Instruments Articles

Cheat Sheet / Updated 01-10-2023

Playing rock guitar starts with having a vocabulary of chords of different types, including basic, as well as barre forms (6th-string root and 5th-string root) and a few other movable types.

Video / Updated 12-14-2022

A pull-off is a basic guitar fretting technique that adds variety to your articulation. This video lesson shows guitar novices the same pull-off techniques that professional guitarists use all the time to create memorable music.

Article / Updated 11-29-2022

The concept of using auto-accompaniment is simple: You play some notes on the lower range of your keyboard, and that tells the system to start playing some backing music in the key you gave it. You choose the style of music it plays from the choices presented on the front panel. The result is the sound of a full band playing, giving you a professional backing track that you’re in complete control over. How auto-accompaniment works Playing with accompaniment usually means you have a split keyboard, with the lower range (left hand) dedicated to playing notes/chords to trigger the accompaniment and the right hand having a live sound to play your melodies with. Some arrangers and digital pianos have a full-play mode, where you play acoustic piano with two hands and the keyboard uses your two-handed playing to determine the chords. Accompaniment uses styles or rhythms — collections of MIDI-based music tracks that play various instrument sounds to produce the sound of a backing band. They’ve been played and recorded by skilled musicians to faithfully reproduce various musical styles. The unique thing about the accompaniment “engine” is that it can adapt these parts for any chord you give it, changing the notes within the pattern to fit the various root tones and chord qualities in music (major, minor, diminished, augmented, and so on). This adaptability is how auto-accompaniment differs from a prerecorded backing track, which rigidly plays back the exact notes you played to create the part. Starting a pattern playing Simple portable keyboards don’t always have full auto-accompaniment, so look for a button labeled Chords, Accompaniment On/Off, ACMP On/Off, Arranger Mode, and so on. These options indicate that you have full accompaniment parts, not just drums. Here’s how to get a pattern playing: Press the Styles or Rhythm button. Make sure the Chord/Accomp button is on. Play a low C on the keyboard to start the pattern playing. If you feel comfortable, try playing a C triad (C-E-G) instead. If the music doesn’t start, press the Start/Stop or Play button while you play the note or chord. Accompaniment needs you to play a chord to tell the players what key and what chord type you want them to play (C major, F minor, and so on). So if you just press Start/Stop or Play, the drums will start without the rest of the band. With the music playing, select some other patterns and listen to how the music and parts change. For simple models, you can use the + and – buttons to move up or down to the next pattern or to scroll through the available patterns one at a time. Or use the numeric keypad (if available) to directly enter the number of a specific pattern you want. On low-end models, the pattern names may appear on the front panel. On other models, the names are displayed on the screen. Higher-end models present the Styles/Rhythms on multiple buttons, with each button representing a category of styles arranged by musical genre. Listen to various styles being played using a simple C triad in Book VI, Chapter 2, Audio Track 142. Breaking down an accompaniment pattern An accompaniment pattern usually has the following elements: Drums: Drums include the traditional drum kit, with bass drum, snare, hi-hat, cymbals, and so on, playing a beat. Percussion: This element includes things such as tambourine, cowbell, shakers, congas/timbales/bongos, triangle, and other hand percussion, providing extra color to the rhythm. Bass: Bass presents the low notes that play some sort of rhythmic, moving series of notes. It may be an electric, acoustic (upright), or synth bass sound, depending on the style of music. Chordal part(s):Chordal parts are often a keyboard sound and possibly some strummed guitar parts (acoustic or electric). Having a few tracks of this sort is common. Other sustained parts: These options include string, vocal, and synth pad sounds — sustained chords for additional interest and sound variety. Background melodic figures: These can be string lines, brass and woodwind melodies, synth patterns and arpeggiations, and guitar licks. Every part will not always be playing; parts may come in and out depending on a number of settings and factors, such as which variation you’re using and the taste of the pattern programmer. In Book VI, Chapter 2, Audio Track 143 is a style broken down into its separate elements or tracks. Mixing the sound of the band Mixing a musical recording involves adjusting the volume balance of each of the instruments, deciding which speaker they come out of (called panning), and possibly adjusting or changing the effects that are being used. Mid- and higher-priced arrangers give you access to these functions. Taking control of these aspects of your backing band allows you to make the sound exactly the way you want it. How do you know whether your keyboard has this capability? Look for a feature/parameter called the Mixer. Credit: Images courtesy of Korg Italy; Casio America, Inc; and Yamaha Corporation of America A skilled musician/producer has already volume-balanced all the styles and rhythms in your keyboard, so you probably don’t need to make big changes. But two common scenarios require a little adjustment here and there: Slightly increasing or decreasing the volume of a backing instrument: These fixes are small; you’re not trying to redo the whole band mix. Turning off a part: This process is called muting a part or channel. To change the volume of a part (it may be called a Part or a Track), you select it, use the interface controls to increase or decrease the volume parameter value, and then resave the style/rhythm. To turn off a part entirely, you may have two options. If your mixer design has a dedicated Mute parameter, you can use that parameter to turn off the part. If it doesn’t have a Mute, simply turn the part volume all the way down to 00. Again, be sure to resave the Style/Rhythm.

Article / Updated 11-29-2022

Here, you can see the two most common pedaling indications. On your piano, press the pedal down at the “Ped.” sign, and release (pedal up) at the asterisk or at the bracket ending the line. These indications are always shown below the bass staff. The notch in the line indicates where to change the pedal, quickly clearing any sustained sound (pedal up) and resetting the sustain (pedal down). Changing the pedal requires careful attention to clearing the harmony cleanly and completely. Good pedaling is a matter of timing and listening. Your goal is to train your ear to listen for a smooth transition and a clean change from note to note and chord to chord. You don’t want to time your pedaling to match your hands, releasing and then pressing the pedal down as your fingers move from one chord to another; if you do, you’ll hear a gap between chords. This is because you’re lifting both the keys and the pedal together, so the dampers stop the sound when your fingers leave the keys. You need the sustain pedal down at this time. You have to wait to change the pedal so it happens simultaneously with playing the next chord. Your heel should stay on the floor, and your toes can rest on the pedal. Some pedals require more weight and pressure, and foot size and power make a difference. You can use your longer toes plus some of the ball of your foot to press down the pedal, but as always go for comfort and ease. Your ankle is the hinge that allows your foot to move with the least amount of movement and effort. Pedaling shouldn’t affect your general posture, so if you find that you have to shift around or adjust your balance to accommodate pedaling, you may not have started from a good position. Broken-chord pedaling In this exercise for broken-chord pedaling in Book V, Chapter 3, Audio Track 112, you change the pedal on a single note. Block-chord pedaling In this exercise you change going from chord to chord and on any moving lines within the harmony. Listen for smooth transitions!

Article / Updated 11-10-2022

Layering or blending two sounds together creates a wonderful, rich sound on the keyboard. Think of the sound of acoustic piano blended with some warm strings; it’s the perfect sound for playing a sensitive pop ballad. Combining a pipe organ with some vocal choir sounds gives you just the right blend for praise and worship music. Some products call layering Dual Mode or Dual Voice Mode. It simply means you’re playing more than one sound at a time. If your keyboard has dedicated sound name buttons like Grand Piano 1, Electric Piano, Pipe Organ, Strings, and so on, you may be able to easily layer two of them together. Try this method commonly found on digital pianos and stage pianos: Press and hold a piano sound button. Now press another sound button. Release both buttons and play the keyboard. If your keyboard has this feature, you’ll hear both sounds layered together. Another common approach is to have a dedicated Layer button. Look at the front panel of your keyboard; if you have this feature, try these steps: Select a sound you want to use as the foundation. Press the Layer button. Information then comes up on the display to guide you in choosing the second sound you want to layer with the first sound. Use your product’s sound selection/navigation method to find a second desired sound. Select it for the layered element. Play the keyboard and enjoy. Finally, some keyboards have dedicated buttons for Parts, Zones, or Layers. These buttons are usually labeled Zone 1–4, Upper 1⁄2 / Lower 1⁄2, or Part 1–4. By turning on and off different combinations of these buttons, you can add layers to your keyboard setup. This feature is most commonly found in arranger keyboards and more-advanced stage pianos/controllers. Hear examples of single sounds combined to form a layer in Chapter 8, Audio Track 59.

Video / Updated 11-09-2022

Open chords are chords that fall within the first four frets typically using open strings. They sound twangy because they include unfretted strings that are permitted to ring open. This chart represents 24 of the most useful open chords you use to play guitar:

Article / Updated 11-07-2022

Playing piano can be like having a choir at your fingertips. You have a ten-member group, some are shorter and some are taller, some like to show off and some prefer to blend in, and one or two really don’t take well to being singled out. As the conductor of the fingertip chorale, you have control over how each “voice” in your choir responds to your direction. You can bring up the bass, hush the choir while the soprano has a solo, or lift up every voice for the full-out finale. Here are some exercises to gain command over each finger combination so that when you’re playing two notes together you have the strength and control to balance and blend. These interval exercises also let you scrutinize the many combinations of fingers, intervals, and positions on the keyboard to get to know how each finger responds. Special attention is given to strengthening those fingers that need it the most. Playing seconds with different finger combinations Seconds are any interval combination on adjacent keys, white or black. Because of the keyboard layout, that means a variety of hand and finger positions to work on. Each of these finger combination exercises includes a study for the right hand and the left hand separately. Play through these exercises a few times slowly at first — concentrating on each hand — listening carefully to adjust the balance and timing of each finger combination. Curve your fingers and keep the finger joints firm to play the seconds evenly. Then gradually increase your speed each time you play the exercise. As you increase your speed and accuracy, play these exercises as a series, starting with the right and left hand in the first finger combination, moving on to the right and left hand in the next finger combination, and so on. As you play the seconds with each finger combination, imagine the two fingers moving together as one unit. In the first combination, for example, finger two and finger three move together to strike each interval in a synchronized motion. Finger combination: Two and three Start your 2nd and 3rd fingers. Adjust your attack and your timing to play the seconds evenly while changing hand positions. Listen to the two and three finger combination found in Book V Chapter 1, Audio Track 100. Finger combination: Three and four Try to eliminate excess movement by keeping your hand close to the keyboard. Finger combination: One and two You may find playing the seconds evenly difficult to do with this finger combination. Your first two fingers are such different lengths! Bring your fingertips close together, like you’re forming an “O,” before striking the keys. Finger combination: Four and five Work on building strength in your 4th and 5th fingers by keeping the joints firm to make the accents strong. Playing thirds with different finger combinations These exercises improve your agility as you maneuver both major and minor thirds. The different finger combinations keep all your fingers nimble. Finger combination: One and three Make sure you have a nice, high arch to your hand, and let your fingers hang down and your fingertips lightly touch the keys. Finger combination: Two and four This next exercise is a good one to play with both staccato and legato articulation. Finger combination: Three and five Balance the thirds so the two notes are the same volume. Make sure your thumb stays relaxed and isn’t playing louder than the other fingers. Finger combinations: One and four, two and five, one and five Here’s an exercise for the thirds found in Book V Chapter 1, Audio Track 101. Keep your wrists up high, and lift your fingers up like spider legs, bringing them down evenly in twos. And not too fast — stay relaxed and melt into the keys. Playing fourths with finger combinations Practicing fourths is really good for finger independence. The different finger combinations keep your muscle coordination sharp. Finger combinations: One and four, two and five This one is especially good for the 4th finger. Work on keeping it curved, and prepare it directly above the key that it’s going to strike. Finger combinations: One and three, one and two You’re stretching here. Maintain a good shape in your 5th finger; don’t let it go flat as it reaches to play its note. Help your pinky by letting go of the fourth interval and moving your hand out, arched, toward the pinky. Playing fifths, sixths, and sevenths Your hand is open wider, and you’re moving your hand across the keyboard while maintaining a nice, rounded hand shape. Watch for twisting. Exercise in fifths 12/8 time is counted as 12 eighth notes to a measure, with each eighth note getting one count. Each measure can have a rhythmic pattern of four strong beats, on one, four, seven, and ten, with three eighth notes inside each strong beat. Keep both fingers five and one pointing down into the keys. Exercise in fifths and sixths As you play this exercise, fingers four and five are round, but not stiff. Give these fingers some power and flexibility by bouncing your wrist lightly: “down-up, down-up” as you count “one-and, two-and …” Exercise in fifths, sixths, and sevenths Give this fifths, sixths, and sevenths exercise found in Book V Chapter 1, Audio Track 102 a bluesy, rhythmic feel with a fairly deep wrist bounce on the strong beats in 12/8 time. (That’s one, four, seven, and ten.) Performance piece: “Take Me Out to the Ballgame” This familiar old ballpark favorite, “Take Me Out to the Ballgame,” found in Book V Chapter 1, Audio Track 103 is arranged with — you guessed it — different interval combinations in each hand. Play each interval pair by using a single, confident hand move.

Cheat Sheet / Updated 10-25-2022

The picking-hand sequences known as roll patterns are what gives bluegrass banjo its unique and incredible sound. It’s important for these patterns to become completely second nature, because you use them in all aspects of bluegrass banjo playing. Melodic and single-string banjo techniques offer alternative ways to play based around scales. These ways of playing are used increasingly in progressive bluegrass banjo styles. Trying out a G-major scale using both techniques reveals the difference in these approaches. Finally, when playing with others, you’ll need to support other musicians with backup techniques. A key to playing great banjo accompaniment is knowing your movable up-the-neck chord shapes, beginning with the F-shape chords.

Article / Updated 09-22-2022

You can use chord patterns to track chord progressions in the open position on the guitar, although doing so takes some extra work and requires that you identify the actual note name of each chord. To play in the key of G using common open chords, visualize the 6th string chord pattern starting on G at the 3rd fret and replace each barre chord with an open chord. Here’s how: Visualize the 1st barre chord, the I chord (G), but play an open G chord instead. Visualize the 2nd chord, the ii chord (Am), but play an open Am instead. Because there’s no open chord iii (Bm), play Bm at the 2nd fret of the 5th string close to the open position instead. Use common open chords to play chords IV, V, and vi (C, D, and Em). Play through all the chords forward and backward, calling out the numbers as you go. Follow along with your eye using the 6th string chord pattern even though you’re not using its barre chords. After you get the hang of playing like this in G, you can move the chord pattern and use open chords in other keys like F and A. When you do this, play open chords when you can and use the barre chords to fill in the rest, staying as close to the open position as possible. For example, in the key of F, you can play the Am, C, and Dm as open chords, but you have to use the barre chords to play the rest. In the key of A, you can play A, D, and E as open chords, Bm and C♯m at the 2nd and 4th frets of the 5th string, and F♯m at the 2nd fret of the 6th string. Do the same thing with the 5th string chord pattern starting in the key of C. In C, you can play all the chords as open chords except for F, which guitarists usually play as a partial barre chord when it’s paired with open chords. Move the chord pattern and use open chords in other keys; just remember to stay as close to the open position as possible when you need to fill in with barre chords.

Article / Updated 09-16-2022

An acoustic piano does one thing — produces piano notes as you press the keys. But, with a MIDI system attached to a digital or hybrid keyboard, you can connect to and communicate with other keyboards, your computer, or other digital equipment and produce a vast array of piano sounds and non-piano sounds. MIDI (musical instrument digital interface, if you were wondering), pronounced mid-ee, can change your musical life. Suppose you have three keyboards. You select the first one to be the controller and set it to sound like a piano. You connect the other two keyboards to the controller and set each of them to different sounds, perhaps a flute and a tuba. As you play the controller, the other two keyboards are sent MIDI messages (binary codes) telling them which notes to play, how long, how loud, and so on. But it sounds like three players are playing three separate instruments, instead of just you on a piano. But that’s not all MIDI can do. By connecting a MIDI cable to your computer, you can record, edit, and notate your music using software programs on your computer. You can buy MIDI-recorded CDs and hear the songs played with the sounds of your own keyboard. Hybrid pianos and player piano systems also use MIDI to communicate with other digital equipment. MIDI software and recordings have become quite popular teaching aids because you can follow along note for note as your keyboard plays the songs. Keyboard to computer Digital keyboards offer you a host of options that help you record your music. You can record directly on your keyboard, or you can record by connecting your keyboard to your computer using MIDI cables. If you use MIDI, you can record exactly what you play without any fancy recording equipment. The MIDI messages you send from your keyboard as you play can be recorded in a computer or sequencer. Later, all you do is push “play” on the sequencer and hear note for note, volume for volume, exactly what you played. Digital recording and sequencing programs allow you to record on several different tracks. So, you can record yourself playing the melody of a song with a piano sound on Track 1, followed by the drum part on Track 2, and then the guitar part on Track 3. But you never use any instrument other than your keyboard and the sounds that came with it. Play back the recording, or sequence, and it plays all three tracks at once, which sounds like a four-member band. Software programs allow you to edit, transpose, speed up, or slow down what you’ve recorded. You can also alter the volume levels on each track and add sound effects, like reverb, to enhance what you’ve played. But wait! There’s more! You can purchase or even download MIDI files that you can load into your recording software so you can play along with files and add new tracks on top. Keyboard to keyboard You can connect your MIDI keyboard with another MIDI keyboard, or build a chain of three or more. Set each keyboard with a different sound patch, and play all the keyboards at once from your main, controller keyboard. See what it sounds like to combine piano and string sounds, brass and electric guitar — you name it. MIDI and music notation Music notation programs are a great tool to help you learn and improve your music reading and writing skills. When you hook up your MIDI keyboard to a computer and open up notation software, you can write music, read music, and play back whatever you’re working on. Plenty of educational programs are available to help you with the basics of music notation; some are interactive and make learning fun. And don’t forget that you can use notation programs to write out your latest opus so you can share your music with other musicians.