Keyboard Master Class

Transcription

KEYBOARD
Master Class
Fall Semester - Class VI
Tom Brooks - Instructor / Clinician
Song List for
Night of Worship
1. Everlasting God
2. Glorious / Your Name
3. Say so / Power of One
4. Today / All to You
5. Mighty to Save / Ends
6. Indescribable / How Great
7. Revelation Song / Healer
8. Desert Song / Hosanna
9. All Because of Jesus
10. Amazed / Amazing Grace
Brenton Brown
Paul Baloche
Israel H.
Lincoln Brewster
Hillsong / Morgan
Tomlin
Kari Jobe
Brooke Fraser
Steve Fee
*Keyboard improvise under Prayer / Communion
10 Keyboard Concepts
1. BASIC to BRILLIANT
2. Rock Piano
3. Working with Guitars
4. The ‘LANGUAGE of MUSIC’
5. Take it to the next Level=>
6. Beyond Piano
7. Perfecting your SOUND
8. IMPROVISATION
9. How to Practice - BETTER
*10. Putting it all together*
Keyboard Concept #1
From
BASIC
to
BRILLIANT
How to take a simple Chord Chart
and make it sound Great... 5 steps
How can I make this Basic
Chord Chart sound Brilliant?
5 STEPS:
1) Chord Voicing
2) Added Tones
3) Rhythm Patterns that GROOVE
4) Counter Melody
5) Chord Substitution
Keyboard Concept #1
From BASIC to BRILLIANT
STEP #1:
CHORD VOICING
(“Language of Music” Chapter 26)
“How Great is
our God”
Chris Tomlin
"HOW GREAT IS OUR GOD"
Rhythm
Arranged by Tom Brooks
WorshipAlliance.com
ã 73 BPM
ACOUSTIC GUITAR ONLY:
& 44 œœ œœ œœ œœ ˙˙
INTRO 1
C
Rhythm
œœ œœ œœ œœ ˙˙
Chris Tomlin
? 44 ’ ’ ’’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’’
VS 1
5
VS 2
R.S.
& ..
C
Am 7
FJ
? ..
’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
=MEDIUM GROOVE=
11
R.S.
&
C
Am 7
FJ
? ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
‘C’ Major open voicing
How Great is Our God
How can I make this Basic Chord Chart sound
Brilliant?
Keyboard Concept #1
STEP #2:
ADDED TONES for extra color
"HOW GREAT IS OUR GOD"
Rhythm
WorshipAlliance.com
ã 73 BPM
ACOUSTIC GUITAR ONLY:
& 44 œœ œœ œœ œœ ˙˙
INTRO 1
C
Rhythm
Chris Tomlin
? 44 ’ ’ ’’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’’
VS 1
5
VS 2
R.S.
& ..
C
Am 7
FJ
? ..
’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
=MEDIUM GROOVE=
11
R.S.
&
C
Am 7
FJ
? ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
Basic C Major Triad
C2 (or C add2)
?
What is the difference bet ween...
C2 - C add2 - C9 - C add9 ???
“FRIEND OF GOD”
Gungor - Houghton
'Friend Of God'
- Houghton/Gungor
#m7
F #m7
E
# # # # c . Û Û Û Û Û Û Û Û CÛÛÛ
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛ
.
&
FOR INTRO: Vamp 1st 8 Bars
A E
{VERSE}
‹‹‹‹
# # # # EÛ Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û DÛ Û Û Û Û Û Û Û .
.
KIK 2nd X:
etc...
# # # . Û Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û EÛ Û Û Û Û Û Û Û .
.
.
#B E
####
C
E
{CHORUS}
C #m7
F #m7
E
ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ ÛÛÛÛ
{VERSE}
# # # # EÛ Û Û Û Û Û Û Û CÛ#Ûm7 Û Û Û Û Û Û FÛ#m7Û Û Û Û Û Û Û DÛ Û Û Û Û Û Û Û
#### Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
.
.
#D E
{CHORUS}
‘C’
E2Major
open open
voicingvoicing
(no 3rd)
1. Open Voicing - use 2nds & 4ths versus 3rds
2. Voice higher Chord Tones down low for clusters
3. Omit 3rd to focus on Poly-Chord
4. Create half-tone ‘Sweet Collision’
C#m7,9,11(half tone clash)
F#m7,9,11(11 down in cluster)
1. Open Voicing - use 2nds & 4ths versus 3rds
2. Voice higher Chord Tones down low for clusters
3. Omit 3rd to focus on Poly-Chord
4. Create half-tone ‘Sweet Collision’
A maj7,9 (with or without 3rd)
D maj7 (7-8 crash)
Keyboard Concept #1
STEP #3:
RHYTHMIC PATTERNS
make it Groove...
“All Because of
Jesus”
Steve Fee
All Because of Jesus
Rock
b
b
&
&
bb
5
Eb
Composer Steve Fee
orch. by Bob Barrett
9/12/09
4 œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
4 ww
ww
ww
ww
muted el. gtr.
1
2
synth pad
’ ’ ’ ’
&b ’ ’ ’ ’
9
VERSE
Eb
3
Bb
Rock w/ back beat
b
E
b
A
Big dr. fill___
’ ’ ’ ’
6
G mi
10
’ ’ ’ ’
Band OUT
4 on floor
4
Eb
7
’ ’ ’ ’
Bb
8
F sus
11
’ ’ ’ ’
Bb
’ ’ ’ ’
F
12
Eb
’ ’ ’ ’
Bb
b . œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
b
& .w
’ ’ ’ ’ ’ ’ ’ ’
w
13 w
14 w
15
16
bb E b
& ’ ’ ’ ’
17
Bb
18
’ ’ ’ ’
’ ’ ’ ’
F sus
19
’ ’ ’ ’
dr. fill___
20
Keyboard Concept #1
STEP #4:
COUNTER MELODY
bridging the pauses in the melody
The “CONVERSATION”
==> more detail in “Improvisation” <==
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Keyboard Concept #1
STEP #5:
CHORD SUBSTITUTION
==>more detail later<==
How can I make this Basic
Chord Chart sound Brilliant?
5 STEPS:
1) Chord Voicing
2) Added Tones
3) Rhythm Patterns that GROOVE
4) Counter Melody
5) Chord Substitution
Here’s what I do...
?
Keyboard Concept #2
ROCK PIANO
How to lock with the Band
and nail the Groove
Rock Power Chords on Piano
“EVERLASTING
GOD”
Brenton Brown
"EVERLASTING GOD"
Rhythm
BPM = 110
WorshipAlliance.com
*Medium Rock
Brenton Brown
*1st time = Keys only
>
*Drums IN: œ
*2nd time = BAND IN:
#
INTRO
œ
j
j
& 44 .. Œ œ œj œj œ œ
œ
œ
œ
œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ
Rhythm
F
G2
G4 ---------- 3----- 4 ----------- 3 ---- 4 ----------- 3 G 2
? # 44 ..
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
œ œ œ œ œ œ œ œsimili>>>
*2nd time = BAND IN:
1
..
..
# .Œ
j
j
j
j
& .
œ
œ
œ
œ
œ
œ
œ
œ
œ
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œ
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œ œ œ.
F G2
G4 ------------ 3------ 4 ------------- 3 ------ 4 ------------- 3
? # ..
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
œ œ œ œ œ œ œ œ simili>>>
VS 1 5
VS 2
R.S.
Rock-Solid, smoldering Groove under vocal...
9
R.S.
&
Œ
G2
j
œ
œ
œ
œ
?# ’ ’ ’ ’
PRE 13
-CHR.S.
#
&
#
?# ˙
G
jB
j
œ œ œ œ œ
œ.
j
œ œ œ œ œ G
˙
G4 ------------ 3------- 4 ------------- 3 ------ 4 ------------- 3 B
’ ’ ’ ’
j œ œ ˙
œœ œ œ J
C
jD EÂ
j
œ œ œ œ œ
œ.
j
j
œ
’ ’ œœ
’ ’ ’ ’
D
˙
G
B
C
Kick up the Groove a bit...
œ œ œj
J
C
Build on Solid Ground:
THE GROOVE
• Locking with Loops
• Practice with Click Track
• Know the “Traps”
• Anticipate...“read” the other players
"TODAY IS THE DAY"
Rhythm
BPM = 120
INTRO
Rhythm
=FULL DRIVING ROCK GROOVE=
D
BÂ7
A
? # # .. ’ ’ ’ ’
>Tuck down under Verse...
9
R.S.
&
##
D
BÂ7
? ## ’ ’ ’ ’
13
R.S.
Lincoln Brewster
## 4 .
& 4 .
ƒ
D BÂ7
A
G
D BÂ7
A
G
? # # 44 .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
## .
& .
VS 1 5
VS 2
R.S.
***2 Bars of
1 Drum build up>>>
WorshipAlliance.com
&
##
D
BÂ7
? ## ’ ’ ’ ’
A
G
’ ’ ’ ’
D
G
EÂ7
’ ’ ’ ’
A
G
’ ’ ’ ’
BÂ7
’ ’ ’ ’
A
G
’ ’ ’ ’
D/F # G
’ ’ ’ ’
’ ’ ’ ’
D
A
>Kick it up a bit...
BÂ7
’ ’ ’ ’
G
’ ’ ’ ’
..
..
Step #1“Groove is Everything”
*Locking with the Band
*The Right Tempo
*Locking with Loops & Click
Practice Tip:
Spend 90% of your
Practice Time on the
2% that is Tough!
Isolate the Tough Spots and drill
them; practicing “All Touches”
THE GROOVE
Locking with Drums...
***Kick
***Hat
***Tom Fills - Crash
Examples - Hornsby
THE GROOVE
***Kick
***Hat
Example 2 - Cetera
THE GROOVE
***Kick
***Hat
Example 3 - Paul Simon
THE GROOVE
***Kick
***Hat
Example 4 - Shuffle...
How Far Is Heaven
THE GROOVE
***Kick
***Hat
Example 5 - Shuffle...
Lord I Lift Your Name
“INDESCRIBABLE”
Laura Story
GROOVE IS EVERYTHING:
Lock tempo to BPM with Loop or Click
Simple, definable, consistent parts
LISTEN as much as you play
The Beauty of simplicity
“...prefer your brother in love...”
The “WHOLE” is the Goal
The satisfaction of filling your role
THE GROOVELocking with a Soloist (rubato)
Making Rubato passages TIGHT
Following a Worship Leader
Monitors - Wedges vs. in-ears
Monitor Mix - Volume
?
Keyboard Concept #3
Working with
GUITARS
Developing the right Keyboard part
in a Guitar-driven song
“Your Grace is Enough”
Matt Maher
Give support but leave
S P A C E !
“TODAY IS THE DAY”
Lincoln Brewster
?Cover a 2nd Guitar Part?
Power Overdrive Guitar from the Keyboard
"TODAY IS THE DAY"
Rhythm
BPM = 120
INTRO
Rhythm
D
BÂ7
A
? # # .. ’ ’ ’ ’
9
R.S.
&
##
D
BÂ7
? ## ’ ’ ’ ’
13
R.S.
Lincoln Brewster
## 4 .
& 4 .
ƒ
D BÂ7
A
G
D BÂ7
A
G
? # # 44 .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
## .
& .
VS 1 5
VS 2
R.S.
***2 Bars of
1 Drum build up>>>
WorshipAlliance.com
&
##
D
BÂ7
? ## ’ ’ ’ ’
A
G
’ ’ ’ ’
D
G
EÂ7
’ ’ ’ ’
A
G
’ ’ ’ ’
BÂ7
’ ’ ’ ’
A
G
’ ’ ’ ’
D/F # G
’ ’ ’ ’
’ ’ ’ ’
D
A
BÂ7
’ ’ ’ ’
G
’ ’ ’ ’
..
..
“MIGHTY TO SAVE”
Reuben Morgan
?Cover a 2nd Guitar Part?
"MIGHTY TO SAVE"
Rhythm
BPM = 73
INTRO
Rhythm
WorshipAlliance.com
*Rock Ballade
Reuben Morgan
*GTR continue simili >>>
# # # #*GTR4 HOOK:
&
4 œœœœœœœœœœœœœœœœ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
P
? # # # # 44 Pads / SFX! fade up...
!
!
!
1
†!B!A!N!D OUT"
Drum Groove / Ac. Gtr. / Wah-Wah OD Gtr.
# # # # *ADD:
.
.
&
F AK
E2
C #Â7
#
? # # # .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
†!B!A!N!D IN" >>>
5
R.S.
*ADD BASS on repeat
VS 1 9
R.S.
# # # #*Gtr Hook / Drum Groove ONLY:
&
P
AK
? #### ’ ’ ’ ’
†!B!A!N!D OUT"
13
R.S.
&
# # # #*ADD Ac. Gtr.:
? ####
AK
’ ’ ’ ’
E2
’ ’ ’ ’
E2
’ ’ ’ ’
C #Â7
’ ’ ’ ’
C #Â7
’ ’ ’ ’
œ œ œ. œ
B4-3
..
œœ
’ ’ ’ ’ ..
œ
œ œ. œ œ œ
œ
œ œ. œ œ œ
B4-3
’ ’ ’ ’
B4-3
’ ’ ’ ’
Mighty To Save
Prepared to cover a Guitar Part? Jump to B-3 in
spots? Where are the ‘Traps’? Chart OK?
“SAY SO”
Israel Houghton
>Power Chord Voicings
>Concepts from Guitar
"SAY SO"
Rhythm
BPM = 145
*Driving Rock
WorshipAlliance.com
Michael Gungor
>œ œ >œ œ >œ œ simili...
# # # *Keys:
#
4
&
4 œœ œ œ
P E2
BÂ9 CRESC. POCO A POCO....
POCO A POCO....
? # # # # 44 œ œ œ œ œCRESC.
œœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
1
INTRO
Rhythm
µAD!!D! B!ASS SNARE: ä notes- start soft and build>>>
5
R.S.
&
####
A 2/C #
D2
E2
? #### œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ j
J œ ˙
ƒ>
CRESC. MOLTO...
Melody inside chords...
# # #*GTR:
j
j simili...
#
œ œ œ œ . œ œ œ œ œ œ . >œ
&
ƒ
E 4 E3
BÂ7
? ####
œ œ œ œ >œ œ œ œ œ
œ œ œ œ
˙..
œ œ œ œ
j
>œ
E4
>œ
9
R.S.
13
&
####
A2
œ œ œ œ >œ
# # # *Keys:
#
4
&
4 œœ œ œ
P E2
POCO A POCO....
? # # # # 44 œ œ œ œ œCRESC.
1
INTRO
Rhythm
5
R.S.
&
####
A 2/C #
D2
˙..
E2
J œ ˙
ƒ>
CRESC. MOLTO...
œ œ œ œ
# # #*GTR:
j
j simili...
#
&
ƒ
E 4 E3
BÂ7
? ####
œ œ œ œ
j
>œ
E4
>œ
9
R.S.
13
R.S.
&
####
? ####
A2
D2
œ œ œ œ nœ nœ œ œ œ
E2
œ.
j
œ ˙
*Bass
similar
idea:
A2
œ œ œ œ >œ
œ
œœ
œ
œ œ
œ ~~~
Say So
Keyboard Intro rock-solid. Where are the ‘Traps’?
Any spots you need to practice? Chart OK?
“All to You”
“Love the Lord”
Lincoln Brewster
"ALL TO YOU"
Rhythm
WorshipAlliance.com
BPM = 107 *Driving Rock
INTRO
-REINTRO
Rhythm
3
R.S.
Ac. Gtr:
# # # 4*Aggressive
.
œ
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œ
œœœœœ œœœœœœœœ
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4 .
1
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[lo-fi]
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F #Â D
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!
F #Â
R.S.
# # # *Add VS Wurli:
&
P
A
E
? ### ’ ’ ’ ’
Band way down / Kick: å notes
11
R.S.
###
&
A
E
P
? ### ’ ’ ’ ’
***
!
[***1st time = Drum Fill on 4***]
[***2nd time = Rest on 4 for GTR SFX***]
†!B!A!N!D IN"==>
œ œ œE œ œ
F #Â
ƒ Aœ œ œ E
œ œ œ
’ ’ ’ ’
F #Â
F #Â
F #Â
D
œœœœ œ œ
†!B!A!N!D IN"=DRIVING ROCK GROOVE=
VS 1 7
VS 2
Lincoln Brewster
F #Â
Aœ
D
Band CRANK!
ƒ Aœ œ œ E
œ œ œ
’ ’ ’ ’
D
D
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$$
All To You - Love the Lord
How can I best support the Guitars? Lock the
Groove? Any ‘Traps’ to watch for? Chart OK?
“Revelation Song”
Jennie Riddle
Kari Jobe
"REVELATION SONG"
Rhythm
WorshipAlliance.com
BPM = 61.8
# # # # 4[!K!E!Y!S! !O!NLY]
&
4
Kari Jobe
INTRO 1
Rhythm
E2
? # # # # 44 w
# # # # *VS. 1b = Add Band gently
.
&
P E2
BÂ7
#
? # # # .. w
w
VS 1a 3
VS 1b
R.S.
7
R.S.
&
*VS 1a = Piano only w/ pads
####
E2
#
? ## # w
CH 1 11
R.S.
w
&
####
ƒ E2
? #### ’ ’ ’ ’
BÂ7
w
BÂ7
’ ’ ’ ’
D2
nw
D2
nw
D2
’ ’ ’ ’
A2
w
A2
w
A2
’ ’ ’ ’
..
..
“Healer”
Kari Jobe
Healer
Rock
&b
A
VERSE
4
4
1
j
j
w
˙
w
œ.
œ œ œ.
œ. œ œ œ œ œ. œ œ. œ œ œ œ œ. œ œ. œ œ œ œ œ. œ œ. œ œ œ œ œ. œ
˙
F
&b ’ ’ ’ ’
5
P
&b ’ ’ ’ ’
/E
9
&b ’ ’ ’ ’
G mi7
13
B
D mi7
2
F
F
Composer
10/20/09
F/A
’ ’ ’ ’
6
D mi7
10
’ ’ ’ ’
Bb
14
’ ’ ’ ’
3
4
’ ’ ’ ’
7
Bb
11
’ ’ ’ ’
Bb
G mi7
15
’ ’ ’ ’
CHORUS
Bb
8
’ ’ ’ ’
C sus
12
’ ’ ’ ’
C sus
16
’ ’ ’ ’
C/B b
Bb
&b ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
18
19
20
21
22
17 F
F
D mi7
/C
?
Keyboard Concept #4
The
“LANGUAGE of MUSIC”
Everything you need to know about
Music Theory - in 3 minutes or less!
The
Language
of Music
Essential Music Theory
(...everything you need to know in 3 minutes)
The Basics
MUSIC THEORY
(in 3 minutes or less)
The Major Scale
Triads - Personality - Upper Tonality Chords
1-2-3 / do-re-mi / A-B-C /...it’s all the same
The Basics
MUSIC THEORY
(QUICK! - TIME’S running out!!!)
1-2-3 / do-re-mi / A-B-C /...it’s all the same
1-2-3
do-re-mi
Scale Degree
Key of C
1
do
Tonic
C
2
re
Super-Tonic
D
3
mi
Mediant
E
4
fa
Sub-Dominant
F
5
so
Dominant
G
6
la
Sub-Mediant
A
7
ti
Leading Tone
B
The Basics
MUSIC THEORY (2:30 left...)
C Major Scale
>Structure - half tone/whole tone
>Chromatic tones - other scales
STEP #3 - The Basics
MUSIC THEORY (2:00 talk fast...)
C Major Scale
>Structure - half tone/whole tone
>Chromatic tones - other scales
The Basics
MUSIC THEORY (2 minutes left!)
C Major Triad
>Structure - major 3rd/minor 3rd
>Other Triads - Minor/Augmented/Diminished
TRIAD TYPE INTERVALS KEY OF “C”
Major
Minor
Augmented
Diminished
minor 3rd
Major 3rd
Major 3rd
minor 3rd
Major 3rd
Major 3rd
minor 3rd
minor 3rd
C-E-G
C - Eb - G
C - E - G#
C - Eb - Gb
The Basics
MUSIC THEORY (hurry!!)
Triads on each scale degree
>Major Triads - 1 / 4 / 5 (Primary)
>Minor Triads - 2 / 3 / 6 (Secondary)
*Diminished Triad - 7 (no natural augmented)
The Basics
MUSIC THEORY (2 minutes left)
Chord Quality - Major / Minor
Augmented / Diminished - Extended Chords
The ‘Personality’ of each Chord type...
on each degree of the scale
Lead the Journey emotional impact of each sonority
The Basics
MUSIC THEORY (1 minute to go)
The 12 Major Keys - “Circle of Fifths”
Key Signatures - Time Signatures
Major and Minor Keys
Inversion / Transposition / Modulation
‣Your ‘120 BPM’ Reference
‣Your ‘Relative Pitch’ Reference
‣Leave a “Bread-Crumb Trail”
4
‣Chart everything in s!
5)&-"/(6"(&0'.64*$
Tricks of
the Trade
5)&
-"/(6"(&
of
.64*$
Practical Music Theory
for the Worshiping Musician
by Tom Brooks
| The Institute of Worship Arts at Yonsei University
Fantastic 4!
Musical FORm is built on the number...
4
“The GROOVE GRID”
Impact of the Amazing number 4
Exceptions to the Rule are striking (Anticipation)
MASSIVE improvement in Chart Communication
The “GPS” of Music - ‘Never-Lost’
Leave a ‘Bread-Crumb Trail’
4 divisions
per beat
4 beats
per bar
4 bars
4 phrases
per phrase per section
CCLI “TOP 25”
November
Rank Song Title
Author/s
CCLI#
1 How Great Is Our God
Tomlin, Chris \ Reeves, Jesse \ Cash, Ed
4348399
2 Here I Am To Worship
Hughes, Tim
3266032
3 Blessed Be Your Name
Redman, Beth \ Redman, Matt
3798438
4 Open The Eyes Of My Heart
Baloche, Paul
2298355
5 Forever
Tomlin, Chris
3148428
6 You Are My King
Foote, Billy
2456623
Doerksen, Brian
2430948
Zschech, Darlene
1406918
7
Come Now Is The Time To
Worship
8 Shout To The Lord
9
Lord I Lift Your Name On
High
Founds, Rick
117947
10 Holy Is The Lord
Tomlin, Chris \ Giglio, Louie
4158039
11 Everlasting God
Brown, Brenton \ Riley, Ken
4556538
Tomlin, Chris \ Giglio, Louie \ Excell, Edwin Othello \ Rees,
John P. \ Newton, John
4768151
13 We Fall Down
Tomlin, Chris
2437367
14 God Of Wonders
Byrd, Marc \ Hindalong, Steve
3118757
15 In Christ Alone
Townend, Stuart \ Getty, Keith
3350395
16 The Heart Of Worship
Redman, Matt
2296522
17 Trading My Sorrows
Evans, Darrell
2574653
18 You Are My All In All
Jernigan, Dennis
19 Breathe
Barnett, Marie
1874117
20 Beautiful One
Hughes, Tim
3915912
21 You're Worthy Of My Praise
Ruis, David
487976
22 Above All
LeBlanc, Lenny \ Baloche, Paul
2672885
23 Mighty To Save
Fielding, Ben \ Morgan, Reuben
4591782
24 The Wonderful Cross
Reeves, Jesse \ Tomlin, Chris \ Walt, J. D. \ Watts, Isaac \
Mason, Lowell
3148435
25 Days Of Elijah
Mark, Robin
1537904
12
Amazing Grace (My Chains
Are Gone)
825356
The Language of Music
Music Theory in the
21st Century
“...it’s time to break a few Rules”
Music Theory in the 21st
Century
TRIADS
Voice Chords in 2nds, 4ths, & 5ths
instead of 3rds & 6ths
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Music Theory in the 21st Century
The Sweet Collision
Half-tone ‘crash’ between
7-8 & 3-4
Major 7th Chord built on 1 and 4
“RESCUE”
Jared Anderson
‘The Sweet Collision’
half-tone dissonance
SuspensionResolution
(Fahgetaboutit!!!)
Half-tone ‘crash’ during a 4-3
suspension built on 5 Chord
BEAUTIFUL ONE INTRO
ORCHESTRATION BY TOM BROOKS
Rhythm
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Use the IV or V Chord to
end a song rather than I
Music is complex
CLEAR & SIMPLE
is always the Best Choice
The One Minute
Music Manager
?
More Great Stuff!
...that we don’t have time to talk about now-
>Nashville Number System
>Transposition - Modulation
>Light-Speed Ear Training and more...
Keyboard Concept #5
Take your skills to
the Next Level
*Learn from the MASTERS
*More Advanced Chord options
“Amazed”
Jared Anderson
"AMAZED"
Rhythm
WorshipAlliance.com
BPM = 72-76 *Sweet Ballade
& 44
Jared Anderson
***INTRO:
1 *Vox / Pad / etherial FX only...
Pad dawning
VS 1
Rhythm
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“DESERT SONG”
Minor Key
“GLORIOUS”
Martha Munizzi
Israel Houghton
"GLORIOUS"
Rhythm
BPM = 100
WorshipAlliance.com
*Salsa Caliente
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Israel Houghton
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14
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Extended
Dominant
Chords
Try this “ShortHand”
method to identify,
organize, and play these
complex chords fluently
5)&-"/(6"(&0'.64*$
Advanced
Keyboard
Concepts
5)&
-"/(6"(&
of
.64*$
by Tom Brooks
F/G
E/G
Eb/G
Db/G
Bb/G
>Many Extended Chords can be
thought of as ‘POLY-CHORDS’ >Every Triad over a single Root
will yield a unique Poly-Chord
Challenge
yourself!!
Challenge
yourself!!
Challenge
yourself!!
The One Minute
Music Manager
?
Keyboard Concept #6
Beyond Piano
Become a Master of the entire
Keyboard pantheon expand your Toolbox
“EVERYBODY
PRAISE THE LORD”
Lincoln Brewster
Hammond B-3 organ
'Friend Of God'
- Houghton/Gungor
#m7
F #m7
E
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.
&
FOR INTRO: Vamp 1st 8 Bars
A E
{VERSE}
‹‹‹‹
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etc...
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{VERSE}
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{CHORUS}
All Because of Jesus
Rock
b
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Composer Steve Fee
9/12/09
4 œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
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3
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Rock w/ back beat
b
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b
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10
’ ’ ’ ’
Band OUT
4 on floor
4
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11
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19
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20
"TODAY IS THE DAY"
Rhythm
BPM = 120
INTRO
Rhythm
D
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Lincoln Brewster
## 4 .
& 4 .
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VS 2
R.S.
***2 Bars of
1 Drum build up>>>
WorshipAlliance.com
&
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"SAY SO"
Rhythm
BPM = 145
*Driving Rock
WorshipAlliance.com
Michael Gungor
# # # *Keys:
#
4
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POCO A POCO....
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Hammond B-3
Modern Worship / Rock / Gospel
The Leslie Speaker - “Chorale-Tremolo” = slow-fast
The Drawbars - Harmonics / Partials
The ‘Reverse Key’ Preset switches at the left
Chorus / Vibrato dial-switches
Emulations versus ‘The Real Thing’
***After the Workshop...
meet me on the stage to check out the B-3
“God of This City”
Chris Tomlin
2 Hands = 2 Parts = 2 Keyboards
“Jesus Messiah”
Chris Tomlin
>Strings from the Keyboard
>Layering Parts
Jesus Messiah
q=86
&
Intro
Verse
9
13
####
####
20
####
24
####
28
#
# c ’ ’ ’ ’
# m7
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C
#m7(4)
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#### .
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5
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C m7
B/F
E 2(no3)
B
C
# ’ ’ ’ ’
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B/F
# ’
Chorus
####
####
B/D
Daniel Carson, Chris Tomlin, Ed Cash, Jesse Reeves
16
####
B
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Keyboard Concept #7
Perfecting your SOUND
“Take Pride in your AXE!” (can I say that?!?)
Plan Ahead - Have Great Sounds at your
Fingertips for each song
Lock your Sound with the Band
Perfecting Your
Sound
‣ *Not only “How does the Keyboard sound?”...
“HOW DOES IT SOUND THROUGH THE PA?!?”
‣ Separate Keyboard Amp - monitors close
‣ Micing the Grand Piano / Micing the B-3
‣ Electronic Keyboards: Top Quality DI
==>MONO vs. STEREO output
‣ Monitor Mix perspective / volume / EQ
‣ Blending your Sound with the Band
Keyboard Sounds
Your “Favorites” List
Keyboard Sounds
+++Acoustic Grand Piano - (or sample)
*Pop / rock / studio / ‘classical’ / salsa / blues
+++Electric Pianos - ‘Vintage’ Keybords
*Rhodes-Dyno / FM / Wurlitzer / samples
>Grand - EP combinations
+++Pads, voices, sweeps, and washes
+++Samples - strings / brass / woodwinds / etc…
+++Solo Patches
+++Hammond B-3
>Adding a second keyboard - 2 part / crossfades
***Your “Favorites” List
The One Minute
Music Manager
?
Keyboard Concept #8
Improvisation
How to improve your skill at
soloing, Free Worship, etc...
Improvisation
Free Worship
Chord Substitution
Soloing in Worship
Free Worship
Progressions...
Take the Spiritual attitude or mood
and help it carry on
Consider using the last phrase
of the song as an option
Sense where the Worship Leader
or Pastor is going
Lead the Congregation with Dynamics
and Chord Substitution
Fresh Hymns
How to give a
Classic Hymn a Fresh
Contemporary
sound and feel
“AMAZING GRACE”
(My Chains are Gone)
Chris Tomlin
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Chord - Melody Relationship
Melody is usually ‘fixed’
Chord Progression must support melody
Key Melody notes should be Chord Members
Chords should support the attitude or ‘mood’
of the Melody and Lyric
Chord Substitution
Any Chord that supports the Melody - Taste
Start with the Basics and G R O W . . .
Harmonic Rhythm
"AMAZING GRACE"
Keyboard
VERSE 1: Write in a BASIC CHORD PROGRESSION with simple Sunstitutions
& b 34 ˙
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“GREAT IS THY
FAITHFULNESS”
Classic Hymn
No Band - No Chart
Free to re-Harmonize
Rhythm
Saddleback Orchestra
Great Is Thy Faithfulness
Composed By William M. Runyan
Orch. By Ed Dickinson
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&
# #G
# o7
’
15
’
’
’
’
F #m i7
’
8
D
’
12
D/A
’
16
3
’
’
’
B m i7
’
E 7sus
’
D maj7
’
E m i7
’
B
’
9
’
13
’
17
’
’
’
19
&
##
A
’
23
G/A
’
G 2/B A/C #
’
D
’
20
D
’
’
24
A
D
’
’
’
’
21
E 7sus
’
25
D maj7
’
’
D sus4 D
’’’ ’’’
4
Refrain
# # G/A
& ’ ’
G/A
5
E
6
’
G/A
’
’
’
’
G maj7
’
’
’
’
A
’
10
’
14
D
’
18
B/D # E m i7
’
’
22
’
’
E
’
G/A
’
’
D7
G maj7
’
26
G6
‣
Extended
Cadences
“If you can play ‘ii>V>I’,
you can go anywhere in
Music”
5)&-"/(6"(&0'.64*$
Advanced
Keyboard
Concepts
5)&
-"/(6"(&
of
.64*$
by Tom Brooks
4
&4
1
Rhythm
? 44
“Waterwings” Verse Progression
BX,-9,13
& www
bw
G m 11
?w
w
9
&
R.S.
..
ww
www
A m 11
? .. w
w
13
R.S.
&# # wwww
F #m 11
? ww
#w
E m 11
w
w
# # # www
A13,-9
w
w
b b wwww
A b13
w
ww
# ww
w
DK,#11,13
#w
ww
# ww
w
w
ww
GK,#11,13
bw
bw
www
#w
B7,#5,-9,#9
w
w
!
# www
w
B7,#5,#9
.. ww
5
R.S.
ww
b ww
.. # ww
ww
#w
# # # www
EK#11,13
#w
ww
˙
b www
w
A b13,#11
bw
bw
‰ j" j
œ œ.
..
..
b b wwww
D b13,#11
w
b b ww
ww
ww
B b9,#11,13
bw
bw
..
..
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
B sus4,b9,13
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
B7,#5,#9
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
E min7,9,11
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
G min7,9,11
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
G min7,9,11
A13,b9
‘C’
E2D
Major
open
open
voicingvoicing
(no 3rd)
Gmaj9,#11,13
min7,9,11
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
G min7,9,11
Ab
(9,#11,13)
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
G
A min7,9,11
‘C’
E2Major
open
open
voicing
(no 3rd)
G Ab
min7,9,11
(13) voicing
‘C’
E2G
Major
open
open
voicingvoicing
(no 3rd)
Gmaj9,#11,13
min7,9,11
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
Db
G min7,9,11
(9,#11,13)
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
GF#
min7,9,11
min11
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
GBmin7,9,11
(#5,#9)
‘C’
E2Major
open
voicingvoicing
(no 3rd)
Eopen
Gmaj9,#11,13
min7,9,11
‘C’
E2Major
open
open
voicingvoicing
(no 3rd)
Bb
G min7,9,11
(9,#11,13)
Keyboard under
Pastor’s Prayer /
Communion
Sermon was about
God’s Faithfulness song ideas / create a prayerful
atmosphere for Communion - ministry
Solos in Worship
Improvising Melody over the Band
Base it around the Vocal Melody
Make a Bold initial statement
Start simple and develop as you go
Create a strong clear finish - transition
“SING” in your Heart before you play
Mst. Rhythm
Synthesizer
&
&
# ! ##!
#
"
!
* # ##!
# " !
Paul Jackson Jr.
% %
'' & '( '( ' #
## $
Cmi7
Gmi7 Cmi9
%Ami7b5
$
$ Cmi7 %Ami7b5
%.D7#9
) D7#9
+
# +
# ' $ ,$ , $ )
#
$ $ $ & $ $# $ &
$ $ $ $ $ $ & $-$ $# $ & $ , $ $ , $ $ $#
$
##
%
q = 66 DX RHodes
'
%
$$$
$
El. Bass Gmi7
'
$#
$$ ## $
$#
& # ' & '% ') ')
'
(
%
$$$
$
'
Cmi9
&#
'
$#
$$ ## $
$#
# ! #!
#
" #! '
'
'
'
'
'
' '
'
'
'
'
'
'
'
$
#
#
'
* ## ##! '
" !
'
'
'
'
'
' '
'
'
'
'
'
'
'
' ## %
5 Verse
(DX/
RHodes) .
!
#
#
#
#
"
$ $
$$$ ###
5
M.Rhy.
&
2 For 10,000
* # ##
# " $# $ $ 2
$
Gmi7
5
#!
" # ## $'
0 $$ $$
$$ ##
$$ 11 ##
$#
$
$' $ $ $ $ $ ,
$ $ $$$1 #
3
&# +
$$ $
(
'
Gmi7
Fmi7
& $
$# $ $ $
& $#
$ $# $ $
'# ' (
Ab/Bb
$
Ebmaj7
$ $ $$$
$
$
$#
$ $ $ $ 1#
' # $+
Improvisation
Hands Your Physical response
Head Your Mental response
Heart Your Spiritual response
Solos...
Improvising on BLUES Scale
Improvising on PENTATONIC Scale
‘Word of the Day’ - “PAN-DIATONICISM”
Alternate Scales over Chords
C scale/dm7 - G scale/C major - Bb or E/G7
Improvising with MODES...
MODES: Easy way to remember...
***Scales built on each degree of C major
C = Ionian (same as Major scale)
D = Dorian (minor scale with #6)
E = Phrygian (minor scale with b2 - rare)
F = Lydian (Major scale with #4)
G = Mixolydian (Major scale with b7)
A = Aeolian (same as minor scale)
B = Locrian (diminished, b2, rare)
Comping...
Improvised Rhythmic Groove under Melody
Move smoothly through Chord Progression
Counter-melodic motion
Lock with Bass & Drums; particularly Hi-Hat
The “BIG PICTURE” Design your part from God’s perspective
Keyboard Concept #9
How to Practice...
BETTER (Smarter)
10 Steps to help you Practice more
Effectively and Efficiently
*How to Practice more
Efficiently and Effectively
BE PREPARED! Have Charts / Keys ready
Make an “APPOINTMENT” - Top Priority
Quiet Room-“DO NOT DISTURB”-cell phone OFF!
Spend 90% of your time on the 5% that needs it
Find the “Traps” - Mark Charts clearly
Practice with Click / Loop - Drill the Tough Spots
*In Rehearsal with the Band...
Listen to what others are playing; then
modify or re-design your part if necessary.
Anticipate / Analyze / Adapt = FOCUS!
A sense of urgency - THIS IS A PRIORITY!
LISTEN! ...If it doesn’t sound good; FIX IT!
The first 9 bars are CRITICAL >tempo / groove / overall confidence
How to
Rehearse
more effectively
Mind - Heart - Spirit
PRACTICE =
You
...put the music in your head - hands
REHEARSAL =
Band
...play it from your Heart - Soul
WORSHIP =
...give it back to God
and let His Spirit play through you
Church
“How to Avoid a Train Wreck”
Catching Vocal Cues - Pick-up notes to Song Sections
Common Tones to both possible Song Sections
Know who is ‘Keeping the Clock’ any every moment
Let 1 Player only subdivide during Ritards
Worship Leader ‘Body Language’ or signals
*Be Sensitive - Listen and watch
*Pay Attention to every detail
*Breathe with the Singer
“Tom’s Top Ten”
The 10 Best Ways to ‘Improve Your Groove’
1. Practice locking with Loop
2. Voice Chords with 2nds & 4ths
3. Learn song like CD first
4. Make eye contact with drummer
5. Play fewer notes; play them better
6. Listen to the Band-design your part
7. Know the song, Inside & Out
8. Avoid left hand conflicts with Bass
9. On Solos, sing in your Heart first
10. Pray-ask God to play through you!
“Tom’s Top Ten”
The 10 Best Ways to ‘Improve Your Groove’
The Three ‘T’s
1. Timing - Lock with the Drums
2. Tuning - Listen and adjust
3. Timbre - Have great sounds ready
Keyboard Concept #10
Putting it all together
What to do before every Service...
Tom’s TOP
TEN Tips
1. Get the Music in advance - be organized
2. Practice efficiently before the service
3. Choose your Sounds for each song
4. Check out any recording that may exist
5. Check Charts for errors / traps - Make Notes
Tape Charts? Add Tabs for order?? Book???
Tom’s TOP
TEN Tips
6. Rehearse with the Band; if possible
7. Arrive early: check setup-sounds-monitors
8. Talk / Pray / Pull the Band together
9. During the service Communicate!
10. Let God direct you and Play Through You
?
Resource Page:
You can download this presentation from
our website - TomBrooksMusic.com
You can study in more detail using our Workbook ‘THE LANGUAGE OF MUSIC’ (also on DVD today!)
You can download these Music Examples
from our ‘iMix’ on iTunes entitled,
THE LANGUAGE OF MUSIC
You can email me with questions at...
TomBrooks@WorshipAlliance.com
5)&-"/(6"(&0'.64
5)&
-"/(6"(&
of
.64*$
by Tom Brooks
TomBrooksMusic.com

Keyboard Master Class

Transcription

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