PLAY I T!

POP
Ex. 1. Heres how your left hand should lay on the keys in order to play the
syncopated bass line in Her Diamonds look at Example 5 for tips on timing and
Example 6 for the full notation. Following the same chord progression outlined
in the next three examples, start by playing G (shown in orange on the diagram),
then A (shown in blue), C (shown in purple), and finally back to G again.
Ex. 5. The timing of the syncopated synth bass line may look tricky, but its easy to
internalize the groove once youve counted along a few times. As shown here, count
aloud with the helpful syllables one-e-and-a, two-e-and-a, three-e-and-a, four-e-
and-a (one-po-ta-to, two-po-ta-to, etc. works just as well) and tap your hand on
your leg with each note. Practicing the rhythm this way will make adding the notes
exponentially easier when the time comes.
Ex. 2. Her Diamonds opens with this chord in the right hand, a G without a third.
This is also the last chord in the four-bar progression shown in Example 6.
2
C
5
G
4
A
Middle C =
1
G
5
D
Ex. 3. Heres the second chord in the songs central four-chord progression, an
inversion of A7.
1
G
4
C#
1
G
5
Eb
by Michael Gallant
ROB THOMAS
HER DIAMONDS
j

4
4
4
4

, , ,`

,`

,
, , ,`

,`

, , ,`

,` , , ,

, , ,`

,`

,
G A7 Cm G
j
4
4
, , ,

1 e & a 2 e & a 3 e & a 4 e & a

You know that catchy Matchbox Twenty
song 3AM from the mid-90s that still
seems to hit the airwaves every five min-
utes and remain in your head for hours
after each listen? Rob Thomas co-wrote
that. Santanas raucous Grammy magnet
Smooth? Yeah, Rob co-wrote that, too.
The man has a powerful way with melodies,
lyrics, and chords, and his latest single,
Her Diamonds, is no exception.
Central to Robs single is a simple, but
unconventional, four-bar chord progression
played on a toy piano sound. Underneath
that, he adds a grooving, syncopated synth
bass line. Check out the examples below to
play Her Diamonds yourself.
Read Jon Regens cover story interview with Rob
Thomas on page 20 and visit keyboardmag.com for
more including exclusive video of Jon and Rob
discussing Her Diamonds.
Her Diamonds, words and music by Rob Thomas. 2009 EMI April Music Inc. and U Rule Music. All Rights Controlled and Administered by EMI
April Music Inc. All Rights Reserved. International Copyright Secured. Used by Permission. Reprinted by Permission of Hal Leonard Corporation.
Ex. 4. From there, Rob plays an inverted Cm chord, before returning to the final G
(no third), shown in Example 2.
Ex. 6. Heres a transcribed excerpt of Her Diamonds synth bass in the left hand, toy piano sound in the right. Practice each hand separately before putting
them together and creating your own musical diamonds.
34 K E Y B O A R D 0 7. 2 0 0 9
In the April 09 issue of Keyboard, we
talked about the importance of octaves
when playing gospel. As you become
more comfortable playing riffs and
phrases in octaves using the right-hand
thumb and fifth finger, you can start to
add inner chord tones with your other
fingers. This will strengthen the harmonic
content of your licks and inject more soul
into your playing.
The music theory behind this
technique is deceptively simple: Use tri-
ads in inversions three-note voicings
with the melody doubled an octave
below. Always keep in mind that any good
melody has a beginning and an end, a
sense of resolution or arrival, and a feel-
ing of harmonic purpose.
PLAY I T! GOSPEL
j

F Gm a) b) F B F F
,
,
,
,
,
,
,
,
2
4
2
4
,
,
,`
,
,
,
_

,
,
,
,
,
,
,
,
,
,
,
,
,`
j
,
4
4

,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

j

a) b)
,
,
4
4
4
4
,
,

,
,
,
,
,
,
,
,
,
,
,
,

,
,
,
,

,
,
,
,
,
,

,
,
,
,
,
,

,
,
,
,
,
,

F
OCTAVE MELODIES
PART 2
by Scott Healy
Ex. 1. Heres a simple rising phrase in the key of F which starts and ends on the third of
the I chord. Play the notes in 1a slowly and powerfully, and lightly pedal each note. Hold
a long F in the left hand for reference. It happens that the chord tones of F major all fall
on the beat, as marked with accents in 1b. Play an inversion of the F major triad on each
of the four beats, aiming for subtlety. When youre comfortable, slow the tempo down
and focus on your quickly-changing sustain pedal: Play with lots of arm weight and
power, lift the dampers just after you play a note, then release them just before you play
the next note. Listen to how the sound opens up as the pedal is depressed, and how each
note speaks without smearing into the next.
Ex. 2. Listen back to Example 1 can you hear what harmonic movement the melody might suggest? Two choices
for the chords between the strong-beat Fs come to mind. The first F, Gm, F, shown in 2a, sounds more smooth
and jazzy. In 2b, F, Bb, F has a more church-like feel. Practice the right hand alone using just the stripped-down,
three-voice chords, then add the lower octave with the left hand for reference when youre comfortable.
Ex. 4. Use the ideas in the last three examples to build on this melody line. Dont worry about the left hand as you first improvise on this. Start with octaves, then strong beat
chords, then some in-between chords. Mix it up, using both variations discussed above. Next time well talk about chromatic passing chords and contrary motion. Praise!
j

a)
,
,
4
4
4
4
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
b)
,
,
,
,
,
, ,
,
,
,
,
,
F
Gm
F/A
Gm/B
F/C
Gm/C
F
,
F
B
F/A F/C
Gm/C
F
, B,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
c)
F
B
F/A B /C
C
F
, G/B
,
Ex. 3. Spread it out over both hands in 3a; the octaves in the right hand are filled in fully. Track the left hand (in octaves if possible) in smooth and stepwise motion from
low F up to C, then resolve back to the F. As before, pedal each chord, play strong and semi-legato, and bring out the top note. In 3b, do you hear how the Bb chords feel
like theyre pushing toward the next beat? The churchy choice is so different from the jazzy one in 3a. Here the left hand can take a more harmonic role. The overall
effect is a series of mini plagal cadences (IV-I, IV-I, etc.). Wrap it up tightly with a strong cadence at the end, as in 3c, set up by the G/B (V of II) moving the up to Bb/C,
then to C, then to F.
36 K E Y B O A R D 0 7. 2 0 0 9
In my new book The Dream Theater
Keyboard Experience, I tried a teaching
method that I first was introduced to during
my pre-college days at Juilliard. I remember
picking up the Alfred Cortot edition of the
Chopin tudes and seeing how he wrote a
different short exercise before each tude,
focusing the student on a particular technical
difficulty that he wanted to highlight within
the piece. Its a very cool concept that I
employed for each of the pieces included
in my book. Heres an excerpt from one of
the eight exercises that I wrote.
Though Octawizard challenges you to
execute fast and smooth arpeggios of every
shape and size, the real focus is on the
rhythmic element of the lines. Notice how
it quickly goes from straight sixteenth-
notes to triplets of sixteenths. It might be
a little tricky to make that change
smoothly at first, but relax with it thats
the hard part and its the reason that I
created this.
Youve heard this tip before, but it bears
repeating: Turn on that metronome! Also
make sure youre not moving your elbow
and body around too much. You dont want
any wasted movements here!
The inspiration for this tude is from meas-
ure 186 in the song Octavarium from the
Dream Theater album of the same name.
PLAY I T! PROG
j

5
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
3
3
3
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
3
3
3
,
, , ,
,
, ,
, ,
,
,
,
,
,
,
,
,
,
,
3
3
3
3
3
3
,
,
,
,
,
,
,
,
,
,
,
,
,`

3
3
,
,`
,
,
,
_
,
,
,
,
,
_
,
,
,
,
,`
,

1 3 2 1
4
2 1
1
4 2
2 1
1
3
4
4
1 3
5 4
3 2 1
3
1 2 3
1
4
1
1 3 3
j

9
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,`
3
3 3
3
3
3 3 3
, ,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
3
3
3
,
,
,

,
,
,
,
,
, ,
,
,
,
,
,
3
3
3
,
,`
,
,
,
,
,
_

,
,
,
,
, ,
,
,
,
,
, ,
,
,
,
,
,
5
2
3 4 1
4 2
5
4
3
3 3
1
2 4
3
1
2
4 5 3
3 2
1
1 3 2
2
3
5
5
j

13
,
,
,
,
,
, , ,
, , ,
,
,
,
,
,
3
3
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
3
3
3
3
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
3
3
3
3
3
,
,`
,
,`
,
,
_
,
,
,
,
,`
,
,
_
5
4 3 2
2
1
1
3
3
2
1
2
3 5 5
2
3
4
4
1 2
1
3
2
1
1
3
1
4
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,`
3
3
3
3
,
,`
,

3 2 4
3
3 1
j

= 66 ,
6
8
6
8
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
3
3
3

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
3
3
3
3
3
3
,
,
_
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
3
3
3
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
3
3
3
3
3 3
,
,`
,
,
_
,
,`
,
,
_
,
,
_
,
,
,
1
5
3
2
2
2
1 1
2
1
1 3
1
5
3
2 3 1 5
3
1
JORDAN RUDESS
OCTAWIZARD
by Jordan Rudess
transcribed by Chris Romero
Learn more with Jordans new book, The Dream
Theater Keyboard Experience ($26.95; Alfred Music),
which also includes the full version of this tude. For
more on Jordan, visit jordanrudess.com. For our recent
cover-story interviews with the wizard himself, and for
MIDI and audio of this lesson, visit keyboardmag.com.
Octawizard music by Jordan Rudess. Copyright 2008 by Jordan Rudess.
All rights reserved. Published by Alfred Music in The Dream Theater Keyboard Experience. Used by permission.
38 K E Y B O A R D 0 7. 2 0 0 9
Chick Corea made a splash with his
extended use of the maj7#5 chord, in his
startling composition The Brain. That
sound had a major impact on the music of
Gary Burton, Keith Jarrett, Michael and
Randy Brecker, and others who cut their
musical teeth in the late 70s and 80s.
John Coltrane, another great influence on
the aforementioned, introduced a precursor
to maj7#5 in his major-third based Giant
Steps. While Giant Steps doesnt con-
tain any maj7#5 chords, its tonal centers,
which are major thirds apart, are a key com-
ponent of maj7#5 harmony.
A good way for you to incorporate this
unusual chord into your own playing is to
first substitute it for a maj7 chord. Next, you
can start to use this color as a substitute for
other types of chords. A good exercise is to
take a standard, and change all the chords
to maj7#5 chords, using the original roots.
Youll be amazed how this radically changes
the sound of the tune, while still maintaining
the form and shape.
PLAY I T! JAZZ
j

Baug/C

,
, , ,
, ,
,

a) b) c) d) e) Cmaj7 5

Caug Cmaj7 5

Baug/Caug E/D

j

a)
4
4
4
4

,`
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, , ,
,
,
,
, ,
,
, ,
,
,
,
,

Cmaj7 5

b) Cmaj7 5

j

4
4
4
4

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,

E/C Cmaj7 5

a) b) Cmaj7 5

c) Cmaj7 5

d)
SIGNATURE SOUND
by Andy LaVerne
Ex. 1. Quick reference rule: To play a maj7#5, play a major triad a major third above the root of the chord, as shown with the E major triad over a C bass note in 1a. Three
scales are good for playing over maj7#5 chords; the first, shown in 1b, is the third mode of the melodic minor scale, which in this case is the A melodic minor, starting
on the third degree. Its called C Lydian augmented. The left hand is playing a root position Cmaj7#5. Due to their unusual nature, maj7#5 chords can be voiced in root
position, and sound and function just fine. Measure 1c shows the third mode of the A harmonic minor scale, called the C major augmented scale. Measure 1d shows the
harmonic major scale. The #5 is enharmonically a b6, so in this scale, we have a natural 5 and a #5, as well as the natural 4.
Ex. 2. Another good choice is the equally unusual symmetric hexatonic augmented scale, usually referred to simply as the augmented scale. Whatever you call it, its a six-
note scale, composed of two augmented triads a half-step apart (Baug and Caug), as in 2a. The scale, shown in 2b, alternates minor thirds and half steps. A chromatic
sounding scale when applied to the maj7#5 chord, it contains both the major and minor third, and the perfect and augmented fifth. Here are some two-hand comping voic-
ings for Cmaj7#5. The first one, shown in 2c, contains an E major triad (in second inversion) in the right hand, over what could be interpreted as an Amin maj7 rootless voic-
ing in the left hand. Of course its also a Cmaj7#5 in the second inversion. Next in 2d, we have the two augmented triads that comprise the augmented scale. Chick Corea
played this voicing in The Brain (in another key). Finally in 2e we have the major triad pair from the C Lydian augmented scale (voicing contains the #4 and #5).
Ex. 3. Here in 3a are the triad pairs from the C Lydian augmented scale used as a melodic line. In 3b, the C augmented scale contains three major triads (as scale tone
triads) a major third apart: C, E, Ab. Heres a line using those scale tone triads in root position with a chromatic approach to each.
Chick Corea,
The Complete Is Sessions
(Blue Note)
Andy LaVerne,
At The Kitano, Volume 1
(SteepleChase)
Want to learn more? Visit
keyboardmag.com for a web-exclusive
example from this lesson. For more on
Andy, visit andylaverne.com.
40 K E Y B O A R D 0 7. 2 0 0 9