Q. Hello,
I know there are probably sim1lar questions on here, but I was wondering if anyone could tell me how i would go about learning to play i run to you by lady antebellum on the piano by ear. What chords form the building blocks for this song, it's in e flat major. I have been taking piano since 1999 and i would love to play this song for a recital.
A. The best way I've found to learn songs by ear is to listen to a recording of it, over and over, until you can sing, hum, or whistle it accurately, from memory without reference to the recording.
You already know what key the recording is in (Eb major). If you've been playing piano since 1999, you should already know what chords are in the key of Eb, I hope:
I -- Eb
Ii -- Fm
Iii -- Gm
IV -- Ab
V -- Bb
Vi -- Cm
Vii -- D dim
....Where the I, IV and V chords are the most commonly used chords in any major key, so the Eb, Ab and Bb chords are the ones most likely to be used in this song. In all likelihood, the song starts on a I chord (Eb) -- most songs do -- so start on the Eb chord and start singing. At some point, the Eb chord will no longer harmonize with the melody you're singing, and you'll have to switch to a different chord. Your ear may tell you which chord to switch to, or you may have to experiment to figure out what the second chord is. Continue singing, until once again, your ear tells you to switch chords. And so on.
Why is there a g diminished chord in bar 148 of the first movement of Beethoven's Pathetique?
Q. I'm doing an analysis of the development of the first movement of Beethoven's "Pathetique" piano sonata in Cm, Op. 13, and in bar 148 I found a G diminished chord between a D dominant seven and a C dominant seven. I don't know why it's there.
A. You're going to come unstuck if you try to persist in explaining chords in isolation the way you do, rather than functionally within a tonal region which, at bar 137, has been established as e-minor. If, from there, you proceed to argue the functional progression between bar 137 and 143, and then from bar 143 to 149, what you identify as happening functionally in bar 142 has a strict analogy in the bar 148 you ask about, be that in preparation for different (implied) key regions in each instance. (You're dealing with harmonic sequencing here.)
Crack what is happening in bar 142 and you will have the solution to bar 148, with the proviso that each instance is pointing to a different (passing) tonal centre on the way to settling on the (home key) dominant from bar 167 onwards to begin to prepare at length for the return of the 1st subject in recapitulation.
Al the best, and good luck!
Can somebody help me with this piano chord progression?
Q. Cm Ab Am Bb
Then I don't know where to go any suggestions?
A. Fmin Gmaj Ebmaj Emaj
or
Cmaj Dmaj Amin F#maj
I don't know, i really made this up on the spot, lol.
Hope I could be a bit of use.
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Title : How to play i run to you by lady antebellum by ear on piano?
Description : Q. Hello, I know there are probably sim1lar questions on here, but I was wondering if anyone could tell me how i would go about learning to...