K eyboard eyboard or piano have the same keys so, these lessons are for both instruments. Many websites claim to have courses that you can purchase that will teach you how to "play piano by ear" or "learn the chord method", this book contains the same information as those courses and what's best is explained in a simple manner. Lots of people really would like to play the keyboard or piano, the most popular po pular instrument. They don't know one note from another. They They do know they love music and want to learn how to use chords and scales to play popular tunes of Indo!ak. Many, many music lessons, charts, books, and explanations are available in websites and in bookstores. hich to choose# ith books, you have to stop, turn the pa$e, $o back to another pa$e, and try to keep the pa$es from flippin$ if the book boo k doesn't lie flat or not in spiral bindin$. eb eb sites need scrollin$ or clickin$ the "back" or "forward" buttons. This e.book will provide you practical information about musicplayin$, as well as detailed material on the most most convenient charts and $raphics so you, too, can play your favorites music now. %e happy and don't worry. &ou &ou cannot find all information about ke yboard chords, scales and fin$erin$s in a sin$le boo k. estern e stern music books are bein$ sold in parts. &ou &ou are bound to purchase part two or three. The most important thin$ you can do is to make a commitment to learn the piano p iano or keyboard. This means puttin$ in the effort over the course of several weeks to learn and practice the theory tau$ht on these pa$es. This article was initiated alon$ with a set of articles on estern estern and Indian form of Music. This is an attempt to explain thin$s to a newbie who has ust $ot a keyboard k eyboard and wants to romance with it. In my opinion, both estern and Indian music forms are complex subects and any simplification will indeed be a tou$h task. (rankly, my expertise in both forms is limited and throu$h my constant exposure over ov er the period of years I have learnt few basics of both. It is indeed a $reat pleasure to share the knowled$e that I have ac)uired from different resources and tried to compile this comprehensive book. Listenin$ to music is a pleasure that most $et from birth. This increases to a $reat extent when you understand the basics and appreciate. Music can be defined as a s collection of small pieces of re$ular sound played at predefined time interval. *n in$enious collection of these notes played over a period of time results in a melody. me lody. +ence both western and Indian or for that matter any form of re$ular music has a set of basic notes n otes from which they $row, somethin$ like alphabets. There is a new concept evolvin$ called computer music- where a musician explores beyond the basic notes that are defined in music. In cakewalk and ubase /01 it is possible to explore beyond basics. Let us see more on 2otes 2otes- what are they# 2ote can be technically explained as a sound fre)uency. *ctually the sound that is produced when you press a key on musical keyboard is called as 23T4-. It does not matter if you press the white key or the black key. 4ach key plays a predefined fre)uency. The note $ets its shape by the amount of time you hold down the key ke y and release it. This is called the note len$th or duration. +enc e to make a tune tune- or a melody- or son$- you should play a bunch of these notes at proper duration and len$th. %efore $oin$ more into it, let us explore the keyboard.
/ound aves Musical notes, like all sounds, are made of sound waves. The sound waves that make musical notes are very evenly spaced waves, and the )ualities of these re$ular waves for example how bi$ they are or how far apart they are affects the sound of the note. * note can be hi$h or low, dependin$ on how often 5how fre)uently6 one of its waves arrives at your ear. hen scientists and en$ineers talk about how hi$h or low a sound is, they talk about its fre)uency. (re)uency is the number of cycles per second. The hi$her the fre)uency of a note, the hi$her it sounds. They can measure the fre)uency of notes, and like most measurements, these will be numbers, like "778 vibrations per second." *ll sound waves are travelin$ at about the same speed, which is the speed of sound. /o waves with a shorter wavelen$th arrive at your ear, )uicker than lon$er waves.
Since the sounds are traveling at about the same speed, the one with the shorter wavelength arrives our ear faster because it has a higher frequency, or pitch. In other words, it sounds higher. The The word that musicians use for frequency is pitch. The shorter the wavelength, the higher the frequency and the higher the pitch of the sound. In other words, short waves sound high and long waves sound low.
Sound Pitches The interval between two notes is the distance between the two pitches - in other words, how much higher or lower one note is than the other. This concept is so important that it is almost impossible to talk about scales, chords, without referring to intervals. So if you want to learn western music theory, it would be a good idea to spend some time getting comfortable with the concepts and practicing identifying intervals. Scientists usually describe the distance between two pitches in terms of the difference between their frequencies. usicians find it more useful to talk about interval. Intervals can be described using half steps and whole steps. !or e"ample, e"ample, you can say, # natural is a half step below $ natural, natural, or %& flat is a step and a half above $ natural%. #ut when we talk about larger intervals in the ma'or(minor system, there is a more convenient and descriptive way to name them.
)aming Intervals
The first step in naming the interval is to find the distance between the notes. $ount every space in between the notes. This gives you the number for the intervals. To find find the interval, count spaces between two notes as well as all the spaces in between. The interval between # and * is a third. The interval between + and ! is a si"th. Seconds, thirds, si"ths, and sevenths can be ma'or intervals or minor intervals. The minor interval is always a half step smaller than the ma'or interval. a'or and inor Intervals half-step minor second /m01 0 half-steps ma'or second /01 2 half-steps minor third /m21 3 half-steps ma'or third /21 4 half-steps minor si"th /m51 6 half-steps ma'or si"th /51 7 half-steps minor seventh /m81 half-steps ma'or seventh /81
Tonal To nal $enter + scale starts with with the note that names the key. key. This This note is the tonal center of that that key, the note where music in that key feels %at rest%. It is also called the tonic, and it9s the %do-re-mi%. !or e"ample, music in the key of + ma'or almost always ends on an + ma'or chord, the chord built on the note +. It often also begins on that chord, returns to that chord often, and features a melody and a bass line that also return to the note + often enough that listeners will know where the tonal center of the music is, even if they don9t reali:e that they know it.
;earning the notes of the
+ standard semi professional professional music keyboard has has 34 keys. >ou >ou will will see 3 sets of 0 keys and total 34 keys. ?ne of these 0 set of notes is technically called an octave. @estern @estern music is based on logarithmic division. +n +n octave is divided into 0 equal intervals such that the logarithm of the frequency ratio of two neighboring intervals is the same. This interval is called a semi tone. There are 0 mutually e"clusive half notes in the system. In Indian music ASaB note is based on your reference note or the key you selected as starting point. +fter +fter Sa the first note will be CDeE komal and then CDeE tiver and so on. >ou >ou can start playing Indian or Pakistani song from any key and the first note will become CSaE elsewhere. The The traditional Indian music is based on a 00 keys per octave. In @estern music iddle $ octave that is also called the iddle $ scale etc starts from the first white key set to 037 F:. ?n your keyboard, middle $ octave is located somewhere near the middle. ?nce you figured out where this octave is, you can quickly identify the first key of this octave /set to 037 F:1. +nd because we know the ratio of the key frequencies now we can pretty much compute the frequency generated by any key. >ou >ou will also notice that the keyboard has about three to four octaves /between 25 to 34 keys. The upper octave, starting from 347 F: is the Gpper $ octave and the lower octave starting at 07 F: is the ;ower $ octave etc. )oteH CSaE does not AmapB always onto C$E or C$E. It could start at ! and still form a S D = P* ) sargam. In the western music system the C$E noteB itself does not change and scales denote the pitch changes. Thus @estern music system has an AabsoluteB /fi"ed1 naming naming for the keys whereas in Indian the notation is Arelative. @hereas in desi style lessons we have assumed Sa of Indian to $ of western, the first black key. + Scale is a set of 8 notes in a proper order and intervals or a scale is set of 8 notes with predefined intervals. The distance between each note is called as interval. It is to b e noted that scales and ragas are not same. +part from having seven different notes in both western and Indian music, there are not many similarities. There is a difference between an Indian scale and western scale. Indian scale is called a thaat. Just going across A$B to A$B in a @estern scale can be called as a ma'or scale. ?nly few Indian scales are similar to western scales. Dagas have many dimensions to it. !irst, it has an emotional overtone. + raga can have K or more notes with intervals. This kind of reduction of notes in a scale is called as modes in @estern classical music. &"perts believe proper training is required to play Dagas fluently. fluently. This comes by good practice and understanding of notes usage. + western western trained top-notch musician will be able to play a phrase of (53 note at a good speed but will find it difficult to play raga without proper training.
!inger )umbers The left and right hand fingers are numbered as shown in the above diagram. The thumb of each hand is counted as the first finger and has the number one. @ hen a flat sign is placed after a note like #b /# !lat1 it means that you play the key immediately to the left side of note #. This note #b will be black key 'ust to left side and above the note #. So, any black key always have sharp and flat notes. @hen a sharp sign is placed after any note like $ it means that you play the key immediately 'ust to its right. )ote that $ is always a black key 'ust after the white key A$B and # !lat key is black key 'ust before white key A#B. !rom right hand in middle octave and from note of middle C$B we play melody with our right hand and from left of iddle C$E and in left octave of keyboard we play chords with our left hand.
Fow to find iddle $ The first note you learn to play is iddle C$E. iddle C$E is the note closest to the middle of your keyboard. Place a C$E sticker on the iddle $ note. Play middle $ with your right hand thumb. In the above picture of
Sharp )otesH
$ /$ Sharp1 means the note 'ust after A$B note. * is the note 'ust after * and & is the note 'ust after A&B note and so on. Fere $, *, L & notes are white keys. See diagram 2 shown above for sharp notes only and diagram 3 shown below for flat notes only.
!lat )otesH
*b /* flat1 means the note 'ust before note * that is here a black note. &b /& flat1 is the note 'ust before note & and so one. See *iagram 3 above. There are also two notes $b /$ flat1 and !b /flat1, which are notes 'ust before $ and !, which are white keys only. )ote $b is 'ust attached to the left side of note $ and )ote !b is 'ust attached to the left side of note !.
Sharp L !lat )otes Showing Together
;eft ?ctave
iddle ?ctave
Dight ?ctave
)otes of $ and *b are on the same key or we can say one note at the same time can be sharp or flat. If we want to locate $ note then it is the note 'ust after note C$E and when we want to locate *b /* flat1 then it is the note 'ust before note C*E. In other words we can name flat or sharp note at the same time to a single note. In the above given diagram 3 we have shown both sharp and flat keys together. +ny +ny black key may be sharp or flat.
The best way to describe the notes on the keyboard is by comparing them to the notes of the alphabets. The first seven notes of the keyboard are / + - # - $ - * -& - ! - = 1. &ach note differs with each other in sound. @e start from the note A$B as $, *, &, !, =, +, #, for playing keyboards in western style.
!or centuries, most @estern music has been based on ma'or and minor scales. That is one of the things that make it instantly recogni:able as @estern music. ost of the music of &astern +sia is based upon thaat and ragas. + scale is a list of all the notes that begins with a specific key. a'or scales all follow the same interval pattern. The simple, sing-along, nursery rhymes and folk songs we learn as children, the cheerful, toe-tapping pop and rock we dance to or Momi Tarana, Pak Ser NameenH ost music in a ma'or key has a bright sound that people often describe as cheerful, inspiring, e"citing, or 'ust plain fun. In $ a'or Scale you may play the song %ik pyar kaa nagma hai%. It consists all the white keys from any starting $ to the ne"t. $. usic in a particular key tends to use only some of the many possible notes availableO these notes are listed in the scale associated with that key. The notes that a ma'or key uses tend to build %bright%-sounding ma'or chords. They also give a strong feeling of having a tonal center, a note or chord that feels like %home% in that key. The %bright%-sounding ma'or chords and the strong feeling of tonality are what give ma'or keys their pleasant moods. In this lesson we will learn all about the ma'or scale. +lthough we will use a keyboard, the lesson should be of use to anyone who wants to learn about one of the most important and useful scales in music. In a keyboard you will see the familiar repeating pattern of notes. Starting from one $ and moving upwards to the ne"t produces the notesH $ * & ! = + # $ ;earn all the note names on a keyboard. The white key to the left of two black keys is always a $, now moving to the ne"t white keys on the right we have * - & - ! - = - + - # then back to $ again. These note names 'ust keep repeating. The name of the black keys /and some white keys as well1 varies depending on whether it9s a sharp or a flat. !or e"ample, the black key ne"t to $ may either be a $ or a *b. If you9ve played these $ * & ! = + # $ notes on your keyboard - you9ve 'ust played a a'or Scale. This is the scale known as $ a'or. $ a'or is the most common scale in all @estern music and there are eight notes in $ a'or scale. To simplify, you can memori:e this formula to form a ma'or scaleH a'or Scale whole step - whole step - half step - whole step - whole step - whole step - half step or w - h - w - w - w – h ?r we can write
w-
whole whole half whole whole whole half step step step step step step step to 0 to 2 to 3 to K to 5 to 8 to 4 )ow, assign numbers to each note of a ma'or scale, always assign number one to the root note. !or e"ample, in the $ ma'or scale the root note is $ with number and other numbers will be assigned as followsH $ *0 &2 !3 =K + 5 #8 $4 So, based upon this sequence a $ ma'or scale would be comprised of the following tonesH $, *, &, !, =, +, #, $ /in a single octave1.
Gnderstanding Tones and Semitones To understand how to find other ma'or scales we need to look more closely at the construction of our $ a'or Scale. Fave a look at the keyboard again. #y adding in the black notes, we can see that there are actually 0 notes between one $ and the ne"t. The distance from one of these 0 to its neighbor is known as a semitone. If you have a keyboard, try playing up the ke yboard from one $ to the ne"t, playing all 0 notes. )otice how some notes of the $ ma'or scale have another note in between them /eg. from $ to * there is a black note in between1, whereas some don9t /e.g. from & to !1. The gap from $ to * consists of two semitones, and is known as a tone. This pattern of tones and semitones is how the scale gets its particular colour. The ma'or scale is formed out of the following mi"ture of tones and semitones or we can say a ma'or scale consists of 8 different notes. The intervals from note to note of the ma'or scale in any key areH tone - tone - semitone - tone - tone - tone - semitone
!inding other ma'or scales in desi style. To find any other ma'or scale, you simply repeat the pattern of tones and semitones, starting from the note in question. !or e"ample, let9s try * ma'or Scale which isH * & ! + # $ !irst note
*
0 Tone higherH
&
2 Tone higherH
!
3 Semitone higherH
=
K Tone higherH
+
5 Tone higherH
#
8 Tone higherH
$
4 Semitone higherH
*
/Just in case you9re not clear, ! indicates the black note i mmediately above the !1
any students of keyboards dread scales. #ut without the knowledge of scales, you will never be able to create your original melodies. Scales teach you correct f ingering patterns. Practice each hand separately, before attempting to play both hands The fingering for the DF isH ascending 0 2 0 2 3 K and descending K 3 2 0 2 0 . +s you ascend, tuck your thumb under your third finger and complete the scale using finger numbers 0 2 3 K. @hen you descend, cross your third finger over your thumb and complete the scale using finger numbers 2 0 . ;F fingeringH ascending K 3 2 0 2 0 and descending 0 2 0 2 3 K. The same instructions apply regarding tucking the thumb under the second finger when descending and crossing the third finger over the thumb when ascending. Throughout your study of the keyboard, especially when you are learning new music, or an e"ercise, it is important that you practice each hand separately at first. ?nce your finger muscles have memori:ed the movement /s1 you may then practice with both hands. #ut remember to practice slowly at first. Fow can you run, if you canEt walkQ
=etting Gse to
Depeat this at least ten times. Daise your fingers very high. )ow practice starting with your Kth finger and proceed with fingers 3-. /i.e. K-3-2-0-, K-3-2-0- etc.1 Fave you noticed that when youEre tapping fingers -K, you are moving upO and on the other hand when you are tapping fingers K-, you are moving down. These K-finger movements are needed to play the keyboard well. )ow hereEs where the fun begins Depeat the instructions above using your left hand. ThatEs right. If you are Aright-handedB, your left hand is naturally weaker than your right. So, remember, a keyboardist is only as good as his weaker hand. Therefore, you must spend more practice-time using the weaker hand(fingers
a'or scales in all 0 keys with flats and sharps
Fow inor Scales +re !ormed The sound of the minor scale generally makes people think of %Indian music% - although in truth, the scale
isn9t used much in that genre. + natural minor scale consists of 8 different notes. These intervals from note to note areH
tone - semitone - tone - tone - semitone - tone R tone 0 2 3 K 5 8
If we learn the formula of building all ma'or and minor scales then we can make chords ourselves. ;earn scales that are fundamentals of music and play songs with them. + natural minor piano scale is also known as a relative or related minor scale. To find the relative minor scale of any ma'or scale, locate the 5th tone /note1 in a ma'or scale and you will have found it9s related minor. !or e"ample, $ ma'or scale is composed of $, *, &, !, =, +, #, $ /octave1. The 5th note of the $ ma'or scale is +. Therefore + minor is the relative or related minor of a $ ma'or scale. This means that both + minor and $ ma'or are comprised of the same tones or notes. If you start at + on any on the keyboard and play all the white notes to ne"t octave +, then you can count the series of whole and half steps which make up a natural minor scale. The sequence is whole step, half step, whole step, whole step, half step, whole step, and whole step. To simplify, you can memori:e this formula to form a minor scale whole step - half step - whole step whole step - half step - whole step - whole step or w - h - w - w - h - w - w. Practice these keyboard scales with both hands until you can move smoothly or not necessarily quickly from beginning to end and back again in all 0 keys. @hen you practice your scales, you should use the fingering technique outlined in these lessons. This technique works with ma'or and minor keyboard scales and will help with your finger movements and control. So get to it and practice these natural and minor scales. @hile the a'or scale is considered the foundation of western music theory, the ne"t most important is probably the inor scale, also known as the Pure inor or )atural inor scale. The terms %ma'or% and %minor% are essential concepts in music, and as with chords, they arise from the third degree of the scale. +ll ma'or scales and chords include a ma'or third degree /four semitones1, giving them a strong, assertive feel. +ll minor scales and chords include a minor third degree /three semitones1 instead, giving them a gentle, melancholy or sad feel. @hen the a'or scale was introduced earlier, you may have wondered why the key of $ has the special privilege, compared to the other keys, of containing only natural notes. @hy not for e"ample, the key of +, which is o ur first alphabetical letterQ +lso, why do single semitone intervals occur only between #($ and &(!, while there are two semitones between all the other natural notesQ It seems that centuries ago, when letters were first given to notes, the )atural inor scale was considered the most important. )ote letters were therefore allocated to suit the intervals of the )atural inor scale. +s you can see above, this means that the + )atural inor scale contains all natural notes, the same as the $ a'or scale. The )atural inor scales with other root notes all have at least one sharp or flat note. This makes a lot more sense. It also offers insight why it has the name of %)atural% minor, compared to the other minor scales, which have different names, and different patterns of intervals
inor scales in all 0 keys with flats and sharps
usical &motions The psychological effects of the ma'or and minor scales, and their respective tonalities, can be understood as the emotional corollaries of these underlying ideas. The ma'or scales revolve around the ideas and the concomitant emotions of order, purity, devotion, submission and worship. The minor scales revolve around the ideas and the related emotions of sacrifice, humanity, comple"ity and partnership. inor scale songs show sorrow, grief and sadness
List of 700 Indian Songs Scale, Styles & Tempo Information In Excel !ote- +lmost all famous Indian film songs can be played with these 37 styles. ;ist of 877
Indian songs with information of their western scales, psr style to select, tempo to fi" and mfd will be provided for free with 37 styles package if payment is made through western union. It is a great research work of Salesh Pu'ara who was once accordion player of
If you know the scale of song then you can play that song yourself:
(in$erin$ /cales
I.
II.
General Fingering Rules
1.
The ngering always alternates 123 1234 (or 321 4321) so that the same ngering pattern repeats every octave.
2.
The thumb always stays on the white eys an! never on blac eys.
3.
The fourth nger always plays a blac ey (when there is a blac ey to be playe! in the scale).
4.
The fth nger is only use! in practice of scales in all 3 octaves together.
9.
hen workin$ out scale passa$es in the literature, consider alternatives that put the fin$erin$ patterns in ali$nment between the hands 5thumbs happenin$ to$ether somewhere in the scale6.
Fingerings Scales
:.
These are ust the fin$erin$ patterns; (eel free to use fin$er 9 when appropriate 5first note, last note, turnin$ around6.
2.
"eel free to revert to tra!itional ngerings# especially when performing the melo!ic minor scale ascen!ing an! !escen!ing.
1
In western scale $%& ma'or contain white eys only# so we also use fth nger in practice of scales.
Major & Minor Desi Scale Fingering Chart
III
I< Major Scales Key
Fingering
Key
12312341 % ma'or
+
Natural Minor Scales Fingering
12312341 * minor
14321321
14321321
12312341 , ma'or
34123123 - minor
+
32132143
14321321
12312341
34123123
ma'or
/ minor
+
21432132
13214321
12312341
34123123
* ma'or
"0 minor
+
21321432
43213214
12312341
34123123
- ma'or
%0 minor
+
14321321
32143213
12312341
34123123
/%b ma'or
,0*b minor
+
13214321
32132143
23412312
31234123
"0,b ma'or
0-b minor
+
43213214
21432132
23123412
41231234
%0b ma'or
*0/b minor
+
32143213
21321432
34123123
12341231
*b ma'or
" minor
+
32143213
21321432
31234123
12312341
-b ma'or
% minor
+
32143213
21321432 (14321321)
41231234
23412312 (12312341)
/b ma'or
, minor
+
32143213
21321432 (14321321)
12341231
23123412 (12312341)
" ma'or +
minor 32143213
21321432 (14321321)
$hords
$hords are used to play along with the melody of a song. There are many different types of chordsO the most common are ma'or and minor chords. ?r a chord is a group of notes, which are played together. ?n electronic keyboards, it is possible to play a chord using only one finger in the e"treme left octave. !ind the auto bass chord section /eg. >amaha ou know the notes that comprise all 0 ma'or scales and you can play these scales smoothly and not quickly. #egin combining the scale notes to form chords. @e will begin our study with the simplest and most common type of piano chords, the triad.In @estern music, most harmony is based on chords. In other words chords are groups of notes built on ma'or or minor triads /2 notes1. In traditional triadic chords, there are always at least three notes in a chord. The notes of the chord may be played at the same time, or may overlap, or may be played separately but in a quick enough succession that they will be %heard% as a chord.
a'or inor %hor! "ingering
Shown above is the left and right hand with each finger numbered. Demember the finger numbers, as I will be using them in this section.
Left "and The simplest fingering for a three-note chord such as $ ma'or chord with the left hand is K-2-, that is, pinky, middle finger and thumb. The pinky would go on the $, the middle finger on the & and the thumb on the =. This fingering can be used for all ma'or and minor chords on the keyboard regardless of whether they have black keys or not. The same fingering can be used for playing all ma'or and minor chords.
#ight "and
The same fingering reversed can be used for playing $ ma'or chord with the right hand, -2-K. So in this case the thumb goes on $, the middle finger on & and pinky on =. The same reversed fingering can be used for playing all ma'or and minor chords.
&"ercises Try working out and playing these chords and playing with either hand to test out this fingering. >ou can play each hand separately or play both hands togetherH
$ %aor E %aor - )otice that the fingering still works even though = is a black key. ' %inor - # flat is a black key in this chord. ( flat %inor - This is a tricky one, its notes are + flat, # and & flat.
$hord Progression
+ series of chords played one after another is a chord progression. usicians may describe a specific chord progression e.g. %two measures of = ma'or, then a half measure of + minor and a half measure of * seventh%, or we simply say %=, + minor, * seventh% in short.
a'or $hords
+s the name implies a triad is composed of 2 notes from the ma'or scale. @e shall begin with the ma'or triad. + ma'or triad consists of the st, 2rd, and Kth notes or tone of a ma'or scale. >ou will also see this referred to as the root /st1, ma'or third /2rd1, and perfect fifth /Kth1. So, based upon this $ ma'or chord would consist of the notes $, &, and = of the $ ma'or scale. The symbols for a ma'or triad are a'or, , or a'. @henever you see these names or symbols following a keyboard note /$, *, &b, !, etc.1 you know it is referring to ma'or triad chords. ?r if you are 'ust given the note /$, *, etc.1 it is inferred to be a ma'or triad. )ow, when you practice ma'or chords, it is recommend that you form them using the st, 2rd, and Kth fingers of your right hand. Thumb /st1, middle finger /2rd1, and pinky /Kth1. >our left hand will form these chords using the st, 2rd, and Kth fingers also, but the numbering is pinky /st1 middle finger /2rd1 and thumb /Kth1.
$ )
* 0
E *
! 3
' +
+ 5
# 8
>our !irst $hord
)ow that you9ve got the melody down you want to make it sound a bit more like a keyboard piece by adding something with your left hand to it. That something is going to be chords. The reason for choosing Silent )ight as your first piece is because it only contains three chords, and they are all of the same type like a'or. Demember, a chord is a 'ust two or more note played at the same time, for the purposes of this song we are going to be using three note chords also known as triads . So what are the chords you need to knowQ $ a'or, ! a'or and = a'or, I will now show you how to play each of these chords on the keyboard. To play the chord simply press the keys marked for the chord. So to play $ a'or I would press $, & and = at the same time.
$ a'or
%aor
' %aor
The ne"t thing you need is a %chord with%, this is a way of telling you where the chords come with respect to the melody and lyrics. So to start you off, you would play the first note of the song /=1 with your right hand while at the same time playing the $ chord as given above with your left hand. )ow simply keep holding the $ chord while you play the first line of the song. @hen the melody gets up to the section where the = chord is simply play a = chord in your left hand and continue with the melody in the right. $ontinue this all the way through until you can play the whole song with chords in your left and melody in your right hand at the same time. Playing a'or $hord any where in the
= ma'or chord
)e"t count up 3 half tones from = to get you to #, this is the second note of your chord. )ow count up 2 half tones from # to get you to *. This is your = ma'or chord =-#-*. So the a'or chord consists of the root note, a note 3 half tones above the root note, a note 2 half tones above the middle note. ThatEs it +s soon as you read that you 'ust learnt all the ma'or chords on the keyboard. The a'or chord consists of the interval of 3 half tones followed by an interval of 2 half tones.;ets try another one, work out the + a'or chord.
ind the root note, in this case ( $o.nt .p / half tones from ( to get $ $o.nt .p * half tones from $ to get E (nd we ha1e the ( maor chord, ( - $
Fow to find $hords in different desi keyboards rhythm section.
>amaha and Technics
To play =8 $hord on this type of keyboards, press lowest = key with the fourth finger of your left hand, together with the white key immediately to its left, using your fifth finger.
$asio
To play a =8 chord on this type of keyboard, press the lowest = key with the fourth finger of your left hand, together with the two white keys to its right, using your third and second fingers.
To play =8 chord on this type of keyboard, press the
lowest = key with the fourth finger of your left hand, together with the second key to its left, using your fifth finger.
@hen you add chords to a song, the keyboard also allows you to have a bass and drum accompaniment at the same time. $hords are indicated by chord symbols, which are written above notations of songs.
$hords in auto accompaniment sectionH Setup the one finger chord function on your keyboard.
. Select a disco, or tabla style beat from the rhythm section.
0. !ind the switch called synchro(start /e.gH >amaha keyboards1. 2. Press the $ chord key and release it immediately. >our keyboard will begin playing a $ chord with bass and drum accompaniment, and continue playing until you press another key, or the stop button. ;ook in your owners manual if you need more help to use this
USING !" #!$!M S"CI%N %F "$'%(#D
= *uto >hythm =
Melody /ection
=
hen you add chords to a son$, the keyboard also allows you to have a bass and drum accompaniment at the same time. hords are indicated by chord symbols, which are written above notations of a son$ in next pa$es of lesson. :. /et up the onefin$er chord function on your keyboard. ?. /elect a rock, disco, or march beat from the rhythm section. (ind the switch called synchro@start 5e.$ &amaha keyboards6, or synchro 5e.$ asio, Technics, >oland and Aawai6 and press it.
7. !ress the chord key and release it immediately. &our keyboard will be$in playin$ a chord with bass and drum accompaniment, and continue playin$ until you press another key, or the stop button. Look in your owners manual if you need more help to use this feature. !ress the key once for playin$ chord continuously. &ou can also play maor chord by pressin$ to$ether the three keys , 4, B by left hand with fin$er number 9,1,:. 3r play maor chord with ri$ht hand fin$ers :,1,9. In sin$le fin$er mode you can play any maor chord by ust pressin$ the key in the chord area with the same name. *ddin$ a black key on the left of this key will make it a minor chord and an extra white key on the left will make it a Cth chord. If you ust be$an learnin$ to play keyboard I would stron$ly advise a$ainst choosin$ this mode. It mi$ht seem the easiest way, but if you learn to play the basic maor and minor chords with three fin$ers then you will also be able to play your music on keyboards without auto accompaniment 5like a piano6.
(ull keyboard mode is mainly intended for MIDI players but you can also use this to play keyboard. There is no distinction between chord area and melody area. *ny note that is played will be re$arded as both a chord and a melody note. In this mode only basic maor and minor chords are reco$niEed. %ecause all notes are re$arded as chord and melody notes, you can't use notes to switch variations. Fse either the ! keyboard for that or use pedals that produce controller or patch5 voice6 messa$es. If you use this mode with a keyboard then you should make some adustments to your playin$ style to prevent that melody notes lead to unintended chords. If you press a chord that is reco$niEed then 5while you keep it pressed6 it will not chan$e when extra notes are pressed 5for the melody6. If you release the chord keys to make rhythmic moves, then try to avoid pressin$ more then two ke ys at a time until the chord keys are pressed a$ain.
/32B/ IT+ +3>D/
%efore playin$ son$s with chords, practice each part separately. (irst practice the melody of the son$ by itself 5ri$ht hand part6, then practice the chords by themselves 5left hand part6. 3nce you have learnt both parts, play them to$ether. %efore you play, adust the tempo to a comfortable speed. To do this, press the start button, and the drums will play by themselves. If the drums are too fast, slow the speed down by adustin$ the tempo control. &ou can increase the speed as you become more confident playin$ the son$. If you are playin$ alon$ with the recordin$, play only the ri$ht hand part. (or playin$ sin$le key function for a chord use autoaccompaniment section of keyboard.
42DI2B
Most electronic keyboards have a control which can automatically add and endin$ to a son$ you are playin$. !ress the endin$ button when you have finished playin$ a son$. &ou can, however, use any voice or rhythm that you think suits the son$.
4xercises for fin$erin$ practice; In these exercises your fin$ers will be able to play smoothly and you will be able to learn my notation techni)ue. ith this techni)ue you will learn where to $ive silence or rest while playin$. &ou will use proper fin$er numbers for specific keys.
L3 /3F2D/
+IB+ /3F2D/ 3n the keyboard, D32 is to the L4(T, and F! is to the
>IB+T.
*s you move L4(T, the tones sound L34>. *s you move >IB+T, the tones sound +IB+4>. 3n the keyboard, D32 is to the L4(T, and F! is to the >IB+T. *s you move L4(T, the tones sound L34>. *s you move >IB+T, the tones sound +IB+4>.
2ame That Aey; !iano keys are named for first seven letters of the alphabet, be$innin$ with *.
*
%
D
4
(
B
*
%
Aeyboard keys are named for seven letters of the alphabet, be$innin$ with .
D
4
(
B
*
%
D
4ach white key is reco$niEed by its position in or next to a blackkey $roupG (or example; *'s are found between the T3! T3 A4&/ of each 1%L*AA4& B>3F!. !lay the followin$. Fse L+ 1 for ke ys below the middle of the keyboard. Fse >+ 1 for keys above the middle of the keyboard. /ay the name of each key aloud as you play
&ou can now name every white key on your piano. The key names are D 4 ( B * % and , used over and over a$ain. The keys of !iano start from * note. %ut it make no difference. Play and name every white key beginning with bottom +. Gse ;F2 for keys below middle $, and DF 2 for keys above middle $.
Low /ounds 3n the keyboard, D32 is to the L4(T, and F! is to the >i$ht. *s you move L4(T, the tones sound L34>. *s you move >IB+T, the tones sound +IB+4>.
>i$ht +and !osition !lace the >+ on the keyboard so that the :st (I2B4> falls on MIDDL4 . Let the remainin$ 7 fin$ers fall naturally on the next 7 white keys. Aeep the fin$ers curved and relaxed. The names of K keys are +;PF+#&TI$+; ?D*&DH $ * & ! =
>i$ht +and armFp !lay the followin$ *>MF!. /ay the name of each note aloud as you play. >epeat until you can play smoothly and evenly. *s the notes $o hi$her on the keyboard they are written hi$her in the notation below. +i$her means play from left to ri$ht side.
2ote; >i$ht hand >+ fin$erin$ or fin$er numbers is shown above the notations. armin$ up fin$erin$ practice is very important for playin$ smoothly and fast.. !ractice for :9 minutes for some days the below $iven lesson.
Left +and armFp !lace the L+ on the keyboard so that the 9th (I2B4> falls on the %4L3 5to the left of6 MIDDL4 . Let the remainin$ fin$ers fall naturally on the next 7 white keys. Aeep the fin$ers curved and relaxed.
!lay the followin$ *>MF!. /ay the name of each note aloud as you play. >epeat until you can play smoothly and evenly. H(in$er numbers are shown below the notations.
Middle !osition The MIDDL4 !3/ITI32 used notes you already knowG >+ is in !3/ITI32. %oth thumbs are now on Middle .
The (our (our Time /i$nature (our four time si$nature tells that there are four beats in one measure. !lay slowly and evenly, countin$ a, ?, 1, 7 as you play. 4ach count is e)ual to one second and one measure is e)ual to four seconds. !lay and say the notes names. Do this several timesG (irst play left hand ascendin$ and descendin$ then play >+ ascendin$ descendin$. This practice exercise is very important. Note for )layer; lick play button and let the music to fully download. *fter fully download you can listen complete music smoothly. To listen a$ain press play button a$ain.
4xercise : Middle 2ote 5/u$$ested voice; !I*236
!lay ei$ht Middle notes. ount aloud as you play. Fse the thumb of your ri$ht hand. 3n the recordin$ there are four drumbeats to introduce this exercise. Music is divided into bars 5or measures6 by bar lines. In this exercise there are two bars of music. here measure : is bar one and measure ? is bar ?.
4xercise ? 5/u$$ested voice; !I*236
+ere are four bars of Middle in 7@7 time. !lay slowly and evenly, countin$ as you play. 3n the recordin$ there are four drumbeats to introduce exercises and son$s in 7@7 time.
:2 Two dots in the end are called a repeat si$n. They mean that you play the exercise a$ain from the start.
The D note 4xercise 1
/Suggested voice $larinet1
!lay the D note with second fin$er of your ri$ht hand.
4xercise 7 5/u$$ested voice; %>*// 42/4M%L46
The +alf 2ote This is a half note. It lasts for two beats. There are only two half notes in one bar 3> measure of 7@7 time si$nature.
4xercise 9
5/u$$ested
This exercise contains four bars of half notes usin$ and D. The bi$ number : and 1 indicate that you play the note. The small number ? and 7 tell you to hold until the next note. +old also means no sound of keys. This exercise contains four measures of half notes usin$ and D. There are only two half notes in one measure of 7@7 time.
4xercise J 5/u$$ested
4xercises J and C use a mixture of half and )uarter notes. %ecause of the 7@7 time si$nature, there must be a total of four beats in each measure.
&"ercise 8
5/u$$ested
Note: !lease repeat above seven exercises several times.
The Note E Play the & note with the third finger of your right hand.
Exercise 3
The Whole Note $ountH 0 2 3 while playing whole note. @hole note lasts for four beats. There is only one whole note in one measure or bar of 3(3 time.
hole 5ote6 7
C
7
In these e"ercises your fingers will be able to play smoothly and you will be able to learn desi notation technique. @ith this technique you will learn where to give silence or rest while playing. >ou will use proper finger numbers for specific keys.
Exercise 4
Exercise )0
Fow to find $hords in different desi keyboards rhythm section.
>amaha and Technics
$asio
lowest = key with the fourth finger of your left hand, together with the second key to its left, using your fifth finger. @hen you add chords to a song, the keyboard also allows you to have a bass and drum accompaniment at the same time. $hords are indicated by chord symbols, which are written above notations of songs.
$hords in auto accompaniment sectionH . Setup the one finger chord function on your keyboard.
0. Select a disco, or tabla style beat from the rhythm section. 2. !ind the switch called synchro(start /e.gH >amaha keyboards1. 3. Press the $ chord key and release it immediately. >our keyboard will begin playing a $ chord with bass and drum accompaniment, and continue playing until you press another key, or the stop button. ;ook in your owners manual if you need more help to use this feature.
Introducing B for Left Hand in Desi Style Keyboards Lessons
TO FIND B:
!lace the L+ in C )%SII%N. >each fin$er 9 one white key to the left to %. &ou will use fin$er 9 for both % and here. !lay slowly and say the names of the notes as you play.
Maor and BCth hords exercise
The C Major Chord
* chord is three or more notes played to$ether. T+4 C M(*%# C!%#D is made of three notes; C " G. %e sure to play all three chord notes exactly to$ether, with fin$ers nicely curved.
C MAJOR CHORDS for LH
!lay and count :,?,1 on each chord.
C MAJOR CHORDS for RH
!lay and count :,?,1 on each chord.
C MAJOR CHORDS for BOTH HANDS
!lay with both hands upper 4B and Lower 4B to$ether and for bold chords play lon$er.
)lay +onger
)lay +onger
Two Important Chor!
Two fre)uently used chords are M*3> K BC.
C Major Chor, +eft !an,
G-th Chor, +eft !an,
hords symbols are always used in !opular music to identify chords names.
!ractice chan$in$ from chord to the BC chord and back a$ain; :. The :st fin$er plays B in both chords. ?. The ?nd fin$er plays ( in the BC chord. 1. 3nly the 9th fin$er moves out of !3/ITI32 5down to %6 for BC.
./0
.10
Introducing B for Right Hand
TO FIND B:
!lace the >+ in !3/ITI32 >each fin$er : one white key to the left to % &ou will use fin$er : for both keys K % here. !lay slowly. /ay the note name as you play.
C & ! Chords for Right Hand
It is very important to be able to play all chords with the >IB+T hand as well as the L4(T. hords are used in either or both hands in popular Indian music.
!ractice chan$in$ from chord to BC chord and back a$ain;
:. The 9th fin$er plays B in both chords. ?. The 7th fin$er plays ( in the BC chord. 1. 3nly the :st fin$er moves out of !3/ITI32 5down to %6 for BC.
Introducing " for Left Hand in Desi Style Keyboard Lessons
TO FIND A: Place the ;F in $ P?SITI?). Deach finger or thumb one white key to the right. !inger will be used for both = L + here. Play slowly. Say the notes names as you play.
Introducing the # Major Chord The $ +J?D chord is frequently followed by the ! +J?D chord, and vice-versa. @hen you play $ a'or with ! ma'or the fingering will be given as under in the keys.
C Ma"or Chor Left Han
F Ma"or Chor left Han *on9t be confused, $!+ which is ! ma'or chord is actually !+$. @e are actually limited to play chord in the keys $ * & ! = + as mentioned in Pic.a Same sound will be heard whether we play !+$ or $!+.
Practice changing from the $ chord to the ! chord and back againH . The Kth finger plays $ in both chords. 0. The 0nd finger plays ! in the ! chord. 2. ?nly the st finger moves out of $ P?SITI?) /GP T? a1 for the ! chord.
$ar% 's using C( ! & # Chords Practice S;?@;> at first, then gradually increase speed.
Introducing " for Right Hand
Pic..b
TO FIND A: Place the DF in $ P?SITI?). ;eave on $. Shift all other fingers one white key to the right. ;eave * note untouched.
Introducing the # Major Chord The $ +J?D chord is frequently followed by the ! +J?D chord, and vice-versa.
*on9t be confused, $!+ which is ! ma'or chord is actually !+$. @e are actually limited to play chord in the keys $ * & ! = + as mentioned in !ig.b Same sound will be heard whether we play !+$ or $!+. Practice changing from the $ chord to the ! chord and back againH . The st finger plays $ in both chords.
?. The 1rd fin$er moves up to ( and the 9th fin$er moves up to * for the ( chord. @hen changing from $ to ! chord the finger numbers will be different for !.
$ar%)' using C( ! & # Chords Play each chord four times with DF and last $ chord longer. Play several times.
*osition Fntil now you have played only in the !3/ITI32. 2ow you will move to the B !3/ITI32 in next lesson.
Fntil now you have played only in the !3/ITI32. 2ow you will move to the B !3/ITI32:
Play and say the notes names. #e sure to do this S&&D+; TI&S #elow we have given three measures for showing notes..
Play above notes in ascending and descending order for both hands
The Sharp S#$n The SF+DP SI=) before a note means play the ne"t key to the DI=FT, whether black or white ?r key 'ust after white key to right.
@hen a SF+DP /1 appears after a note, it applies to that note for the rest of the measure
The = a'or L *8
5ractice changing from the ' chord to the 67 chord and ac8 again .
plays * in both chords to the *8 chord and back againH
0. 2.
0 plays $ in the *8 chord. ?nly K moves out of = P?SITI?) /down to !1 for *8.
Play the following several timesH
The Major & D! Chords for Right Hand
*ractice changing fro% chord to the D! chord and bac+ again, . !inger K play * in both chords. 0. !inger 3 play $ in the *8 chord. 2. ?nly finger moves out of = P?SITI?) / *?@) T? !1 !?D *8.
*lay the follo-ing for se.eral ti%es for 'ractice/
9 or 9 lat Sign
The !;+T SI=) after a note means play the ne"t key to the ;&!T, whether black or white @hen a !;+T /b1 sign appears after a note, it applies to that note for the rest of the measure.
Introducing 0 for Left Hand
ove finger to & or your left thumb to &
T1 #I2D 21T0 0, Place the ;F in = P?SITI?). Deach finger one white key to the right Practice following notesH
Introducing note 0 for Right Hand
T1 #I2D 0, Place DF in = P?SITI?). ;eave finger on =. Shift all other fingers one white key to the right. *o not touch note +.
*lay follo-ing notes slo-ly/ Say the notes as you 'lay/
Fere we have mentioned )otes $ and & only to mention where to move.
Introducing & for ;eft Fand
Pic.a
+ )ew Position of the $ a'or $hord left Fand >ou have used $ a'or $hord with $ as the lowest note like $&=. @hen you play these same 2 notes in any order, you will still have a $ a'or $hord. @hen you play in = Position, it is convenient to play = as the lowest note as =$&. It is easy to move from = a'or $hord to the $ a'or $hord, when = is the lowest note of both chords.
)ew Position of $ a'or $hord >ou have already played the $ +J?D $F?D* with $ as the lowest noteH $ & =. @hen you play these same three notes in any order, you still have a $ +J?D $F?D*. @hen you are playing in = P?SITI?), it is most convenient to play = as the lowest noteH =$&. The following diagrams show how easy it is to move from the = +J?D $F?D* to the $ +J?D $F?D*, when = is the lowest note of both chords.
' %aor $hord L"
$ %aor !ew 5osition L"
*on9t be confused, =$& which is $ ma'or chord is actually $&=. @e are actually limited to play chord in the keys $ * & ! = + as mentioned in Pic.a above. Same sound will be heard whether we play $&= or =$&. ?therwise we have to play chord $&= in other octave.
Practice changing from = chord to $ chord and back again. . 0. 2.
!inger K plays = in both chords. !inger 0 plays $ in the $ chord. ?nly finger moves out of = P?SITI?) /up to &1 for the $ chord.
Introducing & for Dight Fand
Pic.b
Place the Dight Fand in = Position. ;eave finger on =. Shift all other fingers ;&+I)= one white key to the right.
)ew $ a'or $hord Position-Dight Fand )otice that two fingers must move to the right when changing from the = +J?D $F?D* to the $ +J?D $F?D*.
= a'or $hord DF
$ a'or )ew Position DF
*on9t be confused, =$& which is $ ma'or chord is actually $&=. @e are actually limited to play chord in the keys $ * & ! = + as mentioned in Pic.b above. Same sound will be heard whether we play $&= or =$&. ?therwise we have to play chord $&= in other octave. Practice changing from the = chord to the $ chord and back againH . 0.
!inger plays = in both chords. !inger 2 moves up to $ and K moves up to & for the $ chord.
@arm-Gp using =, *8 L $ $hords
$??);> GS&* $F?D*S ;&!T F+)* &ssential $hords &"ercises !or Indian Pakistani Songs #y
Exercise :ne
Exercise Two
Exercise Three
Exercise o.r
5#($TI$E $:%%:!L;
Exercise Two
Exercise Three
Exercise o.r
=(#%-<5
Practice the following four e"ercises daily unless you learn finger position.
elodic Intervals *istance between tones are measured in I)T&D+;S, called 0nds, 2rds, 3ths, Kths, etc. )otes played separately make a melody. @e call the intervals between these notes elodic Intervals. Play these &;?*I$ 0nds L 2rds. ;isten to the sound of each interval. Play both hands same time in upper L lower bar measures. Gpper bar measure notes are for right hand and lower bar measures are for left hand here. @here $* 0nd $& 2rd interval and =! 0nd =& 2rd interval. This e"ercise is only for practice to play whole songs and rhymes. >ou will recogni:e my notation system in this practice. )otes 3(3 DF !ingers )otes 3(3 ;F !ingers
$ * $ & $ * $ & - - H 0 2
0 2
- - = ! = & = ! = & H 02
0 2
Play repeated notes and &;?*I$ 0nds L 2rds. Gse #oth Fands.
$ in bold letter means play longer )otes 3(3 DF !ingers
$ $ $ * & 0
p )otes 3(3 ;F !ingers
$&**
* 2
0
$
20 0
/here 9p9 means piano, play note $ softer1
- - -
- H
Farmonic Intervals
H
)otes played together make harmony. @e call the intervals between these notes F+D?)I$ I)T&D+;S. Play these harmonic 0nds L 2rds. ;isten to the sound of each interval and recogni:e sound. Gse both hands here. Play two notes togetherH )otes 3(3 DF !ingers )otes 3(3 ;F !ingers
$*
$& 0 2
$*
- - H
$& 0 2
- - !=
&=
!=
H
&= 2
0
0
2
mf /play != in measure 2 moderately loud1 The Sign - between measures means complete silence. *o not play any note.
Playing on
)otes 3(3 ;F silent measure
)otes 3(3 DF silent measure )otes 3(3 ;F !ingers
$ * & ! = = ' G F E D $ $ $ H 0 2 3 measure
K K K 0
K 3 2 0 2
- - K
3
8
- - -
- H
5
4
-
0
H
2
3
$ * & ! = = ' G F E D $ $ $ H K 3 2 0 K
5
0 2 3 8
K
K
K 4
D?$<-+;?)= /#oth Fands1 /1 )otes 3(3 DF !ingers measure
$$& =& 2
= K 2 0
$ K
$
$
2
3
)otes 3(3 ;F silent measure
- silent
-
-
silent
silent
silent
/01 )otes 3(3 DF silent measure )otes 3(3 ;F !ingers
- -
-
- H
0
$$& =& 2
= K 2
2
$
$
K
3
$
H
<&> ?! $ +J?D $F?D*S If we learn the formula of building all ma'or and minor scales then we can make chords ourselves.
The 2 primary chords in the
I
I>
>
:ne
o.r
i1e
$
*
&
!
=
+
#
$
0
2
3
K
5
8
4
!rom the above table we can see that the )st note in a $ ma'or scale is $, the /th note of the scale is !, and the +th note of the scale is =. ;et9s look at the selected , 3, and K in a different tableH
$ maor chord
maor chord
' maor chord
:!E of the scale
:<# of the scale
I>E of the scale
This mathematical pattern applies to all key signatures and their corresponding scales. ;et9s take a look at few more key signature scale combinations. @e9ll start with the key of *.
<&> ?! * S$+;&
I
I>
>
:ne
o.r
i1e
6
E
'
(
9
$
0
2
3
K
5
8
6
!rom the above table we can figure out that the 2 primary chords in the
;ist of 877 Findi !ilm Songs @ith Scales, Tempo, Dhythm Style +vailable
!ote- If you want to play any Findi song first you have to find its scale. +fter finding scale and if it is a ma'or scale song then you will know its chords by the formula I - I / one - four - five 1. + list in S &"cel is available for more than 877 Findi songs and its scales, styles, tempo, org. Intr, .!.*, />amaha usic !inder1 and additional information. !rom my list of 877 songs, when you will know actual scale then you will soon be able to play the song yourself in that specific scale. So, order now for the list of 877 Findi songs scale which is only available from this website. This list is a great collection ever made. Please play below given songs from my list and check correct scale, tempo and style information.
;et9s look at the actual chord pattern for the key of $. I want you to reali:e that any given chord can be played in 2 different positions. The basic position is called the D??T P?SITI?). ;et9s get back to the key of $ now that you reali:e that this mathematical pattern applies to all ma'or key signatures. @e are going to check out the shape of the $ ma'or chord, ! ma'or chord, and the = ma'or chord in the root position.
$ a'or $hord In The D??T P?SITI?)
The $ %aor $hord $ontains the ollowing !otes $ E ' This is a $ a'or $hord In The Doot Position
Demember, in the right hand, the thumb is number , finger is number 0, middle finger is number 2, ring finger is number 3, and little finger is number K. ?<, now let9s look at ! ma'or chord in the root position, however, we will actually use ! ma'or chord in the 0nd inversion position when we start to play all three chords as a unit. In this way we have not to 'ump our fingers on the keys.
! a'or $hord In The D??T P?SITI?)
The %aor $hord $ontains the ollowing !otes ( $ This is an ! a'or $hord In The Doot Position
The final thing we will look at on this page is the = ma'or chord in the root position and then we will move on to the ne"t lesson and look at these 2 chords using the $ chord in root position and the ! chord in the 0nd inversion position and the = chord in the st inversion position.
= a'or $hord In The D??T P?SITI?)
The ' %aor $hord $ontains the ollowing !otes ' 9
6 This is a = a'or $hord In The Doot Position
The ' 7th $hord $ontains the ollowing !otes ' 9 6 ? is the 7th note@ This is a = 8th $hord In The Doot Position
)ow that you have seen the chords in the key of $ in the root position, you need to click on the ne"t link to see how to play this chord progression with $ in the root position, ! in the 0nd inversion position, and = in the st inversion position. These positions are very important, because they allow you to change chords by barely moving your hand.
Scales and
;et9s bring you up to speed on the basics. ;ook at your piano keyboard. )otice the black keys are in groups of two9s and three9s. !ind a group of two. The white key to the left of the first black key in any group of two is a $. =ood )ow, notice that if you start with $ and count up 0 keys, you9ll be at $ again. There are really only 0 unique notes in @estern musical notation. &asy rightQ
Dight. )ow, most every piece of music you hear will be in a %key%. This means that the composer decided that one of the 0 notes would be more important than the rest. !or the purposes of this column, we9re going to be in the key of $ a'or. If you start with a $ and play /up the keyboard1 all the white keys until you get to the ne"t $, you will hear what $ a'or sounds like. It should sound very familiar to you.
)ow, let9s talk about ways to identify the notes in the $ a'or scale /and other ma'or scales1. $ is the first note in the scale also called Scale *egree ?ne, and also called Tonic. )e"t we have *, scale degree 0, Supertonic. &, scale degree 2, ediant. !, scale degree 3, Subdominant. =, scale degree K, *ominant. +, scale degree 5, Submediant. #, scale degree 8, ;eading Tone. +nd then we9re back to the $ that9s one octave above our original tonic. >our first step in becoming a theory wi:, is to memori:e the names of the notes in the ma'or scale. /)oteH These names apply to any ma'or scale. )ot 'ust $ a'or.1 Fere they are againH
$ - Scale *egree - Tonic * - Scale *egree 0 - Supertonic & - Scale *egree 2 - ediant ! - Scale *egree 3 - Subdominant = - Scale *egree K - *ominant + - Scale *egree 5 - Sub-mediant # - Scale *egree 8 - ;eading Tone
Please reali:e that I9m trying to make this whole thing as simple as possible, and in doing so, am leaving some stuff out for you.
Study again the $hords of $ a'orH
I am trying to teach you $ a'or Scale with different techniques. I have shown chords definition in different places in my website so, that you get acquainted with them. It is Time to put notes together and make chords. + %$hord% is 2 or more unique notes played at once. Two notes played at once are called a Farmonic Interval. @hen we make a chord with 2 notes, we call it a Triad. Gsing your fingers, press the following keys of the piano keyboard simultaneouslyH
$-&-=
This is the most important chord in the key of $ a'or. It is the $ a'or chord also known as I /Doman )umeral 1. There is a triad for each of the scale degrees in the $ ma'or scale and each one is identified with a roman numeral. Fere9s the list of basic chords /triads1 for the
$-&-= *-!-+ &-=-# ! - +- $ =-#-* + - $ - & #-*-!
$ a'or $hord /I1 * minor $hord /ii1 & minor $hord /iii1 ! a'or $hord /I1 = a'or $hord /1 + minor $hord /vi1 # diminished $hord /viiU1
There are 3 types of triads we need to talk about here even though only three are found on the a'or scale itself. Fere are e"amples of eachH
$ - & - = This is our beloved a'or triad. #y itself, it so.nds happy. + - $ - & This is one of the minor triads in the key of $ a'or. #y itself,
it so.nds sad.
# - * - ! This is the diminished chord found in $ a'or. #y itself, use a degree symbol /U1 to identify this.
it so.nds e1il.
@e
$ - & - = This is an augmented triad. It does not occur naturally on the $ a'or scale but needs to be recogni:ed at this point nonetheless. The /1 indicates a %sharp%. This 'ust means that you find the = key and go up to the ne"t black key. If it were =b /= flat - a flat sign looks like a lower case #1, we would go down to the ne"t lower black key. Sharps and flats mean you go up or down to the very ne"t key regardless of what color it is. The augmented triad by itself sounds mysterious. @e won9t talk about this chord much. Just be aware that it e"ists. @e will only deal with ma'or, minor, 8th, augmented L diminished for easy learning and playing smoothly. ore details about other chords will be available in
$hord ProgressionsH
I-I- chord progression 2-note /triad1
Triad $hords for all 0 ma'or keys
So now we know about the $ a'or scale, and the basic triads that can be derived from the $ a'or scale. The chords, and $ a'or scale that we9ve been talking about sort melt together to form the musical idea of %The
Scale
I Chord
IV Chord
V Chord
% a'or
% a'or
" a'or
, a'or
%0b a'or
%0b a'or
"0,b a'or
,0*b a'or
a'or
a'or
, a'or
* a'or
0-b a'or
0-b a'or
,0*b a'or
*0/b a'or
- a'or
- a'or
* a'or
/ a'or
" a'or
" a'or
*0/b a'or
% a'or
"0,b a'or
"0,b a'or
/ a'or
%0b a'or
, a'or
, a'or
% a'or
a'or
,0*b a'or
,0*b a'or
%0b a'or
0-b a'or
* a'or
* a'or
a'or
- a'or
*0/b a'or
*0/b a'or
0-b a'or
" a'or
/ a'or
/ a'or
- a'or
"0,b a'or
II898I chor! progression 38note
Tria! %hor!s for all 12 ma'or eys ombined chords means movin$ from one chord to another. *ll the chord pro$ressions we will be learnin$ are based upon 2ajor scales and the scale tone chor,s . This means that the the :st, 7th, and 9th tones 5notes6 will always be Maor chords, the ?nd, 1rd, and Jth tones 5notes6 will always be minor chords and the Cth tone 5note6 will always be a ,i2inishe, chord. These will be our 34note or tria, chord pro$ression. 2ow unlike the II<< chord pro$ression which is all maor chords, you be$in with a minor and pro$ress to maor chords 5triads6. In the key of maor this would make the chords a D minor 5II6, B maor 5I<6, and maor 5I6. The key of D@4b maor would be ( minor 5II6, *@%b maor 5<6, and D@4b maor 5I6. *$ain, the ?nd, 9th, and :st 5root6 tones 5notes6 are used to form the chords in a II<I chord pro$ression. 3n this pa$e you will find the 1note 5triad6 II<I chord pro$ression chords for each of the twelve 5:?6 keys. e shall be$in with the key of "" and proceed throu$h to "%". !ractice the II <I chord pro$ression in all twelve keys. Scale
II Chord
V Chord
I Chord
$ a'or
* inor
= a'or
$ a'or
$(*b a'or
*(&b inor
=(+b a'or
$(*b a'or
* a'or
& inor
+ a'or
* a'or
*(&b a'or
! inor
+(#b a'or
*(&b a'or
& a'or
!(=b inor
# a'or
& a'or
! a'or
= inor
$ a'or
! a'or
!(=b a'or
=(+b inor
$(*b a'or
!(=b a'or
= a'or
+ inor
* a'or
= a'or
=(+b a'or
+(#b inor
*(&b a'or
=(+b a'or
+ a'or
# inor
& a'or
+ a'or
+(#b a'or
$ inor
! a'or
+(#b a'or
# a'or
$(*b inor
!(=b a'or
# a'or
-:periment with all the new chor!s you now now how to mae on the eyboar!; Try playing the II898I chor! progression 38note tria! chor!s with your left han!# while playing the correspon!ing ma'or scale for that ey with your right.
5"+6" M(*%# D"SI SC(+"S (ND !"I# D"SI C!%#DS
@hat is a chordQ
6efinition + chord is a combination of three or more different notes. They may be played at the same time or sequentially. CHORD is 'ust the relation between notes, played more or less at the same time. !G;; ST?P. So we have to learn the rules. ?nce we know the rules we can use them, or we can break them, which is a very interesting e"perience. •
$hords can be built by stacking triads. +s there are two triads for the simple three-note chords there are four possible chordsH ma'or, minor, diminished and augmented.
•
The most common three-note chord are made with ma'or thirds and minor thirds. These chords have the interval structures ma'or 2 K, minor b2 K, diminished b2 bK The sequence of the three notes does not change the name.
•
$hord Scale #elationships >ou can know all the chords in the world, but if you don9t know how or when to use them over a scale, they really mean nothing. If you9re a beginner or intermediate keyboard player you may well find it hard to find one chord that will fit over that scale. The relationship between the vertical usage of a scale is chords /harmony1, and the hori:ontal usage of a scale is the melody. The first step is to learn how to build chords. @hat we9re going to learn in this lesson is how to put the right chord to the correct scales or vice-versa. #asically, when the melody notes and chords come from the same scale they generally sound good together, but if the melody and chords come from different scales it sounds not so melodic. ;et9s start with the melodic stuff. @hat we9re going to do is get the $ ma'or scale and build triads /three note1 on each note of the scale. If you play already, you probably know that a three-note chord is called a triad and that it has a root, third and fifth tone. +s you can see the triad contains the notes $, &, = - the $ ma'or triad. This is known as the I chord. @e use Doman numerals to label the chord number. The second /II1 triad has *, !, + which is a * minor triad. The III chord has &, =, #, which is &mi8. The I chord contains !, +, $, which is ! ma'or. The chord contains =, #, * which is = ma'or chord. The I chord contains +, $, & which is + minor. The II chord contains the #, *, ! which is a # diminished chord. So, all these chords belong to the key of $ ma'or. Therefore, the $ ma'or chord can be played over the top of $ ma'or scale. Since every ma'or scale has the same scale pattern, the chord patterns will remain the same. The I chord is ma'or, the II chord is minor, the III chord is minor, the I chord is ma'or, the chord is ma'or, the I chord is minor, the II chord is diminished. /See &"ample 0 for triads in = ma'or1 #asically, this is where chord progressions come from. ;et9s make up a I, , I, I chord progression in the key of $ ma'or /see e"ample below1. Play these chords over the $ ma'or scale, * ma'or scale, & ma'or scale, ! ma'or scale ...... and so on.
@hat chords are in what Scale, and whyQ 9asic Triads /triads means three notes chord1 &ach diatonic scale has 8 different notes, which gives way to 8 possible triads for each key in music. + triad is the st, 2rd, and Kth notes of a scale p layed simultaneously to form a chord. +ll chords are formed based on their respective ma'or diatonic scale. + $ chord is built on a $ ma'or scale, a * chord is built on a * ma'or scale, etc. There are 8 chords for each key, which correspond to the 8 notes in each key9s scale. Some chords can be in more than one key - for e"ample, a * ma'or chord can be in the keys *, +, or =. I9ll use the key of $ as an e"ample. >ou may use any ma'or key like $ma', *ma', &ma' .....etc,
The 8ey of $ incl.des the notes $ 6 E ' ( 9 $ &ach note of the scale corresponds to a scale degree as shownH
!ote $ 6 E ' ( 9 $ 6egree ) A * / + B 7 ) >ou can form 8 basic chords /triads1 from the notes in the key of $. &ach different note is the root of a different chord. There are 2 combinations of the st, 2rd, and Kth notes that will be covered in this lesson. There are 2 more, but they are not included.
%aor triad ) * + %inor triad ) * + 6iminished triad ) * + >our first chord will be a $ chord, because $ is the first scale degree. )ow, since this is a $ chord, it will be based on the $ ma'or diatonic scale. Take scale degrees 2 K as shown belowH
!ote $ 6 E ' ( 9 $ 6egree ) A * / + B 7 ) This gives you notes $, &, and =. Since all 2 of those notes are in the key of $, you do not have to modify them to fit, and you have a ma'or triad / 2 K 1. So your first chord is $ ma'or. The second chord will be a * chord, because * is the 0nd scale degree. It9s based on the * scale, which is * & ! = + # $ *. )ow, take 2 K of this scaleH
!ote 6 E ' ( 9 $ 6 6egree ) A * / + B 7 ) . This gives notes * ! +. This presents a problem - ! is not in the key of $ In order to keep this chord in key, we have to flat the ! /lower it by (0 step1 down to ! natural. This gives * ! +, which is scale degrees b2 K of the * ma'or scale. b2 K is the formula for a minor triad. Therefore, your second chord is * minor. The seventh chord will be a # chord, because # is the 8th scale d egree. It9s based on the # scale, which is 9 $ 6 E ' ( 9 )ow, take 2 K of this scaleH
!ote 9 $ 6 E ' ( 9 6egree ) A * / + B 7 ) This gives notes 9 6 6 ?*@ and ?+@ are not in the key of $, and must be flatted to * /b21 and ! /bK1, respectively. This gives us scale degrees b2 bK, which is the formula for a diminished triad. #ased on these e"amples, you can figure out the rest of the chords. Fowever, they always follow a patternH
) - maor A - minor * - minor / - maor + - maor B - minor 7 - diminished #y applying this pattern, you can quickly figure out that the chords in the key of $ areH
