Practical Piano Illustrated

Keys, Scales, Chords and

Theory for Beginners

By

Austin Middleton

Dedicated to Suzanne Juvenal Middleton

1925-2010

Practical Piano Illustrated

Table of Contents

I. How to Use this book

II. Scale Patterns and Keyboard Diagrams

Major Scales

III. Scale Patterns and Keyboard Diagrams

Minor Scales
IV. Scale Patterns and Keyboard Diagrams

Blues Scales

V. Introduction to Reading Sheet Music

VI. Introduction to Intervals

VII. Chords and Chord Progressions

VIII. Introduction to 12 Bar Blues

I. HOW TO USE THIS BOOK

This book is meant to serve as an introduction to the piano for the person
who is just beginning his or her journey on the keyboard. Many people do
not have easy or affordable access to a piano instructor but are still anxious
to learn to play.

How, then, to get started? Where should a new student begin? What topics
should be studied first? Where can a student find accurate information that is
needed to begin? These are fundamental questions which a beginning
student will likely be asking. In response to these queries, I have attempted
to present practical and useful information in such a way that the new
student can immediately begin to play while, at the same time, introducing
the student to the basics of practical music theory.

This book was written with one purpose in mind, that is, to get the new
student playing as soon as possible. I have attempted to cover the main
topics at a fundamental level. Further in-depth study will be required, of
course, but this book will allow a new student to begin to play right away. I
have attempted to add new concepts and new topics in a logical progression
to encourage growth and development.

For example, a student may not completely understand what is meant when
we say that a piece of music is in a certain key. Without going into a lot of
technical detail, but by following the keyboard diagrams, the student can
immediately begin to play scales in each key. What is unique about this book
is that the scales for each key are clearly denoted on the keyboard diagrams.
The patterns are easily memorized (granted, some more easily than others)
and combined with a gradual introduction to basic music theory regarding
intervals, a working familiarity of keys will be achieved.

I have laid out in easy to follow format the scales in the major keys, the
scales in the natural minor keys and the blues scales. Again, the emphasis is
on the student starting to play; for example, if the student starts to play the
blues scale, up and down the keyboard, he or she will hear the distinctive
sound of the blues and will appreciate the unique emotional pull of that
sound. The blues are a unique and distinct style of music, and a basic
exposure to the blues will bring immeasurable pleasure to the student who
begins to explore the genre.

Once a student becomes familiar with the scales in each key, then playing
chords in those keys would be the logical next step. After learning the ins
and outs of playing chords in each key, the student will begin to understand
chord progressions, that is, the natural flow of chords which follow each
other, often building tension and then resolving themselves musically. An
ideal vehicle, or technique for working with the idea of chord progressions,
tension and resolution is the 12 Bar Blues. At first, the student may not
realize that he or she has just unlocked a major treasure trove-but again,
taking the ideas presented in the following pages and trying them out on the
keyboard, the student will quickly recognize the pattern and the potential of
this arrangement.

The student is take these ideas one or two at a time, and experiment and find
their own sound.

Throughout the text, you will find sections entitled Side Notes, Test Your
Understanding and occasionally a Quick Quiz. These allow the reader to
step back for a moment, think about what we are learning, and then apply the
knowledge in a practical way.

One final brief word, because I know you want to get on with it and not
listen to some long- winded philosophy. One final word……as you start to
read through this book, you may encounter words or concepts that you do
not immediately understand.
Don’t worry about it….skip that part, keep reading, keep trying to put the
pieces together and before you know it things will start to fall into place. For
example, when you first encounter the idea of “intervals” you may not get it
at first. Don’t sweat it, my brother or sister. Skip that part for now; play
some scales, play some chords, don’t throw the book down and say that it
makes no sense. Skip that part and believe me, as your brain starts to put
together all this new information, someday soon, you will suddenly get it
and when you do, you are on your way to great joy and great satisfaction.
What seems difficult today will, in a short time, become second nature and
you will soon start “jazzing it up”. I say go for it. Show them what you can
do. God has given you an imagination and all kinds of creativity.

Exercise it, use it, be unafraid on your musical journey.

Believe me, I want each one of you to find peace, joy and fulfillment in your
soul as you lose yourself in the sound and the joy of the keyboard.

Best wishes to every one of you,

Blake Middleton

II. SCALE PATTERNS AND KEYBOARD

DIAGRAMS

MAJOR SCALES

The keyboard diagrams on the following pages will allow you to quickly
begin to play and to visualize how the notes relate to each other. You will
likely refer back to the keyboard diagrams throughout your studies.
Personally, I am a very visual type of learner. If I can see a diagram or
drawing, I am then able to absorb and retain that information much better
than if I had simply read about it or heard somebody try to explain it.

Study the patterns on these scales. The round dots on the piano keys indicate
which notes belong to that key. All dots belong in the key; the red ones are
linked together in an octave, while the blues ones are in the same key but a
different octave. Don’t let the color coding throw you off. The lines
connecting the dots create a pattern, or shape. Many of these shapes will
immediately, and readily, be impressed upon your memory. You will also
notice that the lines are different colors (like the dots mentioned above). This
is merely to help you visualize the notes in each octave.

One of my favorites, to use as an example, is the key of Eb major

(pronounced E flat major). Let’s look at the layout of the Eb major scale.

Starting at Eb (which we call the tonic, or first note of the Eb scale), we see
two notes

“down” (F and G) then two notes “up” (Ab and Bb), then two notes “down”
(C and D) then back to Eb. I know this description sounds rather
unsophisticated, but this is an easy way to visualize and learn all the notes
which make up the key of Eb major. Of course, you can continue going up
the keyboard, playing the scale of Eb major, going higher and higher, one
octave at a time.

Take it one key signature at a time. You do not need to learn all the keys in
one day.

Some keys you will enjoy more than others. Some are naturally easier to
play, some are easier to memorize, some may have a certain sound that you
like. This is your musical journey, so learn, experiment and, most of all,
play. In time it will become second nature to you to be able to move up and
down the keyboard playing scales in every key.

Once you start to really know which notes make up a key, you will start to
see a pattern emerging. We will learn later about the Whole-Whole-Half-
Whole-

Whole-Whole-Half pattern that is used to create a major scale. All major

scales use this pattern; in fact, this pattern is the definition of a major scale.

Side note: The Whole-Whole-Half-Whole-Whole-Whole-Half pattern is

really a sequence of intervals. What is an interval? An interval is quite
simply the distance between any two notes

on the keyboard.

When we say, “Whole”, we mean two semi-tones. One

semi-tone is one key on the piano. So, a “Whole” is

two semi-tones, or two piano keys.

When we say “Half”, we mean one semi-tone, or one

piano key. One semi-tone equals one piano key,

which means that a step of one semi-tone takes you to

the piano key immediately adjacent. Immediately

adjacent means just that, regardless if that piano key

is white (whole notes) or black (sharps and flats).

Let’s go back to our keyboard diagram of Eb major. Starting at Eb, what is

the next note in that key? It is F.

What is the interval between Eb and F? It is a “step” of two piano keys, or

two semi-tones, or what we call a “Whole”. What is the next note in the key
of Eb? It is G.

What is the interval, or distance, between F and G? It is also two piano keys,
or two semi-tones, or what we call “Whole”.

Did you forget to count the black key (Gb) which is between F and G? When
we are counting intervals, we need to count all keys, not just the white keys.
Continuing this sequence of intervals, we can then derive, or calculate,
which notes make up the key of Eb major, or any other major key. Study this
concept and become familiar with the idea of intervals. We will be using the
concept of intervals more and more. An understanding of intervals is critical
as we move into chords and beyond.

Before we dive into the keyboard diagrams, let’s regroup a minute and
think about what we are doing. Keep the following points in mind as you
study the keyboard diagrams;

1. The key is given in upper right of page. The letter and flat or sharp that is
indicated in the upper corner of the page is the key’s identity. Whether it is
major or minor is known as it’s quality.

2. The notes that are included in the scale have been calculated, or laid out,
by following the templates that we discussed earlier. Starting at the tonic, or
first note of the key that we are in, we build the scale using these templates.

Major scales W W H W W W H

Minor scales W H W W H W W

3. Remember that a W means Whole. A Whole is two semi-tones, or two

piano keys. An H means Half, and that is one semi-tone, or one piano key.

4. The notes of the scale are identified by roman numerals. You will see
some roman numerals are upper case, and some are lower case. For now,
don’t worry about that; we will cover all that when we get into major and
minor chords.

5. Speaking of chords—you can quickly learn to play chords using these

keyboard diagrams. Play the three notes together.
Play the first, third and fifth note of the major scale you are in. (I, iii, V) Play
the second, fourth and sixth note (ii, IV, vi)

Play the third, fifth and seventh notes (iii, V, vii)

You see how we are playing every other note.

Of course, later on, we will be playing much more complex chords, but for
now, enjoy the sounds of the chords. If we are playing the chords in root
position, the identity of the chord will be the lowest note. Later we will learn
about chord inversions where we play the same tones, but in a different
order. Don’t worry, we will get around to that.

Test your understanding: One of your musician friends stops by and says
to you, “Let’s play a one-four-five in G.” What does

he mean by this?

Let’s discuss: First of all, since he said, “G”, that means G major.

Unless someone specifically says the term “minor”, or

other modifier, we can assume that “major” is intended.

Now, about that one-four-five: Let’s look at the keyboard diagram for G.
We see the I, IV and V (pronounced “one, four and

five”) notes of that scale, listed as below;

I ii iii IV V vi vii I G A B C D E F# G

G is the first, or I, note in the key of G.

C is the fourth, or IV, note in the key of G.

D is the fifth, or V, note in the key of G.

Okay, we now understand that we will be playing a sequence of chords.

Playing chords by themselves is great but linking them in a sequence is even
better. Playing chords in certain patterns is called “chord progression” and
we will learn more about that later in this book. But for now, follow your
friends lead and play a I-IV-V

(pronounced one-four-five), playing each chord cleanly and clearly, then

moving to the next chord.

Your friend may very well be leading you into the 12 bar blues, and that is a
very good thing. Much more about the 12-bar blues in Chapter VIII.

Degree Chord Notes

I G G B D (I, iii, V) IV C C E G (IV, vi, I) V: D D F# A (V, vii, ii)

Quick Quiz: We just played three chords; a G chord, a C chord and a D
chord, all in the key of G major, or G.

Each chord was made up of three notes. When we play a D chord, for
example, we are playing D, F# and A.

Why do these three notes create a D major chord?

If we wanted to, how would we quickly change to a D minor chord?

Let’s discuss: To answer these questions, let’s go to the keyboard. Let’s

examine the D major chord and look at the interval, or distance between the
first note (D) of the chord and the middle note

(F#) of the chord. Let’s count the semi-tones….

Starting at D, one semi-tone to D#, second semi-tone to E, third semi-tone to

F, and finally a fourth semi-tone to F#, the middle note of the chord. This is
an interval of 4 semi-tones. An interval of 4 semi-tones between the first and
middle notes of a triad chord is the definition of a major chord.
Now, suppose we played the notes D, F and A. In other words, we are
“flattening” the second note, thereby decreasing the interval between the
first and middle note. Now what is the interval between the first note (D) and
the middle note (F)?

Counting as we did before, starting at D, one semi-tone to D#, second semi-

tone to E and third semi-tone to F. This interval of three semi-tones between
the first and middle note of a chord is the definition of what makes a minor
chord.

We will discuss intervals in more detail later in Chapter VI.

Key: A Major

I ii iii IV V vi vii I A B C# D E F# G# A Degree Chord Notes I: A A C# E

ii: Bm B D F#

iii: C#m C# E G#

IV: D D F# A

V: E E G# B
vi: F#m F# A C#

vii: G# dim G# B D

Key: Ab Major

I ii iii IV V vi vii I Ab Bb C Db Eb F G Ab Degree Chord Notes I: Ab Ab

C Eb ii: Bbm Bb Db F

iii: Cm C Eb G

IV: Db Db F Ab V: Eb Eb G Bb vi: Fm F Ab C

vii: G dim G Bb Db
Key: B Major

I ii iii IV V vi vii I B C# D# E F# G# A# B
Degree Chord Notes
I: B B D# F#

ii: C#m C# E G#

iii: D#m D# F# A#

IV: E E G# B

V: F# F# A# C#

vi: G#m G# B D#

vii: Bb dim A# C# E

Key: Bb Major

I ii iii IV V vi vii I Bb C D Eb F G A Bb Degree Chord Notes

I: Bb Bb D F
ii: Cm C Eb G

iii: Dm D F A

IV: Eb Eb G Bb

V: F F A C

vi: Gm G Bb D

vii: A dim A C Eb

Key: C Major

I ii iii IV V vi vii I C D E F G A B C

Degree Chord Notes I: C C E G

ii: Dm D F A

iii: Em E G B

IV: F F A C
V: G G B D

vi: Am A C E

vii: B dim B D F

Key: C# Major

I ii iii IV V vi vii I C# D# F F# G# A# C C#
Degree Chord Notes
I: C# C# F G#

ii: Ebm D# F# A#

iii: Fm F G# C

IV: F# F# A# C#

V: G# G# C D#

vi: Bbm A# C# F

vii: C dim C D# F#

Key: D Major

I ii iii IV V vi vii I D E F# G A B C# D
Degree Chord Notes
I: D D F# A

ii: Em E G B

iii: F#m F# A C#

IV: G G B D

V: A A C# E

vi: Bm B D F#

vii: C# dim C# E G

Key: E Major

I ii iii IV V vi vii I E F# G# A B C# D# E
Degree Chord Notes
I: E E G# B

ii: F#m F# A C#

iii: G#m G# B D#

IV: A A C# E

V: B B D# F#

vi: C#m C# E G#

vii: D# dim D# F# A

Key: Eb Major

I ii iii IV V vi vii I Eb F G Ab Bb C D Eb Degree Chord Notes I: Eb Eb G

Bb

ii: Fm F Ab C
iii: Gm G Bb D

IV: Ab Ab C Eb V: Bb Bb D F

vi: Cm C Eb G

vii: D dim D F Ab

Key: F Major

I ii iii IV V vi vii I F G A Bb C D E F
Degree Chord Notes
I: F F A C

ii: Gm G Bb D

iii: Am A C E

IV: Bb Bb D F

V: C C E G

vi: Dm D F A

vii: E dim E G Bb

Key: G Major

I ii iii IV V vi vii I G A B C D E F# G

Degree Chord Notes I: G G B D

ii: Am A C E

iii: Bm B D F#

IV: C C E G

V: D D F# A

vi: Em E G B

vii: F# dim F# A C

Key: Gb Major

I ii iii IV V vi vii I Gb Ab Bb B Db Eb F Gb Degree Chord Notes I: Gb Gb

Bb Db

ii: Abm Ab B Eb

iii: Bbm Bb Db F

IV: B B Eb Gb V: Db Db F Ab
vi: Ebm Eb Gb Bb

vii: F dim F Ab B

III. SCALE PATTERNS AND KEYBOARD

DIAGRAMS

MINOR SCALES

The keyboard diagrams on the following pages will allow you to quickly
begin to play and to visualize how the notes relate to each other. As you
begin to move up and down the keyboard, getting familiar with the minor
scales, I think that you will agree that the minor scales have a distinctive
sound in which even a simple melody can evoke emotions and complex
feelings. That is one of the joys of playing in the minor scales.

Look at the patterns on these scales. The round dots on the piano keys
indicate which notes belong to that key. All dots belong in the key; the red
ones are linked together in an octave, while the blues ones are in the same
key but a different octave.

Don’t let the color coding throw you off. The lines connecting the dots
create a pattern, or shape. Many of these shapes will immediately, and
readily, be impressed upon your memory.

For an example, let’s examine the notes, and the corresponding pattern,
which make up the key of Eb minor. This is a beautiful key and very easy to
learn. Starting on Eb, the root note, we move diagonally to F, then three
black keys in succession (Gb, Ab, Bb), drop almost straight down to B. See
how this B note almost “mirrors” the F note played previously. In other
words, the three black keys (Gb, Ab, Bb) are

“bracketed” by F and B. That is 5 notes out of the 7 you need to memorize.

Add the other two black keys (Db and Eb) and you have just memorized the
Eb minor scale.

I must make something clear to the student at this point. We are in the
process of learning what is known as the “natural” minor scale. There are
other minor scales (harmonic minor, melodic minor, pentatonic, and others.)
In time, your studies will take you there; but for now, the natural minor scale
is what we are focusing on. We are building a foundation here and, in time,
you will surely be playing in all the minor scales.

RELATIVE SCALES

While we are exploring the minor scales, let’s discuss something called a
relative scale. Without going too deeply into the how and why, let’s examine
the keyboard diagram for C major and compare that to the keyboard
diagram for A minor. We see that both scales (and therefore, both keys) are
made up of the same notes although the root notes are, of course, different.
We can say that A minor is the relative minor of C major. We can also say
that C major is the relative major of A minor.

Let’s look at another example. If we examine the keyboard diagram for Db

major and compare the notes in that scale to the keyboard diagram of Bb
minor, we find a similar situation. The notes that make up each scale are
identical, but of course they are in a different order because they start on a
different root note. In this example,

we can say that Bb minor is the relative minor of Db major. Conversely, we

can say that Db major is the relative major of Bb minor.

Relative major key Relative minor key

Ab major F minor

A major Gb minor

Bb major G minor

B major Ab minor

C major A minor

Db major Bb minor

D major B minor
Eb major C minor

E major Db minor

F major D minor

Gb major Eb minor

G major E minor

If you study the above chart you will see that a relative minor key is three
semi-tones below it’s corresponding major key.

For example, look at a major key……let us pick Bb major. On the

keyboard, move down three semi-tones (which we know by now are three
piano keys). Where do we end up? We end up on G. G minor is the relative
minor of Bb major.

Pick another example……pick a minor key………Db minor……move up 3

semi-tones and we land on E. Therefore, Db minor is the relative minor of E
major.

Without losing too much sleep over this, we need to think about why this is
happening.

Back when we were first learning about how a scale is produced; that is, the
pattern of intervals which gave each scale a structure. Remember the major
scale had its own template and the minor scale had its own template. This is
what we had discussed back then:

Major scales W W H W W W H

Minor scales W H W W H W W

We mentioned that the minor relative scale is three semi-tones lower than its
major relative scale. The other thing we know is that all the notes are the
same in both relative scales. Let’s try something here to try to understand
this.
Suppose we slide the minor scale template 3 semi-tones to the left. It would
look like this. Comparing the scale of Bb major and the scale of G minor is
shown here: Major scale Bb W C W D H Eb W F W G W A H Bb Minor
scale G W A H Bb W C W D H Eb W F W G

I know this is a little abstract, and maybe wasn’t on our agenda to think
about this particular topic, but we have been talking about intervals. All we
are doing here is taking two templates, and then sliding one to the left three
semi-tones, and now we see why the notes of a major relative key are
identical to the notes of a minor key which is three semi-tones lower.

For now, study the keyboard diagrams for the minor scales. Listen for their
unique, emotional sounds. Experiment with playing chord with your left
hand and playing very simple, short melodies with your right. You will very
soon be putting together short pieces that contain a short melody of 5 or 6
notes, accentuated by some moody, or emotional chords. Experiment, play
and enjoy; you will find that the minor scales have their own beautiful
appeal.

Key: A minor

i ii III iv v VI VI i A B C D E F G A Degree Chord Notes

i: Am A C E

ii: Bdim B D F

III: C C E G

iv: Dm D F A

v: Em E G B

VI: F F A C

VII: G G B D

Key: Ab minor

i ii III iv v VI VII i Ab Bb B Db Eb E Gb Ab Degree Chord Notes i: Abm

Ab B Eb

ii: Bbdim Bb Db E

III: B B Eb Gb

iv: Dbm Db E Ab
v: Ebm Eb Gb Bb

VI: E E Ab B

VII: Gb Gb Bb Db

Key: B minor

i ii III iv v VI VII i B C# D E F# G A B
Degree Chord Notes
i: Bm B D F#

ii: C#dim C# E G

III: D D F# A

iv: Em E G B

v: F#m F# A C#

VI: G G B D

VII: A A C# E

Key: Bb minor

i ii III iv v VI VII i Bb C Db Eb F Gb Ab Bb Degree Chord Notes i: Bbm

Bb Db F
ii: Cdim C Eb Gb

III: Db Db F Ab

iv: Ebm Eb Gb Bb

v: Fm F Ab C

VI: Gb Gb Bb Db

VII: Ab Ab C Eb

Key: C minor

i ii III iv v VI VII i C D D# F G G# A# C

Degree Chord Notes i: Cm C D# G

ii: Ddim D F G#

III: D# D# G A#

iv: Fm F G# C
v: Gm G A# D

VI: Ab G# C D#

VII: Bb A# D F

Key: D minor

i ii III iv v VI VII i D E F G A A# C D
Degree Chord Notes
i: Dm D F A

ii: Edim E G A#

III: F F A C

iv: Gm G A# D

v: Am A C E

VI: Bb A# D F

VII: C C E G

Key: Db minor

i ii III iv v VI VII i Db Eb E Gb Ab A B Db Degree Chord Notes

i: Dbm Db E Ab
ii: Eb dim Eb Gb A

III: E E Ab B

iv: Gbm Gb A Db

v: Abm Ab B Eb

VI: A A Db E

VII: B B Eb Gb

Key: E minor

i ii III iv v VI VII i E F# G A B C D E

Degree Chord Notes i: Em E G B

ii: F# dim F# A C

III: G G B D

iv: Am A C E
v: Bm B D F#

VI: C C E G

VII: D D F# A

Key: Eb minor

i ii III iv v VI VII i Eb F Gb Ab Bb B Db Eb Degree Chord Notes

i: Ebm Eb Gb Bb

ii: F dim F Ab B

III: Gb Gb Bb Db

iv: Abm Ab B Eb

v: Bbm Bb Db F

VI: B B Eb Gb

VII: Db Db F Ab
Key: F minor

i ii III iv v VI VII i F G Ab Bb C Db Eb F

Degree Chord Notes i: Fm F Ab C

ii: G dim G Bb Db

III: Ab Ab C Eb iv: Bbm Bb Db F

v: Cm C Eb G

VI: Db Db F Ab

VII: Eb Eb G Bb
Key: G minor

i ii III iv v VI VII i G A A# C D D# F G

Degree Chord Notes i: Gm G A# D

ii: A dim A C D#

III: Bb A# D F

iv: Cm C D# G

v: Dm D F A

VI: Eb D# G A#

VII: F F A C
Key: Gb minor

i ii III iv v VI VII i Gb Ab A B Db D E Gb
Degree Chord Notes
i: Gbm Gb A Db

ii: Ab dim Ab B D

III: A A Db E

iv: Bm B D Gb

v: Dbm Db E Ab

VI: D D Gb A

VII: E E Ab B

IV. SCALE PATTERNS AND KEYBOARD

DIAGRAMS

BLUES SCALES
I am somewhat hesitant to open up this “Pandora’s Box” of the blues. I love
the blues and I know that you will too. But it will take some discipline on
your part to keep a balanced approach to your study of the keyboard. Playing
the blues is so rewarding and the blues sound is so soulful and sensual that
you can easily be distracted from a more well-rounded approach to the
keyboard. The blues are an integral part of jazz, improvisation and some
would say even gospel. Just once up and down a blues scale on the keyboard
and you may very well be inspired to develop a cool bass rhythm in your left
hand while your right hand plays a simple melody that takes the listener on
an emotional journey.

With that said, let’s examine the blues scale and how it is structured.

Let’s start with the basic template for the blues scale.

The numbers indicate the number of semi-tones steps to the next note.

321132

For our first example, let’s start with the key of Blues in C

Starting at the root C, go three semi-tones to D#, go 2 semi-tones to F, go 1

semi-tone to F#, go 1 semi-tone to G, go 3 semi-tones to A# and finally go 2
semi-tones and you will land on the root C, one octave higher from where
we started. As you play these notes you will immediately hear a distinct
blues sound which is similar in all the keys.

321132

C D# F F# G A# C

Let’s try another example, this time in key of Bb Blues

321132

Bb Db Eb E F Ab Bb Starting on any note, move through the intervals as

shown above and you will start to get the sense of the blues scale. One of the
distinctive characteristics of the blues scale is that the 3rd, 4th, and 5th notes
are all right next to each other. There is one semi-tone between notes 3 and 4
and 1 semi-tone between notes 4 and 5. This gives the scale an incredible
range of emotions as the note you are expecting to resolve the tension, just
misses, perhaps, opening up another whole range of possible melodies.
Blues Scale in A
I II III IV V VI I A C D D# E G A
Blues Scale in Ab
I II III IV V VI I Ab B C# D Eb Gb Ab
Blues Scale in B
I II III IV V VI I B D E F F# A B
Blues Scale in Bb
I II III IV V VI I Bb Db Eb E F Ab Bb
Blues Scale in C
I II III IV V VI I C Eb F F# G Bb C
Blues Scale in D
I II III IV V VI I D F G G# A C D
Blues Scale in Db
I II III IV V VI I Db D# E F G# A# Db
Blues Scale in E
I II III IV V VI I E G A A# B D E
Blues Scale in Eb
I II III IV V VI I Eb Gb Ab A Bb Db Eb
Blues Scale in F
I II III IV V VI I F Ab Bb B C Eb F
Blues Scale in G
I II III IV V VI I G Bb C C# D F G
Blues Scale in Gb
I II III IV V VI I Gb A B C C# E Gb

V. INTRODUCTION TO READING SHEET

MUSIC

We can now look at the foundations of how to read music. When I say
foundation, I mean exactly that. Just as a skyscraper can soar 2000 feet into
the sky, it rests on, and is fastened to, a very strong and very durable
foundation. Without a sturdy and dependable foundation, the skyscraper
cannot stand. As you start to study music, make sure your foundations are
strong. Know your scales. Understand intervals.

Know the difference between major chords and minor chords. Learn your
blues scales. Experiment with playing chords with your left hand, and
simultaneously playing simple riffs (in the same key) with your right hand.
These are all foundational skills and will serve you well as you progress on
the keyboard. In this chapter we will cover the foundations of how to read
music. Many people play music extremely well but cannot read music.
However, being able to read music will greatly add to your ability to play
new material and to help you fully develop as a musician.

Let’s start with the keyboard. Each piano key plays a specific note. The
name of each note will not change no matter what key you are in. For
example, the Bb (B flat) key will always be a Bb key, no matter what key
signature you are playing.

This sounds obvious, but some beginning students think that the notes, or
keys, have different values, or different names, according to the key they are
in. Thankfully, that is not the case- a C will always be a C, an A flat will
always be an A flat, etc.

Let’s consider the musical staff. The musical staff consists of two sections;
1) Treble Clef—Includes all notes above middle C; Consists of five
horizontal lines, four spaces, and then further
divided by vertical lines which create measures, or

bars.

2) Bass Clef—Includes all notes below middle C; Consists of five horizontal

lines, four spaces, and then further

divided by vertical lines which create measures,

or bars.

Side note: Note that middle C acts as a bridge between the two staffs, that
is, middle C resides an equal distance from the treble staff above it and the
bass staff below it. In effect, the treble staff and the bass staff “share” middle
C.

Remember where middle C is located on the keyboard?

Think about that….on the keyboard, notes located within the

treble clef staff are located to the right of middle C and notes written in the
bass clef staff are located to the left of middle C.
TREBLE CLEF
In a very short time, you will be able to look at written sheet music and
quickly identify each note.

For now, however, most people remember the notes on the treble staff lines
EGBDF

by the old saying, “ Every Good Boy Does Fine”.

For the notes in the spaces between the lines, remember the word F A C E

This phrase and word only works for the treble staff. The bass staff has its
own way of remembering, which we will cover in the next section.
BASS CLEF
Most people remember the notes on the bass staff lines

G B D F A by the quote, “Great Britain Doesn’t Fight America”.

For the notes in the spaces between lines

ACEG
remember the phrase, “All Cows Eat Grass”. These particular phrases only
work for

the bass staff. The treble staff has its own memorization tools, which we
covered in the preceding section.

On the previous pages we made the connection between the notes as written
on the sheet music and the location of those notes on the keyboard. So far, so
good. But now we must discuss what is meant when we say B “flat”, or D
“sharp”, or A “flat”.

What does this mean and how do we apply this knowledge?

Let’s look at the keyboard again. If we want to play G, we know where G is
located on both the sheet music and the keyboard.

How about Gb (G flat)? When we “flatten” a note, we simply lower the note
one semi-tone.

Remember that one semi-tone is the same as one half step and the same as
one piano key. So, looking at the keyboard below, if we want to play Gb (G
flat), we move one semi-tone to the left of G. We land on the black key. That
key is G flat.

How about if we want to play G# (G sharp)? From G, we move one semi-

tone to the right, and consequently land on another black key. That key is G
sharp.

How do we label a “flat” or “sharp” on the written sheet music? That is a

good question.

Quite simply, by placing a b in front of the note, we designate that as a flat.

If we place a # in front of the note, we are designating that as a sharp.
An interesting thing happens when we want to play E# (E sharp). From E,
we know we are to move one semi-tone (one half step, or one piano key) to
the right. When we do this, we land on a white key. In fact, we land on what
we call F. Due to the layout of the keyboard, this is correct. E# (E sharp) is,
in fact, equivalent to, and equal to, F.

Side note: Remember that when we sharpen a note, we raise it by one semi-
tone. Some people remember this by relating it to

themselves.

If we want to look “sharp”, what do we do? We raise up,

stand tall, carry ourselves with confidence. When you

sharpen a note, you raise it up the same way. We raise it by one semi-tone, or
one piano key.

When we flatten a note, we do the opposite; that is, we lower it by one semi-
tone, or one piano key.

VI. INTRODUCTION TO INTERVALS

As we begin our study of piano scales and chords, we soon discover the
important concept of intervals, or musical distance, between any two notes.
This interval, or musical distance, determines how scales are structured, how
chords are formed and ultimately how well two notes sound being played
together, either sequentially (one after the other) or simultaneously (played
at the same time).

To start with, let’s look at how a major scale is structured.

A major scale can start on any note. We will call that starting note the tonic,
or root note of the scale. We can also designate it by using a roman numeral
I.

Starting with our starting note, the tonic, we will move up the piano
keyboard using various intervals to determine which notes belong in each
that scale, or key.

The distance, or interval, between notes in a major scale is based on a very

specific pattern, which is;

WHOLE WHOLE HALF WHOLE WHOLE WHOLE HALF

What does this mean? Very simply, a Whole interval means 2 half steps.
That makes sense, because two halves always equal one whole.

A Half interval means one half-step.

What is a half-step? A half-step is one key on the piano. This is also

known as a semi-tone.

To illustrate, let’s pull out the keyboard and examine the Eb (E flat) major
scale.

Let’s start at the root note, Eb. Remember we can call this note the tonic. We
will also label it as roman numeral I.

The pattern, or template for major scales is this: W W H W W W H

Starting at Eb (our tonic), move one whole step (remember one whole equals
two half steps, or two keys). This brings us to F. Now again, move one
whole step. This brings us to G. Did you forget to count the black key?
Remember, when we are counting keys, we must count both white and black
keys.

Now, according to our template, we must move one half step. One half step
equals one key. That brings us to G. Continuing our pattern, we will move
whole (to Bb), whole (to C), whole to D, then finally half (back to Eb, our
tonic). Note that when the template is followed, we end up on our tonic, but
one octave higher.

This template, or pattern, works for every major scale. In fact, that is the
definition of a major scale; that is, a major scale will start on its tonic, or root
note, and following the template, identify the notes in that key and will
always finish on its tonic, one octave higher.

Let’s review for a second. We started on Eb, our tonic. We moved through
the template and where did we land? We landed back on Eb. We landed on
Eb, but one octave higher.

If we started our template again, we would hit the same notes as before, but
all the notes are one octave higher. And where do we end up at the end of
this template? Of course, we end up on Eb again, still another octave higher.
This will occur until we run out of keys on the keyboard.

Test your understanding: Johnny “Ice Cold” Steele wanted to figure out
which notes are in the key of Ab major. He started on the note Ab, and
proceeded through the template of W W H W W W H,

but he did not end up on Ab one octave higher. He claims that the pattern
does not always work. What should we tell Johnny?

Let’s discuss: We need to tell “Ice Cold” that the pattern does, in fact, work
every time. We earlier discussed the mathematics of it; it works every single
time.

He is probably not counting all the keys (black and white) or he does not
understand that a Whole interval consists of two semi-tones, or two piano
keys and that a Half interval consists of one semi-tone, or one piano key.

You might be asking, “What about the minor scales? How are they
formed?”. You are correct, the minor scales have their own unique template.
We will now look at the minor scale pattern of intervals.

Let’s examine the minor scales. How are they derived? What is the template
we can use to determine the notes in a minor scale? Minor scales are derived
using their own unique pattern, which is:

WHOLE HALF WHOLE WHOLE HALF WHOLE WHOLE

Let’s examine the Eb minor scale. We will begin on our root note, Eb.
Again, we can call this our tonic, and we may even label it as roman numeral
i.

The pattern, or template, for minor scales is this: W H W W H W W

Starting at Eb, move one whole step (to F). Now, move one half step (to Gb).
Continuing the pattern for minor scales, we move whole step to Ab, whole
step to Bb, half step to B, whole step to Db, then finally one whole step back
to our root (one octave higher) Eb.

We have just constructed scales based on two pieces of information; 1) The

tonic, or bottom note of the scale. This gives the scale its IDENTITY.

Remember we can start on any piano key we wish, black or white.

This is the root note and will determine the IDENTITY of the scale.

2) We decide whether we want to create a minor scale or a major scale.

Starting at the root note, or tonic, a minor scale is created by the pattern: W
H W W H W W.

A major scale is created by starting at the root note and then using the
pattern:

W W H W W W H.

Calling out whether a scale is a minor or major gives the scale its
QUALITY.

When we start at the root note and then use either pattern, (either a major
pattern of intervals or a minor pattern of intervals) we are identifying a
“family” of notes.

We can play the notes of this family in sequence, out of sequence, up the
scale, down the scale, jump around on the scale---they sound like they
belong together. This family of notes is called the key.

All notes within a key are related to each other, and sound pretty good
together. If you play a note which is not in the family, meaning not in that
particular key, it doesn’t fit, and doesn’t sound right. It sounds discordant
and off-key. Sometimes this is done on purpose; the band is jamming, and a
discordant note is accidentally played; then on the next chorus, the
discordant note is played again, with some embellishment. The next chorus,
someone adds something similar. Soon, the entire jam has taken off on a
creative, spontaneous journey. For now, however, let’s stay with the basic
structures.

Test your knowledge: We have said that all the notes within a key are
related to each other? What does this mean? How are

they related?

Let’s discuss:

They are related musically because they are linked together by the sequence
of intervals (W-W-H-W-W-W-H for major scales, and W-H-W-W-H-W-W
for minor scales).

We can see that every major scale, for example, will have the same structural
shape. Likewise, every minor scale is structured the same as every other
minor scale.

If every major scale (or family of notes, or key) is structured similarly to

every other major scale, it makes sense that each major scale would behave
similarly, or would have similar characteristics to every other major scale?
Wouldn’t the minor scale have similar properties, similar behaviors, similar
dynamics to every other minor scale?

Every W denotes two semi-tones, which is the same as two piano keys.

Every H denotes one semi-tone, or one piano key.

Both the major scale template (WWHWWWH) and the minor scale
template (WHWWHWW) will mathematically add up to 12 tones,
which is exactly the interval, or musical distance, of one octave.

What is an interval?

Simply put, an interval is the distance between any two notes. The distance
between two notes will determine how well those two notes will combine
with each other.
We describe the interval, or distance, between two notes by saying that one
note is a second, or a third, or a fourth, etc. of the other. What does this
mean? It really means that a note is the second, or third or fourth, etc. note
on that particular scale.

Remember each key has a family of notes which make up the scale. How do
we know which notes are in which key?

Remember we derived the notes using

W W H W W W H to create a major scale and the template W H W W H

W W to create a minor scale.

Let’s look at an example. The diagram above shows the notes in the key of C
major.

What is the interval between middle C and G?

We know the scale of C major is comprised of the following notes; C D E F

GABC
We can easily see that G is the fifth note of the C major scale; hence, we can
say that in the key of C major, G is a fifth of C

However, this only tells us half the story. When we say an interval is a fifth,
that describes the distance between the notes. But we have to also describe
the quality of the interval.

But back to our example—we have looked at the notes which make up the
key of C

major and have determined that G is the fifth note of the C major scale,
which makes G a fifth of C. To get the rest of the answer, we need to count
the number of semi-tones, or half notes, or piano keys that are required to
reach G from C. Starting at C, our first step is to C #, second step is to D,
third step is to D #, fourth step is to E, fifth step is to F, sixth step is to F#
and seventh step is to G. This is what is known as a perfect fifth. A perfect
fifth has seven semi-tone “steps” between the two piano keys in question.

Side note: A perfect fifth occurs when two notes are exactly seven semi-
tones apart. In our major and minor scales, the fifth note will always be
seven semi-tones from the tonic because we used

the patterns

W W H W W W H (major keys)

and W H W W H W W to define the scales.

The fifth note of these scales will always be a perfect fifth.

That is all very convenient if we are using a scale and determining intervals
from the tonic, or bottom note. What if we pick two random notes, not
necessarily in the same key? How would we determine the interval in that
case?

It looks complicated, but it is actually very easy. It is a two- step process, in

which the first step is to determine the distance of the interval and the second
step is to determine the quality of the interval.

The first step is to determine the musical distance between the two notes in
question.

Look at the musical staff. We already know that the staff consists of five
horizontal lines, which create four spaces. Count the lines and spaces,
inclusive, between the two notes in question.

The key word here is inclusive; count the line or space which the lower note
is occupying and then count the lines or spaces up to, and including, the
upper note.

The second step is to count the keys, or half steps, on the piano keyboard.
The number of keys separating the two notes will give us the quality of the
interval.

Test your understanding: Why do we need to count keys on the keyboard?

Why can’t we look at the staff, count the lines and

spaces, inclusive, and be done with it?

Let’s discuss: You may count the lines and spaces, inclusive, and you would
be correct as far as determining the musical distance. But suppose you are
looking at the interval between C and G flat. Compare that with the interval
between C and G sharp. The number of the lines and spaces (inclusive, of
course) will be the same, but the keyboard will yield a very different number
of semi-tones between the two notes. This different number of keys would
then indicate a
different quality of interval. The quality of the interval can be described as
perfect, diminished or augmented.

Let’s try another example. What is the interval between middle C and G flat?

To determine the interval, count the lines and spaces between the C and G
flat.

Remember that we must count the lines or spaces, and, as always, we must
include the lines or spaces occupied by both the C and by the G flat.

When we count the lines and spaces, we get 5. This means that G flat is a
fifth of C.

But remember that only tells us half the story. That tells us the distance.
Now, getting on to the keyboard, how many semi-tones are required to move
from C

to G flat? Let’s count these together. Starting at C, our first step is to C#,
second step is to D, third step is to D sharp, fourth step is to E, fifth step is to
F, sixth and final step is to G flat.

In this case we have a fifth, with six semi-tones between the two notes. This
is known as a diminished fifth.

Side note: When two notes are a fifth apart, and there are 7

semi-tones between them, that is known as a perfect fifth.

When two notes are a fifth apart, and there are 6 semi-

tones between them, that is known as a diminished fifth.

Let’s look at another example. What is the interval between A and E#?

First let’s count the lines and spaces, including the spaces for A and E#.

We get five bars and spaces, which tells us that A and E# are a fifth apart.

But remember, that only gives us half the story. That only tells us the
distance.

What is the quality of the interval?

To answer this question we must determine how many semi-tones are

required to move from A to E#. Using our keyboard, starting at A, first step
is to A#, second step is to B, third step is to C, fourth step is to C#, fifth step
is to D, sixth step is to D#, seventh step to to E and eighth step is to E#. In
this case, we have a fifth separated by eight semi-tones. This is known as an
augmented fifth.

Side note: When two notes are a fifth apart, and there are 6 semi-tones
between them, that is known as a diminished fifth.

When two notes are a fifth apart, and there are 7 semi-tones between them,
that is known as a perfect fifth.

When two notes are a fifth apart, and there are 8 semi-tones between them,
that interval is known as an augmented fifth.

VII. CHORDS AND CHORD PROGRESSIONS

For our purposes, lets define a chord as a triad, that is, the sound produced
when three notes are played at the same time. As we progress in our studies,
we will see that chords can be made of three or more notes. Jazz, in
particular, likes to use chords that can be made up of as many as 6 or 7 notes.
The blues and gospel music often utilize very creative, complex and
beautiful chords. For now, however, let’s think of a chord in its simplest
arrangement of three notes played simultaneously.

We will soon discover that we cannot play, at random, just any three notes.
The notes must be separated by specific musical distances, or what we call
intervals. This creates harmony. If we should randomly pick any three notes
to play together, we will very likely create discordance or a “clash” of
sounds. We will be playing triads (three note chords) with very specific
intervals between the first and third note of the chord (I and III), as well as
very specific intervals between the third and fifth note of the chord (III and
IV).

For the simplest example, lets consider a C chord played in the key of C.

There are two parts to this exercise.

1) We want to play a C chord. This means that C is the root note.

2) We want to play in the key of C. We can refer back to our keyboard

diagram.

A quick review of the notes which make up the C scale indicate; I II III IV
V VI VII I C D E F G A B C

The three notes which would make up this C chord would be;

I) C (known as the root note in this case since it is a C chord we want to

play)

III) E (because it is the third note of the scale, known as a third interval, or a
third)

V) G (because it is the fifth note of the scale, known as a fifth interval, or a

fifth) We can now play the C E and G notes simultaneously. That is a C
chord, a triad played with C in root position.

Root position means that the root note is played as the lowest note of the
three. We will discuss inversions later in this chapter. Play around with this
chord; experiment with different rhythms. Play all three notes (C, E, G)
simultaneously, or play them one after another. When you do that you are
playing what is known as an open chord—same three notes but played one
after another. Experiment with which sounds inspire you, move you, lead
you to other sounds.
Let’s try another example, this time using a slightly more difficult key. How
can we play an Eb minor chord?

Again, there are two parts to this exercise;

1) We want to play an Eb minor chord. This means that Eb is the root note.

2) We want to play in the key of Eb minor. We can refer to our keyboard

diagram for the Eb minor scale.

A quick review of the notes which make up the Eb minor scale indicate; I II
III IV V VI VII I Eb F Gb Ab Bb B Db Eb The three notes which would
make up this Eb minor chord would be; I) Eb (known as the root note since
it is an Eb minor chord we want to play)

III) Gb (because it is the third note of the scale, known as a third interval, or
a third)

V) Bb (because it is the fifth note of the scale, known as a fifth interval, or a

fifth)
Okay, let’s try another one. Be patient because there is a critical lesson here
that I want to show you.

We just played an Eb minor chord. How can we play an Eb major chord?

What would be different? What would be the same? How can we move
easily from one to the other?

There are two parts to this exercise.

1) We want to play an Eb (major) chord. This means that Eb is the root note.

2) We want to play in the key of Eb (major). We can refer to our keyboard

diagram for the Eb major scale.

A quick review of the notes which make up the Eb major scale indicate I ii
iii IV V vi vii I Eb F G Ab Bb C D Eb The three notes which would make
up the Eb major chord would be; I) Eb (again, this is the root note of the
chord)

III) G (because it is the third note of the scale, known as a third interval, or a
third)
V) Bb (because it is the fifth note of the scale, known as a fifth interval, or a
fifth)

As we can see, the first note of the Eb minor chord and the first note of the
Eb major chord are identical, that is, Eb. Likewise, the fifth note (V) of the
Eb minor scale and the fifth (V) note of the Eb major scale are identical, that
is, Bb.

The only difference is the middle note. This is a critical difference and the
student needs to pay attention to this. As you look at a piano keyboard,
become aware of the interval, or musical distance, between the I and the III
in the Eb minor chord.

Playing an Eb minor chord, from I (Eb) to the III (Gb) there is an interval of
3 half-steps, or three piano keys. Conversely, what is the interval between I
and III in the Eb major chord?

Playing an Eb (major) chord, the interval between the I (Eb) and the III (G)
in the Eb major chord is 4 half steps, or 4 piano keys.

Let’s stop for a moment and contemplate this. What we have just discovered
will give you an intimate understanding of how to construct a minor chord, a
major chord and will give you the ability to change between the two.

Let that sink in for a minute.

A) A major chord has 4 semi-tones between the first and middle note.

A minor chord has 3 semi-tones between the first and middle note.

First (I) and third (V) notes of the chord remain the same.

B) We have already agreed that since each major scale is constructed

similarly to every other major chord, this rule applies to all scales and all
keys.

C) Likewise, we have agreed that since all minor scales are constructed in
the same way as every other minor scale, this rule applies to all minor scales.
Meditate on this idea and visualize playing every chord as major or minor;
the musical distance, or interva l, between the first note and middle note of a
chord determines whether that chord is a minor chord (with three half-steps)
or a major chord (with four half-steps). The first and third notes are the
same, with only the middle note being different. This is a critical and useful
concept. After a little practice, you will be able to easily change back and
forth between major and minor chords in any key.

Test Your Understanding: Kit Kat “Little Miss Trouble” Treble knows that
playing the notes D F A creates a D minor

chord. Her bandmates ask her if it is possible to

quickly change to a D major chord and then back

again to D minor chord.

Let’s discuss: Kit tells them that they still play the D and A notes (I and V),
but that they need to increase the

interval between I and III (the first and middle

notes) So instead of playing D F A, they must

“sharpen” the F (middle note) to F# ( thereby

increasing the interval by one semi-tone)

and will then play D F# A to create a D major

chord.

To return to D minor chord, go back to D F A.

Going one step further

Up until now, we have been focusing on playing chords based on the root
note. We played a C chord in the key of C. We played an Eb minor chord
and an Eb major chord in the key of Eb.
Let’s take it one step further now. Let’s go back to the key of C.

Again, a quick review of the notes which make up the C scale indicate; I ii
iii IV V vi vii I C D E F G A B C

Now, instead of playing a root chord (consisting of notes I, III and V or C, E

and G), lets play a different chord in the key of C. Let’s start on III, which is
the note E. We will now play notes III, V and VII (three, five, seven) or E, G
and B. This creates an E
minor chord.
Side Note: Remember what we discovered about the interval between the
first and middle notes in both major and minor chords?

When we play the notes E G B that is an E minor chord.

It is an E chord because E is the root note.

It is a minor chord because the interval between the first

and middle notes (between E and G) is three semi-tones.

We don’t need to stop there. Staying in the key of C, we can start on IV,
which is the note F. We would then play IV, VI and I (four, six and eight,
which is I). This creates an F major chord.

I ii iii IV V vi vii I C D E F G A B C

Why did we create a minor chord when starting on iii (E) and a major chord
when starting on IV (F)?

Let’s go back to what we learned about the interval, or distance, between the
first note of the chord and the second note of the chord. An interval of 3 half
tones (3

piano keys) between the first and second notes in a triad chord creates a
minor chord; an interval of 4 half tones (4 piano keys) creates a major chord.
This creates the very distinct difference in sound between a major chord and
a minor chord.

Major chords tend to sound bright, happy, and peaceful. Minor chords tend
to sound more emotional, sometimes poignant, sometimes mysterious, sad or
even scary.
Experiment for yourself. Pick any key and become familiar with the scale.
Bear in mind that the notes of the scale now become your building blocks for
constructing chords. Some chords sound “natural”, “stable”, “centered”;
others tend to sound incomplete, as if they want to lead you to another chord,
and that chord may sound like it wants to lead you back to the original
chord. In other words, certain chords sound perfectly matched with other
chords when played in sequence. Two, three or more chords can be played in
a certain order, and they sound good together. They sometimes create a
certain tension, or expectation, and then they finally reach resolution, or
completion when the final chord is played. This process of creating tension
and expectation and then resolving it, is one of the basic ideas behind chord
progression.

Let’s play something to illustrate this whole idea of chord progression. Let’s
turn to the key of G major.

A quick review of the notes which make up the G major scale indicate: I ii
iii IV V vi vii I G A B C D E F# G

Below is a table summarizing the basic chords that can be constructed in the
key of G.
Degree Chord Notes

I: G G B D

ii: Am A C E

iii: Bm B D F#

IV: C C E G

V: D D F# A vi: Em E G B

vii: F# dim F# A C

Side note: Did you notice that the first, fourth and fifth degree chords are all
major chords? That is why the roman numerals are all capitals while the
others chords are minor chords, designated by lower case roman numerals.
This pattern is typical when playing in a major key. The one exception (in
major keys) is the vii chord. It is a diminished chord. We will discuss
diminished chords and augmented chords in detail later in the book.

Let’s play a very popular chord progression known as a I-IV-V or

“1-4-5”.

A) Start out by playing the I chord (G major) made up of the G B D notes.

Play around with that chord, try different rhythms, different tempos….

B) Then play the IV chord (C major) made up of C E G notes.

Again, experiment with different tempos….

C) Play the I chord, followed by the IV chord.

Play a riff that sounds good to you, vary the tempo, play something that
sounds cool to you…

Can you feel how some tension is created, as if the sequence is incomplete?
Can you hear how the sequence wants to resolve itself, wants to “complete”
the tension?

D) Now, play the V chord (D major) made up of D F# A notes.

This brings the whole chord progression together and seems to complete the
sequence, to resolve the sequence, to complete the chord progression.

Congratulations, you have just played your first Chord Progression!

You will soon discover that chord progressions form the backbone of
literally hundreds, if not thousands of popular songs. More about that later.

Let’s try another example. Here is another very popular progression

known as a “2-5-1” or “ii-v-I”.

For this exercise, let’s play in the key of Eb minor.

A quick review of the notes which make up the Eb minor scale indicate: i ii
III iv v VI VII i Eb F Gb Ab Bb B Db Eb Constructing a table showing the
basic chords in the key of Eb minor; Degree Chord Notes

i: Ebm Eb Gb Bb
ii: F dim F Ab B

III: Gb Gb Bb Db

iv: Abm Ab B Eb

v: Bbm Bb Db F

VI: B B Eb Gb VII: Db Db F Ab

Side note: Did you notice that the third, sixth, and seventh degree chords are
all major chords? That is why III, VI and VII are upper case roman
numerals. The other chords are minor chords, designated by lower case
roman numerals. This pattern is typical when playing in a minor key. The
one exception (in minor keys) is the ii chord; it is a diminished

chord. We will discuss diminished chords and augmented chords in detail

later in this book.

A) Start out by playing the ii chord (F dim) made up of the F Ab B notes.

Play around with that chord, try different rhythms, different tempos….

B) Then play the v chord (Bb minor) made up of Bb Db F notes.

C) Play the ii chord, followed by the v chord.

Again, experiment with different tempos and different rhythms…..

Can you hear how tension is created, as if the sequence is incomplete?

Can you hear how the sequence wants to resolve itself?

D) Now, play the i chord (Eb minor) made up of Eb Gb Bb notes.

This brings the whole chord progression together and brings resolution, or
completeness, to the chord progression.
Inverted Chords
Earlier in this section on Chords and Chord Progressions, we agreed to
construct our chords as a triad, using three notes. This is the simplest type of
chord. Later in your playing, you will start to use chords made up of 4, 5 or
more notes. Jazz calls upon many complex and interesting chords and
voicings.

Remember the C chord? It is made up of the notes C E G. The note C is the

root note, and as such, is the lowest note of the three notes which make up
the chord.

What would happen if we played the notes C, E and G but in a different

order?
Let’s play the notes C E G, but let’s play the C note one octave higher. In
effect we are playing E G C. This is known as a C chord, first inversion. We
have taken the root note (C) and instead of making it the lowest note in the
chord, we are playing the C note one octave higher. This voicing is still a C
chord, but known as an inverted chord, in this case, the first inversion.

Now let’s change the order again. Let’s move the note E up one octave. In
effect we are now playing G C E. This is called C chord, second inversion.
Here we are playing both C and E one octave higher, while the G remains in
original position.

Again, it is a C chord, but known as the second inversion.

What would happen if we now move the G note to the higher octave? Now,
we are back to playing a C chord in root position, but the entire chord is now
one octave
higher. Why would we do this? Why would we take a perfectly great
sounding chord and change the order?

The main reason to change the order of a chord, that is, to play an inversion
of that chord, is often to add interest to a chord progression.

For example, suppose you wanted to play a i-iv-v chord progression in the
key of A minor.

To play a i-iv-v, we could play it straight, that is, as below; A minor: A C E

D minor: D F A

E minor: E G B

If we play the progression like this, there is nothing wrong with that.
However, the sound could sound a little abrupt, a little disconnected.

As an alternative, we could play it as follows;

A minor: A C E
D minor (second inversion): A D F (both D and F have moved up) E minor
(first inversion): G B E (E has moved up)

Instead of moving around, all over the keyboard, we can arrange our
progressions so that there is a minimum of distance between following
chords.

Sure, at times you may want a drastic sounding difference to accentuate, etc.
but at other times you may like the ease of playing, plus the added interest of
different sounds with more complex, inverted chord progressions.

VIII. INTRODUCTION TO 12 BAR BLUES

Now that we have been introduced to the whole idea of chord progressions,
that is, playing certain chords in a certain sequence which creates harmony,
tension, interest and finally resolution, we want to take this idea to the next
level.

We have heard the dynamics, the tension and the resolution of playing a I-
IV-V (1-4-5) progression in any major key. Let’s review a I-IV-V chord
progression in the key of C.

Side Note: As we discussed earlier in the book, we will refer to major keys
as only B or C or Eb or G or whatever. We understand that when we see B or
Eb or G, (with no modifier) that indicates that it is a major key (or chord).
Only when a key (or chord) is minor, only then will we add a modifier.

A quick review of the notes which make up the key of C indicate: I ii iii IV
V vi vii I C D E F G A B C

Degree Chord Notes

I: C C E G

IV: F F A C

V: G G B D
We learned that we can play the I-IV-V sequence and it sounds good. But
let’s take it another step.

Let’s play the following chords. Hold each chord for 4 beats, then go to the
next chord. Play the 4 chords on the top row (each chord for 4 beats, a total
of 16 beats), then play the middle row (again, 4 beats x 4 chords =16 beats),
and then the bottom row (same 4 x 4 beats as before)

Bar 1 I Bar 2I Bar 3I Bar 4I Bar 1C Bar 2C Bar 3C Bar 4 C

Bar 5IV Bar 6IV Bar 7I Bar 8I or Bar 5 F Bar 6 F Bar 7 C Bar 8 C

Bar 9 V Bar 10IV Bar 11 I Bar 12 I Bar 9 G Bar 10F Bar 11C Bar 12 C

Each I or C indicates C chord (C E G)

Each V or G indicates G chord (G B D)

Each IV or F indicates F chord (F A C)

Each chord played for four beats, then move to next chord

Congratulations, you have just played your first 12 bar blues! You played 12
bars, with each bar consisting of a chord being held for four beats. In this
case, 4 beats equal one bar, or one measure. You might be asking, “How fast
should my beats be?

Should I be going faster or slower?” Hey, you are the musician…. you can
decide which sounds right for you. You might want a slow, soulful number
or you may want to rock out, or anything in between.

Here is a variation. We will still play 12 bars. Each bar will still consist of 4
beats.

But, instead of holding each chord for four beats, you play each chord for
one beat, four times per measure. That approach would look like this: Bar 1
CCCC Bar 2 CCCC Bar 3 CCCC Bar 4 CCCC

Bar 5 FFFF Bar 6FFFF Bar 7 CCCC Bar 8 CCCC

Bar 9 GGGG Bar 10FFFF Bar 11 CCCC Bar 12CCCC

Remember to play the four bars across the top, then the middle row, then the
bottom row (total of 12 bars; each bar has 4 beats) Each C indicates C chord
(C E G)

Each G indicates G chord (G B D)

Each F indicates F chord (F A C)

After you play this arrangement a few times, you can add a little interest by
mixing up the rhythm a little bit.

For example, in the third bar, instead of a steady rhythm, you can add a
quick half step, or start playing the third bar perhaps one half beat ahead of
the rhythm and then hold the note to get back into rhythm. You will soon
start adding your own twists and turns to make it more and more interesting.

Another way to add interest is to slightly modify what you are playing in the
final (12th) bar. In the final bar, instead of playing CCCC you can play
CCGG or something similar. This sets up a transition going back to the first
bar.

Let’s do a quick review. We learned about chords, and for the time being, we
agreed to play chords as a triad, or chords made up of three notes. We know
that we can invert chords by playing the same three notes but in a different
order. Then we played different chords in sequence, which we called chord
progressions. The chord progressions were harmonious, often creating a
musical tension, and then were resolved.

Finally, we played chord progressions in a 12-bar structure, which is a

framework which uses this tension and resolution to create a background for
many popular songs. As you play a 12-bar blues, which is a framework for a
song, other instruments in the band may play their own riff or solo. In this
case, you, as the
keyboardist, may be keeping the beat, along with the bass and drummer,
keeping the framework intact. Other times, the guitar, for instance, may be
playing a 12-bar rhythm and you, the keyboardist, may be carrying the
melody, playing your own solo or adding your own riffs.

TAKING IT TO THE NEXT LEVEL

I want to introduce you to a new type of chord. For starters, it is made up of

four notes. We have been playing triads for the most part, but here we are
adding a 7th (seventh). To add this note, add a minor third (three semi-tones)
to the third note of your chord.

Changing a C chord to C dominant 7th chord

Here is a C chord, a triad, made of 3 notes.

And here is the C7 chord with C in the root position. Note that we have
added a minor third (3 half notes) to the existing C chord. A minor third (3
half steps) above the note G brings us to A#.

These four notes create a C7 chord, known as a C dominant 7th chord.

Changing an F chord to F dominant 7th chord

Below is an F chord, in root position, one of the many triad chords we have
been playing.

And here is the F7 chord with F in the root position. Note that we have
added a minor third (3 half notes) to the existing F chord. A minor third (3
half steps) above the note C brings us to D#. These four notes create a F7
chord, known as a F

dominant 7th chord.

Changing a G chord to G dominant 7th chord

Below is a G chord, with G in root position. Just like we did with the C and
F chords above, we are going to add a fourth note to the existing G chord.
We will add this fourth note three semi-tones above the existing top note of
the chord.

And here is the G7 chord with G in the root position. Note that we have
added a minor third (3 half notes) to the existing G chord. A minor third (3
half steps) above the note D brings us to F.

This creates a G7 chord, known as a G dominant 7th chord.

You have just been introduced to one of the most beautiful, useful, versatile
and thrilling parts of playing music on a piano. Everybody loves the sound
of a chord made up of three notes-what we called a triad. By inverting a
three note chord, using them in progressions, using them as a rhythm, they
are truly beautiful. But you have just played a chord with four notes. You
will see that chords made of four, five or six notes can sound exhilarating
and are always played with emotion.

But let’s stay on track here. There will be plenty of time for you to
experiment with all types of complex chord structures. For now, I want to
apply these new chords (C7, F7 and G7) to the 12-bar blues.

Let’s play a I-IV-V in the key of C7. We did this before, but this time let’s
use what is known as a dominant 7th chord.

Remember to play the top row, then middle, then bottom row

I I I I C7 C7 C7 C7 Each I or C7 indicates C7

chord (C E G A#)

IV IV I I OR F7 F7 C7 C7 Each IV or F7 indicates F7

chord (F A C D#)

V IV I I G7 F7 C7 C7 Each V or G7 indicates G7

chord (G B D F)

Each chord played and held for four beats, or for a different sound, instead
of holding each chord for four beats, you can play each chord for one beat,
four times per measure. You decide what tempo you like.

C7 C7 C7 C7 C7 C7 C7 C7 C7 C7 C7 C7 C7 C7 C7 C7

F7 F7 F7 F7 F7 F7 F7 F7 C7 C7 C7 C7 C7 C7 C7 C7

G7 G7 G7 G7 F7 F7 F7 F7 C7 C7 C7 C7 C7 C7 C7 C7

Each C7 indicates C7 chord (C E G A#)

Each F7 indicates F7 chord (F A C D#)

Each G7 indicates G7 chord (G B D F)

Each chord played for one beat
12 Bar Blues Reference Charts
By now you have a pretty good feel for how the 12 bar blues can be
constructed, how they can be modified, stretched and improvised upon. The
following charts may be useful to you as you practice the 12 bar structure in
various keys. You will notice that all the chords are major keys with
dominant 7th.

Let’s not get overwhelmed here.

a) It’s a major chord, which means 4 semi-tones between first and second
note.

b) It contains a perfect fifth (seven semi-tones) between first and third

notes.

c) It is a dominant 7th, so we have added a minor third (three semi-tones) at

the top end.

Rome wasn’t built in a day, so this will take some time to master. Have fun
with it, stretch it and bend it and find the sound you like.

12 bar blues in A Major

A7 A7 A7 A7 A7: A C# E G

D7 D7 A7 A7 D7: D F# A C

E7 D7 A7 E7 E7: E G# B D

12 bar blues in Ab Major

Ab7 Ab7 Ab7 Ab7 Ab7: Ab C Eb Gb Db7 Db7 Ab7 Ab7 Db7: Db F Ab B

Eb7 Db7 Ab7 Eb7 Eb7: Eb G Bb C#

12 bar blues in B Major

B7 B7 B7 B7 B7: B Eb F# A Eb7 Eb7 B7 B7 Eb7: Eb G Bb C#

F#7 Eb7 B7 F#7 F#7: F# Bb C# E

12 bar blues in Bb Major

Bb7 Bb7 Bb7 Bb7 Bb7: Bb D Ab Eb7 Eb7 Bb7 Bb7 Eb7: Eb G Bb Db F7
Eb7 Bb7 F7 F7: F A C Eb 12 bar blues in C

C7 F7 C7 C7 C7: C E G Bb F7 F7 C7 A7 F7: F A C Eb Dm7 G7 Em7

Dm7/G7 A7: A C# E G

Dm7: D F A C

Em7: E G B D

G7: G B D F
12 bar blues in D
D7 D7 D7 D7 D7: D F# A C

G7 G7 D7 D7 G7: G B D F

A7 G7 D7 D7 A7: A C# E G

12 bar blues in Db Major

Db7 Db7 Db7 Db7 Db7: Db F G# B

Gb7 Gb7 Db7 Db7 Gb7: Gb A# Db E

Ab7 Gb7 Db7 Ab7 Ab7: Ab C D# Gb 12 bar blues in E Major

E7 E7 E7 E7 E7: E G# B D

A7 A7 E7 E7 A7: A C# E G

B7 A7 E7 B7 B7: B D# F# A

12 bar blues in Eb Major

Eb7 Eb7 Eb7 Eb7 Eb7: Eb G Bb Db Ab7 Ab7 Eb7 Eb7 Ab7: Ab C Eb Gb
Bb7 Ab7 Eb7 Bb7 Bb7: Bb D F Ab 12 bar blues in F Major

F7 F7 F7 F7 F7: F A C Eb Bb7 Bb7 F7 F7 Bb7: Bb D F Ab C7 Bb7 F7 C7

C7: C E G Bb 12 bar blues in G Major

G7 G7 G7 G7 G7: G B D F

C7 C7 G7 G7 C7: C E G Bb D7 C7 G7 D7 D7: D F# A C

12 bar blues in Gb Major

Gb7 Gb7 Gb7 Gb7 Gb7: Gb A# Db E

B7 B7 Gb7 Gb7 B7: B D# F# A Db7 B7 Gb7 Gb7 Db7: Db F G# B
ONE FINAL EXERCISE
Okay, we have covered a lot of material in this book from basic keyboard
layout to an introduction to the 12 bar blues. However, I want to leave you
with one final exercise, one final blues riff to practice. It is a 12-bar blues
riff, with one or two slight twists that I think you will like.

We will be playing in the key of C, which lends itself well to this exercise.

1) CG CG CA CA 2) CG CG CA CA 3) CG CG CA CA 4) CG CG CA CA
5) FC FC FD FD 6) FC FC FD FD 7) CG CG CA CA 8) CG CG CA CA 9)
GD GD GE GE 10) FC FC FD FD 11) CG CG CA CA 12) CG CG CA CA
Instead of playing full chords, we will play partial chords, or voicings. For
example, in Bar 1 we will play the C and G together, again C and G
together, then C and A together, and again C and A together. Each voicing
will be for one beat.

Then, on to Bar 2, each pairing, or voicing for one beat. You will soon find,
however, that a steady beat will soon be replaced with a bluesy shuffle type
beat. What I mean is, that instead of a 1-2-3-4 type steady beat, think more
of a 1 and 2 and 1 and 2 type of slightly off-beat rhythm. You can improvise
and accentuate that bluesy beat all you want.

Now, in your right hand…..go up one octave and find C. Go up another

octave to the next C. With your right hand (thumb and pinkie, or thumb and
fourth finger) play the two C’s together, in rhythm with what you are
playing with your left hand.
One final word
You have now started on your musical journey. You will undoubtedly hit a
few plateaus on your journey. At times, it may seem like you are not
making progress for maybe a week or more. Then suddenly things fall into
place. Do not get discouraged when you hit those plateaus. I know many
very accomplished musicians and they all tell me they have experienced
these temporary plateaus and they always work themselves out.

Also, you may be telling yourself, “What’s the use? I will be “x” years old
by the time I am any good.” First of all, you can derive much joy from
learning and you can enjoy the journey right now. Secondly, believe it or
not, someday you will be “x” years old anyway. At that point you may wish
you had stayed with it and developed such a beautiful talent.

Good luck to all of you. I hope this book will help you to move forward in
your musical journey and I hope it will provide information and inspiration
for you and yours. Best wishes, good luck and see you down the road…….