The History Of Black Gospel Piano

The History Of Black Gospel Piano

Mahalia Jackson’s voice rang out at the funeral of Dr. Martin Luther King. Mahalia was one of the greatest voices of gospel music then, and still today.

It was in 1968, the song she sang was “Precious Lord, Take My Hand,” written by a suffering and downtrodden Thomas A. Dorsey.

After the passing of his wife during childbirth, and the tragedy of his newborn son dying a few days afterwards, Dorsey took solace in the piano and a beautiful gospel legend was born. This piece of history of gospel piano genius will never be forgotten.

Whatever is learned in one part of gospel piano lessons is appropriate in others. The abilities learned from gospel piano can be adjusted to construct unique versions of one song or a number of songs.

The song written by Dorsey has been played an infinite number of times in an infinite number of ways. It is this type of skill and difference that makes up the heart of gospel piano.

The History Of Black Gospel Piano

Piano practice should be an enjoyable, insightful, and enlightening experience. When each finger presses a chord, the rhythm, heart, and joy of the one, who plays it resonates throughout the soul of those who listen. gospel takes it one-step further.

The history of gospel piano was dictated by a particular depth of spiritual expansion and living. Based on this premise alone, it would be inaccurate to suppose that one group of piano skills could suitably achieve the things that gospel music has shown for so many years.

Certain characteristics of gospel piano assist in distinguishing it from its nearest associations: blues and jazz. Gospel, jazz, and blues all share comparable styles, but gospel is more inclined to include tempos from acappella music much more than blues or jazz.

Its harmonious configurations are played at tones that are apparently special to black church music unlike any other. Comprehending these distinctive musical sounds affects the way in which a piano player approaches this genus of music.

In addition, gospel piano consist of plenty of slurs. Slurs will chime a sound whilst the piano player gets ready to play fresh notes. Extended chords are also part of the gospel inimitable sound. For example, they might use the C6 chord to substitute for the C major chord, or utilize the G13 chord in place of a G major chord.

The artistry of gospel playing is loved by many but mastered only by a few. In a way, it is only the beginning of the acknowledgement of what the history of black gospel piano has brought to piano playing, and the music world at large.

Its music has an influence on anyone who partakes in the gentle yet powerful resonance of gospel piano. The piano is an instrument that can imitate the heart in a way no other instrument can.

A reflective approach to gospel piano playing is definitely the main path to learning how to incorporate such a deeply reverenced type of music into the heart of the one who plays it.

The History Of Black Gospel Piano

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