The Church Pianist: Chord Inversions for Fill-Ins in Congregational Accompaniment

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Chord inversions work well for congregational

singing because they add fullness to the accompaniment.


For clarification: a chord inversion is nothing more than a
root chord out of order.


For example:


The 'C' root chord = CEG


There are three notes in the 'C' chord...so....the notes in the
root chord can be scrambled (inverted) three different ways
and add such a variety in sound!


Root (CEG) starting position


First inversion (EGC)


Second inversion (GCE)


Notice: the first note of each chord above....spells out the order
of the root chord.


Inversions create a more open tone compared to the close sound
of the root chord. Excessive use of the root chord produces a
cloudy tone. Learn to use more inversions!


Chord inversion fill-ins work best under the following conditions:


*When the same chord lasts for at least two measures
(allows time for the inversions to fit)


*Militant style hymns such as the examples on today's image


*4/4 time is best


Keep in mind...in 4/4 time...only beats one and three are
accented.


Playing the same weight for each beat will create unnecessary
hand tension and cause you to get bogged down in the mud;
creating a sluggish tempo.


All three examples on today's image are in 4/4 time.

The examples are geared to congregational accompaniment.


All three examples are on this one audio with a pause between
each one.


The audio below would be most beneficial if you view the music
while listening. You will hear how I accent beats one and three
for a more musical flow.


Warning!


The constant movement of the chord inversions
may cause disorientation at first :)


Simply practice the chord inversions over and over before
implementing them in congregational accompaniment.




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