| Many students ask me a question that goes | | | | them; developing relative pitch. |
| something like this: | | | | |
| | | | Music Theory -- Understanding form in music, |
| "What all do I have to know to be a really | | | | figured bass, notation, rhythm, etc., and how |
| good piano player?" | | | | it all works together. |
| | | | |
| The trouble with a question like that is that | | | | Sight Reading -- The ability to read a piece |
| it ignores individual differences such as | | | | of written sheet music at sight and transfer |
| talent, motivation, freedom to practice, and | | | | that knowledge to the keyboard. |
| a hundred other variables. | | | | |
| | | | Rhythm -- The ability to understand meter and |
| How much did Mozart have to know? How much | | | | time signatures and note values; later the |
| did Erroll Garner know? Mozart could play far | | | | ability to recognize different rhythm |
| better than I can when he was 3. And Garner | | | | patterns such as sambas,swing, mambo, bossa |
| was barred from joining the musicians union | | | | nova, and many more. |
| because he couldn't read music. | | | | |
| | | | Styles -- The ability to add styles such as |
| Does that mean I don't have to practice, | | | | Alberti Bass, Country-Western, jazz, gospel, |
| since Mozart could do it without practice? | | | | etc. to songs. |
| Does that mean I shouldn't learn how to read | | | | |
| music since Garner couldn't, and it sure | | | | Runs & Fills -- The ability to add broken |
| didn't stop him. | | | | chords of various kinds as fillers; |
| | | | straddles, waterfalls, tremelo-fired runs, |
| Obviously, no. | | | | echos, counter-melodies, etc. |
| | | | |
| I wish I had the talent of a Garner or a | | | | Transposition -- The ability to play a song |
| Mozart, but I don't. Nowhere close. But God | | | | in a different key than it was originally |
| gave me some talent, and it's that talent | | | | written. |
| that I need to develop to it's maximum. | | | | |
| | | | Modulation -- The ability to move from one |
| Same with you, unless you're in a class with | | | | key to another smoothly. |
| those guys, in which case you certainly don't | | | | |
| need me. | | | | Accompanying -- The knowledge of how to "wrap |
| | | | chords" around a soloist so that the soloist |
| Back when I operated Piano University & | | | | feels supported. |
| Keyboard Workshop, we had a list of skills | | | | |
| that we attempted to inculcate into our | | | | Repertoire -- Creating a list of songs one |
| students, at least to some degree. Here is | | | | can play at a moments notice without |
| that list: | | | | reference to the written music. |
| | | | |
| Technique -- the ability of your hands to do | | | | Improvisation -- The ability to make up music |
| what your brain tells them to do. | | | | as you go along. |
| | | | |
| Fingering -- which finger goes where, and | | | | Arranging -- The ability to put your own |
| why, and when. | | | | special interpretaion on a song by playing it |
| | | | in your own way. |
| Chords -- How chords are formed and all the | | | | |
| variations from major chords to minor chords, | | | | Pedaling -- The ability to pedal judiciously |
| diminished chords, augmented chords, and all | | | | so that your playing is smooth but not |
| the extensions such as 7th chords, 6th | | | | muddled. |
| chords, minor 7th chords, 9th, 11th, and 13 | | | | |
| chords, plus suspensions and alterations | | | | Dynamics -- The skill of playing at different |
| including flat 5ths, flat 9ths, etc. | | | | levels of volume so that the song carries |
| | | | interest. |
| Scales -- How a major scale is formed from | | | | |
| whole steps and half steps. How the 3 forms | | | | Feeling & emotion -- The ability to plug-in |
| of minor scales -- natural, melodic & | | | | your own feelings into a song so that the |
| harmonic -- are formed. How the modal scales | | | | listener feels what you feel. |
| such as Dorian, Lydian, Mixolydian, Aolian, | | | | |
| etc. are formed. How chromatic and whole tone | | | | This is not an exhaustive list by any means, |
| scales are formed. | | | | but it's a start. So as you play and |
| | | | practice, think about each of these areas |
| Ear Training -- Developing the ability to | | | | individually, and focus on improving them one |
| hear intervals from 2nds to 9ths; developing | | | | at a time. |
| the ability to hear chord types and recognize | | | | |