praise 2X

E C#m
I’m counting my blessings, I just can’t keep it to myself
A
When I thought that he had done too much
B E
Oh oh oh, Jesus did it again!

A B E
I can tell in Him now, oh oh oh
A B E
I shout it loud, from the mountain top 2X

E
I dance and praise the Lord
E A E B/Eb E
I clap and praise the Lord
E
I shout and praise the Lord
A
And when I thought that he had done too much
B E
Oh oh oh, Jesus did it again

64
Eze ndi eze
(Don Moen and Frank Edwards)
E A B
----Eze ndi eze
A E
Onye obi oma
A B A E
Nara ekele Papa oh ooo
A B
Mmalite na ogwugwu
A E
Forever you will be
A B A
Nara otuto Papa
E A B A
Blessed be your holy name
E A B A
You are worthy to be praised
E A B
------Imara nma eh
A E
Imara nma eh
A B A E
Imara nma eh, Papa
A B A E
Idi ebube di ngozi, idi ebube di ngozi,
A B A E
Idi ebube di ngozi, idi ebube di ngozi,

(The same chords flow through the remaining verse and chorus of the song)

65
If all I say is Jesus
(Dunsin Oyekan)
A
You have captured my heart
E B
Consumed my heart with your love
A
You have captured my heart
E B
Consumed my heart with your love (sing several times)

A
If all is say is Jesus, Jesus
E B
Jesus; that’s more than enough
A
If all is say is Jesus, Jesus
A/B E
Jesus; that’s more than enough

Imela
(Nathaniel Bassey ft. Enitan Adaba)
E
When I think upon your goodness
B/Eb
And your faithfulness each day
F#m
I’m convinced it’s not because I am worthy
E/B B
To receive the kind of love that you give
E
But I’m grateful for your mercy
B/Eb
And I’m grateful for your grace
F#m
And because of how you’ve poured out yourself
E/B B
I have come to sing this song out in praise

66
 E B/Eb F#m E/Ab A
Imela, imela, okaka, onye---ke---ruwa
E B/Eb F#m E/Ab A/B
Imela, imela, eze mo

E
Who am I to sing to your praises?
B/Eb
Who am I to worship you?
F#m
It’s your blood that makes a difference in me
E/B B
And made a way to enter into your throne
E
I could not come near your presence
B/Eb
I could never sing your song
F#m
But the sacrifice on Calvary’s tree
E/B B
Is the reason I can cry out today

C#m B/Eb E A
Onyedikagi? Ekene diri gi, onye ne mema
C#m B/Eb E/Ab A
Onyedikagi? Ekene diri gi, onye nagworia

You are wonderful

(Uche)
E Badd9 E
We give you glory Lord a------s we honour you
E Badd9 E
We give you glory Lord a------s we honour you
A2 E Badd9 E
You are wonderful, you are worthy oh Lord
A2 E Badd9 E
You are wonderful, you are worthy oh Lord

67
Son of God
(Nathaniel Bassey)
Eadd9 A/E E
The son of God is lifted high
C#m B/Eb E
The son of God is lifted high
Eadd9 A/E E
The son of God is lifted high
C#m B/Eb E
The son of God is lifted high

E2/Ab A E/B B
Oh --oh oh wonderful and glorious
E2/Ab A E/B B E
Je-------sus! The son of God is lifted high

Accidentals in the Key of E

F♮ G♮ Bb C♮ D♮
b2 b3 #4 b6 b7
de mor fe ze tor

68
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69
 CHAPTER 6
Jack of All Keys, Master of All

I once saw within a piano group, a nugget shared by one of the

participants. The nugget upon first sight appeared to be true;
however, after thinking through it awhile, if proves to be a
blatant lie. He shared that, “If you learn to play in all keys, you
will be a master of none”. This philosophy may appear true in
certain facets of life, for instance, when someone chooses to do
everything that comes his way like choosing to read
accounting, and then later in the accounting course, his friend
tells him there’s an opportunity in food catering, then he
decides to go into catering, and as time goes on, another
colleague tells him there’s money is movie acting then he
moves there too. In essence, because he is not focused on a
certain career path, he ends up wasting his time jumping from
one discipline to the other and eventually wasting his whole
time. Precious time that otherwise could have been committed
to developing himself to mastery in a particular career would
have been lost and he ends up being a master of none of the
disciplines too.
However, in music, particularly with the playing of
instruments, the story is a lot more different. Musical mastery
and dexterity is exponentially increased as one exposes
him/herself to learning and playing the different keys. It
actually opens up your mind to the different possibilities that
do occur along your instrument. Personally, I have played
certain chords and scale patterns say in the key of Ab, which
may never have occurred to me in the key of C or F. So upon
discovering this new chord or scale, I then transcribe them into
the other keys and begin using them in my play.

70
I want to categorically inform you that, learning to play in all
keys is musically healthy and will eventually make you a
master of your art. In music, being a jack of all keys, certainly
leads you to become the master of all. Commit yourself to this
skill development module and you will be glad you did.
This chapter will introduce you to the key of F and the basic
chords therein. Learn to play this key and by the close of this
chapter, you would have been able to develop yourself in four
different keys: C, D, E and F.

The Key of F

This key happens to be the key most musicians like to play and
eventually get addicted to. However as part of our “rehab
module”, we assume this key is new to you. So we wish to take
you through the rudiments of this very interesting key. Its
major scale contains just one black key.

71
Nomenclature in the Key of F

Naming the notes in the key of F using the four (4) naming
systems; the alphabetical, musical (solfa), number and Roman
numeral systems.

F G A Bb C D E F (Alphabetical system)
do re mi fa so la ti do (Musical – Solfa system)
1 2 3 4 5 6 7 1 (Number system)
I ii iii IV V vi viio I (Roman numeral system)

[The correct way to play the F major scale with the RH and LH
has been described in my resource: “Triads - Major • Minor •
Diminished • Augmented (A Basic Introduction to
Contemporary Piano)”]

72
Basic Chords in the Key of F

LH RH
do – FCF do – FAC
re – GDG re – G Bb D
mi – AEA mi – A CE
fa – Bb F Bb fa – Bb D F
so –CGC so – CEG
la – DAD la – DFA
ti – E Bb E ti – E G Bb
do – FCF do – FAC

The LH Chords in F

do chord (F) re chord (G)

mi chord (A) fa chord (Bb)

so chord (C) la chord (D)

ti chord (Edim) do chord (F)

73
 The RH Chords in F

do chord (F) re chord (Gm)

mi chord (Am) fa chord (Bb)

so chord (C) la chord (Dm)

ti chord (Edim) do chord (F)

Kindly revisit the chord sets on pages 20 and 21 of this book

and practice them in the key of F. Take the time to religiously
go through all of it.

74
Examples of Songs Using Basic Chords of F

Way maker
(Sinach)
Bb F
You are here, moving in our midst
C Dm
I worship you, I worship you
Bb F
You are here, working in this place
C Dm
I worship you, I worship you
Bb
Way maker, miracle worker
F C
Promise keeper, light in the darkness
Dm
My God that is who you are

You are great

(Steve Crown)

F Bb
You are great yes you are holy one
F C
Walked upon the sea, raised the dead
F Bb
You reign in majesty mighty God
F/C C F
Everything written about you is great
F Bb
You are great (response), you are great (response)
F C
You are great (response), you are great (response)
F Bb
You are great (response), you are great (response)
F/C C F
Everything written about you is great

75
 F
Mighty mighty God
Bb
Worship You today
F
Give You all the praise
C
As we lift our hands to You
F
With pleasure in our hearts
Bb
We raise our voice to say
F/C C F
Everything written about you is great

F Bb
Demons tremble at your presence
F
What a mighty God we serve
C
What a mighty God we serve
F
Glory, glory halleluyah
Bb
Glory, glory halleluyah
F/C C F
Everything written about you is great

Ekuweme
(Prospa Ochimana ft Osinachi Nwachukwu)

Bb/D C/E F
Onye Nwe ----anyi ezitewo
Bb/D C/E F
Ndi Mmozi------ya ---ka ha nonyere
Dm C Bb/D C/E F
You are the living God ooo! Eze, no one like you

76
 Bb C F Bb C F
Ekuweme, -------ekuweme; ekuweme, ------ekuweme
C
You are the living God ooo!
Bb/D C/E F
Eze no one like you

Excess love
(Mercy Chinwo)
Bb F C F
Your love is kind, -------your love is patient
Bb F C F
Your fill my heart ------with so much peace and joy
Bb F C F
You’re amazing, -------You make my life feel brand new
Bb F C F
You’re amazing, ------You make my life feel brand new

Bb
Jesus you love me too much ooo
F C F
Too much ooo, too much ooo excess love ooo
Bb
Jesus you love me too much ooo
F C F
Too much ooo, too much ooo excess love ooo 2X

Bb F C F
Your love is kind, ------your love is patient
Bb F C F
Your fill my heart ------with so much peace and joy
Bb F C F
You’re amazing, ------You make my life feel brand new
Bb F
All your promises are yea and amen
C
You’re not a man you never lie

77
Jesus Omekannaya
(Mercy Chinwo)
F F7 Bb
Oooo oooo oooo oooo ooo oooo oooo
C
Oooo oooo oooo oooo

F F7 Gm
Jesus omekannaya, I worship you today
C F
Jesus omekannaya eh, I bow before your throne 2X

F F7 Bb Bb/G F/C C F
Nara nara nara oh, nara ekelem jiri bia, onye di nso 2X
F F7 Bb
Onye di nso, I lift my hands to you
Bb/G F/C C F
Onye di nso, cause only you deserve it

F F7 Bb
Onye di nso, idi mereme ebuka
Bb/G F/C C F
Chionye di nso, to you I give my all
F F7 Bb Bb/G
Men may not understand, how far you’ve brought me
F/C C F
They may not understand 2X

At the center of it all

(Eben)
Bb…….C……Bb2 F
------------------------At the center of it all
Dm C Bb
It’s you that I see, it’s you that I see 2X
Bb…….C……Bb2 F
------------------------There is power in your name
C Dm
Miracles happen in your name

78
Bb F
As we lift our voice in praise
Dm C Bb
It’s you that I see, it’s you that I see

F
You are bigger, bigger than the biggest
C
You are stronger, stronger than the strongest
Dm C/E F
You are higher, higher than the highest
Bb
You are greater, greater than the greatest

F C Dm C/E F
Jesus, Jesus, Jesus, Jesus
Bb F C F
Jesus, Jesus, Jesus, Jesus

Nara
(Tim Godfrey ft. Travis Greene)
F Bb Gm
You’ve done so much for me, I cannot tell it all
F/C C F
Nare -----kele mo
F Bb Gm
If I had ten thousand tongues, it still won’t be enough
F/C C F
Nare ----kele mo
F
Chukwu na gwom o ria le
Bb Gm
When You heal You heal completely
F/C C F
Nare ----kele mo

79
 F
Chukwu mara obim o
Bb Gm
Isi ikendu le
F/C C F
Nare ----kele mo

F C/A Bb Gm
What shall I render t-----o Jehovah
C F
For He has done so very much for me
F C/A Bb Gm
What shall I render t-----o Jehovah
C F
For He has done so very much for me

F Bb Gm F/C C F
Nara nara eh, nare ekele, nare ekele mo
F Bb Gm F/C C F
Nara nara eh, nare ekele, nare ekele mo

Halleluyah eh
(Nathaniel Bassey)
F Bb
Hallelujah eh! Hallelujah o oh!
C F
Hallelujah eh! It’s the sound of victory
F Bb Gm
Hallelujah eh! Hallelujah o oh!
C F
Let the sound of rejoicing fill this house. 2X

F Bb
He has made a way, where there was no way
C F
Hallelujah eh! It’s the sound of breakthrough

80
Jesus did it again
(Sinach)
F
It is coming from my heart
Dm
Praise and thanks unto you Lord
Bb
All the things that you have done
C
I’m grateful for your love
F
I give you the praise 2X

F Dm
I’m counting my blessings, I just can’t keep it to myself
Bb
When I thought that he had done too much
C F
Oh oh oh, Jesus did it again!

Bb C F
I can tell in Him now, oh oh oh
Bb C F
I shout it loud, from the mountain top 2X

F
I dance and praise the Lord
F Bb F C/E F
I clap and praise the Lord
F
I shout and praise the Lord
Bb
And when I thought that he had done too much
C F
Oh oh oh, Jesus did it again

81
Eze ndi eze
(Don Moen and Frank Edwards)
F Bb C
----Eze ndi eze
Bb F
Onye obi oma
Bb C Bb F
Nara ekele Papa oh ooo
Bb C
Mmalite na ogwugwu
Bb F
Forever you will be
Bb C Bb
Nara otuto Papa
F Bb C Bb
Blessed be your holy name
F Bb C Bb
You are worthy to be praised
F Bb C
------Imara nma eh
Bb F
Imara nma eh
Bb C Bb F
Imara nma eh, Papa
Bb C Bb F
Idi ebube di ngozi, idi ebube di ngozi,
Bb C Bb F
Idi ebube di ngozi, idi ebube di ngozi,

(The same chords flow through the remaining verse and chorus of the song)

82
If all I say is Jesus
(Dunsin Oyekan)
Bb
You have captured my heart
F C
Consumed my heart with your love
Bb
You have captured my heart
F C
Consumed my heart with your love (sing several times)

Bb
If all is say is Jesus, Jesus
F C
Jesus; that’s more than enough
Bb
If all is say is Jesus, Jesus
Bb/C F
Jesus; that’s more than enough

Imela
(Nathaniel Bassey ft. Enitan Adaba)
F
When I think upon your goodness
C/E
And your faithfulness each day
Gm
I’m convinced it’s not because I am worthy
F/C C
To receive the kind of love that you give
F
But I’m grateful for your mercy
C/E
And I’m grateful for your grace
Gm
And because of how you’ve poured out yourself
F/C C
I have come to sing this song out in praise

83
 F C/E Gm F/A Bb
Imela, imela, okaka, onye---ke---ruwa
F C/E Gm F/A Bb/C
Imela, imela, eze mo

F
Who am I to sing to your praises?
C/E
Who am I to worship you?
Gm
It’s your blood that makes a difference in me
F/C C
And made a way to enter into your throne
F
I could not come near your presence
C/E
I could never sing your song
Gm
But the sacrifice on Calvary’s tree
F/C C
Is the reason I can cry out today

Dm C/E F Bb
Onyedikagi? Ekene diri gi, onye ne mema
Dm C/E F/A Bb
Onyedikagi? Ekene diri gi, onye nagworia

You are wonderful

(Uche)
F Cadd9 F
We give you glory Lord a------s we honour you
F Cadd9 F
We give you glory Lord a-----s we honour you
Bb2 F Cadd9 F
You are wonderful, you are worthy oh Lord
Bb2 F Cadd9 F
You are wonderful, you are worthy oh Lord

84
Son of God
(Nathaniel Bassey)
Fadd9 Bb/F F
The son of God is lifted high
Dm C/E F
The son of God is lifted high
Fadd9 Bb/F F
The son of God is lifted high
Dm C/E F
The son of God is lifted high

F2/A Bb F/C C
Oh --oh oh wonderful and glorious
F2/A Bb F/C C F
Je-------sus! The son of God is lifted high

Accidentals in the Key of F

F# Ab B♮ C# Eb
b2 b3 #4 b6 b7
de mor fe ze tor

85
Join our email list [email protected] to receive resources that
will help develop your music life. Click on the email address and
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Whatsapp/call (CMC): +233268234126/+233249768566

86
 CHAPTER 7
Withdrawal Symptoms
Breaking the hold of every addictive behavior comes with a
cohort of strong unpleasant feelings which tends to cause the
individuals to revert to the same old lifestyle. These unpleasant
feelings are referred to as the withdrawal symptoms. For those
dealing with drugs and alcohol addictions, this facet of their
lives is associated with strong physical signs of uneasiness,
weariness, headaches, confusion, anxiety, mood swings, panic
attacks, poor appetite, insomnia, poor concentration, vomiting,
shakes, palpitations and a host of other hostile symptoms. At
this point in their lives, the tendency to return to the
compulsive behavior is high because it appears a dose of the
drug or alcohol seems to soothe/satisfy the unpleasant feeling.
This relapse then keeps the victim bound to the addiction and
may ultimate lead him to death. However, those who are able
to fully sail through this terrible phase of withdrawal, end up
being set free and are able to reclaim their lives thence living a
happy life.
Similarly, when dealing with the transpose addiction, you will
certainly encounter some withdrawal symptoms which may
cause you to backslide to your transposition habit. These
symptoms are evident in the following forms; you will realize
some challenges in remembering the notes and chords that
constitute the new key you are learning; you will feel like you
are not able to flow much in the new key of study as you will
do in your addicted key; you will observe that playing songs in
the new key will be associated with some unpleasant mistakes
which may make you or your band members and even your
audience unhappy. These and many other symptoms will

87
strongly suggest to you to give up on breaking the transpose
addiction. It will tell you that you are better off playing in just a
single key and flowing as you wish than playing in new keys.
Following the advice of the symptoms will hold you strongly
bound to the transpose addiction and eventually mar you music
life.
Make the permanent decision today to be committed to this
rehabilitation process and your music life will be transformed
for the better.

The Key of G

The key of G is an amazing key to learn and play. Interestingly,

relatively few people are addicted to this key as compared to
the key of F. The reason is largely unknown. The major scale
of key G also contains just one black key.

88
Nomenclature in the Key of G

Naming the notes in the key of G using the four (4) naming
systems; the alphabetical, musical (solfa), number and Roman
numeral systems.

G A B C D E F# G (Alphabetical system)
do re mi fa so la ti do (Musical – Solfa system)
1 2 3 4 5 6 7 1 (Number system)
I ii iii IV V vi viio I (Roman numeral system)

[The correct way to play the G major scale with the RH and
LH has been described in my resource: “Triads - Major •
Minor • Diminished • Augmented (A Basic Introduction to
Contemporary Piano)”].

89
Basic Chords in the Key of G

LH RH
do – G D G do – GBD
re – A E A re – ACE
mi – B F# B mi – B D F#
fa – C G C fa – CEG
so – D A D so – D F# A
la – E B E la – EGB
ti – F# C F# ti – F# A C
do – G D G do – GBD

The LH Chords in G

do chord (G) re chord (A)

mi chord (B) fa chord (C)

so chord (D) la chord (E)

ti chord (F#dim) do chord (G)

90
 The RH Chords in G

do chord (G) re chord (Am)

mi chord (Bm) fa chord (C)

so chord (D) la chord (Em)

ti chord (F#dim) do chord (G)

Kindly revisit the chord sets on pages 20 and 21 of this book

and practice them in the key of G. Take the time to religiously
go through all of it.

91
Examples of Songs Using Basic Chords of G

Way maker
(Sinach)
C G
You are here, moving in our midst
D Em
I worship you, I worship you
C G
You are here, working in this place
D Em
I worship you, I worship you
C
Way maker, miracle worker
G D
Promise keeper, light in the darkness
Em
My God that is who you are

You are great

(Steve Crown)
G C
You are great yes you are holy one
G D
Walked upon the sea, raised the dead
G C
You reign in majesty mighty God
G/D D G
Everything written about you is great

G C
You are great (response), you are great (response)
G D
You are great (response), you are great (response)
G C
You are great (response), you are great (response)
G/D D G
Everything written about you is great

92
 G
Mighty mighty God
C
Worship You today
G
Give You all the praise
D
As we lift our hands to You
G
With pleasure in our hearts
C
We raise our voice to say
G/D D G
Everything written about you is great

G C
Demons tremble at your presence
G
What a mighty God we serve
D
What a mighty God we serve
G
Glory, glory halleluyah
C
Glory, glory halleluyah
G/D D G
Everything written about you is great

Ekuweme
(Prospa Ochimana ft Osinachi Nwachukwu)
C/E D/F# G
Onye Nwe anyi ezitewo
C/E D/F# G
Ndi Mmozi------ya ---ka ha nonyere
Em D C/E D/F# G
You are the living God ooo! Eze, no one like you

93
 C D G C D G
Ekuweme, -------ekuweme; ekuweme, ------ekuweme
D
You are the living God ooo!
C/E D/F# G
Eze no one like you

Excess love
(Mercy Chinwo)
C G D G
Your love is kind, -------your love is patient
C G D G
Your fill my heart ------with so much peace and joy
C G D G
You’re amazing, -------You make my life feel brand new
C G D G
You’re amazing, ------You make my life feel brand new

C
Jesus you love me too much ooo
G D G
Too much ooo, too much ooo excess love ooo
C
Jesus you love me too much ooo
G D G
Too much ooo, too much ooo excess love ooo 2X

C G D G
Your love is kind, ------your love is patient
C G D G
Your fill my heart ------with so much peace and joy
C G D G
You’re amazing, ------You make my life feel brand new
C G
All your promises are yea and amen
D
You’re not a man you never lie

94
Jesus Omekannaya
(Mercy Chinwo)
G G7 C
Oooo oooo oooo oooo ooo oooo oooo
D
Oooo oooo oooo oooo

G G7 Am
Jesus omekannaya, I worship you today
D G
Jesus omekannaya eh, I bow before your throne 2X

G G7 C C/A G/D D G
Nara nara nara oh, nara ekelem jiri bia, onye di nso 2X
G G7 C
Onye di nso, I lift my hands to you
C/A G/D D G
Onye di nso, cause only you deserve it

G G7 C
Onye di nso, idi mereme ebuka
C/A G/D D G
Chionye di nso, to you I give my all
G G7 C C/A
Men may not understand, how far you’ve brought me
G/D D G
They may not understand 2X

At the center of it all

(Eben)
C…….D……C2 G
------------------------At the center of it all
Em D C
It’s you that I see, it’s you that I see 2x

95
C…….D……C2 G
------------------------There is power in your name
D Em
Miracles happen in your name
C G
As we lift our voice in praise
Em D C
It’s you that I see, it’s you that I see

G
You are bigger, bigger than the biggest
D
You are stronger, stronger than the strongest
Em D/F# G
You are higher, higher than the highest
C
You are greater, greater than the greatest

G D Em D/F# G
Jesus, Jesus, Jesus, Jesus
C G D G
Jesus, Jesus, Jesus, Jesus

Nara
(Tim Godfrey ft. Travis Greene)
G C Am
You’ve done so much for me, I cannot tell it all
G/D D G
Nare kele mo
G C Am
If I had ten thousand tongues, it still won’t be enough
G/D D G
Nare kele mo
G
Chukwu na gwom o ria le
C Am G/D D G
When You heal You heal completely, nare kele mo

96
 G
Chukwu mara obim o
C Am
Isi ikendu le
G/D D G
Nare kele mo

G D/B C Am
What shall I render t-----o Jehovah
D G
For He has done so very much for me
G D/B C Am
What shall I render t-----o Jehovah
D G
For He has done so very much for me

G C Am G/D D G
Nara nara eh, nare ekele, nare ekele mo
G C Am G/D D G
Nara nara eh, nare ekele, nare ekele mo

Halleluyah eh
(Nathaniel Bassey)
G C
Hallelujah eh! Hallelujah o oh!
D G
Hallelujah eh! It’s the sound of victory
G C Am
Hallelujah eh! Hallelujah o oh!
D G
Let the sound of rejoicing fill this house. 2X

G C
He has made a way, where there was no way
D G
Hallelujah eh! It’s the sound of breakthrough

97
Jesus did it again
(Sinach)
G
It is coming from my heart
Em
Praise and thanks unto you Lord
C
All the things that you have done
D
I’m grateful for your love
G
I give you the praise 2X

G Em
I’m counting my blessings, I just can’t keep it to myself
C
When I thought that he had done too much
D G
Oh oh oh, Jesus did it again!

C D G
I can tell in Him now, oh oh oh
C D G
I shout it loud, from the mountain top 2X
G
I dance and praise the Lord
G C G D/F# G
I clap and praise the Lord
G
I shout and praise the Lord
C
And when I thought that he had done too much
D G
Oh oh oh, Jesus did it again

98
Eze ndi eze
(Don Moen and Frank Edwards)
G C D
----Eze ndi eze
C G
Onye obi oma
C D C G
Nara ekele Papa oh ooo
C D
Mmalite na ogwugwu
C G
Forever you will be
C D C
Nara otuto Papa
G C D C
Blessed be your holy name
G C D C
You are worthy to be praised
G C D
------Imara nma eh
C G
Imara nma eh
C D C G
Imara nma eh, Papa
C D C G
Idi ebube di ngozi, idi ebube di ngozi,
C D C G
Idi ebube di ngozi, idi ebube di ngozi,

(The same chords flow through the remaining verse and chorus of the song)

99
If all I say is Jesus
(Dunsin Oyekan)
C
You have captured my heart
G D
Consumed my heart with your love
C
You have captured my heart
G D
Consumed my heart with your love (sing several times)

C
If all is say is Jesus, Jesus
G D
Jesus; that’s more than enough
C
If all is say is Jesus, Jesus
C/D G
Jesus; that’s more than enough

Imela
(Nathaniel Bassey ft. Enitan Adaba)
G
When I think upon your goodness
D/F#
And your faithfulness each day
Am
I’m convinced it’s not because I am worthy
G/D D
To receive the kind of love that you give
G
But I’m grateful for your mercy
D/F#
And I’m grateful for your grace
Am
And because of how you’ve poured out yourself
G/D D
I have come to sing this song out in praise

100
 G D/F# Am G/B C
Imela, imela, okaka, onye---ke---ruwa
G D/F# Am G/B C/D
Imela, imela, eze mo

G
Who am I to sing to your praises?
D/F#
Who am I to worship you?
Am
It’s your blood that makes a difference in me
G/D D
And made a way to enter into your throne
G
I could not come near your presence
D/F#
I could never sing your song
Am
But the sacrifice on Calvary’s tree
G/D D
Is the reason I can cry out today

Em D/F# G C
Onyedikagi? Ekene diri gi, onye ne mema
Em D/F# G/B C
Onyedikagi? Ekene diri gi, onye nagworia

You are wonderful

(Uche)
G Dadd9 G
We give you glory Lord a------s we honour you
G Dadd9 G
We give you glory Lord a----s we honour you
C2 G Dadd9 G
You are wonderful, you are worthy oh Lord
C2 G Dadd9 G
You are wonderful, you are worthy oh Lord

101
Son of God
(Nathaniel Bassey)
Gadd9 C/G G
The son of God is lifted high
Em D/F# G
The son of God is lifted high
Gadd9 C/G G
The son of God is lifted high
Em D/F# G
The son of God is lifted high

G2/B C G/D D
Oh --oh oh wonderful and glorious
G2/B C G/D D G
Je-------sus! The son of God is lifted high

Accidentals in the Key of G

Ab Bb C# Eb F♮
b2 b3 #4 b6 b7
de mor fe ze tor

102
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103
 CHAPTER 8
Gradually Outwit the Addiction
People who engaged in substance abuse over a long period of
time often encounter very horrendous withdrawal symptoms
especially when they decide to abruptly give up on the habit.
Their bodies have consumed large quantities of the substance
and have become used to it, so a sudden, unceremonious
removal of the substance can be a disturbing ordeal and can
even lead to death in some instances (eg. withdrawal from
opiates addiction).
A gradual removal of the substance being abused is a rather
helpful approach. Rehab facilities use gradual withdrawal
modalities to assist their patients over a period rather than a
quick and fast method. In this way, the body is slowly
reprogrammed and eventually the addiction is outwitted.
In the course of your studies to break the transpose addiction,
you may not be fully acquainted with your new key of study
but may be required to play the keyboard at an event/program.
Do not be too hard on yourself; forcing yourself to play in the
key you are still working on. In this rare instance, you can but
for a moment use the transpose button to save your day. But
you should remember that, continually bringing in the
transpose button to help you out will eventually strengthen
your addiction once more. So as much as possible do this
sparingly and you will gradually overcome the use of the
transpose button.

104
Using the Transpose to Your Advantage
There is a way to overcome the habit of transposition by using
the transpose button itself. Simply put, using the transpose
button to your advantage. Years ago, I personally used
transposition to strengthen my learning of new keys. The
principle is simple. I transposed the keyboard to the keys I
wanted to learn. For instance, I am learning to play in the key
of G and I am supposed to practice a song that will be sang at
an event in the key of D, I just transpose the keyboard such
that, the key of G becomes/produces the key D sound/pitch.
Then I proceed to play in the key of G, thence using the
opportunity to strengthen my skill in this new key of G. At the
event, I may do same so as to build confidence in playing in G.
I did this across most of the keys until I was well trained in
each and then said the final bye-bye to the transpose button.
The way to go about this is very simple. Note the key you want
to play in and also the key in which the song is being sung.
Now, count the number of semitones needed to move from the
key you want to play to the key being sang; the general
guideline is to always count from the familiar key to the
unfamiliar key and in this case, the familiar key will be the key
you want to learn or play in and the unfamiliar key will be the
key being sang by the singer. You then use this, as an index to
transpose the keyboard. Let’s consider the following examples;
i) If the singer is singing in the key of E and you want
to play the song in G; because you want to learn to
play in G. You count the number of semitones from
G (so-called familiar key) to E (so-called unfamiliar
key) which is 3 semitones in the backward direction

105
 and 9 semitones in the forward direction. Now, you
can set your transpose to –3 or +9 and then proceed
to play in the key of G. In essence, the keyboard has
been set to key A (i.e. at transpose –3 or +9),
therefore playing using key G chords will produce
key E sounds/pitches.

ii) If the singer is singing in the key of Bb and you

want to play in the key of D; because you want to
learn to play in D. You count the number of
semitones from D (so-called familiar key) to Bb
(so-called unfamiliar key) which is 4 semitones in
the backward direction and 8 semitones in the
forward direction. Now, you can set your transpose
to –4 or +8 and then proceed to play in the key of
D. In essence, the keyboard has been set to key Ab
(i.e. at transpose –4 or +8), therefore playing using
key D chords will produce key Bb sounds/pitches.

By using this scheme, you can learn to play every song in

the key of your choice for the purpose of training yourself
to play comfortably and confidently.

The Key of A

106
The key of A is also one key that just few people are addicted
to. Let’s use this opportunity to discuss the basic chords within
this key.

Nomenclature in the Key of A

Naming the notes in the key of A using the four (4) naming
systems; the alphabetical, musical (solfa), number and Roman
numeral systems.

A B C# D E F# Ab A (Alphabetical system)
do re mi fa so la ti do (Musical – Solfa system)
1 2 3 4 5 6 7 1 (Number system)
I ii iii IV V vi viio I (Roman numeral system)

[The correct way to play the A major scale with the RH and
LH has been described in my resource: “Triads - Major •
Minor • Diminished • Augmented (A Basic Introduction to
Contemporary Piano)”].

107
Basic Chords in the Key of A
LH RH
do – A E A do – A C# E
re – B F# B re – B D F#
mi – C# Ab C# mi – C# E Ab
fa – D A D fa – D F# A
so – E B E so – E Ab B
la – F# C# F# la – F# A C#
ti – Ab D Ab ti – Ab B D
do – A E A do – A C# E

The LH Chords in A

do chord (A) re chord (B)

mi chord (C#) fa chord (D)

so chord (E) la chord (F#)

ti chord (Abdim) do chord (A)

108
 The RH Chords in A

do chord (A) re chord (Bm)

mi chord (C#m) fa chord (D)

so chord (E) la chord (F#m)

ti chord (Abdim) do chord (A)

Kindly revisit the chord sets on pages 20 and 21 of this book

and practice them in the key of A. Take the time to religiously
go through all of it.

Examples of Songs Using Basic Chords of A

Way maker
(Sinach)
D A
You are here, moving in our midst
E F#m
I worship you, I worship you

109
 D A
You are here, working in this place
E F#m
I worship you, I worship you
D
Way maker, miracle worker
A E
Promise keeper, light in the darkness
F#m
My God that is who you are

You are great

(Steve Crown)
A D
You are great yes you are holy one
A E
Walked upon the sea, raised the dead
A D
You reign in majesty mighty God
A/E E A
Everything written about you is great

A D
You are great (response), you are great (response)
A E
You are great (response), you are great (response)
A D
You are great (response), you are great (response)
A/E E A
Everything written about you is great
A
Mighty mighty God
D
Worship You today
A
Give You all the praise
E
As we lift our hands to You

110
 A
With pleasure in our hearts
D
We raise our voice to say
A/E E A
Everything written about you is great

A D
Demons tremble at your presence
A
What a mighty God we serve
E
What a mighty God we serve
A
Glory, glory halleluyah
D
Glory, glory halleluyah
A/E E A
Everything written about you is great

Ekuweme
(Prospa Ochimana ft Osinachi Nwachukwu)
D/F# E/Ab A
Onye Nwe ----anyi ezitewo
D/F# E/Ab A
Ndi Mmozi------ya ---ka ha nonyere
F#m E
You are the living God ooo!
D/F# E/Ab A
Eze, no one like you
D E A D E A
Ekuweme, -------ekuweme; ekuweme, ------ekuweme
E
You are the living God ooo!
D/F# E/Ab A
Eze no one like you

111
Excess love
(Mercy Chinwo)
D A E A
Your love is kind, -------your love is patient
D A E A
Your fill my heart ------with so much peace and joy
D A E A
You’re amazing, -------You make my life feel brand new
D A E A
You’re amazing, ------You make my life feel brand new

D
Jesus you love me too much ooo
A E A
Too much ooo, too much ooo excess love ooo

D
Jesus you love me too much ooo
A E A
Too much ooo, too much ooo excess love ooo 2X

D A E A
Your love is kind, ------your love is patient
D A E A
Your fill my heart ------with so much peace and joy
D A E A
You’re amazing, ------You make my life feel brand new
D A E
All your promises are yea and amen, You’re not a man you never lie

Jesus Omekannaya
(Mercy Chinwo)
A A7 D
Oooo oooo oooo oooo ooo oooo oooo
E
Oooo oooo oooo oooo

112
 A A7 Bm
Jesus omekannaya, I worship you today
E A
Jesus omekannaya eh, I bow before your throne 2X

A A7 D D/B A/E E A
Nara nara nara oh, nara ekelem jiri bia, onye di nso 2X
A A7 D
Onye di nso, I lift my hands to you
D/B A/E E A
Onye di nso, cause only you deserve it
A A7 D
Onye di nso, idi mereme ebuka
D/B A/E E A
Chionye di nso, to you I give my all
A A7 D D/B
Men may not understand, how far you’ve brought me
A/E E A
They may not understand 2X

At the center of it all

(Eben)
D…….E……D2 A
------------------------At the center of it all
F#m E D
It’s you that I see, it’s you that I see 2X
D…….E……D2 A
------------------------There is power in your name
E F#m
Miracles happen in your name

D A
As we lift our voice in praise
F#m E D
It’s you that I see, it’s you that I see

A
You are bigger, bigger than the biggest

113
 E
You are stronger, stronger than the strongest
F#m E/Ab A
You are higher, higher than the highest
D
You are greater, greater than the greatest

A E F#m E/Ab A
Jesus, Jesus, Jesus, Jesus
D A E A
Jesus, Jesus, Jesus, Jesus

Nara
(Tim Godfrey ft. Travis Greene)
A D Bm
You’ve done so much for me, I cannot tell it all
A/E E A
Nare ---kele mo
A D Bm
If I had ten thousand tongues, it still won’t be enough
A/E E A
Nare ---kele mo
A
Chukwu na gwom o ria le
D Bm
When You heal You heal completely
A/E E A
Nare ---kele mo

A
Chukwu mara obim o
D Bm
Isi ikendu le
A/E E A
Nare ---kele mo

114
 A E/C# D Bm
What shall I render t-----o Jehovah
E A
For He has done so very much for me

A E/C# D Bm
What shall I render t-----o Jehovah
E A
For He has done so very much for me

A D Bm A/E E A
Nara nara eh, nare ekele, nare ekele mo
A D Bm A/E E A
Nara nara eh, nare ekele, nare ekele mo

Halleluyah eh
(Nathaniel Bassey)
A D
Hallelujah eh! Hallelujah o oh!
E A
Hallelujah eh! It’s the sound of victory
A D Bm
Hallelujah eh! Hallelujah o oh!
E A
Let the sound of rejoicing fill this house. 2X

A D
He has made a way, where there was no way
E A
Hallelujah eh! It’s the sound of breakthrough

Jesus did it again

(Sinach)
A
It is coming from my heart
F#m
Praise and thanks unto you Lord

115
 D
All the things that you have done
E
I’m grateful for your love
A
I give you the praise 2X

A F#m
I’m counting my blessings, I just can’t keep it to myself
D
When I thought that he had done too much
E A
Oh oh oh, Jesus did it again!

D E A
I can tell in Him now, oh oh oh
D E A
I shout it loud, from the mountain top 2X

A
I dance and praise the Lord
A D A E/Ab A
I clap and praise the Lord
A
I shout and praise the Lord
D
And when I thought that he had done too much
E A
Oh oh oh, Jesus did it again

Eze ndi eze

(Don Moen and Frank Edwards)
A D E
----Eze ndi eze
D A
Onye obi oma
D E D A
Nara ekele Papa oh ooo

116
 D E
Mmalite na ogwugwu
D A
Forever you will be
D E D
Nara otuto Papa
A D E D
Blessed be your holy name
A D E D
You are worthy to be praised
A D E
------Imara nma eh
D A
Imara nma eh
D E D A
Imara nma eh, Papa
D E D A
Idi ebube di ngozi, idi ebube di ngozi,
D E D A
Idi ebube di ngozi, idi ebube di ngozi,

(The same chords flow through the remaining verses and chorus of the
song)

If all I say is Jesus

(Dunsin Oyekan)
D
You have captured my heart
A E
Consumed my heart with your love
D
You have captured my heart
A E
Consumed my heart with your love (sing several times)

D
If all is say is Jesus, Jesus

117
A E
Jesus; that’s more than enough
D
If all is say is Jesus, Jesus
D/E A
Jesus; that’s more than enough

Imela
(Nathaniel Bassey ft. Enitan Adaba)
A
When I think upon your goodness
E/Ab
And your faithfulness each day
Bm
I’m convinced it’s not because I am worthy
A/E E
To receive the kind of love that you give
A
But I’m grateful for your mercy
E/Ab
And I’m grateful for your grace
Bm
And because of how you’ve poured out yourself
A/E E
I have come to sing this song out in praise
A E/Ab Bm A/C# D
Imela, imela, okaka, onye---ke---ruwa
A E/Ab Bm A/C# D/E
Imela, imela, eze mo

A
Who am I to sing to your praises?
E/Ab
Who am I to worship you?
Bm
It’s your blood that makes a difference in me
A/E E
And made a way to enter into your throne

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 A
I could not come near your presence
E/Ab
I could never sing your song
Bm
But the sacrifice on Calvary’s tree
A/E E
Is the reason I can cry out today

F#m E/Ab A D
Onyedikagi? Ekene diri gi, onye ne mema
F#m E/Ab A/C# D
Onyedikagi? Ekene diri gi, onye nagworia

You are wonderful

(Uche)
A Eadd9 A
We give you glory Lord a-----s we honour you
A Eadd9 A
We give you glory Lord a-----s we honour you
D2 A Eadd9 A
You are wonderful, you are worthy oh Lord
D2 A Eadd9 A
You are wonderful, you are worthy oh Lord

Son of God
(Nathaniel Bassey)
Aadd9 A/E E
The son of God is lifted high
C#m B/Eb E
The son of God is lifted high
Eadd9 A/E E
The son of God is lifted high
C#m B/Eb E
The son of God is lifted high

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A2/C# D A/E E
Oh --oh oh wonderful and glorious
A2/C# D A/E E A
Je-------sus! The son of God is lifted high

Accidentals in the Key of A

Bb C♮ Eb F♮ G♮
b2 b3 #4 b6 b7
de mor fe ze tor

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 CHAPTER 9
The Addiction is Broken
It is always a joy when the habit that once plagued someone is
dealt with and removed. Addicts who fully overcome their
compulsive lifestyles are by far the happiest people on earth
because their life is now free from the practice that was
rendering them useless and desired to kill them. They
appreciate life more and enjoy the beauty of a free life.
You probably haven’t noticed but your addiction to the
transpose button is broken. You are able to play music in six
(6) out of the twelve (12) keys on the keyboard and this is
impressive. You are encouraged to continue this healthy habit
of playing in the original keys.
Having arrived at this point in your music life, you are free to
musically express yourself in these keys. You can now
establish a relationship between the different keys and begin
transcribing certain chord structures from one key to the other.
Your confidence level will be boosted remarkably because the
anxiety associated with not being able to play in original keys
has been dealt with.

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Key of B

The key of B is one key that just few people are addicted to.
Interestingly, many transpose musicians don’t like to play in
the natural key of B. On the contrary, this key is really amazing
to play and the arrangement of the notes that comprise its
major scale makes it a cool key for many scale and chord
types. Let’s use this opportunity to discuss the basic chords
within this key.

Nomenclature in the Key of B

Naming the notes in the key of B using the four (4) naming
systems; the alphabetical, musical (solfa), number and Roman
numeral systems.

B C# Eb E F# Ab Bb B (Alphabetical system)
do re mi fa so la ti do (Musical – Solfa system)
1 2 3 4 5 6 7 1 (Number system)
I ii iii IV V vi viio I (Roman numeral system)

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[The correct way to play the B major scale with the RH and LH
has been described in my resource: “Triads - Major • Minor •
Diminished • Augmented (A Basic Introduction to
Contemporary Piano)”].

Basic Chords in the Key of B

LH RH
do – B F# B do – B Eb F#
re – C# Ab C# re – C# E Ab
mi – Eb Bb Eb mi – Eb F# Bb
fa – E B E fa – E Ab B
so – F# C# F# so – F# Bb C#
la – Ab Eb Ab la – Ab B Eb
ti – Bb E Bb ti – Bb C# E
do – B F# B do – B Eb F#

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 The LH Chords in B

do chord (B) re chord (C#)

mi chord (Eb) fa chord (E)

so chord (F#) la chord (Ab)

ti chord (Bbdim) do chord (B)

The RH Chords in B

do chord (B) re chord (C#m)

mi chord (Ebm) fa chord (E)

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 so chord (F#) la chord (Ab)

ti chord (Bbdim) do chord (B)

Kindly revisit the chord sets on pages 20 and 21 of this book

and practice them in the key of B. Take the time to religiously
go through all of it.

Examples of Songs Using Basic Chords of B

Way maker
(Sinach)
E B
You are here, moving in our midst
F# Abm
I worship you, I worship you
E B
You are here, working in this place
F# Abm
I worship you, I worship you
E
Way maker, miracle worker
B F#
Promise keeper, light in the darkness
Abm
My God that is who you are

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You are great
(Steve Crown)
B E
You are great yes you are holy one
B F#
Walked upon the sea, raised the dead
B E
You reign in majesty mighty God
B/F# F# B
Everything written about you is great

B E
You are great (response), you are great (response)
B F#
You are great (response), you are great (response)
B E
You are great (response), you are great (response)
C/G F# B
Everything written about you is great

B
Mighty mighty God
E
Worship You today
B
Give You all the praise
F#
As we lift our hands to You
B
With pleasure in our hearts
E
We raise our voice to say
B/F# F# B
Everything written about you is great

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 B E
Demons tremble at your presence
B
What a mighty God we serve
F#
What a mighty God we serve
B
Glory, glory halleluyah
E
Glory, glory halleluyah
B/F# E B
Everything written about you is great

Ekuweme
(Prospa Ochimana ft Osinachi Nwachukwu)
E/Ab F#/Bb B
Onye Nwe ---anyi ezitewo
E/Ab F#/Bb B
Ndi Mmozi------ya ---ka ha nonyere
Abm F#
You are the living God ooo!
E/Ab F#/Bb B
Eze, no --one like you

E F# B E F# B
Ekuweme, -------ekuweme; ekuweme, ------ekuweme
F#
You are the living God ooo!
E/Ab F#/Bb B
Eze no ----one like you

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Excess love
(Mercy Chinwo)

E B F# B
Your love is kind, -------your love is patient
E B F# B
Your fill my heart ------with so much peace and joy
E B F# B
You’re amazing, -------You make my life feel brand new
E B F# B
You’re amazing, ------You make my life feel brand new

E
Jesus you love me too much ooo
B F# B
Too much ooo, too much ooo excess love ooo
E
Jesus you love me too much ooo
B F# B
Too much ooo, too much ooo excess love ooo 2X

E B F# B
Your love is kind, ------your love is patient
E B F# B
Your fill my heart ------with so much peace and joy
E B F# B
You’re amazing, ------You make my life feel brand new
E B
All your promises are yea and amen
F#
You’re not a man you never lie

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Jesus Omekannaya
(Mercy Chinwo)
B B7 E
Oooo oooo oooo oooo ooo oooo oooo
F#
Oooo oooo oooo oooo

B B7 C#m
Jesus omekannaya, I worship you today
F# B
Jesus omekannaya eh, I bow before your throne 2X

B B7 E E/C# B/F F# B
Nara nara nara oh, nara ekelem jiri bia, onye di nso 2X
B B7 E
Onye di nso, I lift my hands to you
E/C# B/F# F# B
Onye di nso, cause only you deserve it

B B7 E
Onye di nso, idi mereme ebuka
E/C# B/F# F# B
Chionye di nso, to you I give my all
B B7 E E/C#
Men may not understand, how far you’ve brought me
B/F# F# B
They may not understand 2X

At the center of it all

(Eben)
E…….F#……E2 B
------------------------At the center of it all
Abm F# E
It’s you that I see, it’s you that I see 2X

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E…….F#……E2 B
------------------------There is power in your name
F# Abm
Miracles happen in your name
E B
As we lift our voice in praise
Abm F# E
It’s you that I see, it’s you that I see

B
You are bigger, bigger than the biggest
F#
You are stronger, stronger than the strongest
Abm F#/Bb B
You are higher, higher than the highest
E
You are greater, greater than the greatest
B F# Abm F#/Bb B
Jesus, Jesus, Jesus, Jesus
E B F# B
Jesus, Jesus, Jesus, Jesus

Nara
(Tim Godfrey ft. Travis Greene)

B E C#m
You’ve done so much for me, I cannot tell it all
B/F# F# B
Nare ---kele mo
B E C#m
If I had ten thousand tongues, it still won’t be enough
B/F# F# B
Nare ---kele mo
B
Chukwu na gwom o ria le
E C#m B/F# F# B
When You heal You heal completely; nare ----kele mo

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 B
Chukwu mara obim o
E C#m
Isi ikendu le
B/F# F# B
Nare ---kele mo

B F#/Eb E C#m
What shall I render t-----o Jehovah
F# B
For He has done so very much for me
B F#/Eb E C#m
What shall I render t------o Jehovah
F# B
For He has done so very much for me

B E C#m B/F# F# B
Nara nara eh, nare ekele, nare --ekele mo
B E C#m B/F# F# B
Nara nara eh, nare ekele, nare --ekele mo

Halleluyah eh
(Nathaniel Bassey)
B E
Hallelujah eh! Hallelujah o oh!
F# B
Hallelujah eh! It’s the sound of victory
B E C#m
Hallelujah eh! Hallelujah o oh!
F# B
Let the sound of rejoicing fill this house. 2X

B E
He has made a way, where there was no way
F# B
Hallelujah eh! It’s the sound of breakthrough

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Jesus did it again
(Sinach)
B
It is coming from my heart
Abm
Praise and thanks unto you Lord
E
All the things that you have done
F#
I’m grateful for your love
B
I give you the praise 2X

B Abm
I’m counting my blessings, I just can’t keep it to myself
E
When I thought that he had done too much
F# B
Oh oh oh, Jesus did it again!

E F# B
I can tell in Him now, oh oh oh
E F# B
I shout it loud, from the mountain top 2X

B
I dance and praise the Lord
B E B F#/Bb B
I clap and praise the Lord
B
I shout and praise the Lord
E
And when I thought that he had done too much
F# B
Oh oh oh, Jesus did it again

133
Eze ndi eze
(Don Moen and Frank Edwards)
B E F#
----Eze ndi eze
E B
Onye obi oma
E F# E B
Nara ekele Papa oh ooo
E F#
Mmalite na ogwugwu
E B
Forever you will be
E F# E
Nara otuto Papa
B E F# E
Blessed be your holy name
B E F# E
You are worthy to be praised
B E F#
------Imara nma eh
E B
Imara nma eh
E F# E B
Imara nma eh, Papa
E F# E B
Idi ebube di ngozi, idi ebube di ngozi,
E F# E B
Idi ebube di ngozi, idi ebube di ngozi,

(The same chords flow through the remaining verses and chorus of the
song)

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If all I say is Jesus
(Dunsin Oyekan)
E
You have captured my heart
B F#
Consumed my heart with your love
E
You have captured my heart
B F#
Consumed my heart with your love (sing several times)

E
If all is say is Jesus, Jesus
B F#
Jesus; that’s more than enough
E
If all is say is Jesus, Jesus
E/F# B
Jesus; that’s more than enough

Imela
(Nathaniel Bassey ft. Enitan Adaba)
B
When I think upon your goodness
F#/Bb
And your faithfulness each day
C#m
I’m convinced it’s not because I am worthy
B/F# F#
To receive the kind of love that you give
B
But I’m grateful for your mercy
F#/Bb
And I’m grateful for your grace
C#m
And because of how you’ve poured out yourself
B/F# F#
I have come to sing this song out in praise

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 B F#/Bb C#m B/Eb E
Imela, imela, okaka, onye---ke---ruwa
B F#/Bb C#m B/Eb E/F#
Imela, imela, eze mo

B
Who am I to sing to your praises?
F#/Bb
Who am I to worship you?
C#m
It’s your blood that makes a difference in me
B/F# F#
And made a way to enter into your throne
B
I could not come near your presence
F#/Bb
I could never sing your song
C#m
But the sacrifice on Calvary’s tree
B/F# F#
Is the reason I can cry out today

Abm F#/Bb B E
Onyedikagi? Ekene diri gi, onye ne mema
Abm F#/Bb B/Eb E
Onyedikagi? Ekene diri gi, onye nagworia

You are wonderful

(Uche)
B F#add9 B
We give you glory Lord a------s we honour you
B F#add9 B
We give you glory Lord a------s we honour you
E2 B F#add9 B
You are wonderful, you are worthy oh Lord
E2 B F#add9 B
You are wonderful, you are worthy oh Lord

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Son of God
(Nathaniel Bassey)
Badd9 E/B B
The son of God is lifted high
Abm F#/Bb B
The son of God is lifted high
Badd9 E/B B
The son of God is lifted high
Abm F#/Bb B
The son of God is lifted high

B2/Eb E B/F# F#
Oh --oh oh wonderful and glorious
B2/Eb E B/F# F# B
Je-------sus! The son of God is lifted high

Accidentals in the Key of B

C♮ D♮ F♮ G♮ A♮
b2 b3 #4 b6 b7
de mor fe ze tor

137
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138
 CHAPTER 10

True Freedom Indeed

Congratulations!!! You have successfully learnt to the play in
seven (7) different keys. In musical terms, this is real freedom.
It is important that you discipline yourself to play naturally in
these keys whenever a vocalist leads a song in any of them.
Just as the biblical saying goes, “your sins have been forgiven,
go and sin no more”; so have your past sins of transposition
been forgiven therefore go and transpose no more. 

Final Words
This book (Breaking the Transpose Addiction – Vol. 1)
helped you understand the condition you were battling with
(transposition) and assisted you with remedies and enabled you
to play in seven (7) keys [C, D, E, F, G, A and B] out of twelve
(12) keys. The songs for the demonstrations used quite simple
chords to enable you navigate your way through the very new
keys you were learning. The accidentals for each key were not
really used except for one song (Jesus Omekannaya) which
contained a b7 note in some of its chords. This was to keep
things simple for you.
Breaking the Transpose Addiction – Vol. 2 teaches you to be
able to play chords involving the accidentals in the keys learnt
so far [C, D, E, F, G, A and B], teaching you to play in the
remaining five (5) keys [C#, Eb, F#, Ab and Bb] and many

139
more. Do well to request for this resource and others by
contacting us via:
Whatsapp/call: +233268234126/ +233249768566 or
email: [email protected]

Recommended resources:
– Triads - Major • Minor • Diminished • Augmented (A
Basic Introduction to Contemporary Piano)
– Slash Chords and More
– Breaking the Transpose Addcition – Vol. 2

Wishing you the very best in your musical life.

Regards
Gideon Kofi Dzikunu
Contemporary Music Consult (CMC), Ghana.

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