Saturday, August 13, 2005
Friday, August 12, 2005
Exciting ‘Crash Course’ in Piano Playing for Adults
Week 3 Of The Exciting ‘Crash Course’ in Piano Playing for Adults
http://www.pianolessonsbyvideo.com/articles/3-crash-piano-course.htm
Week Three - Crash Course For Adults in Exciting Piano Playing
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principal chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
http://www.pianolessonsbyvideo.com/articles/3-crash-piano-course.htm
Week Three - Crash Course For Adults in Exciting Piano Playing
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principal chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
Crash course in piano playing for adults - Week 3
http://www.pianolessonsbyvideo.com/articles/3-crash-piano-course.htm
Week Three
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principle chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
Week Three
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principle chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
Lesson 3 in Piano Crash Course For Adults
Week Three - Piano Crash Course For Adults
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principle chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principle chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
Week Two Of The Exciting ‘Crash Course’ in Piano Playing for Adults
Week Two Of The Exciting ‘Crash Course’ in Piano Playing for Adults
Week two starts with a basic review of the techniques learned in week one; you'll briefly cover the chords, fingerings and exercises practiced during the first week to ensure your ability to easily move forward to week two's new concepts. After warming up and solidifying your week one lesson, you'll be introduced to three new notes, widening your note knowledge to an entire eight-note octave. Duane demonstrates the new fingerings needed to accommodate this extended range and shows you the technique used to play an entire C scale with only one hand. He'll then slowly guide you through a new song that covers every note you've learned in the C scale and exercises your ability to play them with the proper fingerings; the song also allows you the opportunity to practice your left-hand chord accompaniment.
The lesson then moves on to two new chords that supplement the three introduced last week. Again using the pointer system, you'll learn the proper fingerings for each chord and the importance of these chords to the C major scale; Duane also adds a new octave to your range and explains the value of pick-up notes. You'll begin work on two more songs in the main text (including the ever popular "Oh, Susanna") to exercise your fingering technique and chord recognition, learning to practice the left and right hand parts individually before putting the two together. Duane then takes you to the supplementary book to try your hands at "Twinkle, Twinkle Little Star" and "On Top of Old Smoky," two pieces that fully test your ability to apply the concepts taught so far.
Week two starts with a basic review of the techniques learned in week one; you'll briefly cover the chords, fingerings and exercises practiced during the first week to ensure your ability to easily move forward to week two's new concepts. After warming up and solidifying your week one lesson, you'll be introduced to three new notes, widening your note knowledge to an entire eight-note octave. Duane demonstrates the new fingerings needed to accommodate this extended range and shows you the technique used to play an entire C scale with only one hand. He'll then slowly guide you through a new song that covers every note you've learned in the C scale and exercises your ability to play them with the proper fingerings; the song also allows you the opportunity to practice your left-hand chord accompaniment.
The lesson then moves on to two new chords that supplement the three introduced last week. Again using the pointer system, you'll learn the proper fingerings for each chord and the importance of these chords to the C major scale; Duane also adds a new octave to your range and explains the value of pick-up notes. You'll begin work on two more songs in the main text (including the ever popular "Oh, Susanna") to exercise your fingering technique and chord recognition, learning to practice the left and right hand parts individually before putting the two together. Duane then takes you to the supplementary book to try your hands at "Twinkle, Twinkle Little Star" and "On Top of Old Smoky," two pieces that fully test your ability to apply the concepts taught so far.
Wednesday, August 10, 2005
3 Secrets To Understanding
3 Secrets To Understanding: "3 Secrets To Understanding
What Music Is Made Of
3 Secrets To Understanding What Music Is Made Of
It�s no secret that virtually everyone loves music in some form or other.
The country-western fan may not like jazz, but he or she sure loves the sound of pickin� & grinnin�.
And that�s as it should be. If we all liked the same kind of music, there just wouldn�t be the variety that is available to us now. We can choose from musical styles ranging from heavy classical and opera to rock to children�s songs to Broadway musicals to gospel music to the blues.
Each has its place, and each seems on the surface to be drastically different than another form of music. The key word is �on the surface.� But beneath the surface of all music is a commonality that is organic to all forms and styles of music.
So what does all music have in common?
At least 3 things � sometimes more, but never less:
Melody
Rhythm
Harmony
The melody is the part of a song or composition that you whistle or hum � in other words, the tune of the song. In one sense, it is the most visible of the 3 elements, because melody is what identifies a song. Without melody, it would be difficult to even conceive of a song or piece.
In musical notation, the melody is almost always written in the treble clef � also known as the treble staff. It consists of a horizontal line of notes that move up and down on the clef as the tune moves higher or lower.
Rhythm is the beat � the swing � the throb of the music. It happens in repeating patterns, depending upon the type of music. It is like a horizontal line of beats which occur at regular or semi-regular intervals. A waltz, for example, basically consists of a heavy bea"
What Music Is Made Of
3 Secrets To Understanding What Music Is Made Of
It�s no secret that virtually everyone loves music in some form or other.
The country-western fan may not like jazz, but he or she sure loves the sound of pickin� & grinnin�.
And that�s as it should be. If we all liked the same kind of music, there just wouldn�t be the variety that is available to us now. We can choose from musical styles ranging from heavy classical and opera to rock to children�s songs to Broadway musicals to gospel music to the blues.
Each has its place, and each seems on the surface to be drastically different than another form of music. The key word is �on the surface.� But beneath the surface of all music is a commonality that is organic to all forms and styles of music.
So what does all music have in common?
At least 3 things � sometimes more, but never less:
Melody
Rhythm
Harmony
The melody is the part of a song or composition that you whistle or hum � in other words, the tune of the song. In one sense, it is the most visible of the 3 elements, because melody is what identifies a song. Without melody, it would be difficult to even conceive of a song or piece.
In musical notation, the melody is almost always written in the treble clef � also known as the treble staff. It consists of a horizontal line of notes that move up and down on the clef as the tune moves higher or lower.
Rhythm is the beat � the swing � the throb of the music. It happens in repeating patterns, depending upon the type of music. It is like a horizontal line of beats which occur at regular or semi-regular intervals. A waltz, for example, basically consists of a heavy bea"
Tuesday, August 09, 2005
10 Top Reasons You Should Learn to Play �Chord� Piano
10 Top Reasons You Should Learn to Play �Chord� Piano: "
10 Top Reasons You Should Learn to Play �Chord� Piano
There are roughly umpteen zillion reasons why you should learn enough chords to be able to �chord a song� at the piano.
By �chord a song�, I mean the ability to play 3 or 4 chords on the piano in some sort of rhythm while you or someone else sings the tune. To do this, you don�t need to be a Van Cliburn; all you need to do is learn a few basic chords and be able to more back and forth between them in some organized rhythmic pattern.
For example, did you realize that all of these songs (and hundreds more) can be sung or played with just 3 chords?
Auld Lang Syne
Amazing Grace
Kum Ba Ya
Silent Night
Joy To The World
Jingle Bells
Happy Birthday
Down In The Valley
On Top Of Old Smoky
�and hundreds or maybe thousands more!
Add just one more chord to the basic 3, and you can play another thousand songs or so. So why not learn a few chords and start your chording career?
Here are my top 10 reasons for learning �chord piano�:
1) It�s easy. Learn 3 chords and start in.
2) Even though it�s easy to get started, you don�t have to stop there. You can learn more and more chords and more rhythm patterns and get really good.
3) You�ll be able to play �Happy Birthday� while the gang sings it.
4) You�ll be able to play half-a-dozen Christmas carols. In case you haven�t noticed, Christmas comes every year, so every year you�ll get better as you participate in family gatherings.
5) You can help your kids learn to play the piano, guitar, or most any other instrument by learning chords. Most teachers don�t teach chords, s"
10 Top Reasons You Should Learn to Play �Chord� Piano
There are roughly umpteen zillion reasons why you should learn enough chords to be able to �chord a song� at the piano.
By �chord a song�, I mean the ability to play 3 or 4 chords on the piano in some sort of rhythm while you or someone else sings the tune. To do this, you don�t need to be a Van Cliburn; all you need to do is learn a few basic chords and be able to more back and forth between them in some organized rhythmic pattern.
For example, did you realize that all of these songs (and hundreds more) can be sung or played with just 3 chords?
Auld Lang Syne
Amazing Grace
Kum Ba Ya
Silent Night
Joy To The World
Jingle Bells
Happy Birthday
Down In The Valley
On Top Of Old Smoky
�and hundreds or maybe thousands more!
Add just one more chord to the basic 3, and you can play another thousand songs or so. So why not learn a few chords and start your chording career?
Here are my top 10 reasons for learning �chord piano�:
1) It�s easy. Learn 3 chords and start in.
2) Even though it�s easy to get started, you don�t have to stop there. You can learn more and more chords and more rhythm patterns and get really good.
3) You�ll be able to play �Happy Birthday� while the gang sings it.
4) You�ll be able to play half-a-dozen Christmas carols. In case you haven�t noticed, Christmas comes every year, so every year you�ll get better as you participate in family gatherings.
5) You can help your kids learn to play the piano, guitar, or most any other instrument by learning chords. Most teachers don�t teach chords, s"
If Seals can sing, so can you!
If Seals can sing, so can you!: "If Seals Can Sing, So Can You!
It sounds like a side show, doesn�t it? It does to me. But it�s true; researchers have discovered that some varieties of seals really do sing. Indeed, male leopard seals have been heard singing complex melodies in their lonely search for a mate. Likewise, male Weddell seals, which are a very social creature, lure their mate by improvising original melodies the way a master musician would in front of an audience.
Hearing that seals sing really shouldn�t surprise any of us. Music is a central element of life. Walk through the forest at night in the eastern part of the United States and you can�t help but be moved by the symphony of sound that is created when each woodland creature sings its part.
Music moves us, often in ways that we don�t understand. For example who hasn�t been calmed by the sound of quiet singing such as a lullaby? But more than that, who can explain why cows produce more milk and chickens lay more eggs when listening to certain songs like The Blue Danube? I�ve seen many studies that verify that these observations are true, but none that I�ve seen fully explain why.
Fortunately, we don�t really have to understand why singing and music in general is so central to the world we live in to benefit from it. I doubt that Mozart or Beethoven understood it, but we have all benefited from the works of these two masters, both of whom seem to have benefited from listening to the birds sing. As a matter of fact, many people believe that Beethoven actually stole the opening to his Violin Concerto in D, Opus 61 from the song of the European Blackbird! Maybe, maybe not. But we know from Mozart�s own notebooks that he played the last movement of his Piano Concerto in G Major to his pet starling who then sang the passage"
It sounds like a side show, doesn�t it? It does to me. But it�s true; researchers have discovered that some varieties of seals really do sing. Indeed, male leopard seals have been heard singing complex melodies in their lonely search for a mate. Likewise, male Weddell seals, which are a very social creature, lure their mate by improvising original melodies the way a master musician would in front of an audience.
Hearing that seals sing really shouldn�t surprise any of us. Music is a central element of life. Walk through the forest at night in the eastern part of the United States and you can�t help but be moved by the symphony of sound that is created when each woodland creature sings its part.
Music moves us, often in ways that we don�t understand. For example who hasn�t been calmed by the sound of quiet singing such as a lullaby? But more than that, who can explain why cows produce more milk and chickens lay more eggs when listening to certain songs like The Blue Danube? I�ve seen many studies that verify that these observations are true, but none that I�ve seen fully explain why.
Fortunately, we don�t really have to understand why singing and music in general is so central to the world we live in to benefit from it. I doubt that Mozart or Beethoven understood it, but we have all benefited from the works of these two masters, both of whom seem to have benefited from listening to the birds sing. As a matter of fact, many people believe that Beethoven actually stole the opening to his Violin Concerto in D, Opus 61 from the song of the European Blackbird! Maybe, maybe not. But we know from Mozart�s own notebooks that he played the last movement of his Piano Concerto in G Major to his pet starling who then sang the passage"
"The Crash Course In Exciting Piano Playing!"
You're On Your Way To Playing Piano Like You've Always Dreamed!
Lesson One -
"The Crash Course In Exciting Piano Playing!"
You're On Your Way To Playing Piano Like You've Always Dreamed!
Week one's journey into the world of piano starts at the very beginning: the piano keyboard. After a brief review of the texts and their methods, you'll be introduced to the keys themselves, learning quickly to find middle C and to identify a number of notes in the C major scale.
Duane explains right-hand fingering techniques, register and basic musical notation before walking you step by step through the melodies of your first two songs. But melodies are only half the battle; the lesson then moves on to the chords and left-hand accompaniment that a full, complete sound requires. Using the "pointer" method -- a method by which chords and their fingerings are learned -- Duane shows you several in a set of C major scale family chords, giving you the ability to play well-known songs like "Merrily We Roll Along" and "Lightly Row" with both hands.
If you're saying "I don't want to learn silly little songs like that", remember that we are learning principles we can then apply to any song -- including all the songs you will someday love to play!
After being taught the fingerings and structure of your newly learned chords, you'll move on to the fundamentals of music theory and sight reading. New terms such as staff, clef, measure and bar line are explained fully, as are their sister concepts rhythm, melody, harmony, time signature and note values. Duane shows you the essentials of music reading and guides you through several songs geared toward exercising your knowledge, stopping along the way to explain any new concept or idea. It's a slow, careful method of learning the basics, one punctuated by a short quiz to test what you've learned thus far.
The last several minutes of this first lesson move in for a close-up, giving you a bird's eye view of Duane's hands as he again demonstrates the chords, fingerings and exercises included in this lesson. It's a chance to see, in detail, what your hands really should be doing and a valuable tool for understanding and reviewing the techniques introduced in your first week, as well as a "preview of coming attractions" -- exciting techniques you will learn later on.
And remember -- you don't have to commit yourself to a full year -- you can "sample" the course by signing up for just the first month. But if you do, I warn you -- you will be hooked because you'll start to see that you really can learn to play the piano -- it's not just a wishful dream.
Lesson One -
"The Crash Course In Exciting Piano Playing!"
You're On Your Way To Playing Piano Like You've Always Dreamed!
Week one's journey into the world of piano starts at the very beginning: the piano keyboard. After a brief review of the texts and their methods, you'll be introduced to the keys themselves, learning quickly to find middle C and to identify a number of notes in the C major scale.
Duane explains right-hand fingering techniques, register and basic musical notation before walking you step by step through the melodies of your first two songs. But melodies are only half the battle; the lesson then moves on to the chords and left-hand accompaniment that a full, complete sound requires. Using the "pointer" method -- a method by which chords and their fingerings are learned -- Duane shows you several in a set of C major scale family chords, giving you the ability to play well-known songs like "Merrily We Roll Along" and "Lightly Row" with both hands.
If you're saying "I don't want to learn silly little songs like that", remember that we are learning principles we can then apply to any song -- including all the songs you will someday love to play!
After being taught the fingerings and structure of your newly learned chords, you'll move on to the fundamentals of music theory and sight reading. New terms such as staff, clef, measure and bar line are explained fully, as are their sister concepts rhythm, melody, harmony, time signature and note values. Duane shows you the essentials of music reading and guides you through several songs geared toward exercising your knowledge, stopping along the way to explain any new concept or idea. It's a slow, careful method of learning the basics, one punctuated by a short quiz to test what you've learned thus far.
The last several minutes of this first lesson move in for a close-up, giving you a bird's eye view of Duane's hands as he again demonstrates the chords, fingerings and exercises included in this lesson. It's a chance to see, in detail, what your hands really should be doing and a valuable tool for understanding and reviewing the techniques introduced in your first week, as well as a "preview of coming attractions" -- exciting techniques you will learn later on.
And remember -- you don't have to commit yourself to a full year -- you can "sample" the course by signing up for just the first month. But if you do, I warn you -- you will be hooked because you'll start to see that you really can learn to play the piano -- it's not just a wishful dream.
Thursday, August 04, 2005
Creep chord progression
Creep chord progression: "
Issue No. 26 �
'Secrets of Exciting Chords & Chord Progressions!'
This is the ' Secrets of Exciting Chords & Chord Progressions!' newsletter that you (or someone using your E-mail address) signed up for when you visited our site. If you no longer want to receive these free weekly E-mail piano lessons, toggle down to the bottom of this E-mail and you'll see where you can take yourself off the list. We take your privacy (and ours) very seriously, so we don't want anyone receiving our stuff who doesn't want it! ('cause thousands really do!).
' Secrets of Exciting Piano Chords & Piano Chord Progressions!'
- Lesson 26 -
Chord Progressions Part Seven
'The 'Creep' Chord Progression'
A couple lessons ago we learned the most obvious chord progression of all:
The 'Oh Duh' Chord Progression
1. If there are 3 primary chords in a key -- I, IV, and V -- and there are;
2. And since most songs start and end on the I chord -- and they do;
3. Then the obvious conclusion is that there are only two possibilities for the next chord -- the V chord or the IV chord;
4. So if the melody note is part of the V chord, then the chord is probably the V chord. (Duh!) If the melody is not part of the V chord, then the chord is probably the IV chord. (Duh!)
Just to briefly review, here they are again -- the 3 most used chords -- the primary chords -- in each major key:
This time we're going to learn the 'creep' chord progression, using those diminished 7th chords we learned back a few lessons ago. I call it the 'creep' because the chords creep up gradually until you arrive at a stable chord, then the song goes elsewhere."
Issue No. 26 �
'Secrets of Exciting Chords & Chord Progressions!'
This is the ' Secrets of Exciting Chords & Chord Progressions!' newsletter that you (or someone using your E-mail address) signed up for when you visited our site. If you no longer want to receive these free weekly E-mail piano lessons, toggle down to the bottom of this E-mail and you'll see where you can take yourself off the list. We take your privacy (and ours) very seriously, so we don't want anyone receiving our stuff who doesn't want it! ('cause thousands really do!).
' Secrets of Exciting Piano Chords & Piano Chord Progressions!'
- Lesson 26 -
Chord Progressions Part Seven
'The 'Creep' Chord Progression'
A couple lessons ago we learned the most obvious chord progression of all:
The 'Oh Duh' Chord Progression
1. If there are 3 primary chords in a key -- I, IV, and V -- and there are;
2. And since most songs start and end on the I chord -- and they do;
3. Then the obvious conclusion is that there are only two possibilities for the next chord -- the V chord or the IV chord;
4. So if the melody note is part of the V chord, then the chord is probably the V chord. (Duh!) If the melody is not part of the V chord, then the chord is probably the IV chord. (Duh!)
Just to briefly review, here they are again -- the 3 most used chords -- the primary chords -- in each major key:
This time we're going to learn the 'creep' chord progression, using those diminished 7th chords we learned back a few lessons ago. I call it the 'creep' because the chords creep up gradually until you arrive at a stable chord, then the song goes elsewhere."
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