2 keyboard master class
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KEYBOARD
Master Class
Fall Semester - Class VITom Brooks - Instructor / Clinician
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Keyboard Concept #1From
BASIC to
BRILLIANT How to take a simple Chord Chartand make it sound Great... 5 ste s
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Keyboard Concept #1
From BASIC to BRILLIANT STEP #1:
CHORD VOICING(“Language of Music” Chapter 26)
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“How Great is
our God”
Chris Tomlin
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&
?
44
44Rhythm
INTROACOUSTIC GUITAR ONLY: 1
œœ œœ œœ œœ ˙̇
’ ’ ’’C
œœ œœ œœ œœ ˙̇
’ ’ ’’
œœ œœ œœ œœ ˙̇
’ ’ ’’
œœ œœ œœ œœ ˙̇
’ ’ ’’
&
?
..
..R.S.
VS 2
VS 1
MEDIUM GROOVE
5
’’’’C
’’’’ ’’’’Am 7
’’’’ ’’’’FJ
’’’’
&
?R.S.
11
’’’’C
’’’’ ’’’’Am 7
’’’’ ’’’’FJ
’’’’
Arranged by Tom Brooks
WorshipAlliance.com
"HOW GREAT IS OUR GOD"
Rhythmã 73 BPM Chris Tomlin
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‘C’ Major open voicing
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How Great is Our GodHow can I make this Basic Chord Chart sound
Brilliant?
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Keyboard Concept #1
From BASIC to BRILLIANT STEP #2:
ADDED TONES for extra color(“Language of Music” Chapter 24)
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&
?
44
44Rhythm
INTROACOUSTIC GUITAR ONLY: 1
œœ œœ œœ œœ ˙̇
’ ’ ’’C
œœ œœ œœ œœ ˙̇
’ ’ ’’
œœ œœ œœ œœ ˙̇
’ ’ ’’
œœ œœ œœ œœ ˙̇
’ ’ ’’
&
?
..
..R.S.
VS 2
VS 1
MEDIUM GROOVE
5
’’’’C
’’’’ ’’’’Am 7
’’’’ ’’’’FJ
’’’’
&
?R.S.
11
’’’’C
’’’’ ’’’’Am 7
’’’’ ’’’’FJ
’’’’
Arranged by Tom Brooks
WorshipAlliance.com
"HOW GREAT IS OUR GOD"
Rhythmã 73 BPM
Chris Tomlin
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Basic C Major Triad
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C2 (or C add2)
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?What is the difference between...
C2 - C add2 - C9 - C add9 ???
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“FRIEND OF GOD”
Gungor - Houghton
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& # # # # c ..A
ÛÛÛÛE
ÛÛÛ Û ÛÛÛÛC
# m7 ‹ ‹ ‹ ‹ Û ÛÛÛ ÛÛÛ ÛF
# m7 ÛÛÛ Û ÛÛÛ ÛE
ÛÛÛÛ# # # # ..
B
Û Û Û ÛE Û Û Û Û Û Û Û ÛC# m7 Û Û Û Û Û Û Û ÛF# m7 Û Û Û Û Û Û Û ÛD Û Û Û Û
# # # # .. ..Û Û Û ÛE
Û Û Û Û Û Û Û ÛC
# m7
Û Û Û Û Û Û Û ÛF
# m7
Û Û Û Û Û Û Û ÛE
Û Û Û Û# # # #
CÛ Û Û ÛE Û Û Û Û Û Û Û ÛC# m7 Û Û Û Û Û Û Û ÛF# m7 Û Û Û Û Û Û Û ÛE Û Û Û Û
# # # #
D
Û Û Û ÛE
Û Û Û Û Û Û Û ÛC
# m7
Û Û Û Û Û Û Û ÛF
# m7
Û Û Û Û Û Û Û ÛD
Û Û Û Û# # # # ÛÛ Û Û ÛÛ Û Û ÛÛ Û Û Û ÛÛ Û
# # # # .. ..Û Û Û ÛE
Û Û Û Û Û Û Û ÛC
# m7
Û Û Û Û Û Û Û ÛF
# m7
Û Û Û Û Û Û Û ÛE
Û Û Û Û
'Friend Of God'
{VERSE}
{VERSE}
{CHORUS}
{CHORUS}
FOR INTRO: Vamp 1st 8 Bars
- Houghton/Gungor
KIK 2nd X: etc...
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‘C’ Major open voicingE2 open voicing (no 3rd)
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1. Open Voicing - use 2nds & 4ths versus 3rds2. Voice higher Chord Tones down low for clusters
3. Omit 3rd to focus on Poly-Chord
4. Create half-tone ‘Sweet Collision’
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C#m7,9,11(half tone clash)
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F#m7,9,11(11 down in cluster)
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1. Open Voicing - use 2nds & 4ths versus 3rds2. Voice higher Chord Tones down low for clusters
3. Omit 3rd to focus on Poly-Chord
4. Create half-tone ‘Sweet Collision’
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A maj7,9 (with or without 3rd)
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D maj7 (7-8 crash)
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Keyboard Concept #1
From BASIC to BRILLIANT
STEP #3:
RHYTHMIC PATTERNSmake it Groove...
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“All Because of
Jesus”
Steve Fee
All Because of Jesus
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b b
4
1œœœœœœœœœœœœœœœœ
muted el. gtr.
synth pad2œœœœœœœœœœœœœœœœ
3œœœœœœœœœœœœœœœœ
4œœœœœœœœœœœœœœœœ
Big dr. fill___
b
b
5
’ ’ ’ ’
Eb
Rock w/ back beat
6
’ ’ ’ ’
B b
7
’ ’ ’ ’
Eb
8
’ ’ ’ ’
Bb
b
b
9
’ ’ ’ ’
E b
10
’ ’ ’ ’
Gmi
11
’ ’ ’ ’
Fsus
12
’ ’ ’ ’
F
b b
13
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
E
b
w
A VERSE
4 on floor
Band OUT
14
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B
b
w
15
’ ’ ’ ’
Eb
16
’ ’ ’ ’
Bb
b
b
17
’ ’ ’ ’
E b
18
’ ’ ’ ’
B b
19
’ ’ ’ ’
Fsus
20
’ ’ ’ ’
dr. fill___
All Because of Jesus
RockComposer Steve Feeorch. by Bob Barrett9/12/09
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Keyboard Concept #1From BASIC to BRILLIANT
STEP #4:COUNTER MELODY
bridging the pauses in the melodyThe “CONVERSATION”
==> more detail in “Improvisation” <==
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!
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$ $ $ $%& %
'!()*+,- /012'
345#!/6
3578 9:8;56
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Keyboard Concept #1From BASIC to BRILLIANT
STEP #5:CHORD SUBSTITUTION
(“Language of Music” Chapter 30)
==>more detail later<==
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Here’s what I do...
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?
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Keyboard Concept #2
ROCK PIANOHow to lock with the Band
and nail the GrooveRock Power Chords on Piano
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“EVERLASTING
GOD”
Brenton Brown
"EVERLASTING GOD"
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&?
#
#44
44
..
..
..
..Rhythm
VS 2
VS 1
INTRO
*1st time = Keys only *2nd time = BAND IN:
simili>>> *2nd time = BAND IN:
1
Œ
œ œ jœ
œ
j
œœF œ œ œ œ œ œ œG 2 œ œ œ œ .œ
j
œ ’ ’ ’ ’
œ œ œ œ .œ
j
œ ’ ’ ’ ’
*Drums IN:
œ œ œ œ œ
œœœ
G 2
’ ’ ’ ’
&
?
#
#
..
..R.S.
simili>>> Rock-Solid, smoldering Groove under vocal...
5
Œœ œ
jœ œ jœ
œF œ œ œ œ œ œ œG 2
œ œ œ œ .œ
jœ
’ ’ ’ ’
œ œ œ œ .œ
jœ
’ ’ ’ ’
œ œ œ œ ˙
’ ’ ’ ’
&
?
#
#R.S.
9
Œœ œ
jœ œ jœ
G 2
’ ’ ’ ’
œ œ œ œ .œjœ
’ ’ ’ ’
œ œ œ œ .œjœ
’ ’ ’ ’
Kick up the Groove a bit...
œ œ œ œ ˙ ’ ’ jœ œ jœ
G
B
C
&
?
#
#R.S.
PRE-CH-
13
˙ jœ œ jœ
GB
C
jœ œ Jœ ˙D EÂ
˙ Jœ œ jœD
GB
C
Arranged by Tom BrooksWorshipAlliance.com
EVERLASTING GODRhythmBPM = 110 Brenton Brown*Medium Rock
G4 ---------- 3----- 4 ----------- 3 ---- 4 ----------- 3
G4 ------------ 3------ 4 ------------- 3 ------ 4 ------------- 3
G4 ------------ 3------- 4 ------------- 3 ------ 4 ------------- 3
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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"
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&?
##
# # 44
44
.
...
.
...Rhythm
1
’ ’ ’ ’D BÂ7
INTRO
FULL DRIVING ROCK GROOVE
***2 Bars of Drum build up>>>
ƒ ’ ’ ’ ’A G
’ ’ ’ ’D BÂ7
’ ’ ’ ’A G
&?
##
# #
..
..R.S.
5
’ ’ ’ ’D BÂ7
VS 1
VS 2
>Tuck down under Verse...
’ ’ ’ ’A G
’ ’ ’ ’D BÂ7
’ ’ ’ ’A G
&
?
##
# #R.S.
9
’ ’ ’ ’D BÂ7
’ ’ ’ ’A G
>Kick it up a bit
’ ’ ’ ’EÂ7 D/F #
’ ’ ’ ’G
&
?
##
# #R.S.
13
’ ’ ’ ’D BÂ7
’ ’ ’ ’A G
’ ’ ’ ’D BÂ7
’ ’ ’ ’A G
Arranged by Tom BrooksWorshipAlliance.com
TODAY IS THE DAYRhythmBPM = 120 Lincoln Brewster
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Step #1-
“Groove is Everything”*Locking with the Band
*The Right Tempo
*Locking with Loops & Click
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Practice Tip:
Spend 90% of your
Practice Time on the2% that is Tough!
Isolate the Tough Spots and drillthem; practicing “All Touches”
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Build on Solid Ground:
THE GROOVE
Locking with Drums...***Kick
***Hat ***Tom Fills - CrashExamples - Hornsby
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Build on Solid Ground:
THE GROOVE
Locking with Drums...***Kick
***Hat ***Tom Fills - CrashExample 2 - Cetera
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Build on Solid Ground:
THE GROOVE
Locking with Drums...***Kick
***Hat ***Tom Fills - CrashExample 3 - Paul Simon
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Build on Solid Ground:
THE GROOVE
Locking with Drums...***Kick
***Hat ***Tom Fills - CrashExample 4 - Shuffle...How Far Is Heaven
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Build on Solid Ground:
THE GROOVE
Locking with Drums...***Kick
***Hat ***Tom Fills - CrashExample 5 - Shuffle...Lord I Lif t Your Name
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“INDESCRIBABLE”
Laura Story
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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
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THE GROOVE-
Locking with a Soloist (rubato)Making Rubato passages TIGHT
Following a Worship Leader
Monitors - Wedges vs. in-ears
Monitor Mix - Volume
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Here’s what I do...
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?
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Keyboard Concept #3
Working withGUITARS
Developing the right Keyboard partin a Guitar-driven song
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“Your Grace is Enough”
Matt Maher
Give support but leaveS P A C E !
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“TODAY IS THE DAY”
Lincoln Brewster
?Cover a 2nd Guitar Part?Power Overdrive Guitar from the Keyboard
"TODAY IS THE DAY"
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&?
##
# # 44
44
.
...
.
...Rhythm
1
’ ’ ’ ’D BÂ7
INTRO
FULL DRIVING ROCK GROOVE
***2 Bars of Drum build up>>>
ƒ ’ ’ ’ ’A G
’ ’ ’ ’D BÂ7
’ ’ ’ ’A G
&?
##
# #
..
..R.S.
5
’ ’ ’ ’D BÂ7
VS 1
VS 2
>Tuck down under Verse...
’ ’ ’ ’A G
’ ’ ’ ’D BÂ7
’ ’ ’ ’A G
&
?
##
# #R.S.
9
’ ’ ’ ’D BÂ7
’ ’ ’ ’A G
>Kick it up a bit
’ ’ ’ ’EÂ7 D/F #
’ ’ ’ ’G
&
?
##
# #R.S.
13
’ ’ ’ ’D BÂ7
’ ’ ’ ’A G
’ ’ ’ ’D BÂ7
’ ’ ’ ’A G
Arranged by Tom BrooksWorshipAlliance.com
O SRhythmBPM = 120 Lincoln Brewster
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“MIGHTY TO SAVE”
Reuben Morgan
?Cover a 2nd Guitar Part?
"MIGHTY TO SAVE"
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&
?
### #
# # # #
44
44Rhythm
INTRO *GTR HOOK: *GTR continue simili >>>
Pads / SFX fade up...
>>>
1
œ
† B ND OUT
œœœœœœœœœœœœœœœ
† B ND IN
!
’ ’ ’ ’
!
’ ’ ’ ’
!
’ ’ ’ ’
!
&
?
### #
# # # #
..
..
..
..R.S.
*ADD: Drum Groove / Ac. Gtr. / Wah-Wah OD Gtr.
*ADD BASS on repeat
5
’ ’ ’ ’
P
F AK
’ ’ ’ ’E 2
’ ’ ’ ’C
# Â7
œ œ .œ œ œ œ
’ ’ ’ ’B 4-3
&
?
### #
# # # #R.S.
VS 1 *Gtr Hook / Drum Groove ONLY:9
’ ’ ’ ’† B ND OUT
P AK
’ ’ ’ ’E 2
’ ’ ’ ’C# Â7
œ œ .œ œ œ œ
’ ’ ’ ’B 4-3
&
?
### #
# # # #
R.S.
*ADD Ac. Gtr.:13
’ ’ ’ ’
AK
’ ’ ’ ’
E 2
’ ’ ’ ’
C# Â7
œ œ .œ œ œ œ
’ ’ ’ ’
B 4-3
Arranged by Tom BrooksWorshipAlliance.com
RhythmBPM = 73 Reuben Morgan*Rock Ballade
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Mighty To SavePrepared to cover a Guitar Part? Jump to B-3 in
spots? Where are the ‘Traps’? Chart OK?
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“SAY SO”
Israel Houghton
>Power Chord Voicings>Concepts from Guitar
"SAY SO"
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&?
##### # # #4444
Rhythm
INTRO
SNARE: ä notes- start soft and build>>> DD B
SS
Keys: simili...1 œ
œœ
œ œ œ œ œ
œ œ
œP
œ œ
CRESC. MOLTO...
CRESC. POCO A POCO....œ œ œ œ œE 2 œ œ œ œ œ œ œ œ œ œ œ œ œCRESC. POCO A POCO....
œ œ œBÂ9
œ œ œ œ œ œ œ œ
&?
####
# # # #R.S.
5
œ œ œ œ œ œ œ œA 2 /C#
œn œ œ œ œ œ œ œD 2
Jœ œ jœ
ƒ ˙E 2
. .˙ jœ œ œ œ œ œ
E4
&?
### ## # # #
R.S.
FULL DRIVING ROCK GROOVE
GTR: Melody inside chords...
9
œ œ œ .œ jœœ
ƒœ œ œ
E4 E3 œ œ œ œ .œ jœ œ œ œ œ œ
BÂ7
simili...
œ œ œ œ œ œ œ œ œ A 2
& ## # #13
Arranged by Tom BrooksWorshipAlliance.com
RhythmBPM = 145 Michael Gungor *Driving Rock
& ### # 4INTRO Keys: simili...
1
œ œ œ œ œ œ
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&?
### #
# # # #
44
44Rhythm
INTRO
SNARE: ä notes- start soft and build>>> DD B
SS
œœ œ œ œ œ œ
œP
œ œ
CRESC. MOLTO...
CRESC. POCO A POCO....œ œ œ œ œE 2 œ œ œ œ œ œ œ œ œ œ œ œ œCRESC. POCO A POCO....
œ œ œBÂ9
œ œ œ œ œ œ œ œ
&?
### #
# # # #R.S.
5
œ œ œ œ œ œ œ œA 2 /C#
œn œ œ œ œ œ œ œD 2
Jœ œ jœ
ƒ ˙
E 2
. .˙ jœ
œ œ œ œ œ E4
&?
### #
# # # #R.S.
FULL DRIVING ROCK GROOVE
GTR: Melody inside chords...
9
œ œ œ .œ jœ
œ
ƒ
œ œ œ
E4 E3
œ œ œ œ .œ jœ
œ œ œ œ œ BÂ7
simili...
œ œ œ œ œ œ œ œ œ A 2
&?
### #
# # # #R.S.
13
œ œ œ œ œnA 2 D 2 œn œ œ œ .œ j
œ ˙
E 2 *Bass
similar idea:
œ
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Say SoKeyboard Intro rock-solid. Where are the ‘Traps’?
Any spots you need to practice? Chart OK?
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“All to You”
“Love the Lord”
Lincoln Brewster
"ALL TO YOU"
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Arranged by Tom BrooksWorshipAlliance.com
RhythmBPM = 107 Lincoln Brewster *Driving Rock
C+IEAJ%EAC+ @
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All To You - Love the LordHow can I best support the Guitars? Lock the
Groove? Any ‘Traps’ to watch for? Chart OK?
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“Revelation Song”
Jennie Riddle
Kari Jobe
"REVELATION SONG"
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Arranged by Tom BrooksWorshipAlliance.com
RhythmBPM = 61.8 Kari Jobe
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“Healer”
Kari Jobe
HealerComposer
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b
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Composerorch. by Bob Barrett10/20/09
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Here’s what I do...
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Keyboard Concept #4
The“LANGUAGE of MUSIC”
Everything you need to know aboutMusic Theory - in 3 minutes or less!
Th
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The
Language
of Music
Essential Music Theory(...everything you need to know in 3 minutes)
The Basics
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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
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The Basics
MUSIC THEORY (QUICK! - TIME’S running out!!!)
1-2-3 / do-re-mi / A-B-C /...it’s all the same
The Basics
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The BasicsMUSIC THEORY (2:30 left...)
C Major Scale>Structure - half tone/whole tone>Chromatic tones - other scales
STEP #3 - The Basics
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STEP #3 The BasicsMUSIC THEORY (2:00 talk fast...)
C Major Scale>Structure - half tone/whole tone>Chromatic tones - other scales
The Basics
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The BasicsMUSIC THEORY (2 minutes left!)
C Major Triad>Structure - major 3rd/minor 3rd
>Other Triads - Minor/Augmented/Diminished
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TRIAD TYPE INTERVALS KEY OF “C”
Majorminor 3rdMajor 3rd
C - E - G
Minor Major 3rdminor 3rd C - Eb - G
AugmentedMajor 3rdMajor 3rd
C - E - G#
Diminishedminor 3rdminor 3rd
C - Eb - Gb
The Basics
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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
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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
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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
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F 4!
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Fantastic 4! Musical FORm is built on the number...
4
“Th GROOVE GRID”
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“The GROOVE GRID”
Impact of the Amazing number 4Exceptions to the Rule are st riking (Anticipation)
MASSIVE improvement in Chart Communication
The “GPS” of Music - ‘Never-Lost’
Leave a ‘Bread-Crumb Trail’
4 divisions 4 beats 4 bars 4 phrases
per beat per bar per phrase per section
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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
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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
7 Come Now Is The Time ToWorship
Doerksen, Brian 2430948
8 Shout To The Lord Zschech, Darlene 1406918
9Lord I Lift Your Name OnHigh
Founds, Rick 117947
10 Holy Is The Lord Tomlin, Chris \ Giglio, Louie 4158039
11 Everlasting God Brown, Brenton \ Riley, Ken 4556538
12 Amazing Grace (My Chains
Are Gone)
Tomlin, Chris \ Giglio, Louie \ Excell, Edwin Othello \ Rees,
John P. \ Newton, John4768151
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 825356
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 CrossReeves, Jesse \ Tomlin, Chris \ Walt, J. D. \ Watts, Isaac \Mason, Lowell
3148435
25 Days Of Elijah Mark, Robin 1537904
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The Language of Music
Music Theory in the21st Century
“...it’s time to break a few Rules”
Music Theory in the 21st
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Music Theory in the 21st
Century“...it’s time to break a few Rules”
TRIADSVoice Chords in 2nds, 4ths, & 5thsinstead of 3rds & 6ths
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Music Theory in the 21st Century“...it’s time to break a few Rules”
The Sweet Collision
Half-tone ‘crash’ between
7-8 & 3-4Major 7th Chord built on 1 and 4
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“RESCUE”
Jared Anderson‘The Sweet Collision’
half-tone dissonance
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Music Theory in the 21st Century
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“...it’s time to break a few Rules”
Suspension-
Resolution(Fahgetaboutit!!!)
Half-tone ‘crash’ during a 4-3suspension built on 5 Chord
ORCHESTRATION BY TOM BROOKS
BE UTIFUL ONE INTRO
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Rhythm
Music Theory in the 21st Century
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“...it’s time to break a few Rules”
End on TonicUse the IV or V Chord toend a song rather than I
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MusicTheory in the 21st Century
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Music Theory in the 21st Century“...it’s time to break a few Rules”
Music is complexCLEAR & SIMPLE
is always the Best Choice
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The One Minute
Music Manager
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?
More Great Stuff!
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More Great Stuff!...that we don’t have time to talk about now-
>Nashville Number System>Transposition - Modulation>Light-Speed Ear Training and more...
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Keyboard Concept #5Take your skills to
the Next Level
*Learn from the MASTERS*More Advanced Chord options
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“Amazed”
Jared Anderson
Arranged by Tom BrooksWorshipAlliance com
"AMAZED"RhythmBPM = 72 76 Jared Anderson*Sweet Ballade
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WorshipAlliance.comBPM = 72-76 Jared Anderson*Sweet Ballade
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“DESERT SONG”
Minor Key
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“GLORIOUS”
Martha Munizzi
Israel Houghton
Arranged by Tom BrooksWorshipAlliance.com
"GLORIOUS"RhythmBPM = 100
Dan & Martha MunizziIsrael Houghton*Salsa Caliente
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F/G E/G
Eb/G Db/G Bb/G>Many Extended Chords can bethought of as ‘POLY-CHORDS’ -
>Every Triad over a single Rootwill yield a unique Poly-Chord
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Challenge yourself!!
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Challenge yourself!!
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Challenge yourself!!
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The One Minute
Music Manager
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?
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Keyboard Concept #6
Beyond Piano Become a Master of the entire
Keyboard pantheon -expand your Toolbox
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“EVERYBODYPRAISE THE LORD”
Lincoln Brewster
Hammond B-3 organ
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'Friend Of God' - Houghton/Gungor
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{VERSE}
{VERSE}
{CHORUS}
{CHORUS}
FOR INTRO: Vamp 1st 8 Bars
KIK 2nd X: etc...
All Because of Jesus
RockComposer Steve Feeorch. by Bob Barrett9/12/09
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b
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A VERSE
4 on floor
Band OUT
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9/12/09
***2 Bars of
Arranged by Tom BrooksWorshipAlliance.com
"TODAY IS THE DAY"RhythmBPM = 120 Lincoln Brewster
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##
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INTRO
FULL DRIVING ROCK GROOVE
2 Bars of Drum build up>>>
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pBPM 120
Arranged by Tom BrooksWorshipAlliance.com
"SAY SO"RhythmBPM = 145 Michael Gungor *Driving Rock
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### #
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44Rhythm
INTRO
SNARE: ä notes- start soft and build>>> DD B
SS
Keys: simili...1 œœ
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FULL DRIVING ROCK GROOVE
GTR: Melody inside chords...
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H mm d B 3
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Hammond B-3Modern 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
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“God of This City”
Chris Tomlin
2 Hands = 2 Parts = 2 Keyboards
“Jesus Messiah”
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Jesus Messiah
Chris Tomlin
>Strings from the Keyboard>Layering Parts
q=86
# #
Jesus Messiah
Daniel Carson Chris Tomlin Ed Cash Jesse Reeves
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& # # # # # c Intro ’ ’ ’ ’B/D#
’ ’ ’ ’ ’ ’ ’ ’C# m7(4)
’ ’ ’ ’# # # # # ..Verse
5
’ ’ ’ ’B
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B/D# ’ ’ ’ ’E2(no3)
# # # # # 9
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’ ’ ’ ’E2(no3)
# # # # # 13
’ ’ ’ ’B/F # ’ ’ ’ ’E2(no3)
’ ’ ’ ’# # # # # Chorus
16
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24
’ ’ ’ ’B
’ ’ ’ ’ ’ ’ ’ ’E2(no3)
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B/D# F# sus 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 yourFingertips for each song
Lock your Sound with the Band
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Keyboard Sounds
Your “Favorites” List
Keyboard Sounds
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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
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The One Minute
Music Manager
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Keyboard Concept #8
Improvisation How to improve your skill at
soloing, Free Worship, etc...
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Improvisation
Free WorshipChord Substitution
Soloing in Worship
Free Worship
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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 goingLead the Congregation with Dynamicsand Chord Substitution
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Fresh Hymns
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Fresh Hymns
How to give aClassic Hymn a Fresh
Contemporarysound and feel
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“AMAZING GRACE”(My Chains are Gone)
Chris Tomlin
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Chord - Melody Relationship
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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 - TasteStart with the Basics and G R O W . . .
Harmonic Rhythm
&1
VERSE 1: Write in a BASIC CHORD PROGRESSION with simple Sunstitutions
AMAZING GRACE
Keyboard
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&
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“GREAT IS THY
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FAITHFULNESS”
Classic Hymn
No Band - No ChartFree to re-Harmonize
D2 D Dmaj7Gmaj7 G6 G/A Dsus4D
Great Is Thy Faithfulness
Composed By William M. Runyan
Orch. By Ed Dickinson
Saddleback Orchestra
Rhythm
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4 ’ ’ ’
D2
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18
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24
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D
25
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26
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G/A A D Dma7 D7 Gma7 G6
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&
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“Waterwings” Verse Progression
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‘C’ Major open voicingE2 open voicing (no 3rd)B sus4,b9,13
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‘C’ Major open voicingE2 open voicing (no 3rd)B7,#5,#9
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‘C’ Major open voicingE2 open voicing (no 3rd)E min7,9,11
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11A13,b9
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11D maj9,#11,13
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11Ab (9,#11,13)
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11A min7,9,11
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11Ab (13)
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11G maj9,#11,13
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11Db (9,#11,13)
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11F# min11
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11B (#5,#9)
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11E maj9,#11,13
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‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11Bb (9,#11,13)
Keyboard under
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Pastor’s Prayer /Communion
Sermon was about
God’s Faithfulness -song ideas / create a prayerful
atmosphere for Communion - ministry
Solos in Worship
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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
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Im rovisation
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Hands -
Your Physical response
Head -
Your Mental response
Heart -
Your Spiritual response
Solos...
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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
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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...
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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
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Keyboard Concept #9
How to Practice... BETTER (Smarter) 10 Steps to help you Practice more
Effectively and Efficiently
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*I R h l ith th B d
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*In Rehearsal with the Band...
Listen to what others are playing; thenmodify 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
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How to
Rehearsemore effectively
Mind - Heart - Spirit
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PRACTICE =
...put the music in your head - hands
REHEARSAL =
...play it from your Heart - Soul
WORSHIP =...give it back to God
and let His Spirit play through you
You
Band
Church
“How to Avoid a Train Wreck”
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Catching Vocal Cues - Pick-up notes to Song Sections
Common Tones to both possible Song Sect ions
Know who is ‘Keeping the Clock’ any every moment
Let 1 Player only subdiv ide during RitardsWorship 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’
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Th B st W ys t Imp Y G1. Practice locking with Loop2. Voice Chords with 2nds & 4ths3. Learn song like CD first4. Make eye contact with drummer5. Play fewer notes; play them better
6. Listen to the Band-design your part7. Know the song, Inside & Out8. Avoid left hand conflicts with Bass9. On Solos, sing in your Heart first10. Pray-ask God to play through you!
“Tom’s Top Ten”The 10 Best Ways to ‘Improve Your Groove’
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The 10 Best Ways to Improve Your Groove
The Three ‘T’s1. Timing - Lock with the Drums2. Tuning - Listen and adjust3. Timbre - Have great sounds ready
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Keyboard Concept #10
Putting it all together What to do before every Service...
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Resource Page:
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gYou 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
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