If you have had a listen to some of the recent albums, you may have noticed that the “approach” to keyboard playing is somewhat different to a few years ago, where most of the albums were heavily reliant on the piano driving a lot of the worship songs, and even praise songs. In the last few years there has a been a bit of a shift to our approach to keyboards, and the way in which parts are written, the sounds that are used, and the context for which the keyboards feature in general. I hope in this article to give a bit of insight and help in your own approach to your keyboards and sounds.
1. PARTS: (play with purpose)
Rather than constantly using the piano to drive the songs, we’ve taken an approach of writing specific parts for each song, similar to the other instruments…. I.e. If someone hears the bass riff to “take it all” it is quite signature, and one immediately picks up what song is about to be sung, or the drum intro to “run” etc. The same goes for keyboard players. We aim to write specific parts for songs within the band setting that make the song recognizable and put a signature feature on each song, i.e. The Synth line in “Freedom is Here,”(Latest United Album: Tear Down the Walls) or the piano riff in “His Glory Appears” (Latest Hillsong Live Album: Faith Hope Love)
First step to writing a great part is to listen to the song itself. Listen to the melody, the feel, dynamics, the “possibilities” of what the song could sound like. For example, if you hear the intro to desert song, the kick intro, the 3 note piano riff, and the guitar line, it automatically sets the lyrics up with a great platform to go off of. Once you have had a listen to the song, have a listen to what other ‘riffs’ or ‘parts’ are in place. If we are in a new song workshop, and the guitar player is already playing a great guitar riff, my approach would be something more background and supporting of that, out of the way of whatever register it is in, something that aims to cause the riff to feature and gives it good support, even a constant sound like a pad, harmonium, or organ.
2. SOUNDS: (not just piano playing)
Many keys players see themselves as ‘piano’ players. Piano is one of the sounds we use, but to think of yourself as a ‘piano’ player might inhibit your thinking with regards to the rest of the sound spectrum available to keys players. Synths, leads, pads, moving pads, rhodes, electric pianos, organs, harmonium, effects, delays, overdrives, filters, and many more sounds and tools are available for you to browse through in your approach to a song and playing, rather than just strictly bashing out a piano sound with all your strength. 
A few examples of different sounds below…
-“Tear Down the Walls” off the latest United Album, … Verse 1 has a fat pad supporting everything, and once the drums/bass kick in, the same sound is played in a rhythmic pattern with delay, which gives a totally different vibe and actually provides a platform for the rest of the song.
- “For Your Name” off the latest Hillsong Live Album, has a keys intro line that is a synth bass line with 2 different types of distortion on it that runs through the intro/verse line
- “Freedom is Here” - already referred to previously, but has a constant synth line that runs the entire way through the song that the rest of the arrangement ‘hinges’ around.
- “King of All Days” - the repetitive rhodes line with delay throughout the song (intro/verse/bridge)
Then, if you do a piano line, make sure that it is with purpose, rather than just chugging out the chords -
- “You Hold me Now” - United Album version – piano line the whole way through
- “Its Your Love” – Hillsong Live Album – piano lines in intro & bridge etc.
- “His Glory Appears“ – Hillsong Live Album – piano based song with chords as well as specific parts/riffs
3. CONTEXT: (what is needed from me?)
One of the best ways to approach different settings of playing is to ask yourself the question, what is needed from me for this song, with this band? Adapt playing to the musical setting you are in. If you are in a setting with a full band (2 electrics, drums, bass, 2 keyboards), the way in which you will approach your playing, sounds etc, will be very different than say if you are in a setting with a keyboard and 2 acoustics. If you are playing in a ‘full band’ setting, there is room for different sounds/parts as you might not be relied on as much to cover the silence or drive the song as much of this will be done for you. Often, with a full band, think “less is more,” and stop and listen to what the song ‘needs’ from you as a keyboard player. What is not being played that should be? Often a simple line that stays out of the way of the guitars, and is complimentary to the feel of the song can be a brilliant addition.
If you find yourself playing in a smaller setting, say with a keyboard and 2 acoustics, you would need to learn to distinguish the ‘signature’ parts of the song that cannot be left out, and also think about what the song ‘needs’ from you in whatever context you are playing in. Perhaps your playing will need to drive things a bit more, or perhaps if you are playing with 2 acoustics, it might be better to stick to a pad or an organ sound as both acoustics will most likely be driving the song rhythmically.
The overall aim of our approach to keyboards is to be both creative and purposeful, not just playing what always has been played, but finding and utilizing great sounds and great ways of playing those sounds to enhance the songs being played.
Hey Autumn,
You’re absolutely right. The role of the ‘piano player’ has altered slightly in the new millenium, giving rise to more guitar/bass/drum driven songs, in both praise and worship songs (or, if it’s easier to phrase, the fast and slow ones). I think you’ve written an excellent article here that articulates that fact, and providing examples that people can go and listen to is a very helpful resource. Your moment during the discussion of the first song on the new Creative Training resource really gets this point across too! Classic! I laughed, and then realised, “I don’t think anyone has ever said that before!” Well done for helping define a clearer line in what is otherwise a blurry field.
I’d love to hear your thoughts on the role of the keyboardist as MD (Music Director); pros/cons/etc…
This is an amazing article. I am very interested to hear more. where do you find all the effects you use? I really enjoyed this thank you.
when using your distortions and delays… are you using rack gear that is layered on top or is this a patch that you have set and such?
thanx
cole
What patch are you using on Freedom Is Here? Is that a square lead/flute layer?
In response to your comment Wayne, we’ll definitely do a blurb on the role of md/keyboard player in the next week or so…
hey autumn…i had on question…can u list the equipment your using.. as far as software, interfaces, and how u plug everything in…. i have the yamaha es90…
I also have a question, i have been looking into patches and stuff and was just wondering what sort of software i need?
I can connect our church keyboard (Yamaha CP80) to my Laptop (which is running on Windows Vista) via USB and it acts like a midi device, im just stuck when it comes to getting the right software to run the patches to the keyboard.
I am very unexperienced in this area and would love it if someone would care to explain it to me. For example what sort of software i need? how do i use it? Is there is difference between using USB or actually midi cables? how the patch works? does it use the keyboard as a control and send the sound out via the keyboard? Or does the sound come out of my laptop?
Thanks
Hey Autumn..great post. In my band we have 2 keyboard players, a bass player, and drummer. What would you suggest for the songs that are more guitar driven? Should I just play the guitar parts on a piano sound? Thanks
[...] Ich hab euch mal folgenden Text von Autumn Hardman übersetzt. das Original findet ihr hier… [...]
How true how true. I would really like to know what u use on the korg m3 that u guys use if at all possible. That would jus help me out get an idea on what sounds and pads we could use for our worship. Thanks
Was there any particular reason that you guys changed your approached to keyboard playing?
I think I actually quite enjoyed the arrangements of that in albums like “You are my world”. I could be wrong, but it sounded like a jazz piantist was playing on that album. Sounded quite energising.
Yes, its true. Recent years have seen the rise and relative domination of the guitar in church worship music. For a keyboardist like me, this is just a little bit sad. Its actually been really good to hear some interesting keyboard bits on the last two or so Hillsong Live albums, for example on “Where We Belong” and “His GLory Appears”, and even “Look To You”. Its good to hear the new sound…. btw bring back the ’80’s synthpad! Woo!
Hey Autumn i love this post I was just wondering if you use reason as your software and if so what effect are you using on freedom is here, and if not then what do you use?
ENFOQUE PARA TOCAR TECLADO - AUTUMN
Si has escuchado alguno de nuestros discos más recientes, puedes haberte dado cuenta que el “enfoque” para tocar el teclado es un tanto diferente a lo que era unos años atrás, donde la mayoría de los discos se basaban mucho en el piano para dirigir las canciones de adoración, e incluso las de alabanza. En los últimos años ha habido un poco de cambio en nuestro enfoque en los teclados y en el modo en que se escriben las partes, los sonidos que se usan y el contexto en el que se usan los teclados en general. Espero que en este artículo pueda dar un poco de visión y ayudarte en tu propio enfoque en tus teclados y sonidos.
1. PARTES: (toca con propósito)
En vez de usar el piano constantemente para guiar las canciones, hemos tomado un enfoque diferente. Escribimos partes específicas para cada canción, similares a los demás instrumentos. Por ejemplo, la línea que hace el bajo en “Tómalo” [Take it all] es como la firma de la canción, y al escuchar esa línea, uno ya sabe qué canción se va a cantar, o la batería de “Correré” [Run], etc. Lo mismo se aplica para lo tecladistas. Nuestro objetivo es escribir partes específicas para las canciones, tomando en cuenta la organización de la banda; hacer que la canción sea reconocible y poner una firma característica en cada canción. Por ejemplo, la línea de sintetizador en “Freedom is here”, del último disco de United (Tear Down the Walls), o la línea del piano en “His Glory Appears”, del último disco de Hillsong Live (Faith + Hope + Love).
El primer paso para escribir una excelente parte es escuchar la canción misma. Escucha la melodía, el sentimiento, las dinámicas, las “posibilidades” de cómo la canción puede llegar a sonar. Por ejemplo, si escuchas el intro de “Desert Song”: el golpe de intro, la línea de 3 notas del piano y la línea de la guitarra, automáticamente le dan a la letra una excelente plataforma para que se desenvuelva. Una vez que has escuchado la canción, escucha cuáles son las demás líneas o partes que están sonando.
Cuando estamos en un taller para una canción nueva, y el guitarrista ya está tocando una línea muy buena, mi enfoque va a ser más de fondo o de soporte a eso, quitarme del camino, del registro donde esté esa línea de guitarra; con lo que se busca que la línea destaque y le dé buen soporte, incluso con un sonido constante como un pad, un harmonium o un órgano.
2. SONIDOS: (algo más que tocar sólo piano)
Muchos tecladistas se ven a sí mismos como “pianistas”. El piano es uno de los sonidos que usamos, pero verte como un “pianista” podría inhibir tu manera de pensar respecto al resto del espectro de sonidos que los tecladistas tenemos a disposición. Los sintetizadores, leads, pads, pads con movimiento, rhodes, pianos eléctricos, órganos, harmonium, efectos, delays, overdrives, filtros y muchos otros sonidos y herramientas los tienes a disposición para que busques en ellos lo necesario para el enfoque que le quieres dar a una canción y a tu ejecución, en vez de sólo darle golpes a un sonido de piano con todas tus fuerzas.
Abajo tienes algunos ejemplos del uso de diferentes sonidos:
-”Tear Down the Walls”, del último disco de United: la 1era estrofa tiene un pad grueso soportando todo, y una vez que entran el bajo y la batería, se toca el mismo sonido con un patrón rítmico y delay, lo que da una vibra completamente diferente y de hecho provee una plataforma para el resto de la canción.
- “For Your Name”, del último disco de Hillsong Live, tiene un intro con una línea en el teclado haciendo un bajo de sintetizador con 2 tipos distintos de distorción que se toca durante el intro y la estrofa.
- “Freedom is here”, a la que ya nos referimos anteriormente, tiene una línea constante de sintetizador que se toca durante toda la canción y sobre la cual “cuelga” el resto del arreglo.
- “King of All Days” tiene una línea repetitiva de rhodes con delay, y se toca toda la canción (intro/estrofa/puente). Y si tocas una línea de piano, asegúrate que tiene un propósito, en vez de traquetear los acordes.
- “You Hold me Now”, en la versión de United, usa una línea de piano a través de toda la canción.
- “It’s Your Love”, del disco de Hillsong Live, tiene líneas de piano en el intro y el puente, etc.
- “His Glory Appears”, del disco de Hillsong Live, es una canción basada en acordes en el piano, así como con partes y líneas específicas.
3. CONTEXTO: (¿qué se necesita de mí?)
Una de las mejores maneras de enfocar distintas maneras de tocar es preguntarse a uno mismo esto: ¿qué se necesita de mí en esta canción, con esta banda? Adapta tu manera de tocar al tipo de banda musical en la que estás. Si estás en una banda completa (2 guitarras, batería, bajo, 2 teclados), la manera en que enfoques tu manera de tocar va a ser muy diferente si estuvieras en una banda con un teclado y 2 acústicas. Si estás tocando en una banda “completa”, hay espacio para diferentes sonidos y partes en tanto que no estás bajo la responsabilidad de llenar o dirigir la canción, pues ya otros lo harán por ti. A menudo, con una banda completa, piensa “menos es más”, y para y escucha lo que la canción “necesita” de ti como tecladista. ¿Qué es lo que no se está tocando y que debería tocarse? Generalmente, una simple línea que no choca con las guitarras, y que es complementaria con el sentir de la canción, va a ser una añadidura brillante.
Si estás tocando en una banda más pequeña (un teclado y 2 acústicas), vas a tener que aprender a distinguir las partes “destacadas” de la canción que no pueden dejarse de tocar; y también piensa en lo que la canción necesita, sea en uno u otro contexto. Tal vez tu ejecución va a tener que dirigir un poco más las cosas, o tal vez si tocas con 2 acústicas, sería mejor pegarse a un pad o un sonido de órgano dado que las 2 acústicas van a estar dirigiendo la canción rítmicamente.
La meta general de nuestro enfoque como tecladistas es ser creativos así como tocar con propósito, y no sólo tocar lo que siempre se ha tocado; pero encuentra y utiliza excelentes sonidos y manera de tocar esos sonidos para mejorar las canciones que se tocan.
Hey guys,
Just a brief overview of what we use live for keys. Each keyboardist uses a slightly different setup hardware and software wise, but generally this:
Computer - Macbook Pro minimum 4 gig Ram, Hard drive speed 7200rpm
Interface - Apogee Duet or Fireface 800
Software - Mainstage (platform)
- Synthogy Ivory Italian Grand for pianos
- Arturia Minimoog and Prophet V.
(Freedom is here - Arturia Prophet V running though a Moogerfooger Ring Modulator for overdrive. It’s a pretty simple square wave type sound, kind of like an old computer game sound with massive amounts of overdrive on it to give it character).
Seems to be some unanswered post here about computer software, so though’t I’d put my 2 cents worth in and tell you what I’m using at the moment.
http://www.cantabilesoftware.com - Rock solid VST host for Windows, I’m running it on Vista without a single problem. (You need a VST host to run instrument pluggins in. Cubase, ProTools, etc will do this but there not so good in a live setting).
http://www.native-instruments.com - VSTi Pluggins, I’m using the now-discontinued B4II pluggin. There’s a replacement which is less complicated but good value.
http://www.kvraudio.com - A huge list of VST’s, free and commercial.
http://www.truepianos.com - A nice sounding lightweight, hybrid piano VST, try the 40 day full trial version. Runs well on older PC’s and doesn’t take up gig’s of hard disk space.
Simon
Hello Autumn.
I would like hear something from you about keyboardist as MD. Do you have any idea about when is possible share with us your opinion?
Greeting from Brazil.
Hi Autumn, about the keyboards the whole band uses, what you guys look for about the sound and functions? I mean, You guys use different kinds and brands of keyboards, If you were going to start a new setup of keys, what would you use today? and why? (For example, If you say I would have a Motif in my setup, it is because of the piano.) something like it. So, what kind of keys a band should have and why, and we should buy according to the other instruments or it doesn’t meter? thank you
hi for Autumn,
i`m from Argentina. I want to know what keyboard synthesizer use in the song `Where we belong`, and in the videos of the song.