Foundation Course. Study Kit No 1. Away In A Manger

Transcription

1 Foundation Course Study Kit No 1 Away In A Manger

2 Reharmonization Study Kit No. 1 Away In A Manger Author: Rosablanca Suen Web: [email protected] Cover Design: Raymond Suen Copyright 2010 by Rosablanca Suen All Rights Reserved. No part of this book (including the Videos material) may be reproduced, copied, stored, or transmitted in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, or in information storage and retrieval systems without the prior written permission of Rosablanca Suen,

3 To my dear piano friend Alene from Salem for your encouragement and inspiration Page 1

4 Reharmonization Study Kit Series 70+ Insider Tips & Piano Techniques INTRODUCTION 1. A comprehensive study guide to study a song in 10 Levels 2. Video Demos of all Reharmonization rules 3. Video Demos of a smorgasbord of Piano Styles & Techniques 4. Lesson Worksheets for Students 10 Levels of Studies: 10 E Books 1 for Each Level 130 Video Clips 4 Hours of Videos Level 1 Basic Harmony: I IV V7 Adding in cadences: IV I; V I Key of C: C F G7 Level 2 Chord Extensions & Quartals Add color tones: 6ths, 7ths, 9ths I6, IM7, I6/9, IV6, IVM7, IV6/9, V9 Key of C: C6 CM7 C6/9 F6 FM7 F6/9 FM9 G9 Level 3 Minor chord substitutions & additions ii iii vi Key of C: Dm Em Am Level 4 Circle of 5ths for minor chord substitutions ii7 iii7 vi7 Key of C: Dm7 Em7 Am7 Page 2

5 Level 5 Secondary Dominants I7 II7 VI7 Key of C: C7 D7 A7 Level 6 Altered dominant chord substitution: 7b9 I7b9, II7b9, V7b9, VI7b9 Key of C: C7b9 D7b9 G7b9 A7b9 Level 7 Diminished 7 Chords (b3 + b5) Substitutions and Insertions I# 7, ii# 7, biii 7, IV# 7 Key of C: C#dim7 to Dm; D#dim7 to Em; Ebdim7 to Dm; F#dim7 to C/G Level 8 Altered dominant chord substitution: +5 Augmented chords Key of C: C+, G+, A+, D+ & whole tone scales Level 9 Suspension chords: 4 th tone IV/V; bvii/i, V/VI, I/II Key of C: G7sus, C7sus, A7sus, D7sus Level 10 Tritone Substitution Chords bii7, biii7, bv7, bvi7, bvii7 Key of C: Db7, Eb7, Gb7, Ab7, Bb7 70+ Techniques and Styles: 1. 5 Finger Melody 2. Bluesy Notes 3. 5 Note Turn Page 3

6 4. Grace Notes 5. Chord Inversions 6. Transfer Chord 7. Melody in 3rds 8. Melody in 6ths 9. 3T6 Handshape 10. 4T6 Handshape 11. Mordant Triplet 12. Amen ending 13. Plagal Cadence 14. Perfect Cadence 15. Play in F Key 16. Color Tones 17. Open 10 th 18. Rocking 10 th 19. Ballad New Age 21. Nostalgic Ballad 22. Cross Over Ballad 23. Cross Over 2 Octaves 24. Ascending Arp 25. Ballad Hop 26. C6 Dancing Water Run 27. C6 Waterfall Run 28. Quartals Playing 29. Simple Quartal Run 30. Octaves 31. Tremolos 32. Walk Up & Walk Down 33. Rocking Walking Bass 34. Smooth Voicing 35. Minor Chord Substitution 36. Open Voicing 37. Closed Voicing using Inversions 38. Scale Fills 39. Scale Run Up 40. Scale Run Down Page 4

7 41. Rolling Wave Techniques 42. Simple Triad Run 43. Major 7 Dreamy Run 44. Major 7 C + Em Run 45. Major 9 Nostalgic Runs 46. Major 9 C + Em9 Run 47. Introduction G7 Simple 48. G7 Inversion Run 49. G7b9 Introduction Run 50. G7b9 Overlap Run 51. G7b9 LH Cross Over b9 52. Secondary Dominant Chords 53. 7b9 Substitutions Turn Around & Variation 55. Diminished 7 chords chromatic movement 56. Chromatic Scale & Fingering 57. Chromatic scale runs 58. Chromatic Tone Fillers 59. LH chromatic run 60. Augmented Chord Substitutions 61. C Whole Tone scale 62. C# whole tone scale 63. Whole tone scale fillers 64. Whole tone special effects 65. Whole tone harp 66. Whole tone introduction 67. Suspended Chord Suspended Chord run 69. Suspended chord IV/V 70. Suspended chord intro 71. Tritone Chromatic movement 72. Tritone chords formation 73. Playing very dissonant tritones 74. Tritone chords turnarounds 75. RH Block Chord Style Harmonization 76. 4T6 Locked Hand Chorale Voicing 77. 4T6 block chords to Away in a manger Page 5

8 AWAY IN A MANGER By James Murray Level 1 Basic Harmony: I IV V7 Basic Harmony: Learn how to harmonize a song with Basic Chords: I IV V7 Step 1: Analyze the Song Structure Homework: Write the lyrics into musical phrases in the following box: Number your lines: The answer is on the next page. Page 6

9 Answer: There are 4 musical lines in this song. I ve numbered the lines from 1 to Away in a manger 2. No crib for His bed 3. The little Lord Jesus 4. Laid down His sweet head Page 7

10 Step 2: Look for patterns in the melody Tip: To recognize melodic patterns, SING the song! Homework: Sing the song. Can you identify different melodic patterns in this song? Hint: The song can be divided into 4 sections. Can you define the 4 sections yourself? Which lines are similar? Which lines are different? Try to figure this out before you look at the answer below: Answer: The song is divided into 4 sections: A B A C A Away in a manger, no crib for a bed B The Little Lord Jesus laid down his sweet head A The stars in the sky looked down where he lay C The little Lord Jesus a sleep on the hay. Line 1 & Line 3 have exactly the same melody lines. This is why they are both called A. Page 8

11 Step 3: Harmonize the Song with Basic Chords Sing the song and try to listen to the places where chord changes. We will learn all our songs in the key of C first. In Key of C, these are the 7 diatonic chords: CHORD C Dm Em F G Am B o C Major Minor Minor Major Major Minor Diminished Major ROMAN I ii iii IV V vi vii o I NUMERALS 3 major chords I IV V 3 minor chords ii iii vi 1 diminished chord vii o A song can be harmonized with all these 7 diatonic chords. We will learn how to harmonize a song with all these chords as we progress in the levels. Harmony Rule 1: Tip: Chords I IV & V7 are the most important chords in a song. Page 9

12 Match melody tones to I IV or V7 Chords: I Chord C: C E G - can match with melody tones: C, E, G IV Chord F: F A C - can match with melody tones: F, A, C V7 Chord G7: G B D F - can match with melody tones: G, B, D, F Procedure: When a melody tone is C: you can choose either C chord or F chord. When a melody tone is D: you can choose G chord. When a melody tone is E: you can choose C chord. When a melody tone is F: you can choose F chord or G chord. When a melody tone is G: you can choose C chord or G chord. When a melody tone is A: you can choose F chord. When a melody tone is B: you can choose G chord. **In places where there are 2 choices, use your ears to decide which chord to choose. Homework: The following sheet music shows the melody tones of Away in a Manger. Go to the piano and find out which chord goes with the melody tones. Tip: Guidelines to listening to chord changes 1. Chords tend to change on the beat, so find out what chords are used at the beginning of the measure. 2. In the key of C, the song usually starts on Chord C and ends with Chord C. Page 10

13 You can check the answers in the video. Match the melody tones to Basic Chords: I IV V7 C F G7 Page 11

14 Video Demo: In this video, I show you how to harmonize Away In a Manger with C Chord, F Chord and G7 Chord. Vid 01Lev101 I will only notate the places where the chords are required to change. C F C A Away in a manger, no crib for a bed G7 C B The Little Lord Jesus laid down his sweet head A F C The stars in the sky looked down where he lay C G7 C G7 C The little Lord Jesus asleep on the hay Page 12

15 Chord Progression of Away In A Manger: Vid 01Lev102 C F C G7 C F C G7 C G7 C There are 10 places of chord changes. 2 places with C F C chord progression. In C F C you hear the I IV I progression. IV I is a Plagal cadence: Amen Sound. 3 places with G7 C V7 I V7 I is a Perfect cadence: Final ending sound. Page 13

16 Step 4: Patterns in the Chord Progression If we put the chords of Away In A Manger into the following boxes, you will be able to see the chord progressions clearer: C F C G7 C F C G7 C G7 C Tip: Have a mental picture of this chord diagram so that you realize how many measures C chord occupies and how many measures F chord occupies. Learn to see patterns. You can see that this song likes to end in Chord C. The 4 th box of all the lines end in Chord C You also see the Line 2 and Line 4 begins with G7, a tension chord. Tip: When you learn reharmonization, you need to fill in empty boxes with the correct corresponding chords. How do you do this? For eg. In the second measure (the first empty box), we put in C because the C Chord is used until the F chord appears in the 3 rd measure. Try to fill in the empty boxes yourself. Page 14

17 Do this before you look at the answer below: C F C G7 C F C G7 C G7 C Answer: C C F C G7 G7 C C C C F C G7 C G7 C What conclusions can you draw? 1. We notice the following patterns in the chord progression: Lines 1 & 3: C C F C Line 2: G7 G7 C C Line 4: G7 C G7 C Page 15

18 2. We notice the number of times a chord is used. Count the numbers of times the chords are used in this song: C C F C G7 G7 C C C C F C G7 C G7 C Chord I: Chord C - times Chord IV: Chord F - times Chord V7: Chord G7 - times Answer: Chord I: Chord C 10X Chord IV: Chord F - 2X Chord V7: Chord G7-4X 3. We see Chord movement between I IV V7 Chords: i. Chord I is the most used chords. In this case, C is the most used Chords. Why? C is the tonic chord in the Key of C. Page 16

19 ii. Chord V7 is the second most used chords. G7 is the dominant chord and it leads to C. We see this counter clockwise movement in the Circle of 5ths. iii. Chord IV is the least used chords in this song. F Chord is only used twice here. Page 17

20 DIRECTION OF CHORD MOVEMENT: Familiarize yourself with the ways that chords like to move between I IV V7 chords. C F F C C G7 G7 C Vid 01Lev103 Basic Level Type 1 Song: Chord I likes to move to Chord IV or Chord V7 Chord IV likes to move to Chord I. Chord V7 likes to move to Chord I. Page 18

21 Away In A Manger: Key of C (Basic I IV V7 Chords) C F G7 Page 19

22 Piano Techniques & Style FINGER NUMBERS I will be using the following number notations to indicate which fingers are used in the piano techniques: Left hand: LH Right Hand: RH Pinkie Ring Middle Index Thumb LH L5 L4 L3 L2 L1 RH R5 R4 R3 R2 R1 Page 20

23 1. Piano Technique: One Tone Melody RH: R1, R2, R3, R4, R5 Vid 01Lev104 Learn how to use all 5 fingers to play in the flow Let Pinkie R5 & Thumb R1 guide you: R5 at the highest note R1 at the lowest note LH: L5 L3 L2 L1 Broken Chord Simple Arp 2. Piano Technique: Bluesy Style We are going to make RH more playful. Just a little change can make the piece sound very different. Blue Scale has these bluesy tones: b3 b5 b7 Slide down on blue note with R3 Vid 01Lev105 RH: R3 LH: L5 L3 L2 L1 Broken Chord Simple Arp Page 21

24 3. Piano Technique: Melody in 3rds Vid 01Lev106 RH: R3 + R1 Melody in 3rds Block, broken, roll, echo LH: L5 L3 L2 L1 Broken Chord - Simple Arp 4. Piano Technique: Mordant Triplet Fun and Playful RH: R3 R4 R3 Quick Triplet on the 3 rd beat R3 plays melody note LH: L5 L3 L2 L1 Broken Chord - Simple Arp Vid 01Lev107 Page 22

25 5. Piano Technique: 5 Note Turn Fun and Playful RH: R3 R4 R3 R2 R3 5 note turn in the space of one beat R3 plays melody note LH: L5 L3 L2 L1 Broken Chord - Simple Arp Vid 01Lev Piano Technique: Melody in 6ths RH: R5 + R1 Melody in 6ths LH: L5 L3 L2 L1 Broken Chord Simple Arp Vid 01Lev109 Page 23

26 7. Piano Technique: Melody in 3rds & 6ths RH: R3+ R1 & R5+ R1 Melody in 3rds & 6ths LH: L5 L3 L2 L1 Broken Chord Simple Arp Vid 01Lev Piano Technique: 3T6 Fixed Handshape Block, Roll, Echo Vid 01Lev111 Tip: This 3T6 Handshape does wonder to your piano playing. When you know how to use 3T6, you will be able to use 4T6 Handshape to get color tones 7 & 9 easily of all chord extensions. RH: R1 R2 R5 R5 plays melody tones LH: L5 L3 L2 L1 Broken Chord Simple Arp Page 24

27 9. Piano Techniques: Chord Inversion Technique Voicing Tip: To learn to play music harmonically in a pleasing manner, we need to learn to play chord inversions. We will learn how to play closed voicings with the RH. Once you learn the closed voicings, you can drop the middle note to play open voicings. Voicing Tip: If RH plays closed voicing, then LH plays open voicing to make your music blend harmonically. If LH plays closed voicings, the sound can get muddy in the lower bass octaves. It is best to play open voicing on the LH when RH plays closed voicings. Playing Voicing Tip: Use the following simple chart to play triad inversions of Basic I IV V7 Chords: Chord Inversions: Vid 01Lev112 C Chord: Root position: C E G 1 st Inversion: E G C 2 nd Inversion: G C E Page 25

28 F Chord: Root position: F A C 1 st Inversion: A C F 2 nd Inversion: C F A G7 Chord: Root position: G B D F 1 st Inversion: B D F G 2 nd Inversion: D F G B 3 rd Inversion: F G B D Song Demo: Play Away In A Manger Using Chord Inversion: Vid 01Lev113 RH: Play 3 tones with R1, R2, R3, R4, R5 Closed Voicing: Chord Inversion LH: L5 L2 L1 Keep Left Hand Simple Page 26

29 10. Piano Technique: Transfer Chord Key of C Vid 01Lev114 RH: R1, R2, R3, R4, R5 LH: L5 L3 L2 L1 Use 2 Hands to Transfer Chord tones from left to right 11. Piano Technique: Chord IV I Amen Ending Vid 01Lev115 Ending Tip: Put in IV I Plagal Cadences (Amen Sound) At the end of the song, put in an extra ending tag: IV I a. Use Root Bass for the Ending: F C b. Use C Bass for the Ending: F/C C Page 27

30 BONUS: Lesson & Video 12. Piano Technique: Play in other keys Challenge: Play this song in the Key of F. This song is actually written in the Key of F. Key of F is in a good range for people to sing. Key of C is either too low or too high. Bonus Video: Away In A Manger in Key of F Vid 01Lev116 Chord I = Chord F: F A C Chord IV = Chord Bb: Bb D F Chord V7 = Chord C7: C E G Bb Page 28

31 Voicing Tip: Familiarize yourself to the following chord inversions for Basic I IV V7 to Key of F. Tip: Chord Inversions: F Chord: Root position: F A C 1 st Inversion: A C F 2 nd Inversion: C F A Bb Chord: Root position: Bb D F 1 st Inversion: D F Bb 2 nd Inversion: F Bb D C7 Chord: Root position: C E G Bb 1 st Inversion: E G Bb C 2 nd Inversion: G Bb C E 3 rd Inversion: Bb C E G Page 29

32 Away In A Manger: Key of F (Basic I IV V7 Chords) Page 30

33 Song Demo: Play Away In A Manger Using Chord Inversion: Vid 01Lev117 RH: Play 3 tones with R1, R2, R3, R4, R5 Closed Voicing: Chord Inversion LH: L5 L2 L1 Broken Chord Page 31