​This week our President Eric Brown dropped a new video about making minor piano chords. Today we go to the woodshed and apply what we learned in that lesson. If you have not watched the How to Make Major Chords lesson and the Woodshed videos we would suggest doing so before moving on to this woodshed
​

1. Intervals

We Learned that intervals are the distance between two notes. So how would we practice this?
First, I would Practice writing out the Intervals in the Key of C.  

C-D= 2nd
C-E= 3rd
C-F= 4th
C-G= 5th
C-A= 6th
C-B= 7th
C-C= Octave or 8


Then I would put these Intervals to memory. One way is that I would play the Intervals and say the interval name. While doing this exercise, I would begin to memorize how these Intervals sound. Being able to recognize intervals will go a long way in your development as a musician.


Once you have a firm grasp on the Intervals, let's begin to think scale degrees. Each scale degree has a name, function, and distinct sound inside the scale. The names and function for the scale degrees will be another lesson, but the sound is not. Play the individual scale degrees and begin to become familiar with the sound of each scale degree. One easy way to do this is using Solfege. This is a method of naming pitches. It works by assigning a syllable to each note of the musical scale. So rather than, say, naming a C major scale as C D E F G A B C, you can name it as do re mi fa sol la ti do. This is helpful since we will not always be playing in the key of C. 


Whether you a singer or not, sing the solfege scale while you play the Scale Positions this will help reinforce the concept. In the Key of C the Solfege will be the following.
C= Do
D= Re
E= Me
F= Fa
G=Sol
A=La
B= Ti

The complete Musicals alphabet
While we may have learned the scale degrees for the c major scale there are actually other notes we might use for adding color to our sound. The c major scale uses 7 notes of the musical alphabet we have more options when using half steps.  

One way to measure the distance between two notes is by using the measurement of the half step. A half step is one movement up or down of the complete musical alphabet. To do this we must use our enharmonic notes (the black keys) enharmonic notes are notes that can be spelled with two different names depending on the direction of the movement of the notes. To raise the pitch we call this process a sharp and uses the # symbol. To lower a pitch we call this process a flat and uses a symbol that resembles a lower case b. The 5 enharmonic notes are 
C# / Db. 
D# / Eb. 
F#/ Gb. 
G#/ Ab.  
A# / Bb
If we are moving up the keyboard the notes of the complete Alphabet are as follows.
C C# D D# E F F# G G# A A# B C

If we are moving down the keyboard the notes of the complete Alphabet are as follows/
C B Bb A Ab G Gb F E Eb D Db C

This is a simplified view of half steps but it will get us started.

To make a minor chord, we flat the third interval of the major chord.
so if we have made a C major chord by playing the notes C E G, we will lower the third (E) a half step and play an (Eb). It is that simple.

Now, let's create the C Major chord using intervals. Place your Thumb in your right hand on C. While playing the c visualize/count the scale degrees and play the 3rd and 5th note. You should have played C E G which should have sounded very happy. Now lower the third and the chord now will have a sad melancholy sound. 


If intervals and theory make your head spin, just use our formula 4 + 5 = a sad chord. First, place your thumb on c then count 1c 2c# 3d 4d#/ Eb Now from Eb count 1 Eb 2e 3f 4 F# 5 G. The C Chord is Spelled 
C Eb G.


Make a chart with the headings Root, Flat Third, and Fifth. Under the Root place C under the third place Eb and under the fifth place G. Now using the formula do the rest of the white key chords. It is one thing to the formula it is another to know how to spell your chords. Spend time this week spelling your chords and then playing them.


5 Day Woodshed


Day 1: 

1. Write out the Intervals in the Key of C
2. Then Play and say each of the intervals. Play the entire sequence 5 times in a row.

Day 2. 

1. Play and say each of the intervals. Play the entire sequence 5 times in a row.
2. Play and listen to each scale 5 times in a row.
3. Play and sing the solfege scale 5 times in a row.

Day 3

1. Play and say each of the intervals. Play the entire sequence 5 times in a row.
2. Play and listen to each scale 5 times in a row.
3. Play and sing the solfege scale 5 times in a row
4.  Create the C, F, G Minor Chord by using Intervals. Do this 10 times in a row.

Day 4

1. Play and say each of the intervals. Play the entire sequence 5 times in a row.
2. Play and listen to each scale 5 times in a row.
3. Play and sing the solfege scale 5 times in a row
4.  Create the C, F, G Minor Chord by using Intervals. Do this 10 times in a row.
5.  Now use the Minor Chord Formula to play all the white key chords. Do This 10 Times in a Row.

Day 5.

1. Use whole notes (hold and count to 4) to play the following chord progressions five times with your right hand then 5 times with your left hand each.

Chord Progression 1
Cm Cm Cm Cm
Fm Fm Cm Cm
G Fm Cm Cm

Chord Progression 2
Dm Gm C C
Dm G C C

How to Play a Simple Piano Blues Woodshed Edition

This week our President Eric Brown dropped a new video about playing a simple blues piano song. Today we go to the woodshed and apply what we learned in that lesson.

1. Intervals

This week we focus on two intervals the 5th and the 6th.
C-G= 5th
C-A= 6th​

When we play this interval with our left hand, our pinky should play the C and our thumb will play the 5th and the 6th interval. We should play these two intervals enough that we can do simple math problems when asked. Why? Because this needs to become learned by our muscle memory so we can think about what our right hand will be doing. 

To make this happen, practice playing the interval of a 5th to a 6th for one min straight. Then take a 60-second break and then do it again until you have played this for 5 min.

Now the oldtimers in blues called this progression the Barrel House technique. To play the Barrel House we have to know a few things. First, what key are we playing in? Second, we need to know the Chords played and the intervals for the chords.

For Example, when we play A 12 bar blues in C the chords used are C F G. So we need to be able to use the technique for F and G as well as the C we previously learned. Study the following intervals.

C D
F F  

D E
G G

Now Play the F intervals for one min and then the G intervals for one min.

Once you have a firm grasp on the Intervals, let's begin to think about the chord progression. The 12 Bar Blues we will play will be in the key of C played in the 4/4 Time Signature and uses the following Chord Progression.  

C C C C
F F C C
G F C C

Memorize this progression by writing it down a few times on a piece of paper. Writing the progression will help us remember the order of the chords. We need to remember the order so we can focus on making our hands do two independent things. The less we have to think about, the better.

Now, let's play the C chord Barrel House. Place your right hand on the C Chord and play it and hold it for the four beats. While playing the c visualize/count the scale degrees and play the root-5th then root-6 notes with your left hand. Do the same thing for the F and G chords and now you have the Barrel House Blues.

Make a chart with the headings Root, Third, and Fifth. Under the Root place C under the third place E and under the fifth place G. Now using the formula do the rest of the white key chords. It is one thing to the formula it is another to know how to spell your chords. Spend time this week spelling your chords and then playing them.

4 Day Woodshed
Day 1: 

1. Write out the Barrel House intervals for C F G
2. Then Play and say each of the intervals. Play the entire sequence 5 times in a row.

Day 2. 

1. Play and say each of the intervals. Play the entire sequence 3 times in a row.
2. Play the C Interval for 1 Min straight. 5times a Day
3. Play the F Interval for 1 Min straight. 5times a Day
4. Play the G Interval for 1 Min straight. 5times a Day

Day 3

1. Play and say each of the intervals. Play the entire sequence 3 times in a row.
2. Play the C Interval for 1 Min straight. 5times a Day
3. Play the F Interval for 1 Min straight. 5times a Day
4. Play the G Interval for 1 Min straight. 5times a Day
5. Write the 12 Bar Blues Progression 5 times on a piece of paper
6. Play the 12 Bar Blues Progression 5 Times

Day 4

1. Play the 12 Bar Blues Progression 5 Times in a row 5 times 

This week our President Eric Brown dropped a new video about making piano chords. Today we go to the woodshed and apply what we learned in that lesson.

1. Intervals

We Learned that intervals are the distance between two notes. So how would we practice this?
First, I would Practice writing out the Intervals in the Key of C.  
C-D= 2nd
C-E= 3rd
C-F= 4th
C-G= 5th
C-A= 6th
C-B= 7th
C-C= Octave or 8

Then I would put these Intervals to memory. One way is that I would play the Intervals and say the interval name. While doing this exercise, I would begin to memorize how these Intervals sound. Being able to recognize intervals will go a long way in your development as a musician.

Once you have a firm grasp on the Intervals, let's begin to think scale degrees. Each scale degree has a name, function, and distinct sound inside the scale. The names and function for the scale degrees will be another lesson, but the sound is not. Play the individual scale degrees and begin to become familiar with the sound of each scale degree. One easy way to do this is using Solfege. This is a method of naming pitches. It works by assigning a syllable to each note of the musical scale. So rather than, say, naming a C major scale as C D E F G A B C, you can name it as do re mi fa sol la ti do. This is helpful since we will not always be playing in the key of C. 

Whether you a singer or not, sing the solfege scale while you play the Scale Positions this will help reinforce the concept. In the Key of C the Solfege will be the following.
C= Do
D= Re
E= Me
F= Fa
G=Sol
A=La
B= Ti

Now, let's create the C chord using intervals. Place your Thumb in your right hand on C. While playing the c visualize/count the scale degrees and play the 3rd and 5th note. You should have played C E G which should have sounded very happy. 

If intervals and theory make your head spin, just use our formula 5+4 = a Happy Chord. First, place your thumb on c then count 1c 2c# 3d 4d# 5e. Now from e count 1e 2f 3f# 4 G. The C Chord is Spelled CEG.

Make a chart with the headings Root, Third, and Fifth. Under the Root place C under the third place E and under the fifth place G. Now using the formula do the rest of the white key chords. It is one thing to the formula it is another to know how to spell your chords. Spend time this week spelling your chords and then playing them.

5 Day Woodshed

Day 1: 

1. Write out the Intervals in the Key of C
2. Then Play and say each of the intervals. Play the entire sequence 5 times in a row.

Day 2. 

1. Play and say each of the intervals. Play the entire sequence 5 times in a row.
2. Play and listen to each scale 5 times in a row.
3. Play and sing the solfege scale 5 times in a row.

Day 3

1. Play and say each of the intervals. Play the entire sequence 5 times in a row.
2. Play and listen to each scale 5 times in a row.
3. Play and sing the solfege scale 5 times in a row
4.  Create the C, F, G Chord by using Intervals. Do this 10 times in a row.

Day 4

1. Play and say each of the intervals. Play the entire sequence 5 times in a row.
2. Play and listen to each scale 5 times in a row.
3. Play and sing the solfege scale 5 times in a row
4.  Create the C, F, G Chord by using Intervals. Do this 10 times in a row.
5.  Now use the Major Chord Formula to play all the white key chords. Do This 10 Times in a Row.

Day 5.

1. Use whole notes (hold and count to 4) to play the following chord progressions five times with your right hand then 5 times with your left hand each.

Chord Progression 1
C C C C
F F C C
G F C C

Chord Progression 2
C C G C
C C G C

​First, let's get a few housekeeping things out of the way.  Before we can practice in the woodshed, we have to get there first.  I tell students, " If you practice whenever, you will never." What do I mean? Life is busy, and there is so much going on unless you have a designated practice time you will not practice. I tell parents all the time that we need a routine. We need to practice at the same time every day. If we don't, life will take over. For Children, the best time is right after school before their homework.  For Adults, that is tricky, but you must find a time that works for you. I try to practice first thing in the morning after my coffee and before anyone else is up. 

The next question is how much time. This answer will vary from teacher to teacher. When I was a child, the go-to was 30 min a day. But what my mother would say is that I become an expert not in piano but in stretching out the time. Anything I could think of (going to the bathroom, getting a glass of water, etc)  became my way to deal with the time.  So what is the answer?

Forget the time? Seriously what 6 yr old child knows what 30 min feels like? That honestly is what begins the practice issues for the parents. The child is constantly asking, "are we there yet?"  No wonder parents give up and let their kids quit."   Forget the time concept and begin thinking in reps. 

At the beginning level, we are developing muscles and muscle memory. So let's think about the gym. No one goes in and says I am going to do 30 minutes of curls.  Instead, they say I'm going to do three sets of ten.  When I assign a student work, I assign it in reps. I say, "Johnny this week, I want you to play this song five times a Day and this exercise two times a day."   Johnny can count to five, so he knows exactly where he is in his practice. Johnny doesn't have to ask "are we there yet"?

​I have been a music educator for 8,118 days or  22 laps around the sun. I have taught private and group lessons, choirs, rock bands, middle  / high school concert bands. I have worked for churches, public and private schools, Music Schools, and now a Non-Profit. I feel safe to say I have seen just about everything, heard every excuse, and now have great stories to tell. After all this time and all the technological advances, it still comes down to one thing; practice.  

In music, the oldtimers who played blues and jazz had a name for their practice time. They called it, Woodshedding. To woodshed, the player would go and be alone and practice intensely. There is no substitute for the woodshed. It is a place where all musicians must travel and understand its importance