Simple Way To Accompany Yourself

Yes, you can accompany yourself! I read a short article by Big Wilson and here's what he had to say:

Now that you've practiced all the basic chords, let's make things even simpler. When the music calls for an II-V7-I progression, try playing it this way:

Old Way

DC/FA, GF/BD (Dm7, G7, C)

New Way

DC/FA, DB/FG, CC/EG (Dm7, G7, C) ... or

DC/FA, DB/FA, CC/EG (Dm7, G9, C)

The left thumb moves down 1/2 step. The top note in the right-hand moves down 1 whole step. And the A and C is played as always. The same four notes are struck but in a different order or 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.

Have fun with this technique not only for keyboardists!

-- LadyD

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

Happy Endings: Adding The Right Finish

Awhile back I wrote a post on Endings To Songs. You know, like the 'classic ending' or perhaps a very 'mellow' ending. Today I wanted to share with you an article called, Happy Endings by Michael Esterowitz. He is the author of How to Play from a Fake Book

Happy Endings

Adding The Right Finish To Your Arrangements

There are many other good deceptive cadence chords besides those we looked at last time which lie a semi-tone away from the tonic. These also may be used in combinations or by themselves. A major chord built a full tone below the I (the bVII chord in a major key) is often used, sometimes "walking up" chromatically to the I, or skipping up to the II before the final chord resolves.

bVII (Bb6) = GbF/DG

VII   (B6)   = BF#/D#G#

I        (C6)  = CG/EA

or

bVII (Bb maj7) = BbF/DFA

bII    (Db7)      = DbAb/BFAb

I        (C maj7) = CG/BEG 

or

bVII (Bb maj7) = BbF/DFA

bII   (Db maj7)  = DbAb/CFAb

I      (C maj7)   = CG/BEG

Also possible is the bVI, a major chord built a major third below the I. This deceptive cadence is especially effective with a sustained note at the end when that note is a common tone for both the bVI and the I chord. (For instance, the note C held for the final note of a song in C is part of both the deceptive Ab major chord and the final C major chord.) The bVI can have a subtle effect when combined with other passing chords, but when used along with the bVII, also creates a big climatic ending (as shown below).

Dm7 = DAFA/CFAC

G7 = GBFB/DFBD (V7)

Ab = ABEBAb/CEbAbC (bVI)

Bb (add9) = BbFBb/DFBbC (bVII)

C = CC/EGC (I)

There are several longer and more sophisticated chord progressions that work equally well as deceptive endings or as introductions. We can't go into all of them, but one frequently used progression starts on a half-diminished chord built an augmented fourth (diminished 5th) above the I chord and then descends chromatically. Here is an example of this progression in Bb; work it out in other keys as well. In the pattern, the chromatic bass line is the key element, while the specific chord type (major, minor, diminished, sixth, seventh, or ninth) can often be altered without much difference in effect.

Cm7 = CGBb/EbGBbD

F7b9 = FA/EbGbAD

E dim = EGBbD/GBb

Ebm6 = EbGbBbC/GbBb

Bbmaj7/D = DFABb/FBb

C#aug = C#EGBb/EBb

Cm7 = CEbGBb/EbBb

Cbmaj7 = CbEbGbBb/EbBb

Bbmaj7 = BbDFA/DBb

So, the ability to use a Fake Book successfully is the idea of improvising the harmony based on the chords and playing the melody line along with the left hand chords. Do you know your chords? Here's a great audio resource to listen to, Chords 101 & 102

Happy Mother's Day to all the ladies!

Blessings,







"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...

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

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Learn To Play Smile: More Kirk Franklin Songs

Photo Credit: Starpulse.com

Thank you Felix for your kind words, and requesting chords to this wonderful song. Awhile back I had posted the chords in an easy key, How-to-play-i-smile. I absolutely LOVE Kirk Franklin and have read his book and reviewed Blueprint. Hope this is what you're looking for. Have a blessed day!

Chords to Smile from Ultimate Guitar.com

Buildup: Ab7sus

              DbM7
Today's a new day
                Eb7
but there is no sunshine,
             GbM7
Nothing but clouds
and it's dark in my heart
                    B7
And it feels like a cold night.
              DbM7
Today's a new day,
                     Eb7
tell me where are my blue skies?
               GbM7
Where is that love
and the joy that you promised me?
            B7
Tell me it's all right?

Pre-Chorus:
   GbM7                         Eb7
I almost gave up at a power that I can't explain!
B7                                   Ab7sus
Fell from Heaven, like a shower now.

Chorus:
  DbM7                            Db7
I smile, even though I hurt see I smile,
                           GbM7
I know God is working so I smile,
                                 B7
Even though I've been here for a while
         DbM7
I smile, smile!
                                         Db7
It's so hard to look up when you've been down,
                                   GbM7
Sure would hate to see you give up now,
                                  B7
You look so much better when you smile!

Coda:
GbM7      Fm
Smile for me!
             GbM7      DbM7
Can you just smile for me!
GbM7      Fm
Smile for me!
             GbM7      DbM7
Can you just smile for me!
And my people say
        GbM7
oh, oh, oh!
                                         Fm
You look so much better when you oh, oh, oh!
                                        GbM7
You look so much better when you oh, oh, oh!
                                         Fm
You look so much better when you oh, oh, oh
                                      (GbM7)  
You look so much better when you smile!

Here's another chord progression that might be easier for you to read but remember that C# is the same as Db, e-chords.com

If you're looking for other Kirk Franklin songs and the chords, here's a few.

1. Always
2. Brighter Day
3. Caught Up
4. Great Is Your Mercy
5. He Reigns
6. Imagine Me
7. It's Rainin
8. Love
9. More Than I Can Bear
10. Now Behold The Lamb
11. When I Get There

Do you have a favorite Kirk Franklin song?

You may be interested in Advanced Gospel Courses

All the best,






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

9 Back to School Songs

I hope those of you who are returning back to school or know someone who is about to start a new school year... well, I'm wishing all of you a great school year ahead. One of my grandson's elementary school starts Monday, August 12... today! When does it begin for you? I do hope your summer has been marvelous. I've been with 3 of my 5 grandchildren for the past week, so I've been a bit behind on the computer. So, hopefully I'll catch up!

I've mostly been playing I-V or I-IV-V7 progressions, especially when it comes to kids' songs.  In case you missed a few of my articles on some beginner-intermediate level articles on the subject, if you want, visit Understanding-2-5-1-Progressions and The-II-V-I-Chord-Progression

Wherever you are, enjoy playing some easy familiar tunes with different lyrics for back to school... whether on the piano or guitar, these simple songs will help children feel at ease going to school on the very first day! Lyric credits go to Judy Hall, Cindy Dingwall, Lindsay Hall and Betty Ruth Baker.

1. We Like to Come to School
    Sung to: The farmer in the Dell

       D
We like to come to school,
We like to come to school.
Our school is such a happy place,
                   A7        D
We like to come to school.

Substitute the words terrific, great, yummy, friendly, fun, exciting, etc. for the word happy.

2. It's Time to Go to School
Sung to: She'll be Coming Round the Mountain

        F
It is time to go to school, here we come,
                                                         C7
It is time to go to school, here we come.
        F
It is time to go to school,
                  Bb
We think school is pretty cool,
        F                   C7                      F
It is time to go to school, here we come.

3. I Like to Go to School
Sung to: The Farmer In the Dell

   D
I like to go to school,
I like to go to school.
Heigh-ho-the derry-oh,
   A7                D
I like to go to school.

Additional verses: I like to look at books; I like to build with blocks; I like to listen to stories; I like to draw and paint; I like to sing new songs; I like to play with friends.

4. Off to School We Go
Sung to: A-Hunting We Will Go

C
Off to school we go,
      G
It's off to school we go.
          C                              F
We'll take our lunch and ride the bus,
          C      G         C
With everyone we know.
C
Off to school we go,
      G
It's off to school we go.
       C                    F
We learn our ABC's and more,
          C       G          C
With everyone we know.

5. Waiting For the Bus
Sung to: Frere Jacques

C
I am waiting, I am waiting,
For the bus, for the bus.
When will it get here?
Hopefully it is near.
Here it comes, here it comes.

6. Down At the Bus Stop
Sung to: Down By the Station

C
Down at the bus stop
G                   C
Early in the morning,
See all the children,
G                    C
Everyone we know.
Waiting for the school bus
G                      C
Safely on the sidewalk,
Honk-honk, beep-beep,
G         C
Off we go.

7. The Children On the Bus
Sung to: The Wheels On the Bus

        F
The children on the bus sit nice and quiet
C                        F
Nice and quiet, nice and quiet.
the children on the bus sit nice and quiet
C                          F
When we take a ride.

        F
The children on the bus look out the window,
C                          F
Out the window, out the window.
The children on the bus look out the window
C                          F
When we take a ride.

        F
The children on the bus stay in their seats,
C                     F
In their seats, in their seats.
The children on the bus stay in their seats
C                         F
When we take a ride.

8. To Our School
Sung to: Over the River and through the Woods

C
Over the bridges and through the streets
      F          G7            C
It's to our school we go.
         F                           C
The drivers know the way to go
               G7                        C
As they drive us safe and slow.
C
Over the bridges and through the streets
      F              G7           C
In rain and sleet and snow.
            F                                 C
They drive with care, they get us there
      G7
As over the streets we go.

9. Early Morning Schoolyard
Sung to: Down by the Station

C
Down by the schoolyard
G                   C
Early in the morning,
See the yellow buses
G                    C
Lining up so well.
Dropping off the children
G                       C
Going to their classrooms,
Bong-bong, ding-dong,
G                 C
There's the bell.






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

How Do You Drop and Raise A Note?

MAILBOX MONDAY

Question: (from Sarah)

How do you drop and raise a note?

Answer: (great question!)

Chords can be voiced - that is, they can be arranged on a keyboard in many different ways. Two general types of voicings are open voicings, in which the notes re spread apart with fairly large distances between them, and close voicings, in which the notes are situated in close proximity.

Example of "open":

CG/EBE = Cmaj7

Example of "close":

CG/BCEG = Cmaj7

Good keyboard arrangements make use of both types. They can be used for variety, or even for special effects; it can be quite dramatic when the chords suddenly "spread out" beneath a tune, especially if the melody is rising and the effect becomes one of opposite motions... the top going higher, the bottom going lower, and the middle filling out!

BC/ EG = Cmaj7

AC/ FC = F

GCD/ GD = Gsus

FAC/ GCE = Fmaj7

One method that big band arrangers use to change from a close - to an open - voicing is the "drop" technique. Here's how it works. Start with a closely-voiced chord.

B/CEGB = Cmaj7

Now, take one of the pitches on top - say, the one right below the melody - and drop it down an octave.

GB/ CEB

Use the same process with another pitch!

CGB/ EB

If you practice this method of dropping notes (or raising notes) from one octave to another, your voicings will take on new sounds... and you will become a more versatile player.

You might be interested in what I call the Hear and Play Theory Book. It's like a huge music resource for your bookshelf that you can refer to often. You'll need a pencil to fill in the answers. Visit, 300 page Piano By Ear Home Study Course

Dear Readers,

If you follow LadyDpiano RSS Feed in Google Reader, you'll need to make a change before July 1 when Google Reader will be closed. I like Blog Lovin and you can follow my blog, here... or click in the icon in the sidebar.

As you know, Google Reader (Google Friend Connect) will be on its way out in about 2-3 weeks. There's still time to transfer the blogs you read over to Bloglovin. Here's a few blogs that show you how to do that.

The Kimmie Chronicles

A Beautiful Mess

Nutritionella

Thanks for following my blog!

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

On Fire Piano Chords

Image via Wikipedia

I love the song On Fire by Switchfoot. 

The words and music are by Jonathan Foreman and Daniel Victor. I'm getting closer to wrapping up another school year of teaching piano. Unbelievable really, how time flies!

So, a piano student is working on this moderately slow worshipful song. It was written back in 2003.

Here are the guitar chords for the Key of C and Key of G.

 *C*                                       *G*

Chords needed:                            Chords needed:

C2     x32033                             G2     300233
G      320003                             D      xx0232
Am7    x02010                             Em7    020000
Fm     122111                             Cm     x32000


Verses:                                   Verses:
C2    G                                   G2    D
Am7   Fm  4x                              Em7   Cm   4x


Chorus 1                                  Chorus 1
C2    G   Am7   Fm                        G2    D   Em7  Cm
C2    G   C2                              G2    D   G2


Back to verse                             Back to verse


Chorus 2                                  Chorus 2
C2    G   Am7   Fm                        G2    D   Em7  Cm
C2    G   Am7   Fm                        G2    D   Em7  Cm
Am7   F#m                                 Em7   Cm

http://www.xguitar.com

Here's what I'm playing. There are tons of lovely, broken arpeggiated chords in the l.h.

Cmaj7  G(add2)  Am9  F(add2)

Cmaj7
I tell you where you need to go
G(add2)                                                   Am9            F(add2)
Tell you when you'll need to leave

Cmaj7

I tell you what you need to know
 G(add2)                        Am9              F(add2)
Tell you who you need to be

 Cmaj7
But everything inside you knows
              G(add2)
There's more than what you've heard
                             Am9
There's so much more than empty conversations
 F(add2)
Filled with empty words

                          Cmaj7
And you're on fire when he's near you
 G(add2)   Am9                                F(add2)
You're on fire when he speaks
 Cmaj7                           G(add2)           C2
You're on fire burning at these mysteries




 Cmaj7
Give me one more time around
 G(add2)                                Am9  F(add2)
Give me one more chance to see, yeah
 Cmaj7
Give me everything you are
 G(add2)                               Am9             F(add2)
Give me one more chance to be near you, awh, awh

 Cmaj7
When everything inside me looks like
 G(add2)
Everything I hate
                Am9
You are the hope I have for change
                                         F(add2)
You are the only chance I'll take

Cmaj7                                         G(add2)
When I'm on fire when you're near me
                 Am9                     F(add2)
And I'm on fire when you speak
                     Cmaj7              G(add2)
And I'm on fire burning at these
 Am9         F(add2)                   Am9             F(add2)
Mysteries, mysteries, mysteries

C/G  Cmaj13  Dm11  Am11 Fmaj13

You're on fire  Cmaj7  G(add2)
You're on fire  Am9  F(add2)
You're on fire

 
Cmaj7
I'm standing on the edge of me
 G(add2)
I'm standing on the edge of me
 Am9
I'm standing on the edge of me
F(add2)
I'm standing on the edge of me

 Cmaj7
I'm standing on the edge
                        G(add2)
Of everything I've never been before
                         Am9
And I've been standing on the edge of me
      F(add2)
I'm standing on the edge

                     Cmaj7                 G(add2)
And I'm on fire when you're near me
                     Am9                                         F(add2)
And I'm on fire when you speak
                       Cmaj7               G(add2)
Yeah, I'm on fire burning at these mysteries

 Am9           F(add2)
These mysteries
            Cmaj7
These mysteries
 G(add2)        Am9
Yeah, your mystery
 F(add2)            Cmaj7
Yeah, your mystery



 G(add2)  Am9  F(add2)  Cmaj7  G(add2)  Am9  Fsus2




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All the best,
-- LadyD

Basic Progressions (Part Two)

Along with yesterday's post on basic progressions, let's continue with these patterns and progressions.

I-IV-V7-I progression


This is a variation of the 1-4-5-1 progression. Instead of playing a regular 5 chord, you can play a V7 chord:

C/CEG (1)
C/CEG (1)
C/EGC (1)
F/FAC (4)
F/CFA (4)
F/FAC (4)
G/GBDF (5)
G/BDFG (5)
G/DFGB (5)

C/GCE (1)
C/GCE (1)
F/ACF (4)
F/ACF (4)
G/GBDF (5)
G/FGBD (5)

Dominant 7th Chord to IV


Whenever you have a major chord, you can add the minor 7th of that chord. Now it becomes a dominant 7th chord. It naturally wants to go to the IV chord.

C/CEGBb
C/CEGb
C/EGBbC

F/FAC 
F/CFA
F/FAC


C/GBbCEC
C/BbCEG
F/ACF
F/ACF


7-3-6 Progression


This is a progression that isn't that great by itself but when you add another progression to it, well it sounds really good:


B/BDF (7)
B/BDF (7)
B/BDF (7)
E/EGB (3)
E/GBE (3)
E/BEG (3)
A/ACE (6)
A/ACE (6)
A/CEA (6)


B/DFB (7)
B/FBD (7)
E/EGB (3)
E/GBE (3)
A/EAC (6)
A/ACE (6)


2-5-1 Progression


This progression can be used instead of the 1-4-5-1 progression, sort of like a substitution progression.


D/DFA (2)
D/ADF (2)
D/DFA (2)
D/FAD (2)
G/GBD (5)
G/BDG (5)
G/DGB (5)
G/GBD (5)
C/CEG (1)
C/CEG (1)
C/EGC (1)

C/GCE (1)

3-6-2-5-1 Progression

If you want your chords to flow smoothly fromm chord to chord, follow this pattern:

E/EGB (3)

E/GBE (3)

E/BEG (3)

E/EGB (3)

A/ACE (6)

A/ACE (6)

A/CEA (6)

A/EAC (6)

D/DFA (2)

D/ADF (2)

D/DFA (2)

D/FAD (2)

G/GBD (5)

G/BDG (5)

G/DGB (5)

G/GBD (5)

C/CEG (1)

C/CEG (1)

C/EGC (1)

C/GCE (1)

7-3-6-2-5-1 Progression

Now, let's combine all of the progressions into one big progression:

B/BDF (7)

B/BDF (7)

B/BDF (7)

E/EGB (3)

E/GBE (3)

E/BEG (3)

A/ACE (6)

A/ACE (6)

A/CEA (6)

D/DFA (2)

D/ADF (2)

D/DFA (2)

G/GBD (5)

G/BDG (5)

G/DGB (5)

C/CEG (1)

C/CEG (1)

C/EGC (1)

B/DFB (7)

B/FDF (7)

E/EGB (3)

E/GBE (3)

A/EAC (6)

A/ACE (6)

D/FAD (2)

D/ADF (2)

G/GBD (5)

G/BDG (5)

C/GCE (1)

C/CEG (1)

For now, that wraps up basic progressions. Get familiar with all these progressions. Listen to how each one sounds. Recognize the different inversions used. Also, see how you are using inversions of each chord that let you flow to the next chord easily without moving your hands too much.

UrbanXtreme 

UrbanClassic 

Keep practicing and Happy Mother's Day!

-- Lady