www.PlayPiano.com, Tips and lessons for learning piano piano chords and progressions in our free newsletter over 300 courses on piano and music theory
Monday, April 28, 2008
Learn to play piano at Home with PlayPiano.com
www.PlayPiano.com, Learn to play piano with our DVD and CD piano courses for Adults Sign up for free newsletter on piano chords and progressions
Saturday, April 26, 2008
Piano Chord Progressions: Tri-Tone Chord Substitution
Piano Chord Progressions: Tri-Tone Chord SubstitutionThe mysterious "tri-tone substitution" has puzzled musicians down through the years. I used it for 20 years without knowing the name of it -- I called it "half-step slides from above". It adds interest to your piano playing and chord progressions by substitution the chord that is a tri-tone away from the root of the V7 chord.
Wednesday, April 16, 2008
Can Your Doctor Tell Your Heart From Your Liver?
http://www.pianolessonsbyvideo.com separates the men from the boys & the girls from the women when it comes to understanding music. You wouldn't let a doctor who can't tell your heart from your liver operate on you, would you? Of course not. So why do millions of people learn to play piano from teachers who don't understand chords and chord progressions?
Thursday, March 06, 2008
Songs That Tell A Story
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.
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.
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
Subscribe to:
Posts (Atom)
If you aren't already a subscriber
then please subscribe to our FREE
e-mail newsletter on:
Piano Chords & Chord Progressions!
