This is just great, to have moved onto learning about sharps, flats, and key signatures today. The key signature tells you what notes will be played sharp or flat throughout the whole piece.
If there are no sharps or flats, then your piece will be in either the key of C Major, or A Minor: these are the only two keys which do not have a key signature. It’s just that if you play the piece Twinkle Twinkle Little Star beginning on any other note than C, then you will have cause to use black notes, as C Major is the only scale which has no sharps or flats. If you play your piece Twinkle Twinkle Little Star beginning on the next note, D, then you will have to play an F# instead of F when you come to the F#. So – if you see TWO sharps in the key signature at the left of your stave of music, then the piece has to be in the key of D Major, or B Minor.
For now, just accept that C Major uses no sharps or flats in the scale, and so it has no sharps or flats in its key signature. Also accept that  D Major has two sharps, F# and C# in its key signature: this means that every time you come to an F or a C, it will be played as a sharp note on the black note directly above these notes. This entry was posted in Learning to Read Music, Piano Lessons for Beginners and tagged flats, key signatures, major scales, minor scales, reading music, sharps, understanding key signatures. HI FRIENDS, i really would like to thank you all for prodviing such a useful website for guys who interested in church worship. Getting your piano tuned can cost a bit, but it is well worth while, and unless your piano is really old, or located in a hot or humid area, it should stay in tune for 5 years or so.
To position your hands, place both your thumbs on middle C and each finger on both hands on one key each spanning outwards.
When you look at the piano you will notice that the same patterns of notes keep repeating themselves.
Because middle C marks the centre of high and low pitches on the keyboard, it is also the centre not between the bass scales.
Most woodwind instruments use the treble clef, as well as high brass, violins, and tuned percussion. In this first lesson, we are going to play a few short pieces, just using the right hand, which uses the notes of the middle C octave.
When I was learning the piano, I found co-ordinating my fingers one of the most difficult things to do. So, to help you out I have written a number underneath each note in all the pieces in these lessons.
This technique that really does enable you to learn pieces much faster: it’s one I still use all the time! If you know the traditional melody My Bonny Lies Over the Ocean, then you will find your knowledge a great advantage when you first play this tune!
Bass Clef: This is the lowest clef, also known as the F clef because the inner curl and dots are around the line representing F. Crotchets: A crotchet is a note that is played for one quarter of the duration of a whole note. Stave: In musical notation, the staff or stave is a set of five horizontal lines on which note symbols are placed to indicate pitch and rhythm.
Treble Clef: This is the highest clef, also known as the G clef because the inner curl of the clef sign is wrapped around the line representing G.
Because of this complex situation the symbolic operator for music has never been fully resolved. The symbolic operators of antiquity serve as templates of a hyperbolic versor operator, and hence enter the subject.
The hyperbolic versor operator exists in contra-distinction to the circular versor operator. The functions of the natural log base, , introduces the limitation that operation is only possible in Cartesian relations, that is, a system of rectangular co-ordinates or the octaves thereof.
Therefore a division of three units such as encountered in three phase electrical systems cannot be expressed as exponents or functions of the natural log base, . Here evoked is the idea of Oliver Heaviside that the vector and the versor should not be intertwined.
The engineering form of the versor operator was born by Steinmetz but was killed at birth, frozen into vector Cartesian form.
This “instrument” serves as a versor analog computer for the Solar System, and in a strange way also for the Tesla Magnifying Transciever. On a practical level this is why the ideas of Nikola Tesla are so incomprehensible to the modernistic way of thinking. The key signature is found at the left side of the stave, where the sharps and flats are indicated.  The key signature defines the key which you will be playing in. There is only one major key for every key signature, and only one minor key used for every key signature. You will be able to identify what key the piece is written in, just by looking at the key signature.
We will study more  about  scales  and their key signatures in the future  lessons, which will further your understanding of today’s lesson.
The more out of tune a piano is, the worse it will sound, which can be rather discouraging! To keep your piano in tune longer, it’s a good idea to play it as often as you can (pianos work better the more they are played) and position it against an internal wall, rather than one of the exterior walls of the house.

You can easily remember where middle C is, because it is right in the middle of your piano, just above the brand name written on the front panel. The notes above middle C are notated on the treble clef, while the notes below middle C are shown on the bass clef.
On the piano, the right hand usually is written in treble clef, while the left hand is written in bass clef. The stem can either point up or down, depending on whether the note is below or above the middle stave line.
However, don’t worry too much though, as I will be revisiting all of these terms and concepts in later lessons.
It may sound laughable (and you may not struggle with it the way I did!), but as the pieces in these lesson gradually contain more and more notes, it does become an issue. In the graphic below, you can see how each finger on both of your hands has been given a number. Because I’m already familiar with the rhythm by the time I start to play the piece, this lets me just focus on playing the notes correctly.
Just as clapping a rhythm before you play a piece helps you learn to play faster, so you will find already knowing a song really well means that you can launch into it with much greater gusto! Being familiar with a tune already allows you to concentrate on where your fingers are going and the sound you are making, rather than worrying about counting out the timing. The clear, unfilled notes are called minims, and these are held for two beats as they are worth twice the value of crotchets. The log-periodic sequence is a scaling factor of proportionality and serves as an innate property of human perception, hence the “Deci-Bell”. This span represents the sequence of human versor positions in the infinite log-periodic sequence of the musical universe. There are 88 individual keys or “notes” these representing unit versor positions of the various musical scales.
Each cycle, or period, on the music keyboard is divided into 12 subdivisions, that is 12 keys constitute one octave, Fig 2. The first complications is that the unit versor positions are not distributed in a uniform fashion, Fig 4C.
Here exists both the dimension of space as a wavelength, and the dimension of time as a pitch. The mind regards the log-periodic span of one octave as once complete cycle, a circular function, whereas the log-periodic cycle is a hyperbolic function. What has developed is a distributed correction factor resulting in the musical intervals becoming a bit out of tune. The familiar circular versor operator was employed by Steinmetz but the hyperbolic versor remains an enigma.
This symbolic representation is a natural extension of the Steinmetz “Roots of the Unit” in “Theory and Calculation of A.C. This concept led to a symbolic operator developed by Robert Fludd (1574 – 1637 AD), it is known as the “Divine Monochord”.
It is a given in the “Mind of Today” that Tesla was a “little funny in the head”, this in part because of his manner of co-ordinating his lifes movements with numbers divisible by three.
In the universe of human cultures that inhabited this Earth thru the eras of ancient times it was generally considered that the Sun was the center of things, the major heavenly bodies rotated around it. In modernistic relativity it is now that one over c square is the center of the universe with time and space revolving around it.
This means that an F# will be played on the black note, directly to the right of the white F note. If you were to play B flat, or Bb, then you would play the black note directly to the left of the white B note.
D major uses those two black notes in its scale, so these two notes, F# and C# are defined in the key signature. It really does not matter, because we will reiterate this information in different contexts throughout these lessons. Just run your fingers along the keys and see if any stick or have a tinny, reverberating sound. Your elbows should be positioned approximately at your waist with your forearms stretching out at a 90 degree angle from your upper arm, not on an angle.
There are a couple of other clefs as well, but we won't be looking at those in these lessons. In vocal music, both soprano and contralto parts now use the treble clef, while tenor and bass parts use the bass clef.
When you see this number underneath a note, you know that this is the finger that I recommend you use to play the note with. Also, to help you learn the note names, the letter names for each note have been included in the music.
To the right of the span is an infinite progression growing larger and larger, to the left of the span is an infinite regression shrinking smaller and smaller. This relates directly to the original Pythagorean concept of music, the expression of man’s POSITION in the cosmos. Each fundamental span from the Tonic C to the Octave C, is a single log-periodic cycle called the octave cycles on the standard music keyboard. The product of this pair of dimensions, length and one over Time, is the dimensional relation for velocity, a constant.

A complete Pythagorean cycle of unit versor positions results in the terminal pitch being a bit high in frequency.
Steinmetz rejected the hyperbolic versor, but then Pupin rejected Steinmetz’s circular operator, the usual sequence of rejection, ask Oliver. Beginning with the Earth at gamma, , GROUND, the Monochord progresses thru the four elementals, the Sun, Moon, and the known planets, and moreover thru the unknown planets, terminating on g, the planet Pluto. The quagmire of correction factors and systems of distorted co-ordinates developed into a schizophrenic institution known as quantum mysticism.
As you continue to play, you will be constantly going over everything again and again, and you will find that it gradually all comes together. The arch-form of the log-periodic series is the broadside log-periodic array developed in the previous writings on the Bolinas Antenna, it can be seen looking at this structure the appearance of expression for infinity. This also is reduced to Cartesian expressions but is worthy of further study with the objective of developing polyphase versor operators. This evokes the often stressed statement by Oliver Heaviside that “mathematics is an experimental science,” it certainly was in the time of antiquity. It is very important to consider that this threedom would not sound at all strange, not in the least, to Johannas Kepler. Even beyond geocentricity, this is verily a pathological anthropocentricity, a lemming march into the Kurtzwiel grand singularity of universal annihilation. These same notes are repeated all the way up and down the piano and the notes within each octave are called scales.
The product of two terms equal to a constant is a hyperbolic function, zero pitch – infinite wavelength, and zero wavelength – infinite pitch.
The system of symmetrical components originated in a paper before the American Institute of Electrical Engineers by Charles Fortecuse. The quadrantal versor operator employed in the Steinmetz method is derived from a mathematical impossibility, the square root of a negative number. Entire chapters on the power of the number three were written prior to Kepler’s time.
This relation is shown by the logarithmic curve that is characteristic of a rank of organ pipes. The “Roots of the Unit” give rise to versor operators derived from a meaningless mathematical statement, a base one log system.
What is important to notice here is that not only did Uranus, Neptune, and Pluto evade notice in this era, but their very existence would have been decried a disruption in the “Universal Order” that had already become an institution. Moreover Nikola Tesla received his education in the classics at Graz, the very location in which Kepler taught geometry centuries before. The title is, “Method of Symmetrical Coordinates Applied to the Solution of Polyphase Networks”. It is hereby evident that the generalized symbolic versor operator, the principle objective in this series of writings, will not be born of accepted notions of mathematics.
This operator is of a strange world, such as expressed by Lewis Carrol’s “Thru the Looking Glass”. Tesla gained the ability in his mind to transform directly from the cosmic level to the Earth level from  , resulting in a physical manifestation, the working apparatus. His theory of relativity stated that all heavenly bodies now move relative to the Earth as the center, hence geocentric relativity.
This looking glass is Johannas Kepler (1571-1630) and on the back side is the world of mathematics that preceded him. His ability to carry out his objectives is derived from the hermetic traditions of Ancient Aegypt, not from pendantic technical training.
Evans in the “Electrical Journal”, April, 1928, page 194, titled, “Symmetrical Components”.
It is a return to the very origin of numbers, mathematics, and the inscrutability of the ideas of Nikola Tesla. It can be said that the inability of the modernist to understand Tesla is not because of technical complexity but because of Divine Simplicity. It became a plethora of correction factors, adjustments, and the like, rendering the advance of astronomy impossible.
Moreover the modernist has a deep seated pathological contempt for any pre-Kepler concept of a harmonic universe particularly when expressed in a numerological form. This odious animosity for Tesla’s methodology is of such force that even the military and industrial organizations are denied the work of Nikola Tesla. Bruno was burned at the stake for “practicing” heliocentricity and Galileo was exiled for finding that the planets indeed revolved around the Sun. The heliocentric philosophy of Copernicus was banned in this era with the same fervor that the philosophy of Tesla is banned today by the existential modernists. Upon the unification by Kepler of the geometric, heliocentric, and related Pythagorean concepts there could be no more opposition to a heliocentric Solar System of a unit form existing in the generalized heavens.

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