Pop piano for fun

Introduction to the section.

This section can be skipped if students have some piano experience, i.e. if they have had traditional piano lessons in the past and already know how to find notes.

In this section the student will learn the fundamental skills which are required to approach the course: being able to take directions such as "Higher" and "Lower", the ability to locate notes on a piano or keyboard, finger numbers and how to place the hands on the piano in a relaxed, tension-free way.

In this lecture students will be made aware of basic keyboard geography consisting of low and high sounds. Few examples are shown and a worksheet is attached to the lecture to reinforce the concept.

This lecture focuses on a group of three notes: C, D, E, and how to locate them on the piano.

This lecture focuses on a group of four notes: F, G, A, B, and how to locate them on the piano.

In this quick lecture we put together the two groups of notes from the previous two lectures, to make sense of the pattern which we spotted at the beginning. On completion of this lecture students will be able to identify any note on the piano white keys.

This lecture explains the standard finger numbering system. On completion, students will be able to refer to all fingers effectively according to their unique number.

This lecture goes over elementary technique, hand and arm relaxation, hand placing. On completion, students will be able to place the hands on the piano in a relaxed, tension-free manner.

Introductory video to the section.

In this section the student will learn the first three chords, and will put them into practice by playing along few songs.

Also, students will get acquainted with the format of a chord chart

In this lecture students will build their first three chords in a guided, step-by-step procedure. They will see how chords are made and also learn some terminology.

As usual, complete the WORKSHEET, but also download and print or have the CHEAT SHEET handy on screen for a quick reminder of how chord shapes look like on the keyboard.

In this lecture students will learn to add a bass note to their chords, and also reinforce what they learned so far by acquiring the correct theory terms to describe what they are playing.

In this lecture students will experience hands-on how to use a chord chart to play along a song. Demonstration is followed by guided practice. The song used is You Are my Sunshine, a classic from 1940 which has been performed by many artists including Johnny Cash, Marvin Gaye and Ike and Tina Turner.

In this lecture students will do a little more guided practice in following a chord chart.

The song used is Over the Rainbow, another classic which has been covered by countless performers, first recorded by Judy Garland and made very popular in her rendition in The Wizard of Oz. Also very popular in more recent times is the version by Hawaiian singer Israel Kamakawiwo'ole.

In this lecture students will use their aural abilities to hear the chords of a song, and transcribe them onto a blank chord chart. The process is described in detail and fully guided.

The song used is Three Little Birds by Bob Marley and the Wailers, a 1977 classic song with only three chords and a wholesome message of love and peace.

Introduction to this section which is about rhythm, time and beats.

In this lecture students become acquainted with how time is organised in music. On completion  will be able to describe the concept of beat, meter and measures / bars.

In this lecture students become acquainted with the metronome as a tool to improve time keeping and to boost confidence and accuracy when changing chords.

In this lecture students will apply what they learned about time, beats and measures / bars to play the verse of a slow pop ballad using the chords they know, and using a chord chart.  In the process students will acquire their very first rhythmic pattern, which suits accompanying songs in the style of slow pop ballads.

The song used is The One by Irish band Kodaline. The song is a frequent choice as a first dance for newlywed couples, so I played it often; the chords are adapted to match the three which the students know so far.

This short video offers a little more guided practice for the same song of the previous lecture. The cascading lights from the famous software SYNTHESIA to help you visualise the notes to play. Keeping an eye on the lights will make you ANTICIPATE the keys you need to play.

Anticipation is an essential thing when playing piano: each chord you play is in already in the past, if you think about it :-) so there's no need to dwell on it. Better to think forward.

Therefore it's important to keep your mind not only in the present moment, but also a little in the future moments, ready to play the chords which are about to happen.

Follow the lights and enjoy a bit of practice.

This lecture expands on the previous one by using the same song as an example, and introduces another rhythmic pattern: playing chords with the pulse of the beat, which also suits the style of slow or medium pop ballads.

Another video using cascading lights from the famous software SYNTHESIA, for a bit of guided practice on the rhythm learned in the previous lecture.

Follow the lights and have fun.

This lecture show the student a quick and easy practice tip with the metronome.

This lecture presents students with the concept of offbeat. By further subdividing the beat in half, students discover another spot in the time grid to place their chords.

Styles such as Reggae and Ska rely heavily on playing offbeat, or against the beat.

The song used is The Tide is High, the version by Blondie

Introducing the section by informing the student that the chords which have discovered so far are in a basic initial shape.

The same chord can be played in different shapes, and getting familiar with those other shape forms of the same chords is the object of this section.

After completing this lecture the student will be able to identify each of the three notes of a chord according to their role within the chord: the root, the third and the fifth.

It is important to make such distinction as we begin to shuffle around the notes of a chord to come up with different shapes of the same chord.

In this lecture the student will discover the first inversion of the chords examined so far. On completion the student will be able to identify and play the chords of C, F and G major in both root position and first inversion.

In this lecture the student will discover the second inversion of the chords examined so far. On completion the student will be able to identify and play the chords of C, F and G major in second inversion.

Introducing the section about connecting chords.

In this section the student applies the chord inversions just acquired, in order to connect the chords in a much smoother way. The result is a more melodic way of playing chords which creates a different effect than just moving the same chord shape up and down the keyboard.

In this lecture students connect two chords, C and F major, in a smoother and more melodious way than moving hands sideways all the time. This forms the basis for pop piano playing.

In this lecture we will do a little practice together on the chord change we just acquired. Changing chords at an increasing rate will boost your confidence and make your playing more secure.

Starting from the same shape of the C major chord as earlier on, the root position one, the student will now connect to G major instead, still by common note.

As a result the student now has acquired a practical box or position on the keyboard which contains three chords, all conveniently joined by the notes they have in common.

Just like earlier on, this is a play along exercise designed to boost the student's confidence in changing from chord to chord, by progressively increasing the rate of changes. Follow the cascading chords and have fun.

The two chord connections practiced earlier and the "box" or "position" which they form are applied here in the song You Are My Sunshine. The student will notice how, instead of moving sideways for changing chords, the hands are kept within the same keyboard area, making chord changes smoother and easier to handle.

The previous section covered the connection in chord changes between the three chords that we dealt with so far. However it did so from a single starting point: everything started from a C chord in root position.

The present section will deal with the very same chord changes, however starting from a C major chord in 1st inversion instead.

By starting from a different chord shape and connecting by common note, there will be a different succession of chord shapes, however the observing student will notice certain patterns in fingerings and movement of the notes.

The student has acquired a way to connect the chords of C, F and G major.

However, it was all from a single starting point: the root position of C major.

Confidence comes with competence, and competence comes from being able to handle all possibilities, hence now the student will acquire the ability to connect the same chords, starting from a different shape of the C major chord: the 1st inversion.

Just like a little earlier, this is a play along exercise designed to get the student to change chords at an increasing rate, thus boosting confidence and acquiring ease and mastery.

Continuing in the same guise, the student now proceeds to connect C major 1st inversion by common note to G major. Each one of these possibilities empowers the student with one more tool, one more stepping stone to acquire complete freedom to accompany on the piano in any register.

Notice the top notes of this particular chord change: melodious and singable.

A play along exercise to boost confidence and acquire ease with the chord change acquired in the previous lecture.

Just like before, once the two connections are acquired, C to F and C to G but this time having started from 1st inversion C major, they are now applied to accompanying a song and put into practice.

The song chosen for this is Ed Sheeran's Thinking Out Loud, just a short extract to put in practice the new "position"or "box" starting from 1st inversion C major.

Have fun.

Following the previous two section we now close the circle and examine the same connections between C, F and G major starting from the last remaining inversion of C major: the 2nd inversion.

By now the attentive student will have recognised recurring patterns and connection between chord shapes.

Finally the student now will tackle the last set of connections between the three chords which have been dealt with so far.

It's going to be starting from C major 2nd inversion, going to F major in this particular lecture.

I am sure that the observing student is beginning to see some patterns reoccurring, in fingerings and chord shapes alternations. If that is the case the student is on the right path.

Enjoy.

A play along exercise to boost confidence and acquire ease with the chord change acquired in the previous lecture.

In this lecture the student will acquire the last of he connections between chords required to have a full grasp of all the possibilities offered by three chords and their inversions.

On completion the student will have a repertoire of patterns which forms the basis for the rest of the course and a solid foundation in chord changes.

A play along exercise to boost confidence and acquire ease with the chord change acquired in the previous lecture.

Just like before, once the two connections are acquired, C to F and C to G but this time having started from 2nd inversion C major, they are now applied to accompanying a song and put into practice.

The song chosen for this is Bob Marley's One Love, to put in practice the new "position"or "box" starting from 2nd inversion C major.

Have fun.

In this section the student will become acquainted with an essential component of the piano: the sustain pedal.

On completion of the section the students will be able to apply the sustain pedal to their playing, to add glow and resonance to the sound and to join chords more smoothly.

In this lecture students learn to apply the sustain pedal to only one chord and in free time. That way all the focus is directed towards appreciating the effect which the pedal has on the sound, and also on the coordinations between hands and foot which are required to execute a pedal change effectively and clearly.

Continuing from the previous lecture, the student must now pedal one chord, however the added challenge of time is  added to the mixture. Every new step and coordination builds on the knowledge and skills acquired previously.

In this lecture the student will use the pedal to transition between two different chords. However the element of time is momentarily removed so that the student doesn't feel pressured and can focus exclusively on coordinating foot with pedal and hands.

Finally in this lecture the student applies all the coordinations gained in the previous lectures of this section to use the pedal during chord changes, while also keeping time.

Being able to use the pedal in the right context is an invaluable skill in piano playing.

Time to apply this new pedal skill to an actual rhythmic pattern.

A pop ballad pulse beat is perfect, since the pedal will add a nice glow to the sound of any medium / slow pop ballad song.

Follow the steps, hear the difference that the pedal makes to the sound and use it then to your liking in your own playing.

In this lecture the student applies the pedal to a new rhythmic pattern which is also very common in medium or slow pop ballads: the broken chord pattern.

It's going to sound familiar since it is used in so many songs, therefore it's worth practicing well and getting it right.

Time to put into practice everything which has been gained so far by using few new songs, while introducing new rhythms and patterns.

So far the only thing the left hand has done is play roots in single notes with finger 1.

A simple way to add a little extra body to the bottom end of your sound is to add another root by playing the octave below with finger 5.

However please keep in mind that for some hands the octave could be a bit of a stretch, and the number 1 rule when it comes to practising piano is: if it hurts, do not do it.

If the octave is a little too wide for your hands, stick to the single note for now.

(I'm Gonna be) 500 Miles is a fun tune by Scottish band The Proclaimers which is guaranteed to get people dancing and stomping. Based on the usual three chords, adapted for the three we know so far, it uses a bold rhythm which gives the student the perfect opportunity to learn staccato playing.

In this lecture the student acquires a new easy pattern where the two hands alternate in a um-pah kind of rhythm.

The song used to put it in practice is King of the Road, a classic 1964 Country song by Roger Miller which has been covered by many performers, most notably Dean Martin.

In this lecture students learn to apply the pulse rhythm to the left hand, thus livening up the left hand which hasn't been doing much until now in terms of rhythm.

The pedal is used to give glow and sustain to the chords and the bass pulse, and the song used is I Still Haven't Found What I'm Looking For, a 1987 hit by Irish Rock band U2.