Rocket Piano Gospel v1.2.pdf

8/14/2019 Rocket Piano Gospel v1.2.pdf

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Acknowledgments:

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Welcome to Rocket Pianos Introduction to Gospel,

Spirituals and Hymns!

A personal message from me

In this book you will learn what constitutes Gospel tunes, Spirituals and Hymns. You

will nd out what each type of music contains and how they relate to each other. More

importantly you will be playing a whole lot of these tunes yourself.

This book follows on nicely from the rst book in the Rocket Piano series but is valuable

at any level. The information in the book is relevant to anyone interested in the Gospel,

Spirituals and Hymns. By the end of the book the tunes get more and more complicated

and thus more rewarding.

This book gives you a very straight forward introduction to Gospel songs, Spirituals and

Hymns. It introduces a couple of new scales, new key signatures, plus some new notes to

show you how most Gospel, Spirituals and Hymns are made up melodically, harmonically

and rhythmically. These three aspects also serve to link each style to one another.

This book will be perfect for those of you who want to play in church, sing along to your

own playing, or accompany someone else. This is also for anyone who just wants to learn

more songs.

Each type of music has very interchangable aspects and their styles sometimes blend.Some songs that might be considered spiritual may also sometimes be considered or

played as gospel tunes, and the same goes with hymns.

This is partly because in the history of the respective styles the lines where one style ends

and the other begins are naturally quite blurry. More on that later.

For the purpose of this book some songs may be considered as either types of genre.

The Rocket Piano


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Every time you see

this button, listen to

the relevant track.

0101

Every time you see

this button, play the

relevant video.

Table Of Contents

Welcome ..................................................................3

A personal message from me ..................................3

Table of Contents..................................................... 4

RocketPiano Progress Tracker ...............................5

Chapter one. A brief history of Spirituals....6

Chapter two. Spirituals, three main types .....7

The Ballad ...............................................................7

Faster tempo syncopated tunes ..............................8

Chapter three. Spiritual melody ...........9

Major pentatonic ......................................................9

Minor Pentatonic ....................................................12

D minor pentatonic ...............................................14

Blues pentatonic ..................................................16Blues pentatonic tune ..........................................18

Chapter four. Dotted 8th notes ...........20

Dotted 8th note tune ..............................................22

Here are a few more Spirituals. .............................23

More spirituals. ......................................................24

Chapter ve. I, IV, V in spirituals ........26

Chapter six. Gospel songs .................33

A brief history .........................................................33

Gospel songs.........................................................3 4

Chapter seven. E major.......................36I, IV, V progression in E major. ..............................37

Chapter eight. Hymns .........................43

A brief history .........................................................43

Amazing Grace ......................................................44

Battle hymn of the Republic...................................46

Hark the herald angels sing ...................................48

Holy, holy, holy .......................................................50

Joy to the world .....................................................52

Conclusion .............................................................54


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This Progress Tracker has been specically designed for you to keep a record of each

individual skill, concept and technique that you learn in the Rocket Piano course. By

the end of this book you will be able to pin point exactly how far youve progressed in

becoming a skilled pianist and a knowledgeable musician.

Once you have mastered a lesson or skill tick it off on the Progress Tracker, and move on

to the next lesson! Commit yourself to ticking off the skills you learn as you go and see

your improvement instantly!

Lesson or Skill Page # Date Signature

Call and response .......... .......... ....................

Ballad .......... .......... ....................

Faster tempo syncopated tunes .......... .......... ....................

Major pentatonic .......... .......... ....................

Minor pentatonic .......... .......... ....................D minor pentatonic .......... .......... ....................

Blues pentatonic (b5) .......... .......... ....................

Dotted 8th notes .......... .......... ....................

I IV V chord progression .......... .......... ....................

E at major scale .......... .......... ....................

I IV V progression in E at major .......... .......... ....................

Rocket Piano Progress Tracker


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Chapter one. A brief history of the Spirituals

Its hard to exactly pin-point the period in which the African American spirituals assumed

a particular type of character. This is partly because there were no attempts to acquire

any of the spirituals before 1840. It is thought that spirituals appeared as early as the

1600s.

These spirituals cannot be associated with any particular authors but are instead attributed

to the African American people and their musical abilities. The songs were learned and

handed down through oral tradition and preserved that way through the generations.

Music played an important role in African life and culture. When they were removed from

Africa and placed in a foreign land under the hostile conditions of enslavement, theseterrible circumstances inspired the spiritual songs. With the roots of African musical ideas

infused with this new culture and religion, these new songs emerged.

The songs are called Spirituals because the authors of the songs used lyrics inspired

by biblical stories and ideals and they believed the Spirit of God was the source. When

they felt moved and inspired by the Spirit of God that was when they sang, prayed and

conceived the songs.

They drew the content and lyrics from the Bible and applied their African style of singing.

They sung of their circumstances and experiences. They sung of their yearning for

freedom and justice. They also felt a great kinship with the similarly enslaved Hebrews ofancient Egypt.

The African-American slaves also used the spirituals as codes to communicate and

express their hopes and desires for freedom. Also contained in the coded spirituals was

information on secret meetings and escape plans. So through the songs they resisted

and fought their enslavement. Such songs like Swing low sweet chariot, Go down

Moses and Steal away all had incrypted meanings about the underground movement

for slave abolitionism and the underground railroad network.

When the slave regime ended so too did the advancement of the spiritual folk song. By

this stage there were some 6000 known spiritual folk songs. The spirituals were now anestablished musical style.

The spiritual songs have inuenced a huge number of musicians and musical styles.

Their importance as a musical form cannot be undervalued or denied. Gospel music has

rm roots with the spiritual style of music, as do blues music, jazz, rock, soul and even

country. The spiritual styles scope in terms of importance and inuence is visible right

across a vast range of musical styles and genres.


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Chapter two. Spirituals, the three main types

Call and responseThere are three main types of spiritual song: The call and response, the ballad and the

faster swing spiritual.

Theres the call and response chant. This means the main melody is sung solo by a

leader, the call. Then the next phrase is sung by the chorus as a response. There are a

large amount of spirituals written in this format, especially the earlier ones. These songs

have a slightly ery aspect to them. They are generally a faster type of tune.

Some songs in this style:

Shout for joy

Good morning everybody

Swing low sweet chariot

Ballad type

The next type of tune is the slower more sustained tune, the slower ballad type of Spiritual.

This type of Spiritual has long phrases and more sustained notes. Also the lyrics have

longer sentences and the melody tends to be longer and more drawn out.


Deep river Nobody knows the trouble I see

Were you there

This type of song helped the slaves keep

rhythm while they worked. Rhythm was often

important in working together on specic tasks.

So the leader would sing the lead part and the

group of workers would respond .


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Faster tempo syncopated tunes

The last type of spiritual song is the most popular type of Spiritual. It has a faster tempo and

has a swing feel that is designed to simulate the sway of body movement while singing.The melody is usually segmented or in rhythmically syncopated phrases. Syncopation is

a shift in the rhythmical placement or accent of notes or chords. The lyrics are in shorter

sentences in order to t the syncopation. Because of this there is a lot of repetition in the

lyrics.


Shout all over Gods heabn

Little David play on yo harp

Ol arks a-moverin


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Chapter three. Spiritual melody

In these Spiritual songs there are a certain type of theoretical aspects that appear.

The rst of these aspects is the scale that is used in the melody. In general the melody

of the song uses what we call the pentatonic scale.

There are several types of pentatonic scale: The major pentatonic, the minor pentatonic

and an altered version of the minor pentatonic called the blues pentatonic

These pentatonic scales feature in spiritual songs as well as gospel songs and hymns.

Major pentatonicWell start with the major pentatonic.

The major pentatonic is the same as a normal major scale the only difference is the scale

doesnt use the 4th and 7th notes in the scale.

The pentatonic scale is made from 5 notes. This term comes from the hebrew word for

ve, pente. For example a pentagon is a shape made up of 5 sides.

Here is the normal C major scale.

Now the major pentatonic scale omitting the 4th and 7th notes.

1

2

3

4

5

6

7

8

1 2 3 5 6 8 Play through the scale and notice when omitting the 4th and 7th notes from the scale

it gives it a very pleasant major sound to it. Experiment with playing the notes in any

order and youll notice that you can create beautiful melodies quite easily when you limit

yourself to just the notes in the major pentatonic scale.

50


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It is a good idea to learn the pentatonic scale in all of the keys weve looked at so far.

C major, G major, F major, D major

Heres the G major pentatonic.

The melody of this spiritual only uses the notes from the G major pentatonic.

As you can see only notes from the G major petatonic scale appear in this melody.

This is a common feature in the melodies of the Spiritual songs. The major pentatonic

also appears in Gospel tunes and Hymns.

1

2

3

5

6

8

You shall reap

You

1

shall reap

jes what

you sow

you

shall reap

what you sow

on the

moun tain

-

1 in the val

ley-

you shall reap

jes what

you sow

01


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02

Heres another Spiritual tune using only notes from the G major pentatonic scale.

Play through the tune yourself with just the right hand and have a listen to the track.

O lamb, beautiful lamb

O

lamb

beau ti- ful

- Lamb I'm

going to serve

God till

i die

3

O

Lamb

beau ti- ful

- Lamb I'm

going to serve

God till

I die


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Minor Pentatonic

The next scale were going to look at is the minor pentatonic.

This one is a little more tricky. Now were going to briey re-cap how we get the minor

scale.

Remember that the major scale has the same key signature as its relative minor scale.

To nd the relative minor go up a major sixth interval from the key note of the major scale

you began with.

These two scales are relative to each other because they share the same notes. Lets

refresh your memory by looking again at C major.

The scale played from the 6th note using the same notes is the relative natural minor

scale. Heres the A natural minor scale.

This applies to the pentatonic scales aswell. For example the C major pentaonic scale

has the same notes as the A minor pentatonic scale. They are relative.

When forming the minor pentatonic scale we use the notes from the relative major

pentatonic scale and start from the minor note.

When playing the A minor pentatonic you use only the notes from C major pentatonic and

start the scale from A.

Heres C major pentatonic again:

Now the same scale except this time it starts on A.

1

2

3

4

5

6

7

8

1 2 3 5 6

8

51


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Another way to think of it is that you are playing the natural minor scale without the 2nd

and 6th notes from the scale. This gives you the A minor pentatonic. By omitting these

notes from the A natural minor scale you are left with the same notes that appear in the

C major pentatonic. This is because the scales are relative. You are playing the notes ofthe C major pentatonic except starting the scale from A, making it an A minor pentatonic.

A natural minor A minor pentatonic (omits the 2nd and 6th)1

2

3

4

5

6

7

8

1

3

4

5

7

8

I know this all seems very confusing!

But once you can get your head around

how the different scales work, pretty soon

you will be able to play them on demand

without even thinking about it!


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D minor pentatonic

This tune is a call and response tune. It is also in the key of D minor pentatonic scale.

So that means it uses the notes from F major pentatonic because they are relative.

This tune is also designed to be sung by a leader and then a chorus.

Because it is designed to be sung, the chorus sings a melody thats in the same register

as the leader melody line. (If something is in the same register this means that the notes

are played in the same area of the piano or the same area on the music staff)

For the purpose of playing this tune on the piano the chorus line is an octave lower than

what it would normally be if it was sung.

Use the left hand for the chorus line (in the bass staff) and the right hand for the leaderline (in the treble staff).

Heres the F major pentatonic.

Now the D minor pentatonic, that uses the same notes from F major pentatonic.


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S tt n own es e O' t e Lam

New

1Je ru

- sa- lem

-

New

Je ru

- sa- lem

-

sit

tin- down

be side

1- o'

the Lamb

4

Be

1

fore

- I'd

lay in

hell

one

day good Lord

sit

1

tin- down

be side

- o'

the

1

Lamb

7

I'd

1

sing

an'

pray my

self

a

way- good

Lord

sit tin- down be side - o' the Lamb 10

O mour

ner- mourn

a

long

-

O

sit

tin- down

be side

- o'

the Lamb

sit tin- down

be side

- o'

the

13

mour

ner- mourn

a

long

-

Lamb

sit tin- down

be side

- o'

the Lamb

03


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Blues pentatonic

The last scale for us to look at is the blues pentatonic.

This scale is basically the minor pentatonic with one slight alteration. The blues scale

adds one extra chromatic note to a minor pentatonic scale.

So lets continue with the A minor pentatonic scale and alter it to get the A blues pentatonic

scale.

The note that gets added is a chromatic note between the 4th and 5th notes of the

scale.

So in the A minor pentatonic scale, this note goes between the D and E which are the 6th

and 7th notes in the scale. The note chromatically between the D and E is E . This is

the blue note.

Heres the A minor pentatonic scale

Now heres the blues pentatonic scale with the added chromatic note between the 4th

and 5th notes.

The 5th note is attened to E and then raised again to E natural.

So the added note in the scale is the E . This 5 gives the scale its blues feeling.

Added chromatic note, E

b1

3

4

5

7

8

b

1 3 4 5 5 7 8

bb

b

b

52


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Play through the scale and listen to the difference the extra added note makes. Can you

hear its blues quality?

This scale is very common and like the other scales weve looked at so far, is used in all

kinds of music.

It is important to us now because it features throughout the Spiritual songs. It is also

thought that the origin of the blues scale actually came from the spiritual songs.

Like with the major pentatonic and minor pentatonic, play through this scale and try and

make up some of your own little melodies using the notes of the blue pentatonic scale.

When the blues pentatonic scale was rst used people

hadnt heard this kind of sound before. The at 5th note

became known as the devils note because it was new

and strange.


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Blues pentatonic tune

Here are a few examples of some of the spirituals that use the blues pentatonic scale in

the melody.

This tune is in the key of D minor pentatonic.

There is a chromatic alteration to the scale in this tune though. It uses the B natural in the

melody which usually doesnt appear in the scale.

Even though this tune uses a couple of notes that arent in the minor pentatonic scale it

still uses the blue note. You can also hear the effect that the blue note has on the feel

of the piece.

04

= 110I know it was the blood

I

know it

was

the

blood

I

know it

was

the

blood

I

know it

was

the

7

blood

for

me

One

day

when

I

was

lost

Je

sus

-

12died

up

on

- the

cross

I

know it

was

the

blood

for

me


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This tune is using the D minor blues pentatonic as well.

Play through the track slowly to start with.

You will hear the blue notes in the tune.

05

Wish I's in heaven settin' down

Wish I's in hea ven- set tin- down set tin- down wish I's in hea ven- set tin- 4

down

set tin- down

O

Ma

ry

- O

Mar

tha

- wish I's

inhea

ven- set

tin- down


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Chapter four. Dotted 8th notes

We will now have to look at a new note for playing some of the next tunes.

We already know about the dotted quarter note

These are used frequently in conjunction with 8th notes.

When you hear the word feel mentioned in relation to a song, it means the way the tune

has a certain style or sound to it. This generally refers to how the notes are played in

terms of the timing of the notes and their placement or dynamic range. When looking at

alot of these Gospel tunes they have a swaying or swing type of feel. To achieve this

type of feel we can use the dotted 8th note.

Dotted 8th notes make the music appear to swing. Immitating the swaying motion of a

lot of the Spiritual and Gospel singers.

This is like the other dotted notes weve looked at as its time value is now increased by

half its original value. So a dotted 8th note has the same time value as an 8th note tied

to a 16th note.

So =

Dotted 8th notes are usually seen connected with other16th notes so they are generally found in music written

together like this:

This is another way of looking at the dotted 8th notes. This example uses ties which can

look rather complicated so the above method is preferred.

qq e

x e_

06

53

with


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1 e + a 2 e + a 3 e+ a 4 e + a 1 + 2 + 3 + 4 + 1 2 3 4

Using dotted 8th notes in music is quite tricky to get the hang of. So take your time when

going over the songs that have dotted 8th notes in them. Listen carefully to the tracks to

hear what they should sound like played.

Clap out the beats while counting aloud the rhythm.

Listen carefully to the track and notice how the notes are played with the swing feel.

Tapping the beat with your

foot can be a helpful way of

staying in time!


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Dotted 8th note tune

Take as long as you need to get this tune right in terms of its feel. Listen carefully to the

track and take a note where the tune uses dotted 8th notes.

This tune uses a version of the blues scale. It has the at 7 note which is an alteration on

the standard blues pentatonic weve been looking at.

The blues pentatonic will appear throughout this book in several tunes so look out for it.

= 80

Ro , Jor en, ro

Roll

Jor dan- roll

Roll

Jor dan- roll

I

5want to go

to hea

ven- when I die

to hear

old Jor

dan- roll

O

9bro

ther- you ought to been

there Yes

my lord

A

13

sit

ting- in- the- king

- dom

- to hear

old Jor

dan- roll

07


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Here are a few more Spirituals to look at and learn.

08

= 110

Go down Moses

When

1Is

5rael

- was

in

E

gypt's

- land

let

my

peo

ple

- go

Op

pressed

so

hard

they

7

could

5not

stand

let

my

peo

ple

- go

1

Go

1down

Mo

4ses

- way

down

in

5

13

E

gypt's

- land

tell

3

old

Pha roah-

let

my

peo

ple

- go


24/54Page 24

More spirituals.

This next tune has a lot of jumping around in the left hand. Take it slowly and learn the left

hand rst and then put it together with the right hand. Its quite difcult to get this tune soits okay if it takes you a while to learn. The ngering in this tune is also just a guide at this

stage. If you can nd a more comfortable way to play the notes with your own ngering

then you should.

09

= 78My Lord what a morning

My

53

Lord

what a morn

4 ing-

my

53

Lord

what a morn

ing

-

5

5

4

5

my

5

Lord

what

5

a morn

ing

- when the stars

be gin

- to

fall

Fine

9

you'

ll hear

4 the trum

pet

3 - sound

to wake

the

4na

tions

- un

der

- ground

-

14look ing- to

my God's

right

hand when the stars be gin - to fall

D.C al fine

5


25/54Page 25

Here are the rest of the verse lyrics to My Lord what a morning

2. Youll hear the sinner mourn, 4. Done quit all my worlly ways

To wake the nations underground Jine dat hebbenly ban?

Looking to my Gods right hand Done quit all my worlly ways

When the stars begin to fall Jine dat hebbenly ban.

3. Youll hear the Christian shout,

To wake the nations underground

Looking to my Gods right hand

When the stars begin to fall

Your doin GREAT. Keep

up the good work!


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Chapter five I, IV, V in spirituals

Another feature of the Spirituals, Gospels and the Hymns is that they often use the I, IV,

V progressions weve already been studying in book one.

Sometimes the tunes will change the order of the progression but generally you will nd

that the tunes use these chords often.

This next tune uses the I, IV, V chords from C major.

Remember that the I, IV, V chords in C major are C major, F major and G major.

See if you can identify where these chords appear in this next tune

Here is a brief mention about the structure of this tune;

Look out for indicators describing the intro verse and chorus. These divide the tune

into different sections.

Intro stands for the introduction to the piece. This can last several bars but is usually

quite a short section.

Verse and chorus go together and a verse will usually come before a chorus. The verse

will either tell a story or explain a sentiment. The chorus will give an overview, or expressthe basic point or emotion of the song.

Many song structures are very similar. Verses, choruses, and bridges are used to create

a structure made up of different and interesting sections.


27/54Page 27

10q = 86

Piano

3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 3 3

3 2 1

3

2 1

3

2 1

3

2 1

3

2 1

3

34

7descend n

3 2 1 3 2 1 3 2 1 3 2 1 3 2 13

2 1

3 2 1 3 2 1 3 2 1 3 2 110 3

3

12


28/54Page 28

Here are the rest of the lyrics for the verses in In dat great gittin up mornin.

2. Dat de time shall be no longer,

For judgment day is comin

Den you hear de sinner sayin

Down Im rollin down Im

rollin..

3. De Lord spoke to Gabriel

Go look behin de altar

Take down de silvah trumpet

Blow yo trumpet Gabriel..

4. Lord how shall I blow it

Blow it right calm an easy

Do not alarm my people

Tell em to come to judgment..

5. Gabriel blow yo trumpet

Lord how shall I blow it

Loud as seven peals of thunder

Wake de livin nations..

6. Place one foot upon de dry lan

Place de other on de sea

Den youll see de cofns bustin

See de dry bones come

a creepin..

7. Hell shall be uncappd an burnin

Den de dragon shall be loosend

Where you runnin po sinner

Where you runnin po sinner..

8. Den youll see po sinners risin

Den youll see de worl on ah

See de moon a bleedin

See de stars a fallin..

9. See de elements a meltin

See de forked lightnin

Den youll cry out for cold water

While de Christians shout in glory..

10. Sayin Amen to you damnation

No mercy for po siner

Hear de rumblin of de thunder

Earth shall reel an totter..

11. Den youll see de Christian risinDen youll see de righteous marchin

See dem marchin home to heabn

Den youll see my Jesus comin..

12. Wid all His holy angels

Take de righteous home to glory

Dere dey live wid God forever

On de right hand side of my Saviour..


29/54Page 29

This next tune is one your surely familiar with.

This tune is in the call and response style but the tune has been played in many

different ways.

11

= 56Swing low sweet chariot

Swing

5

low

sweet char

i- ot

- com

4

ing- for to car

ry- me home

5

15

15

5

swing low

sweet char

i- ot

- com

ing- for to car

ry- me home

15

2

Fine

9I

looked

o ver- Jor

dan- and what

did I see

com

ing- for to car

ry- me

13

home

a

band

of an

gels- com

ing- af ter- me

com

ing- for to car

ry- mehome

D.C al fine


30/54Page 30

Here are the rest of the lyrics for the remaining verses in Swing low sweet chariot

2. If you get there before I do

Coming fot to carry me home

Tell all my friends Im comin too

Coming for to carry me home..

3. The brightest day that ever I saw

Coming for to carry me home

When Jesus washd my sins away


4. Im sometimes up, Im sometimes down

Coming for to carry me home

But still my soul feels heavenly bound


This next tune, Wade in the water is quite a difcult piece and is one of the most difcult

Spirituals you will play in this book so take your time. It is in this book as a good challenge

for you to learn.

It is also a call and response tune.


31/54


32/54Page 32

Here are the rest of the lyrics for the verses in Wade in the water

2. See that band all dressed in red

Gods a going to trouble the water

Looks like the band that Moses led

Gods a going to trouble the water..

3. Look over yonder what do I see?


The Holy Ghost a coming on meGods a going to trouble the water

4. If you dont believe Ive been redeemed


Just follow me down to Jordans stream


Try singing along with the tune

while you play. Some of the words

are a bit different to what you areused to. Have some fun trying to

pronounce them!


33/54Page 33

Chapter six. Gospel songs

A brief history

Its quite difcult to attain the exact time when Gospel music actually began.

There are two main divisions of Gospel music, Historic and Contemporary or Modern.

The Historic Gospel is said to have begun as early as 1870. It can also be said to have

begun in the years just prior to the depression up to around 1950. Gospel is comprised

of Gospel songs written from about the 1960s to the present.

Around four million slaves were freed following the civil war in the 1870s. Unfortunatelytheir circumstances hardly improved at all. Although they were considered legally free

from slavery they still faced prejudice and racism. A large amount of the the freed slaves

stayed behind in the south but many travelled north in search of employment and a new

start. In the climate of prejudice and racism and the urbanisation of the African Americans,

Gospel music had its early beginnings.

During the end of the historic period of Gospel songs many of the songs were considered

freedom songs. Even though the civil rights movement didnt begin until much later

these Gospel songs already showed the mood of the movement that was to eventuate.

The type of Gospel music sung most often in African American churches then and now isgenerally the songs that were written in the historic period.

One of the most important and prolic writers of these songs was Thomas A. Dorsey. He

has over eight hundred songs credited to his name. He is considered by many as the

Father of Gospel music.

Another similar Gospel composer was Charles Albert Tindley. From his humble beginnings

(his parents were slaves and he was hired out to work as soon as he was old enough) he

went on to overcome adversity and compose some of the most inuential Gospel songs.

Alot of Gospel is improvised meaning it is spontaneous and expresses the singersinspiration that is said comes from the Holy Spirit.

Gospel music is still hugely popular today and inuences a variety of musical styles such

as blues, jazz, hymns and many more.


34/54Page 34

Gospel songs

The next lot of tunes were going to be looking at are Gospel tunes.

Dividing up each genre specically into groups is quite difcult because all these musical

genres inuence each other in terms of style content and theoretical aspects.

So some of the songs youve already played in this book could be considered Gospel

songs as well as Spiritual and it would be hard to argue the difference.

Alot of these songs will sound very similar to the Spirituals and Hymns.

Take this next tune slowly and listen to the track. Follow the music to help iron out any

problems.


35/54Page 35

= 58Bye and bye

Bye

41

an' bye

we

51

all

shall meet

a gain

-

5

4

3

Bye51

an' bye

we all

51

shall meet

a gain - O51

15

5

5

bye

an' bye

we all

shall meet

a gain

- an'

4

I

4

7would

51

n't- mind

dy

5

in- if dy

in- was all

15

13


36/54Page 36

W WHWW

W H

1st tetrachord 2nd tetrachord

1 2 3 4 1 2 3 4R.H

W WHWW

W H


5 4 3 2 1 3 2 1L.H

key

signature

W WHWW

W H


5 4 3 2 1 3 2 1L.HOR

written

this way

an

octave

lower

Chapter seven. E major

To be able to play some of the other tunes in this book we have to look at a new key

signature.

You will remember the techniques we use to get key signatures and we will apply the

same rules to make the new key signature and subsequent scale. The scale we are

going to look at is the scale of E major. E major has 3 ats in it E B and A .

E major appears quite frequently in Gospel, Spirituals and Hymns so its an important

key signature and scale to learn.

As before well start off in the R.H using the two tetrachord rule to make up our scale.


37/54Page 37

Now the same progression in the L.H with the chords in root position.

Here is the same progression this time with the inversions

A lot of the time these chords will not always appear in root position. So you will see the

chords played in a variety of inversions. Heres a few inversions of the diffferent chords

of E major. Take a look at the inversions play through them. See if you can recognise

the chords in any of the tunes used in this book.

This time when playing the I, IV, V progression try using different inversions in different

hands. Try playing the standard inversions in both hands and then on the next page play

the different inversions in each hand and notice the tonal quality difference. Play through

slowly and take your time, its tricky.

I IV V

E A B1 2 3 4 5 6 7 8 I IV V

E A B

L.H

1 2 3 4 5 L.H I IV V

E A B

1 2 3 4 5

root position 2nd inversion 1st inversion

I, IV, V progression in E major.

This is important for us to recognise the chords when playing alot of these tunes.

Remember that alot of this music uses chords from the I, IV, V progression.

The three primary triads of E major are E A and B

1st note of the scale: E major triad: the I chord

4th note of the scale: A major triad: the IV chord

5th note of the scale: B major tirad: the V chord


38/54Page 38

This next tune is in E major.

There are lots of chords in this tune so take your time and make sure your getting all thenotes correct.

= 96

I ove t e Lor

I

42

love

the

Lord

41

He

heard

my

cries

and

pit

ied

41

- 2

2

1

6

ev

2

ry

- groan

1long

as

I

live

1

when

trou

bles

-

1

1

4

11

rise

I'll has ten- to

His throne2

4

1

14

I IVIVIIVIV

2nd inversionroot position root position root position1st inversion 2nd inversion1st inversion 1st inversion

I IVIVIIVIVroot position 1st inversion 1st inversion2nd inversion root position root position2nd inversion 2nd inversion

The next tune is in the key of E minor. The different key gives this Gospel tune a different

feel.


39/54Page 39

15

Here are the rest of the lyrics to The downward road is crowded.

2. Some people say they believe in him You cant ride the empty air

An then wont do what he says An get to heaven that day

= 96The downward road is crowded

O the down

ward

- road

is

42

crowd

5

ed

- crowd

4

ed

- crowd

ed

- O the

5

5

6

down

ward

42

- road

is

crowd

ed

- with

un

be

5

- liev- in'

- souls

The

4win'

blows

east

an' the

5

4

4

5

4

11

win'

blows

west

it blows like the judg ment- day an'

14ev ry- po'

soul

that

ne

5

ver- did

pray will

be glad

to

pray that

day

5

4

5


40/54Page 40

Here is another Gospel tune for you to learn. Listen to the track rst to get an idea about

how the tune sounds, then try playing through it.

If you can, its a good idea to read the music while listening to the track and see if you can

follow it.

16

Stand by meAlbert Tindley

When

the storms

of life

are rag

ing

- stand

by me

(stand

3

be me)

3

5

15

3

when the storms

51

of life

are rag

ing- stand

by me

(stand by me)

31

5

5when the world

is toss

ing- me

like a ship

53

u pon

- the sea

15

7

thou

31

who rul

53

est- wind

and wa

ter

- stand

by me

(stand by me)

5 15

3


41/54Page 41

2. In the midst of tribulations

Stand by me

In the midst of tribulations

Stand by me

When the hosts of hell assail

And my strength begins to fail

Thou who never lost a battle

Stand by me

3. In the midst of faults and failures

Stand by me

In the midst of faults and failuresStand by me

When I do the best I can

And my friends misunderstand

Thou who knowest all about me

Stand by me

Here are the rest of the lyrics for Stand by me

4. In the midst of of persecution

Stand by me

In the midst of persecution

Stand by me

When my foes in battle arrayUndertake to stop my way

Thou who saved Paul and Silas

Stand by me

5. When Im growing old and feeble

Stand by me

When Im growing old and feeble

Stand by me

When my life becomes a burden

And Im nearing chilly JordanO thou Lily of the Valley

Stand by me


42/54Page 42

This is the last Gospel tune we will look at in this book.

There are a lot of chords in this tune so take our time to get them right.

T ere's somet ng on my m n

There's

3some thin'- on

my mind

that's

worr

51

yin'- me

There's

4

some thin'- on

my mind

1

that's

worr

yin- me

There's

some thin'- on

my mind

that's

15

13

7

worr yin- me so let

53

us watch Lord an'

31 pray as

we

live

15

17

Here are the rest of the lyrics for Theres somethin on my mind

2. Fathers drinkin with their sons thats whats worryin me

Theres Fathers drinkin with their sons thats whats worryin me

Theres Fathers drinkin with their sons thats whats worryin meLet us watch Lord an pray as we live

3. The church is out of union thats whats worryin me

The church is out of union thats whats worryin me

The church is out of union thats whats worryin me

So let us watch Lord an pray as we live


43/54Page 43

Chapter eight. Hymns

A brief historyA hymn is a song of praise or prayer towards God. Singing psalms and hymns has been

part of the Christian worship for hundreds of years.

The most musically interesting change to the hymn came 250 years ago. Dr. Issac Watts,

an English minister, saw that the music was lacking in lively and colorful expression. He

was interested in showing the power and passion of his belief and faith through music.

From this, the modern Hymn came about. Watts gave the religious psalms and hymns

much more freedom and interest. A far more powerful means of expression was created

by using variety. Watts wrote such songs as Jesus shall reign and Joy to the world.

After Watts paved the way with this new type of interpretation and composition it wasntlong until he had many followers keen to write in a similar style.

Dr. Watts and others like him helped move the style of singing and hymns away from the

rigid singing of the time toward a more poetic style of religious song.

The songs that were written and played back then were used and adapted to a variety

of situations. The African American Baptist and the Methodist churches both sang these

hymns. They applied their own sense of culture and musical background to these songs

and effectively modied many of the hymns.

Those songs written around 250 years ago are still sung and enjoyed throughout theworld. The inuence of these songs is huge affecting many different genres of music.


44/54Page 44

John Newton, the man that wrote the lyrics to Amazing Grace, left school when he

was eleven to begin the dangerous and rough life of a seaman. He eventually became

involved with the dishonourable business of capturing slaves from West Africa and selling

them around the world markets.

One day there was a erce storm while at sea and John Newton became fearful that he

would be shipwrecked. He turned to God to save him from the storm.

Later he began to read The Imitation of Christ by Thomas A. Kempis. It was through

this book and his fearful experience that he realised the error in his ways and wrote this

beautiful song. Through this spiritual experience John Newton decided to heed the call

to study for ministry. When he was thirty nine years old John Newton was ordained

as a Minister of the Anglican Church in a little village called Olney near Cambridge in

England.

18

Tune: "American melody" fromCirginia Harmony

Words by John Newtonand John P. Rees Amazing grace

A

31

maz

- ing

51

- grace

how

sweet

the

sound

that

saved

a

1

5 5 3 1

3

7wretch

like

me

II

once

5was

lost

but

5

3

12

now

am

found

was

blind

but now

53

I

see

1

5

5


45/54Page 45

Here are the rest of the lyrics for Amazing grace.

2. Twas grace that taught my heart to fear,

and grace my fears relieved

How precious did that grace appear

the hour I rst believed..

3. Through many dangers, toils and snares

I have already come

Tis grace hath brought me safe thus far,

and grace will lead me home..

4. The Lord has promised good to me

His word my hope securesHe will my shield and portion be

as long as life endures..

5. Yes, when this esh and heart shall failand mortal life shall cease

I shall possess within the veil

a life of joy and peace..

6. The earth shall soon dissolve like snow,

the sun forbear to shine

But God, who called me here below

will be forever mine.

7. When weve been there ten-thousand

years,bright shining as the sun

Weve no less days to sing Gods praise

than when wed rst begun.

A very common feature of the Hymns is that they use I, IV, V progressions.

So when playing some of these tunes try to look for and listen for the I, IV, V

progression.

In this next tune remember that the ngering is there only as a guide so you can use your

own ngering if you nd it more comfortable.

Remember that the ngering has to be comfortable enough to allow you to play the notes

at the assigned speed.


46/54Page 46

19

= 82Words by Julia Ward Howe

Battle hymn of the RepublicMusic by William Steffe

Mine

5

3eyes have seen

the glo

ry

4

- of

the com

5

ing- of

the Lord

He is

5

4

4

tram

3

pling- out

the vin

tage- where

the grapes

4

of wrath

are stored

He hath

5

5

6

loosed the fate

ful- light

ning

4

- of

His ter

ri- ble

- swift sword

- His

truth

is

march

ing

- on

2

4

10Glo

Chorusry- glo

ry

42

- hal

le- lu

- jah

- Glo

ry- glo

ry- hal

le- lu

- jah

-

14Glo

ry

42

- glo

ry- hal

le- lu

- jah

- His

truth

is

march

ing

- on


47/54Page 47

You may recognise this next tune. It is often played as a Christmas carol but is also

considered a hymn.

Here are the other verse lyrics for Battle hymn of the Republic

2. I have seen Him in the watchres

Of a hundred circling camps

They have buried Him an altar in

The evening dews and damps

I can read His righteous sentence

By the dim and aring lamps

His day is marching on..

3. He has sounded forth the trumpetThat shall never sound retreat

He is sifting out the hearts of men

Before His judgement seat

O be swift my soul to answer

Him be jubilant my feet

Our God is marching on..

4. In the beauty of the lillies Christ

Was born across the sea

With a glory in His bosom that

Transgures you and me

As He died to make men holy

Let us die to make men free

While God is marching on.


48/54Page 48

Words by Charles Wesley

= 96Har t e era ange s ng Tune: Mendelssohn

Hark

the

her

ald

31

- an

gels

- sing

53

Glo

ry

- to

the new

born

- King

peace

on

earth

and

1

5 6

mer

cy

53

- mild

3God

and

sin

ners- rec

on

- ciled

- joy

ful

- all

you

na

53

tions

- rise

3

5 3

5

11

join

the

tri

umph

- of

the

skies

with

the

angel

ic

- host

pro

claim

- Christ

is born

in

1

1

5

16

Beth

le

- hem

- Hark

the her

ald

- an

gels

- sing

Glo

ry

31

- to

the new

born

- King

20


49/54Page 49

Here are the rest of the lyrics for the verses in Hark the herald angel sing.

2. Christ by highest heaven adored

Christ the everlasting Lord

Late in time behold Him come

Offspring of the virgins womb

Veiled in esh the Godhead see

Hail the incarnate Deity

Pleased as man with us to dwell

Jesus out Emmanuel

3. Hail the heaven born Prince of peace

Hail the sun of righteousness

Light and life to all He brings

Rising with healing in His wings

Mild He lays His glory by

Born that we no more may die

Born to raise us from the earth

Born to give us second birth

Keep going!! youre almost there....


50/54Page 50

You may have noticed that alot of these tunes are mostly made up of chords, and not alot

of seperate bass notes of melody. Heres the next tune for you to learn.

21

Holy, holy , holyWords by Reginald Heber Music by John B. Dykes

Ho

31

ly

- ho

53

ly

- ho

ly

-

Lord

God

al

might

53

- y

- ear

ly- in

the

13

5

1

6

morn

ing

- our

song

shall

51

rise

to Thee

Ho

ly

- ho

ly

- ho

ly

-

5

5 1

11mer

ci- ful

- and

might

53

y

- God

in

three

3

1

14

per

sons

-

bless

51

ed

- Trin

i- ty

- A

men

-


51/54Page 51

Here are the rest of the lyrics for the verses in Holy, holy, holy

2. Holy, holy, holy

All the saints adore theeCasting down their golden crowns

Around the glassy sea

Cherubim and seraphim

Falling down before Thee

Which wert and art and

Evermore shall be..

3. Holy, holy, holy

Though the darkness hide Thee

Though the eye of sinful man

Thy glory may not seeOnly Thou art holy

There is none beside Thee

Perfect in powr

In love and purity..

4. Holy, holy, holy

Lord God AlmightyAll Thy works shall praise Thy name

In earth and sky and sea

Holy, holy, holy

Merciful and mighty

God in three persons

Blessed Trinity.


52/54Page 52

This tune is designed to be played quite fast but dont worry if you have to start off slow

to get it right.

Remember that the ngering is also a guide so if you nd a different ngering more

comfortable then use it.

22

= 82Music, 'Antioch' arranged from George F. Handel

Joy to the worldWords from Psalm 98, adapted by Issac Watts

Joy

to the world

the Lord

is

come

let earth

re

-

6cieve

her King

let ev

ry

- heart

pre pare

- Him

room

and

12

heav'n and na

ture- sing

and heav'n

and na

- ture sing

and

16

heav'n

and heav'n

and na

ture

- sing


53/54Page 53

Here are the rest of the lyrics for the verses in Joy to the world

2. Joy to the earth the Saviour reigns

Let men their songs employ

While elds and oods,

rock, hills and plains

Repeat the sounding joy

Repeat the sounding joy

Repeat repeat the sounding joy..

3. No more let sin and sorrows grow

Nor thorns infest the groundHe comes to make

His blessings ow

Far as the curse is found

Far as the curse is found

Far as, far as the curse is found..

4. He rules the world with truth and grace

And makes the nations prove

The glories of

His righteousness

And wonders of His love

And wonders of His love

And wonders, wonders of His love.


54/54

Youve done it! You have completed the Rocket Piano Gospel Book. Just think of all the

Gospel, Spiritual and Hymns youve learnt. Youre on your way to becoming a musician

... all you need is more practice!

Now you are ready to go on to the Rocket Piano Fingering Technique and Exercises book

if you havent already done so.

Thats it for now.

The Rocket Piano Team

Conclusion

Rocket Piano Gospel v1.2.pdf

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