Playing Piano

Beginners Guide to Playing The Piano

By the team at www.how-to-play-piano.org.uk
http://www.how-to-play-piano.org.uk/
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Table of Contents
Chapter 1 Why Play the Piano? ...................................................................... 3
Chapter 2 Looking at the Piano ...................................................................... 4
Chapter 3 The Home Keys and to ! ........................................................... 4
Chapter 4 What re "#ales? ......................................................................... $
Chapter % &eading '(si#) *ntrod(#tion ......................................................... +
Chapter , The Lines and the "pa#es ............................................................. 1-
Chapter $ Written Piano '(si# and &hythm ................................................ 12
Chapter . Personal "tory) Learning Piano /asi#s ........................................ 14
Chapter + Keys and Key "ignat(res ............................................................. 1%
Chapter 1- !et *t Together 0ith Chords ...................................................... 1,
Chapter 11 The /ig 1ake and *mpro2isation ................................................ 1.
Chapter 12 "ight3&eading Written '(si# .................................................... 2-
Chapter 13 '(si# Terminology 4or /eginners ............................................. 22
Chapter 14 1inding and Choosing '(si# to Play ......................................... 24
Chapter 1% Pra#ti#ing on 5o(r 60n ............................................................ 2%
Chapter 1, The "mall "potlight) Playing 4or 1riends and 1amily ............... 2,
Chapter 1$ Playing 4or P(7li# 82ents ........................................................... 2$
Chapter 1. Personal "tory) Ho0 Playing the Piano /e#ame 'y 6##(pation 2.
Chapter 1+ Tips 4or /eginning Piano Players .............................................. 2+
Chapter 2- Lessons and Piano Tea#hers ...................................................... 3-
Chapter 21 Con#l(sion) 8n9oyment That Lasts a Li4etime .......................... 31
Chapter 1 Why Play the Piano?
You probably already know that piano playing is an exciting talent to deelop. !" you are
a #a$$ enthusiast% you may hae listened to piano music "rom great artists like &ount
Basie or 'uke (llington. You might like modern #a$$ piano players better and there are
many who hae won the hearts o" audiences eerywhere.
)ne piano player who crosses many genres is *im Brickman% who o"ten plays his own
compositions. +long with smooth #a$$ stations% Brickman,s music is played on pop%
inspirational% and new age stations.
You may be more interested in the rock keyboard players. -ome o" them hae been:
.ick /akeman o" Yes% Tony Banks o" Genesis% 'ennis 'e Young o" -tyx% and 'aid
-ancious who played "or -pringsteen% -antana% and -ting. .ock piano players include
(lton *ohn% Billy *oel% &arole 0ing% Paul 1c&artney% and &arly -imon.
(en i" you hae neer liked classical music be"ore% you might begin to en#oy it once
you hae started to play the piano. !t presents a challenge and is ery satis"ying to
master. -ome o" the greats are Bach% Beethoen% 1endelssohn% -chubert% and
Brahms.
!" you are like many people who hear these great musical works o" art% you will want to
emulate them. You may learn well enough to play "or a band or as a solo act i" you are
dedicated enough. You can certainly learn to play the piano well enough to entertain
yoursel"% your "riends% and your "amily.
There are other bene"its to playing the piano as well. )ne is relaxation. /hen you "eel
upset% it is ery therapeutic to play the piano "or awhile. !" you are angry% playing the
piano can release your "rustrations. Your playing will soothe your neres i" you are
anxious. !" you are "eeling down% you can start with slow songs and build up to more
up-tempo% happier-sounding songs. This will o"ten li"t your sad mood.
!" you do end up playing pro"essionally% you can gain a source o" income "rom your
piano playing. -ome piano players earn ery little 2 #ust some tips "rom a #ar on their
piano bar instrument. )ther piano players can earn "antastic amounts o" money i" they
are talented enough and lucky enough.
+nother reason to learn to play piano is to deelop discipline. !" you are someone who
starts and stops actiities without giing them a "air shot% you might hae better luck with
the piano. !t gies rewards at eery leel% keeping you motiated to stay at it and work
harder.
3earning to play the piano is easier in some ways than learning other types o" music.
/ith ocal music% you hae to learn more care"ully about pitch. You hae to worry
about being #ust a touch aboe or below the note. /ith a piano% the only way that would
happen is i" your piano is out o" tune% in which case you #ust hae a technician "ix it.
The main reason anyone should learn to play the piano is "or their own "ul"illment. 4o
matter what that means to you% you will be happy when you hae stried to reach your
"ull potential. You will "eel #oy when you play a composition well. You will be a happier
person "or letting music into your li"e.
Chapter 2 Looking at the Piano
Be"ore you begin to play the piano% you need to become "amiliar with what the
instrument is. -ome pianos are upright pianos% which are usually large% heay% tall
ertical boxes. These are anywhere "rom 56 to 78 inches tall. -pinets are the shortest
upright pianos% at 56 to 59 inches. + studio ertical is :: inches or taller.
!" you hae the opportunity to play on a grand piano% you will usually get a better sound
and a more responsie touch. Grand pianos are the more hori$ontal pianos% ranging
"rom 7 to 9 "eet in length. !n a grand piano% the strings are hori$ontal. !n a ertical
piano% the strings are% well% ertical.
The piano will hae a music rack o" some kind where you can put your sheet music. !t
may "old down or slide into a slot. /hen you are ready to play% put it into position.
There should also be a bench "or you to sit on. +d#ust the position o" the bench so that
you can reach all the keys "rom one end o" the keyboard to the other. 'o not sit either
too "ar or away or too close.
There will be pedals at the bottom o" the piano where your "eet are. These need not be
used by beginners. )nce you become more pro"icient at playing the piano% you can
learn how to use these pedals to sustain sounds or cut them short.
The part o" the piano that will be most important to your learning is the keyboard. !t is
made up o" white and black keys which run "rom the le"t to the right o" the piano "ace.
These keys do not alternate white-black-white "or the entire length o" the keyboard.
!" you look closely% you will see that the black and white keys "orm a pattern that repeats
"rom one end o" the keyboard to the other. The pattern consists o" ; white keys and 7
black keys in a particular order. <rom the beginning o" one such set o" keys and ending
on the beginning o" the next set% an interal is "ormed. !nterals are #ust the musical
distances between two sounds. This particular interal is called an octae.
The keys are lined up on the keyboard in order "rom the lowest on the le"t to the highest
on the right. -tarting at the le"t and moing to the right% each black or white key is a hal"
step higher in pitch than the key be"ore it. <or a "ull step% it is necessary to go up =or
down> two hal" steps. Try some hal" steps and some "ull steps. /ith a little practice%
you should be able to learn the sound o" those interals easily.
Try other interals to hear their sounds. +lways pay attention to how many hal" or "ull
steps you are taking. 'o the same interals at seeral di""erent places along the
keyboard. Try octaes. You can do this by picking out a key and playing the next key
up that is in the same position in the next pattern group. -oon% you will be playing
octaes with ease. This is ery important to all kinds o" piano playing.
4ow that you hae "amiliari$ed yoursel" with the instrument called the piano% you can
begin to learn how to use it to make music. There is much to learn% but you can begin
playing simple songs ery ?uickly. +ll it takes is a little time and some e""ort% and soon
you will be happily playing songs you en#oy. /hat starts with a "ew notes can end in a
li"elong pursuit o" musical accomplishment.
Chapter 3 The Home Keys and A to G
You can start by learning where to put your hands. There are a group o" keys toward
the center o" the keyboard called the @ome 0eys. These are nine keys where your
hands should rest as you prepare to play.
You might wonder why there are only nine @ome 0eys when you hae ten "ingers. The
reason is that both thumbs rest on middle &. 1iddle & is a re"erence point that will be
re"erred to oer and oer as you are learning and studying the piano. !t can be
recogni$ed by looking at the pattern o" black and white keys at the center o" the
keyboard. 3ook at the picture o" the center o" a piano keyboard below. Take notice o"
the keys that do not hae a black key to separate them. This is how you recogni$e the
pattern.
7 : 5 A & A 5 : 7
!ig"re A
The middle &% where you will put your thumbs% is marked with a &. The keys with
numbers under them are where you put your "ingers. The twos are "or the index "ingers
o" your le"t and right hand% the threes are "or your middle "ingers% the "ours are "or your
ring "ingers% and the "ies are "or your little "ingers.
Place your "ingers on the @ome 0eys o" your piano keyboard. Play to the right up the
keyboard "rom your right thumb to your right little "inger. 4ow play down the keyboard
"rom your le"t thumb to your le"t little "inger.
You can een play a "ew songs with your hands in the @ome 0eys position. Try to pick
out a song you know well. <or example% you can play 1ary @ad a 3ittle 3amb with the
right hand when it is in the @ome 0eys position. Try to use your memory o" the sounds
to choose the right keys. =@int: start with your right middle "inger.>
4ow% try using the @ome 0eys "or a re"erence point. Put your "ingers on the @ome
0eys again. 3ook up the keyboard% to the right% "or the next pattern that looks #ust like
the @ome 0eys. You know where middle & is 2 now try to "ind the & o" the next octae
up. 3ook "rom middle & to the & aboe middle &. This is how you will gauge your place
on the keyboard.
!n the beginning% you should always take a long look at the keyboard when you sit down
to play. )nce you can recogni$e the home keys% you can begin any song "rom that
re"erence point. /hen you hae learned more% you will take one glance at middle &
and know exactly where to put your "ingers no matter where they should go up or down
the keyboard.
4ext you need to learn the names o" the keys% + through G. You know where middle &
is now. -tart two white keys below that and you will be at +. (ach white key up% or to
the right% goes up a letter in the alphabet until you come to G. Then% it starts oer at +.
There"ore% the middle "inger o" your le"t hand is resting on the + in the @ome 0eys
position. +s you go to the right% you will reach G by the time you get to the little "inger o"
your right hand.
-o% what are the black keys "orB They are #ust as important. They represent the sharps
or "lats. !nterestingly enough% the same key can be either a sharp or a "lat. /hen you
go up "rom a white key% the black key is a sharp% and when you go down "rom a white
key% the black key is a "lat.
To try an example% go again to middle &. Go up to the black key to the right o" middle
&. This is & sharp. 4ow% moe one white key up% to the index "inger o" your right hand.
This is a '. Go to the black key to the le"t o" '. This is ' "lat. +ma$ing% isn,t itB &
sharp and ' "lat are both represented by the same key on the piano.
+s you learn more% you will discoer that both the black keys and the white keys are
e?ually important in piano music. There would be "ew opportunities to hae hal" steps
on the piano without black keys% and most songs hae some hal" steps in them. +lso%
there are many instances where the black keys are some o" the main keys in the
predominant scale being used.
Chapter # What Are $%ales?
+ scale goes "rom one key to the key that is an octae aboe that key. !t consists o"
eight tones. There are di""erent types o" scales. -ome o" them are ma#or scales and
some o" them are minor scales. 1a#or scales hae been described as sounding happy%
while minor scales are said to sound sad or gloomy.
!" you spend a part o" your practice time playing scales% you build muscle memory in
your hands. This means that% a"ter much time practicing% your hands go more easily to
notes in the scale you are playing at any gien time. You only hae to see the printed
music or think o" the melody and your hands know what to do.
To talk about scales% you must talk about keys. There are two kinds o" keys when you
are learning to play the piano. There are the physical blocks o" iory% or some look-alike
material% and wood. There are also keys that scales or songs are played in.
@ae you eer been to a lounge where a singer is giing an impromptu per"ormanceB
-he might lean down to the pianist and say something like% C!n the key o" &.D That tells
the pianist where on the keyboard to begin. !t also tells the pianist what physical keys to
start with and what chords to use. The key o" a piece o" music is ery important.
/hen you are learning scales% you can do it without learning all the key signatures.
=0ey signatures are the written notation o" the keys% such as the key o" & or the key o"
G.> You can begin by playing a & scale. + ma#or & scale is all done on the white keys.
Begin with your right hand in the @ome 0eys position. .emember that your "ingers are
numbered 8-7% with the thumb being 8.
Play 8-A-5 as usual. This is &-'-( on the keyboard. Then% instead o" playing the next
note with your ring "inger% slip your thumb under the "ingers and play < with your thumb.
.eposition your hand so that your thumb is 8 on < and your pinkie is 7 on the & aboe
middle &. Then% continue to play up the scale. -o% you are playing 8-A-5-8-A-5-:-7% or
&-'-(-<-G-+-B-&. You hae #ust played your "irst scale. Practice it a "ew times.
To play a & scale with your le"t hand% put your little "inger on the & below middle &.
Position your "ingers "rom 8-7 coming up the keyboard "rom each key to the next. Play
7-:-5-A-8. Then% reach oer the top with your middle "inger and place it on the next key.
Play 5-A-8 "rom this position. There"ore% you are playing 7-:-5-A-8-5-A-8% or &-'-(-<-G-
+-B-&.
+"ter you practice this "or awhile% try to put the le"t hand and the right hand together.
Play the & below middle & with your le"t pinkie at the same time as you play the middle
& with your le"t thumb. &ontinue up the scale with both hands. !t can be a little tricky at
"irst because you are going oer with your middle "inger o" your le"t hand and the under
with the thumb o" the right hand at di""erent times. Practice awhile and it will come
naturally.
)nce you get the basic procedure down% it is easy to play other ma#or scales. The only
thing you hae to remember is the se?uence o" steps and hal" steps in a ma#or scale.
The correct order up a ma#or scale is: beginning note-step-step-hal" step-step-step-step-
hal" step. You should be aware that% since there are no black keys between them% the
interals "rom B-& and "rom (-< are each hal" steps.
You can play a scale anywhere on the piano. *ust pick a note to start on. !t does not
matter whether it is a white key or a black key. Ese the gien se?uence o" steps and
hal" steps to go "rom there up an eight note scale. You can een start "rom the le"t o"
the keyboard and continue the scale all the way to the right. /ith a little practice% you
will be pro"icient at playing ma#or scales.
Chapter & 'eading ("si%) *ntrod"%tion
/ith a little success under your belt% you can begin to tackle the #ob o" learning to read
music. )" course% many musicians do not know how to read music. They #ust hear a
song and play it% as they say% by ear. These musicians can improise on any simple
themes and come up with elaborate renditions o" popular songs. These players know
their instruments as well as singers know their own oices.
You may be someone who can do that. There will be some in"ormation later on about
chords and improisation. @oweer% i" you are a beginner #ust "inding out about the
piano% it is more likely that you need the help that written music can proide you.
<urthermore% learning to read written music can open up a whole new world to you.
You can learn songs that you hae neer een heard be"ore. !" you want to repeat the
per"ormance% you will hae the sheet music to guide you note "or note.
There is much to learn. You must "ind out about the way the notes are depicted. You
need to know what the sta""s that they are shown on look like. You will learn how
rhythm is represented and how sharps and "lats are shown. These are the basics% and
you can build on this knowledge oer time.
You can learn ?uite a lot #ust by looking at one piece o" music. !" you hae some sheet
music% a hymnal% or a songbook% take it out and look at the music. !" you do not already
hae some written music% buy some or borrow a songbook "rom the library.
You will notice that there are groups o" "ie hori$ontal lines. !" the music is "or both
hands% it will hae two o" these groups o" lines connected together by a longer line along
the side. The hori$ontal lines are called the sta"". You can get sta"" paper that is
already marked with these lines.
+t the "ar le"t side o" the sta""s you will see the cle" marking. !t will be a treble cle"
marking "or the upper sta"". The treble cle" resembles a "ancy backwards - with a line
going down through it and curling underneath. !n the beginning o" learning to play the
piano% you will play the treble cle" notes with your right hand.
)n the lower sta"" o" the two is the bass cle" sign. !t is something like a backwards &
with two dots on the right side o" it. This sta"" shows the lower notes% and you will begin
by playing the notes shown on this sta"" with your le"t hand. The upper and lower sta""s
will repeat seeral times down the page. 3ook at your sheet music and identi"y the
sta""s. 4ow you are ready to learn the notes.
Chapter + The Lines and the $pa%es
Your "irst experience with playing music "rom written notations will come as soon as you
learn the notes. The "irst thing you hae to do is to learn about the lines and the spaces
o" the sta""s. )n the diagram below% the notes used are all ?uarter notes. That re"ers to
the rhythm o" the notes which will be discussed later. The purpose o" this diagram is to
show you the notes as they are positioned on the sta"".
Treble & ' ( < G + B & ' ( <
!ig"re ,
!" you look #ust at the actual lines o" the sta""% you will see that they are% going up% (-G-
B-'-<. -ome people remember this with little sayings% like C(ery Good Boy 'oes
<ine.D There are memory tricks "or all the lines and spaces on both sta""s. <or the
spaces o" the treble cle"% you will notice that the letters o" the notes spell <-+-&-(.
4ow% you can relate the notes on the page to the keys on the keyboard. .emember
where the middle & isB The & on the le"t o" the diagram aboe depicts middle &. The
middle & is shown on an added line below the treble cle" or aboe the bass cle". Esing
middle & as a re"erence point and your new knowledge o" the letters that go with the
notes% try to look at each note and then play the key it re"ers to.
Take the music you hae at hand% and try to pick out a "ew notes on the piano "rom the
treble cle". You might een be able to play a melody line by using this method. This will
only get you started. @oweer% eery time you can hae the satis"ying experience o"
playing music% you should take it. The "eeling will carry you on to want to learn more.
There are more notes to learn on the bass cle". + diagram o" the bass cle" with the
notes on the lines and spaces is shown below.
Bass G + B & ' ( < G + B &
!ig"re C
)n this diagram% the middle & is shown on the "ar right% which would be the end o" this
short piece o" music. The lines o" the bass cle" are G-B-'-<-+. 1any people turn the
treble cle" saying around and use the saying CGood Boys 'o <ine +lways.D The spaces
are +-&-(-G. )ne popular mnemonic deice "or this is% C+ll &ows (at Grass.D <eel "ree
to make up anything that will help you to remember. /rite your sayings down and
memori$e them.
+nother thing to learn is the notation "or sharps and "lats. This is the sign "or a sharp: F.
!t is placed to the le"t o" the note. The "lat is a totally di""erent sign. !t looks something
like a small letter b that has been s?uee$ed until the circle looks almost like a hal" o" a
heart shape. !t is also put on the le"t side o" a note. 3ook through your printed music "or
any sharps and "lats you might recogni$e.
'o not worry about the rhythm at this point. Take your written music and play as many
notes as you can "rom it. -ay the note names as you play at "irst. This will get you in
the habit o" thinking about the written note as a musical sound with a letter name.
+ssociating the three aspects o" a note together will help you become more pro"icient at
reading music.
Buy some sta"" paper or make your own. You can make sta"" paper by drawing "ie
straight hori$ontal lines across the page% leaing a space% and then drawing "ie more
hori$ontal lines. 4ow you can draw some notes to play simple strings o" notes.
'raw a note by making a "illed in circle either on a line or in a space. Then% draw a line
up "rom it on the right. 1ake notes on di""erent lines and in di""erent spaces. -et aside
your pencil and try playing your notes. You should be able to look at the note you hae
drawn and think o" the letter name and the physical piano key it belongs to. Pretty
soon% you will be playing all the notes you can write. !" it comes naturally to you% you
might start coming up with music you en#oy listening to as you write your notes.
/hen you hae learned all about the lines and spaces% you will be well on your way to
understanding written music. The next step is to understand how chords are written.
&hords are notes that are played simultaneously.
You will recogni$e chords on the sheet music because they are written in a ertical line.
!" they are ?uarter notes% as the notes in the preious diagrams are% they will share the
line that goes along the side o" the note. There will be more on chords later. <or now%
#ust take a look at how they are shown.
Try to play some chords as they are on your written music. You may hae to place one
"inger on a note at a time when you are "irst learning% but eentually you will see the
chord and your "ingers will go into that position. 'o a little practice with chords and get
ready to learn about rhythm.
Chapter - Written Piano ("si% and 'hythm
.hythm is something that can be improised or changed easily i" you know the piano
well. Think about singing: You can sing by holding some notes longer and cutting other
notes shorter. You do not need to be told how to do it.
!" you want to learn a song that you do not know% written music can be used to help you
understand the rhythm. +lso% i" you want to play in an ensemble that is playing "rom
sheet music% you will stay in time with them better i" you play "rom written music as well.
The "irst thing you need to learn about rhythm is the time signatures. The time
signature is written to the right o" the treble and bass cle"s on the "irst line o" a piece o"
music. !" the time signature changes within the piece% a di""erent set o" numbers is
written at the point where the change is about to take place.
+ time signature is two numbers% one oer the other. The top number tells you how
many beats there are to a measure. + measure is a unit o" the musical piece that is
marked o"" by a ertical line through the sta"". There should be identical ertical lines
through the treble and bass sta""s at arious points. Try to "ind them on your music.
The bottom number tells you what kind o" note makes one beat. There"ore% a 5/: time
signature would mean that there are three notes to a measure and these notes are
?uarter notes. +s you become more "amiliar with piano rhythms% you will see that the
time signatures are more o" a suggestion than an order to stamp your "oot and play a
?uarter note with each beat. @oweer% to begin it is easiest i" you do i" you tap your "oot
and play one beat per eery note o" the type listed in the bottom o" the time signature.
4otes hae di""erent alues based upon how they are written. + whole note is the basis
o" the rhythm. + measure can consist o" a whole note and nothing more. !n :/: time% a
whole note is worth : beats. This makes sense when you consider that a ?uarter note
is worth 8 beat. : ?uarter notes would make one measure. <our "ourths e?uals a
whole.
1usic rhythm is ery similar to math. !n "act% it has been shown in studies that babies
who are exposed to hearing music with complex rhythms are better at complex math
later in li"e. To begin% though% you only need to know a "ew simple e?uations.
!" a whole note is worth : ?uarter notes% it can be worth two hal" notes as well. +
measure can also be diided up into eighth notes. + whole note% two hal" notes% or "our
?uarter notes are worth eight eighth notes. /hen you add a dot to a note% it adds hal"
again to that note. -o% a dotted hal" note would be worth three beats% or the duration o"
three ?uarter notes.
The whole note is a simple circle with an open center. The hal" note is the same% but it
has a line coming up "rom the side o" it% making it look di""erent. The ?uarter note is like
the hal" note% except that the center o" the circle is "illed in. +n eighth note has a small
"lag on the line coming up "rom the note. !t can look like this i" it is alone: G. )r it can
look like this i" it is with another eighth note: H.
3ook at your sheet music and identi"y the note alues. To practice% tap your "oot to
establish the baseline rhythm. !t should be a steady beat. &lap your hands to the
rhythm o" the note alues. !" it is a whole note% clap once and then do not clap again
until you hae tapped your "oot three more times. !" it is two eighth notes% clap once as
you put your "oot down and another time as you pick your "oot up.
Try clapping out rhythms o" any sheet music you can get your hands on. )"ten there
will be more than one simple line o" music% so you must choose to ignore all but one line
to begin. &lap out one note at a time% which is the only way you could do it anyway.
/hen you are good at clapping out rhythms% go on to playing notes in rhythm. !" you
cannot "ind music that is simple enough "or you to understand% make up some o" your
own. Ese the sta"" paper you hae purchased or made. 1ake a :/: time signature and
write some measures. 1ake sure you always put in notes that add up to : beats% or
one whole note. You can also use rests% which are notations denoting a pause where
nothing is played at all on that cle".
You can play your composition "rom your sheet. !t may not sound like a song to you%
but the rhythm will be interesting i" you hae used di""erent note alues. !t is "un to
make up your own music.
You can use this method to practice the particular aspects o" music you are learning.
/hen you do% you are not "orced to search "or music that "its the situation. +t the same
time% you are practicing coming up with examples o" concepts you are trying to learn. !t
trains your mind. +ll along% you can also be testing out what you hae learned by trying
to play parts o" written music that you hae on hand. !t can all be a part o" the process.
Chapter . Personal $tory) Learning Piano ,asi%s
! was one o" those people who always dreamed o" playing the piano but neer thought !
could. +t least ! was until ! came across some short% simple lessons on the basics o"
piano playing. ! decided to gie it a try% and ! hae been practicing eer since.
/hen ! started% ! knew what a piano looked like% but ! had not really taken notice o" how
the white and black keys make a pattern. That was the "irst little bit o" instruction that
helped me to reali$e that the piano might be decipherable a"ter all. -ince the keyboard
could be broken down into sections% ! had something to guide me in "inding each
indiidual key.
! began with the lessons that were in the material ! had. +"ter each section% ! had to try
out the concepts ! had "ound out about. ! had to try to play the notes% write the notes%
clap the rhythms% or play lines o" melody. !n awhile% ! began to test mysel". ! went back
oer the lessons and tried each concept. ! did this seeral times% always getting better
and better.
! deeloped my own practice schedule% "inding time between my work and daily chores.
!t was satis"ying to accomplish so much so ?uickly. The slow pace o" "ormal lessons
may be good "or children% but as an adult% ! appreciated the ability to go at my own
pace.
There came a time when ! wanted to play music that was easy "or me 2 music that !
recogni$ed rather than what ! was writing out in my exercises. -o% ! went to the music
store and bought two books. ! chose an (asy Piano Book and a <ake Book% #ust as the
lessons had suggested.
! went through the (asy Piano Book% learning to sight read without too much di""iculty.
That was when ! began playing songs ! had heard all my li"e. This particular (asy Piano
Book was based on Broadway musicals. ! knew most o" the songs already% so it was
great to be able to play them.
The <ake Book% on the other hand% was "ull o" modern pop songs. ! had read through
the lessons and "ound out how to use a <ake Book% so ! ?uickly began. ! did not know
all the chords% so ! looked up the new ones be"ore ! tried to play each song.
-oon ! was playing songs that ! had heard on the radio. This was #ust as "un as the
Broadway songs% and my "riends seemed to like it een better. !t was a lot o" "un "or
eeryone% me included.
! am so glad that ! took the time to learn the basics o" piano playing. ! am not a pro by
any means. !t does not matter to me. ! neer wanted to take the world by storm. ! #ust
wanted to learn something that would make me personally a little happier. +nd that is
#ust what ! did.
Chapter / Keys and Key $ignat"res
!t is di""icult to talk about keys without some con"usion because the physical blocks you
strike are called keys. +t the same time% it is also necessary to talk about the theoretical
keys music is written and played in. <or the purposes o" this chapter% keys will re"er to
theoretical keys and not the physical wood piano keys.
.emember the talk about the lounge singer choosing a key in which to sing. +lso
remember that keys can be ma#or or minor 2 happy-sounding or gloomy-sounding.
There are many "actors that determine what makes up the key o" the music. They
inole theory that is too complex "or most beginners.
@oweer% you can learn the key signatures that show what the key usually is. The key
signature is a grouping o" sharps or "lats on the sta"" at the beginning o" a piece o"
music. There might be no sharps or "lats% and i" it is a ma#or key% then it is the key o" &
ma#or. <or the purposes o" beginning key signature theory% it is best to begin with ma#or
keys. The important thing to learn is what notes to make sharp or "lat when you are
playing.
/rite on a sheet o" paper: <-&-G-'-+-(-B. 4ow draw a box around the G. This is a
way to remember the sharps and the ma#or sharp keys. )ne o" the sharp keys is G%
which has one sharp% which is <. +nother sharp key is '% which has two sharps 2 < and
&. !n other words% you start with the box to learn the name o" the ma#or key. Then% you
count the letters starting with G. The key will hae that many sharps in it% and they will
start with <.
<or the "lats% write down: B-(-+-'-G-&-<. This time draw your box around the <.
There"ore% the key o" < has one "lat% which is a B "lat. Then% you go back to the
beginning "or the next one. The key o" B "lat has two "lats% which are B "lat and ( "lat.
Be"ore you begin to play a piece% look "or the key signature on the le"t-hand side o" the
sta"" a"ter the cle" sign. !t will simply show sharp signs on each line or space that
corresponds with the notes that should be raised one hal" step. )r% it will show "lat
symbols on each line or space that matches the notes that are to be lowered one hal"
step.
)ne thing to remember is that% ordinarily% the sharps or "lats in the key signature are
carried throughout the piece. That means that% "or the key o" <% eery time you see a B
on the sta""% you play a B "lat% "or example. The "lat or sharp signs will not be written
beside those notes as long as the key signature is in place.
The key signature can change during the piece at any point. !" it does% there will be a
new cle" sign and a new key signature marked on the sta"" at that point. +nother time
you might play something di""erent is i" you hae an accidental. +n accidental is a note
that is not ordinarily in the key. + sharp or "lat sign will be written by it to tell you what to
do.
+s a beginning player% the key signature is really ?uite simple. *ust use it to tell you
what notes to play sharp or "lat throughout the piece. You can learn more about keys
when you hae adanced "urther in your studies o" theory.
Chapter 10 Get *t Together 1ith Chords
!" you hae sheet music or songbooks to play "rom% they will likely hae chords to play.
There are hundreds o" possible chords in piano music. There are ma#or and minor
chords% diminished chords% inerted chords% augmented chords% and more. *ust
because there are so many chords to learn% it does not mean you cannot get started on
them right away.
The easiest place to begin is with the ma#or chords. To think about chords% you can
start by thinking o" the scales. You hae played a & scale% which has all its notes on
white piano keys. You can start with a & ma#or chord. .emember that the scale went
up: beginning note- step-step-hal" step-step-step-step-hal" step. + chord can hae
more than three notes in it% but you are going to choose the beginning note% the third
note% and the "i"th note.
There"ore% you will be playing the beginning note% skip a step% play the next step% skip a
hal" step% and play the next step 2 one% three% "ie. !" you will look back at <igure +% you
can use the @ome 0eys position "or a & ma#or chord. *ust put your right thumb on &%
your middle "inger on 5 which is (% and your pinkie on 7 which is G. Push down all o"
the keys together. You hae #ust played a & ma#or chord.
You can inert the & ma#or chord "or a slightly di""erent sound. +ll you hae to do is to
use the same three notes 2 &% (% G 2 and play them in di""erent positions. <or example%
you can play the ( and G in the positions they are on in the home keys% but use the &
aboe middle & with them instead o" middle &. Try this and make up any ariation o"
the &% (% G combination you can.
You can make chords "rom any scale. *ust remember the se?uence o" the scale and
choose the "irst% third% and "i"th tone in that scale. There are two other ma#or chords that
can be played all on the white keys. They are the < ma#or chord and the G ma#or chord.
4ow try these chords. Ese the one-three-"ie se?uence to make up each chord.
!" you analy$e the '% (% and + chords% you will see that their simple ma#or chords are
not much more di""icult. You #ust hae to put the middle "inger on the black key "or the
third tone in the scale. .emember that ' "lat is the same as & sharp% and so on. This
gies you seeral more chords to choose.
The next three basic ma#or chords are the opposite o" the preious three. The ' "lat% (
"lat% and + "lat chords are such that you put your "ingers on the black keys "or the one
and "ie positions and on a white key "or the third position. /hen you inert the chord%
you will hae to remember which keys were originally one% three% and "ie% #ust as
always.
!t is easy to remember that the G "lat% also called the < sharp% chord occurs all on the
black keys. You will hae to work to memori$e the B ma#or chord and the B "lat ma#or
chord% as they are a little di""erent. B goes white "or one% black "or three% and black "or
"ie. B "lat is #ust the opposite% with black "or one% and white "or three and "ie.
1inor chords% the serious or gloomy-sounding chords are easy to make as well. <or
basic minor chords% you only hae to lower the third note one hal" step. You would end
up with a &-( "lat-G "or a minor chord. This goes back to the scale set-up. /hen you
count your steps and hal" steps% you need to account "or the third step being a hal" step
lower. There"ore% you would hae beginning note-step-hal" step-step-step "or the "irst
"ie notes.
You can continue to learn di""erent chords "or a long time be"ore you will hae mastered
them all. 3earning chords gies you a way to add "resh new material to your practice
and playing. The more you know% the easier it will become "or you to play without
written music.
Chapter 11 The ,ig !ake and *mpro2isation
!t is nice when you are able to set the music aside and play any music that you like. !t
may be di""icult to "ind the sheet music "or eery song you en#oy. There are two ways to
oercome this predicament% and they are related in a way. )ne is to use a <ake Book%
and the other is to learn improisation techni?ues.
You can get <ake Books at music stores or by ordering them online. You can also get a
ersion o" the same concept when you come across a simple notation o" a song. +
<ake Book% or the like% has only two things to guide you. <irst% you will get a melody line
in the treble cle". This will usually only show one note at a time 2 no chords 2 and it will
be a simpli"ied ersion o" the song.
The second thing you will get with this simple music is a letter aboe the sta"". The
letter signi"ies the chord you are to play in the bass cle" and possibly add to the treble
cle" i" you are skilled enough. There will be a letter aboe the sta"" each time the chord
changes.
By learning the chords% you are preparing yoursel" nicely to be able to use a <ake Book
with ease. You can use the straight chords or inert them. You can play them as
running chords where you play each note separately in succession. You can come up
with any rhythm you choose "or the bass cle".
Esing a <ake Book is a somewhat creatie endeaor. You hae to use what you know
to "ill in the blanks that are le"t by an incomplete score. !n that regard you are in charge
o" inenting the music. You can "ind <ake Books that are "airly current% with music you
hae heard recently on the radio.
Yet% i" you want to really come up with your own original song or instrumental piece% you
can do it better by learning to improise. You can learn ery complex theory about
improisation% but you can begin with the in"ormation you already hae. You need to
know mainly about scales and chords.
&hoose a scale to work "romI a & scale may be the easiest "or you since it is all on the
white keys. 4ext% choose some chords within that scale. <or the & ma#or scale%
common chords to use are < ma#or and G ma#or. This is because they do not hae any
sharps or "lats in them.
1ake up a chord progression. !t can be &-<-G-&. Practice playing these chords with
your le"t hand. The base chords are usually played below middle &% but that is not a
rule% by any means. Play them whereer you see "it. Play them as simple triads or
inert them. Play them in any se?uence. Play until they come naturally.
/hen you are com"ortable with your chord progression% you can begin to improise a
melody. *ust play with your right hand% one note at a time to make a melody line. !t
may not seem like music at "irst% but i" you keep trying you will eentually come up with
an interesting melody line.
You can also improise on a melody you know. -ay you want to play *ingle Bells% but
you do not hae the music. You can ?uickly pick out the melody. Then% you can
choose chords to go with the melody based on the key% or scale% the melody is in. !" you
do not hae sheet music% these are ways to play without it.
Chapter 12 $ight'eading Written ("si%
-ight-reading written music is when you play music as you see it "or the "irst time.
/hen you "irst get a piece o" sheet music or a new songbook% all the music will be
un"amiliar to you. You can get oerwhelmed i" you try to play per"ectly "rom the ery
"irst glance. There are a "ew tricks you can learn to make it easier.
8. 3ook at the key signature. This could possibly be the most important piece o"
preliminary in"ormation you can hae. Think ery hard about which sharps or "lats are
listed in the key signature. You will want to remember to use those notes wheneer
they occur throughout the piece.
A. 3ook at the time signature. The measures will not make much sense to you i" you do
not know how many beats there are in each one o" them. !" you do not know what kind
o" note makes up a beat% you will be lost.
5. 3ook oer the piece "or any changes in key signature and time signature. You may
be playing along and come across a change out o" the blue. !" you are not prepared "or
it% you might end up playing the song incorrectly "rom that point on.
:. 4otice what note you will start on and what note or chord you will end on. !t helps to
know the starting point and the ending point o" any song be"ore you start to play it. This
will guide you towards the "inish o" the song.
7. Glance at the type o" rhythm that is used in the le"t hand. The le"t hand is usually the
rhythm hand% though not always. !" you count out the notes o" the le"t hand be"ore you
begin% you will hae a better idea o" how the song is going to go.
6. 'o a one-handed once-oer o" the melody. *ust play the melody line by itsel" to get
the sound o" it into your mind. )nce you know that sound% you hae unlocked the
uni?ueness o" the song. /hen you begin to play the song all together% the melody will
stand out in your mind as a signi"icant thread.
;. 3ook at any other markings that are on the piece. -ome o" these markings will be
coered in 1usic Terminology. They include the loudness or so"tness o" a piece% how
short or long you hold the notes% and the oerall speed o" the music.
J. Take a deep breath% "ocus% and begin to play. You should try to play the song all the
way through when you sight read it "or the "irst time. There will be time later to break it
down into measures and work on each one i" that is what you want to do. <or the time
being% howeer% #ust do your best and keep going.
You might wonder why it is important to know how to sight-read in the "irst place. +"ter
all% you could learn the song a little at a time. -ight-reading "orces you to keep trying
until you reach the end o" the song.
/hen you sight-read properly% you aoid some bad habits. You aoid the habit o"
looking at each note slowly be"ore you play it. You also aoid the habit o" starting and
stopping eery time something goes the least little bit wrong.
!" you want to play per"ectly "rom the ery "irst sight o" a song% you might as well "orget it
unless you are ery experienced or talented. -ight-reading gets you started on the road
to learning to play better.
Chapter 13 ("si% Terminology 3or ,eginners
There is so much music terminology "or piano players that een experienced players
come across new terms on piano music. -ome o" the words used are more common%
though. + "ew o" these are listed "or you.
A%%elerando 2 getting "aster as the section o" the piece marked goes on.
Adagio 2 played ery slowly
Allegro 2 played at a "ast tempo and with a cheer"ul mood
Andante 2 played moderately slowly
A tempo 2 go back to the original tempo
,eat 2 the basic unit o" time in music% it is a regular tap o" the "oot% "or example
Chord 2 when you play three or more notes together all at once
Coda 2 an ending that is di""erent that preious erses in the musical piece
Cres%endo 2 getting louder and louder through a marked passage
4imin"endo 2 getting so"ter and so"ter through a marked passage
4ol%e 2 sweetly
5nsem6le 2 a musical group% it could be anything "rom a band to a classical group
!orte 2 means to play the piece loudly% "orce"ully
!ortissimo 2 play the piece ery loudly
Genre 2 the category o" music =or any other artwork>% rock and blues are examples
Glissando 2 playing down the keyboard rapidly% usually by sliding thumb down the keys
*nter2al 2 the distance between two musical tones
Largo 2 ery slow and broad
(e77o 3orte 2 play the piece somewhat loudly
(e77o piano 2 play the piece somewhat so"tly
Phrase 2 a unit o" music% denoted by a cured line under or oer notes phrased
together
Pianissimo 2 play the piece ery so"tly
Piano 2 play the piece so"tly
Presto 2 play extremely "ast
$emitone 2 also known as a hal" step
$ta%%ato 2 play notes ?uickly% crisply% and detached "rom each other
Tempo 2 the rate o" speed o" the musical pieceI it can ary during songs when marked
8ariations 2 when you play a basic tune and then play di""erent ersions o" it that retain
the same basic melody.
These are the most common music words used by pianists% along with the words that
hae already been used in these lessons. 0eys% key signatures% time signatures% notes%
whole notes% ?uarter notes% and so onI improisation% etc. There are always more
words to add to your musical ocabulary.
-ome o" the words aboe are written out aboe or between the sta""s. -ome are noted
by using a mark o" some sort. There are many markings to learn% but some o" them are
easy. This is because the word is o"ten written out along with the marking.
<or example% a crescendo marking starts as a point on the le"t and opens up wider to
the right. -ometimes% the word crescendo will also be written somewhere either in the
marking or under it to help you. -ome markings you will hae #ust hae to learn.
-taccato music is marked by dots under the notes you are to play short and crisp.
/hen you learn all o" this musical terminology% do not sit back and ignore the rest o" the
words and markings you "ind. 0eep learning and you will neer get bored. There is
always more to know.
Chapter 1# !inding and Choosing ("si% to Play
You can learn and en#oy yoursel" by playing music you make up and write% or make up
and improise on the spot. -ooner or later% you will want to "ind some sheet music or
songbooks "or more music. You can get music in music stores or online easily% but it
may not be the music you want to try and play.
You need to "ind music that suits your leel o" play. The best way to do this is to #ust
look at the music. !" you are buying in a store% you can examine the books or sheet
music thoroughly be"ore you buy.
)ne thing you can look at is how many sharps or "lats the songs in the songbook tend
to hae. + song that uses too many o" the black keys is harder to play when you are
"irst starting out. +lso% "or some reason% many people "ind the sharp key signatures
more di""icult to manage than the "lat key signatures.
3ook% too% at the di""iculty o" the chords. !" the chords are clusters o" many notes% you
will know that the chords will not be as easy as simple triads. Take note o" whether
there are chords o" "our or "ie notes together on both le"t and right hands. You can
learn these i" you want to% but be prepared to work a little bit.
3ook "or di""icult rhythms. You might see a lot o" dotted notes or notes with di""erent
alues mixed together to make up a measure. +gain% you can take your time and learn
these songs. You can clap out the rhythms until you hae them down be"ore you play.
@oweer% i" you are looking "or some ?uick success% look "or more een and simple note
alues.
Besides looking at sheet music and songbooks that are already printed% there is another
way to buy music in a music store now. 1any stores hae a special computer set aside
"or making copies o" music. You choose the song you want "rom a list. !" you only know
a "ew words% you may still be able to "ind the song i" the search tools are good enough.
+"ter you hae selected your song% you get the opportunity to look at the music. You
can look at the music "rom beginning to end% but you cannot copy it until you agree to
buy it. The artists are protected in this way because the store pays the royalties "rom
your payment when you buy the copies. You should expect the copies to be high
?uality% and on good paper.
You can also get sheet music online. /hen you buy online% you usually do not get as
good o" a look at the music you are about to buy. You are more likely to get a small
sample to gie you an idea o" what the music is like.
The online companies do not like to show too much because it is too easy "or people to
steal work that is printed on the internet. They will send you your choices by mail or by
download as soon as you pay.
4o matter how you get your music% be sure that you get the music you like and you will
be able to play in the near "uture. There is no need to stockpile music "or that someday
when you will suddenly be playing like a pro. !nstead% get songbooks and sheet music
that you are ready to use right away.
Chapter 1& Pra%ti%ing on 9o"r :1n
!" you are playing the piano as an adult sel"-learner% you will do best i" you work in some
practice time most days. You might like to establish a routine o" how you will go about
your practice. You can do things in a certain order% or you can mix things up di""erently
eery day.
)ne thing you should always do when you practice is to play scales. You do not hae
to play eery scale eery day. You might want to "ocus on the "lat scales one day and
the sharp scales the next. You do not een hae to take it that "ar 2 #ust be sure that
you practice scales o" some kind "or awhile be"ore you begin to play.
4ext% play some chords. Build on the scales you hae played and make up as many
chords as you can manage in the time you hae allotted to spend on the exercise. The
more you play your scales and chords% the better you will be when it comes to
improising. You will een play written music better because it will make more sense.
!t is a good idea to hae a set musical piece to play eery time you practice be"ore you
start playing other songs. !t can be any song that you can play "airly easily. -omething
that gies you a "eeling o" satis"action is always a good choice. 1ake sure you do not
pick a song that is new or tricky "or this. You want to start out with a positie
experience. You can work on the hard music later in the practice session.
+"ter you hae played your starting piece% go on to play songs you hae been working
on. Go oer the rough spots care"ully and try to play them "rom beginning to end
without stopping. +t this point it is a good time to sight-read any new music you hae
on hand and want to try. Then% take a little break.
Get a drink o" water% eat an apple% or make a phone call. Then% go back to the piano
and "inish your practice. 1any people beliee that you hae to sit down and play until
you are exhausted. They neer consider that taking a break can breathe new li"e into
your playing.
)nce you hae had a break% you can use the rest o" the time to improise. You can
make up music based on the chords and scales you played earlier. !" you pre"er% you
can go in a completely new direction. 3et this be your time "or en#oyment and pure
pleasure. /ith the right attitude% improisation does not seem like work at all. !t "eels
like complete "reedom.
/hile it is good to practice most days% do not hesitate to take a day o"" i" you are "eeling
bored with it. There is nothing that kills enthusiasm like oerwork. Take o"" #ust enough
time to renew your excitement about playing the piano. !t should not take long.
!" you are haing trouble "inding motiation to practice% go to a piano concert% buy a
piano player,s &' or 1P5 download% or listen to a moie soundtrack based on piano
music. /hateer it takes to get you back in the grooe% do it.
Chapter 1+ The $mall $potlight) Playing 3or !riends and
!amily
You hae learned to play some songs ery well. Your "riends and "amily are anxious to
hear you play. This is no time to disappoint them. Play your heart out and gie them a
show to remember. There are a "ew things to consider when you are in this position.
<irst o" all% your "riends and "amily can be your kindest audience or your harshest critics.
1ost o" your loed ones will want you to do well. They might be so care"ul o" your
"eelings that they tell you how great you played een i" you know you made a lot o"
mistakes.
There is nothing like the loing kindness o" a "riend or relatie. You can become more
con"ident i" you know you are going to get praise when you play. @oweer% i" the
admiration is not sincere% you will "eel cheated. You might eentually stop playing "or
them because it does not seem to matter what you do 2 you always get the same
reaction.
/hen "riends or "amily members try to help you polish your act% they can be
troublesome as well. They might or might not know something about playing the piano.
!" they know nothing about it% their adice will be nothing more than an irritation and an
annoyance. !t will not help you in the least when it comes to correcting any mistakes.
!" there are other piano players in your intimate circle% they can be demanding. !" you
play better than they do% they might be #ealous. They might say things to demean you.
!" you are not as adanced as another piano player in the room% you may be up "or
some pretty harsh criticism. <riends and "amily members o"ten "eel as i" they hae the
right and een the responsibility to set you straight eery time you miss the mark.
!n the end% you hae to play what you en#oy to play and hope that eeryone en#oys it as
well. You cannot please eeryone% nor should you try to. !t is "ar better to play without
"ear o" what others might say than to worry about eery little note. .emember that your
loed ones generally want what is best "or you. They #ust hae a strange way o"
showing it sometimes.
&hoose times to play "or your "riends and "amily when music seems a natural part o" the
occasion. !" there is a birthday% ask i" the host would like you to go to the piano and play
@appy Birthday. <or &hristmas parties% you can olunteer to play carols "or the group to
sing. <or a casual eening% you might see i" people want to hear current songs. !t is
important to bring the others into the eent and let them be a part o" it.
/hen you are playing "or a small% casual group such as this% it is good to start a
conersation with the others about what they would like to hear. !" you know how to
play it% or can improise it% per"orm it "or them right away. !" it is something you are
un"amiliar with% suggest that one o" you looks "or the sheet music "or a later song "est.
Your "riends and "amily will en#oy your playing i" you are committed to making their
experiences pleasant or moing. !t is also good i" you always look "or ways to keep
your repertoire up to date so that you can surprise and ama$e your small audience.
+"ter awhile% your loed ones will look "orward to hearing you play.
Chapter 1- Playing 3or P"6li% 52ents
!" you practice and play long enough% you might get enough experience to play outside
your most intimate social circle. You might be asked to play piano "or a church serice
or as a member o" a rock band. You might be gien the opportunity to play the piano as
a paid soloist "or a wedding% engagement party% or "uneral. There are many chances to
play the piano in public i" you are someone with reasonable talent and experience.
!" you are playing "rom sheet music% you can make your li"e easier by preparing your
sheet music or songbooks ahead o" time. Get some plastic sleees that you can put a
page o" music into and place each sheet in a sleee. !" you own a book% you can cut the
pages "rom the book and insert the ones you need into the sleees. Then% clip the
sleees in order into a ringed binder.
Esing a binder makes it easier to turn pages without dropping your sheet music or
"umbling with a bulky book. The music is all right there% and you will not damage the
corners by trying to turn the pages too ?uickly. +nother adantage o" using the binder is
that you can put all the written music "or the entire per"ormance in one binder. Then%
you do not hae to keep going "rom one sheet or book to the next oer and oer.
You might get some butter"lies in your stomach when you play "or a crowd. !t is
per"ectly natural. The main thing to remember is to relax. Tighten up your muscles and
then let them go. You will "eel a sense o" calm a"ter you do this. !" the situation is right%
you can calm your neres by talking so"tly to other musicians while you are waiting "or
the eent to begin or the curtain to go up. 4eer talk when you will disturb the
audience% though.
The most important thing to do when you get nerous is to think about the music. 3et
your mind dri"t away "rom the audience and the circumstances o" your playing. !" you
hae chosen your song well% concentrating on the music will carry you through the
nerous times. You will not hae to do much thinking about the eent you are coering
because the song will speak "or itsel".
There are times when you play with other instrumentalists% such as in a rock or country
band. You might hae written music% but o"ten you will be improising. -ometimes% you
will be trying to imitate someone else,s ersion o" the song you are playing. Be sure
you know the goals o" the group in this regard.
/hen you are playing with others% do not hog the limelight all the time unless you are
the "eatured player. !n most cases% you will be #ust one member o" the ensemble% doing
your own indiidual part to make up a balanced act. .emember to let others hae their
turns to shine.
!" you accompany a chorus% you can lead them to a certain extent. You can set the
pace according to the lead o" the choral director. )n the other hand% i" you accompany
a solo singer% your #ob is to proide #ust a "ramework "or the singer. +t the same time%
you need to be "lexible enough to mold your playing to the ariations the singer makes
in her per"ormance.
Playing "or public eents need not be scary. You do not hae to be a musical genius to
do it either. *ust do your best and your experience should see you through.
Chapter 1. Personal $tory) Ho1 Playing the Piano ,e%ame
(y :%%"pation
! neer dreamed that ! could eer play the piano be"ore a group o" strangers and sound
like anything truly musical. ! #ust learned to play "or my own en#oyment. ! wanted a
pastime that would keep me busy in the eenings while my kids were busy with
homework and extra-curricular actiities.
! kept practicing and learning more as the months went by. ! picked up more and more
music books% eagerly poring oer eery note. The day came when my brother asked
me to play the piano "or his daughter,s birthday party.
! "elt like he was only being generous to me. @e knew ! wanted to play "or the "amily
and he was giing me a chance. ! was not too nerous because the party "or the "ie-
year-old in ?uestion would be all "amily except "or a "ew kids.
/hat ! neer thought o" was that my cousin would be there 2 my engaged cousin 2 my
soon to be married cousin. -he was looking "or someone to play the piano at her
wedding. /hen she heard me play at the party% she decided that she liked my style.
-he asked me right then and there i" ! had the date o" her wedding open to play piano
"or her guests.
! was a little shocked. +"ter all% it was to be a ery large wedding. ! was not an
extremely experienced piano player. -urely she could hae gotten someone better% !
thought. @oweer% she explained that the "ew people she had considered were
unaailable. -he was not satis"ied with the alternatie players she had "ound% but she
really liked my playing. -he was serious.
! knew ! could not play 1endelssohn,s /edding 1arch. ! was #ust not ready "or such an
ambitious piece. ! could not spread my "ingers out so well "or such big chords. ! was
not sure ! could play it "ast enough either. ! asked my cousin about this. -he said not to
worry. -he would #ust choose another song to leae the altar on.
+"ter much back and "orth% my cousin coninced me that ! could accomplish what she
wanted me to do. ! practiced her selections% prepared my music% and got through it
nicely when the time came "or the wedding. ! did so well% in "act% that two other guests
came up to me and asked me "or my number so that ! could play "or them.
)h% and ! did learn the 1endelssohn,s /edding 1arch. The more weddings ! played
"or% the more experience ! got. /ith more experience% ! learned how to play more
di""icult songs% and songs like that one were such standards that ! had them nearly
memori$ed in no time.
4ow% ! play "or all kinds o" public and priate eents. ! hae been asked to be one o" the
regular pianists "or my large church. ! think ! will take them up on it. ! en#oy the playing
and ! can think o" no better way to use my gi"ts. 1y husband asked me once i" ! would
hae rather been a concert pianist. ! tell him no. ! en#oy playing "or the eents o"
eeryday li"e. ! bring music to the worlds o" people who would neer listen to a piano
concert. !t is more than #ust a hobby% it is a calling.
Chapter 1/ Tips 3or ,eginning Piano Players
To get a #ump start on learning to play the piano% you can use a "ew extra tips. -ome o"
them are obious% but they need to be said anyway. )thers% you might not hae
thought o" at all. 0eep this list in mind as you start to learn.
8. !" you are really not interested in the piano% do yoursel" and eeryone else a "aor.
'o not try. 1aybe you reason that it would be adantageous to play the piano% but your
heart is not in it. !n that case% you could listen to lots o" piano music and see i" you
deelop an interest. 'o not start trying to play until you are happy at the thought o"
learning.
A. Play what you like. !n the old days% and o"ten een today% piano teachers spent
months with their students be"ore they were allowed to play anything they en#oyed
playing. You will get more grati"ication i" you "ind ways to play at least simple or
improised ersions o" songs you know and like. That will keep you going.
5. 'ie right in. 'o not wait "or the sun to turn purple or een to learn all the scales.
-tart playing music as soon as you can. The more you play% the more you will learn.
The more you learn% the more you will play. !t creates an upward spiral that will
increase your abilities.
:. Try to play on the best piano aailable to you. )" course% you can learn ?uite a bit
with een a small electronic keyboard. !" you hae a &lainoa it is better because this
instrument has all JJ keys. -ome would say that an upright piano is better still.
Endoubtedly% i" you hae access to a good grand piano% play it.
7. 'o your best not to disturb others in the household. They will almost certainly hear
you play. !n most houses% there is no getting around that. Yet% you can be considerate
o" the times when other members o" the household need ?uiet time to study or do work
that is intellectually challenging. 1aybe they hae had a hard day and #ust need a little
peace. !" you ignore their "eelings% "riction between you will make your practice
unpleasant.
6. -et up your own reasonable discipline. 'o not be harsh with yoursel". !" you will not
allow yoursel" to stop a practice no matter what exciting thing is happening in the
household% you will come to resent the piano. +llow yoursel" a little leeway. +t the
same time% keep up the practice as much as you reasonably can. !t is with practice that
you will deelop your ears% your eyes% your hands% and your mind.
;. 0eep a #ournal o" new things you learn. !" you come across a new term% look it up
either in a music dictionary or on the internet. /rite it in a notebook or make a
document on your computer to type in all the things you hae learned. You can also
write in the notebook what has worked "or you and what has seemed to make things
harder. 'o not "orget to record your accomplishments.
+s a beginning piano player% you hae all the time in the world to learn new things abut
your instrument. (ach time you "ind something that makes your li"e easierI remember it
so that you can use it again. /hen you do that% you can build on each lesson and
adance to higher and higher leels.
Chapter 20 Lessons and Piano Tea%hers
/hen you are beginning to learn the piano% you might "eel that you need all the help
that you can get. You might look "or lessons online or through the mail. Getting a piano
teacher may be a priority "or you. These are possibilities you can consider.
There are many di""erent people and companies o""ering piano lessons online. -ome o"
the lessons are ery expensie and some cost less. !t may be di""icult to "ind out the
price o" the lessons without committing to them% but you can do it i" you are care"ul.
You should de"initely make sure that you are going to be getting lessons "rom a
reputable teacher. 'o not be a"raid to ask "or ?uali"ications and accomplishments.
-ome websites o""er seeral "ree lessons to get you started and gie you an idea o"
what is to come. )ne website o""ers oer 8KK short "ree lessons be"ore you buy.
)nline piano lessons might be help"ul to you. The problem is that they are ery generic
and do not accommodate your own personal learning cure. They are not designed
with you in particular in mind. You can get most o" the in"ormation "rom reading.
)n the other hand% a piano teacher might be more help"ul% proiding she is a good one.
You must expect a lot "rom a piano teacher. 3ook "or someone who will change her
teaching style when her original methods are not helping.
Try to "ind a teacher who works with scales% chords% and improisation. 1ore piano
teachers are training their students on these sub#ects now than eer be"ore. 1ake sure
you "ind one o" them% and not someone who sticks to written music alone.
Get a music teacher who plays well hersel". .egardless o" what has been said about%
CThose who cannot do teach%D your teacher might be a ery able piano player. !t is to
your adantage i" you can "ind someone who knows the tricks o" the trade "rom
experience.
!nteriew piano teachers to "ind out which one you might get along with the best.
Personalities are important. You will want someone who will inspire you% but not
someone who will be unkindly critical. You will want someone you can talk to on an
e?ual leel when the sub#ect is not piano playing. +"ter all% you should be gien the
respect that is due any adult learner.
/hen you beliee you hae "ound a piano teacher who can help you% you can begin
your lessons as soon as she can work you into her schedule. 'o not leae it at that.
+lways be aware that you can change piano teachers at any time.
!" your piano teacher does not seem to know much about the kind o" music you want to
play% do not do the easy thing and stay in her lessons. !n time you will completely lose
interest in playing the piano and ?uit. 0eep searching until you "ind that special teacher
that can help you learn all you want to know.
!t might take awhile to "ind the right piano teacher. !n the meantime% you can keep your
interest alie by studying the piano on your own. 3earn about how to read music% play
scales and chords% and improise. !t can only help you when you are ready to learn
with "ormal lessons through a piano teacher.
Chapter 21 Con%l"sion) 5n;oyment That Lasts a Li3etime
Playing the piano is not something you can "ully master in a "ew practice sessions or
lessons. Yet% it is en#oyable all along the way i" you "ind ways to keep up the
excitement. <rom the time you begin playing% you neer hae to ?uit as long as you can
sit up% moe your hands% and your mind is still "unctioning. That is a ery long time "or
most people.
(en i" you go "or a "ew years that you do not hae a piano "or some reason% you can
easily take it up again when you hae one once more. You might be a little rusty% but
you will not be starting oer at s?uare one. You will hae a ast store o" knowledge in
your mind to guide you as you re"resh your playing skills.
'uring hectic days% you will "ind that playing the piano gies your li"e balance. /hat is
more% you will hae a center o" peace"ulness to your days. Your "amily will come to
understand that you need your time with your piano to concentrate on something
completely di""erent than eeryday problems.
/hen your children go o"" to college% i" they hae not gone already% you will "ind yoursel"
spending more time at the piano. You will suddenly hae more time to "ocus on your
practice sessions. Your "riends and "amily will notice the improement and might ask
you to play "or them "re?uently.
+s your golden years approach% you can reisit songs o" your youth by playing them on
the piano. !t is o"ten easier to "ind piano music "or old songs than to "ind the recordings.
)n the other hand% you might want to keep up with the kids and learn all the new songs.
The choice is yours and you can spend your time playing whateer you want to play.
There are "ew other really interesting and en#oyable hobbies or pastimes you can be
inoled in during your adancing years. Too many times% older people are gien
boring tasks or busy work to try to make their days go "aster. @ow much better it is
when the elderly can manage their own time with some well-played piano music. !t
makes them happy% as well as those around them.
4o matter how you look at it% the piano learning you begin now is only a prelude to the
happiness the pastime will gie you in the "uture. !" you keep playing% you will "ind all
sorts o" occasions where you can play "or "un or pro"it. !" you only play in the priacy o"
your only home% though% you will get a peace and contentment that is uni?ue to people
who "ind "ul"illment in their music.
There"ore% learn all you can and keep your interest alie% but do not "eel that the bene"its
are short-term. Plan to make playing the piano a part o" your eeryday routine "or the
rest o" your li"e. You will be pleased that you took the time to "ind a pastime that o""ers
you so much.
!" you hae neer considered learning to play the piano be"ore% now is a good time to
explore the option. !t is neer too late as long as you hae all your "aculties intact.
@oweer% the longer you hae to play% the more you will get out o" it. !" you are truly
interested in playing the piano% do not put it o"" another day. -tart learning all you can
"rom this moment on. !t may be the best thing you eer did "or yoursel". &lick here to
get started online now
Chapter 22 'eso"r%es
There are many sources o" in"ormation on piano playing. <or more on the sub#ect%
contact the "ollowing sources.
)nline Piano .esources
/ebsite: http://www.how-to-play-piano.org.uk/
+merican Pianists +ssociation
General !n"ormation
/ebsite http://www.+mericanPianist.org
:6K5 &larendon .oad% -uite K5K
!ndianapolis% !4 :6AKJmailto:+P+!n"oL AmericanPianists .org
!" you deelop your talent to a pro"essional degree% you might want to contact this
organi$ation. !t is dedicated to promoting the careers o" concert-leel classical and #a$$
pianists around the nation% between the ages o" 8J and 5K.
1T4+
1usic Teachers 4ational +ssociation
/ebsite http://www.mtna.org
This association is "or certi"ied music teachers and teachers who wish to become
certi"ied. !" you are looking "or a certi"ied piano teacher in your area% the association
has a teacher "inder that you can use to search their database.
Piano 1anu"acturers +ssociation !nternational
:KAK 1& (wen -uite 8K7
'allas% TM ;7A::-7K57
Phone =9;A> A55-98K;
This organi$ation is a power"ul "orce in regulating the manu"acture and sale o" pianos.
!" you hae a complaint about a deceptie manu"acturer or "aulty instruments% you might
contact this association. )therwise% watch maga$ines "or news o" their industry
regulation.
Piano Technicians Guild
:::: <orest +enue
0ansas &ity% 0- 668K6
Phone =985> :5A-99J6
/ebsite http://www.ptg.org
This organi$ation is actually "or people who work on pianos. @oweer% their website
and resources include in"ormation on eerything "rom how to choose a piano to how to
"ind a good technician. The website een has in"ormation "or pianists themseles% like
how to "ind sheet music and a listing o" piano products. !t is a website that is well worth
your time to isit.