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