keysett 3 (v3 - jan., '17) · keysett level 3 page2...

KEYSETT LEVEL 3

© 2015 Davida Ministries, Inc. Columbus, GA

By Dr. Terri Terry Contributing Editors: John Nielsen, Nate Hunt, Robert Kurtz All Rights Reserved

KEYSETT LEVEL 3

Table of Contents:

Section 1 -‐ Introduction

Welcome to KeysETT! .............................................................................................. 8

Skills to Know Before KeysETT 3 ............................................................................... 9

Piano Essentials ...................................................................................................... 10

Section 2 – Review and Preview

Review from KeysETT 1 and 2 ................................................................................ 16

Preview of KeysETT 3 ............................................................................................. 23

Section 3 – Key of C

Key of C: Theory

Basic Chord Construction ....................................................................................... 26

Nashville Number System:

Background ..................................................................................................... 28

Basics .............................................................................................................. 29

Other Essentials .............................................................................................. 30

Basic Modulation and Transposing ........................................................................ 31

Scales: Major, Minor, Relative, and Parallel ........................................................... 32

Key of C: Technique

Playing Scales ......................................................................................................... 36

Harmonized Scales ................................................................................................. 37

Primary Chords Cadence ........................................................................................ 38

KEYSETT LEVEL 3

Key of C: Songs to Sing and Play

C Major Technique Package ................................................................................... 40

Give Me Oil ............................................................................................................. 41

Holy ........................................................................................................................ 43

Sing and Play: O Lord, You’re Beautiful .................................................................. 45

Sing and Play: You Are My All in All ........................................................................ 47

Key of C: Intervals and Sight-‐Singing

Intervals .................................................................................................................. 49

Singing by Numbers – Key of C ............................................................................... 50

The Interval Song, Singing Parallel Scales ............................................................... 52

Sight-‐Singing Exercises – Key of C .......................................................................... 53

Key of C: Key Signatures, the Circle of Keys

Key Signatures ........................................................................................................ 55

The Circle of Keys ................................................................................................... 57

Secton 4 – Key of F

Key of F: Songs to Sing and Play

F Major Technique Package ................................................................................... 60

Bless the Lord ......................................................................................................... 61

My Jesus, I Love Thee ............................................................................................. 62

Prelude ................................................................................................................... 64

Sing and Play: Whom Have I But You ..................................................................... 66

Sing and Play: Because He Lives ............................................................................. 68

KEYSETT LEVEL 3

Key of F: Sight-‐Singing

Singing by Numbers ............................................................................................... 70

Sight-‐Singing Exercises ........................................................................................... 70

Section 5 – Key of B

Key of B : Songs to Sing and Play

B Major Technique Package ................................................................................. 72

Sing and Play: More Than Ashes ............................................................................ 73

Sing and Play: Come as Close as You Want ............................................................ 76

Key of B : Sight-‐Singing

Singing by Numbers ............................................................................................... 78

Sight-‐Singing Exercises ........................................................................................... 78

Section 6 – Chords in Depth

7th Chords ............................................................................................................... 80

Major 7th Chords .......................................................................................... 80

Minor 7th Chords .......................................................................................... 81

Dominant 7th Chords .................................................................................... 82

2 Chords ................................................................................................................. 83

Chord Building: The Skipping Rule ......................................................................... 84

Chord Identification Made Easy ............................................................................. 85

Section 7 -‐ Ear Training

Hearing Intervals .................................................................................................... 87

Interval Memory Worksheet .................................................................................. 88

Hearing and Notating Melodies and Rhythms ....................................................... 89

KEYSETT LEVEL 3

Hearing Chord Progressions ................................................................................... 90

Ear Training Exercises ............................................................................................. 91

Rhythm Practice ..................................................................................................... 95

Section 8 – Teaching Aids

Ear Training Aids ................................................................................................... 106

Teaching Suggestions ........................................................................................... 107

KEYSETT LEVEL 3/ SECTION 1 - INTRODUCTION

Section 1 Introduction to

KeysETT 3


Welcome to KeysETT 3! In the Scriptures, we’re told that King David was a singing theologian. He was, in fact, a skilled musician. The Old Testament understanding of the word ‘skilled’ means he was ‘useful to God’s purposes.’ The purpose of the KeysETT curriculum in your hands is to equip all level of worship musicians to become ‘useful to God’s purposes’ in the earth. This includes novice, intermediate and advanced worshippers. This course includes training to become ‘skilled’ in Keys, in Ear Training and Theory. Each of these disciplines will be addressed in various keys. From the foundations established in this curriculum, you will learn the necessary skills that will allow you to become a prophetic musical theologian. Not only will you play Bach or Beethoven, but you will be able to play and sing your Bible. This is God’s dream for you! Many blessings,

T erri T erry , D. Min.

“Worship God: for the testimony of Jesus is the spirit of prophecy” -‐ Rev. 19:10


Skills to know before KeysETT 3: As you are reading this list, if there is something that stands out that you do not know how to do, take some time to study it.

! Know keyboard letter names ! Be moderately comfortable reading notes on the grand staff – both treble and bass clef ! Know how to create the following chords: major, minor, augmented, diminished, suspended ! Know how to create both a major and minor scale

! Know how to count rhythms using eighth notes, quarter notes, dotted quarter notes, half notes, dotted half notes, whole notes, and their corresponding rests

! Know how to draw the above notes and rests on the staff ! Be able to visually identify all major, minor and perfect intervals up through 1 octave ! Know how to read a time signature ! Know how to find the relative minor of a major key and the relative major of a minor key ! Be able to convert a simple melody into numbers (by using scale degrees) ! Be able to take an elementary level song and complete the following checklist on your own:

1) Play correct notes 2) Play with curved fingers 3) Count correctly 4) Use fingering in the score 5) Incorporate dynamics written in the score


Piano Essentials

Correct posture at the keyboard: 1. Curve your fingers (this is your hand’s normal resting position). 2. Sit up straight on the front 2/3 of the bench. 3. Sit at the proper height and distance from the piano. Check yourself:

a. Your forearm, wrist, and the top of your hand should make a straight line. b. Sit back far enough so that you can easily clear the pedal while your heel stays on

the floor. c. Your shoulders should be relaxed, not tight or compressed.

Why is correct posture important? Correct posture enables you to sustain a lifestyle of playing your instrument without injuring yourself. By focusing on correct posture now, you are equipping yourself to be able to play on a worship team for many hours a day.

Fingering is the little numbers written above and below the notes on the staff. If a piece has fingering written in the score, then use it. In this textbook, each piece shows the fingering for the first note played. Assume that you place one finger on each note. Do not skip any notes unless the interval played is larger than a 5th.

If a piece has extra fingering written throughout, this usually suggests that you will need to move your finger to get to that note. Sometimes this means stretching your fingers and skipping notes.

It is always easier to learn a piece with the correct fingering from the beginning. Do not convince yourself to add or fix the fingering later.

For piano playing, use the chart below: Thumb = finger 1 Pointer finger = finger 2 Middle finger = finger 3 Ring finger = finger 4 Little finger = finger 5


Pedaling Contrary to the poor habits of some, a keyboardist should not wait to change the pedal until all the notes blur together into a muddy sound. A good keyboardist should clear the pedal each time a new chord is played. When changing the pedal, think of a motion like a see-‐saw. When one side comes down, the other side goes up. In a similar manner, when your hand is pushing down the new chord, your foot should come up, and then go right back down. Your hand and your foot do not go up and down at the same time, and your heel should always stay on the floor.

In order to use the pedal correctly, consider its primary uses. 1. The pedal is first and foremost used to connect notes and help smooth over transitions when

your hand moves. This means that if you pick up your foot at the same time as your hand, the pedal will not be doing its job. The pedal has to stay down when your hands come up so that the notes are connected.

2. The pedal is not intended to blur harmonies. Therefore, you must clear the pedal when you change harmonies (when you change chords). This means that you pick up the pedal when your fingers push down the notes for a new chord.

3. The pedal is used as a tool to add a particular sound or “color” to a piece, implying that that sound is not always desired. Consider the style of the piece or improvisation and be wary of pedaling through staccato notes.

Practice pedaling while playing a scale, harmonized scale, or primary chord cadence. When your hand comes up after playing a note or chord, keep the pedal down. Then when your hand pushes down a new note, say “up-‐down” out loud. When you say “up,” pick up your foot. Push the pedal back down when you say “down. Next, try this exercise while playing a worship song. Instead of singing, say “up-‐down” for each chord change. If you work hard at this exercise for a couple of weeks, saying “up-‐down” out loud and keeping your heel on the floor, good pedaling will become second nature to you. If you think this exercise is silly and ignore it, only using it once or twice, your journey to good pedaling technique may take much longer.

Listen carefully to your playing to hear whether poor pedaling is inadvertently leading to a blurry or choppy sound.

A word of caution: Pedaling on a keyboard does not always give as sustained a sound as pedaling on a piano. Because of this, any bad pedaling technique is more likely to be disguised on a keyboard. If you have the opportunity, try occasionally to practice on a piano and listening to the pedal.


Making the most of your practice time

1. Plan ahead -‐ take a few minutes at the beginning of your practice time to think through

what you want to practice.

2. Pray -‐ connect with the Holy Spirit and let your practice time be a time of peace. If you start

getting frustrated, take a break to pray in the Spirit, thank the Lord for His goodness, and

ask for wisdom.

3. Pace yourself – remember, “practice makes permanent.” You want to make the right things

permanent. Learning mistakes just doubles the work.

4. Isolate difficult passage -‐ don’t just play through a piece over and over, missing the same

notes or fingerings. Practice is the time to work on specific notes and fingerings.

• Identify problem spots

• Practice that measure or a few measures around it very slowly.

• Add in a few more measures before (or after) the problem spot and continue at a slow

pace.

• Play through the section up to tempo.

5. Debrief -‐ write down questions, make new goals and plan what to work on next time.

6. Practicing Checklist – Five things you should be able to do on your own before you ask for

help:

1. Correct notes

2. Curved fingers

3. Counting

4. Fingering

5. Dynamics

Previewing a Piece Before you begin playing a piece, take the time to preview it. Asking yourself questions about the music and looking for the answers will help you learn the music much faster. A famous pianist named Josef Hoffman warned against the mindset that practice could only happen if you were pressing notes on a keyboard. Studying your music while not actually playing counts as practice too.


Using a Metronome A metronome is a critical tool for becoming a good musician.

A steady tempo is required for a worship team to be able to play together. A steady tempo is also necessary for making songs recognizable. There are two ways to ensure your tempo consistency: Count out loud and practice with a metronome. Better yet, do both at the same time. Remember, too, that it is far more important to play with a steady tempo than to play fast or up to speed with an inconsistent tempo. As one music theory teacher says, “The key to going fast is going slow.”

There are two primary ways the tempo is indicated in a piece of music:

1) 72 bpm -‐ set your metronome to 72, which equals 72 beats per minute

2) = 72 -‐ 1 quarter note equals one metronome tick when the metronome is set to 72 Sometimes when playing a piece it is easier to set the metronome to a beat other than the quarter note. For slower pieces, or pieces that are tricky to count, try setting the metronome to equal an eighth-‐note beat. This would require doubling the quarter note tempo. In the above example, instead of playing at 72, set your metronome to 144. For faster pieces, or to help you increase your tempo, it is often helpful to hear the bigger beat, meaning you might set your metronome to tick for the half note beat. This requires dividing the quarter note tempo in half. If your quarter note tempo is 168, divide it in half and set your metronome to 84. It is now ticking for each half note, or every 2 counts. In both of these scenarios, the tempo has remained the same. You are merely changing how frequently or infrequently the metronome ticks within that tempo.

KEYSETT LEVEL 3/ SECTION 2 - REVIEW AND PREVIEW

Section 2 Review and

Preview


Review from KeysETT 1 and 2

Notes on the keyboard and grand staff:

Notes and Rests: Complete the following chart by drawing the corresponding notes and rests.

Number of Beats Note/Rest Name Note Rest

½ Eighth

1 Quarter

1 ½ Dotted quarter X

2 Half

3 Dotted Half X

4 Whole


Time Signature formula: Top # = number of beats per measure

Bottom # = what kind of note gets one count -‐4/4 time has 4 beats per measure. -‐4/4 time has a strong downbeat (first beat) and third beat, along with a weaker second and fourth beats.

-‐3/4 time has 3 beats per measure. -‐3/4 time has a strong downbeat and weaker second and third beats.

-‐2/4 time has 2 beats per measure. 2/4 time has a strong downbeat and a weaker second beat.

Dynamics: how loud and soft music is played.

is the symbol for fortissimo, which means to play very loudly.

is the symbol for the Italian word forte, which means to play loudly.

is the symbol for mezzo forte, which means to play moderately loud.

is the symbol for mezzo piano, which means to play moderately soft.

is the symbol for the Italian word piano, which means to play softly.

is the symbol for pianissimo, which means to play very softly.

To crescendo means to gradually get louder. This is often abbreviated as cresc.

To diminuendo (sometimes called decrescendo) means to gradually get softer. This is often abbreviated as dim.


Ties vs. Slurs:

A slur is an arched line connecting music notes. It means to play the notes smoothly, or legato. At the end of each slur, you need to have a “phrase lift.” Lift your hand off the keys, leading with your wrist. A tie connects one or more notes that are exactly the same. It means to hold the note for the value of both notes.

Accidentals: A sharp (#) added to a letter name raises it a half step. A flat ( ) added to a letter name lowers it a half step.

A natural (♮) added to a letter name cancels any sharps or flats previously played with that note.

Accidentals affect the note they are placed directly before and all notes on the same line or space through the end of the measure. The measure line cancels all accidentals. Tempo: how fast or slow to play a piece.

Largo = play very slowly Adagio = play slowly Andante = play at a slow walking tempo Moderato = play at a moderate tempo, not fast, but not slow Allegro = play at a quick, lively tempo

Pick-‐up Beats: If the first measure of a piece is incomplete (only having 1 or 2 counts when it is supposed to have 4), the notes in that measure are called pick-‐up beats. If a piece has an incomplete first measure, the last measure of the piece is usually incomplete as well. Combining the first and last measure should make 1 complete measure. Half Steps and Whole Steps: A half step is the next closest note on the keyboard– it does not matter if it is a white note or a black note. A whole step is two half steps. When counting half steps and whole steps, do not count anything until you have stepped off of your first note. It does not count as a step unless you have actually stepped.

&slur"e

œ œ œ œ œ œ ˙


Intervals: An interval is the distance between two notes. Each interval has a quality (major, minor, perfect) and a number (2, 3, 4, 5, etc.) Notes that are written side by side create a melodic interval. Notes that are stacked on top of each other create a harmonic interval.

Interval Number of Half Steps Interval Number of

Half Steps Unison 0 P5 7 m2 1 m6 8 M2 2 M6 9 m3 3 m7 10 M3 4 M7 11 P4 5 P8 (Octave) 12 TT 6

Relative Keys: Relative keys share the same key signature (the number of sharps or flats). The relative minor key is the 6th scale tone of the major scale. You can also start on the major tonic and go down a minor third, 3 half steps, to find the relative minor. The relative major is the 3rd scale tone of the minor scale. You can also start on the minor tonic and go up a minor third, 3 half steps, to find the relative major. Staccato:

Staccato is to play with a short, detached, and crisp sound. It is the opposite of playing smoothly (indicated by a slur). A staccato note has a dot directly above or below it.

Fermata:

A fermata indicates to hold the note longer than its normal value.

Accents: An accent means to play that single note louder than the surrounding notes. Accents are not all the same level of loudness but are relative to the current dynamic.


Chords: Major Chord = Root + 4 half steps + 3 half steps Minor Chord = Root + 3 half steps + 4 half steps Suspended (sus) Chord = Major chord; raise the 3rd 1 half step Augmented Chord = Root + 4 half steps + 4 half steps or Major chord; raise the 5th 1 half step Diminished Chord = Root + 3 half steps + 3 half steps

or Minor chord; lower the 5th 1 half step Blocked Chord vs. Broken Chord: A blocked chord has all of its chord tones stacked on top of each other. You play all the notes at the same time. A broken chord still contains all the same chord tones, but they are not all played together. The bass note can be played by itself, followed by the rest of the notes played together, or each note can be played individually with a variety of patterns. I, IV, V, and vi Chords: Chords are often written using numbers. To read chords written as numbers, you must first know the key you are in. The tonic of that key is I. From there, go up the scale to figure out the other numbers. If the number is a capitalized Roman numeral, then it indicates a major chord. It the Roman numeral is lowercase, it means to play a minor chord. To write chords as numbers, you must also begin by determining the key of the piece. Once you know the tonic, which is I, you can assign the appropriate numbers (and capitalization) to the rest of the chords.


Basics of Music Notation Note heads:

" Note heads should clearly show the correct note to be played. For a space note, draw the note head exactly to fill in the space. Do not cross over any lines. For a line note, draw the note head so that the line goes through its middle. The note head should only take up half of the space above and half of the space below.

Stem direction:

" Any note on the middle line or above -‐ stem is on the left side of the note head and goes down. " Any note below the middle line -‐ stem is on the right side of the note head and goes up. " Stems are one octave in length. (Draw the stem through 3 additional lines or spaces.) " If two or more notes share a stem, the stem should be pointed the correct direction for the

note that is the furthest away from the middle line. Accidentals and Articulations:

" When drawing on the staff, always draw the accidental (sharps, flats, natural signs) before the note. If writing letters, write it as you would speak it: C#.

" Draw accidentals on the same line or space as the note they affect. For space notes, the boxed area of the sharp and natural, as well as the body of the flat, should fill the space exactly. For line notes, the line should go straight through the middle of the boxed area of the sharp and natural and the body of the flat.

" Articulations (staccatos and accents) are drawn above or below the note head, not the stem. Measures and Bar lines:

" If using more than one staff, such as a treble clef and a bass clef, draw a brace at the beginning of the line. The bar lines between clefs should be aligned.

Key Signatures and Time Signatures:

" In order of appearance: 1) Draw the clef 2) Key signature (using the proper order and placement of sharps or flats) 3) Time signature

" When drawing multiple staves of music, always include the clef sign and the key signature. The

time signature only needs to be on the first stave. Metric Placement and Vertical Alignment:

" Make sure to line up the beats. Beat 1 in the treble clef should line up with beat 1 in the bass clef. Leave space for the beats not played.

Flags:

" For notes with flags (like eighth notes), the flag is always on the right, whether the stem is pointed up or down.


Beams: " Group notes according to time signature. In this class, we are only working with quarter note

time signatures, meaning that each beat can be divided by two. Group eighth notes in groups of 2 or 4. Do not beam 3 eighth notes together in a quarter note time signature. Instead, group 2 notes together and leave one as a single eighth note.

" When two notes are beamed together, the note furthest from the middle line determines the direction of the stems.

" When three or more notes are beamed together, the majority determines the direction of the stems.

" The slant of the connecting line is determined by the first and last note of the group. Ties:

" Ties connect the note head, not the stem. " Ties can be used to help ensure each measure has the correct number of beats. If you are in 4/4

time and beat 4 of your song is a half note, you cannot draw a half note. This would cause your measure to have 5 beats. Instead draw a quarter note and tie it to a quarter note in the next measure.


Preview

New material that will be presented in KeysETT 3:

1) The most important thing you will be learning is how to apply the musical knowledge you have already learned. This translates into harder written music, more complex worship songs, and more advanced ear training application. Remember, repetition is your friend.

2) Developing good pedaling technique – when and how to use it well

3) Playing and reading music in the keys of F major and B major

4) Learning and applying new accompaniment patterns

5) 7th chords: how to construct and play major 7ths, minor 7ths, and dominant 7ths

6) Reading more advanced chord progressions and worship songs using the Nashville Numbering System

7) Chord identification: being able to figure out what chords you are playing, no matter what their voicing, as long as they are in your current chord vocabulary

8) Identifying chord progressions by ear that use I, IV, V and vi chords

KEYSETT LEVEL 3/SECTION 3 – KEY OF C

Section 3 Key of C: Theory


Basic Chord Construction A chord is defined as three or more notes played together. Major Chords 3 ways to build a major chord:

1) Use scale degrees 1, 3, and 5 of the major scale. The root of the chord is the tonic for its corresponding major scale.

2) Count half steps. Play the root of your chord, count up 4 half steps and play that note, then count up 3 half steps and play that note. From the bottom note to the top note should be a total of 7 half steps.

3) Stack intervals. A major chord has an interval of a major 3rd with a minor 3rd stacked on top. Minor Chords 4 ways to build a minor chord:

1) Use scale degrees 1, 3, and 5 of the minor scale. The root of the chord is the tonic for its corresponding minor scale.

2) Count half steps. Play the root of the chord, count up 3 half steps and play that note, then count up 4 half steps and play that note. From the bottom note to the top note should be a total of 7 half steps.

3) Stack intervals. A minor chord has an interval of a minor 3rd with a major 3rd stacked on top. 4) The only note that changes from a major chord to a minor chord is the middle note. Therefore,

another way to find a minor chord is to play the major chord with the same root and simply lower the middle note 1 half step.

Suspended (“sus”) Chords 4 ways to build a suspended chord:

1) Use scale degrees 1, 4, and 5 of the major scale. The root of the chord is the tonic for its corresponding major scale.


3) Stack intervals. A suspended chord has an interval of a perfect 4th with a major 2nd stacked on top.

4) The only note that changes from a major chord to a suspended chord is the middle note. Therefore, another way to find a suspended chord is to play the major chord with the same root and simply raise the middle note 1 half step.


Augmented (+) Chords 3 ways to build an augmented chord:

1) To augment something is to make it bigger. Play a major chord and raise the 5th 1 half step. (This is still scale degree 5, but it is a raised 5th. This means you will add an accidental to the 5th. Do not change the letter name.)


3) Stack intervals. An augmented chord has an interval of a major 3rd with a major 3rd stacked on top.

Diminished (dim) Chords 3 ways to build a major chord:

1) To diminish something is to make it smaller. Play a minor chord and lower the 5th 1 half step. (This is still scale degree 5, but it is a lowered 5th. This means you will add an accidental to the 5th. Do not change the letter name.)


3) Stack intervals. A diminished chord has an interval of a minor 3rd with a minor 3rd stacked on top.

Memorize these formulas:

Major Chord = Root + 4 half steps + 3 half steps Minor Chord = Root + 3 half steps + 4 half step

Suspended (sus) Chord = Major chord; raise the 3rd 1 half step Augmented Chord = Root + 4 half steps + 4 half steps

or Major chord with a raised 5th Diminished Chord = Root + 3 half steps + 3 half steps

or Minor chord with a lowered 5th


Nashville Number System: Background

The Nashville Number System is a form of musical shorthand. A group of studio musicians in Nashville created this system in the late 1950s as a way to learn and transpose music faster. In the musical industry, time equals money. The more time it takes to make a recording, the more it costs. Band musicians were expected to learn a piece of music, arrange it, and put it together with the performer in less than half an hour. Often they had to transpose music on the spot. By using this numbering system, they could easily transpose a song to suit the needs of the performer. Even though many people study this number system today as a shortcut to learning music, the brains that developed this method were skillfully trained musicians. Their ideas for this numbering system were a combination of the Roman numerals and figured bass used in traditional music theory. The Nashville Number System uses numbers instead of chord letters. All numbers are relative to the key in which you are playing, and tonic is always 1. For example, in the key of C major, C = 1, D = 2, E = 3, F = 4, G = 5, A = 6, and B = 7. There are many different variations of the Nashville Number System. Some people use Roman numerals, other people use Arabic numbers. For this class, Roman numerals will represent chords and Arabic numbers will represent individual scale degrees. When writing a song with the Nashville Number System, you may come across a chord that doesn’t seem to fit in the key. For example, in a major key, the iii chord should be minor. So in the key of C major, you would expect to find an E minor chord, not an E major chord. However, if there is an E major chord, simply write it using upper case Roman numerals: III. If the chord is E/G#, you would write it III/#5. You must add the sharp before the 5 because the key of C major does not have G#. The biggest help when learning the Nashville Number System is to know your key signatures forwards and backwards. Practice writing out chord progressions using numbers and then play and write the progressions in several different keys. Chord progression: C major: C/E F Em Am G/B Cmaj7

Written using Nashville Numbers: I/3 IV iii vi V/7 Imaj7

Transpose to G major: G/B C Bm Em D/F# Dmaj7

Transpose to D major:

Transpose to F major:

Transpose to B major:


Nashville Number System: Basics We have already been using two of the primary rules for reading a chart in Nashville Numbers:

1. Tonic (the root of the key you are in) is always I.

2. Upper case Roman numerals are used for major chords. Lower case Roman numerals are used for minor chords.

There are two more primary rules for reading in Nashville Numbers:

3. Roman numerals are used for chord. Arabic numbers are used for scale degrees.

Two types of chords use this rule. The first is any chord that contains an additional scale degree, like V7, IVmaj7, I2, etc. The Roman numeral tells you the chord to play and the Arabic number tells you to add a single note to that chord. V7 = Play a V chord and also add scale degree 7 (of the chord) to that chord. IVmaj7 = Play a IV chord and also add scale degree 7 (of the chord) to that chord. (See pages 80 -‐ 82 about building dominant and major 7th chords.) I2 = Play a I chord and also add scale degree 2 (of the chord) to that chord. The second type of chord that uses this rule is a split chord. Because Roman numerals always imply a chord and Arabic numbers always refer to a single note, the Roman numeral letter on the left of the slash means to play a chord and the Arabic number on the right side of the slash means to play a specific bass note. I/3 = Play a chord in your right hand and play the bass note in your left hand.

4. The Arabic number without a slash assumes the root of the chord is 1. The Arabic number below the slash assumes the root of the key is 1.

This is perhaps the most confusing of all the primary rules, but it still qualifies as a primary rule because, without it, you would figure out many chords incorrectly. Study the following examples. C: V7 – this chord does not have a slash, so the 7 counts up from the root of the chord. In the key of C, V = G, making this a G7 chord. (Because this is a dominant 7th chord, we must use scale degree 7. See pages 80 -‐ 82.) To determine “ 7” do not start counting from the root of the key (C) but from the root of the chord (G). If G is “1,” then “ 7” = F. Thus you will play a G chord and add the 7th scale degree of G, which is F. C: V/7 – this chord has an Arabic number below the slash, so the 7 counts up from the root of the key. In the key of C, V = G. To figure out “7,” count up 7 from the root of the key. If C is “1,” then “7” = B. Thus you will play a split chord, G/B.


Using the 4 primary rules for reading Nashville Numbers, complete the following table:

Chord written in Nashville Numbers: Rewritten as a chord using letters:

Key of C: Imaj7

Key of C: I/3

Key of F: V7

Key of F: IV/6

Key of B : V7

Key of B : V/7

Nashville Number System: Other Essentials " The letter name alone implies a major triad.

" m (minor) always refers to the 3rd of the chord.

" Maj. (major) always refers to the 7th of the chord. It is found a half step down from the octave above the root.

" 7 always refers to dominant 7th. It is found a whole step down from the octave above the root.

" + attached to a triad means that it is an augmented triad.

" A sharp (#) not a + is used for “raising” other tones (#5, #9). This does not literally mean to play a sharp, but rather to raise the tone a ½ step.

" A flat ( ) not a -‐ is used for “lowering” other tones ( 5, 9). This does not literally mean to play a flat, but rather to lower the pitch a ½ step.

" ° attached to a triad means that it is a diminished triad.

" Sus4 and sus2 both replace the 3rd of the chord.

Chord symbols do not dictate how a chord is “voiced.” (Voicing is the actual vertical configuration of the notes.) They do, however, tell you which note must be the bass note.


Basic Modulation

Modulation is when you change the key in which you are playing. There is one important chord to remember when modulating: play the V7 chord of the new key. Let’s say that you want to modulate to the key of E major. It does not matter what key you are currently playing in. You could be playing in the key of C major or the key of D major. What matters is where you are going. Since you are going to E major, figure out the V of that key: B major. Play a B dominant 7 chord and then resolve to your new key, E major.

Formula: Old Key ! V7 of New Key ! New Key = Modulation

Transposing Transposing means to take a piece and play it in a key other than the key in which it was written. The beauty of the Nashville Number System is that it makes transposing exceptionally easy. If you need to transpose a piece, begin by writing out the chords using the Nashville Number System. Before you play a piece in a new key, always ask yourself:

1. What sharps or flats are in this key? 2. What are the I, IV, V, and vi chords in this key?

Complete the following chart and use it as a transposing reference:

Key of: I chord IV chord V chord vi chord C Major C F G am G Major D Major A Major E Major F Major B Major

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Scales Review from KeysETT 2:

-‐ Major Scale: pattern of half steps and whole steps = W-‐W-‐H-‐W-‐W-‐W-‐H. -‐ Natural Minor Scale: pattern of half steps and whole steps = W-‐H-‐W-‐W-‐H-‐W-‐W. -‐ Harmonic Minor Scale: take the natural minor scale and raise the 7th note one-‐half step. -‐ Melodic Minor Scale: start with the natural minor and raise the 6th and 7th tones one-‐half step

each on the way up. On the way back down, lower the 6th and 7th tones one half step each, playing what amounts to a descending natural minor scale.

Writing a Scale:

1. Write a note on each line or space until you have 8 notes, including the first note. If you did it correctly, your top note will have the same letter name as the tonic note and you will have included all the letters of the musical alphabet (A-‐G).

2. Starting from the tonic (lowest) note, use the whole & half step pattern to work your way up

the scale, adding sharps or flats where necessary. Always change the higher note to fix the interval. If an interval is too small, add a sharp (#) to the higher note. If the interval is too big, add a flat ) to the higher note.

Here’s an example writing a G major scale:

Step 1: Write a note on each line and space, counting until you have 8 total notes (including the G we started with). The last note should also be a “G.”

Step 2: Starting with the tonic note, check the intervals between the notes (W-‐W-‐H-‐W-‐W-‐W-‐H). Remember: always change the higher note to fix the interval.

Notice that we raised the F to F# to make the interval a whole step. Now play it. Does it sound like the right type of scale (in this case, a major scale)? If it doesn’t, check that step pattern.

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See examples of the three types of minor scales below: A natural minor scale:

A harmonic minor scale (note the raised 7th):

A melodic minor scale (raised 6th and 7th on the way up, lowered on the way down):

Aside from major scales and the three forms of minor scales, there are also relative scales and parallel scales. Relative major and minor scales share the same key signature. In other words, they have the exact same notes; they just begin and end on a different note. The relative minor starts on the 6th note of the major scale, using the same notes. The relative major starts on the 3rd note of the minor scale, using the same notes.

Parallel major and minor scales start and end on the same note. Compare the A major scale and the A minor scale. There are three different notes between the two scales. How are they different? A major: A B C# D E F# G# A (notes of the scale) 1 2 3 4 5 6 7 8 (scale degrees) a minor: A B C D E F G A 1 2 3 4 5 6 7 8 Now we know a little trick for figuring out a parallel minor scale. Just take a major scale and lower the 3rd, 6th, and 7th by a half step.

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Apply this procedure to C major. C Major: C D E F G A B C 1 2 3 4 5 6 7 8 c minor: C D __ F G __ __ C 1 2 __ 4 5 __ __ 8 In review:

-‐ Major Scale: pattern of half steps and whole steps = W-‐W-‐H-‐W-‐W-‐W-‐H. -‐ Natural Minor Scale: pattern of half steps and whole steps = W-‐H-‐W-‐W-‐H-‐W-‐W. -‐ Harmonic Minor Scale: take the natural minor scale and raise the 7th note one-‐half step. -‐ Melodic Minor Scale: start with the natural minor and raise the 6th and 7th tones one-‐half step

each on the way up. On the way back down, lower the 6th and 7th tones one half step each, playing what amounts to a descending natural minor scale.

-‐ Relative Major and Minor Scales: A pair of major and minor scales with the same key signature. -‐ Parallel Major and Minor Scales: A pair of major and minor scales that start and end on the

same note.

Homework: Draw the following on a treble clef in 4/4 using quarter notes:

• D major and E major scales • E minor and G minor scales in all three forms: natural, harmonic, and melodic • A major and its relative minor scale • D minor and its relative major scale • C major and its parallel minor scale • G minor and its parallel major scale


Key of C: Technique


Playing Scales When practicing scales, do the following:

1. Start VERY SLOWLY. It’s more important to get the right fingering and be able to play the notes

evenly before speeding up. Remember -‐ practice makes permanent and you want to learn the fingering correctly. The key to going fast is first going slow.

2. Play hands separately first, singing or saying the finger numbers as you play. 3. Next, play hands together. Sing or say the letter names of the notes. 4. Isolate difficult sections and repeat them over and over.

Here’s an example of a two-‐octave C scale. Two things to notice: check out the fingering as we move from the first octave to the second – both your thumbs land on that “in-‐between” C. Also notice that finger 3’s always play together.

For this class, we will be learning to play three scales: C major, F major, and Bb major. See pages 40 (C), 60 (F), and 72 (Bb) for the notes and fingering for these scales. See below for some helpful tips in

practicing these scales.

C major: Fingers 3 play together on E and A. Your thumbs match on the C in between octaves. F major: Both thumbs play on F and C. Left hand is the same fingering as a C major scale. B major: This scale has 2 black keys. R.H. has finger 4 on B and finger 3 on E .

L.H. is opposite – finger 3 on B and finger 4 on E . Fingers 2 play together on G.


Harmonized Scales

A harmonized scale is a regular scale with chords built on each of the 7 scale degrees. In this class, instead of the normal scale degree 7 (which would be a diminished chord) we are going to lower the 7th scale tone a half step to form a major chord. This is a borrowed chord that does not fit naturally in the key, but it’s more useful in most worship songs.

Building a harmonized scale -‐ Build major chords on scale degrees 1, 4, 5, and 7. -‐ Build minor chords on scale degrees 2, 3, and 6. -‐ Left Hand: Take away the 3rd so that the left hand is just playing 1 and 5 -‐ Right Hand: Replace the root of the chord with the 2nd of the chord, which is 1 whole step up

from the root

Playing a harmonized scale -‐ Right Hand: Replace the root of the chord with the 2nd of the chord, which is 1 whole step up

from the root. Your right hand plays 2-‐3-‐5, but not the root. -‐ Left Hand: Take away the 3rd so that the left hand is just playing root and 5th of the chord.

Here is an example in the key of C:

I2 ii2 iii2 IV2 V2 vi2 vii2 I2

2 sneaky notes: Chord iii – in order to play scale degree 2 of the chord, which is up a whole step from the root of the chord, you will actually be playing an accidental that does not normally occur within the key.

Chord VII – the root of this chord is also an accidental that does not normally occur with the key.

What that means – if you are playing the harmonized scale correctly, your harmonized scale will contain 2 accidentals that are not usually found within that key. In the above example, F# and B are not part of a C major scale. However, they are part of a C harmonized scale.

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Primary Chord Cadence The 3 major chords in a major scale (I, IV and V) are called the primary chords. We will play them (along with the minor vi chord) in each key we learn this semester in the form of a cadence, a sequence of chords that moves to a resolution. To add extra color, we will play a V7 rather than a regular V chord.

Here’s a visual example in the key of C. Fingering numbers are shown above the treble staff for the right hand and below the bass staff for the left hand.

I IV I V7 I vi I inverted inverted inverted Notice how the voicing of the IV, V7 and vi chords are different. The I chord is in root position (it’s a C chord with C as the lowest note. The IV, V7 and vi chords are in either first or second inversion. The note that names the chord (F, G and Am in this case) is not the lowest note. Using inversions allows you to move between chords in a progression in a smooth, fluid way. This is also referred to as voice-‐leading.

Using the chart, write out the letters that spell the following primary chords: C Major

Chord Numbers: I IV I V7 I vi I Letter Chords: C Highest Note Middle Note Lowest Note


Key of C: Songs to Sing

And Play


C technique package

C harmonized scale, adding 2’s

I2 ii2 iii2 IV2 V2 vi2 VII2 I2

I IV I V7 I vi I inverted inverted inverted

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Piece Preview: Give Me Oil

! In what key is this piece written?

! How can you explain that the first measure only has 1 beat instead of 4 beats?

! Why does the last measure have only 3 beats instead of 4 beats?

! Label all of the broken and blocked chords in the bass clef using both letters and numbers (C, F,

G and I, IV, V).

! Find and define the 2 dynamics used.

! Is there any repetition throughout the piece?

! Locate the 2 places your right hand fingering changes.

! Find examples of stepping, skipping, and repeating notes.

! Find examples of the following intervals: harmonic 3rd, harmonic 4th, melodic 2nd, melodic

3rd, melodic 4th, and melodic 5th.

! Find the tie. What is another way you could notate that rhythm?

! How could you describe beats 1 and 2 of your right hand in measure 8?

! Clap the rhythm of the right hand and left hand.

! Sing the letter names and numbers of the notes in the right hand.

! Goal: sing the words while you play!


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oil in my lamp I pray. Give me

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Piece Preview: Holy

! Based on the key signature, what are the two possible keys for this piece? Find your hand

position and play the first and last measure. Do you think this is a major key or a minor key?

! Measures 1-‐4 are based around which chord? Is there any note in measures 1-‐4 that is not one

of the three notes in that chord?

! Look for repetition and patterns. Everything in this piece is repeated somewhere.

! Identify and define all the musical additions: dynamics, staccatos, accents, ties, and slurs.

! What is the difference between the staccato notes and the dotted quarter notes?

! What is the difference between the slurs and the ties?

! What is a “phrase lift” and how and when do you use it?

! Where does your right hand change positions?

! Find the pedal markings. Will you ever “change” the pedal, or will you pick up the pedal without

pushing it back down? What should you do with your heel?

! What are the two chords played in measure 9?

! The rhythm in measure 5 presents a small playing challenge because it is a faster rhythm than

what the right hand has played in measures 1-‐4. How can you be sure to keep the same tempo?

! Clap the rhythm of the right hand and left hand.

! Sing the letter names and numbers of the notes in the right hand.

! Goal: sing the words while you play!


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SING & PLAY Key: C major Directions: Play the song below using any of the accompaniment patterns described in class.

O Lord, You’re Beautiful

Keith Green Verse 1 C2 F2 C/E Gsus G O Lord, You’re beau – ti - ful C2 F2 C/E Gsus G Your face is all I seek Am2 E/G# Am2 G/B C2 For when Your eyes are on this child F2 Gsus G F2 C2 Your grace abounds to me Verse 2 O Lord, please light the fire That once burned bright and clear Replace the lamp of my first love That burns with holy fear


SING & PLAY Key(s): C major Directions: Using the previous chord chart, rewrite this song in Nashville Numbers.

O Lord, You’re Beautiful

Keith Green Verse 1 O Lord, You’re beau – ti - ful Your face is all I seek For when Your eyes are on this child Your grace abounds to me Verse 2 O Lord, please light the fire That once burned bright and clear Replace the lamp of my first love That burns with holy fear


SING & PLAY Key C major Directions: Clap the rhythm, then sing the letter names and numbers of the right hand. Play the melody with your right hand, then play the triads in the specified inversion with your left hand. Finally, play both hands together while singing the melody.


Key of C: Intervals and Sight-Singing


Intervals An interval is the distance between notes. Intervals have a name, a symbol, and are equal to a certain number of half steps. We will learn major, minor, augmented, and diminished intervals.

How Many Half Steps Fit into Each Interval? If you stack 2 half steps onto each other, you get a whole step. If you stack 3 half steps, you get a minor 3rd. Since a major 3rd is a half step up from a minor 3rd, stack up 4 half steps and you get a major 3rd. The list goes on, as the table below shows.

Diminished and Augmented Intervals Whenever you take a minor interval and lower it a half step by using an accidental (not by changing the letter name), it becomes a diminished interval. (This may require you to draw a double flat.) If you raise a major interval a half step by using an accidental (not by changing the letter name), it becomes an augmented interval. (This may require you to draw a double sharp.)

Interval Name Interval Symbol Shortcut # of Half Steps Scale Degrees Example

Half Step n/a 1 1 – 2

Whole Step H + H 2 1 – 2

_________ 3rd W + H 3 1 – 3

_________ 3rd W + W 4 1 – 3

_________ 4th M3 + H 5 1 – 4

_________ W + W + W 6 1 – #4 or

1 – 5

_________ 5th P4 + W 7 1 – 5

_________ 6th P5 + H 8 1 – 6

_________ 6th P5 + W 9 1 – 6

_________ 7th Oct - W 10 1 – 7

_________ 7th Oct - H 11 1 – 7

Perfect Octave Same Note 12 1 – 8


Singing by Numbers -‐ key of C When singing by numbers, sing the scale degree rather than the letter name. Whatever key you are in is always “1”.

1. Major Triad

Here are the numbers to sing when singing up a major triad:

Sing them backwards to go back down the triad.

You sing: 1 – 3 – 5 – 8 – 5 – 3 – 1

2. Minor Triad

The vi chord is a minor triad. Here are the numbers to sing when singing up a minor triad:

Sing them backwards to go back down the triad.

You sing: 1 – 3 – 5 – 8 – 3 – 5 – 1


3. Major 7th Chord – add scale degree 7

You sing: 1 – 3 – 5 – 7 – 5 – 3 – 1

4. Dominant 7th Chord

You sing: 1 – 3 – 5 – 7 – 5 – 3 – 1

5. Minor 7th Chord

You sing: 1 – 3 – 5 – 7 – 5 – 3 – 1


6. The Interval Song This exercise helps you to hear major, minor, and perfect intervals going up.

You can also sing scale degrees to the above exercise: 1 to flat 2 1 to 2 1 to flat 3 1 to 3 1 to 4 1 to sharp 4 1 to 5 1 to flat 6 1 to 6 1 to flat 7 1 to 7 1 to 8

7. Singing Parallel Scales This exercise helps to train your ear to hear the difference between M3 and m3, M6 and m6, M7 and m7 intervals.

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Sight Singing Exercises – key of C These exercises are designed to be learned by sight and not by ear. When practicing them, do not play them on the piano. Instead, play the first 5 notes of the scale and the starting note. You can check to see if you're singing the right note by playing it on the keyboard, but not before guessing first.


Key of C: Key Signatures

and the Circle of Keys


Key Signatures A song based in a certain key will use the sharps or flats that the corresponding scale contains. To avoid writing so many sharps in the music, and to make it easier to read, key signatures are used. A key signature indicates what note(s) will always be sharp or flat.

Key signatures appear at the beginning of each staff to indicate which notes are sharp or flat within the key. Note in the example that the key signature appears after the treble clef sign and before the time signature.

Here are all the key signatures for the major keys.


Sharp keys: 1. Major key is one letter name up from the last sharp

Example: 4 sharps = F#, C#, G#, D#; Up one letter name from D = key of E major

Flat keys: (Except for F major)

The second to last flat is the name of the major key

Example: 4 flats – B , E , A , D Second to last flat is A 4 flats = key of A major

Relative major and minor keys share the same key signature (the number of sharps or flats). The relative minor key is the 6th scale tone of the major scale. You can also start on the major tonic and go down a minor third, 3 half steps, to find the relative minor. Here are the key signatures for the minor keys.

How do we find out which notes in the key signature are sharps or flats?

Order of sharps: Fat Cats Go Down Alleys Eating Bugs

Forerunners Carry God’s Desires Always Ever Burning Order of flats: B E A D G C F

It’s the order of sharps backwards. Before Earth Appeared Daddy God Called Forerunners

If a key signature has 3 sharps or flats, say the order of sharps or flats until you get to 3. For example, the key of A major/F# minor has 3 #’s. The first 3 sharps are F#, C# and G#, so the key of A major/F# minor contains F#, C# and G#.

How do we find the name of the key if we know the number of sharps or flats?


The Circle of Keys The Circle of Keys is the simplest way to learn the relationship between the major and minor keys and the number of sharps and flats in each.

Going clockwise around the circle, the keys go up a 5th and each subsequent key adds a sharp. Remember these steps: 1. Go up 5 notes. 2. Keep the old stuff. 3. Raise the new 7th note up a half step. Going counterclockwise, the keys go up a 4th and each subsequent key adds a flat. Remember these steps: 1. Go up 4 notes. 2. Keep the old stuff. 3. Lower the new 4th note down a half step.

KEYSETT LEVEL 3/SECTION 4 – KEY OF F

Section 4

Key of F: Songs to Sing

and Play


F major technique package

F harmonized scale, adding 2’s



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Piece Preview: Bless the Lord

! Based on the key signature, what are the two possible keys for this piece? Find your hand position and play the beginning and ending. Do you think this is a major key or a minor key?

! Give an explanation accounting for why the first and last measures do not have 4 beats. ! Label all of the chords in the bass clef (1 chord every 2 beats). ! The left hand pattern is called an Alberti Bass. Study the pattern and explain it. ! Compare the melody the two times the text says, “Bless the Lord O my soul.” ! Where does your right hand change positions? ! Find a long section of melody that is all stepping. ! What is the largest interval used in the melody and how many times is it used? ! This piece has pedaling written in for you. How would you know when to change the pedal if it

was not written in the score? (Hint: Find the pattern in this piece. What happens in the left hand every time the pedal changes?)

! Clap the rhythm of the right hand. ! Sing the letter names and numbers of the notes in the right hand. ! Goal: sing the words while you play!

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Piece Preview: My Jesus, I Love Thee

! In what key is this piece written? ! Divide the piece into 4 sections -‐ according to each phrase. Which 2 sections are exactly the

same? Which section is very similar and where does it change? ! Based on your answers above, which section should you practice the most and why? ! How many counts would you give the tied notes in measures 5 and 9? ! Label the chords used. You may need to consider the left hand and right hand notes when

figuring out chords, not just the bass clef. Each time the left hand plays 2 notes together it is playing a chord. However, one of the chord tones is in the treble clef.

! Is the melody always in the right hand? ! Find each place your fingering changes. ! What is the largest interval used in the melody? ! Clap the rhythm of the melody. ! Sing the letter names and numbers of the melody. ! Goal: sing the words while you play!


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Piece Preview: Prelude

! In what key is this piece written? Consider the first and last measure in your answer. ! What does the Italian musical term Con moto mean? ! Find and define the dynamics used. ! Each measure of this piece creates a chord. Figure out the chords. ! What do you notice about the left hand downbeat in each measure? Is this “D” a chord tone for

all the chords used in this piece? Look up the term pedal tone. Is this an example of a pedal tone?

! How can you explain the C# accidentals used throughout the piece? (Hint: consider the different forms of minor; see pages 33-‐34.)

! Rit. is an abbreviation for the musical term ritardando. What does it mean? ! Observe the rests throughout the piece, then consider the following playing challenges:

1. Even though there are 16th rests in the right hand, the 16th notes are not staccato. They should be played disconnected to observe the rests, but do not play them staccato. This is in contrast to the eighth note staccatos in the left hand. These eighth note staccatos should sound short and crisp. One way to achieve these different sounds is to play the staccato notes by pulling your finger into your hand as if you were plucking a string. For the sixteenth notes, merely lift your hand off the key.

2. The first left hand note of every measure is a quarter note, which is followed by a quarter rest. Do hold the quarter note for its full value, but do not hold it through the following rest.

! Practice tip: One way to practice this piece is to play the right hand notes as a blocked chord, holding it for the entire measure. Then play your left hand as written. This will help you to practice the left hand rests and staccatos and it will help train your hand to move to each new chord position faster, therefore enabling you to increase your tempo.


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SING & PLAY Key(s): F major Directions: Play the song below using any of the accompaniment patterns described in class.

Whom Have I But You Anna Blanc

Verse -‐ F2(no3) C/E Fsus F In all the earth in all of heaven Dm C/E Fsus F There’s only One that I desire F2(no3) C/E Fsus F In all of time through all the ages Dm C/E Fsus F There’s only One who caught my eye Chorus -‐ B 2 Fsus F C/E Lord, You are beautiful

F C/E Dm7 You are glo – ri -‐ ous C/E F2 Am7 B M7 And there is none like You B 2 Fsus F C/E My heart, my flesh may fail

F C/E Dm7 You’re my por -‐ tion still C/E F2 Am7 B M7 And there is none like You Bridge -‐ FM7 Am7 Whom have I but You Dm7 B M7 I want only You


SING & PLAY Key(s): F major Directions: Using the previous chord chart, rewrite this song in Nashville Numbers.

Whom Have I But You

Anna Blanc

Verse -‐ In all the earth in all of heaven There’s only One that I desire In all of time through all the ages There’s only One who caught my eye Chorus -‐ Lord, You are beautiful You are glo – ri -‐ ous And there is none like You My heart, my flesh may fail You’re my por -‐ tion still And there is none like You Bridge -‐ Whom have I but You I want only You


SING & PLAY Key: F major Directions: Play the melody in your right hand first. Then play the triads with your left hand. Learn both hands together. Finally, try adding an accompaniment pattern to your left hand. Play both hands together while singing the melody.


Key of F: Sight-singing


Singing by numbers: Key of F

Here are the numbers to sing when singing an F major triad:

Sight-‐singing exercises: Key of F

These exercises are designed to be learned by sight and not by ear. When practicing them, do not play them on the piano. Instead, play the first 5 notes of the scale and the starting note. You can check to see if you're singing the right note by playing it on the keyboard, but not before guessing first.

KEYSETT LEVEL 3/SECTION 5 – KEY OF B FLAT

Section 5

Key of Bb : Songs to Sing

and Play

KEYSETT LEVEL 3/ SECTION 5 – KEY OF B FLAT

Bb major technique package B major scale

B harmonized scale, adding 2’s


B major cadence


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SING & PLAY: Key(s): B major More Than Ashes version 1 Directions: Figure out the chords and play in B major using any of the accompaniment patterns. More Than Ashes version 2 Directions: Using the previous chord chart, write out the chords for the song below in the key of B major. Come As Close As You Want Directions: Play the melody in your right hand first. Then play the triads with your left hand. Learn both hands together. Finally, try adding an accompaniment pattern to your left hand.

Bonus Challenge: What are the diatonic 7th chords that would fit in this key? Play the song using 7th chords the whole time instead of triads.


More than Ashes Tim Reimherr

Verse 1 - I I/7 I’m more than what these ashes say IV/6 Vsus I They will fade away when He comes for me I I/7 By grace, through faith in Christ I’m saved IV/6 Vsus I I am not the same when He looks at me Chorus - IVMaj7 Vsus I I am the rose, the joy for which You died IVMaj7 Vsus I And this I know, I move You with delight IVMaj7 Vsus vim7 And when my heart condemns on every side IVMaj7 Vsus I (Vsus to bridge) I take refuge in the truth: I am the rose to You Verse 2 (use verse 1 chords) - My life is more than meets the eye I’m hidden now in Christ and I’m one with Him My love is real before His eyes He’s ravished by the sight of one glance from me Bridge - I I/7 vi IV I am the rose, I am the lily, I am Yours, I’m Your beauty I I/7 vi IV There’s gonna be a wedding, It’s the reason that I’m living, to marry the Lamb Interlude - IVMaj7 V7 vi I’m more than what these ashes say IMaj7 iim7 iiim7 IVMaj7 ‘Cause they will fade away when He comes for me IVMaj7 V7 vi My love is real before His eyes IMaj7 iim7 iiim7 IVMaj7 He’s ravished by the sight of one glance from me


More than Ashes Tim Reimherr

Verse 1 - I’m more than what these ashes say They will fade away when He comes for me By grace, through faith in Christ I’m saved I am not the same when He looks at me Chorus - I am the rose, the joy for which You died And this I know, I move You with delight And when my heart condemns on every side I take refuge in the truth: I am the rose to You Verse 2 (use verse 1 chords) - My life is more than meets the eye I’m hidden now in Christ and I’m one with Him My love is real before His eyes He’s ravished by the sight of one glance from me Bridge - I am the rose, I am the lily, I am Yours, I’m Your beauty There’s gonna be a wedding, It’s the reason that I’m living, to marry the Lamb Interlude - I’m more than what these ashes say ‘Cause they will fade away when He comes for me My love is real before His eyes He’s ravished by the sight of one glance from me


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Key of Bb : Sight-singing


Singing by numbers: Key of B

Here are the numbers to sing when singing a B major triad:

Sight-‐singing exercises: Key of B Remember to learn these exercises by sight, not by ear!

KEYSETT LEVEL 3/SECTION 6 – CHORDS IN DEPTH

Section 6

Chords In Depth

KEYSETT LEVEL 3/ SECTION 6 – CHORDS IN DEPTH

7th Chords Seventh (7th) chords are made up of 4 notes, a triad (3-‐note chord) and a 7th scale degree. There are three different 7th chords: major 7th, minor 7th, and dominant 7th chords. We will look at several different ways to build each 7th chord. Try them all to find which method is easiest for you to use and remember.

Major 7th Chords Major 7th chords can be written as Cmaj7 or CM7. When converting to Nashville Numbers, retain the “maj” or “M” (i.e. Imaj7 or IM7). You must include the “maj” or “M” because without it, you are indicating a completely different chord. Four ways to build a major 7th chord:

1) The scale method: A major chord is derived from a major scale. Regardless of the key you are actually in, imagine that you are playing the major scale where the root of your chord is. To make a major 7th chord, use all the odd scale degrees, 1 – 3 – 5 – 7. You can also imagine that you are skipping every other note of the scale. Ex: Cmaj7 C D E F G A B C

2) The half step method: Count half steps. Play the root of the chord, count up 4 half steps and play that note, then count up 3 half steps and play that note. Lastly, count up 4 more half steps and play that note. From the bottom note to the top note should be a total of 11 half steps. Formula = root – 4 – 3 – 4.

3) The interval method: Stack intervals. The distance from the root to the 3rd is a major 3rd. Next the distance from the 3rd to the 5th is a minor 3rd. Last the distance from the 5th to the 7th is a major 3rd.

4) The chord method: Build a major chord. Double the root of the chord 1 octave higher, then lower that note a half step. This is the equivalent of adding a major 7th interval to a major chord. Formula = major chord + half step down from tonic.


Minor 7th Chords Minor 7th chords are written as Cm7 or Cmin7. When converting to Nashville Numbers, it would be written as ii7, iiii7, vi7, etc. Or include the lowercase “m” iim7, iiiim7, vim7. 4 ways to build a minor 7th chord:

1) The scale method: A minor 7th chord comes from a minor scale. Regardless of the key you are actually in, imagine that you are playing the minor scale where the root of your chord is tonic. To make a minor 7th chord, use the 1st, 3rd, 5th and 7th notes of its corresponding minor scale.


3) The interval method: Stack intervals. The distance from the root to the 3rd is a minor 3rd. Next the distance from the 3rd to the 5th is a major 3rd. Last the distance from the 5th to the 7th is a minor 3rd. In other words, root – 3 – 5 – 7.

4) The chord method: Build a minor chord. Double the root of the chord 1 octave higher, then lower that note one whole step. This is the equivalent of adding a minor 7th interval to a minor chord. Formula = minor chord + whole step down from the octave.


Dominant 7th Chords Dominant 7th chords are written by adding the number 7 to the end of the chord, such as C7. When converting to Nashville Numbers it would be written as I7, IV7, V7, etc. A dominant chord is very similar to a major 7th chord. The only difference is the top note. 4 ways to build a dominant 7th chord:

1) The scale method: Regardless of the key you are actually in, imagine that you are playing the mixolydian scale where the root of your chord is tonic. A mixolydian scale is a major scale with a lowered 7th. To make a dominant 7th chord, use all the odd scale degrees, 1 – 3 – 5 – 7.


3) The interval method: Stack intervals. The distance from the root to the 3rd is a major 3rd. Next, the distance from the 3rd to the 5th is a minor 3rd. Last, the distance from the 5th to the 7th is a minor 3rd.

4) The chord method: Build a major chord. Double the root of the chord 1 octave higher, then lower that note a whole step. This is the equivalent of adding a minor 7th interval to a major chord. Formula = major chord + whole step down from the octave.

Here are good piano voicings for 7th chords.


Another new chord: 2 Chords chords (written like “F2”) are similar to 7 chords in that they add a scale degree to the basic existing chord. A 2 chord is simply a chord with an added 2nd scale degree. The 2 is always a whole step up from the root of the chord, regardless of what chord you're building. When playing the Root, 2nd, 3rd, and 5th note of a scale, it can be confusing which notes to play. Also, some chord charts are confusing as to whether the 2 or the 3 or both should be played. When a chord says C2 or C(add2), then the 3rd of the chord should also be played. The (add2) instructions in parentheses simply mean that the 2nd scale degree is in addition to the chord already present. When a chord says C2(no3) or Csus2, the 3rd of the chord should be left out. Only the Root, 2nd, and 5th are to be played. Anytime “sus” appears in a chord symbol, the 3rd is removed and replaced by the number specified. The diagram below shows the difference between the C2 and the C2(no 3).

Because the C2 type chord can sound crowded on a piano when the Root, 2nd, and 3rd are played all together, below shows the preferred piano voicing for C2. The root is not necessary in the right hand because it is played in the left hand.


Chord Building: The Skipping Rule

Skipping Rule – Triads and 7th chords use every other letter. Beware of incorrect enharmonic spellings.

Every chord discussed in this text, with the exception of the sus chord and the 2 chord, is created by skipping letter names. This includes major, minor, augmented, diminished, major 7th, dominant 7th, and minor 7th chords. Picture the music alphabet: A – B – C – D – E – F – G. If the chord you are building has some type of “A,” regardless of whether it is A#, A , or A♮, then you will skip the letter “B.” The next pitch used will be some type of “C”, regardless of whether it is C#, C , or C♮. Beware of incorrect enharmonic spellings. An enharmonic note is a note that is the same pitch, but called by a different name. C# and D are enharmonic notes. Just because you gave a note on the keyboard a possible name does not mean that it is the correct name for the chord you are building. Your chord must skip letters. When building a B major chord, you would draw or write B -‐ D# -‐ F#. Skip the letter “C” and skip the letter “E.” Following the skipping rule eliminates the possibility of mistakenly labeling the D# as an E or the F# as a G . Generally, chords do not mix sharps and flats. However, if in doubt, always follow the skipping rule – even if that means building a chord that contains both sharps and flats. For example, try constructing a B augmented chord. Begin by skipping every other letter. B -‐ (skip C) – D – (skip E) – F. Next, count half steps to determine which accidentals to add. B -‐ up 4 half steps = D. D -‐ up 4 half steps = either F# or G . Because G would require us to skip 2 letters, we must choose F#, even though this means creating a chord that contains both a sharp and a flat. On a very rare occasion, the skipping rule will require you to use a double sharp or a double flat. This is still correct music notation. Follow the skipping rule at all costs. When drawing notes on the staff, it is easy to follow the skipping rule. Remember that line notes skip spaces and space notes skip lines. Therefore, draw the root of your chord and then draw your additional skipping notes before you figure out sharps or flats and before you figure out the rest of your chord. If you are drawing an Em7 chord, draw an “E” on the staff, followed by 3 additional notes stacked in 3rds (because 7 chords have 4 notes). All of your notes should be on lines or they should all be on spaces. After drawing your notes, figure out which accidentals to add to the chord. If in doubt between using a sharp or a flat, you must use the letter note you have already drawn.


Chord Identification Made Easy It has happened to all of us. We wrote a song, it sounded fabulous, but we had no idea what chords we were playing, let alone what key we were in. How do you identify those mysterious chords so you can tell the rest of your worship team what to play? This is the big secret to chord identification: Stack in 3RDS. Keep inverting your chord until it is stacked in 3rds. This is called “root position.” It will look like you are skipping every other key on the keyboard. When stacked in 3rds, the bottom note is the root of your chord. Next, use your recently acquired chordal knowledge. This might include counting half steps. Do the bottom 3 notes create a major, minor, diminished, or augmented triad? Exceptions to the stacking in 3rds rule: We have learned two chords that do not stack in thirds: sus chords, (like Gsus) and 2 chords, (like F2). If you are playing a 3-‐note chord that does not stack into 3rds, check to see if two of the notes are side by side. Or can you invert the chord so that two notes are side by side? If so, count half steps or intervals do determine if the chord qualifies as a sus chord or a 2 chord. It is possible that your chord will not be a match, and we will explore those types of chords in a future level of theory. What if your notes are spread out all over the keyboard? What if your left hand is playing G and C, and your right hand is two octaves higher, playing C, E, and B?

1. Consolidate all the notes into a close proximity. Most of them should fit within an octave. They do not have to stay in the same order and you do not need to keep doubles of any note. In the above scenario, you have G, C, E, and B.

2. Rearrange them so that there are no big skips between the notes: G, B, C, and E. 3. Keep inverting until the chord is stacked in 3rds, which, in this case, leads to a Cmaj7 chord.

Once you have identified the chords you are playing, consider which sharps or flats are in those chords. What key uses those sharps or flats? The majority of songs use I, IV, V, and vi chords a lot. This is a big hint to help decipher the key your song is written in. Do the primary chords fit as the I, IV, V, or vi chords in any particular key? If you have stacked 3rds and your chord does not equal a major, minor, augmented, diminished, or 7th chord, and you have ruled out the possibility of a sus chord or 2 chord, then come back for KeysETT 4 where you will dig even deeper into the world of chord theory.

KEYSETT LEVEL 3/SECTION 8 – TEACHING AIDS

Section 7

Ear Training Techniques

KEYSETT LEVEL 3/ SECTION 8 – TEACHING AIDS

Hearing Intervals

• Practice singing “The Interval Song” on page 52.

• Complete the interval worksheet on page 88. Include song melodies you know that would be good reminders of that interval (i.e. Perfect 4th = “Here Comes the Bride,” Perfect 5th = “Twinkle, Twinkle Little Star).

• When you hear an interval, start on the bottom note and sing up the scale in numbers until you reach the 2nd pitch of your interval. This will help you fill in the empty space rather than randomly guessing.

• Study “Singing Parallel Scales” on page 52. What intervals only show up in the major scale? What intervals only show up in the minor scale? Which intervals show up in both scales?


Interval Memory Worksheet

Interval Ascending Descending

Minor Second

Major Second

Minor Third

Major Third

Perfect Fourth

Tritone

Perfect Fifth

Minor Sixth

Major Sixth

Minor Seventh

Major Seventh

Octave


Hearing and Notating Melodies and Rhythms

When picking out a melody by ear…

-‐ Sing or hum the melody out loud and pay close attention to what you hear. Does your voice go up or down? Is it stepping or skipping? If it is skipping, is it a big skip or a little skip?

-‐ You’ll develop your playing-‐by-‐ear skills much faster if you use your brain just as much as you use your ear. Rather than playing every note on the keyboard until you find the one that sounds right, make an educated guess by answering the questions above.

-‐ Think of what the pitches or intervals would be in numbers. Use those newly acquired sight-‐singing skills.

-‐ Listen for intervals.

When notating a rhythm… -‐ First, establish a steady beat while listening to the rhythm. You can do this by

tapping your foot, snapping your fingers, or whatever works for you. -‐ Next, start counting OUT LOUD. You will be very tempted to count in your head

instead of counting out loud. Do not give in to this temptation. You are a lot less likely to mess up if you count out loud rather than in your head.

-‐ Count whatever rhythm is the smallest note value. If the smallest note value is an eighth note, count 1 & 2 & etc. If the smallest note value is a sixteenth note, then count sixteenth notes (1 e & a, 2 e & a, etc.).

-‐ Write out the counting and then circle every number or syllable that has a note played on that beat. For example: 1 & 2 & 3 & 4 &. You should then be able to figure out what type of notes to draw based on how many counts you gave them. In the above example, you would draw a dotted quarter note (1 ½ counts), quarter note (1 count) and another dotted quarter note (1 ½ counts).

Use the staff paper and rhythmic dictation paper at the end of this section to notate melodies, rhythms and progressions you hear in class.


Hearing Chord Progressions:

In KeysETT 3, you will learn to hear chord progressions using the I, IV, V, and vi chords.

The key to hearing a chord progression is to use the theory that you are learning to make an educated guess.

-‐ Does the chord sound the same as another chord in the progression? It might be the same chord.

-‐ Did you hear a major chord step up to another major chord? (If so, it is probably IV-‐V). -‐ Did you hear a major chord step down to another major chord? (If so, it is probably V-‐IV). -‐ Did you hear a major chord step up to a minor chord? (If so, it is probably V-‐vi). -‐ Did you hear a major chord skip up to a minor chord? (If so, it is probably IV-‐vi). -‐ Did you hear a minor chord? (If so, it is vi).

Tips

1. Hum the bass line. Then sing the bass line using numbers.

2. Listen to the function of the chords. a. I sounds like home. b. IV leads up to V or prolongs the sound of I. c. V wants to resolve to I. d. vi can sound like a prolongation of I or IV because they share two identical notes.

However, vi sounds nothing like V because they have no notes in common.

3. Figure out the chord progression using the bass line & chord functions.

Common Chord Progressions: I, IV, V and vi are the four most commonly used chords in worship music. Since there are only so many combinations of these chords, you can easily train your ear to recognize repetitive progressions. Find songs that you know with examples of the following common chord progressions:

I – IV – vi – V: I – V – vi – IV: vi – IV – I – V: I – vi – V – IV:


Ear Training Exercise #1

1) Circle if the chords you hear are major or minor.

#1: Major - Minor #5: Major - Minor




2) How many counts is each chord played? Circle any chords that sound minor.

#1 = _____ #2 = _____ #3 = _____ #4 = _____

3) You will hear 5 notes in a row. Circle what happens from note to note.

#1: 1- Step, Skip, Repeat -2- Step, Skip, Repeat -3- Step, Skip, Repeat -4- Step, Skip, Repeat -5





4) Listen to the song below and write the correct chords over the syllables/words using I, IV, V

or vi chords. After completing this exercise, sing the bass line to check your work.

Ho - ly, ho - ly, ho - ly, Lord God Al - migh - ty.



1) Answer the following questions about the song “Oh the Blood of Jesus”:

• How many notes do I play / sing for line 1? _______________________________________

• Is line 1 mostly stepping, skipping, or repeating? ___________________________________

• What is the largest interval in line 1? ____________________________________________

• How is line 2 same or different from line 1? _______________________________________

• Line 3 is exactly the same as which other line? ____________________________________

• How many skips are in line 4? _________________________________________________

• Does each line end the same or differently? _______________________________________

2) Using your answers, make an educated guess and write out the melody using numbers. You

may use 1, 2, 3, 4, 5, 6, or 7. Start on “3.”

______________________________

Oh the blood of Jesus

____________________________


____________________________


__________________________________

It washes white as snow


3) After writing your answer in numbers, check your answer on your keyboard. B = 1

4) Draw a circle around every number in the melody that gets 1 count (quarter note). Draw a

square around every number in the melody that gets 2 counts (half note). Draw a triangle

around every number that gets 1 1/2 counts (dotted quarter note). Draw a rectangle around

every note that gets 1/2 a count (eighth note).

There is 1 whole note.

5) Write the above melody in the key of B on the provided staff paper. Use the correct rhythm

in your notation. B = 1

&&&&



1) Count out loud while the rhythm is played. Circle every 16th on which a note is played.

1 e & a 2 e & a 3 e & a 4 e & a | 1 e & a 2 e & a 3 e & a 4 e & a |

2) Using the information from above, notate the rhythm you heard.

3) Count out loud while the rhythm is played. Circle every 16th on which a note is played.

1 e & a 2 e & a 3 e & a | 1 e & a 2 e & a 3 e & a | 1 e & a 2 e & a 3 e & a |

4) Using the information from above,

notate the rhythm you heard.

5)

5) Name the intervals you hear played. Options: minor 2nd, major 2nd, minor 3rd, major 3rd, perfect 4th, perfect 5th, minor 6th,

major 6th, minor 7th, major 7th, perfect octave

Interval #1 _______________ Interval #5 _______________




44&

34&


Rhythm Practice


Section 8

Teaching Aids


Ear Training Aids for the Teacher Counting Beats for Chords: Choose songs that are not consistently 4 beats per chord. Examples: How Great is Our God, chorus -‐ Chris Tomlin God, I Look to You, verse -‐ Jenn Johnson Additional Melodies to Hear and Notate: • Take Your Place, verse -‐ Jon Thurlow • Here I am to Worship, chorus -‐ Tim Hughes • You’re Beautiful, chorus -‐ Phil Wickham • Amazing Grace Additional Songs to Identify I, IV, V and vi Chords: Example in Exercise 1: Holy, holy, holy, Lord God Almighty: I, vi, V, I, IV, IV, I, I

Set a Fire -‐ Jesus Culture: I, IV, vi, V

How He Loves Us -‐ John McMillan: I, vi, V, IV

Let it Rain -‐ Michael W. Smith: vi, IV, I, V

How Great is our God, chorus -‐ Chris Tomlin: I, vi, IV, V, I

Here I am to Worship, chorus -‐ Tim Hughes: I, V, vi, IV

My Soul Sings, chorus -‐ Martin Smith: I, V, vi, IV

Take Your Place -‐ Jon Thurlow: vi, IV, I, V

You’re Beautiful -‐ Phil Wickham: I, IV, vi, V

Blessed be Your Name -‐ Matt Redman: I, V, vi, IV

We Will Seek You First, Lord -‐ Barnard Shane: I, vi, IV, V, I

Shekinah Glory -‐ Jaye Thomas: I, IV, vi, V

Jesus, Lover of My Soul -‐ Hillsong: I, V, vi, IV

O Lord, Bless Me -‐ Misty Edwards (Light of Your Face) -‐ vi, IV, I, V

The Beauty of This Man -‐ Allen Hood and David Brymer: I, V, vi, IV


Teaching Suggestions: Lesson Planning Maximizing Outcomes For KeysETT Worship Musicians

1. The following is a general template “lesson plan”.

2. The KeysETT curriculum is designed so that you stay in ONE key until everything

(theory/keys/ear training) is mastered by the student in that key.

3. Watch the clock to “divide and conquer”! It keeps the pace of the class moving.

A. In a one-‐hour format:

a. The 1st Section of the hour (12-‐15 minutes):

• As a group, play diatonic scales/cadences previously assigned (e.g., key of C).

• As a group, play harmonized scales/cadences previously assigned.

• “Individual-‐Seat-‐Work” = students use head phones to practice individually while

you walk the aisles to observe each student’s progress (3-‐4 minutes).

b. The 2nd Section of the hour (10-‐12 minutes):

• As a group, play and sing a previously learned section of a song.

• Allow time for “Individual-‐Seat-‐Work” as a review. Observe students individually

while they practice (3-‐5 minutes).

c. The 3rd Section of the hour (15-‐25 minutes):

• Introduce A NEW SECTION of a song (eg. The first 8 measures): divide “right and left

hand” skills before allowing students to try both hands together.

• Use the piece to introduce a theory concept (eg. Nashville numbers; turn-‐

arounds/chord theory).

• Have students clap the rhythm of the melody.

• Have students sing letters names/ scale degrees of the melody.

• Finally, have students sing the words of the song. You accompany them.

3. (Worship leaders must be able to sing while they play!)


• “Individual Seat-‐work”= students use head phones to practice that section of the

song while you walk the aisles to observe each student’s progress (3-‐4 minutes).

d. Final Section of the hour (5-‐7 minutes):

• NEVER introduce new material in the last 5 minutes of class!

• Review a piece that they have already played for a grade.

• As a group, let them sing and play the song like “worship leaders”.

• REVIEW any concept that was emphasized in class (Use questions/answers).

• Remind them of any assignment that you have given them.

• Inform them of the date that the material will be graded.

B. Teaching is a combination of “review, new, and review”

C. In each of the sections described above use the following plan:

TELL ‘EM WHAT YOU’RE GONNA TELL ‘EM

then…

TELL ‘EM

then…

TELL ‘EM WHAT YOU TOLD ‘EM!

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