So, how did you like the book?
Amazing grace. Let us see only the first part. The melody goes:
G – C – E – C – E – D – C – A – G
Which chords to use? The most orthodox approach is to use the I – IV – V chords, in this case, C major, F major and G major. But which one? And where?
Well, the first note sounds good by itself. But the C needs a chord. Both F major and C major have C as one of its notes. But if you try, you will see that F major does not sound right at all, while C major fits the bill perfectly. In fact, the next 5 notes all sound good with a C chord. Then we get to the D. C major clearly does not belong there, so which chord should you use? The only chord that has D in its composition is G major. If you try that, you will see that it fits like a glove. The next C can fit either F major or C major (both have C). F major sounds much better. The next A can only go with F major. Finally the last G (either G major or C major could be the chord) happens to go better with C major.
So now it looks like this:
G – C – E – C – E – D – C – A – G (melody notes)
C - C - C - C – G – F – F - C
Following these two rules or recipes:
1. Use chords I – IV – V. (Because they contain all the notes of the scale).
2. Use the chord that has the melodic note as its constituent; if there are more than one chord, choose the one that sounds the better. (This means that every melody has an implicit harmony – a very deep statement)
You will be able to harmonise any simple tune in a primitive way. You must start with this in order to train your ear to recognise the best chord instantly without having to experiment with different choices. You should just be able to play the correct chord with the correct melodic note. Start with simple melodies that stay in just one key (Nursery rhymes are ideal).
Soon however this will become unsatisfactory. But instead of adding more chords, experiment with different textures. For instance instead of playing the chords in their root position, inver them and check what effect this has. Or break the chord into a bass note and two chords (like in a waltz). Or play the chord as an arpeggio instead of a chord. Or play the chord as an Alberti pattern (instead of playing the chord CEG, alternate the notes: C-G-E-G-C-E-G-E) This will sound like Mozart. Or use a modified Alberti much favoured by Beethoven: C-G-E-G-E-G-C-G-E-G-E-G). Examine pieces to see what other arrangements composers used.
Once you have explored this, you will be ready to start using other chords. For instance instead of G, use G7 (so the recipe becomes I – IV – V7). Or try C-Dm-G (I- ii – V).
The important thing is to realise that a good arranger does not really follow rules. He “hears” the music in his head, and he just knows which keys to press in the piano that will give him the sound that he wants. No one is born with this skill. It is something one learns. But it takes time, a very structured approach (that is why it is a very good idea to limit the number of chords you work on), and consistency over time.
For some really excellent ideas, you may be just ready for:
Laura Campbell – Sketching at the keyboard (Stainer & Bell)
I hope this helps.
Best wishes,
Bernhard.
Topic: Intermediate player - what best to practice/study?