and let other members in your band handle the rhythmic and syncopated energy in a song can open up the sound of your band , improving your overall sound .
Many beginning keys players may be tempted to take their cues from the acoustic guitarist ’ s strumming patterns , or attempt to stay directly locked in with the kick , hi hat , or snare , but many times the mix would be better served by you simplifying or reframing your focus to let those other points of emphasis breathe .
If you ’ re not sure what that looks like , a good place to start is focusing on establishing the chord changes along with the bass guitar , making sure you ’ re always locked in and gluing together what everyone else can play off of or around .
AMBIENCE , OUCH
This second area of replacement might be a tough one for you reverb lovers to handle , but it ’ s a worthwhile truth . At times it can greatly improve the clarity of the band ’ s mix to pull back the ambience , reverb , shimmer , or pads present in your sound and let the electric guitars on stage handle filling that washy space .
You could make a decent chicken and the egg analogy as to which instrument really originated the ‘ pad it out ’ role that both guitars and keys players now love to play , but regardless of where you land there are definitely times where one or the other needs to consciously sit back , dry up , and settle down while the other ascends to the modulated heavens .
It ’ s important to note that this is just as much about the time involved , as it is about the space taken up . Guitars and keys can often peacefully coexist with lush , modulated tones , but if both instruments take ten or more seconds for each note to decay , you ’ re gonna end up with a soupy sonic mess .
LEADERS LEAD
This last one is tricky . Sometimes you should stop doubling the vocal melody in your right hand . When a strong lead vocal melody is carrying the song , it can be tempting to double down on that strength by mirroring it in your right hand with piano parts . But sometimes this doubling can actually get in the way of that strong vocal part , especially if there are already harmonies at play , or if the timing isn ’ t rock solid .
Instead of doubling the melody , try sitting back on the chords and then embellishing with short , passing phrases during the vocal rests . This skill takes time to develop , and it may not come as naturally , as you can ’ t just take your cues from the melody verbatim , but tastefully filling the spaces between can help ensure that lead vocal really shines when it needs to .
HALFCOURT SHOT
I hope that you recognized a rut , habit , or opportunity in one or more of the areas I shared . Whether you choose to stay a bit further away from the lead vocal , to defer that next shimmery part to your guitarist buddy , to simplify your rhythmic complexity , or to get back out on the court and practice your layups , the effort you put into developing your finesse behind the keys or on the court will make you a better team member and don ’ t worry , I promise it ’ s still okay to pull out a last second buzzerbeater once in a while .
David Pfaltzgraff Founder and Lead Sound Designer at SundaySounds . com , a site that resources worship keys players and guitarists around the world . David currently resides in Des Moines , IA with his wife and two boys . He enjoys volunteering in his church ’ s worship ministry , old synthesizers , and a good super-hero movie .
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