2 Keyboard Master Class

8/20/2019 2 Keyboard Master Class

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KEYBOARD

Master Class

Fall Semester - Class VITom Brooks - Instructor / Clinician







Keyboard Concept #1From

BASIC to

BRILLIANT How to take a simple Chord Chartand make it sound Great... 5 ste s





Keyboard Concept #1

From BASIC to BRILLIANT STEP #1:

CHORD VOICING(“Language of Music” Chapter 26)



“How Great is

our God”

Chris Tomlin



&

?

44

44Rhythm

INTROACOUSTIC GUITAR ONLY: 1

œœ œœ œœ œœ ˙̇

’ ’ ’’C


’ ’ ’’


’ ’ ’’


’ ’ ’’

&

?

..

..R.S.

VS 2

VS 1

MEDIUM GROOVE

5

’’’’C

’’’’ ’’’’Am 7

’’’’ ’’’’FJ

’’’’

&

?R.S.

11

’’’’C

’’’’ ’’’’Am 7

’’’’ ’’’’FJ

’’’’

Arranged by Tom Brooks

WorshipAlliance.com

"HOW GREAT IS OUR GOD"

Rhythmã 73 BPM Chris Tomlin





‘C’ Major open voicing



How Great is Our GodHow can I make this Basic Chord Chart sound

Brilliant?



Keyboard Concept #1

From BASIC to BRILLIANT STEP #2:

ADDED TONES for extra color(“Language of Music” Chapter 24)



&

?

44

44Rhythm

INTROACOUSTIC GUITAR ONLY: 1


’ ’ ’’C


’ ’ ’’


’ ’ ’’


’ ’ ’’

&

?

..

..R.S.

VS 2

VS 1

MEDIUM GROOVE

5

’’’’C

’’’’ ’’’’Am 7

’’’’ ’’’’FJ

’’’’

&

?R.S.

11

’’’’C

’’’’ ’’’’Am 7

’’’’ ’’’’FJ

’’’’

Arranged by Tom Brooks

WorshipAlliance.com

"HOW GREAT IS OUR GOD"

Rhythmã 73 BPM

Chris Tomlin



Basic C Major Triad



C2 (or C add2)



?What is the difference between...

C2 - C add2 - C9 - C add9 ???



“FRIEND OF GOD”

Gungor - Houghton



& # # # # c ..A

ÛÛÛÛE

ÛÛÛ Û ÛÛÛÛC

# m7 ‹ ‹ ‹ ‹ Û ÛÛÛ ÛÛÛ ÛF

# m7 ÛÛÛ Û ÛÛÛ ÛE

ÛÛÛÛ# # # # ..

B

Û Û Û ÛE Û Û Û Û Û Û Û ÛC# m7 Û Û Û Û Û Û Û ÛF# m7 Û Û Û Û Û Û Û ÛD Û Û Û Û

# # # # .. ..Û Û Û ÛE

Û Û Û Û Û Û Û ÛC

# m7

Û Û Û Û Û Û Û ÛF

# m7

Û Û Û Û Û Û Û ÛE

Û Û Û Û# # # #

CÛ Û Û ÛE Û Û Û Û Û Û Û ÛC# m7 Û Û Û Û Û Û Û ÛF# m7 Û Û Û Û Û Û Û ÛE Û Û Û Û

# # # #

D

Û Û Û ÛE


# m7


# m7

Û Û Û Û Û Û Û ÛD

Û Û Û Û# # # # ÛÛ Û Û ÛÛ Û Û ÛÛ Û Û Û ÛÛ Û

# # # # .. ..Û Û Û ÛE


# m7


# m7


Û Û Û Û

'Friend Of God'

{VERSE}

{VERSE}

{CHORUS}

{CHORUS}

FOR INTRO: Vamp 1st 8 Bars

- Houghton/Gungor

KIK 2nd X: etc...



‘C’ Major open voicingE2 open voicing (no 3rd)



1. Open Voicing - use 2nds & 4ths versus 3rds2. Voice higher Chord Tones down low for clusters

3. Omit 3rd to focus on Poly-Chord

4. Create half-tone ‘Sweet Collision’



C#m7,9,11(half tone clash)



F#m7,9,11(11 down in cluster)



1. Open Voicing - use 2nds & 4ths versus 3rds2. Voice higher Chord Tones down low for clusters

3. Omit 3rd to focus on Poly-Chord

4. Create half-tone ‘Sweet Collision’



A maj7,9 (with or without 3rd)



D maj7 (7-8 crash)



Keyboard Concept #1

From BASIC to BRILLIANT

STEP #3:

RHYTHMIC PATTERNSmake it Groove...



“All Because of

Jesus”

Steve Fee

All Because of Jesus



b b

4

1œœœœœœœœœœœœœœœœ

muted el. gtr.

synth pad2œœœœœœœœœœœœœœœœ



Big dr. fill___

b

b

5

’ ’ ’ ’

Eb

Rock w/ back beat

6

’ ’ ’ ’

B b

7

’ ’ ’ ’

Eb

8

’ ’ ’ ’

Bb

b

b

9

’ ’ ’ ’

E b

10

’ ’ ’ ’

Gmi

11

’ ’ ’ ’

Fsus

12

’ ’ ’ ’

F

b b

13

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

E

b

w

A VERSE

4 on floor

Band OUT

14

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

B

b

w

15

’ ’ ’ ’

Eb

16

’ ’ ’ ’

Bb

b

b

17

’ ’ ’ ’

E b

18

’ ’ ’ ’

B b

19

’ ’ ’ ’

Fsus

20

’ ’ ’ ’

dr. fill___


RockComposer Steve Feeorch. by Bob Barrett9/12/09



Keyboard Concept #1From BASIC to BRILLIANT

STEP #4:COUNTER MELODY

bridging the pauses in the melodyThe “CONVERSATION”

==> more detail in “Improvisation” <==



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345#!/6

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Keyboard Concept #1From BASIC to BRILLIANT

STEP #5:CHORD SUBSTITUTION

(“Language of Music” Chapter 30)

==>more detail later<==





Here’s what I do...



?



Keyboard Concept #2

ROCK PIANOHow to lock with the Band

and nail the GrooveRock Power Chords on Piano



“EVERLASTING

GOD”

Brenton Brown

"EVERLASTING GOD"



&?

#

#44

44

..

..

..

..Rhythm

VS 2

VS 1

INTRO

*1st time = Keys only *2nd time = BAND IN:

simili>>> *2nd time = BAND IN:

1

Œ

œ œ jœ

œ

j

œœF œ œ œ œ œ œ œG 2 œ œ œ œ .œ

j

œ ’ ’ ’ ’

œ œ œ œ .œ

j

œ ’ ’ ’ ’

*Drums IN:

œ œ œ œ œ

œœœ

G 2

’ ’ ’ ’

&

?

#

#

..

..R.S.

simili>>> Rock-Solid, smoldering Groove under vocal...

5

Œœ œ

jœ œ jœ

œF œ œ œ œ œ œ œG 2

œ œ œ œ .œ

jœ

’ ’ ’ ’

œ œ œ œ .œ

jœ

’ ’ ’ ’

œ œ œ œ ˙

’ ’ ’ ’

&

?

#

#R.S.

9

Œœ œ

jœ œ jœ

G 2

’ ’ ’ ’

œ œ œ œ .œjœ

’ ’ ’ ’

œ œ œ œ .œjœ

’ ’ ’ ’

Kick up the Groove a bit...

œ œ œ œ ˙ ’ ’ jœ œ jœ

G

B

C

&

?

#

#R.S.

PRE-CH-

13

˙ jœ œ jœ

GB

C

jœ œ Jœ ˙D EÂ

˙ Jœ œ jœD

GB

C

Arranged by Tom BrooksWorshipAlliance.com

EVERLASTING GODRhythmBPM = 110 Brenton Brown*Medium Rock

G4 ---------- 3----- 4 ----------- 3 ---- 4 ----------- 3

G4 ------------ 3------ 4 ------------- 3 ------ 4 ------------- 3

G4 ------------ 3------- 4 ------------- 3 ------ 4 ------------- 3



Build on Solid Ground:THE GROOVE

• Locking with Loops

• Practice with Click Track

• Know the “Traps”

• Anticipate-...“read” the other players

"TODAY IS THE DAY"



&?

##

# # 44

44

.

...

.

...Rhythm

1

’ ’ ’ ’D BÂ7

INTRO

FULL DRIVING ROCK GROOVE

***2 Bars of Drum build up>>>

ƒ ’ ’ ’ ’A G

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G

&?

##

# #

..

..R.S.

5

’ ’ ’ ’D BÂ7

VS 1

VS 2

>Tuck down under Verse...

’ ’ ’ ’A G

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G

&

?

##

# #R.S.

9

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G

>Kick it up a bit

’ ’ ’ ’EÂ7 D/F #

’ ’ ’ ’G

&

?

##

# #R.S.

13

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G


TODAY IS THE DAYRhythmBPM = 120 Lincoln Brewster



Step #1-

“Groove is Everything”*Locking with the Band

*The Right Tempo

*Locking with Loops & Click



Practice Tip:

Spend 90% of your

Practice Time on the2% that is Tough!

Isolate the Tough Spots and drillthem; practicing “All Touches”



Build on Solid Ground:

THE GROOVE

Locking with Drums...***Kick

***Hat ***Tom Fills - CrashExamples - Hornsby




THE GROOVE


***Hat ***Tom Fills - CrashExample 2 - Cetera




THE GROOVE


***Hat ***Tom Fills - CrashExample 3 - Paul Simon




THE GROOVE


***Hat ***Tom Fills - CrashExample 4 - Shuffle...How Far Is Heaven




THE GROOVE


***Hat ***Tom Fills - CrashExample 5 - Shuffle...Lord I Lif t Your Name



“INDESCRIBABLE”

Laura Story





GROOVE IS EVERYTHING:

Lock tempo to BPM with Loop or Click

Simple, definable, consistent parts

LISTEN as much as you play

The Beauty of simplicity

“...prefer your brother in love...”

The “WHOLE” is the Goal

The satisfaction of filling your role



THE GROOVE-

Locking with a Soloist (rubato)Making Rubato passages TIGHT

Following a Worship Leader

Monitors - Wedges vs. in-ears

Monitor Mix - Volume






?



Keyboard Concept #3

Working withGUITARS

Developing the right Keyboard partin a Guitar-driven song



“Your Grace is Enough”

Matt Maher

Give support but leaveS P A C E !





“TODAY IS THE DAY”

Lincoln Brewster

?Cover a 2nd Guitar Part?Power Overdrive Guitar from the Keyboard

"TODAY IS THE DAY"



&?

##

# # 44

44

.

...

.

...Rhythm

1

’ ’ ’ ’D BÂ7

INTRO


***2 Bars of Drum build up>>>

ƒ ’ ’ ’ ’A G

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G

&?

##

# #

..

..R.S.

5

’ ’ ’ ’D BÂ7

VS 1

VS 2


’ ’ ’ ’A G

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G

&

?

##

# #R.S.

9

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G

>Kick it up a bit

’ ’ ’ ’EÂ7 D/F #

’ ’ ’ ’G

&

?

##

# #R.S.

13

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G

’ ’ ’ ’D BÂ7

’ ’ ’ ’A G


O SRhythmBPM = 120 Lincoln Brewster



“MIGHTY TO SAVE”

Reuben Morgan

?Cover a 2nd Guitar Part?

"MIGHTY TO SAVE"



&

?

### #

# # # #

44

44Rhythm

INTRO *GTR HOOK: *GTR continue simili >>>

Pads / SFX fade up...

>>>

1

œ

† B ND OUT

œœœœœœœœœœœœœœœ

† B ND IN

!

’ ’ ’ ’

!

’ ’ ’ ’

!

’ ’ ’ ’

!

&

?

### #

# # # #

..

..

..

..R.S.

*ADD: Drum Groove / Ac. Gtr. / Wah-Wah OD Gtr.

*ADD BASS on repeat

5

’ ’ ’ ’

P

F AK

’ ’ ’ ’E 2

’ ’ ’ ’C

# Â7

œ œ .œ œ œ œ

’ ’ ’ ’B 4-3

&

?

### #

# # # #R.S.

VS 1 *Gtr Hook / Drum Groove ONLY:9

’ ’ ’ ’† B ND OUT

P AK

’ ’ ’ ’E 2

’ ’ ’ ’C# Â7

œ œ .œ œ œ œ

’ ’ ’ ’B 4-3

&

?

### #

# # # #

R.S.

*ADD Ac. Gtr.:13

’ ’ ’ ’

AK

’ ’ ’ ’

E 2

’ ’ ’ ’

C# Â7

œ œ .œ œ œ œ

’ ’ ’ ’

B 4-3


RhythmBPM = 73 Reuben Morgan*Rock Ballade



Mighty To SavePrepared to cover a Guitar Part? Jump to B-3 in

spots? Where are the ‘Traps’? Chart OK?



“SAY SO”

Israel Houghton

>Power Chord Voicings>Concepts from Guitar

"SAY SO"



&?

##### # # #4444

Rhythm

INTRO

SNARE: ä notes- start soft and build>>> DD B

SS

Keys: simili...1 œ

œœ

œ œ œ œ œ

œ œ

œP

œ œ

CRESC. MOLTO...

CRESC. POCO A POCO....œ œ œ œ œE 2 œ œ œ œ œ œ œ œ œ œ œ œ œCRESC. POCO A POCO....

œ œ œBÂ9

œ œ œ œ œ œ œ œ

&?

####

# # # #R.S.

5

œ œ œ œ œ œ œ œA 2 /C#

œn œ œ œ œ œ œ œD 2

Jœ œ jœ

ƒ ˙E 2

. .˙ jœ œ œ œ œ œ

E4

&?

### ## # # #

R.S.


GTR: Melody inside chords...

9

œ œ œ .œ jœœ

ƒœ œ œ

E4 E3 œ œ œ œ .œ jœ œ œ œ œ œ

BÂ7

simili...

œ œ œ œ œ œ œ œ œ A 2

& ## # #13


RhythmBPM = 145 Michael Gungor *Driving Rock

& ### # 4INTRO Keys: simili...

1

œ œ œ œ œ œ



&?

### #

# # # #

44

44Rhythm

INTRO


SS

œœ œ œ œ œ œ

œP

œ œ

CRESC. MOLTO...


œ œ œBÂ9


&?

### #

# # # #R.S.

5



Jœ œ jœ

ƒ ˙

E 2

. .˙ jœ

œ œ œ œ œ E4

&?

### #

# # # #R.S.



9

œ œ œ .œ jœ

œ

ƒ

œ œ œ

E4 E3

œ œ œ œ .œ jœ

œ œ œ œ œ BÂ7

simili...


&?

### #

# # # #R.S.

13

œ œ œ œ œnA 2 D 2 œn œ œ œ .œ j

œ ˙

E 2 *Bass

similar idea:

œ

œ œ œ œ œœ ~ ~

~





Say SoKeyboard Intro rock-solid. Where are the ‘Traps’?

Any spots you need to practice? Chart OK?



“All to You”

“Love the Lord”

Lincoln Brewster

"ALL TO YOU"



&?

###

# # #44

44

..

..Rhythm

INTRO *Aggressive Ac. Gtr:

-RE-INTRO

1 œ

† B ND OUT

œ œ œ œ œ œ œA E

!

[***2nd time = Rest on 4 for GTR SFX***] ***

[***1st time = Drum Fill on 4***]

>

[lo-fi]


† B N D IN

F# Â D!

&

?

###

# # #R.S.

DRIVING ROCK GROOVE

3

œƒ† B ND IN

œ œ œ œ œA E œ œ œ œ œ œF# Â

D œ œ œ œ œ œA E œ œ œ œ œ œF# Â

D

&

?

###

# # #R.S.

VS 2

VS 1

Band way down / Kick: å notes

*Add VS Wurli:7

’ ’ ’ ’P A E

’ ’ ’ ’F# Â D

Band CRANK! œƒ œ œ œ œ œA E

œ œ œ œ œ œF# Â D

&

?

###

# # #R.S.

11

’ ’ ’ ’

P A E

’ ’ ’ ’

F# Â D

œƒ œ œ œ œ œA E

œ œ œ œ œ œF# Â D


RhythmBPM = 107 Lincoln Brewster *Driving Rock

C+IEAJ%EAC+ @



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All To You - Love the LordHow can I best support the Guitars? Lock the

Groove? Any ‘Traps’ to watch for? Chart OK?



“Revelation Song”

Jennie Riddle

Kari Jobe

"REVELATION SONG"



&?

### #

# # # # 44

44Rhythm

1

wE 2

INTRO [K Y

S ONLY]

w

&?

### #

# # # #

..

..R.S.

3

wE 2

VS 1a

VS 1b

*VS 1a = Piano only w/ pads*VS 1b = Add Band gently

P wBÂ7 wnD 2 w

A 2

&

?

### #

# # # #

..

..R.S.

7

wE 2

wBÂ7

wnD 2

wA 2

&

?

### #

# # # #R.S.

11

’ ’ ’ ’

E 2

CH 1

ƒ ’ ’ ’ ’

BÂ7

’ ’ ’ ’

D 2

’ ’ ’ ’

A 2


RhythmBPM = 61.8 Kari Jobe



“Healer”

Kari Jobe

HealerComposer



b

4

1

w

F

œ œ œ œ œ

2

˙

˙

œ œ œ œ œ

3

w

Dmi7

œ œ œ œ œ

4

j

j

œ œ œ œ œ

b

5

’ ’ ’ ’

FA VERSE

P

6

’ ’ ’ ’

7

’ ’ ’ ’

8

’ ’ ’ ’

b

9

’ ’ ’ ’

F /E

10

’ ’ ’ ’

Dmi7

11

’ ’ ’ ’

B b

12

’ ’ ’ ’

Csus

b

13

’ ’ ’ ’

Gmi7 F/A

14

’ ’ ’ ’

Bb

15

’ ’ ’ ’

Gmi7 Bb

16

’ ’ ’ ’

Csus

17

F

B CHORUS

18 19

Dmi7

20

/C

21

Bb C/B b

22

Bb

Rock

Composerorch. by Bob Barrett10/20/09






?



Keyboard Concept #4

The“LANGUAGE of MUSIC”

Everything you need to know aboutMusic Theory - in 3 minutes or less!

Th



The

Language

of Music

Essential Music Theory(...everything you need to know in 3 minutes)

The Basics



The Basics

MUSIC THEORY

(in 3 minutes or less)

The Major Scale

Triads - Personality - Upper Tonality Chords

1-2-3 / do-re-mi / A-B-C /...it’s all the same

The Basics



The Basics

MUSIC THEORY (QUICK! - TIME’S running out!!!)

1-2-3 / do-re-mi / A-B-C /...it’s all the same

The Basics



The BasicsMUSIC THEORY (2:30 left...)

C Major Scale>Structure - half tone/whole tone>Chromatic tones - other scales

STEP #3 - The Basics



STEP #3 The BasicsMUSIC THEORY (2:00 talk fast...)

C Major Scale>Structure - half tone/whole tone>Chromatic tones - other scales

The Basics



The BasicsMUSIC THEORY (2 minutes left!)

C Major Triad>Structure - major 3rd/minor 3rd

>Other Triads - Minor/Augmented/Diminished



TRIAD TYPE INTERVALS KEY OF “C”

Majorminor 3rdMajor 3rd

C - E - G

Minor Major 3rdminor 3rd C - Eb - G

AugmentedMajor 3rdMajor 3rd

C - E - G#

Diminishedminor 3rdminor 3rd

C - Eb - Gb

The Basics



MUSIC THEORY (hurry!!)

Triads on each scale degree>Major Triads - 1 / 4 / 5 (Primary)

>Minor Triads - 2 / 3 / 6 (Secondary)

*Diminished Triad - 7 (no natural augmented)

The Basics



The Basics

MUSIC THEORY (2 minutes left)

Chord Quality - Major / Minor

Augmented / Diminished - Extended Chords

The ‘Personality’ of each Chord type...on each degree of the scale

Lead the Journey -emotional impact of each sonority

The Basics



The Basics

MUSIC THEORY (1 minute to go)

The 12 Major Keys - “Circle of Fifths”

Key Signatures - Time Signatures

Major and Minor Keys

Inversion / Transposition / Modulation



F 4!



Fantastic 4! Musical FORm is built on the number...

4

“Th GROOVE GRID”



“The GROOVE GRID”

Impact of the Amazing number 4Exceptions to the Rule are st riking (Anticipation)

MASSIVE improvement in Chart Communication

The “GPS” of Music - ‘Never-Lost’

Leave a ‘Bread-Crumb Trail’

4 divisions 4 beats 4 bars 4 phrases

per beat per bar per phrase per section



CCLI “TOP 25”

November

Rank Song Title Author/s CCLI#1 How Great Is Our God Tomlin, Chris \ Reeves, Jesse \ Cash, Ed 4348399

2 Here I Am To Worship Hughes, Tim 3266032



3 Blessed Be Your Name Redman, Beth \ Redman, Matt 3798438

4 Open The Eyes Of My Heart Baloche, Paul 2298355

5 Forever Tomlin, Chris 3148428

6 You Are My King Foote, Billy 2456623

7 Come Now Is The Time ToWorship

Doerksen, Brian 2430948

8 Shout To The Lord Zschech, Darlene 1406918

9Lord I Lift Your Name OnHigh

Founds, Rick 117947

10 Holy Is The Lord Tomlin, Chris \ Giglio, Louie 4158039

11 Everlasting God Brown, Brenton \ Riley, Ken 4556538

12 Amazing Grace (My Chains

Are Gone)

Tomlin, Chris \ Giglio, Louie \ Excell, Edwin Othello \ Rees,

John P. \ Newton, John4768151

13 We Fall Down Tomlin, Chris 2437367

14 God Of Wonders Byrd, Marc \ Hindalong, Steve 3118757

15 In Christ Alone Townend, Stuart \ Getty, Keith 3350395

16 The Heart Of Worship Redman, Matt 2296522

17 Trading My Sorrows Evans, Darrell 2574653

18 You Are My All In All Jernigan, Dennis 825356

19 Breathe Barnett, Marie 1874117

20 Beautiful One Hughes, Tim 3915912

21 You're Worthy Of My Praise Ruis, David 487976

22 Above All LeBlanc, Lenny \ Baloche, Paul 2672885

23 Mighty To Save Fielding, Ben \ Morgan, Reuben 4591782

24 The Wonderful CrossReeves, Jesse \ Tomlin, Chris \ Walt, J. D. \ Watts, Isaac \Mason, Lowell

3148435

25 Days Of Elijah Mark, Robin 1537904



The Language of Music

Music Theory in the21st Century

“...it’s time to break a few Rules”

Music Theory in the 21st



Music Theory in the 21st

Century“...it’s time to break a few Rules”

TRIADSVoice Chords in 2nds, 4ths, & 5thsinstead of 3rds & 6ths



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MusicTheory in the 21st Century



Music Theory in the 21st Century“...it’s time to break a few Rules”

The Sweet Collision

Half-tone ‘crash’ between

7-8 & 3-4Major 7th Chord built on 1 and 4



“RESCUE”

Jared Anderson‘The Sweet Collision’

half-tone dissonance



Music Theory in the 21st Century




Suspension-

Resolution(Fahgetaboutit!!!)

Half-tone ‘crash’ during a 4-3suspension built on 5 Chord

ORCHESTRATION BY TOM BROOKS

BE UTIFUL ONE INTRO



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ORCHESTRATION BY TOM BROOKS

Rhythm

Music Theory in the 21st Century




End on TonicUse the IV or V Chord toend a song rather than I



MusicTheory in the 21st Century



Music Theory in the 21st Century“...it’s time to break a few Rules”

Music is complexCLEAR & SIMPLE

is always the Best Choice





The One Minute

Music Manager



?

More Great Stuff!



More Great Stuff!...that we don’t have time to talk about now-

>Nashville Number System>Transposition - Modulation>Light-Speed Ear Training and more...



Keyboard Concept #5Take your skills to

the Next Level

*Learn from the MASTERS*More Advanced Chord options



“Amazed”

Jared Anderson

Arranged by Tom BrooksWorshipAlliance com

"AMAZED"RhythmBPM = 72 76 Jared Anderson*Sweet Ballade



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WorshipAlliance.comBPM = 72-76 Jared Anderson*Sweet Ballade



“DESERT SONG”

Minor Key



“GLORIOUS”

Martha Munizzi

Israel Houghton


"GLORIOUS"RhythmBPM = 100

Dan & Martha MunizziIsrael Houghton*Salsa Caliente



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F/G E/G

Eb/G Db/G Bb/G>Many Extended Chords can bethought of as ‘POLY-CHORDS’ -

>Every Triad over a single Rootwill yield a unique Poly-Chord



Challenge yourself!!









The One Minute

Music Manager



?



Keyboard Concept #6

Beyond Piano Become a Master of the entire

Keyboard pantheon -expand your Toolbox



“EVERYBODYPRAISE THE LORD”

Lincoln Brewster

Hammond B-3 organ



'Friend Of God' - Houghton/Gungor



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{VERSE}

{VERSE}

{CHORUS}

{CHORUS}

FOR INTRO: Vamp 1st 8 Bars

KIK 2nd X: etc...


RockComposer Steve Feeorch. by Bob Barrett9/12/09



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4 on floor

Band OUT

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9/12/09

***2 Bars of


"TODAY IS THE DAY"RhythmBPM = 120 Lincoln Brewster



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Hammond B-3Modern Worship / Rock / Gospel

The Leslie Speaker - “Chorale-Tremolo” = slow-fast

The Drawbars - Harmonics / Partials

The ‘Reverse Key’ Preset switches at the left Chorus / Vibrato dial-switches

Emulations versus ‘The Real Thing’

***After the Workshop...meet me on the stage to check out the B-3



“God of This City”

Chris Tomlin

2 Hands = 2 Parts = 2 Keyboards

“Jesus Messiah”



Jesus Messiah

Chris Tomlin

>Strings from the Keyboard>Layering Parts

q=86

# #

Jesus Messiah

Daniel Carson Chris Tomlin Ed Cash Jesse Reeves



& # # # # # c Intro ’ ’ ’ ’B/D#

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’ ’ ’ ’B/F # ’ ’ ’ ’E2(no3)

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Keyboard Concept #7 Perfecting your SOUND

“Take Pride in your AXE!” (can I say that?!?)

Plan Ahead - Have Great Sounds at yourFingertips for each song

Lock your Sound with the Band





Keyboard Sounds

Your “Favorites” List

Keyboard Sounds



Keyboard Sounds

+++Acoustic Grand Piano - (or sample) *Pop / rock / studio / ‘classical’ / salsa / blues+++Electric Pianos - ‘Vintage’ Keybords

*Rhodes-Dyno / FM / Wurlitzer / samples>Grand - EP combinations

+++Pads, voices, sweeps, and washes+++Samples - strings / brass / woodwinds / etc…+++Solo Patches

+++Hammond B-3>Adding a second keyboard - 2 part / crossfades

***Your “Favorites” List



The One Minute

Music Manager



?



Keyboard Concept #8

Improvisation How to improve your skill at

soloing, Free Worship, etc...



Improvisation

Free WorshipChord Substitution

Soloing in Worship

Free Worship



p

Progressions...Take the Spiritual attitude or mood

and help it carry on Consider using the last phrase

of the song as an option Sense where the Worship Leader

or Pastor is goingLead the Congregation with Dynamicsand Chord Substitution





Fresh Hymns



Fresh Hymns

How to give aClassic Hymn a Fresh

Contemporarysound and feel



“AMAZING GRACE”(My Chains are Gone)

Chris Tomlin

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Chord - Melody Relationship



Melody is usually ‘fixed’Chord Progression must support melody

Key Melody notes should be Chord Members

Chords should support the attitude or ‘mood’of the Melody and Lyric

Chord Substitution

Any Chord that supports the Melody - TasteStart with the Basics and G R O W . . .

Harmonic Rhythm

&1

VERSE 1: Write in a BASIC CHORD PROGRESSION with simple Sunstitutions

AMAZING GRACE

Keyboard



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“GREAT IS THY



FAITHFULNESS”

Classic Hymn

No Band - No ChartFree to re-Harmonize

D2 D Dmaj7Gmaj7 G6 G/A Dsus4D

Great Is Thy Faithfulness

Composed By William M. Runyan

Orch. By Ed Dickinson

Saddleback Orchestra

Rhythm



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‘C’ Major open voicingE2 open voicing (no 3rd)B sus4,b9,13



‘C’ Major open voicingE2 open voicing (no 3rd)B7,#5,#9



‘C’ Major open voicingE2 open voicing (no 3rd)E min7,9,11



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11A13,b9



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11D maj9,#11,13



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11Ab (9,#11,13)



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11A min7,9,11



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11Ab (13)



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11G maj9,#11,13



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11Db (9,#11,13)



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11F# min11



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11B (#5,#9)



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11E maj9,#11,13



‘C’ Major open voicingE2 open voicing (no 3rd)G min7,9,11Bb (9,#11,13)

Keyboard under



Pastor’s Prayer /Communion

Sermon was about

God’s Faithfulness -song ideas / create a prayerful

atmosphere for Communion - ministry

Solos in Worship



Improvising Melody over the Band

Base it around the Vocal Melody

Make a Bold initial statement

Start simple and develop as you go

Create a strong clear finish - transition

“SING” in your Heart before you play



Im rovisation



Hands -

Your Physical response

Head -

Your Mental response

Heart -

Your Spiritual response

Solos...



Improvising on BLUES Scale

Improvising on PENTATONIC Scale‘Word of the Day’ - “PAN-DIATONICISM”

Alternate Scales over Chords

C scale/dm7 - G scale/C major - Bb or E/G7

Improvising with MODES...

MODES: Easy way to remember...

***Scales built on each degree of C major



C = Ionian (same as Major scale)

D = Dorian (minor scale with #6)

E = Phrygian (minor scale with b2 - rare)

F = Lydian (Major scale with #4)

G = Mixolydian (Major scale with b7) A = Aeolian (same as minor scale)

B = Locrian (diminished, b2, rare)

Comping...



Improvised Rhythmic Groove under Melody

Move smoothly through Chord Progression

Counter-melodic motion

Lock with Bass & Drums; particularly Hi-Hat

The “BIG PICTURE” -Design your part from God’s perspective



Keyboard Concept #9

How to Practice... BETTER (Smarter) 10 Steps to help you Practice more

Effectively and Efficiently



*I R h l ith th B d



*In Rehearsal with the Band...

Listen to what others are playing; thenmodify or re-design your part if necessary.

Anticipate / Analyze / Adapt = FOCUS!

A sense of urgency - THIS IS A PRIORITY!

LISTEN! ...If it doesn’t sound good; FIX IT!

The first 9 bars are CRITICAL -

>tempo / groove / overall confidence



How to

Rehearsemore effectively

Mind - Heart - Spirit



p

PRACTICE =

...put the music in your head - hands

REHEARSAL =

...play it from your Heart - Soul

WORSHIP =...give it back to God

and let His Spirit play through you

You

Band

Church

“How to Avoid a Train Wreck”



Catching Vocal Cues - Pick-up notes to Song Sections

Common Tones to both possible Song Sect ions

Know who is ‘Keeping the Clock’ any every moment

Let 1 Player only subdiv ide during RitardsWorship Leader ‘Body Language’ or signals

*Be Sensitive - Listen and watch*Pay Attention to every detail

*Breathe with the Singer

“Tom’s Top Ten”The 10 Best Ways to ‘Improve Your Groove’



Th B st W ys t Imp Y G1. Practice locking with Loop2. Voice Chords with 2nds & 4ths3. Learn song like CD first4. Make eye contact with drummer5. Play fewer notes; play them better

6. Listen to the Band-design your part7. Know the song, Inside & Out8. Avoid left hand conflicts with Bass9. On Solos, sing in your Heart first10. Pray-ask God to play through you!

“Tom’s Top Ten”The 10 Best Ways to ‘Improve Your Groove’



The 10 Best Ways to Improve Your Groove

The Three ‘T’s1. Timing - Lock with the Drums2. Tuning - Listen and adjust3. Timbre - Have great sounds ready



Keyboard Concept #10

Putting it all together What to do before every Service...







?

Resource Page:

mailto:[email protected]



gYou can download this presentation from

our website - TomBrooksMusic.com

You can study in more detail using our Workbook -‘THE LANGUAGE OF MUSIC’ (also on DVD today!)

You can download these Music Examples from our ‘iMix’ on iTunes entitled,

THE LANGUAGE OF MUSIC You can email me with questions at...

[email protected]







Documents

2 Keyboard Master Class