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THE NEW WORSHIP MUSICIAN: MAKING PRAISE FLOWIncludes 160 MUSIC EXAMPLES to help musicians learn how to modulate and improvise.

by Barry W. Liesch, Ph.D.

IntroductionModulation

1. Basic Stuff2. Modulations Up a Half Step3. Modulations Up a Whole Step4. Modulations with Color and Resonance5. Modulations in Flowing Praise: Demonstration Improvisation6. Ten Thoughts on Developing a Ministry7. 14 Principles for Intelligent Improvisation8. Reshape V7: Use "Four over Five"9. Reshape Triads: Use Added 2/Quartal Chords10. Shop Talk: Insights from Tom Keene

Appendix 1: Companion Book AnnouncementAppendix 2: Companion Book in Brief

"At last!--a resource which takes the real, practical needs of music directors and worship leaders seriously. An invaluable tool...a major contribution to

the enrichment of our worship."

Dr. Jeremy Begbie Ridley Hall, Cambridge University

"...an important layout of the art. The material is presented in a logical, doable fashion."Kurt KaiserPianist, composer, Dove Award Winner

"To the traditionally-trained church musician who feels unprepared to deal with the Praise & Worship phenomenon sweeping across North America in churches of all demoninations, Barry Liesch's approach to sequeing chorus-to-chorus, and hymn-to-hymn will surely make life easier!"Fred BockArranger, composer, publisherDirector of Music, Hollywood (California) Presbyterian Church

"We highly recommend this unique resource to worship leaders and keyboardists whose goal is to achieve seamless, free-flowing worship. Dr. Liesch, a skilled and highly trained keyboardist, has reduced to bite-sized portions the sometimes threatening concept of modulation. He not only illustrates how to create smooth musical transitions, but also catalogues a number of helpful hints on improving accompaniment skills."Mel and Holden BowkerBowker Brother Ministries, IncAuthors of "Two Pianos--Four Hands" (Fred Bock Music)

"...addresses thoroughly one of the most important challenges in church music making--creating seamless flow in worship services. His grasp of the subject is evident, and by using hymn examples, Liesch gives readers an immediate template to use.

I'm impressed with the spirit behind this work. Dr. Liesch wants nothing more than to raise the standard of church music and level the playing field for all of us. This information must be translated in Spanish for the benefit of Hispanic musicians!"Jon LugoOrchestrator, composer, publisherRecording studio keyboardist

"... a cogent text, chalked full with systematic, hands-on information for the burgeoning or advancing church musician. A must for the serious student of the worship arts." Tom McDonaldAssociate Pastor and Director of Music MinistriesChurch on the Way, Van Nuys, California

Introduction

Have you ever wanted to sit down at the piano and lead a group in a time of free-flowing praise? That’s precisely what these pages are intended to help you do. They provide instruction on keyboard modulation and improvsation, and for good reason.

Nothing short of a revolution in worship styles is sweeping across North America. In the new worship style, choruses and hymns follow each other in succession without a break. In fact, smooth transitions are fundamental to improving participation in not only free-flowing praise but also traditional services.

The responsibility to seque from chorus to chorus and hymn to hymn, falls to the worship leader, keyboardist, or some knowledgable musicians. Yet many musicians struggle, finding the performance of modulations baffling because little is taught or written about it.

Dedicated to worship leaders, keyboardists, private teachers and music profesors, this disk is for all church musicians who want to see more flexibility in the leading of worship

Create Modulations Yourself

And Develop a Sense of Flow

This disk teaches you how to create modulations yourself and develop a sense of flow. It's a practical resource that pastors or music directors can give their musicians so that on-the-spot modulation and segueing between pieces during the service may become a reality. It offers

> a mini-course on modulation and improvisation > 125 pages and over 160 musical examples > coverage of classical and contemporary styles> help for those with or without classical training

You don't have to be a highly-skilled keyboardist to benefit from these materials, but an intermediate background in piano or organ will be useful. I'm primarily intending to help those who read music but have little or no experience in improvising, but even seasoned improvisers may discover new techniques or have their thinking clarified.

The Plan

This presentation, which systematically develops a few powerful ideas, consists of ten files (chapters) divided into two sections. The first section focuses on modulation, the second improvisation. In section one, the disk first targets modulation up a half step, a whole step, and later, the other modulations. It employs V7 I and ii7 V7 I progressions at the outset. Then the Vsus9 is introduced to smooth chord connections and add color and resonance. Modulations involving two beats, as well as one, two, three, and four measures are also discussed.

In these files, you'll find exercises that develop your fluency and physical memory of strategic chords. Techniques are demonstrated in actual hymns and choruses. You get to see what they look like in real music and to play the examples. A summary file puts a flowing praise service together, illustrating how to make modulations flow and fit the lyrics.

The second section focuses on a more difficult objective to achieve--improvisation. Principles for ministry and improvisation are shared. Alternatives to the V7 chord and uses for added seconds and quartal sounds are presented. Finally, an insightful interview with a Hollywood studio musician points the way to intelligent improvisation. This section, at the minimum, should furnish you with stimulating ideas and save you time in learning how to improvise.

Not for Pianists/Organists Only

This disk is not just for pianists or organists! Given the current state of affairs, all music leaders need a basic understanding of the concepts. Leaders should be able to communicate the kinds of transitions they want, and assist their musicians in shaping them--even provide a lead sheet if need be.

Most of the music examples--particularly the longer ones--cite public domain hymns. There's a reason for this. This strategy avoided copyright problems, making the disk more affordable and distributable. So feel free to make copies for your friends and share it widely--it's intended to be freely available for any non-commercial use. For full details and any other use see the readme file.

This work is dedicated to the glory of God, and I hope it enhances your ministry. Your reactions, suggestions, and/or needs in this area interest me, because I'm considering further projects along these lines. If you desire a paper copy (cost not yet determined) with better resolution, or want permission to distribute paper copies within your denomination, or would like to discuss some other matter, reach me any of the following ways:Dr. Barry LieschMusic DepartmentBiola University13800 Biola AveLa Mirada, CA 90639Fax: (310) 903-4748EMail: [email protected]

File IBasic Stuff

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> 7 pages > 10 examplesMusic examples may appear incomplete on your screen, but the printout will be correct. See readme.txt file.________________________________________________________________________

As we begin this adventure, I want you to know it is not mandatory to understand the symbols in this presentation. If you can play and understand the music examples, that is sufficient. The symbols, however, are powerful, will aid your thinking processes, and ultimately lead to quicker progress. They can clarify what is otherwise confusing. Besides, you're likely to encounter them eventually in your role as a church musician.

So I'll present some basic chord symbols, demonstrate the advantages of Roman Numerals over pop symbols, and offer two preliminary exercises that help you understand chord progressions and give you some facility for playing in different keys.

First, let's make sure we understand the difference between pop symbols (e.g., C7) and Roman Numeral symbols (e.g. V7).

Pop Symbols

Pop symbols can be a part of but do not necessarily refer to any key. The pop symbol C simply means that C is the lowest note and a major triad is needed--no matter what key or context you're in the meaning is the same. It's a C chord with C in the bass.

With the pop symbol C7, the "7" indicates a minor seventh (Bb) should be added to the major triad. The third (E), fifth (G), and the minor seventh (Bb) of the C7 can be in any order, any octave, and be doubled any number of times. The quarter note chords (below) indicate some possible spacings ("voicings").

Example 1-1Pop Symbol Voicings

mailto:[email protected]

Roman Numeral Symbols

While pop symbols don't necessarily refer to a specific key, Roman Numerals do. For example the Roman Numeral "I" means a chord on the first scale degree of some given key. In the example below we are in the key of F major (one flat in the key signature).

The Roman Numeral V in F major consists of the major triad C, E, G, on the fifth degree of the scale.

Example 1-2Roman Numeral scale degrees

A V7 chord (below) contains the notes C, E, G, plus the note Bb. Bb is the seventh of the chord.

Example 1-3Roman Numeral V7 chord

Just like pop symbols, any voicing/doubling of the four notes is possible, provided C is the lowest tone.

Example 1-4Chord Qualities in F Major

Now let's display the triads (three-note chords) available on the scale degrees in F major. Upper case Roman Numerals indicate major triads, lower case minor triads.

Observe that scale degrees I, IV, and V have major chords, whereas scale degrees ii, iii, and vi have minor chords, as shown in example 1-5 Example 1-5Scale degrees with Major or Minor chords

Knowing whether the chord on a particular scale degree is major or minor is vital information when you transpose to another key and need to determine the chord quality on a given scale degree.

Of equal importance is the need for learning how the basic chords function. Learning some stock chord progressions is helpful. Knowing, for instance, that a ii chord often leads to a V chord, or that a pattern of descending thirds occurs frequently, affords you insight into the harmonic universe. It helps you to anticipate what could happen--where a chord could go.

Example 1-6Chord progressions in F major, Gb, and G.

Each musical style has its own, preferred progressions. This exercise presents some basic chord progressions. Study the them carefully. For example, a iii chord often progresses to a IV, a IV to a I, a V to a I. Learn to play the pattern in every key: it's a good first step in becoming oriented to the various keys. I've displayed the pattern below in the keys of F, Gb, and G. Once you get the idea of it, try it in C major and work your way through every key (C to C).

With one exception, all the chords are in "root position," which means the lowest tone has the key note of the chord. In other words, the first chord (below) is an F chord with an F in the bass, the second chord is an A minor chord with an A in the bass, and so on. The third chord from the end (without a symbol) is the exception I'll explain shortly.

Exercise in F major

Exercise in Gb major

Exercise in G major

The third chord from the end (the exception) is an "inverted chord," or an "inversion." Notice, it's a G chord, but a G is not in the bass. Rather, the fifth (D) is in the bass.

Example 1-7Inversions

When the fundamental note of the chord (G) is in the bass, the chord is in "root position." When the third (B) is in the bass, it's in "first inversion," and when the fifth (D) is in the bass, it's in "second inversion." The second inversion chord employs a 6/4 symbol immediately after the Roman Numeral, meaning there are notes a sixth and a fourth above the bass note--in this case, the notes B, and G respectively.

Example 1-8Pattern of descending thirds

Patterns involving descending roots a third apart occur frequently in hymns and worship choruses. Therefore I strongly recommend you also learn to play this pattern in all the keys.

C major

Db major

D major

Notice, two common notes exist between the I and vi chord, and the IV and ii7 chord. Because of the common tones, the vi chord can often substitute for a I, and the ii7 for a IV in music contexts. In the beginning stages, retain these common tones in the same hand position--keep those fingers down! It simplifies performance and reduces mistakes.

One more question. How are seventh chords represented by Roman Numerals? Below, notice upper cases indicate a major seventh, lower cases a minor seventh, and a lower case with a circle (vii¡) indicates a diminished seventh chord.

Example 1-9Major Scale in FRoman Numeral Chord Qualities

You can usually add a seventh to a major, minor, or diminished triad in an ensemble situation without distorting the sound or creating mush. All of the above sounds occur frequently and with a variety of voicings. Roman Numerals: More Efficient for Modulations

Now we compare the effectiveness of pop symbols and Roman Numerals conceptually in regard to modulation. Below a harmonic progression is shown with pop symbols on the first line and Roman Numerals on the second line.

The advantage of Roman Numerals for modulation purposes is clearly demonstrated when the same progression (I ii V I) is transposed to a new key (from C to Eb major).

Example 1-10

Roman numerals are more efficient! Only one set of symbols for the progression (I ii V I) is needed for any key, whereas unique pop symbols are required for each new key.

Using the Roman Numeral concept of assigning chord qualities to scale degrees, studio musicians in Nashville have blocked out the entire chord structure of country music songs (including transpositions) on the back of an envelope! Key changes require no new symbols. Nashville musicians, however, use Arabic numbers (1,2,3,4) instead of Roman Numerals, but they employ the same principle--their Arabic numbers refer to chords qualities on specific scale degrees.

Roman Numerals Describe Harmonic Function

I want to underscore again that Roman Numerals do what pop symbols don't--describe harmonic function. For example, the Roman Numerals I ii V I tell you that the bottom notes (the roots) of the chords are up a second (C-D), up a fourth (D-G), and down a fifth (G-C), respectively in the key of C.

It's intelligent for improvisers to think this way because the progressions are applicable to any key. Improvisers learn to think in scale degrees, or up a second, up a fourth, down a fifth, etc., in each key as they play.

I hope this file was relatively painless! I'll delve into technical talk only when it has obvious, practical value. With this introduction we're ready to launch into the most important modulation for the church musician, modulation up a half step.

I heard Dallas Willard say

I don't want you to think of art as a little whipped cream on the cake of life. It's more like steak and potatoes.

File 2Modulation Up a Half Step

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When the good news of the Gospel enters our hearts and changes our lives, we want to tell everybody about it. So let's get to the work! We'll avoid complexities at the beginning and start with what is simple--modulation up a half step using dominant sevenths and (later) the ii7 chord. The dominant seventh chord (V7) can generate simple yet effective modulations. A modulation has occurred when music has been transposed to another key--that is, when the tonal center has moved.

The hymn Crown Him with Many Crowns will be used repeatedly in demonstrating how to modulate to various keys. Here's the tune.

Example 2-1

In our examples, we'll focus on the last phrase which is often rendered like this.

Example 2-2Version with Inversions

The first four chords employ inversions, but since we want to begin simply as possible with chords in root position (and avoid inversions--chords where the root note is not in the bass), we'll use this harmonization instead.

Example 2-3Version without Inversions

The bass part now uses only root position chords. The melody begins on the fifth degree of the scale and descends (5, 4, 3, 2, 2, 1).

Example 2-4

This is important information. Let's say we wanted to play the excerpt in the key of D, not C. Then we would need to begin the phrase on the fifth degree of D major, which is A.

Example 2-5Fifth degree occurs on the note A.

Example 2-6Note the ii V I progression in the bass part (below). Become familiar with this progression in all the keys. We'll find (later) it's very useful in constructing modulations.

If we played this progression in the key of D, not C, it would look like this.

Example 2-7

The concept of chords based on scale degrees is foundational to modulation.

Modulation up a 1/2 step A half step is the closest distance between any two notes on the keyboard. A half step modulation (one note apart) would occur, for example, from C to Db, Db to D, E to F, or A to Bb.

Modulation up a half step is one of the easiest and most useful modulations. A half step modulation using the V7 occurs below.

Example 2-8Half Step Modulation: C to Db

If you have trouble forming the V7 chord, locate scale degree V of the new key, and add thirds above that note until the V7 sound is formed. Then for a second step, revoice the chord for both hands so it fits the music context, as demonstrated below in example 2-9.

Example 2-9

Now let's look at the connection between the V7 chord and the I chord below. Notice that the Ab7 is on scale degree V of the new key (Db). The V7 is the chord that propels us into the new key.

Example 2-10

Notice also that the C in the soprano is both scale degree one of C and scale degree seven of the new key (Db). Let's focus on that 7th degree.

Example 2-11

If you play the Db scale above, you'll find that the 7th degree leads strongly and securely to degree 1 (or 8). For this reason the 7th degree is called the "leading tone" in music theory, because it leads strongly to the tonic (I). When you place the leading tone in the soprano, it's a terrific resource for generating secure modulations.

Now let's modulate from D to Eb with the same excerpt.

Example 2-12Half Step Modulation from D to Eb

Two Exercises

Now try a modulation from G to Ab yourself. Fill in the blank notes. The answers to examples 2-13 and 2-14 can be found at the end of the file.

Example 2-13Modulation from G to Ab

Let's do another one, this time from A to Bb. I've made the problem slightly more difficult.Example 2-14Modulation from A to Bb

Three Exercises usingFairest Lord Jesus

Skilled keyboardists sometimes raise the key of a piece in order to generate a sense of forward momentum. In the following three examples, the key is raised from C to Db, from Db to D, and from D to Eb respectively. Fill in the banks and check the answers at the end of the file. In example 2-15C, the voicing of the V7 chord can be different as long as the notes are the same.

Example 2-15A

Example 2-15B

Example 2-15C

Modulating up a 1/2 StepUsing Inversions

With this background let's do some half step modulations using inversions.

Example 2-16Modulation from C to Db with Inversions.

Notice the inversions in the first four chords. The V7 I chords of new key, however, remain in root position. Now we'll try a modulation from D to Eb.

Example 2-17Modulation from D to Eb with Inversions

Three Exercises

Now attempt three half step modulations of your own (Db to D, G to Ab, and B to C) with inversions using the same excerpt. I'll give you some help. Fill in the blanks, and find the answers at the end of the chapter.

Example 2-18AModulation from Db to D.

Your first soprano note is Ab (fifth degree of the scale in Db major), and the bass note (F) is the third of the chord. Fill in the two incomplete chords in measure two.

Example 2-18BModulation from G to Ab.

Your first soprano note is D, fifth scale degree of G, and the bass note (B) is the third of the G chord.

Example 2-18C.Modulation from B major to C.

The key of B major is difficult (5 sharps), but it could be useful in an early morning service when a low key is desirable. This time you're offered still less help. This one may be a challenge! If it's too hard, proceed to the next example.

Exercises usingGod is so Good

Let's practice 1/2 step modulation a little more using a new piece, God is so Good. Fill in the blanks, and check the answers are at the end of the file.

Example 19AGod is so Good. D to Eb.

Example 2-19BGod is so Good. Ab to A.

Example 2-19CGod is so Good. C to Db

A V7-I Exercise for All Keys

Example 2-20The following exercise will help you gain facility to modulate a half step up from any key. It covers the V7 in all keys for half step modulation. Play it as written, and then learn it by memory. The second quarter note chord in every measure (the V7) propels you into the new key, so think "V7" in your new key. The half note gives you one second to think.

Modulations of Different Lengths

So far our modulations have been very short--in fact, two beats long! The modulation below occurs over two measures.

Example 2-21Modulation: C to Db (two measures)

Example 2-22Modulation: C to Db (three measures)

The three measure modulation below has more drama.

Pedal Bass. In measures three and four the low Ab in the bass part is repeated four times. It's called a "pedal bass." The term probably comes from organists who'd sustain long notes by putting their foot down on the pedal.

The pedal bass is a good way to make a modulation longer, and yet maintain unity. Here the pedal maintains the feeling of Ab (or V7) for two measures--yet you're free to add related sonorities above. It effectively extends the Ab sound over time. Remember the pedal bass concept!

Example 2-23Modulation: C to Db (five measures)

For a longer, five measure transition you could play the first or last line of the piece before the congregation enters. So after the Ab7 modulation chord, the last line of the tune is stated.

Notice, raising the octave on the diminished chord (m.3, beat 4) prevents the people from entering too early.

The Vsus chord (m. 7, beat one), a substitute for V7, will be discussed later. The bracing bass octaves (m.7, beats three and four) serve as a signal for the congregation to enter.

Could you create modulations that are two, three, or more measures long using these examples as models? First try playing the above examples, note for note, modulating from D to Eb. It's a good way to develop some muscle!

Half Step Modulation using ii7

Remember, I mentioned that the ii V I progression would be useful in modulation? If we use a ii7 chord before the V7 during the modulation, the effect often becomes smoother.

Example 2-24

The following exercise contains a ii7 V7 for each key. The second chord of each measure is a ii7. While practicing, always think of the key to which you are modulating, and play the exercise by memory.

Your goal is to become so fluent that you no longer have to do any prolonged thinking. Your finger memory (physical memory) should be enough.

Example 2-25I ii7 V7 I in all Keys

With practice the ii7 V7 I progression will become second nature to you in all the keys.

Next File:Extends Same Principles

The next file deals with modulation up a whole step, another indispensable modulation for the church musician, and the basic principles are the same. File three extends the ideas you have already absorbed, so you'll probably find it easier!

Answers to "Fill in the Blank" Questions

Answer to Example 2-13

Answer to Example 2-14

Answer to Example 2-15A

Answer to Example 2-15B

Answer to Example 2-15C


My all-time favorite definition of worship...

To worship isto quicken the conscience by the holiness of God,to feed the mind with the truth of God,

to purge the imagination by the beauty of God,

to devote the will to the purpose of God.

John Temple

File 3Modulation Up a Whole Step

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Modulation up a whole step refers to keys that are two notes apart. For example, modulating from C to D involves traversing two half steps, C# and D. Other examples of whole step modulation are D to E, Ab to Bb, or Eb to F.

Avoid Difficult Keys &Help Early-Morning Voices

Why is modulation up a whole step so important? Whole step modulation helps you avoid difficult keys. For example, if you are in F major, a half step modulation would take you to Gb/F#-- which has six flats or sharps! Most keyboard players would rather play in G (one sharp); but that involves a whole step modulation. Similarly, most players would rather modulate from Bb to C, instead of Bb to B (five sharps).

A whole step modulation is useful in early morning services when you want to begin in a low key and raise it after the people's voices warm up.

Say your first hymn is "Come Thou Almighty King," usually pitched in G major. The first note, a high D, is intimidating to sing early in the morning. For better singing, pitch the piece in F, which results in a first note of C--much more realistic! After several stanzas in F, then modulate up a whole step to G (avoiding the key of Gb!) for the last stanza, as demonstrated below.

Example 3-1Modulation: F to G

In the modulation above, the V7 which generates the modulation (m. 7) is effective, but abrupt and simplistic.

Example 3-2

For a smoother transition, use three chords instead of one in measure seven of example 3-1.

The second chord in measure three (example 3-2) is called a "four over five" (see file eight).

Example 3-3This example modulates a whole step from C to D.

Example 3-4Modulation: Db to Eb. The bass octaves can be omitted.

Example 3-5Modulation: Bb to C. Fill in the missing chords and check the answer at the end of the file.

Three Exercises

Now we'll use the chorus God is so Good to solve three problems involving modulation up a second. Fill in the blanks. The answers are at the end of the file.

Example 3-6AGod is So Good. C major to D major

Example 3-6BGod is so Good. F major to G major

Example 3-6C. Ab major to Bb major.

Now try creating some whole step modulations that are two, three, or more measures long. The principles for a whole step modulation are the same as a half step modulation. See examples 2-19 to 21 for some ideas.

Example 3-7Whole Step Cycle (C to C)

This exercise, cycling through the octave C to C, helps you develop the "chops" to perform whole step modulations. The V7 chord has the seventh degree of the new key ("leading tone") in the soprano voice. The leading tone helps propel our ears into the new key.

Up a whole Step. V7-I with scale degree 7 in soprano.

Example 3-8Whole Tone Cycle (Db to Db)

This exercise is the same, but cycles from Db to Db and employs the fifth scale degree instead of the leading tone. For example, in measure 1 the Bb is the fifth degree of Eb major, the new key.

V7-I Cycle (Db to Db).

With these two exercises (C to C, Db to Db), we have covered whole step modulation in every key.

Longer Excerpt: A Model of Style

You're probably wanting to play a longer excerpt. The long excerpt below is an effective piano style for a hymn like Crown Him with Many Crowns. Notice that the melody is not always present--new lines are created and melody notes are skipped. I seldom play every note of the melody.

Chords and lines, however, must fall easily for the hand. Where the melody has long notes, create some movement and energy in the accompaniment, as in measure 7. And where there are high notes, provide stimulus and support for the congregation.

Example 3-9 Crown Him with Many Crowns

In measure 7, I don't play octaves (A to E). It's easier and I don't lose much musically. To ensure legato octaves, use finger four when moving from black to white notes (eg. finger four on D# in m. 17). The LH octaves throughout are optional.

Whole step modulation using ii7

Now a whole step modulation using a ii7 V7 progression.

Example 3-10Modulation using ii7

Example 3-11

This exercise provides some practice with ii7 V7 I. Think "ii7" in your new key. Again, strive for fluency. If you have to ponder for longer than a second over any of these progressions, you don't know them sufficiently. Playing "live" at church, you'll need to produce the correct chord instantly.

Play the same pattern but cycle through the octave Db to Db. The next file focuses on modulations that have resonance and color. In chapter 15 of The New Worship , I talk about the ways instrumental colors can enhance worship and how new technology can help create color. When you add color to your modulation, it helps people listen with anticipation. Work through the next file and feel the difference!

Exercise Answers

Answer to example 3-5

Answer to example 3-6A

Answer to example 3-6B

Answer to example 3-6C

I read this in de book of Proverbs,

It is not good to have zeal without knowledge.

File 4Modulations with Color and Resonance:Vsus9

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Though more difficult to remember initially, the Vsus9 chord generally results in smoother modulations than the V7. The Vsus9 has more color and blends in better with surrounding sounds than the V7, which is bolder but more obtrusive. The Vsus9 is also more modern sounding. Amoebae-like in flexibility, it will fit in just about any situation!

How is the Vsus9 constructed? How can it be used in half and whole step modulations? What about the other modulations? These are questions we'll explore.

Constructing the Vsus9

"Sus" is short for suspension. The sus designation indicates a fourth (rather than a third above the lowest tone) is present in a chord. In traditional music, the suspended note (F, the fourth) resolves down by step (to E, the third).

Example 4-1

But in contemporary music often no resolution occurs at all, for the sus chord stands on its own.

Example 4-2

If a third is added above the sus, a sus7 results.

Example 4-3

An additional third results in a sus9.

Example 4-4

The ninth of the sus9 chord (D) can be placed in any octave as long as it is above the lowest tone. Below, the ninth is lowered an octave.

Example 4-5

When this happens, the D is alternatively called an added second (see file nine).

The sus sound can be permuted by raising the bottom note in the RH an octave (see quarter notes in m. 2 & 4 of example 4-6). All the quarter note sounds in m. 2 and 4 (below) are closely related.

Example 4-6

The Bb/C symbol. The Bb/C chords in m. 5 & 6 (immediately above) are closely related to the sus9. In file 8 we'll have a different symbol for this sound: IV/5. When you're talking about it, just call it "four over five."

The symbol Bb/C means you play a Bb chord in your right hand, and the note C in your left (as your lowest tone). The RH chords in m.6 permute (or invert) the Bb chord. This structure is very popular in contemporary music. The sus9 and Bb/C constructions are substitutes for V7.Vsus9 Voicings. Below are some Vsus9 voicings. I realize the construction of this sound may overwhelm you at first, but it does have a distinctive sound and physical feeling when you play it. Concentrate on that! The chord plays a ubiquitous role in contemporary music.

Memorize the physical feeling and sound of chords 1 and 2 below. Practice them until your hands can "fall" on them in any key without prolonged thinking. Note that the fifth and the second scale degree of the new key is in the soprano part respectively. Chord numbers 3 through 6 show a few of the voicing possibilities.

Example 4-7

Example 4-8This exercise is intended to help you get "the feel" of the Vsus9 chord. Once you have acquired the "feel" of it, the fifth of the chord (D) can be left out. For example, omit the D in LH of the first chord in the cycle. Experiment: add rhythms or arpeggios as you like.

Measure 8 starts another cycle using chord two from example 4-7. Again, once you have it's "feel," omit some notes.

Modulation up a 1/2 step using Vsus9

The example below modulates from D to Eb via the sus9 chord with the second degree (F) of the new key in the soprano.

Example 4-9God is so Good: sus9 (2 in sop)

Example 4-10The sus9 below uses the fifth (5) of the new key in the soprano. Both the 2 above (on F natural) and the 5 (marked below) lead securely to the I chord.

Example 4-11This Vsus9 chord falls nicely for the hand. Experiment leaving some notes out.

Example 4-12Now we cycle through all the keys using Vsus9. The second degree of the scale is in the soprano--it's useful because it falls by step. It's also used with "half cadences" (when a phrase ends on a V chord).

Three Exercises

Here are three exercises employing the Vsus9 chord in the hymn Amazing Grace. Fill in the blanks. There's a new flexibility you may find challenging! The soprano note for each Vsus9 chord (and therefore its voicing) changes. Your Vsus9 should have the same notes as mine, but the voicings can differ from the answers given at the end of the file.

Example 4-13A

Example 4-13B

Example 4-13C

Modulation up a whole step using Vsus9

Now let's modulate up a whole step using the Vsus9 chord.

Example 4-14

The modulation in God is so Good (above) used a Vsus9 with the fifth of the new key in the soprano.

Example 4-15This exercise offers more practice with Vsus9 (fifth in the sop).

Although parallel fifths occur between the bass and the soprano (a practice avoided in some traditional music), I use this construction frequently.

Variant Fingerings

Example 4-16. Chords two and three of each measure offer variant fingerings for the Vsus9. Notice that the measures alternate the fifth and second degrees of the scale in the soprano part.

Three Exercises

Now modulate up a whole step (Db to Eb) using the Vsus9 chord in the hymn Great is thy Faithfulness. Again, as in example 4-13, each example requires you to voice the Vsus9 chord differently. Fill in the blanks and check the answers at the end of the file.

Example 4-17A

Example 4-17B

Example 4-17C

Modulation using ii7 Vsus9 in all Keys

Example 4-18V7 and Vsus9 Compared

Here we are modulating from C to Db, D, Eb, and Bb respectively. Each measure begins in C. Compare the sound in lines one and two. The lines are identical except line one employs a V7 whereas line two uses a Vsus9. The exercise is intended to highlight the difference.

Example 4-19The first measure of 4-18 is reproduced below. Observe that the voicings are lean and efficient. The second chord avoids doubling the bass, and the third chord retains the Gb, which make it easier for the hand and mind.

Example 4-20When you perform 4-21, try embellishing each modulation with some movement as follows.

Example 4-21The ii7 and Vsus9 are used to cycle through the keys. C major is home base for each modulation.

The first measure employs several doublings. Doublings are useful when you want a more cloudy, atmospheric texture.

Try to retain common tones in the soprano when modulating (see m.3, 10), or move the soprano by a half or whole step.

Example 22AGod is So Good (Eb through G).

The previous example may have been somewhat abstract, so I'm redoing it (using the same progressions) with the tune "God is so Good" in order to demonstrate how these modulations work in actual music. To save space, the modulations up a half and whole step (from C to Db and D) were omitted. The example begins with a modulation from C to Eb.

Here's how it's organized. Each modulation has a three-measure header in C major (the first line). First play measures 1 through 5 (which modulate to Eb). Then play measures 1-3 with 6-7, 8-10, and so on. The modulation to F (m. 8-10) assumes a faster tempo than the others.

Example 22BGod is So Good (Ab through B).The same concept as example 22A pertains throughout.

Now that you have behind you the experience of examples 21 and 22, let’s test your ability to read and play modulations given only pop symbols. Play the modulations blocked-out in the following chart. In each case we begin in C major and modulate to another key using the progression ii7, V7 I of the new key. Pitches in parenthesis indicate the suggested top note for the chord.

I ii7 V7 I (new key) C Ebm7 (Bb) Ab7 Db C Em7 (B) A7 D C Fm7 (C) Bb7 Eb C F#m7 (C#) B7 E C Gm7 (G) C7 (G) F C Abm7 (Cb) Db7 (Ab) Gb C Am7 (C) D7 G C Bbm7 (Db) Eb7 Ab C Cm7 F7 Bb C C#m7 (B) F#7 B

Modulations Within and Between Pieces

So far we have not done much work modulating between different pieces. This exercise takes the pieces we have studied so far and asks you to modulate within and between them. For example, we’ll modulate from Db to Eb within Great is Thy Faithfulness, and transition to G major for Amazing Grace. Then we modulate from G to Ab within Amazing Grace, and transition to the key of C for Crown Him with Many Crowns. Finally we segue from C to D to begin God is so Good.

If you can perform these modulations, you are well on your way to being able to handle the kinds of transitions that are likely to occur in free-flowing praise. The pop symbols, expressing the ii7 Vsus9 I progression, provide a helpful guide.

1. 3/4 Great is Thy Faithfulness (Db to Eb)use Fm7 Bbsus9 Eb

Transition to Amazing Grace (Eb to G)use Am7 Dsus9 G

2. 3/4 Amazing Grace (G to Ab)use Bbm7 Ebsus9 Ab

Transition to Crown Him with Many Crowns (Ab to C).use Dm7 Gsus9 C

3. 4/4 Crown Him with Many Crowns (C)Transition to God is So Good (C to D)

use Em7 Asus9 D

4. 4/4 God is So Good (D).

Next File:Modulation in a Flowing Praise Service

The next file applies the modulation ideas we’ve learned to a flowing worship service using eight, uninterrupted praise songs. Obviously, some song sequences work together better than others. What elements make a good sequence? That’s the topic I explore in chapter three of The New Worship (Baker Books) where the rationale for the sequence is thoroughly presented. I discuss the psychological basis underlying the "five-phase" form, why praise usually precedes adoration, and why songs should reflect both the transcendence and intimacy of our God. I also show how common keys, common words, and smooth tempo transitions improve free-flowing praise. Let’s have a look at some smooth, seamless transitions.

Answers to Exercises

Answers to 4-13A

Answers to 4-13B

Answers to 4-13C

Answers to 4-17A

Answers to 4-17B

Answers to 4-17C

St. Augustine was a great guy. He prayed,

O Lord, grant that I may desire Thee, and desiring Thee, seek Thee, and seeking Thee, find Thee, and finding Thee,be satisfied with Thee forever.

File 5Modulations in Flowing Praise:Demonstration

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Can we ever praise God to much...or too well...or invest too much energy in learning how to do it better? Obviously you keenly desire to improve your skills, or you wouldn't be reading this disk. I applaud you! Taking the "next step" is what true Christian stewardship is all about.

The modulations crafted in this file are intended to serve as models for the inexperienced or those attempting to do it for the first time. Your first efforts may not be as smooth as you would like--but don't let that discourage you!

Begin conservatively. At first, employ a short "set" of about three pieces. As your skill and confidence increases, lengthen it to five to eight numbers. You could even use part of the set below at church for your first experience.

The modulations below demonstrate the principles in files 1-4. See chapter three of The New Worship (Baker Books) for a detailed discussion of the five phase set and the rationale underlying this particular sequence of tunes. The chart also taken from The New Worship.

A Model Five Phase Set

Use brisk tempos for the first four pieces, and gradually slow the tempos as you turn to songs of adoration and intimacy.

Example 5-1The first modulation (D major to C major) occurs at the end of Rejoice in the Lord Always and leads to Rejoice the Lord is King.

Observe: > octaves are sparingly used for stabs and for creating some "holes" in the texture so the people can hear themselves sing. Stabs perk up dead singing. They help you alert the people to the tempo and allow you to be insistent-- "wake up!--let's go!" > the Baroque feeling of perpetual motion (unceasing eighth note movement) also tends to arouse response. > the excerpt falls easily for the hand.> I let go of some of the melody notes.

Example 5-2An illustration which contains several modulations.> Crown Him with Many Crowns to Glorify your Name (C major to Bb major) >Glorify your Name (Bb to C major)> Glorify your Name to I Love you Lord (C to F major) > I Love you Lord to As the Deer (F to C major)

Notice in measures 4 and 5, I'm doodling with the C-Eb-C motion for one measure in the soprano to create a little space in order to transition to the adoration feeling--and give the people just enough time to sit down!

Example 5-3In chapter four of The New worship, I explain in detail why longer modulations are useful in the adoration phase. In brief, they allow the congregation to reflect: time and silence are "golden" to the worshiper. The transition below between I Love you Lord and As the Deer takes 6 measures. It could have been even longer.

In measure 8, the melody of As the Deer is anticipated. It prepares the way for the new tune and creates unity. If you are attempting a lengthy modulation, look for material (melodic or rhythmic) in the new piece that can be incorporated in the modulation. Use your modulation to set the mood.

The E in the soprano (m. 9) helps create an sense of longing.

Example 5-4As the Deer to Fairest Lord Jesus (C to Db). Fairest Lord Jesus (Db to D to Eb)

Measures 3 and 4 contain a little rest point, an extension (echo) of the phrase "and I long to worship Thee." Measures 19 and 20 build in anticipation of the transcendent text of the 4th stanza ("Beautiful Savior, Lord of Creation"). Save this high key (Eb) for the last stanza. Why? The fourth stanza has a "big" literary images. The use of wide octaves in the modulation foreshadows this feeling, creating an impression of immensity (m. 20). More Study?

For additional ideas and more examples to study, see the mini services in The Hymnal (Word Pub.). For example, IV and vi chords, as well as diminished sevenths and secondary dominants, can prepare the way for the V chord as effectively as the ii chord. My presentation has been limited to only a few ideas. Nevertheless, I hope you now have a practical mechanism in place for performing modulations.

Skill in Modulation:Foundational for Flowing Praise

Your ability to provide even just a few measures linking one piece to another is immensely important in creating a sense of flow to worship services. Otherwise, pieces fitfully start-stop-start-stop, or the worship leader is required to talk between numbers.

Helping you acquire modulation skills has been my primary objective in this work because it is so central to the success of flowing praise. The next section is "frosting on the cake." Why? The next topic--keyboard improvisation--is much more complex and much less easy to achieve quickly. Sustained effort over many months is required. And there's no guarantee that files 6 through 10 will make an real improviser out of you. That's up to you, and you must really work at it. My intent, rather, is to present ideas that will point you in an intelligent direction and save you time.

When leading worship,

Exert your personality during praise,and relinquish it during adoration.

File 6Ten Thoughts on Developing a Ministry

As each one has received a gift, minister it to one another, as good stewards of the manifold grace of God (1 Peter 4:10)

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Here are ten thoughts on developing a ministry that should serve to increase your effectiveness.

1. Sit down and write out on paper your identity as a church musician. Clarify what you want to be and do. Compose short statements that really motivate you. For example, " I am a triumph maker. I help people meditate on Jesus. I help our church discover its corporate voice. I help people feel. I open up the hymn texts. I bring dynamism to the service and help it flow." 2. Cultivate loving relationships. Get to know and identify with your people. If a relationship between you and someone in the church becomes strained, be the person to make the move toward reconciliation.

3. Be a worshiper while you perform. This is not easy in actual practice--you are busy thinking, executing, listening, observing (I understand!). The more you memorize the words and music, the more free you'll feel to worship. 4. Commit yourself to learning one new thing every week. Keep focused: impose boundaries on yourself. Concentrate on a single bar, phrase, harmonic progression, or style. Explore the possible voicings of a single chord. Don't feel that you must practice a whole piece--work on part of it.

5. Don't expect ministry to be a form of emotional therapy. Ministry tests your emotional maturity. Are you sufficiently thick-skinned? Are you performing because of low self esteem and the need to be complimented? Worship leading, believe me, is a risky way to be built up! All performers must learn to expect withering criticism. Do what you do for the Lord without expecting to be stroked.

6. Risk emotional vulnerability. As a worship leader, you are probably the emotional center of the song service. And the keyboardist can usually influence the congregation as much as the song leader. I sometimes talk to myself like this before rising to play: "If you don't feel anything they won't; if you don't risk anything they won't; if you're not wide awake they won't be; and if your worship isn't costly there's won't be either."

Have the courage to follow your intuitions and convictions. If you are experiencing goose bumps while playing, stick with that. Discover exactly what--musically and otherwise--triggered it. What moves you is important and will help you to improvise with conviction. If you discover a great line of theology or a poetic image that captivates you, go to your instrument and find ways to bring that to everyone's attention.

Engage not only your mind but your emotions when you practice. Allow music to strike you with force. Laugh. Cry. Then when the something like that feeling comes up at church, your stored up memory will kick in--you'll not be lacking emotionally!

7. Don't allow a perfectionist attitude to paralyze your progress. You are going to make mistakes (try to minimize them of course). Any improviser will make some "clams." But wouldn't you choose an inspired performance with flaws over a sterile one? We're not encouraging recklessness: test your "runs," "riffs," and "licks" at home first. Perform only what you can reasonably pull off. But remember, your goal is to make a contribution.

8. Let your gifts and personality come out! Many leaders in small to medium sized churches are all bound up. Feel free to embellish a chord or raise your hands (if it's appropriate). Remember the Master you serve. Remember how much you love the people and would like to see them experience authentic worship.

9. Share (rather than hoard) your ideas with others. Determine to be vulnerable; ask questions when you need help. Create an open learning environment.

10. Know when to step down or retrain. This one is hard! A more skilled musician may join your church. What will your reaction be? Or if styles and technologies change, will you initiate some form of retraining? People with this statesmanship attitude are respected.

Are you musing that your music program needs changing?

Don Hustad hit the nail on the head,If healthy change is to come to a culture, it must be guided by those who love and understand it.

...only they are really qualified to evaluate it.

File 714 Principles for Intelligent Improvisation

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This file provides 14 principles for intelligent improvisation. It stresses the need to restructure what you see on the printed page and to pay attention to what falls easily for your hand. It emphasizes the importance of letting the melody go, deleting melody notes, mixing chords and octaves, observing the cartwheel effect, and using fewer chord changes for guitarists.

Important! When you practice improvisation, limit yourself to specific pieces, keys, phrases, and styles. Maintain your focus! If you were practicing a notated piece, for example, you wouldn't jump from one piece to the other before studying passages carefully. The same principle holds for improvisation. Get things down so well you can play at will without error.

1. Achieve contrast by knowing the power centers of your keyboard. Generally, the middle of the piano keyboard is your warm, blending area. The outer octaves (high and low) are excellent for projecting power. The upper octaves cut through musical textures, whereas the lower octaves resonate and rumble. 2. Pay attention to what falls good for your hand. When improvising during a song service there is so much to occupy your mind (especially if you lead with your voice also) that efficiency is important. Take note of what falls easily for your hand and sounds good. Your goal: achieve the maximum amount of effect with the least amount of effort.

3. Restructure. Restructure what is on the hymn page. You may see chords like these.

Example 7-1

Restructure them the following way occasionally.

Example 7-2

That is, play the melody with a four note chord in your RH, and the bass with octaves. Become adept at both wide and close spacings.

Here is how Great God of Wonders looks like in a hymnbook setting--it's tailor-made for voices.

Example 7-3Great God of Wonders (Refrain)

When the passage is played on the piano, however, shouldn't wide spacing be employed? This powerful refrain cries out for wide spacing!

Example 7-4Great God of Wonders (Refrain)

The wide spacing above is fairly standard for congregational playing--but don't use it exclusively. Employ it when you intend to project. To achieve this kind of voicing, you must become proficient at reading the music on the page, understanding it (i.e., this is a D chord), then reformulating it. In The New Worship (chapter 15) I explain why revoicing sounds is crucial for deriving the maximum benefit from new technology.

Another example. Here are the first four measures of Holy, Holy, Holy as they would appear in a typical hymnbook rendition.

Example 7-5Holy Holy Holy

Restructured to be idiomatic to the piano, however, the result could look like this.Example 7-6Holy Holy Holy

By switching to a higher octave and using octaves when the melody began to soar (measure 5), I reinforced the congregational singing.

But the spacing could have occurred in the opposite order (see below). The excerpt could have begun with wide spacing and finished with close spacing (m. 3, 4). The pop symbols indicate the harmonic reduction you would have had to make mentally.


Observe: the four-note chords are not repeated on measure one, beats two and four. Why? Repeated four-note chords can result in a ponderous quality that takes away from the beauty of the line.

Measures 3-5 revert to closer spacings and thinner sounds. Why?--because variety of texture is important. Again, don't employ four-part chords in your right hand all the time.

In measure 4 beat 4, the extra chord provides a rhythmic accent which helps propel the congregation along. Accents like this make pieces more active and draw people into singing. Finally, note that measures 3 and 4 let go of the melody.

4. Let go of the melody! If your people are already being led by someone's voice (eg. a song leader), play the melody as much as your people need it-- no more. Guitarists only chord; they don't play the melody. Yet people sing well with guitar accompaniment.

Playing the melody slavishly (when people already know it ) can divert your energy from doing the more important things--helping people sing, building momentum, creating the right aura and character for the piece--in short, orchestrating the sound so that the meaning of the piece is brought out vividly.

Here is the hymnbook version of O the Deep Deep Love of Jesus.

Example 7-8O the Deep Deep Love of Jesus

Performing this piece, I would play the melody clearly for several measures as you have it above. But once the congregation became established in the melody, I'd delete a chord or melody note here or there, listen, and ask myself: "Are the people still singing without difficulty?"

It's been my experience, however, that even keyboardists who read well and have excellent training experience difficulty letting the melody go.

Again, if the tune is unfamiliar by all means bring out the melody--even play double octaves! But if your worship leader can sing reasonably well and the tune is familiar to everyone, then why play it?

When I play O the Deep Deep Love of Jesus for congregational singing, what's on my mind is not the melody--it's the imagery of surging waves. I let go of the melody and try to create the impression of waves rolling onto the beach, as demonstrated in the example below which has a concerto feeling.

Example 7-9O the Deep Deep Love of Jesus

In this style, make sure the same chord voicings are in each octave so you don't get lost. I'm talking especially about the RH.

If you have sufficient technique, add grace notes to the LH like those in the RH.

Once I succeed in communicating that God's love is like a mighty ocean, and everyone begins to feel its surging motion, I concentrate on creating some other contrasts-- pastoral feelings etc. But for me, the ocean is the controlling image. Moreover, I strongly argue in The New Worship (chapter one) that it's perfectly proper for old hymns tunes to be cast in a contemporary musical language.

Here is another hymn where I let go of the melody. But first let's look at the hymnbook version which is fashioned to serve four-part singing.

Example 7-10Come Christians Join to Sing (Hymnbook Version)

Now, in contrast, look at the restructured version that lets go of the melody.

Example 7-11Come Christians Join to Sing (Restructured Version)(Don't use these chords if your people are singing parts from the hymnal!)

The first two measures establish the melody, but from that point on only the key notes of the melody are referred to. At measure nine, a new line is created.

5. Try playing the tenor or alto part as your melody line. Search hymns for interesting inner parts. This practice can train you against slavishly playing the melody and help you develop an eye for stimulating lines. For example, Angels We Have Heard on High has an interesting tenor part.

Example 7-12 Angels We Have Heard on High (Refrain)

Below, the tenor line (expressed an octave higher) works nicely as the countermelody in the RH.

Example 7-13Angels We Have Heard on High (Refrain)

The extra bass note in each measure creates more vigor. Again, the LH octaves are optional.

The alto part of example 7-12 also furnishes a wonderful line. Try using it as the melody part.

6. The people often sing better with some empty space. When the texture is less cluttered and people can hear themselves singing, they often feel more responsible.

Experiment playing chords only on the strong beats. Or, play notes only on accentuated syllables or the key words. Leave some empty spaces, as demonstrated below.

Example 7-14And Can it Be (empty space)

The style of this example is sparse and detached; some of the chords are what I call "orchestral stabs." 7. The faster the tempo and the quicker the melody, the more notes you should consider deleting from the RH. If there are several melody notes per chord change, consider omitting some melody notes. For example, Wonderful Grace of Jesus has a quick melody. Delete some notes.

Here is another melody which has a fairly quick tempo.

Example 7-15Immortal Invisible

If I were playing this hymn, I might omit half of the melody notes and provide this chordal foundation instead (below).


When you delete melody notes, you may detect some new lines or patterns. For example, using the basic progressions above, the soprano line could rise by step from Eb to Ab.


Or you can create a line with a feeling of movement. Example 7-18Immortal Invisible

8. Employ the Cartwheel Effect. Let one hand be active, while the other remains inactive. It's an intelligent technique because it results in less clutter and allows you to concentrate on one hand. Errors are avoided.

Let's say we sense we have a good idea above (7-18) and that we would like to develop it. First, cast it in a key where it falls nicely for the hand (G major).

Example 7-19

Example 7-20Try making the LH more florid while maintaining the cartwheel effect.

Now let's reverse the movement and make the bass active.

Example 7-21

Now combine these ideas in a longer passage observing the cartwheel effect.


9. Mix octaves and chords. If you are playing four-note chords with octaves in your RH and want to play all of the melody notes when the tune moves quickly, then mix octaves with chords in your RH. This makes it easier technically, and often the loss is negligible musically.

For example, play chords on the strong beats (or notes emphasizing the strong beats) and octaves on the weak beats or less essential notes.

Example 7-23Joyful Joyful

10. Reduce! Reduce! for yourself, for guitarists. Develop the capacity to scan music harmonically and rapidly simplify (in your mind) what is happening. This skill is especially useful when you're soloing or improvising in an ensemble.

When you're preparing chord charts for guitarists you'll need it too. Guitarists need slower chord changes than you'll find in most hymnals. For example, a hymnbook version of Be Thou My Vision looks like this.

Example 7-24Be Thou My Vision

As you can see, the rapid chord changes would make for difficult guitar playing. So in deference to your guitarist, reduce the number of chord changes to four.

Example 7-25Be Thou My Vision (Reduced)

In fact you could reduce it to two chord changes without sacrificing any beauty.

Example 7-26Be Thou My Vision (Reduced further)

Another point. When you are playing the refrain of And Can it Be, it's helpful to understand that despite the apparent movement, the basic chords changes are slow in some places. Knowing that, gives you freedom to improvise more intelligently.

Example 7-27And Can it Be (Refrain)

You can say to yourself, "For four measures, I V I is all I really need to be concerned about." So you can concentrate on doing something with those two chords (or others of your choosing) that will help bring out the meaning of the piece.

Often playing fewer notes, but placing them expertly, will sharpen the music contour and result in much better singing. It's like an elegant line drawing. Have you seen the drawing outlining the profile of Alfred Hichcock, the producer of mystery films? Through a few, telling strokes, the artist created an evocative impression of him.

11. Better progress is made if you work out ten variations on a single piece than one or two variations on ten pieces. Why? Developing ten variations forces you to think, stretch, and vary material.

12. Limit yourself to one key at first. Once you develop the ability to think quickly in one key, then learn another (one key at a time).

13. Your public work reflects your overall improvisational level achieved in private. Do your practicing and experimentation at home.

14. Impose boundaries! Carefully impose discipline on yourself that causes you to practice in a concentrated fashion. Don't improvise aimlessly. Work on part of a piece--learn a specific progression or rhythm and then revisit the material until it is internalized. I made this suggestion at the outset of the file, but it's so vital that I felt compelled to repeat it.

I really like what the Apostle Paul said,

I run not with uncertainty...I fight not as one who beats the air. But I discipline my body and bring it into subjection.

File 8Reshape V7:Use "Four over Five"

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In today's music the V7 chord is often substituted with one of these two chords:

> Vsus9 > IV/5 (called "four over five")

Both chords are very closely related in sound and function because there's only a difference of one note between them. This file particularly focuses on the IV/5 chord. When you finish, you should have a clear idea of how to use it in hymns and choruses.

Why does this file discuss the IV/5 chord in detail and not the Vsus9? There are two reasons. First, we dealt with the sus9 in file three. Second, the IV/5 sound is easier to visualize and formulate--so we especially need to devote space to it.

However, become adept at using both chords. The Vsus9 functions the same way as the IV/5.

The IV/5 Chord

Let's explain the IV/5 chord in detail.

IV/5 means: a IV chord in your RH and scale degree note 5 (just one note) in your LH.

The IV/5 symbol is my unique creation--you won't find it in the literature--and it's notated below.

Example 8-1IV/5 chord in C major and F major.

Explanation: the F chord is IV of C, and the G in the bass is scale degree V of C. Similarly, in the second measure the Bb chord is IV of F and the bass is V of F.

The RH chords in both measures (above) can occur in any inversion or permutation as indicated (below).

Example 8-2IV/5 Permuted

Any octave, any doubling or spacing can also be employed.

Let's look at it in Come Christians Join to Sing. We'll add the melody and indicate the equivalent pop symbol (for comparison) so you can see the whole picture.

Example 8-3Come Christians Join to Sing

Clearly, the IV/5 functions above as a substitute for a dominant seventh chord (V7).

Example 8-4V7 and IV/5 Contrasted

Example 8-4 shows that IV/5 and V7 have only one note in common in the RH--the note C--although their sound is similar.

The IV/5 chord can be used in a great number of situations and on several scale degrees. From example 8-5 below, note that scale degrees 1-1, 4-3, 6-5 work well with the IV/5 to I progression, but that scale degrees 2-1 (unlike V7) can't be derived from it.

Example 8-5Melody patterns for IV/5-I

But there's good news! When a 2-1 pattern occurs in the melody above a IV/5 chord, the result sounds just fine, as the phrase below demonstrates. It also works nicely when the melody is on the fifth degree at cadences--when a 5-1 or 5-8 melody pattern occurs. In fact the only strong clash occurs with scale degree 7.

This means that the IV/5 chord has lots of flexibility in terms of use. That's the point to remember!

Example 8-6Crown Him with Many Crowns (last phrase using IV/5)

Sing the melody (above) as you play the chord pattern to confirm that the IV/5 sounds good with scale degree 2 in the soprano. In fact, the IV/5 chord, when combined with the melody note (A), forms a Vsus9 chord (see 8-7).

Example 8-7Vsus9

Using the last phrase of Crown Him with Many Crowns I've created an exercise employing IV/5. Play the notation and sing the melody which has the 2-1 melodic movement (5-4-3-2-2-1). Become fluent with it in all the keys.

Example 8-8

Continue on through the chromatic scale with the exercise.

Examples in Hymns/Choruses

Now let's look at some examples displaying IV/5 in hymns and choruses.

Example 8-9Glorify Thy Name

Example 8-10Glorious Things of Thee are Spoken

Example 8-11O Protector of my Soul

Example 8-12My Faith has Found a Resting Place

Three Exercises

Now fill in the blanks. Practice adding the IV/5 chord to some music.


Example 8-14For the Beauty of the Earth

Example 8-15

IV/5:Substitute for IV

Two final examples demonstrate that the IV/5 can substitute not only for V or V7, but also for IV chords. This should not be surprising since we established earlier that a 6-5 and 4-3 movement could occur in the melody. Scale degrees 6 and 4 are members of a IV chord. Here's an example of the use of a IV chord in a phrase without the IV/5.

Example 8-16The Churches One Foundation

Below the Roman Numeral IV is substituted with a IV/5 chord.

Example 8-17

The IV/5 chord occurs frequently in contemporary Christian music.

The next topic is added seconds and quartal sounds. Used extensively by both keyboardists and guitarists, they will definitely add color and variety to your improvisation.

...my advice?

Start right now!Learn one new thing each week.Do what you can,with what you've got,where you are.

File 9Reshape Triads:Use Added 2/Quartal Chords

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One way to enliven hymns and choruses is to employ triads with added seconds or quartal chords. This file explains their construction, applies them to a variety of hymns and choruses, and offers exercises so you can become fluent with them. Secondary dominants are also described.

Added Seconds add Color

An added second can be applied to a major or minor chord usually without clashing with another performer (i.e., organist or guitarist) playing the simple triad. That fact alone makes the chord especially valuable in a worship ensemble.

In the first measure below, D is the "added second" to the major triads. In the second measure, G is the added second.

Example 9-1

If you desire a pastoral effect in a hymn (say with Be Thou My Vision , The Lord is My Shepherd, or Lord You're Beautiful), broken added seconds can often create the right aura.

Example 9-2

Permutation of Added Seconds

Think of added seconds as you would normal triads. They can be permutated (or "inverted"). The first measure (below) permutes a C major triad, the second an added second.

Note, the third of the chord is left out in measure two--there's no E. That's pretty typical, though the third can be kept in. Leaving the third out helps to underscore the added second quality.

Example 9-3

Look at the third chord after the double measure (GCD). What is it? It's called either a chord with an added fourth or a sus chord. How interesting! That tells you that added seconds (in the second inversion) and sus chords are identical.

In our discussion, quartal sounds will be regarded as a sub category of added seconds. You can see why: the quartal chord (see "+") is a first inversion of the added second. It's called a "quartal chord" because it consists of perfect fourthss--D, G, C.

If you combine a quartal chord in the RH with a first inversion C major bass note (E ), you get a very useful sound for hymn and worship chorus playing. Let's look at its expression in the C and G chords below.

Example 9-4

The above sound can serve as an interesting substitute for a first inversion major chord.

Use as a Secondary Dominant

Here are a few more examples of the added second (quartal chord permutation) with the third in the bass.

Example 9-5

The A flat add2 and its restatement at a higher pitch (Bb) can have a nice effect in the first and third chords of Immortal and Invisible (below).


To be more precise, we might call this particular expression of the Abadd2 chord (above) a "quartal chord," since the right hand consists of perfect fourths.

Example 9-7Immortal InvisibleThe same idea but with slightly different voicing.

Example 9-8Immortal InvisibleThe same idea again but in a higher register with yet different voicings.

The examples above in the key of Ab also illustrate how a quartal chord can function as a "secondary dominant" or "applied dominant."

What is a "secondary dominant?" Basically, it is a dominant chord (a V major triad) applied to a scale degree other than one (I). Think of this scale degree as a momentary I chord, and the secondary dominant as modifying or being applied to it. The secondary dominants below will make this clearer.

Example 9-9

Chord two (the secondary dominant) is a first inversion V chord (V6) of scale degree two. Think of the d minor chord as a temporary I chord. Chord four (also a secondary dominant) is a V6 of iii. In the example, the secondary dominants (V6/ii, Vb/iii) precede scale degrees two and three.The symbol "6" of V6 indicates a first inversion triad. It means means a sixth and a third is above the lowest note of the chord.

Example 9-10The added second (or quartal) chord can be substituted for the secondary dominant.

A.

B.A smoother connection is obtained when a minor seventh chord (here Dm7 and Em7) follows the quartal chord.

The following exercise begins with an extended sequence of secondary dominants triads. Added second (or quartal) substitutes are introduced in measure five, and added seconds followed by seventh chords begin in measure 9. The alternatives beginning in measures 5 and 9 can provide you with options when you come across secondary dominants in hymns and choruses--and that happens frequently.

Exercise 9-11

The above exercise could be profitably played in each key (Db, D, etc).

The following exercise develops the same idea using first inversion and root position chords.

Exercise 9-12

You may have noticed that quartal sounds were used in some examples in the previous files.

Examples from Hymns/Choruses

Let's look at some hymns and choruses where quartal sounds can be used. To be precise, I'll place a Q symbol where a quartal chord occurs, and an add2 where the perfect fourth (P4) spacing doesn't occur.

Example 9-13As the Deer

Example 9-14Change My Heart O God

Example 9-15AEmmanuel (with Quartal Chords)

As you played this example, were you aware that the second and third quartal chords were substitutes for secondary dominants? The next example makes this point clear by using traditional V6 chords in place of the quartal chords. Hear the difference!

Example 9-15BImmanuel (with V6 secondary dominants)

If you are playing with guitarists, you may want to avoid secondary dominants altogether (depending on their ability) and use what's in the songbook. Nevertheless, I think you'll agree that quartal chords add color to the passage.

Example 9-16

Holy Holy Holy

Added Seconds with Third Out

Keyboardists with classical training endlessly practice broken major and minor triads because they occur so frequently and are so useful. They learn to play them fluently in every key with 16th note and triplet patterns.

Example 9-17A.

B.

But have you thought of practicing broken chords with added seconds? It's a good way to become familiar with their various inversions (permutations). And you'll find many uses for them.

C.

D.

Practice them in every key until you can play them as fluently as triads.

Example 9-18

A Cadd2 chord in the RH works well with a G, F, or Bb in the bass.(If the doubled C in the final chord in the RH is too hard, leave it out and just play the quartal sound--D,G, C).

A.

B.

4C.

Example 9-19You can even combine the bass notes or make up other patterns.

A.

B.

Example 9-20Practice the 16th note pattern with the same bass patterns in a descending motion as well. In fact it's more fun.

A.

B.Or, try a different soprano note on the top.

Example 9-21

Even try the common I I6 IV V I progression in the LH with it.

Example 9-22The IV, ii, V I pattern also works well.

Example 9-23A. RH Quartal Pattern

So far have you noticed that the first note of the beamed sixteenths has followed this pattern (CGDCC)?

B. RH Pattern of FifthsThat pattern can be changed to one with the first and fifth notes of the scale (C& G).

C. RH Pattern of Fifths with BassThe C-G pattern can be substituted in all the above 16th note examples, including this bass part.

Example 9-24Let's see how it looks with filled-out with sixteenth notes.

We'll use this pattern outlining RH fifths shortly in the hymn Immortal Invisible.

If you practice broken add2 chords in all the keys, you'll find that the added seconds chords on Eb, E, Bb, and B don't fall quite as easily for the hand. They'll take a little more work.

Added Seconds with Third InBroken added seconds can be played with the third in--not omitted.

Example 9-25A.

B.Here's an extended pattern that can be practiced in all the keys. In the keys of C, F, G, Db, and Ab, the pattern falls easily for the hand.

Important! The whole pattern does not need to be played in a piece. Any segment with or without the third can be used.

In the excerpt to follow of Immortal Invisible (9-32) we'll demonstrate the use of segments of these patterns.

Added Fourths (Sus)

Added fourths (identical to the sus chord) on any scale degree are another possibility. They fall nicely for the hand for chords based on Eb and E, precisely two of the chord notes that are difficult for the added second pattern.

Example 9-26A. Here's the added fourth chord on Eb.

B. The added fourth expressed in broken 16ths.

Notice that when the RH is combined with the Bb in the bass (beat three), the result sounds like a Vsus7. Only the fifth (F) of the Vsus7 (Bbsus7) is missing in the RH.

Example 9-27

Example 9-28And of course, it resolves nicely to the final Eb chord (Ab falls to G).

This observation leads to yet another idea. Why not use the pattern with the scale degree V (Bb) in the bass for an entire measure?

Example 9-29

It works! Obviously this pattern could be useful in embroidering a V- I cadence. This function becomes even clearer when the top note is a Bb (below).

Example 9-30

Broken added fourths fall nicely for the hand on all chords except F# and B.

Added Seconds in Immortal Invisible:A Demonstration

Let's conclude with a flourish by illustrating broken added 2 chords in the hymn Immortal Invisible. Here is the tune and the words to the second stanza. Have a look right now at the poetic images in the text because we will want the piano "orchestration" to reflect them faithfully.


The strong images in the text include the idea that God is active (in the first part), that His justice soars as high as the mountains (the middle part), and that He is full of goodness and love (last part).

Example 9-32Here is an attempt to get at the text using added seconds. Again, the material must fall easily for the hand.

Comment. When playing the excerpt, use finger 2 on middle C in m. 8. The tenths in the LH and the D on beat three can be played with a simple C and D respectively. The LH C chord appears for a reason. It demonstrates that the RH Gadd2 chord can have a triad based on the fourth in the bass, an illustration of example 9-18B.

In the same way, the LH D in m. 10 and 11 demonstrates the fifth can be in the bass (example 9-20).

You may feel the rendition overall has too many notes--that it's too active. If so, then make changes like the following.

Example 9-33Immortal Invisible (m1-4)

Another point. We previously conceived variations of Immortal Invisible that predominantly employed 8th notes (example 7-22) and 16th notes (example 9-29). What if 8th notes are too slow and 16th notes too fast for the particular tempo you have chosen, or do not have the proper feel? Then try triplets. Triplets with added seconds and their permutations are possible.

Example 9-34 A. How ascending triplets could look in m. 10-11 of example 9-30.

B. How descending triplets could look in m. 10-11 of example 9-30.

Reflecting the Text Musically

Finally, what about the text of Immortal Invisible? Does example 9-32 (above) reinforce it's meaning adequately?

I can anticipate your answer:

"Not really! In the part where justice soars like mountains, you have a Gadd2 run descending (m. 10 and 11). Wouldn't it be better if it ascended?

And the last image in the stanza talks about goodness and love, but in the excerpt 16th notes are whipping around--they're extremely active. I don't see how they project the idea of "goodness and love." They might work better at the end of stanza one where the text talks of God as "Almighty" and "Victorious."

You have made some excellent points and your concern for the text is valid. The more literal approach you desire (like J.S. Bach!) is possible. So let's make some changes. We'll start from "Thy justice" since that's the point where your concerns were first raised.

Example 9-35Immortal Invisible (Revised)

Now the Gadd2 run ascends (as you suggested). More importantly, the last four measures are less busy, and the added seconds in measure 6 and 7 soften the timbre and warm up the texture.

The Cmaj9 and C/D in measure 8 also provide warmth.

In measure 7 use finger 3 on G and finger 5 on B in the soprano part, and repeat the fingering for the next measure in order to maintain a legato touch in keeping with the text.

One final point. We must be realistic in orchestrating texts. It's impossible to attend to all the images, equally, every time, for every hymn. Therefore, we must concentrate on the dominant images that we have the best chance of rendering musically.

Valuable!

Don't you agree that added seconds, added fourths, and quartal sounds inject color into simple triads? In the above pieces they add color without being too out of character for the baroque/classical style.

Added seconds occur frequently in pop music as well as 20th Century classical music--in fact they're embedded in a great number of 20th Century styles including light rock. Employ them in your hymns and worship choruses!

Band-in-a-Box

If you need a way to learn pop, latin, black, or Jazz styles, consider using the "Band-in-a-Box program, an inexpensive software package designed for MAC or IBM computers (call 1-800-268-6272 for information). Over 100 styles and 100's of pieces demonstrating the styles are available, and you don't have to read notation since the keys are displayed visually (like a player piano) on the computer screen.

The program allows you to perform a number of essential features that help you make contact with each style. You can slow down passages, change keys, or mute out instruments in the texture. For example, you may want to hear all the instruments play except the piano--so you can play it "live" yourself. More importantly, specific cliches, riffs, and rhythms are isolated for every piece, providing you with an analysis of each style.

Here's how to go about it. Load any piece (style) you want to imitate. Pull down the "user menu" (at the top of the screen) and select "edit existing user style." A grid of numbers will appear. Each number will play an 8, 4, 2, or 1 beat pattern that comprises an aspect of the style you're interested in mastering. Focus your attention on the 8 and 4 beat patterns.

When you click on the numbers, you'll get an idea of how the computer builds up each style. Interesting! If you press the "play" button, the patterns are played using a C major chord. Pressing the "chord" button (rather than the "play" button) results in two advantages: (1) each pattern can be played with any chord qualities occuring on the scale degrees of C and F major, and (2) macro examples not fleshed out with the "play" button can be heard in their completeness. That is, the "chord" button helps you understand how the pattern unfolds using various chord qualities, and on a variety of scale degrees.

To begin, select a pattern and play along in sync at your keyboard. Slow the tempo as much as necessary, and then gradually increasing the tempo as you gain fluency. Slow practice is a key to success! Try playing the piano and bass or the guitar and bass parts together. This will help you achieve some left and right hand rhythmic independence. When you have mastered the patterns, try mixing them together by playing one pattern and then another in succession. Then mute out the piano and guitar parts and play the patterns with the percussion background only. Also try to learn the patterns in other keys.

With this preliminary work, you'll be ready to attempt the whole piece which exists in the main menu screen with the pop symbols displayed. Tackle this challenge in measured steps too. First, target only the first 4 or 8 measures. To facilitate this, change the number of repetitions (stanzas) to "1" at the top right of your screen, and limit the number of measures for study to 4 or 8 measures at a time as you gradually work your way through the piece. Then mute everything except the percussion part, and play the piece through in the given key with only the percussion part sounding. Finally, transpose the whole piece and learn it in another key.

Keep focused! Keep reviewing what you've studied. Learn one or two styles at a time before attempting another one. Don't expect instant results. Your goal is to internalize the patterns so thoroughly that you can hear them perfectly in your head and play them at will.

Don't miss the next file! It's loaded with fascinating shop talk on church service playing from a talented Hollywood-studio musician, Tom Keene. Tom cogently summarizes what we've been talking about--and more!

Do I have the nerve to apply these principles?

A plan in the heart of a man is like deep water,

but a man of understanding draws it out.

File 10Shop Talk:Insights from Tom Keene

How about learning some "secrets" from a pro! I took these notes as Tom Keene talked about church-service playing at his home studio. Tom makes his living as a Hollywood studio musician and performs regularly in a local church. He has arranged and produced over 300 Christian recordings. He recently produced his own solo keyboard CD and has two, best-selling keyboard books published by Maranatha!

________________________________________________________________________

> 5 pages > 3 examplesMusic examples may appear incomplete on your screen, but the printout will be correct. See readme.txt file.Relevant musical examples from previous chapters are shown in brackets at the end of paragraphs._______________________________________________________________________

Tom's Pet Peeves

My biggest complaint is that some keyboardists flagrantly use any chord, rather than keeping to what's in the book or lead sheet. This results in mush. In fact I should state it much more strongly! Doesn't Scripture advise against playing an "uncertain sound" [I Cor. 14:8]? Stay with what's written unless you've decided on some other chords together beforehand. A good improviser can do something with a C chord all day long.

Another complaint I have is that musicians don't listen to each other. Players are too autonomous. Don't overplay in ensemble situations. Don't use too many thick chords. If necessary play the melody with two hands if someone else (the organist?) is playing all over the place. Or play open sounds, rather than the whole chord. [see ex 5-1 m. 1-8; ex 7-21; ex 7-22]

Another thing. Church musicians are sloppy. They overlook or don't recognize clashes. For example, I hear the second measure of Alleluia Alleluia played with a C7 chord all the time. The seventh of C7 is B flat and it clashes with the B natural in the melody.

Example 10-1

Hear the clash? This kind of mistake happens all the time. Don't go for the cycle of fifths at the expense of the melody.

About Undisciplined, Unintelligent Playing

Most instrumentalists want to play and keep playing throughout the entire song and during all of the song service. But you need to ask yourself: "Am I contributing to the whole?" Do you want to play, or do you want to play right? It's fun to play "dumb." But it is "dumb." Rather, let's be intelligent.

Why is this temptation to overplay so great for keyboardists in particular? The trouble is that the piano is a complete instrument--you have the capacity to fill out every piece and play the melody all the time. And that's usually not appropriate.

On Learning to Improvise

A good place to start is with chord substitutions. Counterpoint can come later. [see ex 7-19; ex 7-20; ch 8, 9] With inversions, leave out the bass note in the right hand. For example, the first of every pair of chords I'm playing here has the bass note doubled in the RH. But the second chord omits the bass note in the RH. It often makes for a cleaner sound. [see ex 7-6 m. 5&6; ex 9-35 m. 6&7]

Example 10-2

Be content to "fool around." For example, fool around with playing a C to G chord. How many ways can you do it? Freedom within even that limitation should still yield you enough gratification.

Incidentally, the add 2 chord--a major or minor triad with an added second-- is probably the most important chord in contemporary pop. If you see film scores, that's the chord. [see ch 9]

Regarding octaves, if your playing of passages with octaves is cumbersome and awkward, then leave them out. In my recording and church playing I seldom play fast octaves. It takes superior technique. I probably use octaves 10% of the time--mostly for big effects, and maybe at the end of the piece. And I consider the audience as the rhythm section--they do the melody and keep the momentum going. That means I don't have to play the melody or bass part all the time. I'm free to do other things--like orchestrate with the piano. [see ex 3-9 m.7; ex 5-1 m.9; ex 7-11; ex 7-13; ex 7- 4, 6, 9; ex 9-32; ex 9-35]

Feel free to leave some holes or room to breathe in the music. That will help the singing. And in a difficult anthem etc., if you can't manage a chord change--don't! Omit it rather than make mistakes. [see ex 5-1; ex 7-14]

Observe the cartwheel effect: if the RH is busy, the LH should not be and vise versa. Keep one hand active, the other not doing much. [see ex 5-1; ex 7-19 to 22] Leave out inversions at the beginning stages. [see ex 2-2&3]

Keep common tones when you're connecting two chords! That's very important. Common tones are the basis of my whole style. Keep them down! And don't double too much. Common tones help you not to change your hand position. Having to lift your hand position for another chord results in a loss of efficiency. For example, this is typical Keene. [see ex 1-8; ex 4-19]

Example 10-3

Did you hear that? I held middle C through to the end. One hand position. [see ex 7-22 m. 8 thru 16]

Think of organ technique. Organists have to make notes sound connected without the use of the sustain pedal that pianos have. See if you can connect the notes on the piano smoothly (legato) without using the pedal. Avoid "muddiness." Tie it all in with octaves, etc. Clean playing is perceived as much stronger and louder than all those thick chords.

Another thing about the pedal. Amateurs push the pedal down when they make each chord. But pros let it up--and then put it down. There's never any hangover from the previous chord. They use the pedal sparingly.

Listen to a broad range of music styles. Steal from everybody, but gradually allow your own voice (your playing personality) to come out.

Learn one new thing everyday. Copy a master player. When you transcribe ideas from an CD, choose something you like--and someone who's masterful at it.

On Being your own Keyboard Orchestrator

A good symphony orchestration is easy to play--the orchestration's intentionally written to be idiomatic to each instrument. Similarly, a good piano arrangement feels right under the hand-- it feels good under the fingers. [see ex 7-20; ex 9-32]

When Improvising in Public

I love that verse "I can do all things through Christ who strengthens me," but we must not use it as a pretext for undisciplined playing. Play what can you pull off 100% of the time. Sloppy playing results when you're going for "all that stuff." Do what you have practiced at home and know you can perform. Keep it clean and tight.

Wow! That sounds good!

While I live I will praise the Lord.

Acknowlegements

I want to thank Dr. Jack Schwarz, chairman of the Biola University Music Department (La Mirada, California), for granting me time to complete this project as part of my preparation for a projected course in keyboard improvisation.

I also want to acknowledge a number of long-time friends who helped birth this work. Mel Bowker and Tom Keene critiqued and improved the text. David Russell, director of the media center at Biola University, revised the layout, refined the table of contents and introduction, and prepared the delightful "church mouse" icons at the end of the files. Mike Kent, a friend who also works in research and development with Roland, provided expert technical advice from beginning to end, and guided the transformation of the project into the computer disk medium.

My sincere thanks to each one of you! Without your support this project could not have reached its present form or quality.

Change My Heart O God Copyright Mercy PublishingExcerpt used with permission.

As the Deer, I Love You Lord, O Protector of My Soul, Emmanuel, and Glorify Thy Name. Copyright Maranatha! Music. All Rights Reserved. International Copyright Secured. Excerpts used with permission. Midi files of Maranatha songs available from Worship Solutions (1-800-249-MIDI

Appendix 1Companion Book Announcement

My new book, The New Worship: Straight Talk on Music and the Church (Baker Books, 1995) complements this disk. In fact, the book has the major ideas, and the disk was written as its supplement. For example, chapter three explains in detail the rationale behind the "five phase" flowing-praise model, while the disk merely focuses on how to do the modulations.

The New Worship is a practical resource for musicians, worship leaders, pastors, teachers of worship and music in seminaries and colleges, and professional musicians. It aids you with the direction of your worship program and philosophy of worship. It particularly focuses on (but is not limited to) worship that employs a blend of traditional and non-tradition music in the free-flowing praise format.

The New Worship covers the following topics:

Contemporary Worship Services

1. Hymns or Choruses? 2. Psalms, Hymns, and Spiritual Songs? 3. Free-Flowing Praise 4. Journey into the Holy of Holies 5. Designing the Service 6. Creating Drama: Bulletins, Readings, Slides, Videos 7. Inspiring the People's Song

Pressing Issues

8. Is Worship a Performance? The Concept9. Is Worship a Performance? The Implications 10. The Danger of Cosmetic Change11. The Look of Music in Evangelism, Fellowship, Worship 12. Resolving Tensions over Musical Style: Peter13. Resolving Tensions over Musical Style: Paul

Ministering with Others

14. Volunteer & Staff Relations15. Identifying, Attracting Church Musicians16. Why Seminaries Should Teach Music & WorshipIn the book I aim to accomplish the following:

> provide Biblical perspective> inform readers of contemporary culture, trends, and technology> teach concepts, illustrate techniques> present strategies for implementation> build up the pastor/musician relationship

The next file, "Companion Book in Brief," summarizes the key points in each chapter.

Appendix 2Companion Book in Brief

Chapter 1 Hymns or Choruses?* Hymns and choruses are complementary--determine the appropriate blend.* Hymns and choruses edify differently.* Think of tradition as an ongoing, ever-renewing process.* Roots down! Walls down!*The words, rhythms, and tunes of established hymns have and will continue to undergo revision.* Worship forms should not be confused with spirituality.

Chapter 2 Psalms, Hymns, and Spiritual Songs?* Let Christ dwell richly (Col. 3:16). Emphasis on rich.* Dwelling in Christ is linked to a richness of expression and form.* The terms "psalms, hymns, and spiritual songs" may indicate collectively the total range of style or reflect three different styles.* "Spiritual songs" probably involved improvisation.* The Psalms demonstrate variety. The Hebrews preserved old songs, sang contemporary songs, called for new songs.

Chapter 3 Flowing Praise* The five-phase model: invitation, engagement, exaltation, adoration, intimacy.

* Faithfully image the character of God (both transcendence & intimacy)* Sing not only "about" but "to" the Lord.* Praise normally precedes adoration. * Not repetition, but accumulation.* Jerking about distracts. Use common words, common keys where possible. Employ smooth tempo changes: invitation/engagement (running), exaltation (jogging), adoration (walking), intimacy (stopping, gazing).

Chapter 4 Journey into the Holy of Holies* Worship mirrors the Journey into the Holy of Holies at every point.* Enter his gates with thanksgiving.* Exuberant praise turns to solemn adoration.* Silence is golden to worshipers. Just worship!* The mind jumps faster than the spirit.* The 5 Phase and Holy of Holies models are similar. * The Wimber, Cornwall, Webber Synthesis includes repentance.

Chapter 5 Service Design: Liturgical, Thematic, or Free-Flowing* Scripture contains no prescribed order of service.* There should be a full revelation and a full response.

* Keep congregational singing, praying, and Scripture reading central.* Liturgical, thematic, and open worship forms predominate today.* Innovation between and within the three forms is where the action is.* The lectionary drives the liturgical service.* The sermon drives the thematic service.* Flowing praise resists a thematically conceived service. * Thematic planners need the sermon outline.* Historic liturgies allow for response after the sermon.* Pauline worship reveals astonishing variety.

Chapter 6 Creating Drama: Bulletins, Readings, Slides* Headings provide direction and orientation.* Don't overwhelm guests with detail.* Employ repetition of 3's.* Divide the congregation into sectors occasionally.* When there is punctuation, take a breath.* Bold face fonts enhance creative interaction.* Nature backgrounds aesthetically enhance slides

Chapter 7 Inspiring the People's Song* Treat the congregation as your primary choir.* Stand for praise, sit for adoration.* Nest new hymns and choruses.* Paraphrase abstruse hymn texts.* Eliminate wordy hymn/chorus announcements.* Pitch songs lower in early morning services.

* Introduce no more than one new song in a given service.* Introduce new songs at the beginning of a set.* Exert your personality during praise and relinquish it during adoration* Perfectionism characterizes both pastors and musicians.* Pastors and musicians--protect each other!

Chapter 8 Is Worship a Performance? The Concept* Yes!...but people distrust, musicians value, and pastor deny "performance." Let's reload the word.* To perform is to minister and to serve.* To perform is to do something complicated with skill in public with a view toward serving or ministering.* Kierkegaard: God is the audience; pastors and musicians are prompters; the people are performers.* Prompters must not distract from worship.* Prompters serve two audiences (God & the people).* Private worship should precede public performance.

Chapter 9 Is Worship a Performance? The Implications* TV culture has imposed professional standards on worship.* As your church grows, specialize. * The larger the church, the higher the performance standards required.* Practice! People appreciate quality. Offer costly worship.* Exercise your technique but don't put your trust in it.* Good technique means being "response-able."* Restraining your technique may be wisdom.* Pastors and musicians share a performance temperment.* Find someone emotionally secure to work with.* Pray that others around you will be more praised, more used by God than yourself.* Service in small things helps discipline ego urges.

Chapter 10 The Danger of Cosmetic Change* Danger of "worshiping worship."* Church music should be determined by the nature of the Church.* Model: kerygma (to proclaim), koinonia (to fellowship), leitourgia (to worship).* Leitourgia includes and subsumes kerygma and kiononia. * No Kerygma--No Kiononia--No Leitourgia.* One definition of worship will never suffice.* The Hebrew conception of worship is primarily gestural, not propositional.* Invite a total response: let every knee bow and every tongue confess.

Chapter 11 The Look of Music in: Evangelism, Fellowship and Worship.* Kerygma confronts, koinonia comforts, leitourgia integrates.* The churche's mission: to incarnate all three modes.* Kerygma music accentuates specialized performance.* Kerygma provides the best context for choirs.* Koinonia resembles a TV talk show.* Koinonia music brings performers closer to the audience.* New Orleans Jazz exemplifies koinonia music.* Leitourgia music is Godwardly directed, participant oriented.

Chapter 12 Resolving Tensions over Music Style: Peter* Music is relative: there is no one universal style.* Music tracks language.* Acts two ultimately leads to a Pentecost not only of languages but music styles.* If language dialects are not despised, then music dialects (folk music) should not be despised.* No melody, scale, chord, texture, rhythm, instrument, or timbre is theoretically off-limits. Peter was commanded to eat all the foods.* The issue of style involves the broader issue of accepting people.

Chapter 13 Resolving Tensions over Music Style: Paul* Music style is a disputable matter: let each be "fully convinced in his own mind" (Rom. 14:5).

* Teach everyone to be "strong."* Listen to any style without raising questions of conscience.* If a style ministers, don't ask where it came from.* Beware of elevating any one style as intrinsically "sacred."* Some worship styles may be permissable but not appropriate.* If someone regards a style as unclean, for him/her it is unclean.* If a style causes spiritual harm, do not wound.* Listeners derive different meanings from the same music.* Abuse of a form does not disqualify it's use by others.* Lyrics are easier to evaluate than music style.

* Church music should be functional, richly intelligble.*Those within the culture (who know it) are best suited to critique it.

Chapter 14 Volunteer & Staff Relations* Dignify the music ministry.* Minister not only "through" but "to" musicians.* The more we strategize the better we harmonize.* The ideal music director is a musician, administrator, educator, and pastor.* The heart of "ad ministr ation" is ministry. To administer is to minister.* Musicians crave inspiration, repertoire, methodological suggestions, and technical review.* Musicians often feel like music grinders, underpaid and overworked, and feel thought of as triflers or distant cousins to the "real" ministry. * The creative-artistic world differs from the business-organizational world.* Musicians resist the Boss-Subordinate Leadership style.

Chapter 15 Identifying, Attracting Church Musicians* First, do what you can, with what you have, where you are.* Be able to articulate your worship philosophy* Consider the Spiritual Gifts (Eph 4) when determining qualifications for music directors. * One good musician attracts another.* Look in large churches for prospective candidates. * Seek both a reading and an improvising musician.* Compensate adaquately those professionally equipped.* Obtain a clear idea of your candidate's stylistic comfort zone--you may have to live with that.* Your stylistic comfort zone was formed during adolescence. Ask your candidate, "What was your favorite music in your adolesence?"* View electronic and acoustic instruments as complementary.* Even one live violin combined with synth strings greatly enhances the sound.* Improvising musicians take better advantage of new technologies.

Chapter 16 Why Seminaries Should Teach Music and Worship * Music & worship is central to the Evangelical Church.* Contemporary worship demands a more equal peer relationship between pastors and worship leaders.* Pastors are woefully inadequate in worship, whereas musicians are woefully inadequate in theology and ministry.* Worship requires interdisciplinary study and spiritual formation.* Prospective pastors and church musicians should have opportunity to dialogue during classes and practicums before entering ministry.

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