When you listen to a song on the radio, or a piece at a concert, are you sometimes overcome with the complexity of it all? I know I am. When I am at a symphony concert and the orchestra is playing Mozart or Shostakovich or Bach, I try to follow the many individual parts going on and feel like I’m drowning in music. And while it’s a great feeling, sometimes I have to bring myself back to reality and remind myself that in the final analysis, there are only three basic elements in music: the melody (but there can be many melodies at once at times), harmony (the tonal environment in which the melody lives), and rhythm (the “pulse” or “beat” of the piece — and again, there can be several going on at the same time). Watch this very short video (3 minutes or so) and be reminded again of the simplicity of music within all the complexity:

“Understanding & Mastering Music Theory Inside Out!”

Why do I need to learn scales and chords and music theory? Well, if you have the talent of a Mozart or Bach or Erroll Garner or Oscar Peterson or Dave Brubeck, you probably don’t. But if you’re like the rest of us — and 99.9% of us are - the more you learn about music, the better. After all, chords are formed from scales, and scales are the building-blocks of melody. And of course there would be no rhythm without the juxtapostion of note values and chord lengths. If you are at all interested in increasing your knowledge of music in any of these areas, come on over to http://www.playpianocatalog.com and browse through our 300-plus courses.

It is very easy to locate the key of a song when there are sharps in the key signature (major keys — we’ll discuss relative minor keys later) simply by locating the last sharp to the right in the key signature in a piece of music and going up one-half step. Watch this short video and your instantly understand:

PlayPianoCatalog.com

An arpeggio is one of those terms in music that sounds very impressive. If you go to your friends and tell them that you played arpeggios in your piano lesson today, they are sure to be impressed. It sounds like something complicated and difficult and our first word of advice is to let you friends think that. You’ll impress a lot of people!

Now for the secret. We music types know that an arpeggio is not a difficult concept at all. In fact, the name contains the definition. Arpeggio is an Italian word meaning broken chord. Simply speaking, when we play an arpeggio, we split a chord in to its component notes and play them individually.Let’s look at an example.

Let’s say that we play a C Major chord. You probably remember from our chord article that a simple three note C Major chord is the 1st, 3rd, and 5th scale degree of a C Major scale. In this case, a C Major scale has the notes C-E-G and they are all played at the same time. When we play an arpeggio we simply play each of these notes separately. Maybe we play 1-3-5 up and down in quarter notes. In this case, we would play 1-3-5-3-1 broken up like we would play a melody.

You might be wondering, “what’s the point of an arpeggio? Why would we bother learning these?” Your teacher will probably show you various exercises using arpeggios but here are a few reasons that they help you to be a better musician:

• If you’re a wind player, they increase the range of notes both high and low that you can play. By playing arpeggios that start in your low range and go to the top of your range, you’ll practice sounding good in all areas of your instrument.

• If you’re a string player, arpeggios help with hand positions.

• Pianists learn specific fingering patterns for various arpeggios depending on the key you are playing. Learning these different fingering patters is essential as you advance as a player.

• For any musician, in order to play an arpeggio you have to know how to spell your chords. This helps you learn and practice constructing chords.

Of course there are many other reasons that arpeggios are important but your private teacher will help you make arpeggios something that will help you to be a better musician.

Last, arpeggios don’t have to be just 1-3-5. You could play arpeggios based on any chord you can think of. You can also combine chords. For example, you could play a C Major Arpeggio as you go up and a D Major arpeggio going down. The amount of exercises and music constructed using arpeggios has no limit and if you study some of the music you play, you’ll find countless examples of arpeggios.

For specialized help in music theory and/or piano playing please click on
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Music has been defined in hundreds of ways, including:

“An art of sound in time that expresses ideas and emotions in significant forms through the elements of rhythm, melody, harmony, and color.”

“The art of arranging sounds in time so as to produce a continuous, unified, and evocative composition, as through melody, harmony, rhythm, and timbre.”

“Vocal or instrumental sounds possessing a degree of melody, harmony, or rhythm.”

These are all accurate definitions. But where did music come from? When and where did it begin?

If you think of music as communication, perhaps it started with all creatures, including humans, communicating. To this day, we hear birds communicating with distinct melodies and tones and consider it music. Even today we refer to music as the “universal language.”

In ancient Israel a thousand years before Christ, King David composed and sang hundreds of songs called psalms. A few of them are cataloged in the old testament in the book of Psalms.

But music as we know it now, as having structure and form, may have begun in the 10th century with the Gregorian chants. These chants were organized and detailed with soloists and small groups singing distinctive parts. This lead to the need to notate and write down particular tones and passages.

Common rhythm notation began around the year 1200 and soon after, troubadours singing “folk” music starting to appear in parts of Europe. In the 14th century, sacred music (church music and hymns) was quite common (but secular music had begun to take hold as well). During the renaissance (around the year 1500) one of the most significant events occurred—the birth of the composer. The appearance of composers, of course, spawned instrumental music and the creation of the instruments such as the piano and lute.

1750 to 1820 is considered the Classical period with the piano being a composer’s instrument of choice. During this time, Mozart wrote his first symphony, Bach performed in London, and Beethoven was born. Many of the symphonies we enjoy today were written during this time.

By 1900, Scott Joplin had composed and published the “Maple Leaf Rag,” an event many see as the beginnings of the music we know today as popular music. Strauss and Stravinsky were active during the early 1900s, but with regard to popular music, a ground breaking performance occurred in New York in 1924, George Gershwin’s “Rhapsody in Blue.” This was hailed by many as the first truly American composition (most compositions at that time were still derived from European forms). Not only was Gershwin a fine composer, but he and his brother, Ira, helped usher in the Broadway musical with “Porgy and Bess” being their most well-known.

Soon after, new musical forms were taking hold. Jazz in the 1930s (Louis Armstrong, Billie Holiday), big band music in the 1940s (Tommy Dorsey, Duke Ellington), and rock-and-roll (Elvis Presley, Chuck Barry) in the 1950s. Other countries (most notably France and Spain) were creating their own popular music during this time (although their music were not as vibrant and as influential as the music happening in the United States).

Most people don’t realize that they could learn how to be a “prophet” — see into the future — and tell all these things about almost any song:

What’s the most likely chord for the song to start on…

What’s the most likely chord for the song to end on…

What the three most likely chords in any song are…

What the second chord in a song will probably be…

What the 4th, 5th, and 6th most likely chords in any song are…

What chord follows a 7th chord 85% of the time…

Why a knowledge of “consecutive dominant 7ths” can revolutionize your understanding of what’s happening in any given song…

Why a knowledge of the “circle of 4ths” gives you a huge edge about what chords are coming next…

Do you have any idea how valuable this knowledge is? Can you see how it could benefit you right away and give you a big edge in music? Let’s take an example from another field:

What if you had the ability to predict what the price of a stock, let’s say IBM, would be tomorrow morning? Would that give you ad edge in the stock market? Even if you were wrong 15% of the time, it would only be a matter of months until you were so rich you wouldn’t be able to spend all the money you made. Right?

Of if you could predict what the price of pork bellies, or cattle, or soybeans, or corn…or anything — you would soon own the world and most of the solar system.

In music, money isn’t involved directly, but another kind of riches is — satisfaction, enjoyment, mutual respect of other musicians, etc., and you have it within your power to gain the ability to accurately predict — with accuracy ranging from 60% up to 85% — what will happen next in a song in terms of chord progressions.

Will you ever be wrong? Of course. I still miss now and then. But you’ll understand the framework of why chords progress the way they do, so your confidence level will soar.

Wouldn’t it be nice if you could predict which chord would probably come next in a song?

I’ve got some good news for you.

It is possible. Not 100%, but somewhere on the order of 75% to 85% accurate.

That’s because music has FORM — like the skeleton that holds your flesh, muscles, and skin up. If you had no bones — no skeleton — your flesh and all the other parts of you would fall in a heap on the floor. Not a pretty picture. But because you DO have a skeleton, you are able to walk around and pretty accurately predict which way your next step will take you.

It’s the same in music. Music has FORM — a skeleton to hold it up, hold it together. And that skeleton is made out of chords — harmony — the tonal center of the song or piece.

You Can Predict Which Chord Comes Next. You Can Become a “Musical Mindreader”!

In any given key you can play in, there are PRIMARY CHORDS — chords that occur way more than other chords. They are like family members of that particular key.

At your house, let’s say you have 3 people in your family — your spouse, your child, and you. On the same block, but down the street a few houses, lives your cousin and her family.

At any given moment, who are the most likely people to be in your house?

Obama?

Payton Manning?

Rush?

Michael Phelps?

I don’t think so!

It’s possible, of course, but not too likely. If I had to guess, I would say it would be either you, your spouse, or your child. It might be your cousin down the street – there’s a much better chance of that than, say, Hillary or George — but my best odds would be to guess that the family members would be there.

It’s the same way with chords. In any given key, there are 3 “family members” that are residents of that key — the I chord, the IV chord, and the V chord. They are far and away the most likely chords to occur in any given key.

What chord comes next?

So how could I tell whether it should be F or G?

If the melody is a “B”, then the chord is probably a G chord. Why? Because “B” is in the G chord, but is not in the F chord.

If the melody is a “A”, than I would guess that the chord is F. Why? Because “A” is in the F chord, but is not in the G chord.

Does that mean that there are always just 3 chords in a song? No, but there are literally hundreds of songs that are made of just 3 chords.

What if there are more than 3 chords in a song? What then?

That’s what we’ll take up in the course so you’ll understand it clearly!

How will it help you to become a “musical mindreader”?

You’ll amaze other musicians & friends who don’t know what you know…

You will develop more confidence in your playing as a musician…

If you play for a living, there’s a good chance it will increase your income!

If you teach piano or guitar or any instrument, you’ll have a wealth of knowledge about music that you can share with your students.

Exciting things you’ll learn…
Learn what chords will occur in any key…

Learn what chord to start on — once you know the key of a song…

Learn what three chords are the most likely to be used in any song…

Learn what chords 7th chords “want” to progress to…

Learn “the family of chords” and never wonder who is in each family again.

Apply your new knowledge to any song in any key — major or minor.

You’ll learn about the “fam”, the “cousins”, and the “neighbors” — enough chords to keep you going (and other guessing) for a long time.

You’ll also learn all about the “Circle of 4ths” and how it reveals “family secrets” of key relationships, chord relationships, chord progressions, chord substitutions…

Do you see the power in this? Once you understand the Circle of 4ths and how it works, there’s no key that can stump you — you’ll understand every single key that any song or piece could be written in. People who know and understand this circle are at a tremendous advantage over other musicians.

If this is a skill you would like to have, check out Musical Mindreader!

Even non-musicians around the world are undoubtedly familiar with one of Johann Sebastian Bach’s more famous compositions, Jesu, Joy of Man’s Desiring. Usually, this song is played in a slow, almost reverent style during weddings or in religious and liturgical services. However, many music lovers aren’t aware that this recognizable tune was actually intended to be played in a much more upbeat manner.

The song was originally composed for accompaniment of voices, as well as traditional orchestral instruments, particularly woodwinds, strings, and brass. Today though, it is more often performed on piano and organ. It’s difficult to say whether or not Bach might be rolling over in his grave every time the slower version of Jesu, Joy of Man’s Desiring graces someone’s nuptial ceremony. Nevertheless this piece has won the affections of both aficionados and non-musicians alike. In fact, of all of Bach’s compositions, this one is his most recognized.

The German-born composer originally wrote his composition in the early 1700’s. It was performed publically for the first time on July2, 1723 as part of Bach’s cantata: “Herz und Mund Tat und Leben” (“Heart and Mouth and Deed and Life”). What is perhaps less known about this fondly-loved composition is that the underlying choral melody was actually composed by violinist Johan Schop.

Schop was something of a pioneer in the music world during the early 1700’s. Considered to be a virtuoso, his technical ability was largely unsurpassed by his contemporaries, and certainly unequalled by his predecessors. Despite his immense talent, Schop has since faded into the background. Today, Bach himself is attributed most of the credit for Jesu, Joy of Man’s Desiring.

The piano arrangement of Jesu, Joy of Man’s Desiring that is most familiar to listeners in the 21st century was actually transcribed by British pianist Myra Hess, well over 100 years after its composition. It is this adaptation that has stood the test of time as far as popular recognition goes, and is how the song is most often publicly performed today. When it does happen to be accompanied by English-speaking voices, it is sung to the words that were translated from the original German to English by the prominent 18th century English poet Robert Bridges. The English version, though, diverts somewhat from the original German. Bridges obviously did what poets do best, creating a poem that still echoes the sentiments of the original work, but contains flowing rhyme which is easy to sing in its translated English.

Since its first public performance nearly three centuries ago, Jesu, Joy of Man’s Desiring has been adapted and performed by hundreds of other musicians and artists. Even modern artists, such as Josh Groban, continue to make this song one of classical music’s most renowned and adored tunes.

Even though Bach did not consider this piece his favorite or best work, it is probably the most widely recognized of all of his compositions. Because of its mainstream popularity, this song will undoubtedly continue to surface at weddings and other public performances for hundreds more years.

Great spiritual songs that inspire are a part of America’s folklore. Long a part of our nation’s canon of song, we hardly give thought to how they came into existence. Each one does have a story though, which sheds light on the place and time they were born.

The following songs are a few examples of great spirituals and their origins. These songs are great for singing around the piano and are a fine addition to any piano repertoire.

Amazing Grace

Written originally as a poem by John Newton in 1772, Amazing Grace is one of the most popular spiritual songs in America. The music that accompanies the version we know today is a variation of the tune “New Britain.” This music first appeared in 1829 in a hymnal titled Columbian Harmony. The composer is unknown. Amazing Grace is John Newton’s personal thoughts on divine grace and his conversion to Christianity.

When the Saints Go Marching In

This song is familiar as a spiritual tune often played in New Orleans to accompany a funeral procession to and from a burial. Louis Armstrong propelled the song to great popularity in the 1930s with his rousing jazz rendition. However, researchers point to the Bahamas as the birthplace of the song.

A song titled “When the Saints are Marching In” resembles the song we know today. Published in 1896, its lyricist and composer were Katherine E. Purvis and James M. Black. Various titles of the piece appeared over the years. The title we are familiar with received publication in a hymnal in 1927 titled “Spirituals Triumphant-Old and New.” Vocal and instrumental versions of the song play across the land year after year.

Swing Low, Sweet Chariot

Wallis Willis wrote this song around 1862. The Red River reminded him of the Jordan River, and the references in the song are to the Prophet Elijah going to heaven on a chariot. This song was a favorite of plantation workers in the 1800s. It enjoyed new popularity in the 1960s as part of the music of the Civil Rights movement. Willis was once a slave of the Choctaw Indians.

Michael Row the Boat Ashore

First published in “Slave Songs of the United States” in 1867, this song began in the oral tradition. The abolitionist Charles Ware wrote the music for the words that freed slaves sung on St. Helena Island in the 1860s. This song speaks of crossing the Jordan River, and the river is a metaphor for crossing over from life to death. The Michael of the song is Michael the Archangel.

Go Tell It on the Mountain

This song is a popular Christmas tune. It’s a traditional African-American spiritual written by John Wesley Work, Jr. in 1907. The song received publication that year in Nashville, Tenn., in his book, “Folk Songs of the American Negro.” Work devoted his time to preserving African-American folk music. Go Tell It on the Mountain has a rich performance history, with Peter, Paul, and Mary; Frank Sinatra and Bing Crosby; and Bob Marley among its performers.

The great spiritual songs continue to speak their words to new generations of listeners. They offer hope to those who seek inspirational messages in musical form to help them in their trials. For this reason, they will uplift those who play and sing them for generations to come.

If music in general and piano in particular interests you, then now is the time to begin. When it comes to learning the piano, age is no barrier. If you truly desire to learn the instrument, you will apply yourself accordingly no matter what your age.

While we do absorb information like sponges in our formative years, we do not necessarily have the deep interest and sense of commitment that we do as we mature. That’s why adulthood is a great time to learn a new activity, such as the piano. Think of it, you are making a conscious, independent decision to develop a new skill. No one is telling you, or making you, take lessons. You are studying the piano because you want to study the piano.

We tend to throw ourselves with verve into activities that interest us. That’s why, if you have the interest, you can learn the piano from scratch in adulthood. Music is a great avenue for creative expression. In our fast-paced lives, learning to create music may be exactly what you need as a break from your daily routine.

The approach you take to learning the piano is important when you’re an adult. In our jobs, we tend to work at a harried pace and often expect immediate results. This attitude can spill over into our music study. If you desire to learn the piano, you have to take a systematic approach and set reasonable goals.

Decide whether you want to take private lessons or self-teach. You might want to take a few lessons to get the basics down and then continue study on your own. You may choose to do web-based studies. Whatever learning method you choose will only take you as far as your attitude does.
To succeed at learning the piano from scratch, as an adult, consider these suggestions:

* Have fun. You didn’t decide to take piano to add extra stress to your life. If you miss a day of practice, big deal; it means you missed a day of practice. Besides, you don’t want to practice seven days a week. Piano is an interest, not your career.

* Take the first step; don’t try to take five steps at once. Learn a concept or element, practice it, and then move to the next step. Trying to leapfrog steps because you’re in a hurry to get to Moonlight Sonata by Beethoven will only get you frustrated. Frustration leads to giving up your dream.

* Set reasonable goals. Remember, you’re new to this and you may feel overwhelmed with all that piano playing entails. Set a daily goal and focus on that alone. Do the same the next day.

* Get tips and ideas from other adults who successfully undertook piano studies. Ask them what worked best for them and what pitfalls to avoid. You will gain valuable insight into proper study methods. You will have someone you can bounce ideas off who can relate to what you’re doing.

* As you progress beyond the basics, make sure you gravitate to music you enjoy, not just music the lessons tell you to play. You will continue with a lifelong study of the piano if you learn to play your favorite music.

Learning to play the piano is not just for children and teens. It is a creative pursuit for all ages. Decide today to begin your study of the piano – it will be music to your ears for tomorrow and beyond.

Some of the greatest piano players in history became known for

their proficiency in jazz. Technicality and a heavy reliance upon

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

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

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

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

the greatest jazz pianists of all times were pioneers of the

genre during this period. Jazz evolved from musical styles that

African slaves brought to America.

Therefore, its inception can largely be attributed to the early

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

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

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

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

era.

Many of the earliest and greatest jazz pianists were African

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

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

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

still a fresh memory, and many people still carried strong

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

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

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

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

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

the perception of jazz. African-American artists like Erroll

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

Peterson brought a level of class to the genre that was

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

jazz culture of New York for half a century.

Noteworthy musicians in and of themselves, they also provided

back-up for critically acclaimed singers like Billie Holliday and

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

both historically and musically significant. The 1963 album the

two made together is remembered by critics as possibly the

greatest recording of her career. Count Basie also made

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

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

genre.

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

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

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

There was controversy within the musical community over the

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

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

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

of music and view blending it with rock as simply another

variation generally known as “fusion”.

Contemporary jazz artists have brought jazz back around into

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

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

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

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

keeping jazz alive in the new millennium.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The joy of music comes in many ways, including playing the piano!

There are lots of reasons to play the piano, but one of the most basic is simply that piano playing is fun! As Leonard Bernstein called it — the joy of music.

Piano Ideas Galore!

In 1940, Woody Guthrie sat down and wrote his personal response to the song ‘God Bless America.’ He felt a different story of America needed telling. This story would celebrate the beauty of the American expanse. At the same time, it would also celebrate the average working citizen who labored across the land. The result of his creativity was ‘This Land is Your Land,’ a song that is still taught in school music classes.

Woody Guthrie felt ‘God Bless America’ ignored the inequities in the capitalist system. He felt it was an unrealistic view of America. He held the view that too many citizens had too little. He believed that too small a segment of the population owned the greatest proportion of wealth.

This was evident in versions that never made it into print or onto records. These versions espoused more of his political views about the state of America. Over the years, he often changed the lyrics to the song, giving different performances of it.

One of the published versions of his lyrics includes this verse:

In the squares of the city - In the shadow of the steeple
Near the relief office - I see my people
And some are grumblin’ and some are wonderin’
If this land’s still made for you and me.

The original title of this song by Guthrie was ‘God Blessed America for Me.’ He eventually changed the line to ‘This land was made for you and me.’ The song received its first recording in 1944 with Guthrie and folk singer Cisco Houston. First published in 1951, it was included in a book with nine other songs.

Guthrie was born on July 14, 1912 in Okemah, Oklahoma. He experienced life during the Great Depression and witnessed its effects on the average blue-collar worker. He saw first-hand the trek by workers to find work on the West Coast.

By 1936, Guthrie landed in Los Angeles, like so many from other parts of the country. In the spring of 1938, he spent time going from place to place singing for the migrant workers.

He ended up with the moniker ‘Dust Bowl Troubadour’ as he followed the paths of these workers. As they traveled from Oklahoma to California Guthrie wrote songs about their lives and trials.

He developed his own views of the world around him and these became manifest in his songwriting. The Dust Bowl of the 1930s exposed him to the racism and class struggles that these workers faced.

His wandering lifestyle across America instilled in him a great compassion for everyday Americans. He came to appreciate the variety of races and cultures that made up the country. Along with Pete Seeger, Woody Guthrie was responsible for the folk revival of the 1930s and 1940s.

In 1940, he ended up in New York City, a move that propelled his career forward. He wrote and recorded here, wrote ‘This Land is Your Land,’ did radio, and generally made a decent living.

George M. Cohan’s encounter with a Civil War veteran inspired a song that became a Broadway hit. From there it became a household name.

That song was, and is, “You’re a Grand Old Flag”. This song celebrates Old Glory and all that it stands for. The song is a patriotic march with a catchy lilt and equally catchy lyrics. It certainly is a summer concert-in-the park favorite.

George Cohan found himself next to a veteran of the Battle of Gettysburg one day. He noticed the man had a neatly- folded American flag in his hands but that it was ragged looking. This man said to Cohan, “She’s a grand old rag.”

This triggered an idea for a song in Cohan’s head and he wrote one using this line. There was consternation from people over the term ‘rag’. Many felt it was an insult to the Stars and Stripes and they wanted that word removed from the lyrics. Cohan did just that, changing the word to ‘flag,’ and the rest is American musical history.

Cohan wrote the tune in 1906 for his stage production ‘George Washington Jr.’ The play, and the song, premiered on February 6, 1906 at the Herald Square Theater in New York City. The story starred Cohan, who played a U.S. Senator’s son who desires a simple girl from the southern United States. His father has different aims - wanting his son to link up with an English woman of prominence. The story is their battle to achieve two different goals.

The play and the song ‘You’re a Grand Old Flag’ were a huge success. From Broadway it subsequently moved into America’s living rooms over the years because of record and sheet music sales. In fact, this was the first song from a stage musical to sell over a million sheet music copies.
You’re a Grand Old Flag became a staple at the family piano and was played across the country. The tune is bright and positive. It evokes feelings of national pride, and one cannot help being uplifted upon hearing it.

George M. Cohan was born in 1878 in Providence, Rhode Island. His parents were Vaudeville performers who continually toured the country. George traveled with them, along with his older sister Josephine. He honed his show business skills as a member of the Four Cohans – this mother-father-sister-brother act. They kept up a hellish tour schedule with the B.F.Keith Circuit and belted out four to six performances a day. This paved the way for the big time for Cohan, the dues-paying years teaching him much.

Eventually Cohan became a prolific Tin Pan Alley tunesmith and penned many popular songs. Others included “Life’s A Funny Proposition After All,” “I Want to Hear a Yankee Doodle Tune,” and “Over There.” His influence was so great he earned the moniker “The Man Who Owned Broadway.” Along with that he is known as the father of American musical comedy.

Cohan was not only a songwriter. He wore these hats as well in his career:

* Playwright
* Composer
* Actor
* Singer
* Dancer
* Director
* Librettist
* Producer

His influence and popularity as a true American entertainer resulted in a film about his life. This film was Yankee Doodle Dandy, which portrayed his rise from his Vaudeville days to his Broadway success.

Today, Broadway and its tunes may be a whole lot different from Cohan’s time. They still owe a debt of gratitude, however, to this eminent American songwriter and his stage musicals.

Songs like “You’re a Grand Old Flag” still speak today to people who are thankful of and appreciate the opportunity America offers.

What in the world is “naked music?”

You know it when you hear it, but the words that describe it sound strange, don’t they? We’ve all heard of popular music and rock music and gospel music and jazz music, but naked music?

Naked music is simply the notes on a piece of sheet music. It’s “naked” – not dressed up or arranged at all. No fills, no slurs, none of the ingredients that make a song come to life.

Not a single professional musician plays a song exactly as it appears on a piece of sheet music (except classical music, of course — that’s different). Instead, they use the written music as a map, or an outline, and then proceed to do their own thing with it. They twist it, bend it, add to it, subtract from it, put fills in it, change the key, change the words, change some of the melody notes, and on and on.

So when you hear your favorite artist perform a piece of music, if you look at the written sheet music while they are performing it, you will see it is MUCH different and MUCH better than the plain old “naked music!”

So how can the average musician dress up naked music? There are many ways, but here are seven of my favorites:

1. Change the chords slightly by adding color tones. What are color tones? Color tones are notes added to the basic chord, usually expressed as 6ths, 7ths, 9ths, etc. For example, instead of playing just a straight C chord as it is written – C, E, G – try adding a color tone to it, such as a 6th (A) or a 7th (Bb) or a major 7th (B) or a 9th (D). In fact, try adding a couple together, like a 6th and a 9th. So instead of being a plain vanilla chord made up of C, E, and G, you’ve made it a tasty variation adding A and D to the equation.

2. During the pause between phrases, add a counter melody. How? Take the given melody notes and turn them upside down or inside out, or change the rhythm slightly so the tune is still recognizable, but different.

3. Add chord substitutions. Instead of always using the chords that are written, ask yourself this question: “Into what other chord will this melody note fit?” For example, if the melody is G and the chord is C, what other chords contain the note G in them? There are several answers to that question. G is not only in the C chord, but it is also in the Em chord, the Eb major chord, the G chord, the Gm chord, etc. Try one of those alternate chords until you like the sound combination, then use it instead of the C chord. It will add an originality and freshness to your playing almost immediately.

4. Add fills and runs between phrases. How do you do that? Simply break up the chord that is in force at the moment, and run it up the keyboard as a broken chord – one note at a time. Or start at the top of the keyboard and come down. Or play with the chord a bit by playing 2 of the 3 notes instead of the entire 3 note chord.

5. Use melodic echos. After you have played the melody, echo it by playing it an octave higher, or two octaves higher, or an octave lower.

6. Use half-step slides. If the chord progression is from D7 to G7, instead of going to G7 directly, “slide into it” by playing the chord that is one-half step above – namely, Ab7, then quickly sliding off Ab7 to G7.

7. Use “blue notes.” Blue notes are created by sliding off a black key onto a white key quickly. For example, if the melody is E, slide off Eb to E quickly using the same finger.

This is just a tiny sampling of what you can do to dress up your music. There are literally hundreds of other techniques, from pseudo-modulations to inside blues moves to deceptive cadences to tremolos to twangs to crunches to straddles to 3-1 breakups to walk-downs and walk-ups and on and on.

     By simply adding a few of these techniques to your playing you can easily double and triple the excitement created by your piano playing as you “dress up naked music!”

What is it about The Yankee Doodle Boy, that puts a smile on one’s face and sets toes a-tapping’? It’s the verve and variety inherent in a great tunesmith’s song that gets pianos playing and people singing.

Written by George Michael Cohan, “I’m a Yankee Doodle Dandy” was ‘Broadway Composer Cohan’ at his best. Today, the wit of the lyrics and the song’s tempo and temperament continue to elicit applause in theaters nationwide.

George Cohan was born at Providence, Rhode Island in 1878. He started out in show business in Vaudeville, traveling with his performing father, mother, and sister. Vaudeville is where Cohan learned the nuances of live performing and keeping audiences entertained. He was part of The Four Cohans, the name his family used as their marquee title.

Eventually Cohan made it to Tin Pan Alley as a songwriter, and Broadway as a prolific creator of musicals. “The Man Who Owned Broadway” became a catch phrase for this talented composer during his heyday in New York City. Another name bestowed on him was “The Father of American Musical Comedy”. He wrote his own play scripts, music, and lyrics.

The song The Yankee Doodle Boy is from the musical comedy Little Johnny Jones. This was Cohan’s first full-length musical, and his family performed in the original production.

Though not an initial success on Broadway, the musical eventually achieved acclaim after some reworking. The song is a lively number with flair. The song line “I’m a Yankee Doodle Dandy” is sung with unabashed patriotism. The song includes the proudly American chorus:

I’m a Yankee Doodle Dandy
A Yankee Doodle, do or die
A real live nephew of my Uncle Sam
Born on the Fourth of July

The wit in the lyrics of the song was also manifest in the play itself as seen in the tongue-in-cheek name of a girl from San Francisco, Goldie Gates. Cohan’s sense of humor came through in his storyline, music, and verse.

The musical opened on Broadway in New York City at the Liberty Theater, on November 7, 1904. It’s the story of a jockey, Johnny Jones, who rides a horse called Yankee Doodle in the English Derby. Cohan based the character of Johnny on Hall of Fame jockey Todd Sloan (1874-1933). Other popular songs to come out of the musical were ‘Give My Regards to Broadway’ and ‘Life’s a Funny Proposition’.

Eventually a film biography was developed about George Cohan. Called Yankee Doodle Dandy, this film starred James Cagney as Cohan. Joan Leslie and Walter Huston also had roles in this film. It celebrated the accomplishments of Cohan and his rise to fame.

He wore many hats during his career as a producer, composer, actor, writer, singer, and director. His sheer output as a songwriter was phenomenal. He had over 1,500 of his songs published, and he developed the art of melding drama with music.

Cohan livened up American theater with his tunes and plays, as the art form was heading into a stagnant time. He breathed fresh life into Broadway with his fresh, catchy, lyrics and music. Cohan, who achieved the American dream through sheer talent and hard work, was himself a true Yankee Doodle Dandy.

Virtually everyone in America as well as many others around the world know

“The Star-Spangled Banner”, but few know that it was written by a captive on

a British warship.

On September 13, 1814, as British warships pounded away at Fort McHenry in

Baltimore harbor with their rockets and mortars, a prisoner on one of the

ships changed America’s history. He did it with a poem written on the back of

a letter. When he was released from custody, Francis Scott Key set the words

to a traditional melody and gave the fledgling United States its triumphant

national anthem, The Star-Spangled Banner.

Like many great moments in art that are revealed in the times of greatest

struggle, The Star-Spangled Banner is a supreme example of art appearing from

the darkest of times. The Americans at Fort McHenry were able to repel a

vicious British Naval bombardment with few casualties because of their

preparedness and swift actions. The sight of a specially-commissioned,

oversized American flag rising from the smoke the morning after the attack

was the inspiration Key needed as he watched from the ship where he was held

prisoner. The poem was originally titled “Defence of Fort McHenry.”

The words that Key wrote for The Star-Spangled Banner just happened to match

the rhythm of a popular British song, “The Anacreontic Song.” The title

refers to the Greek court poet Anacreon whose erotic paeans to wine, women,

and song are reflected in the lyrics of the original British tune. John

Stafford Smith, a member of the Anacreontic Society, which was a group of

amateur musicians, is commonly credited with writing the tune. Perhaps

because it was commonly known as a raucous drinking song, though, the claim

of composition in still up in the air.

Two newspapers printed The Star-Spangled Banner with its original title on

September 20, containing a reference to the Anacreontic song as the tune.

Other papers soon caught on, and before long a music store in Baltimore

published the song with lyrics and music together, changing the name to The

Star-Spangled Banner. Its first public performance was by an actor in a

Baltimore tavern.

Though it was made the official song to be performed at the raising of the

flag, it was a long time before The Star-Spangled Banner became the National

Anthem. Many other songs competed for this honor, but in 1931 a Congressional

resolution named it as the official theme song for the United States. Maybe

this was a response to a Ripley’s Believe It or Not cartoon that let people

know that the United States had no National Anthem.

Since then The Star-Spangled-Banner has gone on to be performed at military,

sporting, and musical events from coast to coast. Jimi Hendrix’s

groundbreaking performance at Woodstock, when his guitar seemed to ooze with

bombs bursting in air, was a major step forward for the reinterpretation of

the tune. It was a Puerto Rican singer named Jose Feliciano, however, whose

bluesy version of the song shocked audiences, who paved the way for pop

versions of the song.

So the next time you’re at a big game, getting ready to watch your home team

rise from the ashes in victory and The Star-Spangled Banner is sung, think of

Francis Scott Key as he watched the symbol of the United States rise up from

certain defeat on that distant day in September 1814.