Simple Way To Accompany Yourself



Yes, you can accompany yourself! I read a short article by Big Wilson and here's what he had to say:

Now that you've practiced all the basic chords, let's make things even simpler. When the music calls for an II-V7-I progression, try playing it this way:

Old Way

DC/FA, GF/BD (Dm7, G7, C)

New Way

DC/FA, DB/FG, CC/EG (Dm7, G7, C) ... or

DC/FA, DB/FA, CC/EG (Dm7, G9, C)

The left thumb moves down 1/2 step. The top note in the right-hand moves down 1 whole step. And the A and C is played as always. The same four notes are struck but in a different order or inversion. The third way is even easier. Just move the thumb 1/2 step as shown in the 9th Chord version. The G7 chord is still a dominant 7th, but with a 9th added.

Have fun with this technique not only for keyboardists!


-- LadyD

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

How To Play Dare You To Move

How To Play: Dare You To Move l LadyDpiano

Dare You To Move by Jonathan Foreman

Key of E
2/2 Moderately slow, in 2

E6, E5, E, E5, Esus (2 xs)

                          E6 E5 E E5 Esus
Welcome to the planet
                           E6 E5 E E5 Esus
Welcome to existence
                   F#m11
Everyone's here
                    Asus2
Everyone's here
                        E6  E5  E   E5  Esus
Everybody's watching you now
                    E6   E5    E     Esus
Everybody waits for you now
                         G6
What happens next?
                                B (add4)
What happens next?
                      E5
I dare you to move
                      B(add4)
I dare you to move
                         Asus2
I dare you to lift yourself up off the floor
                 B(add4)  E5
I dare you to move
                       B(add4)
I dare you to move
                             Asus2
Like today never happened 
                      B(add4)      E6 E5 E E5 Esus E6 E5 E E5 Esus
Today never happened before
                           C#m7  Asus2
Welcome to the fallout
                            C#m7   Asus2
Welcome to resistance
                        F#m11
The tension is here
                        Asus2
The tension is here
                              C#m7                               Asus2
Between who you are and who you could be
                          F#m11                       Asus2
Between how it is and how it should be
Yeah
I dare you to move
I dare you to move
I dare you to lift yourself up off the floor
I dare you to move
I dare you to move
Like today never happened
Today never happened before
                     E5                           A5
Maybe redemption has stories to tell
                   E5                                     A5
Maybe forgiveness is right where you fell
                          C#m7                              A5
Where can you run to escape from yourself?
                                 F#m11
Where you gonna go?
                             B7sus
Where you gonna go?
                     E5      A5  E5
Salvation is here
                      E5
I dare you to move
                      B(add4)
I dare you to move
                     Asus2
I dare you to lift yourself

To lift yourself up off the floor
                     B(add4) E5
I dare you to move
                      B(add4)
I dare you to move
                              Asus2
Like today never happened
                     C#m7
Today never happened
                       A5
Today never happened
                      B              E5
Today never happened before

Some Chords:

F#m11 = F# A B E and F#C#F#/ABEF#

B(add4) = BF#B/F#BD#EF#

Get The Beautiful Letdown

-- LadyD

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

Cadence Types and Definitions

Cadence Types and Definitions: LadyDpiano



Awhile back I wrote a blog post about my understanding of different cadences. You can see it, here. Later on, I came across an excellent resource book regarding Cadence definitions and music theory in general called, Edly's Music Theory for Practical People. I highly recommend this one. Here's a short blurb from the book to give you an idea of what I learned from Edly's book.

Cadences

What/When: Cadences occur at the end of a phrase, or the end of part of a phrase. A cadence consists of two or more chords that interrupt the harmonic momentum. The interruption can be temporary, in the form of arriving at a point of tension or arriving at a resolution. Analogies in language include phrases ending with a comma or question mark in the case of tension, or with a period in the case of resolution.

Why: The saying goes, "all good things must come to an end." This is equally true for music. If you can recognize the most common ways in which phrases end, you are that much farther ahead in understanding all musical phrasing.

Cadence Types & Definitions

The full cadence is V(7) -> I and again corresponds with moving from tension, and arriving at a resolution. In written language, this corresponds to a phrase ending in a period or exclamation point. Technically, a cadence is only "full" if the tonic is in both the melody and bass.

The half cadence is something -> V(7), that is, just about any chord moving to the dominant. In language, a half cadence corresponds to a phrase ending in a comma or question mark. A half cadence creates the expectation that something will indeed come next because of the unresolved nature of the dominant. The listener knows that the song or piece is not over at this point unless the composer or player is being cheeky, or deceptive. The chord preceding the dominant chord is often it's own dominant, or the V/V ("five of five," as it's called). In the same way that the dominant, creating the effect of a "temporary tonic." How temporary this ends up depending totally on the situation, and can be anywhere from a beat or two to a whole section of a piece.

The plagal cadence is IV -> I. You've heard it in the amens sung and played in church. IT shows up elsewhere, too, but usually to invoke that "churchy sound."

A deceptive cadence is simply any cadence that doesn't do what you expect it to. More specifically, a deceptive cadence is usually V(7) (since the dominant creates such a high level of expectation) to something other than I. The deceptive cadences found in classical, jazz, and pop music differ in destination chords, but the effect is similar in each case... one of foiled expectation. The mediant and submediant chords are the most standard tonic substitutes - the submediant (vim), in the case of classical music, and the mediant (iiim), in the case of jazz. (Notice that each of these two triads shares two of its three notes with the tonic triad! This might help you see how they might easily get away with replacing the tonic.

Most common deceptive cadences:

V(7) --> vim (classical and pop)
V(7) --> iiim (jazz and pop)
V(7) --> im (when key is major)
V(7) --> I (when key is minor)
V(7) --> bVI (various pop, classical, etc)

Learning about cadences is important. If you can recognize and identify cases, you will be able to recognize melodic and harmonic patterns much more easily and understand better how music is put together. Get the book, Edly's Music Theory for Practical People.

Blessings,

-- LadyD

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