HOW TO PLAY THE PIANO BY EAR:
FIFTY KEYS THAT WILL UNLOCK THE MYSTERY
BY MARK PAULSON
Copyright © 2024
REVIEWS
“How to Play the Piano by Ear” by Mark Paulson is a wonderful resource for piano students and teachers alike. How I wish I had been exposed to these concepts in my early years of study. Growing up, I had multiple piano teachers due to multiple moves, and none of my teachers touched on the concepts in this book. I believe that today’s pre-college piano teachers do a much better job of teaching music theory than my K-12 piano teachers did, but what Paulson has done here is demonstrate the wonderful ways that applying music theory knowledge, developing aural skills, and truly listening can enhance our lives as pianists. The best part is that it need not detract from learning to read music for those who wish to do so. Rather, it is a valuable way to augment our skills as pianists.
Beth Gigante Klingenstein
Author, Professor Emerita at Valley City State University
Mark Paulson has addressed a significant lapse in training classical pianists: they are not encouraged to play by ear in the "traditional" piano lesson, partly because their teachers do not "play by ear." This need for more attention to developing the ear's ability to hear intervals, harmony, and melodies is apparent in ear-training musicianship classes in music schools throughout the country. There is a tremendous gap between seeing what is on the musical score and hearing it and hearing a melody and writing it down or reproducing it on an instrument. Hopefully, more teachers and students will take advantage of Mr. Paulson's step-by-step introduction to developing this vital skill, crucial to many other abilities expected of musicians today, such as playing from memory.
Dr. Ruth Rendleman
Professor Emerita at Montclair State University and Music Consultant
"You and your students can learn to play the piano by ear." This is the message Mark Paulson conveys to us, and he goes to the length of "Fifty Keys" within "Five Levels" to teach us how to do it. Explanations are very detailed and are followed by exercise suggestions. Some wonderful gems, to mention a few, are:" Understanding music theory is vital for playing by ear." Absolutely, yes, to know the topography of the keyboard well. By all means, "You need to train your ears to match pitches." Excellent advice: "You must be able to hear the notes you will play in your head before you press down the keys on the piano." You must always "Listen for the interval changes, the direction, and the value of the notes." Mr. Paulson gives an excellent explanation of the theory that even a complete beginner can follow.
Each new "Key" takes us forward step by step. All major and minor scales, chords, and arpeggios are covered, and chord progressions like I V I and I IV I V I, the richness of dominant seventh chords, secondary dominants, chord progression inversions, and various more advanced chord changes. But you must listen carefully to everything, as to play by ear, you must hear. Then, Mr. Paulson goes into chord charts, improvisation, modulation, and more advanced chord progressions. Towards the end of the book, Mr. Paulson explains passing notes, non-chordal notes, and other filler notes. He teaches the 12-bar blues and improvisation. This book will also work well with a guiding teacher.
Rami Bar-Niv
Concert Pianist
ACKNOWLEDGEMENTS
Several people have significantly impacted my life regarding my music career and writing this book. I want to acknowledge them.
Alice Paulson is my mother. She sat with me whenever I practiced and encouraged me as a young piano student.
Ruth Slattum was my first piano teacher. I started to take lessons with her when I was five years old.
Rhoda Nelson became my teacher when I was 17 years old. I am grateful for all the essential things that she taught me. I would have never pursued a piano performance and piano pedagogy career without her influence on my life.
Dr. Paul Satre was my first piano teacher in college. I only studied with him at Crown College in Minnesota for one year, but he was an excellent teacher.
Eleanor Statmore was a phenomenal piano teacher. I moved from Minnesota to New Jersey to study with her when I was twenty. She inspired me to become the best piano teacher that I could be.
May Eng, Betty Rosenblum, and Barbara Lounsbury were outstanding teachers who influenced my teaching career.
Nancee Olsen and Gerard DeMatteo taught me many things when I attended Northeastern Bible College. I will always be grateful for the things that I learned from them.
My landlady, Olga Bockes, encouraged me to continue teaching when I was a struggling new piano teacher. Her advice made a significant difference in my teaching career.
Dr. Barbara L. Wheeler and Karen D. Goodman were my professors when I was a music therapy student at Montclair State University. I am grateful for the things that I learned in their classes.
Dr. Ruth Rendleman was a brilliant piano teacher at Montclair State University who inspired me to learn about theory.
Mr. Edmund Battersby was my final piano teacher at Montclair State University. He taught me how to think for myself and how to interpret music on my own.
Dr. Beth Gigante Klingenstein shared many remarkable things with me regarding piano pedagogy when I studied with her online at Valley City State University. Her books gave me many new ideas. Dr. Klingenstein is one of the world's most authoritative individuals regarding piano pedagogy.
Ken Medema is a remarkably talented musician who plays the piano by ear. He has been blind for most of his life. I have always admired Ken’s ability to create music and lyrics instantly during his performances.
The following people have supported me or inspired my music career for which I am grateful: Dr. Connie Carson, David Paulson, Arnold Paulson, Dan Oie, David Kipp, Dr. Bruce Gleason, Sonja Thompson, Peter Caputo, Heather Rathnau, Meagan Mason, Jennifer Eklund, Dr. David Leifer, James Kessler, Tony Parlapiano, Rami Bar-Niv, Barbara Bell Adam, Dr. James Michael Stevens, Joseph Martin, George Wesner, and the Columbine Music Teachers Association teachers.
I want to thank all my piano students. Teaching my students allows me to learn things I would have never known. I am also teaching myself whenever I give a piano lesson.
Finally, I would like to acknowledge my wife, Sondra, and my three children, Marshall, Elliott, and Heidi, for all their support.
Everyone learns a multitude of things from other individuals. I can never express enough gratitude to these people for everything that I have learned from them.
PREFACE
Some pianists can sit at a piano and instantly create remarkable compositions without any form of notated music. These pianists play the piano by ear. Music that never existed before is suddenly presented for anyone to hear. How is this possible? To accomplish this, a performer needs to listen to the distance from one note to another in their head. They must also know if each interval goes higher, lower, or remains the same. The performer needs to hold each note for the appropriate amount of time. Once these skills are mastered, the performer will want to add additional harmonic notes and play the music with the proper style and expression.
Many people have never been able to play the piano by ear, and they thought playing by ear could not be taught. Most people who have taken piano lessons have never had a teacher who taught them how to play by ear. Teachers will usually teach their students the lessons they have learned from their teachers. The result is that teaching a student how to play the piano by ear rarely occurs.
We listen to music. We do not see music. Jazz pianists primarily improvise without any written notation. Blind and visually impaired pianists are not able to see traditionally notated music. Many well-known pianists have yet to learn how to read music. You and your students can learn to play the piano by ear.
PRELIMINARY INFORMATION
Several essential points must be mentioned before we begin the lessons on how to play the piano by ear. These points are imperative to understand.
WHAT IS MUSIC
"Music" comes from the Greek word "mousike," which means Art of the Muses. "Mousike" was an integral part of life in the ancient Greek world, and the term covered not only music but also dance, lyrics, and the performance of poetry. People have defined music in several different ways. Music is very diverse and has changed over time. There is a wide variety of music around the world. What definition could describe all the music that has ever existed? A simple explanation of music could be "any sound or silence." Music is everywhere. It is omnipresent. John Cage demonstrated in his composition 4′33″ that music could be any random sound or silence. Music does not need to be organized. Birds singing in the trees, honking cars, or the crack of thunder could be considered music. A newborn baby's first sounds are music to our ears. Those sounds are not organized. Even silence can be music. However, whether the music consists of sound or silence, we must use our ears to perceive it. Music is not visual. We perceive music with our ears.
YOU CAN BE TAUGHT HOW TO PLAY THE PIANO BY EAR
Everyone uses their ears to play or perceive music. Accomplished pianists who have mastered challenging repertoire with notated music would still have difficulty playing their music if they could not hear it. However, many pianists rely primarily on their eyes instead of their ears to learn music. Some performers can only play a few measures of their mastered pieces if their music is removed. Pianists need to use their ears more, not just their eyes, when playing music. Can people be taught how to play the piano by ear? Absolutely!
LET'S BE REALISTIC
Often, a person will attempt to play their first piece by ear. That person will try for one or two minutes and then give up, proclaiming they could never play the piano by ear. Let's be realistic. Suppose a person practices the beginning pieces and exercises presented in this method for at least thirty minutes daily. In that case, they should experience noticeable progress in about a month. Significant results usually take at least ten to fifteen hours of practice. Developing a good music repertoire by ear will take at least six months to a year. As the student continues to improve their ability to play by ear, they should become quite accomplished in three years. Progress will move at the same speed for a person who plays by ear compared to someone who devotes their practice time to learning to play with notated music. Playing by ear takes time and effort, but it is possible for anyone willing to learn this incredible skill.
IT'S NOT THAT EASY
Many people have heard someone play the piano by ear. The performance they heard looked effortless, so they assumed it would be possible to achieve the same results with a few lessons, especially if they were already an accomplished pianist. Playing by ear may look easy, but it requires more time than most people realize.
PLAYING THE PIANO BY EAR IS NOT A GIFT
Some people assume that a person needs to be gifted to play the piano by ear. Playing the piano by ear is not a gift. Gifts are free. Anyone who has accomplished exceptional talents in any field has had to commit their entire life to nurturing their talent. You can play the piano by ear if you are dedicated and desire to succeed. You do not need to be gifted.
DIFFERENT KINDS OF LEARNERS
There are four different kinds of learners. All four learners will attempt to learn to play the piano differently. Each learner will have a favorite way of learning, but all four methods are often combined in one way or another.
The Analyst: The first learner uses "Analytical/cognitive" skills to master their music. The piece's musical content and structure are tremendously relevant to this learner. This learner likes to examine the harmonic structure and the form of the composition.
The Feeler: The second learner uses "Tactile/Kinesthetic" skills to master a piece. This learner will use their ability to feel the keys to learn the music. Touching the keys and noticing the intervals are essential for this learner.
The Hearer: The third learner uses "Aural" skills to master a piece. This learner will use their ability to hear different pitches to learn the music. This learner will have the easiest time learning to play the piano by ear.
The Observer: The fourth learner uses "Visual" skills to master their music. This learner will use their ability to see the keyboard's notation or intervals. Most students are taught this way, using notated music whenever they want to learn a piece.
There are five senses: sight, taste, touch, hearing, and smell. Only sight, touch, and hearing are used to play the piano. Every pianist prefers to use one of these senses over the others when they learn to play the piano.
BIRDS, FISH, GIRAFFES, AND ELEPHANTS
When learning how to play the piano, some piano students are "sight-reading birds." Some piano students are "play-by-ear fish." Some piano students are "touch and feel giraffes." Some piano students are "analytical thinking elephants." Some teachers have students who would rather swim than fly, yet they continue to teach those students only how to fly, even though they are excellent swimmers. A teacher should teach only some students how to fly. All living creatures are different, and every piano student does not learn best by flying. Some of the greatest pianists in the world do not fly. Teachers must find out how to teach each student how they will learn best rather than trying to get fish, giraffes, or elephants to fly. Flying is not for everyone.
THE DIFFERENCE BETWEEN HEARING AND LISTENING
There is a significant difference between hearing and listening. Everyone hears numerous sounds daily, but listening to everything is impossible. Listening takes focus and concentration. Hearing can occur even when we do not want to listen. Playing the piano by ear will require the pianist to be an exceptional listener. It is a good idea to have regular hearing examinations. Many people are often amazed to learn that they do not hear as well as they assumed. Ear training is essential for every musician.
THE DIFFERENCE BETWEEN PRACTICING AND PLAYING
It is vital to understand that "Practicing" and "Playing" the piano is different. Athletes have practices and performances. Practicing and playing are also valid for pianists. To master the skill of playing by ear, a person must spend most of their time "practicing." You will become accomplished at "playing" by ear if you "practice" every day.
THE IMPORTANCE OF THEORY
Understanding music theory is vital for anyone who plays the piano by ear. Music theory is a universal language that allows musicians to communicate with one another. Music theory explains everything that happens in music.
PERFECT AND RELATIVE PITCH
It is often assumed that a person needs to have perfect pitch to play by ear. "Perfect or absolute pitch" is the ability to identify the name of a note without any other reference tone. Having perfect pitch to play the piano by ear is optional, but relative pitch is essential. "Relative pitch" is the ability to identify the name of a note by comparing it to a reference note. It is vital to hear the distance from one note to another. Perfect pitch is something that some people have had since they were born. Relative pitch can be acquired with practice and ear training exercises.
THE RELATIONSHIP BETWEEN THE BRAIN, THE EYES, THE EARS, AND THE FINGERS
When a person plays the piano by ear, they need to have a working relationship between their brain, eyes, ears, and fingers. The process begins when a person hears the music in their head. The brain directs the eyes and the fingers to play the desired notes. The ears hear the sounds that are produced on the piano. The ears send that information back to the brain, where the brain determines if the notes are correct. This process takes a fraction of a second and happens every time notes are played. Many mistakes are made on the piano because pianists push down the keys too quickly using only their fingers. Pianists must allow their brains, eyes, ears, and fingers to work together. Slow down, and you will discover that your playing will be more accurate.
SPEED VERSUS ACCURACY
When a person begins to learn music, there will be a competition between speed and accuracy. If a performer tries to play fast, the playing will usually be less accurate. If a performer tries to be accurate, the speed will need to be slower. The speed and accuracy will improve together as the performer progresses with the piece. When you begin to play by ear, go slow. Let accuracy be your main priority.
QUANTITY VERSUS QUALITY
Some people like to learn several pieces of music at one time. The quality of the playing often suffers when this occurs. Other people prefer to play a few pieces well. Working on a few pieces at once is the ideal way to learn to play the piano by ear.
THE LEVELS AND THE TEACHING METHOD EXPLAINED
This play-by-ear piano method has five levels and fifty keys of instruction. The lessons in the first two levels are relatively easy compared to the later levels. It will be a significant achievement for anyone who can master all five levels. The exercises will be challenging. Work hard, and you will accomplish your goals.
Every lesson is written in a way that has structure and is easy to understand. Traditional music notation will not be used in this method. Students will need to use their ears to learn the pieces. Teachers can read each lesson to their students and assign the exercises. Everything that a teacher needs to say is written out. There are no audio examples. Teachers must be able to play everything in the lessons for their students. If a teacher needs to learn to play the piano by ear, they must practice all the exercises before teaching their students.
This method will also offer an alternative way instead of braille for teachers and music therapists who want to teach blind and visually impaired students.
LEVEL ONE
Playing the piano by ear is a mystery to many people. Level one will present the first keys for unlocking that mystery. These keys will introduce you to the essentials students need to know when they start lessons. By the end of this level, teachers and students will be able to play several different melodies. Everything must be accomplished in each lesson before moving on. If you are ready to unlock the mystery of playing the piano by ear, let's begin.
KEY # 1. PITCH
Understanding pitch is the first key to unlocking the mystery of playing the piano by ear. Every note on the piano has a different sound or pitch. There are eighty-eight different pitches on a piano. Begin by playing a few notes. Listen to determine if the pitches get higher or lower. Play more notes on the piano. Be aware of how the pitches relate to one another. Eventually, you will combine different pitches to create original melodies. When you make your original melodies, memorize them so you can play them the same way every time. Playing original pieces at first may be challenging, but they will become more accessible as you practice playing different pitches. Play pitches in other parts of the piano. Listen to the distances from one pitch to another. Creating original melodies will give you your first sense of accomplishment.
Exercise # 1.
Play various pitches on the piano. Listen closely to each of the different sounds. Hear the distances from one pitch to another. Play different pitches for several days. Once familiar with the sounds of the various pitches, create original melodies.
KEY # 2. THE MUSICAL ALPHABET
The musical alphabet is the second key to unlocking the mystery of playing the piano by ear. All the keys on the piano have names. The letters A, B, C, D, E, F, and G are used to name the keys on the keyboard and are called the musical alphabet. These seven letters are repeated many times. Knowing the letters forward and backward is necessary because music moves up and down the keyboard.
(A B C D E F G) (G F E D C B A)
You must be able to find any letter in the musical alphabet easily. On the piano, there are several groups of three black keys. There are four white keys below them. There are also several groups of two black keys on the keyboard. There are three white keys below them.
Find a group of three black keys. The white key between the second and third black key is called A. The following white note to the right is called B. The next white note is called C, just before the set of two black keys. The following white note between the two black keys is called D. The following white note is called E immediately after the two black keys. The white note right before the set of three black keys is called F. The white note between the first and second note in the collection of three black keys is called G. This pattern remains the same for all the notes on the keyboard.
It is essential to locate notes on the piano by feeling them. There are white keys and black keys. The black keys sit up higher on the keyboard than the white keys. It would be challenging to identify specific notes if the higher black keys did not exist. The groups of two black and three black keys make it possible to feel where the notes are.
Exercise # 2.
Practice saying the musical alphabet forward and backward.
Locate sets of two black keys and the three white keys below them.
Locate sets of three black keys and the four white keys below them.
Identify different letters of the musical alphabet on the piano.
KEY # 3. NOTE VALUES, EAR TRAINING, AND MATCHING PITCHES
The third key to unlocking the play-by-ear mystery introduces note values, ear training, and matching pitches. Besides knowing the names of the letters on the piano, a pianist must understand that notes can be played for different lengths. Notated music allows a person to see the different note values. In notated music, a person can also see an equal number of beats in every measure. Two, three, four, or six beats in every measure are typical. A person who plays by ear must be able to hear the lengths of every note and the number of beats in every measure without seeing them written out.
Playing the piano by ear is only possible if your ears are trained. You must have exceptional listening skills. Several ear training exercises will be provided throughout this method. It is essential to practice all these exercises numerous times.
You need to train your ears to be able to match pitches. It is optional to be a good singer, but you must be able to reproduce the pitches on the piano with your voice. It might take a while to master, but the ability to match pitches is essential for anyone who desires to play by ear. There is a strong correlation between students who can match pitches with their voices and those who find playing the piano by ear easier.
Exercise # 3.
Hold down notes for various durations of time. Listen to the differences in the lengths of the notes.
Play eight consecutive white keys on the piano within your vocal range. Listen to each note carefully and be able to distinguish every pitch. Say "LA" as you match each pitch with your voice. Play the pitches in different orders and continue to match the sounds with your voice. Once mastered, add the black keys within that range and match those pitches with your voice.
Sing Happy Birthday using the same vocal range. This song uses all eight notes from the Major Scale. Go slow and listen carefully to make sure that every pitch is correct.
KEY # 4. MELODY, HARMONY, AND INTERVALS
The fourth key to unlocking the mystery presents melody, harmony, and intervals. A melody is the main tune in a piece of music. It is a combination of individual notes that occur one after another. Harmony is the sound of two or more notes coinciding. These additional harmonic notes are used to support the melody. An interval is a distance from one note to another. If you play a note on the piano and repeat it, that interval is called a first. If you play a note on the piano and the letter next to it, that interval is called a second. If you skip one note, that interval is called a third. As you go farther from the original note, those intervals become fourths, fifths, sixths, sevenths, and octaves. An octave is an interval of an eighth away from the first note.
A melodic interval is a distance from one individual note to another. These notes occur one at a time. Listen to some examples of melodic intervals as they are played on the piano.
C to C = A first (Unison)
C to D = A second
C to E = A third
C to F = A fourth
C to G = A fifth
C to A = A sixth
C to B = A seventh
C to C = An eighth (Octave)
Harmonic intervals occur when two notes are played at the same time. The distance between the two notes is the harmonic interval. Listen to some examples of harmonic intervals played on the piano.
C D E F G
C = A first (Unison) C = A second C = A third C = A fourth C = A fifth
A B C
C = A sixth C = A seventh C = An eighth (Octave)
Exercise # 4.
Explain the difference between melody and harmony.
Several different melodic and harmonic intervals will be played on the piano. Use only your ears to identify the various intervals.
KEY # 5. HEAR THE MELODY IN YOUR HEAD
The fifth key requires you to hear melodies in your head. Beethoven listened to the music in his head when he composed. He could not hear the music he wrote like others because he was deaf. Many composers have written their music in places like parks or planes. Mozart could listen to entire pieces finished in his head before he wrote one note down. Composers need to be able to listen to the music first in their head before they put the notes down on paper.
When an artist paints a picture, they begin with a blank canvas. The artist needs to see the finished image in their mind before they create their painting. You must be able to hear the notes you will play in your head before you press down the keys on the piano.
Exercise # 5.
Listen to Mary Had a Little Lamb and Twinkle Twinkle Little Star in your head. Determine if the pitches move up, down, or remain the same. Also, determine if each note lasts for a long or short time. Listen to other songs you know and decide if those pitches move up, down, or remain the same.
KEY # 6. FINGER NUMBERS
The sixth key explains the finger numbers. Your fingers are given numbers. Thumbs are fingers number one. The index/pointer fingers are fingers number two. The middle fingers are fingers number three. The ring fingers are fingers number four. The pinky fingers are fingers number five.
C D E F G C D E F G
5 4 3 2 1 1 2 3 4 5
Left Hand Right Hand
Exercise # 6.
Play C D E F G in each hand using all five fingers. Lift your fingers from the tips and then press down each key. Make a pleasant tone with each note that you play.
KEY # 7. YOUR FIRST PIECES
The seventh key introduces the first melodies that you will play by ear. Each tune is a puzzle. Some puzzles are easier than others. All the melodies are played on white keys. The most accessible pieces are in the beginning. You will be given the notes for each song and the starting note. Each of the melodies will be played for you on the piano. Listen for the interval changes, the direction of how notes move from one to another, and their note values. Play the tunes that were played for you. Do not go fast. Listen for each new pitch before you play it. Learn one piece at a time. Play all the pieces that you know. Playing the melodies could take a long or short time. Work at your own pace.
The Song The Notes That Are Used The Starting Note
Hot Cross Buns C D E E
Mary Had a Little Lamb C D E G E
Go Tell Aunt Rhody C D E F G E
Ring Around the Rosie C E F G A G
Old MacDonald Had a Farm G A C D E C
When the Saints Go Marching in C D E F G C
This Land Is Your Land G B C D E F C
The Eensy Weensy Spider G C D E F G Low G
Row, Row, Row Your Boat G A B C D G Low G
Twinkle Twinkle Little Star C D E F G A C
For He's a Jolly Good Fellow C D E F G A C
A Tisket a Tasket C E F G A G
Kum Ba Yah C D E F G A C
Amazing Grace G A C D E G Low G
Jesus Loves Me C D E G A C G
My Country Tis of Thee B C D E F G A C
Lean On Me G A B C D E F C
Frère Jacques G C D E F G A C
If You're Happy and You Know It G A B C D E F G
A Little Night Music G B C D E F G C
Swing Low Sweet Chariot G A C D E G A E
Can Can C D E F G A B C Low C
Happy Birthday G A B C D E F G Low G
Away In a Manger G A B C D E F G High G
Joy To The World C D E F G A B C High C
Auld Lang Syne G A B C D E G A Low G
God Bless America G A B C D E F G A C
Yankee Doodle E F G A B C D E F C
How Great Thou Art D E F G A B C D E F G
Silent Night C D E F G A B C D E F G
The First Noel C D E F G A B C D E Low E
Exercise # 7.
Listen to the songs as they are played on the piano. Play the melodies that were presented. It may take several days or weeks to play the melodies. Work at your own pace.
LEVEL TWO
In the first level, you were challenged to play several different melodies. In level two, you will receive more keys for unlocking the mystery of playing the piano by ear. You will begin by learning about whole and half steps and the names of all the notes on the piano. You will have your first experience playing scales and chords.
Music sounds fuller when harmony is added to the melodies. The next level will teach you how to use two hands simultaneously. You will play chords with your left hand while playing the melodies you learned in (KEY # 7) with your right hand. You will use your ears to determine which chords match the tunes best. Playing the piano with two hands may be challenging, but success will occur with practice. If you are ready for more demanding challenges, let's begin this new level of playing the piano by ear.
KEY # 8. HALF AND WHOLE STEPS, SHARPS, FLATS, NATURALS, DIFFERENT NAMES FOR NOTES, AND ALL THE NAMES OF THE NOTES ON THE PIANO
The eighth key introduces half and whole steps, sharps, flats, different names for notes, and all the names of the notes on the piano. Examples will be played for you on the piano.
Moving in either direction to the next possible key is called a half step, whether the note is black or white. Moving in either direction that skips one black or white key is called a whole step.
A sharp (♯) is a note raised by one half-step. An example would be moving up from D to D sharp. A flat (♭) is a note lowered by one half-step. An example would be moving down from D to D flat. A natural (♮) cancels out a sharp or a flat. An example would be moving down from D sharp to D natural or moving up from D flat to D.
A note can have more than one name. For example, D flat and C sharp are the same note. Pitches that sound the same but are spelled differently are called enharmonic. Sharps or flats are not always played on black keys. For example, F flat and E are the same note. E sharp is the same note as F.
Here are all the notes you will find on a piano.
C D♭ D E♭ E F G♭ G A♭ A B♭ B C
C C♯ D D♯ E F F♯ G G♯ A A♯ B C
F♭ E♯ Cb B♯
Exercise # 8.
Listen to the examples that were presented in this lesson.
Play several half-steps and whole-steps on the piano.
Play several sharps and flats on the piano by raising or lowering notes by a half-step.
Identify some keys that have more than one name.
Play every note on the piano and be able to identify their names.
KEY # 9. MAJOR AND MINOR KEYS, THE MAJOR SCALE PATTERN, THE C MAJOR SCALE, AND THE A HARMONIC MINOR SCALE
The ninth key presents major and minor keys, the major scale pattern, the C major scale, and the A harmonic minor scale. Examples will be played for you on the piano.
Most music is composed in major or minor keys. Pieces in major keys primarily use notes from major scales. Pieces in minor keys mostly use notes from minor scales. Major keys sound bright or happy, and minor keys sound sad or mysterious to most people. However, this is a subjective distinction.
Every pianist needs to practice scales. A scale is a combination of whole steps and half steps. The major scale pattern is used to create a major scale. The pattern going up begins with a note. The following notes consist of a whole-step, a whole-step, a half-step, a whole-step, a whole-step, a whole-step, and a half-step. The pattern going down begins with a note, followed by a half-step, a whole-step, a whole-step, a whole-step, a half-step, a whole-step, and a whole-step.
GOING UP GOING DOWN
W W H W W W H H W W W H W W
The C Major scale uses the notes C, D, E, F, G, A, B, and C. The starting note is C. So far, all the pieces you have played have used letters from the C major scale. C is the most important note in this scale. Notice the fingering in the following example of a C major scale.
W W H W W W H H W W W H W W
C D E F G A B C C B A G F E D C
Right Hand Fingering 1 2 3 1 2 3 4 5 5 4 3 2 1 3 2 1
Left Hand Fingering 5 4 3 2 1 3 2 1 1 2 3 1 2 3 4 5
The A harmonic minor scale uses the notes A, B, C, D, E, F, G♯, and A. The starting note is A. A is the most important note in this scale. The harmonic minor scale pattern is used to create a harmonic minor scale. The pattern going up begins with a note. The following notes consist of a whole-step, a half-step, a whole-step, a whole-step, a half-step, a whole and a half-step, and a half-step. The pattern going down begins with a note, followed by a half-step, a whole and a half-step, a half-step, a whole-step, a whole-step, a half-step, and a whole-step. Notice the fingering in the following example of an A harmonic minor scale.
W H W W H (W+H) H H (W+H) H W W H W
A B C D E F G♯ A A G♯ F E D C B A
Right Hand Fingering 1 2 3 1 2 3 4 5 5 4 3 2 1 3 2 1
Left Hand Fingering 5 4 3 2 1 3 2 1 1 2 3 1 2 3 4 5
Exercise # 9.
Listen to the examples that were presented in this lesson.
Play the C major scale. Use the fingering that was provided. You must tuck your fingers under other fingers or cross over fingers to play with the correct fingering. Play each note at the same speed. Pay close attention to the major scale pattern.
Play the A harmonic minor scale. Use the fingering that was provided. Pay close attention to the minor scale pattern. Notice the black key (G♯) in the A harmonic minor scale.
KEY # 10. TRIADS
The tenth key for unlocking the mystery of playing by ear presents triads. A triad is a three-note chord where each note is an interval of a third away from the other. These notes must be played in this order to be considered in the root position of a triad. If the notes are not played in this order, they are inversions of triads. You will learn more about intervals and inversions in the following levels.
The lowest note of the triad in the root position is called the root. The root identifies the name of the chord. The middle note is called the triad third because it is located at an interval of a third above the root. The top note is called the triad fifth because it is located at an interval of a fifth above the root. If a triad is inverted, the chord's root will be one of the other notes, not on the bottom.
Here are triads made from the notes of the C major scale. It is best to begin reading triads with the lowest letter. Listen carefully as each triad is played for you on the piano.
G A B C D E F G (Triad Fifth)
E F G A B C D E (Triad Third)
C D E F G A B C (Triad Root)
Exercise # 10.
Listen to each of the triads that were presented in this lesson.
Play all the triads on the piano.
KEY # 11. CHORDS
The eleventh key introduces chords. Chords are harmonic combinations of three or more notes that are used to support a melody. These notes can be played as a block or a broken chord. Block chords play all the notes at one time. Broken chords play the notes individually. Triads can be chords, but only some chords are triads. Listen carefully as each chord is played for you on the piano.
Block Chord
G
E
C
Broken Chord
G
E
C
Exercise # 11.
Listen to each of the chords that were presented in this lesson.
Play a C major block chord and a C major broken chord on the piano.
KEY # 12. CHORD QUALITIES
The twelfth key explains chord qualities. Four different kinds of chords will be presented in this lesson. These four chord qualities are Major, Minor, Diminished, and Augmented. Examples of all the chords will be provided. Listen carefully as each chord is played for you on the piano.
MAJOR CHORDS
A major chord is formed on a major scale's first, fourth, and fifth notes if additional accidentals are not added. However, a major chord can be written anywhere in the music if accidentals are used. Accidentals are added sharps, flats, or naturals, not in your playing key. A major third is a distance from the first to the second note in a major triad. The distance from the second to the third note is a minor third. A major third equals four half-steps. A minor third equals three half-steps. You will learn more about these intervals in level three. Some people believe that a major chord has a "happy" sound.
Some chords can be spelled differently, even though they use the same keys. For example, the D♭ major chord uses D♭, F, and A♭. The C♯ major chord uses those identical keys, but the notes are called C♯, E♯, and G♯.
G A♭ A B♭ B C D♭ D E♭ E F F♯ G
E F F♯ G G♯ A B♭ B C C♯ D D♯ E
C D♭ D E♭ E F G♭ G A♭ A B♭ B C
G♯ C♯ G♭
E♯ A♯ E♭
C♯ F♯ C♭
MINOR CHORDS
A minor chord is formed on the major scale's second, third, and sixth notes if additional accidentals are not added. However, a minor chord can be written anywhere in the music if accidentals are used. Accidentals are added sharps, flats, or naturals, not in your playing key. The distance from the first note to the second note of a minor triad is a minor third. The distance from the second to the third is a major third. Some believe a minor chord has a "sad or mysterious" sound.
G G♯ A B♭ B C C♯ D D♯ E F F♯ G
E♭ E F G♭ G A♭ A B♭ B C D♭ D E♭
C C♯ D E♭ E F F♯ G G♯ A B♭ B C
DIMINISHED CHORDS
A diminished chord is formed on the seventh note of a major scale if additional accidentals are not added. However, a diminished chord can be written anywhere in the music if accidentals are used. The distance from the first note to the second note is a minor third. The distance from the second to the third is a minor third. Some people believe that a diminished chord has a "scary" sound.
G♭ G A♭ A B♭ C♭ C D♭ D E♭ F♭ F G♭
E♭ E F F♯ G A♭ A B♭ B C D♭ D E♭
C C♯ D D♯ E F F♯ G G♯ A B♭ B C
AUGMENTED CHORDS
An augmented chord needs accidentals to be made. The distance from the first note to the second note is a major third. The distance from the second to the third is a major third. Some people believe that an augmented chord has a "surprising" sound.
G♯ A A♯ B B♯ C♯ D D♯ E E♯ F♯ G G♯
E F F♯ G G♯ A B♭ B C C♯ D E♭ E
C D♭ D E♭ E F G♭ G A♭ A B♭ C♭ C
Exercise # 12.
Listen carefully as each chord is played for you on the piano.
Play all the major, minor, diminished, and augmented chords by ear.
KEY # 13. DISTINGUISHING CHORD QUALITIES
The thirteenth key presents another way to distinguish chord qualities. Begin with a major triad. Play the triad again but lower the middle note by one half-step. This change makes the triad minor. Begin with a major triad. Play the triad again but lower the middle and top notes by a half-step. This change makes the triad diminished. Begin with a major triad. Raise the top note by one half-step. This change makes the triad augmented. Listen carefully as each chord is played for you on the piano.
G G G♭ G♯ 5 5 ♭5 ♯5
E E♭ E♭ E 3 ♭3 ♭3 3
C C C C 1 1 1 1
Major Minor Diminished Augmented Major Minor Diminished Augmented
Exercise # 13.
Listen as major, minor, diminished, and augmented chords are played on the piano. Use your ear to determine which chord is being played.
Play the four chord qualities that were presented in this lesson.
KEY # 14. PRIMARY CHORDS
The fourteenth key introduces primary chords. There are three primary chords in every key. These three chords are based on scale degrees 1, 4, and 5. These three chords are referred to as the one-chord (I), the four-chord (IV), and the five-chord (V). Roman numerals are traditionally used to analyze chords when notated music is used. These three chords are usually the most prominent in a piece of music. The one-chord is the most stable. The five-chord is an unstable chord that wants to resolve. The four-chord is also an unstable chord that wants to resolve. The four-chord and the five-chord often resolve back to the one-chord. The dominant chord is five notes higher than the tonic. The subdominant chord is five notes lower than the tonic. Many pieces that only use these three chords have been composed.
The three primary chords in the key of C major are C major, F major, and G major. These three chords are based on the C major scale's first, fourth, and fifth notes. The three notes that form the C major chord are C, E, and G. The three notes that form the F major chord are F, A, and C. The three notes that form the G major chord are G, B, and D. Understanding these three primary chords is essential because you will add them later to the melodies you learned in (KEY #7.) Listen carefully as the three primary chords in the key of C major are played for you on the piano.
G C D
E A B
C F G
Exercise # 14.
Listen carefully as the primary chords are played on the piano.
Play the three primary chords that were presented in this lesson.
KEY # 15. CHORD PROGRESSIONS
The fifteenth key introduces chord progressions. You will use some of these chord progressions when you add chords to the melodies you learned in (KEY # 7.) Listen carefully as the two chord progressions are played on the piano.
ONE, FIVE, ONE-CHORD PROGRESSION
The one, five, one-chord progression moves from the one-chord to the five-chord and back to the one-chord. An example would be going from the C major chord to the G major chord and back to the C major chord.
G D G
E B E
C G C
I V I
ONE, FOUR, ONE, FIVE, ONE-CHORD PROGRESSION
The one, four, one, five, one-chord progression moves from the one-chord to the four-chord and then back to the one-chord. Then, the progression moves to the five-chord and back to the one-chord. An example would be going from the C major chord to the F major chord and back to the C major chord, then going to the G major chord and returning to the C major chord.
G C G D G
E A E B E
C F C G C
I IV I V I
Exercise # 15.
Listen carefully as the two chord progressions are played on the piano.
Play the one, five, one, and the one, four, one, five, one-chord progressions presented in this lesson. Use your left hand to play the chord progressions.
KEY # 16. HEARING CHORD CHANGES
The sixteenth key presents the indispensable necessity to hear chord changes. Hearing chord changes in music is vital for playing by ear. The easiest way to hear chord changes is to begin with the three primary chords. Many pieces only use these three chords. In the key of C major, these three chords are C major, F major, and G major.
Play the C major scale with your right hand. Harmonize the scale by adding the three primary chords with your left hand. Use your ears to choose the chord that blends best with each note in the C major scale. Listen carefully as an example of the scale, and the chords are played together for you on the piano.
Scale: C D E F G A B C
Chords: G D G C G C D G
E B E A E A B E
C G C F C F G C
I V I IV I IV V I
Exercise # 16.
Listen carefully as an example of the scale, and the chords are played together for you on the piano.
Play the C major scale and primary chords together.
Listen to music you enjoy and try to hear the chord changes.
KEY # 17. ADDING PRIMARY CHORDS TO THE MELODIES THAT YOU PREVIOUSLY LEARNED
The seventeenth key challenges you to add primary chords to the melodies that you previously learned in (KEY # 7.) Add the three primary chords (C Major, F Major, or G Major) to these melodies. Use your ear to determine which chord sounds best with the melody note. Listen for the interval changes; the direction notes move from one to another, and their note values. Do not go fast. Learn one piece at a time. Play all the pieces you know. Playing the songs could take a long or short time. Work at your own pace. Listen carefully as a few examples are played for you on the piano.
Exercise # 17.
Listen carefully as a few pieces are played for you on the piano.
Add primary chords to the melodies you learned in (KEY # 7.)
KEY # 18. SLIGHTLY MORE CHALLENGING PIECES
The eighteenth key presents slightly more challenging melodies to play by ear. All the melodies except America the Beautiful are played exclusively on white keys. The most accessible pieces are in the beginning. You will be given the notes for each song and the starting note. Each of the melodies will be played for you on the piano. Listen for the interval changes, the note values, and the direction notes move from one to another. Play the songs that were played for you. Do not go fast. Listen for each new pitch before you play it. Learn one piece at a time. Playing the melodies could take a long or short time. Work at your own pace.
The Song The Notes That Are Used The Starting Note
Over the River and Through the Woods C D E F G A B C G
Jingle Bells G A B C D E F G A Low G
Bridal Chorus G A B C D E F G Low G
Zip a Dee Doo Dah C D E F G A B C D E Low E
Rudolph the Red-Nosed Reindeer D E F G A B C D G
America the Beautiful D E F G A B C C♯ D E G
Exercise # 18.
Listen to each of the melodies played on the piano.
Play all the melodies presented in this lesson by ear.
LEVEL THREE
The lessons in level three will challenge you with more complex pieces, advanced ear-training exercises, and chords. You will add primary and secondary dominant chords to the melodies you learned in (KEY # 18.) You will use your ears to determine which chords best match the pieces. You must identify all the intervals that are presented. The challenges will be more demanding. With this new level, let's continue the quest to unlock the mystery of playing the piano by ear.
KEY # 19. MORE ABOUT INTERVALS
The nineteenth key presents more about intervals. Within an octave, there are thirteen notes. For example, the notes from C to C are C, D♭, D, E♭, E, F, G♭, G, A♭, A, B♭, B, and C. The names of the notes could be called C, C♯, D, D♯, E, F, F♯, G, G♯, A, A♯, B, and C, but they are still the same keys. You get an interval if you play the low C simultaneously with any of these other notes.
Intervals are divided into five qualities: perfect, major, minor, diminished, and augmented. Two things are required to describe an interval: distance and quality. The intervals unison, fourth, fifth, and eighth, are identified as perfect. Seconds, thirds, sixths, and sevenths are major or minor intervals. Major intervals come from the Major scale. Minor intervals are a half-step lower than major intervals. Diminished intervals are a half-step lower than minor intervals. Augmented intervals are a half-step higher than major or perfect intervals. Here is an example of each interval. Listen as they are played on the piano.
C D♭ D E♭ E F
C C C C C C
Perfect Unison Minor 2nd Major 2nd Minor 3rd Major 3rd Perfect 4th
F♯ G♭ G A♭ A
C C C C C
Augmented 4th Diminished 5th Perfect 5th Minor 6th Major 6th
B♭ B C
C C C
Minor 7th Major 7th Perfect Octave
Some intervals go up while others go down. When you play pieces by ear, you must determine if the interval is higher, lower, or the same sound. Identifying intervals is essential if you desire to play the piano by ear.
Exercise # 19.
Listen as several different intervals are played on the piano.
Be able to identify the intervals presented in this lesson by hearing them.
KEY # 20. CONSONANT AND DISSONANT INTERVALS
The twentieth key introduces consonant and dissonant intervals. An interval that sounds stable or pleasing to most people is considered consonant. An interval that sounds unstable or unpleasant to most people is considered dissonant. Combining consonant and dissonant intervals makes music more intriguing.
The consonant intervals are unisons, minor thirds, major thirds, perfect fourths, perfect fifths, minor sixths, major sixths, and octaves. Intervals considered dissonant are minor seconds, major seconds, augmented fourths, diminished fifths, minor sevenths, and major sevenths. Listen carefully as consonant and dissonant intervals are played on the piano.
Consonant Intervals: PU, m3, M3, P4, P5, m6, M6, P8
Dissonant Intervals: m2, M2, A4, D5, m7, M7
Exercise # 20.
Listen as several consonant and dissonant intervals are played on the piano. Listen for their pleasing or unpleasing sounds.
KEY # 21 MELODIC DICTATION AND RHYTHMIC DICTATION
The twenty-first key introduces melodic and rhythmic dictation. Melodic and rhythmic dictation are exceptional ear-training exercises. These exercises are used by people who read traditional music notation. This method does not use standard music notation. However, it is essential to be familiar with these two ear-training exercises.
Melodic dictation is an ear-training exercise. A person writes out the music notation for the music that they hear. Determining the intervals from one note to another is very important. Beginners start by notating a couple of notes or a short melody. As they improve at this exercise, they may notate two or more music parts simultaneously.
Rhythmic dictation is an ear-training exercise. A person writes out the different note values for the music they hear. Beginners start by notating a couple of note values or a short rhythm. As they improve at this exercise, they may try to notate two or more rhythms simultaneously.
Exercise # 21.
Become familiar with melodic and rhythmic dictation.
KEY # 22. THE FIVE-SEVEN CHORD
The twenty-second key introduces the five-seven chord. The five-seven chord is the five-chord, with an added interval of a seventh above the root. The five-seven chord is usually the strongest in a piece of music besides the one-chord. In the key of C Major, the five-seven or the G7 chord would be formed by the G, B, D, and F notes. Here is an example of a five-seven chord. Listen closely as this example is played on the piano.
F 7
D 5
B 3
G 1
V7
Exercise # 22.
Listen to the example of the five-seven chord as it is played on the piano.
Play the five-seven chord that was presented.
KEY # 23. THE ONE, FIVE-SEVEN, ONE-CHORD PROGRESSION
The twenty-third key introduces the one, five-seven, one-chord progression. The one, five-seven, one-chord progression moves from the one-chord to the five-seven-chord and then back to the one-chord. The five-seven chord resolves to the one-chord. The B in the G7 chord resolves to a C. The F in the G7 chord resolves to the E. The standard way for these notes to resolve is why the G7 chord leads back to the C chord in the key of C major.
An example would be going from the C major chord to the G7 chord and back to the C major chord. Here is an example of the one, five-seven, one-chord progression. Listen closely as the example is played on the piano.
G > G > G
F > E
E > D
C > B > C
I V7 I
Exercise # 23.
Listen to the example of the one, five-seven, one-chord progression as it is played on the piano.
Play the one, five-seven, one-chord progression that was presented.
KEY # 24. SECONDARY DOMINANT CHORDS
The twenty-fourth key presents secondary dominant chords. A secondary dominant chord is an altered chord that becomes the five-chord to another chord in the key other than the tonic. Secondary dominant chords are created using accidentals. One common secondary dominant chord is the major two-chord. The two-chord is usually minor. However, if the minor two-chord is changed to a major two-chord using accidentals, this chord can function as the five of the five-chord. For example, in the key of C major, the D minor chord would be changed to a D major chord using an accidental. (F♯) The D major chord would function as the five-chord of the G major chord. One secondary dominant chord can be used, or a combination of secondary dominant chords can occur in the same piece. Using secondary dominant chords creates a smooth transition from one chord to another.
You must understand secondary dominant chords because you will use them several times later in this level when you add them to the melodies you previously learned in (KEY # 18.) An example of a secondary dominant chord progression has been provided. Listen closely as the example is played on the piano.
G A D G
E F# B E
C D G C
I II /V V I
One Major Two = V of V Five One
Exercise # 24.
Listen closely as the example of a secondary dominant chord is played on the piano.
Play the example of a secondary dominant chord progression presented in this lesson.
KEY # 25. ADDING PRIMARY CHORDS AND SECONDARY DOMINANT CHORDS TO THE MELODIES THAT YOU PREVIOUSLY LEARNED
The twenty-fifth key presents your biggest challenge so far. Add primary and secondary dominant chords to the melodies you previously learned in (KEY # 18.) All the pieces are played exclusively on white keys except for America the Beautiful. However, some chords will use black keys if they are secondary dominants. Do not go fast. Listen closely to every chord that you play. Work at your own pace. Examples will be played for you on the piano.
Exercise # 25.
Listen carefully as the pieces are played for you on the piano.
Add primary and secondary dominant chords to the melodies you learned in (KEY # 18.) Use your ear to determine which chords sound best with the melodies.
KEY # 26. MORE ADVANCED PIECES
The twenty-sixth key presents more advanced pieces to play by ear. Many of these melodies are challenging. The most accessible pieces are in the beginning. Notice the notes that are used for each song and the starting note. All the melodies except Somewhere Over the Rainbow and Greensleeves are played exclusively on white keys. You will be given the notes for each song and the starting note. Each of the melodies will be played for you on the piano. Listen for the interval changes, their note values, and the direction notes move from one to another. Play the songs that were played for you. Do not go fast. Listen for each new pitch before you play it. Learn one piece at a time. Playing the melodies could take a long or short time. Work at your own pace.
The Song The Notes That Are Used The Starting Note
Snake Dance A B C D E A
M-I-C-K-E-Y- M-O-U-S-E MARCH G A B C D E C
Ode to Joy G C D E F G E
We Wish You a Merry Christmas G A B C D E F G Low G
Puff The Magic Dragon E F G A B C D C
Hatikvah A B C D E F G A Low A
Hark! The Herald Angels Sing G A B C D E F G A Low G
Let It Be E G A C D E F G A Low G
Take Me Home Country Roads G A B C D E F G A Low G
Somewhere Over the Rainbow A B C D E F F♯ G A B C D Low C
Greensleeves E F♯ G G♯ A B C D E F F♯ G A
Exercise # 26.
Listen carefully as the melodies in this lesson are played on the piano.
Play all the melodies that were presented by ear.
LEVEL FOUR
Level four will present lessons for advanced players who have mastered the previous material. These lessons are challenging but essential for performers who desire to expand their abilities. A solid understanding of music theory will be required. Let's begin if you are ready to attempt the following challenges.
KEY # 27. ALL FIFTEEN MAJOR AND FIFTEEN MINOR KEYS
The twenty-seventh key introduces all fifteen major and fifteen minor keys. Keys are specific combinations of notes with one tonal center. Pieces can be played in several different keys. Sometimes, a person will play a piece in a particular key to fit their vocal range. Other times, pieces are played in specific keys because each key sounds slightly different. Some keys are warmer or brighter than others.
There are fifteen major and fifteen minor keys. Some keys use the same notes, but the names of the notes are different. For example, the keys of F# major and G♭ major use the same notes but do not have the same letters.
The order of sharps that you use in any key always remains the same. (F♯, C♯, G♯, D♯, A♯, E♯, and B♯). For example, if a key has two sharps, the sharps will be F♯ and C♯. If a key has four sharps, the sharps will be F♯, C♯, G♯, and D♯.
The order of flats that you use in any key always remains the same. (B♭, E♭, A♭, D♭, G♭, C♭, and F♭). For example, if a key has two flats, the flats will be B♭ and E♭. If a key has four flats, the flats will be B♭, E♭, A♭, and D♭.
Every key has a unique number of sharps or flats. Notice that every key is a fifth away from the other. Recognizing the distance between each key is helpful when you memorize the order of sharps and flats. Capital letters indicate major keys. Small letters indicate minor keys. The number of sharps or flats for each key is shown in the following lists.
Major Keys: C (0♯ 0♭), G (1♯), D (2♯), A (3♯), E (4♯), B (5♯), F# (6♯), C# (7♯), F (1♭), B♭ (2♭), E♭ (3♭), A♭ (4♭), D♭ (5♭), G♭ (6♭), C♭ (7♭).
Minor Keys: a (0♯ 0♭), e (1♯), b (2♯), f♯ (3♯), c♯ (4♯), g♯ (5♯), d♯ (6♯), a♯ (7♯), d (1♭), g (2♭), c (3♭), f♭ (4♭), b♭ (5♭), e♭ (6♭), a♭ (7♭).
Exercise # 27.
Memorize the number of sharps and flats for every major and minor key.
KEY # 28. ALL FIFTEEN MAJOR AND FIFTEEN HARMONIC MINOR SCALES
The twenty-eighth key presents the fifteen major and fifteen harmonic minor scales. In (KEY # 9,) you learned about the major scale pattern, W W H W W W H, and the minor scale pattern. W H W W H (W+H) H. You learned in (KEY #27) that there are fifteen major and fifteen minor keys. You will play all thirty major and harmonic minor scales in this lesson. Some scales use the same keys, but the letters are spelled differently. Learning these scales will allow you to play pieces in all the different keys.
Knowing that the seventh note in the harmonic minor scale is raised is essential. This note will not change the number of sharps or flats in the key signature. There are other minor scales, but the harmonic minor scale is the most common. Raising the seventh note is essential because the raised note will cause the five-chord to become a major chord. Most pieces in minor keys use the harmonic minor for this reason.
The names of the letters for every scale are provided. Listen as each scale is played on the piano. The fingering for these scales can vary. If you have difficulty, you can find the fingering for any scale online.
ALL 15 MAJOR SCALES
C D E F G A B C
C♯ D♯ E♯ F♯ G♯ A♯ B♯ C♯ D♭ E♭ F G♭ A♭ B♭ C D♭
D E F♯ G A B C♯ D
Eb F G A♭ B♭ C D E♭
E F♯ G♯ A B C♯ D♯ E
F G A B♭ C D E F
F♯ G♯ A♯ B C♯ D♯ E♯ F♯ G♭ A♭ B♭ C♭ D♭ E♭ F G♭
G A B C D E F♯ G
A♭ B♭ C D♭ E♭ F G A♭
A B C♯ D E F♯ G♯ A
B♭ C D E♭ F G A B♭
B C♯ D♯ E F♯ G♯ A♯ B C♭ D♭ E♭ F♭ G♭ A♭ B♭ C♭
ALL 15 HARMONIC MINOR SCALES
An (x) is a symbol that indicates a double sharp.
(♭♭) means a double flat.
C D E♭ F G A♭ B C
C♯ D♯ E F♯ G♯ A B♯ C
D E F G A B♭ C♯ D
E♭ F G♭ A♭ B♭ C♭ D E♭ D♯ E♯ F♯ G♯ A♯ B Cx D♯
E F♯ G A B C D♯ E
F G A♭ B♭ C D♭ E F
F♯ G♯ A B C♯ D E♯ F♯ G♭ A♭ B♭ ♭ C♭ D♭ E♭ ♭ F G♭
G A B♭ C D E♭ F# G
A♭ B♭ C♭ D♭ E♭ F♭ G A♭
A B C D E F G# A
B♭ C D♭ E♭ F G♭ A B♭ A♯ B♯ C♯ D♯ E♯ F♯ Gx A♯
B C♯ D E F♯ G A♯ B
Exercise # 28.
Listen to each scale as they are played on the piano.
Play all 15 major and 15 harmonic minor scales.
KEY # 29. ALL FIFTEEN PRIMARY CHORDS IN EVERY MAJOR KEY
The twenty-ninth key presents all fifteen primary chords in every major key. Knowing all the primary chords in every major key is essential because they are often found in the music you play. Begin with the three primary chords in C major. After you have located these chords, move each chord up one half-step. Play the primary chords in C sharp major. Continue to find the primary chords in all fifteen major keys. Here are some examples. All the examples will be played for you on the piano. Know the letters of the chords from the bottom to the top.
G C D G♯ C♯ D♯ A D E
E A B E♯ A♯ B♯ F♯ B C♯
C F G C♯ F♯ G♯ D G A
I IV V I IV V I IV V
The Key The Chord Progression
I IV V
C Major C, F, G
C sharp Major C♯, F♯, G♯
D flat Major D♭, G♭, A♭
D Major D, G, A
E flat Major E♭, A♭, B♭
E Major E, A, B
F Major F, B♭, C
F sharp Major F♯, B, C♯
G flat Major G♭, C♭, D♭
G Major G, C, D
A flat Major A♭, D♭, E♭
A Major A, D, E
B flat Major B♭, E♭, F
B Major B, E, F♯
C flat Major C♭ F♭, G♭
Exercise # 29.
Listen to all the major primary chords played on the piano.
Play all the primary chords in every major key.
KEY # 30. ALL FIFTEEN PRIMARY CHORDS IN EVERY HARMONIC MINOR KEY
The thirtieth key presents all fifteen primary chords in every minor key. Knowing all the primary chords in every minor key is essential because they are often found in the music you play. Begin with the three primary chords in A minor. After you have located these chords, move each chord up one half-step. Play the primary chords in B♭ minor. Continue to find the primary chords in all fifteen minor keys. The one and four-chord are minor, but the five-chord will be a major chord. Here are some examples. All the examples will be played on the piano. Know the letters of the chords from the bottom to the top.
e a B f b♭ C f♯ b C♯
c f G♯ d♭ g♭ A d g A♯
a d E b♭ e♭ F b e F♯
i iv V i iv V i iv V
The Key The Chord Progression
i iv V
A Minor a, d, E
A sharp Minor a♯, d♯, E♯
B flat Minor b♭, eb, F
B Minor b, e, F♯
C Minor c, f, G
C sharp Minor c♯, f♯, G♯
D Minor d, g, A
D sharp Minor d♯, g♯, A♯
E flat Minor e♭, a♭, B♭
E Minor e, a, B
F Minor f, b♭, C
F sharp Minor f♯, b, C♯
G Minor g, c, D
G sharp Minor g♯, c♯, D♯
A flat Minor a♭, d♭, E♭
Exercise # 30.
Listen to all the primary chords in this lesson as they are played on the piano.
Play all fifteen primary chords in every minor key. Remember that the one and four-chords are minor, but the five-chord is major.
KEY # 31. CHORD CHARTS
The thirty-first key presents chord charts. This method book does not use music notation. However, it is essential to understand chord charts. Chord charts consist of a notated melody and the chords to be played in a particular composition. Each performer who plays a composition using a chord chart will play the piece slightly differently. Chord charts are not used if every note in a composition needs to be performed in a specific way.
The letters above the notated melody indicate the chords accompanying the piece. For example, if a C is written above the melody, the C major chord will be played with those melody notes. The chord is played slightly differently if a letter is written with another letter underneath it. The letter below the top letter indicates the lowest note to be played in the chord. The letter on top shows the name of the chord. For instance, if the letter G is written below C (C/G), a C major chord should be played with the melody. However, a G needs to be the lowest note in the chord.
There are different ways to indicate the desired chords. A C major chord is written with a capital C. C minor could be written as (C min) or with a small letter c (c). Some people indicate a minor chord by using a minus sign. (C-) Numbers can also be added to the chord symbols to indicate additional notes that should be added to the chord. (C9) It would be challenging to show all the chord symbols found in chord charts.
Everyone will play music differently using a chord chart. A person can spend a lifetime learning how to play chords and melodies in various ways. Chord charts are fun to use but require considerable practice.
Here is an example of a chord chart without a notated melody. The chords will be played for you on the piano. The song is Auld Lang Syne. The melody could be sung or played on an instrument by another person. Capital letters indicate major chords. Small letters indicate minor chords. Each chord gets two beats. Listen as the chords in this chord chart are played on the piano.
Chord Chart for Auld Lang Syne:
C a d G C C7 F F C a d G F G C C
C a d G C C7 F F C a d G F G C C
Exercise # 31.
Listen to the chords from the chord chart played on the piano.
Play the chords in the chord chart for Auld Lang Syne.
KEY # 32. TRANSPOSITION
The thirty-second key presents transposition. Transposing music is playing the same music in a different key using an alternative combination of pitches. The distance between the original and transposed pieces' intervals is identical. For example, a melody using the notes E D C D E sounds like the one using the notes F♯ E D E F♯ because the distance between the intervals is the same.
This lesson will give you experience transposing a simple melody into all major keys. One of the first melodies many people heard when they were young was Mary Had a Little Lamb. This melody uses the letters C, D, E, and G. Begin playing this piece on E. Once you have played the entire melody, transpose it into the key of C# major. Begin on E#. The distance between the whole and half steps will remain the same when you play the piece. For example, the first time you play Mary Had a Little Lamb, play E D C D E E E D D D E G G E D C D E E E E D D E D C. Now, move all the notes one half-step higher. Begin on E♯. Play E♯ D♯ C♯ D♯ E♯ E♯ E♯ D♯ D♯ D♯ E♯ G♯ G♯ E♯ D♯ C♯ D♯ E♯ E♯ E♯E♯ D♯ D♯ E♯ D♯ C♯. You will use the same notes if you begin on F. This is the key of D♭ major. The notes are the same, but the names of the notes are different. Play F E♭ D♭ E♭ F F F E♭ E♭ E♭ F A♭ A♭ F E♭ D♭ E♭ F F F F E♭ E♭ F E♭ D♭. Transpose this melody into every major key. Listen as Mary Had a Little Lamb is played in all the major keys on the piano. The notes that are used and the starting note are provided.
The Song The Notes That Are Used The Starting Note
Mary Had a Little Lamb C D E G E
Mary Had a Little Lamb C♯ D♯ E♯ G♯ E♯
Mary Had a Little Lamb D♭ E♭ F A♭ F
Mary Had a Little Lamb D E F♯ A F♯
Mary Had a Little Lamb E♭ F G B♭ G
Mary Had a Little Lamb E F♯ G♯ B G♯
Mary Had a Little Lamb F G A C A
Mary Had a Little Lamb F♯ G♯ A♯ C♯ A♯
Mary Had a Little Lamb G♭ A♭ B♭ D♭ B♭
Mary Had a Little Lamb G A B D B
Mary Had a Little Lamb A♭ B♭ C E♭ C
Mary Had a Little Lamb A B C♯ E C♯
Mary Had a Little Lamb B♭ C D F D
Mary Had a Little Lamb B C♯ D♯ F♯ D♯
Mary Had a Little Lamb C♭ D♭ E♭ G♭ E♭
Exercise # 32.
Listen to Mary Had a Little Lamb in all the major keys as it is played on the piano.
Play Mary Had a Little Lamb in all fifteen major keys.
KEY # 33. MODULATION
The thirty-third key presents modulation. Modulation is the process of transitioning from one key to another. Modulation can be done by a succession of chords that ease into the new key or occur quickly. An abrupt modulation is a modulation that happens immediately. The easiest way to accomplish an abrupt modulation is to play the five-seven chord of the next desired key, followed by the one-chord in the new key.
Listen as an example of an abrupt modulation is played on the piano. Play the example. Begin with the C major chord, the one-chord in the key of C major. The next chord is the six-chord in the key of C major. However, the C was changed from a C to a C#. The sharp makes the six-chord a major chord. An interval of a seventh was also added to make the six-chord function as a major five-seven chord in the new key. The final chord is D major. This chord is the major two-chord in the key of C major or the one-chord in the key of D major.
G G A
E E F♯
C C♯ D
A
I VI7/ V7 II/I
Exercise # 33.
Listen to the example of an abrupt modulation as it is played on the piano.
Play the example of an abrupt modulation that was presented.
KEY # 34. JINGLE BELLS IN 15 MAJOR KEYS
The thirty-fourth key challenges you to play Jingle Bells in fifteen major keys. You played the Jingle Bells melody in (KEY # 18.) You recently learned about transposition. Transpose the Jingle Bells melody into all fifteen major keys. Begin by playing the melodies in every key. Once you have mastered the melodies, use your ears to add the chords. The chord progressions, the key, the notes used, and the starting note are provided. Listen as examples are played for you on the piano.
Jingle Bells Chord Progression:
I, I, I, IV, ii, V, V, I,
I, I, I, IV, ii, I, V, I
I, I, I, I, IV, I, II, V,
I, I, I, I, IV, I, V, I
The Key The Notes That Are Used The Starting Note
C Major G A B C D E F G A Low G
C sharp Major G♯ A♯ B♯ C♯ D♯ E♯ F♯ G♯ A♯ Low G♯
D flat Major A♭ B♭ C D♭ E♭ F G♭ A♭ B♭ Low A♭
D Major A B C♯ D E F♯ G A B Low A
E flat Major B♭ C D E♭ F G A♭ B♭ C Low B♭
E Major B C♯ D♯ E F♯ G♯ A B C♯ Low B
F Major C D E F G A B♭ C D Low C
F sharp Major C♯ D♯ E♯ F♯ G♯ A♯ B C♯ D♯ Low C♯
G flat Major D♭ E♭ F G♭ A♭ B♭ C D♭ E♭ Low D♭
G Major D E F♯ G A B C D E Low D
A flat Major E♭ F G A♭ B♭ C D♭ E♭ F Low E♭
A Major E F♯ G♯ A B C♯ D E F♯ Low E
B flat Major F G A B♭ C D E♭ F G Low F
B Major F♯ G♯ A♯ B C♯ D♯ E F♯ G#♯ Low F♯
C flat Major G♭ A♭ Bb C♭ D♭ E♭ F♭ G♭ A♭ Low G♭
Exercise # 34.
Listen to Jingle Bells in fifteen major keys as it is played on the piano.
Play Jingle Bells in all fifteen major keys. Begin with the melodies, and then add the chords.
KEY # 35. ODE TO JOY IN 15 MAJOR KEYS
The thirty-fourth key challenges you to play Ode to Joy in fifteen major keys. You played the Ode to Joy melody in (KEY # 26.) You recently learned about transposition. Transpose the Ode to Joy melody into all fifteen major keys. Begin by playing the melodies in every key. Once you have mastered them, use your ears to add the chords. The chord progressions, the key, the notes used, and the starting note are provided. Especially notice the minor six-chord and the major two-chord. The major two-chord is a secondary dominant chord to the five-chord. Listen as examples are played for you on the piano.
Ode to Joy Chord Progression:
I I V V I I V V
I I IV IV I I V I
V I V I V vi II V
I I IV IV I I V I
The Key The Notes That Are Used The Starting Note
C Major G C D E F G E
C sharp Major G♯ C♯ D♯ E♯ F♯ G♯ E♯
D flat Major A♭ D♭ E♭ F G♭ A♭ F
D Major A D E F♯ G A F♯
E flat Major B♭ E♭ F G A♭ B♭ G
E Major B E F♯ G♯ A B G♯
F Major C F G A B♭ C A
F sharp Major C♯ F♯ G♯ A♯ B C♯ A♯
G flat Major D♭ G♭ A♭ B♭ C♭ D♭ B♭
G Major D G A B C D B
A flat Major E♭ A♭ B♭ C D♭ E♭ C
A Major E A B C♯ D E C♯
B flat Major F B♭ C D E♭ F D
B Major F♯ B C♯ D♯ E F♯ D♯
C flat Major G♭ C♭ D♭ Eb F♭ G♭ E♭
Exercise # 35.
Listen to Ode to Joy in fifteen major keys as it is played on the piano.
Play Ode to Joy in all fifteen major keys. Begin with the melodies, and then add the chords.
KEY # 36. SNAKE DANCE IN 15 MINOR KEYS
The thirty-sixth key challenges you to play Snake Dance in fifteen minor keys. You played the Snake Dance melody in (KEY # 26.) You recently learned about transposition. Transpose the Snake Dance melody into all fifteen minor keys. Begin by playing the melodies in every key. Once you have mastered them, use your ears to add the chords. The chord progressions, the key, the notes used, and the starting note are provided. Especially notice the major three-chord and the major seven-chord. Listen as examples are played for you on the piano.
Snake Dance Chord Progression: N/C means "no chord."
N/C
i V i i i V i i
i V i i i V i i
III III VII VII V V i i
i V i i i V i
The Key The Notes That Are Used The Starting Note
A Minor A B C D E A
A♯ Minor A♯ B♯ C♯ D♯ E♯ A♯
Bb Minor B♭ C D♭ E♭ F B♭
B Minor B C♯ D E F♯ B
C Minor C D E♭F G C
C# Minor C♯ D♯ E F♯ G♯ C♯
D Minor D E F G A D
D# Minor D♯ E♯ F♯ G♯ A♯ D♯
Eb Minor E♭ F G♭A♭ B♭ E♭
E Minor E F♯ G A B E
F Minor F G A♭B♭ C F
F# Minor F♯ G♯ A B C♯ F♯
G Minor G A B♭C D G
G# Minor G♯ A♯ B C♯ D♯ G♯
Ab Minor A♭ B♭ C♭ D♭ E♭ A♭
Exercise # 36.
Listen to Snake Dance in fifteen minor keys as it is played on the piano.
Play Snake Dance in all fifteen minor keys. Begin with the melodies, and then add the chords.
After playing Ode to Joy, Jingle Bells, and Snake Dance in all fifteen major or minor keys, use your ears to add chords to every melody you learned in (KEY # 26.)
LEVEL FIVE
Level five will present more demanding challenges and new ways to enhance your playing. These lessons are for advanced players. Mastering these lessons and exercises will be a remarkable accomplishment. Let's begin.
KEY # 37. PLAYING THE ONE, SIX, FOUR, AND FIVE-CHORD PROGRESSION IN EVERY MAJOR KEY
The thirty-seventh key presents playing the one, six, four, and five-chord progression in every major key. If you are familiar with the one, six, four, and five-chords in every major key, you should be able to harmonize numerous songs. Heart and Soul is an example of a piece that uses the one, six, four, and five-chord progression. Play the chord progression for Heart and Soul in all fifteen major keys. The name of each key and the chords for Heart and Soul are provided. Listen as examples are played for you on the piano.
The Key Heart and Soul Chord Progression:
I, vi, IV, V
C Major C, a, F, G
C sharp Major C♯, a♯, F♯, G♯
D flat Major D♭, b♭, G♭, A♭
D Major D, b, G, A
E flat Major E♭, c, A♭, B♭
E Major E, c♯, A, B
F Major F, d, B♭, C
F sharp Major F♯, d♯, B, C♯
G flat Major G♭, e♭, C♭, D♭
G Major G, e, C, D
A flat Major A♭, f, D♭, E♭
A Major A, f♯, D, E
B flat Major B♭, g, E♭, F
B Major B, g♯, E, F♯
C flat Major C♭, a♭, F♭, G♭
Exercise # 37.
Listen to examples of the one, six, four, and five-chord progression as they are played on the piano.
Play the one, six, four, and five-chord progression in all fifteen major keys used in the song Heart and Soul.
KEY # 38. INVERSIONS
The thirty-eighth key introduces inversions. An inversion is a chord that is not in the root position. For example, a person could play the C major chord as E, G, and C instead of C, E, and G. The same letters are used, but the notes are played differently. Playing the chords this way is called an inversion, and since the third note of the chord is on the bottom, E G C is considered the first inversion. When the fifth note of the chord is on the bottom, as in G C E, the chord is in the second inversion. Sometimes, a chord played in an inversion will sound better than if the chord was played in the root position. An example of primary chords in the root position, first inversion and second inversion, has been provided. Listen as the examples are played on the piano.
G C E C F A D G B
E G C A C F B D G
C E G F A C G B D
I I I IV IV IV V V V
Exercise # 38.
Listen to the examples presented in this lesson as they are played on the piano.
Play the C major, F major, and G major chords in the root position, first inversion, and second inversion.
KEY # 39. INVERSIONS OF ALL FIFTEEN MAJOR AND FIFTEEN MINOR CHORDS
The thirty-ninth key presents inversions of all fifteen major and fifteen minor chords. It is essential to be able to play all fifteen major and minor chords in the root position, first inversion, and second inversion. Playing all these chords in the root position and the inversions will enhance your ability to play the piano by ear in several ways. All twelve major and minor triads and two examples of major and minor inversions have been provided. Use these examples and your ears to find the inversions for every triad. Listen as examples are played for you on the piano.
Major Triads
G A♭ A B♭ B C D♭ D E♭ E F F♯ G
E F F♯ G G♯ A B♭ B C C♯ D D♯ E
C D♭ D E♭ E F G♭ G A♭ A B♭ B C
Minor Triads
G G♯ A B♭ B C C♯ D D♯ E F F♯ G
E♭ E F G♭ G A♭ A B♭ B C D♭ D E♭
C C♯ D E♭ E F F♯ G G♯ A B♭ B C
C Major
G C E
E G C
C E G
Root position First inversion Second inversion
C Minor
G C E♭
E♭ G C
C E♭ G
Root position First inversion Second inversion
Exercise # 39.
Listen to the examples presented in this lesson as they are played on the piano.
Play all fifteen major and minor chords in root position, first inversion, and second inversion.
KEY # 40. PLAY EVERY MAJOR SCALE WITH YOUR RIGHT HAND AND EVERY RELATED CHORD, INCLUDING INVERSIONS, WITH YOUR LEFT HAND
The fortieth key introduces playing every major scale with your right hand and every related chord, including inversion, with your left hand. In previous lessons, you learned how to play every major scale. You also learned about inversions. This exercise will help you use a variety of chords when you play melodies in your right hand. Play every scale with your right hand. Add every related chord, including inversions, with your left hand. One example is provided. Listen to the example as it is played on the piano.
The Scale Note
C D E F
Chords and Inversions
G C E A D F B E G C F A
E G C F A D G B E A C F
C E G D F A E G B F A C
Major Minor Minor Major
The Scale Note
G A B C
Chords and Inversions
D G B E A C F B D G C E
B D G C E A D F B E G C
G B D A C E B D F C E G
Major Minor Diminished Major
Exercise # 40.
Listen to the example presented in this lesson as it is played on the piano.
Play every major scale with your right hand. Add every related chord, including inversions, with your left hand.
KEY # 41. FORM
The forty-first key introduces form. The form is the structure of a musical composition. Each section of music is usually several measures long. It is common to analyze the sections of a composition by identifying them as Part A, Part B, and Part C. Occasionally, parts are divided in half and labeled as questions and answers. (Part A? Part A!) In some pieces, there can be an introduction, a bridge, or a coda. Recognizing large sections is vital for playing the piano by ear. Figure out one section at a time. Eventually, you can play an entire piece when you combine the sections.
Several things have form. There are four seasons. A baseball game has nine innings. There are twelve months in a year. Knowing the form of the music you play or hear provides a greater understanding and appreciation.
Exercise # 41.
Determine the form in several pieces you have previously learned or others you know.
KEY # 42. IMPROVISATION
The forty-second key introduces improvisation. Improvisation means creating music spontaneously. Improvised music is different every time that it is performed. Some music can have a predetermined harmonic foundation. Everything else is made during the performance. Learning how to improvise takes time and experience. It is essential to keep things simple in the beginning. The notes that are used for improvising need to come from that key. The melodic notes also need to coincide with the harmonies that are in the music. Here are three improvisation exercises.
The first improvisation exercise is done primarily with black keys. Play E♭, D♭, C♭, and B♭ repeatedly, going down in your left hand. Each note gets two beats. Occasionally, you can add A♭ and B♭ in the left hand. Each of those notes gets four beats. Make an improvisation using any of the black keys with your right hand. Any of the black keys will sound good with the notes in your left hand. You can occasionally add F, A, or D in your right hand. All the notes that can be used in the right hand are (E♭, F, G♭, A♭, A, B♭, C♭, D♭, D, and E♭.) Play E♭ in your right and left hands when you end the improvisation.
The second improvisation is like the first, but it is done primarily with white keys. Play D, C, B♭, and A repeatedly, going down in your left hand. Each note gets two beats. Occasionally, you can add G and A in the left hand. Each of those notes gets four beats. Make an improvisation using any of the white keys with your right hand. Except for B, any of the white keys will sound good with the notes in your left hand. You can occasionally add F, A, or D♭ in your right hand. All the notes that can be used in the right hand are (D, E, F, G, A♭, A, B♭, C, D♭, and D.) Play D in your right and left hands when you end the improvisation.
The third improvisation involves the one, six, four, and five-chord progression. Play C major, A minor, F major, and G major with your left hand repeatedly. While playing this chord progression, add white keys with your right hand. Use white keys with the chord progression in your left hand. The notes you choose in your right hand must sound good with the chord in your left hand.
Listen as examples of these three improvisations are played on the piano.
Exercise # 42.
Listen to examples of improvisation as they are played on the piano.
Create three improvisations using the instructions that were provided.
KEY # 43. ORIGINAL IMPROVISATIONS
The forty-third key introduces original improvisations. Eventually, you will want to create original improvisations. Express your mood for the day with an improvisation. If you are happy, try improvising with a quick tempo in a major key. If you are sad, try to create an improvisation with a slow tempo in a minor key. Begin with the three primary chords in C major or A minor. Use notes from the C major or A minor scale. The three primary chords in C major are C, F, and G. The three in A minor are a, d, and E. The notes in the C major scale are C, D, E, F, G, A, B, and C. The letters in the A minor scale are A, B, C, D, E, F, G♯, and A. Have fun creating original improvisations.
Exercise # 43.
Play some original improvisations. Improvising may be difficult initially, but it will become easier with practice.
KEY # 44. THE TWELVE-BAR BLUES
The forty-fourth key presents the twelve-bar blues. The twelve-bar blues is a standard chord progression used to play many different pieces. Rock Around the Clock is a song written in the twelve-bar blues format. There are twelve measures in this chord progression. The first four measures use the one-chord. Measures five and six use the four-chord. Measures seven and eight use the one-chord. Measure nine uses the five-chord. Measure ten uses the four-chord. Measures eleven and twelve use the one-chord. In the key of C major, this twelve-measure chord progression would be C, C, C, C, F, F, C, C, G, F, C, C. This chord progression can be played in any key. Listen as an example of the twelve-bar blues chord progression is played on the piano.
The Twelve Bar- Blues Progression:
I, I, I, I, IV, IV, I, I, V, IV, I, I
Exercise # 44.
Listen to examples of the Twelve Bar-Blues Progression as it is played on the piano.
Play the twelve-bar blues chord progression in the key of C major.
Play the twelve-bar blues progression in different keys.
Play an improvisation with your right hand while playing the twelve-bar blues progression with your left hand.
KEY # 45. ARPEGGIOS
The forty-fifth key introduces arpeggios. Arpeggios are broken chords. When you play an arpeggio, each note in the arpeggio is played one letter at a time. The word comes from the Italian word "Arpeggiarore," which means to play on a harp. Arpeggios can fill in gaps when there are lengthy notes in the melody. Any chord can be played as an arpeggio. Two examples of arpeggios in C and G major with the suggested fingering are provided. Go up the piano for two octaves and then use the same notes to come back down again. Listen as the two examples of arpeggios are played for you on the piano.
C Major Arpeggio G Major Arpeggio
C E G C E G C G E C G E C G B D G B D G D B G D B G
RH 1 2 3 1 2 3 5 3 2 1 3 2 1 1 2 3 1 2 3 5 3 2 1 3 2 1
LH 5 3 2 1 3 2 1 2 3 1 2 3 1 5 3 2 1 3 2 1 2 3 1 2 3 1
Exercise # 45.
Listen to the two examples of arpeggios as they are played on the piano.
Play the two arpeggios in your right and left hand. Once you master these two arpeggios, try to play arpeggios using all the other major and minor chords you have learned.
KEY # 46. PASSING AND NON-CHORDAL NOTES AND OTHER FILLER NOTES
The forty-sixth key introduces passing and non-chordal notes and other filler notes that can enhance the melody and harmony. Examples will be played for you on the piano.
Passing notes and non-chordal notes: Passing notes are non-chordal notes that differ from the notes in the chords. These passing notes come between melodic or chord tones.
A non-chordal, nonharmonic, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note related to the chord.
Chord Inversions: Playing inversions of chords with the right or left hand is a terrific way to add variety to your playing and occupy time when there are lengthy notes in the melody. These chord inversions can be made with block chords or arpeggios.
Scales and arpeggios: Scales and arpeggios in the melody often fill time, especially with lengthy notes.
Use the entire keyboard: There are eighty-eight keys on a piano. Playing music in the high and low registers on the piano is very important. Playing only in the middle of the keyboard uses a partial range of the piano. Playing melodies or chords in different parts of the piano will enhance your pieces in several ways. Melodies can sound good on any part of the piano. Try to play your pieces in several areas on the keyboard.
Glissando: A glissando is a continuous slide upward or downward between two notes. Glissandos are done by playing several individual notes ascending or descending the piano quickly. Glissandos can be used to fill in time during long notes or to add flare to the music.
Exercise # 46.
Listen to examples of passing and non-chordal notes and other filler notes on the piano that were presented in this lesson.
Play several pieces you have learned to play by ear. Add passing, non-chordal notes, and other filler notes to the melody and harmony by incorporating what you learned in this lesson.
KEY # 47. ADDITIONAL WAYS TO ENHANCE YOUR PLAYING
The forty-seventh key introduces additional ways to enhance your playing. Once you become more accomplished playing by ear, there are numerous ways to improve your playing. Here are a few ways to make your music sound fuller. Examples will be played for you on the piano.
Play the melody in octaves: Playing the melody in octaves is a fantastic way to enhance your playing. This additional note can be eight notes higher or lower than the original melody note. Once comfortable playing octaves in the melody, fill in additional notes in your right hand with notes in the chords. For example, if you have a G in your right hand and a C major chord in your left hand, play the G as an octave. Add a C and an E in your right hand since those notes are also found in the chord. You can do this for any melody note that you are playing. You can also play octaves with your left hand to make the harmony fuller. If you have a C major chord, instead of playing one C, play two C's and fill in additional notes that are part of the chord.
Add notes that do not match the chords: When appropriate, add notes that do not match the chords. These are dissonant notes. Dissonant notes can make the music more interesting if used appropriately. Adding seconds, sixths, and ninth intervals are excellent ways to enhance your playing.
Play the piece in different keys: Pieces only sometimes need to be played in their original key. Pieces can have various tone qualities when they are played in other keys. Some songs sound better when they are not played in the original key. Playing in different keys can also accommodate a person's vocal range.
Play the melody in the left hand with the chords in the right hand: Play the melody with your left hand. Play the chords with your right hand. Playing the piano this way is a unique way to enhance your playing.
Play with expression and the appropriate style: Playing with expression and the proper style separates average pianists from professionals. Being able to express yourself can make all the difference in your performance. Playing the correct notes and rhythms is never enough. Always try to be expressive and play with the right style.
Exercise # 47.
Listen to examples on the piano to enhance your playing presented in this lesson.
Play the pieces you have learned. Include the new ways presented in this lesson that can enhance your playing.
KEY # 48. BETTER-SOUNDING CHORDS
The forty-eighth key presents better-sounding chords. There are numerous ways to add chords to a melody. In the beginning, we learned about using the three primary chords with the melodies. Primary chords sound good, but there can be better choices. Every melody can be harmonized with various chords. Listen closely and choose the chords that sound the best. Selecting the best chords to harmonize melodies will become easier as you listen and practice. Here are two ways to play Silent Night. The first version is limited to primary chords. Listen as the two versions are played on the piano. The chords in the second selection have more color and variety. Using a combination of chords can make the music sound better.
#1. Chord progression Silent Night:
C, C, C, C, G, G, C, C, F, F, C, C, F, F, C, C, G, G, C, C, C, G, C, C.
#2. Chord progression Silent Night:
C, d, e, a, d, G, C, C7, F, f♯ dim, e, a, F, f♯ dim, e, a, d, E, a, D, C/G, G, F, C
Exercise # 48.
Listen to the two versions of Silent Night as they are played on the piano.
Play the chord progressions for Silent Night provided in this lesson.
KEY # 49. THE MOST ADVANCED PIECES YOU WILL PLAY BY EAR IN THIS BOOK
The Forty-ninth key presents the most advanced pieces you will play by ear in this book. The most accessible pieces are in the beginning. The notes used for each song and the starting note are provided. Each of the melodies will be played for you on the piano. Listen for the interval changes, the direction in the notes as they move from one to another, and their note values. Begin by playing only the melodies. Once you have mastered each melody, add primary, secondary, dominant, and other chords to the melodies. Try using inversions and anything else you have learned in this book to enhance each piece. Do not go fast. Work at your own pace to master these final five pieces.
The Song The Notes That Are Used The Starting Note
The Star-Spangled Banner C E F♯ G A B C D E F G Low G
God Bless America G A B C D E F G A C Low C
Autumn Leaves E F F♯ G G♯ A B C D D♯ E F G A
Have Yourself a Merry Little Christmas C D E F G G♯ A B C D E F Low C
Do-Re-Mi C D E F F♯ G G♯ A A♯ B C Low C
Exercise # 49.
Listen to each melody in this lesson as played on the piano.
Play the melodies for the five pieces that were presented.
Add primary and secondary dominant chords and any other chords to the melodies you played in level five. Use inversions and anything else you have learned in this book to enhance each piece.
KEY # 50. PERFORMING THE MUSIC THAT YOU HAVE LEARNED
The fiftieth key challenges you to perform the music that you have learned. You can play many pieces by ear. You should be very proud of everything that you have accomplished. Your final challenge will be to perform the music you have mastered for an audience. Art of any kind should be shared with others. The world is a much better place because artists have shared their talents.
Every successful performance requires four essential things: preparation, confidence, concentration, and a desire to do well. Whether you are a doctor, an actor, a teacher, or a musician, the success of your performance will depend on these four things.
When preparing for a performance, it is essential to think of every aspect. Imagine where the piano will be located and where the people will be sitting. Will you have enough light if you use music? Consider every detail that will occur during the performance.
There is a significant difference between being nervous and being scared. Nervousness occurs when your body perceives an important event is happening in your life. Being nervous could happen at a wedding, an important meeting, a first date, or doing anything that matters. Being scared occurs when a person believes that something terrible could happen. Being afraid is often evident if the person needs more preparation. Being nervous about performance is a reaction when your body perceives the event as unique. The event is significant, so the performer should be slightly nervous. However, being scared should never occur because the performer should be prepared. Understanding the difference between nervousness and being scared can help many overcome performance anxieties.
It is essential to be ready weeks before giving an official performance. Rehearse what you plan to play several times among friends so you can get comfortable and determine if any parts of your performance need additional preparation.
Exercise # 50.
Perform your best pieces when you are ready. Apply all the instructions that were presented in this lesson. Print out a program of the music you intend to perform for an audience. Present a good selection of the music you have learned that is not too long or short. Have fun sharing the music that you can play by ear.
SUMMARY
Knowing how to play the piano by ear is no longer a mystery. The fifty keys have unlocked the secrets. Keep practicing. Playing the piano by ear is a life-long adventure. There will always be new pieces to learn. We use our ears to hear music. Using our ears to play music has endless possibilities. This book has made that possible for you. The mystery has been solved. Congratulations.
MARK'S EXPERIENCE PLAYING THE PIANO BY EAR
My father owned a music store when I was a child. He sold organs, pianos, guitars, and accordions. A couple of teachers gave music lessons in the back of the store. My mother worked nights, so my grandfather watched me at the music store during the day. I did not know how to read music, but it was easy for me to play songs by ear. I began by playing different notes on the piano and listening to their sounds. Eventually, I could put the letters in a particular order to form familiar melodies. I did this for about an hour daily because I had nothing else to do. It was fun. I could even play two notes at once to add harmony. Every day, I would try to figure out a new song. When I went home, I would try to play along with the music I heard on the television during the commercials. I enjoyed playing the piano, so I wanted piano lessons like the other students at the music store.
One of my earliest memories as a child was climbing up on a large wooden bookcase at the music store so I could get to the telephone. I was five years old. I called my mother and asked her if I could take piano lessons. She said yes. The next day, my new piano teacher gave me a method book by John Thompson and another by John Schaum. I had to learn to play the piano for the next eight years by reading music. I did not like my lessons, but I enjoyed playing music by ear. I continued to play by ear on my own. Eventually, I could use my ear to play several hymns and popular songs. Progress in my piano lessons could have been faster. I rarely practiced my play-by-music assignments.
When I entered kindergarten, I recall teaching several classmates how to play simple songs on the piano without music. These early lessons were the beginning of my piano teaching career.
When I was thirteen, I was finally allowed to stop taking lessons after years of begging. I never became proficient at reading music while taking lessons. Playing with notated music was not something that I enjoyed. I am grateful for my classes and my mother, who would not let me quit taking lessons until I was thirteen. However, when I stopped lessons, I could focus entirely on the pieces I wanted to play by ear.
One of my favorite activities in high school was going into the band room and playing the piano. The band room was in the middle of the school with no windows. I could go into the room and turn off the lights. The room was completely dark. I would stay in the room alone, playing the piano in complete darkness. I would listen to the sounds while I played and try to feel the distances from one note to another because I could not see the keys. It was a memorable experience for me that I did several times.
Everything went well until I wanted to attend college as a music major. Colleges require students to read music. It was also necessary to be able to play scales, chords, and other essential skills. I assumed I could get into any college of my choice because of my superior ability to play by ear. To my surprise, I could not get accepted anywhere.
I stayed out of college for the next two years. During that time, I took piano lessons from an exceptional teacher who prepared me for all the college entrance requirements. I practiced for several hours every day playing notated music. Eventually, I could meet the criteria to be accepted as a music major at a small college in Minnesota.
After my first year of college, I moved to New Jersey to study with a highly regarded teacher who had the same teacher as Van Cliburn at Juilliard. This teacher taught me essential notated repertoire but primarily taught me how to become an excellent piano teacher. I attended college for the next five years and taught private piano lessons. I eventually earned a college degree in piano performance at Montclair State University by meeting all their requirements. Still, my most excellent skill as a pianist has always been playing the piano by ear. As a teacher, I continued the tradition of teaching most of my students to play using music notation. I taught some students to play by ear, but I should have done this more often.
I have spent my entire adult life teaching piano and performing music by ear as an entertainer. Over the years, I have given numerous performances at churches, weddings, assisted living homes, parties, funerals, and other special events. Almost all my performances are done without notated music.
I have had seven outstanding piano teachers in my life, but not one has ever given me a single lesson regarding playing by ear. Playing by ear is what I do best, so I decided to share my knowledge about this way of playing the piano so that you can play by ear and teach these lessons to your students. Learning to play by ear should not be a mystery or avoided in any piano teacher's studio.
FIFTY KEYS THAT WILL UNLOCK THE MYSTERY
BY MARK PAULSON
Copyright © 2024
REVIEWS
“How to Play the Piano by Ear” by Mark Paulson is a wonderful resource for piano students and teachers alike. How I wish I had been exposed to these concepts in my early years of study. Growing up, I had multiple piano teachers due to multiple moves, and none of my teachers touched on the concepts in this book. I believe that today’s pre-college piano teachers do a much better job of teaching music theory than my K-12 piano teachers did, but what Paulson has done here is demonstrate the wonderful ways that applying music theory knowledge, developing aural skills, and truly listening can enhance our lives as pianists. The best part is that it need not detract from learning to read music for those who wish to do so. Rather, it is a valuable way to augment our skills as pianists.
Beth Gigante Klingenstein
Author, Professor Emerita at Valley City State University
Mark Paulson has addressed a significant lapse in training classical pianists: they are not encouraged to play by ear in the "traditional" piano lesson, partly because their teachers do not "play by ear." This need for more attention to developing the ear's ability to hear intervals, harmony, and melodies is apparent in ear-training musicianship classes in music schools throughout the country. There is a tremendous gap between seeing what is on the musical score and hearing it and hearing a melody and writing it down or reproducing it on an instrument. Hopefully, more teachers and students will take advantage of Mr. Paulson's step-by-step introduction to developing this vital skill, crucial to many other abilities expected of musicians today, such as playing from memory.
Dr. Ruth Rendleman
Professor Emerita at Montclair State University and Music Consultant
"You and your students can learn to play the piano by ear." This is the message Mark Paulson conveys to us, and he goes to the length of "Fifty Keys" within "Five Levels" to teach us how to do it. Explanations are very detailed and are followed by exercise suggestions. Some wonderful gems, to mention a few, are:" Understanding music theory is vital for playing by ear." Absolutely, yes, to know the topography of the keyboard well. By all means, "You need to train your ears to match pitches." Excellent advice: "You must be able to hear the notes you will play in your head before you press down the keys on the piano." You must always "Listen for the interval changes, the direction, and the value of the notes." Mr. Paulson gives an excellent explanation of the theory that even a complete beginner can follow.
Each new "Key" takes us forward step by step. All major and minor scales, chords, and arpeggios are covered, and chord progressions like I V I and I IV I V I, the richness of dominant seventh chords, secondary dominants, chord progression inversions, and various more advanced chord changes. But you must listen carefully to everything, as to play by ear, you must hear. Then, Mr. Paulson goes into chord charts, improvisation, modulation, and more advanced chord progressions. Towards the end of the book, Mr. Paulson explains passing notes, non-chordal notes, and other filler notes. He teaches the 12-bar blues and improvisation. This book will also work well with a guiding teacher.
Rami Bar-Niv
Concert Pianist
ACKNOWLEDGEMENTS
Several people have significantly impacted my life regarding my music career and writing this book. I want to acknowledge them.
Alice Paulson is my mother. She sat with me whenever I practiced and encouraged me as a young piano student.
Ruth Slattum was my first piano teacher. I started to take lessons with her when I was five years old.
Rhoda Nelson became my teacher when I was 17 years old. I am grateful for all the essential things that she taught me. I would have never pursued a piano performance and piano pedagogy career without her influence on my life.
Dr. Paul Satre was my first piano teacher in college. I only studied with him at Crown College in Minnesota for one year, but he was an excellent teacher.
Eleanor Statmore was a phenomenal piano teacher. I moved from Minnesota to New Jersey to study with her when I was twenty. She inspired me to become the best piano teacher that I could be.
May Eng, Betty Rosenblum, and Barbara Lounsbury were outstanding teachers who influenced my teaching career.
Nancee Olsen and Gerard DeMatteo taught me many things when I attended Northeastern Bible College. I will always be grateful for the things that I learned from them.
My landlady, Olga Bockes, encouraged me to continue teaching when I was a struggling new piano teacher. Her advice made a significant difference in my teaching career.
Dr. Barbara L. Wheeler and Karen D. Goodman were my professors when I was a music therapy student at Montclair State University. I am grateful for the things that I learned in their classes.
Dr. Ruth Rendleman was a brilliant piano teacher at Montclair State University who inspired me to learn about theory.
Mr. Edmund Battersby was my final piano teacher at Montclair State University. He taught me how to think for myself and how to interpret music on my own.
Dr. Beth Gigante Klingenstein shared many remarkable things with me regarding piano pedagogy when I studied with her online at Valley City State University. Her books gave me many new ideas. Dr. Klingenstein is one of the world's most authoritative individuals regarding piano pedagogy.
Ken Medema is a remarkably talented musician who plays the piano by ear. He has been blind for most of his life. I have always admired Ken’s ability to create music and lyrics instantly during his performances.
The following people have supported me or inspired my music career for which I am grateful: Dr. Connie Carson, David Paulson, Arnold Paulson, Dan Oie, David Kipp, Dr. Bruce Gleason, Sonja Thompson, Peter Caputo, Heather Rathnau, Meagan Mason, Jennifer Eklund, Dr. David Leifer, James Kessler, Tony Parlapiano, Rami Bar-Niv, Barbara Bell Adam, Dr. James Michael Stevens, Joseph Martin, George Wesner, and the Columbine Music Teachers Association teachers.
I want to thank all my piano students. Teaching my students allows me to learn things I would have never known. I am also teaching myself whenever I give a piano lesson.
Finally, I would like to acknowledge my wife, Sondra, and my three children, Marshall, Elliott, and Heidi, for all their support.
Everyone learns a multitude of things from other individuals. I can never express enough gratitude to these people for everything that I have learned from them.
PREFACE
Some pianists can sit at a piano and instantly create remarkable compositions without any form of notated music. These pianists play the piano by ear. Music that never existed before is suddenly presented for anyone to hear. How is this possible? To accomplish this, a performer needs to listen to the distance from one note to another in their head. They must also know if each interval goes higher, lower, or remains the same. The performer needs to hold each note for the appropriate amount of time. Once these skills are mastered, the performer will want to add additional harmonic notes and play the music with the proper style and expression.
Many people have never been able to play the piano by ear, and they thought playing by ear could not be taught. Most people who have taken piano lessons have never had a teacher who taught them how to play by ear. Teachers will usually teach their students the lessons they have learned from their teachers. The result is that teaching a student how to play the piano by ear rarely occurs.
We listen to music. We do not see music. Jazz pianists primarily improvise without any written notation. Blind and visually impaired pianists are not able to see traditionally notated music. Many well-known pianists have yet to learn how to read music. You and your students can learn to play the piano by ear.
PRELIMINARY INFORMATION
Several essential points must be mentioned before we begin the lessons on how to play the piano by ear. These points are imperative to understand.
WHAT IS MUSIC
"Music" comes from the Greek word "mousike," which means Art of the Muses. "Mousike" was an integral part of life in the ancient Greek world, and the term covered not only music but also dance, lyrics, and the performance of poetry. People have defined music in several different ways. Music is very diverse and has changed over time. There is a wide variety of music around the world. What definition could describe all the music that has ever existed? A simple explanation of music could be "any sound or silence." Music is everywhere. It is omnipresent. John Cage demonstrated in his composition 4′33″ that music could be any random sound or silence. Music does not need to be organized. Birds singing in the trees, honking cars, or the crack of thunder could be considered music. A newborn baby's first sounds are music to our ears. Those sounds are not organized. Even silence can be music. However, whether the music consists of sound or silence, we must use our ears to perceive it. Music is not visual. We perceive music with our ears.
YOU CAN BE TAUGHT HOW TO PLAY THE PIANO BY EAR
Everyone uses their ears to play or perceive music. Accomplished pianists who have mastered challenging repertoire with notated music would still have difficulty playing their music if they could not hear it. However, many pianists rely primarily on their eyes instead of their ears to learn music. Some performers can only play a few measures of their mastered pieces if their music is removed. Pianists need to use their ears more, not just their eyes, when playing music. Can people be taught how to play the piano by ear? Absolutely!
LET'S BE REALISTIC
Often, a person will attempt to play their first piece by ear. That person will try for one or two minutes and then give up, proclaiming they could never play the piano by ear. Let's be realistic. Suppose a person practices the beginning pieces and exercises presented in this method for at least thirty minutes daily. In that case, they should experience noticeable progress in about a month. Significant results usually take at least ten to fifteen hours of practice. Developing a good music repertoire by ear will take at least six months to a year. As the student continues to improve their ability to play by ear, they should become quite accomplished in three years. Progress will move at the same speed for a person who plays by ear compared to someone who devotes their practice time to learning to play with notated music. Playing by ear takes time and effort, but it is possible for anyone willing to learn this incredible skill.
IT'S NOT THAT EASY
Many people have heard someone play the piano by ear. The performance they heard looked effortless, so they assumed it would be possible to achieve the same results with a few lessons, especially if they were already an accomplished pianist. Playing by ear may look easy, but it requires more time than most people realize.
PLAYING THE PIANO BY EAR IS NOT A GIFT
Some people assume that a person needs to be gifted to play the piano by ear. Playing the piano by ear is not a gift. Gifts are free. Anyone who has accomplished exceptional talents in any field has had to commit their entire life to nurturing their talent. You can play the piano by ear if you are dedicated and desire to succeed. You do not need to be gifted.
DIFFERENT KINDS OF LEARNERS
There are four different kinds of learners. All four learners will attempt to learn to play the piano differently. Each learner will have a favorite way of learning, but all four methods are often combined in one way or another.
The Analyst: The first learner uses "Analytical/cognitive" skills to master their music. The piece's musical content and structure are tremendously relevant to this learner. This learner likes to examine the harmonic structure and the form of the composition.
The Feeler: The second learner uses "Tactile/Kinesthetic" skills to master a piece. This learner will use their ability to feel the keys to learn the music. Touching the keys and noticing the intervals are essential for this learner.
The Hearer: The third learner uses "Aural" skills to master a piece. This learner will use their ability to hear different pitches to learn the music. This learner will have the easiest time learning to play the piano by ear.
The Observer: The fourth learner uses "Visual" skills to master their music. This learner will use their ability to see the keyboard's notation or intervals. Most students are taught this way, using notated music whenever they want to learn a piece.
There are five senses: sight, taste, touch, hearing, and smell. Only sight, touch, and hearing are used to play the piano. Every pianist prefers to use one of these senses over the others when they learn to play the piano.
BIRDS, FISH, GIRAFFES, AND ELEPHANTS
When learning how to play the piano, some piano students are "sight-reading birds." Some piano students are "play-by-ear fish." Some piano students are "touch and feel giraffes." Some piano students are "analytical thinking elephants." Some teachers have students who would rather swim than fly, yet they continue to teach those students only how to fly, even though they are excellent swimmers. A teacher should teach only some students how to fly. All living creatures are different, and every piano student does not learn best by flying. Some of the greatest pianists in the world do not fly. Teachers must find out how to teach each student how they will learn best rather than trying to get fish, giraffes, or elephants to fly. Flying is not for everyone.
THE DIFFERENCE BETWEEN HEARING AND LISTENING
There is a significant difference between hearing and listening. Everyone hears numerous sounds daily, but listening to everything is impossible. Listening takes focus and concentration. Hearing can occur even when we do not want to listen. Playing the piano by ear will require the pianist to be an exceptional listener. It is a good idea to have regular hearing examinations. Many people are often amazed to learn that they do not hear as well as they assumed. Ear training is essential for every musician.
THE DIFFERENCE BETWEEN PRACTICING AND PLAYING
It is vital to understand that "Practicing" and "Playing" the piano is different. Athletes have practices and performances. Practicing and playing are also valid for pianists. To master the skill of playing by ear, a person must spend most of their time "practicing." You will become accomplished at "playing" by ear if you "practice" every day.
THE IMPORTANCE OF THEORY
Understanding music theory is vital for anyone who plays the piano by ear. Music theory is a universal language that allows musicians to communicate with one another. Music theory explains everything that happens in music.
PERFECT AND RELATIVE PITCH
It is often assumed that a person needs to have perfect pitch to play by ear. "Perfect or absolute pitch" is the ability to identify the name of a note without any other reference tone. Having perfect pitch to play the piano by ear is optional, but relative pitch is essential. "Relative pitch" is the ability to identify the name of a note by comparing it to a reference note. It is vital to hear the distance from one note to another. Perfect pitch is something that some people have had since they were born. Relative pitch can be acquired with practice and ear training exercises.
THE RELATIONSHIP BETWEEN THE BRAIN, THE EYES, THE EARS, AND THE FINGERS
When a person plays the piano by ear, they need to have a working relationship between their brain, eyes, ears, and fingers. The process begins when a person hears the music in their head. The brain directs the eyes and the fingers to play the desired notes. The ears hear the sounds that are produced on the piano. The ears send that information back to the brain, where the brain determines if the notes are correct. This process takes a fraction of a second and happens every time notes are played. Many mistakes are made on the piano because pianists push down the keys too quickly using only their fingers. Pianists must allow their brains, eyes, ears, and fingers to work together. Slow down, and you will discover that your playing will be more accurate.
SPEED VERSUS ACCURACY
When a person begins to learn music, there will be a competition between speed and accuracy. If a performer tries to play fast, the playing will usually be less accurate. If a performer tries to be accurate, the speed will need to be slower. The speed and accuracy will improve together as the performer progresses with the piece. When you begin to play by ear, go slow. Let accuracy be your main priority.
QUANTITY VERSUS QUALITY
Some people like to learn several pieces of music at one time. The quality of the playing often suffers when this occurs. Other people prefer to play a few pieces well. Working on a few pieces at once is the ideal way to learn to play the piano by ear.
THE LEVELS AND THE TEACHING METHOD EXPLAINED
This play-by-ear piano method has five levels and fifty keys of instruction. The lessons in the first two levels are relatively easy compared to the later levels. It will be a significant achievement for anyone who can master all five levels. The exercises will be challenging. Work hard, and you will accomplish your goals.
Every lesson is written in a way that has structure and is easy to understand. Traditional music notation will not be used in this method. Students will need to use their ears to learn the pieces. Teachers can read each lesson to their students and assign the exercises. Everything that a teacher needs to say is written out. There are no audio examples. Teachers must be able to play everything in the lessons for their students. If a teacher needs to learn to play the piano by ear, they must practice all the exercises before teaching their students.
This method will also offer an alternative way instead of braille for teachers and music therapists who want to teach blind and visually impaired students.
LEVEL ONE
Playing the piano by ear is a mystery to many people. Level one will present the first keys for unlocking that mystery. These keys will introduce you to the essentials students need to know when they start lessons. By the end of this level, teachers and students will be able to play several different melodies. Everything must be accomplished in each lesson before moving on. If you are ready to unlock the mystery of playing the piano by ear, let's begin.
KEY # 1. PITCH
Understanding pitch is the first key to unlocking the mystery of playing the piano by ear. Every note on the piano has a different sound or pitch. There are eighty-eight different pitches on a piano. Begin by playing a few notes. Listen to determine if the pitches get higher or lower. Play more notes on the piano. Be aware of how the pitches relate to one another. Eventually, you will combine different pitches to create original melodies. When you make your original melodies, memorize them so you can play them the same way every time. Playing original pieces at first may be challenging, but they will become more accessible as you practice playing different pitches. Play pitches in other parts of the piano. Listen to the distances from one pitch to another. Creating original melodies will give you your first sense of accomplishment.
Exercise # 1.
Play various pitches on the piano. Listen closely to each of the different sounds. Hear the distances from one pitch to another. Play different pitches for several days. Once familiar with the sounds of the various pitches, create original melodies.
KEY # 2. THE MUSICAL ALPHABET
The musical alphabet is the second key to unlocking the mystery of playing the piano by ear. All the keys on the piano have names. The letters A, B, C, D, E, F, and G are used to name the keys on the keyboard and are called the musical alphabet. These seven letters are repeated many times. Knowing the letters forward and backward is necessary because music moves up and down the keyboard.
(A B C D E F G) (G F E D C B A)
You must be able to find any letter in the musical alphabet easily. On the piano, there are several groups of three black keys. There are four white keys below them. There are also several groups of two black keys on the keyboard. There are three white keys below them.
Find a group of three black keys. The white key between the second and third black key is called A. The following white note to the right is called B. The next white note is called C, just before the set of two black keys. The following white note between the two black keys is called D. The following white note is called E immediately after the two black keys. The white note right before the set of three black keys is called F. The white note between the first and second note in the collection of three black keys is called G. This pattern remains the same for all the notes on the keyboard.
It is essential to locate notes on the piano by feeling them. There are white keys and black keys. The black keys sit up higher on the keyboard than the white keys. It would be challenging to identify specific notes if the higher black keys did not exist. The groups of two black and three black keys make it possible to feel where the notes are.
Exercise # 2.
Practice saying the musical alphabet forward and backward.
Locate sets of two black keys and the three white keys below them.
Locate sets of three black keys and the four white keys below them.
Identify different letters of the musical alphabet on the piano.
KEY # 3. NOTE VALUES, EAR TRAINING, AND MATCHING PITCHES
The third key to unlocking the play-by-ear mystery introduces note values, ear training, and matching pitches. Besides knowing the names of the letters on the piano, a pianist must understand that notes can be played for different lengths. Notated music allows a person to see the different note values. In notated music, a person can also see an equal number of beats in every measure. Two, three, four, or six beats in every measure are typical. A person who plays by ear must be able to hear the lengths of every note and the number of beats in every measure without seeing them written out.
Playing the piano by ear is only possible if your ears are trained. You must have exceptional listening skills. Several ear training exercises will be provided throughout this method. It is essential to practice all these exercises numerous times.
You need to train your ears to be able to match pitches. It is optional to be a good singer, but you must be able to reproduce the pitches on the piano with your voice. It might take a while to master, but the ability to match pitches is essential for anyone who desires to play by ear. There is a strong correlation between students who can match pitches with their voices and those who find playing the piano by ear easier.
Exercise # 3.
Hold down notes for various durations of time. Listen to the differences in the lengths of the notes.
Play eight consecutive white keys on the piano within your vocal range. Listen to each note carefully and be able to distinguish every pitch. Say "LA" as you match each pitch with your voice. Play the pitches in different orders and continue to match the sounds with your voice. Once mastered, add the black keys within that range and match those pitches with your voice.
Sing Happy Birthday using the same vocal range. This song uses all eight notes from the Major Scale. Go slow and listen carefully to make sure that every pitch is correct.
KEY # 4. MELODY, HARMONY, AND INTERVALS
The fourth key to unlocking the mystery presents melody, harmony, and intervals. A melody is the main tune in a piece of music. It is a combination of individual notes that occur one after another. Harmony is the sound of two or more notes coinciding. These additional harmonic notes are used to support the melody. An interval is a distance from one note to another. If you play a note on the piano and repeat it, that interval is called a first. If you play a note on the piano and the letter next to it, that interval is called a second. If you skip one note, that interval is called a third. As you go farther from the original note, those intervals become fourths, fifths, sixths, sevenths, and octaves. An octave is an interval of an eighth away from the first note.
A melodic interval is a distance from one individual note to another. These notes occur one at a time. Listen to some examples of melodic intervals as they are played on the piano.
C to C = A first (Unison)
C to D = A second
C to E = A third
C to F = A fourth
C to G = A fifth
C to A = A sixth
C to B = A seventh
C to C = An eighth (Octave)
Harmonic intervals occur when two notes are played at the same time. The distance between the two notes is the harmonic interval. Listen to some examples of harmonic intervals played on the piano.
C D E F G
C = A first (Unison) C = A second C = A third C = A fourth C = A fifth
A B C
C = A sixth C = A seventh C = An eighth (Octave)
Exercise # 4.
Explain the difference between melody and harmony.
Several different melodic and harmonic intervals will be played on the piano. Use only your ears to identify the various intervals.
KEY # 5. HEAR THE MELODY IN YOUR HEAD
The fifth key requires you to hear melodies in your head. Beethoven listened to the music in his head when he composed. He could not hear the music he wrote like others because he was deaf. Many composers have written their music in places like parks or planes. Mozart could listen to entire pieces finished in his head before he wrote one note down. Composers need to be able to listen to the music first in their head before they put the notes down on paper.
When an artist paints a picture, they begin with a blank canvas. The artist needs to see the finished image in their mind before they create their painting. You must be able to hear the notes you will play in your head before you press down the keys on the piano.
Exercise # 5.
Listen to Mary Had a Little Lamb and Twinkle Twinkle Little Star in your head. Determine if the pitches move up, down, or remain the same. Also, determine if each note lasts for a long or short time. Listen to other songs you know and decide if those pitches move up, down, or remain the same.
KEY # 6. FINGER NUMBERS
The sixth key explains the finger numbers. Your fingers are given numbers. Thumbs are fingers number one. The index/pointer fingers are fingers number two. The middle fingers are fingers number three. The ring fingers are fingers number four. The pinky fingers are fingers number five.
C D E F G C D E F G
5 4 3 2 1 1 2 3 4 5
Left Hand Right Hand
Exercise # 6.
Play C D E F G in each hand using all five fingers. Lift your fingers from the tips and then press down each key. Make a pleasant tone with each note that you play.
KEY # 7. YOUR FIRST PIECES
The seventh key introduces the first melodies that you will play by ear. Each tune is a puzzle. Some puzzles are easier than others. All the melodies are played on white keys. The most accessible pieces are in the beginning. You will be given the notes for each song and the starting note. Each of the melodies will be played for you on the piano. Listen for the interval changes, the direction of how notes move from one to another, and their note values. Play the tunes that were played for you. Do not go fast. Listen for each new pitch before you play it. Learn one piece at a time. Play all the pieces that you know. Playing the melodies could take a long or short time. Work at your own pace.
The Song The Notes That Are Used The Starting Note
Hot Cross Buns C D E E
Mary Had a Little Lamb C D E G E
Go Tell Aunt Rhody C D E F G E
Ring Around the Rosie C E F G A G
Old MacDonald Had a Farm G A C D E C
When the Saints Go Marching in C D E F G C
This Land Is Your Land G B C D E F C
The Eensy Weensy Spider G C D E F G Low G
Row, Row, Row Your Boat G A B C D G Low G
Twinkle Twinkle Little Star C D E F G A C
For He's a Jolly Good Fellow C D E F G A C
A Tisket a Tasket C E F G A G
Kum Ba Yah C D E F G A C
Amazing Grace G A C D E G Low G
Jesus Loves Me C D E G A C G
My Country Tis of Thee B C D E F G A C
Lean On Me G A B C D E F C
Frère Jacques G C D E F G A C
If You're Happy and You Know It G A B C D E F G
A Little Night Music G B C D E F G C
Swing Low Sweet Chariot G A C D E G A E
Can Can C D E F G A B C Low C
Happy Birthday G A B C D E F G Low G
Away In a Manger G A B C D E F G High G
Joy To The World C D E F G A B C High C
Auld Lang Syne G A B C D E G A Low G
God Bless America G A B C D E F G A C
Yankee Doodle E F G A B C D E F C
How Great Thou Art D E F G A B C D E F G
Silent Night C D E F G A B C D E F G
The First Noel C D E F G A B C D E Low E
Exercise # 7.
Listen to the songs as they are played on the piano. Play the melodies that were presented. It may take several days or weeks to play the melodies. Work at your own pace.
LEVEL TWO
In the first level, you were challenged to play several different melodies. In level two, you will receive more keys for unlocking the mystery of playing the piano by ear. You will begin by learning about whole and half steps and the names of all the notes on the piano. You will have your first experience playing scales and chords.
Music sounds fuller when harmony is added to the melodies. The next level will teach you how to use two hands simultaneously. You will play chords with your left hand while playing the melodies you learned in (KEY # 7) with your right hand. You will use your ears to determine which chords match the tunes best. Playing the piano with two hands may be challenging, but success will occur with practice. If you are ready for more demanding challenges, let's begin this new level of playing the piano by ear.
KEY # 8. HALF AND WHOLE STEPS, SHARPS, FLATS, NATURALS, DIFFERENT NAMES FOR NOTES, AND ALL THE NAMES OF THE NOTES ON THE PIANO
The eighth key introduces half and whole steps, sharps, flats, different names for notes, and all the names of the notes on the piano. Examples will be played for you on the piano.
Moving in either direction to the next possible key is called a half step, whether the note is black or white. Moving in either direction that skips one black or white key is called a whole step.
A sharp (♯) is a note raised by one half-step. An example would be moving up from D to D sharp. A flat (♭) is a note lowered by one half-step. An example would be moving down from D to D flat. A natural (♮) cancels out a sharp or a flat. An example would be moving down from D sharp to D natural or moving up from D flat to D.
A note can have more than one name. For example, D flat and C sharp are the same note. Pitches that sound the same but are spelled differently are called enharmonic. Sharps or flats are not always played on black keys. For example, F flat and E are the same note. E sharp is the same note as F.
Here are all the notes you will find on a piano.
C D♭ D E♭ E F G♭ G A♭ A B♭ B C
C C♯ D D♯ E F F♯ G G♯ A A♯ B C
F♭ E♯ Cb B♯
Exercise # 8.
Listen to the examples that were presented in this lesson.
Play several half-steps and whole-steps on the piano.
Play several sharps and flats on the piano by raising or lowering notes by a half-step.
Identify some keys that have more than one name.
Play every note on the piano and be able to identify their names.
KEY # 9. MAJOR AND MINOR KEYS, THE MAJOR SCALE PATTERN, THE C MAJOR SCALE, AND THE A HARMONIC MINOR SCALE
The ninth key presents major and minor keys, the major scale pattern, the C major scale, and the A harmonic minor scale. Examples will be played for you on the piano.
Most music is composed in major or minor keys. Pieces in major keys primarily use notes from major scales. Pieces in minor keys mostly use notes from minor scales. Major keys sound bright or happy, and minor keys sound sad or mysterious to most people. However, this is a subjective distinction.
Every pianist needs to practice scales. A scale is a combination of whole steps and half steps. The major scale pattern is used to create a major scale. The pattern going up begins with a note. The following notes consist of a whole-step, a whole-step, a half-step, a whole-step, a whole-step, a whole-step, and a half-step. The pattern going down begins with a note, followed by a half-step, a whole-step, a whole-step, a whole-step, a half-step, a whole-step, and a whole-step.
GOING UP GOING DOWN
W W H W W W H H W W W H W W
The C Major scale uses the notes C, D, E, F, G, A, B, and C. The starting note is C. So far, all the pieces you have played have used letters from the C major scale. C is the most important note in this scale. Notice the fingering in the following example of a C major scale.
W W H W W W H H W W W H W W
C D E F G A B C C B A G F E D C
Right Hand Fingering 1 2 3 1 2 3 4 5 5 4 3 2 1 3 2 1
Left Hand Fingering 5 4 3 2 1 3 2 1 1 2 3 1 2 3 4 5
The A harmonic minor scale uses the notes A, B, C, D, E, F, G♯, and A. The starting note is A. A is the most important note in this scale. The harmonic minor scale pattern is used to create a harmonic minor scale. The pattern going up begins with a note. The following notes consist of a whole-step, a half-step, a whole-step, a whole-step, a half-step, a whole and a half-step, and a half-step. The pattern going down begins with a note, followed by a half-step, a whole and a half-step, a half-step, a whole-step, a whole-step, a half-step, and a whole-step. Notice the fingering in the following example of an A harmonic minor scale.
W H W W H (W+H) H H (W+H) H W W H W
A B C D E F G♯ A A G♯ F E D C B A
Right Hand Fingering 1 2 3 1 2 3 4 5 5 4 3 2 1 3 2 1
Left Hand Fingering 5 4 3 2 1 3 2 1 1 2 3 1 2 3 4 5
Exercise # 9.
Listen to the examples that were presented in this lesson.
Play the C major scale. Use the fingering that was provided. You must tuck your fingers under other fingers or cross over fingers to play with the correct fingering. Play each note at the same speed. Pay close attention to the major scale pattern.
Play the A harmonic minor scale. Use the fingering that was provided. Pay close attention to the minor scale pattern. Notice the black key (G♯) in the A harmonic minor scale.
KEY # 10. TRIADS
The tenth key for unlocking the mystery of playing by ear presents triads. A triad is a three-note chord where each note is an interval of a third away from the other. These notes must be played in this order to be considered in the root position of a triad. If the notes are not played in this order, they are inversions of triads. You will learn more about intervals and inversions in the following levels.
The lowest note of the triad in the root position is called the root. The root identifies the name of the chord. The middle note is called the triad third because it is located at an interval of a third above the root. The top note is called the triad fifth because it is located at an interval of a fifth above the root. If a triad is inverted, the chord's root will be one of the other notes, not on the bottom.
Here are triads made from the notes of the C major scale. It is best to begin reading triads with the lowest letter. Listen carefully as each triad is played for you on the piano.
G A B C D E F G (Triad Fifth)
E F G A B C D E (Triad Third)
C D E F G A B C (Triad Root)
Exercise # 10.
Listen to each of the triads that were presented in this lesson.
Play all the triads on the piano.
KEY # 11. CHORDS
The eleventh key introduces chords. Chords are harmonic combinations of three or more notes that are used to support a melody. These notes can be played as a block or a broken chord. Block chords play all the notes at one time. Broken chords play the notes individually. Triads can be chords, but only some chords are triads. Listen carefully as each chord is played for you on the piano.
Block Chord
G
E
C
Broken Chord
G
E
C
Exercise # 11.
Listen to each of the chords that were presented in this lesson.
Play a C major block chord and a C major broken chord on the piano.
KEY # 12. CHORD QUALITIES
The twelfth key explains chord qualities. Four different kinds of chords will be presented in this lesson. These four chord qualities are Major, Minor, Diminished, and Augmented. Examples of all the chords will be provided. Listen carefully as each chord is played for you on the piano.
MAJOR CHORDS
A major chord is formed on a major scale's first, fourth, and fifth notes if additional accidentals are not added. However, a major chord can be written anywhere in the music if accidentals are used. Accidentals are added sharps, flats, or naturals, not in your playing key. A major third is a distance from the first to the second note in a major triad. The distance from the second to the third note is a minor third. A major third equals four half-steps. A minor third equals three half-steps. You will learn more about these intervals in level three. Some people believe that a major chord has a "happy" sound.
Some chords can be spelled differently, even though they use the same keys. For example, the D♭ major chord uses D♭, F, and A♭. The C♯ major chord uses those identical keys, but the notes are called C♯, E♯, and G♯.
G A♭ A B♭ B C D♭ D E♭ E F F♯ G
E F F♯ G G♯ A B♭ B C C♯ D D♯ E
C D♭ D E♭ E F G♭ G A♭ A B♭ B C
G♯ C♯ G♭
E♯ A♯ E♭
C♯ F♯ C♭
MINOR CHORDS
A minor chord is formed on the major scale's second, third, and sixth notes if additional accidentals are not added. However, a minor chord can be written anywhere in the music if accidentals are used. Accidentals are added sharps, flats, or naturals, not in your playing key. The distance from the first note to the second note of a minor triad is a minor third. The distance from the second to the third is a major third. Some believe a minor chord has a "sad or mysterious" sound.
G G♯ A B♭ B C C♯ D D♯ E F F♯ G
E♭ E F G♭ G A♭ A B♭ B C D♭ D E♭
C C♯ D E♭ E F F♯ G G♯ A B♭ B C
DIMINISHED CHORDS
A diminished chord is formed on the seventh note of a major scale if additional accidentals are not added. However, a diminished chord can be written anywhere in the music if accidentals are used. The distance from the first note to the second note is a minor third. The distance from the second to the third is a minor third. Some people believe that a diminished chord has a "scary" sound.
G♭ G A♭ A B♭ C♭ C D♭ D E♭ F♭ F G♭
E♭ E F F♯ G A♭ A B♭ B C D♭ D E♭
C C♯ D D♯ E F F♯ G G♯ A B♭ B C
AUGMENTED CHORDS
An augmented chord needs accidentals to be made. The distance from the first note to the second note is a major third. The distance from the second to the third is a major third. Some people believe that an augmented chord has a "surprising" sound.
G♯ A A♯ B B♯ C♯ D D♯ E E♯ F♯ G G♯
E F F♯ G G♯ A B♭ B C C♯ D E♭ E
C D♭ D E♭ E F G♭ G A♭ A B♭ C♭ C
Exercise # 12.
Listen carefully as each chord is played for you on the piano.
Play all the major, minor, diminished, and augmented chords by ear.
KEY # 13. DISTINGUISHING CHORD QUALITIES
The thirteenth key presents another way to distinguish chord qualities. Begin with a major triad. Play the triad again but lower the middle note by one half-step. This change makes the triad minor. Begin with a major triad. Play the triad again but lower the middle and top notes by a half-step. This change makes the triad diminished. Begin with a major triad. Raise the top note by one half-step. This change makes the triad augmented. Listen carefully as each chord is played for you on the piano.
G G G♭ G♯ 5 5 ♭5 ♯5
E E♭ E♭ E 3 ♭3 ♭3 3
C C C C 1 1 1 1
Major Minor Diminished Augmented Major Minor Diminished Augmented
Exercise # 13.
Listen as major, minor, diminished, and augmented chords are played on the piano. Use your ear to determine which chord is being played.
Play the four chord qualities that were presented in this lesson.
KEY # 14. PRIMARY CHORDS
The fourteenth key introduces primary chords. There are three primary chords in every key. These three chords are based on scale degrees 1, 4, and 5. These three chords are referred to as the one-chord (I), the four-chord (IV), and the five-chord (V). Roman numerals are traditionally used to analyze chords when notated music is used. These three chords are usually the most prominent in a piece of music. The one-chord is the most stable. The five-chord is an unstable chord that wants to resolve. The four-chord is also an unstable chord that wants to resolve. The four-chord and the five-chord often resolve back to the one-chord. The dominant chord is five notes higher than the tonic. The subdominant chord is five notes lower than the tonic. Many pieces that only use these three chords have been composed.
The three primary chords in the key of C major are C major, F major, and G major. These three chords are based on the C major scale's first, fourth, and fifth notes. The three notes that form the C major chord are C, E, and G. The three notes that form the F major chord are F, A, and C. The three notes that form the G major chord are G, B, and D. Understanding these three primary chords is essential because you will add them later to the melodies you learned in (KEY #7.) Listen carefully as the three primary chords in the key of C major are played for you on the piano.
G C D
E A B
C F G
Exercise # 14.
Listen carefully as the primary chords are played on the piano.
Play the three primary chords that were presented in this lesson.
KEY # 15. CHORD PROGRESSIONS
The fifteenth key introduces chord progressions. You will use some of these chord progressions when you add chords to the melodies you learned in (KEY # 7.) Listen carefully as the two chord progressions are played on the piano.
ONE, FIVE, ONE-CHORD PROGRESSION
The one, five, one-chord progression moves from the one-chord to the five-chord and back to the one-chord. An example would be going from the C major chord to the G major chord and back to the C major chord.
G D G
E B E
C G C
I V I
ONE, FOUR, ONE, FIVE, ONE-CHORD PROGRESSION
The one, four, one, five, one-chord progression moves from the one-chord to the four-chord and then back to the one-chord. Then, the progression moves to the five-chord and back to the one-chord. An example would be going from the C major chord to the F major chord and back to the C major chord, then going to the G major chord and returning to the C major chord.
G C G D G
E A E B E
C F C G C
I IV I V I
Exercise # 15.
Listen carefully as the two chord progressions are played on the piano.
Play the one, five, one, and the one, four, one, five, one-chord progressions presented in this lesson. Use your left hand to play the chord progressions.
KEY # 16. HEARING CHORD CHANGES
The sixteenth key presents the indispensable necessity to hear chord changes. Hearing chord changes in music is vital for playing by ear. The easiest way to hear chord changes is to begin with the three primary chords. Many pieces only use these three chords. In the key of C major, these three chords are C major, F major, and G major.
Play the C major scale with your right hand. Harmonize the scale by adding the three primary chords with your left hand. Use your ears to choose the chord that blends best with each note in the C major scale. Listen carefully as an example of the scale, and the chords are played together for you on the piano.
Scale: C D E F G A B C
Chords: G D G C G C D G
E B E A E A B E
C G C F C F G C
I V I IV I IV V I
Exercise # 16.
Listen carefully as an example of the scale, and the chords are played together for you on the piano.
Play the C major scale and primary chords together.
Listen to music you enjoy and try to hear the chord changes.
KEY # 17. ADDING PRIMARY CHORDS TO THE MELODIES THAT YOU PREVIOUSLY LEARNED
The seventeenth key challenges you to add primary chords to the melodies that you previously learned in (KEY # 7.) Add the three primary chords (C Major, F Major, or G Major) to these melodies. Use your ear to determine which chord sounds best with the melody note. Listen for the interval changes; the direction notes move from one to another, and their note values. Do not go fast. Learn one piece at a time. Play all the pieces you know. Playing the songs could take a long or short time. Work at your own pace. Listen carefully as a few examples are played for you on the piano.
Exercise # 17.
Listen carefully as a few pieces are played for you on the piano.
Add primary chords to the melodies you learned in (KEY # 7.)
KEY # 18. SLIGHTLY MORE CHALLENGING PIECES
The eighteenth key presents slightly more challenging melodies to play by ear. All the melodies except America the Beautiful are played exclusively on white keys. The most accessible pieces are in the beginning. You will be given the notes for each song and the starting note. Each of the melodies will be played for you on the piano. Listen for the interval changes, the note values, and the direction notes move from one to another. Play the songs that were played for you. Do not go fast. Listen for each new pitch before you play it. Learn one piece at a time. Playing the melodies could take a long or short time. Work at your own pace.
The Song The Notes That Are Used The Starting Note
Over the River and Through the Woods C D E F G A B C G
Jingle Bells G A B C D E F G A Low G
Bridal Chorus G A B C D E F G Low G
Zip a Dee Doo Dah C D E F G A B C D E Low E
Rudolph the Red-Nosed Reindeer D E F G A B C D G
America the Beautiful D E F G A B C C♯ D E G
Exercise # 18.
Listen to each of the melodies played on the piano.
Play all the melodies presented in this lesson by ear.
LEVEL THREE
The lessons in level three will challenge you with more complex pieces, advanced ear-training exercises, and chords. You will add primary and secondary dominant chords to the melodies you learned in (KEY # 18.) You will use your ears to determine which chords best match the pieces. You must identify all the intervals that are presented. The challenges will be more demanding. With this new level, let's continue the quest to unlock the mystery of playing the piano by ear.
KEY # 19. MORE ABOUT INTERVALS
The nineteenth key presents more about intervals. Within an octave, there are thirteen notes. For example, the notes from C to C are C, D♭, D, E♭, E, F, G♭, G, A♭, A, B♭, B, and C. The names of the notes could be called C, C♯, D, D♯, E, F, F♯, G, G♯, A, A♯, B, and C, but they are still the same keys. You get an interval if you play the low C simultaneously with any of these other notes.
Intervals are divided into five qualities: perfect, major, minor, diminished, and augmented. Two things are required to describe an interval: distance and quality. The intervals unison, fourth, fifth, and eighth, are identified as perfect. Seconds, thirds, sixths, and sevenths are major or minor intervals. Major intervals come from the Major scale. Minor intervals are a half-step lower than major intervals. Diminished intervals are a half-step lower than minor intervals. Augmented intervals are a half-step higher than major or perfect intervals. Here is an example of each interval. Listen as they are played on the piano.
C D♭ D E♭ E F
C C C C C C
Perfect Unison Minor 2nd Major 2nd Minor 3rd Major 3rd Perfect 4th
F♯ G♭ G A♭ A
C C C C C
Augmented 4th Diminished 5th Perfect 5th Minor 6th Major 6th
B♭ B C
C C C
Minor 7th Major 7th Perfect Octave
Some intervals go up while others go down. When you play pieces by ear, you must determine if the interval is higher, lower, or the same sound. Identifying intervals is essential if you desire to play the piano by ear.
Exercise # 19.
Listen as several different intervals are played on the piano.
Be able to identify the intervals presented in this lesson by hearing them.
KEY # 20. CONSONANT AND DISSONANT INTERVALS
The twentieth key introduces consonant and dissonant intervals. An interval that sounds stable or pleasing to most people is considered consonant. An interval that sounds unstable or unpleasant to most people is considered dissonant. Combining consonant and dissonant intervals makes music more intriguing.
The consonant intervals are unisons, minor thirds, major thirds, perfect fourths, perfect fifths, minor sixths, major sixths, and octaves. Intervals considered dissonant are minor seconds, major seconds, augmented fourths, diminished fifths, minor sevenths, and major sevenths. Listen carefully as consonant and dissonant intervals are played on the piano.
Consonant Intervals: PU, m3, M3, P4, P5, m6, M6, P8
Dissonant Intervals: m2, M2, A4, D5, m7, M7
Exercise # 20.
Listen as several consonant and dissonant intervals are played on the piano. Listen for their pleasing or unpleasing sounds.
KEY # 21 MELODIC DICTATION AND RHYTHMIC DICTATION
The twenty-first key introduces melodic and rhythmic dictation. Melodic and rhythmic dictation are exceptional ear-training exercises. These exercises are used by people who read traditional music notation. This method does not use standard music notation. However, it is essential to be familiar with these two ear-training exercises.
Melodic dictation is an ear-training exercise. A person writes out the music notation for the music that they hear. Determining the intervals from one note to another is very important. Beginners start by notating a couple of notes or a short melody. As they improve at this exercise, they may notate two or more music parts simultaneously.
Rhythmic dictation is an ear-training exercise. A person writes out the different note values for the music they hear. Beginners start by notating a couple of note values or a short rhythm. As they improve at this exercise, they may try to notate two or more rhythms simultaneously.
Exercise # 21.
Become familiar with melodic and rhythmic dictation.
KEY # 22. THE FIVE-SEVEN CHORD
The twenty-second key introduces the five-seven chord. The five-seven chord is the five-chord, with an added interval of a seventh above the root. The five-seven chord is usually the strongest in a piece of music besides the one-chord. In the key of C Major, the five-seven or the G7 chord would be formed by the G, B, D, and F notes. Here is an example of a five-seven chord. Listen closely as this example is played on the piano.
F 7
D 5
B 3
G 1
V7
Exercise # 22.
Listen to the example of the five-seven chord as it is played on the piano.
Play the five-seven chord that was presented.
KEY # 23. THE ONE, FIVE-SEVEN, ONE-CHORD PROGRESSION
The twenty-third key introduces the one, five-seven, one-chord progression. The one, five-seven, one-chord progression moves from the one-chord to the five-seven-chord and then back to the one-chord. The five-seven chord resolves to the one-chord. The B in the G7 chord resolves to a C. The F in the G7 chord resolves to the E. The standard way for these notes to resolve is why the G7 chord leads back to the C chord in the key of C major.
An example would be going from the C major chord to the G7 chord and back to the C major chord. Here is an example of the one, five-seven, one-chord progression. Listen closely as the example is played on the piano.
G > G > G
F > E
E > D
C > B > C
I V7 I
Exercise # 23.
Listen to the example of the one, five-seven, one-chord progression as it is played on the piano.
Play the one, five-seven, one-chord progression that was presented.
KEY # 24. SECONDARY DOMINANT CHORDS
The twenty-fourth key presents secondary dominant chords. A secondary dominant chord is an altered chord that becomes the five-chord to another chord in the key other than the tonic. Secondary dominant chords are created using accidentals. One common secondary dominant chord is the major two-chord. The two-chord is usually minor. However, if the minor two-chord is changed to a major two-chord using accidentals, this chord can function as the five of the five-chord. For example, in the key of C major, the D minor chord would be changed to a D major chord using an accidental. (F♯) The D major chord would function as the five-chord of the G major chord. One secondary dominant chord can be used, or a combination of secondary dominant chords can occur in the same piece. Using secondary dominant chords creates a smooth transition from one chord to another.
You must understand secondary dominant chords because you will use them several times later in this level when you add them to the melodies you previously learned in (KEY # 18.) An example of a secondary dominant chord progression has been provided. Listen closely as the example is played on the piano.
G A D G
E F# B E
C D G C
I II /V V I
One Major Two = V of V Five One
Exercise # 24.
Listen closely as the example of a secondary dominant chord is played on the piano.
Play the example of a secondary dominant chord progression presented in this lesson.
KEY # 25. ADDING PRIMARY CHORDS AND SECONDARY DOMINANT CHORDS TO THE MELODIES THAT YOU PREVIOUSLY LEARNED
The twenty-fifth key presents your biggest challenge so far. Add primary and secondary dominant chords to the melodies you previously learned in (KEY # 18.) All the pieces are played exclusively on white keys except for America the Beautiful. However, some chords will use black keys if they are secondary dominants. Do not go fast. Listen closely to every chord that you play. Work at your own pace. Examples will be played for you on the piano.
Exercise # 25.
Listen carefully as the pieces are played for you on the piano.
Add primary and secondary dominant chords to the melodies you learned in (KEY # 18.) Use your ear to determine which chords sound best with the melodies.
KEY # 26. MORE ADVANCED PIECES
The twenty-sixth key presents more advanced pieces to play by ear. Many of these melodies are challenging. The most accessible pieces are in the beginning. Notice the notes that are used for each song and the starting note. All the melodies except Somewhere Over the Rainbow and Greensleeves are played exclusively on white keys. You will be given the notes for each song and the starting note. Each of the melodies will be played for you on the piano. Listen for the interval changes, their note values, and the direction notes move from one to another. Play the songs that were played for you. Do not go fast. Listen for each new pitch before you play it. Learn one piece at a time. Playing the melodies could take a long or short time. Work at your own pace.
The Song The Notes That Are Used The Starting Note
Snake Dance A B C D E A
M-I-C-K-E-Y- M-O-U-S-E MARCH G A B C D E C
Ode to Joy G C D E F G E
We Wish You a Merry Christmas G A B C D E F G Low G
Puff The Magic Dragon E F G A B C D C
Hatikvah A B C D E F G A Low A
Hark! The Herald Angels Sing G A B C D E F G A Low G
Let It Be E G A C D E F G A Low G
Take Me Home Country Roads G A B C D E F G A Low G
Somewhere Over the Rainbow A B C D E F F♯ G A B C D Low C
Greensleeves E F♯ G G♯ A B C D E F F♯ G A
Exercise # 26.
Listen carefully as the melodies in this lesson are played on the piano.
Play all the melodies that were presented by ear.
LEVEL FOUR
Level four will present lessons for advanced players who have mastered the previous material. These lessons are challenging but essential for performers who desire to expand their abilities. A solid understanding of music theory will be required. Let's begin if you are ready to attempt the following challenges.
KEY # 27. ALL FIFTEEN MAJOR AND FIFTEEN MINOR KEYS
The twenty-seventh key introduces all fifteen major and fifteen minor keys. Keys are specific combinations of notes with one tonal center. Pieces can be played in several different keys. Sometimes, a person will play a piece in a particular key to fit their vocal range. Other times, pieces are played in specific keys because each key sounds slightly different. Some keys are warmer or brighter than others.
There are fifteen major and fifteen minor keys. Some keys use the same notes, but the names of the notes are different. For example, the keys of F# major and G♭ major use the same notes but do not have the same letters.
The order of sharps that you use in any key always remains the same. (F♯, C♯, G♯, D♯, A♯, E♯, and B♯). For example, if a key has two sharps, the sharps will be F♯ and C♯. If a key has four sharps, the sharps will be F♯, C♯, G♯, and D♯.
The order of flats that you use in any key always remains the same. (B♭, E♭, A♭, D♭, G♭, C♭, and F♭). For example, if a key has two flats, the flats will be B♭ and E♭. If a key has four flats, the flats will be B♭, E♭, A♭, and D♭.
Every key has a unique number of sharps or flats. Notice that every key is a fifth away from the other. Recognizing the distance between each key is helpful when you memorize the order of sharps and flats. Capital letters indicate major keys. Small letters indicate minor keys. The number of sharps or flats for each key is shown in the following lists.
Major Keys: C (0♯ 0♭), G (1♯), D (2♯), A (3♯), E (4♯), B (5♯), F# (6♯), C# (7♯), F (1♭), B♭ (2♭), E♭ (3♭), A♭ (4♭), D♭ (5♭), G♭ (6♭), C♭ (7♭).
Minor Keys: a (0♯ 0♭), e (1♯), b (2♯), f♯ (3♯), c♯ (4♯), g♯ (5♯), d♯ (6♯), a♯ (7♯), d (1♭), g (2♭), c (3♭), f♭ (4♭), b♭ (5♭), e♭ (6♭), a♭ (7♭).
Exercise # 27.
Memorize the number of sharps and flats for every major and minor key.
KEY # 28. ALL FIFTEEN MAJOR AND FIFTEEN HARMONIC MINOR SCALES
The twenty-eighth key presents the fifteen major and fifteen harmonic minor scales. In (KEY # 9,) you learned about the major scale pattern, W W H W W W H, and the minor scale pattern. W H W W H (W+H) H. You learned in (KEY #27) that there are fifteen major and fifteen minor keys. You will play all thirty major and harmonic minor scales in this lesson. Some scales use the same keys, but the letters are spelled differently. Learning these scales will allow you to play pieces in all the different keys.
Knowing that the seventh note in the harmonic minor scale is raised is essential. This note will not change the number of sharps or flats in the key signature. There are other minor scales, but the harmonic minor scale is the most common. Raising the seventh note is essential because the raised note will cause the five-chord to become a major chord. Most pieces in minor keys use the harmonic minor for this reason.
The names of the letters for every scale are provided. Listen as each scale is played on the piano. The fingering for these scales can vary. If you have difficulty, you can find the fingering for any scale online.
ALL 15 MAJOR SCALES
C D E F G A B C
C♯ D♯ E♯ F♯ G♯ A♯ B♯ C♯ D♭ E♭ F G♭ A♭ B♭ C D♭
D E F♯ G A B C♯ D
Eb F G A♭ B♭ C D E♭
E F♯ G♯ A B C♯ D♯ E
F G A B♭ C D E F
F♯ G♯ A♯ B C♯ D♯ E♯ F♯ G♭ A♭ B♭ C♭ D♭ E♭ F G♭
G A B C D E F♯ G
A♭ B♭ C D♭ E♭ F G A♭
A B C♯ D E F♯ G♯ A
B♭ C D E♭ F G A B♭
B C♯ D♯ E F♯ G♯ A♯ B C♭ D♭ E♭ F♭ G♭ A♭ B♭ C♭
ALL 15 HARMONIC MINOR SCALES
An (x) is a symbol that indicates a double sharp.
(♭♭) means a double flat.
C D E♭ F G A♭ B C
C♯ D♯ E F♯ G♯ A B♯ C
D E F G A B♭ C♯ D
E♭ F G♭ A♭ B♭ C♭ D E♭ D♯ E♯ F♯ G♯ A♯ B Cx D♯
E F♯ G A B C D♯ E
F G A♭ B♭ C D♭ E F
F♯ G♯ A B C♯ D E♯ F♯ G♭ A♭ B♭ ♭ C♭ D♭ E♭ ♭ F G♭
G A B♭ C D E♭ F# G
A♭ B♭ C♭ D♭ E♭ F♭ G A♭
A B C D E F G# A
B♭ C D♭ E♭ F G♭ A B♭ A♯ B♯ C♯ D♯ E♯ F♯ Gx A♯
B C♯ D E F♯ G A♯ B
Exercise # 28.
Listen to each scale as they are played on the piano.
Play all 15 major and 15 harmonic minor scales.
KEY # 29. ALL FIFTEEN PRIMARY CHORDS IN EVERY MAJOR KEY
The twenty-ninth key presents all fifteen primary chords in every major key. Knowing all the primary chords in every major key is essential because they are often found in the music you play. Begin with the three primary chords in C major. After you have located these chords, move each chord up one half-step. Play the primary chords in C sharp major. Continue to find the primary chords in all fifteen major keys. Here are some examples. All the examples will be played for you on the piano. Know the letters of the chords from the bottom to the top.
G C D G♯ C♯ D♯ A D E
E A B E♯ A♯ B♯ F♯ B C♯
C F G C♯ F♯ G♯ D G A
I IV V I IV V I IV V
The Key The Chord Progression
I IV V
C Major C, F, G
C sharp Major C♯, F♯, G♯
D flat Major D♭, G♭, A♭
D Major D, G, A
E flat Major E♭, A♭, B♭
E Major E, A, B
F Major F, B♭, C
F sharp Major F♯, B, C♯
G flat Major G♭, C♭, D♭
G Major G, C, D
A flat Major A♭, D♭, E♭
A Major A, D, E
B flat Major B♭, E♭, F
B Major B, E, F♯
C flat Major C♭ F♭, G♭
Exercise # 29.
Listen to all the major primary chords played on the piano.
Play all the primary chords in every major key.
KEY # 30. ALL FIFTEEN PRIMARY CHORDS IN EVERY HARMONIC MINOR KEY
The thirtieth key presents all fifteen primary chords in every minor key. Knowing all the primary chords in every minor key is essential because they are often found in the music you play. Begin with the three primary chords in A minor. After you have located these chords, move each chord up one half-step. Play the primary chords in B♭ minor. Continue to find the primary chords in all fifteen minor keys. The one and four-chord are minor, but the five-chord will be a major chord. Here are some examples. All the examples will be played on the piano. Know the letters of the chords from the bottom to the top.
e a B f b♭ C f♯ b C♯
c f G♯ d♭ g♭ A d g A♯
a d E b♭ e♭ F b e F♯
i iv V i iv V i iv V
The Key The Chord Progression
i iv V
A Minor a, d, E
A sharp Minor a♯, d♯, E♯
B flat Minor b♭, eb, F
B Minor b, e, F♯
C Minor c, f, G
C sharp Minor c♯, f♯, G♯
D Minor d, g, A
D sharp Minor d♯, g♯, A♯
E flat Minor e♭, a♭, B♭
E Minor e, a, B
F Minor f, b♭, C
F sharp Minor f♯, b, C♯
G Minor g, c, D
G sharp Minor g♯, c♯, D♯
A flat Minor a♭, d♭, E♭
Exercise # 30.
Listen to all the primary chords in this lesson as they are played on the piano.
Play all fifteen primary chords in every minor key. Remember that the one and four-chords are minor, but the five-chord is major.
KEY # 31. CHORD CHARTS
The thirty-first key presents chord charts. This method book does not use music notation. However, it is essential to understand chord charts. Chord charts consist of a notated melody and the chords to be played in a particular composition. Each performer who plays a composition using a chord chart will play the piece slightly differently. Chord charts are not used if every note in a composition needs to be performed in a specific way.
The letters above the notated melody indicate the chords accompanying the piece. For example, if a C is written above the melody, the C major chord will be played with those melody notes. The chord is played slightly differently if a letter is written with another letter underneath it. The letter below the top letter indicates the lowest note to be played in the chord. The letter on top shows the name of the chord. For instance, if the letter G is written below C (C/G), a C major chord should be played with the melody. However, a G needs to be the lowest note in the chord.
There are different ways to indicate the desired chords. A C major chord is written with a capital C. C minor could be written as (C min) or with a small letter c (c). Some people indicate a minor chord by using a minus sign. (C-) Numbers can also be added to the chord symbols to indicate additional notes that should be added to the chord. (C9) It would be challenging to show all the chord symbols found in chord charts.
Everyone will play music differently using a chord chart. A person can spend a lifetime learning how to play chords and melodies in various ways. Chord charts are fun to use but require considerable practice.
Here is an example of a chord chart without a notated melody. The chords will be played for you on the piano. The song is Auld Lang Syne. The melody could be sung or played on an instrument by another person. Capital letters indicate major chords. Small letters indicate minor chords. Each chord gets two beats. Listen as the chords in this chord chart are played on the piano.
Chord Chart for Auld Lang Syne:
C a d G C C7 F F C a d G F G C C
C a d G C C7 F F C a d G F G C C
Exercise # 31.
Listen to the chords from the chord chart played on the piano.
Play the chords in the chord chart for Auld Lang Syne.
KEY # 32. TRANSPOSITION
The thirty-second key presents transposition. Transposing music is playing the same music in a different key using an alternative combination of pitches. The distance between the original and transposed pieces' intervals is identical. For example, a melody using the notes E D C D E sounds like the one using the notes F♯ E D E F♯ because the distance between the intervals is the same.
This lesson will give you experience transposing a simple melody into all major keys. One of the first melodies many people heard when they were young was Mary Had a Little Lamb. This melody uses the letters C, D, E, and G. Begin playing this piece on E. Once you have played the entire melody, transpose it into the key of C# major. Begin on E#. The distance between the whole and half steps will remain the same when you play the piece. For example, the first time you play Mary Had a Little Lamb, play E D C D E E E D D D E G G E D C D E E E E D D E D C. Now, move all the notes one half-step higher. Begin on E♯. Play E♯ D♯ C♯ D♯ E♯ E♯ E♯ D♯ D♯ D♯ E♯ G♯ G♯ E♯ D♯ C♯ D♯ E♯ E♯ E♯E♯ D♯ D♯ E♯ D♯ C♯. You will use the same notes if you begin on F. This is the key of D♭ major. The notes are the same, but the names of the notes are different. Play F E♭ D♭ E♭ F F F E♭ E♭ E♭ F A♭ A♭ F E♭ D♭ E♭ F F F F E♭ E♭ F E♭ D♭. Transpose this melody into every major key. Listen as Mary Had a Little Lamb is played in all the major keys on the piano. The notes that are used and the starting note are provided.
The Song The Notes That Are Used The Starting Note
Mary Had a Little Lamb C D E G E
Mary Had a Little Lamb C♯ D♯ E♯ G♯ E♯
Mary Had a Little Lamb D♭ E♭ F A♭ F
Mary Had a Little Lamb D E F♯ A F♯
Mary Had a Little Lamb E♭ F G B♭ G
Mary Had a Little Lamb E F♯ G♯ B G♯
Mary Had a Little Lamb F G A C A
Mary Had a Little Lamb F♯ G♯ A♯ C♯ A♯
Mary Had a Little Lamb G♭ A♭ B♭ D♭ B♭
Mary Had a Little Lamb G A B D B
Mary Had a Little Lamb A♭ B♭ C E♭ C
Mary Had a Little Lamb A B C♯ E C♯
Mary Had a Little Lamb B♭ C D F D
Mary Had a Little Lamb B C♯ D♯ F♯ D♯
Mary Had a Little Lamb C♭ D♭ E♭ G♭ E♭
Exercise # 32.
Listen to Mary Had a Little Lamb in all the major keys as it is played on the piano.
Play Mary Had a Little Lamb in all fifteen major keys.
KEY # 33. MODULATION
The thirty-third key presents modulation. Modulation is the process of transitioning from one key to another. Modulation can be done by a succession of chords that ease into the new key or occur quickly. An abrupt modulation is a modulation that happens immediately. The easiest way to accomplish an abrupt modulation is to play the five-seven chord of the next desired key, followed by the one-chord in the new key.
Listen as an example of an abrupt modulation is played on the piano. Play the example. Begin with the C major chord, the one-chord in the key of C major. The next chord is the six-chord in the key of C major. However, the C was changed from a C to a C#. The sharp makes the six-chord a major chord. An interval of a seventh was also added to make the six-chord function as a major five-seven chord in the new key. The final chord is D major. This chord is the major two-chord in the key of C major or the one-chord in the key of D major.
G G A
E E F♯
C C♯ D
A
I VI7/ V7 II/I
Exercise # 33.
Listen to the example of an abrupt modulation as it is played on the piano.
Play the example of an abrupt modulation that was presented.
KEY # 34. JINGLE BELLS IN 15 MAJOR KEYS
The thirty-fourth key challenges you to play Jingle Bells in fifteen major keys. You played the Jingle Bells melody in (KEY # 18.) You recently learned about transposition. Transpose the Jingle Bells melody into all fifteen major keys. Begin by playing the melodies in every key. Once you have mastered the melodies, use your ears to add the chords. The chord progressions, the key, the notes used, and the starting note are provided. Listen as examples are played for you on the piano.
Jingle Bells Chord Progression:
I, I, I, IV, ii, V, V, I,
I, I, I, IV, ii, I, V, I
I, I, I, I, IV, I, II, V,
I, I, I, I, IV, I, V, I
The Key The Notes That Are Used The Starting Note
C Major G A B C D E F G A Low G
C sharp Major G♯ A♯ B♯ C♯ D♯ E♯ F♯ G♯ A♯ Low G♯
D flat Major A♭ B♭ C D♭ E♭ F G♭ A♭ B♭ Low A♭
D Major A B C♯ D E F♯ G A B Low A
E flat Major B♭ C D E♭ F G A♭ B♭ C Low B♭
E Major B C♯ D♯ E F♯ G♯ A B C♯ Low B
F Major C D E F G A B♭ C D Low C
F sharp Major C♯ D♯ E♯ F♯ G♯ A♯ B C♯ D♯ Low C♯
G flat Major D♭ E♭ F G♭ A♭ B♭ C D♭ E♭ Low D♭
G Major D E F♯ G A B C D E Low D
A flat Major E♭ F G A♭ B♭ C D♭ E♭ F Low E♭
A Major E F♯ G♯ A B C♯ D E F♯ Low E
B flat Major F G A B♭ C D E♭ F G Low F
B Major F♯ G♯ A♯ B C♯ D♯ E F♯ G#♯ Low F♯
C flat Major G♭ A♭ Bb C♭ D♭ E♭ F♭ G♭ A♭ Low G♭
Exercise # 34.
Listen to Jingle Bells in fifteen major keys as it is played on the piano.
Play Jingle Bells in all fifteen major keys. Begin with the melodies, and then add the chords.
KEY # 35. ODE TO JOY IN 15 MAJOR KEYS
The thirty-fourth key challenges you to play Ode to Joy in fifteen major keys. You played the Ode to Joy melody in (KEY # 26.) You recently learned about transposition. Transpose the Ode to Joy melody into all fifteen major keys. Begin by playing the melodies in every key. Once you have mastered them, use your ears to add the chords. The chord progressions, the key, the notes used, and the starting note are provided. Especially notice the minor six-chord and the major two-chord. The major two-chord is a secondary dominant chord to the five-chord. Listen as examples are played for you on the piano.
Ode to Joy Chord Progression:
I I V V I I V V
I I IV IV I I V I
V I V I V vi II V
I I IV IV I I V I
The Key The Notes That Are Used The Starting Note
C Major G C D E F G E
C sharp Major G♯ C♯ D♯ E♯ F♯ G♯ E♯
D flat Major A♭ D♭ E♭ F G♭ A♭ F
D Major A D E F♯ G A F♯
E flat Major B♭ E♭ F G A♭ B♭ G
E Major B E F♯ G♯ A B G♯
F Major C F G A B♭ C A
F sharp Major C♯ F♯ G♯ A♯ B C♯ A♯
G flat Major D♭ G♭ A♭ B♭ C♭ D♭ B♭
G Major D G A B C D B
A flat Major E♭ A♭ B♭ C D♭ E♭ C
A Major E A B C♯ D E C♯
B flat Major F B♭ C D E♭ F D
B Major F♯ B C♯ D♯ E F♯ D♯
C flat Major G♭ C♭ D♭ Eb F♭ G♭ E♭
Exercise # 35.
Listen to Ode to Joy in fifteen major keys as it is played on the piano.
Play Ode to Joy in all fifteen major keys. Begin with the melodies, and then add the chords.
KEY # 36. SNAKE DANCE IN 15 MINOR KEYS
The thirty-sixth key challenges you to play Snake Dance in fifteen minor keys. You played the Snake Dance melody in (KEY # 26.) You recently learned about transposition. Transpose the Snake Dance melody into all fifteen minor keys. Begin by playing the melodies in every key. Once you have mastered them, use your ears to add the chords. The chord progressions, the key, the notes used, and the starting note are provided. Especially notice the major three-chord and the major seven-chord. Listen as examples are played for you on the piano.
Snake Dance Chord Progression: N/C means "no chord."
N/C
i V i i i V i i
i V i i i V i i
III III VII VII V V i i
i V i i i V i
The Key The Notes That Are Used The Starting Note
A Minor A B C D E A
A♯ Minor A♯ B♯ C♯ D♯ E♯ A♯
Bb Minor B♭ C D♭ E♭ F B♭
B Minor B C♯ D E F♯ B
C Minor C D E♭F G C
C# Minor C♯ D♯ E F♯ G♯ C♯
D Minor D E F G A D
D# Minor D♯ E♯ F♯ G♯ A♯ D♯
Eb Minor E♭ F G♭A♭ B♭ E♭
E Minor E F♯ G A B E
F Minor F G A♭B♭ C F
F# Minor F♯ G♯ A B C♯ F♯
G Minor G A B♭C D G
G# Minor G♯ A♯ B C♯ D♯ G♯
Ab Minor A♭ B♭ C♭ D♭ E♭ A♭
Exercise # 36.
Listen to Snake Dance in fifteen minor keys as it is played on the piano.
Play Snake Dance in all fifteen minor keys. Begin with the melodies, and then add the chords.
After playing Ode to Joy, Jingle Bells, and Snake Dance in all fifteen major or minor keys, use your ears to add chords to every melody you learned in (KEY # 26.)
LEVEL FIVE
Level five will present more demanding challenges and new ways to enhance your playing. These lessons are for advanced players. Mastering these lessons and exercises will be a remarkable accomplishment. Let's begin.
KEY # 37. PLAYING THE ONE, SIX, FOUR, AND FIVE-CHORD PROGRESSION IN EVERY MAJOR KEY
The thirty-seventh key presents playing the one, six, four, and five-chord progression in every major key. If you are familiar with the one, six, four, and five-chords in every major key, you should be able to harmonize numerous songs. Heart and Soul is an example of a piece that uses the one, six, four, and five-chord progression. Play the chord progression for Heart and Soul in all fifteen major keys. The name of each key and the chords for Heart and Soul are provided. Listen as examples are played for you on the piano.
The Key Heart and Soul Chord Progression:
I, vi, IV, V
C Major C, a, F, G
C sharp Major C♯, a♯, F♯, G♯
D flat Major D♭, b♭, G♭, A♭
D Major D, b, G, A
E flat Major E♭, c, A♭, B♭
E Major E, c♯, A, B
F Major F, d, B♭, C
F sharp Major F♯, d♯, B, C♯
G flat Major G♭, e♭, C♭, D♭
G Major G, e, C, D
A flat Major A♭, f, D♭, E♭
A Major A, f♯, D, E
B flat Major B♭, g, E♭, F
B Major B, g♯, E, F♯
C flat Major C♭, a♭, F♭, G♭
Exercise # 37.
Listen to examples of the one, six, four, and five-chord progression as they are played on the piano.
Play the one, six, four, and five-chord progression in all fifteen major keys used in the song Heart and Soul.
KEY # 38. INVERSIONS
The thirty-eighth key introduces inversions. An inversion is a chord that is not in the root position. For example, a person could play the C major chord as E, G, and C instead of C, E, and G. The same letters are used, but the notes are played differently. Playing the chords this way is called an inversion, and since the third note of the chord is on the bottom, E G C is considered the first inversion. When the fifth note of the chord is on the bottom, as in G C E, the chord is in the second inversion. Sometimes, a chord played in an inversion will sound better than if the chord was played in the root position. An example of primary chords in the root position, first inversion and second inversion, has been provided. Listen as the examples are played on the piano.
G C E C F A D G B
E G C A C F B D G
C E G F A C G B D
I I I IV IV IV V V V
Exercise # 38.
Listen to the examples presented in this lesson as they are played on the piano.
Play the C major, F major, and G major chords in the root position, first inversion, and second inversion.
KEY # 39. INVERSIONS OF ALL FIFTEEN MAJOR AND FIFTEEN MINOR CHORDS
The thirty-ninth key presents inversions of all fifteen major and fifteen minor chords. It is essential to be able to play all fifteen major and minor chords in the root position, first inversion, and second inversion. Playing all these chords in the root position and the inversions will enhance your ability to play the piano by ear in several ways. All twelve major and minor triads and two examples of major and minor inversions have been provided. Use these examples and your ears to find the inversions for every triad. Listen as examples are played for you on the piano.
Major Triads
G A♭ A B♭ B C D♭ D E♭ E F F♯ G
E F F♯ G G♯ A B♭ B C C♯ D D♯ E
C D♭ D E♭ E F G♭ G A♭ A B♭ B C
Minor Triads
G G♯ A B♭ B C C♯ D D♯ E F F♯ G
E♭ E F G♭ G A♭ A B♭ B C D♭ D E♭
C C♯ D E♭ E F F♯ G G♯ A B♭ B C
C Major
G C E
E G C
C E G
Root position First inversion Second inversion
C Minor
G C E♭
E♭ G C
C E♭ G
Root position First inversion Second inversion
Exercise # 39.
Listen to the examples presented in this lesson as they are played on the piano.
Play all fifteen major and minor chords in root position, first inversion, and second inversion.
KEY # 40. PLAY EVERY MAJOR SCALE WITH YOUR RIGHT HAND AND EVERY RELATED CHORD, INCLUDING INVERSIONS, WITH YOUR LEFT HAND
The fortieth key introduces playing every major scale with your right hand and every related chord, including inversion, with your left hand. In previous lessons, you learned how to play every major scale. You also learned about inversions. This exercise will help you use a variety of chords when you play melodies in your right hand. Play every scale with your right hand. Add every related chord, including inversions, with your left hand. One example is provided. Listen to the example as it is played on the piano.
The Scale Note
C D E F
Chords and Inversions
G C E A D F B E G C F A
E G C F A D G B E A C F
C E G D F A E G B F A C
Major Minor Minor Major
The Scale Note
G A B C
Chords and Inversions
D G B E A C F B D G C E
B D G C E A D F B E G C
G B D A C E B D F C E G
Major Minor Diminished Major
Exercise # 40.
Listen to the example presented in this lesson as it is played on the piano.
Play every major scale with your right hand. Add every related chord, including inversions, with your left hand.
KEY # 41. FORM
The forty-first key introduces form. The form is the structure of a musical composition. Each section of music is usually several measures long. It is common to analyze the sections of a composition by identifying them as Part A, Part B, and Part C. Occasionally, parts are divided in half and labeled as questions and answers. (Part A? Part A!) In some pieces, there can be an introduction, a bridge, or a coda. Recognizing large sections is vital for playing the piano by ear. Figure out one section at a time. Eventually, you can play an entire piece when you combine the sections.
Several things have form. There are four seasons. A baseball game has nine innings. There are twelve months in a year. Knowing the form of the music you play or hear provides a greater understanding and appreciation.
Exercise # 41.
Determine the form in several pieces you have previously learned or others you know.
KEY # 42. IMPROVISATION
The forty-second key introduces improvisation. Improvisation means creating music spontaneously. Improvised music is different every time that it is performed. Some music can have a predetermined harmonic foundation. Everything else is made during the performance. Learning how to improvise takes time and experience. It is essential to keep things simple in the beginning. The notes that are used for improvising need to come from that key. The melodic notes also need to coincide with the harmonies that are in the music. Here are three improvisation exercises.
The first improvisation exercise is done primarily with black keys. Play E♭, D♭, C♭, and B♭ repeatedly, going down in your left hand. Each note gets two beats. Occasionally, you can add A♭ and B♭ in the left hand. Each of those notes gets four beats. Make an improvisation using any of the black keys with your right hand. Any of the black keys will sound good with the notes in your left hand. You can occasionally add F, A, or D in your right hand. All the notes that can be used in the right hand are (E♭, F, G♭, A♭, A, B♭, C♭, D♭, D, and E♭.) Play E♭ in your right and left hands when you end the improvisation.
The second improvisation is like the first, but it is done primarily with white keys. Play D, C, B♭, and A repeatedly, going down in your left hand. Each note gets two beats. Occasionally, you can add G and A in the left hand. Each of those notes gets four beats. Make an improvisation using any of the white keys with your right hand. Except for B, any of the white keys will sound good with the notes in your left hand. You can occasionally add F, A, or D♭ in your right hand. All the notes that can be used in the right hand are (D, E, F, G, A♭, A, B♭, C, D♭, and D.) Play D in your right and left hands when you end the improvisation.
The third improvisation involves the one, six, four, and five-chord progression. Play C major, A minor, F major, and G major with your left hand repeatedly. While playing this chord progression, add white keys with your right hand. Use white keys with the chord progression in your left hand. The notes you choose in your right hand must sound good with the chord in your left hand.
Listen as examples of these three improvisations are played on the piano.
Exercise # 42.
Listen to examples of improvisation as they are played on the piano.
Create three improvisations using the instructions that were provided.
KEY # 43. ORIGINAL IMPROVISATIONS
The forty-third key introduces original improvisations. Eventually, you will want to create original improvisations. Express your mood for the day with an improvisation. If you are happy, try improvising with a quick tempo in a major key. If you are sad, try to create an improvisation with a slow tempo in a minor key. Begin with the three primary chords in C major or A minor. Use notes from the C major or A minor scale. The three primary chords in C major are C, F, and G. The three in A minor are a, d, and E. The notes in the C major scale are C, D, E, F, G, A, B, and C. The letters in the A minor scale are A, B, C, D, E, F, G♯, and A. Have fun creating original improvisations.
Exercise # 43.
Play some original improvisations. Improvising may be difficult initially, but it will become easier with practice.
KEY # 44. THE TWELVE-BAR BLUES
The forty-fourth key presents the twelve-bar blues. The twelve-bar blues is a standard chord progression used to play many different pieces. Rock Around the Clock is a song written in the twelve-bar blues format. There are twelve measures in this chord progression. The first four measures use the one-chord. Measures five and six use the four-chord. Measures seven and eight use the one-chord. Measure nine uses the five-chord. Measure ten uses the four-chord. Measures eleven and twelve use the one-chord. In the key of C major, this twelve-measure chord progression would be C, C, C, C, F, F, C, C, G, F, C, C. This chord progression can be played in any key. Listen as an example of the twelve-bar blues chord progression is played on the piano.
The Twelve Bar- Blues Progression:
I, I, I, I, IV, IV, I, I, V, IV, I, I
Exercise # 44.
Listen to examples of the Twelve Bar-Blues Progression as it is played on the piano.
Play the twelve-bar blues chord progression in the key of C major.
Play the twelve-bar blues progression in different keys.
Play an improvisation with your right hand while playing the twelve-bar blues progression with your left hand.
KEY # 45. ARPEGGIOS
The forty-fifth key introduces arpeggios. Arpeggios are broken chords. When you play an arpeggio, each note in the arpeggio is played one letter at a time. The word comes from the Italian word "Arpeggiarore," which means to play on a harp. Arpeggios can fill in gaps when there are lengthy notes in the melody. Any chord can be played as an arpeggio. Two examples of arpeggios in C and G major with the suggested fingering are provided. Go up the piano for two octaves and then use the same notes to come back down again. Listen as the two examples of arpeggios are played for you on the piano.
C Major Arpeggio G Major Arpeggio
C E G C E G C G E C G E C G B D G B D G D B G D B G
RH 1 2 3 1 2 3 5 3 2 1 3 2 1 1 2 3 1 2 3 5 3 2 1 3 2 1
LH 5 3 2 1 3 2 1 2 3 1 2 3 1 5 3 2 1 3 2 1 2 3 1 2 3 1
Exercise # 45.
Listen to the two examples of arpeggios as they are played on the piano.
Play the two arpeggios in your right and left hand. Once you master these two arpeggios, try to play arpeggios using all the other major and minor chords you have learned.
KEY # 46. PASSING AND NON-CHORDAL NOTES AND OTHER FILLER NOTES
The forty-sixth key introduces passing and non-chordal notes and other filler notes that can enhance the melody and harmony. Examples will be played for you on the piano.
Passing notes and non-chordal notes: Passing notes are non-chordal notes that differ from the notes in the chords. These passing notes come between melodic or chord tones.
A non-chordal, nonharmonic, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note related to the chord.
Chord Inversions: Playing inversions of chords with the right or left hand is a terrific way to add variety to your playing and occupy time when there are lengthy notes in the melody. These chord inversions can be made with block chords or arpeggios.
Scales and arpeggios: Scales and arpeggios in the melody often fill time, especially with lengthy notes.
Use the entire keyboard: There are eighty-eight keys on a piano. Playing music in the high and low registers on the piano is very important. Playing only in the middle of the keyboard uses a partial range of the piano. Playing melodies or chords in different parts of the piano will enhance your pieces in several ways. Melodies can sound good on any part of the piano. Try to play your pieces in several areas on the keyboard.
Glissando: A glissando is a continuous slide upward or downward between two notes. Glissandos are done by playing several individual notes ascending or descending the piano quickly. Glissandos can be used to fill in time during long notes or to add flare to the music.
Exercise # 46.
Listen to examples of passing and non-chordal notes and other filler notes on the piano that were presented in this lesson.
Play several pieces you have learned to play by ear. Add passing, non-chordal notes, and other filler notes to the melody and harmony by incorporating what you learned in this lesson.
KEY # 47. ADDITIONAL WAYS TO ENHANCE YOUR PLAYING
The forty-seventh key introduces additional ways to enhance your playing. Once you become more accomplished playing by ear, there are numerous ways to improve your playing. Here are a few ways to make your music sound fuller. Examples will be played for you on the piano.
Play the melody in octaves: Playing the melody in octaves is a fantastic way to enhance your playing. This additional note can be eight notes higher or lower than the original melody note. Once comfortable playing octaves in the melody, fill in additional notes in your right hand with notes in the chords. For example, if you have a G in your right hand and a C major chord in your left hand, play the G as an octave. Add a C and an E in your right hand since those notes are also found in the chord. You can do this for any melody note that you are playing. You can also play octaves with your left hand to make the harmony fuller. If you have a C major chord, instead of playing one C, play two C's and fill in additional notes that are part of the chord.
Add notes that do not match the chords: When appropriate, add notes that do not match the chords. These are dissonant notes. Dissonant notes can make the music more interesting if used appropriately. Adding seconds, sixths, and ninth intervals are excellent ways to enhance your playing.
Play the piece in different keys: Pieces only sometimes need to be played in their original key. Pieces can have various tone qualities when they are played in other keys. Some songs sound better when they are not played in the original key. Playing in different keys can also accommodate a person's vocal range.
Play the melody in the left hand with the chords in the right hand: Play the melody with your left hand. Play the chords with your right hand. Playing the piano this way is a unique way to enhance your playing.
Play with expression and the appropriate style: Playing with expression and the proper style separates average pianists from professionals. Being able to express yourself can make all the difference in your performance. Playing the correct notes and rhythms is never enough. Always try to be expressive and play with the right style.
Exercise # 47.
Listen to examples on the piano to enhance your playing presented in this lesson.
Play the pieces you have learned. Include the new ways presented in this lesson that can enhance your playing.
KEY # 48. BETTER-SOUNDING CHORDS
The forty-eighth key presents better-sounding chords. There are numerous ways to add chords to a melody. In the beginning, we learned about using the three primary chords with the melodies. Primary chords sound good, but there can be better choices. Every melody can be harmonized with various chords. Listen closely and choose the chords that sound the best. Selecting the best chords to harmonize melodies will become easier as you listen and practice. Here are two ways to play Silent Night. The first version is limited to primary chords. Listen as the two versions are played on the piano. The chords in the second selection have more color and variety. Using a combination of chords can make the music sound better.
#1. Chord progression Silent Night:
C, C, C, C, G, G, C, C, F, F, C, C, F, F, C, C, G, G, C, C, C, G, C, C.
#2. Chord progression Silent Night:
C, d, e, a, d, G, C, C7, F, f♯ dim, e, a, F, f♯ dim, e, a, d, E, a, D, C/G, G, F, C
Exercise # 48.
Listen to the two versions of Silent Night as they are played on the piano.
Play the chord progressions for Silent Night provided in this lesson.
KEY # 49. THE MOST ADVANCED PIECES YOU WILL PLAY BY EAR IN THIS BOOK
The Forty-ninth key presents the most advanced pieces you will play by ear in this book. The most accessible pieces are in the beginning. The notes used for each song and the starting note are provided. Each of the melodies will be played for you on the piano. Listen for the interval changes, the direction in the notes as they move from one to another, and their note values. Begin by playing only the melodies. Once you have mastered each melody, add primary, secondary, dominant, and other chords to the melodies. Try using inversions and anything else you have learned in this book to enhance each piece. Do not go fast. Work at your own pace to master these final five pieces.
The Song The Notes That Are Used The Starting Note
The Star-Spangled Banner C E F♯ G A B C D E F G Low G
God Bless America G A B C D E F G A C Low C
Autumn Leaves E F F♯ G G♯ A B C D D♯ E F G A
Have Yourself a Merry Little Christmas C D E F G G♯ A B C D E F Low C
Do-Re-Mi C D E F F♯ G G♯ A A♯ B C Low C
Exercise # 49.
Listen to each melody in this lesson as played on the piano.
Play the melodies for the five pieces that were presented.
Add primary and secondary dominant chords and any other chords to the melodies you played in level five. Use inversions and anything else you have learned in this book to enhance each piece.
KEY # 50. PERFORMING THE MUSIC THAT YOU HAVE LEARNED
The fiftieth key challenges you to perform the music that you have learned. You can play many pieces by ear. You should be very proud of everything that you have accomplished. Your final challenge will be to perform the music you have mastered for an audience. Art of any kind should be shared with others. The world is a much better place because artists have shared their talents.
Every successful performance requires four essential things: preparation, confidence, concentration, and a desire to do well. Whether you are a doctor, an actor, a teacher, or a musician, the success of your performance will depend on these four things.
When preparing for a performance, it is essential to think of every aspect. Imagine where the piano will be located and where the people will be sitting. Will you have enough light if you use music? Consider every detail that will occur during the performance.
There is a significant difference between being nervous and being scared. Nervousness occurs when your body perceives an important event is happening in your life. Being nervous could happen at a wedding, an important meeting, a first date, or doing anything that matters. Being scared occurs when a person believes that something terrible could happen. Being afraid is often evident if the person needs more preparation. Being nervous about performance is a reaction when your body perceives the event as unique. The event is significant, so the performer should be slightly nervous. However, being scared should never occur because the performer should be prepared. Understanding the difference between nervousness and being scared can help many overcome performance anxieties.
It is essential to be ready weeks before giving an official performance. Rehearse what you plan to play several times among friends so you can get comfortable and determine if any parts of your performance need additional preparation.
Exercise # 50.
Perform your best pieces when you are ready. Apply all the instructions that were presented in this lesson. Print out a program of the music you intend to perform for an audience. Present a good selection of the music you have learned that is not too long or short. Have fun sharing the music that you can play by ear.
SUMMARY
Knowing how to play the piano by ear is no longer a mystery. The fifty keys have unlocked the secrets. Keep practicing. Playing the piano by ear is a life-long adventure. There will always be new pieces to learn. We use our ears to hear music. Using our ears to play music has endless possibilities. This book has made that possible for you. The mystery has been solved. Congratulations.
MARK'S EXPERIENCE PLAYING THE PIANO BY EAR
My father owned a music store when I was a child. He sold organs, pianos, guitars, and accordions. A couple of teachers gave music lessons in the back of the store. My mother worked nights, so my grandfather watched me at the music store during the day. I did not know how to read music, but it was easy for me to play songs by ear. I began by playing different notes on the piano and listening to their sounds. Eventually, I could put the letters in a particular order to form familiar melodies. I did this for about an hour daily because I had nothing else to do. It was fun. I could even play two notes at once to add harmony. Every day, I would try to figure out a new song. When I went home, I would try to play along with the music I heard on the television during the commercials. I enjoyed playing the piano, so I wanted piano lessons like the other students at the music store.
One of my earliest memories as a child was climbing up on a large wooden bookcase at the music store so I could get to the telephone. I was five years old. I called my mother and asked her if I could take piano lessons. She said yes. The next day, my new piano teacher gave me a method book by John Thompson and another by John Schaum. I had to learn to play the piano for the next eight years by reading music. I did not like my lessons, but I enjoyed playing music by ear. I continued to play by ear on my own. Eventually, I could use my ear to play several hymns and popular songs. Progress in my piano lessons could have been faster. I rarely practiced my play-by-music assignments.
When I entered kindergarten, I recall teaching several classmates how to play simple songs on the piano without music. These early lessons were the beginning of my piano teaching career.
When I was thirteen, I was finally allowed to stop taking lessons after years of begging. I never became proficient at reading music while taking lessons. Playing with notated music was not something that I enjoyed. I am grateful for my classes and my mother, who would not let me quit taking lessons until I was thirteen. However, when I stopped lessons, I could focus entirely on the pieces I wanted to play by ear.
One of my favorite activities in high school was going into the band room and playing the piano. The band room was in the middle of the school with no windows. I could go into the room and turn off the lights. The room was completely dark. I would stay in the room alone, playing the piano in complete darkness. I would listen to the sounds while I played and try to feel the distances from one note to another because I could not see the keys. It was a memorable experience for me that I did several times.
Everything went well until I wanted to attend college as a music major. Colleges require students to read music. It was also necessary to be able to play scales, chords, and other essential skills. I assumed I could get into any college of my choice because of my superior ability to play by ear. To my surprise, I could not get accepted anywhere.
I stayed out of college for the next two years. During that time, I took piano lessons from an exceptional teacher who prepared me for all the college entrance requirements. I practiced for several hours every day playing notated music. Eventually, I could meet the criteria to be accepted as a music major at a small college in Minnesota.
After my first year of college, I moved to New Jersey to study with a highly regarded teacher who had the same teacher as Van Cliburn at Juilliard. This teacher taught me essential notated repertoire but primarily taught me how to become an excellent piano teacher. I attended college for the next five years and taught private piano lessons. I eventually earned a college degree in piano performance at Montclair State University by meeting all their requirements. Still, my most excellent skill as a pianist has always been playing the piano by ear. As a teacher, I continued the tradition of teaching most of my students to play using music notation. I taught some students to play by ear, but I should have done this more often.
I have spent my entire adult life teaching piano and performing music by ear as an entertainer. Over the years, I have given numerous performances at churches, weddings, assisted living homes, parties, funerals, and other special events. Almost all my performances are done without notated music.
I have had seven outstanding piano teachers in my life, but not one has ever given me a single lesson regarding playing by ear. Playing by ear is what I do best, so I decided to share my knowledge about this way of playing the piano so that you can play by ear and teach these lessons to your students. Learning to play by ear should not be a mystery or avoided in any piano teacher's studio.