Six-Note Runs
by Mike D. Zachary, D.M.A.

Improvising pianists have long used runs (sometimes called fill-ins or diminutions) to embellish the distance between notes. In the following example, a simple interval is shown; then two different ways of connecting the interval are shown.

The example above begins with two simple notes, C and E. In the second measure, a more elaborate method of getting from C to E is shown. In the third measure, another method of getting from C to E is shown. Obviously, there are many ways of connecting the notes C and E; and only two of those ways are shown here.[1] For talented musicians who are creative, once they realize that notes can be connected, they seem to spontaneously invent many different methods of doing just that. And, before we begin a detailed discussion of six-note runs, I want to emphasize the fact that since there are so many different ways to connect tones, there is no hard and fast rule about how certain intervals must be connected.

However, when we say, “You can do any kind of run you want—as long as it sounds good!” many pianists do not feel a sense of liberty; they feel perplexed. They wish someone could show them some preliminary steps until their imagination develops rich and varied patterns of improvisation. One of the most useful runs is the basic six-note run. Again, this is not the only correct method; it is simply a very good tool for gospel hymn playing.

The Rule of the Six-Note Run

The second note of a six-note run should be a sixth away from the final note of a six-note run.[2] Before we learn how to put these runs into gospel songs, let us consider the run in and of itself.

Example 1: Figuring Out a Six-Note Run

Suppose we are considering the following two notes:

In order to use a six-note run, we must realize that the six-note run involves seven notes: there are six notes in the run itself plus the final note. Mentally, we might want to picture the following format:



We will start with just these two notes; however, when we finish inserting the six-note run, we will have created a fill to embellish the distance between the note F and the note A.

The rule for the six-note run states that the “second note of a six-note run should be a sixth away from the final note of a six-note run.” In each situation, you actually get two choices: the second note may be a sixth under the final note, or it may be a sixth above the final note. We will consider each solution separately, and we will begin by considering the run that we can create by using the note that is a sixth underneath the final note.



Here are the steps that we followed in achieving this six-note run:

1.         The first note was F, and the final note was A.

2.         The rule tells us that we need to find a note a sixth away from the final note.

3.         We have a choice between letting the second note be a sixth underneath the final note or letting the second note be a sixth above the final note.

4.         For no particular reason, we decided to let the second note be a sixth underneath the final note.

5.         We name notes backwards from A (A, G, F, E, D, C), and we see that C is a sixth underneath A.

6.         We let C be the second note of the six-note run we are creating, and we simply move stepwise towards the final note.

Example 2: An Alternate Method of Figuring Out a Six-Note Run

In the previous example, we created a six-note run between F and A. During that process, we had the option of letting the second note of the run be a sixth underneath the final note or letting the second note of the run be a sixth above the final note. We arbitrarily chose to let the second note be a sixth underneath the final. This time, for sake of demonstration, we will re-work the example, choosing to let the second note of the run be a sixth above the final note. Given the notes F and A, we again have this scenario:

We remember that the rule of the six-note run states “the second note of a six-note run should be a sixth away from the final note of a six-note run.” This time, we will choose to let the second note be a sixth above the final note. In doing so, we create the solution seen below:



Again, we will explain the steps that helped us create this six-note run.

1.         The first note was F, and the final note was A.

2.         The rule tells us that we need to find a sixth away from the final note.

3.         We have a choice between letting the second note be a sixth underneath the final note or letting the second note be a sixth above the final note.

4.         For no particular reason, we decided to let the second note be a sixth above the final note.

5.         We name notes upwards from A (A, B, C, D, E, F), and we see that F is a sixth above A.

6.         We let F be the second note of the six-note run we are creating, and we simply move stepwise towards the final note.

Example #3: Figuring Out Another Six-Note Run

Before we move on, we will work additional problems to make sure we understand the process of figuring out six-note runs. Suppose we want to insert a six-note run between G and C as shown in the bass clef example below:



In order to solve this problem, we might wish to mentally picture the format shown below:



Again, we remember that the rule of the six-note run indicates that the second note must be a sixth away from the final note; however, we have the option of determining whether the second note should be a sixth higher or a sixth lower than the final. In this case, we whimsically decide to let the second note be a sixth higher than the final. In so doing, we create the following solution:



If we had chosen to let the second note of this run be a sixth lower than the final, we would have created the following solution:

Example #4: Independent Study

At this point, it is important that you know how to figure out six-note runs. In order to help you achieve this, there are several problems to solve on the following page. In each case, an interval is shown; and there is space provided for your answers. Below each problem, the solutions are shown. Simply use a cover sheet to prevent yourself from seeing the solutions; then check your work.

The Easiest Way to Use the Six-Note Run in Congregational Playing

When we began this discussion of six-note runs, I emphasized the fact that there are many different ways of connecting notes; and the six-note run that is explained in this chapter is just one of those ways. In the same way, there are many different rhythms that can be used with six-note runs; and if you have a knack for using those rhythms, you should feel perfectly free to do so. At this point, we will demonstrate the easiest rhythms that can be used with six-note runs; and these runs are typical of evangelistic congregational hymn playing.

In order to use these six-note runs in congregational playing, simply follow these guidelines:

1.         Select a song in 4/4 time.

2.         When you use the six-note run, let it begin on the first beat or the third beat. These beats are the most important rhythmically, and it seems natural for six-note runs to begin on them.

3.         To keep it as simple as possible, the rhythm of the six-note run proper will be eighth note triplets, taking a total of two beats. [3]

Example 3: Putting a Six-Note Run in the Bass

With this in mind, let us try to use six-note runs in “Glory to His Name.” [4] The opening of the song is shown below:



The easiest way to insert a six-note run in this song is to begin the run on a first or third beat. In this excerpt, we could begin a six-note run on the word Down, on the word cross, on the syllable Sav-, or on the word died. It would be perfectly acceptable to begin a six-note run in the bass clef or in the treble clef. Here, we capriciously decide that we will employ a six-note run in the bass, beginning on the syllable Sav-. Having made that choice, this means that the run will begin on the note Db and end on the note Ab. On the following page, we will see how to insert a six-note run in this song.

In this case, we are presented with Db and Ab as shown below:

If we solved this problem just as we solved previous six-note run problems, we would come up with this solution:

If we adjust this rhythm by making the first six notes eighth-note triplets, we would create the following solution:



In congregational hymn playing, this kind of left-hand run would sound excellent if it were played in octaves. This is shown below:



Now, inserting this into “Glory to His Name,” we see precisely how this six-note run could be used to create an effective congregational accompaniment. In the example below, the right hand is playing the melody in octaves, and the left hand is playing an octave-chord style which is used until the six-note run is inserted:

Example 4: Putting a Six-Note Run in the Melody

Just as six-note runs can be added to the bass, they may be added in the melody line. Following the same procedures described above, we will now demonstrate the insertion of a six-note run in the melody line. Again, we start with an excerpt from “Glory to His Name.”



The easiest way to insert a six-note run in this song is to begin a run on a first or third beat. In this excerpt, we could begin a six-note run on the word Down, on the word cross, on the syllable Sav-, or on the word died. Since we already used a six-note run in the bass part, so now we will demonstrate the use of a six-note run in the melody. For no particular reason, we will choose to begin a six-note run on the word Down. Having made that choice, this means that the run will begin on the note C and end on the note Ab of the word cross. This means that the C and the Bb on the words at the will simply not be played. Instead of hearing this melody, we will hear a six-note run.

This leads to some important considerations. Because a six-note run can replace a section of the melody, it can be confusing to some insecure musicians who might feel lost unless the melody was prominently presented. This means that the church pianist must be sensitive to the musical ability of those around them. If an overabundance of runs would make a song leader feel insecure, it will not be a blessing to the church for the pianist to include a never-ending series of runs. Instead, it would simply make for a poor congregational singing experience because the song leader’s insecurities would likely be mirrored in the congregation’s singing, making the whole experience more dismal than vibrant.

On the other hand, when a pianist is playing in an environment where the song leader is secure, runs can be added more frequently. The pianist must constantly be aware of his environment, not adopting a “one-size-fits-all” policy, playing the same way regardless of the circumstances.

Returning now to our discussion of adding a six-note run to the melody of “Glory to His Name,” we begin by remembering that the run will begin on the note C and end on the note Ab as shown in the example that follows.



If we solved this problem just as we solved previous six-note run problems, we would come up with this solution:



If we adjust this rhythm by making the first six notes eighth-note triplets, we would create the following solution:



If we played the six-note run in octaves while the left half played in the octave-chord style, here is how the right hand would be played. In this example, we have also retained the six-note run in the left hand that we worked out in the last example. In considering the words of the song, notice that the words at the have been omitted in the following example because the six-note run replaces the melody at this point.



The Rudy Atwood Style

Rudy Atwood was one of the most famous gospel pianists of the 20th century, and he was well-known for the running octaves he almost always introduced in the last verse of his arrangements. Though Dr. Atwood used many kinds of techniques in creating his runs, his general style can be approximated by using continuous six-note runs in the left hand. In the excerpt from “Glory to His Name” that we have been considering, you would create a six-note run in the left hand starting on the word Down and ending on the word cross; then you instantly create another six-note run in the left hand beginning on the word cross and ending on the syllable Sav-; finally, you would use another six-note run in the left hand beginning on the syllable Sav- and ending on the word died. This is illustrated in the example below:



From the theoretical point of view, this is easy to understand; however, from the standpoint of piano performance, the constant use of six-note octave runs in the left hand is technically challenging. Many pianists need to carefully study octave performance techniques for an extended period of time before they feel comfortable performing non-stop left hand runs.

Though it is beyond the scope of this chapter to deal with octave performance, it is nonetheless true that this kind of performance frequently causes a terrible amount of tension. Octaves like these are best played with a wrist action (which is precisely what Dr. Atwood did). Instead, many pianists keep their hand in a fixed position which means the lever that is used to execute the octaves is the elbow. These kinds of issues are easily misunderstood when they are written in music books. The best solution is to locate an excellent piano teacher who understands the wrist action and begin working on that technique.