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Piano Improvisation Tips: Playing Patterns

Piano-Improvisation-TipsAmong the piano improvisation tips that you could be offered, one you’ll want to not overlook is that of playing patterns. The possibilities are endless. If you’ve never experimented with patterns, there’s no time like now to get started, so let’s do it!

Let’s say that you are playing a chord progression in the key of C Major. A most popular of these progression is:

Cmaj7  Amin7  Dmin7  G7

All four of these chords consist only of notes that are included in the C Major scale:

C  D  E  F  G  A  B  C

Cmaj7:  C E G B

Amin7: A C E G

Dmin7: D F A C

G7: G B D F

Since this is true, if we simply create piano improvisation patterns that include notes from the C Major scale, what we play will be compatible to this chord progression. Let’s take a look at one such pattern:

C D E F   D E F G   E F G A   F G A B   G A B C   A B C D   B C D E   etc.

Notice that each set of notes in this pattern climbs starting on a subsequent note of the scale and climbs up four scale degrees. One possibility is to play these scale tones as eight notes. So, if each chord is played for four beats, then it would take two sets to complete a measure.

So, for Cmaj7, we could play the following as eight notes:

C D E F   D E F G

Then, as we play the Amin7, we continue the pattern starting on the third set (E F G A   F G A B)…

Now, even while adhering to this simple pattern, it becomes very interesting what kinds of variations we can come up by starting the pattern on different scale degrees. In other words, we can actually start this pattern on any scale tone of our choice while playing the Cmaj7 chord. This ultimately changes what scale tone we will be playing when we arrive at the Amin7 chord… and the Dmin7 chord… and the G7 chord.

Experiment with this pattern starting with different scale degrees on that first chord of the progression (Cmaj7) and notice how it sounds over the entire chord progression. Listen in particular when the chords change and what the starting note sounds like for each chord. So, if we start the pattern in eight notes on E, by the time we get to the Amin7 chord, our starting note will be G… and for Dmin7 it will be B… and for G7 it will be D.

Then start on a different note and continue exploring. Chances are good that you will like some better than others. That’s one of the great things about improvising! This is one of those piano improvisation tips that you can really investigate your potential with.

Try other patterns, too. Here is another:

C D E G   D E F A  E F G B etc.

Notice that we climb up three steps in the scale starting on the first note in the scale and then skip a tone. Then we begin on the second note of the scale and do the same thing, etc.

How about playing with each of the above patterns, starting on different notes of the scale. After you’ve had some fun with that, create some patterns of your own! The sky’s the limit!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,
Davewww.PianoAmore.net
www.ProProach.com

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Cocktail Piano Chords: Getting Your Feet Wet

Cocktail-Piano-ChordsWhat exactly are cocktail piano chords? Well, as we have acknowledged, cocktail piano in itself is a way of playing. Therefore, whatever chords you decide to play can be considered to be “cocktail piano chords.” Of course, when the phrase is used, it is often referring to chords or voicings that are especially tasteful from the perspective of a certain individual. Playing a simple C Major triad (C-E-G) can be considered quite appropriate when played in a context that calls for simplicity.

For fun, let’s consider opening up that triad. Start with playing the chord in its most basic form in root position beginning on the C one octave below middle C on the piano keyboard:

C  E  G

Next, take that E out of the middle and, instead, play it one octave higher. Thus, the order of the chord tones from left to right is:

C G E

Now we are playing a C Major chord in open position. Doing just that much creates a nice alternative to the more basic way of playing it. So, let’s say you’re playing that C and G with the left hand and the E with your right hand thumb. You now have four fingers of the right hand that can enjoy the freedom of playing the melody as long as it’s higher than that E.

The topic of cocktail piano chords, of course, goes way beyond the scope of what we are talking about here but it can rather helpful and encouraging to the beginning cocktail pianist to know that making even the slightest of adjustments to basic chords can be conducive to some creating some nice flavor.

Go ahead and do the same with the inversions of that C Major chord by opening them up as well. This chord played in 1st inversion is arranged like this:

E  G  C

Take that G out and replace it with the G one octave higher and listen to the result:

E  C  G

Again the lower two chord tones can be played with the left hand and the G can be played with the right thumb while the other fingers of that hand can accommodate the melody.

The C Major in 2nd inversion is arranged like this:

G  C  E

Do the same and listen to the texture of this open voicing.

So, you see, it takes very little effort to make what you already know sound like something quite different. We’ll talk more about cocktail piano chords as we progress. Right now, I would like to invite you to begin with a few chords that you already know and begin opening them up. Learn to listen and really appreciate the many different chord sounds that you are capable of. As you do so, remember…

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,
Davewww.PianoAmore.net
www.ProProach.com

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Piano Improvisation Handbook

Piano-Improvisation-HandbookA piano improvisation handbook for beginners  that will serve as a starting point for those who feel as though they would like some encouragement in this area is available. This guidebook is brief and is accompanied by a short video that demonstrates the easy approach presented. If you have felt inspired to improvise on piano but wish you had an easy way to get your feet wet, you are likely to find this one quite eye-opening (and ear-opening).

The piano improvisation handbook/video combo is entitled The One Improvisation Secret You Must Know and has proved to be rather popular. This popularity is most likely due to its simplicity. This is not a book on improvisation that is meant to be read in an armchair. Actually, it will not take you long at all to read through it. It is not something that is meant to be studied intensely. Reading through this guidebook once along with exposing yourself to the piano video session once is likely to be enough for you to grasp the concepts and begin applying them immediately.

In college, one of my teachers (in harmony class) who was also a trumpet player, alerted me to a very simple approach to improvisation. I had been familiar with the concept but actually hearing it from one I considered to be an authority confirmed for me that this was a way of learning to improvise that was worth paying attention to. This improvising strategy is so simple that many are likely to discount the real power of it. Why is this improvisation technique so effective? Well, it’s practical and it promotes musicality.

By the way, this teacher informed the entire class that he had attributed his ability to improvise to taking this route. I heard this guy playing a gig at a local club just up the road from Berklee College of Music and, wow, could he ever play! Bebop was where it was at that night and he cooked on that trumpet!

Okay, here it is:

Learn to improvise by learning the melody of that tune you are playing like you never knew it before. Play it over and over again and, little by little, use small embellishments. Over time, it works like magic. You see, by improvising this way, you show respect for the melody and, as a result, your improvisations really take on a nice shape.

There is, of course, nothing wrong with learning scales and patterns and incorporating them into your solos. It is actually encouraged. But this improvisation method that we are referring to here does not require thinking along those lines. You can start as simple as approaching a melody note by a half step below. If the melody note is G, for example, and is played for two beats, you can just play the Gb for a half beat and follow with the G for the remaining beat and a half… or you can change the note values, of course. The possibilities are endless. The piano improvisation handbook mentioned above can help you tremendously with this method of improvising.

As you implement this improvisation technique more and more, you’ll find yourself becoming more creative around those melody notes. The result? Your improvisations will have coherence and you will be developing your own personal style!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

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Piano Improvisation Tutorial: Pentatonic Scale Solos

Piano-Improvisation-Tutorial-Pentatonic-Scale-SolosIf you have an interest in developing some pentatonic scale solos, as a beginner this is a good choice since you can really come up with some impressive sounds with little effort. Who said it needed to be complex to be good, right? It certainly doesn’t. Actually, when it comes to creating simplistic solos that sound “pro,” the utilization of pentatonic scales is an excellent choice.

Let’s see how to come up with a pentatonic scale:

“Pentatonic” is derived from “penta,” which means “five” in Greek. Therefore, a pentatonic scale is a five note scale. Let’s first take a look at a G Major scale:

G  A  B  C  D  E  F#  G
1   2   3  4  5   6   7    8

Let’s extract the following scale degrees from this major scale:

1, 2, 3, 5, and 6

Thus, this leaves us with the following, which is a G Major pentatonic scale:

G  A  B  D  E

Of course, we can repeat the 1 as we do with the major scale, resulting in:

G  A  B  D  E  G

An  interesting characteristic of the pentatonic scale is the unique flavor we get from simply playing it in either an ascending or descending fashion. However, some of the real magic can happen when using bits and pieces of this scale and creating patterns with it.
Here is one example of a descending pattern that can be used to create some interesting pentatonic scale solos:

G E D   E D B   D B A  BAG etc.

The use of the pentatonic scale is unlimited. The possibilities go way beyond the scope of this particular piano improvisation tutorial since this is simply an introduction. Below is a short video clip excerpted from Sneak Peeks #2, illustrating the G Major pentatonic scale. Of course, you will want to play this scale in other keys as well!

Once you know how to play a major pentatonic scale on a given root, it is very easy to also play a minor pentatonic scale as well. If we take a look at the G Major pentatonic once again and simply begin that scale on the 3rd note of that scale, which is B in this case, we instantly have the B Minor pentatonic scale:

B  D  E  G  A  B

So, you see, both of these pentatonic scales (G Major and B Minor) consist of exactly the same notes. You are highly encouraged to explore and have fun with both of these scales in as many keys as possible. Your confidence when it comes to improvising on piano will undoubtedly increase in a very short amount of time!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

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Piano Improvisation Technique: Chord Tones

Piano-Improvisation-TechniqueOne piano improvisation technique that you absolutely want to make a regular part of your practice routine is the use of chord tones. Please don’t make the mistake of underestimating the power of this improvisational approach.

If you know the chords to a tune you are playing, then you’re already half there. Of course, knowing what they are and using them to their potential are two different things. Let’s face it: there are people who might say, “Yeah, I know how that works” and there are people who will actually make it work.

Become acquainted with the chord changes to the point where you are not only able to play those chords as the accompaniment to a given melody but you are also able to play them as arpeggios. Let’s take a look at a few measures from a popular jazz standard tune like All The Things You Are by Jerome Kern (lyrics by Oscar Hammerstein II) in Ab:

/  Fmin7  /  Bbmin7  /  Eb7  / Abmaj7  /

Now let’s consider how this piano improvisation technique can really work for us once we establish what the chord tones are for the chords in these four bars of this great standard. The chord for each of these chords are acknowledged here…

Fmin7: F Ab C Eb
Bbmin7: Bb Db F AbEb7: Eb G Bb Db
Abmaj7: Ab C Eb G

With your right hand, play each of these chords as arpeggios (one chord tone at a time from bottom top). Then reverse this by playing the arpeggios from top to bottom. Play these arpeggios in a rhythmical fashion. One way you can easily approach this is playing each chord tone as an eighth note while both ascending and descending. For example:

If you play the Fmin7 chord as an arpeggio in eighth notes ascending, that completes two beats. Starting at the top of the chord and descending completes the measure with another two beats.

/  F  Ab  C  Eb Eb  C  Ab  F  /

Following this, treat each of the other chords the same way…

Doing this for the entire tune will accomplish a couple of great things:

1) You will learn the chord changes in a way that you didn’t before

2) You will come up with some really great piano improvisational ideas in the process

I will acknowledge here that, at first, you may feel as though this may sound rather “robotic” or redundant. You would be right about this; however, keep in mind the reason you are doing this. You are opening your ears in a way that you really get to hear those chords as arpeggios and doing this will lend itself to your coming up with different ways of playing those chord tones as you create your own improvisations. For example, you can change the order of those chord tones anytime you please. Perhaps you will start the improvisation for one chord on one of the middle chord tones and climb up… then climb down… etc. For Fmin7, this could mean you play Ab  F  Eb C. As you proceed to the next chord, mix it up as well. The combinations are endless!

Your ears will open up in a way they never did before. Also, those improvisations will really begin to take on some interesting shapes!

Have a ball exploring this piano improvisation technique and as you do so, remember…

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

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Piano Improvisation Tutorial: Love Those Half Steps

Piano-Improvisation-TutorialThis piano improvisation tutorial focuses on a very simple technique that you will love to love if the idea of improvising is new to you. It involves using chromaticism, or using half steps.

This is a piano improvisation technique that is so easy to implement, but don’t let its simplicity fool you! By using this easy-to-use strategy over and over again in various areas of those favorite songs of yours, you will very likely not only become confident with it but it’s probable that doing so will lead you to other ideas of your own as well. Now that’s good news!

I’m including this easy piano improvisation tutorial here because it’s my belief that if you are to make one tiny step (another pun intended) toward learning to improvise on piano, this is the one that will open doors for you.

How do you apply this piano improvisation technique? It’s as easy as pie. Simply approach any note in that melody by a half step below. Let’s say you’re playing Bart Howard’s Fly Me To The Moon in the key of C Major. The first melody note is a C (played with an Amin7 chord). Before you play that C, play the B one half step below it and then immediately resolve to that C.

By the way, you can apply this to any of the melody notes in that first measure. You can even use this improvisation technique on every melody note. Now, understand that, by doing so, you may consider the result to be a bit redundant. But that’s okay, because you’re learning to implement the technique. As I always encourage my students, when you learn a new technique or concept, overuse it to the point where you are feeling very, very comfortable with it. Once you do, it’s rather easy to apply the idea less often. By overusing a certain idea, it’s kind of like swinging a baseball bat with the weight on it and then taking the weight off. Swinging becomes a whole lot easier. Thus, you’re more in control!

Let’s say the melody note is normally played for one beat. Well, consider sharing the value of that beat with both the melody note itself and the note that is one half step below. So, you’re playing two eighth notes. This is just an option. As you become more and more acquainted with this concept, you can play the note that is a half step lower for a shorter duration and the melody note for a little longer. If the melody note is normally played for two beats, then the note that is one half step lower can be played for one beat, a half beat, or a duration of your choice, and then the melody note can play for the remainder of the two beats. After a while, you will really get a feel for this!

Have fun with this half step approach to piano improvisation and as your playing becomes more and more tasteful, remember…

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

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A Jazz Chord Voicing You’ve Just Got To Know

Jazz-Chord-VoicingOne jazz chord voicing you’ve just got to know as a cocktail piano player involves taking a simply 7th chord and making one simply modification to it. Specifically, I am referring to the 1-5-7-3 chord voicing.

Here’s how to play it…

Let’s use an Fmaj7 chord to illustrate. This chord in its most basic form is spelled out like this:

F A C E

Again, this is a 7th chord in root position. In addition, as you take a look at the chord tones, they are as close to each other as they can possibly be. In other words, there are no chord tone in between those chord tones that are already there. Therefore, this chord is said to be in closed position.

Okay, let’s take that 3rd of the chord, which is the A. If we don’t play that A where it is within the structure and, instead, play it one octave higher, the order of our chord tones from left to right looks like this:

F C E A

This is a very commonly used jazz chord voicing and one you’ll definitely want to have a handle on. You’ll want to apply this 1-5-7-3 structure to all the 7th chords that you learn eventually. Doing so will really add dimension to your playing!

Now, go ahead and play those two lower chord tones (the F and C) with your left hand and play the two upper chord tones (the E and A) with your right hand. Listen!

It sounds more “open,” would you agree? Actually, we call this an “open voicing” because we have actually opened up the chord by taking one of the inner chord tones and moving up an octave. You see, we really do have a chord tone that is not being played in between two of the other chord tones at this point (in between the F and C, there is that A which is not being played).

If you were playing a song in which the melody note was A and the chord was Fmaj7, this is a very appropriate jazz chord voicing to play since the A is at the top of the structure (furthest to the right). You are highly encouraged to apply this 1-5-7-3 to other 7th chords that you either already know or will learn in the future. It will work for all of them and, by doing so, you’ll really be adding to that “piano playing toolbox” of yours.

This is a jazz chord voicing you’ll want play again and again. Look for opportunities to use it in your favorite songs. Simply look for melody notes that are the 3rd of the 7th chord that you will be playing and use this voicing to turn what would otherwise be and “okay” sound into one that spells professionalism in the ears of your listeners!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

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Play Cocktail Piano: What’s It Take?

Play-Cocktail-PianoYou want to play cocktail piano and wonder if you have what it takes.  It’s been a specialty of mine for many years and I am happy to admit that I’ve had a lot of fun on each and every cocktail piano gig that I ever had to privilege of being a part of. I have played on board cruises, have performed for wedding receptions and for special corporate functions, and have served as a soloist for many other situations. As a cocktail pianist, you accept the responsibility of being the sole performer, so it’s all you! Along with this goes the kind of freedom that only a solo gig can provide.

The fact that you want to play cocktail piano means you’re open to learning what it really takes. Well, you’ll be happy to know that even if you’re a novice, you can gain some satisfactory results rather quickly. You’ll want to feel comfortable with playing melodies to a nice variety of standard tunes. Also, you’ll want to gain a familiarity with common 7th chords, including major 7ths, dominant 7ths, minor 7ths, and diminished 7th for starters. There are many types of 7th chords that serve as variations of these and you’ll want to eventually learn them but these basic four are the most prominently used.

As you engage in the art form of cocktail piano, your own curiosity should lead you to being open to learning to improvise to a degree, including incorporating piano fills in your playing and also embellishing those melodies.  In addition, you’ll want to adopt an attitude of playfulness, always being open to having fun with what you are playing and becoming more and more creative. Having an open mind will be conducive to your enjoying yourself and eventually becoming a more competent piano stylist.

Once you become familiar with those basic 7th chords, by the way, you are likely to want to acquire a knowledge of how chord voicings work. Chord voicings are your ticket to adding a whole lot of spice to your playing. It’s one thing to be able to play a Cmaj7 chord in its basic form, for example, but if you can play it in a variety of ways, including using open and closed voicings, your playing will have a lot more dimension to it. In addition, your confidence as a stylist will soar… and this confidence will easily be evident in the eyes (and ears) of your audience.

Above all else, get started! You must begin somewhere, so choose a favorite song, learn that melody well, bring yourself to a point where you can confidently play the chords that accompany that melody, and play, play, play! As you become more and more familiar with that song, you’ll soon become inspired to enhance it with piano fills, embellishments, voicings, and more. Your playing will mature before you know it!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

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How To Learn Piano Fast

How-To-Learn-Piano-FastWould you like to know how to learn piano fast? What’s fast to you may be different to another, of course. Also, what would you like to be playing on those keys within a short amount of time? What your goals are and how devoted you are to learning will absolutely have an impact on what you will accomplish.

That said, you can achieve some pretty impressive results quickly. When a person approaches me saying that he or she wants to learn how to learn piano fast, my first inclination is to have that person learn a few chords and start improvising with them. “The very first time I sit at the piano?” you may be asking. My response:
“Yes.”

When I take this approach with an aspiring player, after demonstrating how to play a few chords on the piano, I quickly encourage that individual to start doing some interesting things on those ivories with them.

If you have no experience at all and you would like to learn how to play piano fast, learn a few chords and become enthused about being creative with them. A few resources that may interest you which can get you to immediately start playing chords and having fun with them are:

1) Piano Chords 101

2) The Ridiculously Easy Way To Master Those 7th Chords On The Piano

3) How To Play Piano By Ear In All 12 Keys Without Knowing How To Read A Note Of Music

It might be worth mentioning that you do not need to know how to read music at all in order to obtain results from any of these programs mentioned above. Yes, I encourage you to learn to eventually read music for a well balanced approach to learning piano, but if you indeed want to know how to learn piano fast, using chords to create some pretty interesting sounds, these programs can be of tremendous help to you. The first includes a piano video session accompanied by a guidebook, the second includes a series of piano video sessions with online commentary, and the third is a guidebook that has you creating chords step-by-step. All are available via instant online access. If you would like to take advantage a package deal, you can get all three and more here.

The key to it all is to choose one and get started. Immerse yourself as you make having fun a top priority. There is nothing that comes close to being able to have a ball playing and improvising with a few chords. Yes, you can be improvising on piano relatively fast. The more you do it, the more you will want to. The more results you start realizing, the more fun you’ll have, and the more fun you have, the better your results!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

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Piano Improvisation Tips

Piano-Improvisation-TipsAmong the numerous piano improvisation tips I am able to share with you, if I was asked to share one that stands out above the crowd in terms of effectiveness, it would be this one:

Respect the melody and have fun playing around it.

Sure, there is much benefit when it comes to understanding chord/scale relationships, learning scales, and practicing patterns of all sorts. You are highly encouraged to be open to making all of this a part of your routine. However, if your attention is devoted to taking this approach exclusively, there is a chance that your improvisations can come across as sounding rather “robotic” or “mechanical.”

Remember, we’re playing music. Sounding mechanical is not the goal. At least it isn’t in the eyes of those with good musical sense. Again, practicing scales and patterns certainly has its place during practice time. But when it comes to sounding musical, having  respect for the melody of the tune you are playing is most conducive to your improvisation coming across as coherent, lyrical, and creative. Does this make sense? This is one of the most powerful piano improvisation tips that I have ever learned.

Taking the “mechanical” route when improvising over tunes can lead to those improvisations rather repetitive from one song to another. When you really think about it, what is the first and foremost aspect of a tune that serves as its identity? Most would agree that it’s the melody. Many tunes exist that either share the same chord changes as others or are least close to being similar, but it’s the melody that gives each tune its identity. That being the case, it stands to reason that respecting the individuality of the melody of a given song when improvising will lend itself to that improvisation having its own uniqueness. Remaining cognizant of the melody while improvising over those chord changes is a sign of musical maturity.

During my time in college, a teacher in one of my harmony classes who happened to be a trumpet player shared with the class that he learned to improvise by learning the melody well and then eventually embellishing it, while always keeping it in mind during his improvisations. I had the privilege of hearing this guy play a gig and his playing was totally awesome. His improvisations cooked!

Choose a favorite song of yours and learn that melody well. Sing it or hum it (or whistle it) during the day. Really become acquainted with that melody. Then, when at your instrument, learn to use that melody as your “safety net” as you embellish it a little at a time. For some help in this area, consider taking advantage of this easy-to-follow program which consists of a short video session and guidebook that, once you implement the techniques suggested, will have you feeling more and more confident when it comes to creating solos that are not only coherent, that sound good, and are uniquely you!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

Enhance your cocktail piano chords and voicings with ProProach