Q. does anyone know any good tips on playing the piano better?
tips ive heard:
practice
practice makes perfect
practice...
anymore tips besides those?
A. Learn music theory. It seems like a short answer, but I promise it is effective. Here is a theory 101 course that will really help you along the way:
The CHROMATIC SCALE contains all 12 notes:
A , A#(Bb), B, C, C#(Db), D, D#(Eb), E, F, F#(Gb), G, G#(Ab) this repeats to infinity in both directions above and below our hearing range.
Each consecutive key on the piano equals a half step.
To understand this further you need to know INTERVALS. Now remember when I said there are multiple systems of theory. Here's how they equate in this situation. The distance between two notes is called an interval.
0 steps=unison=same note
1 half step=Minor 2nd=1 semitone
1 whole step=Major 2nd=1 whole tone
1 ½ steps=Minor 3rd
2 whole steps=Major 3rd
2 ½ steps=Perfect 4th
3 whole steps=Diminished 5th
3 ½ steps=Perfect 5th
4 whole steps=Minor 6th
4 ½ steps=Major 6th
5 whole steps=Minor 7th
5 ½ steps=Major 7th
The major scale is created from the chromatic scale. All music theory (in the western hemisphere) relates to the major scale. The major scale is the "mother" of all scales because in theory all other scales are compared to it for intervalactic relationship. The major scale is the same scale as the Ionian mode. To create a major scale, pick a note, any note from the chromatic scale. Now apply this formula of intervals or steps.
Whole, Whole, Half, Whole, Whole Whole, Half.
Major Scale formula=W, W, H, W, W, W, H.
So say we pick the note C and we apply the above formula to the chromatic scale then we get C, D, E, F, G, A, B, C. This is a C major scale or a C Ionian scale. If you play the same exact notes C, D, E, F, G, A, B, C, except start on the D note, you will end up with a D dorian scale D, E, F, G, A, B, C, D. Start on the E and you have an E phrigian scale E, F, G, A, B, C, D, E.
These are the 7 modes of the major scale:
Ionian=Major=1st mode of the major scale=1, 2, 3, 4, 5, 6, 7
Dorian=2nd mode of the major scale=1, 2, b3, 4, 5, 6, b7
Phrygian=3rd mode of the major scale=1, b2, b3, 4, 5, b6, b7
Lydian=4th mode of the major scale=1, 2, 3, #4, 5, 6, 7
Mixolydian=5th mode of the major scale=1, 2, 3, 4, 5, 6, b7
Aeolian=Natural minor=Relative minor=6th mode of the major scale=1, 2, b3, 4, 5, b6, b7
Locrian=7th mode of the major scale=1, b2, b3, 4, b5, b6, b7
Remember everything relates to the major scale for comparison. Chords are made from scales. Let us take the C major scale for example again. Here are the notes and how they are theorized in the scale:
C=1=1st=tonic=root=I
D=2=2nd=Supertonic=ii or II
E=3=3rd=Mediant=iii or III
F=4=4th=Subdominant=IV
G=5=5th=Dominant=V
A=6=6th=Submediant or Superdominant=vi or VI
B=7=7th=Leading tone=vii° or VII°
Remember the difference I stated in classical theory and jazz theory in the first paragraph.
Now for some basic CHORD CONSTRUCTION:
TRIADS are chords containing 3 notes.
Major triad=1, 3, 5 or C, E, G
Minor triad=1, b3, 5 or C, Eb, G
Diminished triad= 1, b3, b5 or C, Eb, Gb
QUARTALS (quatrals) are chords that contain four notes.
Major Seveth= 1, 3, 5, 7
Minor Seventh= 1, b3, 5, 7
Dominant Seventh= 1, 3, 5, b7
Minor Seventh Flat Five= 1, b3, b5, b7
Now for the basic scale harmonizations using triads:
Key of C Major
C Major, D minor, Eminor, F Major, G Major, A minor, B diminished
or
In classical theory: I, ii, iii, IV, V, vi, vii°
or
In jazz theory: I, II, III, IV, V, VI, VII°
Now for the basic scale harmonizations using quartals:
Key of C Major
C Maj7, D min7, Emin7, F Maj7, G Dom7, A min7, B min7b5
or
In classical theory: I7, ii7, iii7, IV7, V7, vi7, viim7b5
or
In jazz theory: I7, II7, III7, IV7, V7, VI7, VIIm7b5
OK if you want more than that, then go take lessons. I have been studying music theory since 1997 mostly on my own. I have had six months of classical and jazz theory classes. The most confusing part is not knowing that there are multiple systems and terms used to describe the same things in music theory. I hope relating and defining all of this information helps.
Ooops, it should have looked like this:
Now for the basic scale harmonizations using quartals:
Key of C Major
C Maj7, D min7, Emin7, F Maj7, G Dom7, A min7, B min7b5
or
In classical theory: IMaj7, iimin7, iiimin7, IVMaj7, V7, vmin7, viim7b5
or
In jazz theory: IMaj7, IImin7, IIImin7, IVMaj7, V7, VImin7, VIIm7b5
Whew! thats enough to boggle the mind isn't it? Well, I hope that helps. Later!
Musicians: (long) I want to become a better jazz player on piano?
Q. Now lets be real here. I first picked up the piano when I was around 10. I don't know how but I did. At the moment, my parents thought I should take piano lessons. In the long run, they hired a classical pianist.
Quite frankly, I absolutely hated the lessons. Now I'm at an age where I should learn to appreciate it. But even today, I still frown upon it. Long story short, my teacher moved and I stopped playing for 3-4 years. I went into video games. And even though it was unproductive, I was a pretty heavy gamer and addicted. But a few years later, I decided to pick up piano again. What sparked my interest? Lets just say I was invited to play at an event and someone stole my thunder. At the moment, I was jealous, very competitive and began to evaluate the musicianship aspect of my life. Have you ever experienced a moment where you had to change something and you wanted to start right there and then? Well that's how I felt.
One day, I decided to browse the web and found youtube, since then I've been learning various chords, styles, progressions, and scales (C sharp minor pentatonic/blues), etc. Today, I am still doing that ON MY OWN. So pretty much, it's like I'm self teaching myself. I understand how to play a few chords but still struggling identifying diminished/augmented/sus chords.
I'm in college now studying music ed and struggling with a little music theory. Fortunately, I find time to practice hours at home. (no video games) However, now I'm back to square one. Meaning, I have a piano teacher and taking lessons all over again because its required towards my major.
I'm going back to reading classical music again which I absolutely hate. He (my teacher thinks its beautiful). But I don't say anything and I try to keep my remarks to myself. Despite having the internet at my disposal, I still need help and guidance. I love what I'm doing on piano because I consider it fun. I don't know what it is about me, but I have a drive, strong will power to continue to teach myself things. Right now, I'm teaching myself quartals like McCoy Tyner style (so hard). But all my teacher wants to do is make me read classical music. Not that theres anything wrong with it, but I find it boring. Almost all of the music department focuses on classical music. But why can't he give me jazz sheets to read like Miles Davis or something?
Also, If my teacher in a way refuses to teach my that stuff, can someone show me videos, or tell me what to be practicing? Because I believe I've come pretty far on my own. But again, it seems my teacher doesn't want to help me much. (Not trying to take him for granted).
A. There are plenty of piano teachers out there who can teach jazz. You'll have to find one.
In the mean time, brush up on basics like modes, guide tone and the circle of fifths. Understanding those should open a few doors.
Everything's explained in sequence here:
Specific music theory questions about the blues? Sorry this is detailed!?
Q. I read Dead Parrot Society's great description of the structure of blues, and it raised some questions! I'm a classical music person, and I'm really curious about some of the differences because this was totally new to me. I'm addressing this specifically to her, but I'd welcome any answers. Thank you :)
Here's the answer I'm referring to:
http://answers.yahoo.com/question/index;_ylt=AssvPa97Wi32wXLiNHgcJNqo.Bd.;_ylv=3?qid=20090305151921AA86VOP
First, I don't really understand the idea of semitones. How is it different from a half-step? Because you talk about them as being different, but in classical we mostly used the words interchangeably. I thought maybe it has to do with the tuning system we use not being "perfect"- does blues somehow have a different tuning system than classical?
[For those who don't know what I'm talking about :), I didn't learn this until I took music history in college and it was so interesting. Basically the way we've divided the musical scale for centuries is an approximation- only the octaves are tuned perfectly! This seemed crazy to me haha, since I've played piano since I was five and I took it totally for granted. If you were to have the "perfect" mathematical intervals, which resonate better, the half-steps would be different sizes. So we use the system of "equal temperament," which divides the octave equally; this lets you modulate between keys, which is hugely important (at least in classical), but it sacrifices a little of the "perfection" of the pitches. In the middle ages and the Renaissance they cared more about perfect pitch, so they used different but clumsy tuning systems]
Sorry, I have no idea if that's relevant but it seemed related. So if blues *does* have a different tuning system, how do you modulate? Do you not do it? And then popular music I know doesn't use a different system, so I'm confused...
I'm wondering about the "blues" sound you describe in general, with the lowered thirds, fifths, and sevenths. Are you talking about diminished and seventh chords? Or is it different? I'm sorry if that's obvious but I don't know a thing about blues haha And if so, is this where all the seventh chords in popular music come from? Because we don't use them much at all in classical, except the V7
And finally, you talk about blues using mostly I-IV-V combinations. So where do the lowered intervals come into play? At least in classical, they gave us really rigid rules about which chord can follow which. For example (I'll stick to major keys), V has to go to either I or vi, and vi can only ever go to IV and ii, etc. Do these still usually apply in blues?
I hope this isn't too in depth haha but you seemed really knowledgeable... In music theory we only covered a tiny bit of "popular" music theory, and this was only when we got into seventh chords. We never covered anything blues as a bridge, or anything but Western music
Thank you so much to anyone who answers! I'm totally intrigued as you can tell :)
Excellent, thank you so much!!!
A. Okay, all great questions. First and foremost - don't panic.
Secondly, don't think too hard about it. Blues comes from a feeling more so than rules. But, since you asked, here are a few guidelines ...
1) Tones vs. semi-tones. Semi-tones are often synonomous with half-steps in most western musical systems. However, some people will use it to describe the notes that may appear in between such as the extended scales to be found in Indian music - sometimes as much as 24 tones to the octave. Now, as for blues music, blues music uses the same chromatic tones that most western music uses, except that subtle bends of pictch - particularly on guitar or harmonica - create these inbetween notes that may sound out of tune to anyone not familiar with the style. But these are used primarily as decorations.
2) about scales - some people get very concerned with scales, but in blues (like in jazz) the scale is not as important as the notes. You play the notes you want to hear and they create their own tension and release.
common scales used in blues (expressed in C tonal center):
Major: C D E F G A B
Minor: C D Eb F G Ab Bb
Major pentatonic: C D E G A
Minor Pentatonic: C Eb F G Bb
Blues: C Eb F F# G Bb
Other modes that you may hear:
Dorian, Mixolydian, SOMEtimes Lydian, rarely Locrian or Phrygian.
Important to note that you can mix these scales within a single passage.
How this affects melody:
The blues has a major/minor ambiguity in that you can play MINOR melodic passages over MAJOR tonality and it is fine. It creates tension which is part and parcel to the mood of the music. You can resolve the tension or leave it hanging. The blues scale developed from the African American's natural tendency to lower the third and seventh tones of the major scale - thus, the 'blue' notes.
3) A word or two about harmony -
Commonly the blues uses the tonic, dominant, and subdominant chords - BUT - often with a lowered 7th on each - although they sometimes function as a secondary dominant, that is not always the case. The 7th is added merely for tension.
While a I7 might function as a V7/IV (especially in bar four of a 12 bar pattern) commonly it is simply a I chord with a b7 (derived from the blue notes)
Now, it is important to realize, that although the 12 pattern (which you can find explained all over yahoo answers) is the most common to blues, it is not the ONLY one. Secondary dominants were much more common in blues progressions prior to WWII, but since then the harmony of the music has commonly becomes more simplified - compare the works of Muddy Waters to that of W C Handy.
The rules of how the chords relate are not the same as in Classical harmony, but you must remember, that they only apply to Classical harmony in the strictest of senses and when classical harmony began to move into the romantic period, and even more so in the impressionistic period - these rules of harmony began to break down.
It is a pet theory of mine that the quartal harmonies which were in vogue among french composers (particularly Chopin and Debussey) in the late 1800's influenced the music in New Orleans which gave more direct harmonic influence to jazz than people realize. Thus, although jazz chords are expressed in tertial harmony, they are played by stacking 4ths rather than 3rds. The blues and jazz influenced each other a little, so I think there may be something to that as well.
Hope some of this helps.
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