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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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Scale notes used: Chords:
5th 1st 3rd 5th C Al
The "Killing Time" intro
Sometimes you need to repeat an intro over and over. Perhaps you’ve forgotten the melody. Perhaps you’re waiting for divine inspiration. Or maybe you’re waiting for the singer to get off the phone, adjust the hair, and decide to join you. Whatever the case, you can easily repeat an intro like the one in Figure 14-7 (Track 77) until the time comes. Simply play the first four measures over and over until you’re finally ready. Then you can move on to measure 5 and play away.
Chapter 14: Great Grooves 205
Figure 14-7:
The "Killing Time" intro.
o
l?i:
O
O
^tco
37fe "Saloon Salutations" intro
When you’re just tinkering around in a piano lounge, perhaps all you need is a few bars of honky-tonk style piano, like the ones I show you in Figure 14-8 (Track 78). Notice how effective the grace notes (measure 1) and tremolos (measure 2) are in this intro. (Chapter 13 tells you more about grace notes and tremolos.)
Scale tones used Chords:
3rd 5th 3rd Root !>3rd 2nd Root6th 5th 7th ’7th Q
Figure 14-8:
The "Saloon Salutations" intro.
1 Cj 'Li
1st
5th
1st
m
Exit, stage (eft
Time for the big finish. The band is holding the final chord. The singer has ended the last lyric. It’s up to you to drop the curtain. Quick! Grab a handful of these outros and you’re sure to receive an encore request.
206 Part V: Technique Counts for Everything
The "I LoOed Öîè, \[ou Left Me" outro
The “I Loved You, You Left Me” outro shown in Figure 14-9 (Track 79) is a simple but effective ending, perhaps even a tear-jerker when played with the right emotion. You certainly wouldn’t want to use this as an end to a rocking song like “Burning Down the House,” but the right ballad would benefit greatly from it.
Am
Figure 14-9:
The "I Loved You, You Left Me" outro.
4 P P per r äà J rf 4 ? -
ò* lL •> \ • 9 •— ^4 i i b Vb 1 b 4 LJ * :
The "Let’s Load Up the Bus" outro
After a classic rock hand-jam, something like the “Let’s Load Up the Bus” outro, Figure 14-10 (Track 80), finishes the song with the appropriate amount of flair. The triplets should be played as smoothly as possible, so please feel free to slow down the tempo until you conquer the correct fingering. And make sure to really punch that last chord! (Chapter 4 gives you tips on playing the triplets you find in this outro.)
The "Last Call" outro
The triplets in the “Last Call” outro, Figure 14-11 (Track 81), give this outro a distinctive feel that works best with a blues or jazz piece. It has the sound of
winding down to a halt.
Chapter 14: Great Grooves 207
Figure 14-11:
The "Last Call" outro.
Figure 14-12:
The"Shave and a Haircut" outro.
C/G
Cdim/A Dm7/B C6
ill* f * I ±z . I ; m ! M. 1 1 tssts “1
s A m j a * »
During the “Last Call” outro, you play the notes of chords C, Cdim, Dm7, and C again. You can easily transpose and attach this outro to a song in any key by applying the correct chord types and breaking them up. For example, in the key of G, the chords would be G, Gdim, Am7, G. (Chapter 12 explains how to build all of these chords.)
The "ShaOe and a Haircut" outro
Everyone knows it. Everyone loves it. Very few know how to notate it. How could I possibly not include the ever-famous “Shave and a Haircut” outro? Figure 14-12 (Track 82) shows you this all-time classic in all its glory. Chords would be meaningless in this one, so I’ve placed the name of each scale note above the staff. With this information, you can buy a shave and a haircut in the key of your choice.
Root 5th *4th 5th l>6th 5th 7th Root
% 4>: 4 _ r-J -0-bw I I • 1 *—- m > —*—t— w J
—J-t? J * * j
Great Riffs to Impress \lour Friends
A riff is a little musical ditty that can be played as part of a song’s accompaniment or just played by itself. Riffs aren’t really recognizable melodies, they’re just. .. um ... riffs. Players usually throw out riffs casually as a sort of decoration on the overall song, as filler in between songs, or just to impress anyone who happens to be listening.
208 Part V: Technique Counts for Everything
Figure 14-13:
The "Bernstein Would've Been Proud" riff.
For each of the following riffs, it’s important to observe the tempo, articulations, dynamics, and effects. Even the easiest of these riffs comes across as more difficult when you add in all the trimmings. To get a good handle on them, play the hands separately a few times before putting them together.
After you master these really easy but really impressive-sounding riffs, you may never spend another Friday night alone. Your friends will want to hear more and more, again and again. Go ahead, charge admission!
The "Bernstein Woutd’tfe Been Proud” riff
After a nice classical piano piece, play a riff like the “Bernstein Would’ve Been Proud” riff, Figure 14-13 (Track 83), to get the audience to quiet down again for the next piece. Of course, if the audience is still applauding your first piece, you can just sit there and smile proudly.
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