What is Polytonality in Piano Playing?

Polytonality indicates that two different tonal centers are being used at the same time. Sometimes this means playing in multiple keys at once, but in this example we are speaking of using more than one chord at the same time. Watch this short video:

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Dotted notes in music.

Some things in music that should be easy just aren’t. If you’re having trouble wrapping your brain about some of the concepts that you think should be easy, don’t beat yourself up. Learning to read music isn’t any different than learning a new language. The world accepts the fact that learning Spanish, French, or Latin are difficult tasks but sometimes music doesn’t get the same credit. You’ve come this far and while there may be a little bit of distance yet to travel, be patient.

Today we’re going to help you with one of those concepts that many people have a tough time understanding: The dot! That little dot can cause so much trouble but once we’re done with it, you’re going to have very little trouble reading right through it.

The textbook definition of the dot is that when a dot is added to a note, it adds half of the notes value. We know…that really doesn’t help! To help us, we have to do a little math.

Remember that in meters like 4/4, A whole note gets 4 beats, a half note gets 2 beats, a quarter note gets 1 beat, and an eighth note gets ½ of a beat.

Now, let’s say that you are looking at a dotted half note. Let’s figure out how many total beats this note has. Without the dot, we know that the half note has 2 beats by itself. Remember that the dot adds half the value of the original note. Our half note has two beats so the dot will add half of that which is one beat. When we add the 2 beats of the original note with the 1 beat that the dot added, we have 3 total beats.

Clear as mud? Let’s look at a few:

How many beats are there in a dotted whole note? The whole note is 4 beats, the dot adds half of the 4 which is 2. 4+2=6 beats
How about a dotted quarter note? A quarter note has one beat, the dot adds half of the one beat which is ½ so a dotted quarter note has 1 ½ beats. Make sense?

Who came up with this confusing dot thing, anyway? The truth is that once you get the hang of the dot, it’s a lot easier to read than the alternatives that music publishers would have to use. When we write music we try our best to use the least amount of symbols as possible. If we can write something with a note and dot, that’s easier to read than writing multiple notes tied together.

If that doesn’t make you feel better about these dots, then just trust us. Once you get the hang of these dots, you’ll see how easy to read they are. Spend some time figuring out how to count dotted rhythms. You’ll be a pro in no time!

Music has a beginning, middle and end. Today, we’re going to focus on the end and it’s the end that average listeners react most to. In music, the end of a piece, a movement, or even a phrase is called a cadence. The cadence not only ends a section of music but it also tells the listener where it is going next.

There are four main types of cadences and each of these serve a different purpose. Let’s look at the four and how they work. Keep in mind that these cadences are often used in what we would call traditional music. Modern music, called art-music by some, doesn’t necessarily use these types of devices.

Authentic Cadence

Have you ever heard a piece of music get to what feels like a cliffhanger as if it’s about to come to a big triumphant ending? You wait and wait and then it happens! You breathe a big sigh of relief. This is called the authentic cadence and most traditional music has at least one of these somewhere. An authentic cadence is when the music gets to a V chord and resolves to a I chord. (See our article about roman numerals by clicking here if you don’t remember how they work.)
Let’s say that we’re in the key of C Major. An authentic cadence would get to a V or G Major Chord (G-B-D) and then resolve to a I chord or C Major Chord. (C-E-G)

Plagal Cadence

The Plagal Cadence is often called the Amen cadence because it’s heard in churches around the world as well as in traditional music. If you’ve ever went to a church where hymns are sung you’ve probably heard the hymn end and then sing “A-men” as something that sounds like an add-on to the hymn. This is a Plagal Cadence.
This is another cadence that signals the end of a piece of music or just a phrase. You will also hear it used in secular music in a way similar to the authentic cadence.

Half Cadence

A half cadence has to end on the V chord and that’s about the only rule. Remember how we said that when you get to the V chord in the Authentic Cadence, it feels a little bit like a cliff hanger? Something else is coming? That’s exactly what the half cadence signals. Something more is on the way. It doesn’t end the piece. The half cadence is used frequently in all types of traditional music. Listen to a song on the radio and you’ll hear the piece get to a certain point and then go somewhere else. A half cadence was at work.

Deceptive Cadence

A half cadence is much like the half cadence except composers often use it to extend a phrase sometimes for dramatic effect. A half cadence most often uses the V to vi progression to accomplish this. It is often used in conjunction with other cadences. Not too far away from a deceptive is normally an authentic cadence.
There you have it. Now you know how to end a piece of music. Try these in a variety of keys. In actuality, you may already be playing these chords as an exercise you do with your scales. Most piano players practices cadences regularly.

Every musician needs to know as much about music theory as possible, but often piano players don’t know the relationship of their instrument (the piano) to other instruments such as the trumpet, sax, etc. This short video discusses the importance of knowing these relationships and other aspects of music theory for piano players. After watching the video, come on over to Music Theory For Piano Players.

If you are extremely talented, you can probably do that — and in that case, you certainly don’t need me or any other teacher. I couldn’t help Mozart, Garner or Brubeck — but if you’re not in that category (and I’m certainly not), there’s probably a great deal you can pick up by taking one or more of our piano courses.

Most of us — including me — are not Mozarts or Oscar Petersons . So we need all the help we can get. Learning to read a bit — at least being able to read a melody line (the tune) — will help a lot, because then you can learn to match chords to the melody and you’re on your way.

When people say things like “I just want to play the piano. I don’t want to learn chords, or music theory, or any of that” what they are really saying is “I want to have magical fingers that play while my brain is asleep, because I don’t want to put in the time and effort necessary to learn what I need to learn.”

As much as I would like to be a Fairy Godmother or the Easter Bunny, I’m really just a human piano teacher. I can teach, but I can’t do magic. For every teacher, there has to be a learner on the other end for anything significant to happen. But when a good teacher hooks up with a student hungry to learn, then magic — the real magic of human progess — often happens, and observers stand by and say “I’d give anything to play like that!”

Anything except time, effort, money, and little things like that.

It’s still true: “What a man (or woman) sows, he will also reap.”

To get started learning, go to www.playpianocatalog.com

The word “enharmonic” means more than one name for the same reality, such as F# and Gb, etc. But chords can be enharmonic as well as notes. Watch this short video to see how:

Aside from the academic study of music theory, which explores the theories surrounding music issues, such as whether or not a piece of music fits into one category or another, music theory is really the nuts and bolts of music.   It’s the way that music is composed, and performed.  Whether you are thinking about musical harmony, the way a concerto is orchestrated, and even the simple basics of how to read music, then you’re thinking about aspects of musical theory.

The first question that many people just starting out on their music journey often ask is “Do I really need to know this stuff?”  The answer depends on what you want to do with your music.  There are many successful recording artists who can’t read music never mind distinguish a symphony from a sonata.  This implies that you don’t need to have any knowledge of music theory in order to be a successful musician.  However musicians who can do this to a great level are few and far between.  Even if you are pitch perfect and can compose and play a piece of music entirely from memory, you can’t easily share this music with others unless they have similar skills.

Music theory allows musicians from all backgrounds to come together on a level playing field.  Each of them understand the piece of music in front them.  They know what key it is to be played in - vital if they want to create harmonies.   They know what time it’s in so that they can get the beat right.  The composer will have noted on the music manuscript how the piece is to be played - terminology that means slowly, softly, “with gusto” and so on.  Those who compose understand the common music forms and by understanding the range of each instrument are able to combine different combinations of instruments playing harmoniously together.  They know the instruments to work with for the kind of music they are composing, and can compose both melody and base lines that sound right whether played independently or together. 

If you have a good ear for music and know the fundamentals of how your musical instrument works, then you may have no use for music theory.  On the other hand, if you want to compose music that you’d like to share with other musicians, if you want to play with other musicians in an orchestra or band, or  if you want to be able to play a piece of music that someone else has composed and you haven’t heard played, then some basic understanding of music theory is required.

Imagine that you can look at any music score and instantly be able to sight-read it, which means you could sit down with your instrument and by reading and understanding the notations made by the composer you are able to play that piece of music in the way that the composer intended.  With little more than a basic knowledge of music theory, such as being able to read music and understand some simple, common musical terms, you could do that.  Even if that’s not a skill you would use often, as a musician, isn’t it a skill you’d like to have?

What would I learn if I took Music 101 in college?

Most major college Music 101 courses are specialized and designed for a specific program. In other words, you’ll find a Music 101 class for classical music, dance and theater, performance, or theory (among many others). Which 101 class a student chooses is mostly determined by their major. For example, a college may offer separate degree programs, including a Bachelor of Arts in Music Performance, Bachelor of Arts in Theory and Composition, or Bachelor of Arts in Music Education. In most schools, each major has a particular program of study and may have it’s own 101 class with specific points of study.

In general, a college-level Music 101 class covers a number of topics including music notation, composition, piano, performance (some whether the student plays an instrument or not), and ear training (sight singing). A significant amount of time is spent on piano studies (some colleges call the class “Keyboard Skills”) where the student learns basic composing skills, explores different styles of music, and begins their study of music theory. The student may also be asked to be a part of a choir or chorale, and study the human voice as a musical instrument.

For those students not familiar with reading music, some 101 classes include the study of basic music terms as well as the various signs and symbols present in written music. The student will also study key and time signatures, various scales, and dynamics. Normally, at the end of such a class, the student is required to demonstrate what they have learned via a written exam or by playing a piece on the piano. Along with these hands-on offerings, many colleges and universities offer a class in the physics and science of sound (which may lead to a career as a recording engineer).

In keeping up with advances in computer recording and digital media, The Julliard School of Music, for example, offers a class in Music Technology where students pursue specialized areas of study such as digital music production, film scoring, and the use of computers in performance. Other schools, such as the Berkley College of Music, includes a 101 section on the business aspects of music including artist management and promotion

For the most part, a Music 101 class will not require prerequisite studies (particularly those 101 classes that are of a general nature). All that may be needed is eligibility and the desire to learn. These classes are often a continuation of a high school (or college) Music Appreciation class, with a focus on topics such as music in culture, history of music, seeing music as an art form, and an appreciation of the process of recording and producing CD titles (albums and singles). Being able to play an instrument or having  background in vocal studies may not be necessary. This type of a Music 101 class can often be found at the community college level or, in some cases, part of a community continuing education program.

• Did you know that by learning just 3 chords you can play hundreds of songs?
• Did you know that there are only 12 major keys you can play in, but you only really have to master one key to play most popular songs?
• Did you know that it is possible to easily match any melody note (tune) to a chord, so you can harmonize any note?
• Did you know that Beethoven’s Fur Elise and the blues song “Summertime” uses the exact same chords for the theme of the song?
• Did you know that it is quite possible to predict what chord comes next in a song with accuracy approaching 85%?
• Did you know you can use the same chords to play boogie, blues, new age, gospel, pop, rock, jazz, country - anything except classical music? (And even some classics!)
• Did you know that guitar chords are the same as piano chords — the only thing different is the instrument and the resulting sound?
• Did you know that hundreds of songs use exactly the same form, so by learning that form you can know what’s coming next in a song?
• Did you know that by coming in through the backdoor of piano playing — chords — you can start making wonderful and satisfying sounds on the piano in just a few days instead of a few years — even if you don’t know Middle C from Tweedle Dee?

Answers to piano playing music questions:

• True. That’s because there are just 3 primary chords in any key — like family members: Mom, Dad, Child. Get to know those 3 and you’ve got it.
• True. It’s like languages. It’s great to be able to speak several, but you can get by with just one. I’d love to speak other languages, but I can get by with just English.
• True. Every note is part of several different chords. So it is easy to harmonize any song once you know the secret.
• True. Yep. They both use the A minor chord and the E7 chord in their themes.
• True. I know that’s hard to believe, but remember that music is based on math. Once you understand a thing called the “Circle of 4ths” it’s a piece of cake. In fact, I can tell you right now that 85% of the time the G chord comes directly after the D7 chord. So next time you run into the D7 chord, you have an educated guess of 85% that the next chord will be some form of the G chord. (G, G7 etc.) If you’re into amazing your friends, that’ll do it!
• True. Apply different rhythms to the same chords, and you have many styles of music! With the very same chords I can play boogie, jazz, rock, pop, gospel, new age, ragtime.
• True. Chords are chords. Once you know them, you can apply them to any instrument.
• True. Musical forms such as “AABA” and “ABA” are the basis of thousands and thousands of songs.
• True. Understanding chords and how them form the skeleton of music accelerates the learning curve exponentially.

The bottom line is this: music is based on natural law and is mathematical in nature. Understanding is the key to both rapid learning and getting more enjoyment out of the process.

Aside from the academic study of music theory, which explores the theories surrounding music issues, such as whether or not a piece of music fits into one category or another, music theory is really the nuts and bolts of music. It’s the way that music is composed, and performed. Whether you are thinking about musical harmony, the way a concerto is orchestrated, and even the simple basics of how to read music, then you’re thinking about aspects of musical theory.

The first question that many people just starting out on their music journey often ask is “Do I really need to know this stuff?” The answer depends on what you want to do with your music. There are many successful recording artists who can’t read music never mind distinguish a symphony from a sonata. This implies that you don’t need to have any knowledge of music theory in order to be a successful musician. However musicians who can do this to a great level are few and far between. Even if you are pitch perfect and can compose and play a piece of music entirely from memory, you can’t easily share this music with others unless they have similar skills.

Music theory allows musicians from all backgrounds to come together on a level playing field. Each of them understand the piece of music in front them. They know what key it is to be played in - vital if they want to create harmonies. They know what time it’s in so that they can get the beat right. The composer will have noted on the music manuscript how the piece is to be played - terminology that means slowly, softly, “with gusto” and so on. Those who compose understand the common music forms and by understanding the range of each instrument are able to combine different combinations of instruments playing harmoniously together. They know the instruments to work with for the kind of music they are composing, and can compose both melody and base lines that sound right whether played independently or together.

If you have a good ear for music and know the fundamentals of how your musical instrument works, then you may have no use for music theory. On the other hand, if you want to compose music that you’d like to share with other musicians, if you want to play with other musicians in an orchestra or band, or if you want to be able to play a piece of music that someone else has composed and you haven’t heard played, then some basic understanding of music theory is required.

Imagine that you can look at any music score and instantly be able to sight-read it, which means you could sit down with your instrument and by reading and understanding the notations made by the composer you are able to play that piece of music in the way that the composer intended. With little more than a basic knowledge of music theory, such as being able to read music and understand some simple, common musical terms, you could do that. Even if that’s not a skill you would use often, as a musician, isn’t it a skill you’d like to have?

For a complete course in music theory, please click here: Music Theory Course

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.