The Components of Music: Part One

Good morning, musicians!

I'm back to giving piano lessons to children and adults this year. I have some amazing students who really enjoy playing songs from Disney movies. Then there are music games to be enjoyed within the half an hour lesson. Lots of theory is covered in a 45-minute lesson as well.

I thought I would cover a great subject today, like music components in three parts. Here we go!

The Components Of Music

Rhythm

What is it that causes you to tap your feet or sway as you listen to some kinds of music? All music has rhythm. The rhythms of music consist of sounds and silences of various lengths. One component of rhythm is a strong pulse or regular accent.

The strong pulse of music helps people move together. For example, the LEFT-right, LEFT-right feeling of a march is created by a regular accent.

Sight Reading & Rhythm Every day

• Meter in Music

Meter is the pattern of beats by which a piece of music is measured. The meter signature is merely a way of showing this pattern. 2/4 meter signature is an example of a duple meter (2 beats to a measure with the quarter note receiving 1 beat).

Strong pulse in music divides beats into groups of 2's and 3's, and combinations of such groups. This grouping of beats is called meter. In written music, a bar line is placed before normally strong beats. Bar lines group beats into measures. A meter signature shows what the grouping in each measure will be.

2/4 = 2 beats per measure. A quarter note gets 1 count.
3/4 = 3 beats per measure. A quarter note gets 1 count.
4/4 = 4 beats per measure. A quarter note gets 1 count.

2/4 is an example of duple meter. If the meter signature were 3/8 it would be a triple meter (3 beats per measure with the eighth note receiving 1 count). In the case of 5/4, it would be an irregular meter (5 beats to a measure). In order to mark off these metric groupings, bar lines are used.

• Changing Meter

A changing meter can make a melody seem to have more freedom. 

• Irregular Meter

Most of the music you hear has a regular meter throughout the whole piece.

4/4     2/2    3/4

But sometimes music has an irregular meter. Irregular meter adds interest to music.

One of the most familiar meters in music is 3/4, or triple meter. This means that there are three metric beats in each measure. This meter is often referred to as "waltz time," because the waltz step is danced in triple meter.

• Syncopated Rhythm

Some music has a syncopated rhythm. This means that accents in the music fall on notes that are not normally accented. Syncopation helps to make music more exciting. Syncopation is usually not identified by accent marks. The music is arranged so that the accents will fall in unusual places.

When the normal pulse of meter and rhythm is deliberately changed, syncopation occurs. Syncopation can be created in a number of ways: by shifting the accent to what are normally weak beats of a measure; by holding on over strong beats; by using rests on strong beats. In normal usage, syncopation occurs in one part only while the other parts stress the normal pulse of the meter. So, ties, short-long note patterns, and rests are ways of creating syncopation.

• Triplets

The small 3 above a group of notes tells that the three notes are played in the same amount of time that two of the same notes normally receive. These groups of three notes are called triplets.

• Music without Meter

"O Come, O Come, Emmanuel" is an example of early church music. This was the most important type of music during the early Middle Ages (600 - 1000 A.D.). At that time, the written music contained a little indication of rhythm. It is a thought that the melodies took their rhythm from the rhythm of the words. In this kind of music, there is no metric beat.

Piano teachers and homeschool moms may want to purchase Music for Little Mozarts--Rhythm Speller. It's a fun book for beginners at the piano. For more intermediate to advanced players, you may want to look at Easy Latin Standards.

It feels so good to be back writing and sharing with you. May you be encouraged to share your musical, creative gifts right where you are.

Blessings,

-- LadyD

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

Unlocking the Power of the Triplet (Part One)

It's been a little crazy around here celebrating my birthday today and our anniversary. Plus, tomorrow is the Super Bowl... Needless to say, a very busy time for me. I've been taking a look at some of your emails that have been pouring in and mostly many of you are requesting phat chords. Some want beginner tips on playing the piano. Perhaps short articles are better than the long ones. We'll see...

I was reading an article recently by Dr. Damani Phillips. He included some exercises that might help you build upon simple, rudimentary concepts in ways that may help you unlock refreshing new options.

"The careful manipulation of something as simple as a triplet can be used to significantly to expand the creative palette." -- Dr. Damani Phillips

Unlocking the Power of the Triplet

Basic Rules

1. With the exception of appropriate treatment of eighth notes (swung or straight), notes should not be "stylized" and the prescribed rhythm of focus should not be altered in any way (with exception of making space to breathe). Also, all notes should be slurred together unless indicated differently. Removing these expressive aspects from the exercise allows the student to focus exclusively on the sound and feel of the rhythm being used, making quality note choices, and proper application of articulation (when necessary).

2. In the beginning, note choices should be primarily diatonic with only the occasional use of chromatic passing tones or leading tones. This forces you to consider both rhythm and harmonic/melodic content as equally important. Once rhythmic mastery and harmonic accuracy are demonstrated, this rule can be relaxed.

3. Avoid the use of digital patterns. Many popular patterns will work well in this context, but this concept works best when applied to lines that are based in linear melody.

4. Avoid repeated Notes

 The Process

 If you haven't already tried this, steps 1 and 2 are a great way to get you thinking about connecting chord changes in a new way. I suggest that the exercises be applied over a slower rhythm. This will allow you to focus your mental energy on the rhythmic challenges of the exercise with diminished concern for potential issues in grappling with the harmonic progression of the tune. Only after achieving complete comfort in applying these exercises at a slower tempo should they be attempted over faster tunes. I have chosen a simple major ii7-V7-I as the backdrop for the examples given here.

 Step 1: First, establish a baseline comfort with the rules listed above (and your chosen tune) by working to generate a line of flowing quarter notes over your chosen chord progression. Chromatic approach tones are permitted, but should be kept to a minimum as you acclimate yourself to this process:

Am7 = C to G (octave above middle C). Then play A below the C back up to E above C.

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

D7 = F#, D, B, A (Descending)

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

Gmaj7 = G steps down to F#, reach up to D then down to C.

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

Gmaj7 = B, A, G, D

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

If playing running quarter notes initially proves to be difficult for you, it is also acceptable to start with half notes as your first step in the process and gradually work towards quarter notes.

To be continued! Part 2 next time...

You may be interested in 300pg Home Course Book

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

Related articles

• 10 Quick Tips About Piano Practice

How To Play Triplets Against Eighth Notes

India Eighth notes and rest (Photo credit: Wikipedia)

Beginner's Corner

Each quarter note can be divided into two equal eighth notes or four equal sixteenth notes.

Sometimes composers want to put three equal notes into a quarter note. This is called a triplet. Triplets are three equal notes that fit into the amount of time usually takne up by one quarter note or two eighth notes.

Beethoven's Moonlight Sonata has many triplets in one measure of music.

Try this clapping exercise:
1. Turn on the metronome to a slow beat, quarter note = 60.
2. Clap just the beat.
3. Listen and feel the beat in your head.
4. Then clap 3 times for each tick of the metronome.
5. Triplets all need to be the same length. Say a 3-syllable word like straw-ber-ry or can-ta-loupe as you clap. Each part of the word is part of the triplet.

 Intermediate Corner

How To Play Triplets Against Eighth Notes

Have you seen music where one hand has triplets while the other plays eighth notes? This can be a bit tricky at first. It is a bit like patting your head and rubbing your tummy. You are doing two different things at once.

The trick to playing two notes in one hand against three notes in the other is that none of the notes within the beat will line up together; except for the first note.

In one hand you'll have to fit two equal notes into each beat, while the other will have to fit three equal notes in the same amount of time. It may sound like the two hands are not exactly in-synch or together.

Follow These Steps

1. First clap triplets and eighths. Work until you can change easily from one to the other. Use a metronome to check that you have a steady beat. Feel how the groups of two and three fit into the beat.

2. Play a scale with a metronome. Play eighth notes going up (1 eighth to a note of the scale) and triplets coming down. Then switch and play triplets going up and eighths coming down.

3. Play each hand's part separately. Switch back and forth between the two like you did with the clapping.

4. Divide the beat into six equal parts. The eighth notes will fall on the first and third beats of the six. The triplets will be played on the first, third, and fifth note in the group of six. As a result the second eighth note comes right after the second triplet. At first, you might have to count to six each time you play both hands, placing each eighth note and each triplet in the correct spot. This will get easier with time and practice, and soon you will start hearing where each note falls within the beat, without having to work so hard.

Advanced Corner

I'll be posting part two real soon on more rhythm stuff. I hope you'll check out part one, Where's The Beat?

So, for sure you'll want to keep up with your Hanon Exercises

Here's more valuable resources to research:

Hanon - Virtuoso Pianist in 60 Exercises - Complete: Schirmer's Library of Musical Classics

 Blues Hanon

 Jazz Hanon

 Junior Hanon

Breakdancers Buy From Art.com

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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• Where's the Beat? (Part One)
• Rock and Roll Is Here To Stay
• What Makes Hand Coordination Better?

How to Play: All You Need Is Love

I have always been a fan of The Beatles. I join multitudes of folks in celebrating this
enormous wave of popularity in the songwriting team of Lennon and McCartney. The
Beatles music is timeless. Awhile back, I blogged about a song Let It Be. You might want
to check it out.

So, I got to thinking about special needs children and how they have Special Olympics
for them. It's wonderful to cheer folks on to victory. Everyone needs love... that's what I think. Another song that comes to mind, All You need Is Love, is a good one. Do you remember it?

The song has some bass walk ups and walk downs. A walk down involves starting on the
 first chord, then playing a transitional chord, and then arriving at the destination chord. When
 I play this particular Beatle song in my l.h., I'm playing G, F# then E. Sometimes the walk will
be these single notes, A, G, to F#. Other times, listen and you'll hear a longer walk down, like A,
G, F#, E, D, C.

The guitar chord chart goes something like this:

G                                    D/F#                 Em
There's nothing you can do that can't be done

G                                   D/F#                    Em 
Theres nothing you can sing that can't be sung

D7/A                   G                      D/F#                    
Nothing you can say but you can learn to
               D7/A
play the game

D7/A      D7
It's          easy


There's nothing you can make that can't be made
No one  you can save that can't be saved
Nothing you can do but you can learn how to be you in time
It's easy


CHORUS:

G          A7       D7
All you need is love

G          A7       D7
All you need is love

G          B7       Em         G/D 
All you need is love        love

C             D7      G
Love is all you need


There's nothing you can know that isn't known
Nothing you can see that isn't shown
Nowhere you can be that isn't where you're meant to be
Its easy

CHORUS

C           D7      G
Love is all you need   

G          A7       D7
All you need is love

D7                         G          A7       D7
All together now   All you need is love

D7                        G          A7       D7
Everybody now   All you need is love 

G      D     G  
Love is all you need   (repeats a few times)

I'm playing these chords:

L.H./R.H.

G/BG                                    F#/DA    E/BE
There's nothing you can do that can't be done

G/BD                    F#/ADA             E/BE
Theres nothing you can sing that can't be sung

A/CDF#          G/BDA            F#/CD                    
Nothing you can say but you can learn to
            E/CDF#A
play the game

D7/A      D7
It's          easy


There's nothing you can make that can't be made
No one  you can save that can't be saved
Nothing you can do but you can learn how to be you in time
It's easy


CHORUS:

G/DGB    A/EGAD    D/F#AD
All you need is love

G/GBD    A/EGAD    D/F#AD
All you need is love

G/DGBD   B/F#AD#   E/GB        D/DG 
All you need is love        love

C/CEG     D/CA    D/CDG
Love is all you need


There's this cool intro:

Pick up notes(single notes in r.h. D, then CD)

G/BDG, G/BDG

D/DF#A, D/DF#A

G/GBD, B/BDG, B/BDG, D/DGB, B/BDG

C/ACE, D/DF#AC... then play a trill (you know, a rapid moving back 

and forth of two separate notes. At this point in the music, move notes 

A and G back and forth in your right hand. 

There's another cool part in the song that has a triplet 

(using three notes in the place for two. It's after the part, 

"All you need is love" and you hear "Everybody". It goes rather quickly 

like this:

D/CF#A

D/DF#, E/C#F

Triplet: G/CE, A/CEb and G/BD

The outro or ending just repeats and fades away.

Looking to play along and having your practice time not 

be boring? Visit,  

The Back Pocket Band Video 

Enjoy! 

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