To play in any given key, such as the key of A or the key of Db or any key, you really need to be able to think in that key.

When I was in college I spent one semester in Mexico City while attending Mexico City College and lived with a Mexican family. I had taken 4 year of Spanish in high school, but I certainly wasn’t great at speaking Spanish. But before the semester was up, I began to actually think in Spanish to some extent — certainly not very much, but some. And as a result, I could begin to converse more comfortably when I spoke to the locals.

And I could see that if I had spent a couple years there instead of just 3 months, I would be a lot further down the road in thinking in Spanish.

It’s the same with you when it comes to music.

You can probably think in the key of C — most piano players can, because that’s the key they almost always start in. And that’s fine. But if you had started in the key of Bb or E, you would be just as comfortable as you are in the key of C.

But there are 2 HUGE advantages in music over languages when it comes to thinking:

1. There are hundreds (probably thousands,if you count dialects) of languages. There are only 12 major keys.

2. Those languages have different alphabets in many cases. All keys in music use the same alphabet - A, B, C, D, E, F, and G. That’s it.

3. Language alphabets have many letters — English has 26, Greek has 24, Hebrew I believe has 27, and so on. And of course, the letters are not the same as in English.

So learning to think in all 12 major keys is not that hard compared to learning languages (in fact it is super easy compared to languages!). And since there are 12 months in the year, why not devote one month to learning the key of D, one month learning the key of Eb, and so on throughout the year? At the end of the year you’ll have a pretty good grasp of all 12 keys, and you’ll begin to think in those keys instead of fighting with the sharps and flats as perhaps you used to.

If you would like some help, go over to How To Think In All 12 Keys.

- Many, many adults today learned to play the piano when they were young, but gave it up at some point. Although some of these people don’t miss it, there are others that secretly desire to play piano again.

Some have no interest, but many have a hidden goal to someday start playing the piano again. And when they do start taking up lessons again, they’d prefer it to be with a modern teacher who knows the difference between Bach and the Beatles. Also, it’s difficult to add regular lessons to their schedules which are already full.

How do you do this, then?

There are two linked circumstances present in today’s world that give adults a new chance to learn to play piano in a way that was never possible before. Today, we have the Internet, a continually growing treasure trove of information. Until around year 2000, aspiring pianists usually took lessons from teachers who were of practical distance from their residences. That’s no longer the case. Many piano teachers even give online lessons using the cyber world. There are also DVDs and CDs that have been produced to assist the learner during all stages of piano playing, from the beginner to the advanced. Also, they are simple to find. Searching for such phrases as “piano lessons for adults” or “piano playing for adults” on a site such as Google will bring forth many possibilities for those looking to learn. (Give it a try and find out for yourself)

The other step has always been around, but often hasn’t been described well enough for people to understand. To put it simply, there are three ways to learn how to play the piano, and adults may choose to use one, two, or all three in any combination, and will learn far better than if they used only one method.

The three ways are:
First) Reading music from the score which is printed. The majority of piano lessons require the ability to read sheet music and make your fingers do what your mind tells them to do. The customary way to teach piano was with repeated technical exercises and drills, and reading music pieces starting from the very simplest piece engaging only the thumbs, gradually working one’s way up to complex classical works like the “Moonlight Sonata” by Beethoven or the challenging “Prelude in C# minor” by Rachmaninoff. You can find an online instructor to teach you how to read musical scores. Some search terms you can try to find these people include “learn to read music” and “classical piano lessons online.”

Second) Playing something by only hearing it first. Not many people could play the piano entirely through auditory perception and these people no longer need piano lessons because they can play any piece of any style they want. Playing by ear can be taught to some extent, but anyone who thinks they can end up playing like Ray Charles is kidding himself or herself. But in reality, most people can acquire the skills of recognizing a tune by ear, and by adding a couple of chords to the melody, can have a lot of fun entertaining their family and friends.

Third) Using chord symbols to play with. “Fake books” are popular with professional pianists, especially those who specialize in jazz. Fake books are song collections in a format known as “lead sheet”, meaning that the melody is written in addition to the chord symbols needed to harmonize with the melody. This method requires merely learning some simple chords found in the songs you intend to learn; and reading the melody in the treble clef, which is considerably easier than learning to read dense clusters of musical notes in both clefs.

Most people have no idea that this kind of playing exists, or if they do, they mistakenly believe it is only for the professionals. Not true. The process is simple and will produce results fairly quickly. You might be amazing your friends in weeks instead of years with these quick results.

Any of these ways will work and are available online. Incorporating aspects of all three methods brings the best results; the combination of reading sheet music, playing by ear, and learning chords and their proper progression can help a person learn the most efficiently.

It doesn’t matter which method you pick, just pick one and start. You’ll find its great fun and boosts your self confidence.

Musical consonance and dissonance are the exact opposite of each other, like day and night. Though both refer to the type of sound achieved by playing a chord or interval, they produce radically different tonal types. Musical consonance is typically thought of as a pleasing or resolved sound; it is achieved by two notes that clearly complement each other and produce a comfortable chord or interval. Musical consonance is at the very heart of composition. Most songs consistently contain some level of musical consonance, whether perfect or imperfect (a classification coined during the common practice period); perfect musical consonance is found in perfect fourths and fifths, octaves or unisons, and imperfect musical consonance is found in major or minor thirds or sixths.

Musical dissonance, on the other hand, is a chord or interval that seems restless or uncomfortable. It can be achieved by playing a chord that doesn’t resolve the song, or two notes that very audibly clash with each other, such as minor seconds or major sevenths (usually notes that lie only a half-step away from each other). The concept of musical dissonance isn’t necessarily universal, however; what one era considered to be a musical dissonance is sometimes considered to be a musical consonance in modern times (for example, perfect fourths were at one time seen as dissonant). And in some eras, musical dissonance was even forbidden, all songs had to be resolved; this was an era in which perfect fourths and fifths were some of the only acceptable chords. In modern music composition, however, musical dissonance is not only allowed, it’s often encouraged. Rock musicians use dissonant chords like minor seconds and tritones to great effect and even classical composers employ musical dissonance to create a dark, specific mood.

In a sense, all music can be viewed as a contest between dissonance and consonance. If a piece of music was all consonance, it would be boring. If it were all dissonance, it wouldn’t be listenable at all. So every piece of music is crafted in a unique way to move back and forth between those two extremes to create both interest and pleasure.

Watch this short video for some ideas on re-harmonizing any song:

Using chord substitutions to re-harmonize a song is an excellent way to develop your own sound, your own style. For a complete course on arranging Christmas Carols on the Piano, click on this link:

Christmas Carols on the Piano

Bill Evans was born on the 6th of August, 1929 in Plainfield, New Jersey. He started learning to play the piano when he was six years old. In 7 years, he added two more instruments to his repertoire. His first gig was when his brother Harry had to be substituted for Buddy Valentino’s band. He was familiar with the music it was the same kind of music that he was practicing at home. He continued playing boogie-woogie there on in clubs in and around New York City.

He was awarded a scholarship to Southeastern Louisiana University where he played to an audience Beethoven’s Third Piano Concerto in a recital in 1950. He left the institute with a degree in piano performance and teaching. While in college, he founded the Delta Omega Chapter of the Phi Mu Alpha Sinfonia – a fraternity for people with an interest in music.

After graduation, he served in US Army after which he returned to New York and continued to gig. He set himself up as a sideman for bands playing Third Stream jazz - an innovative mixture of classical music and jazz. While building up his reputation, he was a part of many studio recordings. He worked with George Russell to come up with work like Concerto for Billy the Kid and All About Rosie. He also was on albums by Tony Scott, Oliver Nelson, Art Farmer and Charles Mingus with whom he recorded during this period of time.

His first recording of his own material was with his 1956 album New Jazz Conceptions. He got make his debut with album after being referred by Mundell Lowe to producer Orrin Keepnews. In 58’, he was invited to play with Miles Davis and the Miles Davis Sextet. The short stint that he had with the sextet was iconic as the sound of the sextet thereafter took a new direction.

Miles Davis describes in his that Bill Evans style of playing in his autobiography. “Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got was like crystal notes or sparkling water cascading down from some clear waterfall.”

He left the band after running into trouble with drugs and also in search of new ground to conquer. He recorded Everybody Digs Bill Evans which had a new style that he had been working on at the time. After a short recording stint recording the iconic 1959 album Kind of Blue, he went back solo and formed his own trio with bassist Scott LaFaro and Paul Motian on the drums. The trio stuck to jazz standards and original composition involving a lot of improvisation.

They had four albums between 1959 and 1961 – Portrait In Jazz, Explorations, Sunday At The Village Vanguard and Waltz For Debby. All these four album barring Portrait In jazz were released in 1961. Waltz I jazz was released in 59’. Sunday At The Village Vanguard and Waltz For Debby are regarded as one of the greatest jazz recordings.

Evans experimented with interplay with a little more freedom with his trio. He used slow ballad like tempos for the songs and used quiet volume levels which was the first that it was ever done in jazz piano. His chords had a classical touch to it becoming more and more impressionistic. His left hand playing and right hand playing were so complimentary that you could see a Bud Powell influence.

Pushing the lid further, Evans was the pioneer of avoiding bebop and other jazz forms in favor a new style – modal jazz. His bassist collaborator Scott LaFaro passed away young at 25 which made Evans take some time off to come to terms with his death. Breaking more ground in 1962, he recorded an album that is considered a classic jazz piano and guitar duet album.

He got bassist Chuck Israel to take the place of LaFaro in the trio. The new group continued recording winning a Grammy for their 1963 release Conversations With Myself. It was not all rosy a period for the trio with their music not selling well. Their manager Helen Keane brought the band back on track.

The entry of bassist Eddie Gomes into the band make things look up a bit creatively for the band. The 1968 live recording Bill Evans at the Montreux Jazz Festival is considered the pianist’s best because of the interplay and the energy that the band displayed throughout the show.

Bill Evans passed away on the 15th of September, 1980 due to a bleeding ulcer, cirrhosis and bronchial pneumonia.

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.

When you think of piano lessons, the mental picture you get might be of child sitting at a keyboard. The instructor is probably sitting next to the child, tapping out rhythm with a baton or pencil. While many do start as children taking piano instruction from a teacher, far more options are available today. Often this is good news for adults who never had the opportunity to take formal lessons as a child. If the idea of being scrutinized by a piano teacher makes you cringe, consider these other forms of piano instruction:

* Group lessons: Piano instruction takes place in a classroom-like setting. You’re usually in a group with several other students. Every student has their own keyboard, and the instructor teaches from the front. Group lessons are sometimes offered by music stores, community centers or schools. Often with group lessons, you sign up for a certain length of time (several weeks to a few months). With no pressure to sign on for long-term lessons, the commitment level required is low. Prices tend to be somewhat less expensive than private lessons too.

* DVD instruction: A plethora of DVD piano instruction curriculum is available for adult beginners and even advanced players. Topics range from learning basic notes and scales, to chord theory, specific music genres and more. Techniques are clearly demonstrated, making it easy to follow along. DVD piano curriculum ranges in price and often works out cheaper than taking private lessons. Plus, you can work at your own pace and on your own timeline. This method is not recommended for a child, as kids need a warm flesh and blood person sitting by them to help them with fingering and answer their questions.

* Internet lessons: There are a couple of options for Internet piano instruction. First, students can view video demonstrations and download curriculum and sheet music via an online music company. As with DVD instruction, you can work at your own pace. There’s no pressure to commit to anything long term. Another method is receiving live instruction via the Web. It’s similar to traditional piano lessons, except you see your instructor through a webcam. For this type of piano instruction, you must have a computer, or access to one, with Internet access. You’ll also need a webcam and an electronic keyboard or piano that is MIDI compatible. With either type of Internet lesson, you work in the comfort of your own home, and cost is usually less than traditional lessons.

* Instructional software: Similar to DVD instruction, you may also choose to purchase instructional software. This can be installed directly onto your computer. Piano lesson software is cost-efficient. And of course, you can work at home, at your own pace.

The type of piano instruction that you choose is largely dependent on your musical goals. Most piano instructors argue that traditional, one-on-one piano lessons are the only way to go. This is especially true if your goal is to become a professional musician or obtain some type of musical certification. It’s also important to note that one-on-one piano lessons are usually recommended for children over other methods of piano instruction. However, for adults who simply wish to enrich their personal lives or can’t afford regular lessons, these can be great alternatives to traditional piano lessons.

Here is a short video where I “fly over” the 12-bar blues to get an overall picture of what comprises the blues:

For information on the blues, click here.

Gospel music is full of history and soul. It comes from a rich tradition of folk songs and church hymns. Gospel stays alive by remaining relevant, taking various aspects of the musical culture of the day and bringing those aspects into the spiritual fold. In modern gospel, jazz has been introduced into traditional songs. This has sparked the musical term “gospel chords.”
Gospel chords are extended chords, such as the 9th, 11th and 13th. Maybe you’re not familiar with these chords. If you’re not sure how to form these chords, here’s a brief lesson.

Start with a dominant seventh chord. This is a basic triad with a flatted seventh added. For example, in the key of C, the basic triad is C-E-G. This is a C major chord. In the C major scale, the seventh is a B, so the flatted seventh is a Bb. To get a dominant seventh, we’ll add the Bb to the basic triad.

This chord can be played in many different ways. You can use the left hand for the root and leave the other three notes for the right hand. You can play all of the notes on one hand. You can switch them around to your heart’s content. When you switch the notes of a chord around like these, you are using inversions.

To get the 9th, 11th, and 13th you’ll have to add more notes to the chord. Since the notes of the octave are number 1-7, you must continue past one octave with numbering. The 9th tone is an octave above the 2nd; the 11th is an octave above the 4th, and the 13th is an octave above the 6th. This is where using different hands for different chord tones really comes in handy. A well-played gospel chord shouldn’t sound cluttered.

Now that you have studied all those extended gospel chords, when are you going to use them? Now that you have studied all those extended gospel chords, where are you going to use them? To start with, any gospel number can be spiced up with some jazz gospel chords. Try them out and see what works for you.

Take a standard like The Old Rugged Cross. In the key of A, the progression is A, A7, D, B7, E, E7, A. To give it some flavor, substitute any of the dominant seventh chords with 9th, 11th or 13th chords. Experiment with them to see what suits your taste. Change the tonalities of the chords. Take the B7 and make it a Bm7. When they are worked into a simple progression, extended gospel chords make things a bit more musical. They give the song more depth and color, creating a rich sonic picture.

Gospel music is always evolving, taking different aspects of modern styles and incorporating them into a whole. Practice bringing some extended chords into old arrangements and see what sounds good to you. With a little practice and experimentation, you’ll find yourself livening up any traditional praise song with a series of well-placed gospel chords.

It seems like a long time until Christmas, but it has a way of sneaking up on us gradually until suddenly it’s upon us. If you want to be ready to play some Christmas carols, get out your carol books and start reviewing, and then come up with some new arrangements for an old carol to make it sound more interesting.

Here is a short video that illustrates one way you can do that:

Learn to arrange Christmas Carols!

Christian music has come a long way from the church-sanctioned melancholy chants of centuries gone by. It has rich history going back several hundred years. In fact, the earliest music manuscripts were of church origin.

When the separation of church and state began, secular music emerged in full force. Some people mistakenly believe that so-called “Christian” music died with this new era. In truth, the church’s loosened grip on music actually led to more diversified styles in Christian music.

Musician Larry Norman was considered a pioneer of Christian rock music. In fact, many still refer to him as “the father of Christian rock.” (Later in his life, the aging musician was tagged with the new tongue-in-cheek title: “Grandfather of Christian rock.”) Norman’s music may have been the anti-Gregorian chant, a fact that made him a criticized figure among his fellow Christians. Still, Norman managed to gain an astounding following that hasn’t waned despite his recent death of heart failure. His musical talent is undeniable. Those stolid church leaders who would condemn his style needed only to listen to Norman’s songs. His faith in God was unquestionable.

Norman’s artistry flung open the door to Christian rock, as well as other popular music styles. Keith Green broke new ground as a songwriter and pianist and singer with his passionate heart-felt worship style, and has influenced thousands of younger musicians over the years.

Some on the outside of the Christian music scene criticize it all as un-original, carbon copies of secular music. However, a true study of Christian music and its history reveals that Christian musicians have been trend setters. Christian musician Phil Keaggy is regarded as possibly the world’s best guitarist. Even the legendary Jimi Hendrix was known to acknowledge Keaggy as a more worthy musician than himself.

Other artists have managed to make successful from crossovers from Christian to secular music. This seems to demonstrate that their talent transcends religion. Artists like Amy Grant generated fans in both the religious and the secular music industry. Gospel singer Kirk Franklin is another artist who made an impression in both the Christian and the secular market. His first album in 1993 went platinum. It stayed on the gospel chart for an astounding two years. What is perhaps more astounding is the fact that it charted on the R&B charts.

Today Franklin is a respected artist in many genres and circles. The band DC Talk broke new ground in the Christian music world in the 1980s and 90s. It began as a hip hop group, later evolving into a more pop-style group with rap influences. DC Talk managed to win respect in both worlds.

Today’s Christian music scene still burgeons with successful artists making names for themselves of their own rights. Michael W. Smith is a renowned singer, songwriter and three-time Grammy award winner. He has reinvented his career over the decades and is a noteworthy praise and worship leader and recording artist today. Bands like POD, Switchfoot, Relient K, Sixpence None the Richer and Lifehouse have proved that Christian artists can hold their own on the secular stage. Christian music and secular labels alike will undoubtedly continue to turn out high quality recordings from talented artists for many years.

A music scale usually refers to a progression of single notes upwards or downwards in steps. The word “scale” comes from the Latin “la scala” which means “ladder”, so a musical scale is a ladder of notes that runs from the root note to the octave note (octave means “eight”, as in octopus, octagon, etc., so eight notes.) Most beginners in music are introduced to the concept of scales very early in their training. Despite this, it sometimes takes a few years of training to get good understanding of how scales work.

A scale begins with a root, called the tonic. In a C scale (the first one most beginning musicians learn) the tonic note is “C.” The scale progresses either up or downward until it reaches the same note in the next octave. The C scale is an easy example. It begins with the tonic C. Going upward, the notes following are D, E, F, G, A, B and C. Downward, the note progression is C, B, A, G, F, E, D and C. The C scale has a total of eight notes. The distance from the tonic note to the next note of the same name is referred to as an octave. A scale in eight notes is called a diatonic.

Most modern instruments, including the piano, actually contain 12 notes in an octave. This is because semitones are included. The notes that comprise the semitones on a piano in a C scale are the black keys. A scale that includes the semitones is known as a chromatic scale. A chromatic C scale going upwards would be C, C sharp, D, D sharp, E, F, F sharp, G, G sharp, A, A sharp, B and C. Downward, the notes are C, B, B flat, A, A flat, G, G flat, F, E, E flat, D, D flat and C.

A pentatonic scale is scale of five notes. Pentatonic scales are not often used in Western music. The major exception to this rule would be in American blues and some rock music. They are preferred in other cultures though, such as Asian. Pentatonic scales are also common in Celtic and African music. Less common are hexatonic (six steps) and heptatonic scales (seven steps). Scales may also be octatonic (containing eight steps). These are commonly found in modern classical and jazz music.

The intervals between the notes on any scale (diatonic, chromatic, etc.) determine the type of scale. An interval is defined as the distance between two notes. They are also sometimes referred to as steps. Scales can be major (M), minor (m), perfect (P), augmented (A) or diminished (d or dim). The type of scale is determined by the size of the intervals. Interval sizes can be unisons, seconds, thirds, fourths, fifths, sixths and sevenths. Major and minor scales are 2nds, 3rds, 6ths, and 7ths. Unisons, 4ths, 5ths and octaves are perfect.

Sometimes scales may be referred to as modal. A simple definition of a modal scale is a series of notes in a scale, but which lack a primary or tonic note. Therefore many scales may have several modes. For example, every major scale actually has seven different modal scales.

It can take several years of training before a musician gets a good handle on scales and chords. However, even the youngest and newest of musicians use scales and the principles behind them every day. Mastering their theory may come later. Of course, every musician knows that only practice makes perfect!

New pianists learn notes first. An understanding of musical notes and their values is the foundation for learning any instrument. That includes the piano. The values of the notes are easy to remember because their names denote their values.

* Whole note: A whole note looks a bit like an egg on its side. It is round or oval-shaped and not shaded/solid. A whole note is held for four beats in 4/4 time.

* Half note: A half note is so called because it is held for half as long as a whole note. In other words, it is held for two beats. It resembles a smaller version of whole note, but with a line attached to its side.

* Quarter note: A quarter note is held for a quarter of the time a whole note is held: one beat. A quarter note looks like a half note, with one minor difference. While the half note is not shaded, the quarter note is.

* Eighth note: The eighth note is, of course, an eighth of the value of a whole note. In other words, it is held for half a beat. It looks like a quarter note with a curly “tail” at the end of its line. Eighth notes can also be joined together in groups of two, three, or four. If they are joined, they are connected by a bar across the top, rather than having a “tail.”

* Sixteenth note: The sixteenth note is one-sixteenth the length of a whole note when held. It is held for a mere quarter of a beat. A sixteenth note looks similar to an eighth note, but has a double “tail.” When two, three or four are joined, they are connected by a double bar.

There are seven different names for the keys on a piano. If you look at the keyboard on a piano, you’ll see that the keys repeat their order every eighth white key. The names of the keys are denoted by letters of the alphabet. The middle white key on the piano is called “middle C.” Going up the scale from C, the rest are D, E, F, G, A, B, and they start again with C. The notes from any C on the keyboard to the next C make up an “octave.” It is so called because it contains eight keys, or eight notes.

The notes in a song or scale are written on a “staff.” These are the series of lines and spaces that you’ve probably seen on a piece of music. The staff consists of a treble clef and a bass clef. Each line and each space on the clef denote a particular key/note. The notes on the treble clef begin on the bottom line of the staff with E above middle C. The notes on the bass clef begin on the bottom line of the staff with the G below middle C.

Which type of note appears on which line or space on the clef determines which key is played and for how long that key is held. In other words, if a whole note appears written on the bottom line of the treble clef, then the instrumentalist would play an E above middle C. It would be held for four beats. Once the note types and names are learned, the beginner is ready to start playing!

Even the most avid of piano players sometimes dread practicing. Sometimes that dread can sabotage your practice time. Don’t sit down at the piano feeling negative before you even begin. Use one or more of the following piano practice tips to help make the most of your time:

* Always start by warming up. You already know that warming up gets your muscles moving. You may not be aware that warming up also stimulates your brain. Specifically, it wakes up that part of your brain that you use to remember notes. It’s the part that guides your fingers, giving you the ability to play notes without having to look at your hands. Nothing gets those neurons firing like running a few scales. The faster you can get your brain going, the more efficient your piano practice time will be.

* Remove distractions. Hopefully your piano is in a room with a door that closes. Shut the door. Turn off the television and stereo. Teach your household members to respect your practice time and not bother you.

* Sing along. If you’re playing a song that has words, sing along. It might seem a bit awkward at first. If you can get past that feeling, you might find this improves your skills. Singing along stimulates the part of your brain that helps you multi-task. The more ways you can challenge your brain at once, the more punch you’ll pack into your practice time.

* Change it up. If you find it difficult to stay focused on your music for a half hour practice, break it up. Practice for 15 minute increments instead. Do a bit in the morning and a bit in the evening. Try other ways of changing the way you practice. Practice at different times every day. Practice your songs in a different order each time. Change can be a great way to keep your practice time fresh and exciting.

* Find what works for you. Some people like to start with the easiest piece and work up to bigger challenges. Others prefer to get the hard stuff out of the way. It’s important to do what works best for you. If you’re simply trying to copy someone else’s style, you may just be sabotaging yourself. Don’t set yourself up to fail. Set up your practice time in a way that produces success.

* Reward yourself at the end of your practice time. Even if you love to play the piano, it’s sometimes a chore to play what you’ve been assigned. Don’t let drudgery sap your motivation. End your time of practice by playing something fun. It doesn’t have to be something from your curriculum. Just play a piece that you enjoy. Or, spend a few minutes trying to make up your own tune. Knowing that you have that little reward to look forward to at the end will be motivating.

Playing the piano should be rewarding and personally fulfilling. This doesn’t mean practicing will always be fun. However, when you try some of these piano practice tips, you may find your time to be more efficient. Ultimately, you increase your chances of successful learning when you make the most of your practice time.

For more piano practice ideas, go to Piano Practice Tips

There are literally millions of adults today who took piano lessons when they were growing up, but at some point along the way gave them up. Some couldn’t care less, but many have an urge down deep to take up piano playing again someday.

Over the years I have never heard anyone say “I’m glad I never learned to play the piano”, but I have heard hundreds say something like “I sure wish I had paid attention when I was a kid”, or “My piano teacher was too strict (or too boring), but I would love to get back to the piano some day.”

And most people that feel that way have the “round-tuit” problem that we all have; they mean well, but the busyness of life distracts them from starting to play again. And they really don’t want to take lessons again from the little old lady down the street who can’t tell the Beatles from Beethoven. Plus it’s hard to work regular lessons into their already-packed schedule.

So what’s the solution?

There are two inter-related factors that when combined create an opportunity for adults such as this unlike any in history.

1. For the first time ever there is the world-wide web and all its endless and growing sources of information. Up to nearly 2000AD an individual was limited to the piano teachers of the region in which he or she lived. But it’s not so anymore. Many piano teachers have moved their teaching into the cyber world of the internet in the form of online lessons. Others have DVDs and CDs available in all aspects of piano playing, from the basics of a beginner to the improvisations of an advanced player. And they are easy to find, too. Simply type in phrases such as “piano lessons for adults” or “how to play the piano” or “I want to learn piano chords” into any search engine such as Google, and up pops a vast array of intriguing possibilities. (Try it — you’ll see!)

2. The second factor is one that has always existed, but until recent times has not been articulated well so that the average person could understand the concept. And that is simply that there are 3 different ways to learn to play the piano, and adults can pick one of the three, two of the three, or all three in any combination, and come out with a synergy far better than any one method alone.

The 3 methods are:

1. Reading music from the printed score. Well over 95% of all piano lessons revolve around the ability to read a piece of sheet music, and the technical facility to make your fingers do what your mind tells them to do. This is the traditional method of piano lessons; scales, drills, finger exercises, and practice reading endless pieces from the very first “Left thumb, right thumb” piece to the most advanced classical piece such as Beethoven’s “Moonlight Sonata” or Rachmaninoff’s “Prelude in C# minor”. And there are teachers online who can teach music reading. Search for them by typing in such phrases as “learn to read music” or “classical piano lessons online”.

2. Playing by ear. There are a very few individuals who can really play by ear, but they don’t need our help — they can play what they want any way they want. Playing by ear can be taught to some degree, but anyone who thinks they can end up playing like Ray Charles is kidding himself or herself. Still, normal individuals can learn to pick out a tune by ear and then match a chord to that melody, and eventually entertain themselves and others while having a ball.

3. Playing from chord symbols. Many professional pianists — especially jazz pianists — use “fake books”. Fake books are collections of songs in a “lead sheet” format, which means the melody of the song plus the chord symbols that go with the melody. To learn this form of playing you will need to learn chords — at least enough to play the songs you want to play — and you will need to learn to read the tune of the song in the treble clef — a skill much easier than learning to read masses of notes in both the treble and bass clefs.

Most people don’t even know that this form of playing exists, or if they do, they thing it is limited to pros. Not so. It is a straightforward process and produces good results after a relatively short period of time. In other words, you’ll be playing enough to enjoy yourself and maybe amaze your friends in a matter of weeks instead of years.

All of these methods are viable, and all can be learned from piano teachers online. But probably the best way of all is a synergy of the 3 ways: learn to read sheet music, develop your ear, and learn chords and how to use chord symbols to create your own styles of music.

Which ever method you pick is fine — just pick one and get going. A world of fun and satisfaction await!

For more information on the 3 methods adults can learn how to play the piano, watch my free short 5-minute video titled “I want to get back to piano playing!”

To get started come on over to the Play Piano Catalog

If you’re a music lover looking for a career that is completely off the beaten path, music therapy just might be right for you. Music therapy, a relatively new method of therapy in the eyes of modern medicine, is an ancient practice. Since 1944, it has gradually been practiced more extensively in the United States. In the United Kingdom, music therapy was used in hospitals during both world wars.

Music therapy dates back to the ninth century. In particular, the work of music theorist al-Farabi and his treatise entitled “Meanings of the Intellect” laid the foundations for the modern form of the practice. Robert Burton also wrote about the positive effects of music and dance on the condition of the soul in his work, “Anatomy of Melancholy.” Both of these writers used modern methods of describing very ancient ideas to form the basis of the therapeutic methods used today.

In the United States, music therapy is governed by the American Music Therapy Association, which provides certification for aspiring practitioners. Though certification is not required, it definitely gives a therapist much more credibility. The AMTA gives different levels of certificates depending on completion of various studies. For example, a bachelor’s certificate enables someone to work together with other therapeutic disciplines such as speech therapy. Music therapists often have degrees in other disciplines as well. In New York State, practitioners must be registered and licensed as a creative arts therapist by passing a standardized test administered by the state. Lesley University in Massachusetts and Temple University in Pennsylvania offer degrees in the practice.

In the United Kingdom, music therapy developed from pioneering works by several different people. French cellist Juliet Alvin influenced the discipline in the 1960’s, and in the decade before, Paul Nordoff and Clive Robbins provided foundations for the future. In fact, the Nordoff-Robbins approach is used in sessions all over the world. The Nordoff-Robbins headquarters in London provides the only official PhD course in the practice. Therapists in the UK focus on the learning disabilities of children and adults, as well as forensic psychiatry and palliative care. There are master’s programs available in the UK as well.

Music therapy has been shown to improve motor skills, spiritual awareness and social skills. It also helps mood disorders and depression. In particular, it can improve a patient’s motivation and outlook on life by completely revitalizing a stagnant soul. Just as a great song can set your day right, successful music therapy can change a person’s life.

Studies show that such therapy affects stroke victims in a drastic way. By causing positive emotions in victims, the therapy increases social interaction and motivation and causes a quick recovery from the effects of the stroke. Often, the music is combined with traditional therapy to increase positive results exponentially. Motor skills are recovered best when the therapy is used on a regular basis in conjunction with other methods.

Another aspect of music therapy lies in songwriting and listening, especially in the elderly. The concept of songwriting is discussed, and patients are encouraged to write their own songs as a treatment.

If you are interested in helping others and working with music, investigate the field of music therapy. While it is a relatively new concept to many, the practice of music as medicine is ancient in origin.

Piano players who desire to learn the foundations of purely American music should start with the blues. This music form began over a century ago. Today’s jazz, hip-hop, rock-and-roll and rhythm and blues owes a debt to it.

Certainly, the word “blues” evokes a sense of the mood of being blue. The music has those qualities, but in its own way it is also capable of being very uplifting. Many blues songs are cries of hope for better days to come.

The blues form developed out of the African-American experience. The music we call blues is a touchstone back to their struggles in America and their growth as a people to more freedom. Blues songs are rooted in work songs, field chants, singing and talk. They also have their basis in spiritual songs and country ballads.

The first blues emerged out of the Deep South, in Texas, Louisiana and the Mississippi Delta. The music sang of the struggles of the worker and the impoverished lives many of them lived. Their great toil and sacrifice had articulation in stories, with many of them presented in song form.

A big boost to the stature of the blues came in 1912, when William Christopher Handy transcribed and published the song “Memphis Blues.” He was an African-American dance orchestra conductor. He gave himself the name “Father of the Blues” because of his tireless efforts to write, transcribe and publish blues music to get it to the masses.

The blues progressed from the Deep South to the north and entrenched itself in cities such as Chicago and Detroit. The music changed as it moved northward. No longer all about the poor conditions in the south, the music began to speak of the urban environments African-Americans were now living in.

The blues changed even more in the ’40s and ’50s as radio continued to spread its songs all over America. New electronic innovations lent the blues a different sound, with electric guitar at the forefront. Musicians carried this fresh electric sound with blues elements into the rock and R & B genre, which developed.

Those who hear that blues sound in much of today’s music may not understand that the music is very basic in its construction. A piano player desiring to learn the blues can understand its elements quickly with a little bit of study.

The most common blues heard and played are the 12-bar blues. Blues musicians found they could express their thoughts fully in a mere 12 bars or measures of music. However, there is room in these 12 bars for much creativity, whether musical or lyrical.

Almost all of blues music is in 4/4 time. This means there are four beats in each bar. Within a bar, each quarter note receives one beat. Further, a 12-bar blues song is broken down into three sections of four bars each. Musicians usually build blues chords on the first, fourth and fifth notes of an eight-note music scale. These form the blues chord progression. The first chord is typically prominent in the first four bars. The second four bars normally highlight the fourth chord of a scale, and the last four bars highlight the fifth chord of a scale.

For the lyrics to a blues song, the AAB pattern is predominant. A singer will sing the first and second four-bar verses with the same lines sung in each. The third four-bar verse will have different lines. Therefore A and A refer to the verses with the same lines; the B refers to the verse with different lines.

There can be different 12-bar segments in a blues song. When one 12-bar section gets resolved with the last four bars answering the previous eight, a new motif can develop in the next 12-bar section. In addition, while the 12-bar blues are the most common form in the blues arena, there are exceptions to it for variety and experimentation.

In the 1950s and 1960s, there was a movement in Britain, which brought about the “British Blues.” They were followers of the American blues tradition and very strict in following this form to a tee. This ended in the middle 1960s as the musicians from this country began to develop their own blues concepts and styles, although still based on the pioneering American blues school of thought.

The blues lends itself to much of the piano music available for playing today. Its influence is apparent in Broadway show tunes, film music and much music of the love-ballad type. Blues music can be a welcome addition to any pianist’s repertoire.

Many different elements comprise music. The basic rhythm and time signature make up one part, while the melody and chord structure make up another. Harmony is just one more of the important elements of musical compositions. But what is it and how is it used?

Musical harmony can be described in several ways. For a basic definition, harmony is simply two or more pitches played simultaneously. This is how basic chords are built. By combining multiple pitches, usually at least three, a chord is formed. There are a thousand different types of chord, even though many of these don’t appear in Western music.

Harmony is also defined as the counterpart to melody. For example, by adding a melodic line a major or minor third above the melody, a harmony is created. Whether the third is major or minor depends entirely on the scale used in the melody and chord progression. Using the wrong kind of third results in a musical clash, or dissonance.

Different kinds of harmonic structure result from using different intervals. The fifth is a commonly used harmonic device. This results from adding a note a fifth above the melody and is very universal. Most scales tones can be separated by a fifth, so there aren’t as many odd notes using this type of harmonic theory.

More complex harmonic structures require a greater knowledge of musical theory. Using the seventh is common to give the melody more of a blues or jazz feel. Jazz harmonies can often be quite complex, spanning the octaves to add ninths, 11ths or 13ths. These intervals can be hard to keep in tune when performed by vocalists, as the span between notes is great. Great vocal groups often use harmony to create chords with their voices.

One argument about harmony versus dissonance lies in the perspective of the listener. An extremely dissonant group of notes may sound absolutely beautiful to one set of ears, while sounding completely terrible to another. A lot of non-Western and avant-garde music uses the concept of dissonance to great effect. For example, a melody that begins with the C note may have C# an octave above it added. To certain listeners, this sounds absolutely frightful, while others sing its praises. Harmony is in the eye of the beholder.

Different harmonic ideas can be presented by using inversions. Inversions involve taking the lowest tone of a chord and transposing it up an octave. For example, a C major chord consists of the notes C, E and G. Taking the lowest tone, the C, and moving it up an octave creates the same chord with the notes E, G and C. This gives a different harmonic feel to the chord, allowing different notes to stick out more than others. This technique is very useful when devising harmonic movements.

Musical harmony is a simple concept, yet it contains so many variations that it is inexhaustible. With these simple rules, anyone can learn the basics of harmonization and be on their way to composing the next great song.

Most modern musicians take sheet music for granted. Sheet music abounds in printed form and can even be downloaded from the Internet. It’s a far cry from the days of oral tradition. Centuries ago, there were few ways to pass on music other than to “hum a few bars” until the listener caught on. The available manuscripts had to be painstakingly marked out by a transcriptionist and were limited in number. In fact, while many songs were known on a wide scale, they were likely spread about by travelling minstrels and troubadours. They were certainly not available in printed form at the local music shop.

Prior to the invention of the printing press in the mid 15th century, very few private citizens owned or had access to sheet music. The ones in existence were owned by a few wealthy noblemen. Because the only way to publish written music was to copy it by hand, it’s little wonder that sheet music was scarce. The process took long hours and careful copying skills, plus access to the right materials. Before the printing press, the only songs available in written score were sacred songs. Most of these were chants used in liturgical services. Virtually no secular music scores existed prior to the 15th century.

The invention of the printing press in 1439 changed the history of sheet music. This is in spite of the fact that the earliest methods of reproducing musical scores were almost as painstaking as copying music by hand. Italian printer Ottaviano Petrucci may be considered the “father of sheet music.” He developed the first method for reproducing sheet music. He was also granted an exclusive patent for his work, giving him an early monopoly on the business for several years. His method involved three stages. The paper was pressed three times. First, the staff was printed. On the second impression, the words were added. The final impression laid down the notes.

The downside to the process was that it was time-consuming and expensive. This made it relatively impractical for the average citizen to own sheet music. However, technology evolved over the years. Eventually, better and more efficient methods of printing were developed.

Most of the earliest music that was published was sacred music. In fact, the printing, distribution and publication of music were largely controlled by the church for several centuries. Eventually this changed, and soon music companies found themselves in the thriving business of music publishing. The retail distribution of sheet music took off in the late 1800s and early 1900s. This was in spite of the fact that there was no means for promoting particular songs or artists, like radio or television.

The popularity of sheet music prompted many governments around the world to examine the issue of copyright and pass their own laws in that regard. With copyright becoming a worldwide issue, the Berne Convention of 1886 established a universal principle regarding copyright. Today, approximately 76 countries around the world adhere to this standard.

Of course, technology continues to evolve. Radio, television and the Internet have posed new challenges to the ability of governments to enforce copyright laws. Sheet music can now be downloaded straight from the Internet, often illegally. Notwithstanding this, the annual sale of sheet music ranges in the tens of thousands today. Music-publishing software has brought the printing of music full circle from the days when stolid monks sat writing music with a quill by candlelight.

Hymns are some of the most beloved songs of all time. Hymnals contain hundreds of songs, and no two hymnals are alike. Anyone looking to learn the most popular hymns needs to know where to start. The following is a list of 10 of the most popular hymns, but of course your list will no doubt vary from mine somewhat:

“Amazing Grace”, one of the most popular songs of all time, was written by John Newton. A former slave trader, Newton wrote the words while studying a text from the Old Testament and reflecting on his old life. The tune is a variation of an old Scottish bagpipe song of the time.

“Be Thou My Vision” traces its roots to Ireland. The words were written by Dallan Forgaill in the eighth century. Though it was translated from Old Irish into English by Mary E. Byrne in 1905, the tune is still from an old Irish folk song. “Be Thou My Vision” is the most popular Irish hymn in English-speaking churches.

“What a Friend We Have in Jesus” was originally a poem written by Joseph M. Scriven in 1855. He wrote the poem to comfort his mother in Ireland while he was living in Canada. The tune was later written by Charles Crozat Converse.

“Holy, Holy, Holy” is a popular hymn written by Reginald Heber. Written for use on Trinity Sunday, the lyrics were set to a tune composed by John Bacchus Dykes. The tune was originally called Nicaea, which refers to the Nicaean Council of 325 A.D.

Another popular hymn, “Be Still My Soul,” takes its melody from a composition by Finnish composer Jean Sibelius. The lyrics were both written and translated prior to Sibelius’s piece. Katharina von Schlegel wrote the original text in 1752, and it was translated into English by Jane Borthwick in 1855.

Reverend Augustus Montague Toplady wrote the words to the popular hymn “Rock of Ages” in 1873. His poem was set to music by the popular hymn composer Thomas Hastings somewhere around 1830.

Sometimes referred to as the “Royal Navy Hymn,” “Eternal Father Strong to Save” contains references to three different Biblical events. The first verse refers to the Creator’s promise to refrain from flooding the earth again. The second talks of Christ’s miraculous walking on the water. The third speaks of the Holy Spirit’s role in the creation of the universe. The words were written by William Whiting, while the tune is attributed to John B. Dykes.

Written in 1912 in Albion, Mich., “The Old Rugged Cross” is certainly one of the most popular hymns of all time. Apart from “Amazing Grace,” it may be the most recorded hymn ever. Performers known to sing “The Old Rugged Cross” include Al Green, Elvis Presley, Johnny Cash and June Carter. George Bernard wrote the song with help from Charles Gabriel.

Fanny J. Crosby, a blind hymn writer, wrote the words of “Blessed Assurance” in 1873 to go along with the melody written by Phoebe P. Knapp in the same year. The story goes that Crosby was visiting Knapp, who was having a pipe organ installed. Knapp played the tune, which she called “Assurance,” and asked her friend Crosby what she thought the song said. Crosby’s response was “Blessed assurance, Jesus is mine.” The rest is history.

“Great Is Thy Faithfulness” is a popular hymn that is more recent than most. Its words were written by Thomas Chisholm in 1923, while the tune was composed by William Runyan. The Moody Bible Institute in Chicago claims this as its unofficial hymn, since Runyan was associated with MBI.

These 10 popular hymns have been cherished by millions of people for many years. Each of them contains outstanding examples of melody and structure. Even for non-believers, these songs often touch a certain nerve that only the greatest songs can.