Piano Chord-Casts

If you listen to podcasts, here are some piano-related podcasts called "Piano Chord-Casts"

http://web.mac.com/chordsgalore/iWeb/Site/Podcast/Podcast.html

Duane

PS They are all free, of course.

Is It Really Possible To Play The Piano By Ear?

Is It Really Possible To Play The Piano By Ear?

Playing by ear is the ability to play a piece of music (or, eventually, learn an instrument) by simply listening to it repeatedly. The majority of self-taught musicians began their education this way; they picked up their instrument and began playing an easy melody from a well-known song, slowly picking out the notes as they went along. And even after these musicians master their instruments or a particular song, playing by ear still plays a large role.

Many pop and rock bands don't play or write their songs based on sheet music, they figure the songs out by playing by ear. It's even common among non-musicians. Ever sit down a piano and mindlessly pick out the tune to "Mary Had a Little Lamb"? What about grabbing a guitar and suddenly finding yourself playing the opening licks to "Smoke on the Water"? That's playing by ear. You're able to play part of the song just because you've heard it so often.

Playing by ear is a valuable technique for many musicians; learning songs based solely on hearing them is a great way to understand song and chord structure. In fact, a great number of rock and pop musicians learned to play their instruments this way. Instead of picking up a book or taking lessons, they concentrated on figuring out the notes and rhythms to a song until it was mastered. Then they moved on to another song. And another. Gradually, they learned their instrument just by playing by ear -- and in the process learned how to effectively structure a song in that particular genre.

To continue this article, please click here:

http://www.playpiano.com/Articles/33-pianobyear.htm

Piano Books: The Top Piano Books To Help You Become a Better Piano Player!

Piano Books: The Top Piano Books To Help You Become a Better Piano Player

There are umpteen zillion piano books available in music stores and online at such places as Amazon. And piano books are usually necessary if your goal is to become a better pianist.

But how does a person know which piano books are necessary and which books are redundant, to say nothing of good or bad. There are books on music theory, scales, chords, books about composers, books about music in general, and of course piano lesson books by Schaum, Williams, Alfred d'Auberge, Bastien, John Thompson, Glover, etc., etc.

The best way is to divide the study of piano playing into it's components:
General lesson piano books:

For the rest of this article, please go to: http://www.playpiano.com/pianobooks.htm

Chords

In contrast to a unison or an interval, a chord is any group of 3 or more notes that are played at the same time. Broken chords, also known as arpeggios, are chords which are played one note at a time, but add up to 3 or more notes.

For full article, please go to:

http://www.playpiano.com/Articles/chords.htm

Music Chords: How To Become a "Chord Detective"

Music Chords: How To Become a "Chord Detective"

Over the years I have been a piano teacher I have had many people call or write me and ask me something like this:

"I play by ear, or by chords, but lots of music doesn't have chord symbols written in -- how do I know what chord to play when?"

"Our hymn book doesn't tell which chords to use -- how can I know what to play?"

"I read music but don't have a clue what chords are being used. How can I know what they are?"

What do you do if you want to play a song using chords instead of the written sheet music notes, but the song doesn't have any chord symbols printed -- symbols such as Cm7, G13, B+, D dim7, etc.?

There's a logic behind every note written in music, & you can learn to understand that logic, and therefore understand music. If you can read music to some degree but don't "see through" the written music -- don't understand what you are seeing -- it is now very possible that you can put on your "chord glasses" that good "chord detectives" wear to see through all that mass of black printed notes on a white page of sheet music to quickly understand what chords are being used and the "family logic" behind it all.

The "family logic" is this: In every key there are certain chords which are organic to that key -- "family members", so to speak. For example, in the key of F the 3 most used chords are F, Bb and C. In the key of G the most used chords are G, C, and D. In the key of Eb the most used chords are Eb, Ab, and Bb. Do you see a pattern here?

Chords are based on scales, and the chords which are used the most in any key are built on the 1st degree of the scale, the 4th degree of the scale, and the 5th degree of the scale. They are identified by using the Roman numerals I, IV, and V.

So the most used chords in any key are the I chord, the IV chord, and the V chord. They are the primary chords, and they are all major. They occur way more than other chords. The next most used chords are the ii chord, the iv chord, and the iii chord -- all minor chords.

Just knowing these simple facts gives a musician a giant advantage when learning or playing a song. If he or she knows the most likely chords that are going to occur in a song, based on the key of the song, then they can scrape together other evidence quickly to build an air-tight case that they know the chords of that song.

For example, let's take two musicians about to play from a piece of sheet music. Both read music, but only one knows chords and music theory. The first musician looks at the notes and sees a Bb in the bass clef as the first note, a Eb in the bass clef in the second measure, a Bb in the 3rd measure, an F in the fourth measure, and so on. He can play what he sees, but nothing else, because he doesn't grasp the fact that the first few measure have given away the fact that the primary chords have been outlined.

The second musician looks at the same music, but with "X-ray eyes". He sees through the same notes into the chord structure behind the scenes.

The first musician is tied to the written music and limited to the notes printed on the sheet music, while the second musician has the best of both worlds: he can read the music and play it as it is written, but he can also add chords and fills and come out with a much bigger, more interesting arrangement than the first musician.

The benefits of becoming a chord detective are many:

It allows a musician to immediately identify what key a song is in...
It allows a musician to know POSITIVELY which chords are most likely to occur in each song...
It allows a musician to look at the first measure and the last measure and immediately know the harmonic form of any song...

Plus:

It works in any key -- major or minor...
It works with any kind of hymn or gospel song...
It works by releasing a musician from being "tied to the written music"...
It works by allowing a musician to add chords of his or her own...

The bottom line is this: knowing chords and music theory allows a "chord detective" to develop "see through eyes" that immediately perceive the structure of a song and then allow that musician to use both the written score and any fillers or improvisations he or she desires to add to a song.

For the entire article, please go to: http://playpiano.com/musical-courses/chord-detective.htm

Piano Runs & Fills

Runs & Fills:
How To Add Real Excitement To Your Piano Playing!

We've all heard pianists who make us drool with musical jealousy when they play, using a tool box full of lighting-fast runs and clever fills that have us clamoring for more. I well recall hearing Errol Garner play "I'll Remember April" when I was about 14. I had no idea a piano could be played like that, and I was absolutely fascinated by all the interesting and exciting runs and fills he added to his improvisation of those standards.

If you're anything like me, you would love to learn how to "fill up the empty spaces" with scale fragments, chords, broken chords, and so on. Techniques such as 8th note runs , 16th note runs, 32nd note runs, triplet fills, and many combinations thereof -- some so fast you can't even see which notes are being played. Techniques such as"cascading waterfall runs", the fabulous "pro straddles", the exciting "tremelo-fired runs" and lots more. Learning how to "fill it up" with runs and fills would certainly take your piano playing to the next level.

After listening to countless pianists in all genres, I compiled a list of six types of runs and fills that they often use:

1. "Cocktail" runs --The lightning fast runs used by the great "show" pianists. One hand runs, two hand runs, open-octave runs, tremolo-blasted runs, cascading waterfall runs and more. Made famous by such names as Eddy Duchin, Carman Caballero, Liberace, etc., but also used tastefully by many others, such as Roger Williams and many "pop" piano players.

2. Embellishments -- Mordents, inverted mordents, trills, turns, tremolos, grace notes, glissandos, etc. These are the "finesse" techniques that give your piano playing class and grace. Virtually NO amateur piano players use these, so the pianist that learns these is putting herself or himself in a class usually reserved for professional pianists.

3. Piano tricks -- How to make your piano sound oriental, or make it sound like a drum or a music box? A bell? Latin? Country?

4. Evangelistic runs -- These are the octave runs and fillers used by the great gospel pianists of past and present such as Rudy Atwood and other evangelistic piano players.

5. Jazz & blues runs -- Using the "blues scale" up and down the keyboard, blue note-crunches, slides, etc. These runs are very useful not only in jazz and R & B, but also in "black gospel" (I hate to use that term because it sounds racist, but people use it to describe a certain type of gospel music, so I reluctantly use the term...but only in that sense of the word), fusion, and many rock-pop songs.

6. Fillers galore -- Filling up an empty measure with a counter-melody; creating an intro; creating an ending; developing "turnarounds", plus chromatic fillers, fillers based on the Dorian and Lydian scales and other "church mode" scales.

It is exciting for any pianist to picture himself or herself playing those LIGHTNING FAST runs up the keyboard and back down in time for the next chord, or playing CASCADING RUNS down the keyboard for a WATERFALL of wonderful sounds, to say nothing of using mordents, inverted mordents, trills, turns, tremolos, grace notes, glissandos, fillers galore, cocktail-piano runs, plus gospel-style runs as well as "blues runs" based on the blues scale!

Is it worth the effort to learn some or all of these techniques? It certainly has been for me, but every pianist will have to make that judgment for himself or herself.

http://www.pianolesson.tv/

Piano Chords: How Many Are There?

An interesting experiment is to ask people how many chords there are in music. You'll be surprised to find out that most musicians don't do any better at answering that question than non-musicians.

Why do you suppose is that?

It is probably because it sounds like one of those questions such as "How many grains of sand on the seashore are there?", or "How many stars are there in the sky?"

And in a sense it is, but in another sense, we can get a fairly accurate sense of chord population just by calculating all the chord types and then multiplying them by the number of inversions that are possible and the number of octaves that are possible on any given instrument.
So let's start with a listing of chord types:

Major
Minor
Diminished
Augmented
Diminished 7th
Major 6th
Minor 6th
Major 7th
Minor 7th
Half-diminished 7th
9th
Flat 9th
Sharp 9th
11th
Sharp 11th
Suspension
13th
Sus 7th
Aug 7th
9th/Major 7th
6th/9th
Add 2nd
Add 4th
Flat 5th
7th with flat 5th

That's 25 of the most-used types. There are several other variations, but these chord types will do nicely for our purposes of estimating the total number of chords.

Each chord can be inverted -- turned upside down -- by the number of notes in the chord. For example, a 3 note chord has 3 positions -- root position, first inversion, and second inversion. A 4 note chord has 4 positions, a five note chord has 5 positions, and so on.

We will say for arguments sake that 4 positions is the average, knowing that some chords have more and some have less. So if we multiply 25 chord types by 4 positions, that gives us 100 possible chords per octave.

But of course we can build chords not just on one note, but on 12: C, Db or C#, E, F, F# or Gb, G, G# or Ab, A, A# or Bb, and B -- 12 different roots. So 12 times the possible 100 or so chords per octave give us a rough total of 1200 possible chords.

Some instruments only have the range to play 2 or 3 octaves, whereas a piano with its 88 keys can play 7 octaves -- 100 chords in the lowest octave, 100 chords in the next octave, 100 chords in the next octave, and so on up to the top octave of the keyboard.

So on the piano we could theoretically play those 1200 chords in all 7 octaves, giving us some 8400 possible chords. Of course, some would sound so low or so high that they wouldn't really be useable in a song. But still, they are possible.

So what's the answer to the original question? It depends upon the instrument and how many variations of each chord the individual musician uses -- but in any case, it's a bunch! For more, please go to:

http://www.playpiano.com/Articles/29-howmanychords.htm

Did you know that music is based on natural "laws"?

Did you know that music is based on natural "laws" -- like gravity -- and by learning to understand how those natural laws work we can actually understand what we are doing when we play -- we don't have to be at the mercy of what someone else has written on a piece of music.

How many of these facts do you know about music & piano playing? Test yourself and then check the answers at the bottom of the page:

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 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?

For the answers to the questions above, please go to: http://www.playpiano.com/piano-lessons-for-adults.htm

The Blues Scale & It's Use

The Blues Scale

The blues started not as a piano style, but as a vocal style, and of course the human voice can sing "in the cracks" between the notes on the keyboard. So when we play blues on the keyboard, we try to imitate the human voice by playing BOTH the 3rd and the flat 3rd -- BOTH the 5th and the flat 5th -- BOTH the 7th and the flat 7th. We would play in the cracks if we could, but we can't, so we do the best we can by combining the intervals to imitate the quarter steps that a human voice can sing. (Certain instruments can do that too -- for example, the trombone. Since it has a slide, it can hit an infinite number of tones between any two keyboard notes.)

So in the key of C, for example, the blues scale would include:

C, D, Eb, E, F, Gb, G, A, Bb, B, and the octave C.
In the key of F the blues scale would include:
F, G, Ab, A, Bb, Cb, C, D, Eb, E, and the octave F.
In the key of G the blues scale would include:
G, A, Bb, B, C, Db, D, E, F, F#, and the octave G.

So in improvising you can craft a melody out of any or all of these notes. Start by creating a motif out of just 3 or 4 notes, then repeat that motif as you change chords.

For example, if you were in the Key of C, you might create a motif such as C, C, G, Bb C and repeat it in various rhythms as you play the C7 chord in your left hand, then again as you move to the F7 chord, and so on.

With practice and experimentation you can play your own variety of the blues as you master the blues scale.



For more info on the subject, please go to http://playpiano.com/101-tips/31-12-bar-blues.htm

Duane Shinn is the author of over 500 music books and music educational materials such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. A free lesson on music notes and music theory is available: "Music Notes & Flat Key Signatures" Duane holds advanced degrees from Southern Oregon University. You can sign up for his free 101-week online e-mail newsletter titled Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions" which now has over 70,000 current subscribers worldwide.

Music Notes: How Pitch & Duration Are Determined

Music Notes: How Pitch & Duration Are Determined

Notes are the musical notation representing a fixed pitch. While the word strictly refers to the physical notation of a pitch, it's more commonly used to refer to both the pitch and the notation.

Please go to http://www.playpiano.com/Articles/27-musicnotes.htm to read the rest of the article...thanks.

Also see http://www.playpiano.com/catalog/pianonotes7.htm