KEYS
[ IF YOUR LEFT HAND OFFENDS YOU… | Ed Kerr ]
I want to speak to you keyboard players and So, as your friend and brother in Christ, and as thinking about what you’re playing. Think about
ask you an important question: Do you know a keyboard player who can easily slip into this how you can introduce variety into what you’re
what your left hand is doing? This is particularly auto-pilot left hand activity, I want to challenge contributing throughout a song. If I want to do
relevant when you and I are playing acoustic you (and myself) to be more creative with your a bit more than the whole notes shown above I
piano sounds. left hand. Several of my recent articles here were could create a bit of movement. I’ll still avoid the
part of my “Go Figure” series. They devoted 1-5-1 movement, though. (EX. 3)
I want to speak specifically about something much of their time to right hand activity. Don’t
I’ve heard AND played more times than I can neglect your left hand, though.
Beyond thinking about activity in either of
count. Something like this portion of “Revelation
Song”. (EX. 1)
your hands, always remember that one of the
My first suggestion to you is to remember an most important tasks of every instrumentalist
acronym that I find helpful: PTC. It stands for on a worship team or any musical ensemble
Do you see it? The left hand is playing a 1-5-1 in Play The Changes. It reminds me that when I’m is to think about what vocalists are doing.
every measure. While our right hand is happily not sure what else to play I can simply play the Not whether the vocalists spaced out texting
laying down some melodic ideas or holding a changes, the chords of the song. So, for my left on their phones during rehearsals, but what
chord, the left hand consistently strikes the root hand in the above section, I could just play the activity their melodies present. That vocal
of the chord on the downbeat, jumps up to the root of each chord. Once! Whole note! No 1-5- activity must always factor in to what you and
5th of the chord and then up to the octave of 1 movement. (EX. 2) all of your fellow musicians play. So, here’s a
the root of the chord. Measure after measure.
further evolution of my 4 bar phrase along with
Some of you may be thinking that either of the vocal melody. Notice where I adapt the right
If I was sitting next to you, you’d hear me the examples I’ve shown wouldn’t work well hand’s activity. I’m now out of the way of the
saying, “Don’t do that!” on a worship team with a bass player. You’re vocal, not competing with it. (EX. 4)
right. My intent here is to show something you
Why? Because there are literally millions of might do in one of those moments you and I So, think about what your hands are doing.
possibilities of what we can play with our left encounter often when we’re asked to play solo Is there something one of them shouldn’t
hands other than relentless repeating that same piano for a prayer time or ministry moment. If be doing? Left hand playing a monotonous,
1-5-1 figure. I’m definitely not suggesting that a bass player is involved I’m careful to avoid repetitive figure? Right hand competing with
you never play anything repetitive in your piano much activity in my left hand. Let the bass the vocal melody? Psalm 33:18 says “…the
parts. Notice that measures 1 and 3 in the right player own that frequency range for the most eyes of the Lord are on those who fear him, on
hand of the above example are repetitious, part. those whose hope is in his unfailing love”. What
each containing steady quarter notes with a
a blessing it is to know that! Let your eyes (and
similar melodic movement on the top notes. So, your mission, should you decide to accept ears) stay alert to what you’re playing. I know it
But that pesky left hand keeps playing 1-5-1. it, and mine too, is to be present as a keyboard will lead to great results.
Arggh. player. Present in the sense that you’re always (EX. 1) (EX. 3)
(EX. 2) (EX. 4)
26
December 2017
WorshipMusician.com