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VOLUME
VOLUME
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1
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M E T H O D
M E T H O D
COCKTAIL
COCKTAIL
P I A N O
P I A N O
www.migu-music.com
www.migu-music.com
Table of Contents
Table of Contents
Explanation of Contents
Explanation of Contents
... 6... 6Harmony – Part 1
Harmony – Part 1
DiatonicDiatonic harmony ...harmony ...88 Basic rules of piano
Basic rules of piano entertainment entertainment ...99 Leaving
Leaving notes notes out ....out ...99 Adding notes ...12 Adding notes ...12
Harmony – Part 2
Harmony – Part 2
MinorMinor passing passing chords chords dominant dominant seventh seventh ...1515 Diatonic passing chords ...17 Diatonic passing chords ...17
Oh, Lady Be Good
Oh, Lady Be Good
...22 ...22Harmony – Part 3
Harmony – Part 3
Possibilities for the left hand ...26 Possibilities for the left hand ...26 Rhythm
Rhythm for for the the left left hand hand ...28.28
Harmony – Part 4
Harmony – Part 4
AlteringAltering notes notes ...29.29 Adding the
Adding the sixth to sixth to the chord the chord ...32...32
Harmony – Part 5
Harmony – Part 5
TheThe diminished diminished chord chord ...34...34
Fills – Part 1
Fills – Part 1
PossibilitPossibilities ies with with fills fills ...39...39 Fill
Fill / / minor7minor7 th th chord...40 chord...40
Fill
Fill / / major7major7 th th chord...43 chord...43
Fill / dominant seventh chord ...44 Fill / dominant seventh chord ...44
’S Wonderful
’S Wonderful
...48 ...48Harmony – Part 6
Harmony – Part 6
PassingPassing tones tones dominant dominant (6,#5,5) (6,#5,5) ...53...53 The
The ’sus’ ’sus’ chord chord ...5...555
T
T
ypical Harmony Sequences
ypical Harmony Sequences
– Part
– Part
1
1
ChordChord insertions insertions – – Part Part 1...1...57...57 Passing chords major
Passing chords major / dominant seventh ...58/ dominant seventh ...58
Fills – Part 2
Fills – Part 2
FillFill / / augmented augmented triad triad with with chromaticism chromaticism ...6...600 Fill / diminished with chromaticism ...63 Fill / diminished with chromaticism ...63
Strike Up The Band
Strike Up The Band
...66 ...66Ending “Basie-Fill”
Ending “Basie-Fill”
...72 ...72Harmony – Part 7
Harmony – Part 7
Dominant augmented with b9
Dominant augmented with b9...74...74
Harmony – Part 8
Harmony – Part 8
TheThe half half diminished diminished chord chord ...76...76 II – V – I – minor cadence ...76 II – V – I – minor cadence ...76
Fills – Part 3
Fills – Part 3
FillFill / / Blues Blues scale scale ... ... 7979
Summertime
Summertime
...84 ...84Typical Harmony Sequences – Part 2
Typical Harmony Sequences – Part 2
Chord Chord substitutsubstitutions ions ...88...88I Got Rhythm
I Got Rhythm
...91 ...91Typical Harmony Sequences – Part 3
Typical Harmony Sequences – Part 3
Chord Chord insertions insertions – – Part Part 2...2...95....95Swanee River
Swanee River
...98...98Fills – Part 4
Fills – Part 4
Fill Fill / / four-note four-note progressiprogression on ...1...10303Intros, Trans
Intros, Trans
itions /
itions /
Bridge
Bridge
Passages, Endings
Passages, Endings
Secondary Secondary intros intros ...10...1055 Free-style intros ...106Free-style intros ...106
Transitions / bridge passages ...108
Transitions / bridge passages ...108
Endings ...110
Endings ...110
Cocktail Piano Christmas
Cocktail Piano Christmas
Silent Silent Night Night ...113..113We Wish You A Merry Christmas ...119
We Wish You A Merry Christmas ...119
Cocktail Piano Classic
Cocktail Piano Classic
Lullaby Lullaby ...12...1222 Liebestraum ...126Liebestraum ...126
Cocktail Piano Gospel
Cocktail Piano Gospel
This This Little Little Light Light Of Of Mine Mine ...130130 Swing Swing Low, Low, Sweet Sweet Chariot Chariot ...1...13131Tips and Tricks
Tips and Tricks
...136 ...136Chord Symbol Glossary
Chord Symbol Glossary
...139 ...139The Intervals
The Intervals
...142 ...142Blues scales
Blues scales
In All Keys
In All Keys
...144...144Chord Tables
Chord Tables
...145 ...145Harmony – Part 1
Harmony – Part 1
T
To be able to o be able to develop your own stylish piano arrangements from develop your own stylish piano arrangements from songs you first need a songs you first need a good fundamental knowledgegood fundamental knowledge of harmony. We will work step
of harmony. We will work step by step through this by step through this chapter on elementary basic principles.chapter on elementary basic principles.
Diatonic harmony
Diatonic harmony
By “diatonic harmony“, we mean the chords that
By “diatonic harmony“, we mean the chords that can be created using the notes of can be created using the notes of the normal major scales. Wethe normal major scales. We will start with the key of
will start with the key of C major and the accompanying C major scale:C major and the accompanying C major scale: C major scale
C major scale
If you form
If you form a four-part chord with each note, or each step (scale degree), of a four-part chord with each note, or each step (scale degree), of the normal major scale you get the normal major scale you get thethe following chords:
following chords:
I
I II II III III IV IV V V VI VI VII VII
Steps (scale degrees) in Roman numerals Steps (scale degrees) in Roman numerals
Almost all the chords that you need, to play popular songs, are at your disposal in the major scales. To understand Almost all the chords that you need, to play popular songs, are at your disposal in the major scales. To understand them bett
them better, let’er, let’s look at ws look at which chords hich chords are on whiare on which step (sch step (scale degree)cale degree)..
Step
Step TType ype of of ChordChord
I
I + + IV IV Major7 Major7 chord chord (= (= major major triad triad with with major major seventh)seventh) II,
II, III III + + VI VI Minor7 Minor7 chord chord (= (= minor minor triad triad with with minor minor seventh)seventh) V
V Dominant Dominant seventh seventh chord chord (= (= major major triad triad with with minor minor seventh)seventh) VII
VII Half Half diminished diminished chord chord (consists (consists of of two two minor minor and and one one major major third)third)
C
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1a 1a 1b 1b 1c 1c 1d 1dC C77 3 3 G G 3 3 A A 6 6 DD77 GG 1 1 D D77 2 2 10 10 CC GG D/FD/F 14 14 EEmm D.C. al Fine D.C. al Fine
Oh, Lady Be Good
Oh, Lady Be Good
Lead sheet
Lead sheet
Music: George Gershwin
Music: George Gershwin
We’ll practice what we just learned with the song “Oh, Lady Be Good”. If you bought a songbook in which you We’ll practice what we just learned with the song “Oh, Lady Be Good”. If you bought a songbook in which you have only the melody and chord symbols to work
have only the melody and chord symbols to work on, the song would be notated as on, the song would be notated as in the above lead sheet.in the above lead sheet. Parts of the melody can be
Parts of the melody can be played very well with the fourth sixth chords of played very well with the fourth sixth chords of the major scale. Because the piece isthe major scale. Because the piece is in the key of
in the key of Gmaj, we need the chords from the Gmaj, we need the chords from the G major scale:G major scale: Fourth sixth chords of the G
Fourth sixth chords of the G major scalemajor scale
I
I II II III III IV IV V V VI VI VII VII
Already in the first bar we
Already in the first bar we can use these triads in the right hand:can use these triads in the right hand: notated
notated in in bar bar 1: 1: what what you you can can play:play:
G G G G G G GG dimdim m7m7 G G77 Fine Fine D D77 CC//G G E Emm/D/D EEmm/D /D EEmm/C/C
œ œ œ œ
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DD77 A Amm BBmm CC DD EEmm FF mb5mb5 G GIn bars 9 and 10 we have the dominant of the key of Cmaj and must therefore use the fourth sixth chords of the In bars 9 and 10 we have the dominant of the key of Cmaj and must therefore use the fourth sixth chords of the C major scale.
C major scale. notated
notated in in bars bars 9 9 and and 10: 10: what what you you can can play:play:
As we have already learned from page 15, the dominant can be varied in the
As we have already learned from page 15, the dominant can be varied in the right hand with three minor chords.right hand with three minor chords. In the key of Gmaj the dominant is a D7 chord and Am, Bbm and Bm are the three variation chords, that can be In the key of Gmaj the dominant is a D7 chord and Am, Bbm and Bm are the three variation chords, that can be used in bar 8 and also
used in bar 8 and also in bars 16 and 17 in bars 16 and 17 due to the chromatic melody.due to the chromatic melody. notated
notated in in bar bar 8: 8: what what you you can can play:play:
notated
notated in in bars bars 16 16 and and 17: 17: what what you you can can play:play:
In two bars of “Oh, Lady Be G
In two bars of “Oh, Lady Be Good” we find a dominant with a ood” we find a dominant with a ninth in the melody-voice. Thus the ninth in the melody-voice. Thus the dominant with thedominant with the ninth, which we learned on page 12, inevitably comes into practical use:
ninth, which we learned on page 12, inevitably comes into practical use: notated
notated in in bar bar 2: 2: what what you you can can play:play:
notated
notated in in bar bar 11: 11: what what you you can can play:play:
Tip:
Tip:TTry to put ry to put into practice that which you have into practice that which you have learned from the lead sheets from learned from the lead sheets from “Oh, Lady Be Good” “Oh, Lady Be Good” before youbefore you attempt to play
attempt to play the complete composition!the complete composition!
C C CC G G77 GG77 D D77 DD77 C C77 D D77 DD77 C C77 D D77 DD77
Oh, Lady Be Good
Oh, Lady Be Good
Music: George GershwinMusic: George GershwinArr
Arr.: Michael .: Michael GundlachGundlach
9
Harmony – Part 4
Harmony – Part 4
Altering notes
Altering notes
Single notes of a chord can be raised or lowered a half-tone. In technical jargon we call this “alteration”. In Single notes of a chord can be raised or lowered a half-tone. In technical jargon we call this “alteration”. In this
this chapter, for chapter, for the the time time being, being, we we want want to cto concentrate oncentrate on ton the ahe altered ltered fifth fifth of of the the chord. chord. A loA lowering wering of of the the fifthfifth is shown by the sign “b” before the number (b5) and sometimes with a minus sign before the number (-5). An is shown by the sign “b” before the number (b5) and sometimes with a minus sign before the number (-5). An example:
example:
The raised fifth is notated with a sharp sign before the number (#5), or with a plus sign before the number (+5). The raised fifth is notated with a sharp sign before the number (#5), or with a plus sign before the number (+5). Sometimes we see a plus sign without a
Sometimes we see a plus sign without a number after the chord symbol (e.g. “G+”). The raising of the fifth number after the chord symbol (e.g. “G+”). The raising of the fifth in thein the dominant seventh chord adds a wonderfully new tone color to the music, very popular among cocktail pianists. dominant seventh chord adds a wonderfully new tone color to the music, very popular among cocktail pianists. Therefore we want to examine this altered dominant chord more closely. A G7 chord with
Therefore we want to examine this altered dominant chord more closely. A G7 chord with a raised fifth looks likea raised fifth looks like this:
this:
The upper three notes of the chord are
The upper three notes of the chord are played with the right hand and the root is played with the right hand and the root is played with the left hand:played with the left hand:
The three notes of the right hand can
The three notes of the right hand can be played in two inversions:be played in two inversions: 1
1ststinversion inversion 22ndnd inversion inversion
D D
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Certainly the most attractive fill for many
Certainly the most attractive fill for many pianists is inventing his own little melody. The question naturally arises,pianists is inventing his own little melody. The question naturally arises, which notes can I play and how can I best put them together? The last example shown on page 39 already gives us which notes can I play and how can I best put them together? The last example shown on page 39 already gives us an indication: The notes of the triad in the
an indication: The notes of the triad in the right hand have been separated into single notes and played one afterright hand have been separated into single notes and played one after another
another. A variation of the melody fill . A variation of the melody fill exists therefore in the use of the exists therefore in the use of the single notes of a chord.single notes of a chord.
Fill / minor7
Fill / minor7
th thchord
chord
Let’s take a Dm7 chord: Let’s take a Dm7 chord:
In a Dm7 chord there
In a Dm7 chord there is, apart from the root “D”, is, apart from the root “D”, an F major triad:an F major triad: Dm7 chord
Dm7 chord Root
Root F F major major triadtriad
F major triad separated into single notes F major triad separated into single notes
The three notes of the F major triad lend themselves very well to playing a fill with
The three notes of the F major triad lend themselves very well to playing a fill with a Dm7 so we want a Dm7 so we want to practiceto practice this ex
this extensively. tensively. Every oEvery one of ne of the fthe following ollowing examples examples consists consists of throf three exeree exercises, cises, each wieach with twth two bars. o bars. In the In the ex- ex-amples 14a – 14c we
amples 14a – 14c we will practice the fills in an ascending movement, while the examples 15a – will practice the fills in an ascending movement, while the examples 15a – 15c are given in15c are given in a descending movement. Furthermore, in each case the examples are printed in three keys.
a descending movement. Furthermore, in each case the examples are printed in three keys.
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G G 77 14a 14aTypical Harmony Sequences – Part 1
Typical Harmony Sequences – Part 1
If you analyze the songs of popular music, you will often find the same, or rather similar harmony sequences If you analyze the songs of popular music, you will often find the same, or rather similar harmony sequences (cadences). If you know these (and can master
(cadences). If you know these (and can master them and play them well) your own them and play them well) your own interpretation of songs will beinterpretation of songs will be much easier.
much easier.
Chord insertions – Part 1
Chord insertions – Part 1
Typical harmony sequences are often already notated in a lead sheet. If such cadences are not already available, Typical harmony sequences are often already notated in a lead sheet. If such cadences are not already available, these
these can can be be created created through through inserting inserting additional additional chords chords later later and and therefore therefore enriching enriching the the song song harmonically.harmonically. Let’
Let’s assume we would s assume we would find in the music score a find in the music score a C major chord that was C major chord that was in three consecutive bars (key of Cin three consecutive bars (key of Cmaj,maj, Ist scale degree):
Ist scale degree):
C
C CC CC
The first alternative (in order to avoid boredom) would be to
The first alternative (in order to avoid boredom) would be to insert just one chord, for instance the dominant:insert just one chord, for instance the dominant: 1
1 st st variation variation CC GG77 CC
Instead of the dominant you could insert a sus
Instead of the dominant you could insert a sus chordchord 2
2 nd nd variation variation CC FF//GG((GGssuuss44)) CC
These two variations have already been practically implemented in “’S Wonderful” (page 50 bars
These two variations have already been practically implemented in “’S Wonderful” (page 50 bars 15–17) with the15–17) with the chords Eb, Ab/Bb and Eb.
chords Eb, Ab/Bb and Eb.
With cocktail piano, the dominant with the raised fifth also fits nicely: With cocktail piano, the dominant with the raised fifth also fits nicely:
3
3 rd rd variation variation CC GG77##55 CC
If you have one and the same chord over a longer period of time you can, of course insert more chords. So our If you have one and the same chord over a longer period of time you can, of course insert more chords. So our three bars
three bars of Cmaj caof Cmaj can be augmenn be augmented with a ted with a II. and V. scale degreII. and V. scale degree:e: I
I IIII VV II
4
4 th th variation variation CC DDmm77 GG77 CC
In addition to the II. and V. scale degree, the VI. Scale degree could also be inserted: In addition to the II. and V. scale degree, the VI. Scale degree could also be inserted:
I
I VVII IIII VV II
5
5 th th variation variation CC AAmm77 DDmm77 GG77 CC
It is a matter of personal taste as to which of the five variations are employed. You must consider, however, that It is a matter of personal taste as to which of the five variations are employed. You must consider, however, that the m
the melody melody must ust fit wifit with thth the newly e newly inserted inserted chords. chords. If tIf this ishis isn’t the n’t the case, case, melodies melodies can be can be modified modified and maand made tode to fit in.
Swanee River
Swanee River
Swanee River is one
Swanee River is one of those songs of those songs that display, in it’that display, in it’s original, a very s original, a very simple harmony, as the lead sheet simple harmony, as the lead sheet shows:shows:
C C CC GG77 C C C C GG77 CC G G CC C C C C GG77 CC
Swanee River
Swanee River
Lead sheet 1
Lead sheet 1
Traditional TraditionalThe song is in the key of C major and in the original version, uses the chords of the I., IV. and V. degrees. The The song is in the key of C major and in the original version, uses the chords of the I., IV. and V. degrees. The ob-vious suggestion, therefore, is to insert the new harmony sequences from the preob-vious chapter. Although there vious suggestion, therefore, is to insert the new harmony sequences from the previous chapter. Although there are only 16 bars in the complete piece, you can use
are only 16 bars in the complete piece, you can use this harmony sequence several times. If you analyse “Swaneethis harmony sequence several times. If you analyse “Swanee River”, you will find the
River”, you will find the harmonic sequences from the I., harmonic sequences from the I., IVIV. and I. . and I. degrees altogether four times, in the degrees altogether four times, in the bars 1–3,bars 1–3, 5–7, 10–12 and 13–15: 5–7, 10–12 and 13–15: I I VVII II C C FF CC F F 5 5 FF 9 9 CC FF 13 13 FF
Besides inserting the typical harmony sequence, we will also insert (in bars 3 and 4) a VI chord and a II chord Besides inserting the typical harmony sequence, we will also insert (in bars 3 and 4) a VI chord and a II chord converted into a dominant (compare “Typica
converted into a dominant (compare “Typical Harmony Sequences – l Harmony Sequences – Part 2”, explanation to the Part 2”, explanation to the variation No. 5,variation No. 5, pages 89–90): pages 89–90): w wrriitttteen n iin n bbaarrs s 3 3 aannd d 44 aauuggmmeenntteed d hhaarrmmoonny y sseeqquueennccee C C G7G7 CC//G G AAmm77 DD7 7 GG77
If you notate all of
If you notate all of the explained chord augmentations in the music, the lead sheet will look much more the explained chord augmentations in the music, the lead sheet will look much more interesting:interesting:
C C CC77/E/E CC//G G AAm7m7 DD77 GG77 5 5 9 9 GG77 C C CC77/E/E CC//G G GG77 CC
Swanee River
Swanee River
Lead sheet 2
Lead sheet 2
Traditional TraditionalBefore you play the following piano arrangement of “Swanee River”, try
Before you play the following piano arrangement of “Swanee River”, try to play through this second lead sheet,to play through this second lead sheet, with the new
with the new additional chords.additional chords.
F F FF dimdim C C CC77/E/E F F FF dimdim C//G C G GG77 CC G G C C CC77/E/E F F FF dimdim CC/G/G 13 13 F F FF dimdim
Swanee River
Swanee River
TraditionalTraditionalArr
Arr.: Michael .: Michael GundlachGundlach
61