• No results found

Piano Cocktail

N/A
N/A
Protected

Academic year: 2021

Share "Piano Cocktail"

Copied!
14
0
0

Loading.... (view fulltext now)

Full text

(1)

T  

T  

T  

T  

Y  

Y  

A

A

T  

T  

T  

T  

A

A

T  

T  

 VOLUME

 VOLUME

1

1

T

T

H

H

E

E

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

(2)

Table of Contents

Table of Contents

Explanation of Contents

Explanation of Contents

... 6... 6

Harmony – Part 1

Harmony – Part 1

Diatonic

Diatonic 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

Minor

Minor 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 ...22

Harmony – 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

Altering

Altering notes notes ...29.29 Adding the

Adding the sixth to sixth to the chord the chord ...32...32

Harmony – Part 5

Harmony – Part 5

The

The diminished diminished chord chord ...34...34

Fills – Part 1

Fills – Part 1

Possibilit

Possibilities 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  ...48

Harmony – Part 6

Harmony – Part 6

Passing

Passing 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

Chord

Chord 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

Fill

Fill / / 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  ...66

Ending “Basie-Fill”

Ending “Basie-Fill”

  ...72  ...72

Harmony – Part 7

Harmony – Part 7

Dominant augmented with b9

Dominant augmented with b9...74...74

Harmony – Part 8

Harmony – Part 8

The

The half half diminished diminished chord chord ...76...76 II – V – I – minor cadence ...76 II – V – I – minor cadence ...76

(3)

Fills – Part 3

Fills – Part 3

Fill

Fill / / Blues Blues scale scale ... ... 7979

Summertime

Summertime

  ...84  ...84

Typical Harmony Sequences – Part 2

Typical Harmony Sequences – Part 2

Chord Chord substitutsubstitutions ions ...88...88

I Got Rhythm

I Got Rhythm

 ...91 ...91

Typical Harmony Sequences – Part 3

Typical Harmony Sequences – Part 3

Chord Chord insertions insertions – – Part Part 2...2...95....95

Swanee River

Swanee River

...98...98

Fills – Part 4

Fills – Part 4

Fill Fill / / four-note four-note progressiprogression on ...1...10303

Intros, Trans

Intros, Trans

itions /

itions /

Bridge

Bridge

Passages, Endings

Passages, Endings

Secondary Secondary intros intros ...10...1055 Free-style intros ...106

Free-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..113

We Wish You A Merry Christmas ...119

We Wish You A Merry Christmas ...119

Cocktail Piano Classic

Cocktail Piano Classic

Lullaby Lullaby ...12...1222 Liebestraum ...126

Liebestraum ...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...13131

Tips and Tricks

Tips and Tricks

 ...136 ...136

Chord Symbol Glossary

Chord Symbol Glossary

 ...139 ...139

The Intervals

The Intervals

 ...142 ...142

Blues scales

Blues scales

In All Keys

In All Keys

...144...144

Chord Tables

Chord Tables

  ...145  ...145

(4)

Harmony – 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

(5)

&&

 ?

 ?

cc

cc

....

....

....

....

œœœœ œœœœ œœœœ

œœœœ œœœœ

jj

œœœœ

jj

C CMMaajj7 7 AA mm77

..

œœ

œœ ˙˙

jj

jj

œœœœ œœœœ

œœœœ œœœœ œœœœ

jj

D D mm7 7 GG 77

..

œœ

œœ

jj

œœ

..

œœ

jj

œœœœ

˙˙˙˙

....

CMaj7 CMaj7

..

œœ

œœ ˙˙

jj

&&

 ?

 ?

bb

bb

cc

cc

....

....

....

....

œœœœ œœœœ œœœœ

œœœœ œœœœ

jj

œœœœ

jj

F F MMaajj7 7 DD mm77

..

œœ

œœ ˙˙

jj

jj

œœœœ œœœœ

œœœœ œœœœ œœœœ

jj

G Gmm7 7 CC 77

..

œœ

JJ

œœ

œœ

..

œœ

jj

œœœœ

˙˙˙˙

....

FMaj7 FMaj7

..

œœ

œœ ˙˙

jj

&&

 ?

 ?

##

##

cc

cc

....

....

....

....

œœœœ œœœœ œœœœ

JJ

œœœœ œœœœ

œœœœ

jj

G G MMaajj7 7 EE mm77

..

œœ

JJ

œœ ˙˙

jj

œœœœ œœœœ

œœœœ œœœœ œœœœ

jj

A A mm7 7 DD 77

..

œœ

JJ

œœ

œœ

..

œœ

jj

œœœœ

˙˙˙˙

....

GMaj7 GMaj7

..

œœ

JJ

œœ ˙˙

&&

 ?

 ?

####

####

cc

cc

....

....

....

....

œœœœ œœœœ œœœœ

œœœœ œœœœ

jj

œœœœ

jj

D D MMaajj7 7 BBmm77

..

œœ

œœ ˙˙

jj

jj

œœœœ œœœœ

œœœœ œœœœ œœœœ

jj

E E mm7 7 AA 77

..

œœ

œœ

jj

œœ

..

œœ

jj

œœœœ

˙˙˙˙

....

DMaj7 DMaj7

..

œœ

œœ ˙˙

jj

1a 1a 1b 1b 1c 1c 1d 1d

(6)

C 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

œ œ œ œ

DD77 A Amm BBmm CC DD EEmm FF mb5mb5 G G

(7)

In 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

(8)

Oh, Lady Be Good

Oh, Lady Be Good

Music: George GershwinMusic: George Gershwin

Arr

Arr.: Michael .: Michael GundlachGundlach

9

(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

 ?

 ?

m7b5 m7b5 G G7#57#5

&&

##

wwwwww

G7#5 G7#5

ww

&&

 ?

 ?

wwwwww

##

G7#5 G7#5

ww

&&

 ?

 ?

wwwwww

##

G7#5 G7#5

ww

(10)

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 th

 chord

 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.

D Dm7m7

&&

cc

‰‰ jj

œœ

11

œœ

2 2

œœ

4 4

œœ

1 1

œœ

2 2

œœ

44

œœ

D D m7m7

ww

G G 77

œœ

4 4

œœ

1 1

œœ

2 2

œœ œœ

11

œœ

22

œœ

4 4

œœ

D D m7m7

ww

G G 77

‰‰ jj

œœ

11

œœ

2 2

œœ

4 4

œœ

11

œœ

2 2

œœ

44

œœ

D D m7m7

ww

G G 77 14a 14a

(11)

Typical 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 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 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 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.

(12)

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 Traditional

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 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

(13)

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 Traditional

Before 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

(14)

Swanee River

Swanee River

TraditionalTraditional

Arr

Arr.: Michael .: Michael GundlachGundlach

61

References

Related documents

The debit and credit amounts for the Income Summary account are combined into one number in the Income Statement section of the worksheet.. Uncollectible Accounts Expense is a

If Uninsured Motorists Coverage is not deleted and the policy of m otor vehicle liability insurance does not include collision coverage, the California Insurance Code requires

Although the methods described in the previous section are capable of determining total and speciated mercury concentrations in industrial streams, real-time data collection can

Permeating the social justice ideals of equality and equity within the context of Early Years: Challenges for leadership in multi-cultural and mono-cultural primary schools..

2 Air flow can be varied to match air distribution system requirements by simple adjustments to the fan drive or control devices 3 Typically exhibit non-overloading

A Master also knows that some people are not yet teachable, and does not waste time trying, just blesses the person, prays for them, forgives them and moves on with a peace

Beta Design and Construction is preparing this report is to establish a preliminary process design for a Sulphonation and Washing Powder Plant for our Client.. This preliminary

When Home Contents Insurance cover is listed on your schedule, we will pay for the insured events listed in this policy causing loss, damage or destruction to your home