Some of the greatest piano players in history became known for

their proficiency in jazz. Technicality and a heavy reliance upon

the ability of the musician to improvise makes jazz piano one of

the hardest styles to learn. That does NOT mean, however, that it can’t be learned, but to get to the highest rungs a pianist must have lots of talent, a great ear, and the ability to improvise.

The birth of jazz music in the early 1900s was a significant

period in musical history. Many of those who are considered among

the greatest jazz pianists of all times were pioneers of the

genre during this period. Jazz evolved from musical styles that

African slaves brought to America.

Therefore, its inception can largely be attributed to the early

African-American community. African-American pianists, such as

Scott Joplin and Ernest Hogan, are considered to be among the

fathers of ragtime music. Although the ragtime era only lasted a

few years, it was a precursor to, and contemporary of, the jazz

era.

Many of the earliest and greatest jazz pianists were African

American. For this reason, jazz music had something of a stigma

to overcome. While many embraced jazz as a new and exciting

genre, others couldn’t. The emancipation of African slaves was

still a fresh memory, and many people still carried strong

attitudes of racism. Anything that was perceived as “negro” (such

as jazz music) was inferior at best and “of the devil” at worst.

Jazz’s public image changed slowly over the first two or three

decades of the 20th century. Great African-American jazz pianists

of the early to mid 1900s were instrumental in helping transform

the perception of jazz. African-American artists like Erroll

Garner, Theoloius Monk, Count Basie, Duke Ellington and Oscar

Peterson brought a level of class to the genre that was

undeniable. In fact, the Count Basie orchestra was pivotal to the

jazz culture of New York for half a century.

Noteworthy musicians in and of themselves, they also provided

back-up for critically acclaimed singers like Billie Holliday and

Big Joe Turner. Count Basie’s association with Ella Fitzgerald is

both historically and musically significant. The 1963 album the

two made together is remembered by critics as possibly the

greatest recording of her career. Count Basie also made

recordings with Frank Sinatra, Sammy Davis Jr. and Tony Bennett.

These match-ups lent even more credibility to jazz as a distinct

genre.

The evolution of jazz saw many changes over the ensuing decades.

More branches and sub-genres developed. In fact, jazz music fell

out of favor with the public for several years in the 1980s.

There was controversy within the musical community over the

fusing of so many different types of music with jazz. Some

purists viewed it as “watering down” the art form. Other

musicians and fans see jazz music as a culmination of many types

of music and view blending it with rock as simply another

variation generally known as “fusion”.

Contemporary jazz artists have brought jazz back around into

public favor in the 21st century. Today’s great jazz pianists,

like Diana Krall, Harry Connick Jr. and Norah Jones bear living

proof of this by number of albums sold. While some write off

their work as “pop” jazz, many believe they are instrumental in

keeping jazz alive in the new millennium.

When is a C not a C? It’s not a riddle or a trick question. It’s

a musical principle. The answer is: a C is not a C when you’re

playing a transposing musical instrument. And it’s not the instrument

that transposes, unfortunatly — some arranger or the player

himself must do that.

To understand what this means, you first have to understand the

definition of concert pitch. Pitch, of course, refers to the

frequency of sound. Concert pitch is the universally agreed upon

definition of the pitch of middle C (and subsequently, every

other note in an octave). From the dawn of written music to the

present day, no matter where on earth you are, middle C always

sounds the same. In other words, every musician in the world

understands and interprets middle C in the same way. This is the

simple definition of concert pitch.

Many instruments, therefore, are manufactured to concert pitch.

This means that when multiple musicians read “C” (or any other

note on a scale) on a musical score, they produce identical

sounds. Instruments that are manufactured in concert pitch

include the piano, some brass instrumnets such as the trombone

and baritone, some woodwinds such as the flute, oboe, and

bassoon.

Many other instruments are not made to produce concert pitch

sounds. These are referred to as transposing instruments. Many

woodwind instruments and some brass fall into this category. When

a transposing instrument player reads and plays “C” in a musical

score, it sounds different from a “C” played by a non-transposing

instrument.

Therefore, music that is written for a band consisting of both

transposing and non-transposing instruments must be adapted for

individual types of instruments. A typical marching band, for

example, may have the same score of music transposed into two,

three or more different keys.

The clarinet is an excellent example of this. It is a transposing

instrument, typically manufactured in B flat. If a B flat

clarinet and a piano played a “C” at the same time, the sounds

produced would not be the same. In order for a B flat clarinet to

play a note that matches a piano playing a “C,” it would have to

play one whole step higher. In other words, it would have to play

a “D.”

What if the two instruments had to play a song together? Music

for the piano would be written at concert pitch. The same music

would have to be transposed one key higher so that the clarinet

would produce the same sound. Though the two songs appear to be

in different keys, the sounds that each instrument would produce

will match in pitch.

Bb instruments include the Bb clarinet, the Bb bass clarinet, the

Bb tenor sax, the Bb trumpet. Music for these instruments are

written in a key which is a whole step higher than concert pitch.

Eb instruments include the Eb clarinet, the Eb alto clarinet, the

Eb alto sax, the Eb bariton sax, and the Eb alto horn. Music for

this group of instruments needs to be written a minor 3rd lower

than concert pitch.

F instruments include the french horn and the English horn. Music

for these instruments must be written in a key that is a perfect

4th lower than concert pitch.

It sounds complicated. You may even ask: why not just manufacture

the clarinet (or other transposing instruments) in concert pitch?

Though it seems this would solve some problems, there are good

reasons that certain instruments produce other pitches. The B

flat clarinet is preferred because it produces a cleaner, more

pleasant sound than a C soprano (concert pitch) clarinet. In

fact, the same is true of many transposing instruments. So while

using transposing instruments make more work for the composer, in

the end it’s all about the product. Serious musicians are known

for their keen sense of hearing. Since only the best quality

sound will do for them, composers will keep writing scores with

both types of instruments in mind.

How many songs do you know on the piano? Would you like to have a larger repertoire at your command? How about entertaining friends and acquaintances at a party with a staggering knowledge of popular songs? From Chopin to Gershwin, from Thelonius Monk to Tori Amos, piano music in a variety of popular styles is increasingly available in music stores and online outlets.

For the beginning piano student, the variety of popular piano music is staggering. A simple search will place the sheet music for “Pomp and Circumstance” and Mahler’s funereal variations on Frere Jacques in his Symphony No. 1 in D Major directly on your computer monitor. Download the pieces, print them out and practice until you’ve mastered them. Soon you will be an expert at many diverse kinds of piano music.

Whether you invest time in learning every note and trill involved in a piece or you’re simply looking for a chord progression for accompaniment purposes, sheet music is likely available. Mesmerize onlookers with your knowledge of the entire Beatles catalog! Serenade sweethearts with a flawless take on Irving Berlin’s “Blue Skies.” Why stick to practicing dull scales over and over when friends will be more impressed with a hot rendition of “My Heart Will Go On?”

Jokes aside, the ease of obtaining popular piano music is making an extensive knowledge of entire song catalogs a breeze. The fake arrangement, which is a piece of sheet music outlining the basic chord progressions and melodies in a song, is invaluable to those wanting to play piano with modern ensembles. This kind of arrangement enables the pianist to know what is coming at him. It gives him the basic melodic theme with which to improvise, play behind another instrument or just play straight from the paper.

Perhaps a more thoroughly written piece is what you’re after. Don’t want the fake arrangement of Beethoven’s “Moonlight Sonata?” Piano music for popular pieces such as Claude Debussy’s “Clare de Lune” and Frederic Chopin’s Prelude in C Minor is a handy tool for the beginning pianist or the tutor to have on hand. The longevity and popularity of pieces such as these makes them fun to learn for any pianist, great or small.

So your skills on the instrument aren’t up to par with the virtuosos? Is that any reason to not enjoy a relaxing stay at the piano bench with the ivories at your fingertips? No, it’s not. Piano music doesn’t have to be difficult to be enjoyed. It shouldn’t always require a degree in music theory and performance. There are multitudes of pieces in the lexicon of popular piano music that are stunningly beautiful, yet don’t require years of rigorous practice. Elton John, one of the greatest pop composers in modern music, has songs that come in easy piano translations. Feel free to find a nice version of one of his songs, or perhaps a standard like “Singin’ in the Rain.” Plink out the melody, find the bass line and play until your heart’s content.

Piano music is one of the most enduring forms of art and entertainment in the world. With the instrument’s multiple octaves and singular ability to produce melody, harmony and underlying chord progressions, the piano is a timeless wonder. So invite some friends over, find some great sheet music and have a sing along to some of your favorite songs.

It seems as though pop music sometimes gets a bad rap. A glimpse at three of modern pop’s most famous pianists may dispel the myth that pop is an inferior genre. Their skill and level of musical expertise rivals that of pianists of other genres.

Sir Elton John: Born in England in 1947, his illustrious career has spanned three decades. John’s talent for playing the piano became apparent before the boy even entered school. He was often overheard picking out difficult classical pieces on the piano by ear as young as four years old. In fact, he was considered a prodigy. John entered the Royal Academy of Music on a scholarship award at the age of 11 and outshone most of the other students.

His professional career began like that of many musicians. John spent several years playing in pubs. Eventually a chance opportunity led him to partner with Bernie Taupin. Taupin and John write songs together to this day. Songwriting eventually led to the release of his first album in 1970. Shortly thereafter he became known as “the father of piano rock,” a title that still befits him today.

Billy Joel: Though he is often associated with his first big hit, “The Piano Man,” Joel almost didn’t learn to play. It was with great reluctance and upon his mother’s insistence that he began piano lessons. He excelled in proficiency, despite taunts from classmates about his preference for music over sports. Joel even took up boxing in high school to quell those taunts. Though he won many boxing championships, he gave up boxing after a nose injury and focused on his musical pursuits.

Joel began playing professionally at age 14. He played with various bands from 1964 until he recorded and released his first solo album in 1971. Though that first album didn’t gain much acclaim, but his second did. “The Piano Man” single was an instant success. The album “The Piano Man,” which was released in 1973, went gold. To date, over 4 million copies of this recording have been sold.

Joel went on to make several more albums in his career. His works include an album of original classical piano pieces.

Jerry Lee Lewis: Much of the credit for advancing the role of rock music in society must be given to this artist. In fact, Lewis is considered a pioneer in the industry. Born into a staunchly religious family, it was to their consternation that Lewis’ preference for rock and roll began to take shape. He began playing the piano in childhood and had a clear gifting for music. Fascinated by “negro music,” he began to develop his own style based on it. It was a mix of gospel, which he had grown up with, and country, R&B and boogie woogie. What emerged was the earliest form of rock and roll.

Lewis was often publicly condemned for playing “the devil’s music.” Even his own family denounced his work. This criticism seemed to only fuel his artistic nature even more. His fame spread, and even Elvis Presley took notice. He is quoted as saying “If I could play the piano like that, I’d quit singing.”

Lewis’ life, like that of many artists, was fraught with personal problems and scandals. His marriage to his 13-year-old cousin in 1953 (while still married to his first wife) nearly plummeted his career into obscurity. Soon after, his fame became limited to being the butt of jokes and public ridicule. Health problems, alcoholism, drug addiction and family tragedies nearly did him in. But after a movie about his life was released in 1989, his career made a comeback. This included another hit album in 2007, his first since 1973, and his induction into the Rock-n-Roll Hall of Fame the same year.

In addition to selling over 300 courses on piano playing, I also give away
more real content on piano playing and music theory than anyone I can think of. If you’re not taking advantage of this free material to help you in your musical development, be sure to go to FREE PIANO VIDEOS and watch them all.

Improvisation (also known as improvising) is the act of making something up as you go along — an act with which we all have a little experience. Remember playing House or Doctor as a child, letting the game go wherever your mind would take you? That was improvisation. No rules, no boundaries, just the limitless potential of your imagination.

Similarly, musical improvisation is the act of “writing” (creating it as you play) a song while performing it, a technique found most often in jazz and bluegrass (but can be traced back to renowned classical improvisers like Handel and Bach). Of course, it’s a little more complicated than an imaginative children’s game. Though improvisation is a highly creative and flexible technique, it requires great skill on the part of the musician. A musician involved in an improvisation must have a detailed knowledge of chord structure and complicated scales and modes. The musician must also have an intuitive ability to structure a song on the fly; great improvisation thrives on its ability to sound not improvised but rather wholly composed. That illusion, the ability of a song to seem anything but spontaneously made up, is part of improvisation’s allure.

There are two basic forms of improvisation: structured improvisation and free improvisation. Structured improvisation, though a contradiction in terms, is the most common of the two. In this form, musicians will use a pre-determined series of chord changes, usually held down by the rhythm section, as the song’s base. The lead instrument in the improvisation (sometimes also pre-determined) then have the freedom to create new melodies and harmonies from these pre-determined chords. The flexibility of this improvisation form is dependent on the flexibility of the chord changes, and the musicians involved must be able to play exactly what they hear in their heads, as some complicated changes may not allow for large deviations.

If we were to improvise on a song such as “Billy Boy”, for example, we would follow the chord progressions of the song, but make up a different melody for it. Some musicians choose to stay fairly close to the melody by using neighboring tones and half-step slides and so on; other musicians feel free to completely abandon the traditional melody and make up a new melody entirely.

In addition to songs, many musicians in the jazz and rhythm & blues tradition improvise endlessly on the 12-bar blues, which has a chord progression using only the I, IV and V chords (also known as the “primary chords” of a given key) of whatever key the musicians are playing in. For example, if a jazz group was playing in the key of Bb, the improvisations would be based on the I, IV and V chords in the key of Bb: namely Bb, Eb, and F.

Of course musicians also add extra notes to chords such as the 7th — especially in the blues — and sometimes also change the harmony somewhat from time to time. But the recurring theme always reverts to the I - IV - V formula.

Free improvisation, on the other hand, is far more like a game of House or Doctor — it has no rules. Instead of focusing on harmony or melody, free improvisation focuses on the feeling and texture of the music and the way the instruments complement each other. This form tends to be far more experimental and rarely adheres to one style or genre or music — it is, quite simply, what it is.

Possibly the most widely-recognized song in the English language, “Happy Birthday to You” didn’t start out as a song of birthday good wishes. The tune of this beloved ditty was penned in 1893 by school teacher sisters Mildred Hill and Patty Hill. The two teachers wanted a sing-song greeting with which to welcome their young charges to school each day.

Together they came up with the simple tune that is universally sung to the words of what is now “Happy Birthday to You.” In its original form, however, the song went like this:

Good Morning to you,
Good Morning to you.
Good morning, dear children,
Good morning to you.

In fact, these words are often still sung to that same tune today in elementary schools around the globe. Because it’s likely every English-speaking child knows it, it makes the perfect tune to just about any simple lyrical poem.

When the words “Happy Birthday to You” were added to the tune remains something of a mystery. What is known about it is that by 1935 the birthday song had become such a part of popular culture that its copyright was purchased by the Summy Company.

The music publishing company still holds the copyright today. Undoubtedly, Summy saw a potential profit-generator in the humble little birthday song. To date, the company has not dispatched song police to nab every innocent and unsuspecting crooner who belts out the beloved tune at a birthday party. It does, however, receive royalties from many sources.

Technically, any public performance of the song requires that royalties are paid to the Summy Company. Every time you hear it performed in a movie or any otherwise for-profit performance, you might also hear change clinking in the pockets of Summy executives. Canadians, on the other hand, can freely sing the jingle without fear of prosecution. This is because in Canada, copyrights only extend to 50 years after the passing of the author. “Happy Birthday” entered the public domain in Canada in 1985.

Many people are surprised to learn that “Happy Birthday to you” is actually owned by a private company. This is to the consternation of many of the song’s devoted fans. After all, the song’s predecessor, “Good Morning to All,” is currently public domain. Sing that same tune to the lyrics it is more commonly known by, and you may risk having to pay Summy.

Ordinary citizens are miffed that, thanks to some changes in copyright law in the 1970s and 1990s, Summy’s rights to the birthday song were extended. Originally destined for public domain in 1991, Summy will continue to profit from it until 2030. Many people feel that the birthday song rightfully belongs to the public, especially since the Hill sisters never profited from the original tune.

Whether they would have wanted to be is another question. The Hill sisters merely set out to write a catchy and easy-to-sing-and-remember song for children. It’s highly unlikely that either of the teachers ever had the notion that their humble number would become what it is today.

Times have changed considerably since 1893. What was once a simple gift to school children has, in the span of just over a century, become a profit-generating monster, much contended by its advocates.

If you’re looking for a perfect way to keep your mind sharp, piano playing is the solution. It exercises several different parts of the mind and body, while providing you with years of musical enjoyment. Whether you play piano currently or are thinking about starting, playing piano is great brain food.

Our population is aging. People are living longer lives, and they are constantly looking for brain food to keep their mental prowess in peak condition. One of the best ways to keep those hamsters running might be sitting in the corner of your living room gathering dust. That old piano of grandma’s has more than its share of brain teasers.

Here are 7 benefits of learning to play the piano:

1.Piano playing increases coordination. In order to play piano, your hands must develop independent coordination. This is one of the basic ways to keep your mind sharp. Each hand must often perform entirely different movements, and the brain must tell each hand what to do. By learning separate hand coordination, you stimulate several different areas of the brain. Practice each hand separately, and then combine the movements of each hand.

2. Piano playing increases hearing awareness. Not everyone is born with a good sense of pitch, but people can develop it through exposure and practice. When you play piano, you train your ear to hear pitches and tones in relation to one another. This makes developing a sense of relative pitch possible. Intervals stimulate your mind in slightly different ways. A perfect fifth will cause one reaction in your brain, while a seventh will cause an entirely separate reaction. This trains the mind to recognize pitches and intervals, even if beneath the level of the concious mind.

3. Sight reading offers the brain another workout, as the eyes must follow the music while the hands play it. The ability to sight read is similar to knowing a foreign language, yet also requires extreme hand-eye coordination. The eye muscles are also strengthened as they move up and down the staff across the page.

4.The analysis of musical passages and learning the theory involved is another mental exercise when you play piano. It’s brain food at its finest. Chords, melodies, and changes are all rooted in complex musical theory. It pays dividends to learn and understand how music is put together.

5. Piano playing increases social participation. When you play piano in the presence of others, you are participating in a valuable social exercise. History is filled with participants and spectators in the world of music. You have the ability to make others’ time more enjoyable. You also meet other musicians who can share knowledge with you, expanding your understanding of the piano.

6. Proper piano playing, whether done for leisure or profession, keeps the fingers nimble. It strengthens all the muscles of the hands, which helps in other lines of work. A maintenance man with strong hands is more valuable than one with weak digits.

7. Besides all this, piano playing is great fun. It lets you create your own tune for the day. The piano has provided society with over a hundred years of enjoyment and will do so for hundreds more. It’s not only an instrument; it’s a social communication tool and a brain exercise, as well. Play piano for your brain. It’s lot more fun than Sudoku, and it’s great at parties.

Every serious piano student eventually learns to play some of the most well-known classical pieces during his or her studies. Nary a pianist didn’t learn Palchabel’s Canon in D or Beethoven’s Fur Elise. Even non-musicians recognize names like Bach and Mozart. But what about modern classical pianists who have also made notable contributions to cultural history? Here are four the most well-known modern classical pianists and their contributions:

* Glen Gould: The eccentric Canadian-born classical pianist spent more of his prolific career in the recording studio than on stage. Gould covered many of the original classical greats, such as Bach and Beethoven. Gould may be best remembered though for his recordings of the music of Johann Sebastian Bach.

Gould was widely acclaimed for his unusual technique and eclectic renditions of famous classical works. Though he spent many years on the road, touring several countries, he gave up concert performances in 1964 at the age of 32. Though he could have spent decades longer on the road, he preferred to live out the remainder of his career in the studio. Gould’s career was cut short by an untimely stroke at the age of 50, which ultimately took his life. Still, his recordings live on today and have been released and re-released numerous times.

* Arthur Rubinstein: He has been referred to as one of the greatest piano virtuosi of the 20th century. Born in Poland in 1887, Rubinstein’s family recognized a depth of unique talent in him, despite the fact he didn’t speak until age three. A childhood filled with unusual behavior and outbursts fuel speculation that Rubinstein may have suffered from a learning disorder or autism. Eventually, Rubinstein’s temperament gave way to the talent for playing the piano that he eventually became known for. Rubinstein made his concert debut in New York in 1906 and toured until 1976. He reluctantly retired from public performance at the age of 89 when his hearing and eyesight began to fail. Though he passed away in 1982, Rubinstein is still highly acclaimed among modern musicians.

* Sergei Rachmaninoff: This Russian classical pianist was also a composer and conductor. Perhaps it was his unusual 12-inch hand span that helped him become a legend for his technical proficiency. Rachmaninoff not only commanded the stage, but at a height of 6 feet, 6 inches, commanded a room as well. Though he began piano study casually under the tutelage of his own mother, his extraordinary talent quickly emerged. Rachmaninoff was mediocre in academics, even failing many of his subjects for lack of motivation. However, his piano instructor, who recognized his potential, insisted on a strict and disciplined practice regimen. If not for him, Rachmaninoff may have given up on his musical studies as well. A later meeting with Peter Tchaikovsky also served as inspiration for him to continue his musical career. He managed to overcome several setbacks in his career, including scathing public reviews and a long period of writer’s block. After several years of performance and changes in location, Rachmaninoff moved to the United States in 1918. He continued performing until February of 1943, just a month before his death from cancer.

* Myra Hess: This British pianist stands out in a genre typically dominated by men, especially during her years of public performance. Even as a young child Hess exhibited extraordinary talent. She was admitted to the Guildhall School of Music just two years after beginning lessons at age five. She gave her first public performance at the tender age of 17 in 1907, when she toured throughout Europe for several years. Eventually Hess debuted in the United States, where she realized almost instant acclaim. In an effort to boost morale during World War II, Hess organized a series of free public concerts in London. Her efforts during a time that saw the closure of concert halls and art galleries due to the war was deeply appreciated and received by the public. Hess herself performed at many of these lunch hour concerts. It may have been these efforts that endeared her to the public and stirred lasting interest in her music and career.

Building a piano arrangement of a song is very much like building a house. You have to have a foundation (music theory), the materials of the song (the melody, chords & rhythm), and you have to have a toolbox of techniques with which to “build the musical house”.

What this short video and you’ll quickly see what I mean:

Nothing stirs the heart of a patriot in the United States like fireworks accompanied by a rousing rendition of God Bless America. The top songs of America are some of the most easily recognized pieces of music in the Western world. “America the Beautiful,” “The Battle Hymn of the Republic,” “The Star Spangled Banner” and “God Bless America” are well-known and well-loved songs. They all have histories as rich and colorful as the nation they praise.

The words for “America the Beautiful” were written in 1893 by an English professor from Wellesley College named Katharine Lee Bates on a train trip to Colorado Springs. She was inspired by the sights outside her window, and she put her thoughts down on paper. It was published two years later in commemoration of the Fourth of July. The poem caught the public’s attention, and the words were adapted to a tune from composer Samuel A. Ward, which was written in 1882. The song attained great popularity during the first two decades of the 20th century.

The tune of “The Battle Hymn of the Republic” was written in approximately 1855 by William Steffe. The lyrics were different, and it was used as a campfire spiritual. An early version of the lyrics were written by Thomas Bishop around 1860, and they were used as a walking song entitled “John Brown’s Body” by the Massachusetts Infantry during the Civil War. Julia Ward Howe heard the song and changed the lyrics to the ones widely known today. It was originally published in The Atlantic Monthly in February 1862.

“God Bless America” was written by Irving Berlin in 1918. Berlin revised the song in 1938, and it then became a signature song of vocalist Kate Smith. He revived the song as World War II loomed on the horizon in the hopes of building national morale. Berlin wrote the song while serving in the U.S. Army at Camp Upton in New York. The song inspired Woody Guthrie to write another classic American anthem, “This Land is Your Land,” in 1940.

Many other patriotic songs are popular, but “The Star Spangled Banner” is the official national anthem of the United States of America. The lyrics were written in 1814 by Francis Scott Key as Royal Navy ships bombed Fort McHenry in Maryland during the War of 1812. The tune comes from a popular British drinking song called “To Anacreon in Heaven.” It was composed by John Stafford Smith for the Anacreontic Society, a popular social club in London. It was recognized for official use by the Navy in 1889. “Hail, Columbia” and various other songs previously served as the national anthem over the years, but they all paled in comparison to this moving tune. The song was officially designated as the national anthem by a congressional resolution on March 3, 1931, which was then signed by President Herbert Hoover. It is often sung at the beginning of sporting event, holidays and official state events.

Patriotic songs are as much a part of the rich tapestry of America as apple pie and baseball games. In fact, they often go hand in hand.