Chord voicings (Rootless, Altered Rootless Chord Voicing)

Chord Voicings

Source: thejazzpianosite.com

In a previous module we learned about the theoretical aspects of Jazz Chords. In this series of lessons we will be discussing how chords are actually played in practice. This is a very important part of playing Jazz piano. A chord voicing is just a way of altering the order of and intervals between the notes in a chord. So instead of playing CMaj7 as a block chord (C E G B) we could reorder the notes and play C B E G. Playing appropriate chord voicings can make a song sound very jazzy and very professional.

Omitting Notes

In previous lessons (specifically the one on Shell Chords) we established that in Jazz we don’t need to play every single note in a chord. Specifically, it’s possible to omit the less important notes (root & 5th). Well, using this same idea, we can create rootless voicings.

Rootless Chord Voicings

A smooth and popular type of chord voicing are called (Bill Evans style) Rootless Chord Voicings. As the name suggests, these chord voicings exclude the root note. Instead of the root (and sometimes the 5th) we play chord tensions. This gives us a jazzy sound (because of the tensions) while not being too crowded (you only ever play 4 notes because we drop the root).

Even though we are allowed to omit the root note in a chord, if you’re playing in a band often the bass player will play the root note. Otherwise, there’s nothing wrong with just leaving it out. The root note isn’t really all that important, harmonically speaking.

In short, Rootless Chord Voicings are played as follows:

• For Major and minor chords play: 3rd, 5th, 7th, 9th
• For V7 chords play: 3rd, 7th, 9th, 13th

There are also two ‘types’ of rootless chord voicings. One is just an inversion of the other (if one has the 3rd on the bottom, the other has the 7th on the bottom). These voicing works really well for II-V-I progressions, because you only need to change a few notes (and by only a small interval) to move from one chord to the next (i.e. there is smooth voice leading). Below is an example of a II-V-I in the key of C using rootless chord voicings. Notice how smoothly each chord transitions to the next.

Chord Ambiguity Notice also, that because we are omitting certain notes, chords become a little ambiguous. Rootless Dm9 (F A C E) = FMaj7 = Am♭6 Rootless G13 (F A B E) = Rootless Dm69 = Rootless D♭7#9♭13 Rootless CMaj7 (E G B D) = Em7 = G6 Notice how all the above chords are substitutes for each other (generally Median Note or Tritone substitutes). This is part of the charm of rootless voicings. There are a little ambiguous. Altered Rootless Voicings As we learned in the lesson on Available Tensions, we can alter the chord tensions (♭9, #11, ♭13, etc.). We can apply this idea to Rootless Chord Voicings. We must keep the 3rd and 7th the same, but we are free to alter the other two notes. So you can create chords like a: CMaj7#11 (by substituting the 5th for a  #11th); C69 (by substituting the 7th for a 6th); Dm69 (by substituting the 7th for a 6th); Dm7♭5 (by flattening the 5th). Left Handed Voicing & Rule of Thumb Rootless voicings are played entirely with the left hand. This means your right hand is free to play the melody or improvise. In future lessons we will also discuss numerous two handed chord voicings. Because you are playing 4 notes all within the span of a single octave, these voicings can be a little bit muddy if played too low. As such, try adhere to the ‘rule of thumb’: the top note of a rootless chord voicing (played with your thumb) should be between middle C and the C an octave above middle C on the piano. That is, try stick to the middle register with this chord voicing.

Passing Chords & Approach Chords

welcome back,

Passing chords are literally that chords that you pass by. They are chords you pass through quickly on your way from one chord to the next in the chord progression. Because they are played quickly (they generally never last more than 1/2 a bar), they are not harmonically important. And because they are not harmonically important, they can be almost any chord you like. Passing chords can make a chord progression more interesting because they speed up the rate at which chords change (called Harmonic Rhythm) and make a chord progression more harmonically interesting.

Passing Chords

Passing chords generally have the following features:

• They last for a very short period of time (1/4 or 1/2 a bar). You never sit on them for long, they are passing chords, you pass by them quickly;
• They are inserted between two harmonically important chords (i.e. chords that are written out on a lead sheet and that occur on beats one or three of a bar);
• They can be diatonic (a chord from the key that you are playing in) or non-diatonic (a chord NOT from the key that you are playing in);
• They can be consonant or dissonant.

A specific type of passing chord is called an approach chord. This is a passing chord that is either 1 (chromatic) or 2 (diatonic) semitones away from the next chord.

Let’s take the following chord progression: | CMaj7    | Dm7    ||

We can insert a passing chord between the CMaj7 and the Dm7. The most widely used passing chords are shown in the below table.

Passing Chord Name	Chord Progression
Original Chord Progression	| CMaj7 | Dm7 ||
Tritone (of previous chord)	| CMaj7 - G♭7 | Dm7 ||
Tritone (of next chord)	| CMaj7 - A♭7 | Dm7 ||
Approach #1 (diatonic)	| CMaj7 - Em7 | Dm7 ||
Approach #2 (semitone)	| CMaj7 - D♭7 | Dm7 ||
Approach #3 (semitone)	| CMaj7 - E♭7 | Dm7 ||
Diminished #1	| CMaj7 - D♭o7 | Dm7 ||
Diminished #2	| CMaj7 - E♭o7 | Dm7 ||
Dominant-minor	| CMaj7 - D7 | Dm7 ||
Secondary V	| CMaj7 - A7 | Dm7 ||
Secondary II, V	| CMaj7 - Em7 A7 | Dm7 ||

Note: That both the chord and the bass-line movement are important when transitioning between chords. You want both to be smooth. I will have more to say about this in future lessons

Theoretical Convergence

You may have noticed some of the above approach chords are also chord substitutions. For example, the Diatonic Approach Chord of Em7 is also a Median Note substitution of CMaj7. You will also notice that one of the passing chords is a Secondary Dominant (the subject of our next lesson).

At this point it is worth noting that there is more than one way to analyse a chord progression. We will come across many theoretical concepts that try to explain the same chord in different ways. All of them are right in their own way.

Let’s again take the chord progression: | CMaj7 – Em7  | Dm7    ||

To some the Em7 will be a passing chord. To others the Em7 will be a half-bar chord substitution of the CMaj7 chord. Both of these are correct. I’ll say it again. There are many ways of analysing the same chord progression.

It’s important to remember that: first came music, then came theory. A musician writes a particular chord progression that happens to sound good, and then it’s up to the theoretician to figure out why it sounds good. And in order to do this, they come up with various ideas and concepts. Because of this, there are a number of different ways to analyse the same chord progression. We will find this is the case with many of the concepts we cover in the future.

Interval Abbreviations

welcome back,

Contd... On INTERVALS

Intervals are used so often in describing chords and scales that they are sometimes named in an extremely abbreviated way. Learn to recognize these variations in interval names.


⇒ Perfect and major intervals are implied by no mention of their quality at all : 5 for P5 (perfect 5th), 7 for M7(major 7th), etc.






⇒ The word "sharp" or the sharp symbol (#) is often used instead of "augmented" (or its abbreviations, "aug" or "+").

⇒ The word "flat" or the flat symbol(♭) is often used instead of "min" or "m."

⇒When a perfect interval (1,4,5,or8) becomes diminished,it maybe written with one flat (♭) instead of donors,or the diminished ("0").

⇒ When a major interval (2,3,6,7) becomes minor, it too is often written with a♭ instead of minor m, for instance,♭2  instead of m2.

Note: Intervals smaller than an octave are called simple intervals.

Here are other abbreviated INTERVALS and signs.

Intervals larger than an octave are called compound intervals . They may be analyzed as a simple interval raised by an octave.

To be continued...

Minor, Diminished, and Augmented Intervals

Welcome Back,


Contd... On INTERVALS

A chromatic half step is a half step written as the same note twice with different accidentals (i.e., G - G #), while a diatonic half step is a half step that uses two different note names (i.e., G# -A ).

Major and perfect intervals may be augmented (increased in size) or diminished (reduced in size) by either type of half step to change their qualities.

Major and perfect intervals become augmented when the upper note is raised by a half step, or the lower note is lowered by a half step. The process may be referred to as augmentation.
Eg.
Major 6th on C  (C  -  A)
Augmented 6th (C -A#) OR (C♭ - A♮)






Eg.2

Major 5th on C (C - G)
Augmented 5th (C -G#) or  (C♭ - G♮)


Note:
*An augmented interval becomes doubly augmented when the upper note is raised by a half step, or the lower note is lowered by a half step.

*When a major interval is diminished by a half step it becomes minor.

*Intervals can be made smaller by placing a ♭before the upper note or a # before the lower note.

*Through diminution, minor and perfect intervals become diminished.

*A diminished interval becomes doubly diminished when the upper note is lowered by a half step or the lower note is raised by a half step.







It is possible for notes and intervals to have different names in spite of containing the same number of half steps and producing the same sounds.
For instance, an augmented 2nd above C is D#, and a minor 3rd above C is E♮.  Both intervals contain three half steps, but occur in different situations. This intervals are referred to as Enharmonic equivalents.




To be continued...

INTERVALS

Hello musicians,
Welcome back to class. We will be happy to hear from you after this post. You can drop any questions in the comment below or live chat. We will definitely answer them all. Thank you




INTERVALS

 To understand any melodic or harmonic discussion, one must understand intervals. An interval measures the space between two pitches. The smallest interval in Western music is the semitone or half step (either name may be used). This is the distance from one key to the next on the piano, for instance from C to C#.






 a type of 6th. ➣➣➣C D E F G A


a type of 4th ➣➣➣ B C D E

a type of 2nd ➣➣➣ F G


Major and Perfect Intervals 

The quality of an interval is determined by comparison with the intervals found in the major scale. When compared with a major scale, a whole step is found to be equal to the distance from the first to the second note, giving us yet another name for it: the major second.

It should be committed to memory that any major scale contains half steps (h) between scale degrees 3-4 and 7-8, and whole steps (W) between all other pairs of notes . The half steps in any scale can be indicated with a wedgeshaped mark , or caret symbol ("). Here's the major scale in the key of C.








 C       D      E       F     G       A       B    C
 W      W     W     H     W     W     W    H


The distance from the root to the various pitches in the major scale form the basic intervals against which all others are measured. These eight intervals are divided into two basic types, Perfect or Major .

• Perfect: unisons, 4ths, 5ths, octaves

 • Major: 2nds, 3rds, 6ths, 7ths

C ➣➣➣➣➣➣ Root

D ➣➣➣➣➣➣Major 2nd

E ➣➣➣➣➣➣ Major 3rd

F ➣➣➣➣➣➣ Perfect 4th

G ➣➣➣➣➣➣ Perfect 5th

A ➣➣➣➣➣➣ Major 6th

B ➣➣➣➣➣➣ Major 7th

C ➣➣➣➣➣➣ Perfect octave


To be continued!!!!!!

Welcome Back

Hello musicians, 


We’re back, better and stronger. We sincerely apologise for the unexpected break. We are working towards serving you better! Have you made your New Year resolutions? Do you intend to focus on your musical growth this year? Do you want to advance in all facets of your endeavour as a musician? Then let’s do this together!

We are relentless in our commitment to enlighten you on areas where you need clarity as a musician.






 To achieve this aim, we have introduced new and enjoyable features to make your time here worthwhile.

 Some of these features include: Live chats, 24 hours customer care service, Detailed Video tutorials, Interactive forum, WhatsApp group chat, HKML giveaway and lots more. Furthermore, to help organize your virtual presence, we have scheduled our posts in a way that will let you know what to expect weekly.


Mondays are motivational days. 







That’s why we’ll introduce new posts every Monday. Wednesdays are no exception. Every Wednesday, we’ll expand more on the topic for the week. And Fridays? We’ll have interactive chats on our WhatsApp group and occasional HKML giveaways! That’s about it for now. Stay tuned for more information

Why Augmented Triads Are Not Common?

If you want to know why augmented triads are not common, you’re on the right page.

Unlike major and minor triads, augmented triads are rarely used. This is not just for beginners; intermediate and advanced players too will agree to how less frequent the harmony of the augmented triad is.

Depending on the genre of music you’re playing, it’s possible to play for 1 year, 3, years, 7 years, 20 years, or a lifetime without playing an augmented triad. Trust me!

Submission: Advanced students are aware that the augmented triad can be used as an upper-structure to form other chords, but the reference to the augmented triad in this lesson is as a unique chord (and not an upper-structure).

You’ll find out the reason why the augmented triad is rare. Read on!

A Breakdown Of Scale Degree Chords In The Major Key

In the major key, there are seven unique tones. The key of C major (our reference):

CLICK HERE TO CONTINUE READING

SOURCE

HEARANDPLAY.COM

Tetrachord

A Short Note On The Tetrachord

The term tetrachord has a Greek origin and can be broken down into two Greek words: tetra and chord.

It’s easier to understand the concept of the tetrachord on a string instrument like the violin. Therefore permit me to use the violin as a reference.

If you’ve been privileged to stand close to a violinist, you’ll observe that while they’re playing the major scale, they play four notes to a string. So for the entire major scale (let’s say the C major scale):

They’ll play the first four notes (which are C, D, E, and F):

…on a string, and the last four notes (which are G, A, B, and C):

…on another string.

CLICK HERE TO CONTINUE READING

SOURCE

HEARANDPLAY.COM

Becoming A Piano Expert

Hello guys,
 we welcome you to our first blog post this year and i want to use this medium to thank all our readers and subscribers for been with us this far and we promise to make a lot of progresses and impact to lives this year. we have undergo a lot of changes beginning from our domain and we have also came out this time with a good strategies to help improve young pianist to become piano expert.

TIME OF BLOG/VLOG AND CUSTOMER CARE ACTIVITIES.

It is said that those who read more becomes a better leader. we will write more quality post this section and  we have concluded all our days and time of activities for our blog.

DAYS OF ACTIVITIES



MONDAYS - 12 PM (Blog post/questions and answers)

TUESDAYS - 9 AM (Online questions helpline and music problem solutions/ blog post continuation)

WEDNESDAYS - 11 AM  ( Questions and answers helpline)






THURSDAYS/FRIDAYS  - 1:30 PM (LIVE VIDEO LECTURES ON OUR YOUTUBE CHANNEL)






for online solutions for music challenges or piano lectures question , you can send us an email @ easypiano4umail@gmail.com and subscribe to our youtube channel for live and lectures video to enhance your skills  visit or  click here

HOW TO CREATE REVENUE AS A MUSICIAN

Musicians find it hard to take music full time, I believe this because it seems there is a music doctrine going across which says A Musician who does music full time can not  be successful financially. But this is wrong', a musician who can not create revenue in the music industry will not be able to also manage a business no matter the expenses, meaning that he or she lacks business mindset. As a musician, one should know that anything that acquires Time and skills, Talent and Money can generate revenue for you.

I Am proud to say that as a musician for over 8 years i have create a lot of revenue doing music full time. you can also do better than me.

Creating revenue as a musician is not a big task, you might not take it as a full time job yet you can create a reasonable revenue to cover your bills.

Below i will be sharing tips you can use to create revenue as a musician but note this that no matter how you want to operate, your time must be needed. The better way to be successful is drawing a life time plan that will suit you so as to be successful.

WAYS MUSICIANS CAN CREATE REVENUES DOING MUSIC FULL TIME/ PER TIME

1. TEACHING    

The first reasonable money i made as a musicians was teaching the piano. I found out that people were interested in learning the piano, so i taught of it and created two hours lectures every mondays tuesdays thursdays fridays  from 4pm to 6pm. at first i was billing per two weeks charging two thousand naira per student and i started with 11 students and it was really meeting my needs then, until I had little challenges which made the number of student drop to 6,
so i had to reduce their bills to one thousand naira which brought a great turn up. and now per student is paying fifteen thousand per month. teaching music has really created a lot revenue for me. this tip can work for you without stress if you have a good business mindset. i urged you to start now no matter the number of students turning up guarantying you with consistency you will create  huge revenue.

2 YOUTUBE CHANNEL

I have a YouTube channel that is doing well and also creating a lot revenue for me, and this is my biggest source of income.
you might wonder that how does YouTube create revenues as a musician. This is very easy to understand because YouTube has a platform that anyone can upload videos and make reason money from monetizing the videos. How is this possible?
login to YouTube and create a channel where you can post your videos you make and people across the world can watch the videos and subscribe to your channel, once your channel gets 10000 views your videos will be monetize causing advert to show before your video and google will pay you without any issues. So kindly make information about YouTube channel and started uploading as many video you can.

You can do a lot of tutorial videos  and upload.

3 MUSICAL PRODUCTIONS

To me i see pianist as a producer. so as a musician you can also make revenue by producing peoples music.

You can also create beat and sell them or even materials and sell them. I will advice you to start with a very affordable price to get more client for job doing.

4. MARKETING AND COMMISSION  

This is a great source  of creating  revenue
Anytime anywhere.

One can sell musical instrument for a brand and gets commission per marketing. Also one can buy musical instrument whole sales price and sell at he or she price rate..

So you can pick up any brand of your choice and partner with them to make revenues.

Thanks for reading.... We will love to see you again.

 

low-level passing chords that can be used to approach any chord

Welcome back

Today's post will introduce low-level passing chords that can be used to approach any chord.
Level: Beginner

Prerequisite: Major and minor triads and their inversions
We will use plain simple minor triads for our passing chords.
Intro:

Passing chords don't need to be extremely phat to sound lush. If in doubt, ask Cory Henry.
Minor triads sound best in their first inversions and major triads sound best in the 2nd inversions. This is just the sounds with no context in mind.

Let me tell you why. Chords are gotten when notes are stacked on top each other. If all the notes are heard at the same time, it is said to be harmonic. If the notes are heard one after another, it is said to be melodic.

Now, these notes have spaces between them which form intervals. Intervals have diverse levels of brightness or harshness. Major and perfect intervals have the brightest sounds. These bright sounds are said to be consonant, and the harsh ones are said to be dissonant.

So the arrangement of the notes in a chord [called chord voicing] goes a long way to affect how the overall sound will be heard.
Major triads in 2nd inversion have a stack of perfect 4th and major 3rd interval, unlike the root position that has a stack of major 3rd and minor 3rd.
Cmaj is CEG. C-E is a major 3rd and E-G is a minor 3rd.
GCE is Cmaj in 2nd inversion and G-C is a perfect 4th and C-E is a major 3rd. You can see why a P4+M3 sounds better than an M3+m3.
Our focus is the minor triad. In root position, Cmin is CEbG. C-Eb is a minor 3rd interval and Eb-G is a major 3rd interval. In the 1st inversion, Cmin becomes EbGC. Eb-G is a major 3rd interval and G-C is a perfect 4th interval. So you see why an M3+P4 sounds better than an m3+M3.
Method:

We will use minor triads a whole step above our target chord to approach it in descending semitones. So if we are to approach a Gmin chord, we will start from Amin because Amin has its root, A, a whole step above G, the root note of Gmin which is our target chord.
We will then have Amin > Abmin > Gmin.
Amin > Abmin will be our passing chords.
We voice it to have the root note on top because we know [ or at least think] it sounds better like that.
/CEA > /BEbAb > /BbDG would be what our RH will play. on the last chord which is our Gmin chord, we can play the root on the LH or any other combo of notes e.g. GDF or GDA.
This gives LH/RH:
/CEA > /BEbAb > GDF/BbDG [Gmin7] or GDA/BbDG [Gminadd9]
Quick usage:

Say we want to play a 4 chord in key Cmaj e.g. Fmaj6/9 [FACDG], we can approach it from a Gmin chord and approach the Gmin chord with the passing chord we have just learnt.
/CEA > /BEbAb > GDF/BbDG [Gmin7] > FCG/ADG [Fmaj6/9]

We will take this up a bit higher in the next post.

Humblekeyz

Hallelujah chorus complete sheet.

Welcome back

Hallelujah chorus composed by Gorge Frideric Handel (1685 -1759)

Complete sheets.. 12pages.

Click images to zoom...

PASSING/APPROACH CHORDS

Posted in a tutorial forum

Welcome back, 

This lesson is directed to the question folks ask about Passing and/or Approach Chords. It is to my fellow beginners and those at the borderline of beginner and intermediate levels [where I found myself for some time now].

Definitions:

In music, a passing chord is a non-diatonic chord that connects, or passes between, the notes of two diatonic chords. Any chord that moves between one diatonic chord and another one nearby diatonic chord may be loosely termed a passing chord. A diatonic passing chord may be inserted into a pre-existing progression that moves by a major or minor third in order to create more movement. 'In-between chords' that help you get from one chord to another are called passing chords.

A chromatic passing chord is, a chord that is not in the harmonized scale.

In music, an approach chord (also chromatic approach chord and dominant approach chord) is a chord one half-step higher or lower than the target chord. An approach chord may also be the chord immediately preceding the target chord such as the sub-dominant (BbMaj7) preceding the tonic (FMaj7) creating a strong cadence through the contrast of no more than two common tones - BbD(FA) – (FA)CE [common tones in brackets].

Approach chords may thus be a semitone or a fifth or fourth from their target chords.
Having explained all those, let's look at the very last sentence above: Approach chords may thus be a semitone or a fifth or fourth from their target chords. This is where we will build this lesson on.
In the Circle of Dominants [COD], which most know as the circle of 4ths/5ths, one can see that for example, an F has a Bb and C bordering it. C to F is a Perfect 4th interval [P4] and F to C is a Perfect 5th interval [P5]. From F to Bb is a P4 interval and Bb to F is a P5 interval.

A 4th interval above is called a sub-dominant while a 5th above is called a dominant. A P4 inverts to a P5 and vice versa.
Now, because both are dominants, you can move to any from another i.e. from F to C and from C to F i.e. in 4ths or 5ths [depending on which direction you count towards].

This is why you can use an approach/
passing chord that is a 4th interval away in any direction, to get to your target chord. For example, to get to an F chords, we can use a P4 interval above i.e. a Bb chord, or a P4 interval below i.e. a C chord.

So, when you use a chromatic chord to approach a target chord, you are either using the Leading Tone/Note idea or the Tritone substitution idea. Let me show you:

Let our target be an F chord, say Fmaj7 [FACE]. We have established that we can use say C7 or Bb7 to approach it, because Bb is a P4 above and C is a P4 below [or we say Bb is a P4 above and C is a P5 above].

Now, when we use an E chord or a Gb chord to approach the Fma7, we might be employing any of the 2 ideas pointed out above [leading tone or tritone substitution].

The Leading Tone/Note is the diatonic 7th note of the scale and is a min7b5 chords when harmonized with scale notes [only]. It is therefore a semitone below the tonic note.

If F were to be the tonic note, then E is the leading note and therefore, we can use Emin7b5 to approach the Fmaj7 chords:
LH/RH: E/EGBbD > F/FACE

The tritone sub idea is based on the fact that two dominant chords a tritone interval away share the same notes as their shells [3 and b7]. If we are to use an E chord to appraoch the Fmaj chord, we might think of it as the tritone sub of using a Bb chord [because Bb and E are tritone pairs]. So we can use any E dominant chord, altered or not, to approach the Fmaj7 chord. The popular one used is the 7#5#9 chord.

So, we can use the E7#5#9 chord to approach an Fmaj7 chord:
LH/RH: E/G#B#DFx [that's E+G#+B#+D+F double # and enharmonically equivalent to EG#CDG].
You can try E7b5b9 i.e. EG#BbDF or a plain E9 chord i.e. EG#BDF#.

Now, if we are to approach the Fma7 chord from Gb [I said Gb and not F# because Gb tends to an F while F# tends to a G when resolving], then we might be implying the tritone sub of a C7 chord, because C and Gb are tritone pairs. Any Gb dominant chord, altered or not, would work just fine.

Gb7#5#9 would be good to lead to an Fmaj7 chord:
LH/RH: Gb/BbDFbA [enharmonically equivalent to GbBbDEA].

As per voicings, you can try the Diatone Voicing or the Tritone Voicing, both based on quartal harmony.

[LH/RH voicings used below]
E7#5#9 can be voiced as EG#/DGC [Ditone Voicing] and G#D/GCE or DG#/CEG [Tritone Voicings].

Gb7#5#9 can be voiced as GbBb/EAD [Ditone Voicing] and BbE/ADGb or EBb/DGbA [Tritone Voicings].

Okay. That's enough already.

Let me know what you think.

HUMBLEKEYZ

7-3-6-2-5-1-4 In the Key of Ab

Written by Benny keys

7-3-6-2-5-1-4 In the Key of Ab

L.H:   G/D
R.H:  F-A-Bb-d

C chord

L.H:  C/E
R.H:  Bb-Db-Gb (Raise the Gb to G to give it some flava😉)

F minor chord
L.H:  F/C
R.H: Ab-C-Eb-G

Bb Minor chord

L.H:   Bb/F
R.H:   Ab-C-Db-F

Eb chord

L.H:   Eb/B
R.H:  A-C-Db-F

Ab major 

L.H: Ab/Db
R.H:  Ab-Db-Eb-Ab (resolve on moving the Db to C)

Db chord

L.H:   Db/Ab
R.H:  C-Eb-F-Ab

Note: LH means LEFT HAND while RH means RIGHT

HUMBLEKEYZ

Piano tips for Sunday's ministration

Welcome back,


Hello everyone and welcome to our blog. Today i will be showing you PREFERRED CHORDS TIPS  FOR SUNDAY 

WORSHIP MINISTRATION. 
This tips will give you guidelines  to sound professional when ministration. 
Good luck..  

PREFERRED CHORDS TIPS  FOR SUNDAY 

WORSHIP MINISTRATION

        

 Doh chord
Lefth hand.         Right hand

Do - mi - so.             Do - mi - so

❌❌not preferred ❌❌

Left hand.              Right hand

Do - so - do.           Mi - so - ti - mi

    ✅✅preferred ✅✅

Lah chord

Left hand.       Right hand

La - do - mi.          La - do - mi

❌❌not preferred ❌❌

Left hand.              Right hand

La - mi - lah.      Do - mi - so - ti

✅✅preferred ✅✅

Tor chord

Left hand.              Right hand

Tor - re - fa.               So - to - re

❌❌not preferred ❌❌

Left hand.              Right hand
Re - La.             Fa - tor - do - fa
                  *Or*
Tor fa la.               Re fa toh re

✅✅preferred ✅✅

Zih chord

Left hand.             Right hand

Mih - ti - mi         zi - tor - re - soh

✅✅preferred ✅✅

Read also: 5 steps that makes famous as a pianist

Tips two

➤ sometime in a song you can substitute the *doh chord* with the *fah chord* and then replace the *fah chord* with *tor chord*✅✅✅✌😉✌

➤During worship set the voice of the piano as *Grand piano* or *e-piano*  and dual it with *Synth strings* increase the volume of the string to a bit lower or higher from the grand piano. 😉😉✌

➤ During worship avoid running scale much so as to avoid distractions from congregation connecting to their maker. *Arpeggio chords* are preferred✅✅✅✌✌

 ➤ When you notice someone singing off during, don't stop immediately. Just lower the piano and search for the key chromatically. ✅✅✅✅😉😉

➤ Be in church in time and pray before the program.   😉😉✌✌

Have a blessed Sunday

Humblekeyz

Passing chords and note to the 6th chord

Welcome back,


Hello everyone and welcome to our blog. Today i will be showing you passing chord and note to the sixth chord (lah chord)

When playing and moving to the 6th chord which is the lah chord. You can try this movement

Passing chords 1

Left hand note ..... Di reh moi me. (single note)

Right hand chord... Ti reh fih lah (chord)

Left hand. Zi   fah (chord)

Right hand zi ti reh so (chord)

Left hand.. La Mi (chord)

Right hand so ti do mi







Passing chords 2

Left hand note ..... Di reh moi me. (single note)

Right hand chord... Ti reh fih lah (chord)

Left hand. Zi   fah (chord)

Right hand zi ti reh so (chord)

Left hand.. Ti so La  (chord)

Right hand.... Re fih so tih

Watch video below to understand better..

<<<Click here to download video>>>

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Embarrassing moment you should avoid before performances

Welcome back,


Hello everyone and welcome to our blog. Today i will be highlighting you tips that you should know so as to avoid embarrassment while on stage.

I want you to take note all this tip am going to list below are coming out of my experiences.

You have to also know that is not until you know how to play all keys on the piano that makes you a pianist, you should always develop the habit of keeping good stage performances, this makes you  professional too.

Using my self as an example, when i started i could remember that i do a lot rehearsal on stage performances and this has been what is keeping people wanting of me.





Read also: 5 steps that make you famous as a pianist.

Now back to what we are discussing earlier, i will give you tips below that will help manage your stage performances so as to avoid embarrassment while performing on stage.


THINGS YOU MUST DO ON STAGE BEFORE PERFORMANCES 
  
1.  CHECK THE TRANSPOSE BUTTON

Hey am not condemning people who transpose, this is just a simple precaution you should follow because many has fall for this.

 I was invited to a program, a musician was told to handle someone ministration, then he ask he bassist what key he was playing, the bassist told him, i could not imagine if this guy have a good here, you need to see how obvious this was. The issue was just because the other pianist that performed last was on transpose and this guy forgot to check.
So my advice for you first is to switch off the piano so as to reset every functions made on the piano.


2. THE PITCH-BEND

This is similar to the transpose effect. I think this occurs frequently, you  must have this in mind that most pitch bend increases and decreases 3 semitone range Depending on the setting range.






Read also: list of chords and their uses

Now base on what i have experienced so far, if you are playing a faulty pitch bend piano, you need to be careful with your listening because the note pitch might increase anytime and this will cause  a lot distractions, embarrassment etc. So it better you confirm first  about the piano you are to play from the stage musicians.

Read also: how to apply accidental when playing a song

3. Have you ever performed and you notice that after performing there was an off beat playing from the piano you were playing?
This has happened many times and many has fall  victim to this experience.

To be continued..

If you want more of this just place a comment below.

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HOW TO SET YOUR PIANO TO CREATE AN ATMOSPHERE FOR WORSHIP

Welcome to our tutorial blog, today I will be revealing to you secrete that most concert pianist uses that create a powerful atmosphere for worship.

The power behind powerful worship songs, sometimes comes from the instrumentation. I found out that most pianist are very good in scoring songs and very good in improvising but when playing worship song they find it difficult in creating the atmosphere for worship.

Read also: PIANO EXERCISE YOU MUST DO EVERYDAY

You might have been to a concert where an artist is been called up to minister a song, then what you hear next is a background sound that will just want to make you fall flat to worship and pour out your self to God. Yes there is a secrete  to that.

So today I will be showing you secrete that will help you create a worship atmosphere where playing a worship song.

Read also: 5 steps that makes you famous as a pianist 





    If you are playing Yamaha keyboard, this tip will be very easy for you because most Yamaha keyboard have this functions.

Read also: HOW TO APPLY TGE SUS CHORD

Firstly, in the piano there is something called M VOICE D VOICE  and  S VOICE.  If you have not come across such in the piano, go to the function and find it there.

M means  MAIN.  Which is the first layer of the tone.
so you might across such like M VOLUME, M OCTAVE, M RELEASE, M ATTACK, etc.

The M function control and the function of the main tone.




Read also: HOW TO FIND KEY TO A SONG

D  means DUAL,  which is the second layer of the voice. So you might come across D VOIVE D OCTAVE D RELEASE etc.

Now you can choose your M VOICE or MAIN VOICE as Grand piano or E-piano but I would prefer grand piano.  Then locate the function and search for  M VOLUME, increase of reduce the volume to the range from 90 – 115 as your choice.

Read also: HOW TO PLAY ON THE TWELVE KEYS PERFECTLY

Secondly, from the function locate the D voice  and choose STRINGS OR SYTH STRINGS . I would prefer SYTH STRINGS.
Then go to the D VOLUME   and make it the range from 90 – 100 or more  precisely.
NOTE: both the M an the  D volume can be increase or decrease anytime you wish. And please take not of the volume.

Read also: LIST OF CHORDS AND THERE NOTE


Recent keyboard now, might have different functions. You might see  RIGHT 1 RIGHT 2 AND LEFT.
 The RIGHT 1 also means the M VOICE.

The RIGHT  2 also means the D VOICE

So after all the set up, all you need to do is to switch on the dual. The dual button can be seen where all the buttons are located.

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Don't forget to place your questions in the comment box belo

Piano exercise you must do everyday

Welcome to our piano tutorial blog, today we will be showing you secretes that will help you improve your speed and make you fast when moving chromatically on the piano.

Read also: 5 steps that make you famous  as a pianist.

SIMPLE EXERCISES THAT ADD TO YOUR FINGERINGS EVERYDAY.


Like what i do tell my student, piano keys is just like any cell phone button, the more time you spend on the keys the more your fingers become flexible.
For instance, i could remember the first time i started typing with my PC, it took me several hours just to type a note book page. But as time goes on' the more time i spend on my PC, the more i become flexible. Same goes o the piano. Playing the keyboard everyday an mastering your scale also help you improve your speed.  So i will be giving you first exercise to do on the piano every day before playing the any song on the piano. I guarantee you that this will help and change your chord movement. Make   this tips part of you just the way you wake up in the morning and you brush your mouth first before you eat anything. Well i just Hope and Believe you will do so.


Read also: how to find key to a song 

FINGER EXERCISE TO DO EVERY  DAY WITH YOUR PIANO 





This finger exercise should be done with your two hand Both in parallel and contrary movement.

1. DO REH MIH FAH SOH LAH TIH DO

2. REH MIH FAH SOH LAH TIH DOH REH

3. MIH FAH SOH LAH TIH DOH REH MIH

4. FAH SO LAH TIH DOH REH MIH FAH

5. SOH LAH TIH DOH REH MIH FAH SOH

6. LAH TIH DOH REH MIH FAH SOH LAH

7. TIH DOH REH MIH FAH SOH LAH TIH

Read also: chord voicing for "You are wothy to be praise"

This major scale exercise should be done every day. Same also to the minor scale, the same logic should be apply to in both parallel and contrary.

Parallel movement means both finger should move chromatically in the same direction

Contrary movement means hand should move chromatically in different direction.


See you next tutorials
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Don't forget to place your questions in the comment box below..