tips & tricks for the rhythmically & harmonically-challenged
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Season’s Greetings
Dec 12th
To All My Readers,
Have a Merry Christmas and a Happy New Year 2010! 
I dedicate this rendition of “Joy to the World” to all of you 
(This reharmonized version lends a solemn mood to this usually lively and joyous song.)
[To Mrs. Liew, if you are reading this, I am still unable to contact you. My bounced e-mails show user unknown at your given singnet address. Please try to write in again. I'm looking forward to hearing from you!] 
Popularity: 2% [?]
Understanding Rhythmic Feels
Dec 10th
One good thing about playing classical music is there is never any confusion about how to play an eighth note (or quaver). An eighth note is an eighth note is an eighth note, right? Well, yes…and no.
Rhythmic Feel: What is it?
In pop and jazz music, it’s very important to determine the correct interpretation of the eighth and sixteenth note (or semiquaver) before you start playing a song. What do I mean by that?
Have you ever come across any one of the following terms/symbols when you looked at a piece of music: “Play in swing 8ths,” “Bounce feel,” “Rock Shuffle,” or ““? It’s usually found on the top left hand side of the song, just before the start of the first line of music. These terms/symbols are actually referring to the feel of the music, i.e. how to interpret the eighth note, because they are definitely not to be played as written or in the conventional way.
The most common eighth and sixteenth note feels in pop and jazz music are the straight, triplet and rolled feels.
Straight Feel
Quite often, we see the quarter note beat being subdivided in twos and fours. When that happens in 4/4 time, we get a row of eight eighth notes and sixteen 16th notes, respectively. The straight 8th and 16th feels are how we term the conventional way we interpret the eighth and sixteenth notes, respectively. Play the notes as written and as traditionally learned.
Triplet Feel
The quarter note can also be subdivided into three parts. When that happens in 4/4 time, there will be 12 eighth notes and 24 sixteenth notes, respectively.
Rolled Feel
This feel is known by other names such as swing, bounce, shuffle and uneven eighths. Regardless of how it’s called they all refer to the same thing, i.e. the first eighth note of a pair of eighth notes gets two-thirds of the beat. Another way to look at this is by looking at the previous triplet feel and only playing on the downbeats and all the “a”, leaving out all the “e.”
Often, in printed music, the rolled 8th feel is represented in straight 8ths but with additional indication of how the eighth note is to be played. Generally, this method is employed to make the music easier to read.
As with the rolled 8th feel, the rolled 16th is also commonly represented in straight 16ths in printed music but with additional indication of how the sixteenth note is to be played. Again, this method is favored to make the music much easier to read, which in the case of a row of sixteenths makes a lot of sense!
Drum Rhythms in Various Feels
Now listen to some drum patterns that will correspond to all the above feels.
Straight-8th-Pop/Rock Straight-16th-R&B Triplet-8th-Ballad Triplet-16th-Hip-Hop[Note: Musically, an entire drum rhythm of triplet 16ths is not very common. However, this particular example here starts with a row of triplet 16th hi-hat patterns before launching into mainly a rolled 16th feel.]
Rolled-8th-Blues-Shuffle Rolled-16th-Hip-HopSo before approaching any piece of contemporary music, make sure you determine the feel first. As you can see, all these feels are unique and different from each other. The proper feel sets the groove and mood of a particular song or style of music.
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Jazz Improvisation – Why is it So Hard and How to Overcome the Initial Difficulty?
Dec 4th
Thanks to Norah Jones, Jamie Cullum, Michael Buble and many other young jazz and jazz-influenced artists, interest in jazz music has been making a strong comeback. And with singer/piano players like Norah and Jamie, it’s not hard to see why jazz piano-playing has taken on with many piano enthusiasts as well.
However, because many of us started off learning the piano by playing classical music which deeply grounds us in music-reading and interpretation of the works of the masters, i.e. Bach, Chopin, Mozart, etc., the jazz style and its element of improvisation become, to many, extremely difficult to learn, or a skill which “you either have it, or you don’t.” It really doesn’t have to be that way.
Learning how to play jazz – no matter how brilliant a pianist you are – is going to be difficult in the beginning because you are learning a new skill. However, the best part of it is if you are a classically-trained pianist you would already have many years of technique and musical knowledge to support your foray into jazz. Think of it this way: if you can ride a bicycle and would now like to learn how to ride a scooter, chances are you won’t have any balancing issues. In the case of jazz piano-playing, all you have to do is to have the right approach and a systematic practice routine.
For your initial improv journey, I personally recommend this three-step approach:
- Scales & Chords – Add on to your repertoire of major and minor scales and triads and 7th chords to include the major modes (dorian, mixolydian, etc.) and minor modes (lydian augmented, lydian b7, altered, etc.); and A&B voicings (or rootless voicings), and keep your left hand comping simple – it’s not a crime to hold the chord down through the bar!
- Song Choice – Sounds like I’m channeling American Idol, but it’s excellent advice. Choose pieces that are not too challenging in terms of its harmonic changes (you don’t want to struggle with the new voicings that you have been working on), have a melodious tune (keeps you interested and provides an easy fallback during your solos) and is rhythmically easy (you don’t want to stumble over intricate swing syncopation).
- Listening Session – This cannot be overemphasized. The easiest way to learn a new musical style – how it feels, how it sounds, how it moves and grooves – is to listen to how it’s actually played by the experts in the field. All the more so with jazz music which is such an audible art – meaning the improvisational aspect of playing the piece is facilitated by a highly-skilled and trained ear. Listen to the gurus of jazz piano, i.e. Oscar Peterson, Bill Evans, Keith Jarrett, Marian McPartland, etc. Wouldn’t you know it; some of these jazzers were classically-trained – just like you!
Most of you are probably already listening to jazz music. Guess what? That means you are one-third of the way through the above approach! Work the other two into your practice routine and let your creativity fly!
I have been teaching piano for more than 20 years. Although classically-trained, I have always loved contemporary music. I grew up in a household filled with all types of music, from classical to jazz, Pavarotti to Sinatra, Goldberg to Grusin, pop, rock, etc. Currently residing in Singapore, I conduct private piano lessons in pop and jazz music to students of all ages, ranging from music enthusiasts, piano teachers to professional musicians. I also write a blog especially for pianists who find themselves rhythmically and harmonically challenged, and also on other interesting music and piano-related stuff.
Article Source: http://EzineArticles.com/?expert=Nicole_H._E._Lee
http://EzineArticles.com/?Jazz-Improvisation—Why-is-it-So-Hard-and-How-to-Overcome-the-Initial-Difficulty?&id=3343458
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Wanna Play Pop, R&B, or Jazz? Then You Must Know the Diatonic 7th Chords Too!
Nov 28th
Oops! That looks like my longest article title yet! But it got you looking, right? Cool 
Now that you know what the major scale diatonic triads are (check out my post on diatonic triads here), it’s time to expand the wee little triad to include it’s cooler, modern-sounding fourth note, that is to stack another note on top to make a Diatonic 7th chord.
Diatonic 7th Chords of the Major Scale
Here are the seven Diatonic 7th chords in the key of C Major:
Notice how just one additional note has given a slight twist to the chord qualities. The main quality of the chords are still there. With the exception of two of the chords, the major chords still retain their major quality sound and are still in the major chord family; the same goes with the minor chords. However, the 7th note has given each chord an extra bite, or a slightly more sophisticated quality, apart from contributing to a fuller, richer sound.
Now, the next important thing to look at are the chord symbols relative to each chord’s position (or chord degree) in the scale:
| Chord Degree | Chord | Chord Degree | Chord |
|
I |
Cmaj7 |
V |
G7 |
|
II |
Dmi7 |
VI |
Ami7 |
|
III |
Emi7 |
VII |
Bmi7b5 |
|
IV |
Fmaj7 |
|
|
The I and IV chords are both major 7th chords. The chord symbol is now represented by a capital letter along with ma7 or maj7.
The II, III and VI chords retain their minor chord quality to become minor 7th chords. The chord symbol is now represented by a capital letter along with mi7 or min7, sometimes you will also see this -7 (minus sign followed by the 7).
The two chords that take on different qualities are chords V and VII. Chord V is especially important to note because the added fourth tone has changed the major quality triad to one that is now called the dominant 7th chord. The chord symbol comprises simply the 7 next to the capital letter.
The Importance of the V7 Chord
The dominant 7th chord contains the 4th and 7th degrees of the major scale. If you take a look at the keyboard, you will notice that these two notes are part of two sets of white key halfstep intervals. For example, G7 consists of the notes G-B-D-F — B is the 7th and F is the 4th. These two notes form the core structure of a dominant 7th chord and give it the “active” sound that calls for a resolution to a stable chord, which is usually chord I of the key.
Listen to the chord again, followed individually by the 7th and 4th notes and finally the 7th and 4th notes sounded together (forming a tritone interval).
G7-chord-and-its-tritoneIn this case, G7 will move naturally and completely (or resolve) to C. Notice how and where each note moves from V7 (SO-TI-RE-FA) to I (DO-MI-SO-DO). Breaking the notes down to solfeg, you will see a very natural and organic movement in music, i.e. SO moves (up a perfect 4th or down a perfect 5th) to DO; TI resolves up a halfstep to DO; and FA resolves down a halfstep to MI.
In short, the V7 is a signpost to the key of a song or composition, since there is only one such chord quality in a major key. For example, if we see this chord progression, Gmi7-C7, there’s a great probability that we are in the key of F major; or G major, if it’s this progression: C-D7.
And finally, the last chord of the scale on the seventh degree, VII, is now a minor 7th with a flatted 5th. The chord symbol is a capital letter along with mi7b5, mi7(b5), min7b5, or min7(b5).
Traditionally, this chord is referred to as a half diminished. However, in pop and especially jazz music, we view this chord as having a minor chord quality rather than a diminished one.
So this wraps up all the seven diatonic 7th chords of the major scale. In the next post, I will show you how just by using these seventh chords, a simple song can be tweaked to sound more sophisticated. Meanwhile, learn and play them in all keys!
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7 Ways to Become a Better Pop or Jazz Pianist
Nov 21st
“Practice!” That’s what piano teachers always tell their students, or “Practice makes perfect,” spout many. But practice what? Practice how? If practice makes perfect, then it is also true that imperfect practice makes imperfection! And we don’t want that. To become really good at our craft, i.e. piano-playing, it is important to know what and how to practice. Hence, to me, the saying should really be knowledgeable practice makes perfect.
Here are the seven important areas to cover and to diligently practice in order to become a better pop and/or jazz pianist.
- Scales - All contemporary piano players know that scales are the basic building blocks in music. The notes of a melody come from a scale, as are improvisational lines in jazz solos. Essential scales to master are: major (ionian mode), melodic and harmonic minor, modes (dorian, phrygian, lydian, mixolydian, aeolian [natural minor], locrian), major and minor pentatonic, major and minor blues, diminished and whole-tone.
- Chords – From scales, we build chords. It’s vital to memorize all the diatonic chords of the major and minor scales. Diatonic chords are chords that are built on every note of a scale and whose notes come from that very scale; there are seven altogether for each scale. Learn up its chord quality and function within the scale or key, regardless whether the chords are triads, sevenths, or 13th chords. Essential chord families to master are: major, minor and dominant.
- Rhythm - The best melody and harmony in the world will be quite boring without a hint of rhythm that goes with it. Rhythm gives life to music. Inherent with rhythm is feel, i.e. the interpretation of rhythmic units. Essential rhythmic feels to grasp are: straight and rolled 8ths, straight and rolled 16ths, swing and triplet. Additionally, it is also important to work on other rhythmic aspects such as syncopation and anticipation.
- Cycle of 5ths – Imagine the face of a clock and instead of the hourly numbers, replace these with the 12 notes in music, i.e. starting at the top at 12 with C, then moving clockwise down five steps to F, then Bb and continuing this until you end back at C. This is what you will get: C-F-Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-D-G-C. Memorize this movement because a lot of chord progressions in songs move naturally in this way, either down in perfect 5ths or up in perfect 4ths. For example, the A section of “Fly Me to the Moon”: Ami7-Dmi7-G7-Cma7-Fma7-Bmi7(b5)- E7-Ami7. The roots of the chords move perfectly around the cycle, diatonic to the key of C major!
- Form – All the elements of music – melody, harmony and rhythm – will be pointless or meandering if not held together or structured in specific forms. Pop songs are known for their verse and chorus structures, or AB form. It is also common to find modern pop songs these days with the following form: intro-verse-chorus-verse-chorus-bridge-chorus-outro (ending). Blues music, of course, has its 12-bar structure, and its less common 16-bar form. And the 32-bar song form in jazz with its many variations, i.e., AABA, AABC, et cetera, are all important to note and remember.
- Styles - The beautiful thing about contemporary music is its many styles: pop, rock, R&B, reggae, gospel, bossa nova, swing, bebop, et cetera. Each and every style has its inherent melodic, harmonic and rhythmic characteristics. Break down every facet of a style and learn how to interpret it correctly. Master the styles and make your playing more colorful and multidimensional!
- Listen - Last but not least, because contemporary music comes in many genres, styles, shape and form, we need to develop a healthy listening habit. Every area from 1 to 6 above can be consolidated through a good listening session. As you listen to a piece of music, be it something from Coldplay, Sara Bareilles, Michael Buble, or Keith Jarrett, look out for and analyze all the elements – the melody/scale, chord/harmony, rhythm/feel, form and style. Music is an audible art. Hence, as a musician you need to build up your analytic listening skills!
Since there are 7 areas to work on altogether, these can be put to efficient practice, one for each day of the week! And remember only knowledgeable and perfect practice makes perfect. Have fun!
I have been teaching piano for more than 20 years. Although classically-trained, I have always loved contemporary music. I grew up in a household filled with all types of music, from classical to jazz, Pavarotti to Sinatra, Goldberg to Grusin, pop, rock, etc. Currently residing in Singapore, I conduct private piano lessons in pop and jazz music to students of all ages, ranging from music enthusiasts, piano teachers to professional musicians. I also write a blog especially for pianists who find themselves rhythmically and harmonically challenged, and also on other interesting music and piano-related stuff.
Article Source: http://EzineArticles.com/?expert=Nicole_H._E._Lee
http://EzineArticles.com/?7-Ways-to-Become-a-Better-Pop-or-Jazz-Pianist&id=3291829
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