first VHS of mine I called this the “ internal clock ”, and it ’ s something that I still emphasize today in my teaching AND my playing with my team at church . The recordings that you and I listen to are , almost without exception , recorded with a click . Each musician is listening to a metronome that ’ s clicking the song ’ s tempo with absolute precision . That lends a real sense of stability to the music ’ s meter . Whether we ’ re listening to a verse or a chorus or bridge or hearing a drum fill into one of these sections the tempo continues with consistency . Be a player who can play well with a click . If your team doesn ’ t currently play with a click , make a habit of working with a click on your own . The more time you spend doing this the more solid your own internal clock will become . This can bring great freedom to those moments when it ’ s just you accompanying a prayer time or interlude between songs . By being confident of your internal clock you can create a sparse part , a part characterized by moments without activity . Long note values like whole and half notes rather than filling measures with lots of movement . The result for
the listener can be a sense of relaxation , of rest , especially if underlying your playing is a steady tempo anchoring the moment .
Third , getting along with guitars . Guitars tend to be the driving instrument in lots of worship songs today . If , like me , you ’ re a classicallytrained pianist , those ten fingers of yours can scamper all over the keyboard in dazzling displays of virtuosity . Well , there aren ’ t going to many moments in your worship set where those displays work . Generally , modern worship keyboard parts are characterized by restraint . Essential to understanding how restrained your part should be is listening well to what the rest of the band is doing at the moment in your song . If a guitarist is playing a picking pattern with steady activity , create a keyboard part that compliments rather than than competes with that part . Choose long note values , creating minimal activity . If a guitarist is playing a lead line on an introduction , don ’ t play melodic activity on your keyboard . Again , your goal is to create parts that work within the arrangement as a whole , not to showcase how much your fingers can do . And in those moments when you will play that essential lead line in a song , be absolutely confident of the notes and the rhythm . You don ’ t want to distract from the moment by striking a wrong note or playing with rhythmic uncertainty .
Phew . As I wrap things up here I ’ m reminded of how grateful I am that you ’ re involved on your worship team , making music together that can stir your congregation to sing with confidence , to surrender their cares and concerns to Jesus , and to – hopefully - be reminded of His unending love . Keep growing in your musicianship , regardless of the training resources you use . Thank you for the efforts you ’ re making to grow as a keyboard player .
Ed Kerr Ed Kerr lives in Seattle with his family . He serves as worship arts director at First Free Methodist Church , teaches keyboards in Paul Baloche ’ s leadworship workshops and is a clinician with Yamaha ’ s House of Worship . He also manages the Yamaha Worship Facebook group and invites you to join the group . www . KerrTunes . com