Easy Play Method

I'm back to teaching piano lessons this new semester. I like many methods of teaching. One approach I've been using is from Carol Tornquist. More specifically, her easy play method is about:

1. Notation - eventually reading 4 octaves (including sharps, flats and ledger lines)
2. Theory - necessary for a full understanding of making music (emphasis on intervals, chords, keys, and harmony)
3. Melody - beginning on 3 black keys (L.H. and R.H.), then moving to C position (5 fingers) and other key groups.
4. Rhythm - beginning with a simple meter (2/4, 3/4, 4/4) and an introduction of a compound meter 6/8.
5. Chords - introduced I, V7, eventually using major, minor, diminished, augmented chords (block and broken)
6. Keys - use of all major and minor key signatures, the order of sharps and flats.
7. Accompaniment - Use harmonic intervals, then 3 note chords.
8. Creativity - writing melodies, "questions"/"answers", harmonies for melodies.
9. Transposition - encouraged to help students think in "keys"
10. Technique - ear training exercises.

By Level 1 and 2, my students know some music definitions. Here's just a few:

1. D.C. al Fine - To go back to the beginning and play until Fine.
2. Forte - Loud
3. Transpose - To play in a different key
4. Mezzo Piano - Medium Soft

Many boys and girls have learned some Italian words to describe TEMPO. For example:

1. Fast - Allegro
2. Medium Tempo - Moderato
3. Andante - Slow

Level 1 Fundamentals

Introducing Patriotic songs for Level 1 students helps them to hear the interval distance. For example in the Key of F when they play America the Beautiful, students hear the first melodic interval, which is a 6th, from Middle C up to A.

So, kids have learned that an Interval is a DISTANCE between one note and another and that there are two kinds on Intervals: Learn Intervals

• Melodic: 2nd (C to D), 3rd (C to E), 4th (C to F), and 5th (C to G)
• Harmonic 2nd (C and D together), 3rd (C and E together), 4th (C and F together), and (C and G together).
• An interval of a 7th is either: line to line (G to F) or space to space (F to E).

When students learn about half steps and whole steps, they start listening to tones. Many enjoy playing the Chromatic Scale at this time.

• Half Steps - A Half Step is the shortest melodic interval there is on the keyboard. In other words, it's the distance from one key to the next... black or white... up or down. For example G to F#, E to F. C to C#, and E to Eb.
• Whole Steps - A Whole step is a distance from one key to another, with just one key between them. For example G down to F, E to F#, C to D, and E down to D.

All ages on different levels like to practice scales, especially the C Major Scale. Every Major Scale has 8 notes grouped into a "pattern" of half steps and whole steps. Sliding your thumb under your 3rd finger on "F", play the C Major Scale from C to C (ascending). Then try it going down (descending) crossing your 3 rd finger over your thumb on E. One of the most well-known Christmas carols begins with the Major Scale descending, and that is "Joy to the World" by George F. Handel.

Many junior high students are writing their own songs using broken chords. In the Key of C, you  play 3 major chords:

C Major (I) = C-E-G
F Major (IV) = F-A-C
G Major (V) = G-B-D

Children and adults enjoy listening to seventh chords, hearing how they are alike or different. Many play 3 Dominant Seventh Chords in Level 1. History of Seventh Chords

G7 (C Major) - BFG
D7 (G Major) - F#CD
C7 (F Major) - EBbC

When a chord changes from one to another, it's called a Chord Progression. To help with more improv skills, one must learn left-hand patterns and chord inversions.

Remember that the I chord is also known as the Tonic. C root position = CEG
Also, the IV chord is called the Subdominant. (FAC)
And that the V chord is also known as the DOMINANT. (GBD)

Subdominant Chord Inversions

Root = FAC
1st = ACF
2nd = CFA
Root = FAC

Dominant Chord Inversions

Root = GBD
1st = BDG
2nd = DGB
Root = GBD

The Dominant Seventh chord is formed by adding the "7th" above the "root." (GBDF)
Since the Dominant Seventh chord has 4 notes in it, you may leave out 1 note and still have a triad:
BFG.

Hope this helps. Keep practicing... I know I will!

Blessings!

-- LadyD

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

Understanding Scales and Changes in Gmail

 It's been awhile since I've sent out my monthly newsletter. I was just getting around to doing that when I received a notice and learned about changes in Gmail. Have you heard about it? I thought I'd share some tips with you here on my blog and I'll also send it out later on in my newsletter as well.

If you use Gmail, you may have noticed that they have set up automated filters and is sorting your email into them.

These changes will happen automatically (without your permission), and will most likely mis-filter your emails, including my emails to you. That means that you won't see any email from me in your main inbox UNLESS you adjust your Gmail settings!

Here is a  short video tutorial to show you a two-second fix that will enable you to make sure my future emails (AND other content you've subscribed to) will go to your primary inbox.

If you'd rather follow written instructions instead, here they are. 

Do this now (it takes 2 minutes): 

1. Open your Gmail and notice the new "tabbing" setup. 
2. Click the "Promotions" tab. 
3. Look for any emails from me and/or other newsletters you subscribe to. If you see one, drag it to the "Primary" folder. 
4. A question will pop up asking if you want this done automatically in the future. Click YES. 

If you want to completely remove this new filtering system so everything comes into your inbox the way it did before, do this:

1. Go to the Settings box in the upper right hand corner of your inbox and choose "Settings." 
2. Click on the "Inbox" tab, then unselect all categories except "Primary." 

Major Scales

 If you get how to do all that... then by now, you probably understand how important major scales are. If you do not know them, you can take a look at these.

C Major
C  D  E  F G  A  B  C
1   2  3  4  5  6   7  8

D Major
D  E  F#  G  A  B  C#  D

E Major
E  F#  G#  A  B  C#  D#  E

F Major
F  G  A  Bb  C  D  E  F

G Major
G  A  B  C  D  E  F#  G

A Major
A  B  C#  D  E  F#  G#  A

B Major
B  C#  D#  E  F#  G#  A#  B

Db Major
Db  Eb  F  Gb  Ab  Bb  C  Db

Eb Major
Eb  F  G  Ab  Bb  C  Db

Gb Major
Gb  Ab  Bb  Cb  Db  Eb  F  Gb

Ab Major
Ab  Bb  C  Db  Eb  F  G  Ab

Bb Major
Bb  C  D  Eb  F  G  A  Bb

* The numbers beneath the scale letter names indicate the tone number or scale degree for each note of the major scale. Each major key has a "1-tone"... a "2"... a "3" and so on. What you want to improve upon is recognizing when melodies and chords are moving from one scale degree (one chord of the scale) to another.

Here are additional posts regarding scales. Hope they help!

1. Altered Pentatonic Scales and Patterns
2. Four Tips on Playing Scales
3. Friday Freebie: Piano Scales

Improve Your Piano Playing
Access Free Piano Tutorials Here

Best,









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

5 Sites for Free Music Worksheets

Welcome to Friday Freebie! I thought I'd get back to the swing of things this summer. If you're looking for free print outs to help with your own music studies, or perhaps to share with your students, then hopefully this list will help. Sometimes building your own music resources is a great addition to your music library, as well as purchased music books and dvds.

List

1. Opus Music Worksheets

Here you'll find flash cards for tempos and worksheets on time signatures, rests and note values.

2. Pianoanne

These teeny tiny flash cards are just right to place over the piano keys for teaching purposes. You'll find tons of teaching aides here, along with major and minor references numerous free printables.

3. Fun and Learn Music

This is the place to learn Treble Clef and Bass Clef notes. You'll find tons of note reading, interval, sharps, whole steps work sheets  and much more at this site.

4. Jennifer Pins Music

For the younger child at home, let's say the 4 year olds on up, you can find charts on music rhythm values and more for the beginner. Even a Christmas ornament that is so easy to make.

5. Music Motivation

Jerald Simon has a great website with some valuable PDF resources. Take a look around, especially for more in-depth studies of scales and chords for the intermediate and advanced.

Happy Friday!







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

Related articles

• Mailbag Monday: What Are Chord Inversions?

What Makes Hand Coordination Better?

Left hand writing the German word "Linkshänder" (left handed). (Photo credit: Wikipedia)

So many of you have asked for help in hand coordination. Usually when one has trouble playing both hands together on the piano, it is a result of one hand knowing the music better than the other. You will want to be consistent in both hands with the fingerings so that muscle memory is developed. Smooth playing results in correct fingering, not just knowing the notes.

You also want to maintain the same speed in each hand. This is challenging for many of us because we are dominant in one hand over the other. Both hands need to be comfortable but you've just got to know your left hand better. This is usually where the train wreck to the song begins. Be sure and keep your eyes on the music, too. If you keep looking at your hands and all around, you'll lose focus and your place in the music. I know it's challenging to learn a bass pattern over and over in your left hand, while one seems distracted by playing the melody and improvising in the right hand but believe me, it can be done with lots of practice. Train the left hand to be more independent.

Some more practicing tips for playing both hands together:

• When playing music from the grand staff, read the notes vertically (bottom to top) before moving on horizontally (left to right).
• Play the song a couple of times with the right hand by itself. Then play the song a few times with the left hand only. When you’re confident with the notes for each hand, you can try playing the song hands-together.
• Play slowly at first and speed up the tempo as you become more comfortable with the song.
  http://www.dummies.com 
  
  
  Learn the parts separately, the left hand and then the right hand.
  Mark where the notes are together.. (like beats...) Ex. If you have 4 quarter notes in the left hand and you have 8 eighth notes, mark when they're together so you don't get lost.
  
  
  Before you even attempt a difficult passage, make sure your note reading skills are up to par. If you can’t distinguish each note on the staff quickly, take a step back and master that first.  Trust us – it will make the process a lot easier! http://takelessons.com
  
  

  (Nearly always) play with both hands, don't try to separate them.
  Don't worry about skipping a note here or there in the harmony. If you don't get there in time,  just go on to the next one, or make up a harmony! Few listeners will be able to tell. After a while your left hand will develop a feel for where the notes might be expected to be. After a while, your right hand will be able to pick out the melody essentially by ear without having to pay so much attention to the notes on the page, thus allowing you to pay more attention to the left hands harmonies. These two trends will combine together to  make playing easier and easier. Doing a little bit of playing by ear, and a little bit of sight reading new music, will help to strengthen these trends. http://www.lofthouse.com

 My two cents, patience and perseverance. Plus, Hanon Exercises will definitely help! Did I mention memorizing a piece? This adds lots to the equation of easily moving both hands across the keys. Yes, it takes time to do so with lots of practice. Also, I have read that many drop bass notes in their left hand and just play a single note within each measure while the right hand moves more effortlessly. Try this approach if it's easier for you to separate two different rhythms but you may be over simplifying and missing out on some of the tones. Adding a metronome may help and yet it will frustrate many a musician.

A healthy approach to the dilemma of hand coordination is to have very relaxed hands. Also, keep in mind that it's the hand and forearm that support the finger movements. Continue with practicing scales and exercises in contrary motion, along with arpeggios to connect both hands playing music. Play single note runs, and chords, too.

Four-Way Keyboard System - Book One

 Pianoanne has some very cool teaching aides over at her site. Take a look at these, for Friday freebie!

Download the free workbook, Barnyard Friends.

 Let me know what works for you in putting both hands to the keys!
Have a great weekend! Time for Christmas music!

Blessings,






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

Related articles

• Friday Freebie: Rhythm Printables
• Friday Freebie: Music Symbols and Vocabulary
• Monday Mailbag: Piano Fingering

Piano Patterns: Do You See Them?

Image via Wikipedia

When you are sitting at your keyboard or piano, do you see patterns on those keys? Here's what I mean:
1. Chromatically the notes from C to E are the mirror image of the notes from F# to B flat with F and B natural left out. If you number those notes from 1 to 5 in each pattern, the same number in each pattern is the Tri-tone. C = 1, F# = 1....tri tone.  Use this visual to find  tritone substitutions.
2. Take the first five notes of the major scale. These keys are mirror images of each other:
D flat and D
E flat and E
F and F#
A flat and A
B flat and B
3. Remember the tri-tone(s) B-F and F-B because it is the only tri-tone(s) with two white notes. All the others have one black and one white note as in your first pattern.
4. When you look at the circle of fifths, you notice that all the black notes are consecutive: Bb-Eb-Ab-Db-Gb, which you can use to help remember the circle. Try to think about why all the black notes would be consecutive in this circle. What you see is that the circle of fifths consists of the two whole tone scales alternated:
C - Bb - Ab - Gb - E - D
F - Eb - Db - B - A - G
It seems to be easier for me to always think of the circle of fifths in the counter-clockwise direction. Normally I am thinking of the dominant to tonic direction so that is why it seems more natural in this direction. If you learn the circle in this direction, it also gives you the ii-V-I sequence starting from any position as the ii chord. Or you can start two positions earlier and it gives you a iii-vi-ii-V-I turnaround sequence.
Within the circle of fifths the pattern B-E-A-D-G is repeated, first with all flats, then with all naturals, then you just have to add C & F and you have the whole circle (that's how I remember it). It also helps that the first four letters of that sequence spells a word. Once you know the circle and can picture it like the numbers on a clock as it is most often represented, you can look at the position directly opposite to get the tritone interval e.g. if C is at 12 O'clock, look at 6 O'clock to get its tritone interval.
5. Also, let us take the pentatonic scale 1, b3, 4, 5, b7. These keys are the mirror image as far as black key white key notes.
C and Db
D and Eb (E and A are the same as D)
F and F#
G and Ab
Bb and B natural
All the best,
LadyD
Charlie Parker once said "Learn the changes and then forget them."

Related articles by Zemanta

• Practice with the Circle of Fifths (pianodiana.blogspot.com)
• Learn to Play the Flatted 6th on Piano (pianodiana.blogspot.com)
• Free Improvisation in D Major (Ionian Mode) -- piano solo (pianodiana.blogspot.com)

How To play an Altered Scale

Monday's Mail!
Hi There,
Awhile back I wrote in my blog about Fill ins for the beginner. I mentioned that every fill in pattern uses a group of notes. For instance in a basic arpeggio fill in pattern, the set of notes are none other than the chord notes itself. To spice things up, you can include the 9th note (or the 2nd note). So, now you have these group of notes: 1st, 2nd, 3rd & 5th for a fill in pattern... if you want some extra notes for a fill or a run, just use the notes of the scale you are in such as "G" in this song which would included G, A, B, C, D, E, F#. Just start on a note of the chord you are playing and end on a note of the chord you are going to...read more

http://ladydpiano.blogspot.com/2008/11/fill-ins-for-beginners.html

Well, how would you like to learn another way to solo? Let's start with scales.
The easiest way to look at a melodic minor scale is simply to look at it as a major scale with a lowered 3rd tone. For example:
C Major Scale= C D E F G A B C
C melodic minor= C D Eb F G A B C

Now, let's look at modes. Yes, I wrote an article called Fun With Modes.

http://www.goarticles.net/articles/9720/1/Fun-With-Modes/Page1.html
Every mode gives you unique changes and therefore provides great soloing tools over certain chords.
Here are all 7 modes:
f you play a major scale from the first tone of the scale to the first tone of the scale (e.g. - “C major scale from ‘C’ to ‘C’), this is called the IONIAN mode.
If you play a major scale from the second tone of the scale to the second tone of the scale, this is called the DORIAN mode.
If you play a major scale from the third tone of the scale to the third tone of the scale, this is called the PHRYGIAN mode.
If you play a major scale from the fourth tone of the scale to the fourth tone of the scale, this is called the LYDIAN mode.
If you play a major scale from the fifth tone of the scale to the fifth tone of the scale, this is called the MIXOLYDIAN mode.
If you play a major scale from the sixth tone of the scale to the sixth tone of the scale, this is called the AEOLIAN mode (you should know this as the “natural minor scale”).
If you play a major scale from the seventh tone of the scale to the seventh tone of the scale, this is called the LOCRIAN mode.
So putting together these 2 theory tools, modes and melodic minor scales...
What if you played the melodic minor scale from the 7th tone of the scale to the 7th tone? This is what we call the “altered” or “super locrian” mode. Jermaine Griggs explains the merge with colorful piano illustrations.

http://www.hearandplay.com/main/who-else-wants-to-learn-how-to-solo-with-the-altered-scale

Jermaine says the easiest way to play an altered scale,
"Take any major scale and sharp the first and last note. Bam! That’s it!" Jermaine Griggs shares the formula for altered scales...
1) If you want to play a particular altered scale, go down a half step. That will be the major scale you’ll need to know…
2) Then basically raise the FIRST and LAST notes of that major scale to get your altered scale. The first and last note will be the same note.

http://www.hearandplay.com/main/the-easiest-way-to-play-altered-scales
I have found some great videos to watch on the net regarding how to play specific altered scales such as altered scale in Db and a C Locrian Scale.
http://www.ehow.com/video_4393109_play-altered-scale-db.html
One of my favorites, The D Altered Scale in Jazz Music, and a whole list of other videos can be found at

http://www.ehow.com/video_2390687_the-d-altered-scale-jazz.html
By far, if you're looking for written theory concepts and charts to make things more clear for you, stop by this site for easy reading.

http://chrisjuergensen.com.hosting.domaindirect.com
Then there is Wikipedia defining Altered Scale,
"In jazz, the altered scale is a seven-note scale that differs from the locrian mode in having a lowered fourth scale degree. Starting on C, it contains the notes: C, D♭, E♭, F♭, G♭, A♭ and B♭. (This is the C locrian mode, C-D♭-E♭-F-G♭-A♭-B♭, with F changed to F♭. For this reason, the altered scale is sometimes called the "super locrian mode.") It is the seventh mode of the melodic minor ascending scale. The scale is sometimes spelled with two thirds rather than a flatted fourth scale degree--e.g. C-D♭-E♭-E-G♭-A♭-B♭, with E substituting for F♭. In contrast to the term acoustic scale, the term "altered scale" almost always refers to this particular mode of the melodic minor, rather than the scale itself. In this sense, the term "acoustic mode" would be more accurate."

http://en.wikipedia.org/wiki/Altered_scale
Remember that any chord can be modified or altered. Raising or lowering notes of a chord by a half step may change its dissonance. This increases the tension of the chord. On page 229 of Jermaine Griggs theory book, he introduces altering chords. He goes on to explain the common use of altering chords changes the "feel" of a chord progression. I can relate to this because you always hear musicians say "learn the song in all keys". I have found that playing on all the black notes is indeed a different "feel" than playing a song in the Key of C. Right now Hear and Play is offering a 40% off sale on their 300 page course book with free shipping whether you're here in the U.S. or abroad. If interested, you may want to check out their sale. Remember, it's a book with bonus Cd Rom, not an instructional dvd... it's a good sale.
40%off300pg.coursebook
Thanks for catching up with me on old posts and new posts on Monday's Mail!
Until next time,
~ LadyD

Leadsheets- Top 10 Basic Chords

I've been giving private piano lessons to all ages for quite sometime now. I have to agree with Keith Fletch, "The reality of life is that students and teachers only have so much time to devote to scales and chords studies."

Keith's book, Chord/Scale Mastery, is a textbook used by jazz educators internationally. He has performed all over the world for Yamaha Music Education. He can be visited at
http://www.KeithFelch.com


* TOP 10 CHORD APPROACH used in jazz, presented in the Key of C

1. Major7 Chord: C E G B
Play the Major Triad, Then the 7th Chord

Major7 Scale Options
I-Major, Ionian Mode: C D E F G A B C
IV-Major, Lydian Mode (#4) C D E F# G A B C
VI-Harmonic Minor (#2, #4) C D# E F# G A B C

2. Dominant7 Chord: C E G Bb
Play The 7th Chord

Dominant 7 Scale Options
V-Major, Mixolydian Mode(b7) C D E F G A Bb C
IV-Melodic Minor(#4,b7)(Lydian Dominant Scale) C D E F# G A Bb C
V-Melodic Minor(b6,b7) ("Hindu" Scale) C D E F G Ab Bb C

3. C7(b9): C E G Bb Db
Play The 9th Chord

Inverted Diminished (H,W,H,W,H,W,H,W)
Extensions: b9, #9, #11, 13
C Db D# E F# G A Bb C

4. C Minor7: C Eb G Bb
Play The Minor Triad, Then The 7th Chord

II-Major, Dorian Mode(b3, b7) C D Eb F G A Bb C

5. C Minor7: C Eb G B
Play The 7th Chord

I- Melodic Minor (b3) C D Eb F G A B C

6. C Diminshed7: C Eb Gb Bbb
Play The Augmented Triad, Then Play The 7th Chord

7. C Diminshed: C Eb Gb Bb

8. C7 Augmented(#5): C E G# Bb

Whole Tone (W,W,W,W,W,W)
C D E F# G# A# C

9. C7(#5,#9): C E G# Bb D#
Play The 9th Chord

VII-Melodic Minor (b2,b3,b4,b5,b6,b7)
("Altered", "Diminished Whole Tone", or "Super Locrian" Scale)
(H,W,H,W,W,W,W) Extensions:b9,#9,#11,b13

10. C7(#5): C E G# B
Play The 7th Chord


III-Melodic Minor (#4,#5)
(W,W,W,W,H,W,H)
(Inverted Altered or Lydian Augmented Scale)

Keith's Basic Training Method:

"After the player finishes practicing the four triads matched with the 10 chords with a chosen scale for each, a leadsheet is presented with the chords in the same order, four bars for each chord."

Testing students' knowledge by having them only look at the chord change, play the chord to the 7th/9th, and then play the scale in one octave is good practice. Try soloing using chord tones and then successfully playing the whole scale. Add an improv track and play along, too.

I hope you enjoy using this method with your students as I have.

Articles on Scales, Chords and Modes
http://ladydpiano.com

Scales and Licks

A foundation for Scales and Licks is so important!
Take a look at these great teaching videos for improv, scales and fills:
* Learn Major Scales (expert village)

http://www.youtube.com/watch?v=dGggX3Rfz1I
Learn Major Scales- Tutorial (Warbeats)

* Learn C Major Scale with Chords (Sam Tolbert)

* Learn B Major Scale with Proper Fingering (sesameseed77)

* Learn Minor Scales (expert village)

http://www.youtube.com/watch?v=CIU8MyzG6sE
* Learn Pentatonic Scales- Descending- Art Tatum (fueyazo)

* Learn Blues Scales (MusicGuru12)

Learn Blues Scales (keybrdgui)

* Learn Scales and Licks Instructional- Part 1 (ddw4e)

Learn Scales and Licks Instructional- Part 2 (ddw4e)

* Scale Books To Buy

The Complete Book of Scales, Chords, Arpeggios & Cadences (Includes all the Major, Minor & Chromatic Scales) Compiled by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. Instructional book for piano. Series: Alfred's Basic Piano Library. Published by Alfred Publishing. (AP.5743) See more info...

Complete Improvisation, Fills & Chord Progressions Book By Gail Smith. For Piano. Theory & harmony. Complete. All Styles. Level: Intermediate. Book. 228 pages. Published by Mel Bay Publications, Inc. (95761) See more info...

http://www.LadyDpiano.com

Chord System- Learning Piano

“ A SYSTEM “

WHAT IS IT? IT’S WHAT YOU NEED!

SCALES - 12 BASIC SCALES:

C- C#- D- Eb- E- F- F#- G- Ab- A- Bb- C

8 NOTES TO A SCALE

KEY C#- ( one note scale of the 12 )
1 2 3 4 5 6 7 8

Root degrees C# Eb F F# Ab Bb C C#

The 3rd and 5th scale degrees are critical notes to chord types.
Chord Extension is the same chord types with notes added to change voicing- like adding the 7th.
Extensions never, ever, change types.........

Learn Piano By Ear

CHORDS - 8 NOTES ARE CONVERTED TO 8 CHORDS
RULES TO CHORDS - THERE ARE 4 TYPES OF CHORDS:
NAMES OF CHORD TYPES:
“MAJOR_MINOR_DIMINISHED_AUGMENTED”

60 Free piano Lessons

KEY C# -
1 2 3 4 5 6 7 8

(C#FAb) (EbF#Bb) (FAbC) (F#BbC#) (AbCEb) (BbC#F) (CebF#) (C#FAb)

MAJ MIN MIN MAJ MAJ MIN DIM MAJ

YOU PLAY THE ROOT NOTE OF SCALE IN LEFT HAND...
EX: C#/C#FAb

Learn Piano On Line

PROGRESSIONS - 4 basic progressions you need to know in every key scale.

Here is C# -

Eb/F#BbC#F____Ab/F#BbCEb___C#/FAbC# - 251
C/BbCEbF#____F/ACEbF_____Bb/AbCC#F - 736
A/F#BbBEb____C#/FBbBEb____F#/F#AbBbC# - 514
F/EbAbB_____Bb/AbC#DF#____Eb/F#BbC#F - 362

Now all these chords have names, and they consist of the different types, and extensions, as well as substitutes in some chords............these particular set of chords designed within this basic pattern of progressions are where we are going!

SUBSTITUTES - what makes a chord a substitute; is placement! The chord in and of itself is nothing more than one of the 4 types of chords. But as you move into putting chords and making progressions together, it’s hard to avoid subs.....subs enhance your playing....... all of this done in repetition will take you where you want to go!!!!!!!!!!!!!!!!

There are really two groups of piano players:

Those that play from a jam and do level of feeling and those that know all the rules and how they fit together.

Both musicians can arrive at the same point but they get there from different routes. That brings me to chord systems. Some players get these sounds naturally. Others need some guidance in order to get there.
There is no judgement here as to which is better. They are just different means to get to the same ends.

I wish I had a real intelligent answer as to what a chord system actually is but I don’t. So I will explain it this way… Let’s say you want to play chords in the left hand and solo in the right… there is a system of chords that facilitate this goal. Your left hand chords sound too muddy? Go to a system to show you how low certain formulas go.

You see a lot of complex chords but you don’t have enough fingers to play all the intervals. Systems offer a way to use your four or five fingers to play all the tensions… #11 b13 add 6 #9 b9 etc

You want to play bigger chords. How do you find which notes to add which ones to leave out?

Two hand voicing formulas are there for you.

You want to have real tight clusters. Again there are systems that deal with this.

In other words, whatever sound you want to have, there is a voicing system out there to help you achieve the sound you are looking for.

rootless left hand voicings
quartal voicings
lock hands voicings
open chord
clusters
combinations
These are all jazz systems that have been played in most contemporary styles.
If you want to add some polish to your chords or you want a more uniform sound, pick up a jazz book that deals with chord formulas and study them. The difference is not in how they look but how they are played. They all have the same keys and could all be played exactly the same way but if you did that you would not be getting the best out of all the instruments.

A piano uses hammers that strike strings which vibrate and resonate within the cabinet of the piano. Therefore you have to strike the keys firmly in order to produce good tone. Also because the strings vibrate, they create harmonic overtones that cannot be duplicated by an electronic instrument. If you are going to play piano, you have to have good technique because there are no string sounds or effects to cover up your mistakes.

Keyboards imitate other instruments like horns, pianos, organs, and strings. They are used to play everything from worship music to contemporary gospel. Musicians often layer bass guitar in their left hand while combining keys and horns or strings. Some keyboards have piano patches that sound almost as good as the real thing but overall if someone wants a keyboard player they want someone who can get the best out of a keyboard such as synthy sounds and layered sounds to emulate a band or a horn section.

Organ:
This instrument has foot pedals so it is common to play the bass lines with your feet and chords with your left and right hands and sometimes solo with your right hand. They also have over a million possible sounds by combining the draw bars in different ways. All the sounds still sound like an organ but the organ sounds are different… flute like, string like, etc.
Although they all have the same keys, your approach is very different. They have different roles.
So, learn all you can with different chord voicings and systems.

Learn to Play those foot-stomping Praise Songs on the organ!


http://www.LadyDpiano.com

How To Play By Ear- Mary's Lamb- Jazz Style

Mary Had A Little Lamb is a very easy song to play because you only need to know a few notes. If you read music, here are the right hand melody notes:

http://library.thinkquest.org/15060/data/lessons/less6/index2b.html
As I move deeper into discovering the authorship of this
English Folklore, I discovered Lowell Mason set the nursery rhyme to a melody in the 1830s, adding repetition in the verses.
http://www.answers.com/topic/mary-had-a-little-lamb
In order to remember any tune, simple or complex, over a long period of time, you can do two things. Listen to it often, so that it becomes as familiar as Mary Had A Little Lamb. If you find a written version of a tune you would like to learn, make a tape of yourself playing it from the music. If you listen to it often enough, you'll know what it's supposed to sound like, and will be able to tell if you're hitting the right notes when you try to play it. Play the tune often enough, and your fingers will start falling into place automatically.
Mary had a little lamb
3 2 1 2 3 3 3
little lamb, little lamb
2 2 2 3 5 5
Mary had a little lamb
3 2 1 2 3 3 3
its fleece was white as snow
3 2 2 3 2 1
Awhile back, I wrote an article on Harmonizing The Melody. This particular song is a good example to practice grabbing those extra notes in your right hand to this very familiar melody line.
http://EzineArticles.com/?id=1116717
There are many different ways to alter and change the sounds of Mary Had A Little Lamb. One excellent example of incorporating the Lydian Scale
http://en.wikipedia.org/wiki/Lydian_mode and adding G Diminished Arpeggio Chords
http://www.playpiano.com/101-tips/6-diminished.htm
rworthy says: "If You Know Your Scales and Arpeggios, You Can Turn a Child's Nursery Rhyme into a Sonata." Listen to his beautiful style and enjoy!

How to Practice Scales and Arpeggios to Play Piano With Precision and Feel!

http://www.sheep.com/sounds/LambSound_1.wav

How To Harmonize The Melody



http://www.LadyDpiano.com

Learn Chord Theory

There are courses aimed at teaching you everything you need to know to play chords by ear. From major, minor, diminished, and augmented to major sevenths, dominants, and half-diminished sevenths (and more). You will understand the "why" and "how"behind these chords.
Not only that, but you will learn how to apply them inreal situations and why the "circle of fifths" is so important to learning every song you've ever wanted to play.

Step-by-step, you'll learn how to form various types of chords: major, minor, diminished, augmented and the easy theory behind them. Do you know the classes of chords and the difference between triads,sevenths, ninths, elevenths, and thirteenths?

Do you know that notes create scales, scales create chords, and chords create progressions? Once you master this simple process, learning songs comes easy, even to a beginner!


How to form various types of seventh chords and why they
are so important in playing by ear. Why seventh chords are the foundation of many more extended chords like ninths, elevenths, thirteenths, and altered voicings.
9th, 11th and 13th chords all have a 7th in them. That is what makes them 9th, 11th or 13th. There are several different ways to form these chords, and everyone has their own tricks depending on how they like to voice the chords.

Here are some shortcuts to form these chords.

To play a ninth, play the root in your left hand. In your right, play a minor triad a fifth away from the root.

So here is C9

LH / RH

C -C / G Bb D

Here is F9

F - F / C Eb G

To form an 11th, just play the root with your left hand. With your right hand, play a major triad one whole step down from the root.

So to play a C 11, do this:

LH / RH

C - C / Bb D F

Here is an F11

F - F / Eb G Bb

Here is a G 11

G -G / F A C

To form a 13th, do the same thing except play the root and a sixth above the root in your left.

C13 = C-A / Bb D F
F 13 = F-D / Eb G Bb


The power of the "magic 3rd & 7th" and how manipulating
them can help you to instantly play dozens of chords in all twelve keys... very easily!

The concept of "tertian chords" versus "non-tertian" chords and how to form both types. Musicians that understand both kinds play a lot more interestingly and unpredictably than those that stick to regular chords.

While it's great to be able to "see" things in action,
sometimes, it's equally effective (if not
better) to only "hear" things and be able to relate to what you hear without seeing it.

If you're looking for a course that really spoon-feeds you the information and leaves absolutely nothing out, then Chords 101 and Chords 102 audio courses are definitely for you. Each course is approximately 2 hours long. Remember it's an Audio Course, not a dvd to watch. Take it with you in your car, i pod, stereo, or to the gym! Go ahead and rush over to


http://www.hearadnplay.com/441295/hpchords.html
and read the entire report.




http://www.LadyDpiano.com

Fun With Modes

MODAL MUSIC began in ancient Greece. Influence by the Greeks, the early church used a system of MODES- almost all music written before the 1500's was based on the various modes. Many well-known folk songs are modal. In recent years modal music has become more and more popular, and modern composers use modal melodies and harmonies in their compositions.

Any scale of 8 NEIGHBORING WHITE KEYS is a MODAL SCALE.

Each Greek mode was named after an ancient group of people whose musical system it was supposed to represent. In our modern system, we still use the IONIAN MODE, which we call the MAJOR MODE.

The scale using 8 white keys, beginning and ending on C, which we call the C MAJOR SCALE, may also be called the IONIAN SCALE. It is in the IONIAN MODE.

The scale using 8 white keys, beginning and ending on D, is called the DORIAN SCALE. It is in the DORIAN MODE.

The scale using 8 white keys beginning and ending on E, is called the PHRYGIAN SCALE. It is in the PHRYGIAN MODE.

The scale using 8 white keys, beginning and ending on F, is called the LYDIAN SCALE. It is in the LYDIAN MODE.

The scale using 8 white keys, beginning and ending on G, is called the MIXOLYDIAN SCALE. It is in the MIXOLYDIAN MODE.

The scale using 8 white keys, beginning and ending on A, is called the AEOLIAN SCALE. It is in the AEOLIAN MODE.

The scale using 8 white keys, beginning and ending on B, is called the LOCRIAN SCALE. It is in the LOCRIAN MODE. the LOCRIAN MODE was not used in ancient times and is only occasionally used by modern composers. The IONIAN, DORIAN, PHRYGIAN, LYDIAN, MIXOLYDIAN, and AEOLIAN modes are called AUTHENTIC MODES. The LOCRIAN is not an authentic mode.

Each mode, however, may be transposed to begin on any KEY.
AN EASY WAY TO KNOW EACH MODE:

THE IONIAN MODE is very easy:
Just play any major scale.
THE DORIAN MODE:
Play any natural minor scale with the 6th tone raised one half-step.
THE PHRYGIAN MODE:
Play any natural minor scale with the 2nd tone lowered one half-step.
THE LYDIAN MODE:
Play any major scale with the 4th tone raised one half-step.
THE MIXOLYDIAN MODE:
Play any major scale with the 7th tone lowered one half-step.
THE AEOLIAN MODE;
Play any natural minor scale with no changes.
THE LOCRIAN MODE;
Play any natural minor scale with the 2nd and 5th tones lowered one half-step."

P.S. I have found it easy for children to remember the first letter of each mode! BTW, I'm Greek!

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