Thursday, October 11, 2007
Reverse order
The lessons below on playing by ear are in reverse order. That's the nature of this blog and I don't think I can change it. So if you want lesson one, scroll past the "Using ol' lefty" lesson. Future lessons will have the same problem.
Using ol' lefty
Your left hand is your bass hand. The bass notes anchor the chord and make the playing come alive. You really need to start working with them.
It's quite easy to use the left hand: you can simply use one finger (the index finger works well) to tap out the bass notes while your right hand plays chords. That's Level I playing. I'd suggest skipping straight to Level II.
Level II bass playing is forming an octave with your left hand, little finger and thumb. An octave is simply the same note, C for instance, played eight notes apart ... er, make that eight whole notes apart. If you use the counting method I use here, it's actually twelve notes apart. At any rate, two C's played with the thumb and little finger are an octave.
If you've got a small hand, it's a little tough at first to play one, but you can do it. People with large hands can sometimes get two to three notes above an octave.
Now for the theory underneath the bass. It's really, really simple if you've been following along this counting business. At the simplest, you can simply play the tonic note in the chord you're playing and you've got the bass. For instance, if you're playing the C-major chord, form an octave on C down below your right hand. Hit it for each accented beat in the measure. Hold it down. Play the chord with the right hand. You're playing bass.
When you move from the tonic chord to the sub-dominant, you can simply change your bass position to the first note in the sub-dominant. In C, this means moving from C to F. Just hit the F bass as you first hit the F-major.
That's simple bass. To add variety, you can "climb" up to the sub-dominant. The way to do this is to hit the C bass, then D, then E, landing on F just as the chord changes to F. You have to practice to make it work out with the right timing but again, trust your ear, it will guide you.
If the F goes back to C (sub-dominant to tonic), just reverse the process: F, E, D, and C.
Beautiful. We just did a bass run. And we can do the same when moving from tonic to dominant, or C to G in our case ... except now instead of "climbing" you descend. Hit C, B, A, then land on G just as the G chord is called for.
That's how bass is played. You basically just head for the main note of the chord being played at any given time. Any way you get there is okay but once there, be sure to hold the sound so it anchors the chord.
Experiment. You'll quickly develop your own style of playing "bass."
Next lesson we'll look at playing the melody instead of just "strumming" the piano. Before that, practice what you've learned. Let your voice be the melody.
It's quite easy to use the left hand: you can simply use one finger (the index finger works well) to tap out the bass notes while your right hand plays chords. That's Level I playing. I'd suggest skipping straight to Level II.
Level II bass playing is forming an octave with your left hand, little finger and thumb. An octave is simply the same note, C for instance, played eight notes apart ... er, make that eight whole notes apart. If you use the counting method I use here, it's actually twelve notes apart. At any rate, two C's played with the thumb and little finger are an octave.
If you've got a small hand, it's a little tough at first to play one, but you can do it. People with large hands can sometimes get two to three notes above an octave.
Now for the theory underneath the bass. It's really, really simple if you've been following along this counting business. At the simplest, you can simply play the tonic note in the chord you're playing and you've got the bass. For instance, if you're playing the C-major chord, form an octave on C down below your right hand. Hit it for each accented beat in the measure. Hold it down. Play the chord with the right hand. You're playing bass.
When you move from the tonic chord to the sub-dominant, you can simply change your bass position to the first note in the sub-dominant. In C, this means moving from C to F. Just hit the F bass as you first hit the F-major.
That's simple bass. To add variety, you can "climb" up to the sub-dominant. The way to do this is to hit the C bass, then D, then E, landing on F just as the chord changes to F. You have to practice to make it work out with the right timing but again, trust your ear, it will guide you.
If the F goes back to C (sub-dominant to tonic), just reverse the process: F, E, D, and C.
Beautiful. We just did a bass run. And we can do the same when moving from tonic to dominant, or C to G in our case ... except now instead of "climbing" you descend. Hit C, B, A, then land on G just as the G chord is called for.
That's how bass is played. You basically just head for the main note of the chord being played at any given time. Any way you get there is okay but once there, be sure to hold the sound so it anchors the chord.
Experiment. You'll quickly develop your own style of playing "bass."
Next lesson we'll look at playing the melody instead of just "strumming" the piano. Before that, practice what you've learned. Let your voice be the melody.
Wednesday, October 10, 2007
Playing the Piano in an Hour
For those of you who joined me in the "Learn to play the piano by ear in an hour" session at Ashland Woods, here's a little summary of what you learned.
1. All music is written in a key. The easiest key to learn piano in is C because it avoids the black keys and displays music's mathematical precision very simply and clearly.
2. Each key has three main chords you need to learn.
Once you know the three crucial chords for any key, you must now learn how to build the major chords. That's a simple counting exercise as well. Count up 4 from the tonic note, then 3 and you'll get a major. Example: In C you'll get C, then E (that's 4 up), then G (that's 3 beyond E.) Thus, C-major is composed of the notes C-E-G.
This 4 + 3 formula works anywhere on the keyboard for any major chord. If we apply it to F, we'll be able to count these notes out: F-A-C. If we apply to G, we get G-B-D.
Use your right hand to form C-major (C-E-G). Most people use their thumb on the C note, their middle finger on the E, and little pinky on the G. That's one way to play C-major. But it's not the only way. You could put your thumb on the E, middle finger on the G then go up to the next C using Lil' Pinky. If you play it this was you're playing the "2nd inversion."
You could also start with the thumb on the G and go up from there.
It doesn't matter how you play the notes as long as you are hitting C, E, and G. That is a key component to understanding ear-play. When you play the notes C, E, and G together you are playing a C major. Sidenote: NBC was originally owned by General Electric Corporation. They chose the initials of General Electric Corp as notes for their famous NBC little tune: G-E-C. Try it and see if it doesn't bring back memories of NBC.
Let's review: a key has a starting point called the tonic. From this point you build chords. The key has three main chords, the tonic, the sub-dominant, and the dominant. They can be discovered simply by counting up five and down five from the starting point (the tonic note). Major chords can be formed from each of these positions by simply adding 4 + 3 to them, counting up all half-steps.
Let's Start Playing
Now we're ready to play. Form a C-major with your hands frozen in a thumb-middle finger-pinky formation and strike the middle of the keyboard with the thumb on C. Begin singing "What a friend we have in Jesus." Sing until until you get to "bear" in "All our sins and griefs to bear." At this point something in your brain will trigger a shout: "Change chords!"
That shout is a gift everyone has. If you don't believe me, keep singing without changing your C major chord. You won't like it. You instinctively know you must change chords but where to? Here's where simple trial and error comes in handy. Try the sub-dominant (F in this case) and if that doesn't work, the dominant (G). You'll find G works.
Continue chording your way through the song, changing whenever things just don't sound right. Look for the correct chord among the three choices. You can play this entire song with just these three chords.
How many songs can be played with just three chords? A lot, especially hymns, folk songs, and early rock songs. I'd estimate half the song in the land can be played with just three chords. Amazing Grace can. Just as I Am. Be In Time. Jesus Is Getting Us Together. Try 'em all.
Review and practice
Try each of the above and/or any other song on the planet you'd like to play and sing with. Start with the tonic C major and sing your way through the song. When your brain screams, "Change the chord!" try the two available options. If it's a three-chord song, you will find it.
As you may be beginning to understand, playing piano by ear requires two, odd-bedfellow skills: the ability to count out chords and the ability to hear disharmony. The first is a left-brain activity that you have just learned: you count. The second is an innate ability that almost everyone has: you listen. That's a right-brain thing.
With these two elements you truly can learn to play piano by ear, but not in an hour. You have to learn how to play in keys other than C (easy: you start from a different tonic note), how to use the left hand for bass (pretty easy too, more on that in the next installment), and how to play melodies as you chord (a little trickier but easily within the grasp of anyone who has gotten this far).
1. All music is written in a key. The easiest key to learn piano in is C because it avoids the black keys and displays music's mathematical precision very simply and clearly.
2. Each key has three main chords you need to learn.
- The Tonic. This is the main chord, the one the song usually begins on and usually ends on. It is the "Home" chord, if you will. It is also the same name as the key. Hence, a song written in C has C major as its main, or tonic, chord.
- The sub-dominant. This chord is exactly 5 half-steps up from the tonic's starting point. If the tonic is C, 5 half-steps (half-steps are every key on the piano, white and black) up is the note F. Ergo, the sub-dominant of C is F.
- The dominant. This chord is exactly 5 half-steps down from the tonic. Count down the keyboard from C and you'll arrive at G.
Once you know the three crucial chords for any key, you must now learn how to build the major chords. That's a simple counting exercise as well. Count up 4 from the tonic note, then 3 and you'll get a major. Example: In C you'll get C, then E (that's 4 up), then G (that's 3 beyond E.) Thus, C-major is composed of the notes C-E-G.
This 4 + 3 formula works anywhere on the keyboard for any major chord. If we apply it to F, we'll be able to count these notes out: F-A-C. If we apply to G, we get G-B-D.
Use your right hand to form C-major (C-E-G). Most people use their thumb on the C note, their middle finger on the E, and little pinky on the G. That's one way to play C-major. But it's not the only way. You could put your thumb on the E, middle finger on the G then go up to the next C using Lil' Pinky. If you play it this was you're playing the "2nd inversion."
You could also start with the thumb on the G and go up from there.
It doesn't matter how you play the notes as long as you are hitting C, E, and G. That is a key component to understanding ear-play. When you play the notes C, E, and G together you are playing a C major. Sidenote: NBC was originally owned by General Electric Corporation. They chose the initials of General Electric Corp as notes for their famous NBC little tune: G-E-C. Try it and see if it doesn't bring back memories of NBC.
Let's review: a key has a starting point called the tonic. From this point you build chords. The key has three main chords, the tonic, the sub-dominant, and the dominant. They can be discovered simply by counting up five and down five from the starting point (the tonic note). Major chords can be formed from each of these positions by simply adding 4 + 3 to them, counting up all half-steps.
Let's Start Playing
Now we're ready to play. Form a C-major with your hands frozen in a thumb-middle finger-pinky formation and strike the middle of the keyboard with the thumb on C. Begin singing "What a friend we have in Jesus." Sing until until you get to "bear" in "All our sins and griefs to bear." At this point something in your brain will trigger a shout: "Change chords!"
That shout is a gift everyone has. If you don't believe me, keep singing without changing your C major chord. You won't like it. You instinctively know you must change chords but where to? Here's where simple trial and error comes in handy. Try the sub-dominant (F in this case) and if that doesn't work, the dominant (G). You'll find G works.
Continue chording your way through the song, changing whenever things just don't sound right. Look for the correct chord among the three choices. You can play this entire song with just these three chords.
How many songs can be played with just three chords? A lot, especially hymns, folk songs, and early rock songs. I'd estimate half the song in the land can be played with just three chords. Amazing Grace can. Just as I Am. Be In Time. Jesus Is Getting Us Together. Try 'em all.
Review and practice
Try each of the above and/or any other song on the planet you'd like to play and sing with. Start with the tonic C major and sing your way through the song. When your brain screams, "Change the chord!" try the two available options. If it's a three-chord song, you will find it.
As you may be beginning to understand, playing piano by ear requires two, odd-bedfellow skills: the ability to count out chords and the ability to hear disharmony. The first is a left-brain activity that you have just learned: you count. The second is an innate ability that almost everyone has: you listen. That's a right-brain thing.
With these two elements you truly can learn to play piano by ear, but not in an hour. You have to learn how to play in keys other than C (easy: you start from a different tonic note), how to use the left hand for bass (pretty easy too, more on that in the next installment), and how to play melodies as you chord (a little trickier but easily within the grasp of anyone who has gotten this far).
Thursday, September 27, 2007
Hey, Where Is This Place?
Glad you asked. It's at: 360 Township Rd. 150, Sullivan, OH 44880.
Copy that, paste it in the Google search box, and let Al Gore's creation do the rest. (Just kidding, Gore didn't really invent the internet.)
Copy that, paste it in the Google search box, and let Al Gore's creation do the rest. (Just kidding, Gore didn't really invent the internet.)
Wednesday, September 12, 2007
FAQ
Some questions you may wish you could ask:
Q. How much does this thing cost?
A. We're suggesting each participant offer $25.00. Families could offer $50.00. The money will go for food and the use of the facility. However, for anyone for whom the cost is an issue, any gift will be fine.
Q. How can I help serve?
A. Presently we're trying to find groups who will help with the three main meals. Last time, Goshen served the meals but this prevented some of the sisters from being as involved in the music as they wished. If three churches would offer to serve just one meal (Saturday noon, Saturday evening, and Sunday noon) Goshen will make sure breakfasts are available.
Q. Can I bring my kids?
A. Yes. But there will be no service for them. You will need to supervise them at all times.
Q. I didn't come to the last one. What will the sleeping arrangements be like?
A. We'll do our best to keep couples together, but this may not be possible. You could end up in an all male or all female setting. Can you say, "Dormitory"? The rooms are all comfortable with bedding provided.
Q. I'm really not that musical but I just love music. Should I come?
A. Yes! If you have advanced to the point of reading this page, you must be being led by the Spirit.
Q. Can I bring a friend?
A. Yes. But remember, space is limited so get your reservation for him and you in soon.
Q. Do I have to sing four-part harmony?
A. No. Nor do you have to sit in all the sessions. But here's a little secret: you'll want to!
Q. I think these music camps are a great idea, but what exactly is the overall point of doing this?
A. The point is to allow the Lord to nurture our music within the churches. We have some idea how that will and has been happening, but we are on the threshold of an exciting journey. Where it takes us precisely we can't say, except to the Spirit. There will be more sharing on this specific question on Saturday morning.
Q. I want to learn to play the piano? Will the "Play piano by ear" session do that for me?
A. Good one. Or, to put it another way, no. But all these sessions are meant to nurture, fertilize, open doors ... and hopefully after an hour session you'll begin to realize, "Hey, I can learn to do this!"
Q. How much does this thing cost?
A. We're suggesting each participant offer $25.00. Families could offer $50.00. The money will go for food and the use of the facility. However, for anyone for whom the cost is an issue, any gift will be fine.
Q. How can I help serve?
A. Presently we're trying to find groups who will help with the three main meals. Last time, Goshen served the meals but this prevented some of the sisters from being as involved in the music as they wished. If three churches would offer to serve just one meal (Saturday noon, Saturday evening, and Sunday noon) Goshen will make sure breakfasts are available.
Q. Can I bring my kids?
A. Yes. But there will be no service for them. You will need to supervise them at all times.
Q. I didn't come to the last one. What will the sleeping arrangements be like?
A. We'll do our best to keep couples together, but this may not be possible. You could end up in an all male or all female setting. Can you say, "Dormitory"? The rooms are all comfortable with bedding provided.
Q. I'm really not that musical but I just love music. Should I come?
A. Yes! If you have advanced to the point of reading this page, you must be being led by the Spirit.
Q. Can I bring a friend?
A. Yes. But remember, space is limited so get your reservation for him and you in soon.
Q. Do I have to sing four-part harmony?
A. No. Nor do you have to sit in all the sessions. But here's a little secret: you'll want to!
Q. I think these music camps are a great idea, but what exactly is the overall point of doing this?
A. The point is to allow the Lord to nurture our music within the churches. We have some idea how that will and has been happening, but we are on the threshold of an exciting journey. Where it takes us precisely we can't say, except to the Spirit. There will be more sharing on this specific question on Saturday morning.
Q. I want to learn to play the piano? Will the "Play piano by ear" session do that for me?
A. Good one. Or, to put it another way, no. But all these sessions are meant to nurture, fertilize, open doors ... and hopefully after an hour session you'll begin to realize, "Hey, I can learn to do this!"
Friday night
Friday night's itinerary has been set. Well, perhaps not quite etched in stone, but here's the latest on what to expect upon arrival.
First, check in. Find out your room arrangements, let us know you're here. But don't waste a lot of time doing that. Instead get into the big room where the action is.
The theme of the evening will be "New Life From Old Songs." We'll cover this in various ways:
Have your instruments -- including the best instrument God gave you ... your voice -- with you and ready to vibrate from the get-go.
We plan to run the Friday night session from 8:00 p.m. until 10:00. Try your best to arrive by 8:00 so as not to miss a thing.
First, check in. Find out your room arrangements, let us know you're here. But don't waste a lot of time doing that. Instead get into the big room where the action is.
The theme of the evening will be "New Life From Old Songs." We'll cover this in various ways:
- Appreciating the literary/spiritual depths of hymns
- For poetic language
- For the author's deepest sensation and thought
- Singing hymns in a new way
- Same tune, new tempo
- New tunes
- Writing new words for old tunes
- The story behind the song
- Singing in harmony, both practiced four-part and freelance
Have your instruments -- including the best instrument God gave you ... your voice -- with you and ready to vibrate from the get-go.
We plan to run the Friday night session from 8:00 p.m. until 10:00. Try your best to arrive by 8:00 so as not to miss a thing.
Wednesday, September 5, 2007
Dates
The second Ashland Woods music event will be October 5, 6, and 7. Things will begin on Friday evening at 8:00 with a You-don't-want-to-straggle-in-late-for session which is presently called, "The Mystery Session." (We're working on it, trust us.) Oh, did we mention, you won't want to miss this opening session?
Saturday will begin at 9:00 a.m. with morning sessions on a variety of topics still under development. Presently we are considering sessions on percussion in group settings (led by an expert drummer), a quick lesson in playing piano by ear, Q & A, general discussion about the direction the churches are taking in music, demonstration of preparing an arrangement, and more.
Saturday afternoon is shaping up as a time for two things to happen: 1) recording sessions for different groups, and 2) preparation for the evening coffeehouse.
Saturday evening we will have a coffeehouse with every attendant invited to perform. We have a special burden to develop not only songs for general congregational singing in the churches, but also coffeehouse acts that can be performed across the region, city to city.
Sunday will feature more of the same. We wish to maximize the time while we're together.
Saturday will begin at 9:00 a.m. with morning sessions on a variety of topics still under development. Presently we are considering sessions on percussion in group settings (led by an expert drummer), a quick lesson in playing piano by ear, Q & A, general discussion about the direction the churches are taking in music, demonstration of preparing an arrangement, and more.
Saturday afternoon is shaping up as a time for two things to happen: 1) recording sessions for different groups, and 2) preparation for the evening coffeehouse.
Saturday evening we will have a coffeehouse with every attendant invited to perform. We have a special burden to develop not only songs for general congregational singing in the churches, but also coffeehouse acts that can be performed across the region, city to city.
Sunday will feature more of the same. We wish to maximize the time while we're together.
Subscribe to:
Posts (Atom)