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PLAYING POPULAR
PIANO
This step-by-step guidebook offers a
practical and proven method of piano
instruction that will make playing the
sort of music you like—pop, rag, or
jazz—easier and more enjoyable.
PLAYING POPULAR PIANO is
based on a no-memorizing system of
working out chords that will help you
better understand chord structure (the
basis for playing by ear and improvis-
ing), play your favorite melodies, and
create new melodies of your own.
Written for beginners, experienced pi-
anists, and all those who once had piano
lessons and gave up, PLAYING POPU-
LAR PIANO explains everything you
need to know to help you become an
accomplished pianist without endless les-
sons and exercises, including:
® easy-reference chord charts for differ-
ent chords in different keys
© names of notes and their positions on
the keyboard
© how to transpose music
® how to improvise in different styles
from sheet music
® how to play by ear
® introduction to 12 bar blues
® and much more.
In addition, each chapter is self-
explanatory and includes chord exam-
ples, diagrams, exercises, and a sum-
mary.
'
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Ff rt,
Neil Thomas has played in numerous pop and jazz groups,
dance bands, and orchestras, and as a solo pianist. A former
musical and cabaret director of the Cambridge Footlights
Club at Cambridge University, he has written and arranged
music and songs as well as performed them.
laying
pular
lano
NEIL THOMAS
A SPECTRUM BOOK
Prentice-Hall, Inc., Englewood Cliffs, New Jersey 07632

Library of Congress Cataloging in Publication Data
Thomas, Neil.
Playing popular piano.
Method.
“A Spectrum Book.”
1. Piano—Methods (Jazz) 2. Harmony, Keyboard.
3. Improvisation (Music) 1. Title.
MT239.1T45 1982 786.3'041 82-10220
ISBN 0-13-683052-8
ISBN 0-13-683045-5 (pbk.)
This book can be made available to businesses

and organizations at a special discount when ordered
in large quantities. Contact:
Prentice-Hall, Inc.; General Book Marketing;
Special Sales Division; Englewood Cliffs, New Jersey 07632
Originally published by Pan Books Ltd. Copyright © 1980 by Neil Thomas.

Revised American Edition © 1982 by Granta Editions Ltd. and Neil Thomas.
All rights reserved. No part of this book may be reproduced in any

form or by any means without permission in writing from the publisher.
A Spectrum Book. Printed in the United States of America
ISBN 0-13-683052-8
ISBN O-13-683045-5 {PBk.}
10987654321
Editorial/production supervision by Alberta Boddy

Page layout by Maria Carella
Cover design by Jeannette Jacobs
Manufacturing buyer: Cathie Lenard
PRENTICE-HALL INTERNATIONAL, INC., London

PRENTICE-HALL OF AUSTRALIA Pry. LIMITED, Sydney
PRENTICE-HALL CANADA, INC., Toronto
PRENTICE-HALL OF INDIA PRIVATE LimiTrEeD, New Delhi
PRENTICE-HALL OF JAPAN, INC., Tokyo
PRENTICE-HALL OF SOUTHEAST ASIA PTE. Lrp., Singapore
WHITEHALL Books Limirep, Wellington, New Zealand
Epirora PRENTICE-HALL Do Brasit LTDA, Rio de Janeiro
Contents
Preface ix
Acknowledgments xi
How to Use this Book xiii
Introduction: Chords and What They Can Do 1
Lesson I
Basic Chords 7
Lesson 2
The Remaining Chords 19
Lesson 3
Inversions; The Three Chord Trick; Transposing 35
Lesson 4
12 Bar Blues 45
Vil
Vili Contents
Lesson 5
Playing by Chords from Music 57
Lesson 6
Playing Chords by Ear; Jazz 71
Appendices 89
Index 109
Preface
The aims of this book are:
1. To enable an individual to understand and play chords

on the piano; and to use chords:
. to play the piano from sheet music;
. to make playing by ear a possibility;
to understand the basis for improvisation;
bO.
oo
B®
StU to appreciate more fully the structure of music.
All pop and jazz musicians think in chords—it is therefore

essential to be able to do the same in order to create the right
sounds.
The book is aimed at all those who want to play popular

piano and who may be drawn from the following:
1. Those who had piano lessons earlier in their lives but

since have “lapsed” and who now want to return to the
piano to play tunes and songs they like. Some will have
forgotten more details than others and here the Basic
Review Course provided will help;
1x
X Preface
2. Those beginners (possibly who play other instruments)

who wish to learn to play popular piano. They may be
able to play a one note melody line (violinists, clarine-
tists, saxophonists, etc.) or have a knowledge of chords
(guitarists). Ihe Basic Review Course and the rest of the
book will enable them,to play the piano by. chords;
3. Those who are able to play classical music but want to
play more popular pieces and not be so tied to music, so
that they can use chords to play by ear or to play jazz.
This book has advantages over the other instructional books.

It gives a system for working out chords, whereas other
books tend to show chords diagrammatically, intending a
memorization of chord principles.
For too long the piano has been taught as if it were an object
that must be mastered by the pupil. This approach can, and
does, lead to frustration. The piano is a piece of complex
machinery, but far from your having to serve it by getting
your fingers onto the right notes, it should be used as a
means to express yourself musically. Chords lead to a closer
relationship with the piano by making the amorphous mass
of music theory and the jumble of black dots more com-
prehensible and the instrument itself more approachable.
Acknowledgments
We are grateful to the following publishers for their kind

permission to use extracts from the works below:
AUTUMN LEAVES (Kosma/Prevert/Mercer)

© 1947 Enoch and Cie (France)
Reproduced by permission of Peter Maurice Co. Ltd.
138-140 Charing Cross Road, London WC2H OLD
BODY AND SOUL

Music by John W. Green
Words by Robert Sour, Edward Heyman, and Frank Eyton
© 1930 Chappell Co. Ltd. & Harms Inc.
Reproduction by kind permission of Chappell Music Ltd.
GREASE
from the film GREASE
Music and Words by Barry Gibb
© 1978 Brothers Gibb B. V.
Stigwood Music Inc. Unichappell Music Inc. administers for
World Rights
Reproduction by kind permission Chappell Music Ltd.
(on behalf of RSO Publishing Ltd.)
xi
X11 Acknowledgments
HEY JUDE
Words and Music by Lennon/McCartney
© 1968 Northern Songs Ltd. for the World
Reproduction by kind permission of ATV Music Limited
HOW DEEP IS YOUR LOVE, }

Words and Music by Barry, Robin, and Maurice Gibb
© 1977 Brothers Gibb B. V.
Reproduction by kind permission Chappell Music Ltd.
(on behalf of RSO Publishing Lid.)
LET’S CALL THE WHOLE THING OFF

from the film “Shall We Dance”
Music by George Gershwin
Words by Ira Gershwin
© 1937 Gershwin Publications Corporation.
Reproduction by kind permission of Chappell Music Limited.
How to Use
This Book
ASSUMPTIONS
AND THE BASIC REVISION COURSE
The main portion of the book is written with the following

assumptions; that the reader has the following:
1. a basic knowledge of the names of the notes and their

positions on the piano;
2. an ability to read a one note melody line—albeit slowly;
3. some acquaintance with sharps and flats.
However, reference to the Basic Review Course in Appen-

dix I will provide the necessary information.
LESSON FORMAT
The book is set out in lesson form, which should be followed

by proceeding from lesson to lesson at a reasonably steady
pace—returning to earlier portions of reading ahead as 1s
necessary or desired.
xill
XIV How to Use This Book
Each lesson is self-explanatory with a summary given at the

end of each. The first two lessons contain the basic theory
itself. Once these are understood, the wide application of
chords is straightforward—and a lot easier than by having to
memorize chord shapes.
EXAMPLES
Examples of chords are given in a few different keys to show

the application of the system and to reduce any fear of flats
or sharps. These examples of chords, as well as the various
exercises, should be played on the piano as the book is read.
MUSIC
When working from this book, the reader should buy suit-
able sheet or album music (if some is not already available)
and apply the newfound knowledge to playing from this
sheet music, by using the approaches outlined.
The sort of music needed will have chord symbols (see Chord
symbol chart, Appendix IJ), but any type of music will do; it
can be rock’n’roll, punk, new wave, or old standards, etc.
Introduction:
OTiyaekyeries
What They Can Do
THE BASIS OF MUSIC
Chords are the basis of music. Understanding them is not

difficult.
Harmonizing is, in effect, the adding of notes below the

melody, resulting in playing or singing music in chords. This
is sometimes done subconsciously or, perhaps it is fairer to
say, without an understanding of the structure of the music
that is being created.
Any combination of notes played together is a chord. It is to

meet the difficulties of the building up of chords to sur-
round a tune, or of the breaking down of a piece of music
into its constituent chords, that these lessons have been de-
vised.
It may be obvious, but it is still worth pointing out, that all

pieces of music—jazz, pop, progressive and classical—can be
broken down into chords; variations on a melody are based
on the same sequence of chords.
If an individual can understand and use chords, it is easier to

play from sheet music or by ear and such an understanding
is essential for improvising.
TAKING A SONG APART
Pick any song or tune that you have heard being played in an
effortless and flowing style by a jazz pianist. When he is
4 Introduction
playing it in its recognizable form he is thinking of it as a

collection of chords in a certain sequence; when he is impro-
vising, he is still thinking of those same chords and these
then govern to a greater or lesser extent the notes played by
the right hand in improvising, and by the left hand in sup-
port. : :
Servile Chords
It is possible to take any classical piece of music and analyze
it into the chords that underpin both the statement of theme
and the endless variations that stem from it. Looked at this
way even “My Country "Tis of Thee” is just a bunch of servile
chords under a well-known tune.
FAMILIARITY
WITH CERTAIN
FUNDAMENTAL CHORDS
AND PLAYING BY EAR
The three chord trick and more

This is familiar territory to guitarists who deal with chords
more obviously than pianists do. They find that learning a
new song means learning words and a tune, but that the
same three or four chords keep recurring. At worst it only
means the same chords in a different sequence. This applies
to most rock’n roll songs, 12 bar blues, jazz pieces, and many
folk and popular songs.
Chord shapes
Again, guitarists know that in many instances, by keeping
the same grouping of fingers in the left hand but sliding it
up and down the neck of the guitar, the same chord shape
can be used to play the equivalent chord in different keys.
The intervals between the notes of the chords stay the same,
but the key changes because you start on different notes.
This can be applied to the piano.
What this means to the pianists

There are certain basic chords (easily switched from key to
key) that accommodate a lot of tunes. The chord shapes
themselves can be understood using a straightforward sys-
tem.
These easily understood and common chords offer infinite

scope in supporting melodies and are the areas in any key
Introduction 5
which provide the surest and commonest harmonies around

tunes.
With a knowledge of chord shapes and the ability to read a

one note melody line, sheet music is much easier to play.
But more than this, it means that playing by ear or playing

Jazz is not such a mystery after all. Some pianists pick out a
tune and subconsciously (even with some fumbling) use the
same recurring chord sequences. Others play a tune and
work out the harmonies by thinking, “Well, the next chord is
probably . . .” any one of the commoner chords that contains
the melody note. Then what governs the sequence is of
course whether it sounds “right.”
Playing by ear
If anybody claims to be able to play by ear, they are, whether
they know it or not or whether they like it or not, really
playing by chords. For this reason I believe that playing by
ear can be taught and should no longer be considered as a
kind of mystical gift bestowed at random on a few fortunate
people.
PERSONAL EXPERIENCE
My introduction to chords
I had received piano lessons, but had not really taken to the
instrument and had concentrated on the violin instead. I
thus had a basic knowledge of the keyboard and could read a
one note melody line.
mrrn
Later while trying to learn the guitar, I realized that what I

was doing with the guitar, accompanying a song with chords,
could be translated onto the piano: the chords to the left
hand, the voice (melody) to the right hand at the piano.
The system developed over a period of time. Besides playing

by ear, I can play from sheet music with this system (using
6 Introduction
the chord symbols given) and then improvise on the chords,

without being confused by the sheer mass of black dots.
Practical experience
I have at various times played in groups, bands, jazz and folk
groups as well as on my own, so the system is well tested.
That it works as a teaching method has been demonstrated

by various pupils. What has particularly pleased me is that,
not only does the system work for others, but it also accom-
modates and does not stifle all different styles of playing. It
gives a sure basis to a pianist’s self-expression either solo or
in a group.
SUMMARY
With a system of building up chords, a uniformity of chord

pattern emerges. From this point, music can be broken
down into, or built up from, chords and played in a more
understandable way.
Sheet music becomes easier to read without fear of flats or

sharps, and improvisation is easier. Because of a certain re-
currence of chord sequence, it is possible to play by ear,
applying a knowledge of chords to a melody.
Familiarity with chords to the point of thinking in chords

and increasing dexterity in their use, which occurs over a
period of time, will lead to an ability to play music you enjoy
in your own style on an instrument you understand.
Lesson I
NoTeKYTO Toyaeks
NOTE Carefully read “How to use this book.” If in any doubt
about any musical term used, refer to Appendix I (Basic
review course) or Appendix II (Chord symbol chart).
Basic chords should be thought of as comprising three notes

and taking their name from the bottom note (the root). The
intervals between these three notes are varied to give the
different basic chords required.
I think of there being four basic chords: major, minor, di-

minished, and augmented. These are dealt with in this les-
son. The next lesson deals with notes added to chords to
make up remaining chords.
In following this lesson, if you have any doubts or difficulties

with scales or keys, please refer to the Basic review course,
Appendix I. I use chord symbols based on the key of C as
examples of symbols used to denote chords, but the name of
any note could be substituted before the symbol, to describe
the same chord on that note. This is made clear in the sym-
bol chart in Appendix II. All basic chords in all keys are built
up in the same way and the examples given illustrate the
application of this system.
MAJOR CHORDS (SYMBOL: C)
To obtain the three notes of the chord of C major, first play

the major scale of C as follows: Bvt
TQS For Ons,
c D is i G A B @
Wheels 2 3 4 5 GEN Aoi 8
10 Lesson I Basic Chords
Counting from the bottom take the first, C; the third, E; the
fifth, G; and play the chord of C major:
C Major
Put another way, the intervals are a major third and a major
fifth between these notes which are taken from the major
scale of C:
—— \ maj 3rd \ maj Sth
In half steps the inclusive gaps between the notes are:
‘5 halfsteps [5
NOTE This may help in counting to the notes, but the easvest way ts to
think of the major scale and take the third and fifth notes.
In fingering, to help you to think of the first, third, and fifth

notes, use the right hand and play the notes as follows:
iS Brie
little finger Sth G

middle finger 3rd E
thumb Ist Cc
aah
Myla7/
Ema
This basic principle applies to any major chord: think first of
the scale, then take the first, third, and fifth notes of that
scale to get the major chord.
With the left hand, the fingering (using the chord of C

major as an example) is as follows:
Lesson 1 Basic Chords 11
Use this, or any other convenient fingering, in playing

chords with right or the left hand from any of the examples
given. It is important that the chord examples given are tried
out using each hand, particularly the left hand, which will
often be used to play the supporting chords to the melody on
improvisation played with the right hand.
EXAMPLES
Chord of F major
Take the scale of F
F G A Bflat C D E F
it 2 3 4 3 6 TI 8
Fi vA (e
Take Chord of F major
the
Sth C
3rd A
Ist E
Chord of G major
Take the scale of G
G AY eB Con ID 3 Fsharp G
l 2 3 4 5 6 7 8
Chord of G major
Take
the
5th
3rd
Ist
Now try the chords of D major, A major, Eb major by first

playing the major scales of D, A, and Eb and taking the first,
12 Lesson 1 Basic Chords
third, and fifth notes from each to get the major chords. You
should end up with these chords:
D Fe A
Sth A
3rd Ft
ist D
D major
A CRE
5th E
3rd Cf
Ist A
A major .
5th Bb
3rd G
ste Ee
=
major
TO RECAP A major chord comprises the first, third, and

fifth notes of the major scale that takes its name from the
bottom note (the root). To play a major chord, therefore, it
is best to first play the major scale and then take the appro-
priate notes. This is only necessary at the early stages. If you
have any difficulty with any scales the information in the
Basic review course (Appendix I) will help. Once you can
work out a major chord, all the rest will follow.
MINOR CHORDS
(SYMBOLS: Cm, C min)
To get a minor chord take any major chord and lower the
middle note. This is called lowering the third. Thus to play C
minor:
Take C major Lower the third C minor
Sth G G
3rd E Eb
Ist C C
Lesson I Basic Chords 13
The interval between the first and third is altered from a

major third to a minor third. As with C minor, all other
minor chords can be similarly obtained from the corre-
sponding major.
yf aS
ff \)
d cS Minor Chord
eg pas Za SS
EXAMPLES ii ce
F minor
: : é ETA be
First play F major Lower the third F minor
5th C (es
3rd A Ab
Ist F F
G minor
GV Bp eheD
First play G major Lower the third G minor
Sth D D
Ist G G
Eb minor
First play Eb major Lower the third EG miner E> Go Bb
oo
3r
Ist Eb
=. a
and so on with every major chord, lower the third to get the
minor chord from the root note.
DIMINISHED CHORDS
(SYMBOLS: C°, C-, C dim)
To get a diminished chord, take any major chord and lower ili < “
(diminish) the third and the fifth notes. i Pan —
Diminished Chord
14 Lesson I Basic Chords
C diminished
Take C major Lower the third C diminished

and fifth
Sth G Gb
Sd Eb
ist. G
Similarly, to obtain any other diminished chord, take the

major and lower the third and fifth.
D diminished
First play D major Lower the third D diminished DEA

and fifth
Sth A A
Ist D
D
A diminished
First play A major Lower the third A diminished ANTCIBED

and fifth
Sth E Eb
3rd Cf C
Ist A A
Bh diminished
First play Bb major Lower the third Bb diminished By

Sth F 2nd fifth E
3rd D D
Ist Bb B TT
NOTE Diminished chords usually add the sixth note. So for

the full sound the chord of C diminished would be:
‘== (nn
C Eb GbA
AUGMENTED CHORDS
(SYMBOLS: Ct, C*} C aug)
To get an augmented chord, take any major chord and raise

(augment) the fifth to get the augmented chord. ‘Thus to play
C augmented: AY
Augmented Chord
Take C major Raise the fifth C augmented
5th G
3rd E
ist) G
=» mM
Similarly to obtain any other augmented chord, take the
major chord and raise the fifth:
F augmented
First play F major Raise the fifth F augmented Ligeti an ck
5th Cc
3rd A
Ist F S28 ee A
F
G augmented
First play G major Raise the fifth G augmented Ge a
eee CUO
Eb augmented
First play Eb major Raise the fifth Eb augmented
==; (Wm
15
16 Lesson 1 Basic Chords
SUMMARY
. Think of there being four basic chords.

. Each chord has three notes.
. Each chord takes its name from the root.
. We obtain the basic chords in all the different keys as
DO
OF
mm
—
follows:
a. major chords: play the first, third, and fifth notes of the
major scale that runs from the root; e.g. C major:
b. minor chords: take the major chord then lower the third; e.g.
C minor:
c. diminished chords: take the major chord then lower the third
and fifth; e.g. C diminished:
CURE bie Gib
d. augmented chords: take the major chord then raise the fifth;
e.g. C augmented:
EXERCISES
Try playing, however slowly, the following pieces, using the

right hand to play the melody line and the left hand to play
the chords—play the chord wherever the symbol is written.
When the Saints
Righthand (ies lee als a

Left hand
wun
Cc G
SSS F Fmin
ass
Hh
Gh e. D i Fe Ab. C
Lita
17
On Top of Old Smoky
cont OE Se tS ESS
Wn enn
——————————
bdhih
ie eee
Lesson 2
The Remaining
(ONTayasKy
ey. A
Nee eee
; <i bys i MA
All remaining chords are variations made to the basic chords
and should be thought of as being made up of basic chords,
with other notes being added to them.
THE SIXTH CHORD

(SYMBOLS: C 6, C sixth)
The note added in playing a sixth chord is the sixth note of

the major scale that runs from, and takes its name from the
root note of, the basic chord.
C sixth
C major Add the sixth note from G sixth CRNELIGLA

the scale of C major
6th A
5th G G
3rd E BE
lst C C bt
The note A that is added is the sixth note of the scale of C.
F sixth
Applying this to other major chords, F sixth is the chord of F

major with the sixth note from the scale of F being added:
Add the sixth note from F AY PED
F major the scale of F major Fsixth
Sth C one4
3rd A
1st F F
21
22 Lesson 2 The Remaining Chords
G sixth
Add the sixth note from G B

G major the scale of G major G sixth
6th E
Sth D
Ist G Qw
The sixth chord gives a very sweet sound, which is used very
often in older popular songs, sometimes as the final chord.
Just as sixth notes can be added to major chords, so they can

be added to minor and diminished chords, but rarely to
augmented chords unless a discordant sound is required.
Minor chords with added sixths

(Symbols: C min 6 or Cm6)
Again, as for all sixth chords,.it should be remembered that
the sixth note to be added is the sixth note from the scale of
C major. Thus the chord of C minor sixth is:
The basic chord C minor Add the sixth note from — © minor sixth
the scale of C major
<= — lowered °rED

6th fe
The sixth note added is A from the major scale of C, as has

been seen. It should also be noted that in the symbol for this
chord (C min 6 or Cm6), the minor (m, or min) refers to the
basic chord and not the sixth.
F minor sixth
Add the sixth note from

The basic chord F minor F minor sixth
the scale of F major
Sth C
lowered 3rd Ab a
1st F F
Lesson 2 The Remaining Chords 23
Eb minor sixth
The basic chord Eb minor — 444 the sixth note from Eb minor sixth Eb Gb Brc
the scale of E> major
5th Bb 6th fi
lowered 3rd Gb Gb
Ist Eb
Diminished chords with sixths

(Symbols: C°, C~, C dim, C dim 7)
A word first about the symbols used for diminished chords.

These are the same as for the basic chord of C diminished—
this is because the sixth can be added to the diminished
chord as required, and frequently is. The symbol C dim 7 is
perhaps slightly more puzzling, but describes the diminished
basic chord with an added diminished seventh—think of it
as diminished from B to A in this example of C dim 7.
To play C diminished with an added sixth:
Take the basic chord Add the sixth note from C diminished with added sixth
C diminished the scale of C major
6th A
lowered 5th Gb Fe ee eee Gb
lowered 3rd Eb Eb
LstinG ©
The sixth note added is the sixth note from the major scale
that runs from the root note—here A is the sixth note added
from the scale of C major.
Similarly, to obtain the chord of F diminished with an added

sixth:
Take the basic chord Add the sixth note from F diminished with added sixth
F diminished the scale of F major FA VAbIBs iD
6th D
flattened 5th B B
flattened 3rd Ab Ab
Ist F F
G diminished
with an added sixth
Take the basic chord Add the sixth note from G diminished with added sixth
G diminished the scale of G major G B> De E
lowered 5th Do 2 6th E

lowered 3rd Bb — as Do
Ist G Bo
G
THE MAJOR SEVENTH

CHORD
(SYMBOL: C maj 7)
In the symbol for the major seventh chord, the “maj” refers
to the note that is added. In effect it must do, because the
symbol C, on its own, would stand for the chord of C major.
The symbol is as it is to differentiate the major seventh chord
from the seventh chord explained later in this lesson.
For major seventh chords, the note added to the basic chord
is the seventh note from the major scale that runs from the
root of the chord.
The chord of C major seventh
Add the seventh note }

Take the basic chord C major _from the scale of C major seventh CC) Se Gee
C major
aj 7th B
Sth G CE AAG
3rd E 5B
Ist C Cc |e
thumb |di
finger
fore- little
finger finger
The chord of F major seventh
Add the seventh note

th I ; F Ai pS E
Take the basic chord F major from icate ok F major seventh
F major
maj 7th E
Sth C (e
isto F
The major seventh note can of course be added to the other

basic chords, but only if more unusual harmonies are re-
quired and the symbols would be:
For C minor with added major seventh: C min (maj 7)

For C diminished with added major seventh: C dim
(maj 7) or C~ (maj 7) or C® (maj 7)
For C augmented with added major seventh: C aug (maj
7) or C** (maj 7) or CH® (maj 7)
But for each, the note added is the seventh note of the major
scale running from the root.
THE SEVENTH CHORD

(SYMBOLS: C7, C seventh)
The distinction between major seventh and seventh chords

can be slightly confusing at first, apparently confounding
the simple approach of adding notes to chords. It does not in
fact break any basic rules, so long as it is clearly remembered
that C seventh is the shorthand way of writing the chord of C
major plus the lowered seventh note of the scale of C major.
This is made more logical by remembering that there is a

chord called C major seventh which is made up of the basic
chord of C major plus the note which is the major seventh
note of the scale of C major.
Think then that the seventh means lowered seventh, as op-

posed to the major seventh, of the scale that runs from the
root of the chord to be played.
The chord of C seventh
Take the basic chord . h i ;

chord of C major Aaa te Faea C major seventh es major C seventh
ei t t
the major scale of C (ete ae shia
Sth G ae eee Maj ith. BS 7th BM
3rd E . E
Ist C Cc C
Cc E =G B Cc GG BE
By playing these chords, you will be able to hear the dif-

ference between the major seventh and the seventh. The
latter has a distinctly off-key sound which is more “dominat-
ing” than the major seventh. The seventh chord is referred
to in music theory as the dominant seventh, but for other
reasons. ;
Applying the principle then to chords in other keys, the

major seventh and seventh chords are formed as follows:
FG winioe Add the major seventh se yah sheeabe

J note from the scale of majorseventh: oyenth note Fseventh
iain
Sth C
maj 7th GE 7th Eb
e
3rd A A A
Ist F F F
E A C E A Cae
Add the major seventh Lower the major

To G major note from the scale of G major seventh seventh note G seventh
G major maj 7th 4 7th F
D
5th D
3rd B B
Ist G é G
G
Add the major seventh :

Lower the major
; note from the scale of ‘ h
To A major A major Amajorseventh Seventh note A seventh
Sth E maj 7th E 7th G
Tae
st 8ef
CHE
; Add the major seventh : ip ih 3

To Eb major bs a the scaleof | Ebmajor seventh oe Siig df Ebseventh
maj 7th . Tth .
5th Bb
3rd G G
Ist Eb Eb
Ep G Bb D E> G B>o D>
It is the symbol denoting a major seventh that adds the major

seventh note from the scale that runs from the root, while
the symbol denoting a seventh refers to the lowered seventh
note of the major scale being added to the basic chord.
Minor chords with added

sevenths (Symbols: Cm7, C min 7)
We have seen that in writing the symbol C major seventh,
the major describes how the seventh is to be played. The
symbol C seventh, then, denotes the chord of C major with a
lowered seventh note. If we write C minor seventh, the word
minor describes the basic chord because the symbol seventh
of wtself means a lowered seventh note.
Thus the chord C minor seventh is the chord of C minor

plus the lowered seventh note of the major scale of C:
C minor
First play the chord of C 5th G
major, then lower the third lowered 3rd Eb
Ist C,
C minor seventh Cred G.Bb
Add the lowered seventh 7th Bb

note from the scale of ' e,
C major Cc
The chord of F minor seventh
F minor
:
Play F major and lower ccd 5th C
arava
the third 1st F
F minor seventh
Tth F Ab Gi Ep
Add the lowered seventh EP
note from the scale of Ab
F major FE
28° Lesson 2 The Remaining Chords
The chord of G minor seventh
G minor
Play G major and lower lowered au A:

the third Ist G
G minor seventh
GU Bibs. BD FF
7th F
Add the lowered seventh D
note from the scale of Bb e
G major G
Sevenths (that means lowered sevenths!) can be added to

the other basic chords:
To augmented chords (symbols: C7+°, C7#°, C aug 7),
take the basic augmented chord and add the flattened
seventh note of the scale that runs from the root.
To diminished chords (symbols: C~™™, C°, C dim™),
take the basic diminished chord and add the lowered
seventh note of the scale that runs from the root.
TO RECAP Unless a major seventh is written as such, the

seventh means the lowered seventh note of the major scale.
Thus:
C major seventh (symbol: C maj7) is C major plus the major

seventh note from the scale of C major
Cc Et Gens
C seventh (symbol: C7) is C major plus the lowered seventh

note from the scale of C major
Cc ES Gis Bp
C minor seventh (symbol: Cm7 or Cmin7) is C minor plus

the lowered seventh note from the scale of C major
and so on.
THE NINTH CHORD

(SYMBOLS: C9, C ninth)
To obtain a ninth chord, take the basic chord, major, minor,

diminished, or augmented and add the ninth note of the
major scale that runs from the root. Thus ninths with C basic
chords are as follows, the ninth note added (D) being the
ninth note of a two octave scale of C major:
Cc Ej) G D
9th D
C9 Sth G
3rd E
Ist C
Ciena G D
C minor ninth ia P
(symbols Cm9 or Cmin9) lowered 3rd Eb
Ist C
Cee Gp O
C diminished, ninth lowere d ae a
(symbolsC-®), C°), Cdim
(9) 0 (9) 4 (9)
®?) lowered 3rd E}
Ist C
CoP ME Ge D
C augmented, ninth 9th D
(symbols ) C aug, (9)CBs“)
C+ '”, (s) raised Sth Gf
3rd E
1st C
Similarly, ninths with F chords are the basic chords plus the
ninth note (G) of the scale of F major:
l= A (UG G
F ninth
oth G
Sth C
3rd A
Ist F
F Ab Cc G
F minor ninth
oh G i
Sth C
lowered 3rd Ab
1st F
EF sAbB G
Fdim ninth
9th G a
lowered 5th Cb(B)
lowered 3rd Ab
1st F
E A C# G
Faug ninth
oth G . PB
raised 5th Cf
3rd A
1st F
and so on with ninth chords based on all other basic chords.
Usually, the ninth is a combination chord taking in the

seventh (i.e. the lowered seventh note) as well. In fact, the
seventh can be added to ninth chords as required, even if
not denoted by the chord symbol given. Sometimes the
seventh is a specified addition as in the symbols:
C# where the ninth and seventh (lowered seventh!) are added

to the chord of C major:
€ ED Guy Bona
C min ? where the ninth and seventh (lowered seventh!) are

added to the chord of C minor:
and so on for other chords.
REMAINING CHORDS
Virtually any notes can be added to the basic chords and this
can be denoted by an appropriate shorthand chord symbol.
This can be seen from the Symbol chart and from sheet or
album music. The symbols used are self-descriptive, indicat-
ing the basic chord to be used and indicating the further
note or amended further note to be added.
Thus the symbol C7 (sus 4) means the chord of C seventh

plus the fourth note added (F) from the scale of C major:
WET
EF G Bd
Fb° means the chord of F major with the fifth note lowered
Lb
Fe) <A.B
G maj 7” means the chord of G major seventh with the fifth

note lowered
You will meet all kinds of variations of symbols in sheet

music, but if you now refer to the Symbol chart in Appendix
II, the full scope can be seen. You should work through the
chords in the chart, playing the chords described, in C and
other keys. Doing this will reinforce the basic principles,
clarify the position with regard to added or altered notes,
illustrate the variations in the shorthand symbols used and
give familiarity in reading them.
SUMMARY
Always keep the basic chords firmly in mind:
The major chord: first, third, and fifth notes of the major scale
that starts on the root, e.g.\C major:
c Eee iG
The minor chord: take the major chord and lower the third,
e.g. C minor:
The diminished chord: take the major chord and lower the
third and the fifth, e.g. C diminished:
GG vEbesGp
The augmented chord: take the major chord and raise the fifth,
e.g. C augmented:
Then for other chords:
Sixths: to any of the basic chords add the sixth note of the
major scale that starts on the root of the basic chord, e.g. C
sixth:
ae
Cc Ee Gua
Major sevenths: add the major seventh note from the major
scale that runs from the root of the basic chord to which it is to
be added, e.g. C major seventh:
WA
€ EPG B
Sevenths: add the lowered seventh note from the major scale
that runs from the root of the basic chord to which it is to be
added, e.g. C seventh:
Remaining chords: add the specified notes from the major

scale, or amend the specified notes to the basic or further
chords, e.g. C seventh with suspended fourth:
Ne
Cc BE EeGe Bb
This applies to whatever range of chords—the principle runs

through all keys. It is therefore possible to work out all the
chords in all keys on the piano without memorizing positions.
Knowing how to arrive at the notes of the chords means that
they can be played with the right or left hands in the treble or
bass clefs.
NOTE As these two lessons have been proceeding, you may

have been applying the system to music and playing from
it—the approaches outlined in Lesson 5 will help in doing
this, and no harm will be done in turning ahead to that
lesson.
I have put Lesson 3 and 4 at this stage because they round

off the basic system and give further opportunities to prac-
tice chords before their widespread application to reading
from music, playing by ear and improvising, which are the
topics dealt with in Lessons 5 and 6.
Lesson 3
Inversions;
The Three Chord Trick;
Transposing
a
Lr My
The contents of this lesson flow naturally from the previous
two and lead to the next one on 12 bar blues, which has been
used to bring the various strands together.
INVERSIONS
All chords can be played with the notes that make them up
arranged in a different order, i.e. “inverted”. So the chord of
C major using the notes C, E, and G (the first, third, and
fifth notes of the scale of C major) could be played as:
= or
ge.
ee
A ee
or
=H |
e) Eee Ems v6 Shc E
|@ @ Wh TUT
Similarly, the chord of F minor (think F major and lower the

third!) could be played as:
or
Aba GC F C F Ab
37
38 Lesson 3 Inversions; The Three Chord Trick; Transposing
And the chord of G seventh (think G major with an added

lowered seventh from the scale of G major!) could be played
as:
G B Fac B ue) B
It is very useful to be able to invert chords in this way, be-

cause it makes changing from chord to chord, in either left
or right hand, much easier. When familiarity with the basic
chords has reached the level of being able to remember what
notes make up the chords, then you will be able to arrange
them in the easiest order for playing the chords specified in
a piece of music.
To jump ahead a little, but to show further that thinking in

chords and inversions is useful, it is often effective when
playing a piece of music to:
1. play single notes (the roots of the required chords) with

the left hand; these can be played as octave notes in unison
as shown in the example below;
2. make up the rest of the chord by playing, with the right
hand, the melody note and below that melody note, the
other notes of the chord.
So the chord of C seventh under a melody note of C could be

played:
C seventh (the right hand plays

this chord in an inverted
position)
left hand right hand

Lesson 3 Inversions; The Three Chord Trick; Transposing 39
EXAMPLES
You should now practice playing chords in their different

inverted forms.
r or
DL FRA FRA D eee Meg
E7 : seet ee
(E major with a
SSD SET
added lowered or or or
seventh)
Ea pe Bo OD G#/B. DLE Bee ike Be) Gt8
E> minor 7 Sa bP 2
(Eo minor with —* p&—— SS
added lowered or or or
seventh)
A Ae)tt
Eb Gb Bb Db Gb Bb DbEb Bb DbEb Gb DbEb Gb Bb
and so on for all other chords.
THE THREE CHORD TRICK
This was touched on briefly in the Introduction, but now it

can be explained fully. In any key, there are only three
major chords that can be built up by using only the notes of
that scale to give the constituent firsts, thirds, and fifths.
This can be more readily understood by example.

Taking the key of C, the major scale is:
CDEFGABC
G D E F G A B C
Ist 2nd 3rd 4th Sth 6th maj7th 8th(= Ist)
Using only the above notes as the firsts, thirds, and fifths of
chords, we get the following chords:
Cmajor Dminor Eminor Fmajor Gmajor Aminor B diminished C major

I IV Vv
Gc E G F A Cc G B D
C major F major G major
The only major chords produced are C, F, and G, using

strictly the notes that appear in the scale of C. Thus chords
based on the I, IV, and V notes of the scale give the major
chords of a key.
So in the key of F, the major scale of which is:
EF GlABb ¢ DFERE
F G A Bb Cc D E F
I IV Vv
The major chords using only the notes of the scale of F as

the firsts, thirds, and fifths of chords (the rest being minors
or diminished) are:
F major Bb major C major
It is these three chords in any key (the I, IV, and V) that are
the most common in all music, providing the surest har-
monies to melodies. They are the three chords used as the
basis for most 12 bar blues.
It can be seen, just as different keys merely alter the pitch of

music not the basic harmonies, so F, Bb, and C as the I, IV,
and V chords of the scale (key) of F correspond to C, F, and
G as the I, IV, and V chords of the scale (key) of C.
TRANSPOSING
The three chord trick can be used in any key by taking the
appropriate I, IV, and V chords.
This is in effect transposing chords from one key to another.

The following table is an example of how to transpose the I,
IV, and V chords from one key to the corresponding chords
of other keys. They are all major chords.
keys I IV V
Examples C Cc F Gc
from keys CG G C D
with sharps
Hs : G A The three-chord
A A D E trick in
Examples F F Bb C different keys
from keys :
Bb Bb Eb F
with flats
Eb Eb Ab Bh
So, to get the corresponding chords of A, D, and E (in the key

of A) in the key of Eb, take the I, IV, and V chords of Eb, Ab,
and Bb.
Reference should now be made to the Transposing chart in

Appendix III to see how to transpose any note or chord that
appears in a piece of music written in a certain key, to the
relevant note or chord required if the piece is to be played in
a different key.
SUMMARY
Familiarity with the fundamental positions of basic and

other chords enables inversions to be played. This makes
changing from chord to chord easier and gives flexibility
in harmonization. For example, the following inversions
of the specified chords show how inversions can be used
to help the chord progression lie under the hand and cut
down the need to move around the keyboard:
Cm7 F7 Cm7
Inversions are often used in jazz and, for example, the Block
chord piano style of George Shearing is typified by the left
hand playing, at its simplest, the octave of the melody note
with the notes added in between forming a progression of
chords being played in their inversions. ‘Thus:
C6 Cmaj7 C6
There are, in any key, three primary major chords based on

the I, IV, and V notes of the scale. In all keys these three
chords correspond to the same chords in other keys, and
transposition between these chords in different keys is easy
to understand. Further than this, it is fairly straightforward
to transpose chords and notes to change the key of a piece of
music; the Transposing chart in Appendix III will help in
this.
Lesson 4
12 Bar Blues
H oy 5 ehOr eeah
0 ee
Uy
avid
, Pek RAMs
td ce 4 Wh oi
} (Ate.
.
INTRODUCTION
Various strands can be brought together and practiced in 12

bar blues. We can use this well-known structure to illustrate:
. putting a series of chords together

. playing inversions of chords
adding notes to chords to give different sounds
. transposing
. developing rhythm and natural feel
. the interplay between left and right hands
ND. variations
OF
B®
Ot
SIO around a chord sequence.
12 bar blues can be played fast or slow and, because of the

“feel” that it has, lends itself to jazz, blues, rock’n roll, and
pop songs. A lot of early songs were written in 12 bar blues
form; boogie woogie is usually in 12 bar form. Endless fun
can be had by extemporizing around the basic chords used.
WHAT IS A 12 BAR BLUES?
Basically, 12 bar blues is three chords in one key played in a

set order for 12 bars.
The chords used
The three chords used are those based on the I, IV, and V
notes of the scale of the key in question.
47
48 Lesson 4 12 Bar Blues
Thus
12 bar blues in the

key of C uses
12 bar blues in the

key of F uses
12 bar blues in the

key of G uses
Eb 2a
12 bar blues in the
key of Eb uses
It is thus relatively easy to pick the relevant three chords out

of any key for 12 bar blues in that key.
Lesson 4 12 Bar Blues 49
Knowing then the primary chords to be used, it can be seen

that 12 bar blues could be played on other basic chords
based on the same notes, or adding or amending notes to the
basic chords used.
I IV V
Om)
Ga GB
12 bar blues in C
could use these chords
@ e
foe.
E
12 bar blues in F
lal could use these chords
Gmin Pee ae
SL-Bp .D
12 bar blues in G
minor could use
these chords
A augmented
o- Fea A CH. FIER)
12 bar blues in D
could use these chords
and so on.
The order in which

the three chords are played
Although at first sight the sequence seems rigid, it has a
natural feel about it that sounds right and as a form it is
much freer than it first appears. It gives infinite oppor-
tunities for improvisation.
12 bar blues means 12 bars (and using the key of C as our

example) based on the three chords (I, IV, and V), played in
the order shown below. Remember the same would apply to
12 bars in F, or G, or any other key.
NOTE The diagonal lines show that the same chord 1s to be

played a further three times in each bar, to make four beats
in all.
12 Bar Blues in C
4 bars on the chord of C = 4. | C///| C/// | C///| C/// |

4 ’
2 bars on the chord of F | F/// | F/// |

2 bars on the chord of C | C/// | C/// |
1 bar on the chord of G | G///| \ (this can be two bars on
1 bar on the chord of F | F/// |hehe chord of G)
1 bar on the chord of C | C/// |
_1 bar on the chord of G | G///| (this could be a further bar of C)
12 bars TOTAL
Musically, this can be written out as shown below. You

should play each chord for each beat in each bar and count
accordingly. This will sound rather boring at first, but if you
play it over and over, getting a little faster, you will soon be
able to ‘feel’ when the change in chord should occur. Having
thus got used to the sound of 12 bar blues, and no longer
having to count so rigidly, it will become apparent that by
varying tempos and playing notes from the chords and
additional notes in runs or other frills, you can use 12 bar
blues to create your own music.
You should practice the following by using the left hand to

play octave notes held for four beats and the right hand to
play the chords for each of the four beats in each bar:
middle C EMG Eni Ane BS,
Right hand
(symbol meaning
repeat
previous bar)
Left hand
Cc C below middle C Fe E
G B D
Cc G F C G (This could be a
7 8 10 11 12 further bar of C)
| 6|
EXERCISES
Using sixth chords
For slight variation, use the chords of C6, F6, and G6 and
play as follows—in the left,hand play the root note held for
four beats and in the right hand, an inversion of the chords
played for each of the four beats in the bar:
Ais CalDue
C6 F6
1
Right hand
Left hand oO
Pes
© C below middle C F F
V e i Mt
Bae ©) Es G
Seventh heaven?
By far the most common chord in 12 bar blues is the

seventh—remember that the seventh is the basic chord plus
the lowered seventh note of the scale running from the root.
Try playing 12 bar blues using the chords of C7, F7, and G7,
substituting the seventh chords in their inverted positions
for the inverted sixths in the previous exercise.
Use the sevenths in one of their inverted positions for the

right hand, and again play the root with the left hand:
S— C seventh
S= Fseventh
St G seventh
EeG Bb C Ai ck F B_ OD
LAL Ml : mM wo Be eA
Experiment with
the rhythm and tempo
Now try playing 12 bar blues on sixths or sevenths in the
rhythm that you feel—say,
playing slowly: two chords per bar with the right hand
but keeping one note held for four beats in each bar
with the left hand.
or playing fast: eight chords per bar with the right hand
but keeping one note held for four beats in each bar
with the left hand.
Try 12 bar blues in different keys:
F, using the chords
E A C E
BO Auten
ieee
or G, using the chords
Iwnt
E FRA B
or
E "2 Bb A Cc
and so on.
Vary the playing between left and right hands: play single
notes with the left hand as outlined, or play chords with the
left hand (2 or 4 in a bar) and play single notes from the
chords with the right hand.
In time you will return to 12 bar blues to play boogie woogie,

improvise to, play early songs, or play rock’n roll songs. It
sometimes appears as 24 bars which is a version where each
bar is played twice to make up the total of 24 bars in all.
SUMMARY
The primary chords in any key are the major chords based
on the I, IV, and V notes of the particular scale. These are
the most common chords in music. They are the chords used
in 12 bar blues which is a set sequence of these three chords
played for a total of 12 bars.
Knowing this, 12 bar blues can be played in any key taking

the I, 1V, and V chords. We can use this structure to increase
familiarity with the basic chords and to achieve a certain
rhythmic interplay between the hands. Further embellish-
ments from later lessons can then be applied and in time
your ability to use 12 bar blues will increase.
ry nee
eee Ly
Lesson 5
Playing by Chords
from Music
hy
f {
; 4yi e
Awan)
A de
f ; i) ; ate
Hi oy Byyh , i ee! Ps Ht } ir > ' i RY
j
A
Ven
‘ tak
INTRODUCTION
The choice of sheet or album music to buy is yours entirely,

but it should have chord symbols written below or above the
staves. There are some books available that give only the
single note melody line and the chord symbols, and these are
ideal.
Playing from music, using the chord approach gives greater

flexibility than playing the “set” arrangement. Particularly
with pop music, the sheet music is sometimes a poor reflec-
tion of the sound created on recordings. Chords enable you
to put your own interpretation to the music, or to experi-
ment, in order to match the sound and rhythm that you have
heard, or wish to achieve.
Having played a piece using chords, transposing can be

easier—refer to the Transposing chart in Appendix III.
Other examples of the freedom that playing by chords gives

are that it becomes easier to “back” other instruments, or
voice, and that once the chord pattern is established in your
mind, improvisation possibilities present themselves more
naturally.
In reading from sheet or album music, it will soon be

realized that there are different ways of denoting a chord,
and different symbols for the same chord will be met.
Reference should be made to the Chord symbol chart in
Appendix II if there is any doubt about what a particular
chord symbol means. 59
60 Lesson 5 Playing by Chords from Music
Help with other difficulties encountered in written music

(for example reading key signatures) will be found in the
Basic review course in Appendix I, or in earlier lessons.
Besides symbols for chords, or words and phrases indicating

tempo and mood, others will be encountered which specify
which sections of music are to be repeated or omitted. The
most common ones are as follows:
Phrase/symbol Meaning
Da Capo Repeat from the beginning

D.C.
D.C. al Segno Repeat from the beginning to the sign ¥
ee et
Dal Segno
From the sign
D.S. al Coda Repeat from the sign § until you come to the
phrase “To Coda @”
To Coda ® Next play the music marked “ € Coda”

€} Coda
Indicates the start of the Coda section
Repeat from the sign |]:, or if there is no such sign,

repeat from the beginning
First me through, play the music covered

by 1 ' then repeat as specified and omit the
music covered by 1 ' and play that covered
by vat Aue
THE METHOD
I suggest that the music and chord symbols be tackled in the

following way:
1. First play the melody line with the right hand until you
are familiar with the tune.
2. Then, separately, play the chord with the left hand.
Where necessary, go back to basics to work out the chord.
Lesson 5 Playing by Chords from Music 61
To start with, do not feel that you have to play every chord
in a bar or add all the notes given. You will be able to do that
eventually, but aim now for simple harmonies, say, by play-
ing only the first and third chords if four different chords
are given in a bar. Once you become familiar with the piece
and the chord changes, the further chords/notes can be
added.
3. Then play the left and right hand together in a simple
rhythm.
4. When you have the feel of the piece of music, vary the
mixture so that it might be:
a. single notes in the left hand;

b. or inverted chords in the left hand;
or notes from the chords added to the right hand below
the melody note;
d. or left and right hands playing chords with you singing
the song.
5. Work on it until the rhythm, tempo, and sound satisfy

you.
Progress may be a little slow at first, but as dexterity and

familiarity with chords increase, it will become easier. Even
to start with, it is far easier than reading all the “dots,” and,
without too much difficulty, you will be playing the pieces all
the way through. Because they will be tunes/songs that you
like, you will be able to practice them with some sort of end
product in mind, and each time through will be easier than
the last.
PRACTICAL
ILLUSTRATIONS
I have chosen a few bars from several songs to illustrate the

basic approach that should be adopted in playing from
music using chords. You can try each example, or merely
pick out the ones that appeal to you. I have given the chord
positions, but you should be able to work these out for your-
self and you should attempt to do so even with these exer-
cises. The approach should be as outlined above:
62 Lesson 5 Playing by Chords from Music
1. play the melody with the right hand;

2. play the chords with the left hand;
3. play left and right hand together—playing the chords
with the left hand only once in each bar;
4. play left and right hands together—playing the chords
with the left hand as many times in each bar as seems
appropriate;
5. when you have played any of these songs in the
straightforward way of melody with the right hand and
chords with the left hand, vary this so that you play only
the root of the chord with the left hand and add notes
from the chords to the melody line played with the right
hand. The notes added should be below the melody
note and as close as possible to it. For example, for “Hey
Jude”:
The combinations are endless and in the last analysis purely

a question of personal preference. Ask yourself the ques-
tions: What does it sound like? Does it feel “right”? Is the
sound full enough, or could more notes be added in the left
or right hands? etc., and make adjustments accordingly. In-
evitably, you will make comparisons with versions of the
song you have heard elsewhere. It may not be possible to
capture, say, the sound created on record using electronic
equipment, but the chord approach gives sufficient flexibil-
ity to arrive at a version which you will be content to play.
In all songs, it helps if you sing along with the piano and that
in turn means that it is not so necessary to play the melody
on the piano, and your hands are liberated to further exper-
iment with sounds.
Oh! Susanna
Melody notes
with the right hand
Chords with the I__ come from Al- a - bam-a wid me ban-jo on my knee. I’m_
left hand (at first try 1 F F F C7
in a bar, then later
2 in a bar) BeUA ie CBG Bp
ee eet eee
gwine to Lou- si - an - a my true love for to see. |[re caedee
F F F CT F
rained all day the night I left the weath - er it was dry. Tinea
F F F C7
SUMer SO! hot I froze to death, Su - san - na don’t you cry.

F F F C7 F
63
Hey Jude
Words and Music by John Lennon & Paul McCartney
Melody with the

right hand
Hey Jude__ don’t make it bad— Take a sad song_and make it
Chords with the F C C7
left hand (at first try 1
in a bar, then later middle
2 or 4 in a bar) a AentC Ce ERG CE) Ghee
SS Oc taeniteneme eee Re - mem

- ber to >blet: wher ig 4.40 your
F Bb
= SS
heart’; then you rcan ‘startst2
2. 2. to make it
F Cy F
64
Grease
Words and Music by Barry Gibb
Right hand 7 i
@
I solve my prob-lems and _ I see the light we got a
Left hand Bm E Bm
Bu Fg E Gt B
There ain’t no dan -ger we can go fo) WwW e start be-

Em7 D C Bm
ENG. B.D DY FRA GUME LG
eae
liev - in’ now that we can be who we are Greaseis the word
E Bm F# m7 G
1B
65
How Deep Is Your Love
Words and Music by Barry, Robin, & Maurice Gibb
Right hand
And when you rise in themorn-ing sun I feel you touch_

Left hand Eb Gm7 Fm7 C7
Woe earn
Eb. Go Bo Cc Es) (Gare
Fe cAbs
5C) Ep
ee » Fel oe ge =
me in the pour-ing rain___ And the mo -_ ment that you wan-der
tes G Fm7 Bb7 Eb Gm
(Fm7 without (Gm7 without
the Eb) G@ 8 D ar ay ane the F)
Ab cobba
i LSTTs
eas So
from wan - na feel you in my arms a - gain
ees. ai Fm Bb7
(Cm7 without the Bb)
66
Body and Soul
Words by Robert Sour, Edward Heyman, & Frank Eyton; Music by John W. Green
vy,
Ses, =
. ss See e
Myheart issad and _ lone -ly Foryou Icry; for you,dear, on - ly

Left hand Dm G7Gaug C G aug Em. Crue BisB7 (only added
for B7)
Diese A G Bae A ie c E G Sg Ds Fe ay
ii i 8 e
Sip o OF
—3—
if
eo
I tell you I mean it: I'm all foryou, Bod-y and Soul!
Dm G6 G dim C G aug Cc
G BOD &
G?).Bo (DB. 7
67
Let s Call the Whole Thing Off
Words by Ira Gershwin; Music by George Gershwin
ca = SSS ther And

Se eye - ther,
Left hand ae oh D7
ini iin Wan

ih
SS
(SSS You say nee - ther And I say ny -_ ther; Ee - ther, eye
- ther,
G Em Am7 D7 G G7
|
nee - ther, ny - ther, Let’s call the whole thing off!
C Cm G Em A7 D7
C Ene CareD G A Che eG
68
Lesson 5 Playing by Chords from Music 69
SUMMARY
With a knowledge of basic and further chords, music that

has chord symbols can be played using chords. With a little
practice you will be able to play, with both hands, the tunes
and songs that you like, in your own style.
Buy music that has chord symbols, then use the approach
contained in this lesson: play the melody with the right hand
and the chords with the left hand; then experiment with the
mixture adding to, or subtracting from, the notes played
with either hand until it sounds right to you.
In time you will be able to play the chords automatically and

the melody with left and/or right hands as appropriate.
"
Lesson 6
Playing Chords
by kar; Jazz
INTRODUCTION
Playing by ear is really the ability to pick out a tune and

surround it by chords.
Jazz, in its less way-out forms, is improvising to a given chord

sequence in the mood that the known tune has created or
the pianist wishes to express.
In both, the most commonly used chords have a certain

relationship with each other, whatever the key, and these
will be briefly discussed here.
A REVIEW
OF COMMON CHORDS
Major chords
It has been seen that in any key the most used chords are the
fundamental chords of the I, IV, and V notes of the scale.
In the key of C, these are C, F, and G;

In the key of F, these are F, Bb, and C;
In the key of Eb, they are Eb, Ab, and Bb,
with added notes or amendments as appropriate.
Relative minors
These are the minor chords that complement in sound par-

ticular major chords. 73
74 Lesson 6 Playing Chords by Ear; Jazz
The relative minor chord of a major chord is to be found a

minor third (4 half steps inclusive) down from the root note
of the major chord.
Thus the relative minor of C major is A minor:
Ee é
ix \a minor third
That it is a minor third can be seen in that the chord of A

minor has the notes:
AyreGi wie
E
C
A
In other words, take A major, lower the third for A minor.

The interval between A and C natural (the lowered third) is
a minor third. The root note of.a major chord is the lowered
third note of its relative minor chord.
From other majors the relative minors would be:
Major Relative minor
F F Aye D minor Diese
Play these G GBD E minor E.( Gies8

chords and
hear their
relationship.
Eb Eb G Bb C minor CRE ba 5G
Relative minors have the same key signatures as their majors

do.
Lesson 6 Playing Chords by Ear; Jazz 75
II minor chords
In any key, it is also common to find that music written in

that key uses, besides relative minor chords, the minor chord
formed on the second note of the major scale of that key.
Thus in C, D minor (the minor chord formed on the second

note, D, of the major scale of C) would be likely to appear as
well as the fundamental chords C, F, and G (the I, IV, and
V) and the relative minor A minor.
Similarly in F, besides F, Bb, and C (the I, IV, and V chords)

and the relative minor, D minor, G minor might appear—G
minor being the chord formed on the second note of the
scale of F major.
And so on.
The Transposing chart will help you to work out the relative
and II minors, in any key, that correspond to those shown
above.
CHORD PROGRESSIONS
You will have played the progression, for example, between

C, F, and G major chords as in 12 bar blues, but now play the
following chords and note their relationship in sound:
ayminor
then
D minor Bb C
mon mn wear ten

76 Lesson 6 Playing Chords by Ear; Jax
Eb C minor Ab Bb
Eb «G \Bb Cia Eb eetG Ae Gam ep Bb) ¥De 5
and so on in different keys.
Now play the following chords—as above, but with the dif-
ferent chords marked:
CG A minor D minor G
D F A
then F D minor G minor (a

G Bb D
then Eb C minor F minor Bb

F Ab Cc
and so on in different keys.
Playing each block of four or five chords as above demon-

strates that the chords sound “right” with each other and
you will readily appreciate that they could appear together
in the same piece of music.
Many songs revolve round these four or five chords, which

can of course be played in any sequence; “Blowin’ In The
Wind,” “Blue Moon,” etc. The list is endless and you will be
able to add to it with ease. The examples given in Lesson 5
demonstrate this. Another common chord _ progression,
especially in current songs, is from a minor to a major, as in:
A minor to D
A c E D FRA
or E minor to A
E G B A C#E
or C minor to F
Ch FEbih 1G FormvANeG
The progression is from the minor chord to the major chord

a fourth up from the root note of the minor chord.
It is also important to remember that this progression can be

used even with other notes being added to the minor and
major chords involved. The examples below illustrate this
point and also how chords can be used in their inverted
positions to give a smoother transition, not only in fingering,
but also in sound.
Am7 to D7
A G A Crp Fe
or Em7 to A7
E D ERrGrA C#
or Cm7 to F/7
Liki
Goyep G Bb (MEN A
This progression is very commonly used in many popular

songs, in the songs used in lesson 5 and, for example, in this
extract from “Autumn Leaves”:
The fall — ing leaves — Drift by my win — dow ——

Am7 D7 G
PLAYING BY EAR
This should be your approach to songs or tunes that you

attempt to play by ear:
1. First play the melody line with the right hand and try to
identify the key, for example, by singing the final note of the
piece (or otherwise determining the “resting place” of the
piece) and then playing that note on the piano, as this will
give you the keynote. If you are not so familiar with the
chords in the key that you have hit on, raise or lower the
melody line until it is in a key you are happy with.
2. Then, put chords to the melody line by trying chords
with the left hand. Think first of the fundamental chords:
the I, IV, and V, and the basic chords on those notes; and
then try the relative and II minors. Work on the principle
that the melody note is one of the notes that makes up the
chord. A few chords will seem to fit, but select the one that
sounds the best. You may have to try many chords—majors,
minors, diminished, augmented, major sevenths, sevenths,
etc., until you find the right one. The tune itself will dictate
when to change chords.
NOTE Don’t be thrown off course if you have difficulty with

finding the key and the chords—this will take a few attempts
at first but should get easier. You may find a key that you are
happiest in both with regard to the tune (or perhaps a com-
fortable singing range) and the chords. Noel Coward, I be-
lieve, was happiest in the key of A flat!
3. Now add notes from the chosen chords to the right hand
and experiment with right and left hand notes and rhythm
until you get the piece to sound “right.”
As your dexterity increases and you get more practice in
putting chords to tunes, it will become easier to pick up and
play tunes by ear. In this way, it will be possible to learn
songs, etc., from radio or records. One difficulty that might
be encountered here is that unless your piano is at concert
pitch, playing along with the record might present some
problems.
With these various chords and their relationships in mind,

we can now try to work out a simple tune and put chords to it
using the approach outlined above. The example used here
is chosen because it is probably a tune that most people
know, but the approach is the same for any piece of music
that you wish to play by ear.
With the right hand try to play the tune of “She'll Be Comin’
"Round the Mountain.” Try to do this at this point, without
looking at the music written out for it, but so that we remain
in the same key—you can check later on how you are doing
from the music. Start the tune on the note G above middle C
as the first note of the tune.
Man: Do you know you're ugly?

Pianist: No, but you whistle it and I'll try to pick it up.
While playing it, you will have realized that in the melody
you play, there are no sharps or flats and the final note, and
natural “resting place” of the piece is the note of C—this
means in this instance that we are in the key of C.
Immediately, you should think of the fundamental or “pri-

mary” major chords made of notes from the scale of C major:
in other words, I, IV, and V chords of C, F, and G. The
other chords of A minor (the relative minor) and D minor

(the minor based on the second note of the scale) should also
come to mind. If the tune had been picked out in another
key, the corresponding chords in that key should spring to
mind.
Now with the left hand, try putting the fundamental chords
to the tune—with the principle that the melody note being
played is one of the three notes (the first, third, or fifth) of a
chord.
So the first main note here is C—a note appearing in the

chords of C, F, and A minor; try them all—but fairly obvi-
ously the one that fits is C itself. Move in this way through
the piece, choosing the relevant chords by reference to their
notes and the melody note, and selecting the one that gives
the required sound. Do not attempt to put chords under too
many notes because the chord changes in this piece are not
frequent. Test your result with the written version of the
tune and chords as shown opposite.
Try to play this as rhythmically as possible. At first, with the

right hand playing only the melody line and the left hand
the chords. Now add notes from the chords to the right
hand, below the melody line, and play single notes or chords
with the left hand. Vary the mixture until you are satisfied
with the sound.
Shell Be Comin 'Round the Mountain
nom oe
She'll be com-in’’round the moun-tain when she
ee comes she'll be
Left hand C PG C 4 C G
Cc EvaG
= com - in’ round the

eee eeee: eee eee
moun-tain when she comes shell be com - in’ ’round the
won
= moun-tain
ae Poff FER pt etien
com -in’ aa the moun-tain com-in’’round the moun-tain when she comes.
|Se A Ls G C
LALA
F Ast C
81
JAZZ OR IMPROVISING
Familiarity with chords and their uses outlined in this and

preceding lessons will form a springboard into jazz and im-
provising. This section briefly outlines the basic approach to
adopt.
What is important to bear in mind is the sequence of chords

of the tune/song. Your approach to improvising around or
jazzing up a melody should be to play the piece—tune and
chords—fairly straight at first, as written or as worked out by
ear, to become familiar with the sequence of chords: the
order in which they are played and when the changes occur.
The examples in Lesson 5 can be used as bases for improvi-
sation of the few bars of melody given.
Then, playing the same sequence of chords, say in the left

hand, you should try with the right hand to take odd notes
from the melody line and run into other notes from the
chords being played. Bear in mind, for sharps and flats and
the notes affected, the key that the piece is in. However, do
not be too strict, for after all this is improvisation. With the
right hand, play notes above or below the melody line and
use the range of the keyboard fully. Playing chords, inverted
as needs be, can often be effective for the right hand.
At all times the sequence of chords should be kept in mind

and the notes that make up those chords should be kept
foremost. You should try to use chords to “back” your own
singing of the song or another instrument, and then, after
the first time through, jazz the tune up by taking notes from
the melody line and running into notes from the chords, or
adding notes in between notes of the melody.
In time, dexterity will increase and so will your ability to

improvise around a given chord sequence. You may be able
then to devise your own chord sequences and improvisa-
tions.
Try to use 12 bar blues as much as possible: the chord se-

quence is fairly easy to remember and free improvisation
can be practiced. For example, try this extract from “Dip-
permouth Blues” as a basis for improvisation, by playing it at
first as it is written and then using the chords so as to sup-
port a free-ranging right hand.
Right hand
Left hand
0, Seine i C C G7
(C7 without the Bb)
F At “G7 Eb
é = 5 S ] ‘ eo = z
G7 G7 C
Biv.e..D. F
It can be seen and heard in the melody of “Dippermouth

Blues” that it contains lowered thirds and sevenths. These
are the “blue” notes that give blues melodies and improvisa-
tions their distinctive sound. (Bebop musicians also intro-
duced the lowered fifth and this then became a “blue” note).
The blues have been a constant source of inspiration and the

12 bar blues structure has been used throughout the history
of jazz, because it is so fundamental and flexible a form.
However, any chord progression, be it from a popular song
or that of an own composition can be used as a basis for
improvisation.
Jazz is constantly evolving and the variety of styles in

rhythm, melody, harmony, and use of chords is infinite. In
early piano jazz, the chords used tended to be in their more
basic form, but over the years, the use of chords has become
more sophisticated by varying the notes being added to give
different harmonies and chord progressions.
In improvising, it is important to experiment with rhythm

and harmony to develop your own style, or styles, of playing
and in this respect, the following “profiles” (which concen-
trate on piano aspects) of different styles indicate the variety.
Ragtime
Ragtime (literally “ragged” time) became popular towards the
end of the nineteenth century and was essentially composed
plano music, inspired partly by military marches and the
cakewalk, but, as with all jazz, having many musical influ-
ences. The rhythm of ragtime is strict 2 or 4 time, with the
left hand playing single notes, octaves, or tenths on the Ist
and 3rd beats in the bar, andthe notes of the I, IV, and V
chords on the 2nd and 4th beats. The right hand is used for
the melody, for improvisation and to create cross rhythms
and syncopation. Piano exponents of ragtime include Scott
Joplin and Jelly Roll Morton, who, along with pianists like
James P. Johnson, Willie “The Lion” Smith, and the young
Fats Waller, kept the ragtime tradition alive during the
1920s!
New Orleans and Chicago Styles

In New Orleans and Chicago styles, jazz developed into the
1920s its traditional (“trad”) image. Many different musical
influences had met and mixed in New Orleans and found a
jazz expression, but when New Orleans became a war port
during the First World War, the red light district of
Storyville was closed and many musicians moved up to
Chicago, where several important recordings of New Or-
leans jazz were made, and where the style was modified into
what is known as the Chicago style. In both, the melodic
excitement is created by cornet, or trumpet, clarinet and
trombone, with the piano used more as a rhythm instru-
ment. In New Orleans, the rhythm emphasizes the Ist and
3rd beats, but in Chicago, although still strong, the accent
moved from the Ist and 3rd, to the 2nd and 4th beats. This
Chicago development leads into the rhythm of Swing. The
most common chord pattern was still 12 bar blues, but
Chicago style is not’such a melodic melange as New Orleans
and introduced more of the soloist approach to jazz. Piano
exponents of New Orleans include Jelly Roll Morton and of
Chicago, Earl Hines.
Boogie Woogie
Boogie woogie, again a blues based jazz form almost exclu-
sively in 12 bar structure, was popularized in Chicago. The
left hand is used to play a repeated pattern on the piano
using I, IV, and V chords while the right hand improvises
and adds to the rhythmic effect. Exponents include Meade
Lux Lewis, Memphis Slim, Jimmy Yancey, and Pinetop
Smith (whose “Pinetop’s Boogie Woogie” gave the style its
name).
Swing
The Swing era of the 1930s saw the growth of big bands.
Although 12 bar blues was still used as a basis, popular songs
(often in 32 bar form) became jazz standards. The chords
were more sophisticated, with major sevenths, ninths,
elevenths, etc. being used, as well as there being an increased
use of chromatic chords (i.e., chords containing notes which
are not part of the scale of the key of the piece of music).
The rhythm of swing was more “floating” than previously
had been used, and it is also known as 4 beat jazz, hence the
use of the term “swing.” Solos continued to be important
and, for the piano, might be said to be characterised by the
“stride” piano style, in which the left hand strides, as in
Ragtime, from single notes, octaves, or tenths, to chords, but
with the right hand used to improvise much more freely
than in ragtime. Piano exponents include Fats Waller and
Teddy Wilson.
Bebop
With Bebop (deriving its name either from the attempt to
sing the notes of the flattened fifth interval, or from the use
of two short notes to round off a solo), more experimenta-
tion, in reaction to the orthodoxy of swing, resulted in much
freer harmonies, melodies, and rhythms being created,
often to self-composed themes. The flattened fifth became a
feature, but, more than this, the use of passing notes and a
more chromatic interpretation of chords gave greater free-
dom and fluidity in the use of chords. The piano was used
for more single note melody playing with the right hand and
subtler underpinning chords played with the left hand. The
stride piano style was dropped and the bass line left to the
string bass. Piano exponents include Theolonius Monk,
Clyde Hart, and Bud Powell.
Experimental Jazz
In Cool Jazz in the 1950s, Dave Brubeck, for example, with
more experimentation with time signatures and more re-
laxed rhythms, built on Bebop styles. This more relaxed ap-
proach led to the development of Free Jazz in the 1960s and
beyond, with no restrictions as to rhythm, tonality, melody,
and harmony. Electric Jazz has seen the widespread use of
electric pianos, organs, and electric keyboards as well as fu-
sions with rock and soul. “Piano” exponents of Free or Elec-
tric Jazz, or both, include Chick Corea, Herbie Hancock,
Keith Jarrett, and Cecil Taylor.
SUMMARY
I have reviewed the most common chords: the three chord

trick (I, IV, and V chords), the relative and related minors,
and outlined their relationship.
Certain chord progressions in addition to 12 bar blues have

been illustrated.
The way of putting chords to a tune has been outlined and

improvising has been shown to be basically a process of keep-
ing to a chord sequence but extemporizing around those
chords in and around the known melody.
This book has sought only to introduce the potential of

chords and give a system for playing them and hints on
applying them. Your own enthusiasm, style, the example of
others (from records or concerts) and practice by yourself or
with others, will help you to develop as a pianist who plays
the piano by chords, especially in the area of improvisation.
My object has been to:
1. give a system for working out and playing chords;

2. suggest an easy way of playing from music using chord
symbols;
3. give an introduction to playing by ear and improvising,
showing how chords are the basis for both;
4. make the piano more approachable and comprehensi-
ble as a means of musical expression;
5. show the importance of thinking in chords and playing
by chords.
Appendices
aieibn
APPENDIX I:
BASIC REVIEW COURSE
The ground covered is:
1. the names of the notes and their positions on the piano,

treble and bass clefs
2. note and rest values and time signatures
a certain musical terms
4. scales and key signatures
Names of notes
and their positions on the piano,
treble and bass clefs
1. The keyboard (Most pianos have 7 octaves, A to A.)
one octave
2. The notes from middle C upwards are usually written in

the treble clef and the notes below middle C usually
in the bass clef ®)

3. The notes are written thus: 91
ee, QS
Rex
midale
AAA AAR A A PE = is et
Ee
oe eee
<< ae Sr pices
Ss I el
Be AY a Gries
It can be seen that the notes in the bass clef are written one
space or line down from the equivalent note in the treble
clef.
Note and rest values

and time signatures
Note Shape Rest
whole note
half note
quarter note
eighth note
sixteenth note ~te
thirty-second note
92
é Appendices 93
Think of it as the quarter note being the basic measure = 1 beat
then the half note (= 2 quarter notes) = 2 beats
the whole note (x 4 quarter notes or 2 half notes) = 4 beats
the eighth note (x % quarter note) = 4 beat
the sixteenth note (x 4 quarter note) = 4 beat
the thirty-second note (x ¥% quarter note) = Ys beat
Dotted notes/rests
A dot placed after a note or a rest increases its value by one

half. Thus a dotted quarter note = 1% quarter notes; and
a dotted rest }*= rest for the duration of 1% quarter notes.
Tie \
A tie between 2 notes, as in 1 , means the note is held
for 1% beats, but not played twice. This only applies to the
same notes written.
Do not confuse this with a phrase, as in ==5 , which is

a grouping of notes.
Triplets
3
~—_ This means that the three notes are to be played

in the time that 2 would be played, i.e. here, for 1 quarter note
value (X 2 eighth notes), not 1% quarter notes (Xx 3 eighth
notes).
Bars and time signatures

Music is written in bars and the number of beats in each bar
is denoted at the beginning of a piece by a tame signature. For
example:
Z means two quarter note beats to a bar.
4 means four quarter note beats to a bar = Common

4 Time (C).
means two half note beats to a bar.

2
means six eighth note beats to a bar.
com
94 A ppendices
For time signatures, the top figure denotes the number of

beats and the bottom figure the measure of each beat. The
whole note is the basic measure for the latter: thus 4 quarter
notes = | whole note and the quarter note measure is 4.
Certain musical terms
A half step is the smallest distance between two notes:

e.g. between C and Ce; cf and D; E and F; B and C.
A whole step consists of two half steps.
The sharp {fraises a note one half step.
The flat b lowers a note one half step.
The natural Q restores the note to its original pitch.
A scale is a succession of notes starting from a tonic (the
keynote of the scale) e.g. the tonic of the scale of C
major is the note C.
Scales and key signatures
Scales
From any tonic, major or minor scales have the same inter-
vals between their notes as the corresponding scales that
start on other tonics.
C major
whole step whole step half step whole step whole step whole step half step
Between the third and fourth notes of the scale and the
seventh and eighth notes, the gap (interval) is a half step,
and between other notes a whole step.
This applies to any scale. In order to preserve this spacing, it

is necessary in all other scales to raise or lower certain notes.
Thus in the scale of G (running from the key note G), to

obtain an interval of a half step between the seventh and
eighth notes, the F must be raised.
Appendices 95
G major
; whole step whole step half step whole step whole step whole step half step
G A B Cc D E Fe G
l 2 3 4 5 6 7 8
For all scales, intervals are the same as above: whole step,
whole step, half step, whole step, whole step, whole step, half
step.
The sharps and flats necessary to maintain these intervals

are grouped together at the beginning of each stave of
music, immediately after the clef. This grouping is called a
key signature and means that the notes specified are to be
lowered or raised throughout unless naturalized.
Table showing key signatures

for majors and minors
NOTE I have shown all key signatures but the last three
sharp and flat signatures will not be met very often.
major C G D A
a 2
minor A E B F¥
Fe Chet che C# = FEG#
major E B Fe Ce
ae c# G# D# Ag
AA UNE UT) EA
C#Des FRG? C#D# FR GRAF C&D FER FR GHAR C# DRESFRGHARBE
96 Appendices
To read the key from a sharp key signature: take the last
sharp of the key signature and move one half step up to get
the name of the key. E.g., take the key signature with three
sharps: the last is G{—move up a half step to note A, and A
is the name of the key.
The minors shown are the relative minors to the majors and
have the same key signature. So if the piece is in a minor
mood, the key will be minor.
major C F Bb Eb
D
Flats 6 iF b i 5
@
minor A D G C
Bb Eb Bb Eb Ab'Bb
major Ab Db Gb Cb
ary)
—E Pe =mp is
Soe!
minor F Bb Eb Ab
bial hha bb
DbEb Ab Bb DbEb GbAbBb DbEb GbAbBbCb DbiEDFb
Gb AbBbCb
To read the key from a flat signature: take the next to last
flat of the key signature and that is the name of the key. E.g.,
take the key signature that has four flats. The next to the last
is Ap and that is the name of the key. The minors shown are
the relative minors and have the same key signature as their
majors.
Summary
The aim of this Appendix has been to provide a review of
certain points that should make reading a one note melody
line easier and to give the basic knowledge required to make
the best use of this book.
Appendices 97
APPENDIX II:
CHORD SYMBOL CHART
This is a guide to shorthand chord symbols.

NOTE I have used C as the example throughout, but the
symbols apply to any key: e.g., F or Eb could be substituted
throughout.
Symbol Chord Symbol Chord
C basic chord C major Cm9 or C min 9 C minor with added ninth
C7+5 or C7#5 or C major with lowered
Cm or Cmin basic chord C minor- C7 aug 5 seventh and raised
C+ or C+5 or basic chord C augmented fifth
Caug or Caug5 C min 7+5 or C minor with lowered
C— or C° or Cdim basic chord C diminished Cm7#5 or Cm7 augd5 seventh and raised
or Cdim7 fifth
C6 or Cadd6 C major with added sixth C7-5 or C75 or C major with lowered
C7dim5 seventh and lowered
fifth
C9 or C add 9 C major with added ninth Cm7-5 or Cm7p5 or C minor with lowered
Cm7dim5 seventh and lowered
fifth
C maj 7 C major with added major C sus 4 or C sus F C major with the fourth
seventh note (F) added
C7 C major with added C-9 or Ch9 C major with a lowered
seventh C+9 or Caug9 ninth
C augmented with an
Cm6 or C-6 or C minor with added sixth added ninth
Cmin6 Ct 9 C major with a raised ninth
C13 C major with added thir-
teenth
C13h9 C major with thirteenth and
Cm7 or'C=7 or C minor with added lowered ninth
Cmin7 lowered seventh Ce C major with added sixth
and ninth
Cc? C major with added low- And other There is a great deal of va-
ered seventh and ninth variations to the riety in the symbols that
C7-9 or C79 C major with added low- various symbols can be used to denote
ered seventh and low- the required chord, as is
ered ninth indicated in this table
C with brackets C major or other chord which covers only the
say, (6) or (7) or with the note that is most common symbols
(+5) or (min) or specified in the brackets used. Any others, you
(Bb bass) added should be able to work
C (G bass) or C(G) Play the chord of C but out.
with the note specified
in brackets as the base
98 Appendices
APPENDIX ITI:
TRANSPOSING CHART
To be used in transposing notes or chords from one key to

another.
Method: take the existing key, then move horizontally to the

required key. The required note or chord in the new key is
on the same line as the note in the old key. You can move
horizontally forwards or backwards into new keys.
Vertically, I have written the notes of the scales in the dif-

ferent keys.
NOTE | have only gone to the key of B major in sharps and

Db in flats as being the limit of the chart’s usefulness.
Sharps Flats
SUMTER) A Te ON Aes
Keyof C G D A E BF _ Bb Eb Ab Db
Div\A Eo By) Ft st -G. (CG . GF) Bais
E B. FE: Ct (Gt Dt) Ay D) UG. Cae
F 1G Gee DD) Al Ee Bh Eb vAb- Dies
G DD A SE.) B Fe oC) oF Bh Boma
AE so BO CE OG GH) DOUG) XC, ee
By °F. CE Gt Di ARSVEr A Dy {Ga
C:.G. sD. AE. BF. Bh Eb Alaa
Examples: If we were in the key of C and wished to play in A,

the corresponding chord to A minor in the key of C, is F
minor (moving horizontally) in the key of A. If we were in
Eb and wished to be in B: the note Ab in the key of Eb would
be E in the key of B and the chord Ab minor would be E
minor.
APPENDIX IV:
CHORD EXAMPLES
It is important to be able to work out chords rather than

trying to memorize chord positions.
However, as an aid to learning during the initial stages of

understanding chords and how to use them, the following
chord chart sets out, for easy reference, some of the dif-
ferent types of chords in different keys.
Appendices 99
Major chords
C major F major
G major Eb major
G B D Eb G Bb
100 Appendices
Minor chords
C minor F minor
Cc Eb G FE Ab ‘Cc
ri ea
G minor Eb minor
Appendices 101
Diminished chords
NOTE The sixth is often added in playing diminished chords,

see Sixth chords.
C diminished D diminished
(G Eb Gb D F Ab
A diminished Bb diminished
A Cc Eb Bb Dob E
Augmented chords
C augmented F augmented
CG E Gt F A c#
G augmented Eb augmented
ne
D# Eb G B
Appendices 103
Sixth chords
C sixth F sixth
8 E G A F A ce: D
C minor sixth C diminished sixth
Cc Eb G A i Cc Eb Gb A
104 Appendices
Major seventh chords
C major seventh F major seventh

F A & E
Eb major seventh A major seventh

Eb G Bb D A Cg E Gf}
Appendices 105
Seventh chords:
major chords with added sevenths
C seventh F seventh
(@ E G Bb F A Cc Eb
G seventh A seventh
G B D F A Ck E G
106 Appendices
Seventh chords:
minor chords with added sevenths
C minor seventh F minor seventh
Cc Eb G Bb F A> ig Eb
G minor seventh A minor seventh
G Bb D F A G E G
Appendices 107
Ninth chords
NOTE The seventh can also be played in ninth chords.
C ninth C minor ninth

C E G D Eb G D
C diminished, ninth C augmented, ninth

Cc Eb Gb D iq E G} D
108 Appendices
Miscellaneous chords
Virtually any notes can be added to the basic chords and this
can be denoted by an appropriate chord symbol (see Ap-
pendix II). Such symbols are self-descriptive as indicated in
the following examples:
C seventh with an added fourth
(C: E F G Bb
It
F major with a flattened fifth

F A B
Index
A sixth chords, score for, 52

summary, 54
A diminished, 14
tempo, 53
A major, 12
24-bar form, 54
A major seventh, 26
use, 47
A seventh, 26
Brubeck, Dave, 86
Augmented chords, defined, 15
B C
B’ diminished, 14 C augmented, 15
Bars, and time signatures, 93—94 C augmented with added major 7th, 25
Beats, and time signatures, 93 C augmented 9th, 29
Blues, 12-bar: C diminished, 14
chords in different keys: C diminished with added major 7th, 25
C, 48, 49 C diminished with added 6th, 23
D, 49 C diminished 9th, 29
E', 48 C major, 9-11
F, 48, 49 fingering, 10
G, 48, 49 gaps, 10
in F, 53, 54 intervals, 10
in G, 54 major scale of C, 9
nature, 47 nature, 10
order of chord playing: C major 7th, 24, 25, 28
discussion, 50 Ciminor, 12,)27
example, 50 C minor with added major 7th, 25
freedom of, 50 C minor 9th, 29
and hands, 50 C minor 9th with 7th, 30
score, 51 C minor 7th, 27, 29
seventh chords, score for, 53 C minor 6th, 22
C, 53 C 9th, 29
F, 53 C 9th with 7th, 30
G, 53 Gi7ths 253/28
109
110 Index
Si cdf pmsh dU oe) ee od LVR a 2Ser ed PO Pa ie RLSRSS ee ees ee eee
C 7th with F, 31 D
C 7th with suspended 4th, 33
D diminished, 14
C 6th, 21
D major, 12
Chords, basic, summary, 16—18
Da Capo, 60
On Top of Old Smokey, example, 18
Dal Segno, 60
When the Saints, example, 17
D.C. (see Da Capo)
Chords, discussion:
D.C. al Segno, 60
defined, 3
Diminished chords, defined, 13
guitars, 4, 5 Diminished chords with 6ths, 23
harmonizing, 3
Diminished 7th, 23
improvising, 3—4
Diminishing thirds, and fifths, 13
jazz, 5
Discords, 22
and pianists, 4, 5
Dots in notation, 93
pianos, 5, 6
D.S. al Coda, 60
playing by ear, 5
D.S. (see Dal Segno)
pop music, 3, 4
servile, 4
E
shapes of fingering, 4
sheet music, 5, 6 E’ augmented, 15
trick with three, 4 FE major, 12
use, 3 E’ major 7th, 26
Chords, examples: FE: minor, 13
augmented, 102 E’ minor 6th, 23
C 7th with added 4th, 108 E' 7th, 26
diminished, 101
F major with flattened 5th, 108
major, 99
F augmented, 15
major with added 7ths, 105
F augmented 9th, 30
major 7th, 104
F diminished with added 6th, 23
minor, 100
F diminished 9th, 30
minor with added 7ths, 106
F major, 11
ninths, 107
F major with lowered 5th, 31
7th, 105, 106
F major 7th, 24, 26
6th, 103
F minor, 13
Chords, playing of from sheet music,
F minor 9th, 30
59-69
F minor 7th, 27
backing, 59
F minor 6th, 22
discussion, 59
F 9th, 30
exercises:
F 7th, 26
Body And Soul, 67
F 6th, 21
Grease, 65
Flat, defined, 94
Hey Jude, 64
How Deep Is Your Love, 66
G
Let’s Call the Whole Thing Off, 68
Oh! Susanna, 63 G augmented, 15
hand work, 61, 62 G diminished with added 6th, 24
Hey Jude, bar from, 62 G major, 11
method, 60-61 G major 7th, 26
omission, symbols for, 60 G major 7th with lowered 5th, 31
questions to ask self, 62 G minor, 13, 27
repetition, symbols for, 60 G minor 7th, 28
steps, 62 G 7th, 26
summary, 69 G 6th, 22
symbols, 59
variations, 61 H
Chords, progressions of:
Hancock, Herbie, 86
Autumn Leaves, bar from, 78
Hart, Clyde, 86
examples, 75, 76, 77
Hines, Earl, 85
from minor to major, 77
in popular music, 76
I
transitions, cases, 77
Chords, summary, 32 Improvising (see Jazz)
Chords, symbolic chart of, 97 Inversions:
Chords, types, 9 C major, types, 57
Clefs: C 7th, inverted, 38
bass, 91 chord synthesis, 38
treble, 91 D, 39
Coda, 60 E' minor, with flattened 7th, 39
Corea, Chick, 86 E major with flattened 7th, 39
Index 111
example, 42 chords for line, 78

F minor, types, 37 example, 79
G 7th, types, 38 and jazz, 73
hand work, 38 melody line, 78
jazz, 42 rightness, feeling of, 78—79
Shearing, George, playing of, 42 She'll be Comin’ "Round the Mountain, 79,
81
J Powell, Bud, 86
Jarrett, Keith, 86
R
Jazz, 82-86
bebop, 85—86 Raising fifth, 15
blues, 82—83 Relative minors, review, 73—75
Dippermouth Blues, 83 of C major, 74
score, 83 and D minor, 75
boogie woogie, 85 Of E’ major, 74
Chicago style, 84, 85 of F major, 74
chords sequence, discussion, 82 of G major, 74
cool, 86 and G minor, 75
electric, 86 on major scale’s second note, 75
exercises, 82 Rest values, 92
free, 86 Root note, 9
hand work, 82
New Orleans style, 84, 85 S
ragtime, 84
Scale, defined, 94
swing, 85
Scales, and key signatures:
Johnson, James P., 84
C major, 94
Joplin, Scott, 84
flats, 96
G major, 94, 95
K
major, 95, 96
Keyboard, octaves in, 91 minor, 95, 96
Key signature, defined, 95 nature, 94
sharps, 95, 96
L Sevenths:
chord, defined, 25
Lewis, Meade Lux, 85
summary, 33
Lowered 7th, 25, 27, 28
symbols for, 27
Lowering the third, for minor chords, 12
Sharp, defined, 94
Sixths:
M
chords, defined, 21
Major chords: notes, for diminished chords, 14
7ths, defined, 24 summary, 32
7ths, summary, 33 Slim, Memphis, 85
review, 73 Smith, Pinetop, 85
Minor chords: Smith, Willie “The Lion,” 84
with added sevenths, 27 Steps:
with added sixths, 22 half, 94
interval in, 13 whole, 94
Monk, Thelonius, 86 Storyville, 84
Morton, Jelly Roll, 84, 85
T
N
Taylor, Cecil, 86
Natural, defined, 94 Three chord trick:
Ninth chords, defined, 29, 30 Br, 40, 41
Notes: in blues, 41
lines, 92 C, 40, 41
spaces, 92 chords in C major scale, 40
writing of, 92 F, 40, 41
F major scale, chords in, 40—41
Oo G, 40, 41
I, 40, 41
Octaves, 91
IV, 40, 41
V, 41
P
Tie, 93
Phrase, defined, 93 Time signatures, 92
Pinetop’s Boogie Woogie, 85 Transposing:
Playing by ear: defined, 42
C scale, chords of, 79—80 keys, matrix of, 41
defined, 73 and three chord trick, 41
eee
- Transposing, chart for “Wilson, Teddy, 85

examples, 98 — nae Bro Ns ah ai
> flats, 98 ae (yr eer ae On aoa
- |) Ssharps, 98" Net RONEN ty fev ead
ip iReaplets sale TO) Sane aaa ae a
w | eae
Waller, Fats, 84, 85 oy id ah re ee EB ah me
~s
ry j i
ti » ES
ce
be Lire f A yh Py
Wy
a oy ,
M af
NEIL THOMAS has played in numer-
ous pop and jazz groups, dance bands,
orchestras, and as a solo pianist. A
former musical and cabaret director of
the Cambridge Footlights Club at Cam-
bridge University, Mr. Thomas has writ-
ten and arranged music and songs as well
as performed them.
Jacket design by Jeannette Jacobs
PRENTICE-HALL, Inc., xe eo * a e _
:A E lifts,
ifs No‘fe jersey
PTrse 07
7y 07 ie i?
LOOK FOR THESE OTHER BEST-SELLING
BOOKS FROM SPECTRUM!
IMPROVISING JAZZ
Jerry Coker
Covers improvisation techniques for musicians and shows
listeners how to better understand jazz improvisation.
FINGERSTYLE GUITAR
Ken Perlman
Provides everything from a list of suggested recordings that
illustrate fingerpicking techniques to specific suggestions for _
making guitar playing smooth and professional. Illustrations,
exercises, and simple instructions tell how to develop such skills |
as the alternating bass, pattern picking, hammering on, pulling
off, using the full barre, and much more. .. :
4
ISBN O-13-683052

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Prentice-Hall, Inc., Englewood Cliffs, New Jersey 07632

This book can be made available to businesses

Originally published by Pan Books Ltd. Copyright © 1980 by Neil Thomas.

All rights reserved. No part of this book may be reproduced in any

Editorial/production supervision by Alberta Boddy

PRENTICE-HALL INTERNATIONAL, INC., London

How to Use this Book xiii

Introduction: Chords and What They Can Do 1

The aims of this book are:

1. To enable an individual to understand and play chords

All pop and jazz musicians think in chords—it is therefore

The book is aimed at all those who want to play popular

1. Those who had piano lessons earlier in their lives but

2. Those beginners (possibly who play other instruments)

This book has advantages over the other instructional books.

We are grateful to the following publishers for their kind

AUTUMN LEAVES (Kosma/Prevert/Mercer)

BODY AND SOUL

HOW DEEP IS YOUR LOVE, }

LET’S CALL THE WHOLE THING OFF

The main portion of the book is written with the following

1. a basic knowledge of the names of the notes and their

However, reference to the Basic Review Course in Appen-

The book is set out in lesson form, which should be followed

Each lesson is self-explanatory with a summary given at the

Examples of chords are given in a few different keys to show

Chords are the basis of music. Understanding them is not

Harmonizing is, in effect, the adding of notes below the

Any combination of notes played together is a chord. It is to

It may be obvious, but it is still worth pointing out, that all

If an individual can understand and use chords, it is easier to

TAKING A SONG APART

playing it in its recognizable form he is thinking of it as a

The three chord trick and more

What this means to the pianists

These easily understood and common chords offer infinite

which provide the surest and commonest harmonies around

With a knowledge of chord shapes and the ability to read a

But more than this, it means that playing by ear or playing

Later while trying to learn the guitar, I realized that what I

The system developed over a period of time. Besides playing

the chord symbols given) and then improvise on the chords,

That it works as a teaching method has been demonstrated

With a system of building up chords, a uniformity of chord

Sheet music becomes easier to read without fear of flats or

Familiarity with chords to the point of thinking in chords

Basic chords should be thought of as comprising three notes

I think of there being four basic chords: major, minor, di-

In following this lesson, if you have any doubts or difficulties

MAJOR CHORDS (SYMBOL: C)

To obtain the three notes of the chord of C major, first play

—— \ maj 3rd \ maj Sth

In half steps the inclusive gaps between the notes are:

In fingering, to help you to think of the first, third, and fifth

little finger Sth G

With the left hand, the fingering (using the chord of C

Use this, or any other convenient fingering, in playing

Take the scale of F

Take the scale of G

Now try the chords of D major, A major, Eb major by first

TO RECAP A major chord comprises the first, third, and

Take C major Lower the third C minor

The interval between the first and third is altered from a