Adults Can Learn To Play The Keyboard At Any Age…Why not you?

Friday, February 10th, 2017
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Play Keyboard!

Adults Can Learn To Play The Keyboard At Any Age

Why not you?

If you are interested in learning the keyboard or piano and want to learn from the comfort of your own home, online keyboard lessons are the way to go. Many sites offer you the instruction you need to begin playing the piano now.
By performing a simple search with phrases like “Keyboard Lessons Online” or “Piano Lessons Online,” you will open up a world of resources. Each of the sites you visit will teach in a different style. When looking for keyboard lessons on the web, you need to choose the method that suits your learning style.

You can find instruction from places that have only a web presence. The other option is to find a music education facility in your area and ask if they have an online learning program. The benefit of this is access to resources at their facility, such as music books and an instructor you can meet. You can take online lessons and have the hometown one-on-one support you may need.

For those that prefer straight web teaching, online sites that offer all their resources at the click of a mouse are plentiful. Consider the following when choosing keyboard lessons online:

* Use proper search phrases as mentioned above, but with variations. You will find a variety of sites to enable you to make an informed decision. Try other search phrases, such as “Play Piano,” “Piano Playing,” “Keyboard Courses Online,” and “Play Keyboard.” Come up with your own variations and see what happens.

Click on www.pianolessonsbyvideo.com to learn all about it
* If you find personal instructors, familiarize yourself with their credentials. Do they have the knowledge to guide you properly through the online lessons?

* It’s great to learn with others. Does the online piano teaching site have a forum for students to chat with one another about lessons and other musical topics? With a members’ forum, you don’t have to feel isolated in your piano study.

* The cost of learning the piano through an online course may be LESS than you would pay at a local music studio. Why? Because you don’t have to drive to lessons, worry about cancellations, etc. – plus – you can study with teachers who know WAY more than a local teacher and have taught sucessfully for many years!

* Consider whether you want to study with text and accompanying diagrams or something more. Some sites offer audio instruction, and some offer both audio and video lessons. Many offer e-books for download as part of online learning.
* Look at keyboard lesson sites that combine practical playing with theory lessons. Sometimes it pays to know the elements that make up what you’re playing. This allows for deeper understanding of the piece as a whole.

Keyboard lessons from home afford you the opportunity to learn at you own pace on your own time. You do not have to worry about getting to a lesson on time because you’re stuck in traffic. Keyboard lessons online are great for those with time-constraints. They’re available 24/7 and are waiting for you now.

Click on www.pianolessonsbyvideo.com to learn all about it

 

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You Can Use Both Hands To Form Chords!

Wednesday, January 25th, 2017
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Playing Blues, Boogie, & R&B

Thursday, January 12th, 2017
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Would you like to become a ‘Boogie-man’ or a ‘Boogie-lady’?

Blues, boogie, Rhythm & Blues piano playing   

“Playing Blues, Boogie, & R&B”
Click here for more info: http://www.playpiano.com/musical-courses/blues-boogie-R&B-12bar-blues.htm

     What a great course! If you’ve ever wanted to play “the blues”, or any variation of the blues, such as boogie, R&B (rhythm and blues), Kansas City rhythms, Chicago Blues, and some forms of rock, then you absolutely MUST latch onto this course!

     The 12-bar blues is all-American. It developed right here, and until the last few years, it’s main musicians were right here in the US. I had the privilege not long ago of standing on the corner of Bourbon St. and listening to the musicians in Preservation Hall play some of the most authentic blues I’ve ever heard.

     You simply play 12 measures of the same chord progression over and over, each time improvising some different melody on top of those changes. And those changes are:

The 12 Bar Blues Chord Progression

4 bars of the I chord

2 bars of the IV chord

2 bars of the I chord

1 bar of the V chord

1 bar of the IV chord

2 bars of the I chord

      

  The 7th is usually added to each chord — so if the I chord is F, you would usually play F7 — that is kind of assumed in the blues.

     The structure of the 12 bar blues is very simple. And since it is fun, play it over and over again until you get the sounds you want!

      The “melody” of the 12-bar blues is something that each musician makes up as he/she goes along. It is based on the blues scale, which is a bit different than the regular diatonic scale we all grew up with — it includes all those “regular” notes, but also uses the flat 3rd, the flat 5th, and the flat 7th degrees of the scale.      
     

 The “blues scale” is really a combination of the major diatonic scale (the “regular” scale we all grew up with) plus three additional notes:

The flatted 3rd;

 The flatted 5th (or sharp 4th — same thing);

   The flatted 7th;

     So the blues scale really contains 11 notes — the 8 of the normal diatonic scale — and the 3 “blue notes”. 

     These are used in various combinations, as we shall see, to create a “bluesy sound”.

     The blues started  not as a piano style, but as a vocal style, and of course the human voice can sing “in the cracks” between the notes on the keyboard. So when we play blues on the keyboard, we try to imitate the human voice by playing BOTH the 3rd and the flat 3rd — BOTH the 5th and the flat 5th — BOTH the 7th and the flat 7th. We would play in the cracks if we could, but we can’t, so we do the best we can by combining the intervals to imitate the quarter steps that a human voice can sing. (Certain instruments can do that too — for example, the trombone. Since it has a slide, it can hit an infinite number of tones between any two keyboard notes.)

      In this course you’ll learn how the 12-Bar Blues is formed. Then you’ll play along with Duane as he plays a blues bass line for you. Rhythm & blues is next. Then you’ll learn about the old “barrel-house” styles, and work through a basis boogie-woogie pattern. Then you’ll learn some specific techniques used in blues playing, and by the end of the course you’ll be jamming on some blues riffs. Great piano course!

Click here for more info: http://www.playpiano.com/musical-courses/blues-boogie-R&B-12bar-blues.htm

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All Music Is Made Out Of The Same “Stuff”…

Thursday, December 22nd, 2016
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Hello again this is Duane and this is  good stuff you really ought to know. One thing you ought to know is about the commonality of music, the things that are in common between styles or generous of all kinds of music. In the past unfortunately those musicians with the more formal training have kind of looked down their noses at those who didn’t have the benefit of a formal training and improvised. That was a serious mistake as they’re learning now; there have been some wonderful teachers that have pointed out the great masters such as Bach and so on were all great improvisers.   There’s nothing new about improvising, people have done it down through the centuries. All Music Is Made Out Of The Same “Stuff”

In fact most written music was first improvised and then because the composer liked what he heard himself improvised he got it written down one way or the other. Bach would often improvise his preludes and feuds in church and if it went well then he would go home and write it down, if it didn’t another day he would come. Particularly in the last century classical musicians kind of looked down their noses at Jazz musicians.

Unfortunately people like Leonard Bernstein and Andre Previn came along to kind of pop a bubble in that myth and show that all music has commonalities, it’s all made out of chords, it’s all made out of scale fragments, it’s all made out of patterns, it all has dynamics, it has chord progressions and so on and so on, so forth. Look at Fur Elise with me if you will [Duane playing piano] and so on like that. Now let’s just consider the little portion that’s right there. [Duane playing piano] We have a little pattern and then we have [Duane playing piano] the A minor chord, if you add up those notes, [Duane playing piano] it’s A, C, E that’s A minor, we’re in the key of a minor by-the-way. There are no sharps or flats in the key signature, so it’s either in the key of C or it’s in its relative minor, A minor. How do we know?  We look for the primary chords in the key of C. Do we see them? Do we see C, F, and G? No not in this song. What we see [Duane playing piano] A minor.

The next chord is what? [Duane playing piano] E, G sharp, B, and D. Is there a D? No there’s not. That’s the E chord isn’t it? Then  A minor [Duane playing piano] A minor, E, A minor, so we just have two chords. [Duane playing piano] A, A, A, that’s the one chord in the key of A minor, the five chord in the key of A minor, one chord, the five chord, the one chord. Now listen [Duane playing piano]. The first section of that great tune Summertime has just two chords, A minor, E, A minor, E, A minor, E, A minor, and then it goes onto the four chord which would be D minor and so on, but my point is there’s very little difference at all in the form between Fur Elise [Duane playing piano] and Summertime [Duane playing piano]. There’s a different feeling, a different rhythm and so on, but it’s the same chord progression, so look for those kinds of things, because they occur in all kinds of music. Just another one of the good stuff you really ought to know. Thanks for being with me, see you soon.

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A Very Cool Chord Progression You Can Play…

Tuesday, December 20th, 2016
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A Very Cool Chord Progression You Can Play…

Good morning, this is Duane, your Headless Piano Teacher with another little lesson about chords and chord progressions. I’d like to show you the four to four to one chord progression today, which is a very very useful chord progression, you can use it in a wide variety of songs and settings and so on, lots of things you can do with it. It’s really very simple, but until you understand it, it doesn’t seem simple, but all it is is the one chord, say you’re in the key of C, as you know, in the key of C, C is the one chord. What would the four chord be? That’d be the four chord, wouldn’t it? What would be the four of the four, in other words, what’s four notes up from F? It’s B flat.

So those are the three chords we’re dealing with. The four chord, which is B flat, the four chord which is F, and the one chord which is C. Let me say that again. The one which is C, the four chord which is F, and really the flat seventh chord which is B flat. B flat is four of F, but in the key of C it’s a flat seventh, isn’t it? So it’s the flat seventh to four to one chord progression really.

Now what you do is you play those chords inverted. In other words, that would be awkward to play it like that, so what you do is you play the four of the four in first inversion, that would be … Here’s B flat in root position, here’s first inversion. So you play the four of the four in first inversion, and then you play the four chord, which is F, in second inversion. And then you play the one chord in root position. As you know, there’s three possible chord positions of a triad, there’s root position, first inversion, and second inversion. We’re using all three inversions, but on three different chords. On B flat, we’re using the first inversion, on F we’re using the second inversion, and on C we’re using the root position.

Here we go, the four of the four, to the four, to the one. Try that with me. Four, four, one. Four, four, one. Now let’s slide off a note or two. Four, four, one. Four, four, one. Let’s use an ostinato on the left hand, a solid bass, say like C. Four, four, one. Four, four, one. Get that?

Now we can do it, say we’re playing the blues, we’ve just been on the C chord so far, so now we go up a fourth to the F chord. The one chord is F, if we’re considering F is our root. The four chord is B flat, and the four of the four is E flat. So we do the same thing on F as we did on C. We take the E flat chord in first inversion, the B flat chord in second inversion, and the F chord in root position. So we have this.

Now any time you’re playing the blues or want kind of a funky sound, it’s good to put a seventh in it. Hear that, I put a seventh in the one chord. Now I’m doing the same thing to … I should have stopped there, I did the same thing to the B flat chord as I did to C and F. So the root, the four, and the four of the four, which is A flat, back to the four, and then back to one. You can play through the blues just doing that, couldn’t you? I’ll do that real slowly here. Then you go around again.

That was a waltz, actually that I got into, a little waltz in the key of C using the blues format and using the four of four format. So there’s lots and lots of things you can do for it. Just one more thing you need to know about piano playing. If you like tips like this, come on over to PlayPiano.com and sign up for our free newsletter. That’s www.PlayPiano.com, and you’ll get a tip like this every three days or so. Thanks for being with me, we’ll see you again soon, bye-bye for now.

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