Beginner Piano Lessons: Progressive
Transcript of Beginner Piano Lessons: Progressive
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ProgressiveBeginnerPianobyLearnToPlayMusic.comandGaryTurner
PublishedbyLearnToPlayMusic.comISBN:978-982-532-006-7
©2013L.T.P.PublishingPtyLtdNopartofthisproductcanbereproducedinanyformwithoutthewritten
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CONTENTSCoverPublisherInfoUsingThiseBookContents
INTRODUCTIONApproachtoPracticePianoTechnique
HowtoSitAtThePianoHandShape
ThePianoKeyboardMusicNotesHowtoFindMiddleCFingering
HowtoReadMusicTheStafforStaveTrebleClefTrebleStaffBassClefBassStaffTheGrandStaffNotesontheGrandStaffTheQuarterNoteTheFourFourTimeSignatureNoteandRestValues
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UsingaMetronome
LESSONONETheNotesMiddleC,DandEMetronomeSymbolMetronomeSymbolTheHalfNoteTheWholeNoteTheNotesFandG
LESSONTWOChordsTheCMajorChordSeventhChordsTheGSeventhChordChangingChordsTheWholeRestSongswithChords
LESSONTHREETheQuarterRestTheFChordTheLead-In
LESSONFOURTheThreeFourTimeSignatureTheDottedHalfNoteLegatoTheTie
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LESSONFIVETheNotesA,BandCTheCMajorScaleTheOctaveTheEighthNoteStaccatoKeyofCMajor
LESSONSIXTheDottedQuarterNoteFirstAndSecondEndingsMinorChordsTheDMinorChordTheCommonTimeSignature
LESSONSEVENTheGChordSharpSignsTheDSeventhChordTheTripletTheNoteFsharp
LESSONEIGHTTurnaroundProgressionsTheEMinorChordTheAMinorChordBrokenChords
BrokenChordsinFourFourTime
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LESSONNINETheGMajorScaleKeySignaturesArpeggios
ArpeggiosInFourFourTimeTheSloopJohnB
LESSONTENFlatSignsTheNoteBFlat12BarBlues
12BarBluesintheKeyofCMajorTheKeyofFMajorKeySignatureofFMajorOtherTitlesInThisSeries
APPENDIXONENotesontheKeyboardEasyChordSubstitution
APPENDIXTWOChordCharts
MajorChordChartMinorChordChartSeventhChordChartMinorSeventhChordChartAugmentedChordChartDiminishedChordChart
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INTRODUCTIONProgressiveBeginnerPianoassumesyouhavenopriorknowledgeofmusicorplayingthepiano.Thisbookwillshowyou:
Howtoplayover25songs,acrossarangeoftwooctaves.Major,MinorandSeventhchords.12BarBluesandTurnaroundprogressions.
Thisbookalsofeaturesachordchartsectionfeaturingover50differentchords.Aftercompletingthisbookyouwillhaveasolidunderstandingofthepianoandbereadyforfurtherstudyonspecificstylesofplaying,e.g.,Rock,Blues,etc.Allpianoplayersshouldknowalloftheinformationcontainedinthisbook.Thebestandfastestwaytolearnistousethisbookinconjunctionwith:
Buyingsheetmusicandsongbooksofyourfavoriterecordingartistsandlearningtoplaytheirsongs.Practicingandplayingwithothermusicians.Youwillbesurprisedhowgoodabasicpiano/drums/bass/guitarcombinationcansoundevenwhenplayingeasymusic.Learningbylisteningtoyourfavoriterecordings.
ApproachtoPracticeItisimportanttohaveacorrectapproachtopractice.Youwillbenefitmorefromseveralshortpractices(e.g.,15-30minutesperday)thanoneortwolongsessionsperweek.Thisisespeciallysointheearlystages,becauseofthebasicnatureofthematerialbeingstudied.
Inapracticesessionyoushoulddivideyourtimeevenlybetweenthestudyofnewmaterialandtherevisionofpastwork.Itisacommonmistakeforsemi-advancedstudentstopracticeonlythepiecestheycanalreadyplaywell.Althoughthisismoreenjoyable,itisnotaverysatisfactorymethodofpractice.Youshouldalsotrytocorrectmistakesandexperimentwithnewideas.Itistheauthor’sbeliefthattheguidanceofanexperiencedteacherwillbeaninvaluable
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author’sbeliefthattheguidanceofanexperiencedteacherwillbeaninvaluableaidinyourprogress.
Photo1
PianoTechniqueHowtoSitAtThePianoSitupstraightandrelaxed.Ifyourpianoseatcanmoveupordown,adjustittoacomfortableheight,asshowninphoto1.
Photo2
HandShapeAlwayscurveyourfingers.Thishelpskeepyourfingersatthesamelevel,asshowninphoto2.
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Photo3
Whenyouplaythekeysonthepiano,usethetipsofyourfingers,andthesideofyourthumb,asinphoto3.
ThePianoKeyboardMusicNotesThereareonlysevenlettersusedfornotesinmusic.Theyare:
Thesenotesareknownasthemusicalalphabet.Theyarethenamesofthewhitekeysonthekeyboard.
Theblackkeysalwaysappearingroupsoftwoorthree.TheCnoteisawhitekey.Itisalwaysonthelefthandsideofagroupoftwoblackkeys.FindalltheCnotesonyourpiano.
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HowtoFindMiddleCThefirstnoteyouwilllearntoplayisMiddleC.MiddleCisthenoteinthemiddleofthepianokeyboard.
PlaymiddleCwiththethumbofyourrighthand.
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FingeringEachfingerhasitsownnumber.Thethumbofeachhandiscountedasthefirstfingerandhasthenumber1.
Whererequired,thefingeringtousewillbeshownnexttothenoteinthemusicnotation.
HowtoReadMusic
TheStafforStaveTherearefivelinesusedinmusicnotationcalledthestafforstave.Musicnotesarewritteninthespacesandonthelinesofthestaff.
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TrebleClefThissymboliscalledatrebleclef.
TrebleStaffAstaffwithatrebleclefwrittenonitiscalledatreblestaff.
BassClefThissymboliscalledabassclef.
BassStaffAstaffwithabassclefwrittenonitiscalledabassstaff.
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Highnotesarewrittenonthetreblestaff,andareusuallyplayedwithyourrighthand.Lownotesarewrittenonthebassstaff,andareusuallyplayedwithyourlefthand.
TheGrandStaffWhenthetrebleandbassstavesarejoinedtogetherbyalineandabracket,theyarecalledagrandstaff.Pianomusiciswrittenonthegrandstaff.Noteswrittenonthetrebleclefareplayedontherighthandsideofkeyboardwhilenoteswrittenonthebassclefareplayedonthelefthandsideofthekeyboard.
NotesontheGrandStaffPianomusicnotesarewritteninthespacesandonthelinesofthegrandstaff.
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Torememberthenotesonthelinesofthetreblestaff,sayEveryGoodBoyDeservesFruitThenotesinthespacesofthetreblestaffspellthewordFACETorememberthenotesonthelinesofthebassstaff,sayGoodBoysDeserveFruitAlwaysTorememberthenotesinthespacesofthebassstaff,sayAllCowsEatGrass
TheQuarterNoteThisisamusicalnotecalledaquarternote.Aquarternotelastsforonebeat.
Musicisdividedintobars(sometimescalledmeasures)bybarlines.Inthisexampletherearetwobarsofmusic.
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TheFourFourTimeSignature
Thetwopairsofnumbersaftertheclefsarecalledthetimesignature.Thisiscalledthefourfourtimesignature.Ittellsyoutherearefourbeatsineachbar.Therearefourquarternotesinabarof*time.
NoteandRestValuesHerearesomeothernotescommonlyfoundinmusicnotation,alongwiththeircorrespondingrestvalues.Therearemanyothertypesoftimesignatures,noteandrestvaluesusedinmusicthatyouwilllearnasyouprogress.
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UsingaMetronomeAmetronomeisadevicethatplaysacontinuousbeat.Itisusedtohelpcontrolyourtimingsothatyoudonotrushorslowdown.Thebeatisheardasatickingorbeepingsoundandthespeedcanbeadjusted.Thespeedofthebeat,whichiscalledthetempo,ismeasuredinbeatsperminute(BPM).
Theaccompanyingphotoshowsamechanicalmetronomeandanelectronicmetronome.
Musiciscommonlywrittenwithatempomarktoindicatewhatspeedthepieceshouldbeplayed.Forexample,60BPMisrepresentedas3=60.Iflearningapieceatthewrittentempoisdifficult,tryloweringtheBPMofthemetronome(slowingitdown)untilyoucanplayevenlyandintime.Thengraduallyspeedupthemetronomeuntilyoucanplayitatthecorrectspeed.
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LESSONONETheNotesMiddleC,DandEMiddleCiswrittenjustbelowthetreblestaffonashortlinecalledaledgerline.SeeHowtoFindMiddleCtolocatemiddleConthekeyboard.
CNote
MiddleCisplayedwiththefirstfinger(thumb)ofyourrighthand.
DNote
TheDnoteisplayedwiththesecondfingerofyourrighthand.
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ENote
TheEnoteisplayedwiththethirdfingerofyourrighthand.
TheQuarterNoteThisisaquarternote.Itlastsforonebeat.Therearefourquarternotesinonebarofmusicin*time.
MetronomeSymbolThisisthesymbolforametronome.Itappearsbeneaththestaff,nexttothe'count'numbers,whichindicatehowtocountthetime.Largebluenumbersrepresentacountorbeatwhereanoteistobeplayed,whilesmallergreynumbersareusedwhennotesareeitherheldornotplayedatall.
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1Inthefollowingexampletherearefourbarsofmusic,twobarsofmiddleC(bars1and4),onebaroftheDnote(bar2)andonebaroftheEnote(bar3).Therearefourquarternotesineachbar.
TheHalfNoteThisisahalfnote.Itlastsfortwobeats.Therearetwohalfnotesinonebarof*time.
TheWholeNoteThisisawholenote.Itlastsforfourbeats.Thereisonewholenoteinonebarof*time.
Thelargerboldnumbersinthecountindicatethatanoteistobeplayed.Thesmallernumbersindicatethatanoteistobehelduntilthenextboldnumber
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(note).
2 IntheLightoftheMoonThissongcontainsquarter,halfandwholenotes.Makesureyouusethecorrectfingersandfollowthecountcarefully.
TheNotesFandGFNote
ThenoteFisplayedwiththefourthfingerofyourrighthand.
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GNote
ThenoteGisplayedwiththefifthfingerofyourrighthand.
3 AuraLeeThesongAuraLeecontains8barsofmusicin*time.Remembertocountasyouplay,tohelpyoukeeptime.
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ThingstoRemember
Playthekeyswiththetipsofyourfingers.Keepyourfingerscurved.
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LESSONTWOChordsAchordisagroupofnoteswhichareplayedtogether.Chordsareusedtoaccompanythemelodyofasong.Chordsareusuallyplayedwiththelefthandandthemelodyisplayedwiththeright.ThefirstchordyouwilllearnisCmajor,usuallyjustcalledtheCchord.
CChordSymbol
TheCMajorChord
TheCchordcontainsthreenotes-C,EandG.ToplaytheCchordusethefirst,thirdandfifthfingersofyourlefthand,asshownintheCchorddiagram.Thenotesofmajorchordsareshowninred.
SeventhChordsAnothercommontypeofchordisthedominantseventhchord,usuallycalledaseventhchord.Aseventhchordisindicatedbythenumber7writtenafterthechordname,e.g.,GseventhiswrittenasG7.
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G7ChordSymbol
TheGSeventhChord
TheG7chordcontainsanewnote-theBnexttotheCbelowMiddleC.PlaytheBwiththefifthfingerofyourlefthand,anduseyourfirstandsecondfingerstoplaytheGandFnotes,asshownintheG7chorddiagram.Thenotesofseventhchordsareshowningreen.
ChangingChordsPracticechangingbetweentheCandG7chords.AsboththesechordscontainthesameGnote,changingbetweenthemisquiteeasybecausethethumbstaysinthesameposition.Itisimportanttoalwaysusethecorrectfingeringwhenplayingnotesandchords.
TheWholeRestThissymbolisawholerest.Itindicatesfourbeatsofsilencein*time.Smallcountingnumbersareplacedunderrests.
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4Chordsymbolsareplacedabovethestaff.Therearetwochordsinbar3.Eachchordreceivestwobeats.
SongswithChordsBeforeplayingsongswithchords,practiceeachpartseparately.Firstpracticethemelodyofthesongbyitself(righthandpart),thenpracticethechordsbythemselves(lefthandpart).Onceyouhavelearnedbothparts,playthemtogether.Practiceslowlyandevenly,andcountasyouplay.Thepartcontainingthechordsiscalledtheaccompaniment.
5 OdetoJoyThissongisthemainthemetoBeethoven’s9thSymphony.Itcontainsallthenotesandchordsyouhavelearnedsofarandhastwochordsinbar8.
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LESSONTHREETheQuarterRest
Thissymbolisaquarterrest.Itindicatesonebeatofsilence.Donotplayanynote.Rememberthatsmallcountingnumbersareplacedunderrests.
6 GoodEveningFriends
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FChordSymbol
TheFChord
ThenextchordyouwilllearntoplayistheFchord.ToplaytheFchord,usethefirst,secondandfifthfingersofyourlefthand,asshownintheFchorddiagram.TheFchordintroducesthenoteAbelowmiddleC.
WhenchangingbetweentheCandFchordskeepyourfifthfingerinpositionasthisnoteiscommontobothchords.WhenchangingbetweentheFandG7chordskeepyoursecondfingerinpositionasthisnoteiscommontobothchords.PracticechangingbetweenC,FandG7.
TheHalfRestThisisahalfrest.Itindicates2beatsofsilence.
TheLead-InSometimesasongdoesnotbeginonthefirstbeatofabar.Anynoteswhichcomebeforethefirstfullbararecalledlead-innotes(orpick-upnotes).Whenlead-innotesareused,thelastbarisalsoincomplete.Thenotesinthelead-inandthelastbaradduptoonefullbar.
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7 WhentheSaintsGoMarchin’InWhentheSaintsGoMarchin’InisanearlyJazzstandardmadepopularbybrassbandsinNewOrleans.Thesongusesalead-inandalsocontainsbothquarterandhalfrests.Thecountingnumbersrefertothemelody(righthandpart).Insteadofwritingachordsymbolaboveeachbarofmusicitiscommontoonlywriteachordsymbolwhenthechordchanges,e.g.,thefirst6barsofthissongareaCchord.
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LESSONFOURTheThreeFourTimeSignature
Thistimesignatureiscalledthethreefourtimesignature.Itindicatesthattherearethreebeatsineachbar.Threefourtimeisalsoknownaswaltztime.Therearethreequarternotesinonebarof^time.
TheDottedHalfNoteAdotwrittenafteranoteextendsitsvaluebyhalf.Adotafterahalfnotemeansthatyouholditforthreebeats.Onedottedhalfnotemakesonebarofmusicin^time.
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8 AustrianWaltzThissonghasdottedhalfnotesinthelefthandpart.Onceagain,thecountingnumbersrefertothemelody(righthandpart).Fromthispointon,allcountingnumberswillrefertothemelody.Thelefthandpartistheaccompanimenttothemelody.
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LegatoThenextsongcontainstwocurvedlinescalledslurs.Aslurindicatesthatthenoteswrittenabove(orsometimesbelow)it,shouldbeplayedlegato.Legatomeanstoplaythenotessmoothly,sothattheysoundconnectedtoeachother.Toplaynoteslegato,keepyourfingeronthekeyuntilyouhavestartedtoplaythenextkey.
9 OrangeBlossomThissonghasdottedhalfnotesinboththelefthandpartandtherighthandpart.Playthemelodylegato.
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TheTieAtieisacurvedlinethatconnectstwonoteswiththesamepositiononthestaff.Atietellsyoutoplaythefirstnoteonly,andtoholditforthelengthofbothnotes.
10PlaytheCnoteandchordandholdthemforsixbeats.
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11 RosesFromtheSouthThissongwaswrittenbyJohannStrauss,whowrotesomeofthemostfamouswaltzes.Inthemelody,atieisusedbetweenbars15and16(twoEnotes),andbetweenbars31and32(twoFnotes).Thetieisalsousedforthechordsinthesebars.Donotconfusethetiewiththelegatoslurintroducedearlierinthislesson.
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LESSONFIVETheNotesA,BandC
ANote
BNote
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CNote
Noteswrittenabovethemiddlelineofastaffusuallyhavetheirstemsgoingdown.Noteswrittenbelowthemiddlelineofthestaffusuallyhavetheirstemsgoingup.ThestemfortheBnotecangoupordown.
TheCMajorScaleAmajorscaleisagroupofeightnotesthatgivesthefamiliarsound:
YounowknowenoughnotestoplaytheCmajorscale.ToplaytheCmajorscalesmoothlyyouwillneedtoplaytheFnotewithyourthumb.Dothisbymovingyourthumbunderneathyoursecondandthirdfingersonthewayupthescale.Onthewaydownthescale,moveyoursecondandthirdfingersoveryourthumb.Thisiscalledthecrossover.Thesmallnumbersplacedabove,beloworbesidenotesonthestavestellyouwhichfingertoplayeachnotewith.Besuretousethecorrectfinger.
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12
TheOctaveAnoctaveistherangeofeightnotesofamajorscale.Thefirstnoteandthelastnoteofamajorscalealwayshavethesamename.IntheCmajorscale,thedistancefromMiddleCtotheCnoteaboveit(orbelowit)isoneoctave(eightnotes).Allthesongsyouhavestudiedsofar,andthenextsongusenotesfromtheCmajorscale.Paycloseattentiontoanyfingeringnumbersnearthenotes.Itisimportanttousetheindicatedfingering,asthiswillmakethesongseasiertoplay.Usethissamefingeringeverytimeyouplaythesongs.
13 LaSpagnolaLaSpagnolausesnotesfromtheCmajorscaleandusesthethumbunderbetweenbars20and21.
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TheEighthNote
Thisisaneighthnote.Itlastsforhalfacount.Thereareeighteighthnotesinonebarof*time.Wheneighthnotesarejoinedtogetherthetailsarereplacedbyonebeam.
14 HowtoCountEighthNotes
Staccato
Adotplacedaboveorbelowanotetellsyoutoplayitstaccato.Staccatomeanstoplayanoteshortandseparatefromtheothernotes.Toplayanoteshort,liftyourfingeroffthekeysasquicklyaspossible.
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15 ShaveandaHaircutTherearetwoeighthnotesonthesecondbeatofthefirstbarofthisexample.Playthenotesandchordsinthesecondbarstaccato.
KeyofCMajorWhenasongconsistsofnotesfromaparticularscale,itissaidtobewritteninthekeywhichhasthesamenameasthatscale.Forexample,ifasongcontainsnotesfromtheCmajorscale,itissaidtobeinthekeyofCmajor.NearlyallthesongsyouhavestudiedsofarhavebeeninthekeyofCmajor.
16 Lavender’sBlueThiswellknownEnglishfolksongisinthekeyofCmajor.Itusesacrossoverinbar14.
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LESSONSIXTheDottedQuarterNote
Adotwrittenafteraquarternoteindicatesthatyoushouldholdthenoteforoneandahalfbeats.Adottedquarternoteisoftenfollowedbyaneighthnote.
17
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18 LullabyBrahms’Lullabyisoneofthemostwellknownmelodiesofalltime.ItiswrittenhereinthekeyofCmajorandusesdottedquarternotesinbars1,3,9and13.
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FirstAndSecondEndingsThenextsongcontainsfirstandsecondendings.Thefirsttimeyouplaythroughthesong,playthefirstending,(Z),thengobacktothebeginning.Thesecondtimeyouplaythroughthesong,playthesecondending(X)insteadofthefirst.
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19 JingleBellsJingleBellsisoneofthemostpopularChristmassongs.Itcontainsfirstandsecondendings.Thefirsttimethrough,playfromthebeginningtotheendofbar8.Thenplayagainfromthebeginning,butthistimedonotplaybars7and8(thefirstending)butplaybars9and10(thesecondending).
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MinorChordsTherearethreemaintypesofchords:major,seventhandminorchords.Youhavealreadylearnedsomemajorchordsandoneseventhchord.ThefirstminorchordyouwilllearnistheDminorchord.Minorchordsareindicatedbyasmall"m"rightwrittenafterthechordname,forexample:Dm.
DmChordSymbol
TheDMinorChord
ToplaytheDminorchord,usethefirst,thirdandfifthfingersofyourlefthand.
TheCommonTimeSignatureThissymboliscalledcommontime.Itmeansexactlythesameas*.
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20 MussiDenThissongisinthekeyofCmajorandcontainsaDmchordinbar13.Italsocontainstwolead-innotesatthebeginningofthesong.
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21 ScarboroughFairScarboroughFairisafolkmusicstandard.ItcontainsDminorchordsandalsointroducestheDnoteabovetheCnotewhichisoneoctavehigherthanmiddleC.WhenchangingbetweentheDmandFchords,keepyourfirstfingerinposition,asitiscommontobothchords.
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GChordSymbol
LESSONSEVENTheGChord
ToplaytheGchord,usethefirst,thirdandfifthfingersofyourlefthand,asshownintheGchorddiagram.
SharpSignsThisisasharpsign.Whenasharpsignisplacedbeforeanoteonthestaff,itindicatesthatyouplaythekeyimmediatelytoitsright.Thiskeymaybeeitherblackorwhite.
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D7ChordSymbol
TheDSeventhChord
TheD7chordcontainsanFsharpnotewhichistheblackkeyimmediatelytotherightoftheFnote(whitekey)belowmiddleC.ThisF#noteiswrittenonthefourthlineofthebassstaff.ToplaytheD7chord,usethefirst,thirdandfourthfingersofyourlefthandasshownintheD7chorddiagram.
22 HushLittleBabyThispopularchildren’ssongmakesuseofthechordsGandD7.
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23 TomDooleyWhenplayingthemelodyofthissong,becarefultoplaythecorrecttiminginbars9,11,13and15.Practicethetiminginthesebarsseparatelybeforeplayingthecompletesong.
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TheEighthNoteTripletAtripletisagroupofthreeevenlyspacednotesplayedwithin1beat.Eighthnotetripletsareindicatedbythreeeighthnotesgroupedtogetherbyabracket(oracurvedline)andthenumber3writteneitheraboveorbelowthegroup.Theeighthnotetripletsareplayedwithathirdofabeateach.Accent(playlouder)thefirstnoteofeachtripletgroupasit
willhelpyoukeeptime.
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24 AmazingGraceAmazingGraceisaGospelsongwhichcontainsalead-inandtriplets.
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TheNoteFSharp
ThisF#note(aboveMiddleC)istheblackkeyimmediatelytotherightoftheFnoteasshowninthediagram.
ThisF#noteiswritteninthefirstspaceofthetreblestaff.
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25 TheWilliamTellOvertureMostofthemelodynotesinthissongareplayedstaccatoasindicatedbythedotplacedunderoroverthenote.AllthechordsareplayedstaccatoexceptforthefirstD7chordinbar7.
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LESSONEIGHTTurnaroundProgressionsATurnaroundprogressionisasetpatternofchordsthatrepeatsitself.TherearehundredsofwellknownsongsbasedupontheseTurnaroundprogressions.Allthesesongscontainbasicallythesamechordsinthesameorder.ATurnaroundmayrepeatoveranynumberofbars.Usually2,4and8bars.Howeverthechordsequenceremainsthesame.Someofthebiggesthitrecordsofalltimearebaseduponaturnaroundprogression.Turnaroundsalwayscontainatleastoneminorchord.TheTurnaroundbelowusesanewchordEminor(Em).
EmChordSymbol
TheEMinorChord
ToplaytheEmchordusethefirst,secondandfifthfingersofyourlefthandasshowninthediagram.
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26ThisprogressionisaTurnaroundinthekeyofG.Itwillprobablysoundfamiliartoyou.Tomakethelefthandparteasiertoplay,usethefirst,secondandfourthfingerstoplaytheCchordinthisexample.
WhenchangingbetweenGandEmchords,keepyourfirstandfifthfingersinposition.WhenchangingbetweenEmandCchords,keepyourfirstandsecondfingersinposition.WhenchangingbetweenCandD7chords,keepyourfourthfingerinposition.
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SomesongsusingtheTurnaroundProgression
StandbyMe-JohnLennonIWillAlwaysLoveYou-WhitneyHoustonReturntoSender-ElvisPresleyAllIHavetodoisDream-EverlyBrothersTellMeWhy-TheBeatlesLet'sTwistAgain-ChubbyCheckerBeMyBaby-TheRonettesBlueMoon-VariousArtists
AmChordSymbol
TheAMinorChord
ToplaytheAmchordusethefirst,thirdandfifthfingersofyourlefthandasshowninthediagram.
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27 MinuetThemelodyofthissongwasanumberonehitrecordandwasbasedonaminuetbyfamousclassicalcomposerBach.ItintroducesthenoteBbelowmiddleCinBars7and15.
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BrokenChordsSometimeswhenyouplayachord,insteadofplayingallthreenotestogether,youplaythelowestnoteofthechordshape(chordfingering),followedbytheothertwonotesofthechord.Thefollowingexampledemonstratesbrokenchordsin^timeusingthechordsC,FandG7.
28
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29 Lavender’sBlueHereisanewversionofthesongyoulearnedinExercise16,thistimeusingbrokenchordsinthelefthandpart.Practicethelefthandseparatelyatfirstifnecessary.
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30 MorningHasBrokenMorningHasBrokenusesallthechordsyouhavelearnedsofarandonceagainusesbrokenchordsinthelefthandpart.ItalsointroducesthenoteAbelowmiddleCinbar17.Ifyouhavetroubleco-ordinatingbothhands,practiceeachhandseparatelyuntilyouareconfidentplayingeachpartandthencombinethem.
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BrokenChordsin*TimeBrokenchordsworkequallywellin^timeand*time.HerearesomeexamplesofbrokenchordsinthekeyofCin*time.Onceyouarecomfortableplayingthem,tryapplyingbrokenchordaccompanimentstosomeoftheothersongsyouhavelearned.
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31
32 OSusannaThistraditionalfolksongisplayedwithabrokenchordaccompaniment.TakecarewiththechordchangefromCtoG7onthethirdbeatofbars7and15.
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LESSONNINETheGMajorScaleInLesson5theCMajorscalewasintroduced.TheGmajorscalestartsandendsonthenoteG,andcontainsanF#noteinsteadofanFnote.PlaythefollowingGmajorscaleandnoticethatitstillhasthefamiliarsoundDoReMiFaSoLaTiDo.
33ThekeyofCmajorwasdiscussedinthesectiononKeyofCMajor.SongsthatareinthiskeyutilizenotesfromtheCmajorscale.Similarly,songsthatareinthekeyofGmajoraresaidtoutilizenotesfromtheGmajorscale.SongsinthekeyofGwillcontainF#notes.
KeySignaturesInsteadofwritingasharpsignbeforeeveryFnoteonthestaff,itiseasiertowritejustonesharpsignaftereachclef.ThismeansthatalltheFnotesonthestaffareplayedasF#,eventhoughthereisnosharpsignwrittenbeforethem.Thisiscalledakeysignature.
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TheGMajorKeySignatureThisisthekeysignatureforthekeyofGmajor.Ithasonesharpsignaftereachclef.
TheCMajorKeySignatureTheCmajorscalecontainsnosharpsorflats,thereforethekeysignatureforthekeyofCmajorcontainsnosharpsorflats.
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34 IYiYiYi(CielitoLindo)IYiYiYiisinthekeyofGmajor.NoticethekeysignatureandplayallFnotesasF#.ThisisoneofthemostwellknownsongsfromMexico.Thelefthandaccompanimentcontainschordsplayedstaccatointhefirstpartofthesongandbrokenchordsinthesecondhalf.
Alsonoticethatbar10containsawholerest,whichwouldtypicallyindicatefourquarternoterests,butthiscanalsobeusedforafullbarofrest.Asthispieceisin3/4time,itrepresentsafull-barrest(inthiscase,threequarternoterests).
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ArpeggiosInBrokenChordsyouwereintroducedtotheideaofplayingthebassnotefollowedbythechord.Anotherusefulwayofplayingchordsisarpeggiostyle.Anarpeggioisachordplayedonenoteatatime.Thistechniquecanbeappliedtoanychordandcanmaketheaccompanimenttoamelodymuchmoreinteresting.ThefollowingexampledemonstratesthechordsCandG7playedasarpeggiosin^time.
35Onceyouarecomfortableplayingthesechordsasarpeggios,tryaddingamelodywiththerighthand,asshowninexample36.ThisisanewarrangementofthesongyoulearnedinExercise8.
36 AustrianWaltz
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37 ChopsticksChopsticksisoneofthemostwellknownpiecesofmusicforpiano.Ifyourhandisnotbigenoughtostretchtheoctaveinbar7youcanplaythewholerighthandpartofthesongusingtwohands.ThelefthandpartconsistsofarpeggiosofthechordsCandG7.Practiceeachhandseparatelyatfirstifyouhavetroubleco-ordinatingthetwoparts.ThissongisinthekeyofCmajorasindicatedbythekeysignature(i.e.,nosharpsorflats).
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ArpeggiosIn*TimeLikebrokenchords,arpeggiosworkequallywellinanytimesignature.Thefollowingexamplesdemonstratesomeofthewaysarpeggioscanbeusedin*time.TheseexamplesarewritteninthekeyofGmajorasindicatedbythekeysignature.
38
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39 BanksoftheOhioThistimethearpeggiosareplayedaseighthnotes.Thepatternoffournotesperchordisexactlythesamebuttheyareplayedovertwobeatsinsteadoffourbeats.Thismayseemdifficultatfirst,butrememberthatthesearpeggiosarethesamechordshapesyoualreadyknow,playedonenoteatatime.Onceagain,practiceeachhandseparatelyatfirstifnecessary.
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TheSloopJohnBThissongisinthekeyofGmajor.Thereisatiebetweenaneighthnoteandaquarternoteinbar13.Thisgivesan"offbeat"feelcalledsyncopation.
40
41 TheSloopJohnB
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LESSONTENFlatSigns
Thisisaflatsign.Whenaflatsignisplacedbeforeanoteonthestaff,itmeansthatyouplaythekeyimmediatelytoitsleft.Thiskeymaybeeitherblackorwhite.ThenoteBflat(writtenasBb)isshownonthestaffbelow.
TheNoteBFlat
ThisBbnote(aboveMiddleC)istheblackkeyimmediatelytotheleftoftheBnote,asshowninthediagram.
ThisBbnoteiswrittenonthethirdlineofthetreblestaff.
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12BarBlues12BarBluesisapatternofchordswhichrepeatsevery12bars.Therearehundredsofwellknownsongsbasedonthischordprogression,i.e.,theycontainbasicallythesamechordsinthesameorder.12BarBluesiscommonlyusedinRockmusicandisthebasisofBluesmusic.
Songsusingthe12BarBluesProgression
OriginalBatmanT.V.ThemeHoundDog-ElvisPresleyRockAroundTheClock-BillHaleyRollOverBeethoven-ChuckBerryBlueSuedeShoes-ElvisPresleyInTheMood-GlenMillerShake,RattleandRoll-BillHaleyBarbaraAnn-TheBeachBoysJohnnyB.Goode-ChuckBerryDizzyMissLizzy-TheBeatlesSurfin’U.S.A.-TheBeachBoysGoodGollyMissMolly-LittleRichard
12BarBluesintheKeyofCMajorThefollowing12BarBluesisinthekeyofCmajor,andusessomeofthechordsyouhavelearnedsofar.WhenasongissaidtobeinthekeyofCmajor,itmeansthatthemostimportantchord(andusuallythefirstchord)istheCchord.
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42 12BarBluesintheKeyofCMajorThispatternofchordswillprobablysoundfamiliartoyou.
TheKeyofFMajorTheFmajorscalestartsandendsonthenoteF,anditcontainsaBbnoteinsteadofaBnote.PlayTheFmajorscalebelowandlistenfortheDoReMiFaSoLaTiDosound.SongsthatareinthekeyofFmajorcontainnotesfromtheFmajorscaleandhencecontainthenoteBb.
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43
KeySignatureofFMajorInsteadofwritingtheflatsignbeforeeveryBnoteonthestaff,oneflatsigncanbewrittenaftereachclef.ThismeansthatallBnotesonthestaffareplayedasBb,eventhoughthereisnoflatsignwrittenbeforethem.ThisisthekeysignatureforthekeyofFmajor.Thereisoneflatsignaftereachclef.
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44 MarianneMarianneisinthekeyofFmajor.Thelefthandparthereisavariationontheeighthnotearpeggiostyle.Insteadofplayingthearpeggiostraightupanddown,thepatternalternatesbetweenthelowestnoteandtheothertwonotesofeachchord.ThisstyleofaccompanimentisverypopularinClassicalmusicandiscalledanAlbertibass.Practicethelefthandpartbyitselfbeforecombiningitwiththemelody.
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ThesongMollyMalone(alsocalled"CocklesAndMussels")isawellknowntraditionalIrishsongandiswrittenbelowinthekeyofFmajor.ThelefthandpartisavariationontheAlbertibasspattern,alteredtofitinwith^time.Onceagain,practiceeachhandseparatelyatfirstifnecessary.
Youhavenowlearnedallthreeofthebasicmethodsofaccompanyingmelodies:chordstyle,brokenchordstyleandarpeggiostyle.Theaccompanimentyouusecanmakeabigdifferencetohowgoodtheoverallpieceofmusicsounds.Youcanoftenmakeasimplemelodysoundgreatjustbygivingitaninterestingaccompaniment.Gobackthroughthebookandexperimentwithvariousaccompanimentstoeachofthesongs.Rememberthateachaccompanimentstyleisbasedonthesamebasicchordshapes.
45 MollyMalone
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MoreTitlesbyLearnToPlayMusic.comProgressiveBeginnerElectronicKeyboardBeginnerLevel
AneasytofollowElectronicKeyboardmethodforthecompletebeginner.Coversnotereading,fingertechnique,usingtheautomaticaccompanimentfunctionandplayingchordswiththelefthand.Includesmanywellknownsongsinavarietyofstyles.
ProgressiveBluesPianoMethodBeginnerToIntermediate
AgreatintroductiontotheworldofBluespianoplaying.Allexercisessoundgreataswellasteachingthenecessarynotesandtechniques.CoversShuffles,NewOrleansandR&Bstylesalongwithlessonsonsoloing,improvisationandaccompaniment.
ProgressiveFunkPianoMethodBeginnerToIntermediate
SpecificallydesignedforstudentswhowishtoplayFunkpiano,eitherinaRockgrouporsolo.Containsimportantinformationoncreatingpianoparts,playinginmajorandminorkeysandtransposing.Theexercisessoundgreataswellasteachingthenecessarynotesandtechniques.
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ProgressiveRockPianoBeginnerToAdvanced
CoversallaspectsofRockPianoplaying,featuringthemostcommonRockchordsandprogressions.SpecialemphasisisplacedonmusictheoryasitrelatestoRock,includingBluesscales,chordconstructionandsubstitutioninthemostcommonRockkeys.
ProgressivePianoChordsBeginnerToAdvanced
Agreatreferencebookforpianistsofalllevels.Containsalistingofmorethat1000chordsarrangedchromaticallywithallinversions,within36differentchordfamilies.Alsocontainsanextensivebodyofmusictheory,rangingfromhowtoreadapianokeyboard,toacompletelistingofallthemajorandnaturalminorscales.Alsodemonstratesthemostcommonchordsineachkey,alongwithsamplechordprogressions,whichyoucanplayalongwithontherecording.
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APPENDIXONENotesontheKeyboard
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EasyChordSubstitutionWhenplayingfromsheetmusicandyoucomeacrossanunfamiliarchordstudythefollowingtabletofindaneasierchordtoplay.Thischordwillstillsoundcorrect.E.g.,whenyouseeaCmaj7symbol,playaCchordinstead.ForaCm6,youcansubstituteaCmchord,etc.
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APPENDIXTWOChordChartsInthisbookyouareintroducedtomajor,minorandseventhchords.Thefollowingchordchartscontainmanyotherchordsyoumayfindinsheetmusic.Otherimportantchordtypesaretheminorseventhchord(m7),augmented(+)anddiminished(o)chords.Thesearelistedonthefollowingpages.Therearemanyothertypesofchordse.g.,sixth(6),suspended(sus),ninth(9)etc.Thefollowingchartsshowthreedifferentpositionsforeachchord:
Therootposition.Thisshapehastherootnote(i.e.,thenotethechordisnamedafter)asthelowestnoteofthechord.Thefirstinversioncontainsthesamenotesastherootpositionbutplacestheminadifferentorder.Thesecondinversioncontainsthesamenotesastherootpositionbutplacestheminadifferentorderagain.
MajorChordChart
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CChordSymbol
CEGNotesinChord
CMajorChord
C(RootPosition)
C(1stInversion)
C(2ndInversion)
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DbChordSymbol
DbFAbNotesinChord
DbMajorChord
Db(RootPosition)
Db(1stInversion)
Db(2ndInversion)
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C#ChordSymbol
C#FG#NotesinChord
C#MajorChord
C#(RootPosition)
C#(1stInversion)
C#(2ndInversion)
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DChordSymbol
DF#ANotesinChord
DMajorChord
D(RootPosition)
D(1stInversion)
D(2ndInversion)
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EbChordSymbol
EbGBbNotesinChord
EbMajorChord
Eb(RootPosition)
Eb(1stInversion)
Eb(2ndInversion)
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EChordSymbol
EG#BNotesinChord
EMajorChord
E(RootPosition)
E(1stInversion)
E(2ndInversion)
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FChordSymbol
FACNotesinChord
FMajorChord
F(RootPosition)
F(1stInversion)
F(2ndInversion)
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F#ChordSymbol
F#A#C#NotesinChord
F#MajorChord
F#(RootPosition)
F#(1stInversion)
F#(2ndInversion)
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GbChordSymbol
GbBbDbNotesinChord
GbMajorChord
Gb(RootPosition)
Gb(1stInversion)
Gb(2ndInversion)
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GChordSymbol
GBDNotesinChord
GMajorChord
G(RootPosition)
G(1stInversion)
G(2ndInversion)
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AbChordSymbol
AbCEbNotesinChord
AbMajorChord
Ab(RootPosition)
Ab(1stInversion)
Ab(2ndInversion)
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AChordSymbol
AC#ENotesinChord
AMajorChord
A(RootPosition)
A(1stInversion)
A(2ndInversion)
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BbChordSymbol
BbDFNotesinChord
BbMajorChord
Bb(RootPosition)
Bb(1stInversion)
Bb(2ndInversion)
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BChordSymbol
BD#F#NotesinChord
BMajorChord
B(RootPosition)
B(1stInversion)
B(2ndInversion)
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MinorChordChart
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CmChordSymbol
CEbGNotesinChord
CMinorChord
Cm(RootPosition)
Cm(1stInversion)
Cm(2ndInversion)
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C#mChordSymbol
C#EG#NotesinChord
C#MinorChord
C#m(RootPosition)
C#m(1stInversion)
C#m(2ndInversion)
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DmChordSymbol
DFANotesinChord
DMinorChord
Dm(RootPosition)
Dm(1stInversion)
Dm(2ndInversion)
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EbmChordSymbol
EbGbBbNotesinChord
EbMinorChord
Ebm(RootPosition)
Ebm(1stInversion)
Ebm(2ndInversion)
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EmChordSymbol
EGBNotesinChord
EMinorChord
Em(RootPosition)
Em(1stInversion)
Em(2ndInversion)
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FmChordSymbol
FAbCNotesinChord
FMinorChord
Fm(RootPosition)
Fm(1stInversion)
Fm(2ndInversion)
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F#mChordSymbol
F#AC#NotesinChord
F#MinorChord
F#m(RootPosition)
F#m(1stInversion)
F#m(2ndInversion)
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GmChordSymbol
GBbDNotesinChord
GMinorChord
Gm(RootPosition)
Gm(1stInversion)
Gm(2ndInversion)
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G#mChordSymbol
G#BD#NotesinChord
G#MinorChord
G#m(RootPosition)
G#m(1stInversion)
G#m(2ndInversion)
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AmChordSymbol
ACENotesinChord
AMinorChord
Am(RootPosition)
Am(1stInversion)
Am(2ndInversion)
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BbmChordSymbol
BbDbFNotesinChord
BbMinorChord
Bbm(RootPosition)
Bbm(1stInversion)
Bbm(2ndInversion)
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BmChordSymbol
BDF#NotesinChord
BMinorChord
Bm(RootPosition)
Bm(1stInversion)
Bm(2ndInversion)
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SeventhChordChart
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C7ChordSymbol
CEGBbNotesinChord
CSeventhChord
C7(RootPosition)
C7(1stInversion)
C7(2ndInversion)
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Db7ChordSymbol
DbFAbCbNotesinChord
DbSeventhChord
Db7(RootPosition)
Db7(1stInversion)
Db7(2ndInversion)
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D7ChordSymbol
DF#ACNotesinChord
DSeventhChord
D7(RootPosition)
D7(1stInversion)
D7(2ndInversion)
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Eb7ChordSymbol
EbGBbDbNotesinChord
EbSeventhChord
Eb7(RootPosition)
Eb7(1stInversion)
Eb7(2ndInversion)
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E7ChordSymbol
EG#BDNotesinChord
ESeventhChord
E7(RootPosition)
E7(1stInversion)
E7(2ndInversion)
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F7ChordSymbol
FACEbNotesinChord
FSeventhChord
F7(RootPosition)
F7(1stInversion)
F7(2ndInversion)
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F#7ChordSymbol
F#A#C#ENotesinChord
F#SeventhChord
F#7(RootPosition)
F#7(1stInversion)
F#7(2ndInversion)
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Gb7ChordSymbol
GbBbDbENotesinChord
GbSeventhChord
Gb7(RootPosition)
Gb7(1stInversion)
Gb7(2ndInversion)
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G7ChordSymbol
GBDFNotesinChord
GSeventhChord
G7(RootPosition)
G7(1stInversion)
G7(2ndInversion)
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Ab7ChordSymbol
AbCEbGbNotesinChord
AbSeventhChord
Ab7(RootPosition)
Ab7(1stInversion)
Ab7(2ndInversion)
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A7ChordSymbol
AC#EGNotesinChord
ASeventhChord
A7(RootPosition)
A7(1stInversion)
A7(2ndInversion)
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Bb7ChordSymbol
BbDFAbNotesinChord
BbSeventhChord
Bb7(RootPosition)
Bb7(1stInversion)
Bb7(2ndInversion)
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B7ChordSymbol
BD#F#ANotesinChord
BSeventhChord
B7(RootPosition)
B7(1stInversion)
B7(2ndInversion)
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MinorSeventhChordChart
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Cm7ChordSymbol
CEbGBbNotesinChord
CMinorSeventhChord
Cm7(RootPosition)
Cm7(1stInversion)
Cm7(2ndInversion)
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C#m7ChordSymbol
C#EG#BNotesinChord
C#MinorSeventhChord
C#m7(RootPosition)
C#m7(1stInversion)
C#m7(2ndInversion)
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Dm7ChordSymbol
DFACNotesinChord
DMinorSeventhChord
Dm7(RootPosition)
Dm7(1stInversion)
Dm7(2ndInversion)
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Ebm7ChordSymbol
EbGbBbDbNotesinChord
EbMinorSeventhChord
Ebm7(RootPosition)
Ebm7(1stInversion)
Ebm7(2ndInversion)
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Em7ChordSymbol
EGBDNotesinChord
EMinorSeventhChord
Em7(RootPosition)
Em7(1stInversion)
Em7(2ndInversion)
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Fm7ChordSymbol
FAbCEbNotesinChord
FMinorSeventhChord
Fm7(RootPosition)
Fm7(1stInversion)
Fm7(2ndInversion)
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F#m7ChordSymbol
F#AC#ENotesinChord
F#MinorSeventhChord
F#m7(RootPosition)
F#m7(1stInversion)
F#m7(2ndInversion)
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Gm7ChordSymbol
GBbDFNotesinChord
GMinorSeventhChord
Gm7(RootPosition)
Gm7(1stInversion)
Gm7(2ndInversion)
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G#m7ChordSymbol
G#BD#F#NotesinChord
G#MinorSeventhChord
G#m7(RootPosition)
G#m7(1stInversion)
G#m7(2ndInversion)
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Am7ChordSymbol
ACEGNotesinChord
AMinorSeventhChord
Am7(RootPosition)
Am7(1stInversion)
Am7(2ndInversion)
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Bbm7ChordSymbol
BbDbFAbNotesinChord
BbMinorSeventhChord
Bbm7(RootPosition)
Bbm7(1stInversion)
Bbm7(2ndInversion)
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Bm7ChordSymbol
BDF#ANotesinChord
BMinorSeventhChord
Bm7(RootPosition)
Bm7(1stInversion)
Bm7(2ndInversion)
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AugmentedChordChart
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CaugChordSymbol
CEG#NotesinChord
CAugmentedChord
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C#augChordSymbol
C#FANotesinChord
C#AugmentedChord
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DaugChordSymbol
DF#A#NotesinChord
DAugmentedChord
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EbaugChordSymbol
EbGBNotesinChord
EbAugmentedChord
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EG#CNotesinChord
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FaugChordSymbol
FAC#NotesinChord
FAugmentedChord
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F#A#DNotesinChord
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GaugChordSymbol
GBD#NotesinChord
GAugmentedChord
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G#CENotesinChord
G#AugmentedChord
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AaugChordSymbol
AC#FNotesinChord
AAugmentedChord
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DiminishedChordChart
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CdimChordSymbol
CEbGbNotesinChord
CDiminishedChord
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C#dimChordSymbol
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C#DiminishedChord
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DdimChordSymbol
DFAbNotesinChord
DDiminishedChord
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EGBbNotesinChord
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FdimChordSymbol
FAbBNotesinChord
FDiminishedChord
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GBbDbNotesinChord
GDiminishedChord
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G#dimChordSymbol
G#BDNotesinChord
G#DiminishedChord
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AdimChordSymbol
ACEbNotesinChord
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BdimChordSymbol
BDFNotesinChord
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