Playing a keyboard instrument for a singer is an art that has to be learnt - over and above playing a tune as the composer writes it.

 

The basic difference is that the melody line, the words of the song, is left to the singer – and the keyboard player has to play around that.   In other words, the keyboard player has to provide the backing for the singer.

 

Professional singers have the backing written for them and can often supply a copy for the keyboard player.   Many club singers now use backing tracks with no live musicians’. In other words, the backing music, their accompaniment, is pre-recorded for them.

 

However, keeping music ‘live’ is important – and that is what we are about to chat about.  Audiences, who are music enthusiasts, appreciate live music and realise that the singer who sings to a backing track could very well have a voice on it too - and could be cleverly miming to the music.   This is actually done on some stage shows with what is called a click-track.   When performers are dancing it is difficult for them to sing the same time – even if they have the breath to do it, so sometimes miming can be understood for the sake of the production.

 

When playing any piece of music, practice is the keyword, and so it applies when accompanying singers.   It goes without saying that the art of playing for singers comes easier to some than to others – just like many other things in life where hand and foot co-ordination is concerned.   Driving a car is an example – some learn to drive quicker than others.   If we were all the same it would be a very boring world.

 

Just like driving a car when you listen to the sound of the engine, players must also use their ears to listen to the singer.   In fact, the secret is to listen and even observe when the singer is taking a breath.

 

If you are a singer, you already have an advantage. You have been using your ear to learn songs as opposed to reading the notes. This has given you training in hearing music, which is what it is all about! Also, singers use breath to create musical lines and phrases. And when you play a keyboard, this awareness of breath and flow and connection is very important.

 

If you are playing a song that you intend someone to sing, you don't need to play the melody – as we have already mentioned. This really frees up the right hand to do other things - mainly playing chords in different positions and rhythmic patterns.

And instead of the left hand playing chords, it would play either a voicing of the chord or the bass note of the chord – if not done by the bass pedals when part of the keyboard set up. All kinds of rhythmic patterns can be played without having the cumbersome job of playing the melody with the right hand.

 

Perhaps the best tip of all is for the keyboardist to listen to an experienced player who has accompanied vocalists for many years.   One such player is Ian Griffin whose skill has been acknowledged by some of Britain’s finest players who themselves have won awards for their playing – and yet, cannot do what Ian does, and they are the first to admit it. It is not because of their lack of skill; it is simply that they have never gone down that road – and may have no wish to do so.

 

Several organ-keyboard clubs have engaged Ian Griffin along with singer and entertainer, Andy Oakley. One of the reasons is to see how Ian plays for a singer, which can be quite an experience for someone seeing him the first time as an accompanist.   It is a totally different style of playing to his solo concert performances.   Many enthusiasts have picked up many tips from Ian’s cabaret style of playing, which some compare in many ways to an orchestra or big band accompanying a singer.

 

Hopefully players with aspirations for playing for singers should not be disheartened by the fact that Ian has what is called ‘perfect pitch’ with the ability for him to play in most (if not all) keys without the aid of a transposer, which, as keyboard owners know, is a means of electronically changing the key of the music being played.    Perfect pitch also enables Ian to recognise what key a singer is singing in as soon as he hears the words of the song being sung. Ian says his ability to recognise a key is useful, should he wish to use a transposer for an instant key change.

 

Although nothing can be done about the gift of perfect pitch that one is born with, it is possible to develop the ability of having relative pitch. Perhaps it may be simpler to explain the playing aspect of pitch by giving four easy steps to transposing a piece of music.   There are several ways of explaining this - and it is quite likely that Ian would explain it another way to the explanations that one can find on several websites.  However, here is one relatively simple explanation that we came across:

 

1) The first thing you do is FIND A COMFORTABLE STARTING PITCH.

4) Move all of the chords up or down by that interval.

Three cheers!!!  You have now transposed a song and are hopefully in tune with the singer you are about to play for.   Remember, you are not transposing the melody (because this is being sung by someone else), just the chords.

 

Searching the Internet for transposing chords will give you more information - remember, different authors explain the same subject in different ways.   In the end, it is the result and sound that counts.   One famous player (who is rated as a genius and whose name we will not mention) says he just plays by ear and just plays what sounds right.   

 

Alternately, the transposer on your keyboard can be used to determine what key the singer is singing in – or about to sing in. It is rather like something done when an orchestra ‘tunes-up’ before the start of a performance.   This is done by using the relative pitch process.   If it is good enough for a professional orchestra to do this to get in tune, then it is good enough for you to get in tune with your singer – at least, it is to start with.

 

When you know the key that the singer sings a certain number it may be a good idea to make a note of it.  Then when the same singer sings that number again you are prepared for it.

 

The main thing is to have fun with your music.   Playing music for members of the family to sing is very satisfying – not only that, you are giving pleasure to others and putting a smile on their face.  

 

Below is an example of how Ian Griffin plays for a singer.  In this case its Andy Oakley singing a number in a tribute to the late Matt Monro.