Tips on Patterns part 2

Back again with part 2 of Tips on Patterns. I have a feeling that this will be a continuing series :D So, to continue where we left off, rhythm is a fundamental aspect of music. Some will even argue, myself included, that rhythm is more important than the notes.

Yes, I know notes and tonality are important aspects of music, but take a second a do something for me to help me prove my point: find someone, anyone, and, without saying the words or singing pitches, verbalize the rhythm of Michael Jackson's "Thriller". See how long it takes them to figure it out.

Now, of course, if you had sung the words and the melody in rhythm of the song it wouldn't have taken as long, but this exercise goes to show that the rhythm of music we hear is more important than the words or the notes of the song. And what do people do when they don't know the words or the rest of the melody? They use the rhythm they know from the song to "fill in the blanks". And that is part 2 of our exercise on patters.

Take the patterns I used in part 1, or make your own, and now think of a phrase or a sentence. It can be something you read. Say it and listen to the rhythm of that sentence or phrase. Now use that rhythm as a base and put notes on top of it. Then move the notes around as you repeat the rhythm.

Now, by this point you're probably thinking, "Nope, can't do it." Well, I have some proof that even an 8-year-old can do this- and she's been playing piano for only a year (maybe it's a little unfair since she's my daughter, so she has my DNA :D )! I showed her some notes she could use and reinforced the idea of using a rhythmic pattern, and voila!, here is the final product:

Tips on Patterns part 1

Although this seems like a difficult concept to grasp, the idea of using patterns in an improvisation is easier than you think!

Basically, it all comes down to intervals. If you are working in the key of C (which makes it easy since there are no sharps or flats), then you probably already know the C major scale. If so, then you're in great shape, because all it takes now is creating a short pattern with the intervals of that scale! And for this reason, I recommend thinking in scale tones rather than note names. This way you can transfer these patterns to other keys, whether major, minor, or in a mode. Here are some short, simple ones for you to try out (keep in mind that the rhythm of these notes is completely up to you to create! Just keep it the same rhythm at first):

• 1 2 3 5, 2 3 4 6, 3 4 5 7, 4 5 6 8, etc.
• 1 3 2, 2 4 3, 3 5 4, 4 6 5, 5 7 6, etc.
• 1 7 5 6, 7 6 4 5, 6 5 3 4, 5 4 2 3, etc.

I think by now you can see how simple creating patterns work. For now, try using these patterns on your instrument and just play them. Don't worry about rhythm just yet. Just get used to the intervals. The next post will go a little bit into the rhythm of patterns.

Piano Improvisation - Pop Tones (1 2 3 5 7)

Hello again!

Here is the next video I mentioned in the previous post that covers another tool for improvisation that I teach my private students. I call them "Pop Tones." The reason for this title is simply because once you start creating patterns and melodies with these 5 tones, it begins to sound like many, many other songs you've probably heard before.

There are two benefits to this method: one is being able to make up simple melodies on a simple chord progression, but make it sound radio-worthy; two is that this exercise trains your ears for hearing these tones in a melody. And the ear training aspect works two-fold because not only are you listening for and/or recognizing these tones, but you will be able to hear notes that fall outside of these 5 tones that you can start implementing if you want.

Enjoy!

Piano Improvisation Method - The Chord Workout

This is a video I made of what I teach my private lesson students. Basically, it's a chord progression exercise highlighting several popular chords in a sequence in three parts:

1. Both hands play chords in root position, 4 beats per chord. Say the Roman Numeral of each chord as you play it (the way to find I is to know the tonic or root of the key you're in. If you're in the key of C, then C is I. If C is I, then F is IV, and so on. Keep in mind that minors should be labeled as such: IV Minor / iv / IV-)
2. RH (Right Hand) plays the same chords and progression as #1, except now the LH (Left Hand) plays the roots. Say the chord names (the roots or tonic of each chord) while you play them.
3. Both hands improvise a rhythm or pattern using the same chord progression. Many students get stuck at this point because they try to think of more difficult patterns. Honestly, simple always wins. Just turn on the radio and listen to those melodies and chord progressions. Many of them are simple, and for that reason, they get stuck in your head very easily. 

In the next post I will explain 5 notes that can help you write any pop song. Stay tuned!