![]() ![]() You can experiment with different inversions in the right hand and add more complexity through the rhythmic figures by using anticipation and syncopation. In your left hand you can keep your voicings strictly to the pillars – 1, 3, 5 and 7, and in root position. Comping Rhythms When Accompanying SingerĪnother great way to fill the melodic space is through comping rhythms. If we analyse the form of "Autumn Leaves", measure 2, 4, 6, and 8 are good examples of these spaces. These points in the melody, where the singer is either holding a sustained note, or takings a breath, is a great place to add in decorative touches to complete the sound – just as you would when playing solo piano. We’ll continue to use the tune "Autumn Leaves" in G minor as our sample song and explore the different types of fills which are:įilling In The Spaces When Accompanying A Singerīefore the performance, you should identify the places where the melody is static. We’re now going to take things a step further and explore other aspects of the performance. So far we have covered the fundamental skills and requirements when accompanying a vocalist. Welcome to this lesson on adding fills when accompanying singers. ![]() Piano Accompaniment Techniques: Adding Fills ![]()
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