You are on page 1of 124

11b11

SPEL PIAN

By Gail Smith

1 IntrodlictlOft (l471 1 Ch.""" 1114~)

QuI! & T .... S,poturo, 140) , .. ,0111. C 1461

s 0 Son, & E Sonc 124\ F 50.&& G 50<1&1181 I AS", & 6 Son, {21] 8 Inltodll(;IInI!:RfoH'!iI3.B1

'3 Ir"rodu.cIB'~!ilCalTerrni{121 Chap",2 !l10]

n All!1ula SIn, to JiflSUS { 43J

12 When I SLlr'l8)' 1M WondfOLlI C rM! [ 36} 1 Co<ne Thou AImoi/11)' ",n, I 29)

• Ch.P4.dl"]

hn Up ,Cn., & AI,I .. , (3~] 6 Th,I''''1)'12g)

II God .. 50 Goo, {411

IS In'alet'!.lo,,'!. &. TJI.IS.t ~ 40}

1 C Chor' In,.',,,,, 11 021 H,II,Io" Ill)

-. I" $a'.1$ Go M"""OC I. 122) When U1& Tfjj']1.~ 10 G [371

Whtl'l I 5uoey me Wondr0u5 Cro!50S j 1 341 Joyful """'1 w. Ado" Thee I 241

! ..... ~) So<I& ISha'J>! F~ .. & N'''''h\ II ~I 26 Slop' 01 D ..... pm ...

S""" lok •• Shoo,,,d ,,,d lis (l 051

1[10 loond (Fou, eo ..... SI)oI"11 571 C""p,,,4 I 38)

A"'.~n. Gr ... & Th. F." NO<! II 011

1,~". C.Mn IR .... d Style< & homp"'l II 161 ChaP"'! 1227J

Ha.elUlli!l f 40}

CD CONTENTS*

s ..... Up Stano up 10' ! .... ! ~] 34 IIIv J .. us I Le .. Th" ! 411

3! Com. lbo, AI"""", K,OC 1J3) 36 C~.ot" 0 ! 1 2~1

31 0 the Oee~ DeeII' love ot Je5oU~ ~ 18] l_lol,"" M, ! 3~1

Rook 01 Ago' ! 32)

040 FOIthe Bei!llJl)'Gflhe EI'U, 1391 41 Jes " L""" ot ..,. $a,11 SO)

04 Con'Iot Tho-.J foonl 04 [wr'y elt~S-!n& [ 41} 4J Ch.p'" II 241

.. SHeft H"d P.""" 1 '5 I 2l) " aa \otl Hood P_" 6-10 1191 , 88l.l, H," P"..,,, u I! PZI 41 88 Loti ""d P.rt.,,, 16-10! 1'1)

88 Loll H P.rt .... 111'51 WI

9 88 I .• n H Pattorn< 1610 1:121

\0 as ,of, H Patterns 113111S)

1 sa Loll H P.~.,.. 10\.40! 191

8.8 ll!!'l Hii!Jnd P.atti!'tn~ .u ~'5 I 2"2)

!3 ss \.1, H Panems "" 50 I :II)

5' sa \,1, H P,",m, 51 55 ! 22]

B8 lOll H>nd P."'m. ~ 6() ! Zll

B8 l.1I H .. , P.",,., 61 65 123)

17 as l'" fIII.d P,,,,,,, ss 70 ! 211

B8 lOlt H4,' P.",,", 11 I~ 121\

B8 LoIt H4nd Po""" 76-80 I 191

88 LoIt fIIInd P.""" 8188 I 381 The BIII)& H:rmn of tn, Republl( { ;rot

62 H. to Go. 1lJe Whole World I .. HI:S Hand$ [ 18.] H,I, lord! 23)

6' J ews tcees ... 142) "" ." .... 140]

Whl:n the Roll t~ CoiIlled { -441 "-Ih"" a" to, a...., ( 391 Standmg on 1M Pt.om~~ { 40] GIor)' to HIs. "'amifl { 3~J

10 "" Co.,,,, 1~ of Th .. ! oWl 71 Am,,,,,, tne a .. utoM ! 42]

P." M, NO! 0 "" .... S."", ! 4~)

1 Solo,. 1 .... '~ (~7J

,. ~om s..,. ! l4)

Amii!J!ID;@: G.r ~(;IfI { 33) "/6 .. C''''f)' I 48)

II S"" ~'i/1' I 49)

7! Aw", '" • M,nge, Ilo]

The-flt'!;l Not-l144)

80 WhOl Child I, Th" 1161 81 1",,, and Obo, ( '11

82 Hoi, Hoi, HO!d 46) 83 C~ •• I"S I) III

011 el~1 Eli!! tl'n!l II@' Tn2ll8lnd'5. (Short MiflltI'~ 13~1

I .. Do.<.oIolD' ILoog M.",\ I 401 86 Chao", 9 IlJl

TO. Lord , M1 S"pOttO I ~ Not W .. , 11~1 Ob Ho-w I L.ove JHLI:5. { 28l

89 Jt~u~ N",,*, h.ll 27)

O,~ I"" Him l ~I

In, b1 D" Mod~ ! I 02) 92 loke. R~" Glor,,,,, !2 :lSI 3 ~,J.""IL ... Th .. I'51

4 Wh>t. Fnond 1 <0)

5 AngoI, w. H.,.. H .. " MHOIh I") JiflwS- Wnlla f tleM of Sinner s fl 34} Atlld&WllnMifI{1 l2J

8 F OUJ Bu. FIIiIl.$ .& Onil'l'oiIrd Clwl5Uan $(IItJ~:5 11 011 99 Ch.ot ... 10 So«'" (flo<" &C""""~'" !2 O!I

*This book is available as a book only or as a book/compact disc configuration.

CHECK OUT CREATIVE KEYBOARD'S FREE WEBZINE @ www.creativekeyboard.com

If you have purchased the book only, a recording (97099CD) of the music in this book is now available. The publisher strongly recommends the use of this resource along with the text to insure accuracy of interpretation and ease in learning.

I{J 1998 BY MEL BAY PUBUCAT!ONS, INC, PACIFIC, 1.1063069

ALL R!GHTS RESERVED INTERNATIONAL COPYRIGHT SECURED B M! MADE AND PR!NTED!N USA

No part of thiS pubhcatron may be reproduced 10 whole or 10 part, or stored 10 a remevai system, or transmitted 10 aoy form or by any mean S, e!ectronlC, rnecherucal, photocopv, reco rchng, or oltle!W1 ss, Wlthout wnHen perrrussion of the pubhsher

Visit us on the Web at www.me/bav.com - E-mail usatemail@melbav.com

®

SONG TITLES

Abide With Me

112

Alleluia ." .. , ".,." ,' ,., "", "'.", ". 26

Alleluia, Sing To Jesus . , , , , , , , , , , , , , , , , , , , , , , , ., 22

Amazing Grace .,', .. ,',.,"""',.,"""""""""""", .. ' .. , , 46

Amazing Grace """""""".",.""""""", ... """""",."" 85 America The Beautiful , .... , .... ', .. ,", .. "',"", .. ,"', .. ,", .. "., .... 80

Angels We Have Heard On High ." ', .. ,"'.""""',.,", ... " " .. 108

Artillary Song, .. , , , , , , , , .. , , , , , , , , , , , , , . , .. , , . . .. 37

At Calvary "." , " " .. , ,., ", ,", .. " .. " ,' 86

Away In A Manger, , , , , . , , , , , , , , , , , , , , , , , .. , , , 88

Battle Hymn Of The Republic, The ., ,',' ,"', ," .. ,",.,' ,. 71

Blest Be The Tie That Binds .,."..,", ,.,',.....,', .. ,"',..,,'.,',..,' 96

Brethren, We Have Met To Worship ,",' , .. " , , , ,. 60

Christ The Lord Is Risen Today, , , , , , , , , , , , , , , .. , , , .. 121

Church Chimes , , .. , , , , , , , , , , . , , , , , . , . , , , 119

Come, Thou Almighty King .,," ,', ,", ", ,", .. ,', .. ,',.,' 23

Come, Thou Almighty King, , , , , , , , , , , , , , , , , .. , .. 57

Come, Thou Fount Of Every Blessing .. , .. - ," ", .. "", .. ,',.,',.". 67

Day By Day Medley ., ," "." ,", ,', .. ,", .. " .. ,. 1 02

Do Lord , , , . . , .. , , , . , , . . , , . . . . , , , , . . . . . , . , . . . . . . , , , . . . , , . . . . . . , , . . , . . , .. 43

Doxology, The .,' ... , .... , .... ", " "", ,', ,",., ... ,., 97

First Noel, The ' .. ", .. ,',.,", .. ,', ,"', " ,"', " .. "., .. 47

First Noel. The ,.,',." " ,", ,', ,"', " "., , 89

For The Beauty Of The Earth .. , , , .. , , , , , , , , , , , , . , .. , , , . , 65

Glory To His Name , ,' ,', "", " ,', .. , .. ," 78

God Is So Good ."' .. "' .. ", ,', " .. , .. ,', ,", , .. ".". 28

God Is So Good .', ... , ... ,', .. ,"', .. ,", .... ,", .. ,"', ,', .. , .. ,., 52

Hallelula .. , .. , .. ,'.,"'."',.,"', .... ,", .. ,"', .... ,"',.,",.,',.,., 31

Halleluia ., .. "." .. ,', .. " ,",.,"', ,.,", .. ,', " ,",. 53

He Cares. , , . , , . , , .. , .... , , .. , .... , , , , , , , . , , , , , .. , , .. , , . , , ., 21

He Is Lord ,.,...,.."..,',..,',...,.".....,',.....,.,"',.."..,...,.., 72

He's Got The Whole World In His Hands " .. ,', ,", , .. " " .. , .. , .. , 72

Holy, Holy, Holy .. , , , , , , , , , , .. , , , , , , , , , , . , , , . " 94

In The Beginning , . , , .. , , , , , .. , ... , , , , , , , ... , . , , , .. , , . , , . , , .. , 20

Jesus, Lover Of My Soul ", .. """"...,',..,.,"",.. .. ,"',..,',.,...,., 66

Jesus Loves Me . , .. , , , , .. , , , .. , , , , , .... , , , , , . , ... , , , , , , . , , , . , ,. 73

Jesus Never Fails , , , , , . , , , , , , , , , .. , ., 100

Jesus Saves , . . , , . . . , . . . , . . . , , . . . . , , . . . . , . . . . , , , , , , . , ... , , , , . . , , , . , . . . . .. 39

Jesus! What A Friend Of Sinners .. , , , , , , , .. , ... , , , , , ... , , ... , . , , . , ., 110

Joy To The World .. , ... ,' ,' ,', ,., .. ,"""',.,"',.,', .. ,.,.,. 120

Joyful, Joyful We Adore Thee ,', , ,"' .... ,.,',., .. ,",.".".,.". 36

Just. The ......,',....,....,...."....,.,....,"',....,",..,...,.".," 21

Just As I Am "', " , " , ,"', ,, .. , ,., , 74

I

I)

Like A River Glorious . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 103

Lord Is My Shepherd, The ................,......,'......."......"....,.., 21

Lord's My Shepherd, llU Not Want The ." ,", " ,', , ,' 99

Love Lifted Me ."...,...,....,.....,', .. "..,.....,."."..'.......,..,' 63

Morning Song , , , .. , ... , , .. , . , .. , , , , . , , . , , , , , , , , .. , . , , , , . , , , , , .. , , , .. , 84

My Country, 'Tis Of Thee . , , . , . . , .. , . . .. , , . , , , , , , , .. , , , , . , . , , , .. , , , . . . . " 79

My Jesus, I Love Thee . , . , .. , , , , , .. , , , , , .. , , . , , . , . , , , , , , , , , , . , , , , . , , , , ., 56

My Jesus 1 Love Thee ., ... " "....,."."..,.....,',...,'..." .. ", .. , 1 06

My Shepherd Will Supply My Need .... , ..... , , , , .... , , , .. , , , .. , , .. , , . . .. 49

Nothing But The Blood ."...,....,....,', ,',.......,..."...,........,. 76

o God, Our Help In Ages Past ... , , , , , .. , , , , , , , , , , , , ... , , .. 95

o The Deep, Deep Love Of Jesus , , , .. " ' , " .. ,.... 61

Oh, How 1 Love Jesus , " .. " .. ,", " ,', .. ,.".,", .. " , ... , 1 00

Only Trust Him , , .. , , , , , , , , .. , . , , . .. 101

Onward Christian Soldiers . , , .. , . , , , . , , , , , , .. , , .. , , . .. 116

Pass me Not, 0 Gentle Savior " ,', ,', , ,., .. ,',.,., .. ,' ... ,.. 81

Praise God From Whom All Blessings Flow .,',' ,' , , ' .. ',.. 97

Rock Of Ages , , 64

Savior, Like A Shepherd Lead Us ...,',..." "....." ,', .. "..., ,... 41

Silent Night .,." .. ".".,', .. " ,',.,.,., , , , .... , .. ".,. 87

Sing A New Song .".', .. " ... " ', .... ', ,", .. ", ", .. ',.,',.... 45

Softly And Tenderly , . . , . . . , . . . . , . . . , . . . . . , , . . . . , , , . , , .. , . , .. , , . . . . . . , ,. 82

Stand Up, Stand Up For Jesus , , , , .. 54

Standing On The Promises .,' , ', ,'.' .. ",' , .. ,', ,'.', .. , .. 77

Sweet Hour Of Prayer . , , , , , , , , , , , .. , , , , .. 123

Tallis's Canon .. , . , , , , .. , , .. , , , , , , .. , , , , , , , , .. , , .. , ... , 48

Thanksgiving Hymn . . , . . , , . . , , . . , , . . . , , , . . . . , , . . . . , , .. , . , . . . . , , . , , . . , .. " 114

Train Up A Child " .. , ,., ,., ,., " .. ,., .. , , .. 26

Trinity; The .. I • ~ I • • • • • I I • t I j ~ t , I j t t ~ I j ~ • I , I j •• t , It ••• ~ I •• ~ , I • • I j • I ~ • • , t. 27

Trust . . , . , , . , . . , . . , . . . , . . . , . . , , , . . , , , . . , , , , . . . , , , . . . , , . . . , , . . , , . , , . . . . .. 29

Trust And Obey . I •• , •• , I •• j t •• It ••• It ••• ~ j •••• j j ••• ~ I j •• t I ~ •• j ••• I •• I ~ • I' 92

What A Friend . , .. , , . , , .. , , .. , , , , , , , , , ... , ... , .. , .. " 107

What Chitd Is This " , , ,................. 90

When I Survey The Wondrous Cross , .. ,', " " " " ... , .. ".".... 23

When I Survey The Wondrous Cross , .. " ,', .. ,', " , .. ,', .. , .. , .. ". 34

When The Roll Is Called , " .. ,., " , ,.,', .. , , .. 75

When The Saints Go Marching In , , ... , , , , .. , . , , , , , . , , ... , .. , .. " 32

Pretending that the person using this book has no previous musical knowledge absolutely scares me! I wish I could personally teach everyone to play Gospel Piano step by step, but since that is not humanly possible, I'm hoping that you will be able to learn to play by going through each page of this book very carefully, all by yourself.

WARNING: MUSICAL DANGER IF YOU DON'T READ THIS

Here are some important things to keep in mind:

The way to begin a musical education is to listen to music around you. Robert Schumann begins his list of 64 rules for young musicians by saying, "The cultivation of the ear is of the greatest importance.

Music employs certain symbols, such as lines, spaces, time signatures, key signatures, clefs, notes, rests, bars, accent marks and tempo markings. There is a whole musical vocabulary out there for you to learn, but just think, It is the Universal language.

GAIL SMITH

The foundation to all skills is developing correct habits. There is no such thing as practice making perfect unless we practice playing perfect. Habit is a powerful force: each time we repeat a note correctly it will become a chain of correct notes. Avoid mistakes by going slowly the first time. The first time largely determines all subsequent times. As a sheet of paper will bend a second and a third time where it was first creased. so try to play the correct note with the correct finger from the beginning. Make it a habit to play slow and play right. Success is assured if you concentrate, practice and have the desire to learn.

Devote a little time every day to practicing the piano. Your fingers will need to adjust to exercise. As your finger muscles get stronger you will be able to play the piano longer. Success comes with time and labor. If you go on patiently, each day you will see progress. "Great men take short steps carefully, no matter how rapidly they are to go," wrote Robert Schumann.

Your desire to play the piano will transform that possibility into reality! Yes, where there's a will there's a way.

I

Chapter 1 GeHing Started

There are seven days in a week. There are seven musical notes. Here they are:

c 0 E F G A B
, 0 jl 0
0 0 II
~cUEIF!GUBlcUEIFUA!Blc!DY The musical letters repeat over and over as you go up the keyboard. We will learn them one at a time.

Introducing the Twelve Half .. Steps

CC~ 0 D~ E F F~ GG~AA~ B

c~ D~

F~ G~ A~

\ 1 1 /

E F

\ I

Natural half-steps

CO E F GA Be

Just as there are twelve months in each year, there are twelve half-steps on the piano in one octave. They repeat over and over again.

Find the groups of two black keys. Next play the groups of three black keys. Then go from the lowest note on your piano and play each key, white and black, till you reach the top. How many keys were there?

5

Credit Card

A WHOLE NOTE

o

Value: 4 counts

A HALF NOTE

d

Value: 2 counts

A QUARTER NOTE

J

Value: 1 count

AN EIGHTH NOTE

)'J

Value: 1/2 count

Introducing Note I.D.'s

Time Line

~ 2 3 4 I~ 2 3 4 I~ 2 3 4 I~ 2 3 4 I

~ 2 ~ 4 I~ 2 ~ 4 I~ 2 ~ 4 I~ 2 ~ 4 I

~ ~ ~ ~ I~ ~ ~ ~ I~ ~ ~ ~ I~ .J .J ~ I

1 234 1 234 1 234 1 234

JIDDD IDD)1j)j)j)IJIDJID I Dj)j)Dj))1I

1 +2+3+4+ 1 +2+3 + 4 + 1 +2+3+4+ 1 +2 + 3+4 +

Introducing the Lines and Spaces

Notes may be placed on lines, like these:

e

e

e

o

e

e

e

e

e

e

Notes may be placed on spaces, like these:

"

jl

I.

II

II

It

II

I.

The Treble Clef Right Hand Higher Notes

See the difference?

The Bass Clef Left Hand Lower Notes

Here's a litle quiz. Look at each note and tell if it is on a space or on a line. Write "S" for Space or "L" for Line in the box under the note.

II

e

,.

e

e

II

e

o

I.

lIJDDDDDDDD

I'

e

II

e

e

e

II

It

o

DDDDDDDDD

"7

The Gospel In a Noteshell

Fill in the missing letters by naming the notes. Identify the line or space. Look at the chart on the bottom of the page for help.

4:0 I J j - I I I J J e I
e
F 0 r 0 s 0 0 v - - t h w 0 r I 4 II I J J J I I I I I I I r J. D I
II I - - r
t h t H v h i s 0 n I y - - - 0 t t n 4 - J J I r F J J
II
S 0 n t h t w h 0 s 0 v r - - v t h 4 - e II
- - - -
i n H i m s h 0 u I n 0 t P r i s h 0; 0 J r I J W J J j J II
u t h v v r I s t i n - - Unes Spaces
F E
D C
B
G A
E F
A G
F
D E
C
B A
G Introducing Time Signatures

Each measure of music has a specified number of beats or counts. The numbers at the beginning of a piece of study will indicate how many beats in a measure, and what kind of a note gets a beat.

2 Top number

4: Bottom number

2 beats in each measure.

A quarter note (J) gets one beat.

=

=

3 Top number

4: Bottom number

=

3 beats in each measure.

A quarter note (J) gets one beat.

4: Top number

4: Bottom number

=

4 beats in each measure.

A quarter note (J) gets one beat.

6 Top number

8 Bottom number

6 beats in each measure.

An eighth note ()) gets one beat.

=

=

one measure

II

~/

bar line

/

double bar line (end of song)

From one bar line to another is a full measure. At the beginning of each song, the Time Signature will appear. Watch for it!

o

Introducing the Note C

- -7
/ M
I
D
D
L
E
C D E F G A B C D E F G A B C D II The note at the very top of the plano with 88 keys is a C. Middle C is the fourth C going up from the left side of the piano.

Find and play all the C's.

This is Middle C as a whole note:
£1 II

-& -& -& -&
This is Middle C as a dotted half note:
£iJ. IJ. I;. IJ, IJ. I;. II

1 2 3
This is Middle C as a half note:
@Ij I; I I I; II
; ; tJ ; tJ ; ;
This is Middle C as a quarter note:
En) J J J I) J J J I; ; J ; II
This is Middle C as a running eighth note:

@ t j J j J j J } } j} } j J J 1 J ~ II

CSong
~ Matthew 11 :28 Gail Smith
; IJ. I; ; ; I; ; J I
IJ J
Come un to me all ye that la bour and
£ ; ; ; I; ; ; I; ; IJ ; I;, II

are hea - vy ta - den, and will give you rest.
~ ,.,. j

Ij

j

j

II

Introducing the Note D

J lJ ) ') ')")") )Dr

Between the two black keys on the piano you'll find the note D.

Find and play all seven D's on the piano.

D is about to drop off the staff.

, 0

,*

o

o

o

o

II

DSong
'fJ Gail Smith
J J IJ j J I

Do un - to oth ers as
, J J J J J J I II
0
you would have them do to you. , ,

Introducing the Note E

JJJJE

The note on the first line in the treble clef is E.

,
0
, J J J J J J J J J J
1 2 3 4 5 6 7 8 9 10
Play all ten E's E can be a half note.

I J J I J J II

$ E can oe a quarter note.

~t J J J J I J J J J I J J J

J II

ESong
, James 1:190 Gall Smith
J =1 IJ J =1 10 I
t J J • f!J
Ev . ery man be swift to hear, slow
, 10 IJ J 10 II
0 I
to speak, slow to wrath. 1')

Introducing the Note F

Jill/IF

F is the first note in a space.

£ 0 " F

Count and play:

£1 I

E I'

II

1 234

£t J J I j J I j J I J J II

1 2 3 4
If-
£1 J J J J I J J J J ! J J J J I J J J J II
1 2 3 4 FSong
~ Matthew 4:19 Gail Smith
J IJ J J J IJ J J J II
i J J J
Fol - low me, and I will make you fish - ers of men. Introducing the Note G

The note on the second line in the treble clef is G.

~
e
, J J I J J J J J J J

1 2 3 4 5 6 7 8 9 10
Play these ten notes. , "
t
) v whole note half notes quarter notes
<
I ·
·
Let's review the five white-key notes that we've learned so far.

J'lIl I r

2 3

" 4 5
.. ... • - - • -&
C D E F G G F E D C
I
·
·
I I I I 5 4 3 2
Psalm 96:8 GSong GailSmlth
~i= IJ J J I J.> loJ J IJ J IJ J I J. II

~. ""='
Give un - to the Lord the glo .ry due his name. Introducing the Note A

The note on the second space in the treble clef is A.

, II

In the bass clef, the note A is on the fifth line.

o

, j J J J j j J j j J
1 2 3 4 5 6 7 8 9 10
Play these ten A's. The Left Hand Plays A

Gail Smith

F

IF I

F

IF

F

IF I

II

A

men

A - men

A

men

A - men

Here is the left-hand A

The right-hand A

r- r- I I -V
/ 11' M 11'
I
0
0
L
E
C 0 E F G A B C 0 E F G A B C 0 If::.

Introducing the Note B ~ the treble clef /" In the bass clef

o

There are 8 B's on the piano. Find them.

Treble Clef
/ /I
) .. I I I I I I I I I I
J 1 2 3 4 5 6 7 8 9 10
.. .. .. .. .. .. .. .. .. ..
\
Bass Clef Play these ten B's. BSong

Matthew 5'48

Gail Smith

/I
I
~
) Be ye there fore per feet, ev . en as your
_. ~ .. ._ _._ ~ . .. .. .. ..
t .
.
\ / fI
) tJ Fa ther which is in hea . ven is psr . feet
.
.. ~ .. ~ t? .. t? • • o . Introducing Rests

Table of Rest Signs

Whole Rest Quarter Rest ~

Half Rest Eighth Rest I

The Sabbath

Genesis 2:3

And God blessed the seventh day and made it holy, because on it he rested from all the work of creating that he had done

Gail Smith

II
, ._
tJ
I pppp play super soft
:10..
I _n..
I~
1 tJ
I
t .
. Introducing Dynamics A Message In Song

The crescendo sign means to graduaJJy play louder.

soft loud

John 3'30

Gail Smith

II
I

) tJ ... t;,I ., 4-
He must in ~ crease, but I must de - crease.
) p f p
I .
.
The decrescendo sign means to gradually play softer,

loud soft

17

Introducing Musical Terms

Accidentals

There are signs called occidentals which, when placed before a note, alter the pitch of the note.

Enharmonics

C sharp and D flat are enharmonics: they are the same note.

Both notes are located rIght here.

t

# Sharp
b Flat
x Double-Sharp
bb Double-Flat
~ Natural t Csc

&0

o flat

#-e-

Raises pitch a half-step Lowers pitch a half-step

Raises pitch two half-steps, or one whole-step Lowers pitch two half-steps, or one whole-step Cancels a sharp or a flat

J",iIV

Other Terms
lit. Ritard Slow down
t:\ Fermata Hold on
sub. Subtto Suddenly
Crescendo Gradually get louder

1\ or > Accent Play or sing stronger on that note
f or ff Forte Play or sing loud
p or f Piano Ploy or sing softly lA

"

Whole

note rest

For Your Information Notes and Rests

Half

note rest

Quarter

note rest

Eighth

note rest

~

J1 7

Sixteenth

note rest

Ii

J

-

j t

-

Ij

=

rlt.

accel.

8va - -,

II

....---...

r r r r

'fj

,

Tenuto

Symbols

Hold full value

Accent Mark Accent
Marcato Louder accent
Sforzando Sudden accent
Staccato Detached
Fermata Hold pause
Crescendo Gradually louder
Decrescendo Gradually softer
Diminuendo
Ritardando Gradually slower
Accelerando Gradually faster
All'ottava One octave higher than written
Trill Rapid alternation between primary
note and the note above
Grace Very short ornamental note.
note (Note: Grace notes are always
stemmed up.)
Break Short pause
Legato Play smooth and connected
Slur These notes belong together
Tie Hold second note for Its full value p Play: softly

mp medium softly

mf medium loudly

f loudly

~

up down

* up

Sustain pedal goes: down up/down

, ,..

Chapter 2 Learning to Play Songs in the Five-Finger Position of the Key of C Major

The following songs are in the 5-finger position.

Bass Clef (or F Clef)

Treble Clef (orG Clef)

3 4 5

Right Hand

Left Hand

In The Beginning

Gail Smith

It 1
) ., .. .. 4' .. .. .. .. -&
God ere at ed God ere at . ed the earth
J
- -- - ~
I .
.
./ 4

It
I
~ .. .. ... ... ... 4 ;9- -&
) All the things were made by Him. It was good,
--- --- -
I ,.
\ ,

He Cares

I Peter 5'7

Gail Smith

"
tJ .. .. ., ~ ., - -4 - .,
Cast ing all your care u . pon Him, for he car . eth for you
no -& The Just

Romans l'17b

Gail Smith

"
I
.
tJ .. .. ... ., ... ~ -6 -4 -4
The just shall live by faith, the just shall live by faith.

,
Psalm 23'1 2

The Lord Is My Shepherd

Gail Smith

It ' ,
, A
) .. .. ~ - ~ ... ~
The Lord is my Shep . herd I shall not
j ~ ~ no
t ·
_L'
, I It
I If.

1 tJ -4' - ~, --
want. He mak . eth me to lie down in green
-&
.... "1. U
I . II
I
~
tJ ., -4 ., ., -6 ..
pas tures: He lead· eth me be . side the still wa . ters.
• ~ t? I':)
·
I · Alleluia, Sing To Jesus

Arr, by Gail Smith

,
( OJ - .. -
-
~ - .. -
_._
._ ...JIl...
I _L'
\ _A
..JL
I 4 - ... -
-.J - - - .. - 4'
,
£: _._ ,
_2_ ~ • •
,
~,
.L
, 11
\ ~.J' - - .. - -6-'
.. .. ..
~ • • ~-
._ fT
_J/I_ .- _J/I_
o.Jt.'
~.
'\ _fJ.
~~ - ..
~ _£_'
.L>_' _Q_ •
.
·
·
.L
, ('
- ..
v'
..
fT' t:). .
?' ['19-' t:),
·
·
\ II
..JL «9.'
I -
J -.J .. - -
_J/I_ --1
L _-_ -
__4.lo. , --
~ ""

When I Survey The Wondrous Cross

orr. by Gail Smith

432

5

Come, Thou Almighty King

orr, by Gail Smith

..IJ.
(~ .. -
v .. - ..
#' .

~.
11'
\ Chapter 3

Learning to Playa Chord in the Left Hand

A melody is a succession of single tones.

A chord Is a combination of tones sounded together, A triad is a three-note chord.

In each of the following gospel songs you will play the melody and add one of these chords to the left hand.

Go back to this chart of chords to find the chord used in each song till you can play them without looking.

The dot shows the spot where the chord is on the piano,

Introducing Chords

I. I HI 17 lA' I t I 17 I 111 I 17 III 17

C Major

11
,

) v &
I ·
,
C Minor C# or D~ Major
fl II
I \: t1tft

... ) v '11';& ",v
I ll'Oo
I . ( ,,:
.
" ~ C# or D~ Minor

II
, --"f...:>._ ,4..I_

) v :w& ",v
J u !..
t .
. / al }1-' J ! A 1 A 7 ! l' 1.1' J !' ,

D Major

,.
,
,t...I_
) v v
J .....
·
·
~ D Minor D# or E~ Major D# or Eb Minor
,. " "
t_~ 11
'- \: _M
1 v U v oH'U l v '1f U
J ..... .!lo ..... ~o J .!lo ..... I~O
I .
. u.
" " _j'!_~ "' ..

J]I} U V J'1.JLv J )11).1) J }I\.'" \.V

E Major E Minor F Major F Minor
II II II II
1.1.. I ,

~ ~ tJ l tJ ) tJ
,0 0 ) j
. . t . t .
I . I . . .

u J ' \ 'I V J ' ; H V J Y \It V J t.J

F* or G~ Major F# or G~ Minor G Major G Minor

II II II II

~~ '_Lfft_ I ,~~

tJ .. ) tJ tJ l ~

, I

~I.JJ.'~''-J v.._EH t: ~~

'ft u ft u

J! \.J r \ V J r ; r \ V J 11\ ,J.i V J 1\.]1.\ V

G# or A~ Major G# or A~ Minor A Major A Minor

1'1 I II I ~"~"

ot..."

'I 1 _Ll t

tJ ~ ) tJ tJ

l~: ~ I~: ~ I~: ~ J~~

\ 1'1' 'II'

/ fI )ill J fI ; Ii) J ' ; ,\ r J jI

B~ Major B~ Minor B Major B Minor

~ \~~ ~ \ L~ .~ ~ ~ .~

~~ l~~ ~ l·· ~~._: ~

Proverbs 22:6

C

Train Up A Child

II
I I{
t.I .. • - .... • - .... • -4 ..
Train up a child in the way he should go, and
· · · ·
I · · · ·
· · · Gail Smith

C chord

I II
I
) t.I .. • - .. • - -4 ... ... ... ...
J when he is old he will not de - part from it.
0 · · · ·
I · · · · ·
· · · ·
\ - ---

II

/.

M I

8

l E

C





Alleluia

Gail Smith

L

-

-

-



- ia

.... . - Praise the Lord.

AI - Ie - lu - ia

-

AI - Ie - lu

Praise the Lord.

Tie (hold 4 more counts)

II
I .lid :::"'L OIIIIIII!!!!!" ~

t.I -~ "J - • .. • - '-' -~ .. - • -6-
Sing _ with _ glad - ness Praise the Lord. AI - Ie lu - ia Praise the Lord.
J ~ - - -
t .
. Introducing Triads

A triad has three notes.

1'1

t,i-.J~~~

F Chord ~

The Trinity

Praise ~

to the Fa - ther, Praise

~

to the Son.

F chord

1'1 5 ~
I ·
·
·
-.J - - I I
Praise the Ho - Iy Spir - it Three in One.
it "ft-
·
· I

Praise to the Fa - ther, Praise to the Son.

)~~it~~~~~~~~~~~~~

I " I
,
1 tJ In the Spir it
< - we are one.
) ~ oft-
t ·
· God Is So Good

This is the easiest Gospel song.

It is in the key of C. There are no sharps or flats in the key of C.

The melody in this song has only five notes:

, e II e
.a- 0
C D E F G The 3 major chords in the key of C

II
I
) tJ .g. F G
) . ~ ?
I
I .
• I First practice the C scale:
_II 2 3 2 3 4 S
tJ .a- u
C D E F G A B C
...... 0 .a-
s 4 3 2 3 2
Now play and count the melody:
God Is So Good C

G G

C

II
I
tJ -9- ... - u (;.I • ~
J ·
I ·
~ ~ C

C

F (2nd inversion) G

II
t 11
1 ~ • too' .a-
J ......
t ·
_L • . U
~ JJ 1 1-' I V

F Chord (2nd Inversion)

Trust

Gail Smith

c

G

G

c

I\.
1 v .... • ~ . ..
Trust in the Lord when you are stressed.
I
·
· · .
· .
, , , C chord

G chord

I 'L
t
) ~ ~. • 4'
J All will be well, you will be blessed.
· ,
I · . ,
, ,
, · , Play the song again using the G chord inversion. It saves a big jump.

II
I ·
tJ .... • - "", • - -
'" '"
· . · ·
I · . ·
· , ,
1 st inversion of the G chord

A
I
v - ~, - • 4'
<
'" '"
I · · . . ·
· · . , ·
· , , B D G

G Chord and Inversions

(~;j~~~~~o~~~~R~~

) v Root Position

Inversions

1st 2nd

o

IUdyl !.n V

"'Here it is. Find the dots on your plano

C Chord Inversions

Left Hand

C Chord and Inversions In the Bass Clef

Right Hand

C Chord and Inversions In the Treble Clef

Example of a Triad and Inversions
1- G-5 C - 1 E-3
E-3 G -5 C - 1
C -1 E-3 G-5
Root First Second
Position Inversion Inversion Chords in G

These are the chords in the key of G:

G Am Bm

II

c

o

D

i

Em

ft

F#dim

i

Ii iii IV V vi vii

In chord names "rn" means "minor" and "dim" means "diminished",

G

Halleluia c

G

D

G

I'lJol. I ~
I , .
tt} .,,* .. .. .. I .,,*
o?
.
I . IV

V

G

c

G

D

G

.110 I ~
.
t. .. .. .. I I I
o?
·
· IV

V

G

D

D

G

I ~ I I -
.
.
.. I I I
·
· V

V

G

D

D

G

11.110 I ~ I
I .
tt} I I
~ o?'
I ·
·
V

V

a

':1.1

When The Saints Go Marching In (with simple chords in the left hand)

"
~ *- *- *-
.
I .
c

c

c

G

c

,. -
I
tJ *- c;,I' .. *-. *-
) ·
I ·
\ - v

F

c

G

c

I ,.
I
) .. - .. .. 4"
j it
I · ·
· ·
·
\ - IV

V

When The Saints Go Marching In (transposed to the key of G)

orr. by Gail Smith

I'r, .II- -
- --- ~ -- --
-.J I I I I I I I

~ .. -!- :2. ..,.. .. ~ P-
.
. Intervals*: 2nd 3rd 4th 5th

I'r, .li- I ,........
#I
-.J I I I -
H 4J. -fl-
·
·
./ I'r, .li- I I
~
.
-.J - I J""..-oi I
#** ~ ..sf2 -.fL • -!- a.
·
I ·
L * An interval is the distance between two notes. These are 4 examples:

2nd 3rd 4th 5th

-# a ..a. ..D.

;>= 0 n

** C chord in the 2nd inversion.

Here is the C chord with the inversions:

When ,I Survey The Wondrous Cross

1\
~ .g ... • - • - - •
mf
.
. Lowell Mason

/ ,.
~
) ~ • '* .. .. u
<
I ~
·
·
'\ ,.
I
t: ":(jJ. .. • ~ • - •
-
I ·
· ( 1\

1 ~ COo' 4- COo' • .&
) A Tie
- --
I ·
·
\ ---;. ____,.. ____,.. ____,.. ____,.. ____,..

Hold this chord tnru this measure.

Now here's the same song by Lowell Mason in the key of F. This means that every B note in the song is played a half-step lower, so you must use a black key on the piano.

key signature " .I

F

B~

c

~ 234 234

" n
I
~ I IV V
• e-
o
0
U u

5 4 321 3 2

F Scale Chord Chart

1. Play the melody and count.

2. Play the scale.

3. Play the chords used in this song.

Note: With simple melodies the right hand can add an Interval of a 6th below the melody as written, This melody has just four notes and uses a 5th tone only once. The left hand is playing a single octave note of the chord.

When I Survey The Wondrous Cross

Lowell Mason orr by Gail Smith

fI_
t. ~ 4 ... -6 ... .. (';oj .. ... .e-
o
0
U U U U ..
.. -6 .. .. c;,. .. ... ~ ~ 4 u
.
u u u - '"
-.J ~ 4 ... -6 ... .. (';oj .. ... e-
o
0
U U U U '"
-.J -6 .. .. -z:; :;s -z:; .. ... -
e-
- -
0
0
u ·u - u
e- Joyful. Joyful We Adore Thee

Beethoven orr. by Gail Smith

II - - .. - r'\
.
I .
t1 I
mf
.
. II .. .. ,
·
·
..
J I
·
· I II
,
) .. ~ - 1;
) I I
f ·
·
\
I - " .. .. 1'\
I
·
.J - -
·
I ·
Artillory Song

This chorus is in the key of C. There are occidentals in this song. Accidentals are added flats (b), sharps (#), and natural marks (q) that are not found in the key signature.

Review of Sharps, Flats, and Naturals

~ t

A sharp sign raises a note one half-step.

&0

A flat sign lowers a note one half-step.

~.j

A natural sign cancels a sharp or flat so you may play the regular note again.

Watch for the occidentals in this song.

c

Artillary Song c

..

G

c

c

1\
I
eJ .. .. .tf* .. If* .... - - ~ .. - 9" ... .. --- .. ..
·
· c

G

c

'I
I

t. ". .. "I" .. "* .. .. .. .. -&
I ·
·
':1.7

In the following arrangement of the same song, the left-hand accompaniment uses this pattern of the chord note followed by a broken chord:

C F G
,:f J r F IF J J J IF J J r
I"; Artillary Song
~ .. .. - '1- ..
1-_ I
I I I '"
,
) ~ - -;f*.~ -,J - - ~. - 9· ... ... ... ... •
) .,. I .,.
t ·
·
'\ I I I "l
) .. i- 9- .. ... - - - - "6-
J .,. I I
·
·
I - I ~ r r I r

II

Jesus Saves

':iJJiJ PtJ!] re!r Jl!] JJ!jj

£: J I ~ J I J J J I I ,. E
r r r j r' p u I r J 'M r- r- II
/tDEFGABCD ,lilii

/I I -
· ·
tJ ...... ... - I ...... ...
~. ~. ~. ·
I · · . · ·
· ·
· . ·
, Jesus Saves

F F F C F

F C F Bb Bb

1\
·
t. - I I r ........ I
· .
· · · . · ·
· · · ·
· · · · F

c

F

Bb

c

F

", ~ ~
I

tJ -.....! - I --- - I
~. ~. ~
· .
·
. F

Jesus Saves F

F

c

11. _j_ --
, .
) ~ ...... ... - I ......
) - -
·
·
L
t;.I t;.I t;.I ~ F

F

c

F

,.. I
I
eJ ... I
I ·
·

t;.I t;.I ~ t;.I B~

Bb

F

c

I ,. L
I ·
_"
) ~ I r ...._" I -......!
J I
I ·
·
7J it t;.I :6l: F

B~

c

F

I 1'1 L
,
) ., I ....... - I
I - -
t ·
·

t;.I if ~ • ,."
I
.., .. I ..
.
I .
~ f'I -
rlr\ • ....
.
~ .. I ..
·
I ·
~ f'I I ~ I
I
. .:"": -
~ I ..
it
" ,.. x
I · '" r--.
.
..., ... .. .. -&
it I
·
· :<' ..
~ CD
£IJ
, J J
£ J r
£ J r @c

c

F

F

Savior, Like A Shepherd Lead Us

J J J J J I] F J J IJ J j J J j 10
] J J J I] F :J ] IJ ] I J J J I J. ] J I

n IJ J J J IJ J J J I j. J J I
n IJ r J J IJ J I J) I II
."
-&
Stages of Development 1. Learn melody.

2. Play melody with simple chords.

3. Add a third below the melody note to harmonize.

4. Use broken chord accompaniment in the left hand.

Savior, Like A Shepherd Lead Us

William Bradbury C

c

G

c

G

c

c

G

c

c

c

G

c

This gospel song is in the key of C. In the next arrangement. the right hand Is harmonized with an interval of a third below the melody note:

J

You may also try an octave with the third as shown:

The left hand plays broken chords using quarter-notes and half-notes:

C F G

Vi) J J iJ J r iJ r r

Savior, Like A Shepherd Lead Us

@

William Bradbury arr by Gail Smith

Ii
tJ .. .. ....... .. .. .. • • -&
@ I I I
.
.
/ _L ~ I"": --
~ ~ I ~ I ,. I ~ I
,
tJ I - ~ .... .. - • ~ . - -
I I I
f ·
·
_. 1:L
• ~ I ~ ,.. I ~ i
.
tJ I - ... . •• • &
I I I ~ I
·
I ·
...
• ~ ~ ~ III)

Do Lord

I II I l I
I .
) ~ .. .6J. ..
-::::: ::-- r- . --::::::=. :::::-- -
.
I . ,..
I .
tJ .. .... .. .. -&
-
I ·
·
- - IV

II I l I
I .
1 " .. -61- •
-:::::::- .::::::::-- - ...
·
I ·
Dm

II I I
I
) tJ
J ... 0
I ·
·
Go' I

1

}

)

f

Following are four gospel styles to use with "Do tord": 1. Broken chord:

F

1l •
I
~ ... # ..
1 1 - 1 -- 1 -
I ·
·
2. Octave first. then chord:

F

" I t.. I
I];
I .
ttl ... # ..
) ·
I ·
'L 'L ~_
, c,I c,I c,I c,I 3. Broken octave F

I'i i. t.. 1
I .
-"'"
ttl ... -6 ..
) nth
~ _j_ I _j_ 1 .1 .i I.
I ·
·
.. .. .. .. octave

4. Harmonic intervals of a 5th and a 6th:

F

" 1 t.. I
, _I{~
.
1 ttl ... .g ..
J
--'J,_.
·
co co Gio co co Gio Gio ... AA

Chapter 4 Playing Rounds

You may play the same melody in both hands. Start the melody over, coming in the next measure.

Play each hand separately first.

When 8va appears, you play those notes an octave higher than written.

Sing A New Song Isaiah 55:9

For as the heavens are higher than the earth, so are my ways higher than your ways, and my thoughts than your thoughts.

Gail Smith

8va - _ - - - - _

II -.- .. ~~------ ~-~---- . - . - . ~ . ~ ~ - . -
I
....
~ -6- ... ... • .. •
II
"
~ -6- ... ... --. -. "" I

~ -4

!i"~~~~~~~~~~~~~~~

~ ... . .



8va - _ - - - - - - - - - - - - _

II __ ~ _~ r ________ ~----,
I
tJ ... • -".6- ~
II
I

~ • 7 -. 7 -4 Amazing Grace

As a Round

John Newton

I'LJj. ~ _j
....011
_L~
J v • I Cio' •
_._ .a. -
~,
I -"
L
I _A_jl ~ I
.
~~ ..d_
It.! I I
) _._ .a: -
,
I .
I I I (~ ~
,
) tJ r ..._..". • Cio' •
) p.. -- r- ..:e:. ~' .- !'- •
_._
, ,
,
I _It__.w._ __......",_ I
.., I
• 0
,
I ,
r I I /1"-

The First Noel

f"I 1 2 3 1 2 -~ 5 4 3, 2 ~ ,
j
1 ~ - fIT •• . - I I I I
)
. - .. ..
I .
\ .
~ I" 1 3 3 4

English Carol

3 4

5

432

2

2

3

~ 1\ , __..
I
-if I -- - • .... .-
- - ~ .- - .- ..
·
·
4 3 2 1 2 3 4 3 2 1 , ...... ", I __.. , I
eJ I I I I I I
I .- .. .- - - .- .,. .-
·
~ ·
I" I I'r. I
.
• ~ • .... • - --...
- .. ~ .-
·
·
.
I --... I" - ,. , I
t I I I . .
I .._ 1---' .._ -- ...... .--
-
.. .- .- ..
· .
·
I I Tallis's Canon

11.11- 1 2 21 I 1 4 I I 5
I
":It
1 ~ I I I I I
J .
t .
L .1. _A __At L I I I I
-.J I I I • I
·
· _II .lI- I I I I
~
~ I I I I I
• ~ .. • •
I ·
_ .. I ".lI- I I I I
I
) .J I I I • - I
) -fI- .. • • •
I ·
· -- • I""
I I AA.

There are two ways to playa round. One way is to the have the melody in the treble start first. The other is to have the bass start as Leader. Here are both ways:

My Shepherd Will Supply My Need

American Melody

Leader orr. by Gail Smith

1\
1 tJ ... - - • ~ I ~ ...
f
I ? -
,
,
~ ....... I p

II
,

, ~ ... • 4' f--4'
-
j I
t ,
,
.
I - I I My Shepherd Will Supply My Need

II .-
I
) IV ... • ...
p
Leader ? I
I .
.

~ -- I I i.oo-oI f

./1
I

tJ • • 4 • •
I ?
·
·
I ~ ....... I II
It. I • ... • 4' /4'
I I
,
·
I J..,...ooI I I Chapter 5

Left-Hand Fill for Chord Progressions

It is very important to understand that every key has seven chords that belong to it. These are the seven chords in the key of C:

C Major

A Minor B Diminished

F Major

G Major

D Minor

E Minor

f\
#.
~ ~ u ~
n
t .
.
ii

ill

IV

V

vi

viiO

In playing gospel songs, we often use only the l, IV, and V chords. These three chords are the major chords in every major key. The three minor chords are ii. iii, and vI.

Play all these chords and listen to each different sound.

In the key of C, the major chords are C, F, and G. The minor chords are Dm, Em, and Am.
In "Left-Hand Fills for Basic Chord Proqrssslons". only the Roman numerals are given. So, start
thinking in those terms as well as remembering that a V chord is G In the key of C.
Here is a chart with the names and numbers of every major key. Each key has seven
chords.
key I iI III IV V vi viio
C C Dm Em F G Am Bdim
G G Am Bm C D Em F#dim
D D Em F~m G A Bm C#dim
A A Bm C#m D E F~m G#dim
E E F#m G~m A B C#m D~dim
B B C~m D#m E F~ G#m A~dim
G~ Gb Abm B~m C~ D~ E~m Fdim
Db D~ E~m Fm Gb Ab Bbm Cdim
Ab Ab Bbm Cm D~ Eb Fm Gdim
Eb Eb Fm Gm A~ Bb Cm Ddim
Bb Bb Cm Dm Eb F Gm Adim
F F Gm Am B~ C Dm Edim The Fill Chart on the next page helps you link all the chords in the left hand, giving you the "gospel sound."

50

Left-Hand Fills

for Basic Chord Progressions

!J: t J 3 J J FJ J j I"

Gail Smith

II r r E r j ] ] j I II I!

I I

7)2 J J J J FJ J J I

u

II r rEF FJ J J I u

II

IV

I IV

':1 J 3 J j ErE F I"

II

I V

I V

tJI r r r r ] j ] j I"

II J J J J J J J J I

u

'I I

I VI

VI

IV

.; . . . .

IV I

II

I IV I

':1 J j J j fJ J J I"

II

IV iii

IV V

7):1 r j r FEr r ~ I ..

J

II c j r r Err J I ..

II

V

I V7 I

iJt Err • f J J 8 I

:::Te

VI V

II r r r Fie

II

IV

liE r F r U IJ

II

V

':1 J) JJ E r W IIJ J J I J II JJ fJ J j I J II

V V I IV

"J J n rEI r'

II

VI V

"1

Using Left-Hand Fills for Numbered Basic Chord Progressions

In the example below, "God Is So Good" the chords are: eGG C C F G C

Using the Fill Chart the left hand was filled in with the appropriate chord progression:

I V V I I IV V I

C

God Is So Good G

1\
II. _r..
I
*.l
• -
.
I .

- V

G

C

C

1\ - •
I
tJ
• I
I ·
·
- - ~ - V

F

C

G

II -
, .Ii
, *.l ~
<
I I
t ·
_L.

• - - ~ IV

V

For help in modulating, you will find this book useful:

.......

Halleluia

IV

V

fI.jj. I ~
I~
. .
) ~ ....... • •• I I I .......
J •
I .
.
- I fI.jj. I ~
I . \: .
tJ .. • • I I I
- . -
I ·
·
- I IV

V

,.. .II- _1 ~ I I -
I .
t.l I I I
-
·
I ·
.r
...... - - - • V

V

,.. .lI- I ~ I
I .
.
tJ I I
-
·
·
.. - v

v

Perhaps you are wondering ...

1. Question: Why are there only three beats at the end of this song?

Answer: Beat 4 is at the beginning, and when there is a "pickup" beat at the beginning, you deduct the amount of that beat from the end.

2. Question: Why are there two lines at the end of the song?

Answer: Each measure is separated from its neighbor by one line, but at the end there are two lines so you know it is the end.

3. Question: Why are there sharps at the beginning of the lines?

Answer: This is the key signature and tells you that every F in the song will be sharped (raised a half step). The sharp must appear at the beginning of each line for the song to remain in the key of G.

Using the "Left-Hand Fills for Basic Chord Progressions" chart on pg. 51, write out the left hand for this hymn:

Stand Up, Stand Up For Jesus

George Webb

f1_ 1\ I
I .
.
1 .. - - I - - I
J I
t .
. ,_. IV

" I , I I I
·
· ·
.., - -41 -
·
· v

v

IV

~ I - I
·
I ·
·
·
.., ~ I V I
·
· V

IV

" 1\ I I
I LJ. . t:; · • _."": _L •
·
·
.., ~ • - - - .. - -
I ·
·
L V

IV

V

This is how it should look:

Stand Up. Stand Up For Jesus

II ~ I I
I ...Lm. .
.
-.J .. I .. .. I
.
t .
.. - .. - .. .. -- .... ~ ..... George Webb

IV

1'1 I ~ I I
·
_II! _lIB_ •
.
t. .. ...
-
·
·
•• y ~ .. - - v

IV

v

1'\ I - 1
·
·
~ ~ I -V I

I ·
·
- -.- V

IV

11 1'\ I
I · .
·
· .
~ • ..
j I
I ·
·

- - -.- - ~ V

IV

v

My Jesus. I Love Thee

A. J. Gordon orr. by Gail Smith

(j ~
. :
. ... ... ~
-6 • • .... V
v I IV I
=ii: ..,.,. ~qi ~ 1I.j,i - -
~ .. - - .::; - - • i
Z h .. i ~ ...
\ v . .. ... . ~ :; - ::::; i ~
... '11 .. I

.

~:

I

.

.. ... .



I

... ..

-- .

.. = ~

...- -=--11:;11"

~ ::;. ..

I

~. ~. "7



• • -i .. ..

-~





.;::. = -11

i •

= •

• t

.

....





... ..

,..,

• ... 11

Come, Thou Almighty King

Ill. !:_ I=_
l I_ I:. l1li. • t2-:
,._ .
.iLjf. .
(~ r;
._, "if "- • l1li. •
~ ~ ~ ~ • ..
Ill. ~ l1li.
. r:. • I"'"
~.~ I"'"

, I"" I I orr. by Goil Smith

v

l I:. Ill. ·
_tL1f.. '- ~ ~ I:. ~ ·
·
.IL .
I~
t.J ~ .. ~ ._ •
._~ ~~ • ._ ,or.
~ ..
"-
o.lt.. Ia I"'" ~
~. I"" J
L
, ~ ~ r -
I
- V I
.
II.AI:.. -L .
. .. "iI
JL~ . • .. .
Ic& • "iI • ..
riJ· .. .. • ..
~
~
Q. "iI I
17' I 11 ..
1- "iI
11 "II & ~ • - ~ - - ~ & - •
8va - ~ - ~ - _
I:_ 1 D_ .
.fl....,I!_1III. ·
· ~:
(4 · "'J :;
.. . .. ...
._, -
-
... 11 11 -
_._. ~ ~ :; ~ ..
L
\ - "II
"iI :; -
"iI ~ - - - . - - - - . - - ... - ,

r:.7

Chapter 6

In the following gospel songs, the phrases are marked A B etc. so that you may identify the repeated phrases. The songs are in the following form:

"Brethren, We Have Met To Worship" "0 The Deep, Deep Love Of Jesus" "Love Lifted Me"

"Rock Of Ages"

"For The Beauty Of The Earth" "Jesus, Lover Of My Soul"

"Come, Thou Fount Of Every Blessing"

AABA AABA ABAB AAB AAB AABA AABA

Here are some ideas for playing repeated phrases. A phrase may be repeated:

1. Identically

2. With embellishment

3. With a change of harmony

4. With a change of style of accompaniment

5. With a change of register

6. With a change of color

One of the basic ideas in musical form is that of symmetry or balance. As a rule, the initial phrase of a hymn is balanced by an answering phrase; the first is called the antecedent phrase, the second, the consequent phrase. The first phrase states a musical idea, and the second follows in consequence. These two related phrases are called a period. A double period consists of four phrases.

The following is an example of a double period (16 measures):

faRJ,]

a ,a j3Hj

FiE E j ij F J ii

II

There is no strict rule as to phrase length: three-measure and five-measure phrases do occur in hymns. The following hymn phrases are examples of some irregular phrases:

2-measure phrase
4* J J IF IJ J J Ir I J
~ r r r • 3-measure phrase

____ --- __

fiE E J IJ J j

IJ

E lEEr E IJ

4-measure phrase

5-measure phrase_,__--- __

4*=£ J J I J J IF r IE

IE J I ~

........

AABA

Brethren, We Have Met To Worship

®

William Moore arr. by Gail Smith

1'1 Jj. - - I
I
e) .. .. .. .. I
*
.
. ®

1\Jj. I - I
I
e) .. .. - - • . - I
) ·
I ·
, ~ ~ ~ ~ ®

1\Jj. ~ I ~ I
I
~ I I I I
) ·
I ·
, ~ ~ ~ ~ ®

1\Jj. I - I
,
) ~ .. . - - • • I
<
)
t ·
·
~ ~ ~ ~ ----------- -----------

* This is a grace note and is sounded very quickly before the chord.

Just one chord is needed to harmonize with the melody. Try playing the chord these other ways:

~:I J r r r

F r



o The Deep, Deep Love Of Jesus

Thomas J. Williams arr. by Gail Smith

I ,. 1 3
I -I(
1 ~ ., ., - - ., - - •
~ - - I
I .
. . I

3

Fine

III

-

-

I

1

·

I •

I

-

-

I

,. I 1
III ..
I
·
·
GI I I I 3

/I ~ I .
r_ ~
~ ., ., -
- I I
·
·
I I 3

DC 01 Fine

AABA

o The Deep, Deep Love Of Jesus

® Om

ThomasJ. Williams orr. by Gall Smith

Dm

A

Om

A

,. '1 3
.
tJ .. .. .. - - .
mf 3~ ~ r- 3
-
.
.
.
......-;- -0 .......-:: ....... 3

3

3

3

F/C C 3_ A Dm Gm A Dm
/I I
~ - ,..,
3_ 3_
-3 -3 -3 -3 -3 -3
I\® 3 '1
tJ .. - -
3 -
3 -
• -3 -3 -J -3 -3 -3
/I Om Csus 3
'l I
tJ • ..
- 3_ 3_
-3 -3 -3 -3 -3 -3
® played an octave higher •
~ -
~ 3 .J
3_ 3 __.", 3_ 3 -
- -
-3 -3 -3 -3
/I ~ . ~ ~ _".' • .' -
tJ
- - 3_ 3_ "","",,,,-3
- 3 -3 -3 -3 . ...
A? ABAB

Love Lifted Me

Moderato

®

Howard E, Smith orr, by Gail Smith

" I
,
.
. .
) ~ .. -:jJ. V'
mf
J • - -
I .
.
- - ..... - _ -
- ®

,. l
I . .
.
~ •• • .. •
- - - - ~
-
·
I ·
.". - - - ®

,. I
I
.
~ ... ~ - f:jI'
• - -
·
I ·
- - - - _ - ®

1\ l
I ·
·
~ _. • - .. .. ' ~:
- - - - • -
I
·
.". " ~. - _, ABA

Rock Of Ages

/I I .,
, . .
. .
, ~ .' • • r:;,I
I "P
~ ,. -
.
.
~ ~ ~ ®

Thomas Hastings orr, by Gail Smith

'" I 1""--1 ,...._., I
.
I . ·
·
·
tJ I r I r
."._ ,. ~ -
·
I ·
~ ~ • ®

III I ,...._., I -
"" ."'- .... ·
I ·
· .
~ I r t;.. ..
~ ,. r--- - ~ ,.
I ·
·

1---1 • 1---1 ®

/I I r--. ~ ,._
I "" 10.. . .
.
) .; • • r:;,I ...._.... r - • ... .
I - -
t ·
·

~ ~ ~ ~ AAB

For The Beauty Of The Earth

®

Conrad Kocher orr by Gail Smith

/I.j.j. _L I I
I
t.. I til LJ'I ... • - ..

I I I I L 1 •
.
I .
c._l ......I I ..I
- __iI____.ii_ I I I
t.J • ., 1!9- I r i I _J I

- I I I I I I •
·
·
... r I ...... - - r I .....I
- - ®

U I
I
~
t.J .. • .. • ., 1!9- I
I I I I I I
~~
I
I ... "'II r: I .. - -
- - ®

, .II-
_Io_
t.. r r r ... • ...
1*- •

·
:_/I_.
• r I ......I ~ I ....
- AABA

Jesus, Lover Of My Soul

®

Joseph Parry orr, by Gail Smith

" I I I I
I , . .
· . .
) ~ ..s .. 15 I
( mp
I I I I I I I I
t ·
·

• .. -:J. ~ .. .. .. ~ '" I I I
·
· ·
J ~ ..s .. 15 I
I I I I I I I I
·
·
.. .. .. -:J. - ~ - .. .. ®

'" I
.
· .
· . . .
-.J - I I I I
I I I I I I • •
·
I ·
• ~ - • • • ®

'"
· ·
I .
· · ·
· · .
~ I I I I -di .. 15
J J. ~ . ...
t ·
·
.
.. .. .. I I .. .. ®

" I I I I
·
·
) ~ - - - I -
J I I I I I I I I
f ·
·

:.t - ~ - • • • :.t - • • AA

®

Come, Thou Fount Of Every Blessing

Traditional American Melody orr. by Gail Smith

AABA

1\ • ~ - .
,
) ~ ell ... ... ..
-
J r---. ......,......, ~ ~ •
I .
.

~ ~ I ...... ~ •
tJ I .. ... ... ..
-
~ • ~ .......
·
·
--- ~ - - ~ - ®

~ ~ • -
tJ I
~ ~ • "f9- ~ ~ ~
·
·
.......... ~ ®

1\
tJ I I .. ... ...
r---. • r---.
·
·
... L.....I .. ~ ~ ~ ~ ®

1\ • ~ •
.. .. I
-
- ~ ~ • ~ I
·
·
I - ,..,

Introducing Cadences

Cadences create a sense of repose or resolution at the end of a melodic or harmonic phrase. The strength and finality vary according to the chords used.

Here are the different kinds:

Authentic

1\ I
I
~
:2. 19-
I .
.
v

Half ar Imperfect 1\ I

\i~~~~i(;.~

l~~~~~

I~

IV

v

Deceptive

1\ I

\i~~~~~

l~~~~

V VI

Perfect Authentic

1\ I
I r_

) ~ (;.
) .
t . Dominant Seventh

1\ I
I
~
~
.
I .
V7

Plagal 1\ I

ttJ

A - men ~

IV

Anticipation '"' I

r

Neapolitan

1\ I
I
ttJ
I
.
I .
Chapter 7

You can learn the following 88 patterns for the left hand and use them to play gospel songs. There are over twenty hymns in this chapter to show you how to apply these 88 patterns.

88 Left-Hand Patterns 123

2'1 F F F j ijJ J J LJ J J J jJ J J JJ] J II J J 3 J J J II

4 5 6

':1 J J J J FJ J J II ~ r f IT L F IT IT II L j Pi r

7

IIJ i'JJJJJIl

8 9 10 11 f!:.

') *J J Ja a J II J J. j J J h ad J J J II d r ~ f Y II

12 13 14 15

n U r d r frllJ J n ~ r r IT II J jJ J J P J II P r P r II

20

"I i 1 J J J.

21 22 23

---j L L

~ II ~ »~u II Ji J111 t 1 u: ~ II

24

±>tlJJJr t

U J.J.

~ ~ v

II J J ; aJ J j J h J A J II E F r r f r r r II

28 29 30 '31

5:1 d t iff i'p f] n lip n r !if] fa ~ ~ II

32 33 34 35 36

'lip J cpllp n Flip P F 1111p c:J r IIp.1 i~ ~ II

For additional left -hand fills, order a copy of The Complete Book of Improvisation Fills and Chord Progressions by Gail Smith, published by Mel Bay.

AO

37 38 39 40 41

':1 d c r eJ II J fJ 0 II f B J II d cJ r flit f r f r I!

42 43 44 45

,~. f!:4f - t:~ ~

,: t (r F J r r "( r r r EI II c r U fJ J :J II r r (: j E ~ ~ II

':1 i J J J II~ J J J Iii j j J III ~ r r r r r r r f II t

50 51 52 53

tl: 1 4 ! J ! I J ! J ! II J r J r II j r r II J ~ J r II

54 55 56 57

':1 J J J ~ j g iiJ J hJ j g II J J J J J II J J i J J \) I!

58 59 60 61

'1 t r r; r j II eE 0; r r r r II J J ¥ Jl J J J II J J J ¥ J1 J II

62 63 64 65

,: t J J 'I Jl J J II J J ~ pJ II J. n j II J J J #J I:J ~J J OJ II

66 67 b 68 69

':tap hJ J JJIISF H FE F FllttHprfiFfrllJ • M j II

. . 3

70 71 72 73

':14 J J J IIJJjJJ3r 11([erciE IltcfFerEfl1

74 75 76 77

,: 'I Jar r r II err r r r r FII J J J '3 r J J II C b r; (j r J II

78 79 80 81 -

7'1 J 4 J jill j J J J J J J II c E F r e Err II eE f r Err II

82 83 84

':If F r F t f b ; IIi: 1 & "mill ill J 3 F r !" r II

85 86 87 88

':0 fP r f: III J J J] J J j J II d n r r II J J J Jl ~ ~ II

7n

The Battle Hymn Of The Republic

II • - r-= ""I ..
, . . . .
. . . · .
. . . . . _.
eJ .. ~. ~ - •
mf Pattem #1 Pattem #41
.. • ~ ~
.
.
• .. "'II ~ _A - .. .. I ..
. ·
I · . . ·
· . . • . .
.. .. .. ~ .
• • - ~ • • ~
I ·
·
I!. .. ..
.
.
.
.. • ..
fII-_ • - ~ ~
·
Go fl I k ~ I ..
.
. .
.
.. .;g
~ • I ~ •
I .:It._.

- • • 1\ ""I ..
I . .
·
• . _- . .
1 eJ .. •
.. ~ .. .. ~
·
·
Go i 71

He's Got The Whole World In His Hands

Spiritual

" I I L "'- "
~ :;;.:
iL .
l ~ r ......., ....
j Bass pattern #1
.
I .

• -41 ... .. • ... .. .. fI r\ I
1 ~ -.or.
) ~ • • ... .... • -- "-'- .. 1:
-
·
I ,
-;;;;;:
- .. .. ~ ~ -. -. ... ~
.. "- r\ 1\
,
~ -- -- It' ~' :3
,
I ·
• -ill ... ~ ~ 4 .. ~ • • __ C-' He Is Lord

Moderato

,1l
I -= -

) .J -,14 Y' ., -:jJ' ... -----.---- --'7 GI' .. -
J mf Pattern #33
t? - f':)
1 ~,--" ••
""'" --
r 1 J...o _-- F 7 r I .....
- .. - II
1
4T
) ~ .. - ~ .. • 4'
) - - r-1
",_ I -
I ·
·
~ . _-:
-:: - I • - I ~ I .. I
... Jesus Loves Me

orr. by Gail Smith

_j_ I -
~~ ~
-
- - - --I-
Pattern #80 1
....J
~ •
J •
:Ja:: J
z
, - I • 1":1
-_
4 __j_ - ,
- •
~\ ..._
1:
- ~
._ r .L J
-- J -
~.
, .... _._. -
L -
,r- I •
OJ
.. ._. •
/I
(~ t=-- • .6J-
111 ~ •
I -JIO!,.
-.J I
-
-
FiiI: - -
\r.-z • - -
~ -Z.
~
{cb t- ... ..- 3
:L_' - ..
~
~ -fI- _~ • .
Pattern #82
.
n:li..
-_._. ..,_.
L
\c:: - 3

..., ....

~ I
!_ t ~ ..lIi
I • ~ ~
1\ :2_ ... - •
\!
I
----. - I
-
~ ~ ~ _r ..1 - 4
-
~ __...
7 ---- •
r
-- Just As I Am

William Bradbl!ry orr. by Gail Smith

.-:1
...-c
r~ . - - ....

L.A - ""- -
~
~ ...... - .. I ..1 -
Pattern #29 -
.L J =
L ..
. ~
__::_'"
.L -
L: 4 .A
- :it.
\' ~
t w 1: -
...1 4
_l J l _.
I -
L ..-
-'o..l'
..=..,..'
C
, :::: r

=i
---,
- ---,
-
1J_ I r
L
~ . -
j1:_ l=
~ IJ .L
- 11 .L 1 1 1 ~
.._
J -l -
1- 1 ..
-"..)" 'i'1''"'
~, --
L. •
L..:_ #i '711

When The Roll Is Called

James M. Black orr, by Gail SmIth

"
. . . . . . .
. .
.. •• "11 ... .. ... =- .... "11'~. :;iii "11' ....... t:t :;jjii "11 ................. •
I _l
·
·
• ;t ... ... "
. . .
. .
if) • V. .. ' .. .. ' ..... ... ~. ~ .... ....... .. :f ~ . ...
I _l
·
·
~ - • ~ • ,. ....-!!!II ... ~ I -
.
· . .
.
~ .. ' .. "~. :;jjit ... • "11~"" 'II ~. I I
Pattern #58
I I I
·
·
• I • • ~ • ~ J I I ~ -
·
·
if) ......... r;,J [Ie;..
Pattern #59
I I •
I ·
·
- ~ - ":J. • ... .!)-6 ___
- Sva ,

1\ - _.!'- _ .. !'- ~
.
. .
if) V· .. ' .. :iij. :iij .... "11 "11' "11 ~.
_l
·
·
-& • I - • Nothing But The Blood

Robert Lowry orr. by Gail Smith

II~ I I
1 tJ "I "I "'II .. • • .. .. • •
I Bass pattern #45
I I I
.
.
. ... "II • -4 "'II ~ -,J I iI\ ,u. I
.11
~ C. .. - ., -# .. t "'II • • •
3 I I
·
·
y I • .. "'II • .- '11 II,u. I I I I
I ........ .:::1 :::I
~ .. -iI • • f:;,I 1! .. •
Pattern #47
I I _] I I
I ·
·
L
~ -,J I -,J I I · .- III · .- "'II _6_.j.I._ I I I
I • _s
1 tJ c;. .. ... • • • •
J Pattern #18
I I
t ·
·

-,J I I r -,J I I r yJ I r . ... '11 ,

II.j.1. I I ,.
-"Ii _:::II ...,
1 ~ • ~ .. .. .. • • c;. t
I I I """"""" -
·
·
-
• ... III -:J -,J I "'II =
"'II Standing On The Promises

R, Kelso Carter orr. by Gail Smith

8v(I __ - - -- - - - _ - - - -- -- - - - -- -- - - - _. - -- - _. _. - -- - -_. - - - - - - _. _. - - - - - - - - - - - - - - - _. - - - - - _. - _. _. - - - _.-

11 I
I -
. - .
. . . .
, v •• ••• - .' ...t: .. • • ~
mf Pattern #50 Pattern #53 :
l- I- S l- •
I .
.
- • ... ... 8va

fI 1 · - - - - - - ... - - - - - ,
I . . _21_
tJ • c# •• ••• .' .. t: .. • • c;.
Pattern #51
I:_ l- • •
·
·
• - • " I - - - - I
·
· . .
· .
tJ • • • ._' ._ u ~ i ,..
Pattern #1
• • •
:'11.' _.
,
• - • - • .. ... • i " I .., .., I
· . .
I . .
tJ ... ... • ... c;.

• •
I ·
·
• ._ ... • ... I - • fI I - - - -
.
I L-. _. . • .' ..0.
.
tJ i .' ••• - - u - ::::::- ~U

Pattern #46
• -
·
·
... I ... I • • • - ""7""7

Glory To His Name

3

John H, Stockt?n orr, by Gail Smith

~J

-:w-- ..

.. ' .

..

.. ..... -" -".

mf

\

\

..

\

I

. i!t
_A.w. -t
.. -" -". •
.. .
(~ ..
~ -
- ~
.., ... -
Pattem #54 • - -
~ .. ... -
. I 111
~ .... \
L I
,L.:. it_tIL 1 1 ... ... ...
..
\~ . tt
. .. .1
-
.' 1 1
Pattern #55 =-
Fi_I::t ., .. ... 111 •
,~ .I I .. -
-
f'I,j,I. • .. ...
..
,~ ~ .. ..
1 ; ~ -
Pattern #57 -
~ -
-
...... -
I -,j
_n.
~.
L
, - _f'l..At

II....!L _If.

~.

3

.. ' ""11 T·

...

-

-

..

.. ;--- - -

. ..

I

I

-

"'10

My Country, 'Tis Of Thee

Samuel F. Smith, 1832

orr. by Gail Smith

'" .w. I
,
l .
1 ~ 11 ii -iii ~: --
~ mf
, :
.
\ .. :4j ~ . '" JJ, ,
.
iJ • - - .... ~ -I t ~
·
·
.. :4j ~ .. :4j ?:; 1IJ,1. ~
1 ~ .. .. ~ ~ I 1 II
J Pattern #33
__....." - - ..
·
·
\ I ... I!.JJ, ... • r--.
.
.
tJ I • r
,......, - ... --
·
·
..". I ~ 1 '" JJ, "" I
j . .
v • • .. - • • t:
"-
· .
·
- -:j .. :4j ~ I .... '7n

. America The Beautiful

Katherine Bates

Samuel A. Ward orr. by Gail Smith

L1 I
~ U . - ....
• • - I
mf
Pattern #42 _. - . - .
- -
I .
.
- - II
I :;;or ·
-.J - • •
• • • -
· ~
I · ---
- - - 3

3

l-
f1 _l .
t . -= -

) e) I ,J -
3
) #fLf:..fI-.,. • ... .. • .,.
· ..
·
I - II I ! !
t · .. ·
· ·
·
· • .. J '"
tJ r I
- • ~ .
10--' 1\ I I.. , I I 1
, · ·
·
· .... ·
__ lI • .. .. '"
tJ - -Ii .Ji
-
-- r-
_.. .
.s: ..JL • """1
. - - . ~ "I ~ ~. on

I

Pass Me Not, 0 Gentle Savior

William H. Doane orr, by Gail Smith

, II I I ... I
. .
· .
) IL . · .
"P r • ~ ~
,._
- •
I ,
,

I ....... - I ...... I - ... ...
- - - If\. I
.
.. I ~U I I ~ r • ~ ~
-
...". .fL ,,_ - ,.
.
,
I I I - l I
- - - - If\. I ~
,
.. I - • I
Pattem #73
I I ,. ._ -
,
,
... ... I - I ....... I
- - - II I ~ .. .",.. I'-
,
.. I ~ .. .. -
.. ~ .fL .fL
• I I
,
,
- - I • I
- II I f:-' ~.",... ,..",..' - ~ t.. ~
I .
-ttl . ' • -6
,._
• I I I ..
.
I - - I - • ~ .. ~ ~
- - 01

The dominant seven chord in the key of F is C Dominant Seven:

C7

,:~ n

"Softly And Tenderly" contains two other dominant seven chords. We call these chords "secondary-dominant" chords. They sound like dominant sevens but belong to other keys. Think of these chords as just visiting this key and not living there.

These are the two chords to listen for:

D7 G7

Softly And Tenderly

Moderato

Will L. Thompson orr. by Gail Smith

I II I
t .
) ~ • • -4
mf
J - - • 1*- • -
I I I
t ·
·
IL
• -. - -. I " I
.
~
I b. f*- IR- f:. ~_h.
·
·
• r I ......
- 1'1 I
I ·
~ • - . -4
- 1*- -
I - I • • I_ -
I ·
·
• • - • B?

I

Ii
I
.
ItJ I - '*
~ ~ - -
• -. • I -. ~ I --
I ·
\ .. .. ..
- I
I .
.. -
,.. fit. .". -
- I -.
·
·
~ - I • •
- 1'1 l I
t.l I I I I
i9- ~ fL ~ !'- ~
·
·
~ - I - --- Ii I
.
t.l • • -9-
- - ~ -
I -. ~ I • • I""" I
I ·
·
.. .. - • f! I
.
.
ItJ I
• ~ fl- • I
· ---- !-:
·
- .. .. r;;,I' ,
. ", 4'~7'
A •
{~ --.
~
~ 7' Vo" 1._ ... ......
I .
< I I I I
~.
~. . 1 1
-.
...... -:? I I 1 I Amazing Grace

Traditional arr. by Gail Smith

-l-
J""Ioo!"
---tl-_j_
l#- I
.#I,
--U!'
...!> -
III .-IL~
.-IL~J!:_ ~
~
_. . 4: -
- . -
,L
'L.- --,
"'"""" ---,
...t--1t
I
('oJ - - .II-~.f.._ -
__e_ ~
~ _,,_ -
~ ....
.
-=- •
,L
,L.:. .
::::::::= r --
1l..Jt
, ~ I
A
lim _._ -
I~ ~ -
r-- ~ ~
--
c!l: 71 I 3
,L
71 I
----j
----j
---,
-
ll~ -
( -
- ~ .JIl..
V ~
'"""
~ _._ v
II!!!!!"'t •
cn'-4-
t.-=- ' ..
L.L.
,L:. -- .i
i"'IIoo. .
1tl!. --
~ ~
A I
~ .....::::= c:...
Pif ~ ~
.----~~ ~

~
...a:\'
~. ....
,L
,L:. " ..

At Calvary

T ner 1895 Daniel B. bOWGail'Smith orr. y

0""

Silent Night

Franz Gruber orr. by Gall Smith

1'1 I. l
I . .
. . .
tJ - .g' -
mf Pattern #35 Pattern #33 ~
.
.
~ - ___. ~ I ~ ___. ~ I
.
·
tJ .g' I I
......., ........, ,. fl- ........, ,. fl-
·
·
~ - I - - ~ -- 1'1 I I It.. I I.
I · . .
· .
t. - I -
~ ~
·
·
-- .. .. -:J_ ~ II I I It.. I I.
,
, ,
, ,
t. .g' I
- ~ - _ ~
·
·
~ -- .. .. ~ --- II - ~ _' I
,
t. .. • I I r
,....., ~ ,. fl- ~ ,. fl-
·
·
./
~ - I ~ __. 1'1
,
·
t. I - .. -6-'
........, ,. .......,
·
·
-- -;J. ---- - -;J. - I 0-'

Away In A Manger

James R. Murray orr. by Gail Smith

I It ~ I
\ ~ .
.
I I ... .. - .. -9 ...
) np Pattern #35 Pattern #33 Pattern #28
~ ~ •
f .
.

.. .. ~ .. ~ ~ 11 _l
I
.., •• .. ... ... - .. ... I
........ r--.
·
·
~ ~ ....... .. .. II ~ I
I
.., I ... .. - .. -9 ...
) ~ ~ •
·
I ·
, .. .. ~ .. ........ "'--' I " ~ I
\ ~ .
I ..
) ......-! - ....... • - -
·
·
~ I .. - I .. o.....l Q 00

The First Noel

English Carol orr. by Gail Smith

~
I .I I
~ __;:;__
-
1'1 I I
~~y. •• ...
~ ... ... -
up I ~ ~
"Z""i:.~ I ..
I -:to ...
~ "7 4J. -.
... I ::j
---j
- -
1'1 I I
(f -
-
... -
•• -
.p-
....-; ~ ~
~: •
r--;:r
\ -.....! Pattern #35

t::::: --I
--I
---1
. -
.
.. ~ .
A -d
~ - -
~ .... •
I . ...
:"'Ii. -
~. ... I
It:::: ~ 00

What Child Is This

Greensleeves orr. by Gail Smith

mp Pattern #31

_.~. .~. .~.

I~'~~~~~~~~

1\ ,j,j. I
I .

t \ r I ••
• ~ • .fL __.... •
·
I ·
......... ..._."",. '" ,j,j.
t
.
tJ - If'. 1'1'.
(
.. - ........... •
1 ·
,

~ - ~ ..._."",. / 1\..It I

) t ?7 I ? I

t~'~~~~~~~~~~~~~·~~~~·~~~~~~·~~~~·~~

~,j,j. I
I ~.
t -.' - -
- .,._ - ~ • .".
I ·
·
::;;;r
....... ~ ~ - I

1!.,j,I. ~
t

) .. 1+'" ~ • ~ -,J
) ........-! • • ~
·
I ·
... 1\ ,j,I. I I I
I ,

.. I V'
.......... """'"""'" .fl-
·
I ·
- .......... - ............ .......... 11\ ,j,I.
,
.
) t.J .. tt".
) ...-000'1 • .,..
·
I ·
, ............ ........ .......,. 1!.,j,I. - I
.
I
.. i· -,J 1+. ......_.
....... • """'"""'"
I ·
·
............ I - ............ 11.110 I I
t. I V' ••
"""'"""'" .fl- ....... •
·
·
........... ......... ..._.... 1'1.110
,
,
.
.
t.J - +1'-' i* -
~ ~ ~
·
·
1..--1 "* 4' n1

In this next gospel song, we use several left-hand patterns. Chords and patterns are adjusted to sound just right with the melody.

The F Major chord is played these six different ways to fit the melody:
tl~1 ,.. ~ r r r ~:~I pi j r ~ F
J ~ J

':~l P' j E r r 7)= ~ I p2 J r ~ r
J ~ j
!}= ~! ,.. J r F ':~I p n
J F Practice these patterns, then play the arrangement of "Trust And Obey." When you can play it well. try playing the right hand in octaves.

Trust And Obey

Moderato

Daniel B. Towner orr. by Goil Smith

/1. _j_ _j_
,
) v "!f
<
J - ~
f ,
.. ' _.I.J L_
• I .. " I
IL -
V I I I I I
~ ~ • .". fl-
,
/. _.h -- _'!: _._
~ I .. ~ " I I
I I( ___b__ _._
.
V I - -

~ , •
I Jf/L_
•• r"""
-_
.. ~ ___. O?

1\ I I
I
, ~ I I I
J ~ ~ ...-.
I ·
·
• I • ~ I 11 I I
,

l ~ I I
I _._ ~ fL •
t ·
·
... ~
• ~ • /I
I _.'!:
1 ~ I
...-.
I · I"'" _IlL
·
• ~ - I • 1'1 I
I
tJ I I ""'--I I
__., ...-.
_. .
-,; ....... - ~ - I /I _j_
J,
~ I .. ... ~ ..
- •
·
·
.
.. ~. • Holy, Holy, Holy

John Dykes orr, by Gail Smith

1
J -
../1_J. •
PU- J 1 J ...
~ - .... _._~~~--
t,J _._ _ _I/I_
I lilt _._
, -
I j_
3 ~
.
-= . ....,._.
L -
"ill --,
1 -
1 1
·
,-Q-J. ·
..rI.
... ..k _Q_
1-t,J ._ lilt ._
._.
, _._ · 3
L_._
. r 3
--=- • 3
,L S
t..:. -' ._ JL
3 __
_;),
.11...1 . j
(~ . ,. .... - -
- . .._ 1.
---.k A_
1:_ --_h -
.
-= . -'
L -
u; I

J ---j
---j
J _,
-
~- J
.fJ....1
{~ J ... •
..l. 1
_._.~_._~ ~.._ ~-- _._
tJ
_._ - _._-
._ -' 3 3'_
..a:l: -' -
,L 3
\ - ...':. ._.
~ -
\ .
.fJ. ...1 .. ~ 1:
(~- ~
I~ ~ 3 -
J!:__._ - ....
.JI' --r-. "
~.
C
, -- all

Chapter 8

Common Meter, Long Meter, and Short Meter-16 are determined by the words of the hymn. Count the number of syllables in each phrase and that will give you the meter.

Example 1. Common Meter - 8 6 8 6

Oh God, our help in ages past 8 syllables

Our hope for years to come, 6 syllables

Our shelter from the stormy blast, 8 syllables

And our eternal home! 6 syllables

Psalm 90

Isaac Watts, 1719

I 1'1 I

o God, Our Help In Ages Past St. Anne

tJ ..

1. 0

2. Un

3. Be

4. A

5. 0

William Croft, 1708

I

G:d, W h:IP in : - g:s past, Our hope

- der the shad - ow of Thy throne Still may

. fore the hills in or - der stood, Or earth

thou . sand a· ges in Thy sight Are like

God, our help in a ges past, Our hope

~.~~~~~~~~~~~.~~-~~I~~~~~li~~~·~~~~~n~.~~

,E I 1 I I

- '. (;iI'

for years to come, we dwell se . cure; re . ceived her frame, an eve . nlng gone; for years to come,

I~~~~~~~~~~~~I~.~~~~~~~~'~~~~~~~~:~~~I~~~~

.. ;ur snet . ~r from t~e st1rm - y ~ b~st, A:d our ~. t:r . :al hO~e! ~

Suf - fl . cient is Thine arm a· lone, And our de· tense. is sure.

From ev· er - last . ing Thou art God, To end . less years the same.

Short as the watch that ends the night, Be . tore the rts . jng sun.

Be Thou our guide while life shall tast, And our e· ter . nat home!

~.~~~_~I~~_~~~~~~l~~ij_~~

\~ I' I I I I

A . men.

o God, Our Help In Ages Past St. Anne

William Croft orr. by Gail Smith

Common meter 8 6 8 6

1'1
,

tJ .. .. .. • • -iii ... -iii '., ~: •
(
I .

~ ~ • ... • ... "11 - I 1'1
·
·
·
.. - ... • - ... - .. .. - •
~
.
I .
--. ·
-. 11 - :4j • .. .. "11 11 • - ~. 0""

Example 2. Short Meter - 6 6 8 6

Blest be the tie that binds 6 syllables

Our hearts in Christian love; 6 syllables

The fellowship of kindred minds 8 syllables

Is like to that above. 6 syllables

Blest Be The Tie That Binds

Dennis

Melody by J. G. Nagelt 1768-1836 Adopted by Lowell Mason, 1792-1872

John Fawcett 1739/40-1817

II. I I

tJ ~ ~ - -6- .. . J • .J .. ~
1. Blest be the tie that binds Our hearts in Chris tlan love;
2. Be - fore our Fa - ther's throne We pour our ar dent prayers;
3. We share each oth er's woes, Each oth er's bur - dens bear,
4. When we are called to part It gives us in ward pain,
~ J~J ~ J~I ., J~I ., J~I
I I I I II. I I, I 1,..-..1 1,1 I I-
Ll
. ·
~ ~ lin. dred I I I 1 ...... -6-'
I The fel - low· ship of minds Is like to that a - bove.
Our fears, our hopes, our aims are one, Our com - forts and our cares.
And of ten for each oth er flows The sym - pa - thiz - ing tear.
I But we shall still be joined in heart, And hope to meet a - gain. A men.
I • J"I ., Jr:l IrJ ~ J'"'J III J'J lilt J"J III n· ·
· · LI
·
.
\ 1 I I Blest Be The Tie That Binds

Short Meter 6 6 8 6

Dennis

Lowell Mason

I'r. J,I. I I
I
v I I
~ III .fL ,_-, III ~
.
I .
-.J -- - ~ - I I'r. J,I.
I

tJ ..
-~ - _._ .fL _~ ~ ~ III
·
I ·
-.J ~ I I'r. J,I. 1 1
.
tJ 1 I 1 I
~ I ~ _III ~
·
·
-- ~ I -.J - Example 3. Long Meter - 8 8 8 8

Praise God from whom all blessings flow; 8 syllables

Praise Him, all creatures here below; 8 syJfables

Praise Him above, ye heav' nly host; 8 syllables

Praise Father, Son, and Holy Ghost, 8 syl/ables

Praise God From Whom All Blessings Old lOath

Doxology

Thomas Ken. 1709

Genevan Psalter, 1551

1':1

iloilo I I I .
I
) ~ • • • .. .. "II • .. .. .. I
Praise God from whom all bless - ings flow; Praise Him, all crea-tures here be - low;
, t:\ 11 !: 1':1
• • • ~ • !II- III!.
·
·
I I I - I II ... I I t:\ I 1 I t:\
I
tJ • .. • • ... ... • • . ~ I .... ~
Praise Him a-bove, ye heav'nly host; Praise Fa - ther, Son, and Ho . Iy Ghost. A men
I I t:\ I III!. ~ J D: 9-
• - • • • 0
·
·
Io...,j I L-' I The Doxology

Long Meter 8 8 8 8

arr. by Gall Smith

t:\

1I_j.l_
,

) tJ i i :: J ! ... .. .. .. .. .. • 'iI .. • ...
) t:\ t:\
I :10.. • __II
·

... 4 - 4 "II .. ... ~ "II ...
"II I\JI. t:'\
tJ .. .. • .. :: :: i .. .. 'iI • .. • ~ ~ ~
"II
1':1
·
~---"!'_ _:"':
"II - ... i 4 ... - .. - .. ... ::: i :ij "II .... 4 "II .. .. ....
.. Chapter 9 Right-Hand Patterns

The following seven fills are used in the next several gospel songs:

C F G D B~

OJ 4] [ [ e rig f F :E or r I E F &c

F G f:_ D Bb := tb~

@, 4 PE; Ij tpc II ttp In. FEr IE' !;:::E

C

C F G D B~

M' UP Ftr jlJJJJJp I F -U I I I I I jJp lij ~ I

~ l ~. ( 0 J-J-# a F r

C

G

D

I •• JJ

B~

iE"

C F ~ G D B~

® , 4 Frcre Ii [cCrt I I quE I.i F*=cpr IE'S

C F G D Bh

© , 4 Ujfp I. 5dJ] I I c(ELr lui r"tWr IE': I

C

o , r U-e

F

!. r-

I : r r

G

D

I#f r j'-'r

B~

1M _= ;. '.

OR

The Lord's My Shepherd, I'll Not Want

,. I ~ .......
tJ 41-
j_
,
,
, , , ,
(;,0' (;,0' Go' Go' Go ' F

F

Scottish Psalter

G

c

F

~ I I I I I
.. I I I I
1>r
, ,
, , ,
, , ,
, ,
Go ' ~ I Go ' I\_ 1 I I
,
~ I I I I
1>r 1>r
I , , ,
, ,
, , , ,
,
\ Go' - :;' COo' c

F

G

c

F

Now play the song again, and add this fill for F, C, or G when the right hand has a half note:

F C G

FiB #j '5 f = - i: r r ! f F r

This Is how you'll start in the right hand:
F J F J .J
'51 - 1- J IJ at n IF ar n IJ aE J
I J
I
_J G C
0 kJ
&> J WE ~ IJ J J i!F ~ Ir ~
I Ohl How I Love Jesus

, an Melody Early AmerblC Gail Smith orr, y

-
- :::r::,
~1:
A
IL , ... ~II ... 1~!.H.FI11#4
~ .... ---i
tJ -
-
C:!l: -
e:=....::. .. ... -
,~ ~ e a -,
--,
----,
~ __JIIr._ -
-
... I
~ ~ ... ~ . .- ~;:
:A_;:_ :I 1 -
~ ~~:I ~~~
- .
~ .. ...
~: '!l'-
c-
, - Jesus Never Fails

orr, by Gail Smith ~._ .... -,

1

_j

-

rr~~

r r R.:'FIII #7

-

,

.......

1t

mf

~ r-,
_j
:;s
11 .... • = 'ii'
(,; .... .. '1
- ... ../.
- _j_ --t-
_o -
._ .. ~' -
E_9: ;::t:- ~ .'
,-L-:::?:
\ ---- .

-

: !

i i

I