VAMPING SIMPLIFIED
AN ACCOMPANIST IN AN HOUR
WHILST “vamping,” or the improvising of a musical accompaniment, is
considered by many anything but a classical accomplishment, yet those
who can accompany in this way are a decided help to a general or
children’s party.
In either case among the guests will be found some who possess the gift
of song, either comic or sentimental, but who lack the power or the
ability to play their own accompaniments.
[Illustration: FIG. 1.--First chord.]
Moreover, it may happen that the services of a skilled pianist are not
available, and in these circumstances any one who can vamp will be
deemed a useful acquisition.
The object of this chapter is not to give either intricate or
comprehensive instruction, but rather to suggest, even to those who have
had no musical training, a few rules whereby they will be enabled to
step into the breach occasioned by the absence of an accomplished
player.
An ordinary piano has fifty notes, comprising A, B, C, D, E, F, G, in
succeeding order.
The whole keyboard is divided into two portions--treble and bass, the
former starting from the fourth C up from the left; the notes below the
fourth or middle C comprise the bass. (See Fig. 1. Arrow denotes middle
C.)
Each black note above a white is its sharp, and each below its flat. For
example, taking the treble note G, the black note above it is G sharp,
the one below it G flat.
Before starting to vamp to a song, the singer must hum over a line or so
of the song in order that the “vampist” may keep both the time and tone
in his mind for transference to the piano.
His ear will tell him when he has struck a few chords whether they are
in the key in which the song is written. If he finds that when a few
bars of the song completing a distinct or rhythmical period have been
hummed the note finished on is C, then he will know that the key is C,
and find his chords as suggested by the diagrams given.
VAMPING CHORDS AND THEIR RELATIVE CHANGES
There are three principal chords in a key which are sufficient to cover
the range of melody. Starting in C, the first chord for the right hand
from the little finger to the thumb is made up of the notes middle C,
bass G, and bass E. The left hand strikes the octave C immediately below
the right hand thumb on E. (Fig. 1.)
The second chord starts from little finger of right hand on F, first
finger on C, and thumb on A in bass, the octave F, below the right hand
A, being struck in the bass. (Fig. 2.)
[Illustration: FIG. 2.--Second chord]
The third chord starts with little finger of right hand on G, third
finger on F, and thumb on B in bass, the left hand striking the octave G
below the B on which thumb of right hand is placed. (Fig. 3.)
[Illustration: FIG. 3.--Third chord.]
To complete the melody it is necessary to go back to the chord started
with, taking it up an octave or eight notes higher in both hands.
The relative changes are brought about by the use of the following
chords. Striking the F sharp with the little finger of right hand, the
first finger is placed on the D, and the thumb upon middle C, the left
hand taking the octave F sharp immediately below middle C. (Fig. 4.)
[Illustration: FIG. 4.--First chord of relative change.]
The second change starts with little finger of right hand on G, first
finger on D, and thumb on B below middle C, the octave G in left hand
completing the chord. (Fig. 5.)
[Illustration: FIG. 5.--Second relative change.]
Another change is produced by the use of the next two chords.
[Illustration: FIG. 6.--Another change.]
Striking G sharp with the little finger of the right hand, the first
finger strikes E, and the thumb D; the octave G sharp being struck in
the bass by the left hand. (Fig. 6.)
The twin chord to the one just described is made by placing the right
hand little finger on A, the first finger on E, and the thumb on middle
C; the octave A, immediately below middle C, being struck by the left
hand. (Fig. 7.)
[Illustration: FIG. 7.--Twin chord to that described in Fig. 6.]
The final change necessary is produced by the two following chords.
[Illustration: FIG. 8.--First chord of third change.]
The little finger of the right hand is placed on C sharp, first finger
on A, and the thumb on G, both the latter notes being bass--that is,
below middle C. The left hand strikes the octave C sharp in the bass.
(Fig. 8.)
[Illustration: FIG. 9.--Final chord.]
The last chord is made by striking D above middle C with the little
finger of the right hand, A below middle C with the first finger, and F
also below middle C with the right hand thumb; the left hand takes the
octave D in the bass. (Fig. 9.)
By a study of the chords set forth above it is seen that the octave
struck by the left hand in every case is a lower tone of the note played
by the little finger of the right hand--viz., if the little finger of
the right hand strikes G in the treble, the octave G is played by the
left hand in the bass.
An effective ending to a vamping accompaniment is brought about by the
use of a “run.” Starting from the C in the bass below the middle C
(indicated by arrow on diagram), and playing the E and G with first and
second fingers, the thumb is taken under, on to the middle C and the
action repeated twice, the run finishing on the fourth C in the treble.
(Fig. 10.)
[Illustration: FIG. 10.--Showing the “run” on piano embracing three
chords.]
It is useful and interesting to bear in mind that any chord can be made
by placing the little finger on a note desired, missing the next two
covered by the second and third fingers, striking the note covered by
first finger, missing the next, and striking the one covered by the
thumb.
Having committed the above chords and “run” to memory, the performer can
play them to suit the time in which the accompanied song is written.