EASTWAY

KEYBOARD
METHOD

A general guide to
Keyboard Playing
and Music Theory
DION TODMAN
Table of Contents
Chapter I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reading Music

Chapter II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scales and Key Signatures

Chapter III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chords 101

Chapter IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chord Progressions

Chapter V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-5-1

Chapter VI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Borrowed Chords

Chapter VII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Pentatonic

Chapter VIII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Blues Scale

Chapter IX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ornaments

Chapter X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Left Hand Movement

 I. Reading Music
There are a few main ways to read music--sheet music, chord charts, number charts, and lead sheets.
I recommend learning about all four. Each method requires a certain understanding of music theory. In my
experience, those who can read sheet music tend to understand the other methods more deeply. We will
explore all throughout this e-book, starting with sheet music.

Key signature
measure

treble
clef

time
signature
whole
rest

bass
clef

The image above shows us one empty measure of sheet music. There are no notes to be played. The
treble clef is typically played by the right hand, and the bass clef is typically played by the left hand. The
time signature is our guide for rhythm and counting. With a 4/4 time signature, this tells us that each
measure requires four quarter notes to be considered a complete measure.

Notice how there is only a single measure with a little, black rectangle in both the treble and the
bass clefs. This is known as a whole rest. This means that the measure should remain silent (four beats of
silence).

The images below have notes in each measure. The left image requires that we play a single note
with our left hand for four beats while the right hand is silent. The right image requires that the left hand
is silent while the right hand plays a single note for four beats.
 I. Reading Music
It is important to know the musical alphabet. It is much like the English alphabet but with only 7
letters instead of 26. These letters (notes) are A-B-C-D-E-F-G, then they repeat. Each time you sit down at
the piano, you will only be playing some version of these notes. Below, you will find images to help you
identify these notes on the piano.

C D E F G A B C D E F G A B

Notice how the above image begins with the letter C. You will see on the next page that starting with
C is the most widely used reference point for actually playing the instrument.

C D F G A C D F G A
# # # # # # # # # #

Db Eb Gb Ab Bb Db Eb Gb Ab Bb

C D E F G A B C D E F G A B
(B#) (Fb) (E#)

The black notes on the piano are known as our sharps and flats. Depending on the musical context,
one of the black notes can be known as a sharp or a flat. In general, if you raise a note, it becomes sharp,
and if you lower a note, it becomes flat. Notice how the black note next to C can be called either C# or
Db. If you raise C it becomes C#. If you lower D it becomes Db.

A grand piano, upright piano, and full sized keyboards all have 88 keys. Most of the time, it is
encouraged that you sit at the middle of the piano and find "middle C" or "C4." Think of this as your home
base. Find middle C at your own piano! Middle C
 I. Reading Music
This is the same image from page 1. The note that is shown in this image is middle C. Now that you
know how to locate it, try playing it with your left hand, then with your right hand.

Now that you know how to find and read middle C on the piano, let's learn how to find and read more
notes! Notice how the spaces in the treble clef spell the word "face." Additionally, a good way to remember
the notes on the treble clef lines is memorizing the phrase "every good boy does fine."

E
C
A
F

FACE

F
E D
C B
A G
F E

Every Good Boy Does Fine

 I. Reading Music
One note we didn't identify in our treble clef is D4. Staying true to the order of our musical alphabet,
this note falls between middle C (C4) and the E (E4) on the first line of the treble clef.

Now it's time to learn how to read the left hand! The notes in the spaces can be remembered by the
saying "all cows eat grass". The lines can be remembered by the saying "good boys do fine always".

All Cows Eat Grass

G
E
C
A

Good Boys Do Fine Always

A
G
F
E
D
C
B
A
G

B right below middle C in the left hand

There are other notes in both the treble and bass clefs that go beyond just
the 5 lines on each staff. We will not cover these notes in this free E-book.
 I. Reading Music
Try identifying each whole note in the measures below. Remember to check if it's in the bass clef or
treble clef!
 I. Reading Music
Answers from previous page: Treble clef - B, D, G, C, E, A, C, E
Bass clef - C, G, A, D, F, B, C, E

Another crucial aspect to reading and playing music is understanding rhythm and counting. Rhythm
can be defined as music's pattern in time. To get a firm grasp of this, we need to understand
note values and time signatures. Let's explore both of these.

*Common notes and their values

Whole note Half note quarter note eighth note sixteenth note

Reading time signatures:

When playing in a 4/4 time signature, each measure gets four beats. The bottom number can be seen
as our unit of measurement while the top number tells us how many to count.

This number tells us the amount of beats to

include per measure.

This number tells us to use quarter notes as our

"unit of measurement" or as our "beat."

Simply put, a 4/4 time signature means that every measure needs the
equivalent of 4 quarter notes.
 I. Reading Music

RHYTHM AND COUNTING

Notes

Whole 1 2 3 4

Half 1 2 3 4

Quarter 1 2 3 4

Eighth 1 and 2 and 3 and 4 and

Sixteenth 1 e + a 2 e + a 3 e + a 4 e + a
 I. Reading Music

RHYTHM AND COUNTING

Rests

Whole 1 2 3 4

Half 1 2 3 4

Quarter 1 2 3 4

Eighth 1 and 2 and 3 and 4 and

Sixteenth 1 e + a 2 e + a 3 e + a 4 e + a
 I. Reading Music

SIGHT READING PRACTICE

Before we get too far ahead, we must explore how to properly place our hands and fingers. Our hands
are mirror images of each other, so notice that both of our thumbs are finger 1, our index finger 2, middle
finger 3, etc. The act of choosing which fingers to play which notes is called fingering. This is highly important,
as fingering has a direct effect on how fast, clean, and in time we are able to play. More on this later!

3 3
4 2 2 4
5 5

1 1
 I. Reading Music

SIGHT READING PRACTICE

3 3
4 2 2 4
5 5

1 1

If you are able to play the above examples, congratulations! You can read music.
There is still much to be learned! While this E-book will not cover everything, you
can find more keyboard resources at www.diontmusic.com.
II. Scales and Key Signatures
A scale is a set of musical notes in order based on pitch.
A key signature is a set of sharps (#), flats ( ) or natural ( ) symbols that determine our tonal center.

To understand key signatures for major keys, we must understand a few facts:

•The given letter of the key (i.e. C major) is the root or tonic of the key.
•There are two main types of key signatures--major and minor.
•There are key signature formulas that must be followed in order for a key to be considered major or
minor.

The above image of a staff depicts C major. We can tell based on the key signature. If you were to play all
of the white notes from middle C (C4) to C5 one after another, you have have just played a C major scale.
The key signature formula is the same formula used to play certain scales. Let's look at the formula for
finding a major key, starting with C major.

C D F G A C D F G A
# # # # # # # # # #

Db Eb Gb Ab Bb Db Eb Gb Ab Bb

C D E F G A B C D E F G A B

W W H W W W H

W stands for "whole step," and H stands for "half step." What we are seeing is the amount of steps
between the notes from C major. The key signature formula for C major is based on these steps, and that
formula is: whole, whole, half, whole, whole, whole, half. Or it can be remembered as W-W-H-W-W-W-H.
This formula can be used for any starting note, and it will always give you a major key. Let's look at one
more example.
II. Scales and Key Signatures
If we want to know all the notes used in the key of G major, we would simply use the formula.
Starting with G, the key of G major would use the notes G-A-B-C-D-E-F#-(G).

C D F G A C D F G A
# # # # # # # # # #

Db Eb Gb Ab Bb Db Eb Gb Ab Bb

C D E F G A B C D E F G A B

W W H W W W H

G to A is a whole step (2 half steps).

A to B is a whole step.
B to C is a half step.
C to D is a whole step.
D to E is a whole step.
E to F# is a whole step.
F# to G is a half step.

Since we know that we need an F# for the key of G major, we can identify the key signature to look like the
image shown below.

Since the only accidental given in the key signature is F#, we know that our key is G major. The best way
to remember all key signatures is to learn how to identify them and learn how to play the associated
scales. You will find a list of all keys on the next page.
II. Scales and Key Signatures

C major G major D major

A major E major B major

F# major C# major

F major Bb major Eb major

Ab major Db major Gb major Cb major

•For sharps, you can identify the key signature by going up one half step from the last sharp. For example,
if the final sharp in the key signature is an A#, then they key is B major.

•For flats, you can figure out the key signature by identifying the second-to-last flat in the staff. For
example, if you have four flats in the key signature, the second-to-last flat is an Ab. Therefore, you are in
the key of Ab major.

To get a good grasp on key signatures, you must practice playing in these
different keys and do plenty of personal review.
 III. Chords
A chord is a group of 2 or more notes played simultaneously. The examples below are called "triads"
because they consist of 3 notes stacked in thirds. More specifically, they are called "major triads" because
their quality is major. To determine the quality of a chord or triad, we need to look at the distance between
each note. The distance between two notes is called an "interval." A major triad consists of 4 half steps (HS)
between the first two notes plus 3 half steps between the last two notes. Let's examine the C major chord,
for example.

1234 2
*A major chord's symbol can be expressed
1 3 as just the capital letter of the given chord.

All examples below are major chords.

C C-E-G F# or F#-A#-C#
Gb Gb-Bb-Db

C# or C#-E#-G# G G-B-D
Db Db-F-Ab

D D-F#-A Ab or Ab-C-Eb
G# G#-B#-D#

Eb Eb-G-Bb A A-C#-E

E E-G#-B Bb Bb-D-F

F F-A-C B B-D#-F#
 III. Chords
The examples below are called "minor triads" because their quality is minor. A minor triad consists of
3 half steps (HS) between the first two notes plus 4 half steps between the last two notes. Let's examine the
C minor chord, for example.

123 3

1 2 4
*A minor chord's symbol can be expressed
as the capital letter of the given chord +m.

All examples below are minor chords.

Cm C-Eb-G F#m F#-A-C#

C#m C#-E-G# Gm G-Bb-D

Dm D-F-A Abm or Ab-Cb-Eb

G#m G#-B-D#

Ebm or Eb-Gb-Bb Am A-C-E

D#m D#-F#-A#

Em E-G-B Bbm or Bb-Db-F

A#m A#-C#-E#

Fm F-Ab-C Bm B-D-F#
 IV. Intro to Chord
Progressions
A chord progression or harmonic progression is a series of chords played in a sequence around a
particular key (key signature). Chord progressions exist in all of the music we listen to on a regular basis.
Chord progressions can be notated or written either using sheet music, chord symbols, numbers, or
Roman numerals.

Here is a chart with various key signatures and their corresponding chords and numbers. More
comprehensive chord charts are available at diontmusic.com
 IV. Intro to Chord
Progressions
Every key has 7 main chords that you can choose as part of your progression / harmonic structure.
These chords all have numbers assigned to them based on the key in which you are playing. One of the
easiest ways to figure out what number corresponds to each chord is to simply build a triad over each
note in the scale / key. Let's take C major for example.

•Remember, C major consists of the notes C-D-E-F-G-A-B

G A B C D E F
E F G A B C D
•We simply build triads over
C D E F G A B each note or scale degree in
the key of C major

I ii iii IV V vi vii°
1 2 3 4 5 6 7

•The Roman numerals that are capitalized mean the chord is major.
-Therefore, the quality of the I, IV, and V (or 1, 4, and 5) chords are always major when
playing in a major key, except for certain situations. (more on this later)

•The Roman numerals that are in the lower case mean the chord is minor.
-Therefore, the quality of the ii, iii, and vi (or 2, 3, and 6) chords are always minor when
playing in a major key, except for certain situations. (more on this later)

•The vii° (7) chord has a diminished sign next to it. This is a new quality of chord that we
have not yet discussed.
-Remember the formula for major chords is 4 half steps plus 3 half steps. For minor
chords it is 3 half steps plus 4 half steps. For diminished, like the vii° chord, the
formula is 3 half steps plus 3 half steps. B to D is 3 half steps, and D to F is 3 half
steps, thus creating a diminished chord.
If we wanted to score these chords on sheet music, in their simple form they would look like the image below:

5 4 3
Notice the possible fingerings recommended
3 2 2
1 1 1

I ii iii IV V vi vii°
1 2 3 4 5 6 7
 IV. Intro to Chord
Progressions
Let's take a familiar tune and do a simple harmonic analysis

The tune above is the happy birthday tune. When analyzing the primary harmonies created, we are left
with the chord structure written above. You will find an unfamiliar marking in measure 8.
This means that the chord is in its "second inversion."

•All chords can be put in what is known as an "inversion." This simply means that instead of being
spelled in root position, C-E-G for example, the chord is spelled or "voiced" starting with a different
note of the chord.

•First inversion of a C major chord will be spelled E-G-C. It includes all the notes of a C major chord,
but it puts the first note of the chord (root) on top.

•Second inversion of a C major chord will be spelled G-C-E. It includes all the notes of a C major
chord, but puts the second note of the chord on top.

Keep in mind that how we classify a chord's position (root, 1st inv., or 2nd inv., is determined by the
lowest note. Even though the right hand C chord is in 2nd inversion in measure 4, we have a C in the bass.
We would consider this root position.
 IV. Intro to Chord
Progressions
Below you'll find three different examples of how a chord chart may look for happy birthday or any other
song. The top example is key-specific. The second and third examples allow for more flexibility to play in
other keys.
 IV. Intro to Chord
Progressions
Below you'll find and example of a lead sheet. You can think of this as sheet music with only the melody
(the part that is sung) and chord symbols above the staff.
 IV. Intro to Chord
Progressions
Do your own harmonic analysis of the the musical passage below: (answers on next page)
IV. Intro to Chord
Progressions
 V. 2 - 5 - 1
The ii - V - I progression is widely used in various genres of music. It's a great way to end a phrase, end a
song, or transition from one key to another. Below, you can see the ii - V - I progression used to end
Happy Birthday.

Though 7th chords are not covered in this free E-book, you can get guided
instruction on them in the beginner's course at diontmusic.com
 VI. Borrowed Chords
Let's explore "borrowed chords." A borrowed chord is exactly what it sounds like--a chord that is
borrowed from a different key. For example, an E major chord does not exist in the key of C major. We can
still borrow it if we use it properly. The most commonly borrowed chords are the ii (2m) and V (5). Below,
we can see borrowed chords in action.

Happy Birthday tune as seen from page 18

Happy Birthday using borrowed chords

You can see in the circled area that we borrowed a ii, V, and V7 chord from a different key. We know
what key is being borrowed from based on the Roman numeral on the right side of the slash. A ii/IV chord
means that we need to play a Gm chord. (In the key of F major, the ii is a G minor). A V/IV means that we
need to play a C major chord. You might think, "why not just use the chord symbol I?" The reason is
because we are creating a ii - V - I scenario (ii - V - I of IV -- F major). The V7/IV means we need to play a C
dominant 7. This secondary ii - V - I creates a very pleasing transition from the I to the IV.

Though 7th chords are not covered in this free E-book, you can get guided
instruction on them in the beginner's course at diontmusic.com
 VI. Borrowed Chords
The below notation of Happy Birthday includes a ii - V - I as a transitional moment from I to IV
and a ii - V - I as an ending to the piece.

Though 7th chords are not covered in this free E-book, you can get guided
instruction on them in the beginner's course at diontmusic.com
 VII. Pentatonic Scale
The pentatonic scale is a common scale used for solos and fast runs. It consists of only 5 notes, hence
the prefix penta-. If we look at the C major scale, we can figure out the C major pentatonic scale.

C-D-E-F-G-A-B

The C major pentatonic in relation the a regular C major scale: the pentatonic only uses scale degrees
1 - 2 - 3 - 5 - 6.

C-D-E-G-A

Try playing the above example of the ascending C major pentatonic scale with the provided fingering.

Try playing the above example of the descending C major pentatonic scale with the provided
fingering.
 VIII. Blues Scale
The blues scale is common in blues, gospel, rock, and country. Technically, there are
different kinds of blues scales, we will focus on one of the most common versions of it. The
blues scale alters some of the existing scale degrees of the C major scale.

C-D-E-F-G-A-B

The C blues scale in relation to C major scale: the blues only uses scale degrees 1 - b3 - 4 - #4 - 5 - b7.

C - Eb - F - F# - G - Bb

Try playing the above example of the ascending blues scale with the provided fingering.

Try playing the above example of the descending blues scale with the provided fingering.
 IX. Ornaments
Ornaments are musical elements that add flare and points of interest to music that we
hear and play. Some of the most common ornaments are listed below:

Grace Note

Trill

Upper Mordent
sounds like:

Lower Mordent

sounds like:

Turn

Glissando
 X. Left Hand Movement
To add a bit of motion and create more interest in an arrangement, using extra movement is a great way
to achieve this. You will notice that the left hand is more active in the arrangement below than in
previous arrangements of happy birthday.