HearandPlay.com Monthly Newsletter --- June 2005!
http://www.Hearandplay.com
Serving 183,955 Musicians Worldwide!
 
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Contents:
I. Welcome
II. Announcements
 
III. Online Classroom:
       "How to Master Every Major Key"
             
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Dear Member,
 
I'm so excited to share a topic that has been increasingly asked by hundreds of our members over the past few months --- and because I only try to cover topics that will help a majority of my members, I've decided to cover it this month!
 
This month's newsletter focuses on how to master every major key. Playing well in one key is good, but if you're going to get to the next level, you'll need to be able to play beautifully in all twelve major keys!
 
Having several gospel courses and tons of gospel music students, I understand why Db, Eb, and Ab (to name a few) are among the favorite keys to play in. You know why?
 
Musicians love familiarity. For example, if the first song you learned was in Db, you probably had the tendency to learn other songs in that same key. You probably also practiced mostly in that key because of the songs you were familiar with at that time.
 
And in gospel music, it just so happens that most songs are in Db, Eb, Ab, Gb, and Bb. In jazz, you'll play in a variety of major keys, including F major and C major, to name a few, but for gospel, it seems to be all about those flat keys.
 
So when a majority of your songs are played in Db and Ab, you get skilled in those keys at a much faster pace than others. In fact, in major keys like A major, E major, and D major, you suffer because of lack of experience.
 
I challenge you to take the techniques and principles I'm going to show you and learn all twelve keys because at the end of the day, it is indeed all up to you!
 
Believe it or not... you're the one who decides whether or not to explore a new key or to remain confined to the major keys you know best.
 
You're the one who decides to take every chord you know and move it up a half step to the next major key --- it really is that simple, but it takes time and patience and you may even need to write down each chord or voicing as you get used to the new key.
 
... But what it all amounts to is making the decision to learn all twelve keys so that when the time comes to play a song in B major (or any other unfamiliar key), you won't hesitate to shine!

Enjoy this month's online classroom.


"The Secrets to Playing Piano By Ear" 300pg Course - Learn the secrets to playing literally any song on the piano with a few simple, "easy-to-understand" techniques and principles! Join Jermaine Griggs in learning tons of music theory, concepts, and tricks that will help you to learn piano by ear! Thousands of musicians have already taken advantage of this excellent program ... why not you?

"The Secrets to Playing Piano By Ear" is full of easy-to-understand tricks, tips, techniques and secrets to playing piano by ear! For this month only, I've also been able to throw in a few bonus items (3 additional piano software programs). Click here to learn the secrets to playing absolutely any song on the piano in virtually minutes! You won't regret it!


 
2004/05 Newsletter Archive Available at https://www.hearandplay.com/newsletters
 
 
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Online Classroom:
 
 "How to Master Every Major Key"
 
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Note: You might want to print this lesson out for easier
reading...
 
 
If you haven't recognized already, the concept I've been discussing is called "transposition." You've probably heard it said another way ... like "transposing" or "take it up!"
 
If you have the 300pg course, you can find detailed information on transposing songs in chapter 20 (pgs 295-298). If you don't have the course yet, just keep reading as I'll define key terms below.
 
Transposing a song is basically moving it from one key to another. For example, if you're playing a song in the key of C major, to transpose it simply means to take it from C major and play the same exact song, but in terms of a new major key.
 
Anything can be transposed ... not just songs. You can transpose chords, melodies, scales, and more!
 
Let's get right to work...
 
Ok, let's say you know a basic song (for the purposes of this lesson, let's play "Lean on Me" by Bill Withers). This song will be easy for anyone to catch on to (whether beginner or advanced). Plus, most people know this classic!
 
Here's a sample recording of the chorus part that I'll use:
https://www.hearandplay.com/leanonme.html
 
 
If you're good at finding the key center of a song (see January 2005 newsletter), you already know that the recording above is played in the key of C major. If you're not good at finding key centers of songs, refer to my 300pg course and the bonus CD-rom which comes along with it. Piano Player Plus v1.0 helps you to train your ear with various sound exercises and tests, all done on the computer.
 
But back to "Lean on Me"...
 
Here's the main chorus:
 
Major key of C major
 
Left  ///   Right hand
 
C     ///   E + G + C
 
C     ///   E + G + C
D     ///   F + A + D
E     ///   G + C + E
F     ///   A + C + F
 
F     ///   A + C + F
E     ///   G + C + E
D     ///   F + A + D
C     ///   E + G + C
 
 
Notice how these are just basic triads. As famous as this song is, the chorus is nothing more than basic triads walking up the first four notes of the C major scale and right back down.
 
Try playing it now.
 
The left hand uses single notes while the right hand simply plays various three-fingered chords.
 
 
... so now that you know a few chords, let's examine how to transpose this chorus to other major keys.
 
 
Transposing:
 
I'll cover two methods.
 
1 ) The first one uses half steps and whole steps.
 
In music, the distance between any two notes right next to each other is called a "half step." So the relationship between C and Db, for example, is a half step. The relationship between E and F is also a half step.
 
A "whole step" is the distance between two notes that are separated by a key. So the distance between C and D is a whole step (because Db is in between them). Just remember this poem and you'll be alright:
 
Half steps are from key to key with no keys in between,
Whole steps always skip a key with one key in between.
 
 
So with that said, let's take "Lean on Me" and figure out how to move it into another key.
 
 
Major key of C major
 
Left  ///   Right hand
 
C     ///   E + G + C
 
C     ///   E + G + C
D     ///   F + A + D
E     ///   G + C + E
F     ///   A + C + F
 
F     ///   A + C + F
E     ///   G + C + E
D     ///   F + A + D
C     ///   E + G + C
 
 
Since we're already in the key of C major, we'll need to figure out what key we want to move the current song to.
 
Let's try D major first.
 
There's just two things you have to do to move this song from C major to D major:
 
1. Ask yourself, how many half steps OR whole steps is D major (the new key) from C major (the old key)
 
RECAP: Find out the distance between the new key and the old (in either half steps or whole steps, whichever one you prefer).
 
2. Move each chord up or down that many steps (whatever the answer to question #1 is).
 
 
This is best explained by demonstrating exactly what I mean:
 
Ok, our current major key is C major.
 
In step one, we need to know how many whole or half steps are in between C major and the new key we want to transpose to (D major in this case).
 
So......
 
The distance between C major and D major is 1 whole step.
 
(that is, C to Db is 1 half step, Db to D is another half step. 2 half steps = 1 whole step).
 
 
Now all we need to do is move every one of our chords up 1 whole step:
 
"Lean on Me" in C major "Lean on Me" in D major
 
Left  ///   Right hand
 
C     ///   E + G + C
 
C     ///   E + G + C
D     ///   F + A + D
E     ///   G + C + E
F     ///   A + C + F
 
F     ///   A + C + F
E     ///   G + C + E
D     ///   F + A + D
C     ///   E + G + C
 
Left  ///   Right hand
 
D     ///   F# + A + D
 
 D     ///   F# + A + D
E     ///   G + B + E
F#     ///   A + D + F#
G     ///   B + D + G
 
G     ///   B + D + G
F#     ///   A + D + F#
E     ///   G + B + E
 D     ///   F# + A + D
 
Notice the differences between the old key and the new key.
 
For the first chord, C is the bass in C major but in the new key, D is the bass (or left hand).
 
D is one whole step higher than C so that makes perfect sense. For every note, this should be the case.
 
C /// E + G + C
 
D /// F# + A + D
 
 
D is 1 whole step higher than C
 
F# (the first note in the right hand) is one whole step higher than E
 
A is one whole step higher than the G from the old chord
 
D is one whole step higher than C from the old chord.
 
 
While this method can surely allow you to transpose all the songs you know into new keys, it is very time-consuming.
 
 
 
2. The second method involves relating the chords and notes of one key to the other. Let me explain:
 
 
The first method we used looked at everything independently. That means no matter what you play, whether a chord, scale, 5-fingered chord, or 2-fingered chord, you move everything up 1 whole step (or how many ever steps it takes you to reach the "new" key).
 
This second method looks at the grand scheme of things. That means, we analyze "WHAT" chords or scales are being played and we just apply those same type of chords to the new key.
 
 
In order to master this step, YES, you need to know your scales and chords. I mean, to be an excellent musician, you should know these things anyway, right?
 
Let's take a look at our example once again:
 
Left  ///   Right hand
 
C     ///   E + G + C
 
C     ///   E + G + C
D     ///   F + A + D
E     ///   G + C + E
F     ///   A + C + F
 
F     ///   A + C + F
E     ///   G + C + E
D     ///   F + A + D
C     ///   E + G + C
 
 
In this method, you'd analyze the chords to see "what's going on" basically.
 
Here's what I see:
 
1) The first chord is a C major because C is on the left-hand bass and E + G + C is played in the right hand. Any time the notes C, E, and G are played together, that means you're probably playing a C major chord or something related to it.
 
2) The second chord above is also a C major. It's identical to the first chord.
 
3) The third chord above is a D minor because D is being played on the left-hand bass while F + A + D is being played on the right hand.
 
4) The fourth chord is a C major chord with an E bass. Notice that it has the same combination of notes as the first and second chord above ( C  E G). It's simply played in a different order this time (we call that "inversions")
 
5) The fifth chord is an F major chord because F is the bass and A + C + F is played on the right hand. While you're probably used to seeing F A C as an F major chord, A+C+F is just another way to play it (another inversion).
 
Lastly, the next four chords are just the same chords played in reverse order.
 
 
So with this method, you just look at the BIGGER picture.
 
You say to yourself:
 
"Hmmm Self"
 
"The left hand bass is basically the first four notes of the major scale of whatever key I'm in" AND...
 
"The chords are basically:  1st chord major, 2nd chord minor, 1st chord major with "3" bass, and 4th chord major ... and do the same thing going down."
 
With this type of method, you should be able to go to any major key given that you know the major scale of the new key.
 
Let's look at the C major scale (the key in which this song is played in):
 
C D E F G A B C
1 2  3 4  5 6  7  8
 
So we used the 1 major chord (C major)
 
Then we used the 2 minor chord (D is the 2nd tone of the scale and we used it's minor chord)
 
Then we used the 1 major chord again (C major) but this time with the 3 bass. What is the 3rd tone of the C major scale? E is the answer so basically we used E as the bass but the same 1 major chord (just played in a different inversion).
 
Lastly, we used the 4 major chord (which is F major).
 
 
With this same pattern in mind, just change the major key:
 
D major:
 
D E F# G A B C# D
1 2  3   4  5 6  7   8
 
What's the 1 major chord of D major?
_______________
 
Answer: D major chord
 
 
What's the 2 minor chord of D major?
_______________
 
Answer: E minor chord
 
 
What's the 1 major chord of D major with the 3 bass?
_______________
 
Answer: D major with F# bass (D major played with F# on top as well: A + D + F#)
 
 
What's the 4 major chord of D major?
_______________
 
Answer: G major chord
 
 
And... once again, you should end up with "Lean on Me" now in the new major key of D:
 
"Lean on Me" in C major "Lean on Me" in D major
 
Left  ///   Right hand
 
C     ///   E + G + C
 
C     ///   E + G + C
D     ///   F + A + D
E     ///   G + C + E
F     ///   A + C + F
 
F     ///   A + C + F
E     ///   G + C + E
D     ///   F + A + D
C     ///   E + G + C
 
Left  ///   Right hand
 
D     ///   F# + A + D
 
 D     ///   F# + A + D
E     ///   G + B + E
F#     ///   A + D + F#
G     ///   B + D + G
 
G     ///   B + D + G
F#     ///   A + D + F#
E     ///   G + B + E
 D     ///   F# + A + D
 
 
Now one last time...
 
Try transposing the song from C major to F major:
 
 
F major:
 
F G A Bb C D E F
1  2 3  4   5  6 7 8
 
What's the 1 major chord of F major?
_______________
 
Answer: F major chord
 
 
What's the 2 minor chord of F major?
_______________
 
Answer: G minor chord
 
 
What's the 1 major chord of F major with the 3 bass?
_______________
 
Answer: F major with A bass (F major played with A on top as well: C + F + A)
 
 
What's the 4 major chord of F major?
_______________
 
Answer: Bb major chord
 
 
 
"Lean on Me" in C major "Lean on Me" in F major
 
Left  ///   Right hand
 
C     ///   E + G + C
 
C     ///   E + G + C
D     ///   F + A + D
E     ///   G + C + E
F     ///   A + C + F
 
F     ///   A + C + F
E     ///   G + C + E
D     ///   F + A + D
C     ///   E + G + C
 
Left  ///   Right hand
 
F     ///   A + C + F
 
 F    ///   A + C + F
G     ///   Bb + D + G
A     ///   C + F + A
Bb     ///   D + F + Bb
 
Bb     ///   D + F + Bb
A     ///   C + F + A
G     ///   Bb + D + G
F    ///   A + C + F
 
 
See how simple that is?
 
If you're really serious about learning all your major scales, chords (like major chords, minor chords, dominant chords, diminished chords, seventh chords, ninth chords, eleventh chords, and more), then I strongly recommend that you check out my 300pg course "The Secrets to Playing Piano By Ear.
 

Chords to study for this online classroom:

 

Well, I hope you enjoyed my June newsletter and I'll be back soon! Practice hard until then!


This concludes your June Online Classroom Lesson
 
If you were intrigued by the online classroom lesson above,
then you would definitely benefit from my course!
 
*** “The Secrets to Playing Piano By Ear” 300-pg Course ***
 
With 20 chapters and over 300 pages, the home piano course provides several resources, techniques, tips, principles, and theories to playing the piano by ear. Along with hundreds of chords and scales, you'll also learn how to turn them into gospel, jazz and blues chord progressions and better yet, how to use them to play ABSOLUTELY any song you want ... IN VIRTUALLY MINUTES! Again, don't miss this opportunity. I've even added an additional bonus if you purchase the course this week --- You can read more about the course at:
https://www.hearandplay.com/course
 

 
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Yours Truly,
Jermaine Griggs
www.HearandPlay.com
www.GospelKeys.com
 
 

Newsletter Archive - Click here or visit https://www.hearandplay.com/newsletters.html

 
 

Further References

"The Secrets to Playing Piano By Ear" 300-pg Course

[5] Chords & Progressions: pgs 65-78, 105-130, 147-165, 182-227.

Do you know what a2-5-1” or "3-6-2-5-1" progression is? Or perhaps the famous 12-bar blues chord progression? In this piano course, you will not only learn how to play gospel, blues, and jazz progressions, but how to recognize them in songs. In addition, you will learn the simple techniques to playing these progressions, hymns, and songs in all 12 major keys! ... Enjoy learning:

The famous "2-5-1" Chord Progression: pgs 114-120, 153-156, 208, 235-236.

I - IV - I - V - I Chord Progressions: pgs 66-70.

I - IV - V - IV - I Chord Progressions: pgs 77-78.

Techniques behind the famous "5-->1" progression: pgs 68-72.

I --> IV,  I --> V Chord Progressions: pgs 74-75.

"Circle of Fifths" Chord Exercises: pg 78.

Major and Minor Chord Progressions: pgs 105-130.

"6 - 2 - 5 - 1" Chord Progressions: pgs 121-122, 157-159.

"3 - 6 - 2 - 5 - 1" Chord Progressions: pgs 122-123, 160-162.

"7 - 3 - 6 - 2 - 5 - 1" Chord Progressions: pgs 124-125, 190-191.

Gospel Chord Progressions ... ranging from "up-tempo praise" chord Progressions to "worship-oriented" chord progressions: pgs 65-78, 105-130, 147-165, 182-227.

Various Blues Progressions ... 12-bar, seventh chords, diminished chords ... and others: pgs 163-165, 192.

Jazz Chord Progressions ... using dominant ninth, eleventh and thirteenth chords: pgs 193-240

Study the different types of Root Progressions --- closing, opening, circular and other types of progressions: pgs 121-122.

Study how chord tones and scale degrees relate to each other [which chord progressions are most likely to be compatible]: pgs 122-130.

Learn various "turn-around" progressions [used in gospel music]: pg 213-214.

If you don't have the 300-pg Course, click here to read more about it.

 

 
"The Secrets to Playing Piano By Ear" 300pg Course - Learn the secrets to playing literally any song on the piano with a few simple, "easy-to-understand" techniques and principles! Join Jermaine Griggs in learning tons of music theory, concepts, and tricks that will help you to learn piano by ear! Thousands of musicians have already taken advantage of this excellent program ... why not you?

"The Secrets to Playing Piano By Ear" is full of easy-to-understand tricks, tips, techniques and secrets to playing piano by ear! For this month only, I've also been able to throw in a few bonus items (3 additional piano software programs). Click here to learn the secrets to playing absolutely any song on the piano in virtually minutes! You won't regret it!


 

Newsletter Archive - Click here or visit https://www.hearandplay.com/newsletters.html