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<p><br /></p>]]></content:encoded></item><item><title><![CDATA[Step into Jaz ...
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<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[Alpha Piano Studio]]></title><description><![CDATA[Alpha Piano Studio]]></description><link>https://www.alphapianostudio.com/useful-articles</link><generator>RSS for Node</generator><lastBuildDate>Thu, 16 May 2024 09:48:08 GMT</lastBuildDate><atom:link href="https://www.alphapianostudio.com/blog-feed.xml" rel="self" type="application/rss+xml"/><item><title><![CDATA[Discovering Bill Evans - Jazz Piano Legends Series]]></title><description><![CDATA[Welcome and join us in embarking on a captivating voyage through the rich tapestry of jazz piano as we kick off our Jazz Piano Legends...]]></description><link>https://www.alphapianostudio.com/post/discovering-bill-evans-jazz-piano-legends</link><guid isPermaLink="false">658dc0143a6c002641e135fd</guid><category><![CDATA[Jazz Piano]]></category><pubDate>Thu, 28 Dec 2023 18:48:59 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_7e674897de544111bfcec34facc536e2~mv2.png/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
 
Welcome and join us in embarking on a captivating voyage through the rich tapestry of jazz piano as we kick off our Jazz Piano Legends Series. In each edition, we unravel the musical narratives and unparalleled artistry of jazz pianists who have left an indelible mark on the genre. 
 
Famed for his lyrical improvisational talent and beautiful harmonies, American jazz pianist Bill Evans was born August 16, 1929, in Plainfield, New Jersey, U.S. He passed away September 15, 1980, in New York, New York.
 
In addition to mastering the violin and flute, Evans' mother was his first piano instructor. After earning a degree in music education from Southeastern Louisiana College in 1950, he relocated to New York City. He had a short stint as a pianist in the New York region before enlisted and serving as a flute player in the Fifth Army Band. His 1956 debut recordings show a fully developed style defined by a new harmonic approach and delicate phrasing; he seemed to explode into the jazz world after returning to civilian life and picking up the piano.
 
His eight months of cooperation with Miles Davis in 1958 were groundbreaking. When Miles Davis recorded Kind of Blue (1959), a seminal work in jazz history and perhaps the best example of modal jazz—a style that forgoes complicated chords in favor of unfettered melody—Evans played an important role. Jazz pianists looked up to Evans's performance on the record as a benchmark for quality. He is well renowned for his works "Blue in Green" and "Waltz for Debby," both included on the Kind of Blue album. Have a listen to Bill Evans’s piano playing on “Blue in Green”
 
<a href="https://www.youtube.com/watch?v=TLDflhhdPCg ">https://www.youtube.com/watch?v=TLDflhhdPCg </a>
 
 
<h2>Evans’ Trio</h2>
 
After that, Evans put together a trio that included Scott LaFaro on bass and Paul Motian on drums; the interaction between the two musicians was particularly noteworthy. Portrait in Jazz (1959) and Explorations (1961) are two of the group's most famous albums, and they also issued other LPs taken from a landmark 1961 performance at the Village Vanguard nightclub in New York City. Albums like Conversations with Myself (1963) and Further Conversations with Myself (1967) showcased Evans' inventive use of the recording studio, including multitracking to simulate the sound of several pianos. He was equally at home working in small ensembles, but he was also a pioneering solo artist.
 
Bill Evans's trio was wrapping up a two-week residency at New York City's Village Vanguard on the final Sunday of June 1961. The pianist's record label, Riverside Records, opted to capture their afternoon and evening performances because they had previously published four albums by him, two of which were with his current trio. Just six months before, Evans, Gerry Mulligan, Charlie Byrd, and Junior Mance recorded albums there. This was a relatively new concept, as Sonny Rollins had recorded his famous trio album A Night At The Village Vanguard in 1957 (and Stan Getz had a bootleg of broadcasts from there earlier that same year), but no one seemed to have followed suit. Thanks to this recording, we are able to step back in time and witness the brilliance of Bill Evans and his trio in 1961 at the Village Vanguard in the following video:
 
<a href="https://www.youtube.com/watch?v=27Rpe4U57uE&list=PLbnJYtsl3xpgDgpMfktlPtctPumPiqdOS&index=4 "><img src="https://i.ytimg.com/vi/27Rpe4U57uE/maxresdefault.jpg" width="1280" height="720"></a>
 
After experimenting with musicians like Kenny Dennis on drums and Jimmy Garrison on bass, Evans formed his first permanent trio in late 1959. Paul Motian and Scott LaFaro's unusual independence from the traditional supporting duties of their instruments was a key component of the trio's exceptional sound, as shown on Portrait in Jazz and Explorations, two of the trio's studio sets. On the other hand, that other tragic anniversary originally made the two Vanguard live CDs so beloved. Tragically, LaFaro passed away in a single-car accident in the early hours of the first Thursday of July 1961. He had just finished performing for Stan Getz in Newport and had been visiting with friends.
 
<h2>Recovery From Grief and Addiction</h2>
 
Photo by <a href="https://www.pexels.com/photo/black-and-white-blur-close-up-fingers-221569/" target="_blank">Pixabay from Pexels</a>
 
Following LaFaro's death, Evans was devastated and his heroin addiction increased. Once, Evans hit a nerve when injecting heroin, temporarily crippling it, forcing him to play a week at the Village Vanguard almost one-handed. To add to his troubles, Evans often borrowed money from friends, and faced financial troubles to a point that his electricity and phone providers once disconnected service to Evans. Fortunately, around this time, Helen Keane became one of Evans's dearest friend and helped him maintain his profession as he participated in dangerous behaviors.
 
He triumphantly returned in October 1961, contributing to Mark Murphy's Rah album with producer Orrin Keepnews's support. In December, they recorded a Nirvana session with flutist Herbie Mann and new bassist Chuck Israels. Evans and guitarist Jim Hall completed Undercurrent, their 1962 duet album, in April and May, respectively.
 
He reunited his group in 1962 and published How My Heart Sings! and Moon Beams. Conversations with Myself, his first Verve album, included overdubbing and three piano sounds per song in 1963. This album earned him his first Grammy and is one of this most revered works. Click the video below to experience the magic of Evans’s genius:
 
<a href="https://www.youtube.com/watch?v=SNhWn-4uS_k ">https://www.youtube.com/watch?v=SNhWn-4uS_k </a>
 
 
Evans and Schultz quit smoking after relocating from their New York apartment to his parents' Florida property in the summer of 1963. Despite never marrying, Bill and Ellaine were wedded in every other way. Schultz was Evans' only solace during that trying time; he meant everything to him. Despite his prodigious Verve output, his LPs were erratic. The lackluster Bill Evans Trio with Symphony Orchestra featured Gabriel Fauré's Pavane and didn't showcase Israel's quick progress or Larry Bunker's creativity. There were other unusual recordings, including a big-band concert at Town Hall in New York that Evans didn't like but was issued in jazz trio form. Some of the group's strongest music originates from these recordings or clandestine radio broadcasts.
 
<h2>Bill Evans - A Name To Remember</h2>
 
Unlike much bebop from the 1950s, Evans's playing had a romantic feel due to how chords were created and linked and improvised melodies. Bud Powell, Lennie Tristano, and Horace Silver were jazz pianists who drew inspiration from classical composers such as Aleksandr Scriabin, Claude Debussy, and Maurice Ravel. With time, Evans's playing took on a more poetic quality. Also rare was his repertoire. His daring rhythmic and chromatic explorations transformed musical theater standards like "Someday My Prince Will Come" and "My Favorite Things" into something entirely new. Here’s Evans’s recording of “Someday My Prince Will Come” in his 1960 album “Portrait In Jazz”:
 
<a href="https://www.youtube.com/watch?v=5Wd--YgSCfA ">https://www.youtube.com/watch?v=5Wd--YgSCfA </a>
 
 
Although His heroin addiction impacted his work in the '60s, he nevertheless got well thereafter and started a comeback with 1971's The Bill Evans Album. Just before he passed away in 1980, he developed a cocaine addiction.
 
Evans earned several Grammys throughout his career and performed for large audiences via television, festivals, albums, and club events. He profoundly impacted the careers of younger jazz pianists like Herbie Hancock, Chick Corea, and Keith Jarrett and was often regarded as the most significant figure of his time.]]></content:encoded></item><item><title><![CDATA[Oscar Peterson Jazz Piano Intros Demystified: Creating Memorable Openings]]></title><description><![CDATA[In a jazz performance, it often falls upon the pianist to set the tone and create a memorable introduction to the tune. As such, you...]]></description><link>https://www.alphapianostudio.com/post/oscar-peterson-jazz-piano-intros</link><guid isPermaLink="false">64aef0211280736426bbf701</guid><pubDate>Tue, 01 Aug 2023 09:57:08 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_b59b264ea1814f23ad813be20d0d573e~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[In a jazz performance, it often falls upon the pianist to set the tone and create a memorable introduction to the tune. As such, you never want to be caught unprepared during these crucial moments. That's why understanding the art of creating jazz piano intros is essential. In this article, we will explore six jazz piano intros employed by the legendary Jazz pianist, Oscar Peterson, and analyze the techniques that he used in them. Get ready to elevate your performances and ensure you're always ready to make a lasting impression!
 
<figure><img src="https://static.wixstatic.com/media/715e36_b59b264ea1814f23ad813be20d0d573e~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h3>Table Of Content</h3>
<ul>
<li><a href="#4grvp" rel="noopener noreferrer">The Basics: How To Create A Jazz Piano Intro</a> <ul>
<li><a href="#5q7j4" rel="noopener noreferrer">Check #1: Is The Tune In A Major or Minor key?</a> </li>
<li><a href="#bcrtp" rel="noopener noreferrer">Check #2: What chord does the tune begin on?</a> </li>
<li><a href="#aben4" rel="noopener noreferrer">Check #3: Does The Melody Begin In Bar 1, or Does It Begin With An Anacrusis?</a> </li>
</ul></li>
<li><a href="#317lq" rel="noopener noreferrer">Intro #1: All Of Me, A Jazz Portrait of Frank Sinatra (1959)</a> </li>
<li><a href="#5535k" rel="noopener noreferrer">Intro #2: I Only Have Eyes For You, Oscar Peterson Plays Harry Warren (1954)</a> </li>
<li><a href="#9v5ft" rel="noopener noreferrer">Intro #3: Take The 'A' Train, Solo (2002)</a> </li>
<li><a href="#a393t" rel="noopener noreferrer">Intro #4: Summertime, Exclusively For My Friends (1992)</a> </li>
<li><a href="#6v3ua" rel="noopener noreferrer">Intro #5: Dancing On The Ceiling, Tracks (1970)</a> </li>
<li><a href="#7mtdr" rel="noopener noreferrer">Intro #6: In A Sentimental Mood, </a><a href="#7mtdr" rel="noopener noreferrer">Oscar Peterson Plays Duke Ellington</a><a href="#7mtdr" rel="noopener noreferrer"> (1952)</a> </li>
</ul>
 
<h2>The Basics: How To Create A Jazz Piano Intro</h2>
 
A basic procedure in constructing a jazz piano intro is as follows:
<ol>
<li>Create a chord progression that ends with either a perfect cadence or imperfect cadence</li>
<li>Improvise a melodic line and an accompaniment part over that chord progression, being sure to end the the last note of improvised line a little earlier than the main melody of the tune itself, so there's some breathing space to time the entry of the tune's melody</li>
<li>An optional step is to play the V7 of the first chord of the tune at the end of the intro. This might help lead the intro into the main body of the tune itself a little more smoothly in some situations. This is elaborated on later in the article. </li>
</ol>
When creating a jazz piano intro, it is important to consider the following questions: 
<ol>
<li>Is the tune in a major or minor key?</li>
<li>What chord does the tune begin on?</li>
<li>Does the melody begin in bar 1, or does it begin with an anacrusis? </li>
</ol>
<h3>Check #1: Is The Tune In A Major or Minor key?</h3>
 
The first step in creating an intro is to ask if the tune is a major or minor key. This is important as intros for major key tunes are mostly likely not compatible with minor key tunes and vice versa. They are exceptions but more often than not, such is the case. Generally speaking, an intro for a major key tune would use more chords that are diatonic to the major key, and intros for minor key tunes would use more chords that are diatonic to the minor key. In creating chord progressions for jazz intros, you will want to keep this in mind.
 
In this article, we will introduce ideas that Oscar Peterson used for both major and minor key tunes, but to keep things simple for a start, let us assume that our tune is a major key tune for the next part of our discussion. 
 
<h3>Check #2: What chord does the tune begin on?</h3>
 
To create a jazz piano intro, you should plan for the intro to end in either a perfect cadence (ending on Chord I) or ending in an imperfect cadence (ending on Chord V7).
 
However, to further ensure that our jazz piano intro connects nicely into the main body of the tune (the main body of the tune is also referred to as the 'head'), one common method is to precede the first chord of the tune with its related dominant seventh chord, or in other words, the dominant seventh chord that is constructed from a root note that is a perfect fifth above the root note of the first chord of the tune. This is better explained with examples. Here are some examples:
<ul>
<li>If a tune begins on chord I, that means the last chord of our piano intro would be V7 of chord I. In a tune that is in the key of, say, D major, this would mean that the tune starts with a D chord, and the last chord of our piano intro would would be an A7 ('A' is the V of 'D') An example of a jazz standard that begins with a chord I is "All Of Me"</li>
<li>If a tune begins on some kind of chord II (typically, it will be a II-7 or II7), that means the last chord of our piano intro would be the V7 of chord II. In a tune that is in the key of, say, D major, this would mean that the tune starts with some kind of E chord - this can be Em7, E7, Em7(b5). For such a tune, our intro would end with a B7 chord ('B' is the V of 'E'). An example of a jazz standard that begins with a chord II is "Our Love Is Here To Stay"</li>
<li>If a tune begins on some kind of chord VI (typically, it will be a VI∆7, or VI7), that means the last chord of our piano intro would be the V7 of chord VI. In a tune that is in the key of, say, D major, this would mean that the tune starts with some kind of G chord - this can be G∆7 or G7). For such a tune, our intro would end with a D7 chord ('D' is the V of 'G'). An example of a jazz standard that begins with a chord II is "Just Friends"</li>
</ul>
Hence, depending on what chord the tune begins with, the last chord of our piano intro will differ. It is also important to note, however, that not all intros will end with the related V7 of the first chord of the tune, as we will see in some of Oscar Peterson's jazz piano intros below. 
 
<h3>Check #3: Does The Melody Begin In Bar 1, or Does It Begin With An Anacrusis?</h3>
 
Depending on whether the melody of a tune features an anacrusis, your intro will have to be adjusted accordingly. An anacrusis is an incomplete measure of melodic material before the first complete measure of the tune. Examples of jazz standards that have an anacrusis in their melody would be like 'Autumn Leaves' or 'In A Sentimental Mood'. Examples of jazz standards that do not have an anacrusis in their melody would be like 'All Of Me' and 'All The Things You Are'.
 
To create a simple jazz piano intro, a common procedure would be to come up with some kind of chord progression and improvise the melodic material and accompaniment parts based on that chord progression. A typical jazz intro would be 8 or 4 bars in length or some kind of multiple of 4 bars (eg, 12 bars, 16 bars). 
 
Let's take the 8-bar length for example. In an 8-bar intro, if the main melody features an anacrusis, it would mean that the anacrusis would occupy bar 8 of the intro, and therefore, the improvised melodic material on the intro has to stop some where in bar 7 of the intro. If you were to continue improvising melodic material during the intro into the 8th bar, it can potentially confuse your fellow musician who is playing the anacrusis on bar 8, because it would feel like the intro has not yet ended and it is not yet their time to start playing or singing their part.
 
Hence, it is important to determine whether a tune has an anacrusis, and on what beat does the anacrusis starts on, as it determines when the melodic improvisation stops in the intro. 
 
Some of these concepts above sound more complicated than they really are, especially when explained in a purely writing format in a blog article. It might be helpful to get a <a href="https://www.alphapianostudio.com/jazz-piano-lessons" target="_blank">jazz piano teacher</a> to explain and demonstrate these concepts to you and help you in your jazz piano journey. 
 
Now that we've gotten the basics out of the way, let's dive right into what we're here for: the six jazz piano intros played by the legendary Oscar Peterson. 
 
<h2>Intro #1: All Of Me, A Jazz Portrait of Frank Sinatra (1959)</h2>
<a href="https://www.youtube.com/watch?v=giLZ8Hn7j7o"><img src="https://i.ytimg.com/vi/giLZ8Hn7j7o/maxresdefault.jpg" width="1280" height="720"></a>
 
When it comes to crafting unforgettable jazz piano intros, studying iconic examples like the opening of 'All of Me' from Oscar Peterson's album 'A Jazz Portrait of Frank Sinatra' (1959) becomes invaluable. Below is a transcription of the intro section
 
<figure><img src="https://static.wixstatic.com/media/715e36_fe9f097062ea413aa786fce2e2671449~mv2.png/v1/fit/w_746,h_742,al_c,q_80/file.png"></figure>
 
The chord progression used in this intro consists of IV7, #IVdim7, Ic, VI7, II7, V7, I —an extremely common chord progression used in jazz piano introductions. For those who might be unfamiliar with this particular manner of indicating inversions in roman numerals, 'Ic' refers to a chord I in second inversion. 
 
These are the things you should notice about the intro:
<ol>
<li>The intro ends in a perfect cadence. However, contrary to what we've discussed earlier in the blog article, this intro does not end with a V7 of the first chord of the tune.</li>
<li>The duration of the intro is 8 bars long, which is a typical length for jazz intros. </li>
<li>The intro leads into a tune that does not originally have an anacrusis; the melody of 'All Of Me' typically begins on beat 1 of the first bar. However, Oscar Peterson does add an ascending scale run leading up to the first note of the tune, which almost has the aural effect of having an anacrusis. For tunes which start their first note exactly on beat 1, you could also consider doing the same thing. </li>
</ol>
Other note-worthy points are that in terms of melodic material, Oscar Peterson uses mostly the Ab major pentatonic/major blues scale, which is also the same scale as the F minor pentatonic/minor blues scale if you're used to thinking in minor pentatonic or minor blues scales instead. There are also some Ab mixolydian notes mixed in as well. 
 
The phrases that he uses are typical of blues piano, and it would of great benefit to practice these phrases in all twelve keys to get them into your improvisation vocabulary. 
 
<h2>Intro #2: I Only Have Eyes For You, Oscar Peterson Plays Harry Warren (1954)</h2>
 
<a href="https://www.youtube.com/watch?v=8688u5Z9kr0"><img src="https://i.ytimg.com/vi/8688u5Z9kr0/maxresdefault.jpg" width="1280" height="720"></a>
 
Below is a transcription of Oscar Peterson's jazz piano intro to 'I Only Have Eyes For You'
<figure><img src="https://static.wixstatic.com/media/715e36_5815600d3a4843329ce868e90174466e~mv2.png/v1/fit/w_1000,h_374,al_c,q_80/file.png"></figure>
 
Like the intro on 'All Of Me', the piano intro to 'I Only Have Eyes For You' also features the an almost-identical chord progression, that is, IV7, #IVdim7, Ic, VI7, II7, V7. 
 
The difference is that instead of being 8 bars long, this progression is only half that duration, that is, 4 bars long. The reduction in length by half the duration means that compared to the 8 bar version, all the chords (with the exception of the II7 and V7 chords) are reduced in duration by half - in the previous intro, each chord took the duration of one entire bar, whereas in this intro, each chord only takes the duration of half a bar. 
 
However, you might have noticed that there is an exception to the reduction of each chord's duration by half - the chords II7 and V7 are not reduced in duration; they still occupy the duration of one entire bar. Also, compared to the intro of 'All Of Me', the chord I is removed entirely from the chord progression. This results in the second main difference between this intro and the one heard in 'All Of Me' - the intro of 'I Only Have Eyes For You' ends in an imperfect cadence as opposed to the ending in a perfect cadence in the 'All Of Me' piano intro.
 
Compared the first piano intro, you should note that this intro: 
<ol>
<li>ends in an imperfect cadence (ending in V7)</li>
<li>leads into a tune that begins on chord II-7 from an intro ending in chord V7; once again, this goes against what we previously discussed earlier in this blog article, in which it is suggested to end the intro with the V7 of the first chord of the tune. </li>
<li>leads into a tune that begins with an anacrusis beginning on beat 3+ of last bar. Notice where does Oscar Peterson end his melodic improvisation in the intro - he ends it on beat 3 of the last bar of the intro. This is actually considered very late given that the first note of the main melody starts just a quaver's duration after the last note of Oscar Peterson's intro improvisation. By ending the last note of the intro improvisation this late, it not as intuitive to time the entry of the anacrusis immediately after. If you were playing with another lead player or singer who's taking the main melody of the head, it is very likely they will miss their entry if they are less experienced. A way around this would be to end the intro improvisation earlier, for example, the last note of the intro improvisation could have been placed on the first beat of the F7 chord instead of the third beat.</li>
</ol>
 
<h2>Intro #3: Take The 'A' Train, Solo (2002)</h2>
 
<a href="https://www.youtube.com/watch?v=fjyVlP6gPkA"><img src="https://i.ytimg.com/vi/fjyVlP6gPkA/sddefault.jpg" width="640" height="480"></a>
 
This next intro is from Oscar Peterson's performance of 'Take The 'A' Train' in 1972, featured in the album 'Solo' that was only released in 2002. Below is a transcription of the intro.
 
<figure><img src="https://static.wixstatic.com/media/715e36_9f4964c29d9e4bf2a15f1a084f79fe83~mv2.png/v1/fit/w_1000,h_646,al_c,q_80/file.png"></figure>
 
This is an 8-bar intro that features a tonic pedal point. Typically, a pedal point refers to a technique in which a single note is sustained in the bass for an extended duration while the harmony changes from one chord to the next above that unchanging bass note. This means that the bass note may some times not be always be consonant (in a traditional sense of the word) with the chord tones of the chords that are moving above it. Most of the time, the pedal point note is the tonic note (first scale degree) of the key or the dominant note (fifth scale degree) of the key.
 
Another way to look at a pedal point technique is to sustain a single note in the bass for an extended duration, while the melody above improvises modally without a chord progression. This is more in line with what you hear Oscar Peterson doing in this recording. In this intro, Oscar Peterson uses a tonic pedal (meaning, a pedal point in which the sustained note is the tonic note of the key) in his left hand, but he also increases the 'heaviness' of the sound of the pedal by adding the perfect 5th interval above it. In his right hand, he improvises bluesy-sounding lines using a combination of C major blues scale and C mixolydian.
 
<h2>Intro #4: Summertime, Exclusively For My Friends (1992)</h2>
 
<a href="https://www.youtube.com/watch?v=uPlU9xYmWKI"><img src="https://i.ytimg.com/vi/uPlU9xYmWKI/hqdefault.jpg" width="480" height="360"></a>
 
The next jazz piano intro is from Oscar Peterson's recording of 'Summertime'. This intro is also based off a pedal point technique. The only difference being that this is a minor key tune, hence the note choice of the improvisation above the pedal point is based off a C minor blues scale instead of the C major blues scale in the intro of 'Take The 'A' Train', which is a major key tune. Below is a transcription of Oscar Peterson's intro to 'Summertime'
<figure><img src="https://static.wixstatic.com/media/715e36_d690eb5783c843649b05e30b1903c5e4~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
A few things to note about this intro:
<ol>
<li>It is 16 bars long in duration. </li>
<li>In the last bar of the intro, the tonic pedal point ends and the left hand plays a 'G' in the bass before the start of the main body of the tune. This can be interpreted as playing the V7 of the first chord of the tune before the tune begins proper, a technique mentioned earlier in this blog article to ensure that the piano intro flows naturally into the main body of the tune itself. </li>
</ol>
 
<h2>Intro #5: Dancing On The Ceiling, Tracks (1970)</h2>
 
<a href="https://www.youtube.com/watch?v=ss8xhnk5mFE"><img src="https://i.ytimg.com/vi/ss8xhnk5mFE/maxresdefault.jpg" width="1280" height="720"></a>
 
This next intro is an interesting one. In Oscar Peterson's 1970 recording of 'Dancing On The Ceiling', he plays a jazz piano intro in minor key to a tune that is in a major key. The key of the tune in this recording is D major; the intro that Oscar Peterson plays is in D minor. Below is a transcription of the piano intro to 'Dancing On The Ceiling'
 
<figure><img src="https://static.wixstatic.com/media/715e36_ccd2007352564135b4886eb56cb052d4~mv2.png/v1/fit/w_1000,h_682,al_c,q_80/file.png"></figure>
 
This also marks a very different kind of intro as compared to the ones we've explored so far, because this is a ballad intro played in rubato tempo, which means the tempo is played freely rather than a strict tempo. 
 
This intro starts with 3 bars of a D minor modal chord progression that revolves around an alternating Dm7 an Em7 chord played over a D tonic pedal. This is played by the left hand. The right hand improvises using the notes from the D natural minor scale on top of the left hand part. 
 
Thereafter, Oscar Peterson plays two cadences: 
<ol>
<li>A perfect cadence </li>
<li>Deceptive cadence </li>
</ol>
The perfect cadence is not a pure V7 to Im cadence; it features a tritone substitute chord before getting to the Im chord. Hence the Eb7 between the A7 and Dm7 
 
Same with the deceptive cadence. Traditionally, a deceptive cadence is V7 that is expected to resolve to chord I but ends up somewhere else instead, hence the 'deception' in deceptive cadence. Here, Oscar Peterson has already stated a perfect cadence prior to the deceptive cadence, hence setting up a certain expectation of repetition of the same cadence. However, instead of V7 (A7) resolving to Im (Dm7), this time, Oscar Peterson resolves it to Ebmaj7 instead. (The reason why this particular resolution to bIImaj7 works is another whole discussion in itself, but that's a discussion for another time)
 
Additionally, Oscar Peterson also precedes this deceptive cadence of V7 to bIImaj7 with a IIm7(b5) chord as well. Once again the reason why this works is another discussion in itself, and outside the scope of this already lengthy blog article. However, it is generally suffice to say that in most situations, you could extend of V7 by preceding it with it's related II-7 to create more harmonic interest. 
 
After these two cadences, he ends the entire intro with an imperfect cadence, which then leads nicely into the main body of the tune. 
 
<h2>Intro #6: In A Sentimental Mood, Oscar Peterson Plays Duke Ellington (1952)</h2>
 
<a href="https://www.youtube.com/watch?v=KcXzeMzJRww"><img src="https://i.ytimg.com/vi/KcXzeMzJRww/maxresdefault.jpg" width="1280" height="720"></a>
 
For the last jazz piano intro of this article, we will explore Oscar Peterson's recording of 'In A Sentimental Mood'. Below is a transcription of the piano intro.
<figure><img src="https://static.wixstatic.com/media/715e36_d2ed8ddfb3fa42999b5723989f4cfceb~mv2.png/v1/fit/w_1000,h_685,al_c,q_80/file.png"></figure>
 
The key of the tune is D minor and the chord progression in this piano intro starts with a bass line that descends chromatically from the tonic note of the key. Take note of the chords that are used to harmonize this descending chromatic bass line as it is a fairly common chord progression. 
 
After the descending bass line sequence, Oscar Peterson continues the chord progression with a chord IV- followed by a chord V7, although the chord V7 he uses has been tritone substituted, hence it is an Eb7 chord instead of an A7 chord. 
 
The piano intro could have ended at this point given that it would have constituted an imperfect cadence on that Eb7. However, Oscar Peterson goes a step further and adds a C7 chord after, making it an imperfect cadence as well, but to the relative major key instead, that is, F major. Ending an intro with an imperfect cadence to the relative major key of a minor key tune can some times work given the correct conditions, and is a technique that you can consider using in your own piano intros.
]]></content:encoded></item><item><title><![CDATA[Step into Jazz Piano: Exploring 5 Beginner-Friendly Jazz Licks]]></title><description><![CDATA[Welcome to our beginner's Jazz piano blog article, where we're about to embark on an exciting journey into the world of jazz licks! If...]]></description><link>https://www.alphapianostudio.com/post/jazz-piano-5-beginner-friendly-jazz-licks</link><guid isPermaLink="false">649bef024408d695c777d6de</guid><pubDate>Wed, 28 Jun 2023 18:13:20 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_26f5ecbc5c6e4f2cb88cfc9d311b365a~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
<figure><img src="https://static.wixstatic.com/media/715e36_26f5ecbc5c6e4f2cb88cfc9d311b365a~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
Welcome to our beginner's Jazz piano blog article, where we're about to embark on an exciting journey into the world of jazz licks! If you've ever dreamed of playing soulful, captivating Jazz improvisations on the piano, then you've come to the right place. In this article, we'll be unveiling five essential beginner jazz licks that will kickstart your jazz piano journey with style and finesse. These licks will introduce you to the beautiful art of jazz improvisation. So, grab your sheet music and let's dive into these quintessential jazz phrases that will unlock a whole new level of musicality on the keys.
 
Table Of Content:
<ul>
<li><a href="#329ts" rel="noopener noreferrer">Jazz Chord Progression 101: II-7, V7, Imaj7</a> </li>
<li><a href="#7lbts" rel="noopener noreferrer">Jazz Piano Lick 1: Chord Tones Are Your Best Friends</a> </li>
<li><a href="#3mau5" rel="noopener noreferrer">Jazz Piano Lick 2: Rhythmic Permutation And Variations In Arpeggiation</a> </li>
<li><a href="#8mpdf" rel="noopener noreferrer">Jazz Piano Lick 3: Adding Enclosures Around The Chord Tones</a> </li>
<li><a href="#otup" rel="noopener noreferrer">Jazz Piano Lick 4: Harmonic Generalization With Pentatonic & Blues Scale</a> </li>
<li><a href="#cn5jl" rel="noopener noreferrer">Jazz Piano Lick 5: Altered Scales & Melodic Minor On The V7 Chord</a> </li>
</ul>
<h2>Jazz Chord Progression 101: II-7, V7, Imaj7</h2>
 
A quick note before we dive right into the five beginner-friendly Jazz licks: all the following licks will be melodic lines over the chord progression of II-7, V7, Imaj7 in the key of C. If you are brand new to Jazz improvisation, the first thing you would want to know is that the II-7, V7, Imaj7 is such a commonplace in Jazz tunes that it is considered by many to be the harmonic backbone of Jazz. Hence, it would serve you well to practice improvising over the II-7 V7 Imaj7 progression early on in your Jazz learning journey. In the key of C, that would work out to be Dm7, G7, and Cmaj7.
 
<h2>Jazz Piano Lick 1: Chord Tones Are Your Best Friends</h2>
<figure><img src="https://static.wixstatic.com/media/715e36_879a4b4c828a4d92be6963d5eedff347~mv2.jpg/v1/fit/w_1000,h_487,al_c,q_80/file.png"></figure>
When delving into the world of jazz piano, understanding and utilizing chord tones in constructing your lines is essential for creating authentic and harmonically rich improvisations. This is because chord tones form the foundation of any harmony, providing stability and defining the character of a chord. By incorporating chord tones into your jazz licks, you'll develop a deep understanding of chord progressions and their tonal colors. As you might have noticed in this first installment of our jazz piano licks, it is constructed with a focus on the chord tones of the underlying harmony, allowing you to explore their melodic potential within a jazz context.
 
For example, in the first measure, an ascending arpeggio of the Dm7 chord is played, beginning on the third beat of the measure. The notes of the Dm7 arpeggio are: D, F, A, and C. This is the most straightforward way of using chord tones to construct improvisation lines, and that is to arpeggiate on the chord tones of the underlying chord.
<figure><img src="https://static.wixstatic.com/media/715e36_066b44ad9286419ca8255be495f70658~mv2.jpg/v1/fit/w_1000,h_723,al_c,q_80/file.png"></figure>
You might have noticed the presence of the C# note in the first measure, which doesn't belong to Dm7 as one of its chord tones. To understand the purpose of the C# in the first measure, you should also know that another common improvisation technique is to make use of chromatic notes in constructing your lines. One simple way of using chromatic notes in your improvisations is the precede a target note (usually a chord tone) by a note that is chromatically above or below it. In this case, the 'D' note on the third beat of the measure is a chord tone of the Dm7 chord, and we are using this 'D' note as the target note, to precede it with a chromatic note below it, which gives us the 'C#' that you see in the first measure of the lick.
<figure><img src="https://static.wixstatic.com/media/715e36_64ab02e3fce64e0ea0349c2077f542bf~mv2.jpg/v1/fit/w_1000,h_768,al_c,q_80/file.png"></figure>
In the second measure, you will notice that the line is also constructed using the chord tones of the G7 chord. The chord tones of a G7 chord are: G, B, D, F. However, they are not used in this exact sequence, but instead, we can create more interesting melodic contours by playing around with the order in which the chord tones are presented. Unlike the first measure, in which the Dm7 chord tones are arpeggiated in a straight forward ascending arpeggio, the chord tones of the G7 in the second measure are presented in the following order instead: B, D, G, F.
 
You will notice that amongst the notes found in measure 2, there is a note that does not belong to the chord tones of G7, and that is the Gb note. As with measure 1, this is a chromatic note, but its function is slightly different than that of the chromatic note found in measure 1. In this measure, the Gb serves as a passing chromatic note to pass from the chord tone, 'G' to the chord tone, 'F'.
<figure><img src="https://static.wixstatic.com/media/715e36_d6de4fb495aa443594c098b66cacff78~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
The third measure is similar to the first in that it is made up of an ascending arpeggio on the chord tones of Cmaj7, and that arpeggio is preceded by a chromatic note below the first note of the arpeggio. This chromatic note also happens to be a chord tone of the Cmaj7 chord as well.
 
However, in the fourth measure, we see the use of an 'A' note, which is not one of the chord tones of Cmaj7. It is important to know why this works despite not being a chord tone: depending on certain factors, it is often possible, at the improvisers discretion, to reharmonize a major seventh seventh chord with a major 6th chord. In this case, this means that the Cmaj7 chord may be substituted for a C6 at the players discretion. If you consider a C6 chord, it is made up of the chord tones C, E, G, A. This explains the presence of an 'A' note in measure 4.
 
<h2>Jazz Piano Lick 2: Rhythmic Permutation And Variations In Arpeggiation </h2>
 
<figure><img src="https://static.wixstatic.com/media/715e36_ea239e8f566b449d88e1848431d3a9fa~mv2.jpg/v1/fit/w_1000,h_424,al_c,q_80/file.png"></figure>
 
In Jazz piano improvisation, rhythmic variations hold the power to transform a simple idea into a captivating musical journey. You could alter the rhythm of a lick or phrase, and in the process, breathe new life into old ideas, allowing you to extract greater musical mileage from the same melodic concept. By experimenting with syncopation, swing, accents, and other rhythmic devices, you'll unlock a world of possibilities to infuse your improvisations with rhythmic vitality and creativity. The lick shown above is not really a new lick, but a rhythmic variation on the first lick in our blog article. Here's another possible rhythmic variation of the first lick:
<figure><img src="https://static.wixstatic.com/media/715e36_78913de43a174b4580a91a9835d274e8~mv2.jpg/v1/fit/w_1000,h_457,al_c,q_80/file.png"></figure>
On first glance, it might seem like there's new notes added in the first half of the first measure of the above lick. However, these notes are still taken from the arpeggiated chord tones Dm7, the only difference being that the notes of the arpeggio are now presented in a different order and with a slight difference in their rhythm as it now includes a quarter note as opposed to all the chord tones being quavers. 
 
The number of permutations that you can come up with is endless if you consider both rhythmic permutations and variations in arpeggiation patterns, so go on ahead, experiment with your own rhythmic variations and let your unique musical voice shine through your jazz piano improvisations.
 
<h2>Jazz Piano Lick 3: Adding Enclosures Around The Chord Tones </h2>
<figure><img src="https://static.wixstatic.com/media/715e36_c27a4a537b3149f4b6bd9cbf9ef75b32~mv2.jpg/v1/fit/w_1000,h_529,al_c,q_80/file.png"></figure>
The next step to adding depth and color to your jazz piano improvisations is to master the art of using enclosures in your improvisations. Enclosures are a technique where surrounding a target note with neighboring notes to create melodic embellishments, which infuses your playing with a sense of unpredictability and sophistication. In the Jazz piano lick shown above, we explore the concept of adding enclosures around the chord tones. This is done by preceding a targeted chord tone with notes that are either chromatically or diatonically above or below it.
 
For example, in the first measure, the 'D' note is a chord tone of the Dm7 chord, and we precede it with a note that is chromatically below it, which is C#, followed by a note that is diatonically above it, which is E, and another note that is chromatically below it, C#. Hence, the sequence C#, E, C#, followed by the target note 'D' in the first measure.
<figure><img src="https://static.wixstatic.com/media/715e36_844f3f52a13c484ea91679a128595dae~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
The use of enclosures doesn't stop there. You will notice that the following three notes, A, C and A# are an enclosure of the next target note, B, which is a chord tone of G7.
<figure><img src="https://static.wixstatic.com/media/715e36_8c1b9f657ff54bdeb4a3314c9e2381b0~mv2.jpg/v1/fit/w_1000,h_821,al_c,q_80/file.png"></figure>
If you were to continue analyzing the rest of the line, you will find that the use of enclosures continues till the end. The rest of the enclosures are labelled below:
<figure><img src="https://static.wixstatic.com/media/715e36_f3f40338f22a499885bb106f29b7a389~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
 
<h2>Jazz Piano Lick 4: Harmonic Generalization With Pentatonic & Blues Scale</h2>
 
<figure><img src="https://static.wixstatic.com/media/715e36_e53c1c268bd14541b66d6bc44c9aa5ec~mv2.jpg/v1/fit/w_1000,h_391,al_c,q_80/file.png"></figure>
In this Jazz piano lick, we explore the potential the concept of harmonic generalization, where instead of strictly adhering to the chord tones of the underlying harmony, we reduce the complex harmony into a simplified key zone. For example, in the Dm7 G7 Cmaj7 progression, we could simplify how we think about the chord progression as being just 'in the key of C major', because all of these chords are diatonic to the key of C major. 
 
Thereafter, we would play familiar structures that can be extracted from the C major scale, and play those structures without fully 'respecting' the chord tones of the underlying chord. There are several of these 'familiar structures' that we can tap upon but in this article, we will only be exploring the pentatonic and blues scale. 
 
For instance, in the key of C major, the pentatonic or blues scales that pertain to the key of C major are: 
<ul>
<li>the C major pentatonic scale (which is also the same as the A minor pentatonic scale), which consists of C, D, E, G, A</li>
<li>the C major blues scale (also the same as the A minor blues scale) , which consists of C, D, D#, E, G, A</li>
</ul>
These scales are really one and the same; they only differ by one additional D# in the C major blues scale. Think of the C major blues scale as a C major pentatonic scale with a passing chromatic note between the D and E notes 
 
In constructing our lines, we will use only notes from these scales. You will notice this in the lick above, this is exactly what we have done. We used only the notes of the C major blues scale in the construction of the line.
 
This harmonic generalization technique empowers us to create fluid and expressive jazz licks that seamlessly navigate the harmonic landscape, adding a touch of bluesy soul and melodic freedom to our improvisations. 
 
However, do note that this technique of harmonic generalization through pentatonic and blues scales can have some drawbacks. If you applied this technique on tunes whereby the harmonic structure of the tune mainly stays in one key, and without much use of non-diatonic harmony, then you will be stuck with this one scale to use over the whole tune, which makes the melodic material uninteresting. Hence, if you are just beginning to explore this technique of harmonic generalization, be sure to use it in tandem with outlining the chord tones of the harmony as well.
 
<h2>Jazz Piano Lick 5: Altered Scales & Melodic Minor On The V7 Chord</h2>
 
<figure><img src="https://static.wixstatic.com/media/715e36_43d31f8c19fa4d589689ce49348848f8~mv2.jpg/v1/fit/w_1000,h_461,al_c,q_80/file.png"></figure>
 
In the above Jazz piano lick, we explore the idea of using the altered scale on the G7 chord. 
 
If you're new to the altered scale, it is a scale that is constructed by taking the chord tones of G7 (excluding the 5th) and putting those notes together with all the altered tension notes of G7. This would work out to be the following notes:
<ol>
<li>Chord tones of G7 (excluding the 5th) are: G, B, F</li>
<li>Altered tension notes of G7 are b9, #9, #11, b13. These work out to be Ab, A#, C#, and Eb respectively </li>
</ol>
If you put all those notes together into an ascending scale, the scale would spell: G, Ab, A#, B, C#, Eb, F 
 
If you are a person who's used to thinking in terms of scale degrees, one could describe the scale as being: 1, b9, #9, 3, #11, b13, b7 
 
However, these are still a pretty clumsy way of thinking about the scale. Perhaps, a more elegant way of thinking about the scale is to realize that it contains the exact same notes as an A melodic minor scale. So your train of thought is as follows:
 
You see a G7 chord symbol, you tell yourself, use G altered scale, which is the same as Ab melodic minor. 
 
Now, condense this thought process a little more:
 
You see the chord symbol for a dominant seventh chord, and you tell yourself, play the melodic minor scale that is one semitone above the root note of that dominant seventh chord. For example,
<ol>
<li>If you see an A7 chord, improvise using the notes of a Bb melodic minor scale</li>
<li>If you see an Eb7 chord, improvise using the notes of an E melodic minor scale </li>
<li>If you see an C7 chord, improvise using the notes of an C# melodic minor scale</li>
</ol>
This is exactly how the lick above is constructed. You will notice that on the G7 chord, the melodic material draws its note choice primarily from the notes of an Ab melodic minor scale ]]></content:encoded></item><item><title><![CDATA[Beginner Jazz Repertoire: Six Classic Tunes Every Beginner Should Learn]]></title><description><![CDATA[Aspiring jazz musicians often find themselves mesmerized by the intricate harmonies, melodic improvisation, and rhythmic complexity that...]]></description><link>https://www.alphapianostudio.com/post/beginner-jazz-repertoire-six-classic-tunes-every-beginner-should-learn</link><guid isPermaLink="false">64772fe4c94aa3254568cc65</guid><pubDate>Wed, 31 May 2023 15:33:47 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_04809938665647eb828c2efa5c0031c5~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
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Aspiring jazz musicians often find themselves mesmerized by the intricate harmonies, melodic improvisation, and rhythmic complexity that define this captivating genre. However, diving headfirst into the world of jazz can be a daunting endeavor, especially for beginners at the genre. This is where the significance of beginner jazz tunes comes into play. This article introduces six classic Jazz standards that every beginner Jazz student should learn. These foundational pieces serve as stepping stones on the path to jazz mastery, providing a solid framework for developing essential skills, building musical vocabulary, and nurturing a deep understanding of jazz concepts.
 
Table Of Content
<ul>
<li><a href="#d5o2" rel="noopener noreferrer">Bag's Groove</a> </li>
<li><a href="#1e8vk" rel="noopener noreferrer">Autumn Leaves</a> </li>
<li><a href="#e7rvn" rel="noopener noreferrer">What is This Thing Called Love</a> </li>
<li><a href="#a9gcr" rel="noopener noreferrer">Take The 'A' Train</a> </li>
<li><a href="#asfgs" rel="noopener noreferrer">There Will Never Be Another You</a> </li>
<li><a href="#f0rku" rel="noopener noreferrer">Blue Bossa</a> </li>
</ul>
 
<h2>Bag's Groove</h2>
 
<a href="https://www.youtube.com/watch?v=T5x8mW0aUJI"><img src="https://i.ytimg.com/vi/T5x8mW0aUJI/maxresdefault.jpg" width="1280" height="720"></a>
 
"Bag's Groove" is an exceptional tune for jazz learners who are just embarking on their musical journey. Firstly, it serves as an excellent introduction to the 12-bar blues form, one of the fundamental structures in jazz. By studying this tune, beginners gain familiarity with the essential chord progression and rhythmic framework that underpin countless jazz standards. This knowledge opens the door to a wide range of other jazz repertoire that employs the 12-bar blues, such as "Billie's Bounce" by Charlie Parker, "Straight No Chaser" by Thelonious Monk, etc
 
Furthermore, the melody of "Bag's Groove" is simple to learn, making it accessible for jazz learners. Constructed using patterns derived from the F pentatonic scale, it introduces the concept of constructing melodic phrases from a beginner-friendly scale. This not only helps learners become acquainted with the F pentatonic scale but also lays the foundation for understanding the art of improvisation and creating musical patterns using scales. By exploring and internalizing these melodic patterns within "Bag's Groove," beginners gain confidence in their ability to construct cohesive musical ideas and begin to develop their improvisational skills.
 
<h2>Autumn Leaves </h2>
 
<a href="https://www.youtube.com/watch?v=3yjEBpD3nfs"><img src="https://i.ytimg.com/vi/3yjEBpD3nfs/maxresdefault.jpg" width="1280" height="720"></a>
 
Another great beginner Jazz tune would be, "Autumn Leaves", as it is an extremely popular jazz tune that is frequently called at beginner jam sessions. This makes it important for learners to be familiar with the tune and its structure, as it offers an opportunity to engage and participate confidently in jam sessions.
 
In learning to play Jazz, it is often emphasized that the 'II V I' chord progression is an important progression to practice. This is because many Jazz tunes make use of the 'II V I' progression in their harmonic structure. Hence, this is also another reason why 'Autumn Leaves' is a great tune to learn for those who are just getting started, as the harmonic structure of "Autumn Leaves" is relatively simple, primarily consisting of the 'II V I' chord progression in two different keys. This provides an excellent practicing ground to work on the 'II V I' progression in those two keys. By studying and internalizing the 'II V I' progression within "Autumn Leaves," learners gain a solid foundation in navigating through common chord changes and understanding the harmonic language of jazz.
 
Beginning learners of Jazz should note that this tune is most often played in the keys of G minor and E minor, and should learn to play in both of these keys. Transposing the tune to all other keys would make for a great practice as well. 
 
A noteworthy recording of 'Autumn Leaves' would be Bill Evans' version of the tune, which could serve as an invaluable study in melodic vocabulary for improvisation, and for Jazz learners to gain inspiration for their own creative exploration within the context of "Autumn Leaves."
 
<h2>What Is This Thing Called Love</h2>
 
<a href="https://www.youtube.com/watch?v=qo2P7AhMbxk"><img src="https://i.ytimg.com/vi/qo2P7AhMbxk/sddefault.jpg" width="640" height="480"></a>
 
The third tune on our list is "What Is This Thing Called Love". Like 'Autumn Leaves', this tune is also an excellent tune for Jazz beginners due to its simple harmonic structure, revolving around the 'II V I' progression in three different keys: F minor, C major, and Bb major. This makes it an ideal opportunity for learners to practice improvisation over this fundamental chord progression. The repetitive nature of the progression allows for focused practice and exploration of melodic ideas, helping beginners develop their improvisational vocabulary and gain confidence in soloing.
 
<h2>Take The 'A' Train </h2>
 
<a href="https://www.youtube.com/watch?v=78vRYUMHlJU"><img src="https://i.ytimg.com/vi/78vRYUMHlJU/sddefault.jpg" width="640" height="480"></a>
 
"Take the 'A' Train" is a fantastic tune for Jazz beginners as it presents a unique challenge that aids in their growth as improvisers. While practicing 'II V I' progressions is often recommended for beginners in jazz improvisation, this tune offers a different kind of challenge with its harmonic structure consisting of many static moments, meaning to say, when the harmony remains on a single chord for a longer duration.
 
For instance, the tune begins with two bars of chord I (Cmaj7). This presents a challenge because when practicing 'II V I' phrases, most beginning learners are used to ending their phrases on the Chord I instead of starting their phrases on Chord I. Also, when practicing 'II V I' phrases, many beginners of Jazz do not practice extending the their lines beyond 1 bar's worth of duration on the Chord 1, whereas this tune begins with 2 bars of Chord right at the beginning of the tune.
 
Another example is in the 'B' section of this tune, which begins with 4 bars of Fmaj7 chord, an even longer duration than the 2 bars of chord 1 (Cmaj7) at the beginning of the tune. 
 
By practicing to improvise over '"Take The 'A' Train", it provides an opportunity for beginners to practice improvising over static harmony and encourages learners to explore different approaches, develop their phrasing techniques, and overcome the initial disorientation that may arise when improvising over static harmony.
 
<h2>There Will Never Be Another You </h2>
<a href="https://www.youtube.com/watch?v=3xpcBx1Gm-c"><img src="https://i.ytimg.com/vi/3xpcBx1Gm-c/hqdefault.jpg" width="480" height="360"></a>
 
"There Will Never Be Another You" is an excellent tune to add to your repertoire as it is a popular tune that frequently gets called in beginner jam sessions. Being familiar with this tune is valuable for beginners as it allows them to participate in these jam sessions.
 
A well known recording of this tune would be Chet Baker's version of the tune. However, learners should note that the tune is typically played in the key of Eb, whereas Chet Baker's version starts off with an introduction in F before transitioning to the key of Eb. 
 
<h2>Blue Bossa </h2>
 
<a href="https://www.youtube.com/watch?v=6sr7BXinJMw"><img src="https://i.ytimg.com/vi/6sr7BXinJMw/hqdefault.jpg" width="480" height="360"></a>
 
Unlike the other tunes on this list that are predominantly played in swing, "Blue Bossa" introduces learners to the captivating world of Bossa Nova, and the tune presents a valuable opportunity for beginners to learn and play rhythms in the distinct style of Bossa Nova, characterized by its laid-back feel. 
 
Additionally, "Blue Bossa" is a relatively short tune, consisting of just 16 bars. This compact structure makes it approachable and manageable for beginners, allowing them to focus on mastering the tune's core elements. As with most of the tunes in this list, the harmonic structure is simple, and primarily revolves around a 'II V I' progression in two different keys. ]]></content:encoded></item><item><title><![CDATA[Best Beginner Books For Learning The Piano]]></title><description><![CDATA[If you're just starting out, learning to play the piano can be an exciting and yet daunting experience at the same time. There's just so...]]></description><link>https://www.alphapianostudio.com/post/best-beginner-books-for-learning-the-piano</link><guid isPermaLink="false">642d9cbd60e391e98bc21268</guid><pubDate>Wed, 12 Apr 2023 18:04:49 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_b8260bc03c384775981780dc9d946265~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[If you're just starting out, learning to play the piano can be an exciting and yet daunting experience at the same time. There's just so much information out there and you might not know where's the best place to begin your learning journey.
 
Fortunately, there are many well-thought-out piano method books that have been written specifically to help you begin your musical journey and develop a solid foundation in piano playing. This article will introduce some of these books, which offer step-by-step instructions on basic techniques, note reading, and rhythm, as well as fun and easy-to-play songs that are progressive in difficulty. Whether you're a complete beginner or have some prior musical experience, the right book can make a significant difference in your piano playing progress. In this article, we will explore some of the best books for beginner piano players, covering a range of styles, approaches, and skill levels.
 
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<h3>Table of Content </h3>
<ol>
<li><a href="#2emj3" rel="noopener noreferrer">Can Piano Be Self Taught</a> </li>
<li><a href="#3fap3" rel="noopener noreferrer">How Should A Beginner Learn Piano</a> </li>
<li><a href="#7n05l" rel="noopener noreferrer">What Are Best Books For Learning Piano</a> <ol>
<li><a href="#ejqj4" rel="noopener noreferrer">Alfred's Basic Adult All-In-One Course, Book 1</a></li>
<li><a href="#3ub5b" rel="noopener noreferrer">Hanon: The Virtuoso Pianist In Sixty Exercises For The Piano</a></li>
<li><a href="#e4iru" rel="noopener noreferrer">Czerny: Practical Method for Beginners on the Piano, Op. 599</a></li>
<li><a href="#9b1q5" rel="noopener noreferrer">Adult Piano Adventures All-in-One Piano Course Book 1 </a> </li>
</ol></li>
</ol>
 
<h2>Can Piano Be Self Taught</h2>
 
A traditional route of learning to play the piano would be to take lessons from a qualified teacher, but in this day and age, when information is so freely available on the internet in so many different formats (eg youtube, blogs, instagram and more), it is natural to wonder if it's possible to learn to play the piano on your own. And the answer to that is, yes, and in fact, you will find no shortage of examples of great pianists who are self-taught. With the help of online resources, instructional books, and plenty of practice, it is possible to develop the necessary skills and techniques to play a variety of songs.
 
However, it's important to note that it is very likely that self-taught pianists could miss out on some aspects of piano playing, such as proper hand posture and fingering techniques, which can lead to bad habits and injuries over time. Most beginners think of playing the piano as simply the pressing of the correct keys in the correct sequence at the correct timing, but did you know that when it comes to the simple action of pressing a single key on the piano, there are multiple techniques to do it? For example, there's the technique of forearm rotation, wrist circles, and also, pure finger technique, as in, thinking of movements from the knuckles. These different techniques are used for varying purposes and situations, and while a beginner might be able to get by playing simple pieces without any knowledge of these things, many piano beginners get stuck very quickly in their learning journey because they were never taught how to think in terms of these different basic movements.
 
Additionally, apart from the musical aspects of playing the piano (eg technique, how to interpret notes and rhythms on a music score), a rarely-talked-about aspect of piano playing is the development of one's ability in visualizing future actions before executing them. And many self-learners get stuck in their progress because they do not consider this aspect of piano playing; most think of piano playing as simply lots and lots of repetition, but there's much more to successful piano practice than mindless muscle memory. This is where an experienced piano teacher comes into the picture; an experience teacher not only is able to give feedback on technical aspects of playing (posture, movements, etc.), the value of an experienced teacher is also curating the right materials for specific learning objectives, and controlling the pace of learning for optimal improvement and expanding a student's mental bandwidth to take on more challenging pieces.
 
Hence, while self-taught piano playing is possible, it's important to consider that there is much potential for important learning objectives to be missed out upon, which could possibly place a very low cap on how far you could take your piano journey.
 
<h2>How Should A Beginner Learn Piano</h2>
 
There are a few fundamental concepts that every beginner should learn before moving on to more advanced techniques. These are what a piano beginner should learn first: 
 
It is important to learn proper hand position and posture at the piano, which involves sitting with a straight back and keeping the wrists level with the keyboard. As mentioned earlier, there are multiple techniques of simply pressing a piano key. There are instructional videos online that breaks down the different ways of pressing a piano key, or a teacher can also help with that.
 
Learning to read music notation is also essential, beginning with the basics of note names, rhythms, and key signatures. By learning to read music notation, it positions you in a better place to be able to understand further musical ideas, especially later in your piano learning journey. While it is true that there are great pianists who can't read, you'd want to do things that increase your chances of success in your learning journey, and learning to read musical notation is definitely one of those things.
 
It is also common for beginners to have this idea to dive right into learning just that one favorite piano song or piece of theirs, and without learning anything else about playing the piano. However, the truth of the matter is, even if you wanted to just play a modest performance of your favorite piano songs (not an over-the-top professional quality performance), it still requires the development of many different competencies in piano playing before you could pull off that 'modest' performance of your favorite song. Simply put, to dive right into learning just that one favorite piano song without learning anything else, is very much like going to a physical trainer at a gym and telling him or her that you want to attain the strength to carry 300kgs of weight, by going straight to the 300kg barbell and attempting to lift it every day. It doesn't quite work like that. You have to work your way up through smaller steps. In piano learning, these smaller steps, would be simpler pieces, technical exercises, scales, arpeggios, etc. Your chances of success at learning to play the piano would be best with a teacher who curates the right material for the right learning objectives.
 
<h2>What Are Best Books For Learning Piano</h2>
 
<h3><a href="https://amzn.to/3GkMu57" rel="nofollow" target="_blank">Alfred's Basic Adult All-In-One Course, Book 1</a></h3>
 
By Willard A. Palmer, Morton Manus, and Amanda Vick Lethco - This series of books is designed for adult beginners and it includes lessons on basic technique, note reading, and music theory, as well as a variety of songs in increasing difficulty to practice. There are two additional books in the series, and this series leans slightly towards a more chordal style of playing the piano. For a more wholistic development in your piano journey, you might want to consider transitioning to a graded syllabus route like ABRSM graded piano syllabus after completing the first book in this series. Nevertheless, this book is still a well thought out book for learning the basics of playing the piano. <a href="https://amzn.to/3mKUYMr" rel="nofollow" target="_blank">Click here to purchase this book</a>
 
 
<h3><a href="https://amzn.to/3MmyrzS" rel="nofollow" target="_blank">Hanon: The Virtuoso Pianist In Sixty Exercises For The Piano</a> </h3>
 
Hanon exercises are a popular set of piano exercises created by French piano teacher Charles-Louis Hanon in the late 19th century and have since become a staple in piano pedagogy. For beginners, it helps to strengthen one's mental connection to each individual fingers to prevent misfiring of fingers. <a href="https://amzn.to/3oxg4y2" rel="nofollow" target="_blank">Click here to purchase this book.</a> 
 
 
<h3><a href="https://amzn.to/41mZK1u" rel="nofollow" target="_blank">Czerny: Practical Method for Beginners on the Piano, Op. 599 </a> </h3>
 
 
This is a set of piano exercises and studies composed by Carl Czerny in the early 19th century, and it makes for a great learning resource for piano beginners. Piano teachers often use the exercises found in this collection as supplementary material to teach techniques such as wrist rotations, forearm rotation, and more. The exercises are also designed to develop a wide range of technical skills, including finger strength, dexterity, and independence, as well as note-reading and rhythm. <a href="https://amzn.to/41mZK1u" rel="nofollow" target="_blank">Click here to purchase this book </a>
 
 
<h3><a href="https://amzn.to/40MEulC" target="_blank">Adult Piano Adventures All-in-One Piano Course Book 1</a> </h3>
 
"Adult Piano Adventures All-in-One Piano Course Book 1" by Nancy Faber is a comprehensive piano method book designed specifically for adult learners. With over 170 pages of material, this book provides a complete learning experience for those who are just starting out on the piano. The book is structured around a series of lessons that guide the student through the basics of piano technique and music theory. It is best used with a teacher's guidance but if you're diligent enough, you'll be able to put this book to good use on your own as well. <a href="https://amzn.to/3otwpnD" target="_blank">Click here to purchase this book </a>
]]></content:encoded></item><item><title><![CDATA[Seven Blues Licks For Piano - Jazz Piano Tutorial ]]></title><description><![CDATA[In this article, we will introduce seven blues piano licks that you can use in your jazz improvisation. We will be playing these licks...]]></description><link>https://www.alphapianostudio.com/post/seven-blues-licks-for-piano-jazz-piano-tutorial</link><guid isPermaLink="false">63e864167bb26246c050d688</guid><pubDate>Mon, 27 Feb 2023 10:09:06 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_e7979e523ab041d89fa3e5b04dc04df8~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[In this article, we will introduce seven blues piano licks that you can use in your jazz improvisation. We will be playing these licks over a I, VI7, IIm7, V7 chord progression in the key of Ab. However, these licks are also easily adaptable to various other chord progressions, hence making them worth learning.
 
Table Of Content
<ul>
<li><a href="#22hf4" rel="noopener noreferrer">What Is A Lick On Piano</a> </li>
<li><a href="#9hkag" rel="noopener noreferrer">How Do You Get The Blues Sound On Piano</a> </li>
<li><a href="#9vued" rel="noopener noreferrer">What Is The Difference Between Minor And Major Pentatonic Scales</a> </li>
<li><a href="#1u2g" rel="noopener noreferrer">What Are The Blues Scales For Piano</a> </li>
<li><a href="#8m8sr" rel="noopener noreferrer">Blues Piano Lick #1</a> </li>
<li><a href="#2aa7c" rel="noopener noreferrer">Blues Piano Lick #2</a> </li>
<li><a href="#g716" rel="noopener noreferrer">Blues Piano Lick #3</a> </li>
<li><a href="#705dr" rel="noopener noreferrer">Blues Piano Lick #4</a> </li>
<li><a href="#2b7bc" rel="noopener noreferrer">Blues Piano Lick #5</a> </li>
<li><a href="#3hmk7" rel="noopener noreferrer">Blues Piano Lick #6</a> </li>
<li><a href="#4956m" rel="noopener noreferrer">Blues Piano Lick #7</a> </li>
<li><a href="#ftghk" rel="noopener noreferrer">Download PDF For Seven Blues Piano Licks</a> </li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_e7979e523ab041d89fa3e5b04dc04df8~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>What Is A Lick On Piano</h2>
 
If you are brand new to jazz, you might just be wondering about what the term 'piano lick' means. Simply put, the word 'lick' refers to a short musical phrase. Hence, a 'piano lick' would simply refer to a short musical phrase played on the piano. The term is usually used in the context of Jazz; you will certainly not hear a classical musician say 'play that lick from Beethoven's Symphony No 5!'
 
<h2>How Do You Get The Blues Sound On Piano </h2>
 
Before we get into our seven blues licks for piano, it would be very helpful to understand that the key to get that blues-ey sound on the piano is pentatonic and blues scales. In fact, all of the seven blues licks that you are about to learn are constructed using notes from the pentatonic and blues scales. Now, let's start learning about what these scales are with the pentatonic scale first.
 
<h2>What Is The Difference Between Minor And Major Pentatonic Scales </h2>
 
There are two pentatonic scales: major pentatonic, and minor pentatonic. 
 
The major pentatonic scale is constructed with the following scale degrees: 1, 2, 3, 5, 6. Do take note, that these scale degree numbers take their definition from major scales. Hence, an Ab major pentatonic scale would be played with the following notes: Ab, Bb, C, Eb, F
<figure><img src="https://static.wixstatic.com/media/715e36_e00d87f3030640e59c4a6a04aec5eca4~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
On the other hand, the minor pentatonic scale is constructed with the following scale degrees: 1, b3, 4, 5, b7. Once again, it is important to remember that these scale degree numbers take their definition from major scales, even though we are constructed a minor pentatonic scale. Hence, an Ab minor pentatonic scale would be played with the following notes: Ab, Cb, Db, Eb, Gb
<figure><img src="https://static.wixstatic.com/media/715e36_6c6c42347ae74eefaccc2b82ea342e20~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
 
<h2>What Are The Blues Scales For Piano</h2>
 
The blues scales are almost identical to the pentatonic scales, with the exception of one additional note. As with the pentatonic scales, these is a minor blues scale and a major blues scale.
 
The major blues scale is constructed using the following scale degrees: 1, 2, #2, 3, 5, 6. As always, scale degree numbers take their definition to major scales. Hence, an Ab major blues scale consists of the following notes: Ab, Bb, B, C, Eb, F 
<figure><img src="https://static.wixstatic.com/media/715e36_51e6b6bf6a8f4f0eb92de26cbf9e92e7~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
You will notice that, compared to an Ab major pentatonic, the only difference is the presence of an additional 'B' note in the Ab major blues scale.
 
On the other hand, the minor blues scale is constructed using the following scale degrees: 1, b3 4, #4, 5, b7. It is important to recall that, despite the fact that we are constructed a minor blues scale, scale degree numbers still take reference from the major scale. Hence, an Ab minor blues scale would consist of the following notes: Ab, Cb, Db, D, Eb, Gb.
<figure><img src="https://static.wixstatic.com/media/715e36_6de67b21c58f4bf7a345470fa7ad02b4~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
Compared to an Ab minor pentatonic, the only difference is the added 'D' in the Ab minor blues scales.
 
Now that you know what are the blues and pentatonic scales, let's explore seven blues piano licks that makes use of these scales. 
 
<h2>Blues Piano Lick #1 </h2>
<figure><img src="https://static.wixstatic.com/media/715e36_688ad30a33b34c92a6a1a8e5a40e3407~mv2.jpg/v1/fit/w_1000,h_408,al_c,q_80/file.png"></figure>
Our first blues lick begins with the notes of the major blues scale in the first measure and quickly changes to notes of the minor blues scale in the second measure. In the last measure, a descending major blues scale is used. You will also want to notice the frequent usage of grace or crushed notes, which helps give a blues-ey sound. Below is a video demonstration of the first blues piano lick. 
<a href="https://youtu.be/l2kkGRT1wv4?t=9"><img src="https://i.ytimg.com/vi/l2kkGRT1wv4/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>Blues Piano Lick #2</h2>
<figure><img src="https://static.wixstatic.com/media/715e36_9f869139e22e4edb984db9a16fcfae2e~mv2.jpg/v1/fit/w_1000,h_435,al_c,q_80/file.png"></figure>
One of the cool things you can do with this blues lick is to play a tremolo on the half note in the first measure. It also makes for a good opportunity to practice some quarter note triplets in the third measure, which is a rhythm that many players struggle with. Here's a demonstration of how to play the above blues lick on the piano: 
<a href="https://youtu.be/l2kkGRT1wv4?t=17"><img src="https://i.ytimg.com/vi/l2kkGRT1wv4/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>Blues Piano Lick #3</h2>
<figure><img src="https://static.wixstatic.com/media/715e36_fc32a6b2ea764373bf9a71bf1e9e65b8~mv2.jpg/v1/fit/w_1000,h_366,al_c,q_80/file.png"></figure>
As with the blues lick above, this blues licks would work well if the half note in the second measure is played with a tremolo. In the third measure, you will notice that a descending minor blues scale is used. 
<a href="https://youtu.be/l2kkGRT1wv4?t=25"><img src="https://i.ytimg.com/vi/l2kkGRT1wv4/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>Blues Piano Lick #4 </h2>
<figure><img src="https://static.wixstatic.com/media/715e36_796dcd69e7df4b288fd97f8e6fb92ec8~mv2.jpg/v1/fit/w_1000,h_390,al_c,q_80/file.png"></figure>
This blues piano lick might be slightly reminiscent of something you might hear on a Jerry Lee Lewis tune. In the first measure of this blues lick, the key note (Ab) and the 5th (Eb) is played repeatedly, with the occasional use of the #4 (D) as a grace note to the 5th. This is an extremely common blues piano phrase you will hear in many boogie woogie or rock and roll recordings, although here, we are using the idea in a jazz/blues context. 
<a href="https://youtu.be/l2kkGRT1wv4?t=33"><img src="https://i.ytimg.com/vi/l2kkGRT1wv4/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>Blues Piano Lick #5</h2>
<figure><img src="https://static.wixstatic.com/media/715e36_ececca39f3bc44b392740c22707ee064~mv2.jpg/v1/fit/w_1000,h_373,al_c,q_80/file.png"></figure>
This blues lick is a simple one. It mainly uses the notes of the major blues scale, and is made up of two separate phrases in a 'call and response' manner.
<a href="https://youtu.be/l2kkGRT1wv4?t=41"><img src="https://i.ytimg.com/vi/l2kkGRT1wv4/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>Blues Piano Lick #6 </h2>
<figure><img src="https://static.wixstatic.com/media/715e36_39e537f62d6348c39a3b23fde7dba159~mv2.jpg/v1/fit/w_1000,h_356,al_c,q_80/file.png"></figure>
As with blues piano lick #5, this is also one of the simpler licks in this list that uses only the major blues scale. This, along with blues piano lick #5, are great for internalizing the sound of the major blues and major pentatonic scale. 
<a href="https://youtu.be/l2kkGRT1wv4?t=49"><img src="https://i.ytimg.com/vi/l2kkGRT1wv4/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>Blues Piano Lick #7</h2>
<figure><img src="https://static.wixstatic.com/media/715e36_561d3675e0fb450ead648c221b03d886~mv2.jpg/v1/fit/w_1000,h_433,al_c,q_80/file.png"></figure>
This blues lick is great for practicing quarter note triples that starts on even numbered beats and that takes place over the bar line. Measure 3 is an example of this although the notation is notated differently for better understanding of where exactly the notes are placed in time. This is easier demonstrated that explained, so be sure to check out the video demonstration of this piano lick:
<a href="https://youtu.be/l2kkGRT1wv4?t=57"><img src="https://i.ytimg.com/vi/l2kkGRT1wv4/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>Download PDF For Seven Blues Piano Licks</h2>
 
Download a free pdf for Seven Bluesy Piano Licks in the key pf Ab <a href="https://alphapianostudio.ck.page/seven-bluesy-piano-licks-ab" target="_blank">here</a> 
Alternatively, you may also get a copy of Seven Bluesy Piano Licks transposed for all keys <a href="https://alphapianostudio.ck.page/products/seven-blues-piano-licks-in-all-keys" target="_blank">here</a> ]]></content:encoded></item><item><title><![CDATA[How To Read Piano Sheet and Notes Like A Pro: Part 3]]></title><description><![CDATA[In this blog article, we return to our blog series on how to read piano sheet music and music notation like a pro. In the first two parts...]]></description><link>https://www.alphapianostudio.com/post/how-to-read-piano-sheet-part-3</link><guid isPermaLink="false">6391ae7883038991ae6623d8</guid><pubDate>Mon, 30 Jan 2023 16:34:33 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_b7a13e78a4ec467d951e0b8bd18e98a4~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[In this blog article, we return to our blog series on how to read piano sheet music and music notation like a pro. In the first two parts of this blog series, we learnt how to identify notes on a treble clef and on a bass clef. We also covered some simple rhythmic notation concepts such as time value, rests, and time signatures. If these are new to you, you might want to head over to <a href="https://www.alphapianostudio.com/post/how-to-read-piano-sheet" target="_blank">the first</a> and <a href="https://www.alphapianostudio.com/post/how-to-read-piano-sheet-and-notes-like-a-pro-part-2" target="_blank">second parts</a> of this blog series on reading musical notation first.
 
<figure><img src="https://static.wixstatic.com/media/715e36_b7a13e78a4ec467d951e0b8bd18e98a4~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
For the third part of this blog series, we will learn about:
<ul>
<li>Element 6: Time Value Notations Part 2<ul>
<li><a href="#fsmtm" rel="noopener noreferrer">Quavers, Semiquavers, Demisemiquavers & Hemidemisemiquavers</a> </li>
<li><a href="#9kff9" rel="noopener noreferrer">Dotted Notes & Rests</a> </li>
</ul></li>
<li><a href="#4apdv" rel="noopener noreferrer">Semitones & Tones (Half Steps & Whole Steps)</a> </li>
<li><a href="#7aet4" rel="noopener noreferrer">Element 7: Accidentals (Sharps, Flats & Naturals)</a> </li>
</ul>
<h2>Quavers, Semiquavers, Demisemiquavers & Hemidemisemiquavers </h2>
 
We have previously learnt about Semibreves, Minims, and Crotchets. In this article, we will be introducing to you the notation for four more time values, namely: 
<ol>
<li>Quaver (also called eighth notes)</li>
<li>Semiquaver (also called sixteenth notes)</li>
<li>Demisemiquaver (also called thirty-second notes)</li>
<li>Hemidemisemiquaver (also called sixty-fourth notes)</li>
</ol>
Refer to the table below:
<figure><img src="https://static.wixstatic.com/media/715e36_58149b07660f4ca387c9fce2e23a8ffc~mv2.png/v1/fit/w_1000,h_642,al_c,q_80/file.png"></figure>
 
You will notice that compared to the time values we've previously introduced (semibreve, minim, crotchet), the new ones that we've introduced in this article (quaver, semiquaver, demisemiquaver, and hemidemisemiquaver) have an extra component to their notation referred to as a flag(s) 
<figure><img src="https://static.wixstatic.com/media/715e36_7f21bd3ad8684ac4bfa00f5c89d2f546~mv2.png/v1/fit/w_500,h_500,al_c,q_80/file.png"></figure>
 
You might have noticed from the table above, that each time a flag is added to the stem, the note value is halved. For example, 
<ul>
<li>A semiquaver (which has 2 flags) is worth half a quaver (which has 1 flag)</li>
<li>A demisemiquaver (which has 3 flags) is worth half a semiquaver (which has 2 flag)</li>
<li>A hemidemisemiquaver (which has 4 flags) is worth half a demisemiquaver (which has 3 flag)</li>
</ul>
 
Here's also a chart of how the different note values relate to each other: 
<figure><img src="https://static.wixstatic.com/media/715e36_f25a82de615f4d689eaae86135ba7198~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
 
<h2>Dotted Notes & Rests </h2>
 
When a dot is added to the right of a note's note head, it adds half of the original value. To better understand this, take a look at the chart below:
<figure><img src="https://static.wixstatic.com/media/715e36_88985beed9384a94b4ada073b954ebfe~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
From the above chart, you will find that:
<ul>
<li>The total note value of a dotted semibreve is worth the original semibreve without the dot plus a minim (a minim's note value is half of a semibreve). Hence, a dotted semibreve's total note value (in terms of number of crotchet beats) is 6</li>
<li>The total note value of a dotted minim is worth the original minim without the dot plus a crotchet (a crotchet's note value is half of a minim). Hence, a dotted minim's total note value (in terms of number of crotchet beats) is 3</li>
<li>The total note value of a dotted crotchet is worth the original crotchet without the dot plus a quaver (a quaver's note value is half of a crotchet). Hence, a dotted crotchet's total note value (in terms of number of crotchet beats) is 1.5</li>
<li>The total note value of a dotted quaver is worth the original quaver without the dot plus a semiquaver (a semiquaver's note value is half of a quaver). Hence, a dotted quaver's total note value (in terms of number of crotchet beats) is 3/4</li>
</ul>
Dotted rests work the same way as well; when a dot is added to the right of a rest notation, it extends the duration of its original value by half. 
 
<h2>Semitones & Tones (Half Steps & Whole Steps) </h2>
 
The next notational symbol we will be covering is accidentals. However, in order to understand accidentals, you would first need to understand what is a semitone (also called 'half step') and what is a tone (also called 'whole step'). 
 
A 'semitone' is the distance between two notes that are closest to each other on the keyboard. To better understand this, refer to the image of the piano keyboard below:
<figure><img src="https://static.wixstatic.com/media/715e36_6b0f2248c77a49be8cf3d3aed97f8aba~mv2.jpg/v1/fit/w_1000,h_818,al_c,q_80/file.png"></figure>
Recall that the definition of a semitone is the distance between two notes that are closest to each other on the keyboard. Hence, if we were to say 'find the note that is a semitone above F', we would be attempting to find the note that is closest to 'F', and it has to be on right of 'F' because we are attempting to find the note that is a semitone above F, not below. (Notes on a piano keyboard run from low in the left to high in the right)
 
Here's where many beginners to music theory or those who are new to the piano keyboard would stumble, as many would have answered that the note nearest to F on its right, is G. However, that would have been incorrect. The answer would have been a black key that we are going to simply label as 'Y' for now. See the labelled keyboard below:
<figure><img src="https://static.wixstatic.com/media/715e36_e9457af8d189481a90d1c54760b597bb~mv2.jpg/v1/fit/w_1000,h_716,al_c,q_80/file.png"></figure>
 
We would therefore say that the key labelled 'Y' in the above image is a semitone above the note F. 
 
It is also important to realize a few more things about the above image
<ul>
<li>The note 'G' is a semitone above the key labelled 'Y'</li>
<li>The note 'G' is two semitones above the note 'F'</li>
</ul>
Now that we've learnt what is a 'semitone', we have the means of understanding what a 'tone' is; a 'tone' is the combined distance of two semitones. For example, if we were to refer back to the image above, we would say that 'the note 'G' is a tone above the note 'F'.
 
You would want to take note that the following two sentences mean the exact same thing: 
<ul>
<li>The note 'G' is two semitones above the note 'F'</li>
<li>The note 'G' is a tone above the note 'F'</li>
</ul>
Let's recap one last time before moving on to the next concept:
<ul>
<li>A semitone is the distance between two notes that are closest to each other on the keyboard</li>
<li>A tone is the combined distance of two semitones </li>
</ul>
<h2>Element 7: Accidentals </h2>
 
Accidentals are musical notational symbols that that are most often placed beside a note in order to modify it's pitch. There are three basic accidentals that you should be aware of, as labelled in the example music excerpt below 
<figure><img src="https://static.wixstatic.com/media/715e36_9a16990f49e144738c17f4fe5fc13833~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
<ul>
<li>Sharp (#): Raises a note by a semitone</li>
<li>Flat (b): Lowers a note by a semitone</li>
<li>Natural (♮): Cancels out the effects of previous accidentals </li>
</ul>
You will notice in the above excerpt, that accidentals can appear in one of two places on a music score: 
<ol>
<li>Accidentals may appear on the left side of a note head. <ol>
<li>These accidentals modify only the note that it is attached to. For example, in the above excerpt, you will find that the sharp is placed on the left of the F note, hence that F note is raised by a semitone to become an F#</li>
<li>The effect of the accidental will last for the duration of the bar. For example, in bar 2 of the excerpt above, you will notice there are two F notes (labelled in pink), with the first of the F notes having a sharp attached to it, thus making it an F#; and the second F note does not have a sharp attached to it. However, the second F note will also be raised to an F# despite having no sharp symbol attached to it. This is because the effect of the sharp attached to the first F note lasts till the end of the bar, which means to say that, any F note of the same octave that appears after the first F#, will also be raised by a semitone to be an F#</li>
</ol></li>
<li>Accidentals may also appear at the start of each line of music as part of a key signature. (labelled in blue in the above excerpt)<ol>
<li>These accidentals function as universal modifiers that affect the entire music score. For example, in the above excerpt, the key signature consists of a Bb and an Eb. This means that all B and E notes (regardless of the octave) that appear in the entire music score will be lowered by a semitone to become Bb and Eb respectively. An example of one such note is the Eb note in bar 3 (see green labels on the above excerpt) </li>
</ol></li>
</ol>
For more clarity, here's a diagram illustrating where these above mentioned notes are on the keyboard 
<figure><img src="https://static.wixstatic.com/media/715e36_906202c78a4241b9abaa9f363b5a8965~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
]]></content:encoded></item><item><title><![CDATA[What Is An Interval In Music?]]></title><description><![CDATA[In this blog post, we will be talking about everything you need to know about intervals in music. Table Of Content Definition Of...]]></description><link>https://www.alphapianostudio.com/post/what-is-intervals-in-music</link><guid isPermaLink="false">63975c2016d1adb4bcc7af79</guid><pubDate>Wed, 28 Dec 2022 07:39:36 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_3ac561509ea04b58b2be1cb5eab02f03~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[In this blog post, we will be talking about everything you need to know about intervals in music.
 
Table Of Content
<ul>
<li><a href="#bttjm" rel="noopener noreferrer">Definition Of Intervals In Music</a> </li>
<li><a href="#beq0n" rel="noopener noreferrer">How Do You Identify An Interval In Music</a> <ul>
<li><a href="#59rjt" rel="noopener noreferrer">Step 1: Form The Major Scale From The Lower Pitched Note Of The Interval</a> </li>
<li><a href="#2olhd" rel="noopener noreferrer">Step 2: Number The Scale Degrees Of The Major Scale</a> </li>
<li><a href="#2h8qt" rel="noopener noreferrer">Step 3: Determine The Quality Of The Interval </a> <ul>
<li><a href="#63a1b" rel="noopener noreferrer">Scenario 1: The Higher Pitched Note In The Interval Can Be Found As One Of The Scale Degrees Of The Major Scale</a> </li>
<li><a href="#7vuli" rel="noopener noreferrer">Scenario 2: The Higher Pitched Note In The Interval Cannot Be Found As One Of The Scale Degrees Of The Major Scale</a> </li>
</ul></li>
</ul></li>
<li><a href="#f3hsu" rel="noopener noreferrer">Intervals Summary</a> </li>
</ul>
 
<figure><img src="https://static.wixstatic.com/media/715e36_3ac561509ea04b58b2be1cb5eab02f03~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Definition Of Intervals In Music</h2>
 
In music, an interval is a measure of distance from one note to another. For example, in the illustration below, we would say that the interval between the pair of notes on the left is smaller than the interval formed by the pair of notes on the right 
<figure><img src="https://static.wixstatic.com/media/715e36_063cf965fc9e4187a08845f08079e443~mv2.jpg/v1/fit/w_1000,h_517,al_c,q_80/file.png"></figure>
The standardized way of describing intervals would be to describe it in two parts:
<ol>
<li>Numeric description of the interval </li>
<li>Quality of the interval</li>
</ol>
Here are some examples:
<figure><img src="https://static.wixstatic.com/media/715e36_d8e358e0dacb408487355a474cd7a7e0~mv2.jpg/v1/fit/w_1000,h_410,al_c,q_80/file.png"></figure>
Don't worry if you don't understand how we named the above intervals yet. That's exactly what we are going to cover in this blog post. To learn how to identify any given interval, let's use the following example interval: 
<figure><img src="https://static.wixstatic.com/media/715e36_b5bc9f5896db4fbfbe5c5c56f3362fd2~mv2.jpg/v1/fit/w_1000,h_351,al_c,q_80/file.png"></figure>
To name any given interval, you would follow these steps:
 
<h2>How Do You Identify An Interval In Music</h2>
 
<h3>Step 1: Form The Major Scale From The Lower Pitched Note Of The Interval</h3>
 
To name an interval, we would first form the major scale from the lower pitched note in the given interval. In this case, the lower pitched note is B, and hence we would form a B major scale.
<figure><img src="https://static.wixstatic.com/media/715e36_ad5c22486fef4aa285610095df2962bb~mv2.jpg/v1/fit/w_1000,h_537,al_c,q_80/file.png"></figure>
 
<h3>Step 2: Number The Scale Degrees Of The Major Scale </h3>
 
The next step would be to take that scale from step 1, and number the scale degrees
<figure><img src="https://static.wixstatic.com/media/715e36_5618acf3058744b0b65d12ad4538021c~mv2.jpg/v1/fit/w_1000,h_676,al_c,q_80/file.png"></figure>
As you can see in the illustration above, our interval is some kind of 6th interval. As mentioned before, there are two parts to naming an interval:
<ol>
<li>Numeric description of the interval </li>
<li>Quality of the interval</li>
</ol>
Up till this point, we have identified the numeric description of the interval. The next step would be to determine the quality of the interval.
 
<h3>Step 3: Determine The Quality Of The Interval </h3>
 
There are five possible intervallic qualities, and they are: 
<ol>
<li>Major</li>
<li>Minor</li>
<li>Perfect</li>
<li>Augmented</li>
<li>Diminished</li>
</ol>
<h3>Scenario 1: The Higher Pitched Note In The Interval Can Be Found As One Of The Scale Degrees Of The Major Scale</h3>
 
In order to determine the intervallic quality, we would compare the higher pitched note in the interval against the major scale formed from the lower pitched note in the interval. If the higher pitched note can be found in the major scale as one of its scale degrees, the naming of the interval would be as follows:
 
1st = Perfect Unison
2nd = Major 2nd
3rd = Major 3rd
4th = Perfect 4th
5th = Perfect 5th
6th = Major 6th
7th = Major 7th 
8th = Perfect 8ve or Perfect 8th
 
Hence, in our example question, the higher pitched note is G#, which can be found in the B major scale as the 6th degree of the B major scale, hence the interval would be named a Major 6th.
<figure><img src="https://static.wixstatic.com/media/715e36_f31213fface840749df2141af2aa75ce~mv2.jpg/v1/fit/w_1000,h_683,al_c,q_80/file.png"></figure>
 
<h3>Scenario 2: The Higher Pitched Note In The Interval Cannot Be Found As One Of The Scale Degrees Of The Major Scale</h3>
 
In our previous example, it was easy to determine the interval as the higher pitched note in the interval (G#) could be found as one of the scale degrees of the major scale formed from the lower pitched note in the interval. However, let's now try an example whereby the higher pitched note in the interval cannot be found as one of the scale degrees of the major scale. Take, for example, the interval between B and G
 
<figure><img src="https://static.wixstatic.com/media/715e36_fa89f5c68c814979b509368c8b021dd6~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
 
In this case, because the higher pitched note of the interval (G) is lower than the G# in the major scale by a semitone, this interval would no longer be named a 'major 6th', but it will be now named a 'minor 6th' instead. 
 
Rule: If the higher pitched note of the interval is lower, by a semitone, than what would have originally been a major interval (2nd, 3rd, 6th, 7th intervals), then it would now be named a minor interval
 
Let us consider yet another example. Take, for example, the interval between B and Gb.
 
<figure><img src="https://static.wixstatic.com/media/715e36_e7108cd61f1a457bb5fac62ab5ee9091~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
Notice how, in the above example, the higher pitched note in the interval, Gb, is lower, by two semitones, than the G# found major scale formed from the lower pitched note in the interval. Hence, it is no longer a major 6th, but would be named a 'diminished 6th' instead
 
Rule: If the higher pitched note of the interval is lower, by two semitones, than what would have originally been a major interval (2nd, 3rd, 6th, 7th intervals), then it would now be named a diminished interval
 
Now let us consider the interval between B and G (G double sharp).
<figure><img src="https://static.wixstatic.com/media/715e36_1c917a6e70a841089f3363e0a28fed33~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
As the G is higher than the G# in the major scale by one semitone, we would now call the interval an 'augmented 6th' instead of a major 6th
 
Rule: If the higher pitched note of the interval is higher, by one semitone, than what would have originally been a major interval (2nd, 3rd, 6th, 7th intervals), then it would now be named an augmented interval
 
Let us now consider a different example, say, the interval between B and F# 
<figure><img src="https://static.wixstatic.com/media/715e36_236c82efc82242058d766a22c6323620~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
To recap, if the higher pitched note in the interval can be found as a scale degree in the major scale formed from the lower pitched note in the interval, the naming of the intervals will follow these rules:
<ul>
<li>1st = Perfect Unison</li>
<li>2nd = Major 2nd</li>
<li>3rd = Major 3rd</li>
<li>4th = Perfect 4th</li>
<li>5th = Perfect 5th</li>
<li>6th = Major 6th</li>
<li>7th = Major 7th </li>
<li>8th = Perfect 8ve or Perfect 8th</li>
</ul>
Hence, the interval between B and F# will be described as a perfect 5th.
 
However, what if the F# were an F natural? 
<figure><img src="https://static.wixstatic.com/media/715e36_5d8a2624c20f442eabbb40e4818a0485~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
In the above scenario, we would apply the following rule: 
 
Rule: If the higher pitched note of the interval is lower, by one semitone, than what would have originally been a perfect interval (1st, 4th, 5th and 8ve intervals), then it would now be named a diminished interval
 
Let us now consider the interval between B and F (F double sharp)
 
<figure><img src="https://static.wixstatic.com/media/715e36_cccf9bcf0946442bb3f7470e219e12c5~mv2.jpg/v1/fit/w_1000,h_886,al_c,q_80/file.png"></figure>
 
Rule: If the higher pitched note of the interval is higher, by one semitone, than what would have originally been a perfect interval (1st, 4th, 5th and 8ve intervals), then it would now be named an augmented interval
 
<h2>Intervals Summary</h2>
 
Now, let us summarize all the rules we have covered thus far:
 
<ul>
<li>Construct the major scale from the lower pitched note in the interval, and check whether the higher pitched note can be found as a scale degree in that constructed major scale. If yes, the naming of the intervals would follow these rules: <ul>
<li>1st = Perfect Unison</li>
<li>2nd = Major 2nd</li>
<li>3rd = Major 3rd</li>
<li>4th = Perfect 4th</li>
<li>5th = Perfect 5th</li>
<li>6th = Major 6th</li>
<li>7th = Major 7th </li>
<li>8th = Perfect 8ve or Perfect 8th</li>
</ul></li>
<li>If the higher pitched note of the interval differs from the notes found in the constructed major scale, then the naming would follow these rules <ul>
<li>A raised major interval (2nd, 3rd, 6th, 7th), by one semitone, would be named an augmented interval </li>
<li>A lowered major interval (2nd, 3rd, 6th, 7th), by one semitone, would be named a minor interval </li>
<li>A lowered major interval (2nd, 3rd, 6th, 7th), by two semitones, would be named a diminished interval </li>
<li>A raised perfect interval (1st, 4th, 5th, 8ve), by one semitones, would be named an augmented interval </li>
<li>A lowered perfect interval (1st, 4th, 5th, 8ve), by one semitones, would be named a diminished interval </li>
</ul></li>
</ul>
 
 
]]></content:encoded></item><item><title><![CDATA[Ultimate Guide To Piano Chords: Part 2]]></title><description><![CDATA[Welcome to the second part of our blog series on all the things you need to know about piano chords. If you are new to chords, and are...]]></description><link>https://www.alphapianostudio.com/post/ultimate-guide-to-piano-chords-part-2</link><guid isPermaLink="false">638b8798f4f9020cf9a3e418</guid><pubDate>Mon, 05 Dec 2022 08:48:46 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_5afe7a12ee5c4b29a982407ab71fe644~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[Welcome to the second part of our blog series on all the things you need to know about piano chords. If you are new to chords, and are not sure what they are, or how to construct them, be sure to check out the first part of our piano chords blog series before continuing with this article.
 
To recap, in our last article, we discussed the basics of what chords are, and introduced you to two basic types of triads: the major triad and the minor triad. In this blog article, we will be sharing with you four more types of triads.
 
<figure><img src="https://static.wixstatic.com/media/715e36_5afe7a12ee5c4b29a982407ab71fe644~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
Table Of Content
<ol>
<li><a href="#157i" rel="noopener noreferrer">Diminished Triad</a> <ol>
<li><a href="#ees5s" rel="noopener noreferrer">Chord Symbol</a> </li>
<li><a href="#80n7e" rel="noopener noreferrer">Chord Construction</a></li>
</ol></li>
<li><a href="#d03n9" rel="noopener noreferrer">Augmented Triad</a> <ol>
<li><a href="#ea57k" rel="noopener noreferrer">Chord Symbol</a></li>
<li><a href="#avmvd" rel="noopener noreferrer">Chord Construction</a></li>
</ol></li>
<li><a href="#akp9g" rel="noopener noreferrer">Suspended 4th Triad</a> <ol>
<li><a href="#72bv6" rel="noopener noreferrer">Chord Symbol</a></li>
<li><a href="#1tmdo" rel="noopener noreferrer">Chord Construction</a> </li>
</ol></li>
<li><a href="#14hgs" rel="noopener noreferrer">Suspended 2nd Triad</a> <ol>
<li><a href="#dl2rd" rel="noopener noreferrer">Chord Symbol</a> </li>
<li><a href="#ed24n" rel="noopener noreferrer">Chord Construction</a> </li>
</ol></li>
<li><a href="#bdvig" rel="noopener noreferrer">What's Next: Beyond Triads</a> </li>
</ol>
<h2>Diminished Triad</h2>
 
The first type of triad that we will be discussing is the diminished triad. The chord symbol for a diminished triad may be written in a few different ways: 
<ul>
<li>Xº</li>
<li>Xdim</li>
<li>Xm(b5) </li>
<li>X-(b5) </li>
</ul>
In the above chord symbols, 'X' refers to the root note from which the chord is constructed from.
 
A diminished triad is constructed by stacking the following intervals: 
<ul>
<li>Minor 3rd interval above the root note</li>
<li>Diminished 5th interval above the root note</li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_8e0015e4a1e148a0a849c893e1aa6018~mv2.jpg/v1/fit/w_1000,h_465,al_c,q_80/file.png"></figure>
If you're not familiar with the terminology for intervals, it is also possible to construct a diminished triad with the following steps:
<ul>
<li>Go up 3 semitones from the root to get the next chord tone</li>
<li>Go up another 3 semitones to get the last chord tone of the diminished triad</li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_68a89d1a4d754d129d9ce2678e9d29f7~mv2.jpg/v1/fit/w_1000,h_568,al_c,q_80/file.png"></figure>
Another way that might be helpful to think about a diminished triad is to relate it to a minor triad - compared to a minor triad, a diminished chord contains the same chord tones, with the exception of the flattened (or lowered) 5th. Hence, the diminished triad is also called a 'minor flat 5' chord and an alternative chord symbol for the diminished triad is Xm(b5).
 
<figure><img src="https://static.wixstatic.com/media/715e36_842d0c9a0d7d41fa99313a1f13efca1a~mv2.jpg/v1/fit/w_1000,h_704,al_c,q_80/file.png"></figure>
 
Without any particular musical context, a diminished chord, by itself, has a dark quality to its sound.
 
<h2>Augmented Triad</h2>
 
The next type of triad we will be learning about is the augmented triad. The chord symbol for an augmented chord may be written in few different ways: 
<ul>
<li>Xaug </li>
<li>X(+5) </li>
</ul>
In the above chord symbols, 'X' refers to the root note from which the triad is constructed from.
 
To construct a augmented triad, you would do the following:
<ul>
<li>Stack a major 3rd interval above the root note</li>
<li>Stack a augmented 5th interval above the root note </li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_b0f97c0635664ed79a0e56d388b2e2b3~mv2.jpg/v1/fit/w_1000,h_444,al_c,q_80/file.png"></figure>
If you're not familiar with intervals, it is also possible to construct an augmented triad using the following steps:
<ul>
<li>Go up 4 semitones from the root note to get the next chord tone of the augmented triad </li>
<li>Go up another 4 semitones to get the last chord tone fo the augmented triad</li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_23f87c849e824211b120650820ba7e5d~mv2.jpg/v1/fit/w_1000,h_476,al_c,q_80/file.png"></figure>
Another possible way to think about the augmented triad is to relate it to the major triad. You will find that the major triad and augmented triad share the same chord tones, with the exception of the raised 5th in the Caug triad. This is why the augmented triad is also called a 'sharp 5' chord. For example, a Caug chord may be verbally referred to as a 'C sharp 5' chord. This is also why the chord symbol for a Caug triad may also be written as a C(+5) chord symbol. 
 
<figure><img src="https://static.wixstatic.com/media/715e36_8472bcba37e94981add5452356ef795c~mv2.jpg/v1/fit/w_1000,h_790,al_c,q_80/file.png"></figure>
 
Without any particular musical context, an augmented chord, by itself, has a dreamy quality to its sound.
 
<h2>Suspended 4th Triad</h2>
 
The next triad that we will be learning about is the suspended 4th triad, whose chord symbol can be as follows:
<ul>
<li>Xsus</li>
<li>Xsus4</li>
</ul>
In the above chord symbols, 'X' represents the root note of the chord from which the chord is constructed from.
 
Between the above two chord symbols, the usage of Xsus is more common than Xsus4, as specifying the 4 is somewhat redundant. However, it is still valid as a chord symbol. 
 
To construct a suspended 4th triad, we would stack the following intervals above the root note:
<ul>
<li>Perfect 4th interval above the root note</li>
<li>Perfect 5th interval above the root note </li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_3f58576faaa2439f961d8b344c1bc248~mv2.jpg/v1/fit/w_1000,h_473,al_c,q_80/file.png"></figure>
 
Another way to think about a suspended 4th chord would be to relate it to a major chord. The term 'suspended 4th' means to replace the 3rd in a major chord with the 4th scale degree in the major scale formed off the same root note. 
 
<figure><img src="https://static.wixstatic.com/media/715e36_c884796a13854ebbb6319a4232898c6e~mv2.jpg/v1/fit/w_1000,h_801,al_c,q_80/file.png"></figure>
 
If you are neither familiar with intervals or major scales, you may also opt to construct a suspended 4th chord by using the following steps:
<ul>
<li>Go up 5 semitones (or half-steps) from the root note to get the next chord tone </li>
<li>Go up another 2 semitones (or half-steps) to get the last chord tone of the suspended 4th triad</li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_1e46a87b73254e94b62cbf7d15091918~mv2.jpg/v1/fit/w_1000,h_498,al_c,q_80/file.png"></figure>
 
<h2>Suspended 2nd Triad </h2>
 
The last type of triad that we will be discussing is the suspended 2nd triad. The chord symbol for a suspended 2nd triad is as follows:
<ul>
<li>Xsus2</li>
</ul>
In the above chord symbol, 'X' refers to the root note from which the triad is constructed from. 
 
A suspended 2nd triad may be constructed by the following intervallic structure:
<ul>
<li>Major 2nd interval above the root </li>
<li>Perfect 5th interval above the root</li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_aa31cbd4bd184683b983ea80e0a46eb9~mv2.jpg/v1/fit/w_1000,h_468,al_c,q_80/file.png"></figure>
 
Another way to think about a suspended 2nd triad is relate it to a major chord. The term 'suspended 2nd' refers to the fact that to construct a suspended 2nd triad, you would take the 3rd in a major chord and replace it with the 2nd scale degree in the major scale formed off the same root note. 
 
<figure><img src="https://static.wixstatic.com/media/715e36_8dcd3b9f1ea347a99aae25828ff80e82~mv2.jpg/v1/fit/w_1000,h_816,al_c,q_80/file.png"></figure>
 
If you're neither familiar with intervals or major scales, then another way you could use to construct a suspended 2nd chord would be to follow these steps:
<ul>
<li>Go up 2 semitones from the root note to get the next chord tone of the triad</li>
<li>Go up another 5 semitones to get the last chord tone of the suspended 2nd triad </li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_bd56c006c32a48c08f4c84d6e0d70378~mv2.jpg/v1/fit/w_1000,h_512,al_c,q_80/file.png"></figure>
 
<h2>What's Next: Beyond Triads</h2>
 
Up till this point, we have covered a total of 6 different types of triads, their chord symbols, and how to construct them. Let's recap what they are:
<ul>
<li>Major Triad</li>
<li>Minor Triad</li>
<li>Diminished Triad</li>
<li>Augmented Triad</li>
<li>Suspended 4th Triad</li>
<li>Suspended 2nd Triad</li>
</ul>
In the next part of this blog series on piano chords, we will be moving on to seventh chords and inversions. Stay tuned!
]]></content:encoded></item><item><title><![CDATA[Ultimate Guide To Piano Chords: Part 1]]></title><description><![CDATA[Table of Contents What Are Chords? Why Learn About Piano Chords? Constructing Chords In Tertian Harmony Two Basic Chords Major Triad...]]></description><link>https://www.alphapianostudio.com/post/ultimate-guide-to-piano-chords-part-1</link><guid isPermaLink="false">63694ca99439a9af61f66626</guid><pubDate>Sun, 27 Nov 2022 18:22:37 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_25d99bf8f5c64cca80ab4aa2a483b67a~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[Table of Contents
<ol>
<li><a href="#fj481" rel="noopener noreferrer">What Are Chords?</a> </li>
<li><a href="#evt9e" rel="noopener noreferrer">Why Learn About Piano Chords?</a> </li>
<li><a href="#8036a" rel="noopener noreferrer">Constructing Chords In Tertian Harmony </a> </li>
<li><a href="#6t1bj" rel="noopener noreferrer">Two Basic Chords </a> <ol>
<li><a href="#66ojt" rel="noopener noreferrer">Major Triad</a> </li>
<li><a href="#a0f3h" rel="noopener noreferrer">Minor Triad</a> </li>
</ol></li>
<li><a href="#cs87m" rel="noopener noreferrer">What's Next? </a> </li>
</ol>
 
<figure><img src="https://static.wixstatic.com/media/715e36_25d99bf8f5c64cca80ab4aa2a483b67a~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>What Are Chords?</h2>
 
In music, a chord is simply two or more notes played together to produce a pleasing sound, or a sense of musical harmony. There are many kinds of chords, each having its own musical character. And in this blog series, we will teaching you everything you need to know about chords.. 
 
<h2>Why Learn About Piano Chords?</h2>
 
Chords are an integral part of most of the music that you might hear, be it Classical music, Pop music, and Jazz; one might even say that chords are the backbone of much of the music that we hear. And knowing that, it shouldn't be hard to understand that knowing your chords well puts you in a much better position to understand other topics in music, such as, music composition, improvisation, accompaniment, and more. Knowing your chords well could also possibly improve your sight reading, as you would be able to make sense of the underlying harmony of the passage that you are reading, and able to read notes in 'groups' of notes, rather than reading each note as its own isolated event without understanding the rationale behind the note choices. And without further ado, let's move on to the how to construct chords on the piano, and what kinds of chords there are.
 
<h2>Constructing Chords In Tertian Harmony </h2>
 
To start with, we generally construct chords by stacking third intervals on top of a given root note. This concept of creating harmony by stacking third intervals is referred to as 'Tertian' harmony. Below is an example of how a chord may be constructed by stacking thirds upon a root note:
<figure><img src="https://static.wixstatic.com/media/715e36_95c8afb417924de6b1e9ecaa31e0b87a~mv2.jpg/v1/fit/w_1000,h_636,al_c,q_80/file.png"></figure>
 
<h2>Two Basic Chords </h2>
 
At this point, you might have noticed that in constructing the chord shown above, there were two different types of third intervals that were used when stacking the third intervals above the given root note: in the interval from the root note (C) to the E note above it, a major 3rd interval is used, whereas if you consider the interval between that E note and the G note above it, it is a minor 3rd interval.
 
 
<figure><img src="https://static.wixstatic.com/media/715e36_fbd72b9350914c56b1df256ec16f35bc~mv2.jpg/v1/fit/w_1000,h_753,al_c,q_80/file.png"></figure>
 
The next natural step would then be to ask, in constructing a chord, how would one know which kind of third interval to stack on top of a given root note? The thing is, different combinations of varying types of 3rd intervals would produce chords of differing emotional characteristics. Now, let's explore some of these combinations, starting with the two most basic of chords: the major and minor triads
 
<h2>Major Triad</h2>
 
 
<figure><img src="https://static.wixstatic.com/media/715e36_28e674ed82db45dfaa80191ffe8f9c66~mv2.jpg/v1/fit/w_1000,h_511,al_c,q_80/file.png"></figure>
 
A major triad is constructed by 
<ul>
<li>stacking a major 3rd interval from the root note</li>
<li>stacking a perfect 5th interval from the root note (also the same as stacking a minor 3rd interval on top of the initial major 3rd interval)</li>
</ul>
If you are generally not familiar with intervals, you can also think of constructing major triad by 
<ul>
<li>going up 4 semitones from the root to get the next chord tone of the triad</li>
<li>and going up another 3 semitones to get the next chord tone of the triad </li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_ef1565c1f6524e668fa26c2416d7b89a~mv2.jpg/v1/fit/w_1000,h_560,al_c,q_80/file.png"></figure>
 
If you are familiar with your scales, another way of thinking about constructing a major chord, is to take the 1st, 3rd and 5th of the major scale formed from the root note.
<figure><img src="https://static.wixstatic.com/media/715e36_9bbf02d0519d4c378d54732cce657040~mv2.jpg/v1/fit/w_1000,h_767,al_c,q_80/file.png"></figure>
 
It is important to note that, in a major chord, and all other chords that are constructed by stacking in thirds, we refer to the lowest chord tone as being the root note or the 1st, the next chord tone above that as being the 3rd, and the next chord tone above that as being the 5th. 
<figure><img src="https://static.wixstatic.com/media/715e36_c155e9d87eca49e88d1baf5748fb8f67~mv2.jpg/v1/fit/w_1000,h_703,al_c,q_80/file.png"></figure>
 
As you have may have already noticed by now in the illustrations above, the chord symbol for a major chord would simply be its root note. For example a C major chord's chord symbol is simply 'C'.
 
<h2>Minor Triad</h2>
<figure><img src="https://static.wixstatic.com/media/715e36_ca0b1bd7568849c788b3f3136e0de49a~mv2.jpg/v1/fit/w_1000,h_579,al_c,q_80/file.png"></figure>
 
A minor triad is constructed by 
<ul>
<li>stacking a minor 3rd interval from the root note</li>
<li>stacking a perfect 5th interval from the root note (also the same as stacking a major 3rd interval on top of the initial minor 3rd interval)</li>
</ul>
Once again, for those who are not familiar with intervals, you can also think of constructing minor triad by 
<ul>
<li>going up 3 semitones from the root to get the next chord tone of the triad</li>
<li>and going up another 4 semitones to get the next chord tone of the triad </li>
</ul>
 
<figure><img src="https://static.wixstatic.com/media/715e36_ea9392733fbb4a439ef7ff45b7ac1be7~mv2.jpg/v1/fit/w_1000,h_499,al_c,q_80/file.png"></figure>
 
For those who are familiar with your scales, you can think of constructing a minor chord in the following scale degrees: 1, b3, 5.
<figure><img src="https://static.wixstatic.com/media/715e36_4f5e2bf4a34a4dc9ab428dbb8423bd99~mv2.jpg/v1/fit/w_1000,h_647,al_c,q_80/file.png"></figure>
 
It may also serve you well to notice that the minor triad only differs from the major triad by its lowered 3rd. Hence, if you already are familiar with the major chord formed from the same root note, this would be a faster way in figuring our the chord tones of the minor chord formed from the same root note.
 
The chord symbol for a minor chord is simply 'Xm' or 'X-' whereby X is the root note. For example, the chord symbol for a C minor triad is 'Cm' or 'C-'
 
<figure><img src="https://static.wixstatic.com/media/715e36_32d1e311d4a44efebcb432ce6f7f4b37~mv2.jpg/v1/fit/w_1000,h_541,al_c,q_80/file.png"></figure>
 
 
<h2>What's Next?</h2>
 
With that, we conclude our first part of our piano chords complete guide. In the next part, we will be talking about four more triads, followed by all the seventh chords you need to know, inversions, tensions, and more! Stay tuned
]]></content:encoded></item><item><title><![CDATA[How to Play River Flows In You On Piano - Part 1]]></title><description><![CDATA[Table Of Content About River Flows In You What To Note When Playing River Flows In You on Piano Playing The Left Hand Part How To Use The...]]></description><link>https://www.alphapianostudio.com/post/river-flows-in-you-piano</link><guid isPermaLink="false">6337c8d402312eb6b6713a5e</guid><pubDate>Sat, 29 Oct 2022 13:49:31 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_cf3d62908ab94bafbb0cbcdd9700d040~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
<figure><img src="https://static.wixstatic.com/media/715e36_cf3d62908ab94bafbb0cbcdd9700d040~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
Table Of Content
<ul>
<li><a href="#4qhd6" rel="noopener noreferrer">About River Flows In You </a> </li>
<li><a href="#5t9l3" rel="noopener noreferrer">What To Note When Playing River Flows In You on Piano</a> <ul>
<li><a href="#asf1p" rel="noopener noreferrer">Playing The Left Hand Part</a> </li>
<li><a href="#97kis" rel="noopener noreferrer">How To Use The Sustain Pedal</a></li>
<li><a href="#eve70" rel="noopener noreferrer">Playing the Right Hand Part: Phrase 1</a> </li>
<li><a href="#9re1p" rel="noopener noreferrer">Playing the Right Hand Part: Phrase 2</a> </li>
<li><a href="#59rvf" rel="noopener noreferrer">Playing the Right Hand Part: Phrase 3</a> </li>
<li><a href="#1g5pm" rel="noopener noreferrer">Playing the Right Hand Part: Phrase 4</a> </li>
<li><a href="#7sanm" rel="noopener noreferrer">Putting Both Hands Together </a> </li>
</ul></li>
<li><a href="#bi1bd" rel="noopener noreferrer">Yiruma - River Flows In You Piano Sheet </a> </li>
<li><a href="#3m1q1" rel="noopener noreferrer">Learn How To Play River Flows In You With Some Help</a> </li>
</ul>
 
<h2>About River Flows In You</h2>
 
River Flows In You is one of the most popular piano songs and it is written by the famous pianist, Yiruma. There are many who have been inspired to learn how to play the piano just so that they can play this one song. Hence, in this blog article, we will be teaching you how to play a simple version of River Flows In You.
 
<h2>What To Note When Playing River Flows In You On Piano</h2>
 
If you've never head River Flows In You before, be sure to listen to it first! Here's our beginner friendly version of the song:
 
<a href="https://youtu.be/gr5QyDSJNao"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
In the following sections, we will be going through how to play 'River Flows In You' in a step-by-step manner. We will start by learning the left hand part first. 
 
<h3>Playing The Left Hand Part</h3>
 
In many piano arrangements, the left hand often plays an accompaniment part of some sort, and this accompaniment part is constructed from the chords that make up the song. 
 
One of the things that makes playing River Flows In You easy to play, is the fact that it uses only 4 chords throughout the entire song, and in the exact same sequence (also called 'chord progression') over and over again. These chords are: Am, F, C, and G. 
 
While we will not be going into explaining what these chords are, what you need to know is that, because of the repeated chord progression over and over again throughout the song, the accompaniment part is also repetitive, and once you've learnt just four bars of the left hand part, you will have effectively learn the left hand part for almost the entire song!
 
Here's a note-for-note explanation on how to play the left hand part of River Flows In You. As demonstrated in the video, you will notice that the fingering also repeats every three notes with the following finger numbers: 5-2-1. 
 
<a href="https://youtu.be/gr5QyDSJNao?t=151"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
Once you are familiar with the notes that make up the left hand accompaniment part, you are ready to play it in time. When played in time, this is how the left hand part would sound:
 
 
<a href="https://youtu.be/gr5QyDSJNao?t=228"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
<h3>How To Use The Sustain Pedal </h3>
 
Even after you've gotten the notes of the left hand part and the timing correct, you may have noticed that what you're playing doesn't quite sound like the video demonstration yet. This is because in the video demonstration, the sustain pedal is used to sustain the notes and create a thick and lush wash of sound. However, it's important to understand how to use the sustain pedal correctly, and with the proper timing: you don't just want to hold down the sustain pedal throughout the song as this would create a nasty smear of sound. The basic concept behind how to use the sustain pedal, would be to clear the pedal and re-engage it again at every change of the chord.
 
Here's a step-by-step explanation of how to play the sustain pedal
 
<a href="https://youtu.be/gr5QyDSJNao?t=287"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
And here's a demonstration of how the sustain pedal is played in time:
 
<a href="https://youtu.be/gr5QyDSJNao?t=374"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
<h3>Playing the Right Hand Part: Phrase 1</h3>
 
For the right hand part, we will be dividing it into four phrases. Here's a note-by-note walkthrough of how to play the first phrase (right hand) of River Flows in You:
 
<a href="https://youtu.be/gr5QyDSJNao?t=420"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
When played in time, this is how the first phrase would sound:
 
<a href="https://youtu.be/gr5QyDSJNao?t=491"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
<h3>Playing the Right Hand Part: Phrase 2</h3>
 
Here's a step-be-step video explanation of how to play the second phrase (right hand only) of River Flows In You:
 
<a href="https://youtu.be/gr5QyDSJNao?t=524"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
Once you're familiar with the notes, you are ready to play it in time. Refer to the following video to listen to how it sounds when played in time. You might also consider playing along with the video demonstration to check your timing. 
 
<a href="https://youtu.be/gr5QyDSJNao?t=576"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
<h3>Playing the Right Hand Part: Phrase 3</h3>
 
The third phrase of the right hand part is very similar to the first; there are, however, some differences in the second half of the phrase that you'd want to take note of. Watch the following video for a step-by-step walkthrough of how to play the third phrase.
 
<a href="https://youtu.be/gr5QyDSJNao?t=603"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
When played in time, here's how the third phrase of the right hand part would sound:
 
<a href="https://youtu.be/gr5QyDSJNao?t=704"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
<h3>Playing the Right Hand Part: Phrase 4</h3>
 
And for the final phrase of the right hand part, here's a note-for-note guide on to play it: 
 
<a href="https://youtu.be/gr5QyDSJNao?t=730"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
Here's a video demonstration of how to play the fourth phrase of the right hand part in time. If you're not sure about the rhythm, be sure to play along with the video demonstration: 
 
<a href="https://youtu.be/gr5QyDSJNao?t=798"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
<h3>Putting Both Hands Together</h3>
 
Once you are familiar with the right hand and left hand parts separately, you are ready to put them together. When putting both hands together, be sure to break it down into smaller parts or sections before stringing them together. 
 
Here's a video demonstration of how it would sound when you put both hands together: 
 
<a href="https://youtu.be/gr5QyDSJNao?t=822"><img src="https://i.ytimg.com/vi/gr5QyDSJNao/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>Yiruma - River Flows In You Piano Sheet</h2>
 
You may also download the full sheet music of our easy piano version of River Flows In You <a href="https://www.musicnotes.com/l/2KrhJ" target="_blank">here</a> 
 
<h2>Learn How To Play River Flows In You With Some Help</h2>
 
With the readers of this blog article being of differing levels of experience and knowledge at the piano, it can be challenging to create a tutorial or article that is able to cater to readers who may be at different levels of development in their piano journey. 
 
Moreover, this is not taking into consideration the fact that different piano players of the same playing facility may have a different profile of which sensibilities (hearing, reading, memory, tactile sense, etc) they rely on to play the piano. A video tutorial or blog article is not able to respond to each individual student's learning needs.
 
There's just so many aspects of learning to play the piano that cannot be captured in a blog article or a video tutorial. If you want to avoid wasting precious time in your piano learning journey, the best thing you can do is to engage an experienced piano teacher to help you in your learning. Here at Alpha Piano Studio, we provide one-to-one piano lessons with experienced piano teachers to help super charge your piano learning journey. We are offering two free trial lessons, no strings attached, to all first timers with us. Sign up <a href="https://www.alphapianostudio.com/contact-us" target="_blank">here</a>!]]></content:encoded></item><item><title><![CDATA[How To Play Happy Birthday On Piano]]></title><description><![CDATA["Happy Birthday" is one of the most popular songs to learn for beginners at the piano, because it is easy to learn, and everybody knows...]]></description><link>https://www.alphapianostudio.com/post/happy-birthday-piano</link><guid isPermaLink="false">6319fdce5a96eb1f7430118a</guid><pubDate>Thu, 29 Sep 2022 16:07:27 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_47f4636a3c514aea974ba10bfbac3de8~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
<figure><img src="https://static.wixstatic.com/media/715e36_47f4636a3c514aea974ba10bfbac3de8~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
"Happy Birthday" is one of the most popular songs to learn for beginners at the piano, because it is easy to learn, and everybody knows what the song is, how it sounds, and can relate to it. Playing it on the piano for a friend on his or her birthday can be a fun surprise for him or her! In this blog article, we will be going through, step-by-step, how to play a simple piano arrangement of "Happy Birthday".
 
Table Of Content
<ol>
<li><a href="#clmkc" rel="noopener noreferrer">How To Start Playing Happy Birthday For Beginners On Piano </a> </li>
<li><a href="#d10kr" rel="noopener noreferrer">What To Take Note When Playing Happy Birthday On Piano</a> </li>
<li><a href="#6qv11" rel="noopener noreferrer">Happy Birthday Piano Sheet Free Download</a> </li>
<li><a href="#ffdoh" rel="noopener noreferrer">You Can Play Happy Birthday On Piano Like A Pro </a> </li>
</ol>
 
<h2>How To Start Playing Happy Birthday For Beginners On Piano</h2>
 
If you are an absolute beginner at the piano, or having very little to no experience, you'd definitely want to learn how to play one hand at a time first, and this is exactly what we will be covering in this blog post. 
 
<h3>How To Play The Right Hand Part</h3>
 
To begin, place the thumb of your right on G (above middle C), and place each adjacent finger on each subsequent note to the right of that G note. If you're doing this right, your fingers should be positioned as follows:
<ul>
<li>Finger 1 (thumb) will be positioned on middle G</li>
<li>Finger 2 (index finger) will be positioned on A </li>
<li>Finger 3 (middle finger) will be positioned on B</li>
<li>Finger 4 (ring finger) will be positioned on C </li>
<li>Finger 5 (pinky) will be positioned on D</li>
</ul>
To begin playing the song, you would play:
<ul>
<li>Two G notes with your thumb</li>
<li>Followed by an A note with your index finger</li>
<li>And then back to G with your thumb</li>
<li>Followed by C, played by the 4th finger</li>
<li>And then, B, played with your 3rd finger</li>
</ul>
Here's a demonstration of how this would sound. Pay special attention to the rhythms:
 
<a href="https://youtu.be/p77vn0e977o?t=30"><img src="https://i.ytimg.com/vi/p77vn0e977o/maxresdefault.jpg" width="1280" height="720"></a>
 
The second phrase is very similar to the first; the only difference being that, the last two notes would be changed to D and C, instead of the C and B. Hence, you would play the following notes:
<ul>
<li>Two G notes, played with your thumb</li>
<li>Followed by a A note, with your index finger</li>
<li>And then back to G with your thumb </li>
<li>Followed by D, with your 5th finger</li>
<li>And then, C, with your 4th finger </li>
</ul>
Here's a video on how to play the second phrase. Once again, follow the rhythms closely: 
 
<a href="https://youtu.be/p77vn0e977o?t=82"><img src="https://i.ytimg.com/vi/p77vn0e977o/maxresdefault.jpg" width="1280" height="720"></a>
 
The third phrase is a little trickier. To play this phrase, you have to:
<ul>
<li>Play two G notes with your thumb </li>
<li>Stretch up all the way to a high G and play it with your 5th finger</li>
<li>While holding down that high G note, Bring the rest of the your hand towards that 5th finger and reposition your hand around it. Once repositioned, play an 'E' note with your middle finger </li>
<li>Play a C note with your thumb</li>
<li>While holding that C note, cross your middle finger over the thumb to play an 'B' note</li>
<li>Reposition your hand around that 'B' note, and play 'A' with your second finger</li>
</ul>
Here's a video demonstration on how to play the third phrase: 
 
<a href="https://youtu.be/p77vn0e977o?t=132"><img src="https://i.ytimg.com/vi/p77vn0e977o/maxresdefault.jpg" width="1280" height="720"></a>
 
To play the last phrase of the song,
<ul>
<li>Reposition your right hand such that finger 4 is now on F and play that F note twice</li>
<li>Play an E note with your index finger </li>
<li>Play a C note with your thumb</li>
<li>Followed by a D note with your index finger</li>
<li>And then back to C with your thumb.</li>
</ul>
Here'a a video demonstration on how to play that last phrase: 
 
<a href="https://youtu.be/p77vn0e977o?t=204"><img src="https://i.ytimg.com/vi/p77vn0e977o/maxresdefault.jpg" width="1280" height="720"></a>
 
<h3>How To Play The Left Hand Part</h3>
 
The left hand part of the song is much easier than the right as it mainly involves holding long notes. You would start by:
 
<ul>
<li>Playing a C note with your 5th finger </li>
<li>Followed by 2 G notes with your thumb </li>
<li>And then back to C with your 5th finger</li>
<li>Play an E note with your 3rd finger</li>
<li>Followed by an F note with your index finger</li>
<li>You'd then play a D note with your 4th finger </li>
<li>Followed by a G note with your thumb </li>
<li>And finish off with a C note played by your 5th finger</li>
</ul>
 
Here's a video demonstration on how to play the left hand part. Be sure to take note of how to play it in rhythm: 
 
<a href="https://youtu.be/p77vn0e977o?t=251"><img src="https://i.ytimg.com/vi/p77vn0e977o/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>What To Take Note When Playing Happy Birthday On Piano</h2>
 
When playing any piece of music, it is most important to keep consistent time. Beginners at the piano often slow down when the passage is more difficult to play, and speed up when the passage is easier to play. Alternatively, it is also common for beginners at the piano to 'rush' through the pieces that they play, and continually get faster in tempo as they play a piece. This is what you would want to avoid. The best way to ensure that you are playing with consistent time, is to practice with a metronome; this is a practice aid that makes clicking sounds at consistent intervals. When practicing with a metronome, each metronome 'click' represents the duration of one crotchet beat.
 
Below is a video demonstration on how to play along with a metronome. 
 
<a href="https://youtu.be/p77vn0e977o?t=388"><img src="https://i.ytimg.com/vi/p77vn0e977o/maxresdefault.jpg" width="1280" height="720"></a>
 
Another thing that you would want to avoid is playing with 'sticky fingers'. This refers to physically holding on to a previous note when the next note is already played, which causes an overlap in sound from one note to the next. You'd want to avoid this overlap in sound. 
 
The last thing you'd want to take note of is to balance the volume between the hands. As the main melody is in the right hand, you'd want to make sure that the right hand is louder than the left. 
 
<h2>Happy Birthday Piano Sheet Free Download </h2>
 
 
<h2>You Can Play Happy Birthday On Piano Like A Pro </h2>
 
Playing the piano is not as easy as it looks. It takes a lot of patience, dedication, and practice. And the worst thing that could happen to a beginner at the piano is, 
 
<ol>
<li>To unknowingly spend significant amounts of time picking up poor piano techniques as habits</li>
<li>Wasting precious time on inefficient practice routines, that might speed up things in a short run, but very damaging for longer term learning. </li>
</ol>
But don't worry if you're a beginner and want to learn how to play the piano like a pro. All of these could be easily avoided with the proper guidance of an experienced piano teacher. Here at Alpha Piano Studio, we are offering two free trial lessons to all first timers with us! We conduct in-person one-to-one piano lessons in Singapore or online piano lessons for students who are overseas. <a href="https://www.alphapianostudio.com/contact-us" target="_blank">Sign up here</a>.]]></content:encoded></item><item><title><![CDATA[Top 10 Easy Piano Songs to Start your Piano Journey and Impress your Friends]]></title><description><![CDATA[Table Of Content Why You Should Learn How To Play The Piano Top 10 Easy Piano Songs To Play Ode To Joy Mary Had A Little Lamb Jingle...]]></description><link>https://www.alphapianostudio.com/post/top-10-easy-piano-songs</link><guid isPermaLink="false">62d4dffb5fa0933ef55a42a3</guid><pubDate>Tue, 30 Aug 2022 15:29:49 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_98d69e2f13494e18bafbfc73ec0d79b8~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[Table Of Content
<ul>
<li><a href="#b2ot7" rel="noopener noreferrer">Why You Should Learn How To Play The Piano</a> </li>
<li><a href="#ejgnf" rel="noopener noreferrer">Top 10 Easy Piano Songs To Play</a><ul>
<li><a href="#fstmm" rel="noopener noreferrer">Ode To Joy</a></li>
<li><a href="#9r94h" rel="noopener noreferrer">Mary Had A Little Lamb</a></li>
<li><a href="#508na" rel="noopener noreferrer">Jingle Bells</a></li>
<li><a href="#bmb0k" rel="noopener noreferrer">When The Saints Go Marching In</a></li>
<li><a href="#8mha5" rel="noopener noreferrer">London Bridge Is Falling Dow</a>n</li>
<li><a href="#oi4v" rel="noopener noreferrer">Brother John</a></li>
<li><a href="#8t3vb" rel="noopener noreferrer">Lavender's Blue</a></li>
<li><a href="#bndme" rel="noopener noreferrer">Twinkle Twinkle Little Star</a></li>
<li><a href="#fqko1" rel="noopener noreferrer">Chopsticks</a></li>
<li><a href="#969l7" rel="noopener noreferrer">Happy Birthday</a></li>
</ul></li>
<li><a href="#tuad" rel="noopener noreferrer">How to Play Easy Piano Songs like a Pro </a> </li>
</ul>
 
<h2>Why You Should Learn How To Play The Piano</h2>
 
Learning to play the piano can be a very rewarding experience. Not only does it give you the ability to express yourself through music, but it also gives you an outlet for your creativity. To kickstart your piano journey, we have picked out 10 beginner piano songs that you can easily learn to play!
 
<h2>Top 10 Easy Piano Piano Songs To Play </h2>
<figure><img src="https://static.wixstatic.com/media/715e36_98d69e2f13494e18bafbfc73ec0d79b8~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>1) Ode To Joy </h2>
 
The first easy piano song on our list is "Ode To Joy". It is a great song to start learning to play the piano with because it can be played with a 5-note hand position starting on C. This means that you would place your left most finger in each hand on C, and place each subsequent finger on the next adjacent white note. 
 
For the right hand, this means that:
<ul>
<li>Finger 1 (thumb) will be placed on C</li>
<li>Finger 2 (index finger) will be placed on the note, D</li>
<li>Finger 3 (middle finger) will be placed on the note, E</li>
<li>Finger 4 (ring finger) will be placed on the note, F</li>
<li>Finger 5 (pinky) will be placed on the note, G</li>
</ul>
For the left hand, this means that 
<ul>
<li>Finger 5 (pinky) will be placed on the note, C</li>
<li>Finger 4 (ring finger) will be placed on the note, D</li>
<li>Finger 3 (middle finger) will be placed on the note, E</li>
<li>Finger 2 (index) will be placed on the note, F</li>
<li>Finger 1 (thumb) will be placed on the note, G</li>
</ul>
See below for an illustration of the 5-note hand position starting on C in both hands 
 
<figure><img src="https://static.wixstatic.com/media/715e36_8a20922e01234de5b20ba5c6e86e3d92~mv2.jpg/v1/fit/w_806,h_426,al_c,q_80/file.png"></figure>
 
Once you have the 5-note hand position down, you're ready to start. Below you will find the piano sheet music for Ode To Joy
<figure><img src="https://static.wixstatic.com/media/715e36_25075fe8ff7c445e8c4bd55ceacd0605~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
Here's a video demonstration on how to play "Ode To Joy' on the piano 
 
<a href="https://youtu.be/gEkmcAc8tgc"><img src="https://i.ytimg.com/vi/gEkmcAc8tgc/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>2) Mary Had A Little Lamb </h2>
 
Another easy piano song that you can play as a beginner is 'Mary Had A Little Lamb'. As with "Ode To Joy", the notes of "Mary Had A Little Lamb" are limited to the notes in a 5-note hand position starting on C (<a href="#69r1p" rel="noopener noreferrer">see above</a> if you need a recap on what a 5-note hand position is), hence making it a perfect song for a beginner to learn how to play the piano. 
 
Below is the sheet music for Mary Had A Little Lamb:
 
<figure><img src="https://static.wixstatic.com/media/715e36_7c51125463294d30bc35be0a80f978f1~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
 
And, not forgetting a video demonstration of how to play it: 
 
<a href="https://youtu.be/fYbGfHxx_gw"><img src="https://i.ytimg.com/vi/fYbGfHxx_gw/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>3) Jingle Bells</h2>
 
Next on our list is the Christmas Carol that we are all too familiar with - "Jingle Bells"! "Jingle Bells" is yet another song whose notes are based on the notes found in a 5-note hand position starting on C. (We're almost done with 5-note hand position songs, just bear with us a little longer!) The sheet music for "Jingle Bells" is as follows:
 
<figure><img src="https://static.wixstatic.com/media/715e36_67af505f0ab34ed2a08bc700ea1cb8bc~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
You will notice from the above sheet music, that the length of Jingle Bells is twice as long as the first two songs on our list, thus making it slightly more difficult to play than the first two songs. Here is a video demonstration on how to play 'Jingle Bells' on the piano:
 
<a href="https://youtu.be/1LoIapiWXDE"><img src="https://i.ytimg.com/vi/1LoIapiWXDE/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>4) When The Saints Go Marching In</h2>
 
And up next, is the last song in this list that is based on the the 5-note hand position starting on C - 'When The Saints Go Marching In', a song that is most famously recorded by Jazz luminary, Louis Armstrong, and his orchestra in 1938. Below, you will find the sheet music for 'When The Saints Go Marching In'
<figure><img src="https://static.wixstatic.com/media/715e36_79eb3eb6b82241a985e0e52eb14d2c14~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
You will notice that in this arrangement of "When The Saints Go Marching In", we have included some harmonic intervals in the left hand part, as opposed to the previous songs, where only single notes were used the left hand part of the songs. 
 
Here's a video demonstration of how to play "When The Saints Go Marching In" on the piano:
 
<a href="https://youtu.be/GcPDLwH43yA"><img src="https://i.ytimg.com/vi/GcPDLwH43yA/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>5) London Bridge Is Falling Down</h2>
 
And now, for our fifth song, we have "London Bridge Is Falling Down". This is the first song in our list in which we are moving outside of the 5-note hand position; this time round, we will be using two different hand positions in the right hand: a 5-note hand position starting on D, and a 6-note hand position starting on C 
 
 The hand positions are as follows:
<ul>
<li>5-note hand position starting on D<ul>
<li>Finger 1 (thumb) of the right hand is positioned on D</li>
<li>Finger 2 (index finger) of the right hand is positioned on E</li>
<li>Finger 3 (middle finger) of the right hand is positioned on F </li>
<li>Finger 4 (ring finger) of the right hand is position on G</li>
<li>Finger 5 (pinky) of the right hand is positioned on A</li>
</ul></li>
</ul>
 
<ul>
<li>6-note hand position starting on C<ul>
<li>Finger 1 (thumb) of the right hand is positioned on C </li>
<li>Finger 2 (index finger) of the right hand is positioned on E</li>
<li>Finger 3 (middle finger) of the right hand is positioned on F </li>
<li>Finger 4 (ring finger) of the right hand is position on G</li>
<li>Finger 5 (pinky) of the right hand is positioned on A</li>
</ul></li>
</ul>
 
Refer to the pictures below to double check if you have gotten the 5-note hand position starting on D and 6-note hand position starting on C correctly.
 
5-note hand position starting on D:
<figure><img src="https://static.wixstatic.com/media/715e36_9608882e6c4b4f75a7f1da838b8bddbf~mv2.jpg/v1/fit/w_817,h_422,al_c,q_80/file.png"></figure>
 
6-note hand position starting on C:
 
<figure><img src="https://static.wixstatic.com/media/715e36_3b0de54e857c4e169721fe099dcd3830~mv2.jpg/v1/fit/w_748,h_426,al_c,q_80/file.png"></figure>
 
You will notice that the only difference between the two hand positions are where the thumb is placed: in the 6-note position, the thumb is placed on C, while in the 5-note position, it is placed on D. 
 
As for your left hand, it will remain in the 5-note hand position (starting on C) for this song, as with the preceding songs in this list.
 
The sheet music for "London Bridge Is Falling Down" is as follows:
<figure><img src="https://static.wixstatic.com/media/715e36_0cead23155c3430a93a499d2a4bf4f33~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
To play this song, your right hand will start in the 5-note hand position starting on D, hence, the first note of the song, G, is played with finger 4, as indicated on the sheet music. The right hand remains in this position for most of the song, until measure 8, where the thumb has to stretch down to reach for the C note at the end, as indicated in the sheet music.
 
Here is a video demonstration of how to play 'London Bridge Is Falling Down' on the piano: 
<a href="https://youtu.be/d_ka7ovaXOY"><img src="https://i.ytimg.com/vi/d_ka7ovaXOY/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>6) Brother John</h2>
 
The next easy piano song on our list is the popular lullaby, 'Brother John', which is also known as 'Are You Sleeping'. This song utilizes two different hand positions in the right hand: a 5-note hand position starting on C, and a 6-note hand position starting on C 
 
Hence the fingers are positioned as follows: 
<ul>
<li>5-note hand position starting on C<ul>
<li>Finger 1 (thumb) of the right hand is positioned on C</li>
<li>Finger 2 (index finger) of the right hand is positioned on D</li>
<li>Finger 3 (middle finger) of the right hand is positioned on E </li>
<li>Finger 4 (ring finger) of the right hand is position on F</li>
<li>Finger 5 (pinky) of the right hand is positioned on G</li>
</ul></li>
</ul>
 
<ul>
<li>6-note hand position starting on C<ul>
<li>Finger 1 (thumb) of the right hand is positioned on C </li>
<li>Finger 2 (index finger) of the right hand is positioned on E</li>
<li>Finger 3 (middle finger) of the right hand is positioned on F </li>
<li>Finger 4 (ring finger) of the right hand is position on G</li>
<li>Finger 5 (pinky) of the right hand is positioned on A</li>
</ul></li>
</ul>
Refer to the picture below to check if you have gotten the correct hand positions.
 
5-note hand position starting on C:
<figure><img src="https://static.wixstatic.com/media/715e36_8a20922e01234de5b20ba5c6e86e3d92~mv2.jpg/v1/fit/w_806,h_426,al_c,q_80/file.png"></figure>
 
6-note hand position starting on C:
<figure><img src="https://static.wixstatic.com/media/715e36_3b0de54e857c4e169721fe099dcd3830~mv2.jpg/v1/fit/w_748,h_426,al_c,q_80/file.png"></figure>
 
The sheet music for Brother John is as follows:
<figure><img src="https://static.wixstatic.com/media/715e36_b823b3a369c74fc693ba5b487700e8a1~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
The first four bars of the song are played with the 5-note hand position starting on C. However, from bar 5 onwards, because the melody utilizes the 'A' note, which is outside the range of the 5-note hand position, we will have to switch over to a 6-note hand position so that the 'A' note is covered within our hand position.
 
Refer to the video demonstration below to see how the hand position changes at bar 5, from a 5-note hand position starting on C, to a 6-note hand position starting on C
 
<a href="https://youtu.be/owfQydbUCfA"><img src="https://i.ytimg.com/vi/owfQydbUCfA/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>7) Lavender's Blue</h2>
 
And for our seventh easy piano songs for beginners, we have 'Lavender's Blue'. The hand positions that we will use is exactly the same as the ones we used with 'Brother John'. (click here if you need a recap)
 
Here's the sheet music for Lavender's Blue:
<figure><img src="https://static.wixstatic.com/media/715e36_14fb71ceadc54498b5eac8e4a3fc7dd2~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
For this song, we will be using mostly the 5-note hand position starting on C, with the exception of measures 3-4 and measures 11-12, where we would have to switch to a 6-note hand position starting on C (these are the same hand positions as "Brother John"; if you need a recap, click <a href="#oqkf" rel="noopener noreferrer">here</a>), in order to reach for the 'A' note. 
 
Here's a video demonstration of how to play Lavender's Blue on the piano; take note of the hand position changes in the video demonstration:
 
<a href="https://youtu.be/E6XOlMX-jhQ"><img src="https://i.ytimg.com/vi/E6XOlMX-jhQ/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>8) Twinkle Twinkle Little Star</h2>
 
The next song on our list is "Twinkle Twinkle Little Star". Once again, for this song, we will be using the same two hand positions as "Brother John" (click here if you need a recap). 
 
Here's the sheet music for Twinkle Twinkle Little Star: 
<figure><img src="https://static.wixstatic.com/media/715e36_c5ad0b161f9541ff89f14ea9106bca01~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
The hand position changes are as follows:
<ul>
<li>Measures 1-2: 6-note hand position starting on C</li>
<li>Measures 3-8: 5-note hand position starting on C</li>
<li>Measures 9-10: 6-note hand position starting on C</li>
<li>Measures 11-12: 5-note hand position starting on C</li>
</ul>
These hand positions are the same as those used in "Brother John" and "Lavender's Blue". Click <a href="#oqkf" rel="noopener noreferrer">here</a> if you need a recap
 
Refer to the video demonstration below and pay special attention to the hand position changes. 
 
<a href="https://youtu.be/fjiLUyc5Uo4"><img src="https://i.ytimg.com/vi/fjiLUyc5Uo4/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>9) Chopsticks</h2>
 
For our next song, we have 'Chopsticks', a waltz written in 1877 for the piano. For this song, we will using a 5-note hand position starting on F for the right hand, and a 5-note hand position starting on C for the left. Hence the hand position is as follows:
<ul>
<li>Right hand: 5-note hand position starting on F<ul>
<li>Finger 1 (thumb) of the right hand is positioned on F (inactive**)</li>
<li>Finger 2 (index finger) of the right hand is positioned on G</li>
<li>Finger 3 (middle finger) of the right hand is positioned on B </li>
<li>Finger 4 (ring finger) of the right hand is position on A</li>
<li>Finger 5 (pinky) of the right hand is positioned on C </li>
</ul></li>
</ul>
 
<ul>
<li>Left hand: 5-note hand position starting on C<ul>
<li>Finger 1 (thumb) of the right hand is positioned on C (inactive**)</li>
<li>Finger 2 (index finger) of the right hand is positioned on D</li>
<li>Finger 3 (middle finger) of the right hand is positioned on E </li>
<li>Finger 4 (ring finger) of the right hand is position on F</li>
<li>Finger 5 (pinky) of the right hand is positioned on G</li>
</ul></li>
</ul>
**You will notice that there is some overlap between the right and left hands, namely the thumbs of each hand cutting into the other hand's space. To get around this problem, our thumbs will be mainly inactive throughout the duration of the song, hence do not place them on any key. If you are not sure, <a href="#26f28" rel="noopener noreferrer">refer to the video below</a> to see how this is done. Here's the sheet music for 'Chopsticks'
<figure><img src="https://static.wixstatic.com/media/715e36_7e2f5c318e284d888a72d6184c5ce796~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
And here, a video demonstration of how to play Chopsticks on the piano
 
<a href="https://youtu.be/6T_RVWjOhUY"><img src="https://i.ytimg.com/vi/6T_RVWjOhUY/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>10) Happy Birthday</h2>
 
And for the final song in our list, we have 'Happy Birthday". The song uses two new hand positions:
<ul>
<li>5-note hand position starting on G (above middle C)<ul>
<li>Finger 1 (thumb) of the right hand is positioned on G</li>
<li>Finger 2 (index finger) of the right hand is positioned on A</li>
<li>Finger 3 (middle finger) of the right hand is positioned on B </li>
<li>Finger 4 (ring finger) of the right hand is position on C</li>
<li>Finger 5 (pinky) of the right hand is positioned on D</li>
</ul></li>
</ul>
 
<ul>
<li>5-note hand position starting on C (one octave above middle C)<ul>
<li>Finger 1 (thumb) of the right hand is positioned on C</li>
<li>Finger 2 (index finger) of the right hand is positioned on D</li>
<li>Finger 3 (middle finger) of the right hand is positioned on E </li>
<li>Finger 4 (ring finger) of the right hand is position on F</li>
<li>Finger 5 (pinky) of the right hand is positioned on G</li>
</ul></li>
</ul>
Do take note that the 5-note hand position starting on C in this song is different from the songs before as it now starts on the C that is one octave higher than middle C. Take a look at the following images to check your hand positions:
 
5-note hand position starting on G (above middle C):
<figure><img src="https://static.wixstatic.com/media/715e36_2c45ecc3841441e4950525516f1d15f5~mv2.jpg/v1/fit/w_911,h_440,al_c,q_80/file.png"></figure>
 
5-note hand position starting on C (one octave above middle C):
<figure><img src="https://static.wixstatic.com/media/715e36_dbab09b12c274f7c810c73edf2ccec04~mv2.jpg/v1/fit/w_920,h_430,al_c,q_80/file.png"></figure>
 
These are the things to take note when playing Happy Birthday on the piano:
<ul>
<li>From measure 5 to 6, we are changing from a 5-note hand position starting on G to a 5-note hand position starting on C (one octave above middle C) by stretching from the last 'G' note in measure 4 to the first 'G' note an octave higher in measure 5</li>
<li>From measure 6 to 7, we will cross finger 3 over the thumb to play the 'B' note. If we reposition the rest of the fingers around this 'B' note, we will find that we are now back in a 5-note position starting on 'G'</li>
<li>In measure 8, we would have to lift the hand entirely and reposition to a 5-note position starting on C, in order to play the 'F' note. The 'F' note will be played with the 4th finger</li>
</ul>
Here's a video demonstration on how to play "Happy Birthday" on the piano:
<a href="https://youtu.be/RLi65rQuR3s"><img src="https://i.ytimg.com/vi/RLi65rQuR3s/maxresdefault.jpg" width="1280" height="720"></a>
 
<h2>How To Play Piano Songs Like A Pro</h2>
 
To play the piano well, the best chance you can give yourself to achieve that, is to find a piano teacher or instructor. This will help you learn what you need to know about piano playing and will ensure that you are practicing correctly. These are some things that online videos and courses can never give to you as a piano student, but having a piano teacher will give you:
<ul>
<li>Feedback - This is by far, the most important thing in learning to play the piano. Be it feedback on your technique, missing details in your musical performance that you might not be aware of, bad habits that you might be forming, and so much more</li>
<li>Customized Pacing and Curating Of Educational Material - The keyword here is 'customized'. A good teacher is able to identify a student's needs that he or she might not be aware of (eg development of certain kinds of techniques to play specific types of passages, how to organize practice, etc), and curate material specially to meet those needs. </li>
</ul>
 
Having a good piano teacher saves you a lot of time figuring out what works and what doesn't. Here at Alpha Piano Studio, we offer piano lessons in Classical, Pop and Jazz styles, to students of all ages. <a href="https://www.alphapianostudio.com/trial-class" target="_blank">Sign up for two free trial lessons here</a> to supercharge your learning process today!
 
 
]]></content:encoded></item><item><title><![CDATA[How To Read Piano Sheet and Notes Like A Pro: Part 2]]></title><description><![CDATA[Welcome to part two of our blog series on how to read piano sheet music! In the first part of our blog, we learnt about: Stave (or staff)...]]></description><link>https://www.alphapianostudio.com/post/how-to-read-piano-sheet-and-notes-like-a-pro-part-2</link><guid isPermaLink="false">62af557797e1bcef18d6b836</guid><pubDate>Wed, 13 Jul 2022 10:14:52 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_44d80aa63fc34033b9a58f5b12bd0226~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
<figure><img src="https://static.wixstatic.com/media/715e36_44d80aa63fc34033b9a58f5b12bd0226~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
Welcome to part two of our blog series on how to read piano sheet music! In the <a href="https://www.alphapianostudio.com/post/how-to-read-piano-sheet" target="_blank">first part of our blog</a>, we learnt about:
<ul>
<li>Stave (or staff) </li>
<li>Note values (Semibreves, Minims, Crotchets)</li>
<li>Treble Clef and how to read treble clef notes</li>
</ul>
In this second part we will learn about:
<ul>
<li>Element 3: The Clef<ul>
<li><a href="#76p4q" rel="noopener noreferrer">Reading Notes On A Bass Clef </a> </li>
<li><a href="#d5kp4" rel="noopener noreferrer">Reading Bass Clef Notes A Little Faster - "All Cows Eat Grass" </a> </li>
</ul></li>
<li><a href="#600is" rel="noopener noreferrer">Element 4: Time Signature, Bars & Bar Lines</a> </li>
<li><a href="#1slti" rel="noopener noreferrer">Element 5: Rests</a> </li>
</ul>
<figure><img src="https://static.wixstatic.com/media/715e36_ab5b86fa99de4ea19c5a688c8af4aef3~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Reading Notes On A Bass Clef </h2>
 
The Bass Clef is often associated with the left hand in sheet music for piano players. (It is not always the case, but it would be good to assume so if you are just beginning to learn to read sheet music). In the illustration of an actual piano sheet music below, you will see two different staves with different clefs.
<figure><img src="https://static.wixstatic.com/media/715e36_c3070724bea649a1800e0b06da8ebe0d~mv2.jpeg/v1/fit/w_1000,h_500,al_c,q_80/file.png"></figure>
 
The stave on top is written in Treble Clef, and is to be played by the piano player's right hand, and the stave in the bottom is written in Bass clef, and is to be played by the piano player's left hand. 
 
In order to read the notes on a bass clef, you'd first want to familiarize yourself with where middle C is on a bass clef. Refer to the illustration below, on the left 
<figure><img src="https://static.wixstatic.com/media/715e36_9530f287962a4dc8aa71054f839afe56~mv2.jpg/v1/fit/w_1000,h_591,al_c,q_80/file.png"></figure>
 
By knowing where middle C on a bass clef is, you can figure out any other note on a bass clef by counting down the stave. See illustration above, on the right. Once again, notice that as you climb down the stave, it is done by step, in a line-space-line-space manner; be careful not to skip steps! Also note that this time round, as you are climbing down the stave, each subsequent note will follow the alphabetical order in reverse. 
 
With this knowledge, you should now be able to figure out any note on a bass clef, by counting down from the middle C note. Let's put this into action. Consider the following music excerpt: 
<figure><img src="https://static.wixstatic.com/media/715e36_ff3a253cdc0746d9a314ea45c62d4ec1~mv2.jpg/v1/fit/w_1000,h_591,al_c,q_80/file.png"></figure>
 
If we were trying to determine the first note in the above excerpt, here's how we can do it:
 
Step 1: Copy the note in question to an empty stave and write a middle C note beside it to compare it side by side. (See illustration below)
 
<figure><img src="https://static.wixstatic.com/media/715e36_4670d7f2d8134098b7ef7e9cdbf3a5e0~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
Step 2: Climb down the stave to get from middle C to the note in question. Be sure to do this by step, in a line-space-line-space manner. (see illustration below
 
<figure><img src="https://static.wixstatic.com/media/715e36_7ab3e4cdb9d541e8a8df63141dbf0041~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
 
Step 3: Label the each subsequent note according to the alphabetical order in reverse. (recall that since we are climbing down the stave, the order of the notes is the alphabet in reverse; e.g. one note below 'C', would be 'B') Refer to the illustration below
<figure><img src="https://static.wixstatic.com/media/715e36_771043baa5ee45f195dd5694d45ab94f~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
From the above illustration, you can see that the note in question is F. Hence, by counting down from middle C, we are able to figure out any note we want on a bass clef stave.
<figure><img src="https://static.wixstatic.com/media/715e36_ffdc602a00cc4abf96fc6182914e89d7~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Reading Bass Clef Notes A Little Faster - "All Cows Eat Grass"</h2>
 
Although we managed to figure out the bass clef note in question, one can easily see how this is a tedious process, especially with notes that are further away from middle C. Therefore, as with our reading of Treble Clef notes in Part 1 (click <a href="https://www.alphapianostudio.com/post/how-to-read-piano-sheet" target="_blank">here</a> if you have not yet read part 1), it would be helpful to remember more reference points to count from. For Bass Clef, the notes in the spaces are 'A', 'C', 'E', 'G'. An easy way to remember this is 'All Cows Eat Grass'. (See illustration below)
 
<figure><img src="https://static.wixstatic.com/media/715e36_0161aa18ce6443c9aa82414c48e132b0~mv2.jpg/v1/fit/w_1000,h_591,al_c,q_80/file.png"></figure>
 
This would give you more reference points to count from when you are trying to figure out a note in bass clef. Let's try out with an example. Recall the excerpt from before:
<figure><img src="https://static.wixstatic.com/media/715e36_ff3a253cdc0746d9a314ea45c62d4ec1~mv2.jpg/v1/fit/w_1000,h_591,al_c,q_80/file.png"></figure>
 
Let's say we are trying to figure out that first note in the above illustration. Here's how we would go about doing that:
 
Step 1: Copy the note in question to an empty stave and write the notes 'A', 'C', 'E', 'G' and middle C beside it to compare them side by side
 
<figure><img src="https://static.wixstatic.com/media/715e36_e66597027b25421e8f42acde654b308b~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
Step 2: Determine which reference point is nearest to the note in question. In this case, the nearest note in question is 'A'
<figure><img src="https://static.wixstatic.com/media/715e36_6cc14ba33f634c54bb377f2b102e5f56~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
 
Step 3: Climb down (or up) the stave to get from the nearest reference point to the note in question. Be sure to do this by step, in a line-space-line-space manner. (see below)
<figure><img src="https://static.wixstatic.com/media/715e36_24aab307b9f94c048bd459276962007d~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
 
Step 4: Label the note names accordingly (Refer to the illustration below)
<figure><img src="https://static.wixstatic.com/media/715e36_d39b382f2d6d45a29d978367f3832c66~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
From the above illustration, you can see that the note in question is two steps below our reference point of 'A'. Hence, counting down two steps from 'A', we would arrive at the note 'F'. 
 
From this, it should not be hard to appreciate the value of remembering that the notes in the spaces of a bass clef stave spell out 'A', 'C', 'E, 'G' ("All Cows Eat Grass") as it gives you more reference points to count from when trying to figure out notes on a bass clef. 
 
<figure><img src="https://static.wixstatic.com/media/715e36_6c769dfc28ad4700ad324f85832eaaee~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Element 4: Time Signature, Bars & Bar Lines </h2>
 
Now take a look at the sheet music excerpt below
<figure><img src="https://static.wixstatic.com/media/715e36_0851cfd4dd304a9c90c4cac85ae953eb~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
 
Notice how, in the illustration above, the music is separated into bars by the use of bar lines (see red text in the illustration above). 
 
It is important to note that the total time value of all the notes within a bar stays the same from bar to bar (see blue text and red text in the illustration below), and this total time value is determined by the time signature (see orange text in the illustration below)
 
<figure><img src="https://static.wixstatic.com/media/715e36_53354e2fb6934eadbc4ac9c1461d1093~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
 
In the above illustration, the time signature shown is 4/4 (see orange box). The time signature, 4/4, means that the total time value of a bar is equivalent to 4 crotchets.
 
In interpreting any given time signature we have the consider:
<ol>
<li>The Top Number - this dictates the number of beats</li>
<li>The Bottom Number - this dictates the type of beat<ol>
<li>'2' in the bottom refers to a minim (half note)</li>
<li>'4' in the bottom refers to a crotchet (quarter note)</li>
</ol></li>
</ol>
Here are some examples:
<figure><img src="https://static.wixstatic.com/media/715e36_2c2d7a12f189438eba19adb3074e533a~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
In the above shown 4/4 time signature, the total time value of each bar is equivalent to 4 crotchet (aka quarter note) beats.
<figure><img src="https://static.wixstatic.com/media/715e36_d2f5ad8890824540baa2eee74ccad6b0~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
In the above shown 3/4 time signature, the total time value of each bar is equivalent to 3 crotchet (aka quarter note) beats.
<figure><img src="https://static.wixstatic.com/media/715e36_55c453c87f834e439c2987ff9e7ad54f~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
In the above shown 2/4 time signature, the total time value of each bar is equivalent to 2 crotchet (aka quarter note) beats.
<figure><img src="https://static.wixstatic.com/media/715e36_1196b1057ac444cd9e733a8f76f13903~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
In the above shown 4/2 time signature, the total time value of each bar is equivalent to 4 minim (aka half note) beats.
<figure><img src="https://static.wixstatic.com/media/715e36_b5c3b0e194884c058d39a0a28076b052~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
In the above shown 3/2 time signature, the total time value of each bar is equivalent to 3 minim (aka half note) beats.
<figure><img src="https://static.wixstatic.com/media/715e36_148cedddbd3b46c79fd78431e6ed0adf~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
In the above shown 2/2 time signature, the total time value of each bar is equivalent to 2 minim (aka half note) beats.
 
<figure><img src="https://static.wixstatic.com/media/715e36_812c19eb4368450591994cfbd7318748~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Element 5: Rests</h2>
 
Apart from musical notation that instructs a player to play a note, there also exists musical notation that instructs a player not to play anything for specified durations of time - these are called 'rests'. During these 'rests', the player should ensure that the instrument is not making a sound - for a pianist, this means letting go of the key to stop the sound; for a guitarist, this means muting the strings for the duration of the rest.
 
Take a look at the excerpt of sheet music below to see some examples of rest notations:
<figure><img src="https://static.wixstatic.com/media/715e36_627ac037276b4acebb1b36f52bf8d117~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
 
From the above illustration, you can see that there are three different types of rest notation, with each of them indicating to the performer to 'rest' for different time durations.
 
The rest that you see on the left (see red text in illustration above) is a crotchet rest (also called a quarter note rest) The time duration of this rest is equivalent to that of a crotchet, hence its duration is one count.
 
The rest that you see in the middle (see blue text in illustration above) is a minim rest (also called a half note rest) The time duration of this rest is equivalent to that of a minim, hence its duration is two counts.
 
The rest that you see on the right (see orange text in illustration above) is a semibreve rest (also called a whole note rest) The time duration of this rest is equivalent to that of a semibreve, hence its duration is four counts.
 
It would be worth noting that a semibreve rest can be used as a full bar rest for time signatures 2/4 and 3/4 as well. Take a look at the example below: 
<figure><img src="https://static.wixstatic.com/media/715e36_0c3906c0ed4845eda4ae9f97b411a07d~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
In the above example, a semibreve rest is used in a context of 2/4 time signature. In this scenario, it is functioning as a full bar rest, hence its time duration is no longer 4 counts, but 2 counts. 
<figure><img src="https://static.wixstatic.com/media/715e36_da039b7471984b459b0120409d9fe476~mv2.jpg/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
In the above example, a semibreve rest is used in a context of 3/4 time signature. In this scenario, it is functioning as a full bar rest, hence its time duration is no longer 4 counts, but 3 counts. 
 
With that, we have come to the end of part 2 of our blog series on how to read sheet music. In part 3, we will be covering more new topics including quavers, semiquavers, dotted notes, accidentals and more!
 
]]></content:encoded></item><item><title><![CDATA[How To Read Piano Sheet and Notes Like A Pro: Part 1]]></title><description><![CDATA[Are you just beginning to learn how to play the piano? Or perhaps, you do have some experience playing music but have not learnt how to...]]></description><link>https://www.alphapianostudio.com/post/how-to-read-piano-sheet</link><guid isPermaLink="false">6285c6a64ed554d1db82b399</guid><pubDate>Fri, 17 Jun 2022 15:57:35 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_2765e336266b49138f43e31cd1bba0ae~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
<figure><img src="https://static.wixstatic.com/media/715e36_2765e336266b49138f43e31cd1bba0ae~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
Are you just beginning to learn how to play the piano? Or perhaps, you do have some experience playing music but have not learnt how to read music notation, and you want to take your playing to the next level. If any of the above is you, then you have come to right place! In this article, we will be going through how to read piano sheet and notes. 
 
Table Of Contents
<ol>
<li><a href="#efr1a" rel="noopener noreferrer">Why You Should Learn How To Read Music Notation </a> </li>
<li><a href="#16ci0" rel="noopener noreferrer">Element 1: The Stave</a> </li>
<li><a href="#33s1t" rel="noopener noreferrer">Element 2: Notes & Time Value</a> </li>
<li><a href="#2or2h" rel="noopener noreferrer">Element 3: The Clef</a> <ol>
<li><a href="#3ofpj" rel="noopener noreferrer">Reading Notes On A Treble Clef </a> </li>
<li><a href="#btlbo" rel="noopener noreferrer">Reading Notes On A Treble Clef Faster - "FACE in the SPACE"</a> </li>
</ol></li>
</ol>
 
<figure><img src="https://static.wixstatic.com/media/715e36_4d0bcba9e5de4c568eb6234386f8fb89~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Why You Should Learn How To Read Music Notation </h2>
 
If you're asking yourself 'Do I have to learn how to read music notation to be a good pianist?', you will find that there will always be no shortage of examples of pianists who made it very far in pursuit of their piano skills and musicianship without actually learning how to read. To name a few, pianists such as Erroll Garner, Stevie Wonder, and Aretha Franklin, were said to have not known how to read music notation. Hence, to answer the question, you don't necessarily have to learn how to read music notation to be a great pianist.
 
However, knowing this does not mean that you shouldn't learn to read musical notes and sheet music. There are many factors at play that influences the probability of success in one's journey to become a great pianist and musician, and if succeeding in that journey is something you want to achieve, then you'd also want to do things that increases the probability of your success. While learning to read musical notation does not definitively determine your eventual success as a piano player, it will certainly position you in a much better place to succeed. If you were able to read musical notation, it affords you a 'bird's eye view', or vantage point to consume the ideas, writings and musical thoughts of musicians who are more advanced than you. Hence, learning to read musical notation could potentially open up perceptions that you would otherwise not have if you did not learn to read sheet music. Knowing this, it shouldn't be hard to appreciate how learning to read piano sheet music could position you in a better place to succeed in your piano learning journey.
 
Without further ado, let's get on to how to actually read sheet music. We will break down the different elements of music notation step by step, from the most basic of elements first
 
<figure><img src="https://static.wixstatic.com/media/715e36_4a8d30f9a8b04aea961436fef0c4d3a6~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Element 1: The Stave (or Staff)</h2>
<figure><img src="https://static.wixstatic.com/media/715e36_1a3d2667f6a440f9879ae29bc0470ec1~mv2.jpeg/v1/fit/w_1000,h_400,al_c,q_80/file.png"></figure>
The Stave (also called Staff) is made up of five lines. (See above illustration) This is where music composers conveys their musical ideas, in the form of written musical notes, to the music performer; think of it as an instruction sheet from the music composer to the music performer.
<figure><img src="https://static.wixstatic.com/media/715e36_faf6af0fac43412a8d201f08025bced1~mv2.jpeg/v1/fit/w_1000,h_400,al_c,q_80/file.png"></figure>
 
In music notation, musical notes are represented by oval shapes that can be placed on the lines of the stave or in the spaces between the lines of a stave. See above illustration.
<figure><img src="https://static.wixstatic.com/media/715e36_6452f2fd52304d4ab3b13bf804dfa083~mv2.jpeg/v1/fit/w_1000,h_400,al_c,q_80/file.png"></figure>
In the above illustration, notice how the notes climb up the stave by step, in a line-space-line-space manner. The position of these notes in relation to the stave determines what note it is. For example, a note that is positioned higher up on the stave represents a note that is higher in pitch, and a note that that is positioned lower on the stave represents a note that is lower in pitch. 
 
<figure><img src="https://static.wixstatic.com/media/715e36_3f64dadec57a47bc80f0a49da0f1522b~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Element 2: Notes And Time Value</h2>
 
As mentioned above, musical notes are represented by oval shapes that are placed on the lines or in the spaces of a stave. Now take a look at the illustration below
<figure><img src="https://static.wixstatic.com/media/715e36_f9b15d449e0f4a229948820b66d00cb3~mv2.jpeg/v1/fit/w_1000,h_500,al_c,q_80/file.png"></figure>
The above shows an excerpt of an actual sheet music, and you will notice that there are more than one type of notes; not all notes look the same - some of the ovals are shaded in while others are not, and some ovals have stems attached to them. Let's refer to these varying looks of each note as a note's 'shape'. The 'shape' of a note determines the duration you would continue holding a note for (also referred to as the time value or beat duration of a note). The basic ones that you have to know are as follows:
<figure><img src="https://static.wixstatic.com/media/715e36_c2c5b2bce8ad4d898d791490741450fa~mv2.jpeg/v1/fit/w_1000,h_400,al_c,q_80/file.png"></figure>
Referring to the above illustration, the note shown on the left has a beat duration of four counts**, and it's also called semibreve (U.K.) or a whole note (U.S.).
 
**To say that a note has a 'beat duration of four counts', it means to press and hold down a note, and count to '4' before releasing it. When doing so, you would want to take note of a few things: 
<ul>
<li>start counting the exact moment the note is pressed, which means to say, when counting '1, 2, 3, 4' , '1' has to be spoken the exact moment the note is pressed. </li>
<li>the counts should be equal in duration, which means the time taken from saying '1' to '2' should be the same time duration taken from saying '2' to '3', and so on. There should not be speeding up or slowing down</li>
<li>The release of the note happens after 4 counts, which means that when counting '1, 2, 3, 4' , you should not be releasing the note at the same time you say '4'; the release of the note happens after. Hence it would be a good practice to say '1, 2, 3, 4, UP', and release the note at the same time you say 'UP'. </li>
</ul>
 
The note shown in the middle (the one that has an additional 'stem' compared to the semibreve/whole note, and it has a beat duration of two counts. It is also called a minim (U.K.) or a half note (U.S.).
 
The note shown on the right (the one that looks like a minim/half note, but has the oval shaded in) has a beat duration of one count. It is also called a crotchet (U.K.) or a quarter note (U.S.)
 
<h2>Element 3: The Clef</h2>
<figure><img src="https://static.wixstatic.com/media/715e36_c3070724bea649a1800e0b06da8ebe0d~mv2.jpeg/v1/fit/w_1000,h_500,al_c,q_80/file.png"></figure>
The positioning of the notes on the stave alone, is not enough to determine what pitch a note is; one has to also consider the clef, which is a symbol that appears on the far left of the stave. In the above illustration of an actual piece of sheet music, you will see two different kinds of clefs labelled: 1) treble clef, and 2) bass clef. There are other clefs apart from these clefs but we will only concern ourselves with these two clefs for now. 
<figure><img src="https://static.wixstatic.com/media/715e36_d5097e78a4484599ba2b06bb528a46d4~mv2.jpeg/v1/fit/w_1000,h_400,al_c,q_80/file.png"></figure>
Refer to the illustration above. Notice how the position of the note on the stave is exactly the same (third line from the bottom), but they refer to different notes. The note on the left is a "B" note, while the note of the right is a "D" note. This is because the note on the left is read in treble clef, and the note on the right is read in bass clef; notes on a treble clef and bass clef are read differently. We will now learn how to read the notes on each of these clefs.
 
<figure><img src="https://static.wixstatic.com/media/715e36_35e47700eb12483ea0df73ea6211161b~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Reading Notes On A Treble Clef </h2>
<figure><img src="https://static.wixstatic.com/media/715e36_8d080fa7304f43fdbeec5d3bfb9c8a9b~mv2.jpeg/v1/fit/w_1000,h_400,al_c,q_80/file.png"></figure>
The first note that you want to get to know on a treble clef is a middle C. This is shown in the above illustration. By knowing where middle C is on a treble clef, you can figure out all the other notes on the stave by counting up or down the stave in steps. Refer to the illustration below
<figure><img src="https://static.wixstatic.com/media/715e36_d9410de3ef20450b9f232b5d7a66e9ab~mv2.jpeg/v1/fit/w_1000,h_400,al_c,q_80/file.png"></figure>
 
Notice how, as the notes climb up the stave by step, in a line-space-line-space manner, each subsequent note is the next alphabet in the alphabetical order, with the exception of 'G', which is followed by 'A' instead of 'H'.
 
If you are brand new to music and are having trouble understanding why letter 'G' is not followed by 'H', then you'd want to know that there are only seven basic notes in music, and they are represented by the seven alphabets that run from 'A' to 'G' . Hence, after letter 'G', the sequence resets back to 'A'
 
Up till this point, you should have enough knowledge to figure out any Treble clef note written on a stave. Let's try to put this into practice. Take for example the following sheet music excerpt:
<figure><img src="https://static.wixstatic.com/media/715e36_e4e71735d8e34ab68b97d905e0554f13~mv2.jpeg/v1/fit/w_1000,h_400,al_c,q_80/file.png"></figure>
If you are brand new to reading music notation and are trying to determine the first note shown in the above sheet music, here's a way that you can do it. 
 
Step 1: Copy the note in question to an empty stave and write a middle C note beside it to compare.them side by side (See below)
<figure><img src="https://static.wixstatic.com/media/715e36_bf8d2a5def134ecb99071a5df05a606b~mv2.jpeg/v1/fit/w_1000,h_500,al_c,q_80/file.png"></figure>
Step 2: Climb up the stave to get from middle C to the note in question. Be sure to do this by step, in a line-space-line-space manner; be careful not to skip steps! (see below)
<figure><img src="https://static.wixstatic.com/media/715e36_1fdf632d471648129b9290f627666bf3~mv2.jpeg/v1/fit/w_1000,h_500,al_c,q_80/file.png"></figure>
 
Step 3: Label each subsequent note according to the alphabetical order (see illustration below), not forgetting to 'reset' to 'A' after every 'G' note.
<figure><img src="https://static.wixstatic.com/media/715e36_8625fb5b6e3b40208365843d4aa8aaf0~mv2.jpeg/v1/fit/w_1000,h_500,al_c,q_80/file.png"></figure>
As you can see from the illustration above, the note in question is 'G'. Hence, by counting up from middle C, you can figure out any note you want as long as they are on the stave.
 
However, this method of figuring out notes can be a bit tedious, especially when you are trying to figure out the notes that are further up the stave and far away from middle C. As these further notes take more steps to count to, it takes a longer time to determine what notes they are, and the longer counting process also means that there is more potential for mistakes to occur. There is however, a faster way to figure out notes for those who are just beginning to learn to read sheet music, which brings us to the next part.
 
<figure><img src="https://static.wixstatic.com/media/715e36_6495283586dd490eb316d18e3e8e09cd~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Reading Treble Clef Notes A Little Faster - "FACE in the SPACE"</h2>
 
To make this counting process less tedious for someone who's just starting to learn to read sheet music, it would be helpful to remember more reference points (other than middle C) to count up or down from. For treble clef, it would be helpful to remember that the notes in the spaces spell out the word "FACE". (See below)
<figure><img src="https://static.wixstatic.com/media/715e36_d70b325905cd4f449457c5bf727e30ee~mv2.jpeg/v1/fit/w_1000,h_400,al_c,q_80/file.png"></figure>
Hence, many teachers and online resources commonly teach students to remember "FACE in the SPACE". Knowing this, you now have a total of five reference points (four new ones on top of the initial reference point, middle C) to count up or down from when trying to figure out a note
 
Let's put this into application to see how it shortens the process of reading our notes. Let's refer once again to the music excerpt from before
<figure><img src="https://static.wixstatic.com/media/715e36_e4e71735d8e34ab68b97d905e0554f13~mv2.jpeg/v1/fit/w_1000,h_400,al_c,q_80/file.png"></figure>
 
Step 1: Copy the note in question to an empty stave and write the notes 'F', 'A', 'C', 'E' and middle C beside it to compare them side by side. See below illustration
<figure><img src="https://static.wixstatic.com/media/715e36_a1355359074b468996a7fa0269928313~mv2.jpeg/v1/fit/w_1000,h_500,al_c,q_80/file.png"></figure>
Step 2: Determine which reference point is nearest to the note in question. In this case, the nearest note in question is 'E'. See below illustration.
<figure><img src="https://static.wixstatic.com/media/715e36_023a8df6d2c04d3db9c4bdfd49cb8034~mv2.jpeg/v1/fit/w_1000,h_500,al_c,q_80/file.png"></figure>
 
Step 3: Climb up (or down) the stave to get from the nearest reference point to the note in question. Be sure to do this by step, in a line-space-line-space manner. (see below)
<figure><img src="https://static.wixstatic.com/media/715e36_1a0d71840ac94a11ba6d9ba67f3a776c~mv2.jpeg/v1/fit/w_1000,h_500,al_c,q_80/file.png"></figure>
 
Step 4: Label the notes accordingly. If you are counting up the stave, each subsequent note is the next letter in the alphabetical order (or if you are counting downwards the stave, the order of the alphabets will be reversed). Refer to the illustration below
<figure><img src="https://static.wixstatic.com/media/715e36_95946c87db8748deba8d984975961fc2~mv2.jpeg/v1/fit/w_1000,h_500,al_c,q_80/file.png"></figure>
 
From the above illustration, you can see that the note in question is two steps away from our reference point of 'E'. Hence, counting up two steps from 'E', we would arrive at the note 'G'. 
 
It shouldn't be hard to appreciate, then, that by remembering 'FACE in the SPACE', we have more reference points to count from, and this would shorten the counting process when trying to read a note. 
 
With that, we conclude Part 1 of how to read piano sheet music and notes like a pro! In Part 2, we will continue with the Bass Clef and more!]]></content:encoded></item><item><title><![CDATA[All You Need To Know About Scales When Playing The Piano]]></title><description><![CDATA[Perhaps, to many piano students, the very mention of scales would bring to mind dreadful and tiresome experiences of practicing them. Are...]]></description><link>https://www.alphapianostudio.com/post/piano-scales</link><guid isPermaLink="false">624b332b8c82939d6b92dc78</guid><pubDate>Fri, 06 May 2022 08:48:51 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_88c2e3002bed447f9979a2cc766d7efb~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
<figure><img src="https://static.wixstatic.com/media/715e36_88c2e3002bed447f9979a2cc766d7efb~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
Perhaps, to many piano students, the very mention of scales would bring to mind dreadful and tiresome experiences of practicing them. Are practicing scales really necessary? This article will help you understand all you need to know about scales, and there is a freebie pdf download right at the end, be sure to grab it!
 
Table Of Contents
<ol>
<li><a href="#6aald" rel="noopener noreferrer">What Are Scales?</a> </li>
<li><a href="#evq3i" rel="noopener noreferrer">Why You Should Practice Scales</a> </li>
<li><a href="#519ni" rel="noopener noreferrer">How To Practice Scales</a> </li>
<li><a href="#87r9" rel="noopener noreferrer">All The Basic Scales You Need To Know</a> <ol>
<li><a href="#d79rn" rel="noopener noreferrer">Major</a></li>
<li><a href="#8cvbf" rel="noopener noreferrer">Harmonic Minor</a> </li>
<li><a href="#fensa" rel="noopener noreferrer">Melodic Minor</a></li>
<li><a href="#e67gh" rel="noopener noreferrer">Natural Minor</a></li>
</ol></li>
<li><a href="#v7ej" rel="noopener noreferrer">Jazz Scales & Other Common Scales</a> <ol>
<li><a href="#7140f" rel="noopener noreferrer">Major Pentatonic</a> </li>
<li><a href="#dpqag" rel="noopener noreferrer">Minor Pentatonic</a> </li>
<li><a href="#1epfs" rel="noopener noreferrer">Major Blues</a> </li>
<li><a href="#5ialh" rel="noopener noreferrer">Minor Blues</a> </li>
<li><a href="#79mfo" rel="noopener noreferrer">Altered Scale</a> </li>
<li><a href="#8f018" rel="noopener noreferrer">Lydian Dominant Scale</a> </li>
<li><a href="#1c87n" rel="noopener noreferrer">Diminished Scale (Half-Whole)</a> </li>
<li><a href="#cfsrq" rel="noopener noreferrer">Diminished Scale (Whole-Half)</a> </li>
<li><a href="#57d5g" rel="noopener noreferrer">Augmented Scale</a> </li>
<li><a href="#590ij" rel="noopener noreferrer">Whole Tone</a> </li>
<li><a href="#bisdp" rel="noopener noreferrer">Chromatic Scale</a> </li>
<li><a href="#fogbu" rel="noopener noreferrer">Modes</a> <ol>
<li><a href="#8donv" rel="noopener noreferrer">Ionian</a> </li>
<li><a href="#9stfi" rel="noopener noreferrer">Dorian</a> </li>
<li><a href="#163gc" rel="noopener noreferrer">Phrygian</a> </li>
<li><a href="#1pbi2" rel="noopener noreferrer">Lydian</a> </li>
<li><a href="#bn666" rel="noopener noreferrer">Mixolydian</a> </li>
<li><a href="#9f05v" rel="noopener noreferrer">Aeolian</a> </li>
<li><a href="#e7lsl" rel="noopener noreferrer">Locrian</a> </li>
</ol></li>
</ol></li>
<li><a href="#1qgo6" rel="noopener noreferrer">Download Piano Scales Book in PDF </a> </li>
</ol>
 
<figure><img src="https://static.wixstatic.com/media/715e36_22cfafdd30e74660874403ed8127b133~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>What Are Scales?</h2>
 
A surprising number of piano students are not able to answer this question in a meaningful way, nor make the connection between scales and the music that they play or listen to. Perhaps this is where the dread of practicing scales come from; after all, given time, anyone who does not have a clear idea of the purpose of doing something, will most certainly come to see it as a do-for-the-sake-of-doing-it chore. It would then be prudent to first think about the question: what are scales? 
 
There's more than one way to answer this question, but let's approach this from a utilitarian standpoint. Imagine for a moment, that you were a composer of music who's brand new to the craft. Now, with all the 12 (chromatic) notes of music available to you to compose a piece of music, it can seem a little overwhelming with the amount of possibilities that having 12 notes presents. What do we do then?
 
Imagine, then, that if someone came along and told you, "Hey, if you made music only using C, D, Eb, G, it gives you a dark sound; it's most useful for composing music that sounds sad or anguished; or possibly something cool and hip given the right rhythms". 
Now, that would've been useful because it narrowed down your choices from 12 notes to 4 specific notes, and there was also a particular mood associated with this set of 4 notes. You begin to wonder to yourself, "Are there more of these sets of notes? Perhaps one with brighter sounds and colors that I can use for a happier composition. Or perhaps one with a blues-ey sound to it so I can compose something cool with it?"
 
Ladies and gentleman, this is exactly what scales are: they are pools of notes that composers draw upon, to craft music compositions. Whether they contain 4 notes, 5 notes, 6 notes, or more, each scales has its own unique character and sound. Yes, for those who have been brought up on a musical diet of only 7-note scales such as major and minor scales, it may be hard to wrap one's head around the idea that there are such things as 4 or 5-note scales, or the fact that there's an entire world of scales beyond the major scale and 3 minor scales. But your journey into scales is just beginning at this point.
<figure><img src="https://static.wixstatic.com/media/715e36_a3fbd9d93f2a4b038ce0ebecb69914a7~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Why You Should Practice Scales</h2>
 
Now that we have established what scales are, it shouldn't be hard, then, to appreciate some very direct benefits of being familiar with your scales. Given that scales are the basic material that composers use to write music, mastering your scales should, in theory, puts you in a better position to quickly make sense of any new musical material that you are attempting to learn. 
 
For example, mastering your scales translates to strengthening your key awareness - knowing what notes belong in a key, and what notes do not belong. This means that when learning a new piece of music from written notation, there would not be a need to continuously check every new note read against the key signature to see if the note needs to be sharpened or flattened - a poor habit of a good number of piano students. With a strong key awareness, you would simply know which ones need to be sharpened and flattened, unless you see an accidental that states otherwise.
 
Mastering your scales should also, in theory, build better intuition towards determining fingering choices for any given situation. This is especially so if it the passage that you are trying to learn uses scalar patterns or scale fragments. In these cases, having mastered your scales, your fingers should intuitively default to the fingering that has been practiced in your scales.
 
If you were a pop piano accompaniments with an interest in playing chords, mastering your scales translates into having a strong key awareness, and this directly pertains to the ability to transpose songs into different keys quickly, which is a useful skill for playing with different lead players or singers with differing keys. But even before transposition, mastering your scales also means that you will be better positioned to quickly construct chords that are unfamiliar to you.
 
For a newer student of the piano, practicing scales also provides an opportunity to strengthen the fingers and develop the most basic coordination skills between the hands. 
 
Practicing your scales can also take on the role of shorter term goals or objectives in your practice routine. Think of practicing scales as practicing tiny pieces; practicing your scales provides the perfect bite-sized opportunity to develop mindfulness - the building one's mental muscle to pre-emptively think, hear and visualize ahead of time.
 
<figure><img src="https://static.wixstatic.com/media/715e36_a02595d6af524b95a5a8bc877114fa06~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>How To Practice Scales</h2>
 
You might have noticed that I used the term 'in theory' multiple times when discussing the benefits of practicing scales. Yes, this was deliberate. After all, for every benefit that one could potentially derive from practicing scales, there is always a way to miss the learning objective and the accompanying benefits when practicing scales. The question is then, how do you know if you're practicing them right? Here's a few pointers
 
<h3>Pointer #1: Always Practice With The Correct Fingerings</h3>
 
Practicing with correct fingerings is key to building speed and consistency. When practicing scales, it doesn't count as a correct repetition if the fingering is incorrect. 
 
<h3>Pointer #2: Practice Only Begins After You Get It Right</h3>
 
Practice only starts proper after getting several correct repetitions; if you are in the habit of approaching practice with a 'try-until-you-get-it' manner, and conclude your practice the moment you get one or two correct repetitions, you will not benefit from such practice. 
 
<h3>Pointer #3: Practice With A Steady Pulse </h3>
 
When practicing your scales, play them with a steady pulse. A metronome will serve you well to this end. 
 
<h3>Pointer #4: Adjust The Unit Of Repetition</h3>
 
Having the correct fingerings, a steady pulse, and consistency is a non-negotiable. However, if you are having trouble holding these three things together, don't just take a 'try it again' or 'try until you get it' approach. Adjust the unit of repetition to something smaller in order to balance these three things. Here's what I mean, if you can't play the whole scale correctly in a consistent manner, adjust the 'unit of repetition' (the thing that you repeat during your practice) from the entire scale to only playing a small number of notes from the scale, for example, the first 4 notes of the scale. Practice just the first 4 notes until you can balance all three aspects (fingering, steady pulse, consistency) every single time you play them. Only then do you add more notes to the unit of repetition, and it can be just one single note (eg practicing the first 5 notes, after you've mastered the first 4 notes). Be patient with your practice!
 
<h3>Pointer #5: Teach It Back. Verbally Only!</h3>
 
After having practiced a scale, ask yourself the following question: if you were to placed in the piano teacher's seat and had to teach back the scale to someone else the same scale verbally, would you be able to do it? Here's the catch: while you're doing this, it has to be purely verbally; you're not to place your hands on the keys or gesture in the air how you would play the scale, lest this exercise loses its purpose. The idea here is to strengthen your mindfulness of what you intend to play and the ability to visualize. Too many students rely on momentum to practice without developing any meaningful mindfulness of what they are playing and the actions they are taking at the piano; this is a classic example of the expression, 'the tail (hands) wagging the dog (mind)'. This leads to lack of consistency and a lesser ability to make connections between one piece of knowledge to another. A big part of the act of playing the piano begins from the mind, and as such, when doing this 'teach back' exercise, it should be done only verbally; the idea is to remove the physical component of practice and isolate just the mental aspect of practice.
 
<h3>Pointer #6: Switching Between Scales Without False Starts</h3>
 
After having practiced a couple scales, ask yourself the following question: are you able to switch back and forth between the scales that your know without 'false starts'? For example, if you have already practiced the scales of C and G major, try practice switching back and forth between them - one repetition of C, followed by one repetition of G, and back to C, and then G again, and so on. When doing this exercise, are you able to switch between keys without making any mistakes? Or do you find yourself constantly playing a few incorrect repetitions first before getting it right during the key changes? For example, you might find yourself playing the first couple of notes of the scale, and then realizing you made some kind of mistake, before starting from the beginning of the scale again - this is what I refer to as 'false starts'. These 'false starts' are the signs and symptoms of a lack of mindfulness as mentioned in the earlier point. If you find yourself habitually having 'false starts' when switching between the scales you have practiced, then it is an indication that you have to rework your scales with greater mindfulness.
 
<h3>Pointer #7: Knowing Your Scale Degrees At The Snap Of A Finger</h3>
 
For any number of scales that you may have learnt, ask yourself the following question: how quickly are you able to visualize your scales to answer questions like, 'What is 6th note of a F# harmonic minor scale?'. If answering a question like this invokes a need to play out the scale or even pretend to play out the scale without a keyboard, it is an indication that there can still be more to be done to internalize the scale, and that the scale is not 'mastered'. 
 
<h3>Mindfulness Is Key</h3>
 
You might have noticed by now, that a big recurring theme of the last three pointers is mindfulness. Indeed, mindfulness is one of the biggest aspects of mastery, but it can be a little elusive of definition, hence the last three pointers has been given as a litmus test of sorts for mindfulness; it is not definitive, but gives a rough gauge of whether more can be done to master your scales. 
 
 
<figure><img src="https://static.wixstatic.com/media/715e36_90aea82ef4364ca7974de3ccfdee2081~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>All The Basic Scales You Need To Know</h2>
 
Below is a list of all the scales you need to know, and for simplicity, they are written in the key of C. 
 
<h3>Major Scale</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_f9910c4c6fe84ad48aa1e3c8b458f7e6~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The major scale is the most basic of scales. It is constructed using the following intervallic structure 
 
Tone-Tone-Semitone-Tone-Tone-Tone-Semitone
 
Knowing your major scales can be very useful as many teaching resources would define other scales, chords and harmonic techniques and/or analysis terms in relation to the major scale, using a numbering system (sometimes referred to as 'scale formulas'**). 
 
For example, a textbook with a topic on scales might say, "The Minor Blues Scale is constructed with the following scale formula: 1, b3, 4, #4, 5, b7" 
 
In this case, 'b3' would refer to a regular 3rd note in a major scale, but flattened (lowered by half a step). Hence, if you were trying to figure out what a 'b3' is in a C minor blues scale:
3 = 3rd note in C major scale = E
hence, b3 = Eb 
 
However, had you not known your major scales, you would not be able to figure out what a regular 3rd note is, let alone a flattened 3rd note. Hence, it would serve you well to know your major scales.
 
** The term 'scale formulas' are used loosely to mean different things by different people. It would be good to know the differences. For some, 'scale formulas' refer to numeric descriptions of scales with reference to the major scale. For example, someone might say, "the scale formula for natural minor scale is 1, 2, b3, 4, 5, b6, b7". For others, 'scale formulas' refer to intervallic structures. For example, someone might say, "the scale formula for harmonic minor is Tone-Semitone-Tone-Tone-Semitone-Tone-Tone"
 
<h3>Harmonic Minor Scale</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_112b0cea1553425cbd409ba315d0d406~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The harmonic minor scale is characterized by a raised 7th note. If described as a numeric scale formula, it would be as follows:
 
1, 2, b3, 4, 5, b6, 7
 
<h3>Melodic Minor Scale</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_b1d2853406fd4184af88274fecbfec5b~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The melodic minor scale has two forms: the ascending form and the descending form. For the ascending form (see scale above), the 6th and 7th scale degrees are raised. The numeric scale formula is as follows:
 
1, 2, b3, 4, 5, 6, 7
 
<figure><img src="https://static.wixstatic.com/media/715e36_1483ed4327254f8c8f2ae737921ab9e6~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
For the descending form (see scale above), the 6th and 7th scale degrees revert to their original form. The numeric scale formula is as follows:
 
1, 2, b3, 4, 5, b6, b7
 
<h3>Natural Minor Scale</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_c86340cafebe4722be93e7d181581980~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
Unlike the harmonic and melodic minor (ascending) scales, the natural minor scale does not have any alterations; in other words, the notes of the scale are purely determined by the key signature. It also happens to be the same scale as the descending form of the melodic minor scale. Hence, the natural minor scale also follows the same numeric formula:
 
1, 2, b3, 4, 5, b6, b7
 
<figure><img src="https://static.wixstatic.com/media/715e36_59f6b50a1a364513adfc6a83313a9050~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
<h2>Jazz Scales & Other Common Scales</h2>
 
<h3>Major Pentatonic Scale </h3>
<figure><img src="https://static.wixstatic.com/media/715e36_9a8a23ff6f064ec1a7aa12d3399d98d6~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The major pentatonic scale is made up five notes with the following numeric scale formula: 
 
1, 2, 3, 5, 6
 
The major pentatonic scale is often taught as a beginner's jazz scale for improvisation over the blues. At the same time, it is a versatile scale that is often used in many other musical traditions, such as traditional Chinese music. 
 
A little extra trivia about the major pentatonic scale: the notes of a major pentatonic scale can be reorganized into a stack of perfect fifth intervals starting from the key note. For example, the notes of a C major pentatonic are as follows:
 
C, D, E, G, A
 
We can reorganize the notes in the following order, such that it forms a stack of perfect fifth intervals starting from the note, C:
 
C, G, D, A, E
 
To put in other words, one might also say that the major pentatonic is constructed by a series of perfect fifth intervals. 
 
<h3>Minor Pentatonic Scale</h3>
 
<figure><img src="https://static.wixstatic.com/media/715e36_a47654f4d7f6476aa7884ceaa6873c20~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The minor pentatonic scale is made up five notes with the following numeric scale formula: 
 
1, b3, 4, 5, b7
 
As with the major pentatonic scale, the minor pentatonic scale is also often taught as a beginner's jazz scale for improvisation over the blues. It should also be worth noting, that for every minor pentatonic scale, there is a major pentatonic scale made up of the same notes. For example, the above illustrated C minor pentatonic scale is made up of the same notes as the Eb major pentatonic scale. It is very much like how the key of C minor and Eb major are relative keys.
 
<h3>Major Blues Scale </h3>
<figure><img src="https://static.wixstatic.com/media/715e36_635b9e36178b41898de5a208c8bfac27~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The major blues scale is almost identical to the major pentatonic scale with the exception of one additional note: the #2 note. The numeric scale formula for the major blues scale is as follows:
 
1, 2, #2, 3, 5, 6
 
The #2 serves as a chromatic note between 2 and 3, and is referred to as the 'blue note', because it gives the scale an extra bluesy quality. 
 
<h3>Minor Blues Scale</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_d5d3270a9790442c8df238dd72da3eff~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The minor blues scale is also almost identical to the minor pentatonic scale with the exception of one addition note: the #4. The numeric scale formula for the major blues scale is as follows:
 
1, b3, 4 ,#4, 5, b7
 
The #4 serves as a chromatic note between 4 and 5, and is referred to as the 'blue note' due to the extra bluesy quality it brings to the scale.
 
<h3>Altered Scale</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_de180c0c48794539a05c4f82632c98f2~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The altered scale is often taught as a jazz scale for improvisation over dominant seventh chords. The numeric scale formula for the altered scale is as follows:
 
1, b9, #9, 3, #11, b13, b7
 
The altered scale gets its name from the fact that it uses all possible altered tension notes. It is also worth noting that for every altered scale, there is a melodic minor scale and a lydian dominant scale (discussed further below) that contains the exact same notes. For example, note the following relationship between the scales:
 
C altered scale = C# melodic minor scale = F# lydian dominant scale
 
Knowing these scale relationships can help de-mystify the improvisation process for jazz improvisers.
 
<h3>Lydian Dominant Scale</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_20a01aa014b144e99903d910b911409d~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The lydian dominant scale has the following numeric scale formula:
 
1, 2, 3, #11, 5, 6, b7
 
The lydian dominant scale is often used on dominant seventh chords whose function is serving as a tritone substitution chord. It is worth noting that for every lydian dominant scale, there is a melodic minor scale and an altered scale that contains the exact same notes. Note the following scale relationships:
 
C lydian dominant scale = G melodic minor scale = F# altered scale
 
<h3>Diminished Scale (Half-Whole)</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_ee481ae18111414b8eceaba3a4fbd105~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The diminished scale (half-whole) is made up of a series of alternating half step intervals and whole step intervals. For example, to construct a diminished scale (half-whole), one would follow theses steps:
 
Interval between 1st and 2nd note: half step
Interval between 2nd and 3rd note: whole step
Interval between 3rd and 4th note: half step
Interval between 4th and 5th note: whole step
Interval between 5th and 6th note: half step
Interval between 6th and 7th note: whole step
Interval between 7th and 8th note: half step
 
The half-whole diminished scale gets its name from the fact that it starts with a half step interval first in the alternating pattern between half steps and whole steps. Confused about the name? Read on. This will make more sense when compared to the next scale: the whole-half diminished scale.
 
<h3>Diminished Scale (Whole-Half)</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_7b920b1bec00489ea6d0d7f4cb6a9073~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
In contrast to the half-whole diminished scale, the whole-half diminished scale is also constructed with a series of alternating whole and half step intervals, but this time, the sequence starts with a whole step instead of a half step:
 
Interval between 1st and 2nd note: whole step
Interval between 2nd and 3rd note: half step
Interval between 3rd and 4th note: whole step
Interval between 4th and 5th note: half step
Interval between 5th and 6th note: whole step
Interval between 6th and 7th note: half step
Interval between 7th and 8th note: whole step
 
Both diminished scales are applied on diminished 7th chords and dominant seventh chords in improvisation. It is also worth noting that both diminished scales are what is known as 'symmetrical' scales. While the meaning of what that means is outside the scope of this article, the implication of the diminished scales being 'symmetrical' scales is that every diminished scale contains the same notes as 3 other diminished scales. For example, note the following scale relationships:
 
C diminished scale = Eb diminished scale = F# diminished scale = A diminished scale
 
This also means that unlike regular scales that can have 12 keys (eg, you can have major scales in 12 different keys), there are only 3 diminished scales: 
 
C diminished scale (same as Eb, F#, and A diminished scale)
C# diminished scale (same as E, G, and Bb diminished scale)
D diminished scale (same as F, Ab, and B diminished scale)
 
Another interesting trivia about diminished scales is that each diminished scale is made up of two diminished seventh chords superimposed on top of each other. For example, a C whole-half diminished scale is made up of the chord tones of the two following chords:
 
C diminished seventh chord (chord tones are: C, Eb, F#, A)
D diminished seventh chord (chord tones: D, F, Ab, B)
 
<h3>Augmented Scale</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_369636aff7ff451f83fe90072824c410~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The augmented scale is constructed by taking the notes of an augmented triad, and adding chromatic notes below the chord tones. For example, a C augmented triad is made up of the notes, C, E, and G#. Hence, to construct a C augmented scale, we would take these notes, and add the notes that are chromatically below them:
 
The note that is chromatically below C is B
The note that is chromatically below E is D#
The note that is chromatically below G# is G
 
We would end up with the following notes: C, D#, E, G, G#, B. This would be your C augmented scale. 
 
Another way to think about the scale is that it is constructed by superimposing two augmented triads on top of one another. In the case of a C augmented scale, the two augmented triads are: 
 
C augmented triad (chord tones are: C, E, G#)
B augmented chord (chord tones are: B, D#, G)
 
Like the diminished scale, the augmented scale is also a 'symmetrical' scale. Note the following scale relationships:
 
C augmented scale = E augmented scale = G# augmented scale
 
The implication of this would be that there are only 4 possible augmented scales, and they are:
 
C augmented scale (same as E and G# augmented scale)
C# augmented scale (same as F and A augmented scale)
D augmented scale (same as F# and Bb augmented scale)
Eb augmented scale (same as G and B augmented scale)
 
<h3>Whole Tone Scale </h3>
<figure><img src="https://static.wixstatic.com/media/715e36_b945700011464c7eb2c32e15b3efddda~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The whole tone scale is constructed with a series of whole step intervals. This means that the interval from one note in the scale to the next is always a whole step away. The whole tone scale has a dreamy and mysterious quality to it. Like the diminished and augmented scales, the whole tone scale is also a 'symmetrical' scale. The implication of this is that there are only 2 possible whole tone scales, and they are:
 
C whole tone scale (same as D, E, F#, G#, A# whole tone scales)
C# whole tone scale (same as Eb, F, G, A, B whole tone scales)
 
<h3>Chromatic Scale</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_e49df3c75fe64dd596eb63a933a48693~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The chromatic scale is constructed with a series of half step intervals. This means that the interval from one note in the scale to the next is always a half step away. 
 
<h3>Modes</h3>
 
To understand what modes are, think of them as a procedure of generating more scale possibilities from a single parent scale; and for most purposes, this parent scale would be the major scale. The idea behind modes is to generate more scale possibilities by moving the key centre to the different scale degrees of the major scale. For example, if we were to take a C major scale, and took the 2nd scale degree as the key centre, we would get a mode/scale that we refer to as D dorian. This scale would be made up of the following notes:
 
D, E, F, G, A, B, C 
 
If we continue this train of thought, and moved the key centre down each scale degree, we get the following scales/modes:
 
Taking the 2nd scale degree as key centre, we get D Dorian (D, E, F, G, A, B, C)
Taking the 3rd scale degree as key centre, we get E Phrygian (E, F, G, A, B, C, D)
Taking the 4th scale degree as key centre, we get F Lydian (F, G, A, B, C, D, E)
Taking the 5th scale degree as key centre, we get G Mixolydian (G, A, B, C, D, E, F)
Taking the 6th scale degree as key centre, we get A Aeolian (A, B, C, D, E, F, G)
Taking the 7th scale degree as key centre, we get B Locrian (B, C, D, E, F, G, A)
 
You will notice that every one of these scales/modes contains the exact same notes as a C major scale, which begs the question for almost everyone learning about modes for the first time: "why not just call all of them C major instead of giving it 6 other names?". The answer is key centre. In a C major scale, the key centre is the note, C, whereas in D dorian, the key centre is the note, D; in E Phrygian, the key centre is the note, E, and so on.
 
If you're still having trouble wrapping your mind around that, then perhaps transposing all those modes back to a key centre of C might give a better perspective how modes generates more scale possibilities. After all, it doesn't make much sense to compare scales of differing key centres. By transposing all of the above mentioned modes back to C, we get the following scales:
 
C Dorian = C, D, Eb, F, G, A, Bb
C Phrygian = C, Db, Eb, F, G, Ab, Bb
C Lydian = C, D, E, F#, G, A, B
C Mixolydian = C, D, E, F, G, A, Bb
C Aeolian = C, D, Eb, F, G, Ab, Bb
C Locrian = C, Db, Eb, F, Gb, Ab, Bb
 
We can now compare apples to apples given that they share the same key centre of C, and it should be easier to appreciate how modes generate more scale possibilities.
 
You might notice that I have used the terms scales and modes interchangeably. It would be worth noting that you will find a difference of opinion amongst different groups of people on whether these terms should be used interchangeably. On technicality, there is a difference. But given that we've established earlier on, that scales are pools of notes from which composers (or improvisers) craft their compositions (or improvisations) from, distinguishing between modes and scales is not a useful technicality worth pursuing. After all, modes are also pools of notes from which composers/improvisers craft their compositions/improvisations from. With that, let us now go into the details of all the modes
 
<h3>Ionian</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_6e671f0e40fa49d3add962acaf299297~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
You will notice that amongst the modes mentioned before, the Ionian mode is not one of them. The Ionian mode is the name given to the mode when the key centre is on the first degree of the parent major scale. This works out to be exactly the same scale as a C major scale, and with the same key centre. Hence, there is virtually no difference between a C Ionian and C major scale at all. However, it is still worth knowing as there will be music resources using the lingo, "C Ionian".
 
<h3>Dorian</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_7a3ea6d4771a48e29df78464c0ea4e4a~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The Dorian mode is the name given to the mode when the key centre is on the 2nd degree of the parent major scale. Hence, if we were trying to work backwards to figure out the parent major scale of say, C dorian, we would take the note C, and ask ourselves, "If C were to be the 2nd scale degree of a major scale, what would that major scale be?". And the answer would be Bb major. Hence, the C dorian mode would be made up of the same notes as a Bb major scale, with the only difference being that the key centre is now on C instead of Bb.
 
The numeric scale formula for the dorian scale is as follows:
 
1, 2, b3, 4, 5, 6, b7
 
The dorian mode has a similar sound to a minor scale, but what gives the dorian mode its unique sound is the major 6th scale degree. One of the most popular songs that are derived from the dorian scale is "Scarborough Fair".
 
<h3>Phrygian</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_05bbcfa46a85411dab6d77a5e214758b~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The Phrygian mode is the name given to the mode when the key centre is on the 3rd degree of the parent major scale. Hence, if we were trying to work backwards to figure out the parent major scale of say, C Phrygian, we would take the note C, and ask ourselves, "If C were to be the 3rd scale degree of a major scale, what would that major scale be?". And the answer would be Ab major. Hence, the C Phrygian mode would be made up of the same notes as a Ab major scale, with the only difference being that the key centre is now on C instead of Ab.
 
The numeric scale formula for the phrygian scale is as follows:
 
1, b2, b3, 4, 5, b6, b7
 
The Phrygian mode is almost identical to a natural minor scale, with the exception of the b2 scale degree, which gives it an even darker sound than your typical minor scales. 
 
 
<h3>Lydian</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_052932ed05564b5fa84a6d243e3db156~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The Lydian mode is the name given to the mode when the key centre is on the 4th degree of the parent major scale. Hence, if we were trying to work backwards to figure out the parent major scale of say, C Lydian, we would take the note C, and ask ourselves, "If C were to be the 4th scale degree of a major scale, what would that major scale be?". And the answer would be G major. Hence, the C Lydian mode would be made up of the same notes as a G major scale, with the only difference being that the key centre is now on C instead of G.
 
The numeric scale formula for the lydian scale is as follows:
 
1, 2, 3, #4, 5, 6, 7
 
The Lydian scale is almost identical to a major scale with the exception of the #4 scale degree which gives the mode a dreamy quality.
 
<h3>Mixolydian</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_1a379c1e314e485db9b4c743db662a63~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The Mixolydian mode is the name given to the mode when the key centre is on the 5th degree of the parent major scale. Hence, if we were trying to work backwards to figure out the parent major scale of say, C Mixolydian, we would take the note C, and ask ourselves, "If C were to be the 5th scale degree of a major scale, what would that major scale be?". And the answer would be F major. Hence, the C Mixolydian mode would be made up of the same notes as a F major scale, with the only difference being that the key centre is now on C instead of F.
 
The numeric scale formula for the mixolydian scale is as follows:
 
1, 2, 3, 4, 5, 6, b7
 
 
<h3>Aeolian</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_8f3cb9593f264181b99f637a653a3088~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The Aeolain mode is the name given to the mode when the key centre is on the 6th degree of the parent major scale. Hence, if we were trying to work backwards to figure out the parent major scale of say, C Aeolian, we would take the note C, and ask ourselves, "If C were to be the 6th scale degree of a major scale, what would that major scale be?". And the answer would be Eb major. Hence, the C Aeolian mode would be made up of the same notes as a Eb major scale, with the only difference being that the key centre is now on C instead of Eb.
 
The numeric scale formula for the aeolian scale is as follows:
 
1, 2, b3, 4, 5, b6, b7
 
The Aeolian mode is the exact same scale as the natural minor scale
 
<h3>Locrian</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_31eedb9f15ac49a6869ef6b668fcf552~mv2.jpeg/v1/fit/w_1000,h_300,al_c,q_80/file.png"></figure>
The Locrian mode is the name given to the mode when the key centre is on the 7th degree of the parent major scale. Hence, if we were trying to work backwards to figure out the parent major scale of say, C Locrian, we would take the note C, and ask ourselves, "If C were to be the 7th scale degree of a major scale, what would that major scale be?". And the answer would be Db major. Hence, the C Locrian mode would be made up of the same notes as a Db major scale, with the only difference being that the key centre is now on C instead of Db.
 
The numeric scale formula for the locrian scale is as follows:
 
1, b2, b3, 4, b5, b6, b7
 
 
<h2>PDF Download: Major & Minor Scales In All 12 Keys</h2>
 
]]></content:encoded></item><item><title><![CDATA[ABRSM Singapore - The Best Guide And All You Need To Know (2022)]]></title><description><![CDATA[If you have come across the name, ABRSM, in your music pursuits, and are not sure what it is, fret not! This guide will help you...]]></description><link>https://www.alphapianostudio.com/post/abrsm-singapore</link><guid isPermaLink="false">622f6c68ec1f074431f33bb4</guid><pubDate>Thu, 31 Mar 2022 04:44:02 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_5ac7a51d5e5c4f53a27fa86302601411~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
<figure><img src="https://static.wixstatic.com/media/715e36_5ac7a51d5e5c4f53a27fa86302601411~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
If you have come across the name, ABRSM, in your music pursuits, and are not sure what it is, fret not! This guide will help you understand everything you need to know about ABRSM
 
Contents:
<ol>
<li><a href="#1gr3j" rel="noopener noreferrer">What is ABRSM?</a> </li>
<li><a href="#3sf97" rel="noopener noreferrer">What Music Examinations does ABRSM offer?</a> </li>
<li><a href="#eoghp" rel="noopener noreferrer">What is ABRSM Performance Grades? </a> </li>
<li><a href="#cpusf" rel="noopener noreferrer">How does ABRSM's Online Exams (Performance Grades) work? </a> </li>
<li><a href="#5hbiv" rel="noopener noreferrer">What to expect for ABRSM Singapore Practical Grade Exam? </a> </li>
<li><a href="#1qhns" rel="noopener noreferrer">How do I apply for ABRSM examinations (Singapore)?</a> </li>
<li><a href="#dbu3a" rel="noopener noreferrer">ABRSM Online Music Theory Exams (Grades 1-5) </a></li>
</ol>
<h2></h2>
<h2></h2>
<h2>What Is ABRSM?</h2>
 
ABRSM stands for the Associate Board of the Royal Schools of Music, and it is most popularly known as an organization that conducts music examinations, and awards graded music qualifications from beginner up till diploma level. The ABRSM exam board is based in the UK, but the music examinations conducted by ABRSM are widely available in many parts of the world. ABRSM examinations are available in Singapore, and its graded music qualifications are popularly pursued by many piano students, with many piano teachers in Singapore preparing their students for the ABRSM music examinations.
 
 
 
<h2>What music examinations does ABRSM offer?</h2>
 
ABRSM conducts the following examinations, arranged in order of level (first on the list being the lowest level of qualification, and last on the list being the highest level of qualification):
<ul>
<li>Prep Test</li>
<li>Practical Initial Grade </li>
<li>Grades 1-8 (Performance Grades and/or Practical Grades*)</li>
<li>ARSM (Diploma)</li>
<li>DipABRSM (Diploma)</li>
<li>LRSM (Diploma)</li>
<li>FRSM (Diploma)</li>
</ul>
Amongst the above, the Grades 1 to 8 examinations are the most popularly applied for. *Read further for clarification on what is Performance Grades and Practical Grades.
 
Furthermore, ABRSM also conducts music theory examinations from Grades 1-8, and these are as popular as their Performance Grades and Practical Grades examinations. 
 
Here's a list of instruments that ABRSM conducts exams and awards music qualifications for: 
<ul>
<li>Music Theory (non-instrument specific)</li>
<li>Piano</li>
<li>Bowed Strings<ul>
<li>Violin</li>
<li>Viola</li>
<li>Cello</li>
<li>Double Bass</li>
</ul></li>
<li>Woodwind<ul>
<li>Descant Recorder </li>
<li>Treble Recorder</li>
<li>Flute</li>
<li>Oboe</li>
<li>Clarinet</li>
<li>Bassoon</li>
<li>Saxophone</li>
</ul></li>
<li>Brass<ul>
<li>Horn</li>
<li>Trumpet/Cornet/Flugelhorn</li>
<li>E Flat Horn</li>
<li>Trombone</li>
<li>Baritone & Euphonium</li>
<li>Bass Trombone </li>
<li>Tuba</li>
</ul></li>
<li>Harp<ul>
<li>Harp (Pedal)</li>
<li>Harp (Non Pedal)</li>
</ul></li>
<li>Percussion <ul>
<li>Percussion (Combined)</li>
<li>Snare Drum</li>
<li>Timpani</li>
<li>Tuned Percussion</li>
</ul></li>
<li>Other Instruments<ul>
<li>Singing</li>
<li>Musical Theatre </li>
<li>Organ</li>
<li>Harpsichord </li>
<li>Guitar</li>
</ul></li>
<li>Jazz<ul>
<li>Jazz Piano</li>
<li>Jazz Flute</li>
<li>Jazz Clarinet</li>
<li>Jazz Saxophone</li>
</ul></li>
</ul>
 
<figure><img src="https://static.wixstatic.com/media/715e36_06c9c6b3e7f5478d8fb25856a736b02b~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
 
<h2>What are ABRSM Performance Grades? </h2>
 
It might escape one's notice initially, but ABRSM Performance Grades are to be distinguished from ABRSM Practical Grades. What is the difference between ABRSM's Performance Grades and Practical Grades? ABRSM Performance Grades refer to its online examinations, whereas ABRSM Practical Grades refer to its face-to-face examinations. While these examinations share some similarities, they are not entirely the same. Refer to the list below to understand the different components to the exam
<ul>
<li>Practical Grades consists of 4 exam components<ul>
<li>3 Exam Pieces</li>
<li>Sight Reading </li>
<li>Aural</li>
<li>Scales & Arpeggios </li>
</ul></li>
<li>Performance Grades consists of 1 exam component<ul>
<li>4 Exam Pieces in video recording </li>
</ul></li>
</ul>
ABRSM Practical and Performance Grades are considered equivalent qualifications.
 
 
 
<h2>How does ABRSM's Online Exams (Performance Grades) work?</h2>
 
To recap, ABRSM's performance grades consist only of 1 component, and that is to perform 4 exam pieces in an uninterrupted and unedited video recording. 
 
As with the face-to-face Practical Grade examinations, the online Performance Grade exam candidates are required to choose their pieces from the same ABRSM exam repertoire list that we mentioned previously. To recap, this exam repertoire list changes every two years, and is divided into 3 further lists, commonly known as List A, List B, and List C. Candidates of the online Performance Grade examinations are required to choose one piece from each list. 
 
The fourth piece is a piece of the candidates own choice, but it should be of similar level as the other pieces chosen. To avoid any potential confusion on what constitutes 'similar level', most candidates simply choose their fourth piece from ABRSM's exam repertoire list for the same grade. And as the fourth piece is the candidate's own choice piece, candidates are free to choose from any of the lists in the same grade (List A, B or C)
 
Before the performance of the 4 pieces, candidates have to do two things:
 
 
1. Show to the camera these 3 things (Be sure that the details on each of the following items are clearly visible in the footage before moving on to the next)
<ul>
<li>An official photo ID (eg, NRIC/Passport for Singaporeans)</li>
<li>A completed program slip (available for download on ABRSM's website)</li>
<li>The opening of the own-choice piece/song score shown to the camera before the performance begins. If the candidate chose their own choice piece from ABRSM's exam repertoire list, then this would not be necessary.</li>
</ul>
 
2. Make an introductory announcement. This is essentially a verbal read-thru of all the details in the completed program slip shown to the camera earlier. At the end of the performance announcement, it would be advisable make it clear to the camera that the candidate is about to begin the performance by saying out verbally "I will now begin my performance". 
 
For candidates under the age of 18, it is permissible for an adult (referred to by ABRSM as 'responsible adult') to show the above forms and documents to the camera, and also make the introductory announcement 
 
Thereafter, the performance of the 4 exam pieces begins.
 
Other important requirements include:
<ul>
<li>For keyboard instruments such as the piano. The whole of the keyboard must be visible, and where possible, the pedals should also be in view. </li>
<li>If a responsible adult not actively involved in the performance is in the room, they should remain still and silent during the performance and be situated out of the camera view. </li>
<li>Video file must be one of the following formats: MP4, WMV, MOV or MPG, and the file size must not exceed 2 GB.</li>
</ul>
 
<h2></h2>
<figure><img src="https://static.wixstatic.com/media/715e36_a535387163014b21bba6a33c55becd1e~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
 
<h2>What to expect for ABRSM Singapore Practical Grade Exam ?</h2>
 
Due to COVID restrictions, Practical Grade (face-to-face) exams in Singapore are currently not available until further notice. However, should it resume at a later date, ABRSM Practical Grades examinations consists of 4 components. Just to recap what these 4 components are:
<ul>
<li>3 Exam pieces </li>
<li>Sight Reading</li>
<li>Scales and Arpeggios</li>
<li>Aural Test</li>
</ul>
Exam piece: Candidates are expected to choose 3 pieces from ABRSM's exam repertoire list which changes every two years. So if you are taking the exam in 2022, for example, the relevant year of syllabus is 2021-2022. ABRSM also divides its exam repertoire list into 3 lists, commonly known as List A, List B and List C. In choosing their 3 pieces for the examination, candidates are required to pick one piece from each list. ABRSM publishes exam repertoire books for such as <a href="https://shop.abrsm.org/shop/prod/ABRSM-Piano-Exam-Pieces-2021-2022-ABRSM-Grade-1/2405520" target="_blank">this</a>, which clearly states the year of syllabus and grade on the cover page.
 
Sight Reading: During the exam, the examiner will present candidate with a never-seen-before music piece. Candidate will be given half a minute to prepare before performing it to the examiner. 
 
Scales and Arpeggios: Scales and Arpeggios are technical exercises, and they are to be played from memory. Examiners will test at least one scale/arpeggio from each grade’s category. 
 
Aural Test: This a test of the candidates listening skills. The examiner will play the piano, and based on what the examiner plays, the candidate is expected to perform various tasks or answer questions based on what he or she hears the examiner plays. Questions tested will vary from basic recognition of rhythm, singing short phrases by memory to answering of questions from a piece played by examiner depending on the grade. 
 
In order to pass the ABRSM Exam, candidates are required to score a minimum of 100 marks to pass; 120 marks for merit and 130 marks for distinction. After the exam, candidates will receive a breakdown of their examination scores by each component and a certificate for passing the exam. This is received via mail, approximately six weeks after the exam date for Grade 6 to 8 paper based exams
 
During the exam, it is required to bring an Identification Card/ Passport for verification purposes. Candidates are expected to show up at least 15 minutes before their allocated exam slot to register and have enough time to get ready for the exam. Even if pieces are going to be performed by memory, it is still a requirement to bring the official copy of the exam pieces book. 
 
There is no restriction of age for ABRSM exams and candidate can also choose to begin at any grade. However, for Grade 6 and above, candidates will be required to have attained a Grade 5 ABRSM Online Theory Exam Certificate or its equivalence upon application.
 
After completing Grade 8, candidates may choose to pursue further qualification taking ABRSM’s Diploma Qualifications. There are 4 different level of diploma qualifications available namely ARSM, DipABRSM, LRSM and FRSM exam. (In order of progression)
 
<figure><img src="https://static.wixstatic.com/media/715e36_fc62c55a1fed46f681a9530f39dac401~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
 
<h2>How do I apply for ABRSM examinations (Singapore)?</h2>
 
ABRSM accepts submission for online exams (Performance Grades exam) every month. Typically, if you are trying to get your video submitted in a certain month, the application would take place in the first half of the month before, and the application window typically lasts for a week. For example, at the time of this writing, if you are trying to get your video submitted for exam grading in May 2022, the actual application window is from 06 April (15:00 Local) – 13 April (07:59 Local). It is also advisable to book it as early as possible within the application window, as the number of exam submissions that ABRSM accepts in each submission period is limited. Furthermore, application is done through an online portal where candidates would have to book specific deadlines within the submission period, which means to say, if one were to make a booking later in the application period, he or she may find that only the slots with earlier deadlines are left.
 
Before COVID, ABRSM typically conducts face-to-face examinations thrice a year (called 'Session 1', 'Session 2' and 'Session 3'). However, given the current COVID regulations in Singapore, application dates for face-to-face examinations (Practical Grades) are still under review. ABRSM intends to hold examinations in late June, with the application period starting from 11 April (07:00 Local) to 21 April (23:59 Local).
 
<figure><img src="https://static.wixstatic.com/media/715e36_87be5494d0854be9b32367cd9ddf927e~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
 
<h2>ABRSM Online Music Theory Exams (Grades 1-5) </h2>
 
ABRSM now offers online music theory exams for Grades 1-5 on demand. Candidates are able to book an exam anytime and are required to complete the exam within 28 days of making the booking. To take the exam, candidates must register for an ABRSM account using the link and Contact ID provided by ABRSM via email immediately after booking of the examination. It may take up to three hours for the exam link to appear in the candidate's ABRSM account. Thereafter, the candidate may take the exam on any date and time within 28 days of the exam booking.
 
The examination is administered through a specialized proctoring software called RPNow, which is downloadable on ABRSM's website. It is very important to take note of the following things before taking the exam. 
 
 
<h3>Items To Prepare For the Online Music Theory Exam</h3>
<ul>
<li>Photo ID</li>
<li>Blank paper (plain or manuscript) and pen or pencil</li>
</ul>
Candidates are required to show these items to the camera during the exam set up procedure. For the blank paper, there must be no text, notation, or images on the paper, and the both sides of the paper must be shown to the camera during the exam set up to confirm that they are indeed blank. At the end of the exam, candidates must hold up the paper to the camera and destroy it, ideally by tearing it into pieces.
 
 
<h3>Room Requirements</h3>
 
As part of the exam set up procedure, candidates are required to do a room scan. The exam room should not have any open books or open notes; these must remain closed and out of sight and out of reach of the candidate. There should be no depiction of musical notation or representation of a piano keyboard, including an actual piano. If any such depiction are present, they should be covered and out of the candidate's sight.
 
 
<h3>Online Music Theory Exam Set Up</h3>
 
To launch the exam, log in to the candidate's ABRSM account and click 'Start Music Theory Exam' on the dashboard. This will launch and install the RPNow Proctoring software. Before the online music theory exam starts proper, the proctoring software will guide candidates through an exam set up procedure, which consists of the following:
<ul>
<li>Make sure all other apps, softwares, and browsers are closed; the proctoring software will not allow the exam to proceed until this is done. </li>
<li>Show the candidate's Photo ID to the camera </li>
<li>Perform a room scan - candidates will need to show the entire room, including the floor and underside of the table that the candidate is using. Any blank paper (plain or manuscript) has to be shown to the camera as part of the room scan.</li>
<li>Take a photo of the candidate</li>
</ul>
See the video below from ABRSM on an example of how the exam set up procedure works.
<a href="https://www.youtube.com/watch?v=e-uuOCXD124"><img src="https://i.ytimg.com/vi/e-uuOCXD124/maxresdefault.jpg" width="1280" height="720"></a>
After the exam set up procedure is complete, the online music theory exam will then commence, and the session will be recorded (desktop, webcam and audio) until the exam window is closed at the end of the exam. Before closing the exam window, do not forget to tear up any paper used in the exam and this should be done in front of the camera where it can be seen clearly. 
 
Disclaimer: The time of this writing is 30 Mar 2022, please check with ABRSM's website if procedures have changed or if details defer from region to region. The author of this article assumes no responsibility or liability for any errors or omissions in the content of this site]]></content:encoded></item><item><title><![CDATA[Top 8 Piano Shops in Singapore]]></title><description><![CDATA[Looking for a Piano Shop in Singapore to buy a Piano is tough. We have brought out the best piano shops in Singapore to bring out the Virtuo]]></description><link>https://www.alphapianostudio.com/post/piano-shop-singapore</link><guid isPermaLink="false">6220e9cf5d28f86fc5c6c75a</guid><pubDate>Thu, 10 Mar 2022 09:40:33 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_641109ef63f34fdca9f89de96a49dd13~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
<figure><img src="https://static.wixstatic.com/media/715e36_641109ef63f34fdca9f89de96a49dd13~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
Content
<ol>
<li><a href="#47h9q" rel="noopener noreferrer">Yamaha</a> </li>
<li><a href="#5dcnv" rel="noopener noreferrer">Cristofori</a> </li>
<li><a href="#edtq1" rel="noopener noreferrer">Century Piano</a> </li>
<li><a href="#b2olo" rel="noopener noreferrer">Chiu Piano</a> </li>
<li><a href="#b25v7" rel="noopener noreferrer">Prince Piano</a> </li>
<li><a href="#dlrko" rel="noopener noreferrer">Luther Music</a> </li>
<li><a href="#35afj" rel="noopener noreferrer">Asia Piano</a> </li>
<li><a href="#7q43t" rel="noopener noreferrer">Music Lodge</a> </li>
</ol>
 
 
Looking to buy a piano in Singapore but not sure where to start or how to go about it? You've come to the right place! In this article, we've put together a list of ten trusted piano shops in Singapore to buy your piano from.
 
 
 
<h2>What to look out in a Piano Shop Singapore </h2>
 
The most important thing to look out for in a piano shop is that it must have experienced piano technicians servicing and maintaining their pianos, and who can be trusted to select only piano suppliers and manufacturers of the highest quality. However, unless you are an insider, it may be hard to determine which piano shop in Singapore can be trusted. But not to worry, we are here to help you narrow down your search to a few trusted piano shops in Singapore.
 
 
 
<h2>What types of piano is available in a Singapore Piano Shop </h2>
 
Before you purchase a piano, you have to decide if you are going to buy an acoustic piano or a digital piano. (Yes! Apart from acoustic pianos, we have also included a piano shop for digital pianos in this list for those who are looking for one).
 
The next question to ask yourself is, if you are getting an acoustic piano, do you want a grand piano or an upright piano? A grand piano typically gives a greater range of volume and tone (think bright vs dark tones), and they also have the una corda and Sostenuto pedal, which many upright pianos do not have. These features are not absolutely necessary as a large range of repertoire do not require them. 
 
If you are getting an upright piano, you might also want to consider getting an 'exam model'. 'Exam model' pianos refer to upright pianos that are above the height of 120cm, which is the minimum requirement for pianos used in graded piano examinations. It is considered by many as crucial to get an 'exam model', especially for those intending to pursue graded piano examinations.
We'll be introducing the top 8 best Piano Shops in Singapore for you!
 
 
<hr>
 
<h2>Top 8 Piano Shop in Singapore</h2>
 
 
<h3>1. Yamaha Piano Shop</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_641109ef63f34fdca9f89de96a49dd13~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
When it comes to pianos, Yamaha is arguably the most popular and trustworthy brand around. Founded in 1887, Yamaha has a longstanding history of instrument manufacturing as they first began manufacturing pianos since 1900. Yamaha is also renowned for its consistent and high QC (quality control) standards. If you are looking to buy a Yamaha piano, there are multiple Yamaha piano shop Singapore outlets. Here's a list of all the major Yamaha outlets 
<ul>
<li>Plaza Singapore Branch, <ul>
<li>68 Orchard Road #06-01 Plaza Singapura Singapore 238839</li>
<li>+65 6740 9841</li>
</ul></li>
<li>Thomson Plaza Branch, <ul>
<li>301 Upper Thomson Road #03-24 Thomson Plaza Singapore 574408</li>
<li>+65 6740 9388</li>
</ul></li>
<li>Tampines Mall Branch <ul>
<li>4 Tampines Central 5 #05-04 Tampines Mall Singapore 529510</li>
<li>+65 6740 9871</li>
</ul></li>
<li>Djitsun Mall Branch<ul>
<li>5 Ang Mo Kio Central 2 #03-05/06 Djitsun Mall Singapore 569663</li>
<li>+65 6740 9301</li>
</ul></li>
<li>Hougang Branch <ul>
<li>202 Hougang St 21 #03-00 Singapore 530202</li>
<li>+65 6740 9828</li>
</ul></li>
<li>Kallang Leisure Park Branch <ul>
<li>5 Stadium Walk, #03-07 Leisure Park, Kallang Singapore 397693</li>
<li>+ 6740 9811</li>
</ul></li>
<li>Clementi Branch <ul>
<li>451 Clementi Avenue 3 #03-309 Singapore 120451</li>
<li>+65 6740 9361</li>
</ul></li>
<li>Frontier CC Branch <ul>
<li>60 Jurong West Central 3, #02-02 Singapore 648346</li>
<li>+65 6740 9351</li>
</ul></li>
<li>SAFRA Punggol Branch <ul>
<li>9 Sentul Crescent #03-02/03 Singapore 828654</li>
<li>+65 6740 9341</li>
</ul></li>
<li>Sembawang Branch <ul>
<li>604 Sembawang Road #03-15 Sembawang Shopping Centre Singapore 758459</li>
<li>+65 6740 9371</li>
</ul></li>
<li>Westgate Branch <ul>
<li>3 Gateway Drive #04-40 Westgate Singapore 608532</li>
</ul></li>
</ul>
<h3></h3>
 
 
<h3>2. Cristofori Piano Shop</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_119b6b8cd7d243aa81ebd66a152a47a2~mv2.png/v1/fit/w_1000,h_738,al_c,q_80/file.png"></figure>
 
In Cristofori's mission statement, the company aims "to provide a wide range of high quality and reliable musical instruments at the lowest prices so that everyone can afford to own a musical instrument for learning and playing music". Over the years, this is exactly what Cristofori has accomplished; when it comes to pianos, Cristofori has established itself as one of the most affordable brands around. Cristofori also has multiple piano shop outlets, and the following is a list of its piano shop Singapore branches:
<ul>
<li>Headquarters Showroom<ul>
<li>Blk 3014 Bedok Industrial Park E #02-2150 Singapore 489980</li>
<li>6243 9555 (Main Line)</li>
<li>+65 8766 0618 (Sales Hotline)</li>
</ul></li>
<li>European Piano Flagship Store @ CBD Bechstein Music World<ul>
<li>7 Shenton Way, #02-01, Singapore Conference Hall, S068810</li>
<li>6951 0638</li>
</ul></li>
<li>Experiential Centre @ Funan<ul>
<li>#04-10 Funan, 107 North Bridge Road, Singapore 179105</li>
<li>6951 0619</li>
</ul></li>
<li>Showroom @ Bishan<ul>
<li>9 Bishan Place, #04-02D Junction 8, Singapore 579837</li>
</ul></li>
<li>Showroom @ Bukit Timah<ul>
<li>144 Upper Bukit Timah Road, #B1-16/18/19 Beauty World Centre, Singapore 588177</li>
<li>6951 0610</li>
</ul></li>
</ul>
 
 
 
<h3>3. Century Piano Shop</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_575eb98d2098476fb56dd4500698626e~mv2.png/v1/fit/w_1000,h_916,al_c,q_80/file.png"></figure>
 
When it comes to buying a piano, brand names do not matter as much as the piano technician who services and maintains the piano; the work of a good piano technician makes a world of a difference in the quality of a piano. This brings us to the next top piano shop in Singapore: Century Piano. 
 
Century Piano is founded and owned by Patrick Ho, one of the top and most respected piano technicians in Singapore, who has been in the business for more than 35 years. Century Piano prides itself in the fact that every single piano in its shop is hand-picked by its company director and master technician, who personally makes trips to Osaka, Tokyo and Hamamatsu to source and select every single unit to ensure personal quality checks. 
 
Hence, you can rest assured that every single piano is handpicked personally by founder Patrick, and he services the pianos with the utmost professionalism, and with the kind of care any piano lover would want to have with his or her own piano. This is why it made it into our piano shop Singapore list!
<ul>
<li>Address: 3007 Ubi Rd 1 #06-404, S408701 (viewing by appointment only)</li>
<li>Contact (Calls & WhatsApp) : 84816711</li>
</ul>
 
 
 
<h3>4. Chiu Piano Shop</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_ef747570aa5449fdb8e8573790a4f7ab~mv2.jpeg/v1/fit/w_1000,h_900,al_c,q_80/file.png"></figure>
 
Presently located in Thomason Plaza, Chiu Piano was established in 1979 by Mr Chiu Yeo Teck. The piano shop has been appointed as exclusive distributors for some the highest quality piano brands, such as Schimmel, August Förster, Steingraeber & Söhne, Wilh. Steinberg, Kohler & Campbell and Karl Schönberg. Amongst these piano brands, the first three piano brands that Chiu Piano carries are certified with the BVK mark: a prestigious certification awarded by the Association of German Piano Manufacturers as an assurance of the finest quality. To date, only six piano manufacturers carry the BVK mark, hence customers can rest assured that they can expect to receive a quality instrument from Chiu Piano shop in Singapore.
<ul>
<li>301 Upper Thomson Road, #02-06, Thomson Plaza, Singapore 574408</li>
<li>+65 6454 7679 (Tel)</li>
<li>+65 9693 9438 (HP)</li>
</ul>
<h3></h3>
 
 
<h3>5. Prince Piano Shop</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_b44820c8e3b84b3689344da7e78918d3~mv2.jpeg/v1/fit/w_1000,h_816,al_c,q_80/file.png"></figure>
 
If you are looking for the highest quality second-hand or refurbished pianos for the best prices in Singapore, Prince Piano is where its at. Its founder, Mr Desmond, is a veteran piano technician of over 20 years and a highly committed individual when it comes to all things piano: from servicing, maintenance, to refurbishing, and more. The refurbished pianos that Prince Pianos carries are virtually indistinguishable from brand new ones (or possibly, even better) due to the utmost professionalism of Mr Desmond.
<ul>
<li>200 Jalan Sultan #02-29, Textile Centre Singapore 199018. (viewing by appointment only)</li>
<li>Contact (Calls & WhatsApp): 97935574</li>
</ul>
 
 
 
<h3>6. Luther Music Piano Shop</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_59cc2a9b80384d26a00118898016449d~mv2.jpg/v1/fit/w_768,h_432,al_c,q_80/file.png"></figure>
 
If you are looking for a digital piano instead of an acoustic piano, then Luther Music is the place you are want to be at. Located in Excelsior Shopping Centre, Luther Music carries one of the widest digital piano product ranges in their Piano Shop Singapore, and is a trusted shop amongst many musicians in the country. Some of the digital piano brands that Luther Music carries include Korg, Yamaha, Roland, Casio, and Nord. The founder, Luther Ong, is a respected keyboardist and if you do happen to catch him in store, he will gladly share with you his in-depth knowledge of his product lines, and help you make an informed decision on which digital piano to buy.
<ul>
<li>5 Coleman Street#02-14/16/26 Excelsior Shopping CentreSingapore 179805</li>
<li>Tel: +65 6569 4919</li>
<li>WhatsApp: +65 9824 5169</li>
</ul>
<h3></h3>
 
 
<h3>7. Asia Piano Shop</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_ccab2935dfc14316bf1e3aa0f83ce4b9~mv2.jpg/v1/fit/w_960,h_540,al_c,q_80/file.png"></figure>
 
Founded by Leonard Soh Eng Kiat and Soh Chee Wai, Asia Piano is a leading piano shop in Singapore that deals with second-hand pianos. Asia Piano's Master Technician, Leonard Soh, was a former technician with Yamaha and has trained at the Yamaha Piano production factory under piano artisans in Hamamatsu Japan. A veteran in the industry of over 20 years, you can be assured that you are getting a quality piano with Asia Piano.
<ul>
<li>No. 31, Playfair Road , #04-01, Golden Season Building, S367993 (150 metres from Tai Seng MRT/3 mins walk only; Harper Road exit when aligning from MRT)</li>
<li>Tel: (+65) 67638872 / 64630118 / 63344118</li>
<li>WhatsApp: 90616111</li>
</ul>
<h3></h3>
 
 
<h3>8. Music Lodge Piano Shop</h3>
<figure><img src="https://static.wixstatic.com/media/715e36_a44772f64f37480a82ae03beeffdd774~mv2.jpeg/v1/fit/w_1000,h_1000,al_c,q_80/file.png"></figure>
 
Founded by Mr Chng Kian Chong, Music Lodge is one of the leading piano shops in Singapore that deals with second-hand pianos. Mr Chng Kian Chong, an industry veteran since 1984, is also the primary piano technician at Music Lodge, and who has, over the years, earned himself a reputation for his attention to detail, commitment to excellence, as well as an appreciation for his candour. Music Lodge offers a unique Rental & Rent-To-Own service which may appeal to those who wish to try out a piano first before purchasing one from a piano shop Singapore.
<ul>
<li>2019 Bukit Batok Street 23 #02-252 Singapore 659524</li>
<li>Phone: +65 6762 6378 </li>
<li>Email: kc@musiclodge.sg</li>
</ul>
]]></content:encoded></item><item><title><![CDATA[Six Basic Voicings For Jazz Piano Improvisation Tutorial]]></title><description><![CDATA[Why Jazz and what is Jazz Piano Improvisation? Playing Jazz is one of the most open mediums of expression in music, and it allows for the...]]></description><link>https://www.alphapianostudio.com/post/six-basic-voicings-for-jazz-piano-improvisation-tutorial</link><guid isPermaLink="false">61b9e429a0165900169cfe00</guid><pubDate>Wed, 15 Dec 2021 13:03:08 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_b7a17defef2940839cc8549ce187e5d9~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[<h2>Why Jazz and what is Jazz Piano Improvisation?</h2>
 
Playing Jazz is one of the most open mediums of expression in music, and it allows for the greatest amount of freedom and creativity. In a typical Jazz performance, the players take full blown improvisations, as opposed to traditional sheet music reading.
 
<h2>Learn how to improvise a simple solo jazz piano texture</h2>
 
That having said, it can be quite the challenge to craft out a learning path in Jazz improvisation. After all, being able to improvise is not as straight forward as reading notes from a sheet music - a player has to come up with the notes on the spot and play the musical ideas as they come to mind. The question that naturally comes to the mind for someone who is just starting out would be, "How do you know which notes to play?"

<h2>Simple Techniques for Mastering Jazz Piano Improvisation</h2>
 
To know which notes to play, one would first have to know about chords. This is because improvised melodic material is primary derived from chord tones. The basic chords are: 
<ol>
<li>Major triad</li>
<li>Minor Triad</li>
<li>Diminished Triads </li>
<li>Augmented Triads</li>
<li>Suspended 4th Triads</li>
</ol>
Beyond that, one would also have to know the following seventh chords:
<ol>
<li>Major Seventh Chord</li>
<li>Minor Seventh chord</li>
<li>Dominant Seventh Chord</li>
<li>Half-Diminished Seventh Chord (Minor Seventh Flat 5)</li>
<li>Diminished Seventh Chord</li>
</ol>
To be able to improvise effectively, one should be generally familiar enough with these chords to be able to quickly and accurately answer questions such as: 
<ol>
<li>"What is the 3rd of F-7 ('-7' is the chord symbol for Minor Seventh Chord, hence F-7 refers to F minor seventh chord)?" Answer: Ab</li>
<li>"What is the 5th of Gø7? ('ø7' is the chord symbol for half diminished seventh chord, hence, Gø7 would refer to G half diminished seventh chord). Answer: Db</li>
</ol>
For this tutorial we will be using a solo jazz piano improvisation of the Jazz standard "It Could Happen To You" to study the six voicings that you very easily apply in your jazz improvisations. 
 
<a href="https://youtu.be/HhOIc7xAIEU"><img src="https://i.ytimg.com/vi/HhOIc7xAIEU/maxresdefault.jpg" width="1280" height="720"></a>
 
Transcription Download:<a href="https://alphapianostudio.ck.page/products/it-could-happen-to-you-transcription " target="_blank"> https://alphapianostudio.ck.page/products/it-could-happen-to-you-transcription </a>

<h2>Voicing #1:Shell Voicing</h2>
Shells: Shell voicings consist of the 1st and 7th of the chord 
<ul>
<li>Example 1: 0:12, F-7 in 1st measure of the displayed score. In the left hand part, a shell voicing played as is, no tricks here.</li>
<li>Example 2: 0:21, F-7 in 3rd measure of the displayed score. Shell voicing played in the left hand part, but with the notes of the shell voicing fleshed out over time rather than having all notes of the shell voicing played at once. Fleshing out the notes of the voicing over time may not come intuitively to someone who is relatively new to voicings, but it can bring more variety to your improvisation. </li>
</ul>
<h2>Voicing #2:Guide Tone Voicing</h2>
Guide Tones: Guide tones refer to the 3rd and 7th of a chord
<ul>
<li>Example 1 @ 1:05, G7 in 4th measure, beat 3 of the displayed score. Guide tone played in the left hand. Straight forward application, no tricks</li>
<li>Example 2 @ 0:13, Db7 in 2nd measure of the displayed score. Guide tone voicing played as is, but do note how the guide tone is sounded before the bass note later in the same measure, this can work to break up the monotony of the accompaniment pattern for some who might be stuck with the mentality that bass notes must always be sounded first.
</li>
</ul>
<h2>Voicings #3:Shell + Guide Tone Voicing</h2>
Shells + Guide Tones: consists of 1st, 3rd and 7th of a chord 
<ul>
<li>Example 1 @ 1:27, C7 in measure 4 of displayed score. The Shell voicing of C7 consists of C and Bb, and combined with Guide tones of C7 (E and Bb), the voicing you get is C, E, Bb (spelt from bottom up) Notice how the notes of the voicing fleshed out over time rather than sounding all three notes of the voicing at once
</li>
</ul>
<h2>Voicing #4:Guide Tone + 1 Note Above The Guide Tones</h2>
Guide Tones + 1 note above the guide tones; usually the 5th of the chord, or some kind of tension. 
<ul>
<li>Example 1 @ 0:33, C7 in 4th measure, beat 1, left hand. The guide tones of C7 are E and Bb, and the note above (Eb) would be a tension b9 note.</li>
<li>Example 2@ 0:22, Bb7 in the 4th measure. The guide tones of Bb7 are Ab and D,
and the note above the guide tones is G (tension 13). Notice how the voicing is 'shared' between the hands; RH plays one note of the guide tone and the tension note while LH plays another note of the guide tone. This might not occur intuitively to some who have the idea that melody has to be in one hand and accompaniment in the other, but it may open up possibilities in what can be played.
</li>
</ul>
<h2>Voicing #5:Guide Tone + 1 Note In Between The Guide Tones</h2>
Guide Tones + 1 note in between the guide tones (usually the 5th of the chord, or some kind of tension) 
<ul>
<li>Example 1 @ 0:43, Bb7 in 2nd measure of displayed score. The guide tones of Bb7 are Ab and D. The note in between the guide tones is Cb (tension b9). Once again, notice how the voicing is 'shared' between the hands'</li>
</ul>
<h2>Voicing #6:Guide Tone + 1 Note In Between The Guide Tones + 1 Note Above The Guide Tones</h2>
Guide Tones + 1 note in between + 1 note above. 
<ul>
<li>Example 1 @ 0:34. C7 in measure 4 of displayed score, right hand part. The guide tones of C7 are E and Bb. The note in between the guide tone is Ab (tension b13)
The note above the guide ton is Eb (tension) #9 </li>
</ul>
<h2>Conclusion of Learning Techniques for Mastering Jazz Piano Improvisations</h2>
 
There are many other voicings apart from the six in this article, but these six voicings represent the basic 'bread-and-butter' voicings that are repeatable techniques you can apply across all your improvisations. Be sure to try them out, experiment with different rhythms. If you are looking for a jazz piano teacher to super charge your learning journey and plan out your learning in a progressive manner, <a href="alphapianostudio.com" target="_blank">click here to book two free trial lessons. </a> ]]></content:encoded></item><item><title><![CDATA[Christmas Songs To Play On Piano To Have A Memorable Christmas]]></title><description><![CDATA[Content We Wish You A Merry Christmas Jingle Bells Silent Night Have Yourself A Merry Little Christmas Santa Claus Is Coming To Town All...]]></description><link>https://www.alphapianostudio.com/post/christmas-songs-piano</link><guid isPermaLink="false">617ecf80ce4b7600162c7c95</guid><pubDate>Sun, 31 Oct 2021 17:55:03 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/715e36_1d23990d483b49878af6417353e742fd~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Alpha Piano Studio</dc:creator><content:encoded><![CDATA[
<figure><img src="https://static.wixstatic.com/media/715e36_1d23990d483b49878af6417353e742fd~mv2.jpg/v1/fit/w_1000,h_720,al_c,q_80/file.png"></figure>
 
Content
<ol>
<li><a href="#dv7kl" rel="noopener noreferrer">We Wish You A Merry Christmas</a> </li>
<li><a href="#fr4ed" rel="noopener noreferrer">Jingle Bells</a> </li>
<li><a href="#b4ecp" rel="noopener noreferrer">Silent Night</a> </li>
<li><a href="#c9kbb" rel="noopener noreferrer">Have Yourself A Merry Little Christmas</a> </li>
<li><a href="#9cpkm" rel="noopener noreferrer">Santa Claus Is Coming To Town</a> </li>
<li><a href="#9cp0o" rel="noopener noreferrer">All I Want For Christmas Is You</a> </li>
<li><a href="#coqgp" rel="noopener noreferrer">Joy To The World</a> </li>
<li><a href="#4i8rk" rel="noopener noreferrer">Merry Christmas Mr Lawrence</a> </li>
<li><a href="#4kas2" rel="noopener noreferrer">Last Christmas</a> </li>
<li><a href="#37jc9" rel="noopener noreferrer">White Christmas</a> </li>
</ol>
 
 
<h2>Why learn Christmas songs on Piano?</h2>
 
The night before Christmas is one of the most magical times of year. There's a sense of anticipation in the air, and the streets are decorated with twinkling lights. If you are looking for a way to make your holiday season even more enjoyable, then learning to play Christmas songs on piano might be the perfect way. These songs can be played on both traditional and electronic pianos, and the piano is also the perfect instrument for playing Christmas songs, because many of these tunes are easy to learn and play!

 
<hr>
 
<h2>Top 10 Christmas Songs to Learn on Piano </h2>
<h3></h3>
<h3></h3>
<h3>1) We Wish You A Merry Christmas </h3>

A traditional English Christmas carol, the origins of “We Wish You A Merry Christmas” are unclear, although Arthur Warrell, a Bristol-based composer, is widely regarded to be responsible for popularizing the song, after Arther’s arrangement of the song was performed by the University of Bristol Madrigal Singers in 1935, and its subsequent publishing by the Oxford University Press in the same year. Some theorize that the song goes as far back as the eighteenth century. In the lyrics of the song, the singer demands for ‘figgy puddings’, which is thought to be similar to modern-day pudding, and a Christmas treat given out to carolers on Christmas Eve in an old English tradition. It is an easy song to play on the piano due to its relatively short song form. In this piano version of the song, the left hand plays rising arpeggio patterns which give a grand, flowing sound to the music.
 
Click <a href="https://alphapianostudio.ck.page/we-wish-you-a-merry-christmas-sheet-music" target="_blank">here</a> to download We Wish You A Merry Christmas Piano Sheet.
 
<a href="https://youtu.be/l8mnASxJRNI"><img src="https://i.ytimg.com/vi/l8mnASxJRNI/maxresdefault.jpg" width="1280" height="720"></a>
 
 
<h3>2) Jingle Bells
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“Jingle Bells” is a popular Christmas song that was written by James Lord Pierpont in 1857, and although some say that it was originally not intended to be a Christmas song, it has been a Christmas classic ever since. This Christmas carol may be one of the most popular pieces for beginners to learn how to play on the piano because it is so easy and fun. The melody of the chorus is simple to play on the piano, and it is a common song in piano books for children who are just starting to learn how to play the piano. In this piano version of this song, you will notice from the piano sheet music that it uses a simple stride pattern in the left hand to create a light and lively feeling.
 
Download the Jingle Bells Piano sheet music to this version <a href="https://alphapianostudio.ck.page/jingle-bells-sheet-music" target="_blank">here</a>.
 
<a href="https://youtu.be/icfOnVOtQHw"><img src="https://i.ytimg.com/vi/icfOnVOtQHw/maxresdefault.jpg" width="1280" height="720"></a>
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<h3>3) Silent Night </h3>

Silent Night is a classic Christmas carol that has been sung for over 150 years. The lyrics were written by a Catholic priest, Joseph Mohr as a poem in 1816. Two years later, in 1818, Austrian organist Franz Xaver Gruber composed the melody as we know today. It was only translated to English much later in 1859 by John Freeman Young. Playing “Silent Night” on the piano is a perfect way to celebrate the holiday spirit. “Silent Night” is traditionally performed with a calm and peaceful feeling. However, in this lively piano version of ‘Silent Night’, you will notice a left hand pattern reminiscent of Boogie Woogie piano and bluesy fill ins in the right hand.
 
Download the Silent Night Piano Sheet music of this version <a href="https://alphapianostudio.ck.page/silent-night-piano-sheet-music" target="_blank">here</a> 
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<a href="https://youtu.be/0PEqISzqcPw"><img src="https://i.ytimg.com/vi/0PEqISzqcPw/maxresdefault.jpg" width="1280" height="720"></a>
 
 
<h3>4) Have Yourself a Merry Little Christmas </h3>
 
A Christmas tune that many of us are familiar with, “Have Yourself A Merry Little Christmas” was written in 1943 by Hugh Martin and Ralph Blane for the then-upcoming film ‘Meet Me In St Louis’. Amongst favorite renditions of the song include those by Michael Bublé, Frank Sinatra, Sam Smith, and the list goes on. It is a wonderful song to play on the piano and you can be sure that it will bring out warm and fuzzy feelings in your listeners’ hearts, with its jazzy chords and romantic lyrics. The song uses the chord progression I∆7, VI-7, II-7, V7 many times throughout the song, which is a staple chord progression in many jazz tunes.
 
Check out the video to have a glimpse of Have Yourself a Merry Little Christmas Piano Sheet Music.
 
<a href="https://youtu.be/hRO0culgh3c"><img src="https://i.ytimg.com/vi/hRO0culgh3c/maxresdefault.jpg" width="1280" height="720"></a>
 
 
<h3>5) Santa Claus is Coming To Town 
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The song "Santa Claus Is Coming To Town" was written in 1934 by John Frederick Coots and Haven Gillespie. Amongst the most adored renditions of the song include those by Bing Crosby, Mariah Carey and Michael Buble. It is exceptionally fun to play on the piano because of the many chord progressions you could harmonize the melody with. In this jazzy piano rendition of Santa Claus is Coming To Town, you will hear a wide array of chords and harmonic colors being used.
 
Check the video below for a glimpse on Santa Claus is Coming To Town Chords.
 
<a href="https://youtu.be/kpP6VHvVbAY"><img src="https://i.ytimg.com/vi/kpP6VHvVbAY/maxresdefault.jpg" width="1280" height="720"></a>
 
 
<h3>6) All I Want For Christmas is You </h3>
 
At over 160 million views on Youtube, Mariah Carey’s ‘All I Want For Christmas Is You’ is hands down the most adored Christmas song of all time. Perhaps it can be attributed to the memorable song melody and its relatable lyrics. The lyrics of the song is about wanting to be with our loved ones, a feeling which is most felt during holiday seasons and one that all of us can identify with. It can be challenging to play the song on the piano and keep the full intensity of the shuffle style. Notice how the shuffle style is mimicked on the piano by the octaves in the left hand.
 
Check the video below for a glimpse of All I Want For Christmas is You Piano Sheet Music.
 
<a href="https://youtu.be/xJXja1rfZSQ"><img src="https://i.ytimg.com/vi/xJXja1rfZSQ/maxresdefault.jpg" width="1280" height="720"></a>
 
 
<h3>7) Joy To The World </h3>
 
“Joy To The World” is perhaps on of the most commonly heard songs in malls and stores during the Christmas season. The lyrics of the song are written by English Christian minister, Isaac Watts, and it is based on Psalms 98 and 96:11-12, and Genesis Chapter 3:17-18 of the Christian Bible. Needless to say, many of us are also familiar with the lyrics which celebrates the arrival of Jesus. As with many other traditional hymns, the song form of “Joy To The World” is relatively short, and this makes it easier to learn to play on the piano. The melody begins with a straight descending scale from the key note all the way down to the same note at an octave lower. In some piano learning books, this song is used to introduce to the piano student how to play scales, and the crossing of the fingers over the thumb. In this piano version, both hands play octaves throughout the song, which gives a lively and triumphant sound.
 
To download the Joy To The World Piano sheet music for this version, click <a href="https://alphapianostudio.ck.page/joy-to-the-world-sheet-music" target="_blank">here</a> 
 
<a href="https://youtu.be/uFHq1bltRfM"><img src="https://i.ytimg.com/vi/uFHq1bltRfM/maxresdefault.jpg" width="1280" height="720"></a>
 
 
<h3>8) Merry Christmas Mr Lawrence
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Many of us remember the magical experience of hearing the song, “Merry Christmas, Mr. Lawrence”, for the first time. A melancholic piano tune that is sure to stop people in their tracks, and compel them to listen, "Merry Christmas Mr. Lawrence" is a song by Japanese composer Ryuichi Sakamoto. It was written for the soundtrack to Merry Christmas Mr. Lawrence, a film directed by Nagisa Oshima released in 1983. Being a song written specially for piano, it is no wonder that “Merry Christmas, Mr Lawrence” is one of the most sought after piano sheet music of all time.
 
Check out the video below for a glimpse on Merry Christmas Mr Lawrence Piano Sheet.
 
<a href="https://youtu.be/M2x2hmNJ6lQ"><img src="https://i.ytimg.com/vi/M2x2hmNJ6lQ/maxresdefault.jpg" width="1280" height="720"></a>
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<h3>9) Last Christmas </h3>
 
"Last Christmas" is a Christmas song released in 1984 by British pop duo, Wham!. Written and produced by George Michael, the song was Wham!'s biggest hit, reaching number two on both the UK Singles Chart in December 1984. The song is a great tune to play on the piano because of it’s simple chord progression which consists of only four chords that repeats itself throughout the duration of the whole song. It’s the perfect song to jam out on the piano with your family and friends singing along during the holiday season. Listen to this romantic piano version of the song, which starts off soft in tone, and playing in the high register of the piano. This gives it an intimate quality, and the music builds over time by using a broader range of the keyboard.
 
Check the video below for a glimpse on Last Christmas Piano Sheet.
 
<a href="https://youtu.be/ao4sgVEAq2s"><img src="https://i.ytimg.com/vi/ao4sgVEAq2s/maxresdefault.jpg" width="1280" height="720"></a>
 
 
<h3>10) White Christmas </h3>
 
A staple amongst Christmas songs, “White Christmas” was written by Irving Berlin for the musical film, “Holiday Inn”. Perhaps one of the most popular versions of the song is the one by Bing Crosby, as it is the world’s best selling single for physical media sales, with over 50 million copies sold worldwide. The lyrics of the song, which goes “I’m dreaming of a white Christmas, just like the ones I used to know, where the treetops glisten and children listen to hear sleigh bells in the snow”, evokes feelings of wistfulness and nostalgia. Some say that it reflects Berlin’s yearning for his three-week-old son that had passed away on Christmas in 1928. It is a great song to play on the piano during the Christmas season in quiet, intimate settings. This piano version of the song features the tune in a solo jazz piano ballad style.
 
Check out the video below for a glimpse on White Christmas Piano Sheet.
 
<a href="https://youtu.be/JYGJWTYoZ60?t=25"><img src="https://i.ytimg.com/vi/JYGJWTYoZ60/maxresdefault.jpg" width="1280" height="720"></a>
 
<hr>
 
<h2>Learn your Christmas songs on Piano with some help </h2>
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Learning to play Christmas songs on piano can be a great way to get in the holiday spirit. It is also a very satisfying feeling when the time comes for Christmas and you can sit down at the piano and immediately start playing your favorite Christmas carols. If you want to super charge your piano learning journey, then taking up piano lessons might be your perfect solution! 
 
<a href="https://www.alphapianostudio.com/" target="_blank">Click here to find out</a> more about our two free trial piano lessons for first timers with us; all ages and levels welcomed. 
 
Or simply contact us via whatsapp at +65 8581 9817 or email us at info@alphapianostudio.com
 

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