Piano & Keyboard All-in-One For Dummies
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The band is building up to the final chord, and it’s time for the big finish. Why not add a little piano or keyboard as a finale? The singer belts the last lyric, and it’s up to you to drop the curtain. Quick! Grab a handful of these finales and you’re sure to receive an encore request.

The “I Loved You, You Left Me” finale

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This finale is a simple but effective ending, perhaps even a tear-jerker when played with the right emotion. You certainly wouldn’t want to use this as an end to a rocking song like “Burning Down the House,” but it fits nicely with any major-key ballad.

The “Let’s Load Up the Bus” finale

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After a classic rock jam, something like this finale finishes the song with the appropriate amount of flair. The triplets take you down the C blues scale. They should be played as smoothly as possible, so feel free to slow down the tempo until you conquer the correct fingering. And make sure to really punch that last chord!

The “Last Call” finale

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The triplets in this finale give this closer a distinctive feel that works best with a blues or jazz piece. It has the sound of winding down to a halt.

In this finale, you play the notes of chords C, C diminished, Dm7, and C again. You can easily transpose and attach this finale to a song in any key by applying the correct chord types and breaking them up. For example, in the key of G, the chords are G, G diminished, Am7, and G.

The “Shave and a Haircut” finale

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Everyone knows it. Everyone loves it. Very few know how to notate it. Check out this all-time classic in all its glory. You can play this finale with unison octaves, so the name of each scale note is placed in the middle of the grand staff. With this information, you can buy a shave and a haircut in the key of your choice.

About This Article

This article is from the book:

About the book authors:

Michael Pilhofer, MM, holds a Master's in Music Education with a Jazz Emphasis from the Eastman School of Music, and a Bachelor of Music degree in Jazz Performance from the University of Miami.

Holly Day's work has appeared in Guitar One Magazine, Music Alive!, culturefront Magazine, and Brutarian Magazine.

Jerry Kovarsky is a regular columnist for Keyboard magazine and longtime product management guru with Casio, Korg, and other companies who have been instrumental in bringing keyboard technology into people's homes and onto stages and studios around the world.

Holly Day and Michael Pilhofer are co-authors of all editions of Music Theory For Dummies and Music Composition For Dummies. Blake Neely was a contributing author to the 2nd edition of Piano For Dummies. David Pearl is author of Piano Exercises For Dummies. Jerry Kovarksy is a contributing writer to Electronic Musician magazine.

Holly Day and Michael Pilhofer are co-authors of all editions of Music Theory For Dummies and Music Composition For Dummies. Blake Neely was a contributing author to the 2nd edition of Piano For Dummies. David Pearl is author of Piano Exercises For Dummies. Jerry Kovarksy is a contributing writer to Electronic Musician magazine.

Michael Pilhofer, MM, holds a Master's in Music Education with a Jazz Emphasis from the Eastman School of Music, and a Bachelor of Music degree in Jazz Performance from the University of Miami.

Holly Day's work has appeared in Guitar One Magazine, Music Alive!, culturefront Magazine, and Brutarian Magazine.

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