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| A Crown |
Thomas Anthony Whitfield (April 30, 1954 – June 20, 1992) was an American gospel singer, songwriter, arranger, pianist, choir director and producer best known for helping to shape the fabric of contemporary gospel music with his elaborate choral arrangements and the merging of musical styles ranging from jazz to classical into traditional gospel foundations. Wikipedia
Key Of: D
LH/RH
Version: Basic
Tempo: Slow
Start at the first to Octaves to the left of middle C. (Note for the new musician)
A/A I
B/B Shall
D/D Wear
E/E A
BD/DF#B Cro---
AE/C#EA ---wn
AE/C#EA I Shall
GD/BDF# Wear A
**Bounce the following four chords**
F#E/C#EA Cro----
GD/BDF# -------
AE/C#EA -------
B/DF#B ---wn
Then go to:
F#/DF#A When
G/EGB Its
A/DF#A All Over
F#/DF#A When
G/EGB Its
C/BbEGBb All Over
**Repeat the above chords for the 2nd verse***
E/BbDGBb I’m
F#/ADF# Going
G/BbDGBb To
A/ADF#A Put on my robe and
C/BbEGBb Tell the story
/D How
/E I
D/DF#A Made it over
Vamp Ending:
Bb/BbCDF Soon
A/GACF As
G/BbCDF I
A/CEGC Get
D/DF#AD Home
If you like Gospel music, you'll want to be a part of http://www.learngospelmusic.com
Be sure and check out this resource if you're interested in learning the five parts of a praise song, GospelKeys300
And here's an article I wrote awhile back...
The Art of Voicing is a manner in which one
distributes or spaces the notes of chords. When you listen to music, you
probably focus on the melody. That is the familiar part of a tune that
is easy to hear.
When you sing along or hum throughout some of the music, it is the melody and not the background that you think of. To have this important part of the music stand out, the melody should be louder than the accompaniment. However, this is not always easy to do.
Every voicing should flow smoothly to the next one and your hands will more than likely be moving just a little. By voicing chords you bring attention to certain notes more than others. So sometimes instead of using a clear melody, artists play a bunch of double notes and chords. You should always voice all double notes and chords to give them more clarity.
If you are playing all the notes at the same volume, you cannot hear the melody very clearly. So you will want to pick out the one note in each chord to play a bit louder. This is what we mean by voicing.
If your hands are jumping all over the place, you are probably not using good voice leading. The art of voice leading is the smooth movement of notes from one chord to the next. Very often the note you should voice is on the top of the chord, but sometimes the middle voices have hidden melodies that are more interesting than the top voice.
When looking at a chord passage in your music, decide which voice needs more sound and which can be played softer. Listen to other recordings of pianists bringing out the top voice for each chord in the right hand.
With practice try playing the middle note of a chord louder than the other two notes. Next, focus on the bottom note of a chord. Think of chords being sung in a choir. Each note is a different voice such as bass, tenor, alto and soprano. Your ear will usually hear the soprano sing and ride on the melody line. Those wonderful harmony parts add so much color, flavor and tone in the background of the song.
Voicings become easier to play and you will discover that your hands are barely moving especially when it comes to shell voicings since the roots are moving down in fifths or up in fourths. Later on you will learn more left hand voicings in bebop style, rootless left hand voicings and rootless shell voicings. When the left hand plays the third and seventh of each chord, these rootless shell voicings allow the right hand the freedom to improvise.
When you sing along or hum throughout some of the music, it is the melody and not the background that you think of. To have this important part of the music stand out, the melody should be louder than the accompaniment. However, this is not always easy to do.
Every voicing should flow smoothly to the next one and your hands will more than likely be moving just a little. By voicing chords you bring attention to certain notes more than others. So sometimes instead of using a clear melody, artists play a bunch of double notes and chords. You should always voice all double notes and chords to give them more clarity.
If you are playing all the notes at the same volume, you cannot hear the melody very clearly. So you will want to pick out the one note in each chord to play a bit louder. This is what we mean by voicing.
If your hands are jumping all over the place, you are probably not using good voice leading. The art of voice leading is the smooth movement of notes from one chord to the next. Very often the note you should voice is on the top of the chord, but sometimes the middle voices have hidden melodies that are more interesting than the top voice.
When looking at a chord passage in your music, decide which voice needs more sound and which can be played softer. Listen to other recordings of pianists bringing out the top voice for each chord in the right hand.
With practice try playing the middle note of a chord louder than the other two notes. Next, focus on the bottom note of a chord. Think of chords being sung in a choir. Each note is a different voice such as bass, tenor, alto and soprano. Your ear will usually hear the soprano sing and ride on the melody line. Those wonderful harmony parts add so much color, flavor and tone in the background of the song.
Voicings become easier to play and you will discover that your hands are barely moving especially when it comes to shell voicings since the roots are moving down in fifths or up in fourths. Later on you will learn more left hand voicings in bebop style, rootless left hand voicings and rootless shell voicings. When the left hand plays the third and seventh of each chord, these rootless shell voicings allow the right hand the freedom to improvise.
"The beautiful thing about learning is that no one can take it away from you." B.B.King
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