THE GROWTH PROCESS VOL. 3 - Leugreat Odikayor (top 10 novels to read .txt) 📗

The IN-DEPTH BREAKDOWN

Great Sound Station

GREAT SOUND STATION

 

 

 

 

THE GROWTH PROCESS III (THREE)

 

 

 

 

 

 

IN-DEPTH UNCONVENTIONAL BREAKDOWN OF THE KEY SYSTEM

 

ASIN: B08M69G8RN

 

 

 

 

 

 

 

Author

Ezekiel uchechukwu odikayor (Leugreat).

 

 

INDEX

 

 

INTRODUCTION

 

 

1. PLAYING ON ALL KEYS.

2. IT'S IMPORTANCE TO A KEYBOARDIST.

3. LISTS OF KEYS AND THEIR MAJOR CHORDS.

4. SIMPLIFIED/EASY APPROACH TO PLAYING ON ALL KEYS.

5. TRANSPOSE, BUT NOT USE THE BUTTON

6. HOW TO OVERCOME THE TRANSPOSE ADDICTION.

7. EASY/SIMPLIFIED WAYS OF FINDING A SINGER'S KEY IN SECS.

8. WHY MANY FAIL TO GET THE RIGHT KEY.

9. UNDERSTANDING INTERVALS AND USING IT TO GETTING THE KEY OF A SONG.

10. TRY EAR DEVELOPMENT/TRAINING EXERCISES.

 

 

INTRODUCTION;

 

Playing on all keys have been an issue of controversy over the years. While few people are arguing about transposition with button, others are saying no that it's a growth killer. However, this book is not written to criticize any assertion. You maybe be right you maybe wrong, it all depends on how you see things (perspectivalism). A 6 to someone might appear to be a 9 to another standing opposite the direction. Moreover, Great sound station has come to bring light and in-depth knowledge on not only playing on all keys, but also it's importance and benefits to a pianist/keyboardist. This book will address so many pressing issues as regards to transposition, key finding and other broad aspect that has laid shallow for so long. It's not about playing or stricking the notes or chord in the piano that makes you good, there is more to it. Ear training is a tool that shouldn't be overemphasized, because it's vital and a great tool to anyone that chooses to revolutionaries his/her playing. What differenciates an advance from a beginner/ intermediate, is not only in the long broad experience of pressing down the buttons of the piano, but the conscious and persistent amount of time there put in training their ears, learning deep theories, practically and consciously training themselves everyday.

If you are reading this book now I believe you must have gone through the vol.1 and 2 of the Growth Process, so there won't be any room for confusion as this vol. 3 covers mainly keys, how to kill the transpose addiction, and finding keys and lot more. Please make sure you read to the end, to grasp what the idea is centered on. Please I might be using Keyboard and piano interchangeably, so whichever, you know the idea am trying to pass.

 

 

 

 

 

 

 

              CHAPTER 1

(PLAYING ON ALL KEYS)

 

If you followed the series right from vol.1 till now, you would understand the fact that you play on all keys everytime you play your one key you are good at. Confused? You don't need to be, it's a fact. Many people now think it's left for a pianist to learn all 12keys and become master on them, leaving the keyboardist to play on only one and Transposing, using the button. Who do you think is a keyboardist and a pianist? Are there different? Left for you to answer.

It's not a matter of debate anymore, that we have majorly 12keys on the keyboard. Ranging from C ---> B. Playing on all keys is not restricted to some certain kind of people, no. Most people believe it's only a professional pianist/keyboardist that should play on all keys, it is a real deception. There is always room for improvement as a keyboardist, there is never a time when you say yes I have arrived.

The moment you think you are all good, no more need for new knowledge, you begin to loose value. An advance player knows something that makes him more valuable than an beginner/intermediate. Everyone has something that makes him valuable. Piano is so vasatile that the various genre alone is worth studying alone for years. We have many people that has settled in the area of Jazz alone; the likes of Duke Pearson, Dave Grusin, Lennie Tristano (1919-1978) etc.

You can see that playing all keys is not compulsory, but necessary as a potential pianist you want to be. You start gradually, till you get there. No growth is sudden, ask the gurus you know that plays well enough with the piano, and hear what their response will be. Practice, that's it, always practicing. Like I said the one key you play perfectly, if you open it up logically, you would notice you are already playing all the keys. Now look at this illustration below from vol.1 of our book on Growth Process;

 

FOR YOUR MAJOR MAJORS

THE DOH IN KEY C IS ALSO (FAH IN KEY G AND SOH IN KEY F)

THE DOH IN C# IS ALSO(FAH IN KEY G# AND SOH IN KEY F#)

THE DOH IN D IS ALSO(FAH IN KEY A AND SOH IN KEY G)

THE DOH IN D# IS ALSO(FAH IN KEY A# AND SOH IN KEY G#)

THE DOH IN E IS ALSO(FAH IN KEY B AND SOH IN KEY A)

THE DOH IN F IS ALSO(FAH IN KEY C AND SOH IN KEY A#)

THE DOH IN F# IS ALSO(FAH IN KEY C# AND SOH IN KEY B)

THE DOH IN G IS ALSO (FAH IN KEY D AND SOH IN KEY C)

THE DOH IN G# IS ALSO(FAH IN KEY D# AND SOH IN KEY C#)

THE DOH IN A IS ALSO(FAH IN KEY E AND SOH IN KEY D)

THE DOH IN A# IS ALSO(FAH IN KEY F AND SOH IN KEY D#)

THE DOH IN B IS ALSO(FAH IN KEY F# AND SOH IN KEY E).

 

FOR THE MAJOR MINORS

 

THE REH IN C IS ALSO (MI IN KEY A# AND LAH IN KEY F)

THE REH IN C# IS ALSO(MI IN KEY B AND LAH IN KEY F#)

THE REH IN D IS ALSO(MI IN KEY C AND ALSO LAH IN KEY G)

THE REH IN D# IS ALSO(MI IN KEY C# AND ALSO LAH IN KEY G#)

THE REH IN E IS ALSO(MI IN KEY D AND ALSO LAH IN KEY A)

THE REH IN F IS ALSO (MI IN KEY D# AND ALSO LAH IN KEY A#)

THE REH IN F# IS ALSO(MI IN KEY E AND ALSO LAH IN KEY B)

THE REH IN G IS ALSO(MI IN KEY F AND ALSO LAH IN KEY C)

THE REH IN G# IS ALSO(MI IN KEY F# AND ALSO LAH IN KEY C#)

THE REH IN A IS ALSO (MI IN KEY G AND ALSO LAH IN KEY D)

THE REH IN A# IS ALSO(MI IN KEY G# AND ALSO LAH IN KEY D#)

THE REH IN B IS ALSO(MI IN KEY A AND ALSO LAH IN KEY E).

 

So with these, you can see that a key has many keys embedded within. knowing this well enough will help you play on all keys easily and finding keys too.

 

Playing on all keys shouldn't be something we overlook or feel less concern about. It's a skill we must develope, it's an attitude we must portray on our experience with the piano. In the next chapter, I will say some importance of playing on all keys.

CHAPTER 2

(It's importance to keyboardist/pianist)

 

When the importance of a thing is unknown, then abuse is inevitable. It's so unfortunate that most pianist don't know the importance of playing on all keys, hence there settle for less using the growth killer, "TRANSPOSE BUTTON". The benefits of playing all keys is as important as when you play your one favorite key. This part of the Western World, especially Nigeria, you will be taught to use the "TRANSPOSE BUTTON" as a beginner for ease of stress on the tutors, that's if they even know how to play all the keys. Funny right? Most people that teach the piano don't even know how to maximize the potency of all keys, not to think of teaching a student to stop Transposing, using the button. Below are some benefits/importance of playing on all keys.

Importance of Playing on All Keys

 

* One of the importance is that you get used to complex chords. There are so many chords that could give you difficulties if you only play on one key. So learning all keys gives your mindset clarity on the Chord Modes, moves and it further breaks down some complexity in chord structures.

 

* Another importance is that it enables you build different techniques and styles of Playing. Now it's not the regular key you are always familiar with, so the approach to playing on all keys will give you various flavours and styles.

 

* Every key has it's uniqueness, so trying to use the TRANSPOSE BUTTON to maneuver your way through the 12keys, is not the best. There is always a clear tonality and flavor every keys has, so playing only one and Transposing is like covering the glory of other keys. Funny right?

 

* It also tells how good and advanced you have grown, since all keys are now learnt, you will not have difficulties in playing certain chords you hear by ear. If you are not planning to remain in one spot for years, then kill the TRANSPOSE BUTTON ADDICTION. Though you maybe playing really well and all that in your favorite key, you can't compare that knowledge, skill/technique to someone who has mastered the art of playing all keys.

 

* It also helps pianist to know different scale patterns and finger movement, and smooth ways of using them to enhance your skill. What you see to be a scale(minor, Doryrian etc) in your favorite key, might also be a scale patterns with the dom7th in other keys.

 

* However, playing all keys gives you this special confidence that only you can explain. It's not pride, It's self confidence. It makes you feel competent and ready all the time.

 

* Also the key Finding difficulty you might have won't really be a problem again, because the more you learn all keys, the more you develope your ears. Getting keys won't be difficult again if you master the art of consistently playing all keys, because the more different keys you play on, the more you get used to their techniques, sounds, intervals and patterns etc.

 

 

Reasons Why Many Transpose using the Button.

 

(a) LAZINESS ; Many won't accept the fact that there are Lazy in their Approach towards the piano. Most people because of the fact that they are very good in a particular key, there will decide to build a tent over that key; that's they won't want to learn others.

 

(b) FEAR ; Most pianist have this unknown fear in them that says, " What if I don't become good in all", "what if I end up giving up in the long run", "what if, what if, what if". That's the mentality of a Lazy fearful player that wants to keep playing around and been praised for playing that one key. Take the fear off and learn.

 

(c) INSUFFICIENT KNOWLEDGE ; Most people there want to learn all keys, no doubt. However, no one to tutor or teach them. So there decide to settle for only one, some of them 2 or 4keys. But that shouldn't be an excuse, you have the internet where you can browse anything you need to grow out.

 

(d) PLEASURE ; Most pianist don't put more interest in it. Most of them do it for pleasure, like an indoor thing, so no need of dieing trying to learn all keys , when I can learn just one perfectly and play for fun. If you want to take your playing to the next level, you must not only do it for pleasure, but also for in-depth learning , cause you might teach someone tomorrow too, so shallow learning is not welcomed.

 

(e) The last thing here is MINDSET ; Most players, there mindset is rigid to the aspect of playing all keys. What is the use of Playing all the keys when I have the T.Button? They will always say, why did the manufacturers