The Scale-Tone 7th Chords - PRACTICE #1

I've created this post in response to Rob's question regarding practicing the Scale-Tone 7th Chords around the cycle of 5ths remaining within the key you begin.. If you do not know what the cycle of 5ths is, I suggest you read the post 'Cycle of 5ths - Introduction and Theory'.

First: Take a quick look at the Scale-Tone 7th Chords post on this subject.







Ok, as we know, the cycle of 5ths, if we start on 'C' will be...
C--F--Bb--Eb--Ab--Db/C#--Gb/F#--B--E--A--D and --G.

So, if we started playing the Scale-Tone 7ths Chord From C,

we can see that if we follow the traditional cycle of 5ths pattern we run into a little trouble trying to stay in the key of 'C'. What follows the IV chord in the chart below is a Bb chord which steps out of the key of 'C'. Now this is ok if you wanted to practice your major 7ths around the complete cycle covering all (12) tones of the keyboard because as you can see it continues to Eb, Ab, etc.







In order to stay in the key of 'C' we need to make a small adjustment to the cycle. Let's change the Bb above to the VIII (Bm7b5) of 'C'. Then we will continue going through the cycle until we get back to the (I) chord. So the Bm7b5 is not a true 5th interval after the Fma7, but this adjustment is acceptable for the purpose of practicing the Cycle of 5ths within a key signature.








So the Cycle of 5ths pattern from with a key signature is this:
I---------IV-------VIII------- III----- VI----- II-------V,------and back to I
Cma7--Fma7---Bm7b5---Em7---Am7---Dm7---G7-------------------Cma7

Practice your Scale-Tone 7ths in a cycle of 5ths pattern starting with different keys. Here they are in 'F' and in 'G'.

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Major and Minor Triad Series - #1 Beginner

This is going to be a series of posts on Major and Minor Triads. Most beginner and intermediate players view them as just simple basic chords. While this is true, it's also true that these simple chords can be used for an advanced level of play creating fantastic fills and and greats sounds. (hear the sound file below)

Beginners, if your plan and desire is to get to an intermediate/advanced level of play, do not... take these simple chords for granted. Master them well and some interesting surprises are in store. If your plan is just to play some simple enjoyable piano tunes, knowing just these will enable you to do so.

FIRST THINGS FIRST: Let's learn a simple non-theory, non-traditional way of learning all the triad chords. We're just going to use 2 simple rules to get you up and running quickly.

MAJOR TRIADS - THE 4-3 RULE:
Put your right-hand thumb (1) on middle 'C'. Using your left-hand pointer finger, count up the very next (4) notes. (4 half-steps which takes you to (E). Now put your right-hand pointer finger (2) on the (E). Using you left-hand pointer finger once again, this time count up the very next (3) notes. (3 half-steps which take you to (G). Now put you right-hand ring finger (4) on the (G). You now have the three notes of the 'C' major chord. Play all 3 notes together using the 1st, 2nd and 4th fingers of the right hand.











Now I know that the fingering 1, 2, & 4 may be a bit different than what you may have learned, or even a bit controversial for others, but I have strong reasons for keeping that (5) pinky free. We'll see why when we start to learn 'Chord Melody Playing' in future posts.

With the 4-3 rule you can immediately find the notes of all major triads. For example, if you needed to play an Eb major chord you would start with placing your thumb on the Eb. THEN... apply the 4-3 rule FROM there. Up (4) to (G). Then up (3) to Bb. You then have Eb, G, & Bb... the Eb major chord.

In the left hand, the fingering is the exact opposite, a mirror of the right-hand fingering.










MINOR TRIADS - THE RULE
This is an easy one, IF, you know your major triads. Just lower the middle note of the major chord (1) half step. C, E & G is a 'C' major chord. Lower the 'E' to and 'Eb' (1 half step) and you have the 'C' minor chord. C, Eb, & G.

Here's a sound file for some further discussion and reinforcement.



Some will listen to that simple musical excerpt and find it hard to believe that absolutely nothing more then pure major and minor triads were used. That's the power they have and why it can't be stressed enough to master them. There's much more that can be done when one knows them well. So much of advanced harmony can be bypassed using triad combinations.

Below are the PDF's of the major and minor triads in the groups you could begin to practice. They are all shown in the root (basic) position. (As opposed to the inversions - I'll explain in a sec) Pick a group per day. Know them well in this position in the left and right hand well. If you do not read piano bass clef (left-hand clef) well, just learn the right-hand then play the exact same notes and octave lower on the keyboard.

Right-Hand Major & Minor Triad Download
Left-Hand Major & Minor Triad Download

And lastly, inversions. Notice below the first chord... the 'C' major chord in the root position. If you take the bottom note 'C' and move on top of the 'E' and 'G', (the 2nd chord shown) you still have a 'C' major chord, but in the 1st inversion. If you the 'E' of the 1st inversion chord and move it above the 'G' and 'C', you now have a 'C' major chord in the 2nd inversion. And finally... back to the root position.






Inversions can be a real challenge to learning chords, but well worth the effort. The PDF download below is of all the inversions for a the groups of triad chords learned is shown only in the right hand. For the hobbyist and intermediate player it's more beneficial to learn them in just the right hand. It's where you will use them most.

Download it here. You'll see in the PDF that you will just play and hold down the left-hand root position chord while the right hand plays the inversions. And it's NOT suggested that you read them as you practice. (the chart is just for reference) Practice them using the rules you've learned with no music in front of you.

Again, if you do them in the familiar groups.. C, F, G. -- D, E, A. You will learn them faster, as they have the same look and feel of each other. Your muscles will learn faster. (Muscle Memory - 'for another post')

Just go slow and do a group at a time and over a few short weeks you will begin to run on automatic. Have fun! And if you need some extra help, just give me a shout.

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What's Stopping You From Learning Piano?

I don't think I've ever played piano in public where I didn't have at least one conversation with someone who said to me "I wish I could play". Or, "I always wanted to play". Or, "I played years ago and wished I had never given it up". And my typical response to those statements was, "what's stopping you"?

A typical response from them might be, "I don't think I can at my age" or "It's to late now". I would usually ask them why they wanted to play piano. 99% of the time the answer was that they just wished they could make music and that it would make them feel so good. Never did anyone say they would like to become a professional musician and start a career in music.

That's the typical desire of adults who want to play. So I would put on my psychologist hat and begin asking a series of questions. One question might be, "do you cook"? Many would say "yes". "Do you plan on becoming a professional chef"? Some people learn to drive well into their adult years. I'm sure it's not because they want to run the Indy500. People begin all kinds new skills and learning at all ages, yet when it comes to playing the piano, there's an intimidation factor involved.

I usually tell that I'm sure if you started your lessons, your plan would not be to become a Van Cliburn, or Roger Williams or Oscar Peterson, or Billy Joel. "Right"? And they say, "of course not, I just want to play for enjoyment and relaxation". Then, "time's a wastin. Find the nearest piano teacher and get goin"!

But why is so tough for so many to take the step? What's the intimidation about? Many are all tied up in a couple of myths regarding playing piano at an advanced age. (Advance age meaning 30 to 80) Here a couple of those myths with an argument to dispel it.

MYTH #1: "I don't think I could learn at my age"
As stated above, it's about enjoyment and relaxation... and maybe even health! You see, the problem arises because comparisons are made. They listen to professionals and think that they will never play like that. Well guess what? It's most likely true. But remember, THAT'S not the goal. The comparison of how they think they will play compared to the professional intimidates them. There's an old saying; "compare and despair".

Actually, one can make some pretty nice piano music at any age..... that' right, I said any age. They can reach a level where they could play a variety of song's and styles at a very enjoyable listening level. And that's the goal. To be able to look at some sheet music and be able to transfer the written notes on the page to the keys of the piano. I've had students from 50 to 80 who were thrilled at what they accomplished—because they approached it from the fun, hobbyist point of view...... no pressure to become something they need not become.

MYTH #2: "I'm not musically inclined"
If a person can dance, hum or whistle, or tapped their fingers to a tune they love, then they're musically inclined enough to learn to play at an enjoyable level. The primary ingredients needed to begin playing the piano is their love of music and how it makes them feel. The combination of all of the above is all it takes. Then learn to transfer those feelings to the piano keyboard.

Great piano finger technique is not needed. The majority of my adult students have never performed a single finger exercise throughout their complete learning experience. Whatever technique they needed was developed from within the songs and styles of music they were learning. It was all that was needed to fulfill their goal.

So, if you're a player, encourage any friends or relatives who had expressed a desire to play, to do so. To go for it. To make it fun. To go for it. If you've come across this article and you don't play but want to, find the nearest teacher in your city or town and make the move...... remember; "compare and despair".

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(Cool) Tool - For Finding Lyrics... and more!

Here is great tool for finding the lyrics to virtually any tune... But it's MUCH MORE than that... so hang on a bit. It's at the bottom of the page. Just type the title of the song you want the lyrics to in the last (bottom) field an click 'go'. You'll get a choice to view the lyric, and list of various artists that performed it.

Why am I posting a lyrics tool here? What does it have to do with learning or improving your playing? The answer is in the following question: Why do so many students learning to play an instrument find themselves frustrated by their own playing - their own sound - their own performance? They know the chords and melody to a tune well , there's no hesitation when playing it; but something is "just not right", in their own words.

One of the reasons is that they have no clue as to what the lyrics are and may not have heard it performed many times, or, not payed much attention to it when they HAVE heard it performed. In other words, they have not yet learned to listen to and be aware of what is called 'phrasing'. Being familiar with lyrics will have a beneficial effect on your playing.

This is important; so keep reading to hear audio instruction & demonstrations of what I'm talking about.

Have you ever listened to a speaker giving a lecture that you enjoyed? What made that so? Was the information so interesting that you just loved listening to him/her? Or, (think about this) was it that they were exciting in their presentation? I'll bet they paused after certain sentences, they most likely raised and lowered the volume of their speaking, they sped up and slowed down (changed the pace) at various times? The CREATED INTEREST. In musical terms....... they phrased beautifully.

What if they spoke for an hour in a monotone voice at the same speed and volume without taking a breath until necessary? How fascinating would the information they're speaking of be? It wouldn't be... because you'd be sound asleep in minutes. Well, many students of music play that same way.
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What makes the great singers great? It's definitely not just 'a great voice'. Most people tend use that term generically. What really moves people, making them 'love' his or her voice is the way they use it; how they tell a story. They tell it with feeling, creating an emotional response in the listener. Look at Frank Sinatra for example. Did he have a GREAT voice in the traditional sense? Some would say yes, others would say his VOICE, was really... 'not a great one', "but I love the way he sang".

He had a special ability that had millions of worshipers follow him like he was a God. He knew how to tell a story (phrase). I've heard musicians throughout the years say things like, "nobody can phrase like Frank"! Many musicians made listening to him part of their training - as well as other singers like Ella Fitzgerald and Mel Torme. Many an up and coming jazz player would be happy to do on their instruments what these singers could do with their voices. (meaning improvisational and expression wise) I'm sure that if any of the aforementioned sang in a monotone voice with not much emotion, they would have not reached the heights they have.

Now, I know I'm showing a bit of my age and preferences with these analogies, but this is just as true for all the great contemporary artists alike. This is only one aspect as to what makes a better player. An important one. There are others elements; but I'm focusing on this, now, for the lesson of ..... 'paying attention to lyrics' for better expression in our playing.

And here's the best part. One does not have to be virtuoso or have years
of playing to be interesting and listenable to others—just as a singer does
not need a "Great Voice". Just functional technical skills are enough, IF, our
playing has good phrasing.

Let me give you some simple explanations and examples at an intermediate playing level. We'll use the songs 'My Funny Valentine, and 'When I Fall In Love'. Here's a sound files. The left hand is simple, just playing a broken basic triad pattern. (we'll learn these very soon). First: My Funny Valentine.

Now let's see how this works with 'When I Fall In Love'

So, do some lyric listening (or a lot) and you'll see over time how you will begin to play a bit more expressively. And remember; make it fun.

“Silence is the fabric upon which the notes are woven.”

~Lawrence Duncan

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Blues Scale Theory Clarification

Prerequisite: Some familiarity with the Blues Scales. Let me say that this is not a 'how to create and use blues scales, or over what chords they're used, or the use of Blues Scales in tunes—that's coming soon.

Over the years I have come across tons or material teaching the Blues Scale. There are varying opinions where to start, what they're called, how they're fingered. etc. Some individuals even ad or detract notes from the scales—which might be misleading and confusing to the person learning the Blues Scales. In short; from the overly simplistic to overly complex. I hope to clear the confusion now except for the fingering which will be part of 'Learning the Blues Scales' post. (coming soon)

Ok... a student buys a book on the blues or a scales book and may see any one of the following configurations of a blues scale.





This configuration might be labeled the 'C Blues Scale'. Or, It might be called the
'C minor Blues Scale'.

Maybe this is what they'll come across first.





This configuration might also be labeled the 'C Blues Scale'. Or, it might be called the  'C major Blues Scale'.

Then what usually follows are instructions to learn them in all keys. The student now proceeds to learn 12 minor blues scales and 12 major, with all kinds of fingerings—thinking of them as separate entities. (not necessary as we'll soon see) Or, there are some examples of their use in playing the blues or how they can be used against various chords in other types of tunes.

What's very rarely mentioned is the fact that they (the major & minor blues scales) are related. That when looked at from a different perspective, they are actually the same—one scale, with the same fingering. When we know this, we only have to learn only 12. And for the hobbyist, 3 or four will suffice.

Let's see what I'm talking about: Take a look at the configuration of what some call the 'A' blues scale—or, 'A' minor blues scale below.





Do you know your basic scale theory regarding 'relative minors'? If yes, and we call the configuration of the above blues scale 'A minor', and you think of 'A' minor as the 'relative minor' of/to 'C' major, the magic begins. So, we understand the 'A' and 'C' are related, right?

If you do not know your 'relative scale' theory, just think either a 'step and a half up' from 'A', or a 'major 6th down from 'A' takes us to 'C'. So, we understand the 'A' and 'C' are related, right?

OK, take a look at the pic below. 1A is the 'A' minor configuration shown in the graphic above. 2B, the major blues configuration of 'C'; they're the same scale. We just bumped off the 'A', and begin playing from the 'C'—the relative major to 'A'. Of course, this works in reverse.

Or, if you began, or learned the blues scale in the major configura- tion, (C), you would just begin playing from a step and a half down, or a major sixth above, arriving at 'A'.

Marry up these two scales and think of them as one scale. You'll see the benefit in future posts on playing the blues.

Starting on 'A', just one scale - two in one.






Starting on 'C', just one scale - two in one.






LET'S TAKE A LOOK AT ANOTHER ONE.
2A is the 'C' minor blues scale configuration. Follow the above explanation and you arrive at the 'Eb' major blues scale... or, the opposite.

Or, if you began, or learned the blues scale in the major configura- tion, (Eb), you would just begin playing from a step and a half down, or a major sixth above, arriving at 'C'.

Again, marry up these two scales and think of them as one scale.

Please remember so there's no confusion. This is not about how they're used in tunes or what chords they fit. That will depend on other factors; what key are we in, chord quality etc. (All for future posts).

If I was put into a corner and forced to say what the most common vernacular musicians and teachers use regarding the blues scales; I would say that when hear or read the words, "hey, play a 'C' blues scale here", the minor configuration is what is meant.

And if just the minor form is mastered, you will automatically know all the major forms. (a major 6th below or minor 3rd above) So when you study various periodicals that may refer to the major form, or talk to musicians who use major form vernacular for various reasons of there own, (theoretical or personal) you will have a clear understanding and easier way to know the scale.

Here are the more common blues scales that should be married up.... two in one.
E minor blues scale / G major blues scale
A minor blues scale / C major blues scale
D minor blues scale / F major blues scale
G minor blues scale / Bb major blues scale
C minor blues scale / Eb major blues scale

If you have any questions, either use the 'comment' link below or feel free to contact me personally. If I could help you further or solve any confusion, I'll do my best.

And as usual. there will be complete Piano Blues Booklets covering various blues subjects in depth sometime in the near future.

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