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Piano as a
nd
Instrument
A Beginners Guide
Ben Yates
No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system without the prior written permission of Ben Yates unless such copying is expressly permitted by federal copyright law. Address inquiries to Ben Yates at 10 Ridgeway, Ann Arbor MI 48104.
All brand and product names mentioned in this manual are trademarks or registered trademarks of their respective holders, including the following:
Table of Contents
Introduction.................................................................................................................1 Pop, Rock, and Music Theory .......................................................................1 The Learning Curve..........................................................................................2 Equipment...........................................................................................................2 Formatting Guide..............................................................................................3 Audio Content....................................................................................................3 Learning Piano ............................................................................................................4 First Steps ............................................................................................................4 Making Friends with your Piano..........................................................4 Having Good Technique.......................................................................5 Getting your Bearings: Finding C........................................................6 C Major ................................................................................................................7 F Major.................................................................................................................8 Relative Names ..................................................................................................8 Voicings................................................................................................................9 Rearranging Notes ...................................................................................9 Adding Bass.............................................................................................11 G Major..............................................................................................................12 If I had $1000000........................................................................................13 A Minor..............................................................................................................15 Tapping Your Fingers....................................................................................16 When I Come Around ..............................................................................17 If I had $1000000 Revisited .....................................................................18 D Minor .............................................................................................................19
Evil Ways.......................................................................................................20 Chord Transformations.................................................................................21 Moving Fifths and Roots by a Full Step ..........................................23 Moving Fifths and Roots by a Half Step.........................................23 Praise You.....................................................................................................25 When I Come Around Revisited............................................................26 Wonderwall...................................................................................................26 Conclusion..................................................................................................................32
Introduction
One of the tragedies of the 19th century is that piano playing became separate from composing: starting with Liszt, technical virtuosity was valued over musical understanding and composing ability. And if you wanted respect, you needed years of formal training. Thankfully, this is 2006. You can hardly walk down a city block without running across a guitar player improvising on front steps, a computer looping samples through an open window, or fraternity brothers tossing improvised hip hop back and forth.
This manual can be used by both experienced and inexperienced players, but unless youre particularly talented, its not something youll complete in single
late night session nor is it comprehensive. Use it as a guide, and as a push to learn new ways of playing.
Equipment
Its best to have a real piano, but pianos are expensive. If you have a synthesizer or keyboard, make sure that it at least has touch sensitivity: that pushing keys harder creates louder sounds. Without touch sensitivity, its almost impossible to play with feeling. A better keyboard should have hammer action a simulation of the hammers in a real piano. Yamaha is known for its realistic hammer action.
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Formatting Guide
As you read the manual, youll encounter text formatted in different ways.
Musical notes are italicized. Unfamiliar terms are also italicized. Chords in body text look like this: C Lyrics are
monospaced.
M ajor.
Audio Content
The easiest way to learn music is by hearing it. This manual is therefore accompanied by audio tracks demonstrating the notes, chords, and songs described in the text. Alright, lets dive in. Have fun.
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Learning Piano
This tutorial will guide you from basic knowledge to intermediate playing.
First Steps
A New Instrument
Learning a second language is harder than learning a first, but for instruments, the reverse is true. Nevertheless, there are concepts you should get under your fingers before playing music on piano.
As you move from left to right, the pitch of the tones increases. When you release a key, a note will stop, unless the rightmost pedal is depressed.
Pressing every white key consecutively creates a cheerful-sounding scale. Pressing every black key consecutively creates a pentatonic scale (which sounds Asian or bluesy)
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Pressing every key consecutively creates a chromatic scale. Adjacent keys played simultaneously sound dissonant. Pressing every other key often creates a pleasing chord or arpeggio. The keyboard layout is periodic: the pattern of black and white keys repeats many times.
Press keys with the tips of your fingers, but avoid using your fingernails . (If you have long fingernails, trim them.)
Keep your wrists straight and relaxed to avoid developing carpel tunnel syndrome. As with typing, pressing the keys should not bend your fingers and hands backward.
If you cannot comfortably play with a straight back and straight wrists, adjust the height of your seat.
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Figure 1:
The note C On the piano keyboard, C is the white key immediately left of each cluster of two black keys. In this diagram, keys other than C are gray or black.
Starting at one of the C notes, push each white key consecutively until you reach the next C -- youve played a C
Major
scale
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C Major
Chord
This is a C
Major
chord (Figure 2)
Figure 2: C M a j o r
Notes in the C
Ma jo r
Play the chord by pressing all three keys at once. You can use whichever fingers you like, depending on whats most comfortable. The author uses index finger, ring finger, and little finger for this chord.
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F Major
Chord
Now move the top two notes up and play a chord again: this is F (Figure 3)
Major.
Figure 3: F M a j o r
The F
Major
to F
Major
Relative Names
More Precise Language
We could call each note by its letter name, but because each chord of the same type (Major, for instance) is fundamentally similar, it makes sense to use a relative naming system rather than an absolute one.
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The root of C
Major
Major
Major
Major
"Eighths" are not referred tothey are just considered roots played an octave higher.
Every relative name except "root" can also refer to the distance between a note and the root. For example, F could be said to be a fourth. above C. Chords can be thought of in terms of relative distances as well. Thus, changing from C
Major
to F
Major
fourth". Moving to the fourth and back is the most common type of chord transition in folk music; it is also found in most rock and pop songs.
Voicings
Filling Out the Sound
Every sound is similar to many other sounds. More specifically, every chord can be played in countless ways.
Rearranging Notes
The notes in a chord can be played in any order. These (Figures 4-6) are all C
Major:
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Figure 4:
A C M a j o r chord starting on E
Figure 5:
A C M a j o r chord starting on G
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Figure 6:
These permutations of a single chord are called voicings. If you play F the C
Major Major
chord.
Major,
See what voicings you can find for F between various voicings of C
Major
and F
Adding Bass
Playing a chord's root with your left hand, an octave or two below the other notes, can add depth to the chord's sound. Practice moving between C low C under the C
Major Major
and F
Major
chords.
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G Major
Chord
Play a C
M ajor
chord, then move both the root and third of the chord (C
Major.
and E) down one note: they become B and D, the third and the fifth, respectively, of G (Figure 7)
Figure 7: G M a j o r
This G M a j o r chord is made up of B, D, and G. (C, which is not played, is marked for convenience.)
Major, F M ajor,
and G
Major.
then move to C
Major
Major
and F
This is because C is
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If I h a d $ 10 0 0 0 0 0
Putting it Together
The three chords you've learned (or, more precisely, the three relative transitions) form the basis of much pop, rock, and folk. Countless songs use only these transitions, including the 1990 Canadian hit If I had $1000000. Most of the song is a repeating loop: C to C
1) Major. F M ajor Major, G M ajor, F Major,
then back
Practice this loop until youre comfortable with it. You may want to find voicings that minimize hand movement between chords.
2)
If you dont already know the melody, learn how it goes by listening to the recording. In this version of the song, the melody begins on G.
Major chords are abbreviated with their letter names. Words falling near a chord transition are bolded. Note that in the recording, these words often fall slightly before the chord is played.
G If I had a million
C dollars)
G Id buy you a
C house)
G If I had a million
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C Ottoman)
C dollars)
G Id buy you a
F K-car...
Before the chorus, theres a variation, lyrically, melodically, and chordally: the final chord of the loop is G
M ajor
instead of C
Major.
G love
Following the G
Major
chord,
Major, G Major , C Major.
G If I had a million
F yard)
G If I had a million
F hard). . .
At the end of the chorus, theres a spoken interlude; the first chord loop continues underneath it.
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Well revisit If I had $1000000 later. Although you can play almost all of the song now, the final chorus contains a chord you havent learned yet: A
Minor.
A Minor
Chord
Play C
Major,
Minor
youll notice sounds sad, cool, or reflective. C and E become the third and fifth.
Major :
its scale uses the same notes as the scale simply by pressing all the
Minor
-F
Major
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Ta p p i n g Yo u r F i n ge rs
Getting Rhythm
Kids often try to scratch their heads and rub their stomachs simultaneously. Piano players face a similar task: decoupling the left and right hands so that each can play its own pattern. Classical music requires a mastery of this decoupling, but our requirements are less stringent, in part because you wont be playing melodic lines. Because so much music is structured around a drumset backing, learning how to tap out simplified drumset beats will help your piano playing. In this recording, the high-pitched taps are made with the right hand and the low-pitched ones with the left. When youre learning the rhythms yourself, dont worry about pitch, but make sure your left and right hands are playing the beats theyre assigned. Of course, you can tap your fingers anywhere, not just where a piano is.
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Like Paul McCartney, we only have one type of instrument available. But much rock music (thanks partly to the Beatles wide influence) has strong, guitar-rooted rhythms that we can easily replicate on piano. These rhythms are especially strong in pop-punk, as exemplified by Green Day. When I Come Around is one of the simplest of many simple Green Day songs, but it still has some emotional depth. Listen to the original recording. Almost the whole song is one chord loop: C
Major Major, G Major, A M inor, F
(and back to C
M a j o r ).
Now apply the finger-tapping pattern: the right hand plays the chords, and the left hand plays the chord roots in rhythmic counterpoint. In the aid below, the chord letters are marked where the root is played (A
Minor
is denoted A-. The right hand plays the chord one beat later.)
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A-
Atown...
You can play all of When I Come Around except for the chorus. Well revisit the song later.
If I h a d $ 10 0 0 0 0 0 Re v i s i t e d
The Ending
Now that you know A $1000000.
F G If I had a million AdoG oF oG oF llars
Minor,
C Id be rich
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D Minor
Chord
Play a C
M ajor
Minor.
(Figure 9)
Figure 9: D M i n o r D M inor
Major.
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Evi l Wa ys
Complex Rhythms, Simple Chords
Evil ways has only two chords: D
Minor
and G
M ajor.
When Santana
released the single in 1969, American audiences were struck with the unfamiliar sound of the transition between these chords and the song reached number 9 on the Billboard charts. Today the transition sounds familiar, but the song is still exciting if played well. Listen to the original recording. Now try playing the piano chords -- a simple alternation between D and G
M ajor. Minor
Add rhythmic counterpoint with your left hand. You can use a variation on the rhythmic pattern from When I Come Around. Now the hardest part -- add the melody and lyrics. (The melody starts on A.) Dont worry about being able to do this immediately; instead, practice a few minutes each day, playing very slowly at first, until you can sing and play at the same time. The scratch-your-head-and-rub-your-stomach challenge has returned, and there is no solution except time and repetition. You can continue through the tutorial even if you havent been able to play and sing Evil Ways at the same time. The following aid is included for convenience, but only listening to the recording can give you a good feel for the rhythms.
D M inor
is denoted D-.
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Dways
Dbaby
D-
D-
Dchange
D-
baby. . .
Chord Transformations
Taking Apart the Harmonic Clockworks
There are several simple note changes that will let you turn a major chord into a minor chord, and vice versa. This section introduces many complex ideas. Dont worry if you dont remember all of them immediately; instead, return here repeatedly as your playing progresses. When you know chord transformations well, its easier to learn new songs and to create your own music.
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Play C
Major,
(Figure 10)
Figure 10: C M i n o r
Moving the third of major chord down by a half-step will always transform the major chord into a similarly-named minor chord. Likewise, you can turn a minor chord into a major chord by raising the third. Play D
Minor,
D M ajor.
(Figure 11)
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Figure 11: D M a j o r
Experiment with these new chords until you are familiar with them.
Minor.
Moving a major chords fifth upward will always transform the major chord into its relative minor. The fifth becomes the minor chords root. Likewise, moving a minor chords root down a full step creates a relative major chord. Try this now by playing D
Minor
then F
Major.
M ajor,
M inor.
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You can also turn a minor chord into a major chord by moving the minor chords fifth up a half-step. Play a D black key). This is B - F l a t
Major. Minor,
Figure 12: B - f l a t M a j o r
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P rai s e Yo u
An Opportunity for Keyboard Players
Praise You, a song by Fatboy Slim, juxtaposes a largely pentatonic melody with major chords. Like most electronic music, its greatest complexity is textural, not harmonic. A piano rendition ignores the electronic sound textures, and is therefore easy to play. (If you have a high-quality keyboard -- a synthesizer or sequencer -you can have a lot of fun tweaking the sounds in this song.) The chord loop is C
Major, B-f lat Major
(denoted Bb), F
Major.
Listen to
Bb Ive got to
F celebrate you
C baby
F like I
C should
Notice how Fatboy Slim chooses the types of consonant and vowel sounds that fall on chord changes. Electronic musicians share with rappers a keen ear for phonetics.
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Major,
C -round
A-
Wo n der wall
Beyond Standard Chords
Wonderwall was Oasiss only top ten single in the United States. An enduring Britpop hit, it is still one of the iTunes Music Stores hundred most downloaded songs. Wonderwalls power derives in part from its ambiguity. Just as the lyrics never move beyond general statements and the concept of a Wonderwall is never explained, the harmonics themselves are ambiguous. Most of the song uses suspended harmonic patterns that only later resolve to definite major or minor chords.
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The main loop consists of several such unorthodox chords, numbered below (Figures 13-16). The left hand is added on the second verse.
1)
Figure 13:
Wonderwall chord 1 The first chord in Wonderwall consists of D, A, C, and another D. Subsequent chords reveal it to be a variation of D M i n o r .
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2)
Figure 14:
Wonderwall chord 2 The second chord in "Wonderwall" consists of F, A, C, and D. It is a variation of F Majo r.
3)
Figure 15:
Ma jo r.
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4)
Figure 16:
Wonderwall chord 4 The fourth chord in "Wonderwall" consists of G, A, C, and D. It is a variation of G majo r.
In the following aid, ambiguous chords are denoted with numbers; refer to the list above. Miniaturizations of the 4 chords are provided for convenience.
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1 Today is
4 you. . .
At the end of the second verse, theres a variation leading into the chorus:
1 I dont believe
2 that anybody
4 do about you
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Bb now
1 and
Dwinding and
Dblinding
F like to
Asay to
4 how because
Bb maybe
D-
Bb saves me
D-
F and after
Bb all
D-
F youre my wonder-
Bb wall
D-
1 Backbeat the
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Conclusion
The first time you read this section, you probably wont be comfortable with every topic and exercise in this book. Practice, practice, practice. Return to the parts youve had trouble with and play through them more slowly, in smaller pieces, until youre more confident, then gradually increase the playing speed. Eventually, you might begin noticing the many directions your piano playing can take.
If you want to learn more pop and rock songs, keep listening for chord changes on recordings with practice, youll be able to figure out the songs out more easily. (You might also notice that some of the music is formulaic. One of the disadvantages of practicing chords again and again is that simple music loses its novelty.) Buy a book of chord references, and learn as many of the major and minor chords as you can. This is doubly true if you want to play in a group. Figure out how to play all of the songs in this manual in their original keys.
If you want to write your own music, pay particular attention to the way each note and chord transition makes you feel. Conversely, rephrase your ideas and emotions into the language of chords, tones, and rhythms (and, if you have a synthesizer or sampler, textures). Find a relaxed setting where you can play without an audience present, and experiment as much as possible.
If you want to play classical pieces, you need to learn how to read music. Buy a book about it or take a class. You should also develop your chops, your technique. Get a book of scales and exercises. And finally, youll need to disassociate your right and left hands more completely. This will come with practice.
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A good classical piece to start on is J.S. Bachs Minuet in G (sometimes called Minuet 3). Bach wrote this piece for his daughter, who was learning piano, and it combines technical simplicity with Bachs typical brilliance.
If you want to play jazz, be prepared for a long haul jazz is difficult. Depending on your taste in jazz and the your skill at singing while playing, you might want to buy a Real Book -- a technically illegal compendium of hundreds of jazz standards, sold at most music shops -and find the songs you know (or buy or download songs you dont know). Learn the unfamiliar chords (dont worry about the sharp and flat fifths and ninths at first), and sing the melodic lines. If youre interested in Bebop and improvisation, learn and practice scales. Listen closely to recordings you like and learn the licks eventually, youll develop a memorized collection that you synthesize and can put to use in your own solos. You may also want to buy a Jamie Aebersold collection (Aebersold records Jazz standards without melodic lines or solos, so you can improvise over the recordings while they play, and bundles the CDs with sheet music).
If you want to produce beats, get yourself copies of whatever your favorite software is (one possible suite is Fruity Loops, Acid, and Sound Forge), and a computer with lots of memory and storage space. Also buy a physical book about some of your software. Even if youve developed your own techniques, there are most likely simpler and more powerful ways of doing things that you wont discover on your own.
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