Inhalt
The IN-DEPTH BREAKDOWN
Great Sound Station
GREAT SOUND STATION
THE GROWTH PROCESS III (THREE)
IN-DEPTH UNCONVENTIONAL BREAKDOWN OF THE KEY SYSTEM
ASIN: B08M69G8RN
Author
Ezekiel uchechukwu odikayor (Leugreat).
INDEX
INTRODUCTION
1. PLAYING ON ALL KEYS.
2. IT'S IMPORTANCE TO A KEYBOARDIST.
3. LISTS OF KEYS AND THEIR MAJOR CHORDS.
4. SIMPLIFIED/EASY APPROACH TO PLAYING ON ALL KEYS.
5. TRANSPOSE, BUT NOT USE THE BUTTON
6. HOW TO OVERCOME THE TRANSPOSE ADDICTION.
7. EASY/SIMPLIFIED WAYS OF FINDING A SINGER'S KEY IN SECS.
8. WHY MANY FAIL TO GET THE RIGHT KEY.
9. UNDERSTANDING INTERVALS AND USING IT TO GETTING THE KEY OF A SONG.
10. TRY EAR DEVELOPMENT/TRAINING EXERCISES.
INTRODUCTION;
Playing on all keys have been an issue of controversy over the years. While few people are arguing about transposition with button, others are saying no that it's a growth killer. However, this book is not written to criticize any assertion. You maybe be right you maybe wrong, it all depends on how you see things (perspectivalism). A 6 to someone might appear to be a 9 to another standing opposite the direction. Moreover, Great sound station has come to bring light and in-depth knowledge on not only playing on all keys, but also it's importance and benefits to a pianist/keyboardist. This book will address so many pressing issues as regards to transposition, key finding and other broad aspect that has laid shallow for so long. It's not about playing or stricking the notes or chord in the piano that makes you good, there is more to it. Ear training is a tool that shouldn't be overemphasized, because it's vital and a great tool to anyone that chooses to revolutionaries his/her playing. What differenciates an advance from a beginner/ intermediate, is not only in the long broad experience of pressing down the buttons of the piano, but the conscious and persistent amount of time there put in training their ears, learning deep theories, practically and consciously training themselves everyday.
If you are reading this book now I believe you must have gone through the vol.1 and 2 of the Growth Process, so there won't be any room for confusion as this vol. 3 covers mainly keys, how to kill the transpose addiction, and finding keys and lot more. Please make sure you read to the end, to grasp what the idea is centered on. Please I might be using Keyboard and piano interchangeably, so whichever, you know the idea am trying to pass.
CHAPTER 1
(PLAYING ON ALL KEYS)
If you followed the series right from vol.1 till now, you would understand the fact that you play on all keys everytime you play your one key you are good at. Confused? You don't need to be, it's a fact. Many people now think it's left for a pianist to learn all 12keys and become master on them, leaving the keyboardist to play on only one and Transposing, using the button. Who do you think is a keyboardist and a pianist? Are there different? Left for you to answer.
It's not a matter of debate anymore, that we have majorly 12keys on the keyboard. Ranging from C ---> B. Playing on all keys is not restricted to some certain kind of people, no. Most people believe it's only a professional pianist/keyboardist that should play on all keys, it is a real deception. There is always room for improvement as a keyboardist, there is never a time when you say yes I have arrived.
The moment you think you are all good, no more need for new knowledge, you begin to loose value. An advance player knows something that makes him more valuable than an beginner/intermediate. Everyone has something that makes him valuable. Piano is so vasatile that the various genre alone is worth studying alone for years. We have many people that has settled in the area of Jazz alone; the likes of Duke Pearson, Dave Grusin, Lennie Tristano (1919-1978) etc.
You can see that playing all keys is not compulsory, but necessary as a potential pianist you want to be. You start gradually, till you get there. No growth is sudden, ask the gurus you know that plays well enough with the piano, and hear what their response will be. Practice, that's it, always practicing. Like I said the one key you play perfectly, if you open it up logically, you would notice you are already playing all the keys. Now look at this illustration below from vol.1 of our book on Growth Process;
FOR YOUR MAJOR MAJORS
THE DOH IN KEY C IS ALSO (FAH IN KEY G AND SOH IN KEY F)
THE DOH IN C# IS ALSO(FAH IN KEY G# AND SOH IN KEY F#)
THE DOH IN D IS ALSO(FAH IN KEY A AND SOH IN KEY G)
THE DOH IN D# IS ALSO(FAH IN KEY A# AND SOH IN KEY G#)
THE DOH IN E IS ALSO(FAH IN KEY B AND SOH IN KEY A)
THE DOH IN F IS ALSO(FAH IN KEY C AND SOH IN KEY A#)
THE DOH IN F# IS ALSO(FAH IN KEY C# AND SOH IN KEY B)
THE DOH IN G IS ALSO (FAH IN KEY D AND SOH IN KEY C)
THE DOH IN G# IS ALSO(FAH IN KEY D# AND SOH IN KEY C#)
THE DOH IN A IS ALSO(FAH IN KEY E AND SOH IN KEY D)
THE DOH IN A# IS ALSO(FAH IN KEY F AND SOH IN KEY D#)
THE DOH IN B IS ALSO(FAH IN KEY F# AND SOH IN KEY E).
FOR THE MAJOR MINORS
THE REH IN C IS ALSO (MI IN KEY A# AND LAH IN KEY F)
THE REH IN C# IS ALSO(MI IN KEY B AND LAH IN KEY F#)
THE REH IN D IS ALSO(MI IN KEY C AND ALSO LAH IN KEY G)
THE REH IN D# IS ALSO(MI IN KEY C# AND ALSO LAH IN KEY G#)
THE REH IN E IS ALSO(MI IN KEY D AND ALSO LAH IN KEY A)
THE REH IN F IS ALSO (MI IN KEY D# AND ALSO LAH IN KEY A#)
THE REH IN F# IS ALSO(MI IN KEY E AND ALSO LAH IN KEY B)
THE REH IN G IS ALSO(MI IN KEY F AND ALSO LAH IN KEY C)
THE REH IN G# IS ALSO(MI IN KEY F# AND ALSO LAH IN KEY C#)
THE REH IN A IS ALSO (MI IN KEY G AND ALSO LAH IN KEY D)
THE REH IN A# IS ALSO(MI IN KEY G# AND ALSO LAH IN KEY D#)
THE REH IN B IS ALSO(MI IN KEY A AND ALSO LAH IN KEY E).
So with these, you can see that a key has many keys embedded within. knowing this well enough will help you play on all keys easily and finding keys too.
Playing on all keys shouldn't be something we overlook or feel less concern about. It's a skill we must develope, it's an attitude we must portray on our experience with the piano. In the next chapter, I will say some importance of playing on all keys.
CHAPTER 2
(It's importance to keyboardist/pianist)
When the importance of a thing is unknown, then abuse is inevitable. It's so unfortunate that most pianist don't know the importance of playing on all keys, hence there settle for less using the growth killer, "TRANSPOSE BUTTON". The benefits of playing all keys is as important as when you play your one favorite key. This part of the Western World, especially Nigeria, you will be taught to use the "TRANSPOSE BUTTON" as a beginner for ease of stress on the tutors, that's if they even know how to play all the keys. Funny right? Most people that teach the piano don't even know how to maximize the potency of all keys, not to think of teaching a student to stop Transposing, using the button. Below are some benefits/importance of playing on all keys.
Importance of Playing on All Keys
* One of the importance is that you get used to complex chords. There are so many chords that could give you difficulties if you only play on one key. So learning all keys gives your mindset clarity on the Chord Modes, moves and it further breaks down some complexity in chord structures.
* Another importance is that it enables you build different techniques and styles of Playing. Now it's not the regular key you are always familiar with, so the approach to playing on all keys will give you various flavours and styles.
* Every key has it's uniqueness, so trying to use the TRANSPOSE BUTTON to maneuver your way through the 12keys, is not the best. There is always a clear tonality and flavor every keys has, so playing only one and Transposing is like covering the glory of other keys. Funny right?
* It also tells how good and advanced you have grown, since all keys are now learnt, you will not have difficulties in playing certain chords you hear by ear. If you are not planning to remain in one spot for years, then kill the TRANSPOSE BUTTON ADDICTION. Though you maybe playing really well and all that in your favorite key, you can't compare that knowledge, skill/technique to someone who has mastered the art of playing all keys.
* It also helps pianist to know different scale patterns and finger movement, and smooth ways of using them to enhance your skill. What you see to be a scale(minor, Doryrian etc) in your favorite key, might also be a scale patterns with the dom7th in other keys.
* However, playing all keys gives you this special confidence that only you can explain. It's not pride, It's self confidence. It makes you feel competent and ready all the time.
* Also the key Finding difficulty you might have won't really be a problem again, because the more you learn all keys, the more you develope your ears. Getting keys won't be difficult again if you master the art of consistently playing all keys, because the more different keys you play on, the more you get used to their techniques, sounds, intervals and patterns etc.
Reasons Why Many Transpose using the Button.
(a) LAZINESS ; Many won't accept the fact that there are Lazy in their Approach towards the piano. Most people because of the fact that they are very good in a particular key, there will decide to build a tent over that key; that's they won't want to learn others.
(b) FEAR ; Most pianist have this unknown fear in them that says, " What if I don't become good in all", "what if I end up giving up in the long run", "what if, what if, what if". That's the mentality of a Lazy fearful player that wants to keep playing around and been praised for playing that one key. Take the fear off and learn.
(c) INSUFFICIENT KNOWLEDGE ; Most people there want to learn all keys, no doubt. However, no one to tutor or teach them. So there decide to settle for only one, some of them 2 or 4keys. But that shouldn't be an excuse, you have the internet where you can browse anything you need to grow out.
(d) PLEASURE ; Most pianist don't put more interest in it. Most of them do it for pleasure, like an indoor thing, so no need of dieing trying to learn all keys , when I can learn just one perfectly and play for fun. If you want to take your playing to the next level, you must not only do it for pleasure, but also for in-depth learning , cause you might teach someone tomorrow too, so shallow learning is not welcomed.
(e) The last thing here is MINDSET ; Most players, there mindset is rigid to the aspect of playing all keys. What is the use of Playing all the keys when I have the T.Button? They will always say, why did the manufacturers put the button there, if it won't be useful?.
The problem of Mindset is what is holding so many. Correct the mind, you will end up correcting your playing.
CHAPTER 3
(Lists of Keys And Their Major Chords)
In understanding the stragtegy to playing on all keys, you must understand their chord structures and keys. Playing all keys is not only playing 1(Doh) 4(Fah) 5(Soh) on all, there is more to it. How good are you in the 1key you can play well enough? Then transfer the same knowledge to the rest, simple. A chord is simply the combination of more than two(2) notes. It could also be a spectrum of notes in a particular scale ( Definition gotten from the Growth Process vol.1, one of our piano books that you should get).
Below, is the list of keys on the piano and their Major Chord pattern.
The 12keys are;
C-->C#-->D-->D#-->E-->F-->F#-->G-->G#-->A-->A#-->B
Or you can also say
C-->Db-->D-->Eb-->E-->F-->Gb-->G-->Ab-->A-->Bb-->B
The # is your SHARPS
The b is your FLAT
12KEYS AND THEIR CHORD ALPHABET.
FOR KEY F
Doh---F, A, C
RE----G, A#, D
MI----A , C, E
FA---A#, D, F
SOH----C, E, G
LAH----D , F, A
TI------E, G, C
For key F#
Doh--F#,A#,C#
RE---G#,B,D#
MI---A#,C#,F
FAH---B,D#,F#
SOH---C#,F,G#
LAH---D#,F#,A#
TI---F,G#,C#
For Key G
Doh---G,B,D
RE---A,C,E
MI---B,D,F#
FAH---C,E,G
SOH---D,F#,A
LAH---E,G,B
TI---F#,A,D
For key G#
Doh--G#,C,D#
RE---A#,C#,F
MI---C,D#,G
FAH---C#,F,G#
SOH---D#,G,A#
LAH---F,G#,C
Ti---G,A#,D#
For Key A
Doh--A,C#,E
RE---B,D,F#
MI---C#,E,G#
FAH---D,F#,A
SOH---E,G#,B
LA---F#,A,C#
Ti---G#,B,E
For key A#
Do---A#,D,F
RE---C,D#,G
MI---D,F,A
FAH---D#,G,A#
SOH---F,A,C
LA---G,A#,D
TI---A,C,F
For Key B
Do---B,D#,F#
RE---C#,E,G#
MI---D#,F#,A#
FAH---E,G#,B
SOH---F#,A#,C#
LA---G#,B,D#
Ti---A#,C#,F#
For Key C
DO---C,E,G
RE---D,F,A
MI---E,G,B
FAH---F,A,C
SOH---G,B,D
LAH---A,C,E
TI---B,D,G
For Key C#
DO---C#,F,G#
RE---D#,F#,A#
MI---F,G#,C
FAH---F#,A#,C#
SOH---G#,C,D#
LAH---A#,C#,F
Ti---C,D#,G#
For key D
Do---D,F#,A
RE---E,G,B
MI---G,A,C#
FAH---G,B,D
SOH---A,C#,E
LA---B,D,F#
Ti----C#,E,A
For key D#
Do---D#,G,A#
RE---F,G#,C
MI---G,A#,D
FAH---G#,C,D#
SOH---A#,D,F
LA---C,D#,G
Ti---D,F,A#
For key E
Do---E,G#,B
RE---F#,A,C#
MI---G#,B,D#
FAH---A,C#,E
SOH---G,D#,F#
LAH---C#,E,G#
TI---D#,F#,B
The first step to growing in all keys is learning your major chords, minor chords and scale pattern;
KEY C
DOH(C) REH(Dmin) MI(Emin) FAH(F) SOH(G) LA(Amin) TI(B)
KEY C#
C#(DOH) D#(REH) F(MI) F#(FAH) G#(SOH) A#(LA) C(TI)
KEY D
D(DOH) E(REH) F#(MI) G(FAH) A(SOH) B(LA) C#(TI)
KEY D#
D#(DOH) F(REH) G(MI) G#(FAH) A#(SOH) C(LAH) D(TI)
KEY E
E(DOH) F#(REH) G#(MI) A(FAH) B(SOH) C#(LAH) D#(TI)
KEY F
F(DOH) G(REH) A(MI) A#(FAH) C(SOH) D(LAH) E(TI)
KEY F#
F#(DOH) G#(REH) A#(MI) B(FAH) C#(SOH) D#(LAH) F(TI)
KEY G
G(DOH) A(REH) B(MI) C(FAH) D(SOH) E(LAH) F#(TI)
KEYG#
G#(DOH) A#(REH) C(MI) C#(FAH) D#(SOH) F(LAH) G(TI)
KEY A
A(DOH) B(REH) C#(MI) D(FAH) E(SOH) F#(LAH) G#(TI)
KEY A#
A#(DOH) C(REH) D(MI) D#(FAH) F(SOH) G(LAH) A(TI)
KEY B
B(DOH) C#(REH) D#(MI) E(FAH)
F#(SOH) G#(LAH) A#(TI)
Breaking the transpose button has to do with your commitment and mindset. Every one is transposing using button, doesn't mean you should. You must be different,and good/best in your game.
CHAPTER 4
( Easy Approach To Playing All Keys)
There is always an easy way to things. It's just a paradigm shift in your mindset, that would control your approach to consistently learning all keys. If you feel is hard, time consuming and stressful for you, then get ready to remain as you are. So if you can change your mindset and apply these simple formulars, playing all keys won't stress you I assure you.
1. See all keys like you see your one favorite key. How? There are so many qualities that makes a key. You must identify those qualities and apply it all round to the remaining keys. The first thing is to shift your mindset from one-key syndrome to All- keys addiction. When your mind accepts this recognition, it forces you to take action. No key is hard, it's just your believe, and it's forming your reality, Can't you see?
2. Learn The scale( major scale to begin with) of the 12keys. Using your
W-- W-- W-- H--- W-- W-- W
Doh Reh. Mi. Fah Soh. Lah Ti
How did you get the major scale of your Favorite key? Use that same method/formular to get the scale of the remaining 12keys. You must take this step very carefully and closely to get the best out of it. It will take days, weeks, or even months to master the major scale alone on all 12keys. Give it time, you will get there.
3. Breakdown your Major Scale into two(2) parts. If you understand this method I bet you, you will get even the chords of all keys easily without any help.
(a) Understand the Major Majors-- This comprises of 3 important notes ( Doh, Fah, Soh) ...The method to get their chord pattern is simply; [4notes : 3notes Counting; that is put your thumb in whatever notes you want to make into a chord, then count 4notes and place your mindle finger after the note your thumb is holding, and then count 3notes and place your pinky there... You will notice that you just got a chord. Yes that's a chord; apply that to your Doh, Fah and Soh and get their chords too].
(b) Also understand the Major Minors: Which comprises of your Reh, Mi and Lah. The counting is your 3notes : 4notes counting..That's the exact opposite of the Major Majors.
In simple term, anywhere you see these Major Minors, make the key a minor key , That's all. Example in the key of C: Doh (C E G)
if I want to go to my Reh, I will simply make the key a minor , like this
Reh ( D F A) ; Reh originally is supposed to fall on the Dmaj which is ( D F# A) but because the rule says anytime you come across a major minor, make the key a minor. That's why I made the key of D a minor to get the Reh of my Key C. Simple right? Not only Reh, apply it to all the major minors( reh, mi Lah).
4. Try using the Number system afterwards. Learn the number system.
Doh. Reh. Mi. Fah. Soh. Lah. Ti
1. 2. 3. 4. 5. 6. 7 ,using Numerals
i. ii. iii. iv. v. vi. vii
Know these numbering system by heart. If I say go to your (6) , you know it's your Lah am talking about, and all that. If you understand this Numbering system, you won't struggle to play all keys.
Example; If you play a progression like this on key F ; 1 6 2 5. 1 (from the numbers you can tell that those are, Doh, Lah, Reh, Soh, Doh)... If you wanna play this on another key, the Numbers doesn't change it's only your structural positions that change. That is why I started by saying know your scale and chords.
5. After learning your Scale and Chords, then proceed to learning the Chord inversions of all the major scales in your various keys. When you master this, move to the next ...
6. After knowing all (5) points above, try to apply them to the keys you see as difficult. Try simple songs you know very well in your favorite key, knowing the number system, try it on various keys, and improve better.
7. Another method to grow is, in your practice period, if maybe you can play very well on key F, and don't know other keys very well; then you can use the TRANSPOSE BUTTON to your advantage, in the sense that if you wanna score a song, play it on the unfamiliar key, then Transpose using your button to the key of your song. Do you understand that?.
If I can play on key F well, if am practicing and want to score a song, I won't play on Key F , but the key I want to learn, then Transpose with button to the key of the song I want to score.
Note I said while reharsing, not in the open, and not all the time please. Learn to condition yourself to playing all keys.
8. Another method to learn faster is maximize the key you know, to play those you don't know. That one key you are good at, use the knowledge of everything you know in it to build the key you want to learn. That's relational improvicial knowledge application.
9. I’m often asked the best way to learn all 12 keys and while I’ve advocated many methods in the past, the most practical way is to adapt my “3 x 12” rule.
Simply put: Take 3 songs you know and learn them in all 12 keys.
It helps if they are songs that utilize a variety of different chords. That’s why picking 3 is important because between them, you should get a good mix of chords off every tone of the scale.
And since most songs follow the same patterns, you’d be surprised how few chords you really need to know to play in all 12 keys. Taking 3 different styled songs and learning them in all 12 keys usually gives you plenty.
The easiest way is to simply start at the original key of the song and move every note up a half step.
So if a song is in Eb major, you’ll attack E major next by literally taking every note in every chord and moving it up a half step.
Transposing a song to a new key is no more than moving every note up the appropriate amount of notes.
If the next key is a half step up, every note of every chord simply moves a half step up.
However, if you’re trying to move to a new key 4 half steps up, then you need to move every note of every chord 4 half steps up. As long as you move the same distance for every note in every chord, the end result will be the same song in a new key.
Exercise:
Move these chords in F major to Gb major.
Hint: Gb major is a half step higher than F major. That means every note is moved up a half step.
F major 7: F + A + C + E
D minor 7: D + F + A + C
G minor 7: G + Bb + D + F
C 7: C + E + G + Bb
F major 7: F + A + C + E
To move this to Gb major, just take every note up a half step, thus giving you the equivalent chords in Gb major:
Gb major 7: Gb + Bb + Db + F
Eb minor 7: Eb + Gb + Bb + Db
Ab minor 7: Ab + Cb + Eb + Gb
Db 7: Db + F + Ab + Cb
Gb major 7: Gb + Bb + Db + F
Is it hard work in the beginning? Sure it is.
Does it get easier over time? Definitely.
Because songs repeat the same chords and patterns over and over so as you start seeing the same chords and memorizing them in all 12 keys, you need not work out the transposition from scratch each time; rather, you’ll pull from your memory bank.
So make this your next goal: 3 x 12
3 songs in 12 keys.
It seems simple but it’s quite a hard thing to do. If you can master this, you’ll get to pro status in no time.
( Method gotten from Hear and Play).
You can start with simple songs you know in your 1favourite key to all the keys. Then when you are good with that, you play some more complicated songs. Example play this tune;
3 #2 (×4) 7 2 1 6 5 #5 6 7
Mi Mo. Ti Reh Doh Lah Soh Fi Lah Ti
#5 6 7 1 .
Fi Lah Ti. Doh
6 1. 2. 3 3 4 3 2 2 3 2 1
Lah Doh Reh Mi Mi Fah Mi Reh Reh Mi Reh Do
1 2 1 7
Doh reh. Doh Ti
From all these method, you can see that it's not all that hard to play on all keys, it's a matter of practice and time. After you are good with all these, you can add more moves to the various keys( learning minors, tritone, chord Substitution, passing chords etc) .
CHAPTER 5
Transpose, but Don't Use That Button
All pianist Transpose, but not all use the TRANSPOSE BUTTON. There are different, Transposing is an essential tool in playing the piano. It becomes really bad when all you do is depend on the Transpose button. It will not only make you lazy, but give you 1thousand and 1 reasons why you should continue using it. It's a slow growth retarder. Below you will see reason why people Transpose. Let's clear the air of what Transpose is.
So first of all, what is transposing?
Transposing is when you take a piece, or a part of a piece, and shift it up or down to a different key signature.
So maybe you have a little melody in the key of C, like C – D – E – D – C. And then you say to yourself, “I’d like to transpose this up a step to the key of D”.
Now your melody is D – E – F# – E – D.
It still has the same overall tune, it’s just a pitch higher. That’s what transposing is, and how it works.
Why Transposing is an Essential Piano Skill
Now let’s take a look at why transposing is an essential piano skill.
There are three main reasons that I consider really important. Tied into one of those points is a story of mine from band class in grade 6 which I’d like to share.
I wasn’t the greatest student. I was forgetful, and often left my music book at home. So when it was time for private lessons with my band instructor, I’d have my flute, but no music. I remember borrowing another kid’s book, but it wasn’t a flute book – it was clarinet or something.
So the little exercises and songs I had to learn were the same – only, the book I borrowed was in a different tuning. Perhaps the notes read something like D – E – F#, but I couldn’t play those exact letters on the flute as they appeared on the page – to make it correct and adjust for my instrument, I had to transpose it.
Since that was basically two decades ago, I don’t remember what I had to transpose to, but I do remember being able to do it on the fly, to the point of impressing my band instructor. I’d been taking piano lessons for years before that, and was comfortable with note reading and the idea of transposing.
Reason #1: It Helps You Play With Others
So this is one important reason transposing is useful – if you have to play in band and you forget your books.
For a more applicable adult scenario, though, say you’re playing in a band. And say your guitarist, instead of being in the standard tuning of E A D G B E, has everything tuned down a half step, to Eb Ab Db Gb Bb Eb.
This is a real-life example as well, since the guitarist of my band does play in this particular tuning.
So say this guitarist is telling you about a song he’s playing. And he says, “I’m playing these chords”:
E minor, G major (it’s a simple song)
But then you play an E minor chord on the keyboard, and it doesn’t match what he plays.
Since he’s a half-step down from standard tuning, you would then have to adjust for that. If he says “E minor”, you adjust it – transpose it – to Eb minor. If he plays what he considers an E minor chord, and you play Eb minor, they will match up and sound the same.
Sometimes the people you jam with will be really knowledgeable about music theory. Maybe if they’re in a non-standard tuning, they’ll be able to tell you the right chords, without making you figure out the transposing yourself.
But if they don’t know what they’re doing, you’re out of luck. Transposing to the rescue!
Reason #2: Transposing Helps You Sing
So that’s one reason that transposing is an essential piano skill. Another reason is this:
If you like to play piano and sing, sometimes the notes are outside of your singing range.
This happens to me all the time. I’ll be learning a song, start to sing it, and realize the notes are way too low because it’s a man singing. But if I shift my pitch an octave higher, I’ll be stuck in this crazy falsetto and it won’t sound good.
The solution is to transpose. Maybe if I shift the entire song up, say, a 4th, it’ll be at a singable pitch for me.
If you’re a male singer and you’re trying to learn a song with female vocals, you can do the same thing in reverse – transpose the notes down a 2nd, 3rd, 4th, 5th, or whatever distance will help you sing it.
Transpose to Make Songs Easier
The third reason that transposing is an essential skill:
Sometimes you’ll print off some sheet music, see 7 sharps in the key signature, and freak out and never play the song. 7 sharps is intimidating. Even 3 or 4 sharps can be intimidating, especially when you’re starting out.
For example, the key of F# major has 6 sharps, but if I transpose it up just a half-step, to G major, suddenly you just have 1 sharp to worry about, and it’s much easier to play.
I don’t do this with Classical pieces. I’ll only do this with pop pieces where I’m learning the chords and melody.
Another reason to transpose, is that it tends to get you comfortable playing in a variety of keys. Maybe you’re learning a lot of pieces in C major. Maybe you’d like to play around with different keys without having to learn a whole bunch of new songs.
Transpose them to different keys – F major, D major, and so on – and you’ll start developing an internal understanding of various key signatures.
It’s one thing to memorize various key signatures – G major has 1 sharp, D major has 2 sharps, and so on – but it’s another thing entirely to live that key signature by playing around with
So how do you transpose?
Knowing what notes are in each key/scale is important when you’re transposing, especially when you’re spontaneously transposing.
Say you start out in the key of C major, with no sharps or flats. But you want to transpose to G major, which has one sharp.
That would mean:
C = G
D = A
E = B
F = C
And so on. Eventually, you’d get to this point:
B = F#
Say you had a melody in the key of C that went like this:
C – D – E
To transpose that to the key of G, you would instead play:
G – A – B.
Transposing in Minor Keys
I also made a minor key cheat sheet, for those songs you learn that are in minor keys (also at the beginning of this post).
We won’t be doing any minor key transposing today, but it works the same as transposing in major keys. Both are super useful .
First of all, we have to figure out what key it’s in. It has one sharp in the key signature (F#), and starts on a G major chord. Therefore, we know it’s in the key of G major.
Now we’re going to transpose it up a 4th. What’s a 4th?
Quick Review of Intervals
A 4th is the distance between two notes that totals 4 notes. So a 4th up from G would be C.
Other intervals – note distances – can be found the same way. For example, a 2nd from G would be A, a 5th from G would be D, and so on.
Transposing from the Key of G to C
So a 4th up from G would be C. That means we start in a song based on G major scale, and now we’re trying to move it to a song in C major scale.
So every time a G chord is played now, you’ll be playing a C chord instead. Every time a D7 chord is played, you’ll be playing a G7 instead.
As for the melody, it starts like this:
D-C-B – D – D – – D-E-D
To transpose it to the key of C major, we just shift all of those notes up a 4th. When we do that, we end up with this:
G-F-E – G – G – – G-A-G
The biggest thing to remember with transposing is that you maintain the sharps or flats from whatever scale you move it to. For example, if you were transposing this song to B major, up a 3rd instead of a 4th, the transposed version would look more like this:
F#-E-D# – F# – F# – F#-G#-F#
Because B major has 5 sharps, you need to make sure that when you’re transposing, you’re remembering to include all of those sharps.
Another Transposing Example
Let’s do one more example. Let’s say our guitar player is in a weird tuning, and he’s playing the chords for I’ll Always Love You by Whitney Houston, and you’re both using the same chord sheet to play it. And you’re trying to play the chorus at the end, with the big dramatic key change.
Your chord sheet says:
B – G#m – E – F#
Since your guitarist is in a tuning that is a half-step down, when he plays those chords, it’s going to sound instead like this:
Bb – Gm – Eb – F
Every single chord will be played a half step lower, so you’ll have to play the second chord pattern to match what he’s playing. Alternately he could transpose up to meet you, but I think it’s best to be prepared.
(From Pianotv.com).
So please don't Transpose using the button, it will not help you. You might have this believe that even me that don't Transpose I can play well better than the so called All-keys players. Don't deceive your self, grow, all you need do is follow the guild in chapter 4 and humbly grow keep your pride down and learn.
CHAPTER 6
(How To Overcome The T.Button Addiction)
It's not all that easy to neglect what you've always tolerated and used for years. There's a saying, that what you tolerate or give time to always, you can't stop it easily. However, you can stop using that Transpose button now if you choose. I will share a little of my story for easy references.
"I started playing piano some years back, although it wasn't all that easy in this part of the world to perfect a particular skill. My mentor(Heavenkeys), he taught me in his best approach towards the piano. He taught me for some months; although he didn't tell the side effects of always using the Transpose button, cause he had always told me to use it to ease stress, then later you learn the remaining, he said. Nice, I continued learning till I was good in the key of F precisely. One Faithful day, I was invited to a church to play for their service. While playing, I noticed I was playing off and a good pianist I know was present in the church. I had to hide my face in shame when he came to take over the piano from me, because I was virtually looking for the singer's key for minutes. I made a decision that no matter what it takes I will develop my ears to grow tremendousy. I said that, willing to grow so I practiced harder.
To cut the story short, I went to a concert where my MD was invited to sing, so I went along to play for him. While he was singing he modulated. What? I had try to find the Transpose button all along but I didn't see it. Is there Transpose button in this piano? I asked my self, sweating already. I had to play it anyhow, and went home feeling bad again. Since those experiences, I made a choice never to use that button again, never. My Keyboard that has Transpose button in it I had to cover it, so as not to see it again. I strived so hard, learnt stragtegically the methods and formulars used in this book, and today through constant practice, here I am."
(My True life Story-->Author)...
It's just a matter of Choice, it's a decision you have to make. That's one of the stragtegy to grow above one-key, to all-keys. You must practice, and practice right too. You can't go far without practicing. To kill that Transpose button, kill the addiction first, by making a decision and stragtegically practicing constantly in the right way.
CHAPTER 7
(How to find a singer's key in seconds)
Not everyone was born with a Perfect Pitch (Ability to recognize keys and all that easily without a piano), but one can develop his/her to sounds. Every piano player must have this in his finger tip, that's why I wrote this full book based on the key system to help those struggling with it.
Question: If someone is singing how can a keyboard player locate the key? -Ikhile
Answer: My first impulse is to say, you just feel around until it sounds right, but what does that mean? The thing is to find the tonic. That's the "home" note. Assuming that this person is singing tonal music, i.e. any popular song, then there is going to be one pitch that seems like home and to which the singer often returns. In your imagination it will be the ending pitch, the one that wraps it all up. Songs don't always end on the tonic, but they seem like they ought to. So you get into your head what sounds like the home or tonic for the song you're hearing.
Then you want to hope that the singer is in tune with the piano and didn't happen to choose a starting pitch that was in between two keys. If the singer heard something from the piano or another tuned instrument before getting started that should be OK. If you are one of those with absolute pitch then you'll know right away the name of the tonic and can put your hands in place. But if you instead have relative pitch, like most people, then you'd probably need to quietly run over a few notes to find the singer's tonic.
Once you have the tonic it's just a question of major or minor. That's beyond the scope of this answer, but you probably know what minor sounds like. Most popular songs are in major keys, but if the scale is minor then you'll know what to do - I expect you wouldn't be asking this question if you didn't already know how to improvise in a key.
Below are some tasted methods that was used in the vol.1 of The Growth Process;
I have gotten so many comments,emails and messages from my students and many others asking me,sir,"How do I enter a key when a singer sings?".
Wow nice question. This same topic"key Finding", took me 24months to learn. Not that the subject was hard, nope. It was due to the fact that I was willing to learn, but didn't know how to go about it. No mentor to guild me, no music prof. to groom me through the process of building my ears musically. So on my own it took time and consistent pursuit for knowledge to pull through.
There are so many things one can do to get a person's key more faster and effective.Even though you weren't born with a Perfect Pitch, you can still pull through. Some of the ways are below;
1.Build your ears to identify notes especially in your major scale. Everytime you wake-up, take conscious step to memorise or sound the notes in your scale. Then,try doing/sounding it chromatically like this; DO DI REH MOH MI FAH FI SOH ZI LA TOH TI (all together 12. You should be able to sound this faster and accurately). When you do this often you are conciously Taming your mind,brain and ears to sounds,which will invariably increase your chances of getting keys even without access to a keyboard.
2. Try to listen to the song, before rushing to click the buttons/key on piano. There is something I always tell my students, both live and online, that if you can't listen and produce the sound your hearing correctly, there are chances that you could get the wrong key. The first thing you do when you want to find a singer's key is LISTEN, and try to produce the right sound with your mouth,then find the sound on the keyboard.Like I will always say, "I prefer someone whose musical ears are accurate, than someone who can play very well on the keyboard, but don't know when a singer is on the key, or has left the key etc".
3. Most songs end on the tonic(Doh). If that's the case you have two choices here;
(a). It's either you choose to wait for the end of the song, then get that Doh sound and hum it,then find the sound on the piano.
(b). You can choose to pick the Doh from the starting of the song or the middle (that part where it seems the song is resting) then find the sound on the piano.
4. I use this method most of the time.To get a singer's key, the idea is to listen and then pick any sound you hear, then run your solfageio scale(do re....TI) very fast in your mind till you get to the Doh, then that's the key. You can now find it on the keyboard.Now I said any sound, I mean any sound from the song, even if it's "ah","God","I" etc any sound at all. All you have to do is run the sound you produced through your scale.
For example if a singer sings
"Jesus you love me too much oh"
Too much oh
Too much oh excess love oh
I can choose to pick "OH" then run my scale with it to get my doh like this(Doh re mi....to do) but instead of using that,use "oh" to run it.If you produced the right "Doh"sound,you would get the right key on your piano.
5. You can also use the "humming System". It talks about you humming the sound alongside the singer, then Finding the Doh you hummed on the piano.simple right.
6.Another way you could find someone's key, is this. If you are a chronic transposer, then you can make use of your weakness here.How you do it is this. When the singer starts singing,first produce the ending sound "doh" of the sound by going ahead of the singer in your mind,then use your T.button(Transpose button) by either adding (+ or -) , but I prefer you (+).when you (+), observe the sound,if it rhymes with what you've produced,then that's the key if not try again, until you get to the point where by one can't tell if it's you or the piano that's producing the sound.
7. You can also try this way too. If after producing the sound by first listening to the sound, then proceed to the finding the sound on the piano by first clicking on key C. If key C isn't the key, then you have the right to neglect all the scales contained in C on other keys...This will however limit your search on the keys not in the C scale.
8. Note, this is it. If you try all these and still no improvement,then try leugreat's principle. It states that "the amount of time you spend trying to find key, put that hours of trying, into developing your ears musically,and that's all".simple rule right?. If after all these 7steps and you still find it difficult, please forget about finding key and pursue developing your ears.If your ears are bad musically, these steps will not be effective, because you will find it difficult. Leave whatever you are doing, and build your ears. Cause when it's built, you won't struggle to find key,scale,chord progressions etc. The last chapter will talk more on ear development and how to go about it.
ARE THOSE METHODS USEFUL? Answer depends on you.
CHAPTER 8
Why many Fail to Get The Right Key)
The problem is not getting the key, because you can get any key from the piano. The point is, is it the right key? How do you tell it's the right key? Why do I fail to get this key? But I did the above method, yet am still struggling to get a singer's key, what's wrong? You might be caught up in the web of those questions, what appropriate approach have you used to settle that?.
There are certain things that could make one not get the right key to a song or a singer, some of them could be;
(a). INDISCIPLINE ; One of the major qualities of a keyboardist is Discipline. Are u disciplined with the keyboard? Do you try always to show yourself using ambiguous chords and extension, just so people might say you are super good, and loosing the flavor/Interest of a song to a listener? You are indisciplined. A good keyboardist does just show in playing all the chords in one minute, but in discipline. Your sitting position, how you talk, how you listen, your approach to songs. You don't just make noise with your Chromatic Scale all in the name of finding a singer's key, that's INDISCIPLINE.
(b).POOR HEARING EARS(MIXED HEARING) : Are you always confused on the multiple sounds you hear while finding a key? Then you fall under this category. Remedy: Try developing your ears to identifying a sound at a time, always know the sound of your Chromatic Scale( doh, di, reh, moh, mi, fah, fi, soh, zi, Lah, Toh, Ti, ). Learn to distinguish each sound from another, that's when practice comes in. You can use ear training apps to develop yourself too.
(c). NOISY AND BUSY ENVIRONMENT/ DISTRACTION : Do you stay in noisy environment when trying to figure out a key? If you do that stop it, if not you will get a wrong key. Our brain is programmed to function better while single-tasking not Multi-tasking. The sounds from the noisy/busy environment might conflict with the sound of the piano, and thereby clashing and making you get a note in the paino. Many while trying to get a key, gets distracted and carried away. You must be careful.
(d). GETTING ONLY A NOTE AND NOT THE TONIC : Most instrumentalist fall under this category. Most people When looking for a singer's key, tend to hear notes and not the tonic, that's why there end up getting a wrong key. Most at times back then it happens alot to me, I would feel I have gotten the key, not knowing that it's just a note I heard, and I end up messing the key up. What you look at for is not the note but the TONIC. Let your ears try to get that tonic(Doh), if not you might end up picking a note in the scale and get the wrong key. Usita note in the scale is not bad, that's if you understand intervals well enough. Later in this book, we would look at intervals, and how to use it get a key.
(e). UNRELAXED/ALWAYS TENSED AND PRESSURED : Are you in this category? Are you always pressured anytime you want to especially find a key? Or other stuffs in the piano? Relax, that's the key word. Don't let anyone pressurise or make you feel tensed, be calm and do what you wanna do.
(f). BAD EAR DEVELOPMENT : People tend to feel good when things are working out well. What if your ear fails you? It only fails you when you haven't mastered the use of developing a strong solid ear, to identify sounds in whatever production it comes from. A keyboardist that has a bad ear will always struggle. It's not a curse, but a reality. Your ears must be open but logically and musically to know variations. You are hearing, not listening. In developing your ears , you listen. Listening is a great tool many Fail to use when faced with circumstances in the piano world.
(g). RUSH : Most people won't get a key easily even after applying those methods, because of rush. Most people the moment they hear a singer sings, immediately there jump on searching for the key even without hearing to know the tonic. That's why most people end up making noise , especially in church services, when a keyboardist will use the whole of Worship segment to look for just a key to a song. To get a key, avoid anything rush. Be calm and listen. Most people don't listen they only hear and delve at once to the piano, no, it's not so especially if you don't have Perfect Pitch.
CHAPTER 9
( Understanding Intervals & Using it to get a Key)
What are Intervals :
An interval is the space between two notes. Let's take a look at the C Major scale to illustrate what I mean. The distance between the C and the D in the C Major scale is a second. D is the second note in the scale. Follow same logic and you'll find that C to E is a third, C to F is a fourth, C to G is a fifth, C to A is a sixth, C to B is a seventh, and C to the next C is an eighth. An interval of an eighth is also called an octave.
Now you know all of the major intervals of the C Major scale, but what about the sharps and the flats? Let's take a look at those intervals now. I said previously that the interval between the C and the D is a second. Let's take that a step further and call it a major second. If you look at the keyboard, you'll realize that there is a black key in between the C and the D keys, the D flat key. This interval is not quite a full, or major second, so we call it a minor second. The same goes for the interval between C and E. There is a black key right before the E key. If the E key is a major third, we can call the black key directly before it, the E flat key, the minor third.
Ok, so I've told you what happens when we go down a partial interval. What happens when the black key goes up a partial interval? This very thing happens at the F key. The interval between C and F is a fourth. The F sharp key is what we call an augmented fourth. Augmented simply means that it is slightly above a perfect fourth. That same key can also be called a diminished fifth. This is because the note is just as close the the perfect fifth as it is to the perfect fourth. In the case of the fifth, the note is lower than perfect, or diminished.
Intervals can be measured upwards or downwards. That is, when you play a C-G fifth interval, you can say that G is a fifth above C or that C is a fifth below G. So, a descending interval is measured from the top note to the bottom note. Likewise, ascending means . . . oh, you can figure that out.
This logic can be applied all the way throughout the scale. The A flat key is a minor sixth right before the major sixth made by the A key. The A flat key can also be called an augmented fifth, because it is right after the perfect fifth. If the interval between C and B is a major seventh, it stand to reason that the interval between C to B flat is a minor seventh.
Playing many notes simultaneously is the essence of harmony. The notes you choose and how you arrange them around the melody determines the kind of harmony you produce, whether you use many notes or just one note with each hand.
Building intervals
The distance between any two musical notes is called an interval. You need to understand the concept of intervals and the notes that make up each interval so that you can identify and select the right notes to build harmonies. But you also use intervals to identify and build notes in a melody. As you play or sing the notes of a melody, the melody can do one of three things: It can stay on the same note, it can go up, or it can go down. When it goes up or down, the question of how much leads to the subject of melodic intervals.
You measure an interval by the number of half-steps and whole-steps in between the two notes. this method involves lots of counting, memorization, and complicated arithmetic.
Exploring the types of intervals
Like scales, intervals come in different varieties: major, minor, perfect, diminished, and augmented. Knowing these classifications helps you identify and build harmonies for the music you play. For example, if you want to build a minor chord to harmonize with a melody, you must use a minor interval.
Here’s your guide to making different types of intervals:
Major interval: Measure a major second, third, sixth, or seventh by matching the second, third, sixth, or seventh notes of the major scale and counting the half-steps from the root note.
Minor interval: You can make a second, third, sixth, or seventh interval minor by lowering its major counterpart a half-step.
Perfect interval: This label applies only to fourths, fifths, and octaves.
Diminished interval: You can make any interval diminished by lowering it a half-step.
Augmented interval: You can make any interval augmented by raising it a half-step.
In an eternal attempt to be lazy, er, efficient, musicians use the following abbreviations when discussing intervals:
M for major intervals
m for minor intervals
P for perfect intervals
dim for diminished intervals
aug for augmented intervals
Numbers for the interval size, as in the number 5 for a fifth
So, when you see P5, you know it means a perfect fifth. When you see M2, it means a major second. When you see m6, it means a minor sixth.
Using The intervals, you can get the key a singer is in. The only method you must practice effectively, if you want this to work for you is this;
Everyday try saying the sound of these notes, dragging them to your tonic (Doh). So in that way when you hear the note Interval, you can immediately get the key even by ear.
Reh-->Doh
Mi-->Doh
Fah-->Doh
Soh-->Doh
Lah-->Doh
Ti-->Doh
Doh-->Doh ( Octave)
Then take it the reversed method;
Doh--> Reh
Doh-->Mi
Doh--> Fah
Doh--> Soh
Doh--> Lah
Doh--> TI
Doh--> Doh
You might be wondering what you are to use the above to do. Well if you understand that Intervals and sounds well enough, getting a key Won't be hard, cause from the interval we know the Root (tonic <Doh>).
CHAPTER 10.
(Try Ear Development Exercises,)
This is the last Chapter in this Volume 3 of Growth Process. I believe you have learnt a lot now. If you have tried all the methods in this book and you are finding still difficult, then reconsider building up your ears . Ear Development shouldn't be overemphasized, because it's importance is not far-fetched. Every keyboardist must have his ear open not only to keys, chords and Intervals, but lot more to learn Through the ears too.
THIS IS A METHOD FROM KELVIN CORNELL.
Let’s talk about your ear. Your ability to hear properly is perhaps the sole thing that allows you to create, write, and perform music – and your most valuable asset as a musician. And yet, many musicians don’t take the time to develop their ear, instead relying more on technical proficiency, knowledge, and gear. There’s nothing wrong with utilizing those things, but you’ll feel a lot more confident if you don’t have to rely on them.
WHAT IS EAR TRAINING?
First thing’s first, what is ear training? When you train your ear, you’re learning how to more accurately (and objectively) identify musical elements.
There are a lot of different ways to train your ear, and what you focus on will depend on who you are as a musician and what you want to achieve…
For a composer, it may be worth practicing transcription to the point where you can hear a melody and write it down in musical notation. For a musician in a band, it may be better to focus on quickly identifying the key of a song so you can jump in with a melody or a solo. A songwriter may benefit from training her ear to hear chords in order to quickly and easy get chord progressions down.
It’s important to note that ear training is not the same thing as perfect pitch (though some musicians are able to develop it through extensive ear training). Instead, you will be developing relative pitch. You’ll learn how to hear the difference in pitch (higher or lower) as well as the quality (major, minor, etc.) between two or more notes. Ear training can also help you discern subtle differences in elements of a mix.
Ear training and music theory go hand in hand. And being able to hear and name what you’re listening to can help you identify what is happening in the songs you hear on the radio and on popular playlists.
A METHOD FROM TONEDEAR
Ear Training Practice
These exercises will improve your musical ability by developing a more intuitive understanding of what you hear. For best results, practice a little bit every day:
Intervals: In this exercise, you will hear two notes in sequence. Your goal is to identify the interval between the two notes.
Chords: In this exercise, you will hear a chord. Your goal is to identify the type of chord that you heard.
Scales: In this exercise, you will hear a scale. Your goal is to identify the name of the scale that you heard.
Chord Progressions: In this exercise, you will hear a chord progression. Your goal is to identify each chord that you heard.
Perfect Pitch: In this exercise, you will hear a single note. Your goal is to identify the name of the note.
Scale Degrees (functional): In this exercise, you will hear a short chord progression followed by a single note. You must identify the scale degree of that note relative to the key established by the chord progression. This is also known as "functional ear training".
Intervals in Context (functional): This exercise combines the "Intervals" and "Scale Degrees" exercises. In this exercise, you will hear a short chord progression followed by two notes. You must identify the major scale degrees of the two notes relative to the key established by the chord progression as well as the interval between the two notes.
Melodic Dictation: In this exercise, you will hear a short chord progression followed by a short melody. You must identify the major scale degree of each note in the melody.
A METHOD FROM KEY-NOTES ANDREW
There are a couple ear training exercises you can do to develop inner hearing. Since you know C major, first try playing C and then singing any other scale degree (the notes within the C major scale). Then play the corresponding note on the piano to see whether the two match.
Next, move on to other keys. What’s important is the interval relationship. Thus, try playing any other key on the piano and then singing a major scale starting from that note. Then try the exercise as above, in the new key.
Something all pianists should do in their daily practice is sing each voice in their pieces. Use the French/Italian note names (do re mi fa sol la si/ti), ignoring sharps and flats for the purpose. (This is called “fixed do” solfège.) Take a passage, sing each voice, and then check your accuracy with the piano. This assumes your piano is in tune!
I like to transpose sections of pieces I’m working on, to test my ear and knowledge of the harmony. This exercise is particularly useful for unusual harmonic progressions, and it will ensure that you’re learning with your mind and ear, not just your fingers. At a more basic level, you can always transpose melodies by ear. Simply start on another pitch and play the same intervals. Work slowly and always try to hear the proper note in your mind first… don’t simply fumble around at the keyboard until you chance upon the right note.
A METHOD FROM MUSIC-U
Playing by ear is a highly desired skill among musicians. Although many assume you need to be born a natural to do it, in fact playing music by ear requires a collection of skills which can all be learned. Knowing the right kinds of ear training and the truth behind how playing by ear works can enable you to learn to play by ear quickly and easily.
“You hum it, I’ll play it” is the classic response of the bar-room pianist to an unknown song; but why is it that some people seem to have an innate ability to instantly play anything they have heard while most of us struggle?
Virtuoso musicians like Mozart or Jaco Pastorius gained fame for being able to recall hours of complex music after a single listen, but for the average musician that’s only a pipe dream.
Like “Perfect Pitch“, playing by ear is often talked about as if it’s some kind of innate gift which only some people possess (and it’s true that some people seem to develop this skill without really trying) but as with all aspects of music, hard work usually beats talent in the end.
If you want to develop some serious playing by ear skills nothing beats time spent with a CD player or iPod, wearing out the rewind key while working out your favourite tracks. Working on your aural skills with dedicated play by ear training will give you a serious advantage and speed the process up considerably though!
Ear training skills which can help you play by ear include:
Strong absolute pitch can allow you to hear the key of a song
Interval skills will help you to pinpoint the hard to find the notes in riffs and melodies
Chord ear training will make identifying progressions much easier
Rhythm ear training will help de-mystify strange phrasing and syncopation
Using ear training exercises to develop each of these key listening skills can help your overall play by ear training and make it faster and easier to play music by ear.
Playing by ear is a wonderful skill to develop and one which is often neglected in the classical tradition, where players can become reliant on having the sheet music in front of them. With a bit of ear training under your belt, a limitless repertoire of music opens up to you.
Note: From all these methods , choose the one comfortable by you, and start developing that ear. Because the ear is the most important part of a piano followed by your hand coordination.
You can also use Ear training apps to build up your ears and I will recommend; Piano companion, Master Ear training, perfect Pitch. Try checking those apps out and use them develop your ears musically.
I believe this book has been helpful in one way or the other. Try not only to read this book, but to maximize the ideas and potential accelerating information in it to your advantage. Make good use of it and change your playing once and for all.
About The Author:
.
The author's real name is Ezekiel uchechukwu odikayor, but is formally known for his popular stage name Leugreat. He hails from Delta State, but was born and breed in Port Harcourt where he built his capacity. He had this passion burning in him since 2012, but today he had written so many books on the piano. He is a great eloquent writer and teacher, who has through his gift taught many the art of mastering their skill beyond the impossibilities and odds they face.He runs a school where he teaches student not only piano and other instruments, but technique building and quality self confidence attainment in any level. He has demonstrated this act with many students both live and online classes for students.
SPORADIC ADVICE FROM THE AUTHOR TO ALL PIANIST
If you want to improve or become good in your Field, constant practice should come first. Learn from the mistakes and achievemens of those you wish to be like in your field. Then be your self don't emulate others.Be disciplined and be good at your game; then you earn your value and respect.
No body in this piano field was born playing that. Everyone of them that you know are good including I myself, all went through the process. If you skip the theory, it always have ways of coming at you in the future. Its just a matter of time. What shows the difference between an intermediate/advance and a beginner,is;
(a) Knowledge
(b) Techniques
(c) consistent Practice
(d)Mentors and clear opportunities to explore.
Don't give up in your pursuit for excellence,and being the best. Being the best doesn't mean you must be recognized as the no.1 in the world, no, far from it. There are millions of keyboardist/pianist in the world, one can't tell the very best. However,strive to be the best in your field, your location, your state etc. Practice always.
GOODLUCK
(LEUGREAT).
Thanks for reading to the end. It's our pleasure engaging you to something effectual that would lead to your "GROWTH PROCESS"
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Tag der Veröffentlichung: 29.10.2020
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Dedicated to all my friends in the piano world Still struggling with key and it's system, this book will be of great help.