DOCSLIB.ORG

Chants-Singalongs-Songbook.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chants-Singalongs-Songbook.Pdf Karen Drucker Chants And Sing-A-Longs For All Kinds Of Gatherings Introduction ............................................................................................................. i Thank You For This Day ........................................................................................ 1 Blessing To The World ........................................................................................... 3 God Is ...................................................................................................................... 5 I Send My Love ...................................................................................................... 7 The Face Of God ................................................................................................... 11 I Stand Before You ............................................................................................... 15 God Is My Source ................................................................................................. 19 Welcoming Chant ................................................................................................. 21 You Are Blessed ................................................................................................... 23 What Is Mine To Give? ........................................................................................ 25 I Am So Blessed ................................................................................................... 27 Stand ..................................................................................................................... 29 Turn Your Cell Phone OV! .................................................................................. 31 KD’s Handy Dandy Guide to playing chords and transposing ............................ 33 Websites of New Thought musicians ................................................................... 35 Credits .................................................................................................................. 36 “Music is the shorthand of emotion.” Leo Tolstoy. “Music can name the unnamable and communicate the unknowable.” James Duffecy. I love to be of service, and I love to be in service. That is what this songbook and CD are about. After years of serving as a music director for three diVerent New Thought churches, directing the music for national and regional spiritual conferences, and traveling around the country performing, I have written and collected chants and songs for many occasions. My experiences have shown me how much music can contribute to the success of various gatherings. As a musician, I joyfully accept the sacred responsibility of setting the tone for an event. When a minister or an author speaks, I try to Wnd just the right chant or song to complement their subject and set the tone for their remarks. This holds true for all aspects of a church service or gathering. On so many occasions, I have seen how music can move the service along, deepen the emotional response, and act as the glue that connects one segment seamlessly to another. DiVerent types of gatherings require diVerent types of music. Some events require a song or chant that is fun and lively; others, something sacred and heart opening; and still others, music that gets everyone singing and connected. My main motto for chants is: KISS - Keep It Simple Sweetie! The easier the melody, rhythm, and words are, the more likely it is that anyone can sing along. No one wants to feel like they are the only ones singing, that they are the only ones who can't remember the words, or, worst of all, that their fourth grade teacher was right, they really are tone deaf! Music is the great connector, and any time we lift our voices in song (no matter if the notes are perfect!), we can feel that oneness, and magic can happen. That is why I have compiled this collection of my chants. I have included examples of easy-to-sing chants for various components of a church service, workshop, or gathering.These are just ideas to get you going. On the accompanying CD, I have i included chants with me singing the lead, (tracks 1-13) and chants, (tracks 14-26) with my voice taken out so that you can sing the lead. I have made each one short enough (about 3 minutes) that you can sing or fade out depending on your needs. I have also included speciWc information for each chant on the CD, so that you will know what the order is, and how it ends. Just listen to the original, and you will be able to easily sing the lead yourself. For those of you who don’t sing in my key (my apologies to any men singing my songs!), karaoke machines are available that allow you to lower the key yourself, or you can just play the music live and change the key on the sheet music. For those of you who play piano or guitar, the sheet music is simple, allowing you to add any other chords or melody that you want. Basically, I am hoping you will be inspired to make these chants your own by changing the key, modulating, adding new verses, or even writing your own chant to meet the needs of your group. Chants and songs in each of these categories are also available from many other sources. At the back of the book, I have listed the websites of some of my favorite New Thought artists, who can assist you in Wnding music to serve your purposes. My hope is that this collection of chants will be of service to you and inspire and empower you to share your unique gift of music with the world. Keep singing and playing and making music! Karen P.S. For those of you who might feel that these chants are only for “singers” and not for you, let me share one of my favorite quotations, and the motto I try to live by: “I want to sing like the birds sing not worrying who hears or what they think.” Rumi. So let yourself sing! ii Thank You For This Day from the Native American Church Thank you for this day Spirit, thank you for this day. Thank you for this day Spirit, thank you for this day. This healing, this healing, this healing day. This healing, this healing, this healing day. You can substitute for the words ‘this day’ with anything you want. For example: Thank you for my friends/ our life/ my job/ your health/, etc. You can also substitute for the word ‘healing’ with whatever quality would work for you: This beautiful day/ This wonderful food/ This magical trip/ This fabulous job/, etc. Possible uses: This high energy chant is a great way to open a church service or gathering, or to use as a sing-a-long, or oVering chant. Song notes: This is my favorite way to start any kind of gathering. This uptempo chant is easy for everyone to sing and can create the space for people connecting in a fun way. You can substitute anything in those lines and just set the tone so well for whatever the gathering will be. I will often sing one verse a cappella and get everyone clapping along. What a wonderful way to start the day by giving thanks. Song form on the CD: 4 bar introduction, since the beginning might be confusing as to where to start, the back-up vocals are there at the beginning of each verse to help you. 1) Healing day … 2) Healing day … 3) Healing day … 4) Friends, my wonderful friends … 5) Friends, wonderful friends … 6) Health, radiant health … 7) Life, glorious life … 8) Wealth, opulent wealth … 9) This day, healing day … 10) ‘Thank you for this day Spirit.’ 3 times. It ends abruptly with ‘Thank you for this day!’ ©2006 TayToones Music BMI. 1 Thank You For This Day from the Native American Church =87 œ Am ‘ 4 œ œ œ œ œ œ œ œ œ & 4 œ œ ˙ Thank you for this day Spir – it, thank you for this day. Am ‘ 4 œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ j Thank you for this day Spir – it, thank you for this day. This Am D7 4 œ œ œ œ œ & 4 œ œ œ œ œ œ œ j heal – ing, this heal – ing, this heal – ing day. _____ This Am D7 4 œ œ œ œ œ & 4 œ œ œ œ œ ˙ heal – ing, this heal – ing, this heal – ing day._____ ©2006 TayToones Music BMI 2 From the CD ‘Songs Of The Spirit II’. Blessing To The World Words by Reverend David Bruner and Karen Drucker Music by Karen Drucker You are the heart, you are the hands, you are the voice of Spirit on earth. And who you are, and all you do, is a blessing to the world. (Substitute ‘You are’ with ‘We are’ and ‘I am’.) Possible uses: Sing-a-long for church, before or after a prayer, welcoming people (newcomers for church or group, children after Sunday school). Song notes: This is a nice chant to sing after people have settled into their seats and are ready to begin opening their hearts. They can sing it with their eyes shut or it can be powerful for them to look across the room or to the person next to them and sing “You are the heart” then for the whole group to look at each other and sing “We are the heart” and Wnally for them to close their eyes, put their hand over their own heart and really feel themselves embody the line ‘I am the heart … I am a blessing to the world.’ Song form on the CD: 4 bar introduction, 1) You are … 2) You are … 3) We are … 4) We are … 5) I am … 6) I am … 7) I am … ©2006 TayToones Music BMI. 3 Blessing To The World Words by Reverend David Bruner and Karen Drucker Music by Karen Drucker =145 œ Cm Ab b 3 ‘ ‘ & b b 4 œ ˙ œ ˙ Youœ areœ the heart, youœ areœ the hands. Fm Gm Cm ‘ bbb 3 & 4 œ œ œ œ œ ˙ you are theœ voice˙ ofœ Spir – it on earth. Cm Ab b ‘ ‘ b b 43 & Andœ whoœ youœ are,˙ andœ allœ youœ do,˙ isœ œa Fm Gm Cm Ab Bb b ‘ b b 43 & blessœ – ing˙ to˙ theœ world.˙ ©2006 TayToones Music BMI. 4 From the CD ‘Song Of The Spirit II’. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!God Is Words and music by Karen Drucker God is life and I am life. God is life and I am life. God is light and I am light. God is light and I am light. God is joy and I am joy. God is joy and I am joy. God is love and I am love. God is love and I am love.
Load more

Recommended publications
  • The Absolute Sound
    Rock Music Reviews Music Sonics Music Sonics Music Sonics Van Morrison. Born to Sing: No Mark Knopfler: Privateering. Hoff Ensemble: Quiet Winter Plan B. blue note. Mercury. Night. 2l (blu-ray and lp). Van Morrison’s first studio album since Nearly 35 years into a recording career Pick the wrong 30 seconds of this 2L 2008’s Keep It Simple marks his return to that began with the self-titled Dire Straits release and you may wonder if you’ve the Blue Note label (where he picked up album, singer-songwriter-guitarist-produ- wandered into Mannheim Steamroller a Grammy nomination for 2003’s What’s cer Knopfler holds as steady on his Land. Fear not. Though this set of 15 Wrong with This Picture?) and finds the pop course as such older baby-boom peers short compositions by the Norwegian and R&B singer and songwriter strolling as Van Morrison, Eric Clapton, and J.J. team of Geir Bøhren and Bent Åserud, on the jazzier side of street. Jazz is even Cale. He's amassed a boggling résumé rendered by the Hoff Ensemble plus six referenced in “Goin’ Down to Monte of collaboration—Tina Turner, Bob singers, is clearly of the Jazz Lite stripe, Carlo” on which Morrison complains Dylan, Chet Atkins, Steely Dan, Randy the music is harmonically inventive and about hearing “phony pseudo jazz” at Newman, Buddy Guy, the Chieftains, never cloying. The fact that the singing is a restaurant, and it’s the subject of the Prince, and others—and soundtrack in Norwegian and not translated anywhere swinging “Close Enough for Jazz.” The credits.
    [Show full text]
  • Leading Congregational Singing Song/Hymn Leading Is an Important
    Leading Congregational Singing LEADING AS A VOCALIST - Joyce Poley DEVELOPING A STYLE Song/hymn leading is an important skill that can make an enormous difference to the way a congregation sings. If the song leader is primarily a vocalist, there are a number of qualities that are important for success: having enthusiasm for singing; being able to establish a good rapport with the congregation; being comfortable with your own voice; having accurate pitch and a pleasing vocal quality; being excited about introducing new ideas and repertoire. These attributes will help ensure a good singing experience for both the leader and the congregation. Song/hymn leaders use a variety of approaches when leading the congregation, and no single approach or style is “right”. What is important is to develop a style that is unique to your own personality and comfort level. The following are some things to consider: • Energy & enthusiasm Probably nothing affects your success as a song leader as much as your own energy and enthusiasm. People respond to those who love what they do; enthusiasm truly is contagious. Those who already enjoy singing will simply become even more enthusiastic; those who are more reluctant, or feel they can’t sing, will want to be a part of all this positive energy. The more encouragement they get from the leader, the better they will sing. The better they sing, the more confident they become, and the more willing to try new things. Enjoy yourself and be at ease, and they will journey almost any distance with you into the music.
    [Show full text]
  • Bluesrhythmguitarebook.Pdf
    How to play Blues Rhythm Guitar like the Blues Masters Antony Reynaert www.BestBluesGuitarLessonsOnline.com copyright (c) Guitar Mastery Solutions Contents ! Introduction: How to think like a blues guitar master . 4 I. Expanding your Rhythm Guitar Playing A. How to transform your basic blues riffs . 5 B. Combining Riffs & Chords . 7 C. Riffs based on the Blues Scale . 9 II. Creativity Exercises A. Making you Rhythm Guitar Playing sound more ‘Interesting’ . 11 ! Creativity Exercises for Rhythm ! ! Creativity Exercises for Dynamics B. Expanding your Rhythm guitar self expression . 1 5 C. About Inspiration: what to play if you don’t know what to play . 15 ! Performance Tips III. Tablature Examples A. Example 1 . 1 6 B. Example 2 . 19 About the Author copyright (c) Guitar Mastery Solutions Introduction: How to Think like a Blues Guitar Master Do you know the feeling when you are requested to ‘play something’, whether being called out by a family member or at a jamsession? Do you often feel that you don’t know what to play or that you repeat yourself far too much, when confronted with such a request? When you watch the blues masters play, they are having fun on stage. They seem to be performing from a place within themselves that is free and careless. A place where they don’t have to think ‘what to play’ anymore. Perhaps you think that you should be born with some kind of natural talent and that you probably don’t possess this talent. The truth is that the masters of blues guitar aren’t born with this talent.
    [Show full text]
  • Venturing in the Slipstream
    VENTURING IN THE SLIPSTREAM THE PLACES OF VAN MORRISON’S SONGWRITING Geoff Munns BA, MLitt, MEd (hons), PhD (University of New England) A thesis submitted for the degree of Doctor of Philosophy of Western Sydney University, October 2019. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................. Geoff Munns ii Abstract This thesis explores the use of place in Van Morrison’s songwriting. The central argument is that he employs place in many of his songs at lyrical and musical levels, and that this use of place as a poetic and aural device both defines and distinguishes his work. This argument is widely supported by Van Morrison scholars and critics. The main research question is: What are the ways that Van Morrison employs the concept of place to explore the wider themes of his writing across his career from 1965 onwards? This question was reached from a critical analysis of Van Morrison’s songs and recordings. A position was taken up in the study that the songwriter’s lyrics might be closely read and appreciated as song texts, and this reading could offer important insights into the scope of his life and work as a songwriter. The analysis is best described as an analytical and interpretive approach, involving a simultaneous reading and listening to each song and examining them as speech acts.
    [Show full text]
  • Beginning Strings – Keep It Simple Denese Odegaard Fargo Public Schools, Fargo ND [email protected]
    Beginning Strings – Keep it Simple Denese Odegaard Fargo Public Schools, Fargo ND [email protected] I. Layering – the first few weeks A. Recruiting B. Parent involvement – Parent Night and Rental Night C. Instrument safety – unpacking, tuners, bow hair etc. D. First lessons - get them playing and reading music right away • holding instrument • open strings and fingering – by rote at first (rote warm-ups on teacher CD) • pizzicato (Lesson 1) • first fingered notes F#ED (Lesson 1) • solfege • intervals • stay on three notes while bow hold is introduced • establish good tone bowing on open strings and then go back and play previously learned songs in book • all instruments play F#ED on the D string until A is introduced along with the concept of string crossing because of the bass strings D and G • new note G follows A • establishing practice habits II. Introduction of new concepts • rhythms are introduced in this sequence : q e quarter rest h h. • when a new note and interval are introduced, a series of practice measures are learned before using the new note in songs • interval progression is unison, 2 nd , 3 rd , Perfect 5 th (because of string crossing in the bass to A), Perfect 4 th, 6 th , octave and 7 th and respective solfege syllables • time signatures start with 2/4, and then 3/4 and 4/4 (C for common time used as well) • bowing styles: pizzicato, staccato, and lift • students learn how phrases create the form of the music by marking letters of phrases in the boxes provided (ABA1B1) • ensembles: ostinato, round, tonic and dominant accompaniment • dynamics used are forte and piano • keys signatures and scales used are D major, G major and C major • bass players shift to III, II and II ½ positions and always play the melody as written (not dropping an octave for certain notes) • violin and viola learn 4 th finger notes • students learn about Mozart, Vivaldi, Beethoven, and Dvorak and play their music • introduction of 1 st and 2 nd endings and repeat signs III.
    [Show full text]
  • Virtual Choir for the Rest of Us Handout
    VIRTUAL CHOIR for THE REST OF US Carol Spradling Music Director, First Congregational Church of Essex Junction, VT 1 OVERVIEW: TOPICS Software - - DAW (director) EQUIPMENT - BandLab (director; choir) What you (director) will need MIDI vs audio What they (choir/musicians) will need BandLab app/interface (mobile & desktop) Hardware Components: - Keyboard(s) Mastering and troubleshooting: sync, intonation, - microphone(s) dynamics - Audio interface - Cables: MIDI, XLR, TRS - Desktop, mobile device 2 WORKFLOW VISUAL 1 Director lays down accompaniment tracks Direct into BandLab or into DAW mixed down into BL. 2 Get music to singers and rehearse over Zoom Write in your breathing plan, dynamics, other interp details, before sending PDF. (CameraScan) 3 Singers record their tracks Teach them how to record; give them a deadline Director adds mastering 4 (reverb, EQ) and mixes down MP3 sent to worship team for inclusion in worship webcast 3 ANATOMY OF A DIRECTOR TRACK ● ACCOMPANIMENT = leads the interpretation; precise ● VOCAL PARTS = I record every note of the vocals. This is omitted in final mix. ● Play it the way you want it! Precise cutoffs, rhythm, diction. Director lays down ● CLICK TRACK = to keep the rhythm precise and accompaniment tracks clean. Don’t rely on BL’s metronome, because it 1 Direct into BandLab or into DAW mixed down into BL. can be changed inadvertently by group members (or turned off). To be reliable and accurate, this is created as a MIDI file using a percussion voice. 4 ANATOMY OF A ZOOM REHEARSAL Audio setting: Enable original sound ● EVERYONE IS MUTED once singing starts (not yet possible to “sing together” on Zoom) ● PLAY TRACK THROUGH ZOOM.
    [Show full text]
  • Progressions
    PROGRESSIONS Play along slowly CIRCLE OF FIFTHS • G-E7-A7-D7-G MORE CIRCLE OF FIFTHS • D-B7-E7-A7-D • C-A7-D7-G7-C • A-F#7-B7-E7-A • F-D7-G7-C7-F • Bd-G7-C7-F-Bd • Ed-C7-F-Bd-Ed • E-C#-F#7-B7-E 1-6 minor-4-5-1 • G-EM-C-D-G • C-AM-F-G-C • D-BM-G-A-D • E-C#M-A-B-E • F-DM-Bd-C-F 4-2M-6M-3M-5-1-6M-1 • C-AM-EM-BM-D-G-EM-G • F-DM-AM-EM-G-C-AM-C • G-EM-BM-F#M-A-D-BM-D • A-F#M-C#M-G#M-B-E-C#M-E • Bd-GM-DM-AM-C-F-DM-F • D-BM-F#M-C#M-E-A-F#M-A ROCKY TOP • G-C-G-EM-D-G (Repeat) EM-D-F-C-G- F-G-F-G • C-F-C-AM-G-C (Repeat) AM-G-Bd-F-C- Bd-C-Bd-C • D-G-D-BM-A-D (Repeat) BM-A-C-G-D- C-D-C-D • E-A-E-C#M-B-E (Repeat) C#M-B-D-A- E-D-E-D-E 1-4-5-1-4-1-5-1 • G-C-D-G-C-G-D-G • C-F-G-C-F-C-G-C • D-G-A-D-G-D-A-D • E-A-B-E-A-E-B-E • F-Bd-C-F-Bd-F-C-F • A-D-E-A-D-A-E-A • B-E-F#-B-E-B-F#-B THE BASICS AND WHY THEY’RE IMPORTANT I think it’s very important to start with the basics no matter what your level.
    [Show full text]
  • “A Lunch with Tommy Emmanuel” Completely Worn
    “A lunch with Tommy Emmanuel” Original Dutch article by Robin van Wechem for de Gitarist magazine, March 2012 Translated by Caspar Steinebach. Edited by Wim, Bas den Herder. www.guitaracademy.nl Foto's by Walter Goyen www.h4p.com Completely worn out, as if it is badly damaged by sand paper, that’s what Tommy Emmanuels Maton EBG808 looks like. Despite the looks of his guitar, the one-man band easily plays the bassline, drums and melody simultaneously. In January, Emmanuel was on his world tour. A perfect opportunity for guitarvituoso Wim den Herder to invite him to give a workshop in Amsterdam. The big number of bicycles piled up in front of the Badcuyp music center shows that there is something going on inside. No less than 80 fans are packed in the small music hall, just a few yards away from the crowded market outside in the streets. They are waiting for what may well become their musical highlight of the year: An afternoon with Tommy Emmanuel a.k.a. ‘The Fingerpicking Guru from Down Under’. “Tommy is one of my big guitar heroes together with Gary Moore, Jan Akkerman and Harry Sacksioni”, Wim says. “I'm very excited to welcome him here today!” Don’t give up ! Wim is also considered ‘more than just talented’. He got his first guitar as a present for his sixth birthday. Four years later he composed his first songs. Two years after that, in 1994, he made his debut on Dutch television, where he played together with Jan Akkerman in a TV-show called “Geef Nooit Op” (“Never Give Up”).
    [Show full text]
  • TEAR in the THROAT by JEFFREY CHRISTOPHER FALLIS
    TEAR IN THE THROAT by JEFFREY CHRISTOPHER FALLIS (Under the Direction of Ed Pavlic) ABSTRACT A creative dissertation that investigates the complexity of the human voice and its relationship to language, music, and song through a combination of poetry, memoir, critical essays, drama, and prose fragments. The dissertation focuses on the anatomy and mechanics of the voice, scat singing and doo-wop’s nonsense syllables, the voice and its restrictions in the architecture of song, and the human voice and its connection to the animal and celestial. INDEX WORDS: Voice, American popular music, Van Morrison, Federico Garcia Lorca TEAR IN THE THROAT by JEFFREY CHRISTOPHER FALLIS A.B., University of Georgia, 1999 M.F.A., University of Virginia, 2003 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2015 © 2015 Jeffrey Christopher Fallis All Rights Reserved TEAR IN THE THROAT by JEFFREY CHRISTOPHER FALLIS Major Professor: Ed Pavlic Committee: Susan Rosenbaum Andrew Zawacki Electronic Version Approved: Julie Coffield Interim Dean of the Graduate School The University of Georgia May 2015 iv DEDICATIONS To my committee for their patience and their guidance. To my parents for their longstanding and unwavering support. To Daniel Citro for good ideas and advice about the Beatles and Bataille. To Caroline Young for the insinuation of interstellar possibilities. To Kevin Young for tips on how to play the long game. To Teddy for necessary distraction. And, finally, to Jennifer Bogdanich, with love, for love: I couldn’t have done it without you.
    [Show full text]
  • 77Ways to Pray with Your Kids
    Jerry Windley-Daoust 77 Ways to Pray with Your Kids A Guide for Catholic Families Winona, Minnesota www.pbgrace.com 1 Imprimatur: †Most Rev. John Quinn Bishop of Winona December 22, 2014 Nihil Obstat: Rev. Timothy Hall Censor Deputatus Te imprimatur is an ofcial declaration that a book or pamphlet is free of doctrinal or moral error. No implication is contained therein that those who have granted the imprimatur agree with the contents, opinions, or statements expressed. Copy editing by Sibyl Niemann Building by Steve Nagel Scripture quotations are from New Revised Standard Version Bible: Catholic Edition, copyright © 1989, 1993 National Council of the Churches of Christ in the United States of America. Used by permis- sion. All rights reserved. Te “Examination of Conscience for Children” is by Fr. Tomas Weinandy, and may be reproduced and distributed free of charge by permission of the author. Te acknowledgments continue on page 154. Printed in the United States of America First Edition: January 2015 ISBN 978-0-9862902-4-4 Library of Congress preassigned control number: 2014921685 Peanut Butter & Grace Winona, Minnesota www.pbgrace.com/books Copyright © 2015 by Jerry Windley-Daoust. All rights reserved. No part of this book may be reproduced by any means without the written per- mission of the publisher. 2 Contents Q & A: How to Use Tis Book 4 How to Pray Together 11 Times to Pray Together 16 Ways to Pray Together 36 Helps for Praying Together 111 A Final Word: Pray for Your Children 128 A Handful of Catholic Prayers 129 A Quick-Find Index of Prayer Ideas and Handy Checklist 148 Acknowledgments 154 3 Q & A: How to Use Tis Book I don’t know how to pray, much less how to pray with my kids.
    [Show full text]
  • Desert Fathers *****
    T ｾ ｅ ｖ ｉ ｅ ｗ ｓ CD RELEASES Keb'Mo' Desert Fathers ERIN HAI.,l give this album three stars rather than asst. reviews editor two, but in the end it came down to my honest opinion of the musical quality. I I will admit that I have never taken have never been a fan of concept rock, hallucinogenic drugs, but 1 would ven- but I realize that this album might be ture to guess that if I did, this album right up some readers' alleys. This would be the soundtrack to the worst album is poised to become the darling trip of all time. The Desert Fathers cre- of progressive radio, but don't ever ate a completely new sonic landscape in this album. I'm not talking about your now commonplace chanting "The Spirituality" monks or strangely tuned guitars. I'm talking about randomness all the way Threespheres Records from morphed vocals made to sound like some sort of demon to commen- tary from an elderly man on Charles ***** Darwin's theory of evolution. Though I expect to hear it on your friendly was blown away by the sheer random- neighborhood Clear Channel con- ness of this album, it is not my job to trolled stations. If you're into the most judge the commercial appeal of an experimental types of prog rock, this album. It is my job to listen to the actu- album might be just what you're look- al musicianship. That, I will say, does ing for. If not, I suggest you stick to have some merit.
    [Show full text]
  • Piano Accompaniment from Pop/Rock to Praise & Worship
    2/22/2018 Piano Workshop Goals Accompaniment from Pop/Rock Goal #1: How to accompany off a lead sheet or chord chart to Goal #2: Using this as a way of teaching Praise & Worship chord structure and theory Trevor Olfert [email protected] Through out workshop I’ll be moving between “How to teach this” and “How to play this” Music available on iTunes My Music Theory Prerequisites for Disconnect Success The more options in your pallet the more Until I understood how to implement versatile you will become. Here’s a few Music Theory in ‘REAL TIME,’ theory must haves: was an abstract concept. There was little understanding, but rather a lot ambiguous All the Chords/Triads/Shapes in a major rules and tricks. scale For example: Scales Beyond Major & Minor Blues Why is the 4th and 5th interval called Pentatonic Perfect? How do you find the relative Minor to a Major Scale? 1 2/22/2018 Keep it How skilled is the soloist? Simple & Practical Low Skill Which means: Lot’s of Melody support from piano -start with simple chords (C, E-, G, D, A-) -start with simple songs they already know High Skill Accompaniment can move further and further away from melody and rhythm **but still let the soloist be the STAR** Can’t Help Falling in Love Chord Shape Tips (As an example) A Couple Do’s and Don’ts Chord Shape can give the song it’s color of Chord Changing Stay away from melody (with higher Idea #1 (Low Skilled Soloist): skilled soloist) R.H.
    [Show full text]