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].)
Fig. 2.—Second chord
Play [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].)
Fig. 3.—Third chord.
Play [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].)
Fig. 4.—First chord of relative change.
Play [chord]
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].)
Fig. 5.—Second relative change.
Play [chord]
Another change is produced by the use of the next two chords.
Fig. 6.—Another change.
Play [chord]
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].)
Fig. 7.—Twin chord to that described in [Fig. 6].
Play [chord]
The final change necessary is produced by the two following chords.
Fig. 8.—First chord of third change.
Play [chord]
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].)
Fig. 9.—Final chord.
Play [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].)
Fig. 10.—Showing the “run” on piano embracing three chords.
Play [“run”]
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.