COCKTAIL PIANO 1 M E T H O D
MICHAEL GUNDLACH THE COCK TAIL PIANO METHOD VOLUME 1 TEC HN IQU ES OF ST Y LISH PIA NO EN TER TA I NM EN T www.migu-music.com DOWNLOAD PDF FILE 4 Table of Contents Explanation of Contents ........................... 6 ’S Wonderful......................................................48 Harmony – Part 1 Harmony – Part 6 Diatonic harmony.................................................. 8 Basic rules of piano entertainment.................... 9 Leaving notes out.................................................. 9 Adding notes ........................................................12 Passing tones dominant (6,#5,5) ........................53 The ’sus’ chord.....................................................55 Typical Harmony Sequences – Part 1 Harmony – Part 2 Chord insertions – Part 1....................................57 Passing chords major / dominant seventh.......58 Minor passing chords dominant seventh..........15 Diatonic passing chords.....................................17 Oh, Lady Be Good...........................................22 Fills – Part 2 Fill / augmented triad with chromaticism.........60 Fill / diminished with chromaticism...................63 Harmony – Part 3 Possibilities for the left hand.............................26 Rhythm for the left hand.....................................28 Harmony – Part 4 Altering notes ......................................................29 Adding the sixth to the chord ............................32 Harmony – Part 5 The diminished chord..........................................34 Fills – Part 1 Possibilities with fills...........................................39 Fill / minor7th chord..............................................40 Fill / major7th chord..............................................43 Fill / dominant seventh chord.............................44 Fill / dominant seventh #5...................................45 Fill / diminished chord.........................................46 © www.migu-music.com Strike Up The Band......................................66 Ending “Basie-Fill”......................................72 Harmony – Part 7 Dominant augmented with b9.............................74 Harmony – Part 8 The half diminished chord..................................76 II – V – I – minor cadence...................................76 5 Fills – Part 3 Fill / Blues scale.................................................. 79 Summertime.......................................................84 Cocktail Piano Christmas Silent Night.........................................................113 We Wish You A Merry Christmas.....................119 Cocktail Piano Classic Lullaby.................................................................122 Liebestraum........................................................126 Typical Harmony Sequences – Part 2 Chord substitutions..............................................88 Cocktail Piano Gospel I Got Rhythm.......................................................91 This Little Light Of Mine....................................130 Swing Low, Sweet Chariot................................131 Tips and Tricks...............................................136 Typical Harmony Sequences – Part 3 Chord insertions – Part 2....................................95 Chord Symbol Glossary...........................139 Swanee River...................................................98 The Intervals....................................................142 Fills – Part 4 Fill / four-note progression...............................103 Blues scales In All Keys ........................................................144 Intros, Transitions / Bridge Passages, Endings Secondary intros................................................105 Free-style intros.................................................106 Transitions / bridge passages..........................108 Endings................................................................110 © www.migu-music.com Chord Tables....................................................145 8 Harmony – Part 1 To be able to develop your own stylish piano arrangements from songs you first need a good fundamental knowledge of harmony. We will work step by step through this chapter on elementary basic principles. Diatonic harmony By “diatonic harmony“, we mean the chords that can be created using the notes of the normal major scales. We will start with the key of C major and the accompanying C major scale: C major scale & w w w w w w w If you form a four-part chord with each note, or each step (scale degree), of the normal major scale you get the following chords: & C maj7 D m7 ww ww ww ww ww ww II III I E m7 F maj7 ww ww IV G7 www w V A m7 ww ww VI B m7b5 ww ww VII Steps (scale degrees) in Roman numerals Almost all the chords that you need, to play popular songs, are at your disposal in the major scales. To understand them better, let’s look at which chords are on which step (scale degree). Step I + IV II, III + VI V VII Type of Chord Major7 chord (= major triad with major seventh) Minor7 chord (= minor triad with minor seventh) Dominant seventh chord (= major triad with minor seventh) Half diminished chord (consists of two minor and one major third) © www.migu-music.com 11 1a CMaj7 .. .. œœ œœ CMaj7 .. œœ œœ .. œœ œœ .. œœ œœ .. œ . .. œ . .. œ . œF.Maj7 &c &c &c & ? cc ?c ?c ?c &b &b &b & ? bb ?b ?b ?b 1b # 1c &# &# &# & ?# ?# ?# ?# Am7 CMaj7 CMaj7 c c c c c c c c ## & ## &1d # & ## & ? # ## ? ## ? ## ? ## c c c c c c c c .œ F. Maj7 . œœ F. Maj7 .. œœ .. œœ .. œ .. œ . .. œ . .. œ . œ. F Maj7 j Am7 œ œj œœ Am7 œœ œœ œœj œœ œœj œœjj œ˙ œj ˙ œj ˙ œ ˙ Am7 j Dm7 œ Dm7 œj œœ œœ œœ Dm7 œœj œœ œœj œœjj œ˙ œj ˙ œj ˙ œ ˙ GMaj7 .. œ GMaj7 œ .GMaj7 . œœ .. œ .. œœ .. œ . .. œ . .. œ . .. œ . œ GMaj7 c c c c c c c c œ œœ œœ œœ œœ Jœ Jœ Jœ J œœ œœ œœ œœ DMaj7 .. œ .. œ DMaj7 .. œœ .. œœœ .. œ .. œ . .. œ . .. œ . œ. DMaj7 DMaj7 © www.migu-music.com œ œœ œœ œœ œ Dm7 œœ œœ œœ œœ œœœ œ œœ œœ j œœj œœj œœj œœ Em7 œ Em7 œœ Jœ Em7 œJ œœ Jœ˙ J˙ ˙ ˙ Em7 œ œœ œœ œœ œ œ œœ œœ œœ œ Bm7 j œ Bm7 œj œœ Bm7 œœ œœ œœj œœ œœj œœjj œ˙ œj ˙ œj ˙ œ ˙ Bm7 œ œœ œœ œœ œ Dm7 j Dm7 œœj œœ Dm7 œœj œœ œœj œœ œœ œœ œ. œ. œ. œGm7 . j Gm7j œœj Gm7 œœj œœ œœj Gm7 œœj œœ œœj œœj œœ œœ œœ œœ œ. œ. œ. œ. Am7 j Am7j œœj Am7 œœj œœ œœj Am7 œœj œœ œœj œœj œœ œœ œœ œœ œ. œ. œ. œ. Dm7 j œœj œœj œœj œœ Em7 j Em7 œœj Em7 œœj œœj œœ œ. œ. œ. œ. Em7 œœ œœ œœ œœ j œœj œœj œœj œœj j œj œj œ G7 G7 œ œœ G7 œœ œœ œ. œ. œ. œ. G7 j C7 œœj Cœ7 œœj Cœœ7 œœj œœ œœ œœ œ Jœ œ .. Jœ œ . Jœ œ . J D7 j D7 œœj D7œ œœj D7œœ œœj œœ œœ œœ œ. Jœ œ . Jœ œ . Jœ œ . J j œœj œœj œœj œœj j œj œj œ C7 A7 A7 œ œœ A7 œœ œœ œ. œ. œ. œ. A7 CMaj7 .. CMaj7 œ œœ .. CMaj7 œœ .. œœ œœ .. œœ œœ . œ j .. œœ œj . œ . œj .. œ . œj .. œ . œ . FœMaj7 CMaj7 œ œœ œœ œœ œ j œj œj œj œ .. F Maj7 œœ .. F Maj7 œ .. œœ .. œœ .. œ .. œ . .. œ . .. œ . œ. F Maj7 GMaj7 œ ..GMaj7 œœ œœ ..GMaj7 œœ œœ .. œ œœ œ . . œ j .. œœ œj . œ . œj .. œ . œj .. œ . œ . œ. GMaj7 DMaj7 .. DMaj7 œ œœ .. DMaj7 œœ œœ .. œœ œœ .. œœœ œ j ... œ œj . œ . œj .. œ . œj .. œ . œ œ. DMaj7 ˙˙ .. ˙˙ .. ˙˙ .. ˙˙ .. j œj œj œj œ ˙˙ .. ˙˙ .. ˙˙ .. ˙˙ .. j œj œj œj œ ˙˙ .. ˙˙ .. ˙˙ .. ˙˙ .. œ Jœ Jœ Jœ J ˙˙ .. ˙˙ .. ˙˙ .. ˙˙ .. j œj œj œj œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Oh, Lady Be Good Oh, Lady Be Good 22 Music: George Gershwin Lead sheet # c . . & G # 6 D7 & # œ. C œ œ œ Fine ‰ œ. œ œ 3 œ E m/D œ œ C/G œ œ œ œ œ œ. D/F # œ J D7 œ. œ .. ‰ œ G œ j œ œ œ œ ‰ œ. œ #œ ‰ j œ 3 j œ œ œ œ G7 œ #œ ‰ œ. E m/C # A m7 2 D7 D7 E m/D # G # dim 1 w œ J # & ‰ œ. G G Em 14 œ œ & 10 C7 .. D.C. al Fine We’ll practice what we just learned with the song “Oh, Lady Be Good”. If you bought a songbook in which you have only the melody and chord symbols to work on, the song would be notated as in the above lead sheet. Parts of the melody can be played very well with the fourth sixth chords of the major scale. Because the piece is in the key of Gmaj, we need the chords from the G major scale: Fourth sixth chords of the G major scale G Am & www ww w # I Bm II ww w III C ww w D # & G IV Already in the first bar we can use these triads in the right hand: notated in bar 1: & # & œ œ V # & œœ œœ œ œ # ‰ jœ œ œ œ & œ © www.migu-music.com ww w ww w VI VII what you can play: œ œ # G G ww w F #mb5 Em G G7 œœ œœ œ œ C œ. œ J # # ‰ jœ œ œ œ . œ œ œ œ œ & G & G7 œ J C œ œœ G G7 C # ‰thereforejjuse ## 9and 10 weœ have the dominant of the key of Cmaj and must œ of the . chords In bars theœfourthœsixth œ # œ œ œ œ . œ œ œ & œ J & œ œ C major scale. ‰7 œ œ œ œœ œ C & G7 & J G C œ # j # can play:j œ œ œœ .. œœ notated in bars 9 and 10: œ what you œ. œ œ ‰ œ œ & G7 œ J & G‰7 œœ n œœœ œœœ œœ œœ Cœ . œ C ## G 7 œ jj œ œ Cœœ .. œœJ ## G 7 jj œ œ Cœ . œ ‰ œ œ œ œ . Jœ & ‰‰ œœ n œœ œœœ œœ œœ œœ .. œœ & & G‰7 œœ œ œ œ J & C D7 œ n œ œ œ œ J œ œ J # j œ œ œœ .. œœ # ‰ & G 7 œœ n œœœ œœœ œœ œœ Cœ . œ & D‰7 œ . œ # œ G7 œ C J15, the dominant can be #varied D7 As we# have already learned fromœpage in the right hand with three minor chords. j œ . œ œ œ œ œthree## œœvariation chords, that can be # j . # ‰ œ œ ‰ œ In& the key ofœGmaj dominant and Am, Bbm& and Bm are.. the œ œœ the œœ œ œis..a D7œchord œ n ‰ ‰ œ œ œ & œ œ n œœalsoœ inœ bars œ 16 and 17Jdue to the chromatic&melody. used in D bar D7 7 8œ and œ J # # .. œœ b n b œœœ œ play: notated what & youD‰can & Din‰7barœ .8: œ # œ 7 œ œ D7 D7 œ. # ## œ # œ # . ‰ œœ .. œœ bb n bb œœœ ‰ œ & & œ # œ . ‰ œ ‰ & D7 & D 7 œœ .. œœ n œ # # j ‰ œ. œ #œ & D‰7 œœœ ... œœœ b n b œœœ & Dœ7. œ D7 D7 # j # b œ notated in bars 16 and 17:œ what you can play: . œ # # j . œ ‰ œœ .. œœ ## œœ ‰ œ b œ œ b & & . œ n œ ‰ b œ ‰ . œ œ & D 7 œœ .. œ n œ & D7 j # # j ‰ œ. œ #œ ‰ œœ .. œœ b n b œœœ & Dœ7. œ & DCœœœ77... œœœ œ. œ ## D7 j D7 ## œ . jj & # œ . œj ‰ œœ .. œœ bb n bb œœœ ‰‰ œœ .. œœ ## œœ œœ & & . . œ œ ‰ & D7 & Cœœ7.. œœ œœ .. œœ n œ œ # C 7. j b œœ with a ninth# inCthe7 melody-voice. œœ ba dominant ..we find œ ‰ œ In& two bars of “Oh, Lady Be Good” Thus the dominant with the œ œ œ n œ . Dœ7. œ œ & œ . on page 12, inevitably comes into practical ninth,#which # use: D7 weœlearned b # j & b œ & œ # j . . œ ‰ œ b œ b & notated in bar 2:œ œ what you can play: œ œ n œ ‰ b . . œ œ œœ .. œ n œ & Cœœ7.. œœ C7 # D 7 # C 7 & # b œ . œ œ &# & ‰ & b # D 7 & # b œ . & ‰ 7 11: notated inCbar œ œ # D‰7 œ . & # œ. & ‰ œœ .. 7 play: what youDcan œ œœ œ œ œœ œ # ‰ œœ .. œœ œœ # D‰7 œ . œ œ &Try# to putœ .into practice œ . from œ “Oh, œ Lady Be Good” before you Tip: that which you have learned from& the#lead sheets œ œ œ œ œ . ∑ ‰ attempt & & to play œ . the œcomplete œ composition! D7 # ‰ œœ .. œœ œœ & # œ. œ œ D7 © www.migu-music.com D7 & # ∑ 23 24 Oh, Lady Be Good Music: George Gershwin Arr.: Michael Gundlach 9 © www.migu-music.com 29 Harmony – Part 4 Altering notes Single notes of a chord can be raised or lowered a half-tone. In technical jargon we call this “alteration”. In this chapter, for the time being, we want to concentrate on the altered fifth of the chord. A lowering of the fifth is shown by the sign “b” before the number (b5) and sometimes with a minus sign before the number (-5). An example: D m7b5 & b wwww G 7#5 fifth is notated with a sharp sign before the number (#5), or with a plus sign before the number (+5). The D raised m7b5 Sometimes we see a plus sign without a number after the chord symbol (e.g. “G+”). The raising of the fifth in the dominant seventh chord adds a wonderfully new tone color to the music, very popular among cocktail pianists. G7#5 Therefore we want to examine this altered dominant chord more closely. A G7 chord with a raised fifth looks like this: & & b# wwww 12 & & #4ww ww G 7#5 12 & G7#5 4 & # ww w ∑ ? w ∑ The upper three notes of the chord are played with the right hand and the root is played with the left hand: & & G7#5 # www # www ? ? w w G7#5 & # www ? w The three notes of the right hand can be played in two inversions: 1st inversion G7#5 & & w # www # ww G7#5 ? ? w w © www.migu-music.com G7#5 2nd inversion G7#5 & # www ? w 40 Certainly the most attractive fill for many pianists is inventing his own little melody. The question naturally arises, which notes can I play and how can I best put them together? The last example shown on page 39 already gives us an indication: The notes of the triad in the right hand have been separated into single notes and played one after another. A variation of the melody fill exists therefore in the use of the single notes of a chord. Fill / minor7th chord Let’s take a Dm7 chord: D m7 D m7 & wwww &Dwwwwm7 &Dwwwwm7 In a Dm7 chord there is, apart from the root “D”, an F major triad: ww & & www Dm7 chord& w &w Root F major triad & www & & www & www www & &w w &w w w F major triad separated into single notes w w &w w w & ∑ w & ∑ w & The three notes of the F major triad lend themselves very well to playing a fill with a Dm7 so we want to practice ∑ & this extensively. Every one of the following examples consists of three exercises, each with two bars. In the examples 14a – 14c we will practice the fills in an ascending movement, while the examples 15a – 15c are given in a descending movement. Furthermore, in each case the examples are printed in three keys. & 14a Fill / Moll7-Akkord ∑ Dm7 & c ‰ jœ œ œ œ 1 2 4 ?c ˙ ° © www.migu-music.com 1 ˙ œœœ 2 4 G7 Dm7 w ˙ ° œ œœ œ 4 ˙˙ ˙ ° 1 œœ w œ œ G7 2 1 ˙ 2 Dm7 4 ˙ ° ‰ œjœ œ 1 ˙˙ ˙ ° 2 4 œ œœ œ w 1 ˙ 2 4 G7 ˙ ° ˙˙ 57 Typical Harmony Sequences – Part 1 If you analyze the songs of popular music, you will often find the same, or rather similar harmony sequences (cadences). If you know these (and can master them and play them well) your own interpretation of songs will be much easier. Chord insertions – Part 1 Typical harmony sequences are often already notated in a lead sheet. If such cadences are not already available, these can be created through inserting additional chords later and therefore enriching the song harmonically. Let’s assume we would find in the music score a C major chord that was in three consecutive bars (key of Cmaj, Ist scale degree): C C C The first alternative (in order to avoid boredom) would be to insert just one chord, for instance the dominant: 1st variation C G7 C Instead of the dominant you could insert a sus chord 2nd variation C F/G (Gsus4) C These two variations have already been practically implemented in “’S Wonderful” (page 50 bars 15–17) with the chords Eb, Ab/Bb and Eb. With cocktail piano, the dominant with the raised fifth also fits nicely: 3rd variation C G7#5 C If you have one and the same chord over a longer period of time you can, of course insert more chords. So our three bars of Cmaj can be augmented with a II. and V. scale degree: 4th variation I II V I C Dm7 G7 C In addition to the II. and V. scale degree, the VI. Scale degree could also be inserted: 5th variation I VI II V I C Am7 Dm7 G7 C It is a matter of personal taste as to which of the five variations are employed. You must consider, however, that the melody must fit with the newly inserted chords. If this isn’t the case, melodies can be modified and made to fit in. © www.migu-music.com 98 Swanee River Swanee River is one of those songs that display, in it’s original, a very simple harmony, as the lead sheet shows: Swanee River Swanee River Traditional Lead sheet 1 C F &c 5 & 9 G 13 C & œ. & œ œ œ œ œ œ C F œ œ œ œ œ œ œ J j œ œ œ. F œ œ œ œ œ j œ. œ œ C œ j œ. œ j œ. œ œ œ C G7 œ C œ G7 œ œ œ œ F œ œ C œ œ w C œ œ w C w G7 C œ œ œ œ œ w The song is in the key of C major and in the original version, uses the chords of the I., IV. and V. degrees. The obvious suggestion, therefore, is to insert the new harmony sequences from the previous chapter. Although there are only 16 bars in the complete piece, you can use this harmony sequence several times. If you analyse “Swanee River”, you will find the harmonic sequences from the I., IV. and I. degrees altogether four times, in the bars 1–3, 5–7, 10–12 and 13–15: I VI I C F C Transformed into the typical harmony sequence, the three bar cadence looks like the following: C © www.migu-music.com C7/E F F#dim C/G 99 Besides inserting the typical harmony sequence, we will also insert (in bars 3 and 4) a VI chord and a II chord converted into a dominant (compare “Typical Harmony Sequences – Part 2”, explanation to the variation No. 5, pages 89–90): written in bars 3 and 4 augmented harmony sequence C G7 C/G Am7 D7 G7 If you notate all of the explained chord augmentations in the music, the lead sheet will look much more interesting: Swanee River Swanee River Traditional Lead sheet 2 C C 7/E &c 5 C & C 7/E œ œ œ œ œ G œ œ J 13 C C 7/E & F œ œ F # dim j œ. œ C 7/E œ. œ œ œ œ œ j œ. œ j œ œ C F F # dim œ œ œ œ œ œ 9 & œ. F œ F # dim j œ. œ œ C/G œ C/G œ F œ C/G œ A m7 D7 œ G7 œ œ œ œ œ G7 w C œ F # dim œ w C/G w G7 C œ œ œ œ œ w G7 Before you play the following piano arrangement of “Swanee River”, try to play through this second lead sheet, with the new additional chords. © www.migu-music.com 100 Swanee River Traditional Arr.: Michael Gundlach 61 © www.migu-music.com MICHAEL GUNDLACH THE COCK TAIL PIANO METHOD EXERCISES I N AL L K E Y S VOLUME 1 TEC HN IQU ES OF ST Y LISH PIA NO EN TER TA I NM EN T www.migu-music.com DOWNLOAD PDF FILE The Cocktail Piano Method – Exercises in all Keys Table of Contents Harmony – Part 1 Cadence exercises ................................................................................................................... 4–5 Dominant with added ninth .................................................................................................... 6–9 Harmony – Part 2 Minor passing chords dominant seventh............................................................................... 10–11 Diatonic passing chords....................................................................................................... 12–18 Harmony – Part 4 Dominant seventh #5.......................................................................................................... 19–27 Harmony – Part 5 The dimished chord............................................................................................................. 28–29 Fills – Part1 Fills – Part 1 – minor7th-chord.............................................................................................. 30–36 Fills – Part 1 – major7th-chord............................................................................................... 37–39 Fills – Part 1 – dominant seventh.......................................................................................... 40–42 Fills – Part 1 – dominant seventh #5..................................................................................... 43–45 Fills – Part 1 – diminished chord........................................................................................... 46–47 Typical Harmony Sequences – Part 1 Passing chords major – dominant seventh............................................................................ 48–49 Fills – Part 2 Fills – Part 2 – augmented triad with chromaticism............................................................... 50–53 Fills – Part 2 – diminished with chromaticism ....................................................................... 54–57 Harmony – Part 7 Dominant chord embellished with a flatted ninth (b9).......................................................... 58–62 Harmony – Part 8 II – V – I – minor cadence.................................................................................................... 63–66 Fills – Part 3 Fills – Part 3 – Blues scale.................................................................................................... 67–76 Fills – Part 3 – Blues scale / Intros and Transitions................................................................. 77–81 © www.migu-music.com Typical Harmony Sequences – Part 2 Chord substitutions............................................................................................................. 82–98 Typical Harmony Sequences – Part 3 Chord insertions................................................................................................................ 99–105 Fills – Part 4 Fills – Part 4 – four note progression................................................................................. 106–110 Intros............................................................................................................................ 111–119 Endings....................................................................................................................... 120–133 Please note: This PDF file contains practice examples from the book in all keys, except for the keys already printed in the book. The sequence of the examples correspond with the topics addressed in the book. Because the notes of the G flat major scale and the F sharp major scale are essentially the same, we’ve omitted the F sharp major key in the PDF file. © www.migu-music.com 4 Harmony – Part 1 © www.migu-music.com
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