Ballads are an increasingly common musical concept in modern popular music. They're generally thought of as slow, highly melodic songs that tell of some sort of heartbreak; there's even a whole CD dedicated to power ballads, the result of heavier rock bands taking it down a few notches to tell about love gained or lost. But true ballads, in the strictest sense of the word, are far more complicated than just taking a song's tempo down by a few beats per minute. True ballads date back to way before heavy metal or modern folk music. True ballads are an integral part of historical folklore.
Ballads are songs that tell a story, like poetry or folk stories set to music. The stories told in ballads tend to be well-known and oft-repeated and often incorporate tall tales. Increasingly, however, ballads have been adapted to the plight of the everyman; ballads are the peoples' music and will always tell about the people of that particular time.
Ballads are distinguishable from other types of songs by a few important characteristics. The lyrics in ballads tend to focus far more on action than reaction and will usually be sung in the third person, like many literary folk stories. Ballads also tend to focus on the song's lyrical (as opposed to instrumental) qualities; since a ballad is focused so heavily on the story being told, it's vital that the lyrics get first billing. Because of this, the lyrics tend to be simple and easy to repeat. The chorus, especially, must be memorable; it was designed specifically to be sung in unison by the audience, many of who will have only heard it once. This memorable quality is vital also because ballads, in the truest sense of the word, will almost always have been passed down from generation to generation. The ballads will certainly evolve over time, but the basic elements of story will remain in tact.
Because true ballads tell folk stories, it's not surprising that ballads have remained a large part of the folk music genre. But even in that most integrity-based area of music, ballads haven't always maintained their essential elements. The notion of ballads, just like the ballads themselves, has evolved so much over time that the ballads of today barely resemble those of the original criteria. Still, despite their differences, they are still considered ballads -- just in a much looser form (consider the modern ballad "American Pie"). Power ballads, on the other hand, can hardly be called ballads, even by those who allow the word to be very loosely interpreted. Power ballads rarely fit any of the criteria of original ballads, other than the frequently found subject of a lover scorned. No matter how slow, melodic or heartbreaking certain songs are, they can't always be called ballads; a catchy chorus does not always a ballad make.
Thursday, March 06, 2008
Tuesday, March 04, 2008
Bolero
Bolero is a Latin-based genre of music and dance known for its sensuality and intimacy; in fact, it's known to some as the second dance of love -- in addition to the rhumba, of course. But unlike the rhumba, bolero's origins are somewhat unclear and wildly debated. Some say that bolero originated as a Cuban dance that spread quickly to Spain; others say that Spain danced and played a version of the bolero long before Cuba altered the form. According to this idea, the bolero was created in Spain in the 18th century by the dancer and choreographer Sebastien Zezero. The form traveled to Cuba and by the mid-1800s had morphed into an almost entirely different form carrying the same name. The Cuban form of bolero is often thought to be the truest form of bolero, regardless of where it came from, and Pepe Sanchez's 1883 "Tristezas" is considered by some to be the first bolero ever formally written.
But regardless of who created what (and where), the bolero is an important element within both Cuban and Spanish culture, though the form is very different between the two. Cuban bolero is danced and played in 2/4 time and rooted strongly in African percussion. The bolero dance is very focused on couples, and the two dancers remain very close throughout the whole dance. Spanish bolero, on the other hand, is played in 3/4 time with a slightly less rhythmic undertone. The couples dancing Spanish bolero often dance apart (like modern informal fast dancing), only coming completely together at certain parts. Though the Spanish bolero style is still found occasionally, it is the Cuban style that gave birth to the various modern boleros still danced and played today.
Like most foreign music and dance styles, the bolero eventually found its way to the United States in the 1930s and became a sort of craze. As it shifted cultures, however, it underwent a few alterations. The American bolero shares more characteristics with the rhumba than any other traditional style, and it's slightly slower and far more intimate. Additionally, the American bolero was changed from the Cuban-based 2/4 to a slightly more relaxed 4/4.
But regardless of who created what (and where), the bolero is an important element within both Cuban and Spanish culture, though the form is very different between the two. Cuban bolero is danced and played in 2/4 time and rooted strongly in African percussion. The bolero dance is very focused on couples, and the two dancers remain very close throughout the whole dance. Spanish bolero, on the other hand, is played in 3/4 time with a slightly less rhythmic undertone. The couples dancing Spanish bolero often dance apart (like modern informal fast dancing), only coming completely together at certain parts. Though the Spanish bolero style is still found occasionally, it is the Cuban style that gave birth to the various modern boleros still danced and played today.
Like most foreign music and dance styles, the bolero eventually found its way to the United States in the 1930s and became a sort of craze. As it shifted cultures, however, it underwent a few alterations. The American bolero shares more characteristics with the rhumba than any other traditional style, and it's slightly slower and far more intimate. Additionally, the American bolero was changed from the Cuban-based 2/4 to a slightly more relaxed 4/4.
Sunday, March 02, 2008
Have you ever heard of a chord chart that talks?
Have you ever heard of a chord chart that talks?
If you haven't, come on over to
http://www.harmonizeanytune.com/pianochordchart.html
and see for yourself.
You'll be surprised and delighted!
If you haven't, come on over to
http://www.harmonizeanytune.com/pianochordchart.html
and see for yourself.
You'll be surprised and delighted!
Monday, February 25, 2008
What's the difference between an alto and a soprano?
The term alto is one of many vocal range classifications; it refers to the second highest possible vocal range. Just lower than a soprano, an alto range will typically fall from the E or F below middle C to the C or D an octave above it; it's the voice that falls between a tenor and a low, or mezzo, soprano. Alto singers are typically female, but it's entirely possible for a male to fall into the alto category. One a female, it's a voice rich and deep, one that is easily able to convey any sort of emotion. Though the soprano voice is highly coveted in opera and choral singing, the alto voice is very favorable in rock music or other types of popular composition. Karen Carpenter and Toni Braxton represent the allure of such a voice; they are two of the most famous alto singers in popular music.
Alto singers are often known for carrying the weight of the upper register in a choral ensemble. Though the soprano voice is responsible for the majority of a song's melody, the alto voice is what fills out the chord, creating the harmonies absolutely essential to a song's functioning. It's the kind of voice that sometimes goes unnoticed in a choral ensemble (most people hearing a piece for the first time seek out the primary melody), but one that holds the song together; without the alto voice, a piece would feel unfinished, nowhere near as full. As a result, most alto singers have a heightened sense of harmonic vocalizing; it's not uncommon for an alto to naturally sing a lower harmony to any piece of music put in front of them. This is a trait desirable in almost any musical group responsible for writing its own songs; the ability to harmonize and harmonize well is the very basis of an alto singer's craft.
Alto singers are often known for carrying the weight of the upper register in a choral ensemble. Though the soprano voice is responsible for the majority of a song's melody, the alto voice is what fills out the chord, creating the harmonies absolutely essential to a song's functioning. It's the kind of voice that sometimes goes unnoticed in a choral ensemble (most people hearing a piece for the first time seek out the primary melody), but one that holds the song together; without the alto voice, a piece would feel unfinished, nowhere near as full. As a result, most alto singers have a heightened sense of harmonic vocalizing; it's not uncommon for an alto to naturally sing a lower harmony to any piece of music put in front of them. This is a trait desirable in almost any musical group responsible for writing its own songs; the ability to harmonize and harmonize well is the very basis of an alto singer's craft.
Friday, February 22, 2008
What is an "acoustic piano"?
From time to time students ask me "what is an acoustic piano? Is it different than a regular piano?
The term acoustic piano is a fancy, more descriptive way of referring to a normal piano. It's typically only called an acoustic piano when being mentioned in conjunction with digital or electronic pianos; without those barriers, the acoustic piano needs no distinction. It is, simply, a piano. It comes in various forms, some better than others, and is usually considered a part of the percussion section; an acoustic piano has the potential to drive the rhythm just as effectively as the drums.
One of the most startling facts for a music-loving child to learn is that an acoustic piano is actually a string instrument; growing accustomed to violins and cellos as rote for the string section, it seems so unlikely to us as children that an acoustic piano could fall in that category. An acoustic piano produces sound by a series of strings stretched on a frame; the strings on a grand acoustic piano are stretched horizontally, producing a thick sound, while the strings on an upright acoustic piano are stretched vertically, tending to make the sound more tinny. The keys on an acoustic piano are attached to tiny hammers; when triggered by pressing a key, these hammers hit a string and produce that familiar acoustic piano sound.
An acoustic piano consists of a large wooden frame enclosing the strings and pedal mechanics and a keyboard which is used to actually play the instrument. The keyboard generally has 88 keys (though sometimes less or more, depending on the manufacturer), each of which corresponds to a specific pitch; these pitches are named after the first seven letters of the alphabet and retain that name regardless of the octave. The 88 keys on an acoustic piano hold roughly seven octaves with the lowest octave starting to the left; the white keys represent the seven natural notes of a diatonic scale, and the black keys function as the accidentals.
For more on pianos go to http://www.playpiano.com/piano
The term acoustic piano is a fancy, more descriptive way of referring to a normal piano. It's typically only called an acoustic piano when being mentioned in conjunction with digital or electronic pianos; without those barriers, the acoustic piano needs no distinction. It is, simply, a piano. It comes in various forms, some better than others, and is usually considered a part of the percussion section; an acoustic piano has the potential to drive the rhythm just as effectively as the drums.
One of the most startling facts for a music-loving child to learn is that an acoustic piano is actually a string instrument; growing accustomed to violins and cellos as rote for the string section, it seems so unlikely to us as children that an acoustic piano could fall in that category. An acoustic piano produces sound by a series of strings stretched on a frame; the strings on a grand acoustic piano are stretched horizontally, producing a thick sound, while the strings on an upright acoustic piano are stretched vertically, tending to make the sound more tinny. The keys on an acoustic piano are attached to tiny hammers; when triggered by pressing a key, these hammers hit a string and produce that familiar acoustic piano sound.
An acoustic piano consists of a large wooden frame enclosing the strings and pedal mechanics and a keyboard which is used to actually play the instrument. The keyboard generally has 88 keys (though sometimes less or more, depending on the manufacturer), each of which corresponds to a specific pitch; these pitches are named after the first seven letters of the alphabet and retain that name regardless of the octave. The 88 keys on an acoustic piano hold roughly seven octaves with the lowest octave starting to the left; the white keys represent the seven natural notes of a diatonic scale, and the black keys function as the accidentals.
For more on pianos go to http://www.playpiano.com/piano
Tuesday, February 05, 2008
The Sonata Form
Sonata form is a very rigid method of musical composition; it can refer to either an entire piece of music or the first movement of a symphony. Though sonata form is an integral part of a symphony, sonata form as an entire piece of music tends to be a bit more complicated as more attention and time is given to each individual part within the intricate composition.
Sonata form is generally divided into five parts: introduction, exposition, development, recapitulation and coda. The introduction within sonata form is generally the shortest part of the piece, at times omitted completely if it isn't completely necessary. A sonata form introduction is often dynamic-building, a slower part that increases with weight as it moves forward, pushing the song toward the exposition -- the most important part.
The sonata form exposition is the meat of the song, the area in which the major thematic subjects are introduced. The exposition itself is divded into a series of subject groups. The first subject group in sonata form introduces a theme, followed by a brief transition used to switch keys. The second subject group brings altered melodies into the sonata form in a different key than the first group; it is primarily used to change the piece's mood. It is followed by the sonata form codetta, which revisits various themes within the exposition and signals the end of the part.
Sonata form development is exactly that: development of the subject found in the exposition. In order to make the sonata form development work effectively, however, the subjects have to be very altered, sometimes introducing one or two elements completely new to the song. It is followed by the sonata form recapitulation, which revisits the exposition. It is divided into the same groupings as the original exposition with the parts unchanged -- except for the transitional key change, which is usually abandoned.
The final part of the sonata form is the coda, a part that essentially repeats the end of the song. The sonata form coda can, of course, be altered, but it is rarely so altered as to become unrecognizable.
Click here for Classical Piano For Beginners
Sonata form is generally divided into five parts: introduction, exposition, development, recapitulation and coda. The introduction within sonata form is generally the shortest part of the piece, at times omitted completely if it isn't completely necessary. A sonata form introduction is often dynamic-building, a slower part that increases with weight as it moves forward, pushing the song toward the exposition -- the most important part.
The sonata form exposition is the meat of the song, the area in which the major thematic subjects are introduced. The exposition itself is divded into a series of subject groups. The first subject group in sonata form introduces a theme, followed by a brief transition used to switch keys. The second subject group brings altered melodies into the sonata form in a different key than the first group; it is primarily used to change the piece's mood. It is followed by the sonata form codetta, which revisits various themes within the exposition and signals the end of the part.
Sonata form development is exactly that: development of the subject found in the exposition. In order to make the sonata form development work effectively, however, the subjects have to be very altered, sometimes introducing one or two elements completely new to the song. It is followed by the sonata form recapitulation, which revisits the exposition. It is divided into the same groupings as the original exposition with the parts unchanged -- except for the transitional key change, which is usually abandoned.
The final part of the sonata form is the coda, a part that essentially repeats the end of the song. The sonata form coda can, of course, be altered, but it is rarely so altered as to become unrecognizable.
Click here for Classical Piano For Beginners
Thursday, January 31, 2008
Accompanying At The Piano
Accompanying
Accompanying is the act of playing along with another musician, most frequently a singer or choral ensemble (though it can just as easily be with another instrument). Though the term has gained a sort of stigma that implies background music, this is in no way the case. Modern bands that contain vocals also contain accompaniment; the band is considered to be accompanying the singer. The fact that they are playing the music for the vocalist to sing to does not at all diminish their importance. Accompanying a musician is simply adding another layer to the song. What, after all, would the song be without the band accompanying the vocals?
Accompanying is found frequently in choral groups. Choral instructors are often accompanying their students on piano during rehearsal; a new pianist is brought in for the performance. A piano isn't the only thing necessary for accompanying a choral ensemble, however. Full orchestras are often used, especially for theater performances. Consider a Broadway performance. We think of the orchestra as just another part of the song, a vital part at that. That orchestra is accompanying the singers and performers on stage.
Accompanying an instrument, vocalist, or choral ensemble requires great skill on the part of the musician performing the accompaniment. A solid background in sight reading is a must, as is the ability to adapt to the other musicians' style -- though accompanying a modern musician requires far less of a style adaptation than it used to. In earlier days of accompanying (the Baroque period, to be exact), the accompanying musician used a type of notation called basso continuo to perform the accompaniment. Basso continuo was not full sheet music, however; it only gave the accompanying musician the bass line and general notes to be played above it. The style and specific changes of the piece were up to the accompanying musician to work out with the lead. Now, however, accompanying musicians are usually given full sheet music with copious notes as to the intended style. But even with the full sheet music, accompanying musicians must understand the style of the other musicians and be able to follow their lead, making accompanying an art all of its own.
Accompanying is the act of playing along with another musician, most frequently a singer or choral ensemble (though it can just as easily be with another instrument). Though the term has gained a sort of stigma that implies background music, this is in no way the case. Modern bands that contain vocals also contain accompaniment; the band is considered to be accompanying the singer. The fact that they are playing the music for the vocalist to sing to does not at all diminish their importance. Accompanying a musician is simply adding another layer to the song. What, after all, would the song be without the band accompanying the vocals?
Accompanying is found frequently in choral groups. Choral instructors are often accompanying their students on piano during rehearsal; a new pianist is brought in for the performance. A piano isn't the only thing necessary for accompanying a choral ensemble, however. Full orchestras are often used, especially for theater performances. Consider a Broadway performance. We think of the orchestra as just another part of the song, a vital part at that. That orchestra is accompanying the singers and performers on stage.
Accompanying an instrument, vocalist, or choral ensemble requires great skill on the part of the musician performing the accompaniment. A solid background in sight reading is a must, as is the ability to adapt to the other musicians' style -- though accompanying a modern musician requires far less of a style adaptation than it used to. In earlier days of accompanying (the Baroque period, to be exact), the accompanying musician used a type of notation called basso continuo to perform the accompaniment. Basso continuo was not full sheet music, however; it only gave the accompanying musician the bass line and general notes to be played above it. The style and specific changes of the piece were up to the accompanying musician to work out with the lead. Now, however, accompanying musicians are usually given full sheet music with copious notes as to the intended style. But even with the full sheet music, accompanying musicians must understand the style of the other musicians and be able to follow their lead, making accompanying an art all of its own.
Monday, December 10, 2007
Free video on playing "Joy To The World" on the piano using rhythm and chords
I thought you might like to know that there is a free short video on playing "Joy To The World" on the piano using rhythm and chords and all sorts of exciting arranging techniques.
You can watch it at Video on "Joy To The World"
You can watch it at Video on "Joy To The World"
Thursday, December 06, 2007
Beethoven's "Fur Elise" & How It Was Written
One of the best-loved of all classical pieces is Beethoven's Fur Elise.
Ludwig van Beethoven is one of the most famous classical composers of the western world. Beethoven is remembered for his powerful and stormy compositions, and for continuing to compose and conduct even after he began to go deaf at age 28.
Beethoven scholars are not entirely certain who "Elise" was. The most reasonable theory is that Beethoven originally titled his work "Für Therese", Therese being a gal named Therese whom Beethoven intended to marry in 1810. However, she declined Beethoven's proposal, which no doubt contributed to his depression.
The piece begins with a trill-like melody flowing into an arpeggiation of Am and E7 -- the I and V7 chords in the key of A minor. The next section uses the same theme -- or an approximation of it, but in C major and G major. At the end the minor theme returns.
For details on the piece and how it was written, go to:
Fur-Elise
Ludwig van Beethoven is one of the most famous classical composers of the western world. Beethoven is remembered for his powerful and stormy compositions, and for continuing to compose and conduct even after he began to go deaf at age 28.
Beethoven scholars are not entirely certain who "Elise" was. The most reasonable theory is that Beethoven originally titled his work "Für Therese", Therese being a gal named Therese whom Beethoven intended to marry in 1810. However, she declined Beethoven's proposal, which no doubt contributed to his depression.
The piece begins with a trill-like melody flowing into an arpeggiation of Am and E7 -- the I and V7 chords in the key of A minor. The next section uses the same theme -- or an approximation of it, but in C major and G major. At the end the minor theme returns.
For details on the piece and how it was written, go to:
Fur-Elise
Monday, November 19, 2007
Christmas Carols Galore
Here are some familiar old carols that can be played on the piano (or guitar0 with just a few chords:
Silent Night
Away In A Manger
Joy To The World
Deck The Halls
Go, Tell It On The Mountain
O Come, O Come Immanuel
Star Of The East
The First Noel
The Holly And The Ivy
While Shepherds Watched Their Flocks
God Rest Ye Merry, Gentlemen
Hark! The Herald Angels Sing
I Heard The Bells On Christmas Day
O Christmas Tree
Angels We Have Heard On High
For a quick way to learn how to do that, go to:
Christmas Carols for those just starting out
Silent Night
Away In A Manger
Joy To The World
Deck The Halls
Go, Tell It On The Mountain
O Come, O Come Immanuel
Star Of The East
The First Noel
The Holly And The Ivy
While Shepherds Watched Their Flocks
God Rest Ye Merry, Gentlemen
Hark! The Herald Angels Sing
I Heard The Bells On Christmas Day
O Christmas Tree
Angels We Have Heard On High
For a quick way to learn how to do that, go to:
Christmas Carols for those just starting out
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