LadyDpiano: Monday Mailbag

Showing posts with label Monday Mailbag. Show all posts

Monday Mailbag: We Crown You (F#)

Key signature in F-sharp-major and d-sharp-minor (Photo credit: Wikipedia)

I received a note from aboki asking for chords in the Key of F#... Thanks so much and I hope the information helps. I've added a popular song in the same key, too.

F Sharp major scale notes

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

Chords in Key of F# major

I ii iii IV V vi vii

F#maj

G#min

A#min

Bmaj

C#maj

D#min

E#dim

Common Chord Progressions

I - IV - V	F# - B - C#
I - vi - IV - V	F# - D#min - B - C#
ii - V - I	G#m7 - C#7 - F#M7

Chord Breakdown

F# major = F#A#C#

G# minor = G#BD#

A# minor = A#C#E#

B major = BD#F#

C# major = C#E#G#

D# minor = D#F#A#

E# diminished = E#G#B

For more details and information, visit https://www.basicmusictheory.com

We Crown You Chords

All hail the power of Jesus’ Name
    G#m/F#                F#
Let angels prostrate fall
      F#/A#                    B C#
Bring forth the royal diadem
F#/A           B     C#         F#
And crown Him Lord of all
         F#/A#               B    C#
Bring forth the royal diadem
        F#/A# B     C#        F#
And crown Him Lord of all

VERSE 2
     F#
Ye chosen seed of Israel’s race
    G#m/F#                   F#
Ye ransomed from the fall

Hail Him who saves you by His grace
        F#/A#         G#        C#
And crown Him Lord of all
       F#/A#                       B          C#
Hail Him who saves you by His grace
        F#/A# B     C#        B
And crown Him Lord of all

CHORUS

F#
We crown You
C#
We crown You
            B
With a thousand hallelujahs (2xs)

VERSE 3

F#
Let every kindred, every tribe
      G#m/F#          F#
On this terrestrial ball
To Him all majesty ascribe
        F#/A#         G#        C#
And crown Him Lord of all
      F#/A#        B       C#
To Him all majesty ascribe
         F#/A# B    C#        B
And crown Him Lord of all

REPEAT CHORUS

VERSE 4

       F#
Oh that with yonder sacred throng
      G#m/F#            F#
We at His feet may fall
We’ll join the everlasting song
F#/A#                 G#         C#
And crown Him Lord of all
          F#/A#            B       C#
We’ll join the everlasting song
        F#/A#   B    C#        B
And crown Him Lord of all

Repeat CHORUS 3 times

Clayton Brooks, Ryan Williams, Kurtis Parks & Ross Fishburn
Copyright © 2013 Integrity Worship Music, River Valley Church Music, Integrity's Praise! Music, Songs of 714
CCLI Number: 6635622

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

Monday Mail Bag: Lead Me Guide Me

Promotional photograph of Elvis Presley, taken in 1954. (Photo credit: Wikipedia)

Monday Mail

Thanks, Dalyce for contacting LadyDpiano regarding chords to Lead Me Guide Me. Appreciate your kind words. Hope this is the song you're looking for.

Doris Mae Akers was an American Gospel music composer, arranger and singer. Known for her work with the Sky Pilot Choir, she was inducted into the Gospel Music Hall of Fame in 2001...

Her songs including "Sweet, Sweet Spirit", "Lead Me, Guide Me", "You 
Can't Beat God Giving", "Grow Closer","I Cannot Fail The Lord", "He 
Delivered Me", "God Is So Good" and "My Expectation" appear in the 
hymnals of many denominations. Doris Akers compositions have been 
recorded and sold millions by many Gospel and secular artists, including
 Mahalia Jackson, The Statesmen, The Caravans, Willie Mae Ford Smith, Clara Ward, the Sallie Martin Singers, James Cleveland, Bill Gaither, Ernie Haase, George Beverly Shea, Elvis Presley, and Conway Twitty. 

For information visit, http://en.wikipedia.org

Recorded by Elvis Presley Written by Doris Akers [3/4 time]


     C          A7       Dm       Dm7 G7
I am weak and I need Thy strength and power,
   Dm      G7      C  G7   C
To help me over my weakest hour.
                   A7           Dm   A7 Dm   Fm C
Let me through the darkness Thy face to see,
            G7        C   F C
Lead me, oh Lord lead me.


     C            D7        G7
Lead me, guide me along the way,
F          C    Dm C E7     Am     Fm C
For if you lead me I cannot stray.
                          Bb7  A7
Lord let me walk each day with Thee.
Dm   C#dim Dm C    G7   C   F C
Lead me,   oh Lord lead me.


Help me tread in the paths of righteousness.
Be my aid when Satan and sin oppress.
I am putting all my trust in Thee:
Lead me, oh Lord lead me.

Chorus

I am lost if you take your hand from me,
I am blind without Thy light to see.
Lord just always te me they servant be,
Lead me, oh Lord lead me.

Chorus

http://higherpraise.com

Key of G

G          D7             G
Lead me oh Lord won’t you lead me     

                          Am           D7
I am tired and I need Thy strength and power
   Am       D7       G   D7  G
To guide me over  my darkest hour
                 E7        Am
For just open my eyes that I may see
G          D7             G
Lead me oh Lord won’t you lead me     

                 A7        D7
Lead me guide me along the way
C          G    Am G B7     Em
For if you lead me I cannot stray 
G                          C
For just open my eyes that I may see
G          D7             G
Lead me oh Lord won’t you lead me     

                 E7        Am        D7
I am lost if you take your hand from me
  Am           D7      G     D7 G
I am blind without Thy light to see
                 E7         Am
Lord just always let me thy servant be
G          D7             G
Lead me oh Lord won’t you lead me

Key of D

D          A7             D
Lead me oh Lord won’t you lead me     

                          Em           A7
I am tired and I need Thy strength and power
   Em       A7       D   A7  D
To guide me over  my darkest hour
                 B7        Em
For just open my eyes that I may see
D          A7             D
Lead me oh Lord won’t you lead me     

                 E7        A7
Lead me guide me along the way
G          D    Em D F#7    Bm
For if you lead me I cannot stray 
D                          G
For just open my eyes that I may see
D          A7             D
Lead me oh Lord won’t you lead me     

                 B7        Em        A7
I am lost if you take your hand from me
  Em           A7      D     A7 D
I am blind without Thy light to see
                 B7         Em
Lord just always let me thy servant be
D          A7             D
Lead me oh Lord won’t you lead me

Key of Eb

Eb         Bb7            Eb
Lead me oh Lord won’t you lead me     

                          Fm           Bb7
I am tired and I need Thy strength and power
   Fm       Bb7      Eb  Bb7 Eb
To guide me over  my darkest hour
                 C7        Fm
For just open my eyes that I may see
Eb         Bb7            Eb
Lead me oh Lord won’t you lead me     

                 F7        Bb7
Lead me guide me along the way
Ab         Eb   Fm Eb G7     Cm 
For if you lead me I cannot stray 
Eb                         Ab
For just open my eyes that I may see
Eb         Bb7            Eb
Lead me oh Lord won’t you lead me     

                 C7        Fm        Bb7
I am lost if you take your hand from me
  Fm           Bb7     Eb    Bb7 Eb 
I am blind without Thy light to see
                 C7         Fm
Lord just always let me thy servant be
Eb         Bb7            Eb
Lead me oh Lord won’t you lead me

Lead Me Chords by Sanctus Real

Wendell4 says, This is a great song for all the fathers out there. We as men are to be the 
leaders of our households. We need to lead our wives and children! We need to 
fight for them, love them, and be the spiritual leaders for them! But we are 
uncapable to lead them if we do not have God leading us! Our wives and children 
are calling! Lets not leave them thirsty for love! Lets lead!

Intro: C-Am

Verse: C-Am-C-Am-G

Chorus: C-G-F-Am-G-C-G-F-Am-G-C

Bridge: Dm-F-C-G-Dm-F-C-C-G



C-Am

C                                  Am
I look around and see my wonderful life

Almost perfect from the outside
C
In picture frames I see my beautiful wife
Am
Always smiling
               G
But on the inside, I can hear her saying...

C
Lead me with strong hands
G
Stand up when I can't
      F
Don't leave me hungry for love
        Am      G
Chasing dreams, what about us?

C
Show me you're willing to fight
     G
That I'm still the love of your life
  F
I know we call this our home
    Am      G         C
But I still feel alone

C                                         Am
I see their faces, look in their innocent eyes

They're just children from the outside
C
I'm working hard, I tell myself they'll be fine
Am
They're independent
                 G
But on the inside, I can hear them saying...

C
Lead me with strong hands
G
Stand up when I can't
      F
Don't leave me hungry for love
        Am          G
Chasing dreams, but what about us?


C
Show me you're willing to fight
G
That I'm still the love of your life
  F
I know we call this our home
    Am      G         C
But I still feel alone

   Dm                  F
So Father, give me the strength
      C              G
To be everything I'm called to be
    Dm                  F
Oh, Father, show me the way
   C
To lead them
          G
Won't You lead me?

C
To lead them with strong hands
G
To stand up when they can't
              F
Don't want to leave them hungry for love,
        Am          G
Chasing things that I could give up

     C
I'll show them I'm willing to fight
G
And give them the best of my life
   F
So we can call this our home
Am              G                    C
Lead me, 'cause I can't do this alone

        Am              G                    C
Father, lead me, 'cause I can't do this alone

Lead Me, Guide Me (Sing Like Elvis Presley) [Karaoke and Vocal Versions] - Single
Lead Me, Guide Me - Single
Lead Me, Guide Me - Single (In the Style of Elvis Presley) [Performance Track with Demonstration Vocals]

*some affiliate links in post*

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

How Do I Accompany Myself?

Aren't these 3 country pigs adorable from Legoland?!

From a reader named Ryan for Monday Mailbag...

Question: Can I accompany myself? How do I do it?

Answer: When the music calls for a II-V7-I progression, try playing it this way.

old way:

Dm7 = DC/FA
G7 = GF/BD
C = CC/EG

new way:

Dm7 = DC/FA
G7 = DB/FG
C = CC/EG

the 9th chord:

Dm7 = DC/FA
G9 = DB/FA
C = CC/EG

The left thumb moves down 1/2 step. The top note in the right hand moves down 1 whole step. And the C chord is played as always.

The same four notes are struck, but in a different order (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.

Practice this new way of playing II-V7-I progressions using the following drills.

Dm7 G7 C / Cm7 F7 Bb / Bbm7 Eb7 Ab / Abm7 Db7 Gb /

Gbm7 B7 E7 / Em7 A7 D

Bm7 E7 A / Am7 D7 G / Gm7 C7 F / Fm7 Bbm7 Eb /

Ebm7 Ab7 Db / Dbm7 Gb7 B

Dm7 G7 C / Gm7 C7 F / Cm7 F7 Bb / Fm7 Bb7 Eb /

Bbm7 Eb7 Ab / Ebm7 Ab7 Db

Am7 D7 G / Em7 A7 D / Bm7 E7 A / F#m7 B7 E /

C#m7 F#7 B / G#m7 C#7 F#

So, do you play in a band?

All the best,

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

Monday Mailbag: How Do I Train The Thumb?

Question: Do you have warm-up exercises for the thumb?

Answer: Thanks Roberta for this question and yes, I wrote a blog post for warm up exercises that you can take a look at if you want, but not specifically for our thumbs. Yes, that's lots of scale practice one can use with the "thumb under" approach. So, I got to thinking about your question and came up with one.

Here's a warm-up exercise that helps to develop and maintain flexibility of the thumb joint. Notice the chromatic scale (all half steps) in contrary motion (opposite directions) starting with D.

The beauty of starting here is that the two hands can work in mirror image to each other - the thumbs turn under at the same time and whenever a finger of the right hand is on a black key, the same is true for the left.

Practice this pattern at different tempos starting with the 1-3-1 fingering. Then try 1-4-1 and finally the 1-5-1. Strive for keeping your shoulders, arms and wrists down and relaxed, guarding against your elbows rising as you move out from the center. The goal here is not muscle building but comfort and naturalness of motion.

Practice over 3 octaves, then return.

Right Hand Fingering and Notes

1 5 1 4 5 1 5 1 5 1 4 5 1
1 4 1 3 4 1 4 1 4 1 3 4 1
1 3 1 2 3 1 3 1 3 1 2 3 1

D D# E F F# G G# A A# B C C# D etc.

Left Hand Fingering and Notes

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

1 3 1 2 3 1 3 1 3 1 2 3 1
1 4 1 3 4 1 4 1 4 1 3 4 1
1 5 1 4 5 1 5 1 5 1 4 5 1

Musicians that play with speed and seem to do it effortlessly have simply found an effective way to train their fingers to think on their own. They've built up muscle memory, strength, coordination, independence, and speed over time using various techniques.

Pianists, Keyboardists, and Organists struggling to play smoothly and accurately at fast tempos... and want a proven, guaranteed way to improve their speed, coordination, and independence NOW... You may be interested in Hanon Exercises

All the best,

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

Mailbag Monday: What Are Chord Inversions?

Question: Is there more than one way to play a chord?

Answer: Yes, and thanks George for your email. In fact I wrote an article on chord inversions and for those who are interested in chording inversions with your left hand, you may want to read the approach, here.

Chord Inversions

What are inversions in music?
There are inverted chords, inverted melodies and inverted intervals. A chords inversion describes the relationship of its bass to the other tones in the chord. For instance, a C major triad contains the tones C, E and G; its inversion is determined by which of these tones is used as the bottom note in the chord.
The term inversion is often used to categorically refer to the different possibilities, although it may also be restricted to only those chords where the bass note is not also the root of the chord.

The Root Position and Two Inversions of the C triad:

We have been studying three toned chords. You know a C chord, F chord and a G chord. Now the number of tones = the number of ways the chord can be played. Since a triad or a basic chord is three -toned, it can be played three different ways: the root, the first inversion and the second inversion.

When a chord is inverted, the order of the notes is rearranged so that either the 3rd and 5th or just the 5th is below the inverted root.

If the ROOT (the note that is represented by the chord) of a C Major Chord is the lowest tone of the chord, it is said to be in the root or fundamental position.

For an example, if you are playing a C major chord with C as the lowest note, it is being played in Root or Fundamental position.

If another tone of the chord is the lowest tone, the chord is inverted.

The First Inversion would have the third of the chord as the lowest note.

The Second Inversion would have the Fifth of the chord as the lowest note.

The Third Inversion would have the Seventh of the chord as the lowest note.

C Major Chord (Root) = C E G

Since C is the lowest note, it is said to be in its root position.

C Major (1st Inversion) = E G C

Since E (the third of C major) is the lowest note, it is said to be in the First Inversion.

Since G (the fifth of C major) is the lowest note, it is said to be in the

Second inversion.

When a chord is played in its root position, the keynote is always on the bottom. When a chord is played in its first inversion, the keynote is always on the top. When a chord is played in its second inversion, the keynote is always in the middle.

So, what are chord inversions?

We have been dealing with chords in root position. Root position simply means that the root is the lowest note in the chord-the remaining note are stacked on top. But, you can also change the order of the notes, thereby inverting a chord.

How can you invert a chord?

You can invert a chord simply by transposing (moving) the lowest note up an octave, while leaving the others untouched. You can also invert downwards by transposing the highest note down an octave.

Chords can theoretically have as many inversions as they have notes. I say "theoretically" because larger ones tend to be fussy about their inversions: some inversions definitely sound better than others. Triads and seventh chords can, for most practical purposes, be freely inverted, depending on context.

Why invert?

There are many reasons. Progressions sound better with root position chords mixed with inverted chords. So various notes of one chord lead smoothly to notes in the next chord, with others not moving at all. This is called voice-leading.

Another reason for inversion, especially important for string instruments, is to make the chord easier (or in many cases, possible) to reach. Many chords-especially ones with four or more notes-are virtually unplayable in root position on instruments such as guitar and mandolin.

Enjoy playing many inversions in three different positions that will give you more options to your piano playing!

Good Teaching Video on YouTube

Inversion Printable

If you're looking for some visual aides to print out, visit Susan Paradis for Inverting Triads Poster, Inverting Triads in the Bass and an inversion worksheet, http://www.susanparadis.com

Inversion Ear Training

For easy ear training on Major and Minor Chord Inversions, visit http://www.easyeartraining.com

Supercharge Your Hand Eye Coordination

Results Tested Piano Course For Serious Piano Player

Sign Up For Free Trials Now!
www.PianoImprov2.com

All The Best,

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

Monday Mail: How Do I Teach Myself Piano?

There have been so many times when I read an email addressed to me that asks pretty much the same question... "How do I teach myself the piano?" Many of my former high school students learn so much from watching YouTube videos and I think that's a wonderful arena to sharpen your skills and learn from one another.

Yes, there's oodles of information on the internet, as well as tons of piano blogs like mine here. You can purchase very valuable music resources which you have noticed that I place in my posts, since I am an affiliate with Hear and Play, plus Piano Tips and Amazon. If you have been benefitted from dvd courses, I hope you'll share with us here what sources you use.

For many of you, the big question is one that addresses the issue, "I can't afford piano lessons. Will you help me?" "Yes," is my answer and I'd like to list a few basic steps here, so if you're an advanced player... well, you'll recognize the information here is not for you at this time.

Maybe you'll begin with an approach to teaching yourself and probably find it quite interesting and exciting. Making good results will probably move you in the direction to continue your progress with a music teacher. So, let's get started.

MIDDLE C and how to find it

The piano keyboard has 88 black and white keys. The black keys are in groups of twos and threes. C is located at the immediate left of two black keys. Middle C is above the piano pedals and below the usual location of the piano name.

the piano PEDALS

The pedal on the right is the damper pedal, sometimes called the "loud pedal." This pedal raises the dampers and allows the strings to vibrate until the pedal is raised. The left pedal (soft pedal) allows fewer strings to be struck by the hammers. The middle pedal raises the dampers from individual keys when they are depressed. This means a single tone can be sustained while the hand is free to play other notes.

CHORDS

1. Learn chords in their basic positions near the middle of the piano. All chords may be played one octave or two octaves higher with the right with the right hand and one octave or two octaves lower with the left hand. The same fingering should be used when the chords are moved an octave or more.

2. Four and five note chords (7ths and 9ths). Very often the fingering may change and sometimes one note is omitted to simplify the fingering and the omitted note may be played with the left hand to complete the full harmony desired.

3. Augmented seventh chords are formed by raising the fifth of the dominant seventh by one half step. C, E, G, Bb... would become C, E, G#, Bb. This chord may be indicated by C7+5 or C7#5.

4. The fifth of the dominant seventh may be lowered by one half step. This would become C, E, Gb, Bb. This chord may be indicated by C7-5 or C7b5

CHORD CONSTRUCTION

It's crucial to know the chord names, note names, intervals of the scale and how they're written and played. It would take awhile for me to write out all the Major, Minor, Augmented, Dominant Seventh, Major Seventh, Diminished Seventh, Major Ninth, Dominant Ninth, Sixth, Minor Sixth and Augmented Seventh..., etc. This subject can be covered in many future posts, as well as purchasing a chord book for your musical studies.

Yes, I am an affiliate of Hear and Play and recommend products that I highly believe in. Jermaine Griggs offers 2 listening CDs on chords and their structure. You can learn so much from his teaching.
Check out the sales page, Chords 101 and 102

To continue in learning the piano by yourself, you'll definitely want to know:

Musical Notation
Clefs
The Staff
The Grand Staff
Leger Lines
Measures
Incomplete Measures
Time Signatures
Beginning Hand Position and Extensions
Notes
Double Notes
Rests
Sharp
Flat
Key and Time Signature
Tied Notes
Slur
Intervals
Bar Line, Double Bar Lines
Repeat sign
Octave
Scales
Legato
Dynamic Signs
Enharmonic Tones
Bass Patterns
Natural
Accidentals

You might want to do a search on my site to see if I've covered some of these topics and if you have the time, do stop by and see if you're interested in this music resource.

All the best,

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

Monday Mail: Why Didn't Schubert Finish His Unfinished Symphony?

Romanza Andaluza [Diptych] (Photo credit: pablofalv)

Q: No one's been able to tell me why Schubert didn't finish his "Unfinished Symphony." Do you have the answer?

A: I'm sorry to say that I don't think anyone knows the real reason why Franz Schubert didn't complete his Symphony No. 8 in B minor. There are all sorts of guesses and romance stories, but the composer didn't leave a clue behind. I guess all that we know is that Schubert completed two movements and he began sketches for a Scherzo movement. So, probably he either put it aside for other works (and died before coming back to it), or that he temporarily ran out of ideas that matched the high inspiration of the finished movements.

As fine a work as it is, the "Unfinished" waited for 46 years to be published! Schubert finished the two movements in 1822, sent the score to his friend Huttenbrenner, died six years later, got a first performance in 1865, and publication in 1868.

Many of my readers perform regularly with a worship band in a church service. That means you know about lead sheets, improvisation, modulations and so much more. Looking back, when I was a moderator in the zone community at the Hear and Play website, I spoke with a wonderful musician and friend James Stevens, who is the Professor of Music at Welsh College. For more information with tons of great music resources, like improvisation handouts and guides, you'll want to visit his website. James covers a range of improvisation and arranging topics – from how to read a chord chart, chords for modulation and walking bass lines.

Besides the free improvisational downloads, you'll find two volumes of original piano solos on his wonderful site that can be downloaded as PDF files. I was so surprised to hear from Mr. Stevens recently and so blessed to receive a copy of his latest book, Romanza of the Heart, a set of “romantic piano compositions for relaxation and contemplation.” I have been playing through the songs and love the heart-warming compositions with such beautiful, flowing melodies. It's difficult to have a favorite because all of them are beautiful and very enjoyable to play. They’re written for intermediate to early advanced level for young students and adults. Available for purchase on Amazon and iTunes

Thank you, Dr. Stevens. Best wishes and much continued success.

If you have the time, be sure and head over to his site for Free Improv Downloads

Blessings,

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

Monday Mailbag: Piano Fingering

Piano (Photo credit: MagnuZ)

Israel and garindra have shared with me a common complaint
with their fingering during practice of the piano, along with
coordinating the l.h. and r.h. Many beginners and intermediate
piano students struggle with piano fingering... you're not alone!

Since our fingers have different lengths

Reading Fingering To Piano Music

You will see numbers 1-5 written above or below notes in piano scales
and songs with sheet music. The numbers match and go with your fingers
and let you know what finger presses the key of the piano.

A Guide To Finger Placement

So, the fingering is the same for both hands:

Thumb: 1
Index Finger: 2
Middle Finger: 3
Ring Finger: 4
Pinky Finger: 5

Our fingers are of different lengths; the thumbs are shorter than the other
fingers. Generally speaking, the thumb is the strongest finger of all. The
thumb, index finger (2nd) and middle finger (3rd) are used the most for
piano playing. The fourth finger is the weakest and least used. The following
are some tips on how to play piano with correct fingering by Yoke Wong.

1. Restrict the usage of thumb on black keys. You may consider using thumb
on black keys when the following occurs:

Playing a piece that has all black notes

Playing chords with all black notes, for example: Gb major chord.

Playing chords with black and white notes, and the lower note happens to
be black note.

The fingers most used to play black notes are the 2nd and 3rd fingers.

2. When playing the melody with the right hand and some keys are out
of reach, you may move the whole hand to play the note. If the key is only
a couple of steps down from the thumb, you may use the thumb as an anchor and
cross the second finger over to reach the note on the left side of the thumb. You do
not need to move the hand. Just move the second finger over. Once the second finger
plays the key, the thumb will cross over to play the other note to the left of the key.

Suggestion: Practice the piano scales often to know what finger to use.

3. The same rule applies to the left hand.

4. Watch other experienced pianists whenever possible, look at their fingering and
imitate their movements.

Practicing The Piano

The easiest way to be able to play an entire piece of music with hands
together is to play the song in small sections and also to do plenty of
segments with separate hands in practice.

Wrapping Up With Rules for Fingering

1. It's most natural to use the middle fingers for the black keys.

2. It's knowing all of your scales without ever having to think about
the proper fingering.

3. It's essential to learn the standard fingerings for arpeggios in all chord inversions.

4. It's natural to change hand position at the same time in both hands, moving in
opposite directions. It's easier to remember passages in which the thumbs coincide.

5. It's often best to keep a consistent fingering, even if it sometimes means breaking
other rules; even if a motive or figuration is repeated in another key.

6. It's true that changing your fingering for a given passage can subtly and sometimes dramatically affect the resulting sound.

7. It's o.k. to write down the fingering that you're using during piano practice.

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

Monday Mailbag: Seven Lonely Days

Cline at WSM studios in Nashville, Tenn. in 1963 (Photo credit: Wikipedia)

Song request for Seven Lonely Days.
Do you have a favorite Patsy Cline song?

By Earl Shuman, Alden Shuman, and Marshall Brown in 1953

Moderate Swing 4/4, Key of F

There's a little run that you play before the F chord. The single notes in the r.h. are:
G, G#, A, C, A, G, F.

Another little right hand walk down that is played before C7 is:
G, G, F#, F, E

F                 Bb               F
Seven lonely days make one lonely week
C7                  F         Bb      F
Seven lonely nights make one lonely me
F                         Bb               F
Ever since the time you told me we were through
C7                  F            Bb         F
Seven lonely days I cried and I cried for you

F                               Bb F     Bb
Oh my darling you're crying boo hoo hoo hoo
                  C7/E                  F Bb F
There's no use in denying I cried for you
                              C7        Bb
It was your favorite pastime making me blue
                  C7                    F
Last week was the last time I cried for you (2x)

F = F/CFA

Bb = Bb/DF

F = F/AC

C7 = C/BbEG

F = F/ACF

Bb = Bb/BbDF

F = ACF

F = AC

Bb = Bb/DF

F = F/AC

C7 = C/BbEG

F = F/ACF

Bb = Bb/BbDF

F/ACF

F = C/ACDF

Bb = Bb/FBbD

F = F/C

Bb = Bb/FBbD

C7/E = E/EBbC

F = F/ACF

Bb = Bb/BbD

F = F/ACF

Bb = Bb/FBbD

F = F/C

Bb = F/FBbD

C7 = C/EBbC

F = F/ACF

C7 = C/EBbC

F = F/ACF

Bb = Bb/BbDF

F = F/ACF

Now, what I hear in the left hand are walk up, walk down runs.
This is a great finger exercise. Practice these single notes:

F, A, C, A

Bb, D, F, D

F, F, E, D

C, E, G, E (2x)

F, F, Bb, F, F, C, D, E

F, A, C, A (2x)

Bb, D, F, D

F, F, E, D

C, E, G, E (2x)

F, F, Bb, F

A, G#, A, G, F

C, F

F, G, A

Bb, F

Bb, G, F#, G, F#, F

E, C

C, D, E

F, Bb, F

A, A, G#, A, G, F

C, F

F, G, A

Bb, F, Bb

C, E, G, E

C, C, Bb, G

F, A, C, A, F

C, E, G, E, C

F, A, C, A

Bb, D, F, D

F, F, E, D, C, F

I think Patsy Cline's version is the best. I think a solo piano sounds good, too.

From Cowboylyrics.com

SEVEN LONELY DAYS
Recorded by Bonnie Lou
Written by Marshall Brown, Alden Shuman & Earl Shuman

[C] Seven Lonely Days, [F] make one lonely [C] week
[G7] Seven lonely nights, make [F] one lonely [C] me
Ever since the time, you [F] told me were [C] through
[G7] Seven Lonely Days, I [F] cried and cried for [C] you.

CHORUS
[P] Oh my darling you're [C] crying, boo [C7] hoo hoo [F] hoo
There's no use in [G7] denying, I cried for [C] you
[P] It was your favorite [C] pastime, making me [F] blue
Last week was the [G7] last time, I cried for [C] you.

Seven hankies blue, I filled with my tears
Seven letters, too, I filled with my fears
Guess it never pays, to make your lover blue
Seven Lonely Days, I cried and cried for you.

CHORUS

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"

Happy Fall, everyone!

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

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Chords in Key of F# major

Common Chord Progressions

Chord Breakdown

We Crown You Chords

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