An Understanding of How Music Works



An understanding of how music works involves knowing all 12 major scales. 

Major scales make up music!

Major scales make up playing by ear, believe it or not (at least the effective way of playing by ear.)

When practicing Major Scales, they do build up speed and dexterity but they're more than exercises.

But I’m speaking about getting to a point where you hear a song and you know right away what’s going on in that song. You may not know specifically what the keynotes are but definitely know the “outline” of the song. Somebody can get on the piano and select chords, note-by-note. It might take weeks but it can be completed.

Major scales tell you a lot: 

The time spent at the piano would be to decide the key signature, confirm the chords you’ve already picked out in your head, and worked on details (like melody lines, one of a kind inversions of chords, and minor specificities).

They define intervals.
They decide what a major third is… or a minor sixth … or an ideal fifth. They decide all the keys.

The best scale to keep in mind is the C major scale:
C D E F G A B C
1 2 3 4 5 6 7 8

Simply put, a person with relative pitch focuses on the numbers and not the specific notes.

So forget about the individual notes for a moment and focus on the numbers.

Because the numbers can be used universally, they can be used with any key, not “C” major.

A great way to build this is to relate different intervals of notes to famous songs.

With relative pitch, a musician will know when they hear a melody going from the 1 tone to the 3rd tone (in this case, a melody going from C to E).

For example, a 1-3 interval (or a major third interval) sounds like the beginning of “Have Yourself a Merry Little Christmas.” In the key of C major, that would be C going to E (single notes played one at a time).

Try singing or thinking of the first three notes of that song: “Have your…”

So, what you’d do is keep in mind that melody as a 1-3 interval (or a major third interval). Having a reference song to recall an interval ought to help you. Take advantage of this system.

In the event you keep singing “Have Yourself,” you’d be singing the outline of a major chord: 1-3-5.

Another song that shares the same exact melody is “Kumbaya My Lord” (1 – 3 - 5).

So going through each interval of a scale and making mental references to melodies you can keep in mind is a wonderful way to start building this listening skill:

1:1: This is called unison because the notes sound the same. They may come from different sources (like three different people singing the same tone; or three different instruments). You’ve probably heard the word “unison” before. This is the best interval to keep in mind. In the event you have an ear to match up notes that sound the same, then you shouldn’t have a controversy with this interval!
Try to find references for these intervals:
In the key of C major, this would be: C-C.

1:2: This is called the “major second” interval. In a major scale, this would be the distance between the first three notes of the scale like C to D in the key of C major).

Relate the 1-2 interval to the first three notes in songs like: Frere Jacques and Are You Sleeping.
1:3: This is called the “major third” interval. I’ve already given you examples of the 1-3 interval (Kumbayah My Lord, Have Yourself a Merry Little Christmas). Plus, Oh Susannah (chorus).

1:4: This is the interval between C:F in the key of C major. This is called the ideal fourth interval. Songs like Oh Christmas Tree, We Wish You a Merry Christmas, Hark the Herald Angels and Here Comes the Bride use 4th intervals.
Play the following intervals and figure out melody references for them (things you can keep in mind and associate with these intervals for future use):

1:5: This is the interval between C:G in the key of C major. This is called the ideal fifth interval. Songs like God Rest Ye Merry Gentlemen, Feelings, Chim Chim Cheree and Twinkle Twinkle use the fifth interval.

1:6: I’ll give you some help with this one because it could be a small harder than the ideal fourth and fifth. Have you ever heard the theme music for NBC? The notes are: C to F to A (all played separately but held down as the next note comes in). The C to A, in this case, is a major sixth interval. Other songs starting with a sixth interval are, My Bonnie and It Came Upon a Midnight Clear.

1:7: This is called a major seventh interval. It helps to form the major seventh chord, a jazzy and extended version (C+E+G+B) of the regular major triad (C+E+G). Examples are Bali Hai and Over The Rainbow.

So again, the idea is to know the sounds that sure intervals generate as they're played. Each interval has its own one of a kind sound. And the same truth applies to chords and progressions.

Start to reckon of chords like this:
1-chord
2-chord
3-chord
4-chord
5-chord
6-chord
7-chord
8-chord (equal to 1-chord because the first and last note of a scale belong to the same keynote).


That’s exactly how relative pitch works. You need to understand relationships, intervals, and distances by themselves.

Note the numbers in front of the chord are the same numbers from above. They correspond with notes from any given major scale. Notice that you have no reference point until you actually define a major key.

And, even in the event you do have a reference point, it makes the job much simpler.

Often times, someone with relative pitch can “fake” like they have ideal pitch in the event that they have ONE reference point.

So, how do you get to the point where you can recognize chord progressions?

I understand this lesson could be a small “deeper” than others, but in the event you can get this idea, it may be the breakthrough you’ve been looking for.

A) Write down as many intervals as you can and play them over and over while listening to the distinct sound each interval makes:

In each key:

• You may know that a major chord is happy, a minor chord is sad, as well as a diminished chord is scary, but that’s only half of it. Relative pitch is they ability to identify the intervals between tones and chords. So, while knowing whether the chord is major, minor, or diminished is definitely important, the ability to decide the interval between each chord is more necessary in the event you need to learn songs by ear.

• Decide what a 1-chord sounds going to every other chord of the scale (1-2, 1-3, 1-4, 1-5, 1-6, 17).
Now, each tone is associated with a sure type of chord (like major, minor, diminished) but for now, try to learn and recognize the sound of all three combinations. An example is: 1 maj to 2maj, 1 maj to 2min, 1 maj to 3 maj. Mix and match as much as you can and learn how each interval sounds (not what each chord sounds like). Then move on to the 2-1, 2-2, and 2-3 intervals. Then on to the 3’s, 4’s, 5’s and so on. 


Wishing all my readers a very warm and bright New Year 2011!


-- LadyD



"The beautiful thing about learning is that no one can take it away from you." B.B.King
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The Basics of Relative Pitch




Relative Pitch is the ability to be able to listen to music and identify intervals between pitches (and even chords). Having relative pitch is different from ideal pitch.
This is an article on how to listen effectively. There are various ways to harmonize the melody. For example, in the event you determined the one note melody to Jingle Bells, you'd be able to apply elementary chords in a matter of minutes.

Frequently Asked Questions

1. What if I don't require to play a chord on every melody tone?
2. How do I figure out the chord progressions that I'm hearing when the melody isn't as evident?
3. What if I require to play chords and not follow the melody?
4. What if I'm accompanying someone who is already playing or singing the melody?
Harmonizing the melody is more common for hymns, basic songs, nursery rhymes and melody-intensive tunes.

1. Ideal Pitch

When it comes to effectively listening to music to learn new songs, there's different ways to do it:
Some folks think you require ideal pitch to play by ear but that isn't true.

2. Relative Pitch

Ideal pitch is the ability to listen to exact tones without the use of a musical gizmo or reference. One out of 10,000 people have the ability to listen to a C tone & say that's a "C" without using the piano.
Now, some people with ideal pitch have a hard time with relative pitch (which is more practical for learning by ear).

Relative pitch does not depend on specific notes. It depends more on intervals & distance between notes.

With relative pitch, you may not know specifically what chords or tones are being played (like "C" or "E") but you know what's going on(e.g. - You know that a song is beginning on a major chord & moving to the minor sixth keynote).

Someone with nice relative pitch would know that a melody line like C to E to G is utilizing the notes of a major chord, but might not know which major chord (because unlike ideal pitch, the exact note is unknown until you sit in front of a piano & determine it.)
In the event you can listen to the changing chords in your head and can quickly transfer this knowledge to the piano (after determining the major key), then you have developed nice relative pitch.
Often times, it is going to the piano and matching up tones that allows you to play a song (literally in seconds because you already know what's going on -- you require a reference a reference point -- a major key.

Let's say you've been studying intervals and by now, you know that a "2-5-1" progression is common at the finish of a song. Now, you're listening to a song & there you listen to it, a "2-5-1". You even know that it's a min9 chord because it sounds jazzy going to some kind of dominant chord (like a 13 chord) and then finally returning home to a pleasant major chord.

Most of "playing by ear" occurs in the mind. If you've gotten to the point where you can pinpoint 2-5-1 & 1-4 progressions in songs, then you're relying on relative pitch. You're doing well.
You may not know specifically that it's a Gbmin9 or an Fmin9 but you know it's a minor9 and it occurs on the second tone of the scale. The 'actual' note will be determined one time you actually figure out what major key the song is in. The major key usually brings everything together at the finish.
The missing factor is the major key the song is being played in. So the same person would go to the piano, hit a few notes & shortly determine that the major key is C Major.

Ask yourself a few questions:

1. What is the 2 of C major?
2. What is the 5 of C major?
3. What is the 1 of C major?

The answers to those questions would provide the keynotes for the chords you already know.
Apply the chords: Dmin9 -- G13 -- Cmaj
So, the keynotes of a 2-5-1 progression in C major would be: D to G to C.

This gets simpler as you play 2-5-1 progressions over and over. They become second nature as any other progression will.

Ideally, if they call out, "play a 2-5-1, your response ought to be, "in what key?" That's what level you require to be at -- where you know all of your chords and progressions in all twelve keys and it literally takes seconds to play any chord progression in the event you know the key to play it in.

I know it's not that elementary but one time you get it, you'll be hearing music in your head and know what's going on before you get to the piano.

If you've been struggling to pick out the chord progressions in your favorite songs, then you'll want to take a look at these music resources.

* The Secrets to Playing Piano by Ear

This theory book is full of easy-to-understand tricks, tips, techniques and secrets to playing piano by ear! Home Study Course Book

* Gospel Keys 101

A great video course will teach you everything you need to know to get started playing basic hymns and congregational songs. You'll learn step-by-step, how to harmonize every single tone of the major scale. Since songs are based on melodies (and melodies are based on major scales), you'll be able to harmonize most songs. GK101

I just wanted to wish all of my musician friends a very Merry Christmas and Happy New Year!
Thanks for stopping by. It's always great to hear from you!


Love, LadyD

"The beautiful thing about learning is that no one can take it away from you." B.B.King








"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Learn To Play A German Christmas Carol

American Christmas TreeImage via Wikipedia

I was wondering if you will be playing Christmas songs this year for family, friends or your church?


I have fond memories of being asked to play "Ave Maria" when I was a kid. My Mom would invite all the neighbors to come over to hear me play the piano. No, I wasn't scared... well maybe just a little. 

While I kept playing the piano, I noticed people were talking amongst themselves in the background and that seemed to be relaxing for me, as well as for them, too. So, my advice is to choose your best songs you play well and just have fun with it.


 O Christmas Tree

O Christmas Tree is a Christmas carol of German origin. O Tannenbaum is its original name in German. O Tannenbaum is German for a fir tree or Christmas tree. The melody to this Christmas song is an old folk tune and the best known lyrics comes from a Leipzig organist and teacher named Ernst Anschutz in 1824.

You can find free sheet music to the song at http://www.makingmusicfun.net/htm/f_printit_free_printable_sheet_music/o-christmas-tree-piano-solo.htm 

Intermediate-Advanced Lesson: O Christmas Tree Chords 


Intro:


F(add2)
Bb
Dm11
Gm9/C
C7


Then Play:


F
Gm7/F
F
Am7/E
Gm7
C7
Bb(add2)F
F
C7sus/F

F
Dm7
Am7
Bb6
Gm7
C7
Gm/F
F

Bbmaj9/F
C9/F
F
Dm7
Gm7

Gm7/C
F6
Bb(add2)/F

F(add2)
Am7/E
Cm6/Eb (pause on this chord, you know... fermata sign)


Gm/Bb 
D7/A
Gm
C7
Gm11/F
F


Ending:


F
Bb/D
Dm7
Gm/C
C13
C7 
F(add2)

Beginner-Intermediate Lesson: O Christmas Tree


For the carol, O Christmas Tree, we need to use both the C Major chord and the C Seventh chord. The actual notes in these two piano chords and the chord symbol for each chord are given below:
(Part of this lesson is from http://www.pianochords.info/wagner/wagner_lesson_nine.htm)

C Major
-- Notes: C E G
-- Chord Symbol: C

C Seventh
-- Notes: C E G Bb
-- Chord Symbol: C7

Play the C7 chord with the fifth, third, second and first (thumb) fingers of the left hand.


O Christmas Tree: Two Major Chords, One Minor Chord and One Seventh Chord

To play this Christmas carol we will need the following piano chords:

C Major:
-- Notes: C E G
-- Chord Symbol: C

F Major:
-- Notes: F A C
-- Chord Symbol: F

D Minor:
-- Notes: D F A
-- Chord Symbol: Dm

C Seventh
-- Notes: C E G Bb
-- Chord Symbol: C7

Practice these chords in the two octaves below Middle C on your keyboard.

Lyrics and Tune of O Christmas Tree

Play the tune of O Christmas Tree with your right hand, starting on Middle C. There are three quarter-note or crotchet beats in every bar in this carol. In my notation, the ][ symbol represents a bar line separating the bars in the music.

O ][ Christ-mas tree, O ][ Christ-mas tree, Thy ][
C ][ F F F - G ][ A A A - A ][

leaves are faith-ful ][ ev-er; O ][
G A Bb E ][ G F - C ][

Christ-mas tree, O ][ Christ-mas tree, Thy ][
F F F - G ][ A A A - A ][

leaves are faith-ful ][ ev-er; Not ][
G A Bb E ][ G F - C ][

on-ly green when ][ su-mmer glows, But ][
C A D C ][ C Bb Bb - Bb ][

in the win-ter ][ when it snows. O ][
Bb G C Bb ][ Bb A A - C ][

Christ-mas tree, O ][ Christ-mas tree, Thy ][
F F F - G ][ A A A - A ][

leaves are faith-ful ][ ev-er!
G A Bb E ][ G F

Practice this melody until you can play it by memory.

O Christmas Tree Chord Accompaniment

Now let's look at the piano chords for O Christmas Tree. Play the chords in a regular rhythm corresponding with the three quarter-note or crotchet beats in each bar.

A special note about the chords highlighted in bold face: these chords are played by themselves, half a beat before the final note of the melody in those bars. For example, at the end of the first line, F chords are played with the syllables 'Christ-' and 'tree', then the Dm chord is played by itself, followed by the melody note, A, by itself, with the word 'Thy'.

O ][ Christmas Tree! O ][ Christmas Tree! Thy ][
----][F----F----C----][F----F----Dm ----][

leaves are faith-ful ][ ev-er; O ][
C----C----C----][C7----F --------][

Christmas Tree! O ][ Christmas Tree! Thy ][
F----F----C----][F----F----Dm----][

leaves are faith-ful ][ ev-er; Not ][
C----C----C----][C7----F----F----][

only green when ][ summer glows, But ][
F----C7----C7----][C7----C7----C7----][

in the win-ter ][ when it snows. O ][
C7----C7----C7----][C7----F--------][

Christmas Tree! O ][ Christmas Tree! Thy ][
F----F----C----][F----F----Dm----][

leaves are faith-ful ][ ev-er.
C----C----C----][C7----F----
 
Best,
LadyD
 
 http://ladydpiano.blogspot.com/2008/12/we-wish-you-merry-christmas-chords.html

"The beautiful thing about learning is that no one can take it away from you." B.B.King
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How To Accompany Group Singing

Auld Lang SyneImage via WikipediaLadyD piano thanks the many readers who have asked for tips regarding playing the piano to accompany singers.

Here's my story.

I started playing the piano for fashion shows when I was a little one many moons ago. From there, I graduated to playing piano for choirs in Junior High and High School. Later on, I learned to accompany lead singers and church vocalists.

1. Accompanying Group Singing

Tis the season for group singing, and keyboard players will be very much in demand on such occasions. Accompanying singers is a specialized skill, so I thought that some tips on the subject might be worthwhile.


If you can transpose, or are playing by ear, you will want to chose the best key for each song. A safe, average vocal range  is the octave C to C, which can be exceeded by one or two notes in either direction when necessary. Suppose you are accompanying Auld Lang Syne. A good key would be F, which makes the lowest note C and the highest note D.

Example:

r.h. melody single notes- C, F, F, F, A, G, F, G, A, G, F, F, A, C, D...

A short introduction will serve to announce the song, establish the key, and set the tempo. This last is especially important for keeping the group together. A typical introduction can be fashioned from the last four or two bars of the song. (Since Auld Lang Syne is relatively slow, two bars are sufficient.)

Example:

CG/ CEA to G
DD/ ADF
BB/ ABbD, BbBb/ ABbD
CC/ EBbC
FF/ ACF
CC to low F
CC/ EBbC

2. When accompanying a group it is often wise to pound out the melody, doubling it in octaves if possible. 

CC/ EBbC
F/ FACF, F/FACF
DD/ FADF
DD/ ADFA
BbBb/ GBbDG
BbBb/ FBbDF
CC/ GBbEG
CC/ ACEA, to GG
F/ FACF, F/ FACF
FF/ ACEbA
AA/ CEAC
BbBb/ DFBbD

Once you are sure that the group knows the tune you can stop playing the melody and use a more rhythmic form of accompaniment. But notice that the right hand still touches on the main melody notes, to keep the singers on pitch.

Example:

CC/ EBbC
F/F, then FAC
DD/ FAD
BbBb/GBbD
CC/ GBbE
F/FAC
F/ ACEb
BbBb/D
BbBb/DFBb

When you come to the end of the tune you may want the singers to go on to another verse. You can signal them to do so by playing a "turnaround" emphasizing the dominant (i.e. the fifth note of the scale, which would be C in the key of F).

BbBb/DFBbD
AA/ CFC
FF/CFA, FF/CFA
DD/ BDF
CC/BbEG
CC/BbDF
CC/ BbEG
C#C#/ AEA, to G
DD/ADF
BbBb/ ABbD, BbBb/ ABbD
CC/ EBbC
FF/ ACF
CC/CC (3 times)


To create a final ending for the song, slow the tempo slightly, hold the last note (I have added a tremelo in the left hand),and then cut it off with a sharp "button" consisting of a tonic chord (i.e. a chord on the first note of the scale). Notice that as the tempo broadens I have provided an upper octave doubling, to give a fuller sound.

Example:

C#C#/ AEA, to G
DD/ ADF
BbBb/ DFBbD (twice)
CC/ CEBbC
FF(tremelo)/ FACF (hold it out)
F/ FACF

Now, when you follow the soloist, remember not to push the rhythm... just follow the artist. When the soloist wants to pause and hold a note, play a fill or arpeggiate a chord, hold it with the sustain pedal while she catches her breath and continues with the next phrase. You, as the piano player, can be the star at the beginning and end to the song with a few melody notes along the way.

When you are invited to play at a party, it is a good idea to do some advance preparation. Make a list of the songs you expect to use and decide on the keys for all of them. Have your music easily accessible, to eliminate fumbling between songs. Then relax, sing along as you play, and enjoy the party. 'Tis the season...

Best,
-- LadyD

P.S.  My friend Yoke Wong has a great music resource you might be interested in!


Learn To Play Your Favorite Christmas Carols Now
Covering Silent Night, O Come All Ye Faithful, and many more
www.ChristmasPianoDVD.com















"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Order of Sharps and Flats on the Staff

Key signature in C-sharp-major and a-sharp-minorImage via Wikipedia The accidentals of the key signatures are placed on the staff in the same order of appearance as in the circle of fifths. For sharp keys the first sharp appears on the F line (5th line, counting from bottom to top line) of the treble clef and on 4th line (counting bottom to top) of the bass clef.

This sharp applies to any F in the musical composition whether on the same lines or on any other locations, and this same principle is observed for any other sharps (or flats) of the key signature. The sharps progress in an orderly arrangement from left to right. For quick identification of a major key in a signature of sharps, the keynote occupies that staff degree immediately above the last sharp.

C Major and Sharp Key Signatures

Key of C = no sharps and flats
Key of G = 1 sharp (F#)
Key of D = 2 sharps (F#, C#)
Key of A = 3 sharps (F#, C#, G#)
Key of E = 4 sharps (F#, C#, G#, D#)
Key of B = 5 sharps (F#, C#, G#, D#, A#)
Key of F# = 6 sharps (F#, C#, G#, D#, A#, B#)

For quick identification of a major key in a signature of two or more flats, the keynote is identical with the penultimate (next-to-last) flat.

C Major and Flat Key Signatures

Key of C = no sharps or flats
Key of F = 1 flat (Bb)
Key of Bb = 2 flats (Bb, Eb)
Key of Eb = 3 flats (Bb, Eb, Ab)
Key of Ab = 4 flats (Bb, Eb, Ab, Db)
Key of Db = 5 flats (Bb, Eb, Ab, Db, Gb)
Key of Gb = 6 flats (Bb, Eb, Ab, Db, Gb, Cb)
Key of Cb = 7 flats (Bb, Eb, Ab, Db, Gb, Cb, Fb)

The key signature may now be used to identify the key. When it is known that the music is in a major key, the number of sharps or flats in the signature will indicate the name of that major key. For example, when the key is major, four sharps always indicates the key of E.

Exercise: Constructing the Circle of Fifths for Major Keys

Construct from memory the circle of fifths for major keys. You should be able to draw the circle on paper or at the board in one minute.

Exercise: Write the correct major key name according to the number of sharps or flats given.

Exercise: Write the correct number of sharps or flats for the given major key.

Much music commonly performed today (including most music of the 17th-19th centuries) is based on either one of two scale patterns: the major scale and the minor scale. Music is said to be in major when the pitches used can be arranged in alphabetical order with a resulting major scale pattern.

In Joy to the World, the first line of the melody already assumes the pattern of the D Major Scale.

Here's the melody line of the right hand:

(D, C#, B,A, G, F#, E, D)


Joy to the World in Bb Major Scale


(Bb, A, G, F, Eb, D, C, Bb)

So, the key signature is a group of accidentals found on the staff at the beginning of a composition. This group consists of the accidentals used in the scale of the composition and when the music uses a major or minor scale, the signature can be used to identify the key of the composition. the key signature is placed before the time signature.

By extracting the accidentals from each major scale in this way, we can find the number and names of sharps  or flats for each major key, and the key signature for each. Remember that including C (no sharps and no flats), there are fifteen major keys, just as there are fifteen locations of the major scale.

A common way of illustrating the order of key signatures, with the numbers of accidentals in each, is through the circle of fifths. (our previous lesson)


If you can read simple treble-clef melody notes,
you can play your favorite popular songs using
"Play Piano With Fake Book" system.

Master the following:
*Can't Help Falling In Love
*Smoke Gets In Your Eye
*Never on Sunday
*Edelweiss
*Chariots of Fire and more
Using "Play Piano With Fake Book"





Best,
-- LadyD




"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Lessons on The Circle of Fifths

Free Printable Photo


Over the years of playing with many talented musicians, they have shared their tips and tricks with me and I am extremely appreciative. With heartfelt thanks, I am grateful for the knowledge of the Circle of Fifths. Whether you are just beginning to play the piano or you are a seasoned musician, learning the theory behind the Circle of Fifths is an extremely important and valuable tool to have.

Here's a short article from a friend over at HearandPlay, Jermaine Griggs' site for piano and keyboard musicians.

The Circle of Fifths Secrets Revealed

"Often times when one refers to the Circle of Fifths we think about Scales but today I would like to expose some secrets in the Circle of Fifths.

First, we already know that each note in the scale has a number position when we refer to intervals. So in C Major, from C-C would count 1 2 3 4 5 6 7 8 for the scale.
C Major = C D E F G A B C. These interval number positions we use when talking about progressions so when we talk about a 1 we mean C and a four means F etc. When you look carefully at the circle of fifths you would see that starting from B going forward up to C major you would have found the 7 3 6 2 5 1 progression for C Major.

Its important to note that in the circle if you count six spaces forward from any letter position you would find the 7 3 6 2 5 1 progression. Therefore the circle shows you the progression for all the Major scales.

If you should take a further look you will see the 5 1 4 progression. So if you want to find the progression of the major scale just find the note and the 5 will be on your right and the four on the left of the scale you are in. E.g. C Major 5 1 4 progression would be, 5 = G on the right of the circle, 1 in the middle and 4 on the left of the scale you are in.

To find the progression #4 7 3 6 2 5 1 progression just count seven spaces forward going to the right of the scale you want to find it in and the #4 would be the seven letter found. E.G."

Article by Jamaican-Music 


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My understanding of the Circle of Fifths is that you must first be able to measure the interval of a perfect fifth. A perfect fifth spans five staff degrees and is comprised  of three whole-steps, and one half-step, or seven half-steps. rather than counting steps, a perfect fifth can be calculated more quickly by using information already learned in connection with the scale, the note from which the measurement is to be made as tonic. From a tonic note up to its dominant note is an ascending perfect fifth.

It is through the interval of the perfect fifth that keys are related to each other. Starting with C, we count up a perfect fifth to find the keynote G for the scale with one sharp; we count up a perfect fifth from G to find the keynote D for the scale with two sharps, and so on until we reach C# with seven sharps.

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The flat keys are related in a similar manner. Starting with C, we count down a perfect a perfect fifth  to find the keynote F for the scale with one flat; we count down a perfect fifth from F to find the keynote Bb for the scale of two flats, and so on until we reach Cb, with seven flats. From the Circle of Fifth images you can see that each progression up a fifth adds one new sharp, and each progression down by fifth adds one new flat.

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the key names used for 5, 6, and 7 sharps have enharmonic equivalents in the names for keys 5, 6, and 7 flats: B (5 sharps) and Cb (7 flats); F# (6 sharps) and Gb (6 flats); C# (7 sharps) and Db (5 flats). so now the circle of fifths for major keys is produced.

Free Photo Image

This circle includes all the major key names with the sharp keys reading clock-wise from C, and the flat keys reading counterclockwise from C. The circle is joined by the three enharmonic keys. The number of sharps or flats for each key can be determined by counting the number of fifths away from C.

Free Photo Image

For example, A has three sharps because it is the third key clockwise from C; Db has 5 flats because it is five keys counterclockwise from C. The circle also indicates the order of sharps and flats on the staff.
More on that next time.

I am truly grateful for all of my readers. Wishing you a very Happy Thanksgiving! Doesn't the circle remind you of pie? Do you have a favorite? Have fun with this course lesson learning the musician's pie, the circle of fifths.
Play Piano By Ear Home Study Course




Blessings,
-- LadyD

"The beautiful thing about learning is that no one can take it away from you." B.B.King Amplify
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Worship Chords

Candles-Worship 
 This lesson is designed to teach you how to replace those boring major triads with nice worship chord voicings.

Here's a formula:

L.H. = 1 5 1 / C G C 
R.H. = 3 6 7 3 / E A B E 

This chord is a major chord with an added 6th and 7th. These tones will give your chords that worship flavor. You can experiment a little. Try adding a 2nd, 6th, or 7th to any major chord or triad to give it a more contemporary flavor.







The following chords can be used to update an outdated sound. Anywhere you would normally use a major triad, try substituting some of the chords below.

Here's an assignment. Practice and learn the following chords.

Major Chord with added 6th and 7th.

C Major  - C G C/ E A B E


Db Major - Db Ab Db/ F Bb C F

D Major - D A D/ F# B C# F#


E Major - E B E/ G# C# D# G#


F Major - F C F/ A D E A


Gb Major - Gb Db Gb/ Bb Eb F Bb

G Major - G D G/ B E F# B


Ab Major - Ab Eb Ab/ C F G C


A Major - A E A/ C# F# G# C#


Bb Major - Bb F Bb/ D G A D


B Major - B F# B/ D# G# A# D#


Worship Chords using the 1-3-4 Progression

Worship chords are used to usher the listener into the presence of the Holy Spirit. Some musicians call these type chords "talk music."


Analyzing the 1-3-4 progression in Db Major, remember all harmony can be explained using the major scale. See the Db Major Scale below.


1    2    3    4     5      6     7    8 
Db Eb  F  Gb  Ab  Bb  C  Db

The 1 chord is Db Major
The 3 chord is F minor
The 4 chord is Gb Major


We will also use the interval of 6ths to create melodic color for our featured progression. First let's learn the 6ths in the right hand using the Db Major Scale. Notice that that the top note outlines the major scale.

Top Note:      Db  Eb   F    Gb   Ab Bb  C   Db


Bottom Note: F   Gb   Ab  Bb   C   Db  Eb  F


The 1-3-4 Progression

Dbmaj7 = Db Ab Db/ Eb C


Fm7 = F C F/ C Ab


Gbmaj9 = Gb Db Gb/ Bb Eb F Bb


Photo Credit: http://howdoesshe.com
Best,
-- LadyD








"The beautiful thing about learning is that no one can take it away from you." B.B.King Amplify

Learn To Play My Cherie Amour: Stevie Wonder

Stevie Wonder at a rehearsal for the Grammy AwardsImage via Wikipedia


Stevie Wonder My Cherie Amour Chord Video



1. My Cherie Amour Chord Chart

Intro:

D7     Cmaj7 C6 C  F
 La la la,   la la la,
F6/C Fmaj7 F7b5 F7     Gmaj7  D7
 La  la    la   la, la la.

Verse 1:

       Gmaj7      C11                Fmaj7  C/D
My che-rie amour; lovely as a summer day.
       Gmaj7      C11                  Fmaj7  C/D
My che-rie amour; distant as the Milky Way.

Chorus 1:

       Cmaj7      C/D                    F9
My che-rie amour; pretty little one that I adore,
E7               Bm7     E7          A7
 You're the only girl my heart beats for;
D7                        G6    C/D  D7
 How I wish that you were mine.

Verse 2:

     Gmaj7    C11                    Fmaj7   C/D
In a cafe, or sometimes on a crowded street,
          Gmaj7             C11           Fmaj7  C/D
I've been near you, but you never noticed me.

Chorus 2:

       Cmaj7      C/D                          F9
My che-rie amour; won't you tell me, how could you ignore,
E7                        Bm7   E7 A7
 That, behind that little smile I  wore?
D7                        G6    C/D
 How I wish that you were mine.

Interlude:

D7     Cmaj7 C6 C  F
 La la la,   la la la,
F6/C Fmaj7 F7b5 F7     Gmaj7  D7
 La  la    la   la, la la.

Verse 3:

      Gmaj7           C11                   Fmaj7  C/D
Maybe someday, you'll see my face among the crowd?
      Gmaj7         C11                        Fmaj7  C/D
Maybe someday, I'll share your, little distant cloud?

Chorus 3:

       Cmaj7      C/D                    F9
My che-rie amour; pretty little one that I adore,
E7               Bm7     E7          A7
 You're the only girl my heart beats for;
D7                        G6    C/D  D7
 How I wish that you were mine.

Coda:

D7     Cmaj7 C6 C  F
 La la la,   la la la,
F6/C Fmaj7 F7b5 F7     Gmaj7  D7
 La  la    la   la, la la.

(Repeat to Fade)
My Cherie Amour Chords 1969
 Here's a breakdown of chords I use when I play the song:


Bm7 = BA/DF#C


C6 = CG/CEA

C11 = C/BbDF


D7 = D/DF#B 


D7b9 = DB/CD#F#B

D11 = D/GACE

E7 = EG#/DF#B

Fmaj7 = FC/ACE

F9 = FA/EbGBD

F6 = F/ACD

F7b5 = F/AEbFB


Gmaj7 = GD/BF#





2. My Cherie Amour Chords For Piano


Intro (2x; vocals enter 2nd time:)

    F#maj7    Cbmaj7
La la la la la la
              C#maj7
La la la la la la

Verse 1:

Ab7+5  C#maj7      Gb7sus      F#7     Cbmaj7   Ab7sus4 Ab7
My   Cherie Amour, lovely as a summer's day
   C#maj7        Gb7sus         F#7  Cbmaj7   Ab7sus4 Ab7
My Cherie Amour, distant as the Milky Way
   F#maj7        Ab13                Fm7-5/B
My Cherie Amour, pretty little one that I adore
Bb9                    Eb9
You're the only girl my heart beats for
Ab13                    C#maj7
How I wish that you were mine

Verse 2:

Ab13-9  C#maj7...   [Ab13-9: 4x4564]
In    a cafe  or sometimes on a crowded street
I've been near you, but you never notice me
My Cherie Amour, won't you tell me how could you ignore
That behind that little smile I wore
How I wish that you were mine

[repeat intro - with vocals both times]

[key change to D]

Verse 3:

A7    Dmaj7          G7sus4       G7        Cmaj7    A7Sus4 A7
Maybe someday  you'll see my face among the crowd
      Dmaj7        G7sus4              G7     Cmaj7   A7Sus4 A7
Maybe someday  I'll share your little distant cloud
     Gmaj7         A13                    F#m7-5/C
Oh, Cherie Amour, pretty little one that I adore
B9                      E9
You're the only girl my heart beats for
A13                     Dmaj7
How I wish that you were mine

[repeat intro (in D) to fade:]

     Gmaj7    Cmaj7
La la la la la la
              Dmaj7
La la la la la la 
Version 2 with Key Change

3.  Free Print for Keyboard Chords
My Cherie Armour pdf

 

Steps To Video Making and Marketing

A Sony TRV-950 mini-DV digital video camera. 3...Image via Wikipedia
Three Steps To Add the Power of Video to Your Website
1. Shoot Your Video
2. Upload It To YouTube
3. Link or Embed Your Video Broadcast

What should your first video message be? 

If a visitor stopped by your show room you'd take the opportunity to show them around. Do the same thing on your website or blog. When a visitor arrives, welcome them to your site with your instruction video. In essence, you want to show them around your "virtual Internet showroom."
Tell them how you're different and the benefits you or your products offer. If your site has links, then tell your visitor what information they will find if they follow those links.
I offer lessons and instructions online. I play the piano and offer certain music resources to take your piano playing to the next level.



Step 1: Shoot Your Video 

Set up your camera and position yourself about two or three feet in front of it and start talking. In the beginning, I used a digital camera and set it on a tripod. Then I set the camera on video and sat down and started talking.

Don't worry about what you will say, just start talking and recording. If you were a first time visitor to your website what would you be looking for and what would you want to know?

Don't worry about scripting out what you will say. Just talk off the top of your mind and don't be afraid to record several takes. The delete button is powerful and allows you to re-take the shot many times over.

Then watch them back and pick the best one. The exercise of being in front of the camera and just talking will help you perfect what you say. It will also help you get past your fear of being in front of the camera. By recording several takes, it will help you to look, sound and feel natural. And that's important! Remember to smile and just be yourself.

One of the greatest powers of using video in your marketing is that it gives your customers and prospects the opportunity to meet you face to face. Once you are happy with the take, put it up on YouTube.



Step 2: Upload to YouTube 

If you do not yet have an account go to www.youtube.com and sign up for a free account. Once you have it set up, which will take a few minutes, connect your video camera to your computer and upload your video to YouTube. Most video cameras come with software that may require you to transfer the video to your computer before you can move it to YouTube.

The hardest part of the whole process is often getting the video off your camera. If you have trouble then you might want to consider investing in a video camera that is made specifically for putting video onto computer or uploading it to the Internet.



Step 3: Link or Embed Your video for broadcast. 

Once you have your video on YouTube you will find two different sets of Internet coding to the right of your video. The URL code lets you link people to your YouTube video and the Embedded code lets you place that video directly onto your Website.

I recommend you place your videos on your Website. Keep your visitors on your site rather than sending them away to another site. If you maintain your own Website then simply copy and paste this code onto your Web page. If you have someone who maintains it for you, then send the code to them. It can save you hundreds of dollars in getting video on your Website. The key is to just do it.



As a music teacher, I enjoy recording students playing their favorite songs and then sharing the link with family members and friends. I also have enjoyed making a video of pirate images and children's books with background music on one of my blogs.

Once you have put a welcome video on your website, there is a lot more you can do. Most importantly, put your website or blog URL in the Description Box. That way you will be directing more traffic to your site and increase effective newsletter sign ups.

Indeed there is power in adding video to your website.
http://ezinearticles.com/?Video-Making-and-Marketing&id=5353121
"The beautiful thing about learning is that no one can take it away from you." B.B.King Amplify
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Learn To Play Thank You Lord by Don Moen

Don MoenCover of Don MoenIn 2004, Integrity's Hosanna Music released a Christian song called Thank You Lord written by Don Moen and Paul Baloche.
You can see the piano chords chart here.
And also view the simple chord progressions here.
I have also posted the keyboard chord chart below.

1. Thank You Lord 

INTRO: F  C Bb2 C   F C Bb2  C

VERSE 1:
F                    C
I come before You today
Gm                                Dm7
And there’s just one thing that I want to say
Bb           C    Bb          C
Thank You, Lord,  thank You Lord
F                       C
For all You’ve given to me
Gm                          Dm7
For all the blessings that I cannot see
Bb           C    Bb          C
Thank You, Lord,  thank You, Lord
F                   C
With a grateful heart, with a song of praise
Dm                      Bb
With an outstretched arm I will bless Your Name


CHORUS:
      F           C                    Bb         C
       Thank you, Lord, I just want to thank You, Lord
      F           C                    Bb         C
       Thank You, Lord, I just want to thank You, Lord
                   F  C  Bb2 C     Bb2
       Thank You, Lord

VERSE 2:
 F                          C
 For all You’ve done in my life
Gm                            Dm7
You took my darkness and gave me Your blight
Bb           C    Bb          C
Thank You, Lord, thank You, Lord
F                        C
You took my sin and my shame
Gm                            Dm7
You took my sickness and healed all my pain
Bb           C    Bb         C
Thank You, Lord,  thank You, Lord


F                   C
With a grateful heart, with a song of praise
Dm                      Bb
With an outstretched arm I will bless Your Name


CHORUS:
      F           C                   Bb        C
Thank you, Lord, I just want to thank You, Lord
      F           C                    Bb         C   Bb/C
       Thank You, Lord, I just want to thank You, Lord
      F           C                    Bb         C
       Thank you, Lord, I just want to thank You, Lord
      F           C                    Bb        C
       Thank You, Lord, I just want to thank You, Lord
                   Bb
       Thank You, Lord


Do verse chords

F                   C
With a grateful heart, with a song of praise
Dm                      Bb
With an outstretched arm I will bless Your Name


CHORUS:
 G           D                   C2          D
 Thank you, Lord, I just want to thank You, Lord
 G           D                   C2          D
 Thank You, Lord, I just want to thank You, Lord
 (Repeat)
 C2  
        Thank You, Lord
         C                G 
  Thank You, Lord    Thank You, Lord
 
* If you're interested in hearing how the song goes, visit Thank you Lord mp3 Free Download
* The song chord charts are in another key. You can find it here.

I have posted the worship chord chart below.

2.  Thank You Lord
Intro:
G/B  C2   Dsus4  Em7  G/B  C2  Dsus4  G
(Repeat)


Verse 1:
G                   D
I come before You today,
Am                              Em
and there's just one thing that I want to say
C          D     C          D
Thank You, Lord, thank You, Lord
G                       D
For all You've given to me,
Am                         Em
for all the blessings that I cannot see
C          D     C          D
Thank You, Lord, thank You, Lord
G                     D
With a grateful heart, with a song of praise
Em                     C
With an outstretched arm I'll bless Your Name and


Chorus:
  G        D/F#                 Em         C
Thank You, Lord, I just want to thank You, Lord
  G        D/F#                 Em         C
Thank You, Lord, I just want to thank You, Lord
G/B  C2  Dsus4  Em  G/B  C2  Dsus4  G


Verse 2:
For all You've done in my life,
You took my darkness and gave me Your light
Thank You, Lord, thank You, Lord
You took my sin and my shame,
You took my sickness and heal all my pain
With a grateful heart, with a song of praise
With an outstretched arm I'll bless Your Name and
Thank You, Lord, thank You, Lord


Other:
G  D  Em  C  G  D/F#  Em  C


Coda:
G                     D
With a grateful heart, with a song of praise
Em                     C
With an outstretched arm I'll bless Your Name and


Chorus 2:
  G        D/F#                 Em         C
Thank You, Lord, I just want to thank You, Lord
G          D/F#                 Em         C
Thank You, Lord, I just want to thank You, Lord
G          D/F#                 Em         C
Thank You, Lord, I just want to thank You, Lord
G          D/F#                 Em         C
Thank You, Lord, I just want to thank You, Lord
G/B  C2  Dsus4  Em7  G/B  C2  Dsus4  G
G/B  C2  Dsus4  Em7  G/B  C2  Dsus4  G


3. Thank You Lord (Key of E)
VERSE 1

E                      B
I come before you today,
C#m        
and there's just one thing that I want to say;
A            B
Thank you, Lord
E                       B   F#m7                        C#m          
For all You've given to me, for all the blessing that I cannot see
A              B
Thank you, Lord; 

(bridge/pre-chorus)
E                       B
With a greatful heart, with a song of praise, 
C#m                        A
with an outstretched arm, I will bless your name.


CHORUS

E             B                   A
Thank you, Lord, I just want to thank you Lord, 
E              B                A            B              E
Thank you, Lord, I just want to thank you Lord; Thank you, Lord.


VERSE 2
For all you've done in my life, 
You took my darkness and gave me your light
Thank you, Lord
You took my sin and my shame, 
You took my sickness and healed all my pain
thank you, Lord 

bridge/pre-chorus
Chorus
song chord charts
4.  Thank You Lord by Don Moen
Here's the piano chords for beginners.
D                   A
I COME BEFORE YOU TODAY,
      Em
AND THERE'S JUST ONE THING
    Bm
THAT I WANT TO SAY,
G         A     G         A
THANK YOU LORD, THANK YOU LORD
D                       A
FOR ALL YOU'VE GIVEN TO ME,
Em
FOR ALL THE BLESSINGS
    Bm
THAT I CANNOT SEE,
G         A     G         A
THANK YOU LORD, THANK YOU LORD


BRIDGE:
D
WITH A GRAETFUL HEART,
A
WITH A SONG OF PRAISE
Bm
WITH AN OUTSTRETCHED ARM,
G
I WILL BLESS YOU'RE NAME.


CHORUS:
 D         A
THANK YOU LORD,
                G        A
I JUST WANT TO THANK YOU,LORD,
D           A
THANK YOU, LORD,
                G         A pause
I JUST WANT TO THANK YOU LORD

THANK YOU LORD


(REPEAT INTRO)


VERSE 2:
D                          A
FOR ALL YOU'VE DONE IN MY LIFE,
Em
YOU TOOK MY DARKNESS,
     Bm
AND GAVE ME YOU'RE LIGHT,
G          A    G          A
THANK YOU LORD, THANK YOU LORD.
D                        A
YOU TAKE MY SIN AND MY SHAME,
Em
YOU TOOK MY SICKNESS
     Bm
AND HEALED ALL MY PAIN
G          A    G          A
THANK YOU LORD, THANK YOU LORD


BRIDGE:
D
WITH A GREATFUL HEART,
A
WITH A SONG OF PRAISE,
Bm
WITH AN OUTSTRETCED ARM,
G
I WILL BLESS YOU'RE NAME.


CHORUS:
D          A
THANK YOU LORD,
                G         A
I JUST WANT TO THANK YOU LORD
D          A
THANK YOU LORD
                G         A
I JUST WANT TO THANK YOU LORD
D          A
THANK YOU LORD
                G         A
I JUST WANT TO THANK YOU LORD
D          A
THANK YOU LORD
                G         A
I JUST WANT TO THANK YOU LORD
D          A
THANK YOU LORD


(INSTRUMENTAL)
G          A     G         A
THANK YOU LORD, THANK YOU LORD
G          A     G         A
THANK YOU LORD, THANK YOU LORD


BRIDGE:
D
WITH A GREATFUL HEART,
A
WITH A SONG OF PRAISE,
Bm
WITH AN OUTSRETCHED ARM
G
I WILL BLESS YOU'RE NAME


CHORUS 2:
E          B
THANK YOU LORD
                A         B
I JUST WANT TO THANK YOU LORD
E          B
THANK YOU LORD
                A         B
I JUST WANT TO THANK YOU LORD
E          B
THANK YOU LORD
                A         B
I JUST WANT TO THANK YOU LORD
E          B
THANK YOU LORD
                A         B
I JUST WANT TO THANK YOU LORD
E          B
THANK YOU LORD
E          B
THANK YOU LORD
http://www.guitaretab.com/d/don-moen/151520.html

Don Moen thank you Lord


 

 Don Moen Biography


"This time, I’ve followed my heart and not my head.”

It’s a simple statement that carries with it a powerful meaning in the life of worship artist Don Moen. One of the best-known and respected recording artists in the Christian music industry, Moen has earned a worldwide reputation for his work as a songwriter and worship leader who has helped shape today’s modern worship landscape. As a platinum-selling recording artist, he has recorded more than 17 albums which have sold more than 5 million units. But it’s his newest release, I Believe There Is More, which has become his most personal project to date.

I Believe There Is More is the next chapter, a new season that comes in the midst of what has been a three-decade-long career for this award-winning songwriter who has penned such worship classics as “God Will Make A Way,” “I Just Want To Be Where You Are” and “God Is Good All The Time.” Moen’s landmark recording Give Thanks which sold more than 1 million copies worldwide.

“I’m amazed that I’ve had the favor I’ve had, that I’ve done the things I’ve done,” Moen admits. “I am the most unlikely guy… I didn’t plan it or go after it. But I’ve realized over the last few years in particular that I needed to pay more attention to what God had originally called me to be…a worship leader and songwriter.”

The path to that realization has been filled with some pretty important steps along the way. Even in the midst of awards, accolades and success, it is most notably Moen’s visionary instincts and strengths as a mentor and leader that industry peers and fellow musicians have recognized most. His initial recordings with Integrity Music led to a 20-year relationship with the label, during which time he served in a variety of creative roles and was eventually named president of the label.

But, in late 2007, he decided to leave his position at the label. “I was compelled by the Holy Spirit to rethink my priorities… to pursue my own calling, my own ministry,” he explains. “I couldn’t go another month denying that. It had taken a back seat for far too long. It was no longer a career issue. I knew that if I didn’t pay attention to the stirring in my heart, I would be disobedient to God.”

It was a difficult decision for Moen to make at this particular time in his life. To pursue something completely new – leaving a secure position at a company when he had a family with five children to support (three in college) – went against all logical reasoning. But it was a heart decision.

“I didn’t know how to get in the boat and pursue the new thing God wanted me to do in my heart, while keeping one foot on the land,” Moen shares. “But I’ve felt confirmed. I know I did the right thing. Integrity was my family for 20 years. It was a season of my life that I was blessed to be a part of, but seasons change, and if we don’t change when the Holy Spirit wants us to change, we miss out on some of the best things ever.

“This time I’ve followed my heart and not my head, and look at the doors that have opened,” he adds. “I would have never walked through them had I stayed comfortable where I was.”

That’s why Moen felt compelled to call the new record I Believe There Is More. In many ways, it’s the perfect title for where his life is at the moment. “It gives me every reason to share with people who are more motivated by fear than faith. Fear says, ‘God is not going to use you anymore.’ Fear says, ‘You’re getting too old to have an impact. You’re not young and beautiful.’ Faith says, ‘I can do all things in Christ.’ Faith says, ‘Doors are going to open if I take that step.’ Fear sees the glass as half empty; faith sees it overflowing.”

Moen stepped into the role of producer on his own album for the very first time, a task that reignited his passion for the creative process more than he’d expected it would. “I’ve really enjoyed being back in the studio as a producer listening to mixes. I’d really removed myself from the very thing that got me into music to begin with – the nitty gritty of working with songs, working with songwriters, getting the right band together, getting the right sounds… It’s just been such a pleasure.”

As part of that process, Moen has also written or co-written nine of the album’s 14 tracks, something he moved away from on previous projects. “This is the first time I’ve written in a long, long time,” he shares, “and I think I’ve written my best songs. Writing was always something I crammed into the middle of a busy schedule. But I’ve had time to live with these songs, and to be intentional about the writing process. I’ve not been this intentional about my writing in a long time. I really think it’s the most personal project I’ve ever done.”

Moen planned the album much like he’d plan a worship service, taking great care to place the songs in a particular order. It’s why the album kicks off with the powerful worship chorus “The Greatness of You.”

“I could see myself starting a concert with this song,” says Moen, who strategically thought about everything from key range, tempo and ending when considering how each track would transition into the next. He co-wrote four songs with Hillsong writer Mia Fieldes, including the energetic “Thank God I’m Free” and one of Moen’s favorites, “O God of Abraham.”

“Mia is one of the most fun writers to work with,” Moen says. “We worked extremely well together.”
It was during a writing session with Fieldes that Moen penned one of his most personal songs to date, “Grace Is Enough.”

“I can boast to many works/Done out of insecurity/And credit many conversations/To my immaturity/And while I’m misunderstood/You are understanding me/And showing me how grace is enough.”

Moen also co-wrote two songs with renowned songwriter Claire Cloninger including the album’s title track, “I Believe There Is More,” a fitting theme for the album and for a new season of life.

“We resist new seasons out of insecurity and fear,” Moen explains. “But we’ve got two choices: live our lives in fear, or live our lives in faith. When you understand that you are called to do a specific thing – when you get in that place – you can step fully into the role God has for you, and say ‘This is who I am.’ The more we have to lose, the harder it is to step out in faith. But I believe there is more – for the preacher who has had a moral failure, for the artist who thinks his career is on the way down, for the woman who is divorced and feels judged… there is more.

“God is still in the business of changing lives, and he’ll work through you. When we make a mistake, like a GPS, God will ‘recalculate’ our route. He’s going to take us to the place he’s destined us to go. Our Plan B is not his Plan B. He’s still on Plan A. He’s going to get us there. That’s the message of hope, and the message of this record, too!”

I Believe There Is More will be available worldwide beginning March 2009 through his label home, Integrity Music.

Don Moen Songwriter

Biography of Don Moen
 

 Don Moen's Label of Thank You Lord


 Of course there is another song called,

Thank You (Lord For All You've Done For Me)

Walter Hawkins

Are you familiar with this song? Let me know how you're doing with the chord progressions in your favorite key to play and sing in. For beginners, I'm thinking we should go over reading chord charts, talk about easy chord progressions and chords that you may not be familiar with.


Plus, I want to wrap up our reharmonization series... oh yes, I haven't forgotten.
Take care and have a great week.



-- LadyD




"The beautiful thing about learning is that no one can take it away from you." B.B.King Amplify


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