SWEET MUSIC INCENSE

ACADEMY(S M I A)

ADVANCED KEYBOARD
CHORDS & SCALES BOOKLET

MOTTO: PSALM 147 vs 1

INTRODUCTION

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This Advanced Stage Keyboard Lessons Booklet is specially
compiled for Pianists or Keyboardists that wish to increase their
playing capacities in music. It contains excerpts from Piano club
house and personally formulated and tried Piano chords with cool
jazzy effects.

I constructively compiled these Piano Lessons so as to boost

the chord feel of Advanced Pianists/Keyboardists in songs. The
world is fast developing that you can’t afford to dwell on a spot in
music for too long. Only those who make the most of each
Lesson in this Booklet will gain its advantages. This Booklet
contains Piano chords and scales which can make your audience
go “WOW”!

CHARLES INAH OKPA

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TABLE OF CONTENT
PAGES

Cover
Page…………………………………………………………………………..0

Introduction……………………………………………………………………
…….1

Table of
Content……………………………………………………………………2 & 3

LESSON 1.The Electronic

Keyboard…………………………………………….4

LESSON 2. Introduction To Music-

Keyboard…………………………………6

LESSON 3.
Music……………………………………………………………………….9

LESSON 4.Important Use of Minor And Diminished

Chords…………….10

LESSON 5.Counting
Beats……………………………………………………………..11

LESSON 6. The Theory of Chord Inversion

…………………………………….13

LESSON 7.
Scales…………………………………………………………………………15

LESSON 8.
Chords………………………………………………………………………..22

LESSON 9.
Cadences……………………………………………………………………31

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LESSON 10.Sustain
Chords………………………………………………………….32

LESSON 11.Arpeggio or Broken

Chords……………………………………….33

LESSON 12.Chromatic
Scale………………………………………………………35

LESSON 13.Habits to
Develop……………………………………………………37

LESSON 14.Music, Lucifer &

God…………………………………………………38

LESSON 15. Finger Techniques on Major, Pure Minor And Blues

Scale..40

LESSON 16.Some Scales and Their Modes(On Key C Maj)

………………….51

LESSON 17.Some Related Chord Played as a Worship Feel

(Using KeyF)
…………………………………………………………………………………….5
4

LESSON 18.Some Other Derived Chords of Minor Solfa-notes and

Hymn
Chords……………………………………………………………………………
………………55

LESSON 19.Theory of Music, Dictionary of Musical Terms for

Music
Performance………………………………………………………………………
…………..58

ABOUT THE
AUTHOR.........................................................................................

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 LESSON 1

THE ELECTRONIC KEYBOARD

The electronic keyboard is one of various types of musical

instruments. The instrument, keyboard is unique as all other
instruments are tuned from it. The keyboard is one of the groups
of the five orchestra rendition in music. Some instruments under
the keyboard group are piano, organ, electronic keyboard,

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Accordion etc.The piano is similar to the electronic keyboard
through the followings:

- Keyboard has white and black keys, piano also have.

- Piano chords and scales are played on keyboard and vice
versa.
- The keyboard and piano are played with the fingers.

Differences between Piano and Electronic Keyboard

- Thekeyboard has many instrument voices configured in it, i.e.
the voices can be changed, while a Piano may have only one
voice
- The Piano notes are softer than that of the electronickeyboard.
In summary, a keyboardis an electronic musical instrument that
has keys like a Piano and can be made to play in different styles
or to sound like different instruments.
A person, who plays the musical instrument, keyboard, is a
‘keyboardist’ while one who plays the Piano is a ‘Pianist’.Some
Electronic keyboards thathave no in-built sustain effect need a
sustain pedal to sustain the sound of notes and chords. Both
hands are required in playing the Electronic Keyboard and Piano.
N.B –Some keyboard begin with key ‘C’ while others might begin
with Key ‘A’ according to the number of octaves.
The keyboard notes are to be struck softly and not hard like the
organ notes. This Bookletintroduces you as a keyboardist to
theoretical and practical music – practical, only when you apply
the theoretical aspect. Welcome to the world of keyboard, music,
and being a good Pianist.

THE ELECTRONIC KEYBOARD

A LABELLED DIAGRAM OF THE KEYBOARD

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 LESSON 2

INTRODUCTION TO MUSIC – KEYBOARD

“Learning the fundamentals of music makes song writing,
improvising and playing with other instrumentalists and
musicians easier”. You never know where and with whom you’ll
find yourself! Have fun and don’t sweat over the theory if you
don’t need it so badly. But it is necessary for you so as to be a
good Pianist instrumentalist.
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DEFINITION OF RELEVANT TERMS
Sounds are a product of human voice or musical instruments.
Just as wood is a raw material for charcoal, sound is a raw
material for music.
Music Is a product of sounds. It is the art of putting together
sounds to make meaning. Music is pleasant, arranged, rhythmic,
harmonic and soothing to the ear unlike noise. Music sound is
represented by the first seven letters of the alphabet A – G. In
music, these alphabets are called ‘notes’.
A NOTE – Is a sign or symbol used to represent musical; sound.
They include: A, B, C, D, E, F&G (in music these are referred to as
natural notes). Others are A# (‘A’ – sharp), C#, D#, F#, G#.
(These are referred to as accidental noteor derivatives).
In other words, we have seven (7) natural notes and five (5)
accidental notes. Notes can be played together in a group as in
harmony notes and chords or independentlyas in a solo.
Harmony notes consist of two different notes played
simultaneously while chords are a combination of three or more
notes of the same scale played simultaneously. Soloing involves
picking individual notes of a scale in a song or a simple melody.
PITCH Is the degree of highness or lowness of a sounding note.
As you ascend in notes, the higher the pitch and vice versa. To
improve vocals, one should learn how to sing in pitches of
keyboard.
FREQUENCY Is the rate of vibration of the sound – producing
element in a musical instrument, which may be strings – as in
guitars and violins. Pitch and frequency are directly proportional
to the length of the string in a string instrument.
AN INTERVAL Is the distance between two sounds.
A TONEIs the interval between two natural notes following each
other in the series of natural notes with exception of B – C, E – F
(which have a natural semi-tone interval each). The followings
are tones: A – B, C – D, D – E, F – G, G – A.

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A SEMI-TONEOn the other hand, is the smallest difference in
pitch between two notes. On the keyboard, it is the interval
between two successive white and black keys e.g. C – C#, D –
D#, F – F#. A semi-tone is gotten when you move from a white
key to the next black key or from black to white key.
AN OCTAVE Is the interval between the 1stand 13thnote, e.g.
from the solfa note, d – d 1, r – r1, m – m1. Octave numbers are
represented on solfa-notes. d–di–dii–diii, etc.
A MODULATION Is a change of key.
ABRUPT MODULATION Is a change into some distant key.
GRADUAL MODULATION Is a change into some key which is
the nearest and most natural to the one in which the composition
is written.
A PARTIAL MODULATION Is a change of key which is no sooner
made than it returns at one to the original key. E.g. in the song
“Praise is what I do by Hezekiah Walker”.
MELODY Is a succession of single notes or sounds.
HARMONYIs a proper order of two or more sounds heard at the
same time.
A MAJOR SEMITONE Example is going from key C to D flat (Db).
A minor semitone Example is going from key C to C sharp
(C#).Also called chromatic semitone.
A NATUAL NOTE Is represented with the symbol↳ ↰
N.B.
The major key is perfect but the minor is imperfect, insomuch as
italways wants the assistance of a sharp, or natural, as the case
may be, to form its leading note.

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 LESSON 3

MUSIC
Music is an art. It is so because it can be performed through the
medium of sound and silence. Music originated from the Greek
word “Musike” – The art of the muses (daughters of the Greek
mythical god, Zeus). According to research, music is believed to
have been invented in Africa. Music is the combination of organized
sounds that is pleasing to the ears. Music has to agree. Music has to
do with rhythm, melody, dynamism and harmony.
FORMS OF MUSIC
1. Singing (vocal music)
2. Dancing (dance music)
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3. Playing (instrumental music)
KINDS OF MUSIC
1) Folk Music – It includes all kinds of traditional, cultural, country
and native music.
2) Marshal Music – This kind is only practiced outside by brigade
bands or marching squad such as army, police, scout band, etc.
3) Sacred Music – This is the type predominantly used in church
settings, such as gospel hymns and anthems etc.
4) Incidental Music – This kind includes movie soundtracks,
background music for plays stage acts, talks, preaching etc.
5) Classical Music – This requires intensive concentration. It
involves sight reading of staff.
CHARACTERISTICS OF SOUND
1) Pitch – This is the degree of highness or lowness of a sound.
2) Intensity – This is the degree of loudness or softness of a sound.
3) Quality – This is the difference between the human voice and
that of an instrument. It also helps to tell how good or bad a
sound is. The quality, e.g. m (minor).
4) Dynamics – This tells about the basic principles to follow in a
musical piece.
5) Duration –This is a succession of sounds e.g. d, r, m, f, s, l, t, d.
6) Harmony – This is a combination of two (2) ormore notes.

LESSON 4

IMPORTANT USE OF MINOR AND DIMINISHED CHORDS

Diatonic chords should contain only notes from the key - using
the minor chords and diminished chords help us achieve this. The
most common use of minor chords is in the playing the ‘ray’ ‘me’
and ‘la’ chords of the diatonic scale. The ‘te’ chord is played as a
diminished chord.

CHORD-DIATONIC SCALE EXERCISE

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Play through the diatonic scale of key ‘C’ using chords only, until
you can comfortably and neatly play through without looking at
your keyboard. Remember to play ‘ray’, ‘me’ and ‘la’ as minor
chords and the diminished ‘te’ chord.

Chord-diatonic major scale in Key C

C Dm Em F G Am Bdim C

d r m f s l t d

LESSON 5

COUNTING BEATS

Counting beats is an extremely important element in music

which complements timing in music. I say, it’s what you need to
make sound orderly as a keyboardist. A beat is that property of
music that further differentiates it from noise. Each noteor chord
sounded in music has a duration or time span during which it is
prescribed to ring by the author of that piece.
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 Counting beats ensures that the notes being played or sung are
kept within the range of time prescribed for them.

Some ways in which beats are counted and kept

1. Swaying movements during play

2. Tapping of feet
3. Clapping of hands while singing
4. Snapping of fingers
5. Nodding the head
6. Electronically-using a metronome

Some common examples of beats you might have been

neglecting in your life before now include:

- Your heart beat

- Beat pattern of the footsteps of a person
- The beat of an applause
- The beat produced by rain drops on the roof
- Droplets of water falling into the sink.
- The ticking of the clock hanging in your lounge
- The human pulse, etc.

Now you know why music moves the world?

I recommend swaying movements, nodding and tapping of feet

when playing an instrument as your hands will for the most part
be in use. In a full band, the drummer has the task of keeping the
beat/count at a constant tempo. The TEMPO of a song is the
speed or pace of that song. Music directors, band instructors or
choir coordinators usually moderate the beat and tempo of songs
by dictating through bodily movements (usually using the
hands). Instrumentalists would be required to raise their heads
for brief seconds to receive instructions. You’ll get there! In a

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 matter of time, you’ll be playing without looking more on your
keyboard keys.

I find clapping to be most convenient for measuring the

timing/duration of notes. Each clap is half beat and the time
between the first clap and the next clap is another half beat (i.e.
provided the tempo remainsconstants). To be more precise, let’s
use the right hand to illustrate.

- Original position =» both hands apart.

- Time taken for right hand to reach left hand =» half count.
- Time taken to return to original position =» half count.
- Count together =» 1
- The total timetaken =» one full count.
- N.B – There are the primary, secondary and tertiary beats.

LESSON 6

THE THEORY OF CHORD INVERSION

Chord inversion deals with the order of arrangement of notes

within the different types of chord. The order of notes in a chord
is called its Chord Voicing.Different voicing of the same chord
have slightly different sounds.

The process of changing a chord voicing in music is called

inversion. To invert means to turn the process other way

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 around. An inverted chord is any chord which does not start with
its root note.

A possible inversion for the chord of C major (which contains the

sequence of notes “C,E,G” or “1,3,5” – being the root position)
would be “E,G,C,” or “3,5,1”. The second inversion would be
“G,C,E”.

That is,

ROOT POSITION: 1,3,5 i.e. C,E,G – d ms

1st INVERSION: 3,5,1 i.e. E,G,C – msd1

2nd INVERSION: 5,1,3 i.e. G,C,E – sd1m1

With the knowledge of inversions, you will be able to play at least

three versions of all triads. Four-note chords have dup to a third
inversion. The change in order of notes in an inverted chord
causes the chord to sound a bit different because of the
exchange of relative pitches between the notes of the chord.

With the inclusion of chord inversion, the number of chords that

could be played on the keys of the electronic keyboard would run
into nearly a thousand.Tetrads (four-note chords), pentads (five-
note chord), Hexads (six-note chord), Heptads (seven-note
chord).

NOTES & SCALE POSITION USING KEY C

Scale 1st 2nd 3rd 4th 5th 6th 7th 8th
positio
n
Note C D E F G A B C
name
Solfa Doh Ray Me Fa Soh La Te Doh1
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Name
Technic Toni Supe Media Sub Domina Sub Leadin Octav
al c r nt domina nt media g Note e
Name tonic nt n

LESSON 7
SCALES
A scale is a set of musical notes ordered by fundamental
frequency or pitch. The Latin word for scale is leuder. The word
scale is derived from the Italian word “scala”,meaning “ladder”.
Scale since they contain notes – can be run (i.e. played through)

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 either using single notes, harmony notes or chords. In music, a
scale is way of climbing from one note to the same note an
octave higher e.g. d, r, m, f, s, l,t, d. i.e.C D E F G A BC (using key
C).Before we go into scales I’ll like you tounderstand accidentals.
Accidentals are signs used to alter a note. It refers to a sudden
shift in a musical note, either forward (as in a sharp–#) or
backward (as in a flat – b). There are five types of accidentals.
1) Sharp#: This is used to raise a note by a semi-tone.
2) Flat (Ь): This is used to lower a note by a semitone.
3) Double-sharp (#). It is used to raise a note by a tone.
N.B: Semi-tone +semi-tone= tone.
4) Double-flat (ЬЬ): It is used to lower a note by a tone.
5) Natural ( ): It is used to restore a note to its original state.
N.B.A tone is the distance between one note and another with a
note in-between the two e.g. C-D (where C# is in-betweenthem).
- A semitone is the distance between one note and another with no
note in-between e.g. C-C#, D-D# etc.
- The two natural semitones are E-F, & B-C i.e. 3 rd& 4th, 7th& 8th
degree notes on the diatonic scale of key C major.

There are various types of Piano scales. We’ll look at the scales,
their note names and solfa notes which they are comprised of,
taking key “C” as our key of reference.

PIANOBCSCALES
EF (ON KEYC ENHARMONICS)

1) Pentatonic Blues

C, Eb, F, F#, G, A#, C – d, re, f, fe, s, taw, d 1.

2) Melodic Minor
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 C, D, Eb, F, G, A, B, C, - d, r, re, f, s, l, t, d 1.

3) Pentatonic Major

C, D, E, G, A, C, - d, r, m, s, l, d1.

4) Pentatonic Neutral

C, D, E, G, A#, C – d, r, m, s, le, d1.

5) Harmonic Minor

C, D, Eb, F, G, G#, B, C – d, r, re, f, s, se, t, d 1.

6) Minor Scale

C, D, Eb, F, G, A, B, C – d, r, re, f, s, l, t, d 1.

7) Ionian

C, D, E, F, G, A, B, C – d, r, m, f, s, l, t, d 1.

8) Aeolian

C, D#, F, F#, G#, A#, B, C#, E – d, re, f, fe, se, taw, t, de 1,

m1.

9) Dorian

C, D, Eb, F, G, A, A#, C – d, r, re, f, s, Le, t, d 1.

10) Mixolydian

C, D, E, G, A, A#, C – d, r, m, f, s, le, d1.

11) Phrygian

C, C#, Eb, F, G, G#, A#, C – d, de, re, f, se, le, d 1.

12) Lydian

C, D, E, F#, G, A, B, C – d, r, m, fe, s, l, t, d 1.

13) Locrian
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 C, C#, Eb, F, F#, G#, A#, C – d, de, re, f, fe, se, le, d 1.

14) Super Locrian

C, C#, Eb, E, F#, G#, A#, C – d, de, re, m, fe, se, le, d 1.

15) Major Locrian

C, D, E, F, F#, G#, A#, C – d, r, me, f, fe, se, le, d 1.

16) Dim Half

C, C#, Eb, E, F#, G, A, A#, C – d, de, re, m, fe, s, l, le, d 1.

17) DimWhole

C, D, Eb, F, F#, G#, A, B, C – d, r, re, f, fe, se, l, t, d 1.

18) Whole

C, D, E, F#, G#, A#, C – d, r, m, fe, se, le, d 1.

19) Augmented

C, Eb, E, G, G#, B, C – d, m, s, se, t, d1.

20) Chromatic

C, C#, D, Eb, E, F, F#, G, G#, A, A#, B, C – d, de, r, re, m, f,

fe, s, se, l, le, t, d1.

21) Spanish Gypsy

C, C#, E, F, G, G#, A#, C – d, de, m, f, s, se, le, d 1.

22) Blues

C, Eb, F, F#, G, A#, C – d, re, f, fe, s, le, d 1.

23) Diatonic

C, D, E, G, A, C – d, r, m, s, l, d1.

24) Double Harmonic

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 C, C#, E, F, G, G#, B, C – d, de, m, f, s, se, t, d 1.

25) 8 – Tone Spanish

C, C#, E, F, G, G#, B, C – d, de, m, f, s, se, t, d 1.

26) Enligmatic

C, C#, E, F#, G#, A, A#, B, C – d, de, m, fe, se, le, t, d 1.

27) Leading Whole Tone

C, D, E, F#, G#, A, A#,C – d, r, m, fe, se, l, le, d 1.

28) Lydian Augmented

C, D, E, F#, G#, A, B, C – d, r, m, fe, se, l, t, d 1.

29) Neopolitan Major

C, C#, Eb, F, G, A, B, C – d, de, re, f, s, l, t, d 1.

30) Neopolitan Minor

C, C#, Eb, F, G, G#, A#, C – d, de, re, f, s, se, le, d 1.

31) Pelog

C, C#, E#, F#, A#, B, C – d, de, re, fe, le, le, t, d 1.

32) Prometheus Neopolitan

C, C#, E, F#, A, A#, C – d, de, m, fe, l, le, d 1.

33) Prometheus

C, D, E, F#, A, A#, C – d, de, m, fe, l, le, d 1.

34) 6 – Tone Symmetrical

C, C#, E, F, G#, A, C – d, de, m, f, se, l, d 1.

35) Lydian Minor

C, D, E, F#, G, G#, C – d, r, m, fe, s, se, le, d 1.

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36) Lydian Diminished

C, D, Eb, F#, G, G#, A#, C – d, r, re, fe, s se, le, d 1.

37) 9 – Tone Scale

C, D, Eb, E, F#, G, G#, A, B, C – d, r, re, m, fe, s, se, l, t, d 1.

38) Auxiliary Diminished

C, D, Eb, F, F#, G#, A, B, C – d, r, re, f, fe, se, l, t, d 1.

39) Auxiliary Augmented

C, D, E, F#, G#, A#, C – d, r, m, fe, se, le, d 1.

40) Auxiliary Diminished Blues

C, C#, Eb, E, F#, G, A, A#, C – d, de, re, m, fe, s, l, le, d 1.

41) Overtone

C, D, E, F#, G, A, A#, C – d, r, m, fe, s, l, le, d 1.

42) Diminished Whole Tone

C, C#, EЬ, E, F#, G#, A#, C – d, de, re, m, fe, Se, le, d 1.

43) Pure Minor

C, D, EЬ, F, G, G#, A#, C – d, r, re, f, s, se, le, d 1.

44) Dominant 7th

C, D, F, G, A, A#, C – d, r, f, s, l, le, d1.

IMPORTANT EXORTIC SCALES

(1) Arabic

C, D, E, F, F#,G#, A#, C – d, r, m, f, fe, se, le, d 1.

(2) Chinese
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 It is used in Chinese music.

C, E, F#, G, B, C – d, m, fe, s, t, d1.

(3) Hungarian

It’s compatible with the harmonic minor and is often used in

Indian classic music and Hungarian music.

C, D, E, F#, G, G#, B, C - d, r, m,fe, s, se, t, d.

(4) Japanese

It’s used in Japanese music. Also called “Insen” scale. The

scales are built like a pentatonic scale with five (5) notes.

C, C#, F, G, A#, C - d, de, f, s, le (taw), d 1.

(5) Romanian Minor

It brings beautiful melancholic sounds of the Romanian folk

music with a touch of gypsy.

C D EЬ F#, G, A, A#, C d, r, re, fe,s, l, le, d 1.

(6) Spanish Gypsy

It is a common name for the Phrygian dominant scale. The

tone in this scale is also the same as in the harmonic minor
scale.

C, C#, E, F, G, G#, A#, C d, de, m, f,s, se, le, d 1.

(7) Maqams

The maqams can be called scales or modes and are common in

music from middle tast. One of the things that distinguish a
maqam from a scale is that a maqam sometimes are quarter
tones (a pitch between two semi-tones e.g. a tone between F#&
G).

C, C#, E, F, G, G#, B, C - d, de, m, f, s, se, t, d 1.

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 N.B. Same for key D.

(AscendingOrder)
-d de r re m f fe s se l le t d (Λ
raw maw law taw
(DescendingOrder)

LESSON 8

CHORDS

There are various types of chords. All put together both in their
1st and 2nd inversions can amount up to a thousand or more. Let’s
go to thearchive of chords. Chord inversions increase with the
number of notes in that chord.

1) Major

C E Gd m s

2) Minor

C EЬ G d maw s
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3) 5 – Chord

CGd s

4) Dominant 7TH

C EG A# d m sle (taw)

5) Minor 7TH

C E G Bd m s t

6) Minor 7TH

C EЬ G A#d maw s le

7) Minor Major 7TH

C EЬ G B d maw s t

8) Sus 4

CF Gd f s

9) Sus 2

CD Gdr s

10) 6 -Chord

C E GAd m s l

11)Minor 6

CEb GAd maw s l

12)9 - Chord

C E G A# Dd m s le (taw) r1

13)Major 9

C E GB Dd m s t r1
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14)Minor 9

C E G A# Dd maw s le r1.

15)Minor Major 9

C EЬ G B Dd maw s tr1

16)11 – Chord

C E G A#DFd m s le r1 f1

17)Major 9#

C E G B D Fd m s t r1 f1

18)Minor9#

CEЬ G A# D Fdmaw s t r1 f1

19)Minor Major 9#

C EЬ G B D Fd maw s t r1 f1

20)13 – Chord

C E G A# D A d m s le r1 l1

21)Major 13

C E GB D Ad m s t r1 l1.

22)Minor 13

CEЬGA# D A dmaw s le r1 l1.

23)Minor Major 13

CEЬ GA B D A d maw s t r1 l1.

24)add 9

C E G Dd m s r

25)Minor add 9
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C Eb G D d maw s r1 (d r maw s)

26)6 add 9

C E G A Dd m s l r1 (d r m s l)

27)Minor 7THadd 9

C, Eb G A D d maw s l r1 (d r maw s l)

28)Dominant 7THadd 11

C E G A# Fd ms lef1(d m f s le)

29)Major 7THadd 11

C E GB F d m s t f1 (d m f s t)

30)Minor 7TH add11#

C EЬ G A# Fd maw s le f1 (d maw f s le)

31)Minor Major 7TH11#

C EЬ G B F d m s t f1 (d maw f s t)

32)Diminished 6TH

C EЬA d mawl

33)Augmented

C E G#d m se (law)

34)Diminished Chord

C EЬF# d mawfe

35)Dominant 7THadd 13

C E G A# Ad m s le l

36)Major 7THadd 13

CEGBA dmstl
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37)Minor 7TH add 13

C EЬG A#Ad maw s le l (d maw s l le)

38)Minor Major 7TH add 13

C EЬ G B Ad maw s t l

39)7Ь5 Chord

C EF#A#d m fe le

40)7#5 Chord

C E G#A# d m se le

41)7Ь9 Chord

C EG A#Dbd m s le raw/de

42)7#9 Chord
C E G# A# D#d m se lere/maw

43)7#5Ь9 Chord
C E G#A#Db d m se leraw/de

44)m7Ь5 Chord
C EGbA#d mawfe le

45)m7#5 Chord
C Eb G# A#d maw se le/taw

46)m7Ь9 Chord
C, Eb, G, A#, Db, d maw s le raw/de

47)9#11 Chord
C, E, G, A#, D, F#, d m s le r1fe1(d r m fe s le)

48)9Ь13 Chord
C, E, G, A#, D, Ab, d m s le law/se1(d r m s se le)
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49)6 Sus 4 Chord
C, F, G, A dfsl

50)7 Sus 4 Chord

C, F, G, A# d f s le

51)Major 7thSus 4
C, F, G, B d f s t.

52)Sus 4 Chord
C, F, G, A#, D d f s le r1

53)Major 9 Sus 4
C, F, G, B, D d f s t r1

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 TABLE 1: CHORDS IN SIMPLIFIED FORM

Types of Symb Note CHORD IN SOLFA – NOTATION

chord ol combin Doh Ray Me Fa Soh la te
e
Major Maj R,3,5 d.m.s. r.f.l m.s.t f.l.d. s.t.r l.d.m t.r.f
Minor M R,Ь3,5 d.maw. ” m fe t f law d s taw r ” t raw f
s
Diminish dim R, Ь3, Ь5 d maw r f law m fe f law t s taw l t ”
ed fe taw de maw
Major 7TH Maj7 R,3,5,7 dmst rfld mstr Fldm strf ldms trfl
7TH 7 R,3,5, Ь7 d m s ” m s t f l d ” l d m t r f
taw de maw fe law
Minor m7 R, Ь3,5, d maw s ” m fe t f law d s taw r ” t raw f
taw maw
7TH Ь7 raw f law
6TH 6 R,3,5,6 dmsl rflt m s t fldr strm ldmf trfs
d
Minor 6TH m6 R, Ь3,5,6 d maw ” m fe t f law d s taw r ” t raw f
sl d r m s
7TH Sharp- 7#9#1 R,3, d m taw rfdm m s de F l s t f l d fe t r law
9 Sharp 1 Ь7,#9,# re fe se fe taw maw taw de tr de m
11 11 se t
Minor 7TH m7Ь5 R, Ь3, d maw r m fe f law s taw l d t
Flat-5 Ь5, Ь7 fe taw flawd1 taw d maw
1 raw1f1 maw rawfla
de1 1
fe w
Major 9 TH
Maj9 R,3,5,7,9 d m s t r f l d mstr f l d m strfl ldms trfld
r m f s t

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29 | P a g e
Note: In ascending and descending orderde⇌ raw, re ⇌ maw, se
⇌ law, le ⇌ taw

WHO USES THESE CHORDS?

 Major and Minor chords =» everyone (when youneed a less

complicated or simple feel)
 Major 7TH chords =» Mostly Pop, Jazz and Rock Ballads.
 7THChords =» Blues
 Minor major 7TH chords =» Jazz
 Minor 7TH Chords =» Pop, Rock + Blues

It is impossible to exhaust knowledge of all the chords there are

in music at a blow. But an intent study of these chords in their
simplified form will get you off for a good start (see table 1).

Exercise

1) Play all the chord types on all the keys (A, B, C, D, E, F, G, A#,
C#, D#, F#, G#).
2) Do not bulk yourself with knowing all the scales for now but
learn the most used scales used in this dispensation such as
Pentatonic Blues, Melodic minor, Pentatonic major, Harmonic
minor, Minor, Ionian, Aeolian, Dorian, Mixolydian, Phrygian,
Lydian, Locrian, Blues, Augmented, chromatic, overtone, Major
Locrian, Spanish gypsy, Prometheus, and pureMinor.
3) Learn the scales one by one and master their names and notes
off by heart.
4) Know howto run all the 20 suggested scales in all the keys for
a start.

Harmony Notes

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Harmony is formed when two or more notesare sounded together
at the same time and in proper order. They consist of only two
notes.

Table 2: Table 3: Table 4:

High and Low Alto Tenor

Solfa Octave Solfa 3rd Solfa 5TH
note Note note
Doh doh1 Doh Me Doh Soh
ray ray1 Ray Fa Ray La
Me me1 me Soh me Te
Fa fa1 Fa la Fa Doh1
Soh soh1 Soh Te Soh Ray1
la la1 la Doh1 la Me1
Te te1 Te ray 1 Te Fa1

The Alto can be inverted to be:

3RD Note Root

note
me doh
Fa ray
Soh me
la Fa
Te soh
doh la
ray Te

These harmony notes are mostly used in soloing or adding

glamour to a music play.

NOTE:The notes represent the solfa note of that harmony note.

e.g. doh =» m d (d m) for Alto or doh =» d s (s d) for tenor etc.

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 LESSON 9

CADENCES

A cadence is a progression of chords designed to give a

meaningful end to music. A cadence defines the completion of a
musical sentence in relation to a starting tonality.

1. The Perfect Cadence

This gives from the dominant chord (soh) to the tonic (doh). It is
also called the “full close” because it has a feeling of finality.

2.The Imperfect Cadence (Half Close)

This moves from any chord to the dominant chord e.g. taw-soh,
doh – soh. Commonly used preceding chords including the tonic,
supertonic ,sub-dominant and sub-mediant.

3. The PlagalCadence

This moves from the sub-dominant (fa) to the Tonic (“doh”). It’s
sometimes called “A-men”cadence. It’s what the organist plays
at the end of the hymn while singing“aaaa-men” in church during
services.

4. The Interrupted or Surprise Cadence

This moves from dominant (soh) to sub-mediant(La)

32 | P a g e
 LESSON 10
SUSTAIN CHORDS
Sus 4(1, 4, 5) Maj 7thSus 4(1, 4, 5, 7)
doh =» d f s doh=» d f s t
ray =» r s l ray=» r s l d
me =» m l t me=» m l t r
fa =» f t d fah=» f t d m
soh =» s d r soh=» s d r f
La =» l r m lah=» l r m s
te =» t m f te=» t m f l

6 Sus 4 Sus 2(1, 2, 5)

doh=»d f s l doh=»d r s
ray=»r s l t ray=»r m l
me=»m l t d me=»m f t
fah=» f t d r fa=»f s d
soh=» s d r m soh=»s l r
lah=» l r m f lah=»l t m
te=» t m f s te=»t d f

Exercise
1) Play allthe sustain chords in other different root notes (i.e. d r
m f s l t).
2) Play the whole chords using all the keys.
Note: These sustain chords are used/played before holding the
root note chord.
E.g. to play the major or triad of chord, “doh” which is d m s
ormsd or s d m, you play its sustain chord “d f s” for triad chord.
Also the Major 7thSus 4 and Sus 4 chords are used when you want
to hold the Major 7th or 6 chord of the root note e.g. Major 7 th

33 | P a g e
chord of tonic solfa “doh” is “d m s t”. Therefore, you first play its
major 7thSus 4 chord which is d f s t before holding its Major 7 th
chord and so on.

LESSON 11

ARPEGGIO OR BROKEN CHORDS

As earlier established, chords are made up of three or more

notes. A chord tobe played in arpeggio pattern requires that the
notes of the chord be played distinctly but following each other.

On the left hand

The arpeggio pattern are easily played using the 5, 3, 2, 1 fingers

on each note.

On the right hand

34 | P a g e
 The arpeggiopatterns are easily played using the 1, 2, 3, & 5
fingers on each note.

e.g.

d – d m s d1

r – r f l r1

m – m s t m1

f – f l d f1

s – s t r s1

l – l d 1 m1 l 1

t – t r 1 f 1 t1

Note:

- The Arpeggio pattern can be applied in all kind of chords making

the root note to also be the last note on its octave as seen from
the example above in the major chords.
- Arpeggio pattern is used to produce a feel of harmony inmusic
piece. It is used to embellish songs.

EXERCISE

1) Play the arpeggio pattern of the chords in simplified form in

table.
2) Play the arpeggio pattern and master them in all the keys –
step by step.
3) Produce a certain pattern to follow in the notes and beats. E.g.
d m s m d1d m s m d (I count in 4/4 beat).

Note: Arpeggio pattern can also be played in triad e.g. d m s.

“Practice makes perfection!”

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 LESSON 12

CHROMATIC SCALE

This is the only scale which contains all the twelve musical notes
arranged in a series. The twelve notes rise and fall in semitones;
it could start at any particular note and end at same.

Chromatic scale of the twelve keys (in ascending order)

A A# B C C# D D# E F F# G G# A

A# B C C# D D# E F F# G G# A A#

B C C# D D# E F F# G G# A A# B

C C# D D# E F F# G G# A A# B C

C# D D# E F F# G G# A A# B C C#

D D# E F F# G G# A A# B C C# D

D# E F F# G G# A A# B C C# D D#

E F F# G G# A A# B C C# D D# E

F F# G G# A A# B C C# D D# E F

G G# A A# B C C# D D# E F F# G

G# A A# B C C# D D# E F F# F F#

Note: In ascending order, the sharps become flats of the next

key. E.g. G# becomes AЬ.

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 SCALE POSITIONS, CHROMATIC SOLFA & NOTE NAMES

Table

ON KEY D
Note Name D D E F F G G A A B C C D
# # # # #
SCALEPOSITI 1st 2nd 3rd 4th 5th 6t 7th 8th 9th 10t 11t 12t 13th
ON h h h h

SOLFA do de ra re m fa fe so se la le Te Do
h y e h h1
ALTERNATIVE - ra - ma - - - - la - Ta - -
SOLFA w w w w

FINGERING TECHNIQUE

The easy fingers to be used in chromatic scales amongst others

are 1, 2, & 3 i.e. thumb, index and middle fingers for both left
and right hands.

The thumb(1) – for all white keys except E & B.

Index finger(2) – for all keys E & B.

Middle finger (3) – for all black keys.

Example on key D

1 3 2 1 3 1 3 1 3 2 1 3 1

D D# E F F# G G# A A# B C C# D

d de r re m f fe s se l le t d

(Ascending order)

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 LESSON 13

HABITS TO DEVELOP

1) Be a disciplined instrumentalist especially in character, as on

or off the stage, you remain under supervision of others.
2) Pray always and before going to playanywhere in church,
stage etc.
3) Train yourself to practice for both long and short periods of
time; as continuous practice makes perfection.
4) Use the right fingers on the keyboard notes. Learn to seat
“yourself there” until you get it right. Don’t give up easily!
5) Be humble and meek. Use every opportunity you have to
learn or play something new.
6) Let your first consciousnessnot be on money but“but impact”.
Be willing to share your knowledge even if it’s at a fair price.
The more you give, the more you get and vice versa.
7) Learn how to sing the solfa – notes of songsoff by heart.
8) Develop a music ear by pairing up with those you know has
more knowledge in music than you do – in listening to songs
and scoring chord progressions.
9) Broaden your knowledge in music by listening to a wide range
of song piece done by professionals in tapes and CDs (Note:
Gospel music only).

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 LESSON 14

MUSIC, LUCIFER & GOD

(Ezekiel 28: 11-15)

The author and owner of music is God. The fall of Lucifer started
with pride (Isaiah 14: 12-15). After the fall of Lucifer, man took
the place of worshipping God – 1Cor 3: 16, Eccl. 12: 13.

The three phases of music

1) Theoretical: This deals with the theory and art of music

where all written music terms are known and learnt in sight-
reading Musice.g.
 Pitch: Degree of highness or lowness of a sounding note.
 Tone: Interval between two natural notes following each other
with exception of B – C, E – F.
 Semitone: Interval between two successive white and black
keys.
 Octave: Intervalbetween 1st and 13th note. (See dictionary of
Music Terms).
2) Practical: This is the application of the theory of music and all
knowledge acquired in music. It deals with exhibition of skills
and music stamina. Simply, it is putting to performance what
you have or know in music.

39 | P a g e
3) Spiritual: As a Gospel music minister or instrumentalist, you
must not forget the spiritual aspect of music. You must learn
to pray and live“holy”, presenting yourself a living sacrifice,
holy and acceptable unto God, Rom 12: 1. For me, being with
the calling of an Apostle, as a music minister I pray everyday
not less than 4 hours. And in each of my playing of keyboard
or Bass Guitar I get inspirations from the Holy Spirit.My
spiritual ear was opened on a morning, 2011, when I heard the
angelic voice of heaven singing “You are alpha and omega” on
a high frequency beyond the human hearing. After I heard it I
was deaf in one of my ears for 3 days; as Saul went blind when
he saw the light of Jesus on his way to Damascus (Acts 9: 1-9).
While I slept on a morning, years back, an angel came to play
Bass Guitar for me to see and I was filled with the sweet
obeisance of the aura of God. Don’t be casual in playing the
keyboard, be spiritual. Build up a strong spiritual alter as
music is beyond the physical. Develop stature in God’s
presence. I feel the Holy Spirit moving around me and also the
auditorium of play.In playing any musical instrument increase
your spiritual stature.

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 LESSON 15

FINGERING TECHNIQUES OF MAJOR, PURE, MINOR AND

BLUES SCALE

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1) MAJOR SCALE
 Key A Major

Note names Solfa Notes

A, B, C#, E, F#, G#, A =› d r m f s l t d

L.H – 3 2 1 4 3 2 1 3

R.H – 4 1 2 3 1 2 3 4

 Key A#/BЬ
A#, C, D, D#, F, G, A, A# =› d r m t s l t d
L.H– 3 2 1 4 3 2 1 3
R.H – 4 1 2 3 1 2 3 4
 Key B Major

B, C#, D#, E, FH,G#, A#, B =› d r m f s l t d

L.H – 4 3 2 1 4 3 2 1

R.H – 1 2 3 1 2 3 4 5

 Key C Major

C, D, E, F, G, B, C =› d r m f s l t d

L.H – 5 4 3 2 1 3 2 1

R.H – 1 2 3 1 2 3 4 5

 Key C#/DЬ
C#, D#, F, F#, G#, A#, C, C# =› d r m t s l t d
L.H – 3 2 1 4 3 2 1 3
R.H – 2 3 1 2 3 4 1 2

42 | P a g e
 Key D Major

D, E F#, G, A, B, C#, D =› d r m f s l t d

L.H – 5 4 3 2 13 2 1

R.H – 1 2 3 1 2 3 4 5

 KeyD#/EЬ

D#, F, G#, A#, C, D, D#, =› d r m f s l t d

L.H – 3 2 1 4 3 2 1 3

R.H – 3 1 2 3 4 1 2 3

 Key E Major

E, F#, G#, A, B, C#, D#, E=› d r m f s l t d

L.H – 5 4 3 2 1 3 2 1

R.H – 1 2 3 1 2 3 4 5

 Key F Major

F, G, A, A# C, D, E, F =› d r m f s l t d

L.H – 5 4 3 2 1 3 2 1

R.H – 1 2 3 4 1 2 3 4

 Key F#/Gb

F#, G#, A#,B, C#, D#, F, F#, =› d r m f s l t d

L.H – 4 3 2 1 3 2 14

R.H – 2 3 4 1 2 3 1 2

 Key G Major

G, A, B, C, D, E, F#, G =› d r m f s l t d

L.H – 5 4 3 2 1 3 2 1
43 | P a g e
 R.H – 1 2 3 1 2 3 4 5

 Key G#/Ab

G#, A# C, C#,D#, F, G, G#, =› d r m f s l t d

L.H – 3 2 1 4 3 2 1 3

R.H – 3 4 1 2 3 1 2 3

Interval: 1 2 3 4 5 6 7 8

Formula: T – T – S –T– T – T –S

S = Semitone, T = Tone

2) PURE MINOR SCALE

 Key A Minor

Note Names Solfa Notes

A, B, C, D, E, F, G, A =› d r re f s se le d

L.H – 5 4 3 2 1 3 2 1

R.H – 1 2 3 1 2 3 4 5

 Key A#/BbMinor

A#, C, C#, D#, F,F#, G#, A#, =› d r re f s se le d

L.H – 5 4 3 2 1 3 2 1

R.H – 1 2 3 4 1 2 3 4

 Key B Minor

B, C#, D, E, F#, G, A, B =› d r re f s se led

L.H – 1 3 2 1 4 3 2 1

R.H – 1 2 3 1 2 3 4 5

44 | P a g e
 Key C Minor

C, D, D#, F, G, G#, A#, C=› d r re f s se le d

L.H – 5 4 3 2 1 3 2 1

R.H – 1 2 3 1 2 3 45

 Key C#/Db Minor

C#, D#, E, F#, G#, A, B, C# =› d r re f s se le d

L.H – 3 2 1 4 3 2 13

R.H – 1 2 3 1 2 3 4 5

 Key D Minor

D, E, F, G, A, A#, C, D, =› d r re f s se le d

L.H – 5 4 3 2 1 3 2 1

R.H – 1 2 3 1 2 3 4 5

 Key D#/Eb Minor

E, F#, G, A, B, C, D, E =› d r re f s se le d

L.H – 5 4 3 2 1 3 2 1

R.H – 1 2 3 1 2 3 4 5

 Key F Minor

F, G, G#, A#, C, C#, D#, F =› d r re f s se le d

L.H – 5 4 3 2 1 3 2 1

R.H – 1 2 3 4 1 23 4

 Key F#/Gb

F#, G#, A, B, C#, D, E, F# =› d r re f s se le d

L.H – 4 3 2 1 3 2 14
45 | P a g e
 R.H – 2 3 1 2 3 4 1 2

 Key G Minor

G, A, A#, C, D, D#, F, G =› d r re f s se le d

L.H – 5 4 3 2 1 3 2 1

R.H – 1 2 3 1 2 3 4 5

 Key G#/Ab Minor

G#, A#, B, C#, D#, EF#, G#=› d r re f s se le d

L.H – 3 2 1 3 2 1 4 3

R.H – 3 41 231 2 3

Interval: 1, 2, 3b, 4, 5, 6b, 7b

Formula: T – S – T – T – S – T – T

3) BLUES SCALE
Note Names Solfa Notes
 Key A Major

A, C, D, D#, E, G, A =› d re f fe s le d

R.H – 1 2 3 4 1 2 1

 Key A#/Bb

A#, C#, D#, E, F, G#, A# =› d re f fe s le d

R.H – 1 2 3 1 2 3 1

 Key B Major

B, D, E, F, F#, A, B =› d re f fe s le d

R.H – 1 2 3 1 2 3 1

 Key C Major

46 | P a g e
 C, D#, F, F#, G, A#, C =› d re f fe s le d

R.H – 1 2 3 4 12 1

 Key C#/Db

C#, E, F#, G, G#, B,C# =› d re f fe s le d

R.H – 2 1 2 3 41 2

 Key D Major

D, F, G, G#, A, C, D =› d re f fe s le d

R.H – 1 2 3 41 2 1

 Key D#/Eb
D#, F#, G#, A, A#D# =› d re f fe s le d
R.H – 1 2 3 1 2 3 1

 Key E Major
E, G, A, A#, B, D, E =› d re f fe s le d
R.H – 1 2 3 412 1

 Key F Major
F, G#, A#, B, C D#, F =› d re f fe s le d
R.H – 1 2 3 123 1

 Key F#/Gb
F#, A, B, C, C#, E, F# =› d re f fe s le d
R.H – 2 1 2 3 412

 Key G Major

G, A#, C, C#, D, F, G =› d re f fe s le d

R.H – 1 2 3 4 1 2 1
47 | P a g e
 Key G#/Ab

G#, B, C#, D, D#, F#, G# =› d re f fe s le d

R.H – 1 2 3 1 2 3 1

Interval: 1, 3b, 4, 5b, 5, 7b, 8

What about the left hand?

Well, you are probably not going to be playing a blues scale with
the left hand too often. Usually, the left hand is either playing
chords or a walking bass line and the bass line would not use a
blues scale.

A typical bass line for blues in the key of C is

C E G A A# A G E

i.e. d m s l taw l s m

A SUMMARY OF FINGER TECHNIQUES ON MAJOR, PURE

MINOR AND BLUES SCALE

1) MAJOR SCALE

Key C, D, E, G & A Major

L.H —› 5 43 2 1 3 2 1

R.H —›1 2 3 1 2 3 4 5

Solfa notes:d r m f s l t d

Key C#, D#, G# &A#

L.H —› 3 2 1 4 3 2 1 3

Solfa notes:d r m f s l t d

R.H TECHNIQUE

48 | P a g e
 KEY C#/Db—2 3 1 2 3 4 1 2

KEY D#/Eb— 3 1 2 3 4 1 2 3

KEY G#/Ab —3 4 1 2 3 1 2 3

KEY A#/Bb— 4 1 2 3 1 2 3 4

KEY F MAJOR

It has the same L.H technique with C major i.e. 5 4 3 2 1 3 2

1

R.H =› 1 2 3 4 1 2 3 4

Solfa note: d r m f s l t d

KEYF#

L.H =› 4 3 2 1 3 2 1 4

R.H =› 2 3 4 1 2 3 1 2

Solfa notes: d r m f s l t d

KEY B MAJOR

It has the same right hand (R.H) technique with key C Major i.e. 1
2 3 1 2 3 4 5.

L.H =› 4 3 2 1 4 3 2 1

2) PURE MINOR SCALE

(Solfa notes -› d r re f s se le d)

 KEY C, D, E, G & A MINOR

49 | P a g e
L.H — 5 4 3 2 1 3 2 1

R.H— 1 2 3 1 2 345

KEY C# MINOR

L.H — 3 2 1 43 2 1 3

R.H — 3 4 1 2 3 1 2 3

KEY D# MINOR
L.H — 2 1 4 3 2 1 3 4

R.H — 3 1 2 3 41 2 3

KEY F MINOR
It has its L.H. technique the same with Key F Major

KEY F# MINOR
L.H — 4 3 2 1 3 2 1 4

R.H — 2 3 4 1 2 3 1 2

N.B: Ithas the same with F# Major scale finger techniques

KEYG# MINOR
L.H — 3 2 1 3 2 1 4 3

R.H — 3 4 1 2 3 1 2 3

KEYA# MINOR
L.H — 5 4 3 2 1 32 1 (the same with C minor)

R.H — 14 3 412 3 4

KEY B MINOR
It has the same Right Hand (R.H) technique with C minor i.e. 1
2 3 1 2 3 4 5

L.H – 1 3 2 1 4 3 2 1

50 | P a g e
3) BLUES SCALE

(Solfa notes: d re f fe s le d)⇌ d taw s fe f maw d

R.H. Keys applied
1 2 3 4 1 2 1 =» Key C, D, E, G & A major
1 2 3 1 2 3 1 =»Key D#, F, G#, A# & B major
2 1 2 3 4 1 2 =»Key C# & F#.
NB: re ⇌ maw se ⇌ law
le⇌ taw

Alternative R.H. finger technique for Key C

d re f fe s le d

1, 3 1 2 3 4 5

51 | P a g e
 LESSON 16

SOME SCALES AND THEIR MODES (ON KEY C MAJOR)

(1) MAJOR SCALE

 Ionian mode—› C D E F G A B C (Tonic is C)

Solfa notes — d r m f s l t d

 Dorian mode—›D E FG A B C D (Tonic is D)

Solfa notes —r m f s l t d r

 Phrygian mode —›E FG A B C DE(Tonic is E)

Solfa notes —m f s l t d rm

 Lydian mode —›F G A B C D E F (Tonic is F)

Solfa notes —f s l t d r m f

 Mixolydian mode —›G A B C D E F G (Tonic is G)

Solfa notes —s l t d r m f s

 Aeolian mode —›A B C D E F G A (Tonic is A)

Solfa notes —l t d r m f s l

 Locrian mode —›B C D E FG A B (Tonic is B)

Solfa notes — t d r m f s l t

N.B: Aeolian mode scale is natural minor scale & Ionian mode is
Diatonic Major scale

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 (2) MELODIC MINOR SCALE
NOTES – C D EЬ F A B C
SOLFA NOTES – d r re f s l t d
 Dorian mode —›D D#F G A B C D (Tonic is D)
Solfa notes —rre f s l t d r

 Lydian mode —›EЬ FG A B C DD# (Tonic is EЬ)

Solfa notes —re f s l t d r re

 Mixolydian mode —› FG A B C D D# F(Tonic is F)

Solfa notes —f s l t d rre f

(3) JAZZ MINOR SCALE

The jazz minor scale is a melodic minor scale, but without any
change of notes when descending (i.e. C D EЬ F G A B C)
 Dorian mode —›D D#FG A B C D (Tonic is D)
Solfa notes —r re f s l t d r

 Lydian mode —›D#FG A B C D D#(Tonic is D#)

Solfa notes —re f s l t d r re

 Mixolydian mode —› FG A B C DD# F (Tonic is D)

Solfa notes —f s l t d r re f

 Dominant mode —›G A B C D D# F G(Tonic is G)

Solfa notes —s l t d r re f s

 Locrian mode —›A B C D D# FG A (Tonic is A)

Solfa notes —l t d r re f s l

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 1. MAJOR BEBOP SCALE
C D E F G G# A B C
Solfa Notes – d r m f s se l t d
Interval – 1, 2, 3, 4, 5, 6Ь, 6, 7, 8

2. BEBOP MINOR SCALE

Notes –C, D, EЬ, E, F, G, A, BЬ C

Solfa notes–d r re/maw m f s l le d
Interval – 1 2 3Ь 3 4 5 6 7Ь 8

3. BEBOP DOMINANT
Notes -›C D E F G A BЬ B C
Solfa notes – d r m f s l le t d
Interval – 1 2 3 4 5 6 7Ь 7 8

4. BEBOP DORIAN
Notes - › C D Eb F G A Bb B C
Solfa notes - › d r re f s l le t d

NB:These modal scales above are used mostly in Jazz; so they

are Jazz scales in general.
EXERCISE
1) Master the names and notes of the scales with their modes.
2) Memorize the solfa notes of Ionian, Dorian, Phrygian, Lydian,
Mixolydian, Aeolian and Locrian mode of the major, Bebop
scales and melodic minor scale.
3) Play all scales using keys D,E, G &A major

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 LESSON 17

SOME RELATED CHORDS PLAYED AS A WORSHIP FEEL

(USING KEY “F” MAJOR)

L.H R.H

i. F–C–G G–A–C–E
(d s r1) (r – m – s – t)

ii. Db – Ab C–F–G–C
(se – maw) s – d – r – s1

iii. Bb C# major triad (Ab-C#-F)

(f) (maw – se – d)

iv. Eb– Bb C–E–G

(taw – f) (s – t – r)

Note: These altered chords above are played as a worship feel

not following any particular beat.
The right hand notes are played in Arpeggio pattern. Play through
(i) – (iv) over and over again, at pleasure.

EXERCISE
1) Master the altered chords from (i) to (iv).
2) Play (i) to (iv) simultaneously without looking on the manual.
3) Then you can use (i) to (iv) as a feel when on stage.

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 LESSON 18

SOME OTHER DERIVED CHORDS OF MINOR SOLFA NOTES & HYMN CHORDS

Chords De Re maw fe Se law le taw

Minor (m) de m s re f l maw s t fel d se t r law d m le d m taw r f

6TH (6) de m s l re f l t maw s t fe l d se t r law d m le d m f taw r f s

d r m f

7TH (7) de m s re f l d Maws tde fel d re se t r m law d f le d f fe taw r f se

taw fe

Major 7TH de m s t re f l d maw s t fe l d m se t r f law d m s le d m s taw r f l

(Maj 7) r
1) Minor or chromatic solfanotes

2) IMPROVISED CHORDS OF MAJOR SOLFA NOTES

ray — rfe l/ f l d
me — m se t / s t r
fa — l d m
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soh — t r f
la — d m s
te —r f l

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 3) HYMN CHORDS

Major and minor Harmony notes Triad (root, alto &

solfanotes tenor)
doh Sd msd
de s de m s de
ray tr s t r
maw d maw s d maw
me dm s dm
fa r f l df
Fe r fe l dfe
soh ms d ms
se m se d m se
la fl dfl
taw s taw r taw
te st rst

Chord Derivation

Minor (m) – R, 3, 5

Major 7TH – R, 3, 5, 7

7TH – R, 3, 5, Ь7

6TH – R, 3, 5, 6

Note: The chords of the descending order of notes are derived

from their major notes, e.g. “maw” chord is derived from “me”
chord also “law” from “la”, “raw” chord is derived from “ray”
chord.

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 LESSON 19

THEORY OF MUSIC, DICTIONARY OF MUSICAL TERMS AND

TERMS FOR PERFORMANCE OF A MUSIC PIECE

1) Octave –An eight (8th)

2) Modulation –A change of key
3) Gradual modulation –A change of key into another which
is the nearest and most natural to the one in which the
compositionis written e.g. C# - D#, D – E.
4) Abrupt modulation – A change of key into some distant
key e.g. F - G#, A – C Major.
5) Partial modulation - A change of key into another and
returns quickly to the original e.g. the song “praise is what I
do”
6) Transposition – A way of removing a composition into a
higher or lower key, so as to be better adapted to a
particular voice or instrument.
7) Melody – A succession of single notes or sounds. A tune in
music written for different voices.
8) Harmony – Twoor more notes played or sung together
inacombined way to make a pleasing sound.
9) Common chord– A bass note with its 3 rd and 5th, the octave
to the bass being generally added.
10) Major semitones – C to DЬ, D to EЬ. It is one which
involves different note names. Also called diatonic semitone
11) Minor semitones –C to C#. It involves the same note
names/keys. Also called chromatic semitone.
12) Derived bass– Basses which derive their harmony from
fundamental notes.
13) Fundamental bass – They make the foundation of any
certain chord.

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14) Enharmonic notes/keys: They are notes/keys which have
the same pitch but different note names e.g. C#/DЬ,
C##/BЬ
15) Off-key – (of a musical instrument or voice not in tune or
suitable).

DICTIONARY OF MUSICAL TERMS

1) Maestoso – majestic.
2) Mezzo forte or mf – rather loud.
3) Mezzo Piano or mp – rather soft.
4) Moderato – moderately quick.
5) Non troppo– not too much.
6) Presto – very quick.
7) Prestissimo– as quick as possible.
8) Piano or pia or P– soft.
9) Pianissimo or pp– very soft.
10) Poco– A little.
11) Pocco a poco– little by little.
12) Pomposo– with dignity of grandeur.
13) Rallentandoor Rall– gradually becoming slower.
14) Ritardando or Rit– Retarding, delaying the temp.
15) Risoluto– Firmly decided.
16) Scherzando– in a playful, light style.
17) Sforzando– see forzando.
18) Sostenuto–tosustain every note to its full length.
19) Staccato – short and distinct.
20) Tema– A theme or subject.
21) Tempo primo–Time as at first.
22) Tenuto or ten – see sostenuto above.
23) Tremando– with a trembling effect.
24) Vigoroso– with strength and firmness.
25) Vivace– brisk and animated.
26) VoltiSubito or V.S. – turn mover quickly.
27) Falsetto– to sing with the inner voice or artificial voice.

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28) Legato – in a smooth connected manner.
29) Lento– in slow time.
30) Larghetto – not so slow as largo.
31) Largo – A very slow movement.
32) Grazioso– in a flowing, graceful style.
33) Grave – slow, solemn.
34) Forsando or fs–to mark well one or more notes.
35) Furioso– with fury.
36) Fortissimo or ff– very loud.
37) Forte or f – loud.
38) Espressivo or f – with expression.
39) Deciso– with decision, boldly.
40) Da capo or D.C – Go back to the beginning.
41) Diminuendo– Diminishing the sound gradually.
42) Dolce – sweetly, softly.
43) Caontabile– in a graceful and singing style.
44) Crescendo – increasing the sound gradually.
45) Con spirit –with quickness and spirit.
46) Calando – Diminish the time and sound by degrees.
47) Brillante– in a brilliant, showy style.
48) Ad libitum or Ad lib – At pleasure.
49) Animato – With spirit.
50) Allegretto – Not as quick as Allegro.
51) Allegro – Quick, cheerfully.
52) Andate– Rather slow.
53) Affetuoso– tenderly
54) Adagio– Very slow
55) Accelerando – Gradually increasing the pace.

TERMS FOR PERFORMANCE OF A MUSIC PIECE

1) Solo –A music piece by one (1) person.

2) Duet – A piece of music by two (2) players or singers.
3) Trio – A group of three (3) musicians or singers who play or
sing together.

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 4) Quartet – A piece of music for four (4) musicians or singers. A
group or four (4) musicians or singers who play or sing
together.
5) Quintet – A group of five(5) musicians or singers who play or
sing together.
6) Sextet – A group of six (6) musicians or singers who play or
sing together.
7) Septet– A group of seven (7) musicians or singers who play
or sing together.
8) Octet– A piece of music for eight (8) singers or musicians.
9) Nonet– A piece of music for nine (9) singers or musicians.
10)Choir – A group of many people who sing in human
parts(Alto, Tenor, Soprano, Bass, Baritone) e.g. in church
service or public performances.
11)Chorale –A piece of church music sung by a group of
singers.

ABOUT THE AUTHOR

CHARLES INAH OKPA is the founder of SWEET MUSIC

INCENSE ACADEMY (S M I A), Akure. He resides in Akure but
hails from Mkpani Yakurr L.G.A, Cross Rivers State, Nigeria. He did
Rudiments of Music/ Music courses in Rescue school of Music,
Calabar (2013/14), Cornerstone Music, Akure (2015) and Diploma
in Performing Arts of Music in Harbour of Hope Int’l Music Training
Centre, Akure(2015/2017).

He is also a Piano Tutor, Music Instructor and voice Instructor,

with Professional approach to Music. He is the Music Director of

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True Bread of Life Christian Assembly, (TBLCA), Akure, Ondo
state.

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