Keyboards

In contemporary praise and worship With Ed Kerr

Table Of Contents
Playing from Rhythm Charts ..............................2 Vamps...............................................................2 Holy, Holy, Holy ..............................................3 A Simple Chart, A Simple Rhythm .....................3 No Eye Has Seen ...........................................4 Using Parallel 6ths ............................................4 I Love To Be In Your Presence........................5 Voicing the Hook, Adding the 6..........................5 Reharmonization Worksheet..............................6 Reharmonization Template................................6 3 Familiar Vamps ..............................................7 Creating String Parts .........................................7 Modulations.......................................................8 The iim7-V-I Progression ...................................8 Glossary............................................................9 Recordings & Resources ................................. 10

Playing From Rhythm Charts

Fundamental to your confidence in playing contemporary praise and worship songs is your ability to read rhythm charts. Such charts indicate the chords of the song, any critical rhythms that should be played within the rhythm section, the formal structure of the song (repeats, 1st and 2nd endings, codas, etc.), and sometimes notation regarding instrumentation (piano intro, bass out until chorus, etc.). These charts usually use whats called slash notation to indicate chord changes. In slash notation, a slash is written for each beat in the measure. Heres what a measure in 4/4 would look like in slash notation:

Vamps
Vamps are short chord progressions that can be repeated as often as desired.

The Basic Vamp Holy, Holy, Holy

Heres the vamp in its most basic form. The 1 chord, C, and the 4 chord, F, are both played over a C in the bass. This position of the F chord is known as a second inversion, where a chord is played over its fifth.

Varying the Vamp with Repeated Rhythms

Chords are written above the slave representing the beat on which the chord changes.

With this version of the vamp, we introduce a simple dotted rhythm that begins to take our vamp out of the traditional hymnish vibe. Besides being used in the vamp, this rhythm can help our playing of the actual hymn develop a more contemporary flavor. In the excerpt above, the D/F# in measure 1 is played on beat three. In measure two, the A7sus is played on beat 3, and the A on beat 4. Varying the Vamp with Inversions and Added 2s

In this version of the vamp, harmonic liberties are taken, using a first inversion of the F triad in measure 2, and playing an F2 chord rather than a straight F triad. Remember that an F2 chord omits A, the third of the chord, and plays G, the second degree above the root. Youll play the third of the chord as the bass note in your left hand, and only in the bass.

Holy, Holy, Holy

A Simple Chart, A Simple Rhythm

The goal in this chart of Holy, Holy, Holy is to try and incorporate this dotted rhythm, seen in the first measure of the chart on page 4, into several measures of the song.

Some measures, like measure 6, feature chord changes on each beat, and dont accommodate using this rhythm. Otherwise, the rhythm does work in many measures.

Experiment yourself with this rhythm. Try playing another hymn, such as Fairest Lord Jesus using this rhythm in various measures. Also, try using it in these contemporary choruses: Change My Heart, O God (E. Espinosa) Call Us From the Outer Court (E. Kerr) I Offer My Life (C. Cloninger, D. Moen) Step By Step (R. Mullins)

No Eye Has Seen

Paul Baloche, Ed Kerr

Using Parallel Sixths

Heres a portion of the melody used for the intro when this song is played in the video. Accompanying this melody with a 6th below this melody results in several rich voicings, especially at the beginning of measure two.

Only the chorus of No Eye Has Seen is featured in the video. The verse of the song, charted above as the B section, completes the song. No Eye Has Seen is featured on the Integrity Music recording He Is Faithful. 1992 Integritys Hosanna!Music/ASCAP CCLI #1121925

I Love To Be In Your Presence

Paul Baloche, Ed Kerr

Voicing the Hook, Adding the 6

Many R&B songs involve a hook, a melodic, rhythmic, or harmonic element featured in several of its sections. The hook in this song is seen in the first two measures. The first chord of the hook in this song is a C/G. To give your keyboard voicing a more authentic R&B feel when playing the hook, add the 6 to the C chord. To find the 6, count up six degrees in the scale from the root of the chord, C. The 6 above C is A. Add that note to the voicing you use for the C/G. Songs in this style: Blessed Be the Name of the Lord (C. Utterbach) The Lord Reigns (D. Stradwick) as arranged on Revival in Brownsville, from Integrity Music There Is Joy in the Lord (C. Keaggy)

Reharmonization Worksheet
Reharmonizing a note from a melody with a chord other than the one normally used can give our arrangements added richness and emotional potency. Besides, its fun to discover some of the musical surprises that reharmonizing brings about. Start by deciding which melodic note youll reharmonize. In the video, I worked with the last note of the hymn, Holy, Holy, Holy. If were playing the hymn in C major, the final note is a C when Blessed Trinity is sung. Working from the reharmonization worksheet below, I found that an Ab major triad provided a nice surprise. Try using some of the other options shown for reharmonizing this C yourself. The note C is the

Reharmonization Template
The note ____ is the: root root root third third fifth seventh seventh add2 2 add4 root 5th note of ___ major or ___ minor triad of ___ 7 chord or ___ maj7 chord of ___ min7 chord of ___ major triad of ___ minor triad of ___ major or ___ minor triad of ___ 7 or ___min7 chord of ___ maj7 chord of ___ add2 chord of ___ 2 chord of ___ min7add4 of ___ the four chord in ___ major; used to form a 4/5, ___/___ of ___ major scale; used to create a 4/5 where 4/5 is ___/___

root root root third third fifth seventh seventh add2 2 add4 root of C 5th note

of a C major or C minor triad of a C7 or Cmaj7 chord of a Cmin7 chord of an Ab major triad of an A minor triad of an F major or F minor triad of a D7 or Dmin7 chord of a Dbmaj7 chord of a Bbadd2 chord of a Bb2 chord of a Gmin7add4 which is the four chord in G major; used to form a 4/5, C/D of F major scale; used to form a 4/5 where 4/5 is Bb/C

If you choose to reharmonize the last note of the song being played, consider creating a harmonic excursion by doing one of the following: 1) Let the new chord youre using serve as the 1 chord of a new key and play a vamp between that 1 chord and the 4 chord in that key. Adding the 2 to both of these chords creates some nice melodic movement. 2) Play an instrumental version of the song youve just completed in whatever key your reharmonization suggests. If you then want to return to your original key, find a way to play a iim7-V-I in that key. Refer to the iim7V-I chart on page 15. 3) Play an instrumental version of the next song to be used in your service in the key your reharmonization suggests. This helps create a nice flow between songs.

On the next page youll see a worksheet Ive left blank. Copy it and complete a worksheet for all of the 12 chromatic pitches that exist. Then experiment with reharmonization on your own. (These items are online at www.kerrtunes.com)

3 Familiar Vamps
J Tish Vamp (Folk style)

Lord I Lift Vamp

Note: Chords can also be played in their root positions rather than playing all chords over a static G in bass. When playing this vamp, try adding 2s to each of the chords. Rather than add the 2 to the Bmin7, though, add the 4 instead. Create patterns using the root, added 2, 3rd, and 5th of the chords. Try patterns that connect the notes with stepwise movement as well as patterns where you leap by wide intervals between them. Songs in this style: Your Love Is Extravagant (D. Evans) Call Us From the Outer Court (E. Kerr) Rock of My Salvation (T. Muller) I See the Lord (C. Falson) Songs in this style: Lord I Lift Your Name on High (R. Founds) Firm Foundation (N. Gordon, J. Harvill) We Rejoice (D. Harris, G. Sadler) You Have Broken the Chains (J. Owens-Collins)

Creating String Parts

Create string parts in the same way you create parts when playing pad sounds, finding notes that can be held over many chord changes. In the vamp shown above, the note D works well over all three chords. Notice that the 2nd chord of the vamp, C, does not contain a G. By thinking of the chord as a Cadd2, though, the D makes harmonic sense.

A Vamp With Pad Sounds

Complimentary Parts
When playing pad sounds, try and find those notes which can be held over several chord changes. In this progression, the note E can work over all three chords. Though the first chord of the chart, D5, doesnt have an E in it, it is appropriate to add the 2 to the chord, thus allowing an E to be heard. Songs in this style: Falling (P. Baloche, B. Brown) More Love, More Power (J. Del Hierro) What You Are (D. Harris) Who Is Like the Lord? (H. Davis) Using pad sounds and string sounds to play these notes that dont change over harmonic progressions gives a sort of horizontal glue to the arrangement. In many songs where these sounds are used, lots of rhythmic activity is being provided by the other players in the rhythm section, so these unchanging notes provide a nice complement to that activity.

Modulations
Up by a Half Step
To modulate up by a half step, think of the 1 chord in the current key and the 5 chord in the key youll be in after the modulation. For example, if youre modulating from D major to Eb major, the current 1 chord is D major. Youll be modulating to the key of Eb major, where the 5 chord is Bb major. When youre ready to modulate, simply move from the 1 chord in the old key to the 5 chord in the new key. The voicing you use in your right hand is very important when modulating up by a half step. Be sure that the soprano, or top note, of your right hand, plays the first note of the scale in the old key. When you play the 5 chord in the new key, this note will have a new function, becoming the third of the 5 chord there. Refer to the iim7-V-1 chart on the opposite page as you learn to quickly think ahead to the 5 chord in the key youre approaching in a modulation.

The 2m7-V-1 Progression

key C C# Db D Eb E F F# Gb G G# Ab A Bb B 2m7 dm7 d#m7 ebm7 em7 fm7 f#m7 gm g#m7 abm7 am7 A#m7 Bbm7 bm7 cm7 c#m7 V G G# Ab A Bb B C C# Db D D# Eb E F F# 4/5 I F/G C F#/G# Gb/Ab G/A D Ab/Bb A/B E Bb/C B/C# Cb/Db C/D G C#/D# Db/Eb D/E A Eb/F E/F#

C# Db Eb F F# Gb G# Ab Bb B

Up by a Whole Step
To modulate up by a whole step, find a progression in the song or a vamping pattern that includes a 5 chord. To achieve your modulation, play this progression or vamp. Follow that 5 chord with a 4/5 in the new key. On your keyboard, all thats required to do this is moving up the lowest note in your left hand by a whole step. For example, when modulating from the key of D major to E major, find a harmonic pattern in D major that includes the 5 chord, A major. To modulate, repeat that pattern, and when desired, play that 5 chord and then move the lowest note in your left up a whole step to B, keeping the rest of the voicing youd been using for the A unchanged. Now youre playing A/B, the 4/5 in the key of E major, and you can continue in the new key.

The 2m7-V-1 progression is the strongest harmonic progression you can use to establish a key. When approaching a modulation up a whole step, creating a vamp using this progression can help accomplish the modulation. Remember that a common practice in contemporary style is substituting a 4/5 chord for the V or V7 chord.

Glossary
common tone Note shared by successive chords. For example, the note D is a common tone between a D major triad and a Bb major triad. inversion A chord position that uses something other than its root as its lowest note. For example, a C major triad can be played in three positions: root position Uses C as its lowest note first inversion Uses E as its lowest note second inversion Uses G as its lowest note Here is how these three chord positions can be represented in a rhythm chart.

rhythm chart Indicates chord changes, form of song, and other details such as instrumentation, and essential melodic figures. slash chart A rhythm chart using a slash (/) to indicate each beat of the measure. Chords are written above the slash representing the beat on which the chord changes, as seen here:

modulation Succession of chords that achieves a key change. push A syncopated rhythm where a note or chord occuring on an upbeat is tied to a note on the downbeat. For example, a chord played on the and of 2 is tied over to a half note on beat 3. Such a push can be notated as follows in a rhythm chart: push the G and A chords

sus chord When sus appears after the letter name of a chord, omit the third of the chord and play the fourth instead. To find the fourth, count four scale degrees up from the root. This chord is also represented as a sus4 chord. Chord Notes Used Asus A, D, E sus4,2 chords Sometimes youll see sus4,2 or 4,2 after a chords letter name. Omit the third, and play the fourth and the second above the root. Chord Notes Used Asus4,2 A, B, D, E 7sus chord When 7sus appears after the letter name of a chord, create a sus by omitting the third of the chord and playing the fourth instead. Then add the 7th above the root. Chord Notes Used A7sus A, D, E, G vamp Short chord progression that can be repeated as often as desired. Useful between repetitions of a song and when setting up modulations.

2 chords When a chords letter name appears with a 2, the third of the chord is omitted, and the 2 added. An F2 chord would involve the notes F, G and C. The third of the chord, A, would not be played. add2 chords When a chords letter name appears with an add2, the 2 is added to the voicing along with the other notes of the triad. The third of the chord, A, would be played. An Fadd2 chord would involve the notes F, G, A and C.

Recordings and Resources

Because We Believe

This live recording from Integrity Music features Ed Kerr singing and playing his song We Cry Out For Grace Again, and also includes We Were Made For This, co-written by Ed with George Searcy.
Our Heart, Only God for Me, Rock Of Refuge

More live recordings from Integrity Musics songwriters, featuring Eds songs Your Throne O God, Let Your Spirit Fall and My Soul Is Satisfied.
Rock of Ages, I Walk By Faith, Forever MARANATHA!MUSICS PRAISE BAND SERIES

Ed is part of the vocal group and rhythm section on these recordings from Maranatha!Music. Hear such popular songs as Rock of Ages and Who Is Like the Lord? on these projects, and check out the acoustic piano, B3 organ, and other keyboard parts Ed contributes.
WWW.KERRTUNES.COM
Explore Ed Kerrs website. Youll find resources for worship musicians including: new product information order forms for products glossary of musical terms and concepts printable charts and leadsheets for
some of Eds unrecorded songs

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