Chapter 1: Getting Started

• Introduction to playing piano by ear.

• Overview of the benefits of playing by ear.
• Setting realistic expectations for beginners.

Chapter 2: Understanding the Keyboard

• Introduction to the piano keyboard.

• Explanation of piano layout, including black and white keys, octaves, and middle C.
• Proper hand positioning and posture, finger exercises.

Chapter 3: Basic Music Theory

• Introduction to music notation (notes, clefs, rhythm).

• Introduction to intervals and their importance in playing by ear.
• Basic music terminologies

Chapter 4: Introduction to the piano scales

• Major scale
• Minor scale
• Playing the major scale on all 12 keys with proper fingering

Chapter 5: Developing Your Ear

• Importance of ear training.

• Exercises for recognizing intervals and melodies by ear.
• Tips for improving pitch recognition.

Chapter 6: Playing Chords by Ear

• Introduction to chords and chord progressions.

• How to identify and play basic chords by ear.
• Chord progressions
• Exercises for practicing chord progressions.

Chapter 7: Figuring Out Songs by Ear

• Strategies for figuring out the key of a song.

• Techniques for identifying chord progressions and melodies by ear.
• Practice exercises for transcribing songs.
• Lets play some songs!!!

Chapter 8: Improvisation and Creativity

• Importance of improvisation in playing by ear.

• Tips for developing improvisational skills.
• Circle of fifths
• Modes
• Chord inversions

• Exercises for experimenting with improvisation.

Chapter 9: Overcoming Challenges

• Common challenges faced by beginners playing by ear.

• Strategies for overcoming challenges such as fear of mistakes and lack of confidence.
• Encouragement to persevere and keep practicing.

Chapter 10: Putting It All Together

• Review of key concepts covered in the book.

• Suggestions for further practice and exploration.
• Encouragement to continue learning and developing ear skills.

Conclusion

• Recap of the benefits of playing piano by ear.

• Final words of encouragement and motivation for readers.
Chapter 1: Getting Started

Welcome to the world of playing piano by ear! Whether you're a complete beginner
or someone with some piano experience looking to develop your ear skills, this
chapter will lay the foundation for your journey.
 Introduction to Playing by Ear Playing piano by ear is the ability to play music
without relying on sheet music or written notation. Instead, it involves using your
ears to recognize melodies, chords, and rhythms, allowing you to play songs simply
by listening to them. While reading sheet music has its merits, playing by ear opens
up a world of creativity and expression, enabling you to play the music you love with
a personal touch.

Benefits of Playing by Ear There are numerous benefits to learning to play piano by
ear:

1. Creativity: Playing by ear encourages creativity and improvisation, allowing you to

add your own flair to songs.
2. Flexibility: You're not tied to sheet music, so you can play anywhere, anytime,
without needing to carry around scores.
3. Understanding Music: Developing your ear helps you better understand the
structure and patterns in music, enhancing your overall musicality.
4. Versatility: With ear skills, you can quickly pick up and play new songs, jam with
other musicians, and even compose your own music.

Setting Realistic Expectations: As you embark on this journey, it's important to set
realistic expectations for yourself. Playing piano by ear is a skill that takes time and
practice to develop, so be patient with yourself and enjoy the process of learning.
Remember that everyone progresses at their own pace, and even small victories are
worth celebrating.

Next Steps Now that you understand the basics of playing piano by ear, it's time to
dive in and start developing your ear skills. In the following chapters, we'll explore
fundamental music theory concepts, ear training exercises, and practical techniques
for playing by ear. Get ready to unlock your musical potential and embark on an
exciting journey of discovery!
Chapter 2: Understanding the Keyboard

Welcome to Chapter 2 of "Playing Piano by Ear: A Beginner's Guide." In this chapter,

we'll dive into the heart of the piano—the keyboard. Understanding the layout of the
keyboard is crucial for any aspiring pianist, whether you're reading sheet music or
playing by ear.
Introduction to the Piano Keyboard The piano keyboard consists of 88 keys,
arranged in a repeating pattern of white and black keys. Each key represents a
different musical note, allowing for a wide range of pitches to be played. The layout
of the keyboard may seem daunting at first, but with a little practice, you'll become
familiar with its organization.
 Anatomy of the Keyboard

• White Keys: The white keys on the piano represent the natural notes of the musical
alphabet (A, B, C, D, E, F, G). These notes correspond to the letters of the alphabet
and are the foundation of Western music.
• Black Keys: The black keys on the piano represent the sharp (#) and flat (b) notes.
These notes are the "in-between" notes that fall between the natural notes. For
example, the black key between C and D can be called either C# (C sharp) or Db (D
flat), depending on the context.
• Octaves: The keyboard is divided into groups of 12 keys called octaves. Each octave
contains seven natural notes (A, B, C, D, E, F, G) and five black keys. Middle C, located
near the centre of the keyboard, serves as a reference point and is often used as a
starting point for learning.

Proper Hand Positioning and Posture

•
• Hand Positioning: Place your hands on the keyboard with your fingers curved, as if
holding a small ball. Your thumb should rest on middle C, and your fingers should be
numbered from 1 to 5, starting with the thumb. This positioning allows for greater
dexterity and control when playing.
• Posture: Sit up straight with your feet flat on the ground. Keep your arms and wrists
relaxed, and avoid slouching or tensing up. Proper posture not only prevents fatigue
and injury but also facilitates better technique and expression.

FINGER EXERCISES

Finger exercises are a great way to improve dexterity, strength, and

coordination in your fingers, which is crucial for playing the piano. Here are
some basic finger exercises you can try:

1. Finger Numbers: Practice lifting and lowering each finger individually,

starting with your thumb (1) and moving to your pinky (5). This helps with
finger independence.

2. Finger Taps: Tap each finger to your thumb, starting with your index finger
(2) and moving to your pinkie (5). Repeat this motion several times with each
finger.

3. Finger Stretch: Place your hand flat on a table or piano surface. Slowly lift
each finger, starting with your thumb, then lower it back down. Repeat this
with each finger, trying to keep the other fingers down.

4. Finger Crossover: Place your thumb on middle C and your other fingers on
consecutive white keys. Play each finger in succession, then cross your thumb
under to the next note and repeat the pattern.

5. Finger Independence: Play a simple five-finger pattern (C-D-E-F-G and back

down). Then, while holding down the other fingers, lift and lower each finger
individually.

6. Octave Jumps: Practice jumping from one octave to another, using different
finger combinations (e.g., 1-3, 1-4, 1-5).

7. Chromatic Scale: Play a chromatic scale (all white and black keys in order)
using different fingerings, such as 1-2-3-4 or 1-3-2-4.

8. *Arpeggios: Practice arpeggios in different keys, focusing on evenness and

clarity in each finger.
Remember to practice these exercises slowly and steadily, focusing on accuracy
and control. As you become more comfortable, you can increase the speed.

Exploring the Keyboard Take some time to familiarize yourself with the layout of
the keyboard. Practice playing each note from low to high and vice versa, paying
attention to the sound and feel of each key. Experiment with playing simple melodies
using only the white keys, and notice how different combinations of notes create
different sounds and emotions.

Conclusion Understanding the keyboard is the first step on your journey to playing
piano by ear. With regular practice and patience, you'll soon feel comfortable
navigating the keyboard and expressing yourself through music. In the next chapter,
we'll delve into the world of basic music theory, laying the groundwork for
developing your ear skills even further.
Chapter 3: Basic Music Theory

Welcome to Chapter 3 of "Playing Piano by Ear: A Beginner's Guide." In this chapter,

we'll explore the fundamental concepts of music theory that will lay the groundwork
for developing your ear skills and playing by ear.
 Introduction to Basic Music Notation and Music Terminologies

Music notation is a system of symbols that represents musical sounds and rhythms.
While playing by ear doesn't rely on written notation, understanding the basics of
music notation can enhance your overall understanding of music.

• Notes: Notes represent the pitch and duration of a sound. Each note is represented
by a symbol placed on the musical staff, with its position on the staff indicating its
pitch.
• Clefs: Clefs are symbols placed at the beginning of the staff to indicate the range of
pitches represented by the staff. The most common clefs are the treble clef (used for
higher pitches) and the bass clef (used for lower pitches).
• Key: The scale on which a piece of music is based. The key takes its name from the
tonic, or first note of this scale.
• Root: The lowest note of a chord or scale. C is the root note of a C major chord and
of the C major scale.
• Scales: A sequence of notes going up or down the keyboard with a particular pattern
of intervals between them.
• Tone: short for 'whole tone', an interval of two semitones.
• Semitone: The smallest interval in a chromatic scale, or the distance between any
two notes on the piano keyboard.
• Sharp: Raised in pitch by one semitone.it is denoted as #.
• Flat: Determines that a note should be one semitone lower in pitch.it is denoted as
b.
• Octave: An interval of 12 semitones, at which the two notes have the same 'quality',
just one higher and one lower.eg C2 to C3.
• Transpose: To shift a piece of music, note or chord up or down in pitch by a certain
number of semitones.
• Rhythm: Rhythm refers to the timing and duration of musical sounds. It is
represented by different types of notes and rests, which indicate how long each
sound or silence lasts.
• Melody: A sequence of notes played one after the other to produce a tune.
• Unison: An interval that's not an interval - in other words, the interval of zero
semitones, the same note played twice.
• Harmony: A tune that complements a melody when played at the same time. Also
refers to the relationship between a series of chords.
• Harmonic interval: Notes of different pitches played together at the same time, as
opposed to one after the other.
 Introduction to Intervals: An interval is the distance between two pitches.
Understanding intervals is crucial for recognizing melodies and building chords by
ear.

• Types of Intervals: Intervals are classified based on their size (the number of letter
names) and quality (the number of half steps between the notes). Common intervals
include seconds, thirds, fourths, fifths, sixths, and sevenths.
• Recognizing Intervals: Ear training exercises can help you develop the ability to
recognize intervals by ear. Start by listening to pairs of notes and identifying the
distance between them, gradually increasing the difficulty as you progress.

Intervals on the Piano

Interval on piano is the distance between two musical notes on this instrument
and understanding and identification of intervals is important for learning to
select right notes to be played at right times to build a perfect harmonious
melody. In a melody, you can play different notes. Your notes would either
remain same or it can go up or down. Intervals are basically leading to notes
that either go up or down within a melody. For example, the difference
between C to E is third and that from C to F is fourth. These intervals go up to
eighth from one C to another C and is termed as an octave. Intervals can be
measured by half-steps and full-steps between notes and there are different
methods involved in identification of these intervals.

Types of Intervals:

In the world of music, your training experience would need you to understand
two basic types of intervals that includes harmonic and melodic.

Harmonic Interval:

Harmonic interval involves playing two notes simultaneously meaning at the

same time such as singing a choir. Harmonic intervals are also termed as
vertical intervals. Thus, harmonic interval would be distance between
simultaneously played notes.

Melodic Interval:
Melodic interval involves successive playing of notes that is separately one
after the other. Changing of one note to the next is involved in melodic
intervals. Melodic intervals are also termed as linear intervals. For example if I
begin playing a C followed by an E and F, this setting would be melodic as the
notes are played separately. Thus, melodic interval would be distance between
separately played notes.

Apart from these basic types, intervals can be defined in a variety of ways
similar to scales. You can term intervals as major, minor, diminished, perfect
and augmented. Understanding of these classifications would enable you to
build harmonious music. Here, we define some basic understanding of
intervals:

• Major Intervals:

Major intervals involve measurement of major second with its matching second
in major scale and then counting half-steps beginning from the root note.

• Minor Intervals:

Minor interval can be made by lowering half-step to its major interval. For
example, minor second would involve lowering its major second by half-step.

• Diminished Intervals:

Any interval can be made diminished by lowering it with a half-step.

• Perfect Intervals:

A perfect interval is only named for fourth,

fifths and octaves.

• Augmented Intervals:

Any interval can be made augmented by raiding it with a half-step

Names of Intervals:

Each of the interval is associated with a name so that it becomes easier for
every musician to communicate in the language of music. This makes
performing together much easier and gives a unified method of recognizing
intervals.
Abbreviations used for these intervals include:

Major Intervals – M

Minor Intervals – m

Perfect Intervals – P

Diminished Intervals – dim

Augmented Intervals – aug

Numbers linked with these intervals are actually the size of these intervals. For
example, M3 would mean a major third.

When we talk in terms of half steps, these intervals can be termed as:

Minor Second – one half step

Major Second – two half steps

Minor Third – three half steps

Major Third – four half steps

Perfect Fourth – five half steps

Augmented Fourth / Diminished Fifth – six half steps

Perfect Fifth – seven half steps

Minor Sixth – eight half steps

Major Sixth – nine half steps

Minor Seventh – ten half steps

Major Seventh – eleven half steps

How to Recognize Intervals?

Major and Minor Second:

Let us first consider important intervals including major and minor second.
Each interval on piano will include a beginning (root) note and an ending note.
So for example you begin in the key of C. From C when you go to D, it means
that you have gone to major second that is a second note from C. The D note is
two half-steps away from C. This goes really simple.

But you must have noticed that there is a black note in between these two
major notes C and D. That note in between is termed as Minor second which is
only one half-step from C. So, to make things easier for you, you can
understand major and minor intervals as:

Major Seconds are two half-steps away from the root note and Minor Seconds
are only one half-step away from the root note.

Major and Minor Third:

Similar to the concept of seconds for intervals, when we consider distance from
C to E, it is four half-steps away from the root note and thus is a Major Third.
Similarly, Minor Third would be three half-steps away that would be a black
note towards the left of E.

Perfect Fourth:
Now when you move to the fourth note from C in your scale, it is F and this F is
Perfect Fourth interval in the key of C. One thing to remember about these
perfect intervals is that these would never be major or minor but could only be
diminished or augmented.

Perfect Fifth:

Perfect fifth intervals would be fifth note in your scale or it could be termed as
seven half steps that makes it G from C.

Diminished/Augmented Intervals:

As we explained earlier that perfect intervals can only be augmented or

diminished so a perfect interval would either be lowered or raised to one half
step. Thus’, an augmented fourth would be one half step raised from fourth
and diminished fifth would be one half step lowered from fifth.

Major and Minor Sixth:

A major sixth would be distance between root note C and A. Similarly ,to the
left of A would be the black note that you can term as minor sixth.

Unison:

Unison is the interval when two similar notes are played together
CHAPTER 4: INTRODUCTION TO THE PIANO SCALES:(MAJOR, MINOR,
DIMINISHED)

Welcome to Chapter 4 of "Playing Piano by Ear: A Beginner's Guide." In this chapter,

we'll explore Explanation of scales and how they relate to the keyboard.
 Scales are sequence of notes going up or down the keyboard with a particular
pattern of intervals between them.

Understanding Scales: A scale is a series of musical notes arranged in ascending or

descending order of pitch. Scales form the foundation of melody and harmony in
music and are essential for understanding the relationships between different notes.

• Major Scale: The major scale is the most common scale in Western music and is
characterized by its bright, happy sound. It consists of eight notes arranged in a
specific pattern of whole steps and half steps.

• Minor Scale: The minor scale has a darker, more melancholy sound compared to the
major scale. Like the major scale, it consists of eight notes arranged in a specific
pattern of whole steps and half steps.
Major Scale

To understand how to form music scales, you need to understand the concept of
whole steps and half steps.

Let’s learn how to form a major scale on piano using a simple formula. The formula is
whole – whole – half – whole – whole – whole – half or w-w-h-w-w-w-h. “Whole”
stands for a whole step on your piano and “half” stands for a half step.

Whole steps and half steps describe the distance from one key or pitch to another.

A whole step always skips a key. For instance, the distance between C and D is a
whole step, the distance between B flat and C is a whole step, and so on. The note C
sharp (D flat) has been skipped in the first example, and B has been skipped in the
second.

A half step never skips a key – you go to the next key. For instance, the distance
between C and C sharp (D flat) is a half-step, the distance between E and F is a half-
step, and so on.

There are 8 notes in a scale. You may also remember the scale notes by roman
numerals. For instance, in the key of C the pitches of scale are C D E F G A B C. In
roman numerals it’s I II III IV V VI VII VIII.

So, to form major piano music scales, you start with the key name (the root note),
then move a whole step, another whole step, a half step, followed by a whole step,
whole step, whole step, and finally a half step.

C major scale

Take the key of C as an example.

1. The first note is C.

2. A whole step from C takes us to D.

3. Another whole step takes us to E.

4. A half step takes us to F.

5. One whole step higher is G.

6. Another whole step higher is A.

7. Another whole step take us to B.

8. And finally, a half step higher than B is C.

*The C major key signature has no sharps and no flats.

C sharp major scale

1. The first note is C#.

2. A whole step from C# takes us to D#.

3. Another whole step takes us to F

4. A half step takes us to F#.

5. One whole step higher is G#.

6. Another whole step higher is A#.

7. Another whole step take us to C.

8. And finally, a half step higher than C is C#.

The C sharp major key signature has 5 sharps.

D major scale

The D major scale consists of the pitches D, E, F#, G, A, B, and C#. The D major key
signature consists of two sharps.

E flat major scale

The E flat major scale consists of the pitches Eb, F, G, Ab, Bb, C, and D. Its key
signature has three flats: Bb, Eb, Ab.

E major scale

The E major scale consists of the pitches E, F#, G#, A, B, C#, and D#. Its key signature
has four sharps

F major scale

The F major scale consists of the pitches F, G, A, Bb, C, D, and E. Its key signature has
one flat.

F sharp major scale

The F-sharp major consists of the pitches F#, G#, A#, B, C#, D#, and F Its key
signature has five sharps.

G major scale

The G major scale has the pitches G, A, B, C, D, E, and F#. Its key signature has one
sharp, F#.

A flat major scale

The A-flat major scale consists of the pitches Ab, Bb, C, Db, Eb, F, and G. Its key
signature has four flats.

A major scale

The A major piano music scale consists of the pitches A, B, C#, D, E, F#, and G#. Its
key signature has three sharps, C sharp, F sharp, and G sharp.
B Flat Major Scale

The B flat major scale consists of the pitches Bb, C, D, Eb, F, G, and A. Its key
signature has two flats, B flat and E flat.

B major scale

The pitches of the B major scale are B, C#, D#, E, F#, G#, and A#. Its key signature has
five sharps.

1. C Major (all white keys): C - D - E - F - G - A - B - C

2. Db Major: Db - Eb - F - Gb - Ab - Bb - C - Db

3. D Major: D - E - F# - G - A - B - C# - D

4. Eb Major: Eb - F - G - Ab - Bb - C - D - Eb

5. E Major: E - F# - G# - A - B - C# - D# - E

6. F Major: F - G - A - Bb - C - D - E - F

7. F# Major: F# - G# - A# - B - C# - D# - E# - F#

8. G Major: G - A - B - C - D - E - F# - G

9. Ab Major: Ab - Bb - C - Db - Eb - F - G - Ab

10. A Major: A - B - C# - D - E - F# - G# - A

11. Bb Major: Bb - C - D - Eb - F - G - A - Bb

12. B Major: B - C# - D# - E - F# - G# - A# - B
PLAYING THE MAJOR SCALE ON ALL TWELVE KEYS WITH PROPER FINGERING
 Here's a breakdown of the major scales in all 12 keys with suggested fingerings
for each hand. Remember, these fingerings are suggestions, and you may find
variations that are more comfortable for you:

C Major (All white keys):

To play the C major scale on the piano:

1. Start with your right thumb (finger 1) on middle C.

2. Place your other fingers on the consecutive white keys, following the
pattern: C (thumb) - D (index) - E (middle) - F (thumb under) - G (index) - A
(middle) - B (ring or middle) - C (thumb).

To practice playing the major scale in all 12 keys, start slowly and focus on
playing each scale smoothly and evenly. Gradually increase your speed as you
become more comfortable.

- Right hand: 1-2-3 | 1-2-3-4-5

- Left hand: 5-4-3-2-1 | 3-2-1

Db Major

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

D Major

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

Eb Major

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

E Major

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

F Major

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

F# Major

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

G Major

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

Ab Major

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

A Major

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

Bb Major

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

B Major (F#, C#, G#, D#, A#)

- Right hand: 1-2-3 | 1-2-3-1-2-3-4

- Left hand: 4-3-2-1 | 3-2-1

These fingerings are just starting points and may need to be adjusted based on
your hand size and comfort. It's essential to practice slowly and focus on
playing each scale evenly and smoothly.

Conclusion: By understanding the basics of music notation, scales, and intervals,

you'll develop a solid foundation for playing piano by ear. In the next chapter, we'll
explore ear training exercises that will help you sharpen your listening skills and train
your ear to recognize melodies, chords, and rhythms.
Chapter 5: Developing Your Ear

Welcome to Chapter 5 of "Playing Piano by Ear: A Beginner's Guide." In this chapter,

we'll delve into the world of ear training exercises that will help you sharpen your
listening skills and develop your ability to play piano by ear.
 Importance of Ear Training Ear training is essential for playing piano by ear. By
developing your ability to recognize melodies, chords, and rhythms by ear, you'll
become more confident and proficient at playing without relying on sheet music.

Exercises for Recognizing Intervals: Intervals are the building blocks of melody and
harmony. Practicing interval recognition exercises will help you develop a keen ear
for identifying the distance between two pitches.

• Interval Identification: Listen to pairs of notes and try to identify the interval
between them. Start with simple intervals like seconds and thirds, then gradually
progress to more complex intervals like fourths, fifths, and beyond.
• Interval Singing: Singing intervals is an effective way to internalize their sound and
improve your ability to recognize them by ear. Practice singing intervals ascending
and descending, paying attention to the unique sound of each interval.
• Melody: A melody is a sequence of musical notes that are perceived as a single
entity. It's the part of a song or piece of music that you can hum or whistle.
Here's an explanation of some key aspects of melody:

1. Pitch: Melodies are made up of a series of pitches, or musical notes, that move up
and down in frequency. Each note has a specific pitch, which is determined by its
frequency of vibration.

2. Rhythm: In addition to pitch, melodies also have rhythm, which refers to the
timing and duration of the notes. Rhythm is what gives a melody its sense of pace
and movement.

3. Contour: The contour of a melody refers to the shape of its pitch movement. This
includes whether the melody moves predominantly up or down, and whether it
features large leaps or small steps between notes.

4. Phrasing: Melodies are often organized into phrases, which are like musical
sentences. A phrase is a group of notes that forms a coherent musical idea, often
ending with a sense of closure or pause.

5. Repetition and Variation: Melodies often include repetition of certain motifs or

phrases, as well as variation to keep the listener engaged. Repetition creates
familiarity, while variation adds interest and complexity.

6. Harmony: Melodies are often accompanied by harmony, which is the combination

of different musical notes played simultaneously. The harmony supports and
complements the melody, adding depth and richness to the overall sound.
Overall, a melody is the memorable and recognizable part of a piece of music,
and it's what often sticks in your head long after the music has stopped
playing.

Melodic Dictation Melodic dictation involves listening to a short melody and

transcribing it by writing down the sequence of notes. This exercise helps improve
your ability to recognize and reproduce melodies by ear.

Figuring out melodies by ear can be a fun and rewarding musical skill. Here are some
strategies to help you do it:

1. Listen attentively: Pay close attention to the melody you're trying to figure out.
Listen to the notes, their order, and how they relate to each other.

2. Sing or hum along: Try to sing or hum along with the melody as you listen. This
can help you internalize the tune and make it easier to figure out the notes.

3. Identify the starting note: Start by trying to identify the first note of the melody.
Once you have the starting note, you can use it as a reference point to figure out the
rest of the melody.

4. Use intervals: Try to identify the intervals between the notes in the melody. An
interval is the distance between two notes, and each interval has a distinct sound. By
recognizing these intervals, you can figure out the notes in the melody.

5. Use a piano or other instrument: If you have access to a piano or keyboard, use it
to help you figure out the melody. Play the notes you think are in the melody until
you find the right ones.

6. Break it down: If the melody is complex, try breaking it down into smaller phrases
or sections. Focus on figuring out one section at a time, then piece them together.

7. Practice regularly: Like any skill, figuring out melodies by ear takes practice. The
more you practice, the better you'll get at recognizing notes and intervals with your
ears.

Remember, figuring out melodies by ear can be challenging at first, but with practice,
you'll improve. Keep at it, and have fun with the process!

Rhythm is the pattern of sounds and silences in music. It's what gives music its sense
of time and groove. Here are some key aspects of rhythm:
1. Beat: The beat is the basic unit of rhythm. It's like the pulse of the music, and it's
what you tap your foot to when you listen to a song. The beat is typically steady and
consistent throughout a piece of music.

2. Meter: Meter is the organization of beats into regular groups. Most music is
organized into measures or bars, which contain a fixed number of beats. Common
meters include 4/4 (four beats per measure) and 3/4 (three beats per measure).

3. Tempo: Tempo refers to the speed at which the beats occur. It's often indicated at
the beginning of a piece of music with terms like "allegro" (fast) or "adagio" (slow).

4. Rhythmic Patterns: Rhythmic patterns are sequences of different durations of notes

and rests. These patterns create the groove and feel of the music. For example, a
rhythm might consist of a combination of quarter notes, eighth notes, and rests.

5. Syncopation: Syncopation occurs when the emphasis in a rhythmic pattern is

placed on off-beats or weaker beats. This can create a sense of rhythmic tension and
interest in the music.

6. Rhythmic Feel: Different styles of music have different rhythmic feels. For example,
jazz music often has a swing feel, where the beats are unevenly divided, creating a
laid-back and syncopated groove.

Overall, rhythm is an essential element of music that helps to organize time and
create patterns that are pleasing to the ear.

Chord Recognition

Recognizing chords by ear is essential for playing piano by ear, as chords form the
harmonic foundation of most music. Practice exercises that involve listening to chord
progressions and identifying the types of chords being played.

Identifying root notes on the piano is crucial for understanding chords and melodies.
Here's how you can do it:

1. Understand the concept: The root note of a chord or a scale is the note from which
the other notes are derived. For example, in a C major chord, C is the root note.
2. Learn the piano layout: The piano has white and black keys. The white keys are
labelled, A through G, and the pattern repeats across the keyboard. The black keys
are the sharps/flats between some of the white keys.

3. Find the note C: Locate the group of two black keys on the keyboard. The white
key immediately to the left of these two black keys is the note C. This is the starting
point for identifying other notes.

4. Use intervals: Once you've found C, you can find other notes by understanding the
intervals between notes. Moving up from C, the next white key to the right is D, then
E, F, G, A, and finally B. After B, the pattern repeats with C again.

5. Practice: Practice moving from C to other notes and back to C. This will help you
become more familiar with the layout of the keyboard and the intervals between
notes.

6. Use patterns: Over time, you'll start to recognize patterns on the keyboard that will
make it easier to identify notes quickly.
 7. Use a piano diagram: If you're having trouble, you can use a piano diagram as a
reference to help you identify notes.

• Chord Quality: Focus on identifying the quality of each chord (major, minor,
diminished, augmented) as well as its root note and inversion.

Identifying root notes on the piano by ear can be a bit more challenging but is a
valuable skill for musicians. Here's how you can do it:

1. Listen for the lowest sounding note: The root note of a chord is often the lowest
sounding note in the chord. Listen carefully to the bass notes to try and identify the
root note.

2. Listen for resolution: The root note often feels like a point of resolution in a chord
progression. Try to listen for when a chord progression feels like it has come to rest,
and the root note of the final chord is likely the tonic (root) of the key.

3. Practice with simple songs: Start with simple songs and try to identify the root
notes of the chords. Nursery rhymes and folk songs are often good starting points as
they tend to have simple chord progressions.

4. Use a piano or keyboard to verify: Once you think you've identified a root note by
ear, verify it by playing the note on a piano or keyboard. This will help you train your
ear to recognize the sound of different notes.

5. Use intervals: As you practice, you'll start to recognize the intervals between notes.
This can help you identify the distance between the root note and other notes in a
chord, making it easier to identify the root note by ear.
• Progression Identification: Listen to chord progressions and try to identify the
sequence of chords being played. Pay attention to the relationships between chords
and the overall harmonic movement of the progression.

Conclusion Ear training is a crucial aspect of playing piano by ear. By practicing

interval recognition, melodic dictation, and chord recognition exercises, you'll
develop a sharp ear and the confidence to play music without relying on sheet music.
In the next chapter, we'll explore practical techniques for playing chords by ear and
applying your ear training skills to real music.

In our next chapter, we would dive into chords and chord progressions.
Chapter 6: Chords: Playing Chords by Ear

Welcome to Chapter 6 of "Playing Piano by Ear: A Beginner's Guide." In this chapter,

we'll explore the exciting world of playing chords by ear. Understanding chords and
chord progressions is essential for playing piano by ear, as they provide the
harmonic framework for most music.
 Introduction to Chords A chord is a group of three or more notes played together
to create harmony. Chords are the building blocks of harmony and are used to
accompany melodies, create musical textures, and establish the tonality of a piece.

• Triads: Triads are three-note chords consisting of a root, third, and fifth. The quality
of a triad (major, minor, diminished, augmented) is determined by the intervals
between these notes.

Triads are three-note chords consisting of a root note, a third (either major or minor),
and a fifth above the root. They are the basic building blocks of harmony in Western
music. Triads are classified into four types based on the intervals between the notes:
major, minor, augmented, and diminished. Here, I'll explain major, minor, and
diminished triads.

1. Major Triad:
- Formula: Root, Major Third, Perfect Fifth (1-3-5)
- Example: In the C major triad, C is the root, E is the major third (four half steps
above C), and G is the perfect fifth (seven half steps above C and three half steps
above E).

2. Minor Triad:
- Formula: Root, Minor Third, Perfect Fifth (1-b3-5)
- Example: In the C minor triad, C is the root, Eb is the minor third (three half steps
above C), and G is the perfect fifth.

3. *Diminished Triad:
- Formula: Root, Minor Third, Diminished Fifth (1-b3-b5)
- Example: In the C diminished triad, C is the root, Eb is the minor third, and Gb is
the diminished fifth (six half steps above C).

To form major triad in any key

1. Start with the root note (e.g., C).
2. For a major triad, count up four half steps for the major third and seven half steps
from the root {C} for the perfect fifth or three half steps from the major third.

From the above description, we can formulate a pattern for major triads:

R 4H 3H
(R is the root, 4H is four half steps from the root and 3H is 3 half steps from the
major third.)
 -Example: To form the C major triad

The first step is to find the root of the major triad you want to form, which in this
case is C.
R 4H 3H
C

The Second step is to count up 4 half steps from the root, C.

Four half steps from C would land us right on E.

R 4H 3H
C E

The third step is to count up 3 half steps from the major third, E.
Three half steps from E would land us right on G.

R 4H 3H
C E G

HERE!!!! We have our major triad formed!!!

Very easy!!!

Now we are going to find the F MAJOR TRIAD and then you can have fun finding
all the major triads yourself!!!

To form the F major triad

The first step is to find the root of the major triad you want to form, which in this
case is F.
R 4H 3H
F

The Second step is to count up 4 half steps from the root, F.

Four half steps from F would land us right on A.

R 4H 3H
 F A

The third step is to count up 3 half steps from the major third, A
Three half steps from A would land us right on C.

R 4H 3H
F A C

HERE!!!! We have our F major triad formed!!!

Very easy!!!

EXERCISE:
Find the 12 major triads using the pattern above
To form a minor triad in any key
1. Start with the root note (e.g., C).
2. For a minor triad, count up three half steps for the minor third and seven half steps
from the root {C} for the perfect fifth or four half steps from the minor third.

From the above description, we can formulate a pattern for minor triads:

R 3H 4H
(R is the root, 3H is three half steps from the root and 4H is 4 half steps from the
major third.)
This pattern is a reverse of the major triad pattern. Whereas we have 4H before 3H,
we have 3H before 4H in the minor triads.

-Example: To form the C minor triad

The first step is to find the root of the minor triad you want to form, which in this
case is C.
R 3H 4H
C

The Second step is to count up 3 half steps from the root, C.

three half steps from C would land us right on Eb.

R 3H 4H
C Eb

The third step is to count up 4 half steps from the minor third, Eb.
four half steps from Eb would land us right on G.

R 3H 4H
C Eb G

HERE!!!! We have our minor triad formed!!!

Very easy!!!

Now we are going to find the F MINOR TRIAD and then you can have fun finding
all the minor triads yourself!!!

To form the F minor triad,

The first step is to find the root of the minor triad you want to form, which in this
case is F.
R 3H 4H
F
The Second step is to count up 3 half steps from the root, F.
three half steps from F would land us right on Ab.

R 3H 4H
F Ab

The third step is to count up 4 half steps from the minor third, Ab.
four half steps from Ab would land us right on C.

R 4H 3H
F Ab C

HERE!!!! We have our F minor triad formed!!!

Very easy!!!

EXERCISE:
Find the 12 minor triads using the pattern above
 For a diminished triad, count up three half steps for the minor third and six half
steps for the diminished fifth.

- Formula: Root, Minor Third, Diminished Fifth (1-b3-b5)

To form a diminished triad in any key

1. Start with the root note (e.g., C).
2. For a diminished triad, count up three half steps for the minor third and six half
steps from the root {C} for the flattened fifth or three half steps from the minor third.

From the above description, we can formulate a pattern for diminished triads:
R 3H 3H

(R is the root, 3H is three half steps from the root and 3H is three half steps from the
minor third.)
This pattern is quite different from that of the major and minor triad pattern.
Whereas we have 4H before 3H in the major, and 3H before 3H in the minor triads,
we have 3H before 3H for the diminished pattern.

-Example: To form the C diminished triad

The first step is to find the root of the diminished triad you want to form, which in
this case is C.
R 3H 3H
C

The Second step is to count up 3 half steps from the root, C.

three half steps from C would land us right on Eb.

R 3H 3H
C Eb

The third step is to count up 3 half steps from the minor third, Eb.
three half steps from Eb would land us right on Gb.

R 3H 3H
C Eb Gb

HERE!!!! We have our diminished triad formed!!!

Very easy!!!

Now we are going to find the F DIMINISHED TRIAD and then you can have fun
finding all the diminished triads yourself!!!
 To form the F diminished triad,
The first step is to find the root of the diminished triad you want to form, which in
this case is F.
R 3H 3H
F

The Second step is to count up 3 half steps from the root, F.

three half steps from F would land us right on Ab.

R 3H 3H
F Ab

The third step is to count up 3 half steps from the minor third, Ab.
Three half steps from Ab would land us right on B.

R 3H 3H
F Ab B

HERE!!!! We have our F diminished triad formed!!!

Very easy!!!

EXERCISE:
Find the 12 diminished triads using the pattern above
 EXTENDED CHORDS
Extended chords are types of chords that have more than 3 notes in their chord
structure.
Extended chords contain extra notes added from further up the keyboard. A major
ninth chord, for instance, contains root, third, fifth, seventh and ninth.
Example of extended chords are major seventh chords, diminished seventh, major 9
chords, minor 9 chords, etc.

• Seventh Chords: Seventh chords add an additional note (the seventh) to the basic
triad, adding richness and complexity to the chord.

Seventh chords are four-note chords consisting of a root, a third, a fifth, and a
seventh. They add an extra layer of richness and complexity to the basic triads. There
are several types of seventh chords, each with its unique sound and character:

Major Seventh (Maj7):

The major 7 chord is characterized by its Sweet and dreamy sound, and is often used
in jazz and ballads.

Formula: 1-3-5-7
Example: Cmaj7 (C-E-G-B)

The major 7 chord is formed by playing the first note, third note, fifth note, and
seventh note from the major scale.

So, to play the F major 7,

F A C Bb C D E F
We pick the 1 3 5 and 7 notes from the major scale
Fmaj7 (F A C E)
EXERCISE
You can try to get the major 7 chords for the remaining keys
Minor 7 chords
Minor Seventh (Min7):
The Formula for minor 7:
1-b3-5-b7

Example: Amin7

The minor 7 chord is formed by playing the first note, flattening the third note,
playing the fifth note, and flattening the seventh note from the major scale.

So, to play the A Minor 7,

A B C# D E F# G# A

We pick the 1 b3 5 and b7 notes from the major scale

Amin7 (A-C-E-G)

EXERCISE:
Find the minor 7 chords in the chromatic scale.
DIMINISHED 7 CHORDS:
Diminished Seventh (dim7):
Formula: 1-b3-b5-6

Example: Cdim7 (C-Eb-Gb-A)

The diminished 7 chord is formed by playing the first note, flattening the third note,
flattening the fifth note, and playing the sixth note from the major scale.

So, to play the C Diminished 7,

CDEFGABC

We pick the 1 b3 b5 and 6 notes from the major scale

Cdim7 (C-Eb-Gb-A)

EXERCISE:
Find the diminished 7 chords in the chromatic scale.
It’s important to note that there are only three variations of the diminished chord
and the remaining are just inversions of the C, F, and G diminished chords.

We can group them into three

Dominant Seventh (Dom7):
The Dom7 chord voicing is Strong and tense, it is often used to create a sense of
movement or to prepare for resolution to the tonic chord.
Formula: 1-3-5-b7
Example: G7 (G-B-D-F)

The dominant 7 chord is formed by playing the first note, third note, fifth note, and
flattening the seventh note from the major scale.

So, to play the G dominant 7,

G A B C D E Gb G

We pick the 1 3 5 and b7 notes from the major scale

G7 (G-B-D-F)

EXERCISE
You can try to get the Dominant 7 chords for the remaining keys.
Seventh chords are versatile and can be used in various musical styles to add colour
and depth to chord progressions. Experimenting with different seventh chords can
help you create more interesting and expressive harmonies in your music.
 CHORD PROGRESSIONS

Practical Techniques for Playing Chords by Ear Once you've developed your ear
for recognizing chords, you can start applying your skills to playing chords by ear on
the piano.

• Finding the Root Note: Start by identifying the root note of the chord and playing it
on the piano. This will serve as your reference point for building the rest of the chord.
• Adding the Third and Fifth: Once you've found the root note, add the third and
fifth notes of the chord to complete the triad. Experiment with different inversions
and voicings to find the sound you're looking for.
• Exploring Seventh Chords: Once you're comfortable with triads, try adding the
seventh note to create seventh chords. Listen for the distinctive sound of each type
of seventh chord (major seventh, minor seventh, dominant seventh, etc.) and
replicate it on the piano.

Hearing chord progressions can be a bit tricky at first, but with practice, you can
start to recognize them more easily. Here are some tips:

1. Listen for the bass note: The bass note often follows the root of the chord. Pay
attention to the lowest note you hear, as it can give you a clue about the chord being
played.

2. Identify the quality of the chord: Major chords tend to sound bright and happy,
while minor chords sound darker and more sombre. Pay attention to the feeling the
chord gives you.

3. Listen for movement: Chords in a progression often move in a predictable way. For
example, the V chord (dominant) often resolves to the I chord (tonic), creating a
sense of resolution.

4. Pay attention to the melody: Melodies often emphasize notes that are part of the
chord being played. If you can identify the melody notes, you can often figure out
the chord progression.

5. Practice with simple songs: Start with songs that have simple chord progressions,
such as nursery rhymes or folk songs. Play along on an instrument or try to sing the
chords as you listen.

6. Use your voice or an instrument: Sing or play along with the song, trying to match
the chords. This can help you internalize the progression and recognize it in other
songs.
IMPORTANT TOOLS FOR PLAYING CHORD PROGRESSION
1.Solfa notation
2.Nashville number system

Solfa notation, also known as solfège, is a system used to teach and sight-sing
music. It assigns a syllable to each note of the musical scale, making it easier to sing
and remember melodies. The most common solfa syllables are "do," "re," "mi," "fa,"
"sol," "la," and "ti." These syllables are used in various combinations to represent
different notes of the scale.

Here's a basic overview of the solfa syllables and their corresponding scale degrees
in a major scale:

- Do: The first note of the scale (tonic)

- Re: The second note of the scale
- Mi: The third note of the scale
- Fa: The fourth note of the scale
- Sol: The fifth note of the scale
- La: The sixth note of the scale
- Ti: The seventh note of the scale

After "ti," the scale repeats with "do" at the next octave.

In solfa notation, a melody is sung using these syllables to indicate the pitch of each
note. For example, the melody "Twinkle, Twinkle, Little Star" can be sung using solfa
syllables as follows:

-C-C-G-G-A-A-G
- Do - Do - Sol - Sol - La - La - Sol

Solfa notation is often used in conjunction with hand signs, where each syllable
corresponds to a specific hand gesture, helping singers to internalize the pitch of
each note and the intervals between them.

The Nashville Number System is a method of representing music using numbers

instead of traditional musical notation. It's widely used in the country music scene in
Nashville, Tennessee, hence the name. The system is based on the concept of scale
degrees, which are the notes of a scale represented by numbers.
In the Nashville Number System, each chord in a song is represented by a number
based on its position in the scale. For example, in the key of C major, the C chord is
represented by the number 1, the D chord by 2, the E chord by 3, and so on.

The system allows musicians to easily transpose songs into different keys by simply
changing the numbers while keeping the relationships between the chords the same.
It also helps musicians communicate chord progressions quickly and easily, making it
a popular tool for songwriters, session musicians, and music educators.

Here's a simple example of how the Nashville Number System works:

In the key of C major:

- C major chord = 1
- D minor chord = 2
- E minor chord = 3
- F major chord = 4
- G major chord = 5
- A minor chord = 6
- B diminished chord = 7

So, a simple chord progression like C - Am – F- G would be represented as 1 - 6 - 4 -

5 in the Nashville Number System. This allows musicians to easily play the same
progression in different keys by simply applying the same number pattern.

Try to play this chord progression on the key of C major.

EXERCISE: identify the chords and try to play the progression.

A. 1 5 6 4

B. 1 2 5 4

C. 6 4 1 5

D. 4 1 5 6

E. 4 5 6 1

F. 2 5 1 4

G. 1 3 4 5

H. 1 6 4 5

I .2 4 5 6

J. 1 6 5 4

K. 5 6 1 4

L. 5 4 1 6

Practice these progressions at different tempos, rhythm and patterns of your choice.
Conclusion Playing chords by ear is a valuable skill that opens up endless
possibilities for musical expression. By training your ear to recognize chords and
practicing practical techniques for playing them on the piano, you'll become more
confident and proficient at playing piano by ear. In the next chapter, we'll explore
strategies for figuring out songs by ear and applying your ear training skills to real
music.
Chapter 7: Figuring Out Songs by Ear

Welcome to Chapter 7 of "Playing Piano by Ear: A Beginner's Guide." In this chapter,

we'll explore strategies for figuring out songs by ear—a skill that will enable you to
play your favourite music without relying on sheet music or chord charts.
 Understanding Song Structure Before diving into figuring out specific songs by ear,
it's helpful to understand the common structure of songs. Most songs are built
around a few key elements:

• Melody: The main theme or tune of the song, usually played by the lead instrument
or sung by the vocalist.
• Chords: The harmonic foundation of the song, created by a sequence of chords that
accompany the melody.
• Rhythm: The underlying beat or groove that drives the song forward, created by the
interplay of various instruments and percussion.

Strategies for Figuring Out Melodies Figuring out melodies by ear involves
listening to a song and identifying the sequence of pitches that make up the melody.
Here are some strategies to help you tackle this task:

• Listen Carefully: Start by listening to the song multiple times, paying close attention
to the melody. Try to internalize the shape and contour of the melody, as well as any
recurring motifs or patterns.
• Sing or Hum Along: Singing or humming along with the melody can help reinforce
your understanding of its pitch and rhythm. Use your voice as a guide to find the
correct notes on the piano.
• Trial and Error: Don't be afraid to experiment with different notes and intervals on
the piano until you find the right ones. Use your ear as a guide and trust your
instincts.

Identifying Chord Progressions Once you've figured out the melody of a song, the
next step is to identify the chord progressions that accompany it. Here's how you can
approach this task:

• Listen for Harmonic Movement: Pay attention to the relationship between the
melody and the chords. Listen for moments where the harmony changes and try to
identify the chords being played.
• Use Your Ear: Trust your ear to guide you in identifying the quality and inversion of
each chord. Experiment with different voicings and inversions until you find the right
sound.
• Play Along: Once you've identified the chord progressions, try playing along with
the song on the piano. Use the chords you've identified to accompany the melody
and recreate the overall sound of the song.

We can now practice all we have learnt so far!!!

LET’S PLAY SOME SONGS!!!

Let’s practice some nursery rhymes.

Here's the sol-fa notation for Mary Had a Little Lamb.

C major

1. "Mary had a little lamb,"

- E-D-C-D-E-E-E
- Mi-Re-Do-Re-Mi-Mi-Mi

2. "Little lamb, little lamb,"

- D-D-D-E-E-E
- Re-Re-Re-Mi-Mi-Mi

3. "Mary had a little lamb,"

- E-D-C-D-E-E-E
- Mi-Re-Do-Re-Mi-Mi-Mi

4. "It’s fleece was white as snow."

- E-D-D-D-E-E-D
- Mi-Re-Re-Re-Mi-Mi-Re

Feel free to sing or play this melody using the solfa syllables!

Now let’s play the chord progression

*The notes on top represent the chord to be played at each point

C
1. "Mary had a little lamb,"

G C
2. "Little lamb, little lamb,"

C Am
3. "Mary had a little lamb,"

G C
4. "It’s fleece was white as snow."
LET’S TRY OUT SOMETHING NEW!

1. "Twinkle, twinkle, little star,"

- C-C-G-G-A-A-G
- Do-Do-Sol-Sol-La-La-Sol

2. "How I wonder what you are!"

- F-F-E-E-D-D-C
- Fa-Fa-Mi-Mi-Re-Re-Do

3. "Up above the world so high,"

- G-G-F-F-E-E-D
- Sol-Sol-Fa-Fa-Mi-Mi-Re

4. "Like a diamond in the sky."

- G-F-E-D-C-C
- Sol-Fa-Mi-Re-Do-Do

Feel free to sing or play this melody using the solfa syllables to get a feel for how it
sounds!
Practice these songs and their solfas

Mary had a little lamb

Mrdrmmm
Rrrmmm
Mrdrmmm
Rrrmrd

Baa Baa black sheep

Ddssltdls
Ffmmrrd
Sssff mmmr
Msssfsl
Fmrrd

Twinkle twinkle little star

Ddsslls
Ffmmrrd
Ssffmmr
Ssffmmr
Ddsslls
Ffmmrrd

If you’re happy and you know jump up

Ssdddddtdr
Ss r r r r r d r m
Mmffffl
Ffmfmrd
Dmrrrdtltd

London bridge is falling down

Slsfmfs
Rmf
Mfs
Slsfmfs
Rsmd

Rain rain go away, come again another day

Smssm
Sslsfmr
Mmdmrtd
Row row row your boat
Dddrm
Mrmfs
Dddsssmmmd
Sfmrd

This old man

Sms sms
Lsfmrmf
Mfsdd
Ddddddms
Srrfmrd

dmmmrmfm
mrrrdrmd
dmmmrmfsl
Lsfmrd

If you’re happy and you know it clap your hands

Ssddddddtdr
Ssrrrrrrdrm
Mm f f f f l
Ffmfmrd
Dmrrrdtltd

Conclusion Figuring out songs by ear is a rewarding skill that allows you to play your
favourite music with a personal touch. By understanding the structure of songs,
developing your ear for melody and harmony, and trusting your instincts, you'll
become more confident and proficient at playing piano by ear. In the next chapter,
we'll explore the art of improvisation and how you can use your ear skills to create
your own music.
Chapter 8: Improvisation and Creativity

Welcome to Chapter 8 of "Playing Piano by Ear: A Beginner's Guide." In this chapter,

we'll explore the art of improvisation and how you can use your ear skills to unleash
your creativity and express yourself through music.
 Introduction to Improvisation: Improvisation is the process of spontaneously
creating music in the moment, without relying on pre-written music or
predetermined arrangements. It's a form of musical expression that allows you to tap
into your creativity and explore new musical ideas.

Building Blocks of Improvisation Before diving into improvisation, it's helpful to

understand some basic concepts that form the foundation of improvised music:

• Scales and Modes: Scales provide the raw material for improvisation, serving as a
palette of notes from which you can draw. Experiment with different scales and
modes to create different moods and textures in your improvisations.
• Circle of fifths

What is the Circle of Fifths?

The circle of fifths is a diagram that shows the relationship between musical keys. It's
called the "circle of fifths" because each key is a fifth higher than the previous key.

Starting from C, which is located at the top of the circle, you can move clockwise
around the circle to find the next key. The next key is G, which is a fifth higher than C.
The next key after G is D, which is a fifth higher than G. If you keep going around the
circle in this manner, you'll eventually end up back at C.

Why use the circle of fifths?

The circle of fifths is important because it helps you understand the relationships
between keys and the chords that are commonly used in those keys. For example,
the chords in the key of C are C, Dm, Em, F, G, Am, and Bdim. If you move clockwise
around the circle to the next key, G, the chords in that key are G, Am, Bm, C, D, Em,
and F#dim. You'll notice that the chords in the key of G are mostly the same as the
chords in the key of C, but they're in a different order and a few of them are
different.

Here are some practical applications of the circle of fifths:

Transposing: If you need to play a song in a different key, you can use the circle of
fifths to figure out which chords to play. For example, if a song is in the key of C and
you want to play it in the key of G, you can use the circle of fifths to figure out that
you can play the chords G, Am, Bm, C, D, Em, and F#dim.

Chord Progressions: The circle of fifths can also be used to create chord progressions
that sound good together. You can start with a chord in one key, move to a chord in
the next key on the circle, and continue around the circle to create a pleasing
sequence of chords.

Understanding Modes: The circle of fifths can help you understand the different
modes, which, simply put, are scales that are based on different starting notes within
a key. For example, the Dorian mode is based on the second note of the major scale,
and the Phrygian mode is based on the third note. The circle of fifths can help you
visualize the relationships between those different modes.

Harmonic Analysis: You can use the circle of fifths to analyse the harmony of a piece
of music. You can identify the key of the piece and then use the circle of fifths to
identify the chords that are commonly used in that key. This can help you understand
how the piece is structured and how the different chords relate to each other.

MODES

Modes are a set of musical scales that are derived from a parent scale by starting on
different scale degrees. Each mode has its own unique sound and characteristic
intervals, which give it a distinct flavour. The most common modes are derived from
the major scale and include:

1. Ionian mode: This is the standard major scale, starting on the first scale degree.

2. Dorian mode: This mode has a minor sound and is characterized by a lowered
third and seventh scale degree compared to the major scale. It starts on the second
scale degree of the major scale.

3. Phrygian mode: The Phrygian mode has a dark and exotic sound, with a lowered
second, third, sixth, and seventh scale degree compared to the major scale. It starts
on the third scale degree.

4. Lydian mode: This mode has a bright and dreamy sound, with a raised fourth scale
degree compared to the major scale. It starts on the fourth scale degree.
5. Mixolydian mode: Mixolydian has a bluesy sound, with a lowered seventh scale
degree compared to the major scale. It starts on the fifth scale degree.

6. Aeolian mode: Also known as the natural minor scale, the Aeolian mode has a
melancholy sound and is characterized by a lowered third, sixth, and seventh scale
degree compared to the major scale. It starts on the sixth scale degree.

7. Locrian mode: The Locrian mode has a dark and dissonant sound, with a lowered
second, third, fifth, sixth, and seventh scale degree compared to the major scale. It
starts on the seventh scale degree.

Modes are often used in various styles of music, including jazz, rock, and traditional
folk music. They provide composers and improvisers with a wide range of harmonic
and melodic possibilities, allowing them to create diverse and interesting musical
textures.
Chords and Harmony: Understanding chord progressions and harmonic
relationships is essential for creating cohesive and engaging improvisations. Practice
accompanying yourself with chord progressions while improvising melodies on top.
CHORD INVERSIONS

Chord inversions are different ways of arranging the notes of a chord. In a chord, you
have three or more notes played simultaneously. When the notes are stacked in a
particular order, it's called the root position. But if you take the same notes and
rearrange them so that the lowest note is not the root, you have an inversion.

For example, let's take a C major chord, which consists of the notes C, E, and G. In
root position, you'd play these notes as C (the root) as the lowest note, followed by E
and G. This is the most common way to play a C major chord.

Now, if you take that same C major chord but play E as the lowest note, followed by
G and then C, you have what's called the first inversion of a C major chord. If you
were to play G as the lowest note, followed by C and then E, you'd have the second
inversion of a C major chord.

Inversions can create different sounds and add variety to your chord progressions.
They're commonly used in music to create smoother transitions between chords or
to create a different harmonic feel.
Here are major triads and their inversions.
 Here are minor triads and their inversions.

• Rhythm and Groove: Rhythm is the heartbeat of music, and mastering rhythmic
patterns and grooves will add depth and dimension to your improvisations.
Experiment with different rhythms and syncopations to create interesting and
dynamic textures.
 Techniques for Improvising by Ear Improvisation by ear involves listening to the
music around you and responding intuitively with your own musical ideas. Here are
some techniques to help you get started:

• Call and Response: Listen to a short musical phrase or motif, then respond with your
own improvised variation. This back-and-forth dialogue fosters creativity and
encourages musical interaction.
• Embrace Mistakes: Improvisation is about taking risks and exploring new musical
territory. Don't be afraid to make mistakes—embrace them as opportunities for
growth and discovery.
• Listen Deeply: Pay close attention to the music around you, as well as your own
inner musical intuition. Trust your ears to guide you in the direction of interesting
and unexpected musical ideas.

Developing Your Own Style As you continue to explore improvisation, you'll

develop your own unique musical voice and style. Embrace your individuality and
don't be afraid to let your personality shine through in your music.

• Experiment with Different Genres: Explore a variety of musical genres and styles to
expand your musical vocabulary and inspire new ideas.
• Find Your Voice: Experiment with different techniques, textures, and expressions
until you find the sounds that resonate with you on a deep level. Your authenticity
and passion will shine through in your music.

Conclusion Improvisation is a powerful tool for self-expression and creativity. By

developing your ear skills and trusting your musical intuition, you'll unlock endless
possibilities for improvisation and create music that is uniquely your own. In the next
chapter, we'll explore strategies for overcoming common challenges and continuing
to grow as a musician.
Chapter 9: Overcoming Challenges

Welcome to Chapter 9 of "Playing Piano by Ear: A Beginner's Guide." In this chapter,

we'll explore common challenges that beginners may face when learning to play
piano by ear and strategies for overcoming them.
 Fear of Making Mistakes One of the biggest challenges beginners face when
learning to play piano by ear is the fear of making mistakes. It's important to
remember that making mistakes is a natural part of the learning process and an
opportunity for growth.

• Embrace Imperfection: Instead of striving for perfection, embrace imperfection as a

natural part of the learning journey. Celebrate your progress and view mistakes as
valuable learning experiences.
• Practice Patience: Be patient with yourself and trust in your ability to improve over
time. Rome wasn't built in a day, and neither is mastery of the piano. Take it one step
at a time and celebrate small victories along the way.

Developing a Good Sense of Pitch Developing a good sense of pitch is essential for
playing piano by ear, but it can be challenging for some beginners. Fortunately, pitch
recognition is a skill that can be developed with practice and persistence.

• Ear Training Exercises: Dedicate time to regular ear training exercises to improve
your ability to recognize pitches and intervals. Start with simple exercises and
gradually increase the difficulty as you progress.
• Use Technology: Take advantage of technology tools such as ear training apps and
online resources to supplement your ear training practice. These resources often
offer interactive exercises and feedback to help you improve your pitch recognition
skills.

Building Confidence Building confidence is key to becoming a proficient piano

player by ear. Here are some strategies to help boost your confidence:

• Set Achievable Goals: Set small, achievable goals for yourself and celebrate each
accomplishment along the way. Breaking down larger goals into smaller, manageable
tasks can help prevent overwhelm and build momentum.
• Seek Support: Surround yourself with supportive friends, family members, or fellow
musicians who can encourage and uplift you on your musical journey. Consider
joining a local music group or online community where you can connect with like-
minded individuals and share your progress.

Conclusion Learning to play piano by ear is a rewarding and fulfilling journey, but
it's not without its challenges. By embracing imperfection, practicing patience, and
building confidence, you can overcome these challenges and continue to grow and
develop as a musician. Remember that every challenge you encounter is an
opportunity for growth and learning. In the next chapter, we'll explore practical
strategies for continuing your musical journey and expanding your skills even further.
Chapter 10: Putting It All Together

Welcome to Chapter 10 of "Playing Piano by Ear: A Beginner's Guide." In this final

chapter, we'll explore practical strategies for continuing your musical journey and
expanding your skills even further.
 Review of Key Concepts Before we dive into new material, let's take a moment to
review the key concepts and skills we've covered throughout this book:

• Understanding the Keyboard: You've learned about the layout of the piano
keyboard and proper hand positioning.
• Basic Music Theory: We've covered fundamental music theory concepts such as
notes, scales, intervals, and chords.
• Ear Training: You've practiced exercises to develop your ear for recognizing
melodies, chords, and rhythms by ear.
• Playing by Ear: You've explored practical techniques for playing melodies and
chords by ear, as well as strategies for figuring out songs and improvising.

Setting Goals Now that you've gained a solid foundation in playing piano by ear, it's
time to set new goals for your musical journey. Setting goals gives you direction and
motivation to continue growing and improving as a musician.

• Short-Term Goals: Set specific, achievable goals that you can work towards in the
near future. These goals could include mastering a particular song, improving your
ear training skills, or learning a new chord progression.
• Long-Term Goals: Think about where you want to be as a musician in the long term.
Do you want to perform in front of an audience, compose your own music, or
collaborate with other musicians? Set ambitious yet realistic long-term goals to guide
your progress over time.

Continued Practice and Exploration The key to continued growth as a musician is

consistent practice and exploration. Here are some strategies to help you maintain
momentum and continue expanding your skills:

• Diversify Your Repertoire: Explore a variety of musical genres and styles to broaden
your musical horizons and develop a versatile skill set.
• Challenge Yourself: Don't be afraid to step out of your comfort zone and tackle
more challenging material. Pushing yourself to learn new techniques and tackle
difficult songs will help you grow as a musician.
• Stay Inspired: Surround yourself with music that inspires and motivates you. Attend
concerts, listen to recordings, and seek out new musical experiences to keep your
passion for music alive.
Conclusion Congratulations on completing "Playing Piano by Ear: A Beginner's
Guide"! By now, you should have a solid foundation in playing piano by ear and the
tools you need to continue your musical journey with confidence and enthusiasm.
Remember that learning music is a lifelong pursuit, and there's always more to
discover and explore. Keep practicing, stay curious, and most importantly, enjoy the
journey. Happy playing!

Yours faithfully
Bishop Marcus Daniel
bmdmusichome@gmail.com