Keyboard Players Role In a Band

[Rabid]

I was lucky that in my first band as a keyboardist I played with an excellent guitarists. We practiced together and worked up songs and then presented them to the band to learn. That made the guitarist and me really tight musically and I always had important parts. In 20 years of playing I never turned down the volum and faked it.

 

If you are good then your band will choose songs that display your talents. If they don't, it is time to find a better band.

[akliner]

If you're starting an original band, the keyboard should not be an afterthought...it should be an active member of the composition process.

 

If you're in a cover band...pick songs that feature keyboards and guitars equally.

[manoeuver]

a keyboard man in a rockin' band has a coupla options:

 

 

stand behind a rompler, play almost nothing and look like a douchebag.

 

sit behind a hammond, play almost nothing and look like a God.

[Bones]

Excellent points, Roald... I especially agree about point 5 being hogwash. I play keys for a blues band and I get equal billing with the guitarist, with solos getting cheers from the audience. As with almost every band, it's all about dynamics, knowing when to lay low and when to come out on the foreground.

Guess that came across as a little too humble. Don

[akliner]

a keyboard man in a rockin' band has a coupla options:

 

LIES.

 

I resent that...even if you are a fellow Baltimoron.

[tucktronix]

Guess that came across as a little too humble. Don

[manoeuver]

 

LIES. I resent that...even if you are a fellow Baltimoron.

 

 

there's a nugget of truth in every lie though, isn't there?

 

boh boh boh boh boh.

[akliner]

I'm going drink enjoy a Natural Bohemian beer and then go down to the ocean after the Baltimore Oriole's game.

 

I'ma drink me a Boh and thin go Dinny-Ohshon after duh Owees Gaem.

[wheresgrant3]

a keyboard man in a rockin' band has a coupla options:

 

 

It's a good thing the general audience can't discern between a hammond and a stack of romplers.

 

 

All they see are black and white keys!

[Eddie Kramer]

I've been a utility player in several bands over the last 20 years. Primarily a bass player with an affinity for synths I was asked to join my current band to cover keys (already had a bassist)because after months of searching they couldn't find anyone. The band is very popular in a 5 county area and we play many of the beach resorts and have exclusive bookings into Disney . We cover huge variety of rock and pop music. All crowd pleasing stuff.

 

My approach has been the same since I started... to add dynamics to our sound. In the beginning I started out playing synths on about 30% of our material... now it's closer to 80%. The truth; with any instrument I'm an average player with good instincts. If I can't play a part note for note I'll find a way to grab the essence of the part. Then again to cover the songs we cover it doesn't take any great range. I've gotten a ton of compliments on the way I approach things probably because I tend to cover the things that most players forget or leave out. I used alot of samples and sound effects you'd hear on the album but most players would leave out covering the parts live). In other words I play the way people remember the song... maybe not the way it was exactly played.

 

 

Here's what not to do...

 

Two years ago I was in a situation that would intimidate and threaten anyone at my playing level. I was slated for surgery on my shoulder and through the course of rehab I was going to be out for 8 -10 weeks. I suggested to my bandmates that maybe it would be a good time to find a 'sub' player to handle gigs while I was gone to keep the band going. This was a tall order because of the reason I was asked to join the band... there are very few local keyboard players. Additionally we rarely play the songs we cover note for note. Much of our set list is long extended medleys so many times we'll change the arrangement or key to suit our own needs. We were lucky enough to have several gigs recorded so he would have a reference of how we approach certain songs. We did a little searching and someone was recommended to us through a friend. A great player, killer chops and already knew half of our material. He had played in several popular bands (although we later found out only briefly). When we contacted him he was primarily doing duos and solo gigs and subbing for some other bands. At first he seemed very flexible willing to learn songs and arrangements just as we played them. My band was in awe a little as he jammed Kansas, Yes and some ELP with them. Of course, I was a little intimidated... he was playing keys, I was merely faking them.

 

But when it came time to learn the songs his true colors began to show. He began critiquing some of the arrangements, asking to change certain parts. Some songs he just didn't want the way we had it arranged. He even calling out a few mistakes made by other players. It didn't float well with the band and the comments were a little less than constructive (you don't complain about the bathroom when you're a guest in someone's home). When it came to playing he was all over the place. He wanted to be the center of attention. It was a little like having Jerry Lee Lewis sitting in with Bon Jovi. Most parts he handled fine but in general he overplayed many parts often leaving the band sounding like mud. He's the type that felt playing without both hands on every song was a 'waste'. Even the horn parts he played just like piano arrangements.

 

 

His personality offstage was similar too. I don't think I've ever seen anyone so talented yet so clueless as how they fit in with others. Sometimes abrasive, sometimes offensive he seemed desperate to join our group (after coming to a few shows and seeing what we got paid). He made references regarding my level of talent... which again didn't float well with my bandmates. In the end, we ended up using him anyway for a handful of shows and we still have him on call as a backup if needed. But the experience taught us a good lesson. Here was this great player without a band of his own. Despite his talent he didn't understand group dynamics. And that's why he's still a great player without a regular gig.

[Tusks]

As with anything, you can learn some rules, then forget them and make your own up.

 

I generally "own" the arrangement, the dynamics and any unusual sound design. I let the guitar player own the rhythm in many cases (I occasionally do comping clavs and stuff like that). We share the leads. When we do covers we play what's on the cd, then we make it our own.

 

The question is not what instrument you play, it's whether you will lead or follow, and how you and your mates will figure that out. Good leaders are often good followers also. Hope this helps,

 

Jerry

[7DeadlySynths]

Any bands where I do original music are normally indie rock bands. I play pianos, rhodes, organs and synths, sometimes with lots of effects. I get a real buzz of adding texture to the overall sound of the band. It's important, as someone mentioned, that the sound of the band develops with the keys in mind.

 

The other band members certainly understand what keys are all about, in fact, we all have a deep understanding of ALL the instruments, not just our own, and this is very important in making sure that everyone is making a creative contribution to the band. Good players will always know how to play off each other, and leave room for everything. It's takes a few years of playing together, but y'all should work in harmony, not fighting against each other.

 

 

I do NOT play string lines, or brass lines, or choirs (unless they're supposed to sound deliberately synthesized). I've always told the guys, "if ya want strings, hire a fuckin string section!"

 

 

There's plenty of bands I can think of that I like where keys/synths to are VERY important to the sound of the band..

 

Commercially, bands like The Killers, and Coldplay.

 

 

Or a fave of mine, The Super Furry Animals.

[Learning67]

The keyboard players role is often to

 

1) keep everyone else in tune

2) Understand what's going with the harmony

3) Know every detail of the arrangement ('cause no one else does)

4) Write out quick charts if you have subs

5) Transpose the whole tune for everyone else

6) Carry and set up his own gear (while everyone seems to help the drummer....)

7) know exactly how to get to the next gig

8) Call most of the tunes

9) talk to the drunk guy who comes up to the stage to request "Melancholy Baby"...because he didnt want to bother the guitar player

10) Be able to have total recall of the entire history of western popular music, just in case someone has a question about a tune

11) change more stylistically than anyone else in the band when a tune calls for it

 

or does it just seem that way????????????????

 

Personally, I just avoid guitar players who dont name "Wes Montgomery" as their main influence.

[ElectricPuppy]

I like how your list goes to 11. It also all sounds very familiar, except replace "Melancholy Baby" with "Freebird".

[tucktronix]

The keyboard players role is often to 1) keep everyone else in tune 2) Understand what's going with the harmony 3) Know every detail of the arrangement ('cause no one else does) 4) Write out quick charts if you have subs 5) Transpose the whole tune for everyone else 6) Carry and set up his own gear (while everyone seems to help the drummer....) 7) know exactly how to get to the next gig 8) Call most of the tunes 9) talk to the drunk guy who comes up to the stage to request "Melancholy Baby"...because he didnt want to bother the guitar player 10) Be able to have total recall of the entire history of western popular music, just in case someone has a question about a tune 11) change more stylistically than anyone else in the band when a tune calls for it

 

Damn, 1-8 is so me:rolleyes: