Early Classical, K-Pop, Contemporary Christian & New Age Music: When it comes to improvisation, what do these genres have in common? Hint: You can sound great using just 7 notes!
For the above styles of music (plus certain Jazz & Gospel tunes), the 7 notes of the key center scale works well for improvising over the whole tune. It’s an easy concept to keep in mind that may enhance your solos, without having to think of too many confusing options, so you can focus on building nice melodic lines using rhythmic variety. When we build solos upon one scale it’s called improvising diatonically – which works fine provided the tune’s harmony doesn’t stray far from the home key.
Pianists, keyboardists, and guitarists have the advantage of being able to build chords diatonically by combining notes built across a scale. In the following video tutorial I’ll show you how to do just that by using the D major scale (the key center of the #kpop hit Euphoria, sung by Jungkook of the band #BTS). The entire video – all exercises and examples – are made using only these 7 notes: D E F# G A B C#.
Hope you have fun exploring the key of D like I did! – DD
Feeling slightly “under the weather” but still wanting to teach, I asked 2 adult jazz piano students to meet online for lessons. Educators know that teaching over the internet requires extra energy to communicate, and I was a bit short of breath. What valuable lessons could I give my inquisitive students that would keep their fingers busy while I listened, hydrated, and encouraged them, with minimal talking on my part? I took a couple hits off my inhaler and came up with a “game plan” (modeled after real life situations I’ve had as a performer), and tested it out on my students. Together we had a good deal of fun playing these online socially safe music games. Continue reading “Music Game #1: “Tip Jar” (Playtime For Teacher & Piano Student)”
There are certain types of rich chord techniques the jazz pianist ought to have under their fingers in a piano/bass/drums or larger group setting. Both Block and Spread Chords may be used for a full sounding effect during the melody of certain tunes. Additionally, these styles may be used to build intensity during a piano solo, or culminating in impressive spread chords at the solo’s highpoint. Continue reading “Block Chords (Locked Hands Style) vs Spread Chords: How Pianists Create Them”
December is the perfect time of year to develop one’s ear training skills. We’ve been by saturated listening to Christmas & Holiday tunes playing all over the place since Halloween, and know those familiar jingles a jing-jing-jingling quite well by now, so well in fact we can’t seem to get them out of our heads! So you may as well face the music and do something creative with these tunes as long as you are hearing them over and over, right? Continue reading “Add Jazz Pizazz To Holiday Hits: Play by Ear & Improvise Piano Tutorials”
Musicians who are also Educators have a burning desire to create, perform, and share ideas with others, which can be tough during these times of quarentine due to COVID-19. Fortunately for me, I’ve been self isolating along with my musician husband who happens to be a very fine jazz bassist. TrueConfession: We don’t normally practice together Continue reading “On A Clear Day: 3 Ways 2 Play 4 Piano”
Observe today’s music theory illustration pictured above. Notice the photo of these colorful FourO’clock Flowers – each bloom is unique, but they all are linked together as a family that grows from the same parent plant.
This week one of my newer adult piano students eagerly read ahead in my book Amazing Phrasing – Keyboard, and got a bit confused trying to understand the Greek modes/scales we refer to in both jazz & traditional music theory. During her first lesson this enthusiastic lady Continue reading “Explaining the Greek Modes”
Ever notice how certain old hymns have chords and candences like other familiar tunes? (Especially the ones in 3/4 time can sound like Irish or Country Waltzes, Holiday Hits, or early American Songs.) I was MONKeying around with this request for The Old Rugged Cross, getting ready for a memorial service, when I kept getting distracted by other tunes which sounded similar.
What goes on in your head when you improvise? Are you thinking about something in particular, or just playing “anything” and not really thinking at all? How are you able to improvise with other musicians you’ve never played with before and sound so good together?