Learn how to play piano by understanding music theory in our beginner's guide to You may be more interested in the rock keyboard players. Teach yourself how to play keyboard with our award winning easy keyboard lessons, designed and used by professional keyboard teachers and students. Piano | Keyboard. Piano. Back to Top ^. Print Version · Ebook (Standard) · Ebook (Enhanced) · FREE Online Lessons · Print Version.
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by Martin Woodward available from Rakuten Kobo. Sign up today and get $5 off your first download. Learn to Play Piano / Keyboard for Absolute Beginners - A. Piano Keyboard pawnfacumapbma.cf contains lots of free piano lessons for beginners, intermediate and advanced players. Learn to play piano and keyboard here. The ebook teaches how to play keyboard and piano chords, notes, what you learn here you will be able to begin playing piano and keyboard.
You can use this method to practice the particular aspects of music you are learning. When you do, you are not forced to search for music that fits the situation. At the same time, you are practicing coming up with examples of concepts you are trying to learn.
It trains your mind. All along, you can also be testing out what you have learned by trying to play parts of written music that you have on hand. It can all be a part of the process. Chapter 8 — Personal Story: Learning Piano Basics I was one of those people who always dreamed of playing the piano but never thought I could. At least I was until I came across some short, simple lessons on the basics of piano playing.
I decided to give it a try, and I have been practicing ever since. When I started, I knew what a piano looked like, but I had not really taken notice ofhow the white and black keys make a pattern. That was the first little bit of instruction that helped me to realize that the piano might be decipherable after all. Since thekeyboard could be broken down into sections, I had something to guide me in finding each individual key. I began with the lessons that were in the material I had. After each section, I had totry out the concepts I had found out about.
I had to try to play the notes, write the notes, clap the rhythms, or play lines of melody. In awhile, I began to test myself. I wentback over the lessons and tried each concept. I did this several times, always gettingbetter and better.
I developed my own practice schedule, finding time between my work and daily chores. It was satisfying to accomplish so much so quickly.
The slow pace of formal lessons may be good for children, but as an adult, I appreciated the ability to go at myown pace. There came a time when I wanted to play music that was easy for me — music that I recognized rather than what I was writing out in my exercises. So, I went to themusic store and bought two books.
I went through the Easy Piano Book, learning to sight read without too much difficulty. That was when I began playing songs I had heard all my life. This particular Easy Piano Book was based on Broadway musicals. I knew most of the songs already, so itwas great to be able to play them. The Fake Book, on the other hand, was full of modern pop songs.
I had read through the lessons and found out how to use a Fake Book, so I quickly began. I did not know all the chords, so I looked up the new ones before I tried to play each song. Soon I was playing songs that I had heard on the radio. This was just as fun as the Broadway songs, and my friends seemed to like it even better.
It was a lot of fun for everyone, me included. I am so glad that I took the time to learn the basics of piano playing.
I am not a pro by any means. It does not matter to me. I never wanted to take the world by storm. I just wanted to learn something that would make me personally a little happier.
And thatis just what I did. Chapter 9 — Keys and Key Signatures It is difficult to talk about keys without some confusion because the physical blocksyou strike are called keys. At the same time, it is also necessary to talk about thetheoretical keys music is written and played in. For the purposes of this chapter, keys will referto theoretical keys and not the physical wood piano keys. Remember the talk about the lounge singer choosing a key in which to sing. Also remember that keys can be major or minor — happy-sounding or gloomy-sounding.
There are many factors that determine what makes up the key of the music. They involve theory that is too complex for most beginners. However, you can learn the key signatures that show what the key usually is. Thekey signature is a grouping of sharps or flats on the staff at the beginning of a piece of music. There might be no sharps or flats, and if it is a major key, then it is the key of C major.
For the purposes of beginning key signature theory, it is best to begin with major keys. The important thing to learn is what notes to make sharp or flat when you are playing. Write on a sheet of paper: Now draw a box around the G. This is a way to remember the sharps and the major sharp keys. One of the sharp keys is G, which has one sharp, which is F. Another sharp key is D, which has two sharps — F and C.
In other words, you start with the box to learn the name of the major key.
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Then,you count the letters starting with G. The key will have that many sharps in it, and they will start with F. For the flats, write down: This time draw your box around the F. Therefore, the key of F has one flat, which is a B flat.
Then, you go back to the beginning for the next one. The key of B flat has two flats, which are B flat and Eflat.
Before you begin to play a piece, look for the key signature on the left-hand side of the staff after the clef sign. It will simply show sharp signs on each line or space that corresponds with the notes that should be raised one half step. Or, it will show flat symbols on each line or space that matches the notes that are to be lowered onehalf step.
One thing to remember is that, ordinarily, the sharps or flats in the key signature are carried throughout the piece. That means that, for the key of F, every time you see a B on the staff, you play a B flat, for example. The flat or sharp signs will not be written beside those notes as long as the key signature is in place.
The key signature can change during the piece at any point. If it does, there will be a new clef sign and a new key signature marked on the staff at that point. Another time you might play something different is if you have an accidental. An accidental is a note that is not ordinarily in the key. A sharp or flat sign will be written by it to tell you what to do. As a beginning player, the key signature is really quite simple.
Just use it to tellyou what notes to play sharp or flat throughout the piece. You can learn more about keys when you have advanced further in your studies of theory. Chapter 10 — Get It Together with Chords If you have sheet music or songbooks to play from, they will likely have chords toplay. There are hundreds of possible chords in piano music. There are major and minor chords, diminished chords, inverted chords, augmented chords, and more.
Just because there are so many chords to learn, it does not mean you cannot get started on them right away. The easiest place to begin is with the major chords.
To think about chords, youcan start by thinking of the scales. You have played a C scale, which has all its noteson white piano keys.
You can start with a C major chord. Remember that the scale went up: A chord can have more than three notes in it, but you are going to choose the beginning note, the third note, and the fifth note. Therefore, you will be playing the beginning note, skip a step, play the next step, skip a half step, and play the next step — one, three, five.
Just put your right thumb on C, your middle finger on 3 which is E, and your pinkie on 5 which is G. Push down allof the keys together. You have just played a C major chord. You can invert the C major chord for a slightly different sound.
All you have to do is to use the same three notes — C, E, G — and play them in different positions. Forexample, you can play the E and G in the positions they are on in the home keys, but use the C above middle C with them instead of middle C. Try this and make up any variation of the C, E, G combination you can. You can make chords from any scale. Just remember the sequence of the scaleand choose the first, third, and fifth tone in that scale. There are two other major chords that can be played all on the white keys.
They are the F major chord and the G major chord. Now try these chords. Use the one-three-five sequence to make up eachchord. If you analyze the D, E, and A chords, you will see that their simple major chords are not much more difficult.
You just have to put the middle finger on the black key forthe third tone in the scale. Remember that D flat is the same as C sharp, and so on. This gives you several more chords to choose. The next three basic major chords are the opposite of the previous three. The D flat, E flat, and A flat chords are such that you put your fingers on the black keys for the one and five positions and on a white key for the third position.
When you invert thechord, you will have to remember which keys were originally one, three, and five, just as always. It is easy to remember that the G flat, also called the F sharp, chord occurs all on the black keys. You will have to work to memorize the B major chord and the B flat major chord, as they are a little different. B goes white for one, black for three, and blackfor five. B flat is just the opposite, with black for one, and white for three andfive.
Minor chords, the serious or gloomy-sounding chords are easy to make as well. For basic minor chords, you only have to lower the third note one half step. You would end up with a C-E flat-G for a minor chord. This goes back to the scale set-up. Whenyou Therefore, you would have beginning note-step-half step-step-step for thefirst five notes.
You can continue to learn different chords for a long time before you will have mastered them all. Learning chords gives you a way to add fresh new material to your practice and playing. The more you know, the easier it will become for you to play without written music.
Chapter 11 — The Big Fake and Improvisation It is nice when you are able to set the music aside and play any music that you like. It may be difficult to find the sheet music for every song you enjoy. There are two waysto overcome this predicament, and they are related in a way. One is to use a FakeBook, and the other is to learn improvisation techniques.
You can get Fake Books at music stores or by ordering them online. You can also geta version of the same concept when you come across a simple notation of a song. A Fake Book, or the like, has only two things to guide you. First, you will get a melody line in the treble clef. This will usually only show one note at a time — no chords — and itwill be a simplified version of the song.
The second thing you will get with this simple music is a letter above the staff. The letter signifies the chord you are to play in the bass clef and possibly add to the treble clef if you are skilled enough. There will be a letter above the staff each time the chord changes. By learning the chords, you are preparing yourself nicely to be able to use a Fake Book with ease. You can use the straight chords or invert them.
You can play them as running chords where you play each note separately in succession.
You can come up with any rhythm you choose for the bass clef. Using a Fake Book is a somewhat creative endeavor. You have to use what you know to fill in the blanks that are left by an incomplete score. In that regard you are in charge of inventing the music.
You can find Fake Books that are fairly current, with music you have heard recently on the radio. Yet, if you want to really come up with your own original song or instrumental piece, you can do it better by learning to improvise. You can learn very complex theory about improvisation, but you can begin with the information you already have.
You need to know mainly about scales and chords. Choose a scale to work from; a C scale may be the easiest for you since it is all onthe white keys. Next, choose some chords within that scale. For the C major scale, common chords to use are F major and G major.
This is because they do not haveany sharps or flats in them. Make up a chord progression. It can be C-F-G-C. Practice playing these chords with your left hand. The base chords are usually played below middle C, but that is not a rule, by any means.
Play them wherever you see fit. Play them as simple triads or invert them. Play them in any sequence. Play until they comenaturally. When you are comfortable with your chord progression, you can begin to improvisea melody. Just play with your right hand, one note at a time to make a melody line. It may not seem like music at first, but if you keep trying you will eventually come upwith an interesting melody line. You can also improvise on a melody you know. Say you want to play Jingle Bells, but you do not have the music.
You can quickly pick out the melody. Then, you can If you do not have sheet music, these are ways to play without it. Chapter 12 — Sight-Reading Written Music Sight-reading written music is when you play music as you see it for the firsttime. When you first get a piece of sheet music or a new songbook, all the music will be unfamiliar to you. You can get overwhelmed if you try to play perfectly from thevery first glance.
There are a few tricks you can learn to make it easier.
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Look at the key signature. This could possibly be the most important piece of preliminary information you can have. Think very hard about which sharps or flats are listed in the key signature. You will want to remember to use those notes whenever they occur throughout the piece. Look at the time signature. The measures will not make much sense to you if you do not know how many beats there are in each one of them. If you do not know what kind of note makes up a beat, you will be lost.
Look over the piece for any changes in key signature and time signature. Youmay be playing along and come across a change out of the blue.
If you are not preparedfor it, you might end up playing the song incorrectly from that point on. Notice what note you will start on and what note or chord you will end on. It helps to know the starting point and the ending point of any song before you start to play it. This will guide you towards the finish of the song.
Glance at the type of rhythm that is used in the left hand. The left hand is usually the rhythm hand, though not always. If you count out the notes of the left hand before you begin, you will have a better idea of how the song is going to go. Do a one-handed once-over of the melody. Just play the melody line by itself to get the sound of it into your mind. Once you know that sound, you have unlocked the uniqueness of the song.
When you begin to play the song all together, the melodywill stand out in your mind as a significant thread. Look at any other markings that are on the piece. Some of these markings will be covered in Music Terminology. They include the loudness or softness of a piece,how short or long you hold the notes, and the overall speed of themusic. Take a deep breath, focus, and begin to play.
You should try to play the song all the way through when you sight read it for the first time. There will be time later to break it down into measures and work on each one if that is what you want to do.
For the time being, however, just do your best and keep going. You might wonder why it is important to know how to sight-read in the first place. After all, you could learn the song a little at a time.
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Sight-reading forces you to keeptrying until you reach the end of the song. When you sight-read properly, you avoid some bad habits. You avoid the habit of looking at each note slowly before you play it. You also avoid the habit of starting and stopping every time something goes the least little bitwrong. If you want to play perfectly from the very first sight of a song, you might as well forget it unless you are very experienced or talented.
Sight-reading gets you started on the road to learning to play better. Chapter 13 — Music Terminology for Beginners There is so much music terminology for piano players that even experienced players come across new terms on piano music. Some of the words used are more common, though. A few of these are listed for you. Accelerando — getting faster as the section of the piece marked goeson.
These are the most common music words used by pianists, along with the words that have already been used in these lessons. Keys, key signatures, time signatures,notes, whole notes, quarter notes, and so on; improvisation, etc. There are always more words to add to your musical vocabulary.
Some of the words above are written out above or between the staffs. Some are noted by using a mark of some sort. There are many markings to learn, but some of them are easy.
This is because the word is often written out along with themarking. For example, a crescendo marking starts as a point on the left and opens up widerto the right. Sometimes, the word crescendo will also be written somewhere either in the marking or under it to help you. Some markings you will have just have to learn. Staccato music is marked by dots under the notes you are to play short and crisp.
When you learn all of this musical terminology, do not sit back and ignore the rest of the words and markings you find.
Keep learning and you will never get bored. There is always more to know. Chapter 14 — Finding and Choosing Music to Play You can learn and enjoy yourself by playing music you make up and write, or make up and improvise on the spot.
Sooner or later, you will want to find some sheet musicor songbooks for more music. You can get music in music stores or online easily, butit may not be the music you want to try and play. You need to find music that suits your level of play. The best way to do this is to just look at the music. If you are downloading in a store, you can examine the books orsheet music thoroughly before you download. One thing you can look at is how many sharps or flats the songs in the songbooktend to have.
A song that uses too many of the black keys is harder to play when you are first starting out. Also, for some reason, many people find the sharp key signatures more difficult to manage than the flat key signatures.
Look, too, at the difficulty of the chords. If the chords are clusters of many notes, you will know that the chords will not be as easy as simple triads. Take note of whether there are chords of four or five notes together on both left and right hands. You can learn these if you want to, but be prepared to work a little bit. Look for difficult rhythms. You might see a lot of dotted notes or notes with different values mixed together to make up a measure.
Again, you can take your time andlearn these songs. You can clap out the rhythms until you have them down before you play.
However, if you are looking for some quick success, look for more even and simplenote values. Besides looking at sheet music and songbooks that are already printed, there is another way to download music in a music store now. Many stores have a special computer set aside for making copies of music. You choose the song you want from a list. If you only know a few words, you may still be able to find the song if the search tools are goodenough.
After you have selected your song, you get the opportunity to look at the music. You can look at the music from beginning to end, but you cannot copy it until you agreeto download it. The artists are protected in this way because the store pays the royalties from your payment when you download the copies. You should expect the copies to be high quality, and on good paper. You can also get sheet music online.
When you download online, you usually do not get as good of a look at the music you are about to download. You are more likely to get a small sample to give you an idea of what the music is like. The online companies do not like to show too much because it is too easy for people to steal work that is printed on the internet. They will send you your choices by mail or by download as soon as you pay. No matter how you get your music, be sure that you get the music you like and you will be able to play in the near future.
There is no need to stockpile music for that someday when you will suddenly be playing like a pro. Instead, get songbooks and sheet music that you are ready to use right away. Chapter 15 — Practicing on Your Own If you are playing the piano as an adult self-learner, you will do best if you work in some practice time most days. You might like to establish a routine of how you will go about your practice. You can do things in a certain order, or you can mix things up differently every day.
One thing you should always do when you practice is to play scales. You do not have to play every scale every day. You might want to focus on the flat scales one dayand the sharp scales the next. You do not even have to take it that far — just be sure that you practice scales of some kind for awhile before you begin toplay. Next, play some chords. Build on the scales you have played and make up as many chords as you can manage in the time you have allotted to spend on the exercise.
The more you play your scales and chords, the better you will be when it comes to improvising. You will even play written music better because it will make more sense. It is a good idea to have a set musical piece to play every time you practice beforeyou start playing other songs. It can be any song that you can play fairly easily.
Something that gives you a feeling of satisfaction is always a good choice. Make sure you do not pick a song that is new or tricky for this. You want to start out with a positive experience. You can work on the hard music later in the practicesession.
After you have played your starting piece, go on to play songs you have been working on. Go over the rough spots carefully and try to play them from beginning to end without stopping. At this point it is a good time to sight-read any new music you have on hand and want to try. Then, take a little break. Get a drink of water, eat an apple, or make a phone call. Then, go back to thepiano and finish your practice. Many people believe that you have to sit down and play until you are exhausted.
They never consider that taking a break can breathe new life into your playing. Once you have had a break, you can use the rest of the time to improvise. You can make up music based on the chords and scales you played earlier. If you prefer,you can go in a completely new direction.
Let this be your time for enjoyment andpure pleasure. With the right attitude, improvisation does not seem like work at all. Itfeels like complete freedom. While it is good to practice most days, do not hesitate to take a day off if you are feeling bored with it. There is nothing that kills enthusiasm like overwork. Take off just enough time to renew your excitement about playing the piano.
It should not take long. Each of the three landscapes has the same challenge: to get a series of chords under your hands, so that you can play them almost automatically, as soon as they are named. If you would like to express yourself through music, you have to know the words.
They have to rise up from within you, instantly, just like when you are speaking, or telling a story. You put your hands down on the keyboard, and there they are. Do you understand? But would you tell me more about the three landscapes you mentioned? In the second landscape, you will choose one of the 12 major keys, and you will learn chords specifically useful when playing in that key. In the third landscape, you will connect the chords from that key together, one after another, in ways that sound good, just like words flowing together to make sentences.
These musical sentences are called progressions. Learn enough of them, and you'll start to speak the language of music. Are you ready to begin? Teach yourself how to play keyboard with our award winning easy keyboard lessons, designed and used by professional keyboard teachers and students worldwide.
Browse the titles below or use the Refine Selection section to find what your looking for. Members pay: Have you ever dutifully practiced your scales, as shown to you by a guitar teacher or in a book and wondered what is needed to turn it into real music? Vibrato and bending are two great techniques that will help to bring your guitar playing alive.
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Forgot Your Password? Join Login. Choose a sheet music product Books eBooks Choose an instrument Guitar. Keyboard Lesson eBooks for Absolute Beginners - How to Play Keyboard Teach yourself how to play keyboard with our award winning easy keyboard lessons, designed and used by professional keyboard teachers and students worldwide.You can look at the music from beginning to end, but you cannot copy it until you agreeto download it.
Starting at the left and moving to the right, each black or white key is a half step higher in pitch than the key before it. I want to help you overcome the excuses. It is suggested to use C if you are beginning to play harmonium or keyboard as a student of music for simplicity and ease. It's found at the link just below. There is nothing that kills enthusiasm like overwork.