Andraé Alexander’s
OMG Piano Course
A Piano Course Designed to Help You Free Your Ear and Voice
Editor: Valencya Vinzonte Graphic Design: Ricardo “Jr.” Martinez and Andraé Alexander Creative Advisors: Alisha Jones and Daniel Moore Photography: Khadia Handon and Andraé Alexander Original Artwork/Pseudo Muse: Dewaynia Wilson
I want to publicly thank Mrs. Alicia Graham for financing my life, Mrs. Roma Heart, Dr. Haewon Moon, Mr. Jerry Ascion, and Mr. Vince Evan. As a piano player, I would not be who I am without your instruction. Marcus, my first piano student, thanks for being my guinea pig. I dedicate this book to one of my favorite people to ever live, my Great Grandmother Mrs. Lucy Fleet. I love you always.
TABLE OF CONTENTS Foreword
1
Introduction (Nice to Meet You)
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Level 1 Let’s Get Started (Right This Way)
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How Do I Press the Key Down Correctly?
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How Do I Use the Pedals?
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I’m Nervous and Feel Tensed When I think About Playing the Piano.
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What Are the Notes on the Piano?
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Why Do Some Notes Have 2 Names?
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Chords (Appetizer)
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Your Fingers Have Numbers
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How to Practice
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Chords Organized by Key IN LEVEL 2 Progression 1 in All Keys Progression 2 in All Keys Progression 3 in All Keys Progression 4 in All Keys IN LEVEL 3 Chord Patterns (Main Course) Pattern 1
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Pattern 2 Pattern 3 Pattern 4 Pattern 5 Pattern 6 Pattern 7 Pattern 8 Pattern 9 Reading and Writing Chord Charts (Dessert) Meter Measure Putting Chords on the Chart Chords and Lyrics Repeat Sign Slash for Timing of Chords D.C., D.S., and Coda A Key Basic Music Theory (Eat Your Vegetables) Intervals Scales Chords Key Signatures Reading Notes On a Staff Note Values Clapping Rhythms
Chord Symbols Soloing (Starring You) Vocal Game 1 Vocal Game 2 Vocal Game 3 Vocal Game 4 Vocal Game 5 Piano Game 1 Piano Game 2 Piano Game 3 Piano Game 4 Piano Game 5 Piano Game 6 Piano Game 7 Extras (Leftovers) Slash Playing Well With Others Conclusion (You Don’t Have to Go Home, But You Have to Get Out of Here!
FOREWORD
OMG Piano Course by Andrae! Alexander is the book that many of us who use our vocal chords as our main instrument have needed. It is an equally invaluable tool for musicians and aspiring musicians. I “took the course” as part of editing the book, since I am also a singer. Andrae! has taken what could have been years of piano lessons (intended for the musician who plans to become primarily a pianist or keyboardist), and succinctly provided piano/keyboard and music theory teaching to those who are singers or otherwise need a more reasonable and time efficient way of learning to play the piano. If used properly, the student of OMG Piano Course will be able to be his or her own piano/keyboard accompanist and player in a very short time period during and after completion of the course. My interest in the book came out of frustration of always having to find a keyboardist to accompany me when I sang at churches and other events. I would many times end-up working with a musician whom I had not had time to rehearse, singing with a recorded musical track (CD), or singing a cappella. Although all of these presentations are usually acceptable in most churches, because it is more about praising God with a joyful “noise,” it did not help to establish my reputation as a professional Gospel/inspirational vocalist. My level of piano/musical expertise was not nonexistent upon my invitation to OMG Piano Course, meaning, I already knew how to read music, OMG Piano Course
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punch a few notes on the piano, and knew enough to write my own songs. However, I believe Andrae! ensured that a singer, musician, or aspiring musician who had no knowledge of piano playing or reading music could get through the course, and without great difficulty, with final results equaling whatever the student expected. It does not mean that no work is involved, a lot of practice is needed, but the type of practice introduced will enable students to reach their needed end result in a fraction of the time expected in conventional piano and music theory classes. Therefore, I congratulate Andrae! Alexander on a book well-written, and an innovative piano/keyboard-learning tool in OMG Piano Course. I also congratulate you on making this purchase, because it proves that you take your musical ability seriously, and that you plan to make the most out of what you are able to learn and present musically. Valencya Vinzonte Gospel/Inspirational Singer and Songwriter
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INTRODUCTION (NICE TO MEET YOU) Forgive me if I get straight to the point. I don’t like reading books that have great information hidden behind layers of pages with filler words on them. This book may not be the longest you’ve ever read. However, if you use the information in this book, I know you’ll be thanking me for years to come. I’m starting with chords because most singers or aspiring musicians are not planning on becoming piano virtuosos. Freedom is what they want. Freedom to be able to play chords to the songs they write, play the piano while singing, fire their keyboard player, or tell a band clearly what the correct chords to their song are. In this book there are some fun tools to free your ear. I want to teach you to use your ear in ways that may be different for you, as well as playing chords on the piano. I want you to be able to listen to the radio and say, "Hey, that’s a major 7 chord going to a diminished chord to a…”- maybe…. In a perfect world. In reality, if after reading this book you can sit at a piano and write a song (send me a check !), I have done my job. If after reading this book you can play a CD, sit at a piano and figure the song out for yourself, I have done my job even better. My approach to the piano is probably much different than most. Instead of teaching you songs, I want to teach you how to listen to music and learn the OMG Piano Course
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song yourself. I’m teaching you how to train your ear as well as the basics of reading music. I want you to be able to get what you want and need as soon as possible. Then, you will have the confidence and excitement you need to try something else you didn’t know you could do. Like, writing a chart for the first time or sitting down with a band you’ve never played with and using just your ears to jam with them. Them possibilities are endless. I know a lot of musicians who are great musicians but can’t read music and have no knowledge of music theory. I want to help those musicians become more marketable, knowledgeable, and well rounded as musicians. I believe in presenting the information to you and giving you the option of what you want to learn. I have a section on reading and writing music, if that’s what you need, start there. I have a section on chords and chord patterns, if that’s what you need, start there. You get the point? I want you to go as far as you want to go. Hopefully, I will have given you all the tools you need to start going in the right direction.
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LET’S GET STARTED (RIGHT THIS WAY) “How do I press the keys down correctly?” If you talk to five different pianists, you are probably going to get five different ways to take your hand and hit a key on the piano. I’m going to give you what I like, because it’s my book. J I’ve had the privilege of learning different things from different piano/keyboard players. Simplicity is what they all have in common. None of them had a ruler standing behind me trying to force me to hold my hands in some unnatural carpal tunnel prone position. They all stressed the use of the weight of the body. Have you ever seen a five-year old bang away at a piano loud and proud? They have never been trained. You give them a ten-pound barbell and we now have a problem. What do a ten-pound barbell and a 5 year old have to do with the piano? I have no clue, but it’s funny. If you’re reading this, I assume certain things about you, like the fact that you are a genius for getting this book, and you have great taste. Besides that, I assume you have at least an arm and fingers. To begin, I want you to sit at the piano with your back straight. Hold your arms at about shoulder height. Now without any added pressure, let your arms drop on the keys. Hopefully you didn’t break anything (on the piano or yourself). OMG Piano Course
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You hit the piano without any added thought or tension in your body, and it made a sound. That’s all I want you to focus on for now, playing the piano comfortably without any tension in your body. There are different names for this technique, but in my opinion, it all boils down to doing what you do naturally. “How do I use the pedal?” Well let’s talk about using the sustain pedal on your piano or keyboard. On an acoustic piano, the sustain pedal is the pedal on the right. Use the sustain pedal to sustain notes. I know that was a big shock to some of you !. It’s very easy to use. Press a key, then press the pedal, and release. Notice I said:
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1.
Press the key.
2.
Press the pedal.
3.
Release the key.
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“I’m nervous and feel tensed when I think about playing the piano!” Being nervous before a performance is normal. There are two things you can do to help you get over your nerves. 1.
Think of your favorite performance. Now remember how good it felt and how receptive the people were to your performance. Keep imagining this scene until you put yourself back into that mindset of comfort and confidence. If you’ve never had a great performance, imagine the best performance you attended. Imagine you were on the stage performing. See and hear your perfect flawless performance. Keep imagining until you feel like you have just had the performance of your life.
2.
While you are alone, look in the mirror. Tell yourself you are amazing and you deserve to be on that stage. Remind yourself that being a musician/performer is a gift. Remind yourself to enjoy every second you are performing.
***As disclaimer, I am not a medical physician. These are the techniques that work for me. Before doing any of these massages and/or stretches, you should consult your physician to see if they are right for you.
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To help you relieve some tension, massage your hands: Position the hand that you are massaging palm up toward the sky. Take the hand that you are using to massage, place your four fingers under the hand you are massaging. With the hand that you are using to massage, take your thumb and begin to slide it from the base of your hand to the base of every finger using a good amount of pressure. Switch hands and do it again. Your neck: Place both hands on the back of your head like you are going to do crunches. Slowly begin to pull your head down to your chest. Using your hands, turn you head to the left and hold for 10 seconds. Turn to the right and hold for 10 seconds. Return to your original position. Your back: Take your right hand and massage your left shoulder. Take your left hand and massage you right shoulder. All of these stretches are done seated, as if you are about to play the piano.
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”What are the notes on the piano?” There are only 12 notes on the piano. As you can see they keep repeating themselves.
Just to help you remember where “C” and “F” are, I want you to notice the cluster of 2 black keys. To the left of that cluster is always “C”. To the left of the cluster of 3 black keys is always “F”.
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“Why do some notes have two names?” Depending on if you are playing or singing in a “sharp” or “flat” key you call the note its “sharp” or “flat” name. The symbol for “sharp” is “#”. The symbol for “flat” is “b”. For example, the Bb (B flat) scale has an “Eb” (E flat) in it. If you’re in the key of B you would call that same note a “D#” (D sharp). Page 357 tells you which keys are “sharp” and which keys are “flat”.
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CHORDS (APPETIZER) The chords that follow are the basic form of all the other chords that you’ll learn in my patterns. I want you to start here as a warm up and then move on to the patterns. Some of these chords may sound basic, but are as my friend KenFen says, “money chords!” Money chords are those chords used in most hits on the radio. Don’t underestimate the power of these chords. If you listen to one of my favorite songs on earth, the Beatles’ “Let It Be”, you’ll hear these basic chords being used in all their glory. If you turn to a country or pop station on the radio, you are guaranteed to hear these chords. In a later chapter I’ll teach you the theory for building these chords.
***As you practice, make sure you play every chord with both hands! Let me say it again… PLAY EVERY CHORD WITH BOTH HANDS!!! Sorry for yelling, but some people respond better when you yell…
(Well I thought it was
funny.)
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*** POWER PROVERB*** “He who plays too much goes hungry!” I’ve learned from experience that simple is better most of the time. If the song calls for a C major chord, play just a C major chord! People get fired for not mastering this one concept, I’m glad you won’t be one of them! YOUR FINGERS HAVE NUMBERS On the pages that follow, I’ve placed red arrows with either an “L” or an “R” with the numbers 1 to 5 on the notes of the piano. The red arrows tell you which notes to press. The “L” means use your left hand. The “R” means use your right hand. The number tells you which finger to use.
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How to practice: Pick a key and play every chord in that key. Follow my example on Track 2. Read from top to bottom before moving on to the next page. Repeat as often as you feel necessary. The purpose of practicing this way is to get your fingers used to forming chords. This will also get your ears used to hearing the chords as well. The more you practice, the easier playing and hearing these chords will become. Please practice all of the keys! I recommend you practice at least a key a day. As you get better, this will become really easy. ***Don’t forget to use both hands for this exercise*** OMG Piano Course
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*TRACK 2 Example of how to practice
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