My Black jack code

You are neither too immature nor too old to play pianoforte and compose. If you believe otherwise, acquire that faery narrative out of your head.

A few geniuses began at age 3 and burnt out in center age. Gustave Mahler, a modern symphonic creative person and Wind Guitarist fable Wes L. M. Montgomery didn't start serious composing until they were well in their 30's. Giuseppe Verdi was still going strong at 87. Some of the great pop, jazz, and stone music of our time have been written by instrumentalists who see the age of 25 as "over the hill."

Conclusion: bury about age.

What about music theory? Bashes it have got anything to make with playing the pianoforte and composing a piece of music?

Sounds come up first. Theory books and systems tag along behind, explaining in words what you've already experienced by ear.

Composing is a "hot" originative act. Studying theory is a "cool" analytical act.

Theory explicates what is going on in a piece of music. It demoes us the machinery that brands the music tick. Training in theory assists sharpen our understanding, and assists the player and composer form his or her musical materials.

Absorb theory for what it have to offer. But ticker out for the trap of "rules." In the early phases of playing pianoforte and authorship music, rules can be helpful subjects to assist focusing our thinking. But given too much importance, rules go handcuffs; interruption them if you cognize what you're doing.

Use your good ears to interrupt through the eternal blanket of sound that environments our lives.

Direct you hearing. Sharpen your perception. Isolate sounds. Listen, and do yourself aware of your sound-world.

A painting, a statue, and a edifice have got a certain sort of life. All of their parts be at the same time. But music is like a film or a phase play: it unwinds slowly, spot by bit. A film begins, continues, and ends before your eyes. Music makes the same for your ears. Your pianoforte playing and compositions dwell and breathe.

Guidelines for Playing Piano By Ear to Write Music

Begin your studies with a simple, basic idea: a sound you like, a grouping of pitches, an interesting harmony, and attractive beat pattern, an thought for lyrics, and so on.

Next step: believe out a figure of possibilities for developing, expanding, exploiting, and contrasting your basic idea.

For example:

1. A grouping of pitches can be played forward, backward, upsidedown, or with its order rearranged.

2. You can maintain the overall form of a pitch grouping (the manner it travels up and down), but alteration it by gap up or tightening the distance (interval) from one short letter to the next.

3. The same pitch grouping can be varied by changing its speed, meter, or rhythm... or by changing its "color" through alterations of instrumental registry (high vs. low).

4. A rhythmical idea, no substance how simple, can be stretched, tightened up, fragmented, or transformed into a perennial figure

5. A rhythmical thought can be applied to differnet pitch groups, or used to give motion to your favourite chord progression.

6. A harmoniousness can be intensified by adding "color" tones of voice of voice of voice (7th, 9th, added 6th, suspended tones, etc.); Oregon softened by subtracting chord tones; or given a refreshed sound by the manner you voice the harmoniousness on the piano.

Try to maintain a relaxed mental attitude toward you analyze of piano, and an unfastened head about new thoughts that almost always turn up while you're experiementing with your sketches.

Above all, don't lock yourself into one manner of thinking. After a certain point, a piece may have got its ain thoughts about the manner it should deveop; don't seek to coerce it into a cooky mold!

Let it turn and breathe.

Copyright 2005 raw Productions