Reharmonize What a Friend We Have in Jesus on Piano (with Elisha Zimbeva)

To reharmonize What a Friend We Have in Jesus in C major, start from the C, F and G triads, then replace them with colour chords such as Gm7, F7, C/E, Dm7, G13, C13 over F#, Csus over F and an Eb diminished seventh passing chord to get a gospel sound.

Video lesson by Jason Zac · Intermediate · 13 min

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What this lesson teaches

In this lesson, Jason Zac welcomes Elisha Zimbeva, a keyboardist and music director from Zimbabwe, who shows how to take a familiar hymn, What a Friend We Have in Jesus, and give it a rich gospel sound using extended and substitute chords. It suits pianists who already know basic triads and inversions and want to start adding colour to hymns and worship songs.

Step 1: Play the hymn with three simple triads

First, Elisha plays the song in C major using only three chords in root position:

• C major: C E G
• F major: F A C
• G major: G B D

Get comfortable playing the melody over these chords before adding anything else. This plain version is the skeleton you will decorate.

Step 2: Add colour to the first phrase

Use inversions on C

Instead of root position, start the C chord in first inversion (C/E) or second inversion. This already makes the movement smoother.

Substitute with Gm7 and F7

Where the plain version moves towards F, try a G minor seventh (G Bb D F in the right hand, G in the left) leading into F7. Then return to C in first inversion, C/E.

Replace G with Dm7 and G13

Where you would normally play a G chord, go to D minor seventh and then to a rich G chord. Elisha voices this with G in the left hand and F A C E in the right. Later he also uses F A B E over a G bass, which gives a full G13 sound with the B (the third) included. For an even more gospel flavour, you can play D7 instead of Dm7, and you can add an A chord after C/E as a lead-in to the D chord.

Step 3: The gospel middle section

1. Gm7 again (G Bb D F over G).
2. C13 over F#: right hand Bb D E A, left hand F#.
3. Csus over F: right hand C D G, with F in the bass. You can play the bass as an octave, and if you like you can add a minor third above the bass in the left hand for extra tension.
4. Eb diminished seventh: Eb F# A C. This works as a passing chord between F and C/G.
5. Resolve to C over G.

The diminished seventh is the key gospel ingredient here. It sits between F and C/G and creates a smooth, rising bass movement from F through Eb-area tension into G.

Step 4: Try a swing feel

Because these chords belong to the gospel style, Elisha shows that you can also play the whole reharmonized version with a swing feel. Keep the same chord changes and simply let the rhythm lilt.

Step 5: An ending idea

To close the song, Elisha moves through C7, an E diminished seventh and C over G, then finishes with a chromatic slide: a C#13 chord sliding down a semitone to C13. Approaching the final chord from a semitone above is a classic way to end a gospel arrangement.

How to practise

• Learn the plain C, F, G version first so you know where each substitution belongs.
• Add one new chord at a time, for example only the Gm7 to F7 change, until it feels natural.
• Practise the voicings slowly, hands separately: bass note in the left hand, upper notes in the right.
• Isolate the F, Eb diminished seventh, C/G movement and loop it until the passing chord flows.
• Once secure, play the melody on top with your right hand while keeping the chords underneath.

Questions about this lesson

What chords do you need to play What a Friend We Have in Jesus simply?

In C major you can play it with just three triads: C major (C E G), F major (F A C) and G major (G B D).

How does a diminished seventh chord make a hymn sound gospel?

In this lesson an Eb diminished seventh (Eb F# A C) is placed between F and C over G as a passing chord. It adds tension and a smooth bass movement that is typical of gospel harmony.

What can I play instead of a G chord in this hymn?

Try Dm7 followed by a G13, voiced with G in the left hand and F A B E in the right. Playing D7 instead of Dm7 gives an even stronger gospel flavour.

How do you end a gospel arrangement of this hymn?

One option shown is to move through C7, an E diminished seventh and C over G, then slide from C#13 down a semitone to C13.

Practise it

• Master KeyExplore diminished-seventh harmony, its resolutions and sixth-diminished sounds.
• Voicing RoomA hands-on lesson room for piano chord voicings.
• Piano classes at Nathaniel School of MusicLive online or in Bangalore, with a teacher.
• All free music apps40 practice tools for harmony, rhythm, ear training and more.

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