| Many students ask me a question that goes
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| | hear intervals from 2nds to 9ths;
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| something like this:
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| | developing the ability to hear chord types
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| "What all do I have to know to be a really
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| | and recognize them; developing relative
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| good piano player?"
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| | pitch.
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| The trouble with a question like that is
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| | Music Theory -- Understanding form in
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| that it ignores individual differences
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| | music, figured bass, notation, rhythm,
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| such as talent, motivation, freedom to
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| | etc., and how it all works together.
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| practice, and a hundred other variables.
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| | Sight Reading -- The ability to read a
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| How much did Mozart have to know? How much
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| | piece of written sheet music at sight and
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| did Erroll Garner know? Mozart could play
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| | transfer that knowledge to the keyboard.
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| far better than I can when he was 3. And
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| | Rhythm -- The ability to understand meter
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| Garner was barred from joining the
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| | and time signatures and note values; later
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| musicians union because he couldn't read
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| | the ability to recognize different rhythm
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| music.
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| | patterns such as sambas,swing, mambo,
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| Does that mean I don't have to practice,
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| | bossa nova, and many more.
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| since Mozart could do it without practice?
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| | Styles -- The ability to add styles such
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| Does that mean I shouldn't learn how to
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| | as Alberti Bass, Country-Western, jazz,
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| read music since Garner couldn't, and it
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| | gospel, etc. to songs.
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| sure didn't stop him.
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| | Runs & Fills -- The ability to add broken
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| Obviously, no.
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| | chords of various kinds as fillers;
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| I wish I had the talent of a Garner or a
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| | straddles, waterfalls, tremelo-fired runs,
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| Mozart, but I don't. Nowhere close. But
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| | echos, counter-melodies, etc.
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| God gave me some talent, and it's that
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| | Transposition -- The ability to play a
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| talent that I need to develop to it's
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| | song in a different key than it was
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| maximum.
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| | originally written.
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| Same with you, unless you're in a class
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| | Modulation -- The ability to move from one
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| with those guys, in which case you
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| | key to another smoothly.
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| certainly don't need me.
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| | Accompanying -- The knowledge of how to
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| Back when I operated Piano University &
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| | "wrap chords" around a soloist so that the
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| Keyboard Workshop, we had a list of skills
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| | soloist feels supported.
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| that we attempted to inculcate into our
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| | Repertoire -- Creating a list of songs one
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| students, at least to some degree. Here is
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| | can play at a moments notice without
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| that list:
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| | reference to the written music.
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| Technique -- the ability of your hands to
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| | Improvisation -- The ability to make up
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| do what your brain tells them to do.
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| | music as you go along.
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| Fingering -- which finger goes where, and
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| | Arranging -- The ability to put your own
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| why, and when.
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| | special interpretaion on a song by playing
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| Chords -- How chords are formed and all
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| | it in your own way.
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| the variations from major chords to minor
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| | Pedaling -- The ability to pedal
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| chords, diminished chords, augmented
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| | judiciously so that your playing is smooth
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| chords, and all the extensions such as 7th
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| | but not muddled.
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| chords, 6th chords, minor 7th chords, 9th,
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| | Dynamics -- The skill of playing at
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| 11th, and 13 chords, plus suspensions and
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| | different levels of volume so that the
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| alterations including flat 5ths, flat
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| | song carries interest.
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| 9ths, etc.
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| | Feeling & emotion -- The ability to
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| Scales -- How a major scale is formed from
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| | plug-in your own feelings into a song so
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| whole steps and half steps. How the 3
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| | that the listener feels what you feel.
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| forms of minor scales -- natural, melodic
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| | This is not an exhaustive list by any
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| & harmonic -- are formed. How the modal
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| | means, but it's a start. So as you play
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| scales such as Dorian, Lydian, Mixolydian,
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| | and practice, think about each of these
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| Aolian, etc. are formed. How chromatic and
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| | areas individually, and focus on improving
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| whole tone scales are formed.
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| | them one at a time.
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| Ear Training -- Developing the ability to
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