The New Worship Musician: Making Praise Flow
THE NEW WORSHIP MUSICIAN: MAKING PRAISE FLOW
Includes 160 MUSIC EXAMPLES to help musicians learn how to modulate and improvise.
by Barry W. Liesch, Ph.D.
Introduction
Modulation
1. Basic Stuff
2. Modulations Up a Half Step
3. Modulations Up a Whole Step
4. Modulations with Color and Resonance
5. Modulations in Flowing Praise: Demonstration Improvisation
6. Ten Thoughts on Developing a Ministry
7. 14 Principles for Intelligent Improvisation
8. Reshape V7: Use "Four over Five"
9. Reshape Triads: Use Added 2/Quartal Chords
10. Shop Talk: Insights from Tom Keene
Appendix 1: Companion Book Announcement
Appendix 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 Kaiser
Pianist, 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 Bock
Arranger, composer, publisher
Director 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 Bowker
Bowker Brother Ministries, Inc
Authors 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 Lugo
Orchestrator, composer, publisher
Recording 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 McDonald
Associate Pastor and Director of Music Ministries
Church 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 basicunderstanding 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 Liesch
Music Department
Biola University
13800 Biola Ave
La Mirada, CA 90639
Fax: (310) 903-4748
EMail:
File I
Basic Stuff
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> 7 pages > 10 examples
Music examples may appear incomplete on your screen, but the printout will be correct. See readme.txt file.
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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 necessarilyrefer 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 1-1
Pop Symbol Voicings
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 1-2
Roman 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 1-3
Roman Numeral V7 chord
Just like pop symbols, any voicing/doubling of the four notes is possible, provided C is the lowest tone.
Example 1-4
Chord 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 1-5
Scale 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 1-6
Chord 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 1-7
Inversions
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 1-8
Pattern 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 1-9
Major Scale in F
Roman 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 2
Modulation Up a Half Step
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> 20 pages > 25 examples
Music examples may appear incomplete on your screen, but the printout will be correct. See readme.txt file.
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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 2-2
Version 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 2-3
Version 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 2-5
Fifth degree occurs on the note A.
Example 2-6
Note 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.