Christmas in July Piano Practice

"Things which matter most must never be at the mercy of things which matter least."  -- Johann Wolfgang von Goethe

The question I like to ask my students is... "When do you practice?" Pretty much their response is after school or in the evening. So, we work with that and for sure I can hear their progress with the ones who diligently practice. However, what I found with homeschoolers and older adult students is that early morning practice is the best!

Here are a few important reasons why morning practice works:

• Sleep affects the learning of a fine motor skill in a very positive way.
• Morning practice is not as forgotten as our busy day unfolds.
• The discipline of morning practice establishes good proactive habits in other areas, too.
• You're mentally alert, in a better mood and have peace.
• Family members can hear you practice and make beautiful music.

What I have found to be true is doing a habit pattern over and over becomes built into the brain and you are more likely to keep up the new behavior... and that's a very good thing!

Here are a few approaches to practicing:

• Make the quiet parts of the song as quiet as can be and the loud parts real loud.
• Choose a song and count the rhythm quietly or aloud while you play.
• Pick the hardest part of the song and play it at least three times in a row.
• Play an easy song faster.

Some of my kiddos enjoy playing these chord progressions in their left hand:

FC /  GD /  AE /  CG

Perhaps you will combine notes from the D Minor 5 Finger Pattern with these L.H. Chords:

DA /  CG /  BbF /  CG

Another fun approach is having the right hand play a Pentascale while the left-hand plays the perfect octave interval as eighth notes. Start on C, move to F, back to C, then G to F. Try this in all the keys following the I - IV- V chords.

Congratulate yourself for having achieved what you set out to do! Now, let's take a look at an easy tutorial video on YouTube for Silent Night.

A great teaching video, Christmas Keys1, is a game changer. Here's what's inside:

Discover the power of "inversions" and how changing one note in your chord can totally alter the way a progression sounds!    Beginners: How to play an entire song with only three-fingered major chords (...also known as "major triads").    How to add fuel to your bass by understanding how "power" chords work in holiday music.    Discover the power of "walk-downs" with basic primary chords (...you'll learn this in "Silent Night")!    How to sneak in "filler 13th chords" on your right hand to keep your holiday songs sounding full at all times.

Happy Playing!

~ LadyD

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

Reference Cadences

English: Plagal cadence Español: Cadencia plagal (Photo credit: Wikipedia)

 A cadence is a chord progression which marks a close or conclusion at the ends of phrases, sections, or at the end of the entire piece. Cadence is a Latin word which means "to fall." cadences mark the "falls" (points of rest) in music.

Practice these cadences, first hands separately, then together. Play in all keys.

Plagal Cadence I  IV  I

First Position

C  F   C

I   IV  I

CEG/CEG

CFA/CFA

CEG/CEG (rest)

Second Position

EGC/EGC

FAC/FAC

EGC/EGC (rest)

Third Position

GCE/GCE

ACF/ACF

GCE/GCE (rest)

Authentic Cadence I  V  I

First Position

C  G  C

I   V   I 

CEG/CEG

BDG/BDG

CEG/CEG (rest)

Second Position

EGC/EGC

DGB/DGB

EGC/EGC (rest)

Third Position

GCE/GCE

GBD/GBD

GCE/GCE (rest)

Complete Cadence In Three Positions  I  IV  I  V  I

 First Position C Major
             
C  F   C  G  C
I    IV I   V  I

CEG/CEG
CFA/CFA
CEG/CEG
BDG/BDG
CEG/CEG  (rest)

Second Position

EGC/EGC
FAC/FAC
EGC/EGC
DGB/DGB
EGC/EGC  (rest)

Third Position

GCE/GCE
ACF/ACF
GCE/GCE
GBD/GBD
GCE/GCE (rest)

First Position A Minor

Am  Dm  Am  E  Am
i       iv      i      V   i

ACE/ACE
ADF/ADF
ACE/ACE
G#BE/G#BE
ACE/ACE  (rest)

CEA/CEA
DFA/DFA
CEA/CEA
BEG#/BEG#
CEA/CEA (rest)

EAC/EAC
FAD/FAD
EAC/EAC
EG#B/EG#B
EAC/EAC (rest)   

For those who want to learn more...

Cadences occur at the end of a phrase, or the end of part of a phrase. They are the melodic or harmonic ending of a phrase, section, movement or complete composition. In other words, it’s a chord progression that feels like a conclusion. You play a combination of chords to close a musical phrase and rest with a sense of resolution.

There are many types of cadences to study in music theory. I know of several common cadences. Here are four of them.

1. Authentic Cadence consists of the V or V7 chord followed by the I chord. An example of what to play looks like these notes that you can play in both hands:

V = AC#E
I = DF#A
V6 = C#EA
I = DF#A
V7 = AC#EG
I = DF#A
V65 = C#EGA
I = DF#A

2. Half Cadence (V7) creates an expectation that something is coming next because the dominant chord is not resolved. A Half Cadence is a cadence that ends with a V or V7 chord. It is also called imperfect cadence. An example of this progression could be played here.

I = DF#A
V = AC#E
IV64 = DGB
ii6 = GBE
V7 = AC#EG
V of V = EG#B
V = AC#E

3. Plagal Cadence (IV - I) is familiar to the ear.  You probably have heard it when singing amen at the end of a hymn played in church. A Plagal Cadence consists of an IV chord followed by an I chord. Many musicians refer to it as the church cadence or amen cadence. It's the very first cadence I learned at the piano. An example would be:

IV = GBD
I = DF#A
IV64 = DGB
I = DF#A

4. Deceptive Cadence (V7) is very unpredictable. It consists of a V (or sometimes IV) chord followed by a vi chord. The most common are:

V7 – vim (classical and pop)
V7 – iiim (jazz and pop)
V7 – im (when key is major)
V7 – I (when key is minor)
V7 – IV (gospel, pop, etc.)
V7 – bVI (various pop, classical, etc)

There are more cadences to know.

Full Cadence (V7 – I) Tones moving from tension and arriving at resolution with the ending chord playing in root position. Also known as Authentic Cadence.
Imperfect Cadence begins with ii, vi or IV. It starts like the sound of a question and resolves to the V chord.
Perfect Cadence moves from the V chord - I chord. Practice them and remember, all cadences end with the I or V chord and are made of two chords.


 Hear and Play offers Advanced Gospel Courses, Gospel Core Essentials and Gospel Music Training Center

*affiliate links in post*

Practice four cadence patterns to be familiar with them!

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

Related articles

• Monday Mail: Chording with Right Hand
• Altering Chords

Altering Chords

English: Dominant seventh flat five chord on C (Photo credit: Wikipedia)

 I have learned a great deal of information from Jermaine Grigg's, especially the section on altered chords from his course, The Secrets to Playing Piano By Ear 

Introduction to Altering Chords

"Any chord, whether major, minor, augmented or seventh, can be modified or 'altered' thereby changing its character or color. In particular, with the dominant seventh which is mainly characterized by three notes: the root, major third and minor seventh; the fifth, ninth eleventh and thirteenth may be altered.

Raising or lowering the notes of a chord and its extensions by a half step may change its dissonance. This increases the 'tension' of the chord and increases the sense of release as one moves to a less dissonant chord (the tonic). Care must be taken that these altered chords are correctly numbered."

Example: C9 (+11) represents a C ninth chord with the root, a major 3rd, a perfect 5th, a flattened 7th, a major ninth and a sharpened 11th.

Db Eb Gb Ab Bb Db Eb Gb Ab Bb C D E F G A B C D E F G A B C

Example: C#9 (#11) represents a C# ninth chord with the root, a major 3rd, a perfect 5th, a flattened 7th, a major ninth and a sharpened 11th.

Db Eb Gb Ab Bb Db Eb Gb Ab Bb C D E F G A B C D E F G A B C

 Example: C7 (b9b5) represents a C seventh chord with the root, major 3rd, diminished 5th, minor 7th and minor 9th.

Db Eb Gb Ab Bb Db Eb Gb Ab Bb C D E F G A B C D E F G A B C

The main purpose of altering chords is to increase the effectiveness in a progression. In previous lessons, we've already learned how a dominant seventh is more effective than a dominant triad in "2-5-1" and other chord progressions.

I recommend to my friends, The Secrets to Playing Piano By Ear
The book goes on to explain using altered chords in the 2-5-1 progression, in the 3-6-2-5-1 progression and the 7-3-6-2-5-1. 

If you enjoyed this blog post, please consider following on Bloglovin'
Keep in touch with me on Twitter, Facebook, Google+, YouTube and Pinterest, too!


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

Related articles

• The 9th Chord
• Altered Chords
• Play Diminished 7th, Half Diminished 7th Chords

Always and Forever: Rod Temperton

Orange Elephants Buy From Art.com

I found a chord chart online for the chords, Always and Forever. This will give you an idea for the progressions in the Key of D. The time signature is 6/8 and the tempo moderately flows. The song was written in 1976 by Rod Temperton, who was Heatwave's keyboard player,

D             Dmaj7 
Always and forever, 

Bm               
Each moment with you

G                D 
Is just a like a dream to me

Em7               A7sus,A7 
that somehow came true

D              Dmaj7 
  And I know tomorrow

Bm 
will still be the same,

G                  D 
'Cause we've got a life of love

Em7              A7sus,A7 
That won't ever change

(..chorus..)

They'll always be sunshine
When I look at you
Its something I can't explain
Just the things that you do.
And if you get lonely 
call me and take
a second to give to me
that magic you make

(..chorus..)



CHORUS

Dmaj7
Everyday 

             G   D       Em7  
love me your own special way.

            Asus7  A7 
Melt all my heart away

       Dmaj7,F#m 
With a smile.

G    Bm      Em7 
Take time to tell me

F#m        F#m7 
you really care

    G     Bm    Asus7, A7 
And we'll share tomorrow

Dmaj7, F#m7 
together....

G    Bm     Asus7, A7 
I'll always love you

Dmaj7 
forever ...

                     Cmaj7 Asus7 A7 
(always forever love you

Here's Luther singing Rod's all time hit son, Always and Forever.

Now, I have the sheet music in my library. It's in the same key but the chords are a bit different. Here are the chord changes to the song, Always and Forever.

The Intro:

Dmaj7 = D/AC#F#
G9 = G/DFAB
G/A = A/GBD
A7 = A/GC#E
Dmaj7 = D/AC#F#
G9 = G/FACE
Em7 = E/BDEG
A6 = A/C#EF#A

Verse:

Dmaj7 = D/AC#F#
Bm7 = B/ADF#
Gmaj7 = G/BDF#
Dmaj7 = D/C#F#A
Em7 = E/BDEG
G/A = A/GBD
A7 = A/GC#E
Dmaj7 = D/AC#F#
Bm7 = B/ADF#
Gmaj7 = G/BDF#
Dmaj7 = D/C#F#A
Em7 = E/BDEG
A/GBD
D/C#F#A
G/DF#B
Em7 = E/BDG
G/A = A/bDA
Dmaj7 = D/AC#F#
F#m7 = F#/AC#F#
Gmaj7 = G/DF#B
D/F# = F#/F#AE
Em7 = E/DGBB
F#m7 = F#/EAC#
Gmaj7 = G/F#BD
D/F# = F#/ADG
Em7 = E/GBE and A/GBE
Dmaj7 = D/AC#E, AC#F#
F#m7 = F#/AC#E
Em7 = E/GBE
G/A = A/GBD
A(9) = AA/BC#EA (repeat)

Outro:

Dmaj7 = D/AC#F#
G9 = G/DFAB, then D/BDF#A
G/A = A/GBD
A7 = A/GC#E
Dmaj7 = D/AC#F#
G9 = G/FACE, then G/EGBD
G/A = A/GBD, then A/GC#E
Dmaj9 = D/AC#EF#, then D/AC#EF#

You may be interested in a free download, Musician Transformation 44 Page Guide







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

Monday Mail: What Actually Happens to a C7 Chord Suspension?

Photo Credit: OldGreySeaWolf

Many readers ask for more information on chord suspensions.

Q: "What actually happens to a C7 chord suspension?"

A: Wikipedia says:

Suspended chords are commonly found in folk music and popular music... A suspended chord (sus chord) is a chord in which the (major or minor) third is omitted, replaced usually with either a perfect fourth or a major second,  although the fourth is far more common. The lack of a minor or a major third in the chord creates an open sound, while the tension between the fourth and fifth or second and root creates dissonance.

Actually, suspensions are used in two very different ways. The term "suspension" comes from a technique developed in early classical music (one associates its origins with the Baroque era). When a dissonant note is placed on a strong beat in place of an expected consonant one, and when that note then moves to a consonance, the result is a slight delay or "suspension" of the harmonic movement. We are forced to wait for a resolution of the chord progression, and feel temporarily "suspended."

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

 Dm7 = D/FAC

For example, here is a simple II-V-I chord progression. First, it resolves clearly and directly to a C chord. Next, it moves into a C suspension (an F is used instead of an E in the C harmony); this suspension then resolves when the F moves down to an E.

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

 G7 = G/FGB

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

C = C/EGC

So, you can repeat the same chords, Dm7 and G... then play:

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

Csus4 C = C/FGC then to C/E 

Sometimes this suspension-resolution formula appears in a form associated with hymn and gospel playing. Like, C/FGC, then single r.h. notes E, D, E.

But there is another type of suspended sound, and it doesn't follow these rules. It occurs in very contemporary pop and jazz pieces. Simply, this kind of suspension is a chord sound in which the fourth is used instead of the third. It is a sound enjoyed for its own sake, and it doesn't resolve or move in any particular way. Here it is in a V-I progression using dominant and seventh harmonies.

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

C11 = C/BbDF then C/BbDFG

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

F11 = FBb/EbGC, then F/EbGBbD

The best way to fully understand the way suspensions are used is to try them in as many situations as possible.

Suspended chords leave you hanging in mid air. They create suspense or anticipation. They sound and feel as though they should be resolved. And so they are used in endings. Also, they are perfect for extending the measure to do a run in your right hand. For more on this subject, visit How to Play Suspended Chords

A suspended chord (or a chord suspension) is usually made by holding one of the tones of a chord a tone higher, then resolving it to its resting place. This can be done with any tones of a chord, but one of the more common suspensions is to manipulate the third of the chord, by first playing the fourth, and resolving it to the third. So a C suspended chord has the tones of the root, the fourth and the fifth. More on suspended chords, here.

One of the best music resources that is a theory book is called 300pg Course Book. You'll learn about a common passing chord, the diminished7. Passing chords are simple and adding passing chords is a great way to spice up your progressions.

*some affiliate links in this post*

Have fun playing chord suspensions!

All the best,






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

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