Can i ask why? I have hit this problem where for some crazy reason i always play power chords on my LH and then play inversions and extension son my RH.
An example is this;
C major LH- C G C, RH- E G C. I have not been able to break this habit and barely play root position chords on my right. Is this a bad way of playing? The bass player in church once asked me to not play so much bass and i was like what??? Does this method really get in the way of the bass player? I now have to play up the keys so i dont hit low notes but i still play the same way.
Gospel music is at its core chordal music meaning for the most part we're playing some sort of triad or chord in our right hands to correspond with the sung harmony (soprano, alto, tenor) and sing bass note in the left hand. The challenge is when when you're used to playing like this because you've done it your whole life its tough to then change over to playing in a left hand chord, right hand chord style. My father plays this way and at first it was tough for me to fit in because I was playing the same way with a bass note in my left hand and chords in my right. This is where playing jazz has helped me. When you play jazz piano you HAVE to have a strong left hand from a chording standpoint. Starting with playing 1-7,1-3,etc all the way to 4 and 5 note rootless voicings... you're left hand has to be able to provide whatever kind of harmony you want to produce.
I think playing organ helps with this because typically you're playing the bass note with your foot so this frees up your hands to both play chords.
A good way to practice this would be to take a congregational songs in your favorite key.. Eb is good.. and play your normal right chords then add left hand chords to those right hand voicings that follow the basic progression or framework of the song.. I demonstrated this in a post I did on Victory is Mine.
Here is the link:
http://www.learngospelmusic.com/forums/index.php/topic,50490.0.htmlHey Rjthakid.. you wanted some application well here you go!!
A look at the chords will show something interesting... although I am playing the vocal harmony with my right hand.. my left hand is playing the framework of the song... next to the chords I'm going to write out the chord that I'm playing in the left hand
Key of Eb
Bb,C,Eb,F-both hands
GDbF/BbEbG victory rootless Eb9
GDbF/AbDbF is rootless Eb9
GDbF,AbDGb/GBbEb mine repeat 2x rootless Eb9, rootless E9... E9 is used as a passing chord to get back to Eb9
GBbDbF/BbEbG victory rootless Eb9
GBbDbE/BbEbG to rootless C7 b9
ACEbG/CEbAb,BbEbG day is rootless F9
AbCDF/BbDF mine rootless Bb9
BbDbEG/BbDbEG - FILLER rootless C7 b9
AbCEbF/CEbAb I Told root Fm7
AbCEbF/BbEbG sa root Fm7
AbCDF/BbDF tan reapeat 2x for get thee behind rootless Bb9
GBbDF,BbDbEG/BbEbGBb victory root Gm7, rootless C7 b9
BbDbEG/CEbAb to rootless C7 b9
AbCEbF/BbEbG day root Fm7
AbCDF/AbCF is rootless Bb9
GCDF/GBbEb mine rootless EbM6/9 w/ no 5th
You see with these voicings the Bass Player has plenty of space to do his thing and you can still use your right hand to harmonize the voices for the choir or congregation but now your left hand is being used to follow the basic framework of the song.
In order to do this though you're left hand has to get re-trained to play these rootless voicing on command. The book I listed at the top of this post will help with that tremendously. It's one of the best books that I have and I have A LOT of books.
Does this make sense...?