Advanced Piano

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Advanced Piano

Table of Contents

GENERAL INTRODUCTION ......................................................................... 5

FLASHCARDS .............................................................................................. 6

THE LEARNING GAME ..................................................................................................................................6

OTHER KEYBOARDS ................................................................................ 11

PIANO VARIANTS ........................................................................................................................................11 The Electrical Piano (Fender Rhodes) ................................................................................................................ 11 Harpsichord (Cembalo) ......................................................................................................................................... 12 Spinet ....................................................................................................................................................................... 12

ORGANS .......................................................................................................................................................13 The Electrical Organ (Hammond B-3) ................................................................................................................. 13 Church Organ ......................................................................................................................................................... 14

SYNTHESIZERS ...........................................................................................................................................15 The Moog Synthesizer (The First Synthesizers) ................................................................................................ 15 General Synthesizers ............................................................................................................................................ 16

ACCORDION ................................................................................................................................................17 PERCUSSION KEYBOARDS .......................................................................................................................18

Xylophone ............................................................................................................................................................... 18

Marimba................................................................................................................................................................... 19 Vibraphone.............................................................................................................................................................. 19

MIDI ............................................................................................................. 20

BASIC MIDI PRINCIPLES .............................................................................................................................20 General MIDI Facts ................................................................................................................................................ 20 Midi for Musical Notation ....................................................................................................................................... 20 Conclusion on Brave New World ......................................................................................................................... 22

ADVANCED NOTATION ............................................................................. 23

TIES ..............................................................................................................................................................23

DYNAMICS ...................................................................................................................................................25 TRILLS ..........................................................................................................................................................26 ODD METERS ..............................................................................................................................................27

Straight and Odd Meters ....................................................................................................................................... 27 5- and 7-part Meters .............................................................................................................................................. 27 Long Odd Meters.................................................................................................................................................... 30 Even and Uneven Meters Played as Compound Meters.................................................................................. 31

POLYRHYTHMS ...........................................................................................................................................32 Rhythmical Grouping ............................................................................................................................................. 32 Basic Polyrhythms.................................................................................................................................................. 33

DRUM NOTATION ........................................................................................................................................35 Notation of the Drums and Cymbals.................................................................................................................... 35

CHORD AND SCALE CHARTS .................................................................. 36



Chapter 5, Advanced Piano, General I ntr oduction

Al l Aspects of ROCK & JAZZ /5 Basic Piano 2

SCALE C .......................................................................................................................................................37 Common Chords in C ............................................................................................................................................ 37 Chord Tablature for Piano..................................................................................................................................... 38 The Scales in C ...................................................................................................................................................... 39

SCALE C# AND DB ......................................................................................................................................42

Common Chords in C# and Db ............................................................................................................................ 42 C# Scales ................................................................................................................................................................ 43 Chord Tablature for Piano..................................................................................................................................... 44 The Scales in C# and Db ...................................................................................................................................... 45

SCALE D .......................................................................................................................................................48 Common Chords in D ............................................................................................................................................ 48 D Scales .................................................................................................................................................................. 48 Chord Tablature for Piano..................................................................................................................................... 49 The Scales in D ...................................................................................................................................................... 50

SCALE EB AND D# .......................................................................................................................................53 Common Chords in Eb and D# ............................................................................................................................ 53 Eb Scales ................................................................................................................................................................ 54 Chord Tablature for Piano..................................................................................................................................... 55 The Scales in Eb and D# ...................................................................................................................................... 56

SCALE E .......................................................................................................................................................59 Common Chords in E ............................................................................................................................................ 59 E Scales .................................................................................................................................................................. 59 Chord Tablature for Piano..................................................................................................................................... 60 The Scales in E ...................................................................................................................................................... 61

SCALE F .......................................................................................................................................................64 Common Chords in F ............................................................................................................................................. 64 F Scales................................................................................................................................................................... 64 Chord Tablature for Piano..................................................................................................................................... 65 The Scales in F ....................................................................................................................................................... 66

SCALE F# AND GB.......................................................................................................................................69

Common Chords in F# and Gb ............................................................................................................................ 69 F# Scales ................................................................................................................................................................ 70 Chord Tablature for Piano..................................................................................................................................... 71 The Scales in F# .................................................................................................................................................... 72

SCALE G .......................................................................................................................................................75 Common Chords in G ............................................................................................................................................ 75 G Scales .................................................................................................................................................................. 75 Chord Tablature for Piano..................................................................................................................................... 76 The Scales in G ...................................................................................................................................................... 77

SCALE AB AND G# ......................................................................................................................................80 Common Chords in Ab and G# ............................................................................................................................ 80 Ab Scales ................................................................................................................................................................ 81 Chord Tablature for Piano..................................................................................................................................... 82

The Scales in Ab .................................................................................................................................................... 83 SCALE A .......................................................................................................................................................86

Common Chords in A ............................................................................................................................................ 86 A Scales .................................................................................................................................................................. 86 Chord Tablature for Piano..................................................................................................................................... 87 The Scales in A ...................................................................................................................................................... 88

SCALE BB AND A# .......................................................................................................................................91 Common Chords in Bb and A# ............................................................................................................................. 91 Bb Scales ................................................................................................................................................................ 92 Chord Tablature for Piano..................................................................................................................................... 93 The Scales in Bb .................................................................................................................................................... 94

SCALE B .......................................................................................................................................................97 Common Chords in B ............................................................................................................................................ 97 B Scales .................................................................................................................................................................. 97







All Aspects of ROCK & JAZZ

Volume 5 – Basic Piano

5 of 7 documents ISBN 97887919950021

stEdition, 1

stIssue

Winter 2006 Produced in Denmark

Digital Books™ is a trademark of NORDISC Music & Text, Ryparken 6, 1. th., Copenhagen 2100 Kbh. Ø

www.nordisc-music.com

Text, notes, musical examples, Illustrations, layout and concept© Copyright H.W. Gade 1984-2006

http://www.nordisc-music.com/







General Introduction

The Advanced Piano chapter contains an introduction to Other Keyboards; electric piano, harpsichords, organ, synthesizers, accordion and percussion keyboards.

There’s a free set of Flash Cards with chord quizzes, a section on MIDI and a large

section on advanced notation and odd meters. The practical highlight of the Ad-

vanced Piano chapter is the complete list of chords and scales with the main scales,

fingerings and chords. For the jazz players, there are sections on advanced jazz

scales and chords. Finally a section on Harmonizing a tune, the ultimate test of your

harmonic knowledge.

The last chapter, Rehearsal Tips, contains examples of how to plan your daily re-

hearsal.





Chapter 5, Advanced Piano, F lashcards


Front of Flashcard 1-12 (questions)

All Aspects of

ROCK & JAZZChord Quiz 1

C

© Digital Books™

All Aspects of


Db7

© Digital Books™

All Aspects of


Amaj7

© Digital Books™

All Aspects of


B9

© Digital Books™

All Aspects of

ROCK & JAZZ

Chord Quiz 5

Bbmaj7

© Digital Books™

All Aspects of

ROCK & JAZZ

Chord Quiz 6

Emaj7

© Digital Books™

All Aspects of

ROCK & JAZZ

Chord Quiz 7

F+

© Digital Books™

All Aspects of

ROCK & JAZZ

Chord Quiz 8

Eb9

© Digital Books™


Chord Quiz 9

Abm7

© Digital Books™


Chord Quiz 10

Bbm

© Digital Books™


Chord Quiz 11

D#m7

© Digital Books™


Chord Quiz 12

Asus4

© Digital Books™





Back of Flashcard 1-12 (answers)

Chord 4

B9

Chord 3

Amaj7

Chord 2

Db7

Chord 1

C

Chord 8

Eb9

Chord 7

F+

Chord 6

Emaj7

Chord 5

Bbmaj7

Chord 12

Asus4

Chord 11

D#m7

Chord 10

Bbm

Chord 9

Abm7





Front of Flashcard 13-24 (questions)

All Aspects of


Fm7

© Digital Books™

All Aspects of


C+

© Digital Books™

All Aspects of


Dmaj7

© Digital Books™

All Aspects of


Fdim

© Digital Books™

All Aspects of

ROCK & JAZZ

Chord Quiz 17

Gb+

© Digital Books™

All Aspects of

ROCK & JAZZ

Chord Quiz 18

F#m7

© Digital Books™

All Aspects of

ROCK & JAZZ

Chord Quiz 19

Edim

© Digital Books™

All Aspects of

ROCK & JAZZ

Chord Quiz 20

Ebsus4

© Digital Books™


Chord Quiz 21

Bm

© Digital Books™


Chord Quiz 22

C#dim

© Digital Books™


Chord Quiz 23

E9

© Digital Books™


Chord Quiz 24

Abmaj7

© Digital Books™





Back of Flashcard 13-24 (answers)

Chord 16

Fdim

Chord 15

Dmaj7

Chord14

C+

Chord 13

Fm7

Chord 20

Ebsus4

Chord 19

Edim

Chord 18

F#m7

Chord 17

Gb+

Chord 24

Abmaj7

Chord 23

E9

Chord 22

C#dim

Chord 21

Bm



Chapter 5, Advanced Piano, Other Keyboards


Other Keyboards

A modern keyboard player must at least have a basic knowledge of synthesizers andMIDI instruments. Knowledge of the organ, which used to be obligatory for pianists,

is still valid, if you play religious music. If you specialise in folk music, you might

need to play simple chords on an accordion. Here is a list of common keyboard in-

struments, with short descriptions of the keyboard and how to play it.

PIANO VARIANTS

The piano comes in many forms, as you already know. The modern acoustic and digital pianos

have been described in chapter 1, Buying a Piano and chapter 2. Piano Technique. Now, let’s

try to fill in the missing keyboard information:

The Electr ical Piano (Fender Rh odes)

Introduction The Rhodes piano was not the first, but it was surely the most popular electric

piano before the advent of digital pianos. Until the mid-1980-ies, the Fender Rhodes electrical

piano was the most popular alternative to an acoustic piano. The author used to play the 88-

version in the middle of the 1970-ies; it took two persons to carry the #¤&%! thing up and

down the stage.

Technical Description The Fender Rhodes is a real piano with an action and mechanical

keys, but the sound is produced by hitting a metal rod instead of a string. The electric pianoused magnetic pickups like the guitar. The sound is metallic and crisp. Some of the Fender

Rhodes pianos are equipped with a stereo sound effects system.

Range 73 or 88 keys.

Playing Method Played like a normal piano. If played softly, the sound is thin, but during

powerful playing, the sound becomes rough and distorted. The distorted electric piano sound

was characteristic for the so-called fusion jazz in the 1970-ies. The Fender Rhodes pianos have

become popular again since 2000.





Harpsicho rd (Cembalo)

Introduction A harpsichord or cembalo is an instrument developed from zither-like stringed

instruments in the middle ages. It is associated with the Bach family and the 17 th century, but

modern soul music frequently uses the sound of a harpsichord.

Historical Harpsichord (18th century)

Technical Description The action of a harpsichord is based on a plectrum plucking the

strings (similar to a guitar). The sound is crisp and as the harpsichord hammer does not re-

bounds from the string after the stroke.

Note Most modern keyboard players use a harpsichord sound font played on a digital pi-ano, as a real harpsichord is very expensive – and fragile when it is moved.

Range 4-5 octaves. Often equipped with 2-3 keyboards on top of each other, sometimes withtransposition functions.

Playing Method Played like a normal piano, except for the missing forte-piano (forceful –

weak). Feels a little rubbery, when you strike the key. On real harpsichords, you have to play

very distinct and not strike the keys as hard as on the piano. You are playing a guitar in dis-

guise!

Spinet

A spinet is a historical harpsichord with the strings in a sharp angle to the right:

Historical Spinet

Historical and modern spinets are still produced. The spinet sound, which is a little louder and

warmer than the harpsichord, can also be found on various sound fonts.





ORGANS

The Electr ical Organ (Hamm ond B-3)

Introduction The most famous organ based rock song is beyond doubt “A Whiter Shade of Pale” by Procol Harum. But the electric organ was invented over 40 years earlier, and was used

by jazz geniuses like Jimmy Smith and Fast Waller in the 1930’ies. The king of electric organs

is the Hammond B3 (in the UK C3). The classic B3 model has been the standard electric organ

since 1955 and is still cult.

A Modern Hammond B3 Organ

Technical Description An electrical organ does not have pipes like a church organ. The

sound is produced by a rotating tone wheel and a magnetic pickup. The famous rotating Lesliespeaker and its valve-based amplifier is responsible for the final, unmistakeable Hammond B3

sound. The sounds are controlled by electronic drawbars similar to the mechanical church organ

drawbars. The organ is very heavy to carry, so don’t play on the second floor without an eleva-

tor.

Range Two keyboards with five octaves each. The bass pedal board has a range of 25-30 keys.

Playing Method Playing an organ is very different than playing any pianos or synthesizers.

First of all, there are no “hanging” notes as in a piano, where the notes overlap. On an organ,

you play the key and play the next note; there are no overlap of tones, which makes slow arpeg-

gios difficult to play without a chorus or echo effects. The generous piano pedal that saves thelife of the untrained piano player is alarmingly missing, on an organ, so you will have to play

the right notes all the time. By adjusting the sound drawbars, the two keyboards and the volume

pedal, the organ player creates new exciting sounds and dramatic dynamic effects.

The keys are very light and a Hammond is Godsend for really fast playing. Palm glissandos are

used a lot on the organ. The use of the volume pedal is crucial for the dynamic effect of the or-

gan.

The bass pedal board is extremely difficult to play, so don’t despair if your pedal work is a ca-

tastrophe; it will improve after about 10 years of training. No kidding.





Church Organ

Introduction The church organ was invented in ancient Rome. It is the oldest keyboard in-

strument in the world. Rock and jazz musicians normally use an electric / digital organ. The av-

erage study time to become a church organist is about 6-8 years, so a church organ is defini-tively outside the scope of this book.

Technical Description The organ sound is driven by wind in the organ pipes.

Range Two or three keyboards of 4-5 octaves each plus a bass pedal board with 32 notes.

Playing Method The church organ keys are not touch-sensitive, so they function like on/off

buttons without dynamics from the keyboards; the drawbars create the dynamic effects as with

the Hammond B3 organ. Both the 1-3 keyboards and the pedals are very physically demanding

to master.





SYNTHESIZERS

The Moog Synthesizer (The First Synth esizers)

Introduction In the early decades of the last century, the first synthesizers were invented. Theword synthesize means producing an artificial sound (or chemical substance etc.). The first

successful synthesizer was the Theremin, which was used on a number of records in the 1960-

ies, for example by Led Zeppelin. Robert Moog was originally a producer of theremins, but in

1964, Moog invented the first subtractive synthesizer controlled by a keyboard. The synthesizer

was part of a module system, but in 1971, the Minimoog was introduced and immediately be-

came a worldwide success. The Minimoog was a monophonic instrument (only on note at a

time). The success of the Minimoog paved the way for all other synthesizer types.

The Famous Minimoog (Psychedelic Colours by the Author)Technical Description The Minimoog is very easy to use and stays in tune most of the time.

It was – and is – very expensive. The old synthesizer sounds are very hot at the moment (2006).

Range 4 octaves.

Playing Method Like a normal piano but without touch sensitive keys.





General Synth esizers

Introduction Modern synthesizers use a combination of analogue, electronic sounds, and

computer controlled sound samples and editors. A keyboard with a number of advanced dis-

plays makes it possible to select and edit sound. The synthesizer has become an electronic in-strument, a recording device and a network controller. We have come a far way from the mod-

est beginning in 1971 with the Minimoog.

Modern Synthesizer from Alexis (on Top, the Author’s Psychedelic Keyboard Version)

Technical Description Both analogue and digitally sampled sounds must be optimised to a

better resolution, similar to the improved photographs from the mobile phones. The synthesizer

performs this mainly by reshaping the amplitude envelope. The user can edit the following pa-

rameters and many other parameters of the samples and input/output, including MIDI:

Attack Time Raising from 0 to 100% of the desired sound level.

Decay time Falling from 100% to 0% of the desired sound level.

Sustain level How long does a sound last when a key is pressed.

Release time How long does it take from the key is released till the sustain level reaches 0%.

Range 4-5 octaves.

Playing Method The keyboard is often equipped with touch sensitive keys.

Further Reading http://en.wikipedia.org/wiki/Synthesizer

http://en.wikipedia.org/wiki/Synthesizer








ACCORDION

Technical Description The accordion is a member of the large reed instrument family in-

vented in the 19th century. It consists of a treble keyboard or set of buttons and a bass section,

normally consisting of buttons. The player compresses and expands the bellows to blow air over the reeds to produce the music.

1. Keys 2. Buttons

The keys and buttons of the various accordion types are extremely complicated. About half of

the accordions are equipped with keys for the treble notes, but the other half has buttons for

both the treble and bass notes. The place and function of the buttons depend on design, national

traditions and the trends. The guitar or acoustic piano seem like toy instruments compared to

the accordions. The following is only a few examples of buttons and principles; the rest is hard

work and belongs to another instrumental universe than the piano.

Range Varies considerably. Many competing systems, some with buttons to transpose the key.

Playing Method Depending on the design, the melody is played on piano keys or on buttons.

Here is an example of treble buttons:





The bass buttons can be one or a combination of three main types:

1. Bass Buttons each with groups of 2-3 notes, for example a major or minor chord or a tradi-

tional bass.

2. The Stradella bass system is a complicated system of several rows of bass buttons.

3. The so-called Free Bass system makes it possible to use the accordion in classical music, as

the main types 1 and 2 are severely restricted due to the fixed bass chords and patterns. With

the free bass type, the musician can almost play normal piano scores.

PERCUSSION KEYBOARDS

Xylophone

Introduction The xylophone is a very popular children’s instrument, but it is also an instr u-

ment for professional musicians. The original instrument comes from Africa. Stone and metalxylophones are common too in Africa.

Technical Description The xylophone is made of chromatic wooden bars.

Range 3 to 5 octaves. The instrument sounds one octave higher than written.

Playing Method The xylophone is stroke with two or more mallets. By combining 2 x 2 mal-

lets, the xylophone can be used for simple chords.





Marimba

Introduction The marimba is the xylophone’s big brother, sounding an octave lower that the

xylophone.

Technical Description The marimba is equipped with a set of resonators metal tubes un-

der the wooden bars. Each tube has a length consistent with the frequency produced by the in-dividual bar.

Range 3-4 octaves.

Playing Method The marimba is stroke with two or more soft mallets. By combining up to

four mallets, the marimba can be used for simple chords. The gripping technique for the mallets

is difficult and can take years to learn.

Vibraphone

Introduction The Vibraphone was invented in the USA 1921, and it is by far the most ad-

vanced of the xylophone family. It is usually made of metal. It has been the most popular of thethree “xylo phones” among jazz musicians with Lionel Hamilton as the legendary star.

Technical Description Each metal bar has its own resonator like the marimba, but the vi-

braphone is furthermore equipped with electro motors, that can be switched on to produce a

powerful tremolo effect. The vibraphone has a sustain pedal like a piano.

Range 3-4 octaves. The vibraphone is written as it sounds.

Playing Method The vibraphone is stroke with two or more soft mallets. By combining up to

four mallets, the vibraphone can be used for simple chords. The gripping technique for the mal-

lets is difficult and can take years to learn.



Chapter 5, Advanced Piano, M IDI


MIDI

One year after the first edition of our All Aspects of ROCK & JAZZ series in 1985, atechnical revolution took place in the production of music – MIDI. For over 20 years

now, MIDI has been turning many a traditional production method upside down, es-

pecially in the record studio and in the costly pre-production phases of musical

scores, including musical notation software. Finally, the new methods have been

tested, certified and accepted as the new standard of music productions. We have

come far.

BASIC MIDI PRINCIPLESMIDI (Musical Instrument Digital Interface) is an industry-standard protocol for connecting

digital instruments and computers in real time. It was – and is – an extremely successful attempt

to integrate all electrical instruments, from synthesisers to digital accordions and guitars. MIDI

enables the instruments to exchange notes and melodies. And to store the finished melodies on

a hard disk or in a file for later editing and manipulation of the music.

General MIDI Facts

All modern keyboard instruments from digital pianos to acoustic baby grands are equipped with

MIDI connections and software. The MIDI standard allows the instruments to exchange data

and control/share the MIDI contents. All computers today include MIDI connections and/or

sound cards with a separate MIDI interface. Recently, USB and FireWire connections have

been added to the MIDI connector collection.

The MIDI system itself, however, is neutral and has no built-in sounds. The MIDI data is not

audio files but control events for the synthesizers and computers producing the final sound. The

control events can be tempo, note, pitch, duration and controls for volume, intensity, change of

instrument and many other musical parameters.

The formats are the official .MID files, the unauthorised .KAR format for Karaoke and the lat-

est file format XMF for inclusion of instrument data and Microsoft, who of course, have their

own format, .RMI.

Ring tones on the mobile phones are normally in MIDI format.

Midi for Music al Notation

The MIDI system offers the unique possibility of recording and storing MIDI signals, later to be

edited and converted to traditional notes. The notes can then be edited or printed; stored and

converted back to MIDI signals.

Our publishing house NORDISC was one of the pioneers of the MIDI revolution in the 1980-

ies, and we still develop note writing software, using the Lily Pond note engraving software and

our own web based interface. Our software products are GNU freeware. Visit the home of our

musical teaching books and note writing resources on www.a-play.dk.

http://www.a-play.dk/












Recording notes live In the early days of MIDI, we all believed that the days of tedious note

writing were over. We were perfectly right; the notes came floating from the MIDI cables,

through the software and onto the screen. Sadly, we did not take human errors and butterfingers

into account. The screen was cluttered with 16th and 32nd notes and pauses. It sounded great, but

the notes were downright illegible. Nonetheless, you of ten receive “live notes” when you ask for a score these days (not in Jazz, they miraculously know how to write notes in hand or on the

computer).

Plus: Sounds right, the way the player has interpreted the music. Minus: It’s unreadable.

Typing the notes in a music notation program Today most serious composer and ar-

rangers use notation software. It takes some time to produce legible notes and an uncluttered

print. But the time you would spend correcting live notes could easily take 2-3 hours more per

score.

Plus: Readable, professional scores. Minus: Sounds stiff and often doesn’t work well as back-

ground music in the recording studio, as the score is rhythmically dull.

The verdict: Use software for professional scores and live notes for MIDI music to be used

live or on records. Live notes sounds human, and human eyes love software scores. Right?

Conclus ion o n Brave New World

I believe that the musicians and composers of future generations will have access to written

music in a much easier way than the generations of the previous 500 years. The enormous

workload of writing down and editing notes by hand has been responsible for delays or even the

untimely death of many major works by the composers and arrangers of the old days (before

1986).We can now spend all our time partly being creative. We are free.



Chapter 5, Advanced Piano, Advanced Notation


Advanced Notation

In this section, we have collected a number of advanced musical issues. You willeventually meet all of them in real life, so take a quick look at them even if you don’t

want to study them closely for now.

The “issues” are use of ties, accents, dynamic signs and, trills, which are relative

easy plus odd meters and polyrhythms, which are downright nasty.

TIES

The tie is one of the most ambiguous note symbols altogether. As you can see from the follow-

ing pages, a tie can mean almost anything. In many cases a tie can be interpreted in more than

one way. And just to make things easier to understand; even ties below the tie are common,

each tie with a different meaning!

Cross Ties A cross tie connects small note values into larger ones or ties two notes across a

bar-line.

1. Connects two or more notes.

2. Connects two notes across a barr-line.

Vocal Slurs Vocal notation often uses a special kind of ties called slurs.

1. In case of changes in the number of syllables in a song, the composer adds 2 or more notes con-

nected with a slur, to allow for easier reading of the verses without paging to the next verse in

the middle of a song.

2. When a syllable is stretched over more than one note, a slur is placed between the notes.





Polyrhythmic "Ties" Polyrhythmic figures (see Rhythm) were previously write written with ties,

but in modern notation (after the 60'ies), square bracket ties are used instead.

Accents A single note can be accentuated (see Rhythm) in several different ways. The following

signs are standard signs:





DYNAMICS

Opposite to rock and jazz music, classical scores employ a number of so-called "dynamic" signs.

These sign indicates when to play the music powerfully or softly and whether the volume/power

(the dynamic) is raising or falling. As rock music seldom has dynamics laid out in forehand, thesesigns are never seen in a rock score. The same applies to jazz, although the dynamic signs are some-

times seen in big band scores.

Degree Symbol Name Function

Weak PPP Piano pianissimo Very, very weak

PP Pianissimo Very weak

P Piano Weak

MP Mezzo-piano Moderately weak

Decrease Decres.Dim.>

DecrescendoDiminuendo

Decreasing strength

Increase Cres.<

Crescendo Increasing strength

Powerful MF Mezzo-forte Moderately powerful

F Forte Powerful

FF Fortissimo Very powerful

FFF Forte fortissimo Very, very powerful





TRILLS

In the period of Bach and before, trills and other musical ornamentation were an important mean of

expression. This can hardly be said today, as timbre (the instrumental sound) and the technical de-

velopment of instrument building in common have relieved the listeners of the poor sounds so typi-cal of the early "classical" periods. A dull, dry sound can be compensated for, by fast groups of or-

namental notes (arpeggio, tremolo, "harpsichord style" etc.), trills. The good sound we (some of us)

have today render trills superfluous, but as they are still being employed in the special effects de-

partment, a few samples follow:

Trill

Defined Trill

Turn

Appoggiatura

Mordent

Reversed Mordent

http://localhost/var/www/apps/conversion/tmp/scratch_10/TRILL.MID


http://localhost/var/www/apps/conversion/tmp/scratch_10/DTRILL.MID


http://localhost/var/www/apps/conversion/tmp/scratch_10/TURN.MID


http://localhost/var/www/apps/conversion/tmp/scratch_10/APPOGIA.MID


http://localhost/var/www/apps/conversion/tmp/scratch_10/MORDENT.MID


http://localhost/var/www/apps/conversion/tmp/scratch_10/RMORDENT.MID












ODD METERS

Hard rock and Rock’n’roll players probably won’t read this section, as 4/4 is their King. For jazz

musicians, odd meter s are important, as odd meters (also called “compound meter s”) are used a lot

in modern jazz and in sophisticated funk. But odd meters do occur in “simple” rock, too: The

Beatles and even Little Richard use odd meters like 7/4 (All You Need is Love), 5/4 (Good Morn-

ing) and 6/4 (Good Golly Miss Molly) in their music, so odd meters are not that uncommon.

Straight and Odd Meters

Straight Meters

4/4, 3/4, 2/2, 6/8 and 12/8 are the normal meters in Western music of today.

Odd Meters in General

Contrary to the even or triple number of beats in the straight meters, odd meters have odd num-

bers of beats, 1, 5, 7, 9, 10, 11, 13 etc. Meters with long numerators have an ambiguous accen-tuation (15/8 and above) and partly belong to the compound forms.

Each odd meter has different accentuations and types. As there are very few books written on

the subject from a jazz or rock musician’s point of view, a lot of the terms will be new ev en to

musicians with a degree from a conservatory.

5- and 7-part Meters

5-Part Meters

Note Value Meter Accentuation Name

54

Waltz 1

Waltz 2

Syncope 1

Syncope 2

Straight

Semibreve

58

Fast waltz 1

Fast waltz 2

Straight

(unusual)





7-Part Meters

Note Value Meter Accentuation Name

74 Syncope 1

Syncope 2

Semibrevesyncope 1

Semibrevesyncope 1

Straight 1

Straight 2

Semibreve 1

Semibreve 2

78

Straight 1

Straight 2





Basic types of compound meters

Type Accentuation

Type 1 The longest group firstType 2 The shortest group first

Other subdivisions of compound meters

Type Accentuation

Waltz Uneven group dominates

Syncope Uneven group in double waltz (“6/8”)

Straight Even accentuation of all beats in the even

group(s). In 7-part meters and above thegroups are automatically split in 4 + 3 or 3 +4etc.

Semibreve Even groups, in 2 parts





Long Odd Meters

9-Part Meters

Note Value Meter Accentuation

94

Accentuated as:

Type 1 = 5/4 + 4/4Type 2 = 4/4 + 5/4

98 or 16

Type 1 or type 2 similar to 9/4 above

10-Part Meters

Note Value Meter Accentuation104

Accentuated as:

Type 1 = 6/4 + 4/4

Type 2 = 4/4 + 6/4Double 5-part = 5/4 + 5/4

108 or 16

Type 1, type 2 or double 5, similar to10/4 above

11-Part Meters


118

Accentuated as:

Slow blues = 9/8 + 2/8 (curiouslycommon “odd” slow blues) Straight = 8/8 + 3/8 (rather common in

jazz-rock and fusion styles)

1116

Similar to 11/8 above





13-Part Meters


138 Accentuated as:Slow blues = 9/8 + 4/8 (mind-boggling slow blues)Straight = 8/8 + 5/8 (If you can’t walk straight, this is straight!))

1316

Similar to 13/8 above

14-, 17-Part Meters and Above

Compound numerator groups above 12 are not common in rock and jazz (they are, however,

not unusual in modern "classical" music). They can be divided into 2 groups, according to their

accentuation:

Name Accentuation

“Boogie” Uneven group(s) dominate

"Straight" Even group(s) dominate

Even and Uneven Meters Played as Compou nd Meters

Even and uneven meters as 15/8, 12/8, 4/4, etc. can be subdivided into a number of compound

meters:

Example: 12/8 played as 5/8 + 7/8

The meter should be indicated in the notation, as follows:

1. Artificial compound meters (multiple meters)

2. Compound division marked with dotted bar-line





POLYRHYTHMS

Moving from odd meters into the strange world of Polyrhythms is like moving from simple math

into full- blown integral calculus. There’s a long way to go, brothers and sisters. When taking the

first step – literally – your hands and feet start moving in strange, irrational patterns, independent of each other. The listener feels the groove of another rhythmic world, but is not conscious of the com-

plex quantum movements in the music and the flow of the rhythms. But you are!

Rhythmica l Group ing

The forming of rhythmical groups is a purely psychological phenomenon. All the elements,

pulse, meter, rhythm, metrical form, accent and stress, are perceived by the ear as individual

elements, but the brain interprets the elements as groups. Only the elements clearly differing

from an otherwise coherent context will be perceived as accents.

A melody, where all elements move tightly without fluctuations, is perceived as a neutral pulse,not as rhythm. The more complex and diffuse the rhythm, meter and pulse are, the music be-

comes flat and without distinct structure.

Accents in Rhythmical Subgroups (2-3 Bars together)

Type Accent

Metrical form The longest note ("agogic accent")

Stress (only in larger subgroups)

Dynamic changes (strong/weak beats)

Tonality Leading note

Higher pitch

Ornamentation and trills

Harmony Final cadence

Cadence ostinato

Instruments Instrumentation (Elaborate or simple)

Influence from other subgroups

Timbre Full sound/thin sound

Sharp sound/soft sound





Basic Polyrhythm s

Polyrhythms are two or more different rhythms, played simultaneously. We distinguish between

polyrhythms in one meter and true polyrhythms.

Polyrhythms in One Meter

A polyrhythmic figure in one meter is a figure, breaking the basic pulse of the meter. For exam-

ple by playing 3 equally long beats in a 4/4-bar, consequently 3 against 4. The desired number

of beats is played, exactly fitting the length of the total span of the piece (for example half a

bar). All numbers are theoretically possible as polyrhythmic values, but in practice only 2, 3, 4,

5, 6, 7, 8, 9 and 10 are used. Numbers equal to or higher than 7 are difficult to play, trying to fit

the many notes into an often "hostile" basic rhythm (7 against 4 or 7 against 5, etc.).

They most common polyrhythmic figures in 4/4, 3/4, 2/4, 5/4 and 7/4 are:

Name Number 4/4 3/4 2/4 5/4 7/4Duplet - 2 -

Triplet - 3 -

Quartuplet - 4 -

Quintuplet - 5 -

Sextuplet - 6 -

Septuplet - 7 -

Octoplet - 8 -

Noveplet - 9 -

Deciplet - 10 -

The number of beats in a polyrhythmic figure may not exceed or equal the number of beats with half

the length of the basic value, the polyrhythmic figure spans.





(Polyrhythmic figures in one meter)

Example

Clearly, the small values can be difficult to play, but in certain forms of modern music even the

tiniest figures of 5, 7 and 10 are common.

Double Polyrhythmic Subdivision

A particularly sophisticated way of using a polyrhythmic figure in one meter is to create two or

more polyrhythmic figures inside another polyrhythmic "frame" relating itself to the basic pulse. Tricky!

This kind of polyrhythms can be amazingly difficult to play, but they can be learned through

hard training. And you heavily expand your rhythmical sense and the ability to play and listen

in poly-dimensions by working with such extreme polyrhythms.

True Polyrhythms

Two or more different meters played simultaneously are the ultimate consequence of poly-

rhythms. This method was rather common in the mid 70'ies, by advanced jazz-rock musicians

as for example John McLaughlin or the group Weather Report. But you run a certain risk play-

ing two or more meters at a time – you risk loosing the common pulse! If you choose closely re-

lated meters – 3/4 and 6/8, for example – the bars will fit nicely together. But if you play 7/8

against 5/4 you have to be alert! In this case the largest common rhythm value are uses to "glue"

the bars to produce at least some kind of pulse.





Two or more different meters are played simultaneously by using the largest common rhythm

value as the common pulse in the music

The meter with the smallest numerator decides the common pulse (in the above example, 1/8

beats for all three meters)

See also the Music Theory book of the All Aspect Series, chapter Rhythm, section Artificial

Rhythms to check out even more complex rhythm patterns!

DRUM NOTATION

All band musicians ought to be able to read drum notation. This especially applies to bass play-

ers, guitarists and piano players. There are some disagreements over how the drums should be

written down. Drum notes used to be written in the bass clef, but in the later years, the com-

puter programs for note writing have led to more frequent use of the Rhythm Clef. I must admit

that I now find the Rhythm Clef easier to read once I got used to the funny symbols for the hi-hat and the cymbals!

Notat ion of the Drums and Cymb als

The drum clef is different to normal note writing, as it doesn’t have pitch indications. As the

drums don’t have “scale pitches”, there is no need for pitch values Each part of the drum kit has

its own line inside or outside the system, as follows:

Bass drum Snare drum Hi tom Middle tom Low tom Crash or ride cymbal Hi hat

Note duration and symbols, are the same as in traditional traditional note writing



Chapter 5, Advanced Piano, Chord and Scale Charts


Chord and Scale Charts

Here are the rest of the scales and piano chord boxes. The five scale types from thePiano Technique chapter are used in all the keys. If you have become interested in

weird scales, checkout our Music Theory volume 1, which includes a complete list of

modal, chromatic, whole tone and many other scales. Not to mention transitive har-

monies.

Use the “Chord and Scale Charts” chapter as a very, very useful reference, when you

get lost in a Db flat scale with 4 chords in each bar. Most of the chords should be

there.





SCALE C

Common Chords in C





Chord Tablature for Piano

C Cm

Cm7 C7

C9 Cmaj7

C+ Csus4

Cdim





The Scales in C

C Major Scale

C D E F G A B C

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

C Parallel Minor Scale

A B C D E F G A

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2





C Dorian Scale

C D Eb F G A Bb C

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2

C Mixolydian Scale

C D E F G A Bb C

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





C Blues Scale

C Eb F G Bb C

Right Hand 1 2 3 1 2 3

Left Hand 5 4 3 5 4 3





SCALE C# AND DB

Common Chords in C# and Db





C# Scales

Major Minor Dorian Mixolydian

Blues






C# C#m

C#m7 C#7

C#9 C#maj7

C#+ C#sus4

C#dim





The Scales in C# and Db

C# Major Scale

C# D# E# F# G# A# B# C#

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

C# Parallel Minor Scale

A# B# C# D# E F# G# A#

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2





C# Dorian Scale

C# D# E F# G# A# B C#

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

C# Mixolydian Scale

C# D# E# F# G# A# B C#

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





C# Blues Scale

C# E F# G# A# B C#

Right Hand 1 2 3 1 2 3 4

Left Hand 5 4 3 5 4 3 1





SCALE D

Common Chords in D

D Scales


Blues






D Dm

Dm7 D7

D9 Dmaj7

D+ Dsus4

Ddim





The Scales in D

D Major Scale

D E F# G A B C# D

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

D Parallel Minor Scale

B C# D E F# G A B

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





D Dorian Scale

D E F G A B C D

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

D Mixolydian Scale

D E F# G A B C D

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2





D Blues Scale

D F G A C D


Left Hand 5 4 3 5 4 3





SCALE Eb AND D#

Common Chords in Eb and D#





Eb Scales


Blues






Eb Ebm

Ebm7 Eb7

Eb9 Ebmaj7

Eb+ Ebsus4

Ebdim





The Scales in Eb and D#

Eb Major Scale

Eb F G Ab Bb C D Eb

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

Eb Parallel Minor Scale

C D Eb F G Ab Bb C

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





Eb Dorian Scale

Eb F Gb Ab Bb C Db Eb

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2

Eb Mixolydian Scale

Eb F G Ab Bb C Db Eb

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





Eb Blues Scale

Eb Gb Ab Bb Db Eb


Left Hand 5 4 3 5 4 3





SCALE E

Common Chords in E

E Scales


Blues






E Em

Em7 E7

E9 Emaj7

E+ Esus4

Edim





The Scales in E

E Major Scale

E F# G# A B C# D# E

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

E Parallel Minor Scale

C# D# E F# G# A B C#

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2





E Dorian Scale

E F# G A B C# D E

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

E Mixolydian Scale

E F# G# A B C# D E

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





E Blues Scale

E G A B D E


Left Hand 5 4 3 5 4 3





SCALE F

Common Chords in F

F Scales


Blues






F Fm

Fm7 F7

F9 Fmaj7

F+ Fsus4

Fdim





The Scales in F

F Major Scale

F G A Bb C D E F

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2

F Parallel Minor Scale

D E F G A Bb C D

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2



Chapter 5, Advanced Piano, Chord and Scale Char ts


F Dorian Scale

F G Ab Bb C D E F

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2

F Mixolydian Scale

F G A B C D Eb F

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





F Blues Scale

F Ab Bb C Eb F


Left Hand 5 4 3 5 4 3





SCALE F# AND Gb

Common Chords in F# and Gb





F# Scales


Blues






F# F#m

F#m7 F#7

F#9 F#maj7

F#+ F#sus4

F#dim





The Scales in F#

F# Major Scale

F# G# A# B C# D# E# F#

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

F# Parallel Minor Scale

D#m E# F# G# A# B C# D#

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





F# Dorian Scale

F# G# A B C# D# E F#

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2

F# Mixolydian Scale

F# G# A# B C# D# E F#

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





F# Blues Scale

F# A B C# E F#


Left Hand 5 4 3 5 4 3








G Gm

Gm7 G7

G9 Gmaj7

G+ Gsus4

Gdim







G Dorian Scale

G A Bb C D E F G

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2

G Mixolydian Scale

G A B C D E F G

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





G Blues Scale

G Bb C D F G


Left Hand 5 4 3 5 4 3





SCALE Ab AND G#

Common Chords in Ab and G#





Ab Scales


Blues






Ab Abm

Abm7 Ab7

Ab9 Abmaj7

Ab+ Absus4

Abdim





The Scales in A b

Ab Major Scale

Ab Bb C Db Eb F G Ab

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

Ab Parallel Minor Scale

F G Ab Bb C Db Eb F

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 5 4 3 2 1





Ab Dorian Scale

Ab Bb B Db Eb F G Ab

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2

Ab Mixolydian Scale

Ab Bb C Db Eb F G Ab

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





Ab Blues Scale

Ab B Db Eb Gb Ab


Left Hand 5 4 3 5 4 3





SCALE A

Common Chords in A

A Scales


Blues






A Am

Am7 A7

A9 Amaj7

A+ Asus4

Adim



Chapter 5, Advanced Piano, Chord and Scale Char ts


The Scales in A

A Major Scale

A B C# D E F# G# A

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

A Parallel Minor Scale

F# G# A B C# D E F#

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





A Dorian Scale

A B C D E F# G A

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

A Mixolydian Scale

A B C# D E F# G A

Right Hand 1 2 3 4 1 2 3 4

Left Hand 5 4 3 2 5 4 3 2





A Blues Scale

A C D E G A


Left Hand 5 4 3 5 4 3





SCALE Bb AND A#

Common Chords in Bb and A#





Bb Scales


Blues






Bb Bbm

Bbm7 Bb7

Bb9 Bbmaj7

Bb+ Bbsus4

Bbdim





The Scales in B b

Bb Major Scale

Bb C Db Eb F G A Bb

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

Bb Parallel Minor Scale

G A Bb C D Eb F G

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





Bb Dorian Scale

Bb C Db Eb F G Ab Bb

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

Bb Mixolydian Scale

Bb C D Eb F G Ab Bb

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





Bb Blues Scale

Bb Db Eb F Ab Bb


Left Hand 5 4 3 5 4 3





SCALE B

Common Chords in B

B Scales


Blues






B Bm

Bm7 B7

B9 Bmaj7

B+ Bsus4

Bdim





The Scales in B

B Major Scale

B C# D# E F# G# A# B

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

B Parallel Minor Scale

G# A# B C# D# E F# G#

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





B Dorian Scale

B C# D E F# G# A B

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1

B Mixolydian Scale

B C# D# E F# G# A B

Right Hand 1 2 3 1 2 3 4 5

Left Hand 5 4 3 5 4 3 2 1





B Blues Scale

B D E F# A B


Left Hand 5 4 3 5 4 3



Chapter 5, Advanced Piano, Advanced Jazz Scales


Advanced Jazz Scales

In the chapter Basic Music Theory in this book and our complete music theory vol-ume All Aspects of ROCK & JAZZ/1 Music Theory, you can find the theoretical basis

of scales. In this section, we will work with the advanced scales used in Jazz music.

NOTE To fully understand this section, you must have studied music theory for a year or more, especially modal scales and diminished scales.

MODAL SCALES IN ALL KEYS

The modes consist of a Base Key (major) and the 7 modes placed on the scale steps. The fol-

lowing table shows how to find the modes in all the 12 major keys.

Key Ionian Dorian Phrycian Lydian Mixolydian Aolean Locrian

Base MAJOR MODAL MINOR MODAL

C C Dm Em F G Am Bdim

Db Db Ebm Fm Gb Ab Bbm Cdim

D D Em F#m G A Bm C#dim

Eb Eb Fm Gm Ab Bb Cm Ddim

E E F#m G#m A B C#m D#dim

F F Gm Am Bb C Dm Edim

F# F# G#m A#m B C# D#m E#dim

G G Am Bm C D Em F#dim

Ab Ab Bbm Cm Db Eb Fm Gdim

A A Bm C#m D E F#m G#dim

Bb Bb Cm Dm Eb F Gm Adim

B B C#m D#m E F# G#m A#dim

NOTE The modes are named with a “pseudo” key, in “Major”, “Minor” or “Diminished”. Thenames are only guidelines, as for example a D minor Dorian, is not a normal minor but achurch mode, which happens to look a bit like a minor scale.





ARTIFICIAL MODES

JAZZ Although not really authentic Modes, the inventive jazz musicians have experimented

with artificial “modes” based on for example a Melodic Minor Scale. Here is what the table for

these artificial Church Modes looks like. The most common artificial church modes in jazz are

marked with lime green.

Key Aolean Locrian

#2

Ionean Dorian Locrian,

Super

Lydian

Aug.

Locrian,

Super

Base Minor MODAL Major MODAL

Cm Cm Ddim Eb Fm Gdim A Bdim

C#m C#m D#dim E F#m G#dim A# Cdim

Dm Dm Edim F Gm Adim B C#dim

Ebm Ebm Fdim Gb Abm Bbdim B# Ddim

Em Em F#dim G Am Bdim C# D#dim

Fm Fm Gdim Ab Bbm Cdim D Edim

F#m F#m G#dim A Bm C#dim D# E#dim

Gm Gm Adim Bb Cm Ddim E F#dim

G#m G#m A#dim B C#m D#dim E# Gdim

Am Am Bdim C Dm Edim F# G#dim

Bbm Bbm Cdim Db Ebm Fdim G AdimBm Bm C#dim D Em F#dim G# A#dim





BASIC INTERVALS

STEP A step is defined as half a note on the piano.

# Name Description Distance in Steps

1 Prime 0 half step 0 steps

b2 Minor Second Half step 1 step

2 Major Second 1 whole step 2 steps

b3 Minor Third 1 whole Step + Half Step 3 steps

3 Major Third 2 whole Steps 4 steps

4 Perfect Fourth 2 whole Steps + 1 Half Step 5 steps

#4 Augmented Fourth*)

3 whole Steps 6 steps

b5 Diminished Fifth(Tritonus)

*)

3 whole Steps 6 steps

5 Perfect Fifth 3 whole Steps + 1 Half Step 7 steps

#5 Augmented Fifth 4 whole steps 6 steps

b6 Minor Sixth 4 whole Steps 8 steps

6 Major Sixth 4 whole Steps + 1 Half Step 9 steps

b7 Minor Seventh 5 whole Steps 10 steps

7 Major Seventh 5 whole Steps + 1 Half Step 11 steps

8 Octave 6 whole Steps 12 steps





ALTERED INTERVALS

In jazz, the intervals are often “altered”, i.e. diminished or augmented. Learn the names by heart

and do not be confused by the somewhat misleading naming convention, which is a parallel to

the illogical functional harmonic system in Jazz (I, II, III etc.).

Name Original Interval Steps New Interval Steps

Diminished

Minor Second (2) 2 Diminished Second 1

Minor Third (b3) 3 Diminished Minor Third 2

Fourth (4) 5 Diminished Fourth 4

Fifth (5) 7 Diminished Fifth 5

Minor Sixth (b6) 9 Diminished Minor Sixth 8

Minor Seventh (b7) 10 Diminished Minor Seventh 9

Major Second (2) 2 Diminished Second 1

Major Third (3) 3 Diminished Major Third 3

Fourth (4) 5 Diminished Fourth 4

Fifth (5) 7 Diminished Fifth 5

Major Sixth (b6) 9 Diminished Major Sixth 9

Major Seventh (b7) 10 Diminished Major Seventh 11

Augmented

Minor Second (2) 2 Augmented Second 3

Minor Third (b3) 3 Augmented Minor Third 4

Fourth (4) 5 Augmented Fourth 5

Fifth (5) 7 Augmented Fifth 6

Minor Sixth (b6) 9 Augmented Minor Sixth 10

Minor Seventh (b7) 10 Augmented Minor Seventh 11

Major Second (2) 2 Augmented Second 3

Major Third (3) 3 Augmented Major Third 4Fourth (4) 5 Augmented Fourth 6

Fifth (5) 7 Augmented Fifth 8

Major Sixth (b6) 9 Augmented Major Sixth 10

Major Seventh (b7) 10 Augmented Major Seventh 12



Chapter 5, Advanced Piano, Advanced Jazz Chords


Advanced Jazz Chords

The basic Chord form is the Triad. It consists of three notes played at the same time.Extended chords are triads with one or more added “colour” notes. See the chapter

Basic Music Theory in this book and All Aspects of ROCK & JAZZ /1 Music The-

ory, Harmony for all the details of Chord Types, Functional Harmony, Modal and

Sound Aspects in chords.

NOTE To fully understand this section, you must have studied music theory for a year or more, especially functional and transitive harmony, modal scales and diminished scales.

The Six Basic Triad Types

REHEARSING THE CHORDS

When you rehearse the chords on the piano, you must learn the typical sound of the chord

(Sound Aspect) as well as its “mechanics”, i.e. the typical colour notes and interval structure of

each chord. This knowledge is essential for being able to recognize the chords by ear and to

construct a powerful, yet clear arrangement of all kinds of chord, even the heavily extended

ones.

ROCK AND JAZZ TERMINOLOGY

The use of Chord and Functional Harmony terminology differs greatly between rock and jazz.

In books written by jazz players, Roman numerals are used for Chord functions (American tra-

dition). The rock version of the function symbols is added after the numeral. (D(m) = Dominant

SD(m) = Subdominant DD = Double Dominant m = Parallel Minor). The green colour is alsoused for different chord symbols in rock.





FUNCTIONAL HARMONY / DIATONIC TRIADS

In the All Aspects of ROCK & JAZZ 1 / Music Theory, you will find a comprehensive chapter

of Harmony, including the complicated theory on Functional Harmony, i.e. the functional rela-

tionship between chords in a scale. In the next two figures, you can find examples of a major and a minor scale.

Diatonic Triads in D Major

American Rock

System System

I major T (Tonic)

II minor SDm (Subdominant parallel minor)

III minor Dm (Dominant parallel minor)

IV major SD (subdominant)

V major D (dominant)

VI minor Tm (Tonic parallel minor)VII diminished -

Diatonic Triads in D Minor

American Rock

System System

I minor Tm (Tonic parallel minor)

II diminished -III major T (Tonic)

IV minor SDm (Subdominant parallel minor)

V minor Dm (Dominant parallel minor)

VI major Sd (Subdominant)

VII major D (Dominant)





SEVENTH CHORDS (4 PARTS)

Seventh Chords in D Major

Seventh Chord Types Major 7, minor 7, dominant 7 and minor 7 (b5) (m(b5)7).

Function Seventh Chord Names Imaj7 (T maj7), IImi7 (SDm 7), IIImi7 (Dm 7), IVmaj7

(SD maj7), V7 (D 7), VImi7 (Tm 7), VIImi7(b5).

Jazz The ten seventh chord main types

Major 7 (maj7) Root, major third, perfect fifth, major seventh.

Minor 7 (m7) Root, minor third, perfect fifth, minor seventh.

Dominant 7 (7) Root, major third, perfect fifth, minor seventh.

Diminished 7 (dim) Root, minor third, diminished fifth, diminished seventh.

Minor/major 7 (m(maj7)) Root, minor third, perfect fifth, major seventh.

Major 7 (#5) (+(maj7)) Root, major third, augmented fifth, major seventh.

Major 7 (b5) ((b5)maj7) Root, major third, diminished fifth, major seventh.Dominant 7 (#5) (+7) Root, major third, augmented fifth, minor seventh.

Dominant 7 (b5) ((b5)7) Root, major third, diminished fifth, minor seventh.

Minor 7 (b5) (dim) (or half diminished chord) root, minor third, diminished fifth,

minor seventh.

The Ten Seventh Chords

NOTE the second line of chords follows the rock tradition





SIXTH CHORDS (4 / 5 PARTS)

The sixth chord is the most common coloured chord, beside the seventh chords. It was also the

first extended chord in the 1800-ies, in the beginning regarded as a sharply dissonant chord.

The sixth note is the same in both the major and minor versions of the chord despite the fact theminor scale sixth should be half a note lower than the major sixth. This chord, also called a

Naples Chord, has a very long tradition in classical music. It was extremely popular in early

jazz and even Beatles has used it a lot on their early records.

Sixth Chords

SUS CHORDS

Suspended chords (sus) are neutral, working well in either major or minor. Traditionally, it is

used for cadences, resolving into a major chord (the suspended note, usually a fourth down to a

major third). In modern rock music, the suspended chords are often used as a background

chords, sometimes mixed with eleventh chords. This way, the gender of the scales is blurred,

making way for both blues, modal and major scales. Typical examples of suspended chords can

be found in the music of Nirvana.

Normally the suspended chords are simply called sus, but in jazz there are two types of suspen-

sion, sus4 and sus2. The two types can actually be seen as two different chords depending on

the context either having the root in the bottom or at the top (fifth note).





CHORDS WITH ADDED NOTES

If you want to add a specific colour to a chord, for example a ninth, without the normal seventh,

you write (add 9). You could of course also use (add #11) or (add 13), but for historical reasons,

the (add 9) chord is by far the most common “added chord”. You may choose to add dissonantcolours, too, for example C(add G#) or E(add F).

See also the comments under Minor 9 chords.

(add 9) Chord

CHORDS WITH BASS NOTE

If the songwriter wants a specific bass note, he/she can place a special bass box with the desired

note under the chord symbol.

Chord with Bass Note

D 7

C





EXTENDED CHORDS

Extended chords are very common in all modern music, rock, jazz, pop, soul etc. Before 1970,

extended chords were mostly played by advanced jazz musicians, but the fusion of rock and

jazz in 1970’ies meant a liberation for the somehow stagnated use of chords in rock and soul,and nowadays you will find event the most complex extended chords in many songs on the ra-

dio or on MTV.

A couple of explanations are needed to understand the construction of extended chords. An

extended chord is a triad with one or more extra colour notes. As the triad chord uses the 1st, 3rd

and 5th note in the scale, the “extended” notes uses higher numbers, for example 9 th instead of

the 2nd interval, in order to provide a logical, transparent construction of the extensions. In real

life, though, you can place the 9 th and all other colour notes where you want, using 2nd / 9th de-

pending on the circumstances.

The extended high scale steps are named:

9th Major (9), minor (b9) ((-9))or augmented (#9) ((-10)).

11th Perfect (11) or augmented (#11).

13th Major (13) or minor (b13).

NINTH CHORDS (5 PARTS)

The major ninth chords are the first step into the Jazz sound, but it is also widely used in pop.

Major Ninth Chords with Major Seven


Minor Ninth Chords

NOTE In the rock tradition, the m9 chord does not have a minor seventh, it is traditionallyplayed as a minor chord with a ninth added. The m9 chord understood as the 7 and 9 iswritten m7+9 in rock.





Ninth Chords with Minor Seven


DOUBLE-ALTERED CHORDS

Jazz Double-altered chords are dominant chords with altered fifth and ninth. These strongly

coloured dominant chords are typical for modern jazz.

Double Altered Chord (m9(5) (m(b5)7+9))


ELEVENTH CHORDS (6 PARTS)

Eleventh Chords are typical for jazz and normally not used in standard rock (except for the fa-

mous A11 chord that starts “A Hard day’s Night” with the Beatles).

Eleventh Chords


The eleventh chords and higher are so complex that they tend to be “muddy” and dissonant . To

lighten up the sound, the musicians traditionally leave out one or two notes, focussing on the

chord’s peculiar sound, in this case the eleventh note (or Fourth note) colliding sharply with the

major third with the mild minor seventh to cool of the dissonance.





THIRTEENTH CHORDS (7 PARTS)

The thirteenth chords are usually played as a reduced chord. There is a long tradition for playing

a 6+7 chord instead of the thirteenth chord, thus making the chord easy to play on the guitar.

The clash between the sixth and the minor seventh sounds like the upper thirteenth note clash-

ing against the minor seventh note of the full sixteenth.

Thirteenth Chords

STACKED CHORDS

JAZZ Chords build on triads are not the only chords in the world. In the experimental music of

the last century (especially the new classical music and the advanced jazz), the composers used

some new types of chords, based on fourth and fifth, the so-called Stacked Chords. Even

more advanced chords as the polychords are very common in modern jazz and classical mu-

sic.

Stacked Chords are used intensely in the jazz wind section, especially in combinations of saxo-

phones and trumpets / cornets.

TIP The bass to a stacked chord can be any of the notes in the chord, as the stacked chord itself is neutral.

POLYCHORDS

JAZZ Polychords are one, two or more triads stacked upon each other. For obvious reasons, this

is much easier for a piano player than for a guitar player to use these chords.

Bm

C or

Bm/C

Some typical jazz polychords:

C / DEm / AmCm7 / BbC7 / DC7 / F#C7 / A



Chapter 5, Advanced Piano, Harmonizing a Tune


Harmonizing a Tune

This is a short introduction to the noble art of harmonizing a vocal melody. There areexercises in different keys in both functional and transitive harmony environments. It

is a practical tool when the band starts writing your own tunes or the keyboard player

has forgotten the notes and nobody remembers the chords to the interlude.

IMPORTANT You must have read the All Aspects of ROCK & JAZZ /1 Music Theory, es-pecially functional harmony and transitive harmony plus the chapter Basic Music Theory of this book before you start learning the harmonizing techniques.

Harmonizing a tune can be a very complicated affair. I will never forget when I wassupposed to arrange the famous Billie Holiday song “My old Flame” back in 1988. I

simply could not figure out the chords, even with the record playing along with the

piano (I was saved by a choir arrangement of the song, where I could spell out the

chords from the voices!).

Keyboard players should have a basic knowledge of setting chords to a melody. The

complexity of the task depends on the degree of transitivity*) in the tune. The more

transitive the tune is, the more likely, that there will be surprising chords “hidden” in

the functional modulations. That is a poor consolation, of course, to the unfortunatemusician sweating over an incomprehensible tune and its hilarious and unexpected

“natural” harmonies.

*) Transitive harmonies, see All Aspects of ROCK & JAZZ /1 Music Theory, Chapter Harmony





FUNCTIONAL EXERCISES

The first goal is returning to the tonic chord, which means designing an elegant and simple ca-

dence progression.

- You can use a standard cadence ostinato.

- or, you can extend the harmonies according to your style and liking, only remember to end

with a cadence.

TRANSITIVE EXERCISES

Here come the problems:

1 Start analysing the keys of the tune.

2 Having finished the analysis, determine a suitable chord to end key I.

3 The function shift of the chord to key II can be found / selected in the function shift table in

All Aspects of ROCK & JAZZ /1 Music Theory, Harmony. Or you may figure out a new and

exciting functional shift yourself (preferable).

4 Follow this method with the next keys, each key modulating into the next key through a

functional shift.

5 Within each key, you may either use functional cadences or extended, “free” chord as ex-

plained in the previous section.

6 The last chord in the last key can either be the tonic of the key or a finale in “free style”.

NON-FUNCTIONAL HARMONIES / FREE TONALITY

These seemingly complicated musical forms are surprisingly easy to harmonize, as the tune will

often be based on a unison theme or ostinato figure, typically in the bass.

THE HARMONY EXERCISES

Exercises 1-4 are functional exercises. They are relatively simple and exercise 1, in addition,

has a 2-part tune to ease the harmonizing.

Exercises 5-10 are not easy or obvious. I am quite sure that the talented student will come up

with harmonies radically different from my own original chords. But this is exactly the chal-

lenge with transitive harmonies, the many possible solutions and the freedom.

Before exercise 5, I have included a tonal analysis of a transitive melody to show how to figure

out the keys.





FUNCTIONAL EXERCISES

Exercise 1

Exercise 2





(Functional Exercises)

Exercise 3

Exercise 4





TRANSITIVE EXERCISES

Tracing the Keys of a Transitive Tune

Exercise 5





Exercise 6





Exercise 7





Exercise 8





Exercise 9

Exercise 10



Chapter 5, Advanced Piano, Rehearsal Tips


Rehearsal Tips

Rehearsing is the only way to become a master pianist. Or any kind of craftsman, beit in art or business. By choosing between 1 – 10 hours of rehearsing a day, you

choose the level of musician, you might become. This piano tutor is written for all

kinds of pianists. Only but a few music fanatics rehearse more than 5 hours a day,

and most spare time musicians are satisfied with the occasional band rehearsal. So

each pianist has his/her own level of ambition. Your level decides how hard you will

have to work. Here are three suggestions for rehearsing plans.

1 HOUR A DAY

This is a plan for the pianist, who plays concerts 2-3 times a month. The plan will preserve the

skills, but will not improve the technique much, just keep it alive.

15min Warm up by playing 2-3 of the songs in the repertoire in full.

30min Rehearse 6-8 scales and chords and two new sight-reading pieces.

15min Rehearse details of new songs or difficult parts in older songs.

2 HOURS A DAY

This is a plan for the professional pianist. The plan keeps the pianist in shape, and helps

him/her improve the technical tools and his/her musical taste.


45min Rehearse 10-12 scales and three sight-reading pieces.

BREAK Massage your hands and drink lots of water

30min Play 2-3 exercises from piano tutors – not only from this book – but from all the tu-

tors you can get your hands on. Each piano tutor contains new, exciting techniques

and chords for you to learn (se the literature list in chapter 7).






4 HOURS A DAY

This is a plan for the musical hard hats. The plan improves the pianist’s skills substantially over

time and makes it possible to refine the tiniest details of the playing style and technique.


45min Rehearse 10-12 scales and three sight-reading pieces.

BREAK Massage your hands and drink lots of water.

15min Rehearse another 3-4 scales and one sight-reading piece.

45min Play 6-8 exercises from piano tutors – not only from this book – but from all the tu-

tors you can buy. Each piano tutor contains new, exciting techniques and scales for

you to learn (se the literature list in chapter 7).

BREAK Massage your hands and eat a sandwich. Drink lots of water.


30min Play 5-6 songs from the band’s repertoire.

BREAK Massage your hands and drink lots of water.

1hour Play 8-10 small piano scores, preferably scores that are unknown to you.

PIANO CHARTS (SHEETS)

Piano Charts or Sheets are the “master plan” for each number in your repertoire. They would

typically contain most of the below elements:

- Tempo in BPM

- The style of the number

- An outline of the number including headings as for example Intro, Verse, Chorus, Inter-

lude, Breaks and Solo

- Prominent parts written down in notes, or the whole score, if you prefer sight-reading to us-

ing your memory.

Empty Piano Sheets?

Go to www.a-play.dk and select the Note Writing Resources. Open and Print the desired piano

notation sheet.









Having been introduced to all the scales, other keyboards, odd meters and a lot more,

you are now ready for some real life piano exercises. Rehearsing is extremely impor-

tant for your musical development! Don’t forget to rehearse minimum 2 hours a day

on the piano while you are still in the learning phase.

And now for the fun stuff!



Chapter 5, Advanced Piano, Index Advanced Piano


Index Advanced Piano

Use the Index! By looking up in the index, you can find much more than you were looking for!Follow the strange leads and weird words. Learn by accidence. Be curious!

1

-10, 110

5

5/4, 26, 29, 32, 33

5/8, 305-part, 29

6

6/4, 26, 29

6/8, 26, 28, 33

7

7/4, 26, 32

7/8, 30, 337-part, 26, 28

8

8/8, 29, 30

9

9/4, 29

9/8, 29, 30

AA#, 44, 45, 46, 71, 72, 90,

98, 101, 102

A#dim, 101, 102

A#m, 101

A+, 86

A11, 111

A7, 86

A9, 86

Ab, 55, 56, 57, 66, 67, 79,

80, 81, 82, 83, 84, 94, 95,

101, 102

Ab+, 81

Ab7, 81

Ab9, 81

Abdim, 81

Abm, 81, 102Abm7, 7, 8, 81

Abmaj7, 9, 10, 81

Absus4, 81

accent, 31

Accent, agogic, 31

accentuated, 23

accordion, 5, 11, 17, 18

Adim, 86, 101, 102

adjusting, 13

African, 18

agogic, 31Alexis, 16

altered, 104, 111

Altered, 104, 111

Am, 86, 101, 102, 112

Am7, 86

Amaj7, 7, 8, 86

ambiguous, 22, 26

analogue, 16

angle, 12

another, 17, 31, 33, 123any, 13, 112, 122

Aolean, 101, 102

applies, 24, 34

arpeggios, 13

arrange, 113

arrangement, 105, 113

artificial, 15, 102

Asus4, 7, 8, 86

audio, 20

augmented, 104, 107, 110

Augmented, 103

B

B, 13, 38, 44, 45, 46, 49, 50,

60, 61, 62, 66, 71, 72, 73,

76, 77, 83, 84, 87, 88, 96,

97, 98, 99, 100, 101, 102

B+, 97

B7, 97B9, 7, 8, 97

baby, 20

Bach, 12, 25

Bach, J.S., 25

back, 6, 20, 113

bar-line, 22, 30

Bar-lines, dotted, 30

Bb, 39, 40, 55, 56, 57, 65,

66, 67, 76, 77, 78, 82, 83,

90, 91, 92, 93, 94, 95,101, 102, 112

Bb+, 92

Bb7, 92

Bb9, 92

Bbdim, 92, 102

Bbm, 7, 8, 92, 101, 102

Bbm7, 92

Bbmaj7, 7, 8, 92

Bbsus4, 92

Bdim, 97, 101, 102

Beatles, 26, 108, 111

blues, 29, 30, 108

Bm, 9, 10, 97, 101, 102,

112

Bm7, 97

Bmaj7, 97

board, 13, 14

Boogie, 30

BPM, 123

Bsus4, 97





C

C, 7, 8, 9, 10, 36, 37, 38, 39,

40, 41, 42, 43, 44, 45, 46,

49, 50, 51, 55, 56, 60, 61,65, 66, 67, 71, 72, 73, 76,

77, 78, 82, 83, 87, 88, 89,

93, 94, 98, 99, 101, 102,

109, 112

C#, 9, 10, 41, 42, 43, 44, 45,

46, 49, 60, 61, 71, 72, 73,

87, 88, 98, 99, 101, 102

C#+, 43

C#7, 43

C#9, 43

C#dim, 9, 10, 43, 101, 102

C#m, 43, 101, 102

C#m7, 43

C#maj7, 43

C#sus4, 43

C+, 9, 10, 37

C7, 37, 112

C9, 37

cables,, 21

cadence, 31, 114

Cadence, general, 31Cadence, ostinato, 31

can, 125

case, 6, 22, 33, 111

Cdim, 37, 101, 102

challenge, 114

change, 20

Charts, 35, 123

Chord, 105, 109, 111

chromatic, 18, 35

church, 13, 14, 101, 102

circumstances, 110

classical, 18, 24, 25, 30,

108, 112

clef, 34

Clef, general, 34

Cm, 37, 101, 102

Cm7, 6, 37, 112

coherent, 31

collected, 22

colour, 105, 109, 110

combination, 16, 18

combining, 18, 19

common, 11, 18, 22, 25, 29,

30, 32, 33, 34, 102, 108,

109, 110, 112

compared, 17compensated, 25

competing, 17

complicated, 17, 18, 106,

113, 114

compound, 26, 28, 30

compound meter, 26, 30

comprehensive, 106

compresses, 17

context, 31, 108

converted, 20

cool, 111

craftsman, 122

Crescendo, 24

D

D, 7, 8, 38, 39, 44, 45, 47,

48, 49, 50, 51, 52, 55, 60,

61, 62, 65, 66, 71, 72, 76,

77, 78, 87, 88, 89, 93, 94,

98, 99, 100, 101, 102,105, 106, 107, 112

D#, 7, 8, 44, 45, 52, 55, 60,

71, 72, 98, 99, 101, 102

D#dim, 101, 102

D#m, 7, 8, 71, 101

D#m7, 7, 8

D+, 48

D7, 48

D9, 48

Db, 35, 41, 44, 56, 57, 82,

83, 84, 93, 94, 95, 101,102

Db7, 7, 8

Ddim, 48, 101, 102

Deciplet, 32

Decrescendo, 24

design,, 17

Diatonic, 106

difficult, 13, 19, 32, 33,

122, 123

diffuse, 31

Dim, 24

diminished, 101, 104, 105,

106, 107

Diminished, 103, 107

Diminuendo, 24disagreements, 34

disciplines, 6

dissonant, 108, 109, 111

Dm, 48, 101, 102, 106, 107

Dm7, 48

Dmaj7, 9, 10, 48

Dominant, 105, 106, 107

Dorian, 39, 42, 45, 47, 50,

53, 56, 58, 61, 63, 66, 69,

72, 74, 77, 80, 83, 85, 88,

91, 94, 96, 99, 101, 102

dotted, 30

Double, 105, 111

Double-altered, 111

Dsus4, 48

Duplet, 32

duration, 20, 34

dynamic, 13, 14, 22, 24

E

E, 19, 26, 34, 38, 39, 44, 45,

46, 49, 50, 58, 59, 60, 61,

62, 65, 66, 71, 72, 73, 76,

77, 87, 88, 89, 98, 99,

100, 101, 102, 109, 122,

123

E#, 44, 45, 71, 101, 102

E#dim, 101, 102

E(add, 109

E+, 59

E7, 59E9, 9, 10, 59

Eb, 39, 40, 52, 53, 54, 55,

56, 57, 66, 67, 76, 82, 83,

84, 93, 94, 95, 101, 102

Eb+, 54

Eb7, 54

Eb9, 7, 8, 54

Ebdim, 54

Ebm, 54, 101, 102

Ebm7, 54





Ebmaj7, 54

Ebsus4, 9, 10, 54

Edim, 9, 10, 59, 101, 102

Eleventh, 111

Em, 59, 101, 102, 112Em7, 59

Emaj7, 7, 8, 59

Esus4, 59

Extended, 110

F

F, 7, 8, 9, 10, 24, 38, 39, 40,

44, 45, 46, 49, 50, 51, 55,

56, 60, 61, 63, 64, 65, 66,

67, 68, 69, 70, 71, 72, 73,76, 77, 78, 82, 83, 87, 88,

93, 94, 95, 98, 99, 100,

101, 102, 109, 112

F#, 9, 10, 44, 45, 46, 49, 50,

60, 61, 68, 69, 70, 71, 72,

73, 76, 87, 88, 98, 99,

100, 101, 102, 112

F#+, 70

F#7, 70

F#9, 70F#dim, 70, 101, 102

F#m, 9, 10, 70, 101, 102

F#m7, 9, 10, 70

F#maj7, 70

F#sus4, 70

F+, 7, 8, 64

F7, 64

F9, 64

falling., 24

family, 12, 17, 19

famous, 13, 111, 113fast, 13, 25

Fdim, 9, 10, 64, 102

Fender, 11

FF, 24

FFF, 24

FireWire, 20

fixed, 18

Flash, 5

Flashcard, 7, 8, 9, 10

flat, 31, 35

Fm, 64, 101, 102

Fm7, 9, 10, 64

Fmaj7, 64

forte, 12, 24

forte-piano, 12fortissimo, 24

free, 5, 18, 21, 114

freedom., 114

G

G, 38, 39, 40, 44, 45, 46,

49, 50, 51, 55, 56, 60, 61,

62, 65, 66, 71, 72, 74, 75,

76, 77, 78, 79, 82, 83, 87,

88, 89, 93, 94, 98, 99,101, 102, 109

G#, 44, 45, 46, 60, 61, 71,

72, 79, 87, 98, 99, 101,

102, 109

G#dim, 101, 102

G#m, 101, 102

G+, 75

G7, 75

G9, 75

Gb, 9, 10, 56, 57, 68, 84,101, 102

Gb+, 9, 10

Gdim, 75, 101, 102

gender, 108

glissandos, 13

Gm, 75, 101, 102

Gm7, 75

Gmaj7, 75

GNU, 20

grands, 20

H

half, 17, 32, 103, 107, 108

Hamilton, 19

hammer, 12

Hammond, 13, 14

harmonic, 5, 104

harmonizing, 113, 114

Harmonizing, 113

harmony, 105, 113

harpsichord, 12, 25

heavily, 33, 105

I

I, 21, 34, 104, 106, 113, 114II, 104, 106, 114

III, 104, 106

IIImi7, 107

IImi7, 107

Imaj7, 107

interlude, 113

invented, 13, 14, 15, 17, 19

Ionean, 102

irrational, 31

IV, 106

IVmaj7, 107

J

jazz, 5, 11, 13, 14, 19, 24,

26, 29, 30, 33, 102, 104,

105, 108, 110, 111, 112

L

Leading note, 31

Locrian, 101, 102Lydian, 101, 102

M

Major, 103, 106, 107

mallets, 18, 19

marimba, 19

McLaughlin, 33

metrical, 31

Metrical forms, 31

Mezzo-forte, 24Mezzo-piano, 24

MF, 24

MIDI, 5, 11, 16, 20, 21

MIDI, general, 20

Minimoog, 15, 16

Minor, 103, 105, 106, 107,

110

mixed, 108

Mixolydian, 39, 42, 45, 47,

50, 53, 56, 58, 61, 63, 66,





69, 72, 74, 77, 80, 83, 85,

88, 91, 94, 96, 99, 101

modal, 35, 101, 105, 108

Mordent, 25

Musical, 20

N

Ninth, 110, 111

Nirvana, 108

Non-functional, 114

note, 34

Noveplet, 32

O

octave, 18, 19

Octave, 103

odd meter, 5, 22, 26, 31,

124

organ, 5, 11, 13, 14

organist, 14

organs, 13

ornamentation, 25

ornamentations., 5

ostinato, 31

ostinato., 114

outline, 123

P

parallel, 104, 106

parameters, 16, 20

pedal, 13, 14, 19

perceived, 31

Perfect fifth, 103

Perfect fourth, 103

Phrycian, 101

pianissimo, 24

Piano, 24

pitch, 34

pitch,, 20

play, 11, 12, 13, 18, 20, 24,

32, 33, 112, 123

polychords, 112

Polychords, 112

polyrhythmic, 32, 33

Polyrhythmic, 23, 33

polyrhythms, 32, 33

Polyrhythms, 31, 32, 33

Pond, 20

powerful, 11, 19, 24, 105

PP, 24PPP, 24

progression, 114

pseudo, 101

pulse, 31, 32, 33, 34

Q

Quartuplet, 32

Quintuplet, 32

Rrebounds, 12

rehearse, 105, 122, 124

repertoire, 122, 123

resolution, 16

Rhodes, 11

roll, 6, 26

root, 107, 108

Root, 107

rudiments, 6

S

sampled, 16

Sd, 106

SD, 105, 106, 107

SD(m), 105

Semibreve, 26, 27, 28

Septuplet, 32

Seventh, 107

Sextuplet, 32

Sharp (#), 31

sight-reading, 122, 123

Sixth, 103, 104, 108

skills, 122, 123

slur, 22

soul, 12, 110

Stacked, 112

stiff, 21

straight, 26, 30

Straight, 26, 27, 28, 29, 30

Stress, 31

style, 25, 114, 123

subdivided, 30

subdominant, 106

Subdominant, 105, 106

subgroups, 31Sus, 108

sus2., 108

sus4, 43, 70, 108

syncope, 27

Syncope, 26, 27, 28

synthesizer, 15, 16

T

T, 106, 107

talented, 114theory, 101, 105, 106

thin,, 11

things, 22

third, 107, 108, 111

thirteenth, 112

Thirteenth, 112

tie, 22

Ties, general, 22, 23

timbre, 25

time., 13, 15, 20, 105Tonality, 31

Tonic, 106

touch-sensitive,, 14

tradition, 105, 107, 108,

110, 111, 112

transitive, 35, 105, 113, 114

Transitive, 113, 114, 117

treble, 17

tremolo, 19, 25

trends, 17

triad, 110trills, 31

Triplet, 32

trumpets, 112

tune., 113, 114

V

vibraphone, 19

VII, 106

VIImi7(b5), 107

VImi7, 107




vocal, 113

voices, 113

volume, 13, 20, 24, 35, 101

volume/power, 24 W

waltz, 26, 28

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Advanced Piano