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Keyboard Lesson Notes: Semester 1 Guide

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0% found this document useful (0 votes)
21 views7 pages

Keyboard Lesson Notes: Semester 1 Guide

Notes

Uploaded by

dzidzorkumahia
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Music School Keyboard Lesson Notes Semester 1

Week 1 – Introduction to the Keyboard


How to warm up.
• Rotate your wrist (clockwise and anti-clockwise)
• Move your fingers in and out
• Massage one hand with the other
• Spread your fingers
• Play scales slowly (scales have not been introduced yet.)

Posture
• Avoid bent wrists

Fingers
Left hand (5 to 1)
Right hand (1 to 5)
Ex. Thumb is 1

Music Notes
Going up the keyboard vs. going down the keyboard
➢ Going up the keyboard is moving to the right. Going down the keyboard is going to
the left.
➢ When you go down the notes are lower in pitch. When you go up the notes are
higher in pitch.
White Keys
A B C D E F G (the names of the white keys)
C and F are easiest to identify.
C is the first white key in front of the 2 black keys. F is the first white key in front of
the 3 black keys.
>>> Quick Quiz/Game on identifying the other white keys using C and F as a reference
Black Keys

• Named with # and b (common accidental)


• Sharp (#) raises a note by a half step (explain in the interval lesson)
• Flat (b) lowers a note by a half step
• Going up the keyboard by one note is sharpening.
• Going down the keyboard by one is flattening.
• A black key is named after the white keys that surround it.
• C#/Db D#/Eb F#/Gb G#/Ab A#/Bb
Music School Keyboard Lesson Notes Semester 1

>>> Quick Quiz/Game on identifying black keys


Explain that the keys on the keyboard are repeated groups of notes/keys.

Week 2 – Introduction To Music Theory: Intervals Part 1


Intervals
Definition: The space between two notes. Musical Distance.
Using C as a starting point demonstrate the following intervals
1. Minor second/half step (C to C#)
2. Major second/whole step (C to D)
3. Octave (C to C)
NB. A Minor Second is a half-step and a Major Second is a whole step
NB. They must be memorised
>>> >>> Quick Quiz/Game on identifying intervals using notes as a guide
>>>Homework (Learning intervals starting using G as a starting point)
Music School Keyboard Lesson Notes Semester 1

Week 3 – The Major Scale (in Key C,D,G,&A)


Another name for a Minor second/half step is a Semitone
Another name for a Major second/whole step is a Tone

Major Scales (performed as formulas)


Formula: T – T – St – T – T – T – St
T = Tone, St = Semitone
➢ Let students identify the notes of the major scale in key C,D,G, & A with one finger
using the formula
➢ Now, show the appropriate fingering, in Key C, D, G, & A.
o Teach the right hand only > let students practice it
o Teach the left hand only > let students practice it
o Demonstrate for both hands > let students practice it.
o Students should use the rest of the time to practice; it will take some time to
digest it.
Extra info:

• The most important note in a scale is the 3rd it decides between major and minor
• Major scale has a major 3rd, major 6th and major 7th

Week 4 – The Major Scale (in Key E&F)


Formula: T – T – St – T – T – T – St
T = Tone, St = Semitone
➢ Recap the scales learnt the previous week. Let students demonstrate.
➢ Let students identify the notes of the major scale in E & F with one finger using the
formula.
➢ Now, show the appropriate fingering, in Key E & F.
o Teach the right hand only > let students practice it
o Teach the left hand only > let students practice it
o Demonstrate for both hands > let students practice it.
o Students should use the rest of the time to practice; it will take some time to
digest it.
➢ Homework: Learn the Major Scale in C# and F#

Week 6 – Introduction to Music Theory: Intervals Part 2


Definition: The space between two notes. Musical Distance.
Music School Keyboard Lesson Notes Semester 1

Using C as a starting point demonstrate the following intervals:


1. Minor 3rd (C to Eb)
2. Major 3rd (C to E)
3. Perfect 4th (C to F)
4. Tritone/augmented 4th/diminished 5th (C to F#)
5. Perfect 5th (C to G)
6. Minor 6th/augmented 5th (C to Ab)
7. Major 6th (C to A)
8. Minor 7th/augmented 6th (C to Bb)
9. Major 7th (C to B)

Week 5 – Introduction to Time Signatures


Intro: Songs are divided into phrases. Phrases are divided into measures (bars), and measures
are divided into beats
Time Signatures describe the rhythm of a piece of music.
Note Lengths (demonstration needed):
Whole Note:
Half Note: 1, 2
Quarter Note: 1 2 3 4
Eighth Note : 1 and 2 and 3 and 4 and
Sixteenth Note 1 e-and-a 2 e-and-a 3 e-and-a 4 e-and-a
Common Time Signature: 4/4 & 3/4
4/4 Four beats per bar. Song example: Take me deeper
3/4 Three beats per bar. Song example: The Old rugged cross
Major Scale (continued):
Review Homework (major scale in C# and F#)
Teach Major Scale in Eb, Ab, and Bb (same procedure used in Week 3 and 4)

Week 6 – Chord Theory, Triads (Part 1)


Triads are made using the intervals of thirds (stacking thirds)
Types of Triads
Music School Keyboard Lesson Notes Semester 1

• Major = Maj 3rd + Min 3rd


• Minor = Min 3rd + Maj 3rd
• Diminished = Min 3rd + Min 3rd
• Augmented = Maj 3rd + Maj 3rd
Demonstrate how each triad is formed. Use C and F# as an example.
Students should learn each triad for all notes: right hand only, left hand only and both hands
Practice Sequence: Minor > Augmented >Diminished > Augment for each note

Week 7 – Test (Written & Oral including scriptures)


After the test:
Analytical Listening (joint class)

• Top Instruments
o Vox
o Horns
▪ Trumpets
▪ Saxophone
▪ Trombone
• Mid Instruments
o Guitar
o Keys
• Rhythm
o Bass
o Percussion
o Drums
Repeat practice from previous week after.

Week 8 – Retreat

Week 9 – Chord Theory, Triads (Part 2)


Triads in the major Scale

Number System I II III IV V VI VII


Sol-fa Notation Do Re Mi Fa So La Ti
Triads Major Minor Minor Major Major Minor Diminished

Demonstrate playing the major scale with triads


Music School Keyboard Lesson Notes Semester 1

Allow students to practice through as many keys.


Homework: Continue practicing the triads in the major scale through all keys

Week 10 – Basic Progressions 251, 3625, 1345


Review Homework
➢ These basic chord progressions can be found in a lot of songs and being able to identify
them as you listen helps you learning songs quickly.

251: II V I
Demonstrate the progression in all keys if possible.
Let students practice the progression.

3625: III VI II V
Demonstrate the progression in all keys if possible.
Let students practice the progression.

1345: I III IV V
Demonstrate the progression in all keys if possible.
Let students practice the progression.
Homework: Students should practice in the progression in all keys. Students should bring a list
of five songs that have any of these progressions.

Week 11 – Inversions
Review Homework
An inversion is a chord with a note other than the root on the bottom.
Triads have three possible position: root position, first inversion, and second inversion
Using C major and C minor demonstrate all three positions (inversions)
Let students practice inversions for all chord types (Major, Minor, Dim, Aug) for all notes
using the practice sequence from Week 6.
Homework: Continue to practice inversions.

Week 12 – What to play with the Left Hand


Review Homework
Music School Keyboard Lesson Notes Semester 1

Demonstrate how the number of notes played in the left hand affect the tension of the chord.
Demonstrate the generic approach of using the left hand:
➢ Playing the root note only
➢ Playing the root note with its octave
➢ Playing the root and the fifth
➢ Playing the root, the fifth, and octave of the root
Allow students to practice

Week 13 – Worship Songs


Select two worship songs and teach their progressions.

• Hosanna (Hillsong)
• Lead me to the cross (Hillsong)
Use the songs to demonstrate the importance of the concepts learnt from week 9 to 11

Week 14 – Praise Songs


Select two Praise songs and teach their progressions.
Use the songs to demonstrate the importance of the concepts learnt from week 9 to 11

Week 15 – Other genres (Reggae)


Song: Stir it up
➢ Use the song to demonstrate the importance of the concepts learnt from week 9 to 11
➢ Teach the song progression
➢ Demonstrate different Reggae chops

Week 16 – Test (Writing & Oral including scriptures)


Transcription & How to Approach Practicing (Joint class for the end of the
Semester)

Common questions

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Scale and chord theories provide a foundation by outlining the core structures that underpin melody and harmony across diverse genres. Understanding major and minor scales, as well as the construction of different chord types, allows musicians to analyze and replicate musical styles ranging from classical to contemporary. These theories enable musicians to deconstruct and interpret genre-specific progressions, voicings, and harmonic practices, offering tools to transition skillfully between different genres, such as reggae or classical, by applying established theoretical frameworks to new contexts .

Using both black and white keys to illustrate pitch alteration makes it clear how notes can be sharpened or flattened. Black keys are named based on adjacent white keys, representing notes raised by a half step (sharp) or lowered (flat). For instance, C# is the black key immediately above C, raising the pitch by a half step, while Db shares the same key, representing a half-step decrease from D. This visual and aural representation helps students grasp the idea of pitch alteration practically and effectively .

Time signatures are crucial in defining the rhythm and structure of a piece of music. They dictate how many beats are in each measure and which note value gets the beat. For example, a 4/4 time signature has four beats per measure, commonly used in pop music to create a steady, predictable rhythm. In contrast, a 3/4 time signature, with three beats per measure, often gives a waltz-like feel, providing a more flowing and circular motion. The choice of time signature can significantly alter the perception and emotional response to a piece, as it governs the rhythmic pattern and pulse .

Introducing inversion concepts helps students understand the different voicings of chords and how shifting the bass note can alter a chord's sound and functionality within a progression. Inversions, such as root position, first inversion, and second inversion, allow musicians to create smoother voice leading and varied harmonic textures. By practicing inversions, students can better comprehend how chords connect and transform, thereby enhancing their ability to create more expressive and sophisticated harmonic progressions .

Practicing chord progressions in all keys improves a student's transpositional skills, enabling them to play songs in any key with ease. This exercise enhances their understanding of harmonic relationships and their ability to recognize and navigate common progressions, such as 251 or 3625, in a variety of contexts. This fluency helps in improvisation, composition, and accompanying, as it increases a musician's versatility and adaptability, making the process of learning and playing different pieces more intuitive .

The 3rd note in a scale is significant because it determines whether the scale is major or minor. A major scale has a major 3rd interval, while a minor scale features a minor 3rd. The position of the 3rd provides the characteristic sound that differentiates major from minor scales, which is why the 3rd is considered the most important note in defining the tonality of the scale .

Key signatures designate the notes that are consistently sharp or flat throughout a piece and are directly related to the structure of the major scale. The major scale formula, T-T-St-T-T-T-St (where T is a tone and St is a semitone), dictates the pattern of whole and half steps in a scale. This formula ensures that each major scale is correctly structured in its unique key, allowing for the correct intervals between notes that define its tonality. Understanding this relationship is crucial because it helps musicians identify and execute scales correctly across various keys, forming the basis for harmony and melody creation .

Learning worship and praise song progressions as an educational exercise helps students contextualize theoretical concepts within real-world musical examples. These songs often utilize fundamental progressions like 251 or 1345, allowing students to practice identifying and performing these patterns in a musical setting. This process reinforces theoretical knowledge and develops practical skills for performance and improvisation, as students learn to apply what they have studied to familiar, structured compositions, thereby bridging the gap between theory and practice .

The introduction of intervals helps students understand the distance between two notes, which is crucial for grasping the structure of scales and chords. For example, recognizing that a minor second is a half step and a major second is a whole step from a note helps students comprehend the steps needed to form scales and chords. By using C as a starting point and demonstrating intervals such as minor second (C to C#) and major second (C to D), students can visualize and memorize these relationships, aiding in their ability to construct and deconstruct musical phrases .

A triad is constructed by stacking intervals of thirds. There are four main types of triads: major, minor, diminished, and augmented. A major triad is formed by a major 3rd followed by a minor 3rd, a minor triad by a minor 3rd followed by a major 3rd, a diminished triad by two minor 3rds, and an augmented triad by two major 3rds. These interval combinations give each triad its distinct sound, with major triads sounding bright, minor triads sounding somber, diminished triads tense, and augmented triads dissonant .

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