When playing octaves, the hand should be slightly raised by the wrist, and with a very easy movement, it must be, so to speak, thrown upon the keys and quickly removed again. The stroke with the whole arm is apt to be clumsy, heavy, and in reality is a waste of power.
Play all octave exercises first staccato and soft, then staccato and loud; next they should be played slower in the legato style. Octave playing lends great force and brilliancy to piano playing; it should, therefore, be thoroughly studied. No matter what instrument is being learnt, the establishment of “correct technique” can make the experience easier and therefore more enjoyable. The truth is that they are all correct: songs are complex organisms and to excel, they need to be great all-round.
A song like The Beatles’ Lady Madonna has a great left-hand bassline that has not been paralleled by too many piano-playing songwriters in popular music since. Remember when you used to sit for hours and just bang away on some chords on the piano and improvise some singing over them? Try putting a metronome on 60 and instead of playing merely close to the ticking, try shifting concentration on hitting the ticks dead on. Thanks to the internet, learning how to play all of, say, Billy Joel’s songs on the piano is easier now than ever before, and if we throw in some Stevie Wonder with some Keith Jarrett we would have a very nice traditional toolbox to write some very interesting new songs from. TREAT THE MATERIALS IN A KEY LIKE A PALETTE OF PAINTS Write with singers and other musicians of the non-piano variety.
Learning the raw materials (scales and primary chords) in every key will encourage us to write in some of the keys less travelled by, and in doing so inspire some new melodies and lyrics as well as some fresh technical ornaments in our accompaniment that just don’t happen in the keys of C, G or F. Rehearsing our songs after we’ve finished writing them sounds to some writers like the most obvious next step. In this video I demonstrate how various left hand piano techniques can be combined in the context of one song. Have you ever wondered how you can make RICH & Dynamic LH accompaniment without boring everyone to death? It’s exciting for me to see my students having so much fun in learning piano!  I am creating this new series of course for my students because this is something that they need at the present moment to take their piano playing to a higher level. 6.  With that foundation, you can go and experiment the idea and create your own Dancing 9 variations! Lots of Play Along Clips for you to imitate and copy so that you learn to ‘flow in your dance’!
It’s exciting for me to see my students having so much fun in learning piano!  I am creating this new series of course for my students because this is something that they need at the present moment to take their piano playing to a higher level.


If this is your experience, this new series of “Mastering Fun Piano Techniques” is what you need at the moment! 4.  In order that students can come away with confidence in Mastering the Technique, the steps shown are very thorough and systematic in the  video clips and explained clearly in the eBook.  All that is left is for students to have FUN practising them at the piano!
1.  Many great piano tips of how you can turn boring arpeggios into professional sounding ballads. 9.  With that foundation, you can go and experiment the idea and create your own Ballad 9 with variations! A free piano tips blog for piano players containing all kinds of ideas and concepts related to piano playing and chords and music theory. When playing octaves, therefore, pay strict attention to the motion of your hands and wrists, for their proper use is the first lesson to be learned in these studies. Students can in this way develop habits which will be efficient, avoid injury, enable a pleasing tone and therefore make playing or singing well an easier task. One songwriting expert will say the most important thing is that our songs have a patterned rhyme scheme or a strong lyrical premise, the next will insist that melody is king and that without a strong tune our song is dead in the water. A great drill is to take a single bar of rhythm from anywhere in the book and apply the left hand (perhaps playing an octave) to whatever is in the first half of the bar and then play the right hand (perhaps playing a triad) to whatever is in the back half of the bar. The question is, are we going to let a bass guitar player out-write us on the piano in the left-hand riff realm? Take a random bar of rhythm and play notes from a scale to it, reordering them until you have a riff you like.
It could, however, also be argued that our sense of time can never be over-developed and that a good song can become great if it sits nicely in the pocket.
Set it up so that the piano is slightly louder than the metronome, and the metronome ticks should disappear when we have hit them square. For instance, if we put in our time learning every blues song we can get our hands on, we will be in a better position to see how to take the blues to the next level, for instance by coming up with a new fusion with some other style (the blues polka is still available, I believe). By writing with singers in every major genre and players of any earthly instrument, we get the broadest possible range of creative landscapes to write within.
Treat the materials in a key like a palette of paints, explore some of the shades you’ve never used before and see what hits the canvas. Most piano players blend extensions like Sus 2, Sus 4, major and minor 6ths, and 7ths into their writing to help create greater harmonic colour and movement. For these writers, the work of making the song a performance really only starts when the ink on the page is dry.
Dancing 9 – the name tells you that your fingers are going to DANCE on the keys.  The Dancing 9 is  an EZ technique that you want to MASTER!


My Secret Piano Tip of using 2 Hands to get out of the boring rut of LH repeated patterns.  Many concert pianists use this kind of techniques and that’s how they ‘flow’ in their piano playing. There are players who execute octaves without the wrist motion, and this may be properly done, but the student should practice octaves first with the wrist motion. To benefit from technique exercises, students must regularly spend time at home as well as being observed by their teacher. So these ten suggestions on how to improve as a piano player should also help you improve as a songwriter, by addressing some very common hidden weaknesses. Now test-drive each chord to the riff in the appropriate key, and collect the chords you liked best.
Whether we last felt that way two days ago or 30 years ago, that’s the feeling we need to get back to. I work on all of my songs like this, and I can actually hear them straighten out and become more musical and more likeable. Some of this music might even challenge our definition of what our music sounds like – which is a great thing, because it destroys self-limitation and develops the kind of creative openness from which great art can spring. Motion in songwriting creates emotion, and writing songs that make the listener feel something is one of our primary objectives. For other writers, those that always seem to have a new song idea waiting in the wings, rehearsing something finished seems like a waste of good writing time. This fun technique will help turn a plain song to  ‘dance’.   It will give momentum to your song. They should also, hopefully, offer some interesting ways to find new weapons to write songs with. This will help develop rhythmic independence in the two hands, which in turn should create some new skills and even seed some fresh ideas for songs.
Arrange the order of the chords to your liking and you will have a potential verse or chorus to a new song – and a new way of writing more songs.
The buzz of just creating music because we’re built to do it, and for no other purpose than the pure love of it. Harmonic extensions should, however, be added based on intentional calculation and thoughtful consideration rather than from muscle memory or a limitation of options.




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