As we all know, music is a universal language. However, music can not be music if it is not accompanied by instruments. The piano is one of the most prominent music instruments of all time. However, not many people know how to play the piano. In fact, many people like playing it but they are locked out because they do not know how to effectively do that. Learning how to play the piano is not hard nowadays. There are numerous excellent piano books on chords that can guide anyone into being a good piano player in future.

There are a variety of guide piano books on how to play the piano well. There are those that are suited for beginners and there are those that are for those that want to know how to play the piano professionally. When choosing the best book to learn how to play the piano, one is supposed to look into a few considerations. First of all, it is important to know the level of expertise that one has. This is supposed to mean that when choosing the book, the level of experience that one has with playing the piano plays a very important role. Someone with a little bit of experience will no doubt choose a book that will enable him/her get to the next level whereas, someone with little or no experience will choose a book that will teach him/her from the start to becoming a good piano player.

Another very important factor to take into consideration when choosing the best piano book online that teaches music theory is the type of instructions given. The instructions have to by all means be very easy to comprehend. The more hard it is for a piano learner, the more hard and difficult it will be for him/her to grasp anything that the book wants to teach. At the end of the day, a book with easy to understand instructions that take the piano learner from the start to the end smoothly is the best choice.

The price of the book is another very important factor to be considered. This means that one should first of compare a few books so as to know which one is the most suitable for his/her allocated budget. This is supposed to mean that one should always go for the book that is most economical and at the same time, most convenient for his/her piano playing learning needs. However, at all times when choosing the prices, it is very important to only go for a book that does not compromise on the quality of what one is supposed to learn so as to be a good piano player at the end of the day.

If one strictly adheres to all the above mentioned factors, then getting the very best in the piano learning instructional book will not be a hard thing at all. At the end of the day, the person will also become a professional piano player just like the ones he/she admires most if what he/she learns is put into practice effectively. This is what looking for the book is all about in the first place.

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.

Enharmonic notes are simply notes that have more than one name. Just as you might be known by not only your given name, but also by your nickname, so notes can have more than one name. The same is true for enharmonic chords — they can be known by multiple names as well. For example, the Db major chord sounds exactly the same as the C# major chord, but looks different on printed music, and has two different names: C# major and Db major.

Playing the tune of a song in a “single-finger” style leaves much to be desired in terms of fullness. One way to make a stronger melody is to play it in octaves with an interval of a 3rds under the top octave note. Watch this short video:

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.

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.

Proper piano instruction is an element extremely vital to learning the instrument well. Though it’s very possible to be a self-taught piano player, piano lessons can really increase the speed and efficiency with which one learns the instrument. That’s not to say that great piano instruction makes great piano players overnight; even the most naturally talented pianists still play for years before they consider themselves advanced. But proper piano lesson instructions will maximize those years to the fullest and ensure that the student is learning the correct techniques. Though teaching styles always vary from instructor to instructor, piano instruction generally covers the same basic areas: fingering, , music reading, scales, technique, and sight reading. The early lessons will cover fingering and posture, making sure the student knows how to hold his or her hands and where to put them on the keys; series of scales practiced repeatedly will be the basis of this area. Piano instruction will then move on to notation essentials, starting with the basics of notes and key signatures and time signatures and then moving forward to more advanced concepts in rhythm, tempo and dynamics.

Many of these concepts are introduced into the piano instruction while the student is learning to read music, a practice that runs through the entire course of the piano instruction. Teachers will assign short, easy pieces to kick start the student’s music reading knowledge and eventually move forward to more advanced pieces. Sight reading, the ability to play a piece of music without ever having seen it, is sometimes placed sporadically throughout the piano instruction, after a student is fairly well-versed in reading music.

One crucial element of piano playing that is often left out of traditional piano lessons is the study and practice of chords and music theory. To learn to read music without understanding the theory behind the music and the chords and chord progressions that form the music is almost like teaching a surgeon to cut without understanding the human anatomy and it’s interrelated parts. The student will be able to play the piano from a piece of sheet music, but take that music away or have it blow off the piano and he or she is immediately in big trouble.

There is a famous story about a lady who was a concert pianist and could impress people with her playing, yet when asked to play “Happy Birthday” at a party had to decline with great embarrassment because she didn’t have sheet music for the song handy. To be tied to the written music is a shame, when learning chords and music theory adds so much to the value of piano instruction.

Given a healthy dose of music theory and chord instruction mixed in, all of the other elements of piano instruction eventually begin to work hand in hand. Piano instruction then becomes an intricate web of gaining bits of detailed knowledge little by little and understanding the music that’s being played without fully realizing that it’s being gained.

Then playing the piano becomes more fun and a joyful event that can be shared with full understanding of the theory and form that lies behind each song.

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

Sight reading is the act of reading and playing a piece of music before having ever seen it: on sight. This technique is an important one for musicians to learn. Being skilled in sight reading makes reading a piece of music easier; the musician doesn’t have to labor over every note and re-teach themselves the common patterns. Sight reading, after a decent amount of practice, becomes like second nature.

A solid knowledge of music theory is absolutely crucial to a musician who wants to become proficient in sight reading. Besides acting as the basis for understanding the notes, a music theory education provides the ability to see patterns within the piece of music, a large part of the sight reading puzzle. Sight reading, after all, doesn’t require the musician to read every single note. Most musicians rarely see the entire piece of music, but rather the patterns that emerge from it. They understand notes and how they function in relation to each other and are therefore able to deduce most of the chords and changes — all from just glancing at the basic structure of the piece.

For example, musicians who know music theory will first determine the key of the song from the key signature, which in turn gives them strong hints about which chords will probably be used most in the song. This knowledge alone enables the sight reader to be mentally prepared when those chords occur, and to be alert for chords which are unexpected.

They will also be aware of intervals such as 3rd and 6ths and 7ths, and they will look for the form of the song - ABA, AABA, ABACA, or whatever. They will be aware of the probably rhythm patterns based on the time signture, and they will quickly scan the score for repeats, tempo signs, volume changes, and so on.

In fact, most sight reading mistakes typically happen when a piece of music takes an unexpected turn, deviates from the common pattern. These mistakes, however, are few and far between with those proficient in sight reading. An experienced sight reader will have learned to not only see patterns but also to read ahead in a piece of music while they are playing it. Looking several bars ahead to catch anything tricky or unexpected is often done while holding a sustain or resting.

Sight reading plays a large role in music education, and students are frequently tested on their ability to do it well. Some sight reading exams will allow the student a few minutes to look over the piece and prepare; he or she will be able to make notes, mark up tricky time signatures or changes. Tempo is rarely a consideration in these sight reading exams as playing the piece well is far more important than playing the piece up to speed.

Advanced sight reading exams, however, aren’t quite as forgiving. These exams give the student minimal, if any, time to prepare, and tempo is absolutely considered into the final grade. Advanced sight reading exams prepare a student for work as a studio musician, a career where near-perfect sight reading is a must. The majority of studio musicians record a piece of music after only seeing it once — sometimes not at all. A flawed skill in sight reading will only prove to be a hindrance to the working musician; it is for that reason considered one of the most important parts of a music theory education.

This does not mean, of course, that musicians can’t reach the top rungs without good sight-reading skills. After all, many top jazz pianists don’t read music at all, but are gifted with incredible ears and improvisational skills. But for most of us “normal” musicians (like me) it is a helpful skill to develop to the best of our ability. Even if we never get great at it, we can always get better!

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