GHI Hop Am, Chuyen Hop Am EChordPlay Sampler
Transcript of GHI Hop Am, Chuyen Hop Am EChordPlay Sampler
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The first section explores ways to create the fullest sounds by
playing chords in both hands. Then, it’s all about 7th chords.
The student first plays a tune with triads, then with 7th chords
to hear the difference.
Chord Play ™3The student learns to play 7th chords with the resonant,
open Chopin Voicings.
Exploration 13 is about Jump Bass Styles. This leads to an
exploration of arpeggios with 7th chords in Exploration 14
In Exploration 11, the student learns to invert 7th chords
omitting the fifth to create chord “fragments.”
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About the Chord Play™ Series
Each 64-page book is filled with approximately
20 Explorations. By exploring and playing at th
piano, you learn the chords in use today as you
cultivate the art of arranging. Each new chord
becomes a friend to create with rather than a
theoretical abstraction to remember. You explore in three main ways: by playing
sample arrangements written in normal musical
notation, by reading lead sheets and filling in th
missing chords, and by playing and transposing
by ear. This three-way approach cultivates
knowledge and skill in an intuitive, “hands on”
way. For anything to become an art, intuition
must be a key player!
About the Author
Forrest Kinney, NCTM, is a music educator
dedicated to helping others learn the “four
arts” of music: interpretation, composition,
improvisation, and the art of arranging. He is t
composer and author of the Pattern Play ® serie
on improvisation, and the Chord Play ™ series on
arranging. He is also the author of Creativity—
Beyond Compare , a book about creativity. He h
taught music for over 30 years, and has worked
a professional pianist for over 25 years.
The author would like to thank Thomas Green for
his many helpful suggestions.
Here, 7th chords dance to a Latin beat.
fter playing the sample arrangement, the same techniqueused with a familiar tune. The student is frequently
ncouraged to transpose pieces to learn chords in all the
eys and develop the ear.
laying 7th chords with both hands is then explained.
his way of voicing chords features the root and seventh
f the chord played by the left hand
ext is an exploration of Bass Lines in various styles.
The Frederick Harris Music Co., LimitedCanada: 273 Bloor Street West, Toronto, ON M5S 1W2
USA: Suite 882, 60 Industrial parkway, Cheektowaga, NY 142
Tel: 416-673-1426 Toll-free 1-800-387-4013 Fax: 416-408-15
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Do You Wish You Could?
◆ Create artistic arrangements for yourselfand your students
◆ Read “fake books” and make spontaneous
arrangements at the piano
◆ Improvise new melodies over the
arrangements you have created
◆ Create accompaniments for singers or for
your own voice
◆ Be able to play by ear and have a good
aural memory
◆ Develop a repertoire to play at various
events and services
◆ Know folk melodies, hymns, and classical
themes that comprise part of our musical
heritage
◆ Learn music theory (chords, keys, and
scales) in a musical and practical way
◆ Memorize your pieces more securely and
reduce performance anxiety
You and your students can learn to do all these things with
the new Chord Play ™ series by Forrest Kinney, author of
the acclaimed Pattern Play ® books on improvisation. Chord
Play ™ offers an exploratory and intuitive approach to the
art of making spontaneous arrangements at the piano. This
series is designed to complement both traditional piano
lessons and the Pattern Play ® series.
Enjoy creating!
Chord Play The Art of Arranging at the Piano
Introducing
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Chord Play ™1The series begins with familiar tunes played either by ear or by
reading. The student adds simple major chords guided by a lead
sheet. Beginners who do not read music can do this by ear with
the help of the teacher.
Chords can also be played in different voicings (different w
of distributing the chord notes).
Here the student learns arranging both by playing sample
arrangements and by completing the lead sheet, adding the
suggested chords in the same style.
In Exploration 15, the student learns the arranging techniq
of chord substitution. In this case, minor chords are
substituted for the common major chords.
Then come the minor chords in the key. When a tune appears
for the first time, it has an introduction marked by a bracket.
Each chord can be played in many styles. This book explores
how to transform simple triads into stylish chords.
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Chord Play ™2n a later section, “color tones” are added to the basic triads. This book is all about the powers of inversions. It begins b
exploring how inversions allow us to create strong bass line
move stepwise.
In Exploration 4, the student learns to combine inversions
the technique of Chord Substitutions.
In Exploration 5, the student learns to play inverted triads
the Chopin Voicing introduced in book 1. This leads up toexploration of arpeggios in Exploration 8.y the final page of this book, the student understands thatuld Lange Syne can become something special by combining
he ideas of Jump Bass, Chord Substitution, and Added Second
hords.
n the Finishing Touches section at the end of the book,
ntroductions, Endings and Fills are explored.
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xploration 9 introduces ways to play chords and their
versions with the right hand to make accompaniments.
Exploration 12 takes the ideas in the previous Exploration
into a different style: ragtime.
Explanations always include sample arrangements of
familiar melodies or classical themes.
In Exploration 16, right-hand inversions are played in gospel
styles.
n Exploration 10, the right hand plays both a melody and
hord tones.
n Exploration 11, this is taken a step further. Here, we explore
ays to play melodies and inverted broken chords with the right
and.