KEYBOARDS
Eric Haynes is a recent graduate of McGill University ’ s jazz performance program and plays keyboards in the Montreal-based electrosoul / hip-hop band Busty and the Bass . The CBC named Busty “ Canada ’ s Top
University Band ” in 2014 . For more information and to download their latest EP for free , visit www . bustyandthebass . com .
By Eric Haynes
A Jazz Nerd Playing Hip-Hop Music ?
If you had told me four years ago , during my first year studying jazz in university , that after I graduated , I ’ d mostly be playing a mixture of pop and hip-hop , I wouldn ’ t have believed you .
I was as big a jazz nerd as it gets ; in some ways , I still am . But I ended up catching the popular music bug , and when I did , there were several techniques I learned in the jazz world that helped me find my bearings as a keyboardist . These concepts might not be new to you , especially if you ’ ve had some jazz training , but hopefully you ’ ll be able to draw some creative inspiration from an approach that helped me .
Learning a New Language In jazz , there is a huge emphasis on “ learning the language ,” and the most regularly prescribed way of doing that is through transcription . Transcribing is learning to play your instrument ’ s part in a recording by listening to it . Transcriptions can be written down , but they don ’ t have to be , and they can be as long or short as you like .
Most jazz transcriptions are of improvised solos , and in the pop world , I ’ m almost always playing pre-determined parts rather than improvising . But when I hear a keyboard part I like in any genre , learning how to play it gives me the option of incorporating it into my own music . In hip-hop , for example , one of my favourite keyboard parts is what I call “ splankies ” – those eighth note , high register , often first or second inversion minor triads ( see “ Still D . R . E .”). In addition to looking at the register ( how high or low on the keyboard is it ?) and the voicing ( what notes in the chord go where ?), try to imitate the time feel ( is it ahead of the beat or behind ?) and the attitude behind a part you ’ re transcribing . Just as important as the notes you ’ re playing are the sounds you ’ re playing them with . Coming from the jazz world , where grand piano is generally the only option , this was something I struggled with . I started by using various presets on my keyboard , but eventually , I wanted to create and combine new sounds , and I realized I needed to start making them myself . I ’ ve found it helpful to create sounds by “ transcribing ” something that I like ; for example , if I hear a bass synth or a keys pad that I like , I ’ ll try to duplicate it . It can be time-consuming , but it ’ s a great way to build your own library of sounds and get better at using a DAW ( Ableton , Logic , etc .). Basic knowledge of how various presets sound will come in handy here , too – I usually find a preset close to the sound I ’ m trying to imitate and change it from there .
Just like in jazz , the goal isn ’ t to play the exact transcription ( solo / part / sound ) in your music ; you have to incorporate it into your vocabulary and put your own twist on it . Try modifying the part you learned or the sound you created , and don ’ t be afraid to use things you ’ ve learned in different genres than they originally came from – it ’ s a great way to keep your music interesting and unique .
The Zen Art of the Keyboard Part Unlike in jazz , keyboards are rarely featured in solos in most of the popular music I play ( with the exception of the occasional dirty synth lead ). I ’ ve found it ’ s important to embrace the supportive role of playing keyboards : put aside your ego for the music and remember that , although you ’ re not the centre of attention , people would definitely notice if you weren ’ t there . Find your time to shine in intros and occasional breaks . If you wanted to shred every song , you should ’ ve played guitar .
When it comes to writing parts , though , several concepts transfer nicely from jazz . Even when you ’ re playing background chords , the top notes ( think your right hand pinkie ) should always be a melody . I ’ ve found it helps to have a melody that either repeats or varies slightly every 4 / 8 / 16 bars . And just like if you ’ re playing with a jazz big band , if there ’ s a lot going on in the mid-register , take advantage of the keyboard ’ s ability to shine through the high register , especially in octaves .
When you ’ re playing in a rhythm section with other chord instruments ( my band has a guitarist and another keyboardist ), try to find both rhythmic and harmonic spaces in their parts to contribute to the groove . It ’ s also okay to lay out sometimes , and ideally you ’ ll get to a point where you can ask your fellow chord players to give you space to play a part you ’ re hearing . ( Keep in mind that this requires you to be receptive to similar requests from them .) It can also be fun to play bass parts either instead of the bass player or in a way that complements what they ’ re playing . If you do this , though , keep in mind that most sound techs take the low frequencies out of keyboards , so if you ’ re playing bass stuff , they ’ ll appreciate a heads up .
Hopefully you can use some of these techniques to improve and diversify your keyboard playing . While the approach of imitation leading to innovation doesn ’ t work for everyone , it ’ s been helpful for me and it ’ s good to know that if you ’ re ever in a creative rut , you can just sit down and play along with whatever you ’ re listening to .
26 • CANADIAN MUSICIAN