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Workbook Piano

Workbook Piano

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Sam’s Gospel Music Course Workbook

Fall Music Course 2010 - 11
Theory for New Muscicians
Practice for Intermediate Musicians
Techniques for Advanced Musicians
Church Musician _______________________________
Church Name __________________________________
www.Samsmuzikco.com
THEME : “ Playing with the Spirit and Understanding “
Sam‛s Gospel Music Course 2010
Vol. 2 Rev. 1 October 2010
_________________________________________
Editor Sam Tolbert
Cover Design Sam Tolbert
Web site www.Samsmuzikco.com
Adverstisement
Music links
Sam’s Gospel DVD lessons
www.Samsmuzikco.com/cmp.htm
Youtube Lessons
www.Youtube.com/Soundofjoy
Midi files for Churches
www.Samsmuzikco.com/mlibrary.htm
_________________________________________
Find US ON FACEBOOK Samuel Tolbert
FIND US ON MYSPACE
myspace.com/150psalm
FIND US AT LEARNGOSPELMUSIC.COM
Soundofjoy
FIND US ON YOUTUBE
YouTube.com/Soundofjoy
Sam’s Gospel DVD Lessons
www.Samsmuzikco.com/cmp.htm
2
Sam Tolbert CEO Sound of Joy Music Services
Online Gospel Musician Instruction since 1999
Welcome to Sam’s Gospel Music Course

Let me first give honor to God, the author and finisher of my faith, to Jesus Christ the ruler and sovereign friend who
thought it not robbery to die on the cross and rise that I may have eternal life, and finally to the Holy spirit that works in
my being, giving me guidance where I need to be and the strength to endure until Jesus’s return.

Yes, back then I loved playing the organ and this model was among the first to have play along chords. I never used
them, back then I wanted to play the chords I learned by “ear” from albums and the radio church services. Ever since
then I been on this marvelous music journey giving back the gift of music that was placed in my life. And now after 10
years on the Internet we begin the next phase of musician instruction.
I thank God for the desire to be a role model for this generation of church musicians. Many of you have discovered my
course via Youtube, search engines and perhaps word of mouth via email. A brief background on myself, I’m a 37 year
church musician, self taught through “ear” training and hymnal books. I was raised musically on a Hammond C3/B3.
Lowery organ and a spinet piano throughout my youth. My family has a rich heritage as church musicians in the COGIC
and Baptist Church throughout the NYC area.
Sound of Joy is my vehicle the Lord has impressed upon me to be a avenue whereby I can help new musicians navigate
the ministry of music in their local churches. I began using this name based on the scripture from Psalm 100:1 “Make a
Joyful Noise Unto the Lord....” aka Sound of Joy. So you will see all of what I teach is bible based with the blessing of
God.
Enough about me, it’s all about everyone of you who are taking my course. I have read each of your emails and I’m
setting up online classes for those who are new to the piano/keyboard, those who are currently serving as church musi-
cians on the organ/keyboard and those who are experienced and looking to enhance the sound they have developed.
It’s never my desire to make you a Sam Tolbert Clone.....on the contrary there’s a sound in you that even I can’t play.
That’s my desire to help bring out what is in you using the same techniques that worked for me. Ok, you say I don’t
sound that good. See that picture above...I had the same testimony and with all the talent in my family no one had the
time to teach me anything. Thank God for a listening ear and a desire to learn. Everything you will receive from my
course will have the purpose of “training you ear”, “stimulating your mind” and “working your fingers” to make music.
I know I write a lot and times but this will be the only email of this length and I want to assure you that I’m in it for the
long haul. I want to see you progress and prosper not only in healthy music ministry but every avenue music opens to
you.
I’m looking forward to being a servant first and instructor second. As always you can contact me anytime via email
regarding the course or any music ministry concerns. The updated workbooks will be placed on the main web site on
Monday. By your registering I will be creating a personal title page for your workbook in case you print it out. This will be
a living workbook in that I will update and add pages during the course. If you don’t have a printer you can always view
the workbook using the Iphone (tested it already and it looks great) Ipad or your blackberry. Oh yes, and there will be
MP3 files created of spiritual, hymnal, gospel and praise songs for you to store as a quick reference on your portable
MP3 player or cellphone.

Sam Tolbert
TABLE OF CONTENTS
New Musician
Piano/Keyboard Tips and Techniques page 5
Minor Scale Practice page 6
Piano/Keyboard Scale/Chord Practice page 7
Chord Practice page 11
Intermediate Musician
Hymnal Standards used in the Pentecostal Church page 12
Hymns and Spiritual Songs History page 14
Hammond Organ Drawbar Settings page 19
Advanced Musician
Chords and Harmony techniques page 21
Preacher Chords page 22
Hymnal Sheet Music Site Reading page 25
Intro’s for Praise/Shout Techniques page 28
Chord Reference Chart page 29
Psalm 100:1 - “ Make a Joyful Noise Unto the Lord, Serve the Lord with Gladness...”
The Musicians Prayer
Oh Lord, please bless this music that it might glorify your name.
May the talent that you have bestowed upon me be used only to serve you.
Let this music be a witness to your majesty and love, and remind us that you are always watching, and listening, from your throne above.
May your presence and beauty be found in every note played so that it reaches the hearts of your people and draw them closer to you.
May your Spirit guide us through every measure so that we might be the instruments of your peace, and proclaim your glory.
AMEN
3
All the information contained in this workbooks can be applied to all musician skill levels
4
NOTES
5
5 4 3 2 1 1 2 3 4 5
Scale Practice Fingering
One of the best ways to train your fingers how to move across the keyboard is by practicing all the scales as your warm-up.
It’s always best to use the proper fingering technique so that you don’t put too much stress on your hands. I use the spider technique where your hand hovers over the keys
and your finger press the notes. See the youtube example for that technique. This way your hand is lined up over each note before your press down to play it.
Starting with middle C using your right hand play the C major scale without hesitation in acending then decending order. Now do the same with your left hand.
This warm-up you should use for the first 3-8 minutes of practice on your keyboard. Weighted keyboard are always preferred but you can do this excersise on any keyboard.
C
R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
D
R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
E
R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
F
R/H 1 2 3 4 1 2 3 1 2 3 4 1 2 3 4
L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
G
R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
A
R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
B
R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
L/H 4 3 2 1 4 3 2 1 3 2 1 4 3 2 1
Db
R/H 2 3 1 2 3 4 1 2 3 1 2 3 4 1 2
L/H 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3
Eb
R/H 3 1 2 3 4 1 2 3 1 2 3 4 1 2 3
L/H 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3
Gb
R/H 2 3 4 1 2 3 1 2 3 4 1 2 3 1 2
L/H 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2
Ab
R/H 3 4 1 2 3 1 2 3 4 1 2 3 1 2 3
L/H 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3
Bb
R/H 4 1 2 3 1 2 3 4 1 2 3 1 2 3 4
L/H 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3
Whats missing? That’s right we didn’t give your the scale note names. Use the keyboard reference above to view the notes that correspond to each fingering number.
The purpose of this lesson to train your fingers to move over the leyboard. No speed or technique is necessary when practicing.
The scales are played in two octaves.
6
MINOR SCALE PRACTICE SESSION
7
“The melody line to every song is found in the root scale of key of the song”
The one concept you will here me stress is learn the fingering and the tones of the major / minor and the harmonic minor scale. In my years of
learning gospel selections I have found one or all of these scales are extensively used. When you are familair with the sound of the scale and you
listen to a recording you immediately find the notes of that song. For example the praise song “ Our God is an Awesome God” in Eb. The Helen
Baylor version uses the C natural minor(Aeolin) (C, D, Eb, F, G, Ab, Bb, C) and C harmonic minor scale ( C, D, Eb, F, G, Ab, B, C). Believe it or
not the chords used in that song are also found in part throughout these scales. Here’s a secret “Eb major scale is the same as C natural minor if
you start on the 6th note from Eb root)
For example:
Lyric Our..........God.......is....an......awe....some....God - He.......reigns.....from.......heaven.......a - bove
meloly E

............C..........C......D.......E

.......B

..........G.......G.........F.............D...........E

...............D...C
chord G B E

......E

G C.....................G Bb E

............................F B

D...................D F A

B......Eb G C...D F B

...C E

G
Compare the notes in the chords to the notes in the scale. You will find the chord structure is imbedded in the scale tones of the melody line. This
is the technique I’ved used for the past 30 years to learn how songs are constructed and how you find the chords that support that melody line.
There are 11 basic scales. all of them you don’t really have to know as far as gospel music goes but its good to know they exist. They are the
major(Ionian), natural minor(Aeolian), harmonic minor, melodic minor (ascending), melodic minor(desending), Dorian, Lydian, Locrian, Phry-
gian, Mixolydian and Whole-tone. These scale tones make up the runs you’ve been hearing all you life played in churches. We’re only covering
the scales related to hymnal, gospel and praise songs for this course. You can do a Internet search for more information about all the scales. A
natural minor scale has a certain characteristics, the 3rd, 6th and 7th note are played 1/2 down from a major scale. In the harmonic minor scale
the 3rd and 6th note is played 1/2 step down from a major scale.
Fill in the scale note in the following keys:
1. D natural minor D, _____, _____, _____, _____, _____, _____,______, D
2. Eb natural minor E

, _____, _____, _____, _____, _____, _____,______, E

3. E natural minor E , _____, _____, _____, _____, _____, _____,______, E
4. F natural minor F , _____, _____, _____, _____, _____, _____,______, F
5. G harmonic minor G , _____, _____, _____, _____, _____, _____,______, G
6. A hamonic minor A , _____, _____, _____, _____, _____, _____,______, A
7. G

harmonic minor G

, _____, _____, _____, _____, _____, _____,______, G

8. A

harmonic minor A

, _____, _____, _____, _____, _____, _____,______, A

9. Bb harmonic minor B

, _____, _____, _____, _____, _____, _____,______, B

10 C harmonic minor C , _____, _____, _____, _____, _____, _____,______, C
Here’s a harmoinc minor chord progression excersise I use to keep my ears trained to play beihind any song using this scale.
In C (can be transposed into every key)
Sequence is:
minor/1 E

G C
7th/4, F G B D
minor/2, G C E

minor/1, A

C F
minor, C E

G
minor/2 C F A

7th/3 D F G B
minor/2 E

C C
Music Theory
The musical alphabet is a continuum, repeating endlessly the first seven letters of
the English language alphabet:
A B C D E F G A B C D E F G A B C D E F G........etc
A scale is a series of tones in organized sequence.
A major scale is an eight-letter sequence of the musical alphabet.
The first of the major scale is called the tonic note, or keynote: the last letter of the
major scale is the same as the keynote but it is called the octave.
Ex. C major scale
C D E F G A B C
keynote octave
The tones of the major scale can be numbered:
C D E F G A B C
1 2 3 4 5 6 7 8
The numbers referring to the tones of the major scale are called scales degrees.
The musical relationships between the tones of a major scale can be expressed by
means of whole-steps and half steps.
C D E F G A B C
W W H W W W H (W=whole, H=half)

The major scales are:
C D E F G A B C
Db Eb F Gb Ab Bb C Db
D E F# G A B C# D
Eb F G Ab Bb C D Eb
E F# G# A B C# D# E
F G A Bb C D E F
Gb Ab Bb B Db Eb F Gb
G A B C D E F# G
Ab Bb C Db Eb F G Ab
A B C# D E F# G# A
Bb C D Eb F A B Bb
B C# D# E F# G# B# B
This is your reference information to the scale fingering chart from the
previous page. Practice playing each of these scales in the two octaves using the
proper fingering at the beginning of your practice time. I would like you to post a
YouTube video clip and send to my site www.Youtube.com/soundofjoy so that I may
view your techniques. Nothing fancy I want to see if you are applying the proper
fingering techniques I teaching you.
I you have a keyboard with a metronome start your practice tempo to 50 bpm and
gradually increase each scale run by 10 bpm up to 100 bpm. Don’t rush to get there
in one practice session the idea is to be as accurate as possible. This will help you
when we cover gospel runs later on during this course.
Remember practice right hand first then left hand, if you ‘re daring do both hands at
the same time and send me the video clip.
As a new musician I believe its very important that you follow routine of practice until
you’re ready to go at it on your own. Here are some suggestions I believe will assist
you in developing a practice routine. TURN OF YOUR CELLPHONE!
1. Pray - this is essential for getting yourself in tune with what you are about to do
2. Start with scale fingering in every key - duration 5 - 10 min
3. Practice your triad inversions in every key - duration - 10 min
4. Practice chord progressions and transition chords in C, Db, D, Eb for 10 min
5. Take a break get some water (no soda will make you hyper) this also gives your
fingers a rest period
6. Practice the melody line with left hand chords to a familiar song ( I suggest a
hymn that you like to play) or a praise song
Now that you are warmed up you can tackle more advanced practice
7. Work on your preacher chords ( if you play for a minster that needs you to play
them)
8. Select 3 congregational songs normal sang at your church play them in the key
they sing them in using techniques practiced from this course.
Do not use the transpose key!
9. If you play for a choir or praise team begin practicing the songs they will sing at
the next service
10. Take another break - answer your cellphone and update your facebook :)
Now you’re ready to learn a new song having warmed-up and practice all the
techniques you’ve practice from this course. When learning a new song I always
recommend you listen to the entire song at least 3 times, each time writing down
information you hear in the song, the intro, the choir parts and the piano/keyboard
parts. We will cover this techniques later on in the course also.
A chord is defined as two or more notes played at the same time. In popular music
a chord generally has a minimum of three notes.
The pitches which make up a chord are called chord-tones: any other pitches are
called non-chord-tones.
Chords can be related to major scales by means of scale degrees.
The chord-tone upon which the rest of the chord is built on is called the root.
Scale C D E F G A B C
Keynote
degrees 1. 2. 3. 4. 5. 6. 7. 8.
chord tones R 2 3 4 5 6 7 8
Root
R=is used to differentiate clearly the root of the chord from the keynote of the scale
when using numbers.


8
A major triad consists of the root, third and fifth scale degrees (R, 3. 5.)
Ex. C major triad
Scale C D E F G A B C
degrees 1. 2. 3. 4. 5. 6. 7. 8.
chord tones R 3 5

A minor triad consists of the root, flatted third and fifth scale degrees ( R. b3. 5.)
Ex. C minor triad
Scale C D E F G A B C
degrees 1. 2. 3. 4. 5. 6. 7. 8.
chord tones R b3 5

Inversions
A rearrangement of chord-tones is called an inversion.
A chord with the root as the lowest note is said to in the root position;
a chord with the third as the lowest note is said to be in the first inversion;
a chord with the fifth as lowest the is said to be in the second inversion.
Ex. C major triad
G = 5 C = Root E = 3rd
E = 3rd G = 5th C = Root
C = Root E = 3rd G = 5th
Root Position First Inversion Second Inversion

Since chord-tones can be rearranged into as many positions (inversions) as there are
chord tones, four note chords will have four positions, five-note chords will have five
positions, etc.
Specific chord positions can be indicated by using a slash mark ( / ) after the chord
symbol and a letter, “R” for root position, or a number for other positions:
C/R = C major triad, root position; C/2 = C major triad, second position;
C/3 = C major triad, third position, etc.

When the composer wished to specify a particular bass note he may use a slash mark
and a letter indicating the desired bass note:
C/E = C major triad (any position), E bass note; C/G = C major triad, G bass note, etc.
A specific chord and a specific bass note can be indicated by using two slash marks,
the letter or number after the first slash indicating the chord position, the letter after the
second mark indication the bass note:
C/2/G = C major triad, second position, G bass note, etc.

As a musician you should know what chords and inversions are available to you in every
key.
Many of you may have learned the number system approach to playing songs. As a rule
I don’t teach that method but I will speak to the concept throughout this course. As you
become more familiar with chords and progressions you will soon ween off the number
system. In this new musician course we will cover alternate ways to support the mode of a
service when you’re on the keyboard or organ. Here’s a few techniques your can apply to
what you’re currently playing now.
1. Before service starts if there’s no praise team at your church use an opening song like “
Lord prepare me to be a Sanctuary” (not the up tempo version) :)
A good congregation key is Eb or F. I suggest in order to warm up the singing of your
congregation start in the key of Eb. Here’s your first look at our song teaching method
Lord Prepare Me in E
b
Lyrics: Lord....... pre - pare.... me....to be a sanc...tu....ar.....y
Melody: G F E
b
.................E
b
.........G......B
b
.........F
R/H chord A
b
m73
b
E
b
9/2 ...........................................B
b
9....
Bass B
b
........E
b
.........................................................D.....
Lyrics Pure and ho...........ly tried and tru...............e
Melody F G A
b
F E
b
F G, A
b
, G F
R/H chord Fm/2 C7/4 Fm/2 Fm/1 A
b
maj7/4 B
b
7/4 E
b
/2 B
b
9
Bass A
b
G F B
b
E
b
B
b
Lyrics: With thanks giv-ing I’ll be a liv - ing
Melody: G F E
b
...........E
b
..G....B
b
..........G
R/H chord B
b
7 E
b
9/2 ....................................B
b
9....
Bass B
b
........E
b
....................................................D.....
Lyrics: with thanks...giving I’ll be a liv - ing sanc.....tu...........ar....y
Melody: G F E
b
E
b
G B
b
F F G A
b
F
R/H chord A
b
maj7 B
b
7 E
b
9..............................B
b
9 Fmin/1 D
b
dim/4 Fm/2
Lyrics: Lord for you
Melody: G B Eb
R/H chord A
b
maj7 B
b
7 E
b
Bass B
b
....................E
b
.................

Bb9/2

 

Abmaj7/4




Dbdim7/4

 

 


Eb9/2




Abm7b3
 

Bb7
Here are a few of the chord progressions posted above you will
learn how to use during this course.
9
CHORDS IN C
1st Inversion
2nd Inversion
Root Position
C
  
 

  
1st Inversion
2nd Inversion
Root Position
Cm
 


 
1st Inversion
2nd Inversion
Root Position
Cdim



 
 
1st Inversion
2nd Inversion
Root Position
C7+5
 
 
 
1st Inversion
2nd Inversion
Root Position
C6
  
  
  

 





 
 
 



Practice these chords using the fingering
from the image on the previous lesson on
scales page. Thumb is always in the root
note of the chord.
Quiz
1. When switching inversions which finger
plays the first note of each inversion
chord?
10
PRACTICE THESE CHORDS
TO THIS FAMILIAR SONG
  
 
  
 
 
  





 
 

 
 
 











Oh
How I Love
Jesus
Oh, how I love
Je -
-
sus
Oh, how I love
Jesus
ause
he
first
loved
be....
ca..


 




 




  
me
PRACTICE THESE CHORDS
TO THIS FAMILIAR SONG
  
 
  
 
 
  





 
 

 
 
 











Oh
How I Love
Jesus
Oh, how I love
Je -
-
sus
Oh, how I love
Jesus
ause
he
first
loved
be....
ca..


 




 




  
me
As an Intermediate Church Musician your find yourself currently serving as the church musician and
playing for the choir(s). This course is going to assist you in finding your place in minsitry as you’re
growing in confidence serving the local church. We have been where you are right now and we’ve
provided ongoing techniques in order that you may grow into your position as church musician.
It’s more than just chord ans runs now as you have an important role to fulfill providing appropriate
music to support your Pastor and those the minister to the congregation.
Let the lessons begin.............
Intermediate Musician Course for Keyboard - Piano and Organ
Sammy Says
As the new musician it’s very important to establish a foundation of music theory first. I know you want to play all the phat chords and
you want the “shout the house” chords. There’s plenty of time to learn those trust me. Right now I want you to become a well rounded
musician able to play at a moments notice any song that is relative to the church service you’re ministering in. To accomplish this I have
made available reference material at the end of this workbook and I suggest in your practice time you view the information provided for
your education. Practice the lessons for your skill set and learn them well. I will have quizzes throughout this course book to assist you
in monitoring your progress. Take a look at the chords in C located in the reference pages. You will need to know all of these chords and
many more in order to reach the next level.
Intermediate Musician
12
Praise Chords in C ” How Great is Our God “
Lyrics How great is our God.........how great..... is our God......how.....great.....how......great...is.... our...God
Melody C.......C.....G...D....C............C....C...........G...D...C.........C.........C...........C.........D.........G......D.....C
chords G C E..G B D..G C E, G B D, G C E, G B D, G C E, G B D, G A C................A B D...............E G C
Bass C........................C.......B..........A.....................A..............G........F...........F...........G.........................C
chords II G C D E....................A D G....G B C E.......................F G A C...........G A B D............................D G C
chords III C D E G..........E B D / Ab C D G...............................D A / E F A C....................................
The way I teach is you start off with the basic melody and basic chords. Next time around you mix in the next level of chords. Third time around you mix
and match the first two chord patterns with the third pattern. The key is to know when to play the 2nd and 3rd chords remembering you have to support the
melody line.
“ Establishing the Local Church Music Department”
It has been brought to my attention that many of the new musicians serving the local church are faced with the task of establishing a music department complete with choir Presidents, Music
Directors etc. In this organization sometime the roles tend to overlap and feelings become hurt because of misunderstandings.
Every church organization is separate unto itself but I have gathered some basic rules which may assist you in formation of a Local Church Music Department.
You and your group
1. Is your life in harmony with Jesus? Very important that you are prayerful in seeking wisdom from God as you deal with His people. Begin your rehearsals with prayer and scripture and end
with a prayer.
2. Remember the ministry of music should exalt “God” not the “singers” or the “musician”.
3. You must all be in harmony with the Pastor and the spirit of the ministry of your church.
4. Can you talk and communicate with the spirit of intelligence? Soft words turn away wrath.....
5. Can you say forgive me when you’re wrong in the presence of your group?
6. As much as possible invite suggestions from the members of your music group as you organize.
7. Build up and encourage one another.
When do we need a Minister of Music or Music Director?
1. When you have several choirs active in the church.
2. When you need someone to select music, train the choirs and be responsible for the overall quality of music presented in the church services. This person should be knowledgeable in the
field of music.
When do we need a Choir President and what is their responsibility?
1. When the administration concerns become too involved for the Minster of Music then a Choir(s) President can be appointed or voted upon to be the administrative voice to the choir. The
President provides the business format for the group and provides discipline so that things run smoothly, running meetings and
anything else which is non music related fall under the Presidents role. In some instances a vice President may be required. In such case they must work together to meet the needs of the
group and are in close consultation with the Minister of Music/Director over any choir concerns. They all must work together in harmony as an
example to the members.
What are other necessary positions?
Musician - This can be one or more individuals led of God to provide and accompaniment for the choir.
Director - This person teaches the choir(s) the music and should be musically inclined. Works closely with the musician in leaning the music and the various voicing for choir rehearsals. Be on
time for rehearsals and always prepared with sheet music, words or music for the choir rehearsal. Verifies all music selected with the
Minister of Music to be certain that it’s in harmony with the Pastor and spirit of the ministry of the church.
Chaplain - The Chaplain offers prayer prior to the choir going into the sanctuary or a building to minister in song
.
Building a Good Choir
1. Every officer know specifically what their job is.
2. The better trained the musicians are, the better the choir, musically.
3. The director should have a working knowledge of music and know what they are doing.
4. Choir members should be willing to listen to the director. The director instructs the choir not the choir instructs the director.
5. Promptness to rehearsal, good attendance, willingness to learn and alertness makes for a good choir.
6. The director must prayerfully know what to sing, when and where.
7. The musicians must realize they take directions from the director also.
8. Be prayerful, take directions and be the best singer/musician in your section.
THE MUSICIANS & THE SINGERS & MINISTRY by Min. Steven Ford
MUSICAN ETIQUETTE ( Pre-Service Prep)
A) Establish Priorities in Your Life (Get Order)
1. Relationship with God
2. Your spouse, ....your family
3. Your health
4. Your employment
5. Your ministry
6. Your Musical Development
7. Other Interests (sports, hobbies, etc.)
8. Pray for the Pastor of your Church
9. Pray for the Minster of Music
10. Pray for your fellow musicians, respect their time of service and confirm them in
Ministry.
11. Attend rehearsals
12. Bible Study before Music Study
12. Bible Study before Music Study
13. Practice..Learn Hymns, Worship, all Styles
14. Develop an organized life style.
15. Become faithful, and accountable for everything you do or say
16. Keep a folder of all your music, be prepared
17. Sanctify you attitude
Temperamental Musicians need deliverance
Sensitivity and Flow ( The Service)
1. Arrive early before the pre-service to check you instrument and tune up.
2. Respect others during the tune up, this is not a JAM Session.
3. JOIN THE PRAYER
4. Play with dynamics...be sensitive to the Spirit.
5. Watch you Minister of Music
6. Watch your Worship and Praise Leader
7. Song selection is not your job, unless instructed by the Minster of Music, each song
should be played as unto the lord.
8. Give Excellence whether you feel like it or not.
9. Let the playing of your instrument be an extension of your worship to God
13
Playing Hymns and Spiritual Songs used in the Church
What’s the secret to playing hymns effectively? Here’s an excerpt from the Methodist Songs of Zion supplement hymnal:
Keys to Musical Interpretation, Performance, and Meaningful Worship
General Suggestions
DIRECTOR
Proper musical performance and interpretation are aids to meaningful worship experiences. Music is and important part of the worship service, so be sensi-
tive to the worship leader. Worship is a total experience, and many through the musical word as well as through the spoken word.
Sometimes the place of a song in the worship service can say much about the tempo. For example, the refrain to the hymn” I Surrender All,” may be used as
a prayer chant, in which case it would be performed slower than usual.
Be creative and add other instruments, such as guitars, drums, and tambourines to performances, but use discretion in doing do. Don’t overdo it! Hand clap-
ping can also be a very effective with certain music genres.
ACCOMPANIST (PIANIST or ORGANIST)
Accompanying is an important role, so pay close attention to the director, soloist, and worship leader. If no one is directing the congregation, it is left to the
accompanist to lead with his or her instrument, so lead forcefully.
Be careful not to play too loudly. It can overpower the singing or detract from a worship mood.
INSTRUMENTAL IMPROVISATION
The beat (rhythm) is one of the most important aspects of Black music, whether the composition is fast, slow, or moderate. It must be kept as soon as it is
established. Sometimes the beat (rhythm) changes while the performance is in progress and then revert to the original beat. No matter what , keep whatever
beat is established at any given time.
There are very few in moments of silence in improvisation of Black music, and when they do occur they are generally for special effects. Fill in measures of
rests (or open spaces) with chords duplicated at the upper or lower octave, broken chords (arpeggios) , passing tones either as single notes or in octaves,
passing tone chords, upper and lower neighboring tones, runs, turns, glissandi, chromatic motives or phrases an so on. Remember, however, that all these
“extras” must be utilized with taste and discretion. Whatever the nature of your improvisation, do not leave open spaces.
The changing of keys (modulation) is very common in Black music performance. It adds variety and often heightens the emotional effect of the composition.
Most compositions can be reduced to a I-IV-V-I chord progression, whether they are written in major or minor key. Therefore, chordal embellishment or deco-
ration is very common in black music performance. Use augmented tonic and dominant chords; dominant chords; secondary dominant chords; diminished
triads; dominant, augmented, and diminished seventh chords; ninth, eleventh, and thirteenth chords; chordal inversions and altered chords. Flatted thirds,
sixths and sevenths are common.
Thought this was going to be an easy course? No way, I use every one of the above techniques in my hymn playing and
if you follow my examples, I will teach you how to improve your understanding of hymn playing using these techniques.
In the follwing sections we will cover the “standard hymns” used in todays church and praise songs which have now become the “new” standard.
Sam Tolbert
Music Director/Organist
Galilee United Methodist Church, Englewood, NJ
14
As a church musician you have the responsibility of learning all the selections needed to fulfill the major worship needs of the
service. As time changes some of these songs not sung regualry but you should know they are applicable to morning worship.
Here are some suggestions we encourage you to add to the list you already play.
Processionals: Key Seasonal Selections ( Christmas ) Key
Holy, Holy, Holy E
b
Joy to the World B
b
Guide Me O, Thou Great Jehovah G O Come All Ye Faithful G
Rejoice Ye Pure in Heart F Silent Night B
b
Sign Me Up G Hark the Hearal Angels Sing F
We’re Marching to Zion F Emanuel C
Lord Prepare Me to be Sanctuary F Jesus, O What a Wonderful Child A
b
Prayer Chants ( Easter )
Hear Our Prayer O Lord E
b
At the Cross F
The Lord is in this Holy Temple D
b
Nothing But the Blood of Jesus F
The Blood will Never Lose its Power A
b
Opening Hymns Because He Lives A
b
A Mighty Fortress Is Our God C Christ Is Alive
Great is thy Fatihfulness E
b
Up from the Grave He Arose C
Blessed Assurance D
b
To God Be the Glory(Hymn version) A
b
O How I Love Jesus G
Love Lifted Me B
b
What a Fellowship G
Sweet Sweet Spirit G
b
Invitation/Prayer
Come Unto Jesus F
I Surrender All D
b
Just As I Am E
b
I Have Decided to Follow Jesus D
b
Pass Me Not O Gentle Savior F
What a Friend We Have in Jesus F
I Am Thine O Lord A
b

No Not One F
Sweet Hour of Prayer C
There are of course many more songs we have not inlcuded with this list. I feel these are the standard songs every church
musician should already know. We will cover all these selections as part of this course and others not on this list.
Congregational Selections
I Feel Good, Good Good A
b
What a Mighty God We Serve E
b
Praise the Name of Jesus E
b
I’m Running For My Life E
b
He Never Failed Me Yet F
My Soul Loves Jesus A
b
Yes God Is Real B
b
God’s Not Dead, He’s Yet Alive G
Jesus on the Inside Working on the Outside B
b
Hallelujah Anyhow D
b
I’m a Soldier in the Army of the Lord G
The Windows of Heaven are Open B
b
15
Scale Practice
Here are some of the same scales you’ve already practiced in
sheet music format. For extra credit can you name the key and
the notes in the scale of that key?
16
Sam's Gospel Music MP3 for Church's

by iSOUND.COM
Sams' Gospel Video's on Youtube
Our Audio Productions

Samuel Tolbert Music Director Galilee United Methodist Church, Englewood, NJ
We ore now feofurinq our insfrumenfoI seIecfions of Isounds.com. Supporf
fhis sife by purchosinq our seIecfions feofurinq SpirifuoIs, Hymns, ond
OIdfime 0ospeI fovorifes. CIick on our picfure fo sompIe fhe MP3 funes on
our sife. You con sfiII purchose our insfrumenfoI CD´s .

Sonqs for Christmus (InstrumentuI) Demo
price 1000
Church Musiciun Pruise One
price 1000
Sunduy Niqht Pruise
price 1000
PsuIms und SpirituuI Sonqs
price 1000





Welcome to our church musicians products
site. Our instructor is the CEO of Sound of Joy
Music Services Sam Tolbert .
Payments can made using our paypaI Iinks , check or
money order payabIe to Sound of Joy, 996 AIIan CT.,
Teaneck, NJ 07666
(DUE TO SHIPPING CONCERNS WE DO NOT SHIP OUTSIDE THE
USA)
For questions you can call us at 201-951-9720 or email us

Holiness in Ab - - 15.00
We've added a series of DVD lessons reaching out to styles of gospel
music. We cover the chords as played on the CD showing you the
chords and the techniques used on the CD. For advanced church
musicians.

Greatful in Ab - - 15.00
Hez Walkers song showing all the chords, patterns and melody runs as
heard on his CD. Every musician needs this one.

Order My Steps in Db - - 15.00
For the advanced musician featuring the intro, melody, chords and bass
patterns. A must for the church musician video library.

Blessed and Highly Favored - - 15.00
For the advanced musician featuring the intro, melody, chords, runs
and bass patterns. A must have for the contemporary musician.

Soverign God - - 15.00
For the advanced musicians covering the intro chords, runs and
patterns found in the song.



Sam's OId SchooI Praise and Testimony Songs - $30.00
Sam's 2 DVD set featurng 9 songs taught in the old school
style (See our promo video on Youtube) Sam will be teaching
how to play the melody and chording techniques he developed
as the organist for the Kelly Temple COGIC for over 25 years.



Can't Nobody Do Me Like Jesus /Victory is Mine - $20.00
This DVD is for new or beginner musicians to gospel music in G and
Eb - You asked for basic lessons for beginner musicians and now we
have the first two completed. Learn the melody, tritone chords and bass
runs to these two popular church songs taught by Sam Tolbert.

.


I Love You Lord Today - $15.00
Page 1 oI 5 Sam s Gospel Music Course Product Page
http://samsmuzikco.com/cmp.htm http://samsmuzikco.com/cmp.htm
YOU CAN SUPPORT OUR MUSIC MINISTRY BY PURCHASING OUR
CHURCH MUSICIAN DVD AND CD’S PRODUCTS
17
Sam’s Gospel Chord Progessions

for Advanced Musicians
Advanced Musician
18
Sam’s Hammond Organ Corner
Drawbar settings Upper(chord/solo hand) Lower(chord hand) Bass Pedals
During Meditaion Time 007800453 006700540 63
Testimony Service 787746046 008800673 71
While speaker is talking 678404231 006602024 63
Latin 880060000 006676000 62
Progessive 888800000 008884000 75
Born to B3 888808008 007725400 84
Theatre Organ 878656467 008844000 75
America 887724110 006606000 61
House Bass 880000000 008080000 80
House Church 808808008 008808021 80
Jimmy Mc G 883200125 448650000 83
5th Organ 080080883 008806000 73
Full B3 Clean 888888888 777777777 85
Soft Backing 888700000 555400000 62
Holmes 888420080 000505000 72
Screaming 800388888 007033333 72
Shoutin 878645466 888800000 84
To thoses of you new to the Hammond Organ:
To start the Hammond Organ you push and hold the start switch while counting 8 seconds. Continue to hold the start switch then press and hold the run switch and count for 8 seconds.
Release them both and the start switch will toggle back but the run switch will stay forward. On the preset keys you will find preset tones. When you depress any of these key they will
stay depressed and select the tones printed on the keys. If you depress the keys to the right of the preset keys you will enter the harmonic drawbar mode. This is where you can create
your own combination of tones independent of the preset harmonic tones. Each manual has two sets of drawbar that correspond to the preset manual drawbar you have selected.
The bass drawbars found in the middle of the drawbars control the tone of the bass foot pedals. The Bass foot pedals are played with he heal/toe method where you play the lighter
pedals with the heal area of your foot and the black pedals with your toe. The volume pedal controls the over all loudness of the organ. The Leslie switch (some models don’t have one)
controls two whirling cones in the Leslie amplifier that creates that theatrical effect of sound splitting the air synonymous with the Hammond Organ. Then bench is where you sit of
course. I you have the later version of the Hammond Organ (XB-2 and up) you will not have the start/run or Leslie switch. Some organs have been modified with newer technology
eliminating these components. There’s are many models of Hammond Organs in churches today. I have acquired some images of them and a brief description of what features they
have in common. Some of the do’ and don’t are
1. make sure you press start and hold for 8 second then push the run. Never press both switches at same time.
2. pull gently on the drawbars, there are stops that will break and drawbars come off in you hand.
3. when playing foot pedals try not to “stomp” on then. There are springs called pedal pushers that will break.
4. if certain tones are not heard when drawbars are pulled out chances are the wire in rear of that drawbar has broken. If your mechanically inclined you can repair the problem yourself
with a soldering iron.
5. if your area experiencing distortion from the Leslie amp chances are the vacuum tubes have worn out.
Have only a qualified Hammond Organ tech to come and check out entire organ and have him do preventative maintenance such as checking the oil level in the reservoirs, foot pedal tension and worn
belts in Leslie amp. The Hammond Oran has stood the test of time and will continue to be the instrument of choice in today’s churches.
19
Looking for a local church to minster your gift of music. Register with Sound of Joy and we will add you to our referral listing. We want to send
only prepared musicians to serve.
A quote from a church musician:
We need to teach this course because some musicians just don’t get it. I’m at revival tonight where my church is the host church. The musician for the pastor
preaching the revival isn’t present, so as musician for the host church I play. Now there is a guest church choir. Their musician asks me to play with her on the
organ as her choir sings. She’s very old school, so I play with her using old school changes and not playing over her. Cool. How ‘bout when the preacher gets
up, instead of her taking her out of style playing self back to her seat, she insists upon playing with me (make that she played all over the place while I was
concentrating on supporting the preacher) and doesn’t follow me at all! I gave her all the “I’m on the organ and I got this” signals, but she doesn’t have a clue.
Back in my younger days I would have unplugged the keyboard!
Then, later on, during the altar call, another musician, this one younger, proceeds to play with me, using the transpose button. Mind you, the minister doing the
altar call is the pastor of the host church, which I play for. He starts a little hoop during the prayer, and this musician plays all in front of me and doesn’t follow at
all. How you gonna try and play all over me at my church with the pastor I play for every Sunday?? I don’t try to musically fight musicians while service is going
on because I think that is a serious distraction, but in both of these cases, I had to handle my business and ignore them since they didn’t have sense enough to
follow me.
Don’t musicians understand any protocol anymore? It’s just plain rude to not try to play together instead of going your own way when you’re a guest at another
church. I love playing with other musicians because I often learn a lot from them. But clueless folks like tonight work my nerves and makes me mad. But when
folks don’t check their egos at the door, and want to show they can play as well when they can’t, we got problems.
The scripture says that David played “skillfully” before the Lord. Some musicians have just cut that out of their bibles.
Church Musician Do’s and Don’ts
Musicians, don’t abuse the gift because you have the loudest instrument at the time. Work with other musicians and respect the
“house” in which you’re playing in when its not yours. :)
iF YOU HAVEN’T ALREADY TAKE A 15 MINUTE BREAK THEN CONITUNE WITH YOUR LESSONS
20
PROGRESSIONS CHORDS IN C
BASS L/H R/H
C C D G C E
D D F A Bb D F
E E G Bb D E G
F C G A E A
F C F A D A
E B E B D E Ab
E Eb A C Eb Gb A
D D Ab B D F Ab B
A A E G C E G B D
D D Gb C E Ab B
G D F C E F A C
G F B Eb G B
C F G Bb D F A C
C E Bb D E A C
C E Bb Eb E Ab C
F Eb G Bb C Eb G C
F Eb A Eb G A C
Gb Eb Gb A Eb Gb A C
G F Bb D F G A C
C E Bb D E G C
Assignment:
Once you have learned this progression lesson transpose enitre lesson to Db and send me a youtube
video of this progression and the one in C.
Be very patient when learning these progressions. The secret
behind my progessions is the top note. It’s a melody line
supported by chords and a bass bottom. Learn the right hand
chords first then the bass and left hand. Hear how the chords
mesh with each other if though you were mixing a cake. Don’t
rush and feel the power behind each progression as it builds
off the previous. This is how I use chords in support of any
melody line I may be playing.
21
Welcome to Sam’s Preacher Chords Page
The effectiveness of preacher chords in a service carries a great responsibility. As the musician you, the preacher and evangelist or minister are working
in harmony to deliver the point of the message. Preacher chords can vary depending upon the spirit of the minister and the receptiveness of the congrega-
tion. Preacher chords in essence becomes the stamp of approval musically to the message. Therefore, you must develop a sense of which chords, chord
patterns and most importantly the placement of those chords should be used as you minister in music while the preacher ministers the word of God. I have
the experience of playing behind some great preachers over the past 27 years. I have complied a basic to advanced list of chords and chord patterns you
can learn and then adapt to your own.
Here are my basic “up the ladder” preacher chords. Most preachers minister well when you keep the patterns simple. Remember, the preacher is in
charge. You are just accompanying them while they are delivering message. Do not lead them with these chords, you follow behind them. Most like it
when you give them a short and long burst with the chords. This allows them to catch their breath in between preaching. A good rule I use is to let the
preacher “signal” you when they invite you to minister with him or her. Now some preachers like to “moan” first, then they want you to accompany them.
Beware that some may not be used to how you work with them. Some may bring their own musician with them for this reason. Don’t ever feel embar-
rassed if the minster instructs you to “hold your fire” when they’re preaching. It’s a way to let you know that they are not ready to “take off” yet. You can
burn out a preacher too early in his/her message with preacher chords. Experience will be your best teacher when it come this. I always wait until the
preacher signals me when they’re ready for me to give them the fuel to “take off”.
When using these chord patterns you always end each pattern with the 1st chord.
Here is the “burst” pattern I talked about earlier - short - long - short - long - short - long - short
Website page for chords - www.Samsmuzikco.com/preacher.htm
YouTube video references
:
Check out these preachers as they “tune” up and send me what “key” they are in and how many times they change key.
http://www.youtube.com/watch?v=y7pEm9Hul4M Pastor Joe Hughs
http://www.youtube.com/watch?v=pMz0xsiNm24&feature=PlayList&p=E5A3FC060EB52C35&playnext=1&playnext_from=PL&index=35 Min Mark Moore
http://www.youtube.com/watch?v=V7r9Zc-Nwxg&feature=PlayList&p=E5A3FC060EB52C35&playnext=1&playnext_from=PL&index=21 Rev Tellis Chapman
http://www.youtube.com/watch?v=8Mtf0XsGOM0 Rev. Clay Evans
http://www.youtube.com/watch?v=bDOkHlAn9Mc Dr. Leroy Elliot
http://www.youtube.com/watch?v=CEJHH4qGYok Rev. Jerry Black
http://www.youtube.com/watch?v=SOTE_7YW9zk Min. Felton Rowe Jr
http://www.youtube.com/watch?v=nClKIYMFRiU&feature=PlayList&p=E118B67B6D5FAEEB&playnext=1&playnext_from=PL&index=88 Dr. Patrick T. Brown
22
When it comes to “preacher chords” you can almost make them up as you go. Rather that post the chords we use we’ll give you basic to advanced chords that
you can mix and match depending upon how you feel to use them.
Preacher chord patterns with variations.
short long short long short end
C C / E B
b
/E A C E / E A
b
B
b
C F / E
b
G A D,C G
b
/ E
b
G
b
A C G / D G / C F G A C C / E G B
b
/ D E G C
D
b
D
b
/ F A
b
B / F A
b
D
b
F/ E
b
A / E
b
G D
b
G
b
/ E B
b
/ A
b
D
b
E E / D A
b
/ D G
b
A
b
D
b
E
b
/ D
b
G /D
b
F G B
b
D
b

A
b
/ E
b
G
b
/ D
b
G
b
B
b
D
b
D
b
/ F A
b
B / E
b
F A
b
D
b
D D / F# / C E A G# D# F# / C F A# D G / D F / F A C D G# / D F G# / F G# B D A / E G / C E G B D D / F# C / D F# A D
E
b
B
b
/ F A / D
b
F A
b
C E
b
A / E G / D
b
G B E
b
A
b
/ E
b
G
b
/ E
b
G
b
B
b
C E......B
b
C E
b
G
b
....A
b
C F........G
b
B
b
C E
b
A / G
b
A / E
b
G
b
A C E B
b
/ F A / E
b
A
b
B
b
C E
b
E / F G B
b
E
b


Basic Preacher Chord Patterns in Every Key
Key 1st chord 2nd chord 3rd chord 4th chord 5th chord 6th chord
C major C / E G A C F# / E A
b
B
b
C F / E
b
GAC F# / E
b
F# A C G / E G A C G / F B E
b
G
D
b
major D
b
/ F A
b
B
b
D
b
G / F A B D
b
F# / EA
b
B
b
D
b
G / E G B
b
D
b
A
b
/ FA
b
B
b
D
b
A
b
/ F# C E A
b

D major D / F# A B D Ab / F# B
b
CD G / FABD A
b
/ F A
b
B D A / F#A B D A / A D
b
F A
E
b
major E
b
/ GB
b
CE
b
A / G B D
b
E
b
A
b
/ F#B
b
C E
b
A / F# A C E
b
B
b
/ G B
b
C E
b
B
b
/ B
b
D F# B
b

E major E / A
b
B D
b
E B
b
/ A
b
C D E A / G B D
b
E B
b
/ A B
b
D
b
E B / A
b
B D
b
E B / A E
b
G B
F major F / A C D F B/ A D
b
E
b
F B
b
/ A
b
C D F B / A
b
B D F C/ A C D F C/ B
b
DA
b
C
F# major F# / B
b
D
b
E
b
F# C / B
b
D E F# B / B D
b
E
b
F# C / A C E
b
F# B
b
/ D
b
E
b
F# D
b
/B F A D
b
G major G / B D EG C# / B E
b
F G C / B
b
D EG D
b
/ B
b
D
b
E G D / B D E G D / C F# B
b
D
A
b
major A
b
/ C E
b
FA
b
D / C E F# A D
b
/ B E
b
F A
b
D / B D F A
b
E
b
/ C E
b
F A
b
E
b
/ E
b
G B E
b

A major A/ D
b
E F# A E
b
/ D
b
F G A D / CEF#A E
b
/ C E
b
F#A E / D
b
E
b
F#A E / D
b
A
b
C D
B
b
major B
b
/ D F G B
b
E / D F# A
b
B
b
E
b
/ D
b
F G B
b
E / D
b
D G B
b
F / E F G B
b
E
b
/ E
b
A B
b
F
B major B / E
b
F# A
b
B F / E
b
G A B E / D F# A
b
B F / D F A
b
B F# / E
b
F# A
b
B F# / E B
b
D F#
Practice these chords with the youtube video links and learn the technqiue of playing behind the preacher.
23
Hymn Momment
Blessed Assurance key of D major
Not much is known of the background of this Fanny Crosby hymn, “Blessed Assurance, Jesus is Mine.” Fanny tells this one story about the hymn.
Mrs. Joseph Fairchild Knapp, wife of the organizer of the Metropolitan Life Insurance company, went to visit her and get an opinion of a tune Mrs.
Knapp had written. “What does it say to you, Fanny?” she asked. Fanny’s answer was “Blessed assurance, Jesus is mine.” And then a few minutes
later she handed to Mrs. Knapp the completed lyrics of the hymn. The tune and the lyrics were put together and are still sung today.
Fanny Crosby wrote over 8000 hymns. She said about her blindness, “The first face ever to gladden my sight will be when I get to heaven and
behold the face of the One who died for me. . . . I verily believe that God intended that I should live my days in physical darkness so that I might
be better prepared to sing His praise and lead others from spiritual darkness into eternal light. With sight I would have been too distracted to have
written thousands of hymns.”
Blessed assurance, Jesus is mine!
Oh, what a foretaste of glory divine!
Heir of salvation, purchase of God.
Born of His Spirit, washed in His blood.
refrain:
This is my story, this is my song,
Praising my Savior all the day long.
Perfect submission, perfect delight,
Visions of rapture now burst on my sight;
Angels descending, bring from above
Echoes of mercy, whispers of love.
Perfect submission, all is at rest,
I in my Savior am happy and blest;
Watching and waiting, looking above,
Using the keyboard chart in the previuos scale lessons practice site reading by playing the notes which is the melody line. You will find a
midi file of this lesson in the Advanced Musicians Link. Now transpose to the congregational key of Db and play the melody line. A video
file of this lessson. Site reading requires you have a excellent understanding of scale notes and the relative pitch of this keys. The follow-
ing sheet music lesson are of famliar songs sang in the pentcostal church. Practice these songs and send me a video file of you playing
just the meldoy line. We will learn the chord patterns as part of the course later on.
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When learning how to site read its always better to start off with a song you maybe familiar with. This song is a traditional congre-
gations song. Many of you chord around the song but may not know the exact melody line. This lesson is to train your ear to hear
and your hands to follow the melody line so that chording and playing with feeling comes easy. Listen to the MP3 lesson file for the
melody line, organ progressions I use with this song.Most congregations do not sing 4 part harmony. We will learn to chord around
the melody and change the flavor of the song.
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For my advanced sheet music readers here’s a gospel selection you can practice with seeing how chords and formed
around the melody line. The singing is done in unison from a congregational perspective but the music around the
singing brings out the song. We will post a video of this song showing how this is done. If you can send me a video at
our youtube site. For those taking the site reading course your assignment is to practice the melody line. I know it has
triplet notes however, you know how the song sounds improvise ;) That’s the fun part about playing.
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IT’S TIME FOR A PRAISE BREAK
Now most musicians find themselves caught between a rock and a hard place when it’s time to praise the Lord with a dance and shout. They
fall back on basic standard runs and loud chords the repeat themsleves and maybe the change key once. I’ve always held the opinon when
the praise starts it should follow the path and pattern of a song. Intro, verse, chorus, vamp and ending. Here’s our first lesson on building a
praise shout. in the musicians shout key of A


Ok, lets get our intro pattern:
Bass left hand right hand run pattern
(bass note) E

, D, D

C G B C F C E

F A


D

F B E

A

B E

F
(both hands) B, C, E

,F, E

D D F A

B A

B D F A

E E

G

A

C A

C E

F A

Now adding this opening pattern
C C E B

C E A


D

D

F B E

F A


C C E B

D

E G
F C D A

B

C E

F A


Now this is just the into or opening to the praise or shout. You can vary the runs to whatever your using now and incorporate new ones. I
always recommend the shout start off at a pace of 145-150 bpm but some druumers my differ with me ;). At any rate if you have a drum
machine or rhytmn section on your keyboard start at the practice tempo of 135 and work up to 150. I’ll post a video of this lesson on youtube
so that you will visualize the concept. Frno here you can conitnue with your shout patterns unless you want some more from me?
Ok here’s some verse patterns I use at times. In the bass patterns the “bold” denotes playing the lower key.
Bass patterns left hand right hand run pattern
A

, C, F, E, E

, F, G

, G, A

A

, C, D

, D, E

, B, B

, A, A

A

, C, E

, D

, D, F, G

, G, A
A

, C, F, E, E

, B, B

, A, A

Chords G

B

C F B,C E

F A

.........E

, F B D
G

B E

E

A

B
These chords revolve around the movement of the base patterns. Again you can substitute your own patterns also.
KEYBOARD / ORGAN
CHORD REFERENCE CHARTS
THE FOLLOWING PAGES ARE SOME OF THE TRADITIONAL CHORDS USED IN GOSPEL MUSIC
THE CHORDS ARE FOR REFERENCE PURPOSES ONLY
WE WILL REFER TO THE CHORDS THROUGHOUT THIS COURSE
WE ENCOURAGE YOU TO PRACTICE THESE CHORDS AND LEARN THE INVERSIONS
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Sam‛s Gospel Music Course 2010
Vol. 2 Rev. 1 October 2010
_________________________________________
Sam Tolbert CEO Sound of Joy Music Services Online Gospel Musician Instruction since 1999

Editor Sam Tolbert Cover Design Sam Tolbert Web site www.Samsmuzikco.com

Welcome to Sam’s Gospel Music Course
Let me first give honor to God, the author and finisher of my faith, to Jesus Christ the ruler and sovereign friend who thought it not robbery to die on the cross and rise that I may have eternal life, and finally to the Holy spirit that works in my being, giving me guidance where I need to be and the strength to endure until Jesus’s return.

Adverstisement Music links Sam’s Gospel DVD lessons www.Samsmuzikco.com/cmp.htm Youtube Lessons www.Youtube.com/Soundofjoy Midi files for Churches www.Samsmuzikco.com/mlibrary.htm

Yes, back then I loved playing the organ and this model was among the first to have play along chords. I never used them, back then I wanted to play the chords I learned by “ear” from albums and the radio church services. Ever since then I been on this marvelous music journey giving back the gift of music that was placed in my life. And now after 10 years on the Internet we begin the next phase of musician instruction. I thank God for the desire to be a role model for this generation of church musicians. Many of you have discovered my course via Youtube, search engines and perhaps word of mouth via email. A brief background on myself, I’m a 37 year church musician, self taught through “ear” training and hymnal books. I was raised musically on a Hammond C3/B3. Lowery organ and a spinet piano throughout my youth. My family has a rich heritage as church musicians in the COGIC and Baptist Church throughout the NYC area. Sound of Joy is my vehicle the Lord has impressed upon me to be a avenue whereby I can help new musicians navigate the ministry of music in their local churches. I began using this name based on the scripture from Psalm 100:1 “Make a Joyful Noise Unto the Lord....” aka Sound of Joy. So you will see all of what I teach is bible based with the blessing of God. Enough about me, it’s all about everyone of you who are taking my course. I have read each of your emails and I’m setting up online classes for those who are new to the piano/keyboard, those who are currently serving as church musicians on the organ/keyboard and those who are experienced and looking to enhance the sound they have developed. It’s never my desire to make you a Sam Tolbert Clone.....on the contrary there’s a sound in you that even I can’t play. That’s my desire to help bring out what is in you using the same techniques that worked for me. Ok, you say I don’t sound that good. See that picture above...I had the same testimony and with all the talent in my family no one had the time to teach me anything. Thank God for a listening ear and a desire to learn. Everything you will receive from my course will have the purpose of “training you ear”, “stimulating your mind” and “working your fingers” to make music. I know I write a lot and times but this will be the only email of this length and I want to assure you that I’m in it for the long haul. I want to see you progress and prosper not only in healthy music ministry but every avenue music opens to you. I’m looking forward to being a servant first and instructor second. As always you can contact me anytime via email regarding the course or any music ministry concerns. The updated workbooks will be placed on the main web site on Monday. By your registering I will be creating a personal title page for your workbook in case you print it out. This will be a living workbook in that I will update and add pages during the course. If you don’t have a printer you can always view the workbook using the Iphone (tested it already and it looks great) Ipad or your blackberry. Oh yes, and there will be MP3 files created of spiritual, hymnal, gospel and praise songs for you to store as a quick reference on your portable MP3 player or cellphone.

_________________________________________

Find US ON FACEBOOK Samuel Tolbert

FIND US ON MYSPACE myspace.com/150psalm

FIND US AT LEARNGOSPELMUSIC.COM Soundofjoy

FIND US ON YOUTUBE YouTube.com/Soundofjoy

Sam’s Gospel DVD Lessons www.Samsmuzikco.com/cmp.htm

Sam Tolbert

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Psalm 100:1 - “ Make a Joyful Noise Unto the Lord, Serve the Lord with Gladness...”
The Musicians Prayer
Oh Lord, please bless this music that it might glorify your name. May the talent that you have bestowed upon me be used only to serve you. Let this music be a witness to your majesty and love, and remind us that you are always watching, and listening, from your throne above. May your presence and beauty be found in every note played so that it reaches the hearts of your people and draw them closer to you. May your Spirit guide us through every measure so that we might be the instruments of your peace, and proclaim your glory. AMEN

TABLE OF CONTENTS
New Musician
Piano/Keyboard Tips and Techniques Minor Scale Practice Piano/Keyboard Scale/Chord Practice Chord Practice page 5 page 6 page 7 page 11

Intermediate Musician
Hymnal Standards used in the Pentecostal Church Hymns and Spiritual Songs History Hammond Organ Drawbar Settings page 12 page 14 page 19

Advanced Musician
Chords and Harmony techniques Preacher Chords Hymnal Sheet Music Site Reading Intro’s for Praise/Shout Techniques Chord Reference Chart page 21 page 22 page 25 page 28 page 29

All the information contained in this workbooks can be applied to all musician skill levels

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NOTES

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The purpose of this lesson to train your fingers to move over the leyboard. Use the keyboard reference above to view the notes that correspond to each fingering number. Bb R/H 4 1 2 3 1 2 3 4 1 2 3 1 2 3 4 L/H 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 Ab R/H 3 4 1 2 3 1 2 3 4 1 2 3 1 2 3 L/H 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 Gb R/H 2 3 4 1 2 3 1 2 3 4 1 2 3 1 2 L/H 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2 Db R/H 2 3 1 2 3 4 1 2 3 1 2 3 4 1 2 L/H 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 Eb R/H 3 1 2 3 4 1 2 3 1 2 3 4 1 2 3 L/H 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 5 . The scales are played in two octaves. Now do the same with your left hand. This way your hand is lined up over each note before your press down to play it. It’s always best to use the proper fingering technique so that you don’t put too much stress on your hands.5 4 3 2 1 1 2 3 4 5 Scale Practice Fingering One of the best ways to train your fingers how to move across the keyboard is by practicing all the scales as your warm-up. This warm-up you should use for the first 3-8 minutes of practice on your keyboard. C R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 D R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 E R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 F R/H 1 2 3 4 1 2 3 1 2 3 4 1 2 3 4 L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 G R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 A R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 B R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 L/H 4 3 2 1 4 3 2 1 3 2 1 4 3 2 1 Whats missing? That’s right we didn’t give your the scale note names. Weighted keyboard are always preferred but you can do this excersise on any keyboard. No speed or technique is necessary when practicing. I use the spider technique where your hand hovers over the keys and your finger press the notes. See the youtube example for that technique. Starting with middle C using your right hand play the C major scale without hesitation in acending then decending order.

MINOR SCALE PRACTICE SESSION 6 .

.He. 6th and 7th note are played 1/2 down from a major scale. _____. _____.. A 7.G.... _____... In the harmonic minor scale the 3rd and 6th note is played 1/2 step down from a major scale.......a . _____. _____. Mixolydian and Whole-tone...... These scale tones make up the runs you’ve been hearing all you life played in churches. _____. G harmonic minor G ... _____. Eb.... _____..______... A C F minor.______. _____... There are 11 basic scales.....______. _____. _____... harmonic minor....... E natural minor E .E..“The melody line to every song is found in the root scale of key of the song” The one concept you will here me stress is learn the fingering and the tones of the major / minor and the harmonic minor scale. Ab. _____...F B D... C)... _____... _____.. _____... _____. _____.. _____.. _____.. _____...some.. _____.. G 6... _____.. This is the technique I’ved used for the past 30 years to learn how songs are constructed and how you find the chords that support that melody line... G. all of them you don’t really have to know as far as gospel music goes but its good to know they exist.. G C E C E G DFGB E C C 7 .Eb G C.. D 2. D natural minor D... _____.... G 8. _____.. _____. _____...E G C. For example the praise song “ Our God is an Awesome God” in Eb..______.... F.. In my years of learning gospel selections I have found one or all of these scales are extensively used. We’re only covering the scales related to hymnal.______.. The Helen Baylor version uses the C natural minor(Aeolin) (C............ _____.... Dorian...bove meloly E..reigns.. In C (can be transposed into every key) Sequence is: minor/1 7th/4.. _____.. _____.. B.... Believe it or not the chords used in that song are also found in part throughout these scales..... _____...C chord G B E. _____..F..______.C E G Compare the notes in the chords to the notes in the scale. _____. _____..C. _____.... _____. _____..... G harmonic minor G ... _____..an. Locrian. _____.. Phrygian. A 9.... B 10 C harmonic minor C . _____.........B. Bb harmonic minor B . E 4.. Here’s a secret “Eb major scale is the same as C natural minor if you start on the 6th note from Eb root) For example: Lyric Our. A harmonic minor A . _____.. F 5. _____.. _____...heaven...D. _____... F natural minor F . natural minor(Aeolian).. Lydian.. melodic minor(desending). _____... _____.awe.God .. gospel and praise songs for this course...... the 3rd.from. Eb natural minor E . They are the major(Ionian)..... When you are familair with the sound of the scale and you listen to a recording you immediately find the notes of that song. C Here’s a harmoinc minor chord progression excersise I use to keep my ears trained to play beihind any song using this scale.. _____..______. _____......God. E G C FGBD minor/1.is..D F A B. G.. F.D.. _____..G.....C.______. _____.G Bb E. _____....... _____. Fill in the scale note in the following keys: 1. A hamonic minor A .D... _____.D F B. E 3.. D..______... D. _____..E.. Bb. melodic minor (ascending).......... Eb....... Ab..... _____. _____....... A natural minor scale has a certain characteristics.. C) and C harmonic minor scale ( C. _____......... _____. _____. You can do a Internet search for more information about all the scales.. _____. _____.. You will find the chord structure is imbedded in the scale tones of the melody line....______. minor/2 7th/3 minor/2 C F A minor/2...

. Db.duration . D# E F# G# B# B 8 . When learning a new song I always recommend you listen to the entire song at least 3 times. previous page. I would like you to post a YouTube video clip and send to my site www. or keynote: the last letter of the major scale is the same as the keynote but it is called the octave. C W D W E H F W G W A B W H C (W=whole. the intro. 2. Here are some suggestions I believe will assist you in developing a practice routine. Select 3 congregational songs normal sang at your church play them in the key they sing them in using techniques practiced from this course. if you ‘re daring do both hands at the same time and send me the video clip. Practice your triad inversions in every key . 7 8. As a new musician I believe its very important that you follow routine of practice until you’re ready to go at it on your own.this is essential for getting yourself in tune with what you are about to do 2.com/soundofjoy so that I may view your techniques. We will cover this techniques later on in the course also.10 min 3.. TURN OF YOUR CELLPHONE! 1. The pitches which make up a chord are called chord-tones: any other pitches are called non-chord-tones. 3 4. the choir parts and the piano/keyboard parts. Bb C B C F# G G Ab C# D D Eb A chord is defined as two or more notes played at the same time.Youtube.. In popular music a chord generally has a minimum of three notes. each time writing down information you hear in the song.. 6 7. Scale C D E F G A B C Eb F Gb E F F# G Keynote degrees 1... Eb for 10 min 5. Practice the melody line with left hand chords to a familiar song ( I suggest a hymn that you like to play) or a praise song Now that you are warmed up you can tackle more advanced practice 7. Take another break . 5 6. I you have a keyboard with a metronome start your practice tempo to 50 bpm and A major scale is an eight-letter sequence of the musical alphabet. The first of the major scale is called the tonic note. The musical relationships between the tones of a major scale can be expressed by means of whole-steps and half steps. The tones of the major scale can be numbered: C 1 D 2 E 3 F 4 G 5 A 6 B 7 C 8 The numbers referring to the tones of the major scale are called scales degrees. Practice playing each of these scales in the two octaves using the proper fingering at the beginning of your practice time. 2 3.answer your cellphone and update your facebook :) The major scales are: Now you’re ready to learn a new song having warmed-up and practice all the C Db D Eb E F Gb G Ab A Bb B D Eb E F F# G Ab A Bb B C C# E F F Gb G Ab A Bb B A B C Db techniques you’ve practice from this course. D. Ex.Music Theory This is your reference information to the scale fingering chart from the The musical alphabet is a continuum. Start with scale fingering in every key . H=half) Do not use the transpose key! 9. C major scale C keynote D E F G A B C octave gradually increase each scale run by 10 bpm up to 100 bpm. Nothing fancy I want to see if you are applying the proper fingering techniques I teaching you. This will help you when we cover gospel runs later on during this course. Practice chord progressions and transition chords in C. Remember practice right hand first then left hand. G# A A Bb B C C# D# E D E F Bb C B C Db D The chord-tone upon which the rest of the chord is built on is called the root.duration 5 .10 min 4.etc A scale is a series of tones in organized sequence. 4 5. 8 Db Eb E F G Ab chord tones R C# D D Eb F# G# A A B Bb Root R=is used to differentiate clearly the root of the chord from the keynote of the scale when using numbers. repeating endlessly the first seven letters of the English language alphabet: A B C D E F G A B C D E F G A B C D E F G. Take a break get some water (no soda will make you hyper) this also gives your fingers a rest period 6. Chords can be related to major scales by means of scale degrees. Pray .. If you play for a choir or praise team begin practicing the songs they will sing at the next service 10. Work on your preacher chords ( if you play for a minster that needs you to play them) 8. Don’t rush to get there in one practice session the idea is to be as accurate as possible.

. E bass note..........ing F sanc..... or a number for other positions: C/R = C major triad... A minor triad consists of the root....... etc..... 5 A 6..... etc.......................... me..ly Ab F Fm/1 tried Eb and F tru.        9 ... second position.F Eb9/2 ..  Bb9/2    Abmaj7/4     Dbdim7/4 Bb7 As a musician you should know what chords and inversions are available to you in every key. Here’s a few techniques your can apply to what you’re currently playing now..........G.......... E 3.... D 2. pre .... 3 F 4..Bb ..... G bass note..... A specific chord and a specific bass note can be indicated by using two slash marks.....) Ex. As you become more familiar with chords and progressions you will soon ween off the number system..........e G.....D... In this new musician course we will cover alternate ways to support the mode of a service when you’re on the keyboard or organ......... third position.Eb . 5..tu............ the letter or number after the first slash indicating the chord position. flatted third and fifth scale degrees ( R.............. G 5... Specific chord positions can be indicated by using a slash mark ( / ) after the chord symbol and a letter....... C 8.....Bb9 you Eb Eb Fmin/1 Dbdim/4 Fm/2 Since chord-tones can be rearranged into as many positions (inversions) as there are chord tones............ etc.... Ex............. with G thanks.Bb9.....................A major triad consists of the root.... 1...G Eb9/2 . 3. the letter after the second mark indication the bass note: C/2/G = C major triad.... R/H chord Bass Abmaj7 Bb7 Bb .... C/3 = C major triad.Eb ............. C major triad Scale degrees C 1.............. G 5.. R/H chord Abm73b Bass Lyrics Melody Bb ...Eb . Here are a few of the chord progressions posted above you will learn how to use during this course.......... C minor triad Scale degrees C 1. As a rule I don’t teach that method but I will speak to the concept throughout this course.. C/2 = C major triad....... five-note chords will have five positions.............. Ab ..y Melody: G F Eb ........ 5...... Here’s your first look at our song teaching method Lord Prepare Me in Eb Lyrics: Lord...........y F G Ab F Eb G Bb R/H chord Abmaj7 Lyrics: Melody: Lord G Eb9........ root position. Eb9/2   Abm7b3     When the composer wished to specify a particular bass note he may use a slash mark and a letter indicating the desired bass note: C/E = C major triad (any position). etc...Eb ...) Ex.giving I’ll F Bb7 for B Eb be a liv . second position..pare.......tu........ D 2. R/H chord Bb7 Bass Lyrics: Melody: Bb .. four note chords will have four positions. B 7. 5 A 6.. G bass note...... b3.... B 7...G. a chord with the fifth as lowest the is said to be in the second inversion...... chord tones R Many of you may have learned the number system approach to playing songs.. Lyrics: a chord with the third as the lowest note is said to be in the first inversion...... I suggest in order to warm up the singing of your congregation start in the key of Eb..to be a sanc... “R” for root position.ing Eb.. E 3..ar........ R/H chord Fm/2 Bass Ab With G C7/4 Fm/2 G F Abmaj7/4 Bb7/4 Bb Eb A chord with the root as the lowest note is said to in the root position....Eb ........ Pure F and G ho..ar.... C 8...Bb9...D. G Eb/2 F Bb9 Bb chord tones R Inversions A rearrangement of chord-tones is called an inversion. C/G = C major triad........ b3 F 4.... third and fifth scale degrees (R..... Before service starts if there’s no praise team at your church use an opening song like “ Lord prepare me to be a Sanctuary” (not the up tempo version) :) A good congregation key is Eb or F.....Bb ... C major triad G=5 E = 3rd C = Root Root Position C = Root G = 5th E = 3rd First Inversion E = 3rd C = Root G = 5th Second Inversion Melody: F thanks giv-ing I’ll be a liv ..........

When switching inversions which finger 2nd Inversion plays the first note of each inversion chord? 2nd Inversion     10     .       Quiz 1.C Root Position Cdim CHORDS IN C   Root Position      1st Inversion Cm  Root Position 1st Inversion          2nd Inversion 1st Inversion 2nd Inversion           C7+5   2nd Inversion Root Position  C6 Root Position         1st Inversion Practice these chords using the fingering from the image on the previous lesson on 1st Inversion   scales page. Thumb is always in the root note of the chord.

.         .Oh ause PRACTICE THESE CHORDS     TO THIS FAMILIAR SONG    How I Love sus he             Jesus Oh. how I love  first           Oh. me           - ca. how I love Jesus loved            Je - be....

.. Next time around you mix in the next level of chords.is........F.. G A C........G....................... We have been where you are right now and we’ve provided ongoing techniques in order that you may grow into your position as church musician.great............ G C E..............C.... It’s more than just chord ans runs now as you have an important role to fulfill providing appropriate music to support your Pastor and those the minister to the congregation...........D........... Sammy Says As the new musician it’s very important to establish a foundation of music theory first...... You will need to know all of these chords and many more in order to reach the next level...E G C C.................C..........................G........... G B D. Right now I want you to become a well rounded musician able to play at a moments notice any song that is relative to the church service you’re ministering in................... our..C..A D G..G A B D....D.Intermediate Musician Intermediate Musician Course for Keyboard ....G B C E.................... is our God...............G C E..............God C. Take a look at the chords in C located in the reference pages....D G C C D E G.C.... The way I teach is you start off with the basic melody and basic chords..................... Let the lessons begin.A B D............... This course is going to assist you in finding your place in minsitry as you’re growing in confidence serving the local church.G. The key is to know when to play the 2nd and 3rd chords remembering you have to support the melody line... To accomplish this I have made available reference material at the end of this workbook and I suggest in your practice time you view the information provided for your education......D.............. G B D..... G C E................................C.. I will have quizzes throughout this course book to assist you in monitoring your progress....E B D / Ab C D G.........D A / E F A C.C...........A.....G B D.C...........how great...C G C E.... 12 ......A...C G C D E.............G... I know you want to play all the phat chords and you want the “shout the house” chords.F G A C.F.....B.................... G B D...G............D....... Third time around you mix and match the first two chord patterns with the third pattern.great..Piano and Organ As an Intermediate Church Musician your find yourself currently serving as the church musician and playing for the choir(s)..C.. Practice the lessons for your skill set and learn them well.....how..........how... Praise Chords in C ” How Great is Our God “ Lyrics Melody chords Bass chords II chords III How great is our God..........C.... There’s plenty of time to learn those trust me......

The director should have a working knowledge of music and know what they are doing. Arrive early before the pre-service to check you instrument and tune up.The Chaplain offers prayer prior to the choir going into the sanctuary or a building to minister in song . Pray for the Pastor of your Church 9.. 10. In some instances a vice President may be required. hobbies. In such case they must work together to meet the needs of the group and are in close consultation with the Minister of Music/Director over any choir concerns. JOIN THE PRAYER 4. When do we need a Choir President and what is their responsibility? 1... What are other necessary positions? Musician . take directions and be the best singer/musician in your section. Pray for your fellow musicians. Can you talk and communicate with the spirit of intelligence? Soft words turn away wrath. Develop an organized life style. 2. Song selection is not your job. Your ministry 6. The director instructs the choir not the choir instructs the director.This person teaches the choir(s) the music and should be musically inclined. Every church organization is separate unto itself but I have gathered some basic rules which may assist you in formation of a Local Church Music Department. Is your life in harmony with Jesus? Very important that you are prayerful in seeking wisdom from God as you deal with His people. unless instructed by the Minster of Music. 6. Build up and encourage one another. train the choirs and be responsible for the overall quality of music presented in the church services. Watch your Worship and Praise Leader 7.. Chaplain . . Works closely with the musician in leaning the music and the various voicing for choir rehearsals.This can be one or more individuals led of God to provide and accompaniment for the choir. 4. Be on time for rehearsals and always prepared with sheet music. This person should be knowledgeable in the field of music. The President provides the business format for the group and provides discipline so that things run smoothly.) 8. Promptness to rehearsal. 15. Let the playing of your instrument be an extension of your worship to God . Sanctify you attitude Temperamental Musicians need deliverance Sensitivity and Flow ( The Service) 1. 3. Your health 4.your family 3. Practice. 3. 8. Be prayerful. 5. When do we need a Minister of Music or Music Director? 1. Music Directors etc. Other Interests (sports. Keep a folder of all your music.. 5. Your spouse. The musicians must realize they take directions from the director also. and accountable for everything you do or say 16. THE MUSICIANS & THE SINGERS & MINISTRY MUSICAN ETIQUETTE ( Pre-Service Prep) A) Establish Priorities in Your Life (Get Order) 1.Learn Hymns. Bible Study before Music Study 13. 8. When you need someone to select music. 11. Remember the ministry of music should exalt “God” not the “singers” or the “musician”. The director must prayerfully know what to sing. Can you say forgive me when you’re wrong in the presence of your group? 6. You and your group 1. 5. the better the choir. all Styles 14. 7. each song should be played as unto the lord. Give Excellence whether you feel like it or not. Verifies all music selected with the Minister of Music to be certain that it’s in harmony with the Pastor and spirit of the ministry of the church. Bible Study before Music Study 13 9.. 7. musically. Respect others during the tune up.. 2. when and where. When you have several choirs active in the church. good attendance. When the administration concerns become too involved for the Minster of Music then a Choir(s) President can be appointed or voted upon to be the administrative voice to the choir. 2. Worship.be sensitive to the Spirit. words or music for the choir rehearsal. Pray for the Minster of Music by Min.. As much as possible invite suggestions from the members of your music group as you organize. Your Musical Development 7. this is not a JAM Session. Begin your rehearsals with prayer and scripture and end with a prayer. Building a Good Choir 1. 4. Every officer know specifically what their job is. be prepared 17. 2. Choir members should be willing to listen to the director. Steven Ford 12. Director . Play with dynamics. In this organization sometime the roles tend to overlap and feelings become hurt because of misunderstandings. 3.. They all must work together in harmony as an example to the members. Your employment 5.“ Establishing the Local Church Music Department” It has been brought to my attention that many of the new musicians serving the local church are faced with the task of establishing a music department complete with choir Presidents. The better trained the musicians are. willingness to learn and alertness makes for a good choir. Become faithful. Relationship with God 2. You must all be in harmony with the Pastor and the spirit of the ministry of your church. running meetings and anything else which is non music related fall under the Presidents role. Watch you Minister of Music 6. Attend rehearsals 12.. etc. respect their time of service and confirm them in Ministry.

Sometimes the place of a song in the worship service can say much about the tempo. dominant chords. No matter what . such as guitars. drums. Thought this was going to be an easy course? No way. the refrain to the hymn” I Surrender All. Be careful not to play too loudly. whether the composition is fast. I will teach you how to improve your understanding of hymn playing using these techniques. passing tone chords. chordal embellishment or decoration is very common in black music performance. and many through the musical word as well as through the spoken word. In the follwing sections we will cover the “standard hymns” used in todays church and praise songs which have now become the “new” standard. Worship is a total experience. 14 . Don’t overdo it! Hand clapping can also be a very effective with certain music genres. Englewood. If no one is directing the congregation. ACCOMPANIST (PIANIST or ORGANIST) Accompanying is an important role. eleventh. Music is and important part of the worship service. soloist. Use augmented tonic and dominant chords. Fill in measures of rests (or open spaces) with chords duplicated at the upper or lower octave. so be sensitive to the worship leader. whether they are written in major or minor key. Be creative and add other instruments. upper and lower neighboring tones. that all these “extras” must be utilized with taste and discretion. and thirteenth chords. chordal inversions and altered chords. so lead forcefully. Most compositions can be reduced to a I-IV-V-I chord progression. For example. sixths and sevenths are common. do not leave open spaces. and diminished seventh chords. runs. but use discretion in doing do. slow. Flatted thirds. turns. I use every one of the above techniques in my hymn playing and if you follow my examples.Playing Hymns and Spiritual Songs used in the Church Sam Tolbert Music Director/Organist Galilee United Methodist Church. NJ What’s the secret to playing hymns effectively? Here’s an excerpt from the Methodist Songs of Zion supplement hymnal: Keys to Musical Interpretation. augmented. and tambourines to performances. ninth. Whatever the nature of your improvisation. diminished triads. passing tones either as single notes or in octaves. Sometimes the beat (rhythm) changes while the performance is in progress and then revert to the original beat. and Meaningful Worship General Suggestions DIRECTOR Proper musical performance and interpretation are aids to meaningful worship experiences. It can overpower the singing or detract from a worship mood. INSTRUMENTAL IMPROVISATION The beat (rhythm) is one of the most important aspects of Black music. chromatic motives or phrases an so on. however. in which case it would be performed slower than usual. broken chords (arpeggios) . or moderate. The changing of keys (modulation) is very common in Black music performance. keep whatever beat is established at any given time. glissandi. It adds variety and often heightens the emotional effect of the composition. It must be kept as soon as it is established. Therefore.” may be used as a prayer chant. Remember. it is left to the accompanist to lead with his or her instrument. Performance. and when they do occur they are generally for special effects. secondary dominant chords. so pay close attention to the director. There are very few in moments of silence in improvisation of Black music. and worship leader. dominant.

Holy Guide Me O. As time changes some of these songs not sung regualry but you should know they are applicable to morning worship. He’s Yet Alive Jesus on the Inside Working on the Outside Hallelujah Anyhow I’m a Soldier in the Army of the Lord The Windows of Heaven are Open There are of course many more songs we have not inlcuded with this list. Here are some suggestions we encourage you to add to the list you already play. I feel these are the standard songs every church musician should already know. Thou Great Jehovah Rejoice Ye Pure in Heart Sign Me Up We’re Marching to Zion Lord Prepare Me to be Sanctuary Key Eb G F G F F Seasonal Selections ( Christmas ) Joy to the World O Come All Ye Faithful Silent Night Hark the Hearal Angels Sing Emanuel Jesus. 15 . Processionals: Holy.As a church musician you have the responsibility of learning all the selections needed to fulfill the major worship needs of the service. O What a Wonderful Child Key Bb G Bb F C Ab Prayer Chants Hear Our Prayer O Lord The Lord is in this Holy Temple Eb Db At the Cross ( Easter ) F F Ab Ab Nothing But the Blood of Jesus The Blood will Never Lose its Power Opening Hymns A Mighty Fortress Is Our God Great is thy Fatihfulness Blessed Assurance To God Be the Glory(Hymn version) O How I Love Jesus Love Lifted Me What a Fellowship Sweet Sweet Spirit C Eb Db Ab G Bb G Gb Because He Lives Christ Is Alive Up from the Grave He Arose Congregational Selections I Feel Good. We will cover all these selections as part of this course and others not on this list. Holy. Good Good What a Mighty God We Serve Praise the Name of Jesus I’m Running For My Life He Never Failed Me Yet My Soul Loves Jesus C Ab Eb Eb Eb F Ab Bb G Bb Db G Bb Invitation/Prayer Come Unto Jesus I Surrender All Just As I Am I Have Decided to Follow Jesus Pass Me Not O Gentle Savior What a Friend We Have in Jesus I Am Thine O Lord No Not One Sweet Hour of Prayer F Db Eb Db F F Ab F C Yes God Is Real God’s Not Dead.

For extra credit can you name the key and the notes in the scale of that key? 16 .Scale Practice Here are some of the same scales you’ve already practiced in sheet music format.

 YOU CAN SUPPORT OUR MUSIC MINISTRY BY PURCHASING OUR CHURCH MUSICIAN DVD AND CD’S PRODUCTS                                                                                           17 .

Advanced Musician Sam’s Gospel Chord Progessions for Advanced Musicians 18 .

When you depress any of these key they will stay depressed and select the tones printed on the keys. If you depress the keys to the right of the preset keys you will enter the harmonic drawbar mode. On the preset keys you will find preset tones. Continue to hold the start switch then press and hold the run switch and count for 8 seconds. if your area experiencing distortion from the Leslie amp chances are the vacuum tubes have worn out. pull gently on the drawbars. Then bench is where you sit of course. This is where you can create your own combination of tones independent of the preset harmonic tones. I have acquired some images of them and a brief description of what features they have in common. make sure you press start and hold for 8 second then push the run. Some of the do’ and don’t are 1. 2. 5. Have only a qualified Hammond Organ tech to come and check out entire organ and have him do preventative maintenance such as checking the oil level in the reservoirs. foot pedal tension and worn belts in Leslie amp. Release them both and the start switch will toggle back but the run switch will stay forward. The Leslie switch (some models don’t have one) controls two whirling cones in the Leslie amplifier that creates that theatrical effect of sound splitting the air synonymous with the Hammond Organ. 3. 4. there are stops that will break and drawbars come off in you hand. The bass drawbars found in the middle of the drawbars control the tone of the bass foot pedals. Never press both switches at same time.Sam’s Hammond Organ Corner Drawbar settings During Meditaion Time Testimony Service While speaker is talking Latin Progessive Born to B3 Theatre Organ America House Bass House Church Jimmy Mc G 5th Organ Full B3 Clean Soft Backing Holmes Screaming Shoutin Upper(chord/solo hand) 007800453 787746046 678404231 880060000 888800000 888808008 878656467 887724110 880000000 808808008 883200125 080080883 888888888 888700000 888420080 800388888 878645466 Lower(chord hand) 006700540 008800673 006602024 006676000 008884000 007725400 008844000 006606000 008080000 008808021 448650000 008806000 777777777 555400000 000505000 007033333 888800000 Bass Pedals 63 71 63 62 75 84 75 61 80 80 83 73 85 62 72 72 84 To thoses of you new to the Hammond Organ: To start the Hammond Organ you push and hold the start switch while counting 8 seconds. The Hammond Oran has stood the test of time and will continue to be the instrument of choice in today’s churches. If your mechanically inclined you can repair the problem yourself with a soldering iron. There are springs called pedal pushers that will break. The Bass foot pedals are played with he heal/toe method where you play the lighter pedals with the heal area of your foot and the black pedals with your toe. 19 . There’s are many models of Hammond Organs in churches today. if certain tones are not heard when drawbars are pulled out chances are the wire in rear of that drawbar has broken. I you have the later version of the Hammond Organ (XB-2 and up) you will not have the start/run or Leslie switch. The volume pedal controls the over all loudness of the organ. when playing foot pedals try not to “stomp” on then. Some organs have been modified with newer technology eliminating these components. Each manual has two sets of drawbar that correspond to the preset manual drawbar you have selected.

Work with other musicians and respect the “house” in which you’re playing in when its not yours. Cool. Their musician asks me to play with her on the organ as her choir sings. but she doesn’t have a clue. the minister doing the altar call is the pastor of the host church. The scripture says that David played “skillfully” before the Lord. so as musician for the host church I play. Don’t musicians understand any protocol anymore? It’s just plain rude to not try to play together instead of going your own way when you’re a guest at another church. But when folks don’t check their egos at the door. but in both of these cases. we got problems.Church Musician Do’s and Don’ts A quote from a church musician: We need to teach this course because some musicians just don’t get it. using the transpose button. she insists upon playing with me (make that she played all over the place while I was concentrating on supporting the preacher) and doesn’t follow me at all! I gave her all the “I’m on the organ and I got this” signals. Now there is a guest church choir. She’s very old school. Some musicians have just cut that out of their bibles. so I play with her using old school changes and not playing over her. Register with Sound of Joy and we will add you to our referral listing. this one younger. iF YOU HAVEN’T ALREADY TAKE A 15 MINUTE BREAK THEN CONITUNE WITH YOUR LESSONS 20 . and this musician plays all in front of me and doesn’t follow at all. :) Looking for a local church to minster your gift of music. during the altar call. How you gonna try and play all over me at my church with the pastor I play for every Sunday?? I don’t try to musically fight musicians while service is going on because I think that is a serious distraction. and want to show they can play as well when they can’t. The musician for the pastor preaching the revival isn’t present. I’m at revival tonight where my church is the host church. How ‘bout when the preacher gets up. another musician. Back in my younger days I would have unplugged the keyboard! Then. But clueless folks like tonight work my nerves and makes me mad. instead of her taking her out of style playing self back to her seat. proceeds to play with me. We want to send only prepared musicians to serve. later on. I had to handle my business and ignore them since they didn’t have sense enough to follow me. I love playing with other musicians because I often learn a lot from them. He starts a little hoop during the prayer. Mind you. don’t abuse the gift because you have the loudest instrument at the time. which I play for. Musicians.

21 . The secret behind my progessions is the top note. Learn the right hand chords first then the bass and left hand. Don’t rush and feel the power behind each progression as it builds off the previous. It’s a melody line supported by chords and a bass bottom. Hear how the chords mesh with each other if though you were mixing a cake. Assignment: Once you have learned this progression lesson transpose enitre lesson to Db and send me a youtube video of this progression and the one in C. This is how I use chords in support of any melody line I may be playing.PROGRESSIONS CHORDS IN C BASS L/H C D E F F E E D A D G G C C C F F Gb G C CD DF EG CG CF BE Eb A D Ab AEG D Gb DF F F G Bb E Bb E Bb Eb G Bb C Eb A Eb Gb A F Bb E Bb R/H GCE A Bb D F Bb D E G AEA ADA B D E Ab C Eb Gb A B D F Ab B CEGBD C E Ab B CEFAC B Eb G B DFAC DEAC Eb E Ab C Eb G C Eb G A C Eb Gb A C DFGAC DEGC Be very patient when learning these progressions.

www. Do not lead them with these chords. Clay Evans http://www. You can burn out a preacher too early in his/her message with preacher chords.com/watch?v=y7pEm9Hul4M Pastor Joe Hughs http://www.com/preacher. you follow behind them.youtube. This allows them to catch their breath in between preaching. A good rule I use is to let the preacher “signal” you when they invite you to minister with him or her.youtube.youtube. you must develop a sense of which chords.youtube. Don’t ever feel embarrassed if the minster instructs you to “hold your fire” when they’re preaching. Beware that some may not be used to how you work with them.com/watch?v=V7r9Zc-Nwxg&feature=PlayList&p=E5A3FC060EB52C35&playnext=1&playnext_from=PL&index=21 Rev Tellis Chapman http://www. When using these chord patterns you always end each pattern with the 1st chord.short . the preacher and evangelist or minister are working in harmony to deliver the point of the message. Preacher chords in essence becomes the stamp of approval musically to the message.short .com/watch?v=CEJHH4qGYok Rev. Therefore. Patrick T.youtube. Most preachers minister well when you keep the patterns simple. Experience will be your best teacher when it come this.youtube.com/watch?v=nClKIYMFRiU&feature=PlayList&p=E118B67B6D5FAEEB&playnext=1&playnext_from=PL&index=88 Dr.long . It’s a way to let you know that they are not ready to “take off” yet.short .htm YouTube video references: Check out these preachers as they “tune” up and send me what “key” they are in and how many times they change key. the preacher is in charge. I have complied a basic to advanced list of chords and chord patterns you can learn and then adapt to your own. Leroy Elliot http://www. As the musician you. You are just accompanying them while they are delivering message.youtube. chord patterns and most importantly the placement of those chords should be used as you minister in music while the preacher ministers the word of God. Preacher chords can vary depending upon the spirit of the minister and the receptiveness of the congregation.com/watch?v=SOTE_7YW9zk Min.long . Now some preachers like to “moan” first. Most like it when you give them a short and long burst with the chords.Samsmuzikco. Brown 22 . Here is the “burst” pattern I talked about earlier . Some may bring their own musician with them for this reason.com/watch?v=bDOkHlAn9Mc Dr.com/watch?v=pMz0xsiNm24&feature=PlayList&p=E5A3FC060EB52C35&playnext=1&playnext_from=PL&index=35 Min Mark Moore http://www. Here are my basic “up the ladder” preacher chords.youtube.com/watch?v=8Mtf0XsGOM0 Rev. Jerry Black http://www.long . Remember.Welcome to Sam’s Preacher Chords Page The effectiveness of preacher chords in a service carries a great responsibility. http://www.short Website page for chords . I have the experience of playing behind some great preachers over the past 27 years. then they want you to accompany them. I always wait until the preacher signals me when they’re ready for me to give them the fuel to “take off”. Felton Rowe Jr http://www.

.... Preacher chord patterns with variations..Ab C F......Gb Bb C Eb E / F G Bb Eb Basic Preacher Chord Patterns in Every Key Key C major 1st chord 2nd chord C/EGAC 3rd chord 4th chord F / EbGAC F# / EAbBbDb G / FABD Ab/ F#BbC Eb A / G B DbE Bb/ AbC D F B / B Db Eb F# C / BbD EG Db/ B EbF Ab D / CEF#A Eb/ DbF G Bb E / D F# Ab B 5th chord 6th chord G/EGAC Ab/ FAb Bb Db A / F#A B D Bb/ G BbC Eb B / AbB DbE C/ A C D F Bb/ Db Eb F# D/BDEG Eb/ C EbF Ab E / DbEbF#A F / E F G Bb F# / Eb F# Ab B G / F B EbG Ab/ F# C E Ab A / A DbF A Bb/ BbD F# Bb B / A EbG B C/ Bb DAb C Db/B F A Db D / C F# Bb D Eb/ EbG B Eb E / DbAbC D Eb/ EbA Bb F F# / E Bb D F# F# / E Ab BbC G / F A B Db Ab / F# BbCD A / G B DbEb Bb/ AbC D E B/ A Db Eb F C / BbD E F# C# / B EbF G D / C E F# A Eb/ Db F G A E / D F# Ab Bb F / EbG A B F# / Eb F# A C G / E G BbDb Ab/ F AbB D A / F# A C Eb Bb/ A BbDbE B / Ab B D F C / A C Eb F# Db/ BbDbE G D / B D F Ab Eb/ C EbF#A E / DbD G Bb F / D F Ab B Db major Db/ F AbBbDb D major D / F# A B D Ebmajor E major F major Eb/ GBbCEb E / AbB DbE F/ACDF F# major F# / BbDbEb F# G major G / B D EG Ab major Ab/ C EbFAb A major A/ DbE F# A Bb major Bb/ D F G Bb B major B / Eb F# Ab B Practice these chords with the youtube video links and learn the technqiue of playing behind the preacher... 23 .When it comes to “preacher chords” you can almost make them up as you go.Bb C Eb Gb..C Gb / E Bb / Ab Db E long Gb / Eb Gb A C E / D Ab / D Gb Ab Db short G/DG/CFGAC end C / E G Bb / D E G C Eb / Db G /Db F G Bb Db Db / F Ab B / Eb F AbDb D / F# C / D F# A D D Eb D / F# / C E A Bb/ F A / Db F Ab G/DF/FACD Ab / Eb Gb / Eb Gb Bb Bb / F A / Eb Ab Bb C Eb G# / D F G# / F G# B D A/EG/CEGBD C E. short C Db C / E Bb /E A C Db / F Ab B / F Ab Db long E / E Ab Bb C F/ Eb A / Eb G Db Ab/ Eb Gb / Db Gb Bb Db G# D# F# / C F A# D C EbA / E G / Db G B Eb A / Gb A / Eb Gb A C E short F / Eb G A D... Rather that post the chords we use we’ll give you basic to advanced chords that you can mix and match depending upon how you feel to use them.

whispers of love. Jesus is mine! Oh. perfect delight. I in my Savior am happy and blest. Jesus is Mine. We will learn the chord patterns as part of the course later on. Mrs. “What does it say to you. washed in His blood. The following sheet music lesson are of famliar songs sang in the pentcostal church. Perfect submission. . You will find a midi file of this lesson in the Advanced Musicians Link. Knapp the completed lyrics of the hymn. Joseph Fairchild Knapp.” And then a few minutes later she handed to Mrs. . wife of the organizer of the Metropolitan Life Insurance company. refrain: This is my story. She said about her blindness. Born of His Spirit. went to visit her and get an opinion of a tune Mrs. Perfect submission. Practice these songs and send me a video file of you playing just the meldoy line. “The first face ever to gladden my sight will be when I get to heaven and behold the face of the One who died for me. purchase of God.Hymn Momment Blessed Assurance key of D major Not much is known of the background of this Fanny Crosby hymn. Now transpose to the congregational key of Db and play the melody line. Fanny’s answer was “Blessed assurance.” Fanny tells this one story about the hymn.” Blessed assurance. Using the keyboard chart in the previuos scale lessons practice site reading by playing the notes which is the melody line. A video file of this lessson. Site reading requires you have a excellent understanding of scale notes and the relative pitch of this keys. Praising my Savior all the day long. Angels descending. The tune and the lyrics were put together and are still sung today. this is my song. bring from above Echoes of mercy. Fanny Crosby wrote over 8000 hymns. looking above. Fanny?” she asked. Watching and waiting. . Visions of rapture now burst on my sight. what a foretaste of glory divine! Heir of salvation. 24 . all is at rest. Jesus is mine. “Blessed Assurance. I verily believe that God intended that I should live my days in physical darkness so that I might be better prepared to sing His praise and lead others from spiritual darkness into eternal light. With sight I would have been too distracted to have written thousands of hymns. Knapp had written.

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organ progressions I use with this song. 26 .Most congregations do not sing 4 part harmony. Listen to the MP3 lesson file for the melody line. Many of you chord around the song but may not know the exact melody line. This song is a traditional congregations song. We will learn to chord around the melody and change the flavor of the song. This lesson is to train your ear to hear and your hands to follow the melody line so that chording and playing with feeling comes easy.When learning how to site read its always better to start off with a song you maybe familiar with.

We will post a video of this song showing how this is done. For those taking the site reading course your assignment is to practice the melody line. The singing is done in unison from a congregational perspective but the music around the singing brings out the song.For my advanced sheet music readers here’s a gospel selection you can practice with seeing how chords and formed around the melody line.) That’s the fun part about playing. 27 . I know it has triplet notes however. you know how the song sounds improvise . If you can send me a video at our youtube site.

C. I’ll post a video of this lesson on youtube so that you will visualize the concept. E. A. A A .C E F A. I’ve always held the opinon when the praise starts it should follow the path and pattern of a song. lets get our intro pattern: Bass left hand right hand run pattern (bass note) E . E.IT’S TIME FOR A PRAISE BREAK Now most musicians find themselves caught between a rock and a hard place when it’s time to praise the Lord with a dance and shout. You can vary the runs to whatever your using now and incorporate new ones. Bass patterns A. D. Here’s our first lesson on building a praise shout.F. C. C. G. E. B. G. D.. F. Frno here you can conitnue with your shout patterns unless you want some more from me? Ok here’s some verse patterns I use at times. F.. chorus. Intro. E D E E G A C A C E F A Now adding this opening pattern C D C F CE D F CE CD B C E A B E F A B D E G A B C E F A Now this is just the into or opening to the praise or shout. B. D. A left hand right hand run pattern A.. F. C. They fall back on basic standard runs and loud chords the repeat themsleves and maybe the change key once.. A Chords A . F. verse. C. vamp and ending. B.E. E. I always recommend the shout start off at a pace of 145-150 bpm but some druumers my differ with me . A G B C F G B E E A B B. Again you can substitute your own patterns also. At any rate if you have a drum machine or rhytmn section on your keyboard start at the practice tempo of 135 and work up to 150. E. D C D GBCF F B E D F A B A B E F A B D F A C E F A (both hands) B. E. G. A.).. D. D. 28 .. B. G. in the musicians shout key of A Ok. In the bass patterns the “bold” denotes playing the lower key. F B D These chords revolve around the movement of the base patterns... E .

KEYBOARD / ORGAN CHORD REFERENCE CHARTS THE FOLLOWING PAGES ARE SOME OF THE TRADITIONAL CHORDS USED IN GOSPEL MUSIC THE CHORDS ARE FOR REFERENCE PURPOSES ONLY WE WILL REFER TO THE CHORDS THROUGHOUT THIS COURSE WE ENCOURAGE YOU TO PRACTICE THESE CHORDS AND LEARN THE INVERSIONS 29 .

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