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Piano for dummies - Neely B.

Neely B. Piano for dummies - IDG Books , 1991. - 353 p.
Download (direct link): pianofordummies1991.pdf
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Figure 10-15:
Ail together now.
Well, they sound just perfectly lovely. But how do you use these intervals for harmony? You can:
Add intervals to the right hand under a melody line.
•s Play intervals in the left hand while the right hand continues the melody.
• Do both.
unison minor 2nd major 2nd minor 3rd
(samel (m2) (M2) (m3)
major 3rd perfect 4th perfect 5th minor 6th (M3) (P4| (P5) (m6)
major 6th minor 7th major 7th octave (M6) (m7) (M7) (P8|
Any way you choose, intervals can bring harmonic life to your music.
132 Part IV: Living in Perfect Harmony______________________
Adding internals to the melody
«Vit C0
Adding intervals to the melody really fills out the sound. For example, on Track 40, you can hear “America the Beautiful” played as a single-note melody, followed by the same melody played with right-hand intervals. Listen to the difference this harmony makes.
Track 40
America, the Beautiful
b\>
fa [? 11»-
Oh, beau-ti-ful, for spa- cious skies, for am-ber waves of grain, for C D G
? J> J -If-' J
Hr f f
pur - pie moun-tain's ma - jes-ty a - bove the fruit - ed plain. F C bIj F
Oh,
f p 'T F
t %
beau - ti - ful, for spa- cious skies, for am-ber waves of grain, C D G
for
fi J1 J j lj: ^ F l*f F f f 1 F *
pur - pie moun-tain’s ma - jes-ty a - bove the fruit-ed plain.
Chapter 10: The Building Blocks of Harmony
Try another song with right-hand intervals, this time with “Shenandoah” (renamed “Piano”), which can be heard on Track 41.
Track 41
Piano
Oh, pi-an-o,— I love to play you with your keys— so nice and
j}Jh ,f ly i~i -,?1
shi - ny Oh, pi - an - o, I’m going to play you Per -
8
haps a song or scale. It mat-ters not to my ears
It’s not necessary for you to figure out how or when to add these intervals to a melody. The composer will do that for you and notate these intervals in the printed music you play. But you should understand that all of these intervals combine with the melody to make a very harmonic tune. Sure, you could just play the melody, or top note of each group of notes, but your audience will appreciate the extra effort of playing the intervals. Besides, why do you think you have so many fingers?
Part IV: Living in Perfect Harmony
Figure 10-16:
Harmonizing
Yankee
Doodle.
Of course, if you want to add intervals yourself, a sixth is the interval to choose. Take a simple melody like “Yankee Doodle” and add the sixth interval below each right-hand melody note. You can see how this is done in Figure 10-16.
A one-note melody. .
ftTTTT^ Yan- kee Doo - die . .becomes this with a 6th i ^4 i—J—•—P— went to town, nterval below n, r j r r r r rid - ing on a a a • P po - ny.
L3-^- hj 3 3 p j—3 11
Yan-kee Doo - die went to town, rid - mg on a po - ny
Find the sixth interval below the first melody note and freeze your hand in that position. Your pinky always plays the top note and your thumb always plays the bottom interval note. As you play up and down the melody, your hand lands on the correct sixth interval every time.
Encouraging teftg to join in
One of the easiest ways to add harmony to music is to play single notes with the left hand that form intervals with the right-hand melody notes. Often, you simply play one note with the left hand and hold it for several measures, adding harmony to several measures with just that one note.
You can see and hear the harmonizing power of single-note harmony in the song “Marianne.” It may be helpful to play through the melody by itself, right hand only, along with Track 42 a couple of times. Then try the left-hand part only. When you’re relaxed and confident, put both hands together.
Chapter 10: The Building Blocks of Harmony 135
Track 42
Marianne
?
All day,
all night,
Mar - la - anne,-
~n~
?E
—»
-ffo G —z?—p— G —m _ —& O
•t 1 1— down by the —G se a - side sift - in' sand.
—© t-G

P
O
E - ven lit - tie o —
chil - dren love
Mar - i - anne,-
o
13
136 Part IV: Living in Perfect Harmony
«?fcCD
“I’m Called Little Buttercup” (Track 43) is bit more difficult because the left hand plays notes of various lengths. Just hang in there and be patient, practicing each hand separately until you feel comfortable with the notes.
Track 43
I'm Catted Little Buttercup
3=3=Ff=3
m 4 s m
m
p
p
p
I'm
\2i j-
called Lit - tie
But - ter- cup,
dear Lit - tie
But - ter- cup,
G C
-fa P m~ P - r r J
i§-\—F—I— though 1 could -r nev - er tell —1 why. 1 But —1 ; ;
M-—— J " Jit-- jJ i i
P
m
still I'm called
But - ter - cup,
poor Lit - tie
But - ter - cup,
G C
sweet Lit - tie
But - ter - cup,
P=‘"
Chapter 10: The Building Blocks off Harmony 137
Bass note harmonies aren’t always single notes. Try playing fifth intervals with your left hand in a song made famous by Elvis Presley (Track 44). Of course, Elvis used different lyrics — something about loving him tender. If you get lost as you play, just slow down and try each hand separately until you feel like putting them together again.
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