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

Beginner Music Steps: Clefs and Time Signatures

Clefs

A clef is a symbol that sits at the beginning of every staff of music that you look at. A staff contains five lines and four spaces. How do you know where the note A or the note C is? The missing element needed is the clef. The clef defines what notes go where functioning a lot like a map. Placing a treble clef at the start of the staff defines the lines and spaces with note names.

The treble clef circles around the note G. This is why it's commonly called the G clef. As for the notes, there is an important pattern. Look at the lowest line, which is designated E. Follow the musical alphabet to find where the next note is. The F is in the space just above the E. The staff ascends in this fashion - line, then space, then line - as it cycles through the musical alphabet (A-B-B-D-E-F-G).

Even though you may understand the notes on both clefs, the only way to get proficient is to read other clefs as often as you can. Set aside a few minutes a day to look at other clefs so you can easily identify their notes. Since clefs define notes, you can almost think of being able to read in many clefs as a kind of musical literacy.

The bass clef is a different clef than the treble and identifies not only different note names but also notes in different ranges. The bass clef is used for instruments that have a lower pitch, like a bass guitar. Even though the bass clef sits on the same five-line staff, it defines very different note names. Many musicians read treble clef because it is the most common clef. Because of this, too many musicians have a greater difficulty reading bass clef than reading treble clef. In order to progress your understanding of theory, you will need to be adept at reading all clefs.

Moveable "C" Clefs

The last type of clef is called the C clef. Typically, you see this clef associated with the viola because it's the most common instrument that reads in that clef; however, more instruments than just the viola read it. When the C-clef is used with the viola, it is called the alto clef. Thankfully, this clef is very easy to read because the symbol for the C clef has two semicircles that curve into the middle of the staff and basically "point" toward the middle line, which is a C. It's not just any C, it's middle C.

Alto Clef

Since this is a movable clef, you can place the clef anywhere you want, and whatever lines its two semicircles point to become middle C. Some very old choral music uses a different movable C clef for each part (tenor clef, alto clef, and soprano clef). Just as long as you know that the clef always points toward middle C, you will be able to decipher the notes in this clef.

Point to Consider

When notes use ledger lines that are extremely high or extremely low, they can be difficult to read; it's much easier to read notes that sit in the staff you are reading. Using different clefs allows you to move the location of middle C in such a way that the majority of your notes are in and around the staff.

Time

Time is a fundamental aspect of music theory that is often left out of the formal music theory study. Time has more to it than just measures counting beats and bars. Time can dictate the feel and flow of a piece, and even harmony has a rhythm to it, aptly called "harmonic rhythm."

Time Signatures

Music is divided into bars, also called measures, for reading convenience and for musical purposes. Most music adheres to a meter, and that affects the phrasing of the melody. If you don't have a lot of experience with reading, rhythm can be a very difficult concept to grasp.

The most standard time signature is 4/4 time, which is also called "common time" and is abbreviated by this symbol c.

Common time looks like a fraction and it signifies two things. First, the top number 4 means that every measure will have four beats in it. The bottom number 4 indicates what note value will receive the beat; in this case, 4 stands for a quarter note. So common time breaks up each measure into four beats, as a quarter note receives one beat. You can, of course, further divide the measure into as many small parts as you feel like, but in the end, it must add up to four beats.

So, I just wanted to introduce you to a few "Beginner Music Steps" for Tuesday Teaching with LadyD!

For more Beginner Music Steps, visit:

Wheels On The Bus

Beginner Piano Lessons

Beginner Steps To Success

Beginner Corner: Ledger Lines

Discover how to play by ear. Over 20 chapters in the 300pg Course Book

Blessings,

-- LadyD



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

Mailbox Monday: What Are Accidentals?

Question from a reader:

"What's the meaning of an accidental in music?"

ACCIDENTALS 

Answer:

Accidentals are notes you don't normally expect to see in a particular key or scale. They are the extra sharps, flats, or naturals in the music that are not included in the key signature.

For example, in C major, which has no sharps or flats in the key signature, any note with a sharp or flat is considered an accidental.

C-D-E-F-E-D-F#-G

In G major, which has an F sharp in the key signature, the F sharp would not be considered an accidental because it is part of the G major scale. Any other note that is changed by a half step would be an accidental.

G-F#-G-D-D#-E-C-B

An accidental is a sign used to raise or lower the pitch of the note. Remember that an accidental does not affect the same note of a different octave, unless indicated by a key signature.

Playing Closer To The Black Keys

When you play pieces with accidentals, try to move your hands a bit closer to the black keys. The closer you are hard-to-reach notes, the faster you'll get to them. This will make the passages easier to play, and they will sound smoother, too.

To see how this works play the example below twice. The first time place your fingertips at the very edge of the keys. The second time, your fingers should move in closer to the black keys. do you notice any difference? Which way is easier for your hands? Which one sounds better and smoother?

C-D-Eb-F#-G-F#-G  or  C-D-Eb-F#-G-Eb-C

Interesting Fact

You have probably noticed that when we say F sharp, the name of the note comes first (F), and then we say sharp but in the music the sharp is written before the note, not after it.

Still not clear on the purpose of accidentals? Check out, what-purpose-do-accidentals-serve-in-music, especially read through to the very end on passing chords and grace notes.

If you're studying music theory and want to use a workbook for your own personal reference, purchase the 300pg Piano By Ear Home Study Course


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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The History of Reading Music Notes

 So often I am asked if I would teach students online how to read music notes. I have done a few posts on the subject but oh my goodness... it would take a little awhile of repetitive teaching to go over the lines and spaces of the treble and bass staff. Then the rest is up to you to learn with practice over time. For some, especially with adults, you'll be a quick learner.

Anne Crosby is one of my favorite online teachers. These next charts are from http://pianoanne.ca/

• Treble Clef Space Notes: F - A - C - E (I Look At You And I See Your FACE)

•  Treble Clef Line Notes: E - G - B - D - F (Every Good Boy Does Fine)

• Bass Clef Space Notes: A - C - E - G (All Cows Eat Grass)

• Bass Clef Line Notes: G - B - D- F - A (Good Boys Do Fine Always)

There are so many free and low cost apps/games online for you to use on reading notes. The old fashioned way is to make or purchase flash cards. I love these powerful learning resources through repetition. If you're online a lot of the time and you are a visual learner, check out these great sites.

If your curious about the history of reading music notes, wikipedia offers some valuable information:

http://en.wikipedia.org/wiki/Musical_notation
http://en.wikipedia.org/wiki/Music_history
http://en.wikipedia.org/wiki/Shape_note

 Online Links

1. http://www.musictheory.net/exercises/note

Great in identifying notes for older students.

 

2. http://musicteachersgames.com/linesSpaces

Simple and advanced reading of the staff notes.

3. http://www.musictechteacher.com/music_quizzes/quiz_word_warrior_treble.htm

Identifying words by answering the music notes.

4. http://www.teoria.com/

5. http://www.emusictheory.com/

Hope this is helpful in kick-starting your journey to reading music notes on the staff.

You may be interested in, Musician Transformation 44pg Guide (Free Download)

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

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

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Primary and Secondary Triads Figured Bass

 A triad can be built on each note of the scale.

When building triads on scale tones, all of the sharps or flats that are in the key being used must be added to the chords which have those notes.

Example: D Major Scale has F# and C#. When writing the triads of D Major, every time an F or C appears in a chord, a sharp must be added to it. (See example below.)

Triads of the scale are numbered using Roman Numerals. Upper case Roman Numerals are used for Major triads, lower case Roman numerals are used for minor triads, upper case Roman Numerals with "+" are used for Augmented triads, and lower case Roman Numerals with "o" are used for diminished triads. These are called the FIGURED BASS SYMBOLS.

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

I (Major) = DF#A                                ii (minor) = EGB

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

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

 iii (minor) = F#AC#                             IV (Major) = GBD

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

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

V (Major) = AC#E                                 vi (minor) = BDF#

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

 viio (diminished) C#EG                            I (Major) = DF#A

 All of the above charts are for the...
PRIMARY and SECONDARY TRIADS IN THE KEY OF D MAJOR

I, IV and V are the PRIMARY TRIADS. In Major keys, these three triads are Major and are the most commonly used chords for harmonizing tonal melodies. The chords are labelled with upper case Roman Numerals.

ii, iii, vi and viio are the SECONDARY TRIADS. In Major keys, iii, and vi are minor and viio is diminished. The chords are labelled with lower case Roman Numerals, and the viio chord has a small circle beside the Roman Numeral.

The qualities of the triads in minor keys are different from those for Major keys. When using harmonic minor, the triads have the following qualities:

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

i (minor) = DFA                               iio (diminished) = EGBb

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

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

III+ (Augmented = FAC#                  iv (minor) = GBbD

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

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

V (Major) = AC#E                     VI (Major) = BbDF

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

viio (diminished) = C#EG                  i (minor) = DFA

The above charts are for....
PRIMARY and SECONDARY TRIADS in the KEY of D MINOR

Jermaine Griggs has been talking about learning patterns in piano playing. So let's talk about it soon.

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