Entire Book is loaded - click to print >> (PRINT } When your printer dialog comes up, have it print pages 2-48, that way this page will not print. **You can also navigate through one page at a time by holding down the "Ctrl" button on your keyboard and using the left and right arrow keys. Pattern Piano ___ and Keyboard!Welcome to... Pattern Piano _—_, and Keyboard! c. David Sprunger Music Unlimited Alllrights reserved. Unauthorized reproduction prohibited Whether you're brand new to the piano or have been playing the piano for years you're about to be surprised! Music is relatively simple if you understand it's basic patterns This course covers the basics from the ground up but progresses quickly. If you are an advanced student, take the time to go from the beginning, you'll find some amazingly simple techniques that can be expanded and used with any style of music. EXPERIMENT!! This course is intended to be studied with it's accompanying Audio and Video files. Don't be afraid to review sections. Everything covered builds on previous sections, so make sure it sinks in! Take this knowledge- Experiment with it, wrestle with it, change it. Make it your own. You will become a musician! c. David Sprunger MUSIC UNLIMITED PO Box 1200 Jacksonville, OR 97530 USA Customer Service: www.PlayPianoTODAY.com/customer_serviceBASIC INFORMATION Names of notes: This is the most basic of music knowledge, stop here and get very familiar with note names. F G/A|B/C|/D\/E|F/G\/A'B/C/D/\E Taking notes? (No pun intended) Use this space to write: Page 2Sharps (#) "To make any note sharp, (i.e. C#) play the very next note to the right.” Find C# and Fi (First find the notes C and F. Then play the next notes immediately to the right.) C# F# F G/A'B/C|D E|\F/)/G\/A/B|\C/D/E In this example, notice that C# and F# are BLACK notes. Page 3Flats (b) "To make any note flat, (i.e. Bb) play the very next note to the left.” Find Cb, Fb, Gb and Bb. First find the notes C, F, G and B. Then play the notes immediately to the left. Cb Fb Gb Bb F/G A\|B\'C|/D\/E F G/A B\C|\D E Page 4Half Steps "A Half Step is any two notes right next to each other" F G\|A B/C|D E\|F\/Gi A B\.C DIE NOTICE: BETWEEN "B" AND "C" ISA 1/2 STEP. ALSO"E"AND"F" (These are called "Natural" 1/2 steps) Page 5WHOLE STEPS: "A Whole Step is equal to Two Half Steps added together." FG A\B\'C)/D/E F'GiA B\C|D E Page 6THE Tetrachord + a Whole Step The Tetrachord + a Whole Step is simply a pattern of 5 notes. It can be started from any note on the piano. Between notes 1 & 2 is a whole step. Between 2 & 3 is a whole step. Between 3 & 4 is a half step. Between 4 & Sisa whole step. When you have found 1,2,3,4 & 5, pick out 1, 3 & 5 and you have a Major chord. SIMPLE! Find a C Major chord: (Starting with your thumb on C, find it's Tetrachord + a Whole Step) A | | Wi | | | F GA\B\'C|D/E F GiA B\C|D E Notice that 1 is C, 3 is E and 5 is G. Play them together. You have played a C Major chord. Page 7BASIC INFORMATION Find a D Major chord: Starting from D, find it's Tetrachord + a Whole Step | | iil | | FGABC DEF GA BC ODE Notice that 1 is D, 3 is F#, and 5 is A. Play them together. You have played a D Major chord. Find a Bb Major chord: Starting from Bb, find it's Tetrachord + a Whole Step: | il | | | | FGABCODEF GA BC ODE Page 8Find an Eb Major chord: Starting from Eb, find it's Tetrachord + a Whole Step. FGABC DEF GA BC ODE Notice that 1 is Eb, 3 is G, and 5 is Bb. Play them together. You have played an Eb Major chord. **From now on, we will refer to 1 as the "Root". Think of a tree, the roots are on the bottom, and 1 is on the bottom of the chord One final bit of theory: “minor chords”: Definition: Same as Major chords, but with the 3rd lowered a 1/2 step. Q: How are Major and minor chords written? A: Using the chord "Bb" as an example: nor chords Major = Bb Note that mi small minor = Bbm have @ Page 9SONG #1 &: CUE vw the Range F F Bb Bb O give me a home, where the buffalo roam. F F c c Where the deer and the antelope play. F F Bb Bb Where seldom is heard a discouraging word. F c F And the skies are not cloudy all day. Pattern: R Play chord indicated L Play bottom note of same chord (root), but lower on piano First Melody note: C Why are we SINGING piano lessons? See next page... Page 10Stop and read! Traditional old-style piano lessons require you to play the melody in the right hand and chords in the left. As a result, the right hand is forever obligated to "plunk out" the melody while the left hand must carry the bulk of the chords. With these old techniques, there is a limit to how full your arrangements will sound, because your primary hand is taken up with the duty of always playing the melody. There's a better way! Professionals learn to play complimentary PATTERNS "around" the melody and let a 2nd instrument (or voice) take the melody, staying out of it's way. This is where creative, full arrangements come from. This is what | will teach you. So for the beginning of the course, I'll teach you to simply SING the melody while your hands play full, rich patterns! It’s a whole lot of fun and you can do it right away! When you become an accomplished "pattern" player and you would like to play solo piano, (without singing or other instruments), you will be able to insert the melody back into your patterns and maintain full, rich arrangements,SONG #2 “GREENSLEEVES“ Em Em D D Em Em B B What child is this who laid to rest, on Mary's lap is sleeping? Em Em D D Whom angels greet with anthems sweet, c B Em Em While shepherds watch are keep -ing. G G D D This, this is Christ the King, Em c B B Whom shepherds guard and angels sing. G G D D c B Em Em Haste, Haste to bring Him laud- the babe, the son of Mar -y. i : VITAL INFORMATION : First Melody Note: E To build a minor chord, first use the “Tetrachord + a Whole Step ” to find a Major chord then LOWER the 3rd 1/2 step Pattern: R Play chord indicated L Play bottom note of same chord (root), but lower on plano “There is a complete picture listing of all Major and minor chords between Song #9 and #10 in this book Page 11SONG #3 “MICHAEL ROW THE BOAT ASHORE" c c Foc Michael, row the boat ashore, halle -lu -jah. c G Gc Michael, row the boat ashore, halle -lu -jah. c c Foc Michael, row the boat ashore, halle -lu -jah. c G Gc Michael, row the boat ashore, halle -lu -jah. 2) "River Jordan is chilly and cold, hallelujah. Chills the body, but not the soul, hallelujah.” etc. First Melody note: C - "Rhythmic Pattern” - R ig J s | (Root) L 10 (Notice you can play the root of / the chord in two different places 1©@__ with your left hand, holding them for the whole measure) Page 12SONG #4 “ALL THROUGH THE NIGHT” F Bb *Gm c Bb C F Sleep my child and peace attend thee, all through the night. F Bb Gm c Bb C F F Guardian angels God will send thee, all through the night. Gm Gm Bb Bb Soft the drowsy hours are creeping, Gm Gm c c Hill and vale in slumber sleeping. Z F Bb Gmc Bb C F F I my loving vigil keeping, all through the night. © - "Rhythmic Pattern" - R is _ - - L i First Melody Note: F > (Again, you can either play one or /_ two roots in your left hand. Two 10° give a fuller sound) *Remember: To change a chord from Major to minor, lower the 3rd note of the “Tetrachord + a Whole Step “ pattern 1/2 step. Page 13SONG #5 “TELL ME THE STORY” G c G G Tell me again, ‘bout the good old days c c G G It's been many miles since we'be been on our way D c G D Tellme once more’ - ‘bout those good old days G c G G Tell me again, how | found a friend c c G G Tell me again, how it all began . D c co pv BOe~ long to hear - the whole thing again rdB1Ues.Come Gm cm Gm Gm Tell me the story, __ tell me the story again cm cm Gm Gm Tell me the story, _ tell me the story again D cm Gm D llong to hear it, tell me the story again - "Rhythmic Pattern" - R - - P| J “Half Notes" get 2 beats each LA Page 14Modulation... \ Transposition... Ready to impress your friends? Modulation and transposition are some mighty big words. Although they sound daunting, these terms simply mean to move a passage of music higher or lower. Why is this important? You'll find that this is an indispensable skill. For instance, let's say that you've been asked to play keyboards in a band. (Hey... you've been practicing) Halfway through the first tune, the singer says to you — “Could we move that song up a little higher"? "No sweat!” you reply. Then you simply play every chord up one whole step higher. (C becomes D, Ab becomes Bb, etc.) Do you see the power of understanding whole steps and half-steps? Once you leam to see the keyboard as a series of whole steps and half-steps you'll be able to move any passage of music higher or lower. “Now try it yourself — take the previous song, and rewrite all the chords up one whole step. Remember, the melody will have to move up a whole step as well. Don’t fail to grasp this concept— transposing is one technique that the vast majority of musicians cannot do... simply because they don’t have the knowledge. You've got the knowledge — practice it! Page 15SONG #6 “POOR WAYFARING STRANGER “ VERSE: Dm A Dm Dm 4) I'm just a poor, wayfaring stranger. Gm Gm Dm A 2) Traveling through this world of woe. Dm A Dm Dm 3) But there's no sickness, toil or danger. Gm A Dm 4) In that bright land to which | go. 5)CHORUS. F F Dm Dm 6) I'm going there to see my mother- F F A A 7) I'm going there, no more to roam. Dm A Dm Dm 8) And | know Jesus, He'll go before me, Gm Gm Dm Dm 9) To that bright land I call my home. First Melody note: D - "Rhythmic Patterns" - IMPORTANTI! This 1 refers to the root of the chord, but you + will not play it with your ‘st finger (or thumb) any longer! Now you'll play this root with your pinky. Don't confuse finger numbers with tetrachord note numbersi! Page 16SONG #7 "MARY ANN" Bb Eb Bb Gm le O fare thee well, my own true love. Bb Bb Cc F O fare thee well my dear. Bb Bb Eb Gm For the ship is a-waiting, the wind blows high. Bb Eb Gm Cc And | am bound far away for the sea, Bb F Bb Bb And | am bound for the sea. - "Rhythmic Patterns" - at ® First Melody Note: C Ro 'e 10 238° L ‘o Jf Pinky Index Finger Thumb First learn song with pattern #1 only, then alternate pattern #1 and pattern #2 for a fuller arrangement. Page 17A note on hand exercises... As you've been going along, you've probably had quite a time getting your hands going. Have no fear! Your fingers are operated by muscles, just like the rest of your body. And, like any athlete, you can get them into shape. Here's a simple exercise to do every day that will really get you in shape: Starting with your right hand, place your thumb on a C. In consecutive order, play fingers 1,2,3,4 and 5. This would correspond to notes C,D,E,F and G. Then, play 5,4,3,2 and 1 (or GF,E,D and C) Obviously, this is a very simple exercise to grasp. However, it can get very challenging. Try the same exercise again, but now with the following fingers: 1,3,2,4,3,5,4,2 (wow!) 1,2,3,4,5,3,4,2 (ouch!) When you get great at the above, try each exercise with the following addition: Each time you complete the cycle, start one note higher.SONG #8 “RED RIVER VALLEY“ @ CO MOO 6 D 6 6G From this valley they say you are going, Oe) @o @0 @O 6 6 D D We will miss your bright eyes and sweet smile. @ GO @ 6 6 c c For they say you are taking the sunshine @O @ @ @ 6 D 6 6 That has brightened our pathways awhile. @O @O @ @ 6 D 6 6 Come and sit by my side if you love me. @O @O @O@O 6 G DOD Do not hasten to bid me a-dieu. @O @O @ @ G G c c Just remember the Red River Valley, @O @O0 G D And the one who has loved you so true. d Just Play the chor" ju G Page 18“RED RIVER VALLEY“ ~"Rhythmic Patterns” - First Melody Note: D a Rit Le J : a Page 19SEVENTH CHORDS So far, we've learned to build chords using 1, 3, and 5. Whether Major or minor, these are called “TRIADS”. (For example, C is a Major TRIAD, and Cm is a minor TRIAD.) Now let’s look at some more advanced chords. These chords are called “7" Chords” written «c7T". 1) DOMINANT 7th chord: TRIAD is Major, added note is a whole-step below the root. ) Same written “cm7 *., 2) MINOR 7th chord: TRIAD is minor, added note is a whole-step below the root. Page 20HERE'S THE ODDBALL CHORD: written “oMT 1) MAJOR 7th chord: TRIAD is Major, added note is a (2) step below the root. REVIEW: 1) What's the difference between Cm7 and C7? 2) What's the oddball chord CM7 and how is it made? if you can accurately answer these two questions, you've got 7ths mastered! Page 21SONG #9 7th CHORDS WITH "GUITAR" PICKING PATTERN ”GO TELL AUNT RHODIE” FM7 C7 FM7 FM7 c7 C7 FM7 FM7 Go tell aunt Rho -die, Go _ tell aunt Rho -die, FM7 FM7 Dm7 Dm7 Gm7 c7 FM7 FM7 Go tell aunt Rho -die, that the big grey goose is dead. FM7 C7 FM7 FM7 C7 C7 -FM7- FM7 He died by the mill -pond. He died bythe mill -pond. FM7 FM7 Dm7 Dm7 Gm7 c7 FM7 FM7 Hedied by _ mill -pond, the big grey goose is dead. (Repeat) - "Rhythmic Pattern’ - First Melody note: A R r T r L 10 Page 22Optional Advanced version of "Go tell Aunt Rhodie" - "Rhythmic Pattern" - First Melody note: A Ree T Ts bol Pinky Index Finger Thumb Remember: a Quarter Note (1 Beat) A Half Note (2 Beats) Page 23SONG #10 HALF PATTERNS: D G D A | wandered today to the hill, Maggie - to watch the scene below. D G The creek and the creaking old Mill, Maggie, *D “A D As we used to long ago. G D The green grove is gone from the hill, Maggie “A *E A Where first the daisies sprung. D G *D “A D The creaking old Mill is still, Maggie, since you and | were young. G D And now we are aged and gray, Maggie. “A *E And the trials of life are nearly done. D G Let us sing of the days that are gone, Maggie, *D A D When you and | were young. I were young... *Play only half of the pattern for these chords, thereby giving them 2 beats. Page 26WHEN YOU AND | WERE YOUNG (continued) - "Rhythmic Pattern” - First Melody note: A RN aid J L 10 Rhythm Recap: 1 = Eighth Notes (each gets 1/2 beat) = Quarter Note (1 beat) = Half Note (2 beats) = Dotted Half Note (3 beats) oO oe. oO = Whole Note (4 beats) Page 27How much should | practice? Here's one of the most common questions piano and keyboard teachers get asked. Of course, everyone is different, but here's a few rules of thumb: 10 minutes daily: This is a good place to start if you want to play jingle bells for the rest of your life. 30 minutes daily: Getting warmer... One hour daily: Here's a reasonable amount of time that will get you to a very proficient level in a number of years. Two or more hours daily: Hey... you're serious about this music stuff! You'll be playing music on a stage somewhere soon. Musical “Dry Spells”... Once you really dig in and begin to practice, you'll go through phases when it seems like you're improving every day. Then there are times when you seem to go through “dry spells” — times when it seems like you just aren't improving no matter how much you try. Here’s how to survive the dry spells — #1 suggestion — Work on another piece of music. It's amazing how your subconscious will continue to work on a song while you occupy yourself with another piece of music. After a few days away from it, come back to that song that was giving you such trouble... you'll be amazed at your progress!SONG #11 REVIEW OF HALF PATTERNS "SWEET BY AND BY“ F *Bb F There's a land that is fairer than day, A F c At, And by faith we can see it afar. *F *Bb F For our Father waits over the way, *Dm *c F To prepare us a dwelling place there. F c *Gm *c F In the sweet by and by, we shall meet on that beautiful shore. F Bb *F *c F In the sweet by and by, we shall meet on that beautiful shore. *Play only half of the pattern for these chords, thereby giving them 2 beats. - "Rhythmic Pattern’ - First Melody note: F Page 29SONG #12 ~ crcarive your ownarnancements "NOBODY KNOWS THE TROUBLE I'VE SEEN" - "Rhythmic Patterns" - “ 2 ts ody os 1P* ad _ 10 10 3 oo Rods) aad5 L : T 10o id If you have trouble looking from the song on the next page to the patterns on this page - Discipline yourself to memorize the patterns. Then you can use them easily in other music... ..And that’s the whole point of this course! Page 30SONG #12 ~ crcanne your own anrancements "NOBODY KNOWS THE TROUBLE I'VE SEEN" @@O @00 @@0 G00 F Bb F F Nobody knows the trouble I've seen. @@O 00 @@O + @@0 F Bb c Bb Nobody knows my sorrow. @@O @@O @00 @@O F Bb A Dm Nobody knows the trouble I've seen, @@O @@0 @0O0 @@O Bb c Bb F Glory, hal le -lu. First Melody Note: A In the first two circles above each chord | have written a pattern number from the previous page. | want you to get the point that any pattern can work with almost any chord! In the last circle, try your own combination of patterns! Page 31SONG #13 — “GREENSLEEVES” CREATING YOUR OWN ARRANGEMENTS Watch out! -3is on the “8 Ly fr +. potted Half Notes get 3 beats PD “DAS - . top this time. Page 32”GREENSLEEVES” @OO@OO @00 G00 @O0 E00 GOO BOO Em Em Em Em What child is this who laid to vest, On Mary's lap is sleep ing? @OO@OO Q00 GOO Em Em Whom angels greet with anthems eweet, @0O GOO GOO G00 Em Em While shepherds watch are keep — -ing. @OO @OO GOO GOO G G D D This, this is Christ the King, @00 @O @0CO GO Em c B B Whom shepherds guard and angels sing. 1°‘ Melody Note: E @OO @OO @0O GOO G G D D Haste, Haste to bringHim laud- Just play the chord here @0O0 @0O c B Em Em the babe, the son of Ma ory. Page 33SONG #14 CREATING YOUR OWN ARRANGEMENTS "Merrily We Roll Along" Re = | ps Ja sd - ern J R, Hand Pinky hoids this note EF ° Page 34SONG #14 CREATING YOUR OWN ARRANGEMENTS “Merrily We Roll Along” CO CO CO © F F c F Merrily we roll along, roll along, __roll along, CO CO CO OO F F c F Merrily we roll along, O'er the deep blue sea. 1®' Melody Note: A This is your time to EXPERIMENT! Try several different arrangements until you are comfortable going between patterns. Page 35SONG #15 (CREATING YOUR OWN ARRANGEMENTS "Down in the Valley" R° a ed ° Lo | ® PAA «Yes this is a stem full of +""dotted half notes (3 beats) a. Rhythm Recap: i = Eighth Notes (each gets 1/2 beat) J = Quarter Note (1 beat) d = Half Note (2 beats) = Dotted Half Note (3 beats) o = Whole Note (4 beats) Page 36CREATING YOUR OWN ARRANGEMENTS, @O @ @ @ @ F F F CG ¢ Down in the val -ley, the valley so low, @0 GO @ @0 @O c Gm Gm oe F F Late in the even -ing, hear the wind blow. F F F F c c Hear the wind blow dear, hear the wind blow. c Gm Gm c F F Late in the even -ing, hear the wind blow. 1st Melody Note: C Page 37PATTERN REVIEW: These patterns have been placed together to give you a quick reference — use them in your own songs! From SONG #3 “MICHAEL ROW THE BOAT ASHORE” R d | 2 id L ve 1° From SONG #5 “TELL ME THE STORY” R d | a id “Half Notes” got 2 beats each LA From SONG #6 “POOR WAYFARING STRANGER” R- J 4 a Lowe From SONG #7 "MARY ANN” 12 232 so 1° From SONG #8 “RED RIVER VALLEY"PATTERN REVIEW: From SONG #9 "GO TELL AUNT RHODIE” Rel T+ L 10 From SONG #9 ADVANCED VERSION OF “GO TELL AUNT RHODIE” Ree f Tr L it y Index Finger Thumb From SONG #10 “WHEN YOU AND I WERE YOUNG”PATTERN REVIEW: From SONG #11 “SWEET BY AND BY” RNs J From SONG #12 “NOBODY KNOWS THE TROUBLE I'VE SEEN”PATTERN REVIEW: From SONG #13 “GREENSLEEVES” atch _ Water oop this time “ @4 ae et +*.potted Half Notes get 3 beats RNY “DA f F Re : 7 4PATTERN REVIEW: From SONG #14 “MERRILY WE ROLL...” @. R Pasa 1°PATTERN REVIEW: From SONG #15 “DOWN IN THE VALLEY...” +Yes this is a stem full of #1 @2 .«"" dotted half notes (3 beats) Rj: 3 L YA d 5 5 5 id. F 8 re id.Which keyboard should I buy? There are lots of keyboards out there, but in order to be useful as an instrument, your keyboard has to have certain qualities... #1 requirement: Touch sensitive Make sure the keyboard is "touch sensitive". This simply means that when you play softly, the sound comes out softly, when you play loud, the sound comes out loud. This way you can play dynamically. "Dynamic" means change. Part of the beauty of music is the contrast, or change between loud and soft sounds . Seems obvious, but many of the cheaper keyboards do not have touch sensitivity. I've seen students with non -touch sensitive keyboards develop a really gross "typewriter" technique where all the notes are played with the same dynamic level. Lifeless, boring, a real hard habit to break. Don't buy a keyboard that is not touch sensitive. #2 requirement: Midi compatible Midi stands for "Musical Instrument Data Interface". Midi is a way for keyboards to communicate with other keyboards, drum machines, computers, sound modules, etc. For instance, you can connect a midi-compatible keyboard with another midi - compatible keyboard and configure them so that the second keyboard automatically follows along and plays the same notes that are being played on the first keyboard! Really nice for layering sounds (piano + strings, etc). This would be physically impossible unless you were an octopus. The possibilities are endless. You can play drum machines from your keyboard, play a different sound module from your keyboard, send midi information to your computer to be scored on paper, etc etc etc. Here's the weirdest use of midi | ever saw: A restaurant owner in Seattle wanted to have his water fountains dance when the music played. They connected the valves of the fountains via midi cables to the keyboard (different notes - different water fountains.) Very cool - don't try this at home. Page 47Which keyboard should I| buy? (cont.) Anice option: Weighted keys This can be more than a nice option - it can save your hands! Carpel tunnel syndrome is rampant today. When you play a non -weighted keyboard, the key travels with very little resistance until it hits bottom, upon which there is a sudden stop. This is damaging to your hands Weighted keys are very similar to a real pi ano. When you play a weighted key, the weight of the key has to be moved - this takes up a good portion of your hand's energy. When the key hits bottom, most of the energy has been expended into the inertia of the key, not into a sudden stop. You'll pay more for a weighted keyboard (also they're heavier than non -weighted keyboards) but your hands are worth it! Thinking of purchasing a keyboard? Don't buy something that you will quickly outgrow! More lessons online: Pay-Per-View — ( www.PlayPianoTODAY.com/payperview ) These downloadable VIDEO lessons are topic driven, with the intermediate to advanced player in mind. From expanded chord structures to fantastic hand exercises, these lessons make up a powerful resource that will really expand your playing style! Piano and Keyboard Blues and Gospel Site = ( www.KeyboardBlues.com ) Ready to lay down some cookin’ riffs? Enter this site for a whole lot of fun. Here you'll find loads of secrets that will show you how to heat it up on the keyboard! Main Homepage —( www.PlayPianoTODAY.com ) This is the main site of the original course titled "Pattern Piano and Keyboard" Page 48