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Yan- kee doo- die
went to town a -
rid - ing on a
po - ny.
stuck a feath- er
in his hat and
called it mac- a
How do you think | he did that?
What a great ma - gi
Chapter 9: Hey, Don't Forget Lefty! 119
“On Top of Old Smoky” (Track 39) gets you working a melody with the right hand and some arpeggios with the left hand. After you get the hang of it, your left hand starts rocking back and forth effortlessly on the arpeggiated patterns. If the bass clef gets too intimidating to read, lock your hand in position for an arpeggio and move LH 5 to each new root note. From each root note you can easily find the appropriate arpeggio notes and go to town ... or to the top of Old Smoky.
On Top of Old Smoky
On top of Old Smo
cov - ered with
both of my
Living in Perfect Harmony
The 5th Wave By Rich Tennant
Normally, a cross-harul technique is used for reaching upper roister notes. 6>ul What you're doin# is fine, as Ion# as it doesn't hurt."
In this part...
4h, sweet harmony, the essence of life. The thing that brings the world together. To sing as one nation. To find the effervescent... oh, enough already.
Impress your friends with your newfound gift of “perfect pitch” by telling them the intervals used in lots of famous songs. Play a melody in different keys. Build huge chords of indescribable (until now) proportions. Part IV even shows you how to play songs on your telephone, among other, more useful skills.
The Building Blocks of Harmony
In This Chapter
p- Measuring the distance between two notes ^ Recognizing notes by sound ? Constructing harmony ^ Harmonizing up a melody
mMy hen you listen to music, the melody usually sticks out in your ears. ? ? Either that or the ultra-funky drumbeat. You are less aware of the other notes being played along with the melody to form the harmony of the music.
Without harmony, you would hear one single note at a time. On your piano, you can play more than one note at a time, giving it the coveted distinction of being an instrument capable of harmonizing. Sure, other instruments in a band or orchestra can play collectively to form harmony, but you can harmonize by yourself with a piano.
Playing many notes simultaneously is the essence of harmony. The notes you choose and how you arrange them around the melody determines the kind of harmony you produce, whether you use many notes or just one note with each hand. Go ahead and try it: Play two, three, four, even ten notes at once. Ah, sweet harmony ... or a cluttered mess, depending on what notes you play.
Measuring Harmony on a Scale
The distance between any two musical notes is called an interval You may think I’m just trying to make you swallow a music dictionary. Actually, you need to understand this term, the concept of intervals, and which notes make up each interval so that you can select the correct notes to build harmonies.
/24 Part IV: Living in Perfect Harmony
You measure an interval by the number of half steps and whole steps in between the two notes. (See Chapter 8 for more information on whole and half steps.) But because this method involves lots of counting, memorization, and complicated arithmetic, I have an easier solution: Use the major scale as a measuring tape. (Again, Chapter 8 tells you all about scales.)
Each major scale contains eight notes that you can use to name intervals. For example, Figure 10-1 shows the ever-popular C major scale. In the space below each note of the scale, I number the notes from 1 to 8. Don’t I have nice handwriting?
Numbering notes on a scale.
You use these eight numbers to name every interval in a scale. You simply pick two notes and count the scale notes in between to find the name of the interval you are playing.
For example, if you play the first note of the scale (C) followed by the fifth note (G), you just played a fifth interval. If you count the scale notes in between C and G, you get five — C, D, E, F, G. From C to E (the third note) is a . . . third interval. Not much originality in these names, but is this easy or what?
But you don’t have to start with the first note of the scale to make a fifth interval. Remember, this concept of intervals is all about distance. You can build a fifth interval on the note G with the fifth scale note up, D. It’s easy to check yourself — just count the scale notes in between.
Notice that 1 count the number of scale notes, not the number of piano keys. If you count the piano keys (black and white) from G to D, for example, this simple number naming of intervals doesn’t work. And I prefer not to devise some algebraic equation to make it work, thank you.
Figure 10-2 shows you the C major scale again, but this time I marked every interval in the scale.