How To Play The Star Spangled Banner

NEW YORK, NY - NOVEMBER 30: A rare first editi...
NEW YORK, NY - NOVEMBER 30: A rare first edition of the lyrics of the 'Star Spangled Banner', estimated at $200,000-$300,000, is displayed at a press preview for the Fine Printed Books and Manuscripts including Americana sale at Christie's November 30, 2010 in New York City. It is the only known copy, one of 11 total, in private hands. The Christie's sale will take place December 3rd. (Image credit: Getty Images via @daylife)

There's a great article on the history of the Star Spangled Banner over at Music with Miss Leslie.

Beginner Piano Keys
Star Spangled Banner   Francis Scott Key      
Key Of C
C                                          Am             D7   G
Oh say can you see by the dawn's early     light

               C                 G                   C
What so proudly we hailed at the twilight's last gleaming

C                                                                                Am     D7   G
Whose broad stripes and bright stars through the peri - lous fight

               C                   G                           C                     
O'er the ramparts we watched were so gallantly streaming

              C                  G                          Dm             F
And the rockets' red glare, the bombs bursting in air

         C                            G                     Am          D7  G
Gave proof through the night that our flag was still there

     C                       F                      Dm             Gsus  G 
Oh say, does that star-spangled banner yet wa  -  ave

               C                                               F  G    C
O'er the land of the free and the home of the brave

Free piano tabs sheet music:

Star Spangled Banner in Key of D

D  G
Oh say can you see, 
by the dawn's early light,
        G            D              G  
what so proudly we'd hailed, at the twilight's last gleaming?
D           G                  
Who's broad stripes and bright stars, 
through the perilous fight,
         G             D               G
O're the ramparts we'd watched were so galantly streaming?
                    D                            C
And the rockets red glare, the bombs bursting in air,
     G                 D
gave proof through the night, 
that our flag was still there.
D G             C             D           
O say does that star spangled banner yet wave
         G           D   G
o're the land of the free___,
        C       D   G
and the home of the brave. 

Online Keyboard Piano

In the key of C (sing along to establish proper rhythm): [note: F-Sharp is the black note to the right (a half-step up) of F.]

ss banner tab in C final
Chart Credit: True Piano Lessons

Free Sheet Music Blog

Free Sheet Music USA Anthem

Free Star Spangled Banner Midi

Now remember, although this keyboard piano software isn't free, Song Robot , you can get tons of free Patriotic Midi Songs for free to learn how to play the songs with the music software.

Free Clip Art:

Virtual Sheet Music offers this video:

"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Norah Jones: Nearness of You

Norah Jones performing on Good Morning America...
Norah Jones performing on Good Morning America on June 11th, 2010. (Photo credit: Wikipedia)

Awhile back I posted a video and a blog post on a Norah Jones song, Nearness of You. Some have asked for more specific notes to the chords, so I thought I would fill in what I know. You can get some of her songs in itunes.

Above Ground
Be My Somebody

Cmaj7 Cmaj9 Gm7 C9 Fmaj7 Fdim

Its not the pale moon that excites me That thrills and delights me,

Cmaj9 = CE/GBE

Gm7 = FBb/D


 Fmaj7 = FC/AC

 Fdim7 = FD/AbB

Em7 A7(b9) Dm7 G13(b9) Em7 A7(b9) Dm7 F/G G13(b9)
oh no Its just the nearness of you

Em7 = ED/GB

A7b9 = A/GBbC#

Dm7 = DA/FC

G7b9 = GF/AbD

Em7 =  GBDG

A7b9 = A/BbC#

Dm7 = DA/AC

G7 = GDF/B

G13b9 = GFD/AbB

Cmaj7 Cmaj9 Gm7 C9 Fmaj7 Fdim
It isnt your sweet conversation That brings this sensation,

C6 = C/ EGC

Gm7 = G/BbDA

 C9 = C/BbDE

Fmaj9 = F/CEG

Fdim7 = FF/AbB

Em7 A7(b9) Dm7 G13(b9) B/C C C
oh no Its just the nearness of you

Em7 = EB/GBD

A7b9 = AG/ABbC#



Fm G+7(#9) Cmaj9 C9

When you're in my arms and I feel you so close to me

Fm6/G = G/FAbCD

G7#5(#9) = GG/BEbFBb

 Cmaj9 = CGE/BE

C9 = CGC/BbD

Fmaj7 Em7 A7(b9) Dm7 C/E F F#dim F/G G13(b9)
All my wildest dreams come true

Fmaj7 = FC/C


A7b9 = AG/BbC#EA

Dm7 = DD/FCEb


G9sus = GF/AC

G13b9 =  G/FAbBE

Cmaj7 Dm7 D#m7 Em7 Gm7 C9

I need no soft lights to enchant me

Cmaj7 = C/BEA

Dm7 = D/FC
Ebdim7 = Eb/F#C

C/E = E/GC

Gm7 =  GDBb/DFC

C7 = CG/BbDE

Fmaj7 Fdim Em7 A7 Dm7

If you'll only grant me the right

Fmaj7 = FC/ACG

Fdim7 = FF/AbBD

 Em7 = EB/BDG

A7 = AG/C#EA

Dm7 = D/CFA

G7 Em7 A7(b9)
To hold you ever so tight


Em7 = EBG/B

A7b9 = AEG/ABbC#E

Dm7 C/E F F#dim F/G G13(b9) B/C C B/C C

And to feel in the night the nearness of you

Dm7 = DAF/CA



F#dim = F#/A

G9sus = GF/FAC

G13b9 = GG/FAbBE







 You may be interested in learning about Tritones


"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Friday Freebie: Ray Charles

Photo of Ray Charles at Grammy Awards rehearsa...
Photo of Ray Charles at Grammy Awards rehearsal (cropped from original). (Photo credit: Wikipedia)

Ray Charles isn't just a giant of American music. He is American music.

Have you been to the NAMM Convention? I look forward to going every January. It's a huge gathering of sales people, musical instruments, vendors, and musicians. I came across a magazine article that I brought home with me from The Yamaha Magazine in 2004. I wanted to share it with you because it's about one of my favorite artists and it's my Friday Freebie. Do you have a favorite song of Ray Charles?
A Tribute to Ray Charles - I Can't Stop Loving You - Hit The Road Jack - Georgia on My Mind - Hallelujah I Love Her So - Unchain My Heart

A Masters Voice: Conversations with Ray Charles

As a SINGER, SONGWRITER, KEYBOARDIST, AND BANDLEADER, CHARLES has left an indelible stamp on rock, R&B, blues, jazz, and country, often by single-handedly redefining the boundaries between them.

Born in Albany, Georgia, in 1930, Charles studied music at a Florida school for the blind before settling in Seattle in 1947. There he developed a jazzy style in the mode of Nat King Cole.

He also worked as an arranger, most notably on Guitar Slim's 1953 classic "The Things That I Used to Do," easily one of the most important blues tracks of all time.

But Charles really hit his stride with 1955's "I've Got a Woman," whose raucous, gospel-inflected style was a bold departure from his earlier, smoother style. Follow-up hits such as "What'd I Say" and "Hallelujah I Love Her So" cemented Charles's position as R&B's most important stylist. James Brown is the Godfather of Soul; ray Charles is simply the father.

In the early '60s, Charles launched a second musical revolution: He demolished the wall between R&B and country music with such hits as "I Can't Stop Loving You" and "You Don't Know Me."

Charles is still going strong 50 years after "The Things That I Used to Do," thrilling audiences with one of the world's most recognizable and beloved voices. He also strives to improve the lives of hearing-impaired children through the Ray Charles Foundation.

R&B, jazz, country, blues, rock and roll-you've influenced them all.
The one thing that's kept my career going is the fact that I do all these different things. I'm not a blues singer in the same way you'd call B.B. King a blues singer. I'm a singer who sings the blues. Big difference! I don't call myself a jazz singer, but I can sing jazz. Anything I like, I can sing. I think the key to my longevity is the fact that I can do various types of music, and the people seem to love it.

"It's a great feeling when somebody loves what you're doing so much that they want to imitate it."
Some of your records changed the course of musical history.
Well, sometimes music comes to you like something in a dream. You hear it in your head before you even do it. I hear music that way all the time. that's one of the main reasons I like a lot of these keyboards: You can get different sounds to fit the mood you're trying to create.

Does a keyboard sound ever steer you toward a particular mood?
No everything I've done with music was entirely there in my head first. That's why, when I try out keyboards, I go through them very thoroughly. A lot of these keyboards might have 200 sounds, but most of them aren't worth a quarter. Out of those 200 sounds I might find ten that are truly exciting, and things that I would use. So I search around for things that are suitable for me. I ask, will this sound bring something to the table? Will it enhance what I'm trying to do-yes or no?

You're associated with two instrumental sounds in particular: acoustic and electric piano. So what are some of the other colors that work for you?
My Yamahas have great, great, organ sounds that are truly close to the real thing. They also have some Hawaiian guitar sounds that are very impressive when they're played right. But you have to know how to make the sounds come out the way you want them to come out. It's all in what you hear. I know I sound like a broken record, but I just have things built in my brain that I want to hear. It's got to satisfy me first. If a sound totally impresses me, then I'm happy.

Any observations about the physical feel of your Yamaha keyboards?
It's very close to a piano keyboard. The touch on a lot of synthesizer keyboards is much too soft for me. I'm used to playing hard on the piano-I like the keys to jump back at me. I can still play them when the feel is lighter, but that's not the point. The point is that I like to be happy while I'm doing it!

Yet you said that you do most of your arranging work away from the keyboard.
That's right. I'm a piano player, but I don't necessarily have to be at the piano to write. I know the chord progressions. I know what I want the saxophones and trombones and trumpets to do. I know what I want from the bass. I used to have a fellow named Hank Crawford who was my copyist, and we would sit up all night and write music, with no piano in sight. If you hear this stuff in your mind and know how to write music, it's easy.

You surprised a lot of people when you began incorporating country and western influences in the '60s.
I just wanted to do something like what I used to hear when I was growing up. When I was a kid I used to listen to country music down in Florida, because that's all the stations played. I'd hear Jimmy Dean and Ernest Tubb and folks like that, and my mom would sometimes let me stay up late so I could hear the grand Ole Opry on Saturday. So I said to myself "One of these days, I'm going to do some country music." I loved the songs and the stories that they tell. They're very plainspoken--you don't have to be an Einstein to figure out the lyrics.

 Did your record label understand what you were trying to do?
They thought I was going to lose a lot of fans. But I said, "If I work this right, I'll gain more fans than I lose." And sure enough, it worked for me. We had hits like " I Can't stop Loving You," "Born To Lose," and "You Don't Know Me." But I wasn't trying to be a country singer. I was trying to be a singer who was singing country music.

What inspires you to sing someone else's song?
It has to do something to me inside. It's like when I did "I Can't Stop Loving You"-when I heard those words, the first thing that hit me was that a lot of people would know that feeling. Lots of people want to say that to somebody they love. And I loved the melody, the way it was coming back at me. You know,  I've been very fortunate in that I never really had a producer, in the sense of someone who told me what to sing and how to sing it. I didn't come up that way, thank God. I was lucky to be with record companies who would just say, "Ray, you go into the studio and do what you want with your music, and we'll pay the bill." You don't have that today. The record companies tell artists how to do things, what to do, and when to do it.

Do you think music would be healthier today if more artists had a chance to work the way you did?
I think so, but then I'm kind of old-fashioned. People tell me all the time, "Man, you're living in the past-it ain't that way no more." But I know I'd have a hard time if I were coming up in today's music business, because I've always been so strong-willed when it comes to my music. I never liked anyone telling me what to do!

Can you tell us a bit about  the work you do with  the Ray Charles Foundation?
The  reason I have the foundation is because I lost some of my hearing a few years back. That scared me so bad I knew I couldn't be a Helen Keller-I wouldn't be able to function if I lost my hearing. So I told myself, there's a lot of work being done for the eyesight, but I don't hear about nearly as much work being done for hearing. So that's what we try to do. We help underprivileged kids get cochlear implants. It's amazing to watch these kids who have never heard anything in their life get these implants, and a year or so later they can hear and talk. It gives you a great feeling. I love that, I really do.

It's no secret that some singers have borrowed heavily from your style. Does that bother you?
Well, I think it's rather nice! After all, other people influenced me too. When I  was coming up, I dreamed Nat Cole, I slept Nat Cole, I ate Nat Cole, I drank Nat Cole. I loved the way he sang, but what I really loved was the way he'd do those little tasty runs on the piano behind his singing. So I can appreciate being influenced by other singers. It's a great feeling when somebody loves what you're doing so much that they want to imitate it. I don't have adverse images about anybody who wants to do that. I appreciate it! That's the ultimate, man. [laughs.] If someone hears something in Ray Charles and tries to get as close to it as they can get, I'm for it!

Anything else you'd like to mention?
Yamaha has been very, very good to me. They give me a good shot to try out this stuff. Anytime I have a problem with anything, the rep is Johnny-on-the spot to take care of it for me. You can't get better than that! I'm very proud to be associated with them.

Article Credit: The Yamaha Magazine in 2004

Did you know you can get Gospel Lessons for $1.00? Visit Gospel Music Training Center

"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Luther Barnes: So Satisfied

Cover of "So Satisfied"
Cover of So Satisfied

I received a request for a Luther Barnes song. Do you have a favorite?

So Satisfied
By: Luther Barnes
Arr. By: Val215

Key D
L H / R H


E / B-D-E-G
F# / A-D-F#
G / B-D-E-G
A / F#-A-D
/ G-B-E
B / F#-A-D
/ G-B-E
/ A-D-F#
G / F#-A-D
F# / F#-A-D
E / F#-A-D
/ D-E-G-B
E / F#-A
/ E-G
A# / D-F-A#
A / C#-E-G-A
D / D-F#-A-D
/ D-D (hit quickly 4x)
D / B-D-E-G
/ D-D (hit quickly 4x)
D / D-F#-A-D
/ D-D (hit quickly 4x)
A / B-D-E-G
F# / A-A
G / B-B
A / C#-C#
B / D-D
C# / E-E

D / D-F#-A I
/ D-F#-A am
B, A /
D / A-D-F# so
/ A-D-F# sat-
/ B-E-G is
/ D-F#-A fied
B, A /
D / C#-F#-A I
/ C#-F#-A am
B, A /
D / A-C-F# so
/ A-C-F# sat-
/ B-E-G is
/ D-F#-A fied
B / D-F#-A with
A / D-F#-A my
G / D-F#-A sav-
G / B-E-G ior
E, D /
A# / A#-E-G
/ A#-E-G He
/ D_F#-A means
G / E-G-A# more
/ D-F#-A to
/ A#-E-G me
/ A#-E-G than
A / A-D-F# an-
/ B-E-G y-
/ D-F#-A thing
F#, G /
B / A-D-F# an-
/ B-E-G y-
/ D-F#-A thing
G / D-F#-A that
F# / D-F#-A this
E / D-F#-A, B-E-G world
/ D could
/ D, E ever
A# / A#-D-F of-
A / A-C#-E fer (go to * after 2nd time)
*D / F#-A-D me
/ D-D (hit quickly 4x)
D / B-D-E-G
/ D-D (hit quickly 4x)
D / A-D-F#
D / A-D-F#
C / G-C-E
B / F#-A-B-D#
B / F#-A-B-D#
A, F# /


G / G-B-D-F# I’m satisfied
G / B-D-E-G
A, B /
D / A-D-F# with the way
C / G-C-E that He
B / F#-A-B-D# cares for me
B / F#-A-B-D#
A, G, F# /
G / G-B-D-F# and how
G / B-D-E-G He makes a way
A, B /
D / A-D-F# when there seems
C / G-C-E to be no
B / F#-A-B-D# hope for me
B / F#-A-B-D#
A, G, F# /
G / G-B-D-F# and yes I’m satisfied
G / B-D-E-G
A, A# /
B / A-C#-E with the joy He placed with-
D / A-D-F# in my soul
G / D-F#-A and how He help
E / A#-E-G me to bear
A# / A#-D-F my heavy
A / A-C#-E load
B, C# /
(Go back to chorus)

Verse 2 (Use same chords as Verse 1. You will have to do some slight variations):

He's so wonderful. He's so merciful.
He looks out for me even though I'm not all that I should be
And what makes Him so very special is the fact that He gave
His very life for me.
What more, what more, what more can I say?

Back to chorus:

It's not exact, but I hope it helps:)
So Satisfied





I Am So Satisfied Lyrics

by Luther Barnes

I am so satisfied
I am so satisfied with my Savior
He means more to me than anything, anything that this world could ever offer
I am so satisfied
I am so satisfied with my Savior 
He means more to me than anything, 
anything that this world could ever offer me. 

Verse I 
I'm satisfied with the way that He cares for me
And how He makes a way when there seems to be no hope for me 
And yes I'm satisfied with the joy He placed within my soul 
And how He helps me to bear my heavy load. 

Verse II 
He's so wonderful. He's so merciful
He looks out for me even though I'm not all that I should be 
And what makes Him so very special is the fact that He gave 
His very life for me. 
What more, what more, what more can I say 
Thanks again for sending in your song requests and also for your encouraging notes. Much appreciated. If you get the chance, stop by and see last day of the midi software sale, Song Robot



"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Blue Monday: Bittersweet Blues

Right now over at Hear and Play, Jermaine Griggs is having a sale on the Song Robot. It's a great software tool where you can get free midis on the internet and watch the keys light up with the right notes and chords. You'll learn how to play many songs at your finger tips. I think he's asking $37.00 and the sale continues through Monday. I have the program and recommend it to you.

Bittersweet Blues  (Key of G) 4/4 time Signature

First practice the L.H. alone, setting a steady beat.

Fashion each L.H. interval with a small down-up motion of the wrist. This will keep your hand relaxed.


GD/Bb, A, G (single notes, triplets)

GE/B, A, G

GF/Bb, A, G

GE/Bb, A, G

Measure 2 

GD/B (hold the B key 4 counts, a whole note, while moving the l.h.)

Measure 3 

GD/Bb, A, G

GE/Bb, A, G

GF/Bb, A, G

GE/Bb, A, G

Measure 4


Measure 5

CG/C, Bb, G

CA/C, Bb, G

CBb/C, Bb, G

CA/C, Bb, G

Measure 6 


Measure 7 

GD/Bb, A, G
GE/Bb, A, G
GF/Bb, A, G
GE/Bb, A, G

Measure 8


Measure 9

D/D, C, A, D, C, A, D (single note in bass and single notes in r.h.)

Measure 10

C/C, Bb, G, C, Bb, G, C

Measure 11

GD/Bb, A, G
GE/Bb, A, G
GF/Bb, A, G
GE/Bb, A, G

Measure 12

GD/B, G, F

So, that's the song, Bittersweet Blues. Here's a note on how notes move in the measure.

Notes move on the staff in three ways:


Notes on or above the middle line have down stems.
Notes below the middle line have up stems.

Measuring Intervals

The distance between two notes is called an interval. Another way to say it; the distance from the pitch of one note to the pitch of another.

2nd Interval:

space or space to line.
On the keys a 2nd is like a step: from one key to the next key.
On the staff a 2nd is like a step: from line to

3rd Interval:

On the keys a 3rd is like a skip: from line to line or space to space. One skipped key is a 3rd.

4th Interval:

Two skipped keys is a 4th. On the staff a 4th is either line to space or space to line. On the keys a 4th is a larger skip.

5th Interval:

Three skipped keys is a 5th. On the staff a 5th is either line to line or space to space.
Melodic and Harmonic Intervals:

A melodic interval has single notes, like notes in a melody that are played one at a time. If you sing a note and then another then this is a melodic interval.

A harmonic interval has two notes played together to make harmony in music. If two people each sing a different note at the same time then this is called a harmonic interval.

Now that you know what intervals are why do you suppose we need to learn them?

Learning to recognize intervals, whether by sound, on paper, or an instrument, is extremely helpful for many reasons. Among them are chord building, improvisation, sight singing, composition, understanding and remembering keys and their related accidentals, and figure out music by ear. If you are trying to play a melody that is in your head or on the radio, knowing your intervals eliminates most of the time spent searching for the right notes.

One of the coolest ways to add feeling and expression while playing those piano notes is to observe road map signs or what musicians call Dynamics or dynamic markings.

Basically there are symbols that indicate varying degrees of volume. So we have degrees of loudness or softness.

Music has loud and soft signs called dynamics.

mf means medium loud.
Its Italian name is Mezzo Forte.
f means loud.
Its Italian name is forte.
ff means very loud
Its Italian name is Fortissimo.
fff means very, very loud.
Its Italian name is Fortississimo.
ppp means very, very soft.
Its Italian name is Pianississimo.
pp means very soft.
Its Italian name is Pianissimo.
P means soft.
Its Italian name is Piano.

With this understanding of how notes move while playing quietly or loudly, you will enjoy hearing yourself play with more feeling in addition to technically playing the notes correctly. Have fun!

Article Source:

If you have the time, stop by Song Robot.

"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Friday Freebie: Take Five

Dave Brubeck, featured on TIME magazine cover,...
Dave Brubeck, featured on TIME magazine cover, "The Man on Cloud No. 7". November 8, 1954 Music: The Man on Cloud No. 7 (cover story) TIME, November 8, 1954. (Photo credit: Wikipedia)

Awhile back I posted the chords to Take Five Dave Brubeck.

The exciting sound of 5/4 meter has become a more common part of jazz ever since pianist and composer Dave Brubeck and alto sax player and composer Paul Desmond created Desmond's standard "Take Five".  Most players think of 5/4 as a group of three beats, followed by a group of two (1 2 3 1 2; 1 2 3 1 2 etc.) Listen to Brubeck's great recording of "Time Out" to expand your understanding of how to play jazz with five beats in the measure. Meanwhile, practice this piece slowly and, if you need to, hands separately until you get the feeling of this rhythm.

L.H. / R.H.




DA/G#BE, then play (B,Bb,A single l.h. notes)

(Repeat the above)

DA/ Ab, A, D, A, F, D (r.h. are all single notes)


DA/ Ab, A, D, A, F, D






A/DGA (octave higher)


DBb/G, A, G, F, E



A/D, E, F, G, A, B, C#, D







DA/ADF#, to DFA in r.h.

DBb/BbEbG, to EGBb



DA/Ab, A, D, A, F#, D
DA/Ab, A, D, A, F#, D
DA/Ab, A, D, A, F#, A

D/GAD, to F# in r.h.

The distinct sound you hear in the l.h., D-A-D-A-D-A is played with an eighth note, quarter note, eighth, quarter, quarter, quarter in many of the measures.

The Dave Brubeck Quartet played a big role in popularizing jazz music in the 1950s. With Brubeck's catchy melodies, and adventurous use of odd time signatures, the scope of jazz music's appeal was forever widened.

Cast Your Fate to the Wind
Take Five

"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Lord I Praise You For Who You Are

Praise (Photo credit: listentothemountains)

Lord I Praise You For Who You Are

(Sopranos start off, and the Altos, Tenors come in on "aaare.")

Verse 1

E/EGC  Lord

--/CEG  I

F/EbGBb  praise

--/CFAb  you

G/BbEbG  just

Ab/AbCF  for

Bb/BbEbG who

G/BbDF  you

E/CEG - aaare.

Verse 2

E/EGC  aaare

--/CEG  I

F/EbGBb  wor-

--/CFAb  ship

Ab/AbCF  you

G/BbEbG  be

Bb/BbEbG  cause

G/BbDF  you

E/CEG  aaare

F/CEG  Forgiveness.


G/GCE  You aaare

Ab/AbCDF  Compassion

E/GCE  You aaare

F/CEG  Strength


G/GCE  You aaare

Ab/AbCDF  all I neeeed.

Repeat 1st part.

Verse 3

E/CEG  aaare

F/CEG  My Healer


G/GCE  You aaare

Ab/AbCDF  My Redeemer

E/GCE  You aaare

F/CEG  Provider


G/GCE  You aaare

Ab/AbCDF  all I neeeed.

Repeat 1st part.

E/CEG  aaare

F/CEG  The Way.


G/GCE  The Truuuuth

Ab/AbCDF & The Light

E/GCE  You aaaare

F/CEG  Worthy


G/GCE  I bow down

Ab/AbCDF  in reverence.

Repeat 1st part.

(Worship interlude/same as the first part)

Ab/GBbCEb  I praise you

Bb/FBbDF  I praise you

C/CEG  I praise you

Bb/GBbEb,  Eb/GCDbF  For who you are. 

I found the above song in my Gospel notebook and I really like to play it. I hope you do, too.

The Old Gospel Ship (In the Style of Gaither Vocal Band) [Karaoke Teaching Vocal key E-F-G]

Do you have a favorite Gospel song or artist?

Best Wishes,

"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Don't Wanna' Leave You Blues

Photo Credit: clarita

Don't Wanna' Leave You Blues by Martha Mier

I receive emails from beginners asking me for tutorials on slow blues for beginners.
Martha Mier has written a song in the Key of C with a slow, blues swing. 4/4 tempo.

I am still working on the camera angle with my webcam. I woke up this a.m. thinking
of all the moms who are saying goodbye to their graduates as they prepare to go to college. It's so important to "let go" and trust... I hope you enjoy following along with this song.

Left Hand Blues Patterns

The left hand has eighth notes that give that blues swing feel.

CG play together twice, then CA play twice.

FC  "        "             "       then FD play twice.

DA "         "            "        then DB play twice.

GD  "        "              "      then GE, then GF

Melody Line, Single Notes


CG, CG, CA, CA, CG, CG, CA, CA /

l.h.. notes CG, CG, then CA, CA, CG ... with the right hand play these single notes:

C, D, C / E, E, E, E / D, C, C, D, C /

l.h. notes FC, FC, then FD, FD, FC while playing:

G, F, Eb, D, C /

play CG, CG then CA, CA, CG while r.h. plays:

C, D, C / E, E, E, E / D, C, C, C#

play DA, DA, DB, DB, DA (l.h.):

D, Bb, A /

Play GD, GD, GE, GE, GF :

G, G, A, G /

Play CG, CG, CA, CA, CG :

C, C, C, G, A, G / BbC (notes played together) / C, D, C

Play FC, FC, FD, FD, FC :

(r.h. third intervals) EbC, DF, CE, D, C

Play CG, CG, CA, CA, CG (3 x's) :

C, D, C / E, E, E, E / D, C, C, D, C

Play FC (half notes, 2 counts), GD (half notes 2 counts):

G, F, G, F, Eb, D, C /

Play CG, CG, CA, CA, CG

C, Eb, F, F# /

Play FC, FC, FD, FD, FC

G, G, Gb, F, Eb

l.h. plays CG, CG, CA, CA, CG:

C, C, Eb, F, F#

Play FC, FC, FD, FD, FC:

G, G, G, Gb, F, Eb

Play CG, CG, CA, CA, CG, CG, CA, CA:

C /

Last Measure

Play in l.h. CG and then l.h. plays last note, EBbD

If you're interested in learning riffs, funk, fill ins and patterns, visit Guitar 301

"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Opportunities For Playing The Piano: 20 Considerations

Photo Credit: ppdigital

 Opportunities For Playing The Piano: 20 Considerations by Charles Cook

1. Make a list of all the opportunities for a pianist in your area. While it is undeniable that where you live can be limiting factor, there are opportunities everywhere. Don't overlook anything: restaurants, service clubs, lodges, country clubs, organizations and associations, community theaters and singing groups, churches, private parties, fundraisers, local stores and malls, receptions, recording studios, artists-in-the schools programs, etc.

2. Start by assessing what it is that you can do. Include both broad categories(classical, pop, jazz) and areas of specialization (The Beatles, movie themes of the 1950's). Also, think about what else you might do besides solo piano work. Can you accompany? Do you sing? Are there other musicians (violinist, singer) you might team up with occasionally?

3. Don't think strictly in terms of existing opportunities. You can create your own. Several months ago I met an aspiring pianist from a small town that only had one nice restaurant. Unfortunately, the restaurant already had a pianist who had been there for twelve years. I suggested that she approach the owner about playing lunches or even breakfasts. She obviously was persuasive. She wrote recently to tell me that she is playing breakfast AND lunches.

4. Keep in touch with what is going on in your community. Read the society pages of the local newspapers. Note posters in supermarkets. It is important to be informed about upcoming events, clubs that need programs, annual fundraising events, etc. Suppose that you read in the newspaper that a local charity is sponsoring a dinner that will be followed by a Roaring Twenties Ball featuring the Chuck Charleston Combo. Contact the person in charge and suggest piano music during the dinner hour. You might point out that this would provide a continuity of atmosphere. As a further enticement you could offer to play during Chuck's breaks.

5. Whether you intend to play for profit or pleasure, have business cards printed. They are inexpensive and absolutely necessary. Your name and number scrawled on a half-sheet of notebook paper won't do.

6. Distribute your business cards to everyone you can think of who might use your services (restaurants, clubs, organizations). Just as important are those who don't directly need you but are often asked for recommendations (caterers, bridal salons, photographers, florists).

7. Don't be stingy with your cards. I recently had lunch with the catering director of a large hotel. A musician had sent her a business card as a followup to a telephone conversation they'd had. She showed me the card and laughed, "ONE card! What am I supposed to do, make photocopies?" He should have sent her at least twenty-five cards. They only cost pennies, but they may eventually be worth upwards of a hundred dollars-- apiece.

8. Keep an updated information sheet of places and functions you've played. Later on this can serve as a resume that can be distributed with your business cards. Keep a copy near the telephone. When someone calls and asks for references, and you are operating from memory, invariably, as soon as you hang up you remember the four you should have mentioned first and forgot altogether.

9. Suppose that you don't have any references. Don't invent them, go out and get some. Church socials, amateur talent shows, parties in your aunt's living room - everything counts. And, in the process of starting your resume, you'll get a clearer picture of what works for you. You'll raise your level of confidence.

10. Don't be over-eager to latch onto every playing opportunity that comes along. If someone contacts you with a specific need you can't meet, don't accept and impose unrealistic expectations on yourself. It is foolhardy to promise to deliver classical music, for example, with the secret hope that you will be able to "pick it up" by a week from Saturday.

11. On the other hand, don't be timid about negotiating a reasonable alternative. Find out why the person wants classical music. Perhaps the only reason is that a secretary thought it would create a quiet, more refined atmosphere. Nine times out of ten you can convince the client that you can provide music that will create exactly that kind of atmosphere. Sometimes there's a problem with terminology. A woman once called me and requested classical music. When I asked if she meant Mozart and Beethoven, she said, "Oh, no, I HATE that stuff. I mean classics, like "As Time Goes By" and "Stormy Weather." Obviously, what she calls classics are what I think of as standards.

12. If the client is adamant about a kind of music you can't provide, perhaps you know of someone who can. Your musical friend will appreciate the job lead and will be more inclined to return the favor. Also, the client will not forget your helpfulness and honesty should a future need for your kind of music arise.

13. Don't let the fact that there is no piano deter you from going after a job. I once got a call from a man who was planning his wedding reception. He wanted to know if I could recommend a harpist or a flutist. He explained that since the reception would be held in an outdoor, park-like setting, piano music wasn't a possibility. In the course of the conversation the groom-to-be mentioned that the wedding was costing in excess of $7000. I pointed out that a piano could be rented for $100. or so, a rather insignificant sum in relation to the total. The man called a couple of days later and said that he had arranged for a Baldwin to be delivered. I arrived on the wedding day to find that the piano had been placed in a beautiful gazebo. Playing that reception was a marvelous and memorable occasion, but one that I would have missed if I hadn't thought of a way to get the job.

14. Don't let the fact that a piano isn't a possibility shut you out of a playing experience. I once entertained at an elite $600-a-ticket fundraiser for a museum that was held in the press-box of an 87,000-seat football stadium. Fortunately, we live in an age in which a wide range of keyboard choices exist. A piano dealer provided a Roland 2000 88-key, touch-sensitive electronic piano at no charge in exchange for a program credit.

15. Have someone who can substitute for you in case of an emergency or illness. The show must go on. A wedding, at least in theory, is a once-in-a-lifetime occasion for the bride and groom. Having the pianist call an hour before the wedding and say, "I can't make it" for whatever reason will definitely put a damper on their special day.

16. When someone calls you about playing opportunity take careful notes during the conversation. Those notes can save you considerable embarrassment later from showing up at the wrong time or the wrong place. I have found that the more information I can get, the better things will go, I like to find out how many people will be attending. If there will be several hundred, I'll know to have the piano miked. I also ask if most of the people attending will be under or over thirty. That is helpful in knowing what kind of music to select. Often the person will make specific musical requests. If not, I ask. It doesn't hurt to play songs that are personal favorites of the person who is paying you.

17. Have some sort of organized system for storing this information. As soon as I hang up, I write the name of the function, the date and the time in the calender in my briefcase as well as on the year-at-a-glance calender that takes up most of the side of my refrigerator. then I recopy my notes and put them into my playing information notebook. Because I am often booked months in advance, that notebook is essential. A client is appreciative and impressed that after "all those months" you remembered that her three favorite musicals are Evita, The Most Happy Fella and The King and I and featured highlights from the scores.

18. Treat each playing opportunity as a unique event and tailor the music as carefully as possible to the client's needs and desires. This will not only help assure a more pleasurable experience, it will do wonders in terms of repeat business and word-of-mouth referrals.

19. Don't limit yourself to playing opportunities. Think about what else you might do with music. can you arrange or transcribe? Do you like to talk? Clubs are always looking for programs. Over the years I've lectured on everything from the history of the blues to Showboat. I was once asked to give a program ten minutes in length. I talked about the history of Chopsticks and concluded by playing an elaborate concert version of the piece. On another occasion I was asked by a club that consisted of young mothers to speak. The topic I selected was "How to Survive your Child's Music Lessons." I was subsequently contacted by other groups who had heard about that lecture and wanted me to repeat it for them. My favorite kind of programs are those in which I can combine playing and chatting. Because of the background preparation involved, doing programs is a good way to increase your musical knowledge. It is also an excellent way to promote yourself.

20. Nobody else on the planet has your exact combination of personality and musical knowledge. Perhaps you would be interested in a musical career. Perhaps you are perfectly satisfied with what you are doing now, but would be interested  in supplementing your income by playing occasionally. Maybe you would be content to play for free once a month at a retirement home with a small group gathered around the piano. We often hear doom-and-gloom statistics about the oversupply of musicians in relation to the demand. This is nonsense. Music is one of our greatest sources of joy. If you feel you have something worth sharing, do it. there might be, at some point in time, a glut of computer programmers, but there will never be too many musicians.

Have you heard Michael Bereal play? Visit this resource if you have the time, GospelKeys Master 1 Michael Bereal

"The beautiful thing about learning is that no one can take it away from you." B.B.King
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Donnie McClurkin: Ooh Child

Donnie McClurkin & Kirk Franklin - Ooh Child

I love the song. How about you?

Here are the chords by Bellms540

Key of F (modulates to Ab)

(melody lines in the last note of the chord):

things    are  gon na get eas-i-er
G/Bb-C  F    F     F   F     F (A, G)

put it                 to-gether and we'll get it all done
Bb/Db-Eb-Ab   Ab  Ab  Ab Ab Ab Ab (C, Bb)










A/G-E  D,C


Bb/A-D, F





Bb/F-A-D, (C)  Ooh_____
A/A-C-F        Child
G/Bb-C-F (A,G)   Things are gon-na get eas-i-er
Bb/F-A-D, (C)  Ooh_____
A/A-C-F  Child things  'll get
G/Bb-D-A (G, F, G) brighter

(Key Change Db)

Db/F-ab-C-F  Some
C/Eb-Ab-Bb-Eb, (Ab)
/Ab  we'll
Bb/Db-Eb-Ab put it to-geth-er and we'll get it
/C all
Bb/Db done
Db/F-Ab-C-F  Some
C/Eb-Ab-Bb-Eb, (Ab) day when the world is much
Bb/Db-C, Bb, Ab, Bb bright-er
Db/F-Ab-C-F  Some
C/Eb-Ab-Bb-Eb  Day
/Ab  Yes
/Ab We'll
Bb/Db-Eb-Ab (F, Ab, C, Bb) Walk in the ray of the Beau-ti-ful sun
Db/F-A-C-F  Some
C/Eb-Ab-Bb-Eb, (Ab) day when the world is much
Bb/Db-C. Bb, Ab, Bb  brighter

Donnie Mcclurkin
Ooh Child lyrics

Songwriters: VINCENT, STAN

Lyrics | Donnie Mcclurkin lyrics - Ooh Child lyrics


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