Advanced Piano

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 Introduction

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 /5 Basic Piano

Chord Tablature for Piano ..................................................................................................................................... 98 The Scales in B ...................................................................................................................................................... 99
ADVANCED JAZZ SCALES ......................................................................102

MODAL SCALES IN ALL KEYS ..................................................................................................................102 ARTIFICIAL MODES ...................................................................................................................................103 BASIC INTERVALS.....................................................................................................................................104 ALTERED INTERVALS ...............................................................................................................................105
ADVANCED JAZZ CHORDS .....................................................................106

REHEARSING THE CHORDS....................................................................................................................106 ROCK AND JAZZ TERMINOLOGY ............................................................................................................106 FUNCTIONAL HARMONY / DIATONIC TRIADS .......................................................................................107 SEVENTH CHORDS (4 PARTS) ................................................................................................................108 SIXTH CHORDS (4 / 5 PARTS)..................................................................................................................109 SUS CHORDS ............................................................................................................................................109 CHORDS WITH ADDED NOTES ...............................................................................................................110 CHORDS WITH BASS NOTE.....................................................................................................................110 EXTENDED CHORDS ................................................................................................................................111 NINTH CHORDS (5 PARTS) ......................................................................................................................111 DOUBLE-ALTERED CHORDS ...................................................................................................................112 ELEVENTH CHORDS (6 PARTS) ..............................................................................................................112 THIRTEENTH CHORDS (7 PARTS) ..........................................................................................................113 STACKED CHORDS ...................................................................................................................................113 POLYCHORDS ...........................................................................................................................................113
HARMONIZING A TUNE ............................................................................114

FUNCTIONAL EXERCISES........................................................................................................................115 TRANSITIVE EXERCISES .........................................................................................................................115 NON-FUNCTIONAL HARMONIES / FREE TONALITY ..............................................................................115 THE HARMONY EXERCISES ....................................................................................................................115 FUNCTIONAL EXERCISES........................................................................................................................116 TRANSITIVE EXERCISES .........................................................................................................................118
REHEARSAL TIPS.....................................................................................123
1 HOUR A DAY ...........................................................................................................................................123 2 HOURS A DAY.........................................................................................................................................123 4 HOURS A DAY.........................................................................................................................................124 PIANO CHARTS (SHEETS) .......................................................................................................................124 Empty Piano Sheets? .......................................................................................................................................... 124
INDEX ADVANCED PIANO .......................................................................126

All Aspects of ROCK & JAZZ Volume 5 Basic Piano 5 of 7 documents ISBN 9788791995002 st st 1 Edition, 1 Issue Winter 2006 Produced in Denmark
Digital Books is a trademark of NORDISC Music & Text, Ryparken 6, 1. th., Copenhagen 2100 Kbh. www.nordisc-music.com Text, notes, musical examples, Illustrations, layout and concept Copyright H.W. Gade 1984-2006
General Introduction
The Advanced Piano chapter contains an introduction to Other Keyboards; electric piano, harpsichords, organ, synthesizers, accordion and percussion keyboards. Theres 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 Advanced 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 rehearsal.
Chapter 5, Advanced Piano, Flashcards
Flashcards
Flashcards are memory games used by students in disciplines as mathematics, language and music. You have a set of cards covering a certain subject, in our case the chords. The idea is to learn the chords by heart in order to help playing chords as second nature. THE LEARNING GAME
The Chord Quiz Game consists of 24 cards, each representing a chord. The cards are included in this section. Print out the front (question) and the results page (answer) and glue them together or laminate them, cutting out the 24 cards with a pair of scissors. In the learning period, always keep the 24 cards in your pocket or bag. When you have a spare moment, e.g. riding in a bus or standing in a queue, produce a card. Look at the front and name the chord, for example Cm7. Finally, look at the back of the card to see if you have remembered the chord box and the note version correctly. This is important, as it helps automating the chords.
Chapter 5, Advanced Piano, Flashcards Front of Flashcard 1-12 (questions) All Aspects of ROCK & JAZZ All Aspects of ROCK & JAZZ All Aspects of ROCK & JAZZ All Aspects of ROCK & JAZZ
Chord Quiz 1
Chord Quiz 2
Chord Quiz 3
Chord Quiz 4
C
Digital Books All Aspects of ROCK & JAZZ
Db7
Amaj7
B9
Chord Quiz 5
Chord Quiz 6
Chord Quiz 7
Chord Quiz 8
Bbmaj7
Emaj7
F+
Eb9
Chord Quiz 9
Chord Quiz 10
Chord Quiz 11
Chord Quiz 12
Abm7
Digital Books
Bbm
Digital Books
D#m7
Digital Books
Asus4
Digital Books
Chapter 5, Advanced Piano, Flashcards 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
Chapter 5, Advanced Piano, Flashcards Front of Flashcard 13-24 (questions) All Aspects of ROCK & JAZZ All Aspects of ROCK & JAZZ All Aspects of ROCK & JAZZ All Aspects of ROCK & JAZZ
Chord Quiz 13
Chord Quiz 14
Chord Quiz 15
Chord Quiz 16
Fm7
C+
Dmaj7
Fdim
Chord Quiz 17
Chord Quiz 18
Chord Quiz 19
Chord Quiz 20
Gb+
F#m7
Edim
Ebsus4
Chord Quiz 21
Chord Quiz 22
Chord Quiz 23
Chord Quiz 24
Bm
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C#dim
Digital Books
E9
Digital Books
Abmaj7
Digital Books
Chapter 5, Advanced Piano, Flashcards 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
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Chapter 5, Advanced Piano, Other Keyboards
Other Keyboards
A modern keyboard player must at least have a basic knowledge of synthesizers and MIDI 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 instruments, 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, lets try to fill in the missing keyboard information : The Electrical Piano (Fender Rhodes) 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 88version 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 piano used 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.
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Chapter 5, Advanced Piano, Other Keyboards Harpsichord (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 17th 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 rebounds from the string after the stroke. Note Most modern keyboard players use a harpsichord sound font played on a digital piano, 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 with transposition 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 disguise! 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.
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ORGANS
The Electrical Organ (Hammond 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 1930ies. 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 Leslie speaker 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 dont play on the second floor without an elevator. 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 arpeggios difficult to play without a chorus or echo effects. The generous piano pedal that saves the life 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 organ. The bass pedal board is extremely difficult to play, so dont despair if your pedal work is a catastrophe; it will improve after about 10 years of training. No kidding.
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Chapter 5, Advanced Piano, Other Keyboards Church Organ Introduction The church organ was invented in ancient Rome. It is the oldest keyboard instrument in the world. Rock and jazz musicians normally use an electric / digital organ. The average study time to become a church organist is about 6-8 years, so a church organ is definitively 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.
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SYNTHESIZERS
The Moog Synthesizer (The First Synthesizers) Introduction In the early decades of the last century, the first synthesizers were invented. The word 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 1960ies, 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 became 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.
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Chapter 5, Advanced Piano, Other Keyboards General Synthesizers Introduction Modern synthesizers use a combination of analogue, electronic sounds, and computer controlled sound samples and editors. A keyboard with a number of advanced displays makes it possible to select and edit sound. The synthesizer has become an electronic instrument, a recording device and a network controller. We have come a far way from the modest beginning in 1971 with the Minimoog.
Modern Synthesizer from Alexis (on Top, the Authors 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 parameters 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
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ACCORDION
Technical Description The accordion is a member of the large reed instrument family invented 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:
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Chapter 5, Advanced Piano, Other Keyboards The bass buttons can be one or a combination of three main types: 1. 2. 3. Bass Buttons each with groups of 2-3 notes, for example a major or minor chord or a traditional bass. The Stradella bass system is a complicated system of several rows of bass buttons. 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 childrens instrument, but it is also an instrument for professional musicians. The original instrument comes from Africa. Stone and metal xylophones 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 mallets, the xylophone can be used for simple chords.
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Chapter 5, Advanced Piano, Other Keyboards Marimba Introduction The marimba is the xylophones big brother, sounding an octave lower that the xylophone.
Technical Description The marimba is equipped with a set of resonators metal tubes under the wooden bars. Each tube has a length consistent with the frequency produced by the individual 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 advanced of the xylophone family. It is usually made of metal. It has been the most popular of the three xylophones among jazz musicians with Lionel Hamilton as the legendary star.
Technical Description Each metal bar has its own resonator like the marimba, but the vibraphone 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 mallets is difficult and can take years to learn.
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Chapter 5, Advanced Piano, MIDI
MIDI
One year after the first edition of our All Aspects of ROCK & JAZZ series in 1985, a technical 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, especially 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 PRINCIPLES
MIDI (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 latest 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 Musical 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 1980ies, 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. 20 All Aspects of ROCK & JAZZ /5 Basic Piano
Chapter 5, Advanced Piano, MIDI
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Chapter 5, Advanced Piano, MIDI 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 often 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: Its unreadable. Typing the notes in a music notation program Today most serious composer and arrangers 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 doesnt work well as background 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? Conclusion on 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.
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Chapter 5, Advanced Piano, Advanced Notation
Advanced Notation
In this section, we have collected a number of advanced musical issues. You will eventually meet all of them in real life, so take a quick look at them even if you dont 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 following 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 connected 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.
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Chapter 5, Advanced Piano, Advanced Notation 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:
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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, these signs are never seen in a rock score. The same applies to jazz, although the dynamic signs are sometimes seen in big band scores.
Degree Weak Symbol PPP PP P MP Decrease Decres. Dim. > Cres. < MF F FF FFF Name Piano pianissimo Pianissimo Piano Mezzo-piano Decrescendo Diminuendo Function Very, very weak Very weak Weak Moderately weak Decreasing strength
Increase
Crescendo
Increasing strength
Powerful
Mezzo-forte Forte Fortissimo Forte fortissimo
Moderately powerful Powerful Very powerful Very, very powerful
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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 development of instrument building in common have relieved the listeners of the poor sounds so typical of the early "classical" periods. A dull, dry sound can be compensated for, by fast groups of ornamental 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 department, a few samples follow:
Trill Defined Trill Turn Appoggiatura Mordent Reversed Mordent
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ODD METERS
Hard rock and Rocknroll players probably wont read this section, as 4/4 is their King. For jazz musicians, odd meters are important, as odd meters (also called compound meters) 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 Morning) 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 numbers of beats, 1, 5, 7, 9, 10, 11, 13 etc. Meters with long numerators have an ambiguous accentuation (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 musicians point of view, a lot of the terms will be new even to musicians with a degree from a conservatory. 5- and 7-part Meters 5-Part Meters
Note Value Meter 5 4 Accentuation Name Waltz 1
Waltz 2
Syncope 1
Syncope 2
Straight
Semibreve
5 8
Fast waltz 1
Fast waltz 2
Straight (unusual)
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7-Part Meters
Note Value Meter 7 4 Accentuation Name Syncope 1
Syncope 2
Semibreve syncope 1 Semibreve syncope 1 Straight 1
Straight 2
Semibreve 1
Semibreve 2
7 8
Straight 1
Straight 2
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Chapter 5, Advanced Piano, Advanced Notation Basic types of compound meters

Type Type 1 Type 2 Accentuation The longest group first The shortest group first
Other subdivisions of compound meters

Type Waltz Syncope Straight Accentuation Uneven group dominates Uneven group in double waltz (6/8) Even accentuation of all beats in the even group(s). In 7-part meters and above the groups are automatically split in 4 + 3 or 3 +4 etc. Even groups, in 2 parts
Semibreve
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Chapter 5, Advanced Piano, Advanced Notation Long Odd Meters 9-Part Meters
Note Value Meter 9 4 Accentuation Accentuated as: Type 1 = 5/4 + 4/4 Type 2 = 4/4 + 5/4 Type 1 or type 2 similar to 9/4 above
9 8 or 16
10-Part Meters
Note Value Meter 10 4 Accentuation Accentuated as: Type 1 = 6/4 + 4/4 Type 2 = 4/4 + 6/4 Double 5-part = 5/4 + 5/4 Type 1, type 2 or double 5, similar to 10/4 above
10 8 or 16
11-Part Meters
Note Value Meter 11 8 Accentuation Accentuated as: Slow blues = 9/8 + 2/8 (curiously common odd slow blues) Straight = 8/8 + 3/8 (rather common in jazz-rock and fusion styles) Similar to 11/8 above
11 16
30
Chapter 5, Advanced Piano, Advanced Notation 13-Part Meters

Note Value Meter 13 8 Accentuation Accentuated as: Slow blues = 9/8 + 4/8 (mind-boggling slow blues) Straight = 8/8 + 5/8 (If you cant walk straight, this is straight!)) Similar to 13/8 above
13 16
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 Boogie "Straight" Accentuation Uneven group(s) dominate Even group(s) dominate
Even and Uneven Meters Played as Compound 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
31
POLYRHYTHMS
Moving from odd meters into the strange world of Polyrhythms is like moving from simple math into full-blown integral calculus. Theres 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 complex quantum movements in the music and the flow of the rhythms. But you are! Rhythmical Grouping 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 becomes flat and without distinct structure. Accents in Rhythmical Subgroups (2-3 Bars together)
Type Metrical form Accent 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
32
Chapter 5, Advanced Piano, Advanced Notation Basic Polyrhythms 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 example 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
Duplet Triplet Quartuplet Quintuplet Sextuplet Septuplet Octoplet Noveplet Deciplet
Number
-2-3-4-5-6-7-8-9- 10 -
4/4
3/4
2/4
5/4
7/4
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.
33
Chapter 5, Advanced Piano, Advanced Notation (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 polyrhythms. 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 playing two or more meters at a time you risk loosing the common pulse! If you choose closely related 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.
34
Chapter 5, Advanced Piano, Advanced Notation 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 players, 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 computer 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 hihat and the cymbals! Notation of the Drums and Cymbals The drum clef is different to normal note writing, as it doesnt have pitch indications. As the drums dont 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
35
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 the Piano 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 harmonies. 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.
36
SCALE C
Common Chords in C
37
Chapter 5, Advanced Piano, Chord and Scale Charts Chord Tablature for Piano
C Cm
Cm7
C7
C9
Cmaj7
C+
Csus4
Cdim
38
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in C C Major Scale
C Right Hand Left Hand 1 5
D 2 4
E 3 3
F 1 5
G 2 4
A 3 3
B 4 2
C 5 1
C Parallel Minor Scale
A Right Hand Left Hand 1 5
B 2 4
C 3 3
D 4 2
E 1 5
F 2 4
G 3 3
A 4 2
39
Chapter 5, Advanced Piano, Chord and Scale Charts C Dorian Scale
D Eb 2 3 4 3
F 4 2
G A Bb 1 2 3 5 4 3
C 4 2
C Mixolydian Scale
D 2 4
E 3 3
F 1 5
G A Bb 2 4 3 4 3 2
C 5 1
40
Chapter 5, Advanced Piano, Chord and Scale Charts C Blues Scale
Eb 2 4
F 3 3
G 1 5
Bb 2 4
C 3 3
41
SCALE C# AND DB
Common Chords in C# and Db
42
Chapter 5, Advanced Piano, Chord and Scale Charts C# Scales

Major Minor Dorian Mixolydian
Blues
43
C# C#m
C#m7
C#7
C#9
C#maj7
C#+
C#sus4
C#dim
44
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in C# and Db C# Major Scale
C# D# Right Hand Left Hand 1 5 2 4
E# F# G# A# 3 3 1 5 2 4 3 3
B# C# 4 2 5 1
C# Parallel Minor Scale
A# Right Hand Left Hand 1 5
B# C# D# E 2 4 3 4 1 3 2 5
F# G# A# 2 4 3 3 4 2
45
Chapter 5, Advanced Piano, Chord and Scale Charts C# Dorian Scale
C# D# E Right Hand Left Hand 1 5 2 4 3 3
F# G# A# B 1 5 2 4 3 4 3 2
C# 5 1
C# Mixolydian Scale
C# D# Right Hand Left Hand 1 5 2 4
E# F# G# A# B 3 1 3 5 2 4 3 4 3 2
C# 5 1
46
Chapter 5, Advanced Piano, Chord and Scale Charts C# Blues Scale
C# Right Hand Left Hand 1 5
E 2 4
F# G# A# B 3 3 1 5 2 3 4 3
C# 4 1
47
SCALE D
Common Chords in D
D Scales
Blues
48
D Dm
Dm7
D7
D9
Dmaj7
D+
Dsus4
Ddim
49
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in D D Major Scale
D Right Hand Left Hand 1 5
E 2 4
F# G 3 1 3 5
A 2 4
B 3 3
C# D 4 2 5 1
D Parallel Minor Scale
B Right Hand Left Hand 1 5
C# D 2 4 3 3
E 1 5
F# G 2 4 3 3
A 4 2
B 5 1
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Chapter 5, Advanced Piano, Chord and Scale Charts D Dorian Scale
E 2 4
F 3 3
G 1 5
A 2 4
B 3 3
C 4 2
D 5 1
D Mixolydian Scale
E 2 4
F# G 3 4 3 2
A 1 5
B 2 4
C 3 3
D 4 2
51
Chapter 5, Advanced Piano, Chord and Scale Charts D Blues Scale
F 2 4
G 3 3
A 1 5
C 2 4
D 3 3
52
SCALE Eb AND D#
Common Chords in Eb and D#
53
Chapter 5, Advanced Piano, Chord and Scale Charts Eb Scales

Blues
54
Eb Ebm
Ebm7
Eb7
Eb9
Ebmaj7
Eb+
Ebsus4
Ebdim
55
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in Eb and D# Eb Major Scale
Eb Right Hand Left Hand 1 5
F G Ab Bb 2 4 3 1 3 5 2 4
C 3 3
D Eb 4 5 2 1
Eb Parallel Minor Scale
C D Eb Right Hand Left Hand 1 5 2 3 4 3
F 1 5
G Ab Bb 2 3 4 3 4 2
C 5 1
56
Chapter 5, Advanced Piano, Chord and Scale Charts Eb Dorian Scale
F Gb Ab Bb 2 3 4 3 4 2 1 5
C Db Eb 2 3 4 3 4 2
Eb Mixolydian Scale
G Ab Bb 1 5 2 4
C Db Eb 3 4 3 2 5 1
2 3 4 3
57
Chapter 5, Advanced Piano, Chord and Scale Charts Eb Blues Scale
Gb Ab Bb 2 4 3 1
Db Eb 2 4 3 3
3 5
58
SCALE E
Common Chords in E
E Scales
Blues
59
E Em
Em7
E7
E9
Emaj7
E+
Esus4
Edim
60
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in E E Major Scale
E Right Hand Left Hand 1 5
F# G# A 2 4 3 1 3 5
B 2 4
C# D# E 3 3 4 5 2 1
E Parallel Minor Scale
C# D# E Right Hand Left Hand 1 2 3 3
F# G# A 4 2 1 2 5 4
B 3 3
C# 4 2
5 4
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Chapter 5, Advanced Piano, Chord and Scale Charts E Dorian Scale
F# G 2 3 4 3
A 1 5
B 2 4
C# D E 3 3 4 5 2 1
E Mixolydian Scale
F# G# A 2 3 4 3 1 5
B 2 4
C# D E 3 3 4 5 2 1
62
Chapter 5, Advanced Piano, Chord and Scale Charts E Blues Scale
G 2
A 3
B 1 5
D 2 4
E 3 3
4 3
63
SCALE F
Common Chords in F
F Scales
Blues
64
F Fm
Fm7
F7
F9
Fmaj7
F+
Fsus4
Fdim
65
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in F F Major Scale
F Right Hand Left Hand 1 5
G A Bb 2 4 3 4 3 2
C 1 5
D 2 4
E 3 3
F 4 2
F Parallel Minor Scale
E 2 4
F 3 3
G A Bb 4 1 2 2 5 4
C 3 3
D 4 2
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Chapter 5, Advanced Piano, Chord and Scale Charts F Dorian Scale
F G Ab Bb Right Hand Left Hand 1 5 2 3 4 3 4 2
C 1 5
D 2 4
E 3 3
F 4 2
F Mixolydian Scale
F G Right Hand Left Hand 1 5 2 4
A 3 3
B 1 5
C 2 4
D Eb 3 4 3 2
F 5 1
67
Chapter 5, Advanced Piano, Chord and Scale Charts F Blues Scale
Ab Bb 2 4 4 3
C 1 5
Eb 2 4
F 4 3
68
SCALE F# AND Gb
Common Chords in F# and Gb
69
Chapter 5, Advanced Piano, Chord and Scale Charts F# Scales

Blues
70
F# F#m
F#m7
F#7
F#9
F#maj7
F#+
F#sus4
F#dim
71
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in F# F# Major Scale
F# G# A# B Right Hand Left Hand 1 5 2 4 3 1 3 5
C# D# 2 4 3 3
E# F# 4 5 2 1
F# Parallel Minor Scale
D#m E# F# G# A# B Right Hand Left Hand 1 5 2 4 3 3 1 2 3
C# D# 4 2 5 1
5 4 3
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Chapter 5, Advanced Piano, Chord and Scale Charts F# Dorian Scale
F# G# A Right Hand Left Hand 1 5 2 3 4 3
B 4 2
C# D# E 1 5 2 3 4 3
F# 4 2
F# Mixolydian Scale
F# G# A# B Right Hand Left Hand 1 5 2 4 3 1 3 5
C# D# E 2 4 3 4 3 2
F# 5 1
73
Chapter 5, Advanced Piano, Chord and Scale Charts F# Blues Scale
F# Right Hand Left Hand 1 5
A 2 4
B 3 3
C# 1 5
E 2 4
F# 3 3
74
SCALE G
Common Chords in G
G Scales
Blues
75
G Gm
Gm7
G7
G9
Gmaj7
G+
Gsus4
Gdim
76
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in G G Major Scale
G Right Hand Left Hand 1 5
A 2 4
B C 3 3 1 5
D 2 4
E 3 3
F# G 4 2 5 1
G Parallel Minor Scale
A Bb 2 3 4 3
C 4 2
D Eb 1 2 5 4
F 3 3
G 4 2
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Chapter 5, Advanced Piano, Chord and Scale Charts G Dorian Scale
A Bb 2 3 4 3
C 4 2
D 12 54
F 3 3
G 4 2
G Mixolydian Scale
A 2 4
B 3 3
C 1 5
D 2 4
E 3 3
F 4 2
G 5 1
78
Chapter 5, Advanced Piano, Chord and Scale Charts G Blues Scale
Bb 2 4
C 3 3
D 1 5
F 2 4
G 3 3
79
SCALE Ab AND G#
Common Chords in Ab and G#
80
Chapter 5, Advanced Piano, Chord and Scale Charts Ab Scales

Blues
81
Ab Abm
Abm7
Ab7
Ab9
Abmaj7
Ab+
Absus4
Abdim
82
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in Ab Ab Major Scale
Ab Bb Right Hand Left Hand 1 5 2 4
C Db Eb 3 1 3 5 2 4
F 3 3
G Ab 4 5 2 1
Ab Parallel Minor Scale
G Ab Bb 2 3 4 3 4 5
C Db Eb 1 4 2 3 3 2
F 4 1
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Chapter 5, Advanced Piano, Chord and Scale Charts Ab Dorian Scale
Ab Bb B Right Hand Left Hand 1 5 2 4 3 3
Db Eb 4 2 1 5
F 2 4
G Ab 3 4 3 2
Ab Mixolydian Scale
Ab Bb Right Hand Left Hand 1 5 2 4
C Db Eb 3 1 3 5 2 4
F 3 3
G Ab 4 5 2 1
84
Chapter 5, Advanced Piano, Chord and Scale Charts Ab Blues Scale
Ab Right Hand Left Hand 1 5
B 2 4
Db Eb 3 3 1 5
Gb Ab 2 4 3 3
85
SCALE A
Common Chords in A
A Scales
Blues
86
A Am
Am7
A7
A9
Amaj7
A+
Asus4
Adim
87
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in A A Major Scale
B 2 4
C# D 3 1 3 5
E 2 4
F# G# A 3 3 4 5 2 1
A Parallel Minor Scale
F# G# A Right Hand Left Hand 1 5 2 3 4 3
B 1 5
C# D 2 3 4 3
E 4 2
F# 5 1
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Chapter 5, Advanced Piano, Chord and Scale Charts A Dorian Scale
B 2 4
C 3 3
D 1 5
E 2 4
F# G A 3 4 5 3 2 1
A Mixolydian Scale
B 2 4
C# D 3 4 3 2
E 1 5
F# G A 2 3 4 4 3 2
89
Chapter 5, Advanced Piano, Chord and Scale Charts A Blues Scale
C 2 4
D 3
E 1
G 2 4
A 3 3
3 5
90
SCALE Bb AND A#
Common Chords in Bb and A#
91
Chapter 5, Advanced Piano, Chord and Scale Charts Bb Scales

Blues
92
Bb Bbm
Bbm7
Bb7
Bb9
Bbmaj7
Bb+
Bbsus4
Bbdim
93
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in Bb Bb Major Scale
Bb Right Hand Left Hand 1 5
C Db Eb 2 4 3 3 1 5
F 2 4
G 3 3
A Bb 4 5 2 1
Bb Parallel Minor Scale
A Bb 2 3 4 3
C 1 5
D Eb 2 3 4 3
F 4 2
G 5 1
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Chapter 5, Advanced Piano, Chord and Scale Charts Bb Dorian Scale
C Db Eb 2 4 3 3 1 5
F 2 4
G Ab Bb 3 4 5 3 2 1
Bb Mixolydian Scale
C 2 4
D Eb 3 1 3 5
F 2 4
G Ab Bb 3 4 5 3 2 1
95
Chapter 5, Advanced Piano, Chord and Scale Charts Bb Blues Scale
Db Eb 2 4 3 3
F 1 5
Ab Bb 2 4 3 3
96
SCALE B
Common Chords in B
B Scales
Blues
97
B Bm
Bm7
B7
B9
Bmaj7
B+
Bsus4
Bdim
98
Chapter 5, Advanced Piano, Chord and Scale Charts The Scales in B B Major Scale
C# D# E 2 3 1 4 3 5
F# G# A# B 2 4 3 3 4 5 21
B Parallel Minor Scale
G# A# B Right Hand Left Hand 1 5
C# D# E 2 3 1 4 3 5
F# G# 2 4 3 3 4 5 21
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Chapter 5, Advanced Piano, Chord and Scale Charts B Dorian Scale
C# D
F# G# A 2 4 3 4 3 2
B 5 1
2 3 1 4 3 5
B Mixolydian Scale
C# D# E 2 3 4 3 1 5
F# G# A B 2 4 3 4 5 3 2 1
100
Chapter 5, Advanced Piano, Chord and Scale Charts B Blues Scale
D 2 4
E 3 3
F# 1 5
A 2 4
B 3 3
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Chapter 5, Advanced Piano, Advanced Jazz Scales
Advanced Jazz Scales

In the chapter Basic Music Theory in this book and our complete music theory volume 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 following table shows how to find the modes in all the 12 major keys.
Key Base C Db D Eb E F F# G Ab A Bb B Ionian MAJOR C Db D Eb E F F# G Ab A Bb B Dm Ebm Em Fm F#m Gm G#m Am Bbm Bm Cm C#m Em Fm F#m Gm G#m Am A#m Bm Cm C#m Dm D#m Dorian Phrycian Lydian Mixolydian Aolean MINOR F Gb G Ab A Bb B C Db D Eb E G Ab A Bb B C C# D Eb E F F# Am Bbm Bm Cm C#m Dm D#m Em Fm F#m Gm G#m Locrian MODAL Bdim Cdim C#dim Ddim D#dim Edim E#dim F#dim Gdim G#dim Adim A#dim
MODAL
NOTE The modes are named with a pseudo key, in Major, Minor or Diminished. The names are only guidelines, as for example a D minor Dorian, is not a normal minor but a church mode, which happens to look a bit like a minor scale.
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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 Base Cm C#m Dm Ebm Em Fm F#m Gm G#m Am Bbm Bm Aolean Minor Cm C#m Dm Ebm Em Fm F#m Gm G#m Am Bbm Bm Locrian #2 MODAL Ddim D#dim Edim Fdim F#dim Gdim G#dim Adim A#dim Bdim Cdim C#dim Ionean Major Eb E F Gb G Ab A Bb B C Db D Fm F#m Gm Abm Am Bbm Bm Cm C#m Dm Ebm Em Gdim G#dim Adim Bbdim Bdim Cdim C#dim Ddim D#dim Edim Fdim F#dim Dorian Locrian, Super Lydian Aug. Locrian, Super
MODAL A A# B B# C# D D# E E# F# G G# Bdim Cdim C#dim Ddim D#dim Edim E#dim F#dim Gdim G#dim Adim A#dim
103
BASIC INTERVALS
STEP A step is defined as half a note on the piano.
# 1 b2 2 b3 3 4 #4 b5 5 #5 b6 6 b7 7 8
Name
Prime Minor Second Major Second Minor Third Major Third Perfect Fourth Augmented Fourth Diminished Fifth *) (Tritonus) Perfect Fifth Augmented Fifth Minor Sixth Major Sixth Minor Seventh Major Seventh Octave
*)
Description
0 half step Half step 1 whole step 1 whole Step + Half Step 2 whole Steps 2 whole Steps + 1 Half Step 3 whole Steps 3 whole Steps 3 whole Steps + 1 Half Step 4 whole steps 4 whole Steps 4 whole Steps + 1 Half Step 5 whole Steps 5 whole Steps + 1 Half Step 6 whole Steps
Distance in Steps
0 steps 1 step 2 steps 3 steps 4 steps 5 steps 6 steps 6 steps 7 steps 6 steps 8 steps 9 steps 10 steps 11 steps 12 steps
104
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 Diminished Minor Second (2) Minor Third (b3) Fourth (4) Fifth (5) Minor Sixth (b6) Minor Seventh (b7) Major Second (2) Major Third (3) Fourth (4) Fifth (5) Major Sixth (b6) Major Seventh (b7) Augmented Minor Second (2) Minor Third (b3) Fourth (4) Fifth (5) Minor Sixth (b6) Minor Seventh (b7) Major Second (2) Major Third (3) Fourth (4) Fifth (5) Major Sixth (b6) Major Seventh (b7) 2 3 5 7 9 10 2 3 5 7 9 10 Augmented Second Augmented Minor Third Augmented Fourth Augmented Fifth Augmented Minor Sixth Augmented Minor Seventh Augmented Second Augmented Major Third Augmented Fourth Augmented Fifth Augmented Major Sixth Augmented Major Seventh 3 4 5 6 10 11 3 4 6 8 10 12 2 3 5 7 9 10 2 3 5 7 9 10 Diminished Second Diminished Minor Third Diminished Fourth Diminished Fifth Diminished Minor Sixth Diminished Minor Seventh Diminished Second Diminished Major Third Diminished Fourth Diminished Fifth Diminished Major Sixth Diminished Major Seventh 1 2 4 5 8 9 1 3 4 5 9 11 Original Interval Steps New Interval Steps
105
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 Theory, 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 tradition). 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 also used for different chord symbols in rock.
106
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 relationship 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 System I major II minor III minor IV major V major VI minor VII diminished
Rock System T (Tonic) SDm (Subdominant parallel minor) Dm (Dominant parallel minor) SD (subdominant) D (dominant) Tm (Tonic parallel minor) -
Diatonic Triads in D Minor
American System I minor II diminished III major IV minor V minor VI major VII major
Rock System Tm (Tonic parallel minor) T (Tonic) SDm (Subdominant parallel minor) Dm (Dominant parallel minor) Sd (Subdominant) D (Dominant)
107
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) Minor 7 (m7) Dominant 7 (7) Diminished 7 (dim) Minor/major 7 (m(maj7)) Major 7 (#5) (+(maj7)) Major 7 (b5) ((b5)maj7) Dominant 7 (#5) (+7) Dominant 7 (b5) ((b5)7) Minor 7 (b5) (dim) Root, major third, perfect fifth, major seventh. Root, minor third, perfect fifth, minor seventh. Root, major third, perfect fifth, minor seventh. Root, minor third, diminished fifth, diminished seventh. Root, minor third, perfect fifth, major seventh. Root, major third, augmented fifth, major seventh. Root, major third, diminished fifth, major seventh. Root, major third, augmented fifth, minor seventh. Root, major third, diminished fifth, minor seventh. (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
108
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 the minor 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 suspension, 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).
109
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 dissonant colours, 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
D7
C
110
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 1970ies 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 radio 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 9th instead of the 2nd interval, in order to provide a logical, transparent construction of the extensions. In real life, though, you can place the 9th and all other colour notes where you want, using 2nd / 9th depending 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 traditionally played as a minor chord with a ninth added. The m9 chord understood as the 7 and 9 is written m7+9 in rock.
111
Chapter 5, Advanced Piano, Advanced Jazz Chords 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 famous A11 chord that starts A Hard days 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 chords 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. 112 All Aspects of ROCK & JAZZ /5 Basic Piano
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 clashing 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 music. Stacked Chords are used intensely in the jazz wind section, especially in combinations of saxophones 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 Bm/C Some typical jazz polychords: C/D Em / Am Cm7 / Bb C7 / D C7 / F# C7 / A or
113
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 are exercises 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, especially 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 was supposed 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 unfortunate musician 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
114
FUNCTIONAL EXERCISES
The first goal is returning to the tonic chord, which means designing an elegant and simple cadence 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 explained 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 challenge 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.
115
FUNCTIONAL EXERCISES
Exercise 1
Exercise 2
116
Chapter 5, Advanced Piano, Harmonizing a Tune (Functional Exercises) Exercise 3
Exercise 4
117
TRANSITIVE EXERCISES
Tracing the Keys of a Transitive Tune
Exercise 5
118
Chapter 5, Advanced Piano, Harmonizing a Tune Exercise 6
119
120
121
Exercise 10
122
Chapter 5, Advanced Piano, Rehearsal Tips
Rehearsal Tips
Rehearsing is the only way to become a master pianist. Or any kind of craftsman, be it 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 30min 15min Warm up by playing 2-3 of the songs in the repertoire in full. Rehearse 6-8 scales and chords and two new sight-reading pieces. 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. 15min 45min BREAK 30min Warm up by playing 2-3 of the songs in the repertoire in full. Rehearse 10-12 scales and three sight-reading pieces. Massage your hands and drink lots of water Play 2-3 exercises from piano tutors not only from this book but from all the tutors 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). Rehearse details of new songs or difficult parts in older songs.
15min
123
4 HOURS A DAY
This is a plan for the musical hard hats. The plan improves the pianists skills substantially over time and makes it possible to refine the tiniest details of the playing style and technique. 15min 45min BREAK 15min 45min Warm up by playing 2-3 of the songs in the repertoire in full. Rehearse 10-12 scales and three sight-reading pieces. Massage your hands and drink lots of water. Rehearse another 3-4 scales and one sight-reading piece. Play 6-8 exercises from piano tutors not only from this book but from all the tutors you can buy. Each piano tutor contains new, exciting techniques and scales for you to learn (se the literature list in chapter 7). Massage your hands and eat a sandwich. Drink lots of water. Rehearse details of new songs or difficult parts in older songs. Play 5-6 songs from the bands repertoire. Massage your hands and drink lots of water. Play 8-10 small piano scores, preferably scores that are unknown to you.
BREAK 30min 30min BREAK 1hour
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, Interlude, Breaks and Solo - Prominent parts written down in notes, or the whole score, if you prefer sight-reading to using 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.
124
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 important for your musical development! Dont 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!
125
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, 30 5-part, 29
6
6/4, 26, 29 6/8, 26, 28, 33
7
7/4, 26, 32 7/8, 30, 33 7-part, 26, 28
8
8/8, 29, 30
9
9/4, 29 9/8, 29, 30
A
A#, 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, 102 Abm7, 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, 31 Alexis, 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, 123 any, 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, 97 B9, 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
126
Chapter 5, Advanced Piano, Index Advanced Piano
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, 31 Cadence, 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, 17 compensated, 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, 24 disagreements, 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, 59 E9, 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
127
Chapter 5, Advanced Piano, Index Advanced Piano Ebmaj7, 54 Ebsus4, 9, 10, 54 Edim, 9, 10, 59, 101, 102 Eleventh, 111 Em, 59, 101, 102, 112 Em7, 59 Emaj7, 7, 8, 59 Esus4, 59 Extended, 110 Fm, 64, 101, 102 Fm7, 9, 10, 64 Fmaj7, 64 forte, 12, 24 forte-piano, 12 fortissimo, 24 free, 5, 18, 21, 114 freedom., 114 heavily, 33, 105
I
I, 21, 34, 104, 106, 113, 114 II, 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
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, 70 F#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, 113 fast, 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
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
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, 102 Lydian, 101, 102
M
Major, 103, 106, 107 mallets, 18, 19 marimba, 19 McLaughlin, 33 metrical, 31 Metrical forms, 31 Mezzo-forte, 24 Mezzo-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,
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
128
Chapter 5, Advanced Piano, Index Advanced Piano 69, 72, 74, 77, 80, 83, 85, 88, 91, 94, 96, 99, 101 modal, 35, 101, 105, 108 Mordent, 25 Musical, 20 polyrhythms, 32, 33 Polyrhythms, 31, 32, 33 Pond, 20 powerful, 11, 19, 24, 105 PP, 24 PPP, 24 progression, 114 pseudo, 101 pulse, 31, 32, 33, 34 style, 25, 114, 123 subdivided, 30 subdominant, 106 Subdominant, 105, 106 subgroups, 31 Sus, 108 sus2., 108 sus4, 43, 70, 108 syncope, 27 Syncope, 26, 27, 28 synthesizer, 15, 16
N
Ninth, 110, 111 Nirvana, 108 Non-functional, 114 note, 34 Noveplet, 32
Q
Quartuplet, 32 Quintuplet, 32
T
T, 106, 107 talented, 114 theory, 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, 105 Tonality, 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, 110 trills, 31 Triplet, 32 trumpets, 112 tune., 113, 114
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
R
rebounds, 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
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
V
vibraphone, 19 VII, 106 VIImi7(b5), 107 VImi7, 107 129
Chapter 5, Advanced Piano, Index Advanced Piano vocal, 113 voices, 113 volume, 13, 20, 24, 35, 101 volume/power, 24
W
waltz, 26, 28
130

Advanced Piano

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

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

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

Chapter 5, Advanced Piano, General Introduction

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, General Introduction

ADVANCED JAZZ SCALES ......................................................................102

ADVANCED JAZZ CHORDS .....................................................................106

HARMONIZING A TUNE ............................................................................114

INDEX ADVANCED PIANO .......................................................................126

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, General Introduction

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, General Introduction

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Flashcards

All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Flashcards Back of Flashcard 1-12 (answers)

All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Flashcards Back of Flashcard 13-24 (answers)

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Other Keyboards

All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Other Keyboards

All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Other Keyboards

All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Other Keyboards

All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, MIDI

Chapter 5, Advanced Piano, MIDI

All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Advanced Notation

Connects two notes across a barr-line.

All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Advanced Notation

Mezzo-forte Forte Fortissimo Forte fortissimo

Moderately powerful Powerful Very powerful Very, very powerful

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Advanced Notation

Trill Defined Trill Turn Appoggiatura Mordent Reversed Mordent

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Advanced Notation

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Advanced Notation

Semibreve syncope 1 Semibreve syncope 1 Straight 1

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Advanced Notation Basic types of compound meters

Other subdivisions of compound meters

All Aspects of ROCK & JAZZ /5 Basic Piano

All Aspects of ROCK & JAZZ /5 Basic Piano

Chapter 5, Advanced Piano, Advanced Notation 13-Part Meters

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