pop ballad accompaniment for piano and...

&?

44

44œœœ œœœ œœœ œœœw

C

pedal

Slowly

œœœ œœœ œœœ œœœw

G œœœ œœœ œœœ œœœ.˙ œ

F G

etc.


C

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C œœœ œœœ œœœ œœœw


F G œœœ œœœ œœœ œœœw

C

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E m œœœ œœœ œœœ œœœw

A m œœœ œœœ œœœ œœœw

F œœœ œœœ œœœ œœœw

G

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F G œœœ œœœ ˙̇̇w

C

Pop Ballad Accompaniment for Piano and Keyboard

by Ron Drotos

Copyright © 2012 Ron Drotos

There are many types of piano accompaniment that work well behind a vocalist,whether you yourself are singing or you're playing piano/keyboard while someoneelse sings. A simple way to get started is to play root-position chords in your right hand and the chord roots, or letter names, in your left. The right hand plays quarter notes while the left holds each note for the duration of the chord. Change the pedal whenever the chord changes. This very simple style of accompaniment is surprisingly effective and versatile.

Lesson 1:

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44

44œœœ œœœ œœœ œœœ

.œ jœ ˙

C

pedal

Slowly

œœœ œœœ œœœ œœœ.œ jœ ˙

G œœœ œœœ œœœ œœœ.œ jœ œ œ

F G

etc.


C

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C œœœ œœœ œœœ œœœ.œ jœ ˙


F G œœœ œœœ œœœ œœœ.œ jœ ˙

C

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œœœ œœœ œœœ œœœ.œ Jœ ˙

E m œœœ œœœ œœœ œœœ.œ jœ ˙

A m œœœ œœœ œœœ œœœ.œ jœ ˙

F œœœ œœœ œœœ œœœ.œ jœ ˙

G

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F G œœœ œœœ ˙̇̇.œ jœ ˙

C

Let's see what else we can do with the same chords we played in Lesson 1. This chordprogression uses common chords in the key of 'C' (all white notes) and was used in the song "The Rose", among others. We can add a little more of a Rock rhythm to the left hand, as shown below.

Lesson 2:

2

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44


.œ jœ ˙

C

pedal

Slowly


G

œœœ œœœ œœœ œœœ.œ jœ œ œ

F G

etc.


C

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G


F G œœœ œœœ œœœ œœœ.œ jœ ˙

C

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G

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G



C

Playing root position chords in the right hand can go a long way, especially if you'rejust starting to use chords to improvise your own accompaniments. After a while, though, you may find that you don't want to move your right hand so much. At this point, try inverting some of the chords. This will let you keep your hand in the samearea of the keyboard, and will also result in a smoother sound.

Lesson 3:

3

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44


C

pedal

Slowly



F G

etc.


C

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G

œœœ œœœ œœœ œœœ.˙ œ

F G œœœ œœœ œœœ œœœw

C

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G

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G



C

By now, you may have noticed that some famous pianists like Elton John often play simple accompaniments like these. Listen to how simply Paul McCartney playsat the beginning of 'Hey Jude'. This quarter note based style can even work onsongs that originally had a more complicated piano part, such as Elton John's 'YourSong'. This example combines all three approaches, which lets the music grow and develop as the song progresses.

Lesson 4:

4

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44

44œœ œ œœ œ œœ œ œœ œw

C

pedal

Slowly

œœ œ œœ œ œœ œ œœ œw

G

œœ œ œœ œ œœ œ œœœ.˙ œ

F G

etc.


C

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C


G

œœ œ œœ œ œœ œ œœ œ.˙ œ

F G


C

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œœ œ œœ œ œœ œ œœ œ.œ Jœ ˙

E m œœ œ œœ œ œœ œ œœ œ.œ jœ ˙

A m œœ œ œœ œ œœ œ œœ œ.œ jœ ˙

F œœ œ œœ œ œœ œ œœ œ.œ jœ ˙

G

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œœ œ œœ œ œœ œ œœ œ.œ jœ ˙

C

œœ œ œœ œ œœ œ œœ œ.œ jœ ˙

G

œœ œ œœ œ œœ œ œœœ.œ jœ œ œ

F G

œœ œ œœ œ ˙̇.œ jœ ˙

C

Let's try an 8th note pattern that give a little more sense of motion to ouraccompaniment. Notice, too, how higher inversions are used on the 2nd line to givevariety to the sound.

Lesson 5:

5

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44

44wœ œ œ œ œ œ œ œw

C

pedal

Slowly

wœ œ œ œ œ œ œ œw

G .˙ œœ œ œ œ œ œ œ œ.˙ œ

F G

etc.


C

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C wœ œ œ œ œ œ œ œw


F G wœ œ œ œ œ œ œ œw

C

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E m wœ œ œ œ œ œ œ œw

A m wœ œ œ œ œ œ œ œ

w

F wœ œ œ œ œ œ œ œw

G

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C wœ œ œ œ œ œ œ œw


F G ˙ ˙ggggggœ œ œ œ ˙̇̇w

C

The top note of each right hand chord can be heard as part of it's own melody,independent from the melody of the song. To play this example, use the 4th and 5thfingers of your right hand to hold the sustained notes, while fingers 1, 2, and 3 play a steady 8th note pattern.

Lesson 6:

6

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44

44wœ œ œ œ œ œ œ œw.œ Jœ ˙

C

pedal

Slowly

wœ œ œ œ œ œ œ œw.œ Jœ ˙

G

etc.

.˙ œœ œ œ œ œ œ œ œ

.˙ œ.œ Jœ œ œ

F G wœ œ œ œ œ œ œ œw.œ Jœ ˙

C

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C wœ œ œ œ œ œ œ œw.œ Jœ ˙

G .˙ œœ œ œ œ œ œ œ œ.˙ œ.œ Jœ œ œ

F G wœ œ œ œ œ œ œ œw.œ Jœ ˙

C

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E m wœ œ œ œ œ œ œ œw.œ Jœ ˙

A m wœ œ œ œ œ œ œ œw.œ Jœ ˙

F wœ œ œ œ œ œ œ œw.œ Jœ ˙

G

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C wœ œ œ œ œ œ œ œw.œ Jœ ˙

G .˙ œœ œ œ œ œ œ œ œ.˙ œ.œ Jœ œ œ

F G ˙ ˙ggggggœ œ œ œ ˙̇̇w.œ Jœ ˙

C

Let's add a more intricate left hand approach that contains sustained and rhythmic elements simulaneously.

Lesson 7:

7

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bb

44

44w‰ œ œ œ œ œ œ œŒ ‰ jœ œ œw

F .œ jœ ˙‰ œ œ œ œ œ œ œŒ ‰ jœ œ œw

Bbw‰ œ œ œ œ œ œ œŒ ‰ jœ œ œw

A m

.œ jœ ˙‰ Jœ œ œ œ œ œŒ ‰ jœ œ œw

D m

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bb

œ œ œ œ œ œ œ œŒ ‰ jœ œ œw

G m œ œ œ œ œ œ œ œŒ ‰ jœ œ œw

A m œ œ œ œ œ œ œ œŒ ‰ jœ œ œw

Bb œ œ œ œ œ œ œ œŒ ‰ jœ œ œw

C

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bb

w‰ œ œ œ œ œ œ œŒ ‰ jœ œ œw

F .œ jœ ˙‰ œ œ œ œ œ œ œŒ ‰ jœ œ œw

Bbw‰ œ œ œ œ œ œ œŒ ‰ jœ œ œw

A m

.œ jœ ˙‰ Jœ œ œ œ œ œŒ ‰ jœ œ œw

D m

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bb

œ œ œ œ œ œ œ œŒ ‰ jœ œ œw

G m œ œ œ œ œ œ œ œŒ ‰ jœ œ œw

A m œ œ œ œ œ œ œ œŒ œ Œ œ˙ ˙

Bb C w‰ œ œ œ ˙Œ œ ˙̇w

F

Some pop ballads call for an arpeggiated approach that mimics the sound of anacoustic guitar. For a little variety, we'll move into the key of 'F' major.

Lesson 8:

8

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44



C/E œœœ œœœ œœœ œœœw


G

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F/A


G/B



G

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C/E œœœ œœœ œœœ œœœw


G

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F/A


G/B


C

wwww

Sometimes a note other than the chord's root is in the bass part. The alternate bassnote is often another chord tone, such as the 3rd or 5th. The chord is then written asa fraction, with the chord above the bass note. For example, C/E means that you play a 'C' chord with 'E' in the bass.

Lesson 9:

9

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44


.œ jœ .œ jœw

C œœœ# œœœ œœœ œœœ.œ jœ .œ jœw

D/C œœœ œœœ œœœ œœœ.œ jœ .œ jœw

G/B œœœ œœœ œœœ œœœ.œ jœ .œ jœw

C/E

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œœœœ# œœœœ œœœœ œœœœ.œ# jœ .œ jœw#

D/F#œœœ œœœ œœœ œœœ

.œ jœ .œ jœw

G œœœœn œœœœ œœœœ œœœœ.œ jœ .œ jœw

F/A œœœ œœœ œœœ œœœ.œ jœ .œ jœ˙ ˙

F G

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œœœ œœœ œœœ œœœ.œ jœ .œ jœw

C œœœ œœœ œœœ œœœ.œb jœ .œ jœwb

C/Bb œœœ œœœ œœœ œœœ.œ jœ .œ jœw

F/A œœœb œœœ œœœ œœœ.œb jœ .œ jœwb

D dim/Ab

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œœœ œœœ œœœ œœœ.œ jœ .œ jœw

C/G œœœ œœœ œœœ œœœ.œ jœ .œ jœw

F/G œœœ œœœ œœœ œœœ.œ jœ œ œ˙ œ œ

F C/E D m7 wwwww

C

You might even see a bass note that is not part of the chord it's paired with. In that case, simply play the bass note with your left hand and the chord with your right.

Lesson 10:

10

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44

44œœœœ œœœœ œœœœ œœœœ

..œœjœœ ˙̇

C œœœœ œœœœ œœœœ œœœœ..œœ

jœœ ˙̇

G œœœœ œœœœ œœœœ œœœœ..œœ J

œœ ˙̇

A m œœœœ œœœœ œœœœœœœœ

..œœjœœ œœ œœ

F

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œœœœ œœœœ œœœœ œœœœ..œœ

jœœ ˙̇


jœœ ˙̇

G œœœœ œœœœ œœœœ œœœœ..œœ

jœœ ˙̇

F œœœœ œœœœ œœœœ œœœœœœ œœ œœ œœ

G

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jœœ ˙̇


jœœ ˙̇


œœ ˙̇


..œœjœœ œœ œœ

F

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jœœ ˙̇


jœœ ˙̇


jœœ œœ œœ

F wwwwww

C

The right hand can play bigger chord voicings for a fuller sound. Also, a bass line inoctaves gives more power.

Lesson 11:

11

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44

44œœœ œœœ œœœ œœœ˙̇ œœ œœ œœ œœ

C œœœ œœœ œœœ œœœ˙̇ œœ œœ œœ œœ


œœ œœ œœ


˙̇ œœ œœ œœ œœ

F

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œœœœ œœœœ œœœœ œœœœ˙̇ œœ œœ

C œœœœ œœœœ œœœœ œœœœ..˙̇ œœ


jœœ œœ œœ

F œœœœ œœœœ œœœœ œœœœœœ œœ œœ œœ œœ œœ

G

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œœœœ œœœœ œœœœ œœœœ˙̇ œœ œœ œœ œœ

C œœœœ œœœœ œœœœ œœœœ˙̇ œœ œœ œœ


œœ ..œœjœœ


˙̇ œœ œœ

F

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œœœœ œœœœ œœœœ œœœœ˙̇ œœ œœ œœ

C œœœœ œœœœ œœœœ œœœœww

G œœœœ œœœœ œœœœ œœœœ˙̇ œœ œœ

F wwwwww

C

This example adds melodic passing notes in the left hand to the music fromLesson 11.

Lesson 12:

12

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44

44œœœ œœœ œœœ œœœ ...œœœ

..˙̇ œœ ..œœ

C F/C

œœœ œœœ œœœ œœœ..˙̇ œœ œœ œœ

C œœœ œœœ œœœ œœœ ...œœœb..˙̇ œœ ..œœ

F Bb/F œœœ œœœ œœœ œœœ˙̇ œœ œœ

F E m D m

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œœœ œœœ œœœ œ œ œww

C

œœœ œœœ œœœ œ œ œww

G/B

œœœ œœœ œœœ œœœ ...œœœ..˙̇ œœ ..œœ

A m G

œœœ œœœ œœœ œœœ˙̇ ˙̇

F G

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œœœ œœœ œœœ œœœ ...œœœ..˙̇ œœ ..œœ

C F/C

œœœ œœœ œœœ œœœ..˙̇ œœ œœ œœ

C œœœ œœœ œœœ œœœ ...œœœb..˙̇ œœ ..œœ

F Bb/F œœœ œœœ œœœ œœœ..˙̇ œœ

F G

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œœœ œœœ œœœ œœœœœ œœ œœ ˙̇

A m F œœœœ# œœœœ œœœ œœœœœœ œœ## œœ œœ

E E7/G# A m F œ œ œ œ œ œ œ œ..œœ

jœœ ..œœjœœ

C/G G 7 œœœ œœœ ˙̇̇ww

C F/C C

Pianists such as Elton John use techniques from gospel music, such as playing a 'neighbor' chord that's a 4th higher than the preceding chord, while keeping the bassnote the same, as a 'pedal tone'.

Lesson 13:

13

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44

44œœœ œœœ œœœ œœœ˙ œ œ

C

œœœ œœœ œœœ œœœ˙ œ œ œ œ

A m

œœœ œœœ œœœ œœœ.œ Jœ œ œ œ œ

F œœœ œœœ œœœ œœœœ œ œ œ

G

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œœœ œœœ œœœ œœœ.œ Jœ œ œ

C œœœ œœœ œœœ œœœ.œ Jœ œ œ œ œ

A m œœœ œœœ œœœ œœœ.œ Jœ œ œ

F œœœ œœœ œœœ œœœ.œ Jœ œ œ œ œ

G

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œœœ œœœ œœœ œœœ˙ œ œ œ

C œœœ œœœ œœœ œœœ˙ œ œ œ

A m œœœ œœœ œœœ œœœ˙ œ œ œ

F œœœ œœœ œœœ œœœ˙ œ œ œ

G

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œœœ œœœ œœœ œœœ.œ Jœ œ œ œ œ

C œœœ œœœ œœœ œœœ.œ Jœ œ œ œ œ

A m œœœ œœœ œœœ œœœ.œ Jœ œ œ

F G wwwœ œ ˙

C

The left hand bass line can become very melodic at times, as in this example.

Lesson 14:

14

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# ## #

44

44œ œ œ œ œ œ œ œŒ ‰ jœ ˙w

D œ œ œ œ œ œ œ œÓ Œ œ.œ Jœ ˙

G A œ œ œ œ œ œ œ œŒ ‰ jœ ˙w

D œ œ œ œ œ œ œÓ Œ œ.œ Jœ ˙

G A

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# ## #

œ œ œ œ œ œ œ œŒ ‰ jœ ˙w

D œ œ œ œ œ œ œ œŒ ‰ jœ ˙w

E m7 œ œ œ œ œ œ œ œŒ ‰ jœ ˙w

D/F# œ œ œ œ œ œ œÓ Œ œ.œ Jœ ˙

G A

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# ## #


B m œ œ œ œ œ œ œ œŒ ‰ jœ ˙w

B m/A œ œ œ œ œ œ œ œŒ ‰ jœ ˙w#

E7/G# œ œ œ œ œ œ œ œÓ Œ œ.œ Jœ ˙

G A

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# ## #


D œ œ œ œ œ œ œ œÓ Œ œ.œ Jœ ˙

G A œ œ œ œ œ œ œ œŒ ‰ jœ ˙w

G

rit.

wwwwggggg

D

Many pop ballads have a dotted rhythm that emphasises the 'and' of beat 2. "Your Song" by Elton John uses this technique. Here's a simple example that combinesa guitar-like pattern with this rhythmic feel.

Lesson 15:

15

We have covered many of the basic elements of pop ballad accompaniment. To learnmore about these styles, listen to as many recordings as you can, and analyze which techniques are used, and in what context. Then you can freely mix and match thesepatterns to create fun and interesting accompaniments to your favorite songs. Enjoy!

About Ron Drotos

Ron Drotos has worked as a pianist, arranger, composer, and teacher in New YorkCity since 1989. His career has brought him to Carnegie Hall, both as pianist andarranger for the NY Pops, and to the Broadway stage, where he has bothconducted and played for shows such as Smokey Joe’s Cafe, Swinging On A Star(Tony nomination for Best Musical), and Fosse. Ron has played piano with jazzgreats Chris Brubeck and Giacomo Gates, and composes choral music that isheard in universities across the United States. Ron has orchestrated over 19 showsfor the legendary Princeton Triangle Club, and particularly enjoys his time spentteaching and performing at the Fairbanks (Alaska) Summer Arts Festival. As ateacher of piano improvisation, he loves that magic moment when everything‘clicks’ for the student, and the music begins flow!

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