There’s really only one way by which you can improve your timing and rhythm, and that’s through hours and hours of practice. You can read books about music theory, listen to masters explain how to play a waltz or samba rhythm, but unless you put in the hours of practice, you won’t make the technical connection between what your head knows and how your fingers perform.
That’s not to say that you’re completely on your own however. One of the greatest assets a piano player can have is a metronome. This will allow you to understand how fast or slow the music you want to play is supposed to be played. Select the appropriate time as shown on the manuscript of the music you want to play and then listen. Don’t attempt to play the first time, just listen to the soft ticking of the metronome as it plays the beat that you need to recreate when you start to play.
Now you try to play it at that speed. Keep the metronome ticking out the beat and see if you can keep up. If you’re trying to play a slower piece of music you will probably have more initial success in keeping in time with the metronome than if you’re trying to play a fast flowing Mozart composition. Should your chosen piece of music be more upbeat, and you find you can’t play at the required speed, go back to the metronome and set it for a slower speed. Once you can play the music at that speed, gradually increase the metronome speed until you can confidentially play it using the correct timing.
Rhythm is something that you can improve with by listening. Learn how various music forms, such as tango and waltz are performed. Learn where the main strong beats are in each measure. Once you have some idea about how the music is supposed to sound, look at your sheet music and identify where the rhythm is showing - is it captured in the melody, or is it solely in the harmony? In a waltz for example you will usually find the left hand producing the steady, 1-2-3, 1-2-3, 1-2-3 full tone waltz rhythm while the melody keeps in time but doesn’t always conform to a 1 2 3 steady basic pattern. Generally you’ll find that the right hand is occupied with many half, quarter or even less tones but the integrity of the waltz is maintained by the left harmony. By listening to the right rhythm before starting to play you’ll be more aware of keeping to the correct timing structure to maintain the appropriate rhythm.
Commitment to practice will greatly improve your piano playing technique, but especially in respect to timing and rhythm which require you to hear the music as well as play it, practice is absolutely essential. Add the regular use of a metronome to this commitment and you’ll soon feel more confident that you are playing the music with the right speed and with the right rhythm.
Of course there are excellent courses you can take on the subject of rhythms, such as the Rhythm Piano course.
Archive for April, 2009
How Can I Improve My Timing and Rhythm In My Piano Playing?
Thursday, April 30th, 2009Walk-Up in 10ths
Tuesday, April 28th, 2009Here is a commonly used technique which you’ve heard a thousand times in country-western songs, gospel music, and even some pop music. When the chord changes from a I chord to a IV chord, you “walk up the scale” between the two roots, but you do it in 10ths. Then when you arrive on the IV chord, you “twang” it with a crush note. Watch this super-short video and you’ll understand:
Practicing Piano: Is it normal for me to hate to practice?
Monday, April 27th, 2009
Is it normal for me to hate to practice? Anybody else feel this way? I love to play music, but hate to practice.
It’s very common for musicians to say they hate to practice. One undesirable aspect of practicing is the simple fact that the musician must practice passages and techniques that are difficult for them to play. This creates frustration on the part of the musician and can make them question their abilities.
Some practice materials are designed specifically to develop technique and playing such materials can be quite tedious. For example, a violinist may spend most of a one-hour practice session concentrating on the proper way to hold the bow and draw it across the strings. In a case like this, no real music may be played for the entire hour. Progress can be slow, adding to the musician’s disdain for practicing.
Lack of motivation can cause the musician to avoid practicing altogether. For most, it takes years (and a great deal of patience and dedication) to become an accomplished musician. The ones that succeed are good at delaying gratification and developing the patience needed to succeed. It’s very common for a musician to reach a number of plateaus where they don’t feel any progress is being made. The patient ones eventually work through the plates and move on to a higher level of musicianship. Others may give up their instrument entirely.
Having practice sessions at the same time on the same day (although important to getting good results) may be too regimented for some musicians. Music, by it nature, is a very creative endeavor, often requiring the freedom to experiment and explore new sounds and styles. Being “stuck to a schedule” doesn’t work for some musicians.
The musician’s attitude toward practice can have a lot to do with their current teacher or instructor. Some teachers go to great lengths to give their students interesting and enjoyable practice assignments as they realize musicians who enjoy practice, practice longer. An experienced teacher who knows their student well, is very adept at choosing music that develops the musician’s skills while giving them something to look forward to playing. Unfortunately, many musicians who need a teacher to keep them focused and practicing may not be able to afford private or group lessons.
Until recent years, methods books for virtually any instrument were quite boring and dry and focused on repetition as being the key element for learning. Method books today often include a number of popular songs, and more interesting and musical materials. Some include an accompanying CD for the student to use for hearing how a piece should be played. You can also find CDs that contain a “backing” band for the student, allowing them to build their musicianship by playing along with others.
Whatever you do, use spaced repetition instead of doing all your practice in one session! If you practice 1 hour per day, break it up into 3 sessions of 20 minutes each. Remember that the mind can only retain what the seat can tolerate. Plus you will keep your concentration better if you only practice 20 minutes in one sitting as opposed to one hour.
Finally, the quality of the instrument being played can have a great effect on the musician’s attitude toward practicing. A poorly-made or dull sounding instrument is just not a pleasure to play. Many students find their playing and attitude toward practicing improves when they purchase a better instrument.
Major 6th chords and minor 7th chords
Thursday, April 23rd, 2009Major 6th chords and minor 7th chords are really just inversions of one another. It depends which note you put on the bottom as to how the chord functions. Watch this 2-minute video and you’ll understand:
The Circle of 5ths — How It Works & What It’s For
Monday, April 20th, 2009The Circle of Keys; The Circle of 4ths; the circle of 5ths — are they the same or different? Of what use are they?
Understanding the circle of fifths (and thus, the circle of fourths) and how it applies to music can be challenging. It’s important to have a visual representation (mostly seen in the form of a wheel), which you can purchase at most music stores.
Perhaps the best reason to study the circle of 5ths is it makes sense mathematically on a number of different levels and thus it’s very helpful to anyone studying music and music theory. Most often using a circle to display the relationships of particular key signatures (both major and minor), one of the functions of the circle of fifths is a geometrical representation of these relationships. The key of C (no sharps or flats) is usually placed at the top of the circle and is followed, in order and clockwise by the keys of G, D, A, E, B, Gb/F# (overlapping at the bottom of the circle), then D, Ab, Eb, Bb, F, finally returning to C at the top of the wheel. This order (going clockwise from the top) is determined by the amount of sharps or flats in a particular key. It goes as follows: C (no sharps or flats), G (one sharp), D (two sharps), A (three sharps) and so on.
The circle of fifths also shows corresponding key signatures and each major key’s relative minor key. (On the inside of the circle, the minor keys are displayed and are marked as such.) For example, the relative minor for C is A minor. We know this because both the keys C and A minor have no sharps or flats. As another example, the key of E has C# minor as its relative minor (both use four sharps)
You can also use the circle of fifths to study scales. If you wish to see a fifth on piano (the fifth note of a scale), start at any key (both black and white) and count seven half-steps to the right. That note (key) will be the fifth of the note you on which you began. Looking at the circle of fifths in regard to scales, taking it slowly, the note D is the fifth note of the G scale, the note A is the fifth note of the D scale, and E is the fifth note of an A scale, and so on.
The circle of fifths is also an effective way to show the relationships of the twelve notes of the chromatic scale (think of a piano with its white and black keys with the chromatic scale made up of adjacent piano keys played in succession G,G#,A#,B . . .).
Reading the circle of fifths as descending pitches going clockwise, or ascending counterclockwise, gives the circle of fourths. One can think about the circle of fourths as going in the opposite direction as the circle of fifths. Although circle of fifths is the more common term and is often used with the intent of describing both fourths and fifths.
For more details on the circle go to http://www.playpiano.com/101-tips/20-circle-of-keys.htm and also to http://www.playpiano.com/101-tips/21-circle-of-minor-keys.htm
Relative major and minor keys & scales
Thursday, April 16th, 2009Every major key has a relative minor key which is related to it — kind of a “kissing cousin” — by the same key signature. For example, the key of C major and A minor both share the same key signature — no sharps and no flats. Playing the A natural minor scale is like playing the C major scale, but playing it from A to A instead of from C to C. Parallel minor scales are those which begin on the same root — such as C major scale and C minor scale. Major and minor key signatures are the same, naturally — Eb major scale has 3 flats while C minor scale (it’s relative minor scale) also has 3 flats. Major & minor pentatonic scales work a little differently, and will be taken up separately at another time.
Music Intervals — The Distance Between Notes
Tuesday, April 14th, 2009Musical intervals are simply the distance between any two notes, such as 2nds, 3rds, 4ths, 5th, etc. But each intervals has a quality of being either major or minor or diminished or augmented or perfect. Intervals occur as melodic intervals and harmonic intervals. Interval names remain constant no matter what the key signature. A knowledge of music theory including music intervals is beneficial when it comes to ear training as well.
Intervals HD from chordman on Vimeo.
World Music: How does oriental music differ from western music?
Monday, April 13th, 2009World Music: How does oriental music differ from western music? Hawaiian? Israeli? Mexican? etc….
The term, “Western Music” includes genres of music originating in the Western world (which includes Europe) that are differentiated from music from the Orient or Middle East. Put simply, Western music, for the most part, is built on major, minor, and pentatonic scales. There is liberal use of octaves, fourths, and fifths. Music from the Orient or the Middle East employs a larger group of scales including those built on five notes (rather than seven) and quarter tones (rather than semitones). These differences, though not understood by the layperson, go a long way in creating music that is noticeably different and unique to each culture.
Music from different countries and ethnicities can be dramatically different. Latin music, for example, is known for its use of a variety of percussion instruments including congas, claves, timbales and hand drums. This music, often used for dances, is lively, very rhythmic, and often dramatic. Mexican music, on the other had, often includes a mariachi band which consists of guitar, bass, violin and horns such as trumpets.
Strikingly different, music from Japan is often played on interesting instruments with intriguing names such as shamisen, taiko drums, and a flute called shakuhachi, which is made of bamboo. The music is very meditative and is often used for ceremonies and marking certain passages in life. Hawaiian music is very simple in rhythm and melody and has a distinct sound played by ukuleles and guitars. ”Slack key” guitar, a finger picking style played with unusual tunings, began in Hawaii in the 1960s and is still heard today. Music from Israel is a mix of music from Jewish and non-Jewish traditions. You will also hear a mix of Klezmer and Hebrew folk music.
The United States, being a relatively young country, and one that is made up of virtually all ethnics groups, has a music of its own - jazz — and it’s derivitives. You can hear Dixieland swing in New Orleans and hard-charging blues in the night clubs of Chicago. The U.S. is considered the birthplace of both rock-and-roll and Country music, both sharing their beginnings with folk music (which some insist had its origins in Europe).
The term “world music” is a most often used to describe a wide and eclectic collection of music and musicians. There are many world music festivals throughout the year with musicians and their support staff traveling thousands of miles for a single performance. Music magazines like “Song Lines” are devoted to world music with each copy containing a CD of music from around the globe.
Music from a certain culture (or country) is often affected by what instruments are traditionally played and readily available. For example, Irish music is deeply rooted in the fiddle, where Spanish music depends a lot on the guitar and it’s versatility.
Grace Notes
Saturday, April 11th, 2009Grace notes: what they do, how to play them, why they exist, composers who use them, “blue notes” in jazz, “twang notes” in country, etc, etc.
A grace note should perhaps be thought of as an extra bit of flourish by the composer and player. Many call a grace note an “ornament” to be used in the ornamentation of music.
In music notation, a grace note is printed smaller than a regular note, sometimes with a slash through the note stem (more slashes can mean more grace notes from the same stem). Although grace notes are written in a particular way for a particular effect, the way they are played is often left to the discretion of the player (or conductor). Normally, a grace note does not “take up” a place in the music’s structure. In other words, it neither adds or detracts time from the notes around it and isn’t a part of the total time value of a particular line of music.
In symphonic music, grace notes are used to help express the music’s (and composer’s) intent. To create the effect, a flute player, for example, may very quickly press and release a key to create a grace note. A violinist may make a short, sharp movement of their bow the add the effect of a grace note. Playing a grace note on a trumpet could mean pressing a valve and releasing it almost instantaneously.
Many other genres of music use grace notes but in many different ways. A Blues guitarist, for example, will use “hammer ons,” “pull offs,” and “bends” on the strings of the guitar to add a vocal-like effect to the music. The music resulting from these effects (call them grace notes for lack of a better term) are very expressive and moving. As most Blues music is highly improvised, written music (and the grace notes that might appear in the music) is not common.
A Country guitarist may use grace notes in the same ways as a Blues player. But typically, these “added” notes are shorter in duration, often creating a “clucking” or “plucking” sound. Country music also makes extensive of the steel guitar, which for intent and purpose, is not a guitar at all, but a series of levers and pedals attached to a set of strings, and played with the musician’s feet and legs to create a certain soulful effect. A steel guitarist also uses a metal bar placed over the instrument’s strings to change the pitch of a note or group of notes, making it quite easy to play grace notes.
As far as the history of the grace note, Chopin as known to have used them quite extensively and they were common in other pieces of music from that time. To be proper, the words, “acciaccatura” and “appoggiatura” can be used to describe the occurrence of one or more graces notes from the same stem.
How Moms Can Learn Piano While Helping Their Kids Learn
Friday, April 10th, 2009
Are you a mother looking to get your child piano lessons? Maybe you took them as a child as well, but stopped as you got older. Or maybe you always wanted to learn the piano and never got the chance. The good news is that helping your child learn how to play the piano can actually help you learn the instrument as well.
The most important thing to do is to participate. Passively watching your child practice or just listening while you do the laundry isn’t going to teach you anything. Though you may enjoy hearing your little one gradually progress in skill, without participation you’ll be the frustrated non-musician that you’ve always been. It’s time to step up, sit down and practice right alongside your child.
When your child’s instructor is around, ask questions. Throw your mind into the lessons as though they were your own. If you don’t understand a particular exercise, ask the teacher to explain it again. Your child might need to hear it again too, but might be afraid to ask. Ask about different composers and pieces so that you understand the theories behind the music. The piano is a huge instrument, able to reproduce an unsurpassed variety of sounds, so ask investigative questions.
Practice alongside your child. By doing exercises on the piano together, you’ll bond over the newfound skill you’ve developed. You’ll strengthen the muscles in your hands and fire up unused synapses in your brain. When you’ve gained some skill and knowledge of a few pieces, play together. It’s a joy to be able to play a piano duet besides Heart and Soul.
By participating in your child’s instrumental development, you’ll know when they’re ready to be challenged. Consult with the teacher and discuss your child’s readiness. Hopefully you’ll be ready to be challenged as well. Don’t push yourself too hard, though. If you feel pain in your hands or wrists, see a doctor.
You’ll be gaining both technical skill and musical knowledge. You might find yourself exploring the classical section of your local bookstore with a new interest. If you only know Claire de Lune by Claude Debussy, you might suddenly be interest in the rest of the Suite Bergamasgue. Warm up your hands before attempting the Menuet at full speed to avoid injury.
Maybe you’ll hear jazz pianists in a new way once you’ve begun to understand what they’re playing. Or you’ll hear the Beatles Eleanor Rigby and notice the shifts between E Aeolian and E Dorian in the melody. When you start hearing music in a different light, you’ll wonder how you ever lived without playing the piano.
Remember that your child will probably learn the instrument much easier than you. The empty vessel of childhood is a blessing in this area, so don’t feel bad. Just learn to play for your own enjoyment. Find piano pieces that interest you and play them for your ears only. Of course, if you’re a bit of a showboat, you can always sit down at the bench at a party and impress your guests. Keep participating in your child’s learning and you’ll find yourself a new avenue of expression.
Do classical musicians ever play jazz? Or visa-versa?
Friday, April 10th, 2009Do classical musicians ever play jazz? Or visa-versa?
It’s very common for a classical musician to try their hand at jazz. Perhaps the biggest difference between classical music and Jazz is the classical musician is tied to (reading and playing) a musical score (sheet music) where the vast majority of Jazz musicians play (improvise) without written music. For this reason, not all classical musicians are able to play jazz at a high level due to their inability to improve and play music “on the fly.” Looking at the other side of the coin, there are a number of well-known, accomplished Jazz players that can not play written music.
Jazz can be very complicated and quite a challenge for any musician. That’s why some classical (classically-trained) musicians find success playing Jazz. Both forms of music can be complex and demanding, requiring a high level of musicianship and a great deal of experience. Jazz offers a wide variety of sounds and styles and allows a high level of creativity. And, where a classical musician is used to playing in large orchestras and performing perhaps four or five times a year, a Jazz musician plays in a small ensemble and may play 40 to 50 times a year. The two lifestyles are quite different as well. Jazz musicians, at least the successful ones, may travel extensively and for long periods at a time. Jazz often lends itself to intimate surroundings, small audiences, and a small, but loyal fan base. Classical musicians often play in large halls and don’t interact with their audience. Some classical musicians find they feel more “at home” playing Jazz (or are better suited for the lifestyle) and do not return to the symphony.
A jazz player choosing to play classical music is much less common. Most classical musicians begin their careers (as a member of a orchestra or symphony, for example) after many years of regimented training and hundreds of hours dedicated to technique and tone. Some jazz musicians do not have that background. And some don’t have the patience to “start over” to become a classical musician and all that it requires. And there is no guarantee of employment if they do. Classical music can be quite challenging and highly competitive as evidenced by the fact that only the best players are chosen for a particular orchestra. The Seattle Symphony, for example, holds extensive auditions before deciding which musicians to employ. There may be only one opening for an entire season.
There is no doubt however, to the great benefits of musicians playing different kinds of music. For example, those that play both jazz and classical grow tremendously as musicians. The classical musician gets a chance to play what they hear (and choose to play) instead of playing music exactly as written. Being able to improvise is usually considered one of the hallmarks of an excellent musician. No matter what music is being played, good musicianship is essential. And part of developing a high level of musicianship is studying and playing different styles of music.
What is a triad? An interval? A unison? A chord? An extended chord?
Thursday, April 9th, 2009What is a triad? An interval? A unison? A chord? An extended chord?
A chord is made up of three or more notes played together or as an arpeggio (playing the notes of a chord in a specific pattern). The C Major chord has the notes C, E, and G, but can contain the same notes played as an inversion - upside down. For example, a C major chord could contain three occurrences of the notes C, G, and E: C, E, G is root position, E, G, C is first inversion, and G, C, E is second inverion. In general, the notes of the chord come from the notes of its scale.
An interval is the difference between two notes and is one of the building blocks of music. An interval is most often thought of (and measured) in steps and half steps. For example, the distance (interval) between the notes D and E is one step, whereas the interval between D and D# is one half step. Intervals have names such as a melodic minor second (one half step — one piano key next to another) or a melodic major second (one whole step — two piano keys separated by the one key between them). Other names include minor sixth, major seventh and perfect fifth. Two notes in unison have an interval of zero (they are the same note) whereas an octave is separate by twelve keys on the piano.
A triad is simply three notes played together (though not always readily identified as a chord). Triads are based on a particular scale and are named as minor or major (as well as augmented or diminished). As an example, here are the triads based on a C scale: C,E,G – D,F,A – E,G,B – F,A,C – G,B,D – A,C,E – and B,D,E.
The word unison means that each player is playing the exact same melody or series of notes. In a choir for example, everyone would sing the same part. In almost every case, unison also means that all the players or singers are following the same rules in regard to style and dynamics. It’s important to remember that although (singing or playing) an octave sounds very much like a unison, it is not. Using unison in a piece of music often gives the music strength (volume) and emphasis. It also is a great way to define a particular passage or phrase.
An extended chord contains notes of a chord that are extended (added) beyond an octave. Examples of extended chords are ninth, eleventh, and thirteenth chords. In the case of the ninth chord, the ninth note of the chord’s scale is added to the chord. For example, a C ninth chord contains the note D. Examples of extended chords are ninth, eleventh, thirteenth chords. Using a C chord as an example, the C 9th chord contains the notes C, E, G, Bb and D. Beyond this, it also means that certain notes of extended chords need not be played for the chord to continue to “function” as intended.
A suspended (or suspended fourth chord), contains the fourth note of the chord’s scale. For example, the fourth note of the C scale is F. So a C major suspended chord contains the notes C, E, F, and G. Suspended chords are normally used temporarily and sparingly but add a dimension of suspense to music.
What different kinds of chords are there?
Wednesday, April 8th, 2009What different kinds of chords are there?
There are a number of different chords, some having complicated names. As a starting point, think of a chord in it’s simplest form — a major chord. A major chord is built on the first, third, and fifth notes of its scale. In other words, a C Major scale contains the notes C, E, G. All chord names (with a few exceptions) are derived from the notes of it’s scale. For example, A C7 chord consists of the notes of C, E, G, and Bb (with Bb being the lowered seventh note of the C scale). Here are the versions of a C Major chord and the notes that appear in that chord:
C Major — C, E, G
C 7 — C, E, G, Bb
C Minor — C, Eb, G
C Minor 7 — C, Eb, G, Bb
C Sixth — C, E, G, A (A being the sixth note of a C scale)
Here are some other chord symbols (again using C as an example) with the notes in each:
C diminished – C, Eb, Gb
C augmented – C, E, and G#
C ninth – C, E, G, Bb, D
C major 7 - this chord contains the notes C, E, G and B (with B as the major 7th of the scale)
When chords are “inverted,” it means that the notes are rearranged in different combination. Whereas the notes C, E, and G are a major chord (C major), the notes can be inverted to E, G and C. For example, on the piano, the first key played would be an E, followed by the G and C. This particular inversion on guitar, would mean that the note E would be the first note (string) strummed. Inversions are used liberally and appear in almost every piece of music.
Knowing the notes of a particular chord allows the musician to play the same chord in a number of different “places” on an instrument. For example, a G chord can be played in various places “up and down” a piano, or at different places on the neck of a guitar. This is done by using inversions of the same chord (as explained above).
Chords are chosen for their effectiveness. In other words, a minor chord is sometimes used (even temporarily) to reflect the emotion of seriousness, somberness, or sadness, whereas a major chord reflects a “normal” feel. Diminished chords create tension, while major seventh chords are used when a sense of calm and beauty is needed.
Chord progressions are series of chords in a particular order. It can be said that virtually every piece of music contains a chord progression. In fact, a simple song of only two chords technically has a chord progression (between the two chords). Chord progressions provide the structure of a piece of music and have great influence on how the melody “feels” to the listener. For example, playing the same melody with (over) an A minor chord can give a differently feeling entirely than if played with a D chord. Again, in this case, chords are being used to create particular emotions within the music.
Women in music: performers and composers and song writers
Tuesday, April 7th, 2009
There have been very influential women performers and composers in the 20th and 21st century. Billie Holiday is still considered by many as the best blues singer of all time. Even though she passed away in 1959, recording technology was such that she left many recordings behind. Virtually every popular female singer lists Billie Holiday as an influence.
Also a Blues artist, Bonnie Rait was the first female singer and songwriter to make a mark as a guitarist. Deeply routed in the blues, Rait’s playing includes slide guitar which was first heard in the 1930s from artists from the deep South and the Mississippi delta. Also called “bottle neck” guitar, the player places a glass or metal slide on their third of fourth finger of the left hand and creates notes and phrases with a sliding effect.
In the rock-and-roll world, Pat Benatar (often called the “Queen of Rock”) was the first female artist to perform (sing) in the style of front men such as Mick Jagger (The Rolling Stones) or Roger Daltry (The Who). Rock music was long the domain for male performers until Benetar released “Hit Me with Your Best Shot” in 1980 and ushered in a stream of female rock singers.
Joan Baez, a peace activist in the 60s (today to a lesser degree) used her music to express the feelings and emotions of a generation. Baez was also a major part of the rebirth of folk music and her songs were often about the changes seen in the country at that time and the challenges and obstacles a women faced in seeking equal pay and recognition in the business world.
Founded in 1973 by Bernice Reagon, an acapella group of African-American singers called Sweet Honey in the Rock, still tours world wide for audiences of all kinds. They won Grammy in 1989 for Best Traditional Folk Recording for the song “Grey Goose.” Their style is rooted in gospel music, hymns, and spirituals.
In the world of classical music, guitarist Sharon Isbin, who studied with the great Andrés Segovia, and Rosalyn Tureck made her mark as a recording artist after graduating cum laude from Yale University. Vanessa Lann is one of the new breed of women composers who’s music is being widely accepted.
Fado, the romantic and bittersweet music of Portugal, is best represented by recording artist, Mariza. Fado has been kept alive in the clubs and stages of that country, most notably in Lisbon, the capital, since 1820. With it’s trademark guitar sound, it is instantly recognizable.
Other women who have made a distinct mark in music include: Odetta (folk music), Melissa Etheridge (rock), and Diana Krall (Jazz).
Some consider women’s music a separate genre noting that women often have a different perspective on life than men. This was first apparent in the suffragette movement for a woman’s right to vote and later on during the feminist movement of the 1970s.
Born from the frustration of concert promoters and radio stations refusing to feature two female musicians (in a row), an all-women tour of folk and popular music, dubbed “Lilith Fair,” toured the U.S. and Canada from 1997 to 1999. This highly-successful tour has helped woman artists find more acceptance from a traditionally male music industry.
If I already play guitar, can I catch on to piano playing faster than if I didn’t?
Monday, April 6th, 2009
If I already play guitar, can I catch on to piano playing faster than if I didn’t?
Already knowing the guitar has it advantages when learning piano (although it depends on your training, experience, and abilities). If you learned to read music as part of your guitar studies, you’ll be able to apply that knowledge to learning the piano. For example, if you know the notes of a G chord are G, B, and D, or know that the notes of an A minor chord are A, C, and E, you simply have to find the corresponding keys on the piano to play the chord. Having knowledge of key and time signatures, and understanding the basic “road map” of music (it’s symbols and designations), puts you on a faster track when learning piano.
When it comes to the physical part of playing the piano, knowing how to form chords on guitar may not be of great help. The techniques are different as well as your relationship with the instrument (sitting in front of a piano rather than holding a guitar). Plus, on guitar, chords and melodies are formed with the left hand (if you are right-handed), whereas chords and melodies are played with both hands on piano. However, the strength and dexterity you developed in your hands playing guitar can make piano playing easier.
Many guitar techniques can be reproduced on piano. Playing an arpeggio (a series of notes of one of more chords) on piano is not unlike playing it on guitar. Instead of playing the piano keys to create the arpeggio, a guitarist holds a chord and plays its individual strings.
Once understood, chord inversions can be readily transferred from guitar to piano. An inversion is the same notes of a chord played in a different order (e.g., the notes C, E, and G being played as G, E, C). As a guitar player, you learned that chords can be played in many different ways. The same holds true for piano, though it can be argued that a piano is more versatile when it comes to forming chords.
Other aspects of playing such as tone and rhythm also transfer well. However, most would say creating a pure tone on guitar (for all strings played) is more difficult than on piano. A certain amount of strength is needed to press down the strings of a guitar, while the piano is more forgiving and requires sensitivity and touch more than strength. Having a good sense of rhythm is as important on piano as guitar. But as a piano player, rhythm and tempo comes from pressing the piano keys in a certain, consistent pattern. No longer will you be strumming to create the desired rhythm.
If you are used to playing sheet music (whether it be for guitar, piano, or both), you already have an idea how the two instruments work together. And you should be familiar with the guitar symbols that appear above a lot of music written for piano. Perhaps, without being aware of it, you’ve been forming a sense about how the piano is played.
Finally, you will be using different muscle groups and techniques when playing the piano. This can be a challenge at first but after a month or so, you’ll become comfortable with pressing keys instead of strings and you’ll begin to feel at home on the piano.
Cadences: A Special Type Of Chord Progression
Saturday, April 4th, 2009A cadence is a chord progression composed of two or more chords which occur at the end of a phrase or the end of a song. It creates a feeling of either finality, or temporary finality.
Here are the 5 most prominent cadences:
1. The authentic cadence (also known as the perfect cadence) is composed of the chord progression V to I or V7 to I with both chords in root position and the keynote of the I chord on the top.
2. The Imperfect or incomplete cadence is the same as the authentic cadence, except the top note of the chord is the 3rd or 5th of the chord instead of the keynote.
3. The half cadence is a chord progression that comes to rest not on the I chord, but on the V chord. This creates a temporary feeling of rest.
4. The Plagal cadence is made up of two chords — the IV chord moving to the I chord. This is also known as the “Amen cadence”, since it it used in countless hymns as A-men.
5. The complete cadence is a chord progression that moves from the I chord to the IV chord to the V or V7 chord, then ending on the I chord.
Piano Lessons: What Should They Include?
Friday, April 3rd, 2009
There are a zillion piano teachers available, but by far the majority of them do
not cover all the basics of piano playing. They might teach you how to read music -
play the written music on a score or sheet music — but many of them leave out the
study of music theory, proper fingering, technique, chord studies, and so on.
Here is a list of subjects that should be included in piano lessons:
1. How to read music. It goes without saying that the ability to read music is one
of the top skills in piano playing, but often it is the only one covered.
2. Proper fingering of piano scale passages and chords.
3. Proper positioning at the keyboard for arms and fingers.
4. Development of a repetoire of piano songs in a variety of styles: classical,
pop, folk, etc.
5. The study of music theory including intervals, scales, chords, cadences, chord
progressions and etc.
6. At least a touch of arranging and improvisation so the student is not afraid to
venture away from the written music.
There are other subjects, but these six make a solid basis for long term piano
lessons.
Circle of 5ths: What Is It, And How Does It Work?
Thursday, April 2nd, 2009
Maybe you’ve heard professional musicians talk about the circle of 5ths as though it was some kind of inside information available only to pros. Not so — it is pretty easy to learn because of a couple “beads” on both sides of the circle. What it does is show you related chords. Look at the top of the circle — you’ll see “C”. Then look left and look right and you’ll see “G” and “F”. In the key of C, those 3 chords are the most used of any chords — in fact they are called the “primary chords” for that key. Now look at any other point on the circle and then left and right and you’ll immediately know what are the most used chords in that key. Pretty easy, no? But also, as you progress around the circle clockwise you will see that each new key is 4 scale degrees above the last key. If you go counter-clockwise, you’ll see that each new key is 5 scales degrees above the previous key. That’s why it is usually called the “circle of 5ths”, but sometimes called the “circle of 4ths”. I suspect the most accurate name is the “circle of keys.” It’s very easy to memorize, because when moving clockwise after C and F are the letters Bb, Eb, Ab, and Db — which of course spells the word “bead.” Then at the bottom of the circle is an F# or Gb (they are enharmonic tones — same sound, different name) and then the word “bead” again, followed by “G” and then you’re back to C. I’ll make a video about it soon so you can see how it works on the keyboard, but meanwhile, memorize that circle (if you don’t already have it memorized, that is.) You’ll find that memorizing that circle helps you learn music theory faster, key signatures better, chord progressions more logical, major scales and minor scales make more sense, and even pentatonic scales more understandable.
Music Appreciation 101: All about what music is, composers, etc.
Thursday, April 2nd, 2009
The goals of a music appreciation class are many. First and foremost, music appreciation students are encouraged to explore, understand, and appreciate all types of music, not just music of their own personal taste.
Rather than starting with the study of music notation, the instructor may begin with a look at the relevance of music (to culture) in both a historical and modern day context. In other words, why is music important and how did it become so important? Without understanding the role music plays in our lives, it’s difficult to measure it’s effect.
Another goal is recognizing music as an art form and a form of communication. Time will be spent on how instrumental music (without the advantage of lyrics) can evoke certain moods and emotions as well as how performers communicate with their audience.
The study of musical instruments, including those of a symphony orchestra must be part of the curriculum. Ideally, the student should be able to tell an instrument’s name by it’s sound. Instrument design and construction is sometimes studied.
A study of music appreciation must include a close look at how a composer (or songwriter) works and how a composition comes together. It’s important for the student to recognize that every composer works differently and to understand that there are many ways to arrive at the same destination. Great composers from all genres should be studied. It’s very helpful if a noted composer can lecture, take questions from students, or describe their own particular method of composing.
Various styles of music (folk, rock, Country, classical, Jazz, Hip-hop, etc) should be studied and their differences and similarities clearly defined. This often leads to a more complete and well-rounded understanding of musical styles. Studying the history of the Broadway musical may also be helpful.
Music is a fluid, ever changing and developing art from and the student must recognize and appreciate this. A good instructor will play many different types of music and help the student see how one has (or has not) influenced another. For example, rock-and-roll is deeply rooted in the Blues, where Jazz is considered a pure form of music (not necessarily influenced by other styles).
Time may be spent on learning how to listen to music and to a develop a deeper understanding and appreciation for great recordings and exceptional performances. A visit to a recording studio (particularly during a recording session) is of great help in appreciating recorded music. Beyond music, the class may include the study of the physics and the science of sound including recognizing various frequencies and wave forms. How a particular environment (a room, a city street, the outdoors) can affect sound may also be looked at.
Finally, an understanding the basics of music notation and arrangement is necessary as well as learning key terms and concepts. The student should be able to read and write simple sheet music and learn to recognize the common signs and instructions used in a performance.
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