QUESTION OF THE WEEK ARCHIVES

Take a look at past questions

 6-13-11  This question is asked by Elizabeth Ware of Atlanta, Georgia. 

 Q. Are you really telling me that if I learn the Number System and Circle of 4ths that I can play any song?

 A. Well, let me clarify! The Number System and Circle of 4ths in the free lesson section are mainly for the current style of contemporary Praise and Worship. If you are learning Traditional Gospel, you need to learn a different set of chords. You can find them in Vol. 2 and Vol. 3 of the Theory Lesson Section. Different chords make different styles, but they still follow the Number System!!!
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6-6-11  This question is asked by Jeann Robertson of Grand Prarie, Texas. 

Q. There is so much information out there that I feel overwhelmed. I am a near-beginner. Where is a good place for me to start my piano education?

A. You are right. There is an ocean of information and instructors out there. Some are good, but most (as you are finding out) can waste a lot of your time. For adults that want to move quickly, I would recommend two steps to get you back on track:

1. Learn the Number System THOROUGHLY!!! Start with the key of "F" or "Db".

2. Learn the "Circle of 4ths" in the same key THOROUGHLY!!!

-You will be AMAZED how many songs you will be able to play using these two key steps. We have tons in our "Easy" and "Intermediate" song sections.

-These two steps also make it easy to learn to play in all keys (the hardest challenge piano students face). Just learn the "numbers" and "circle" in the new key and you are on your way.

-These two steps make a smooth, clean transition to the jazz chords and runs that so many people want.

     I have spent my life not only studying piano, but I also love studying the effectiveness of different teaching methods. I have had better and quicker results with this method than all others combined. Life is short. Choose your study method carefully!!

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5-30-11  This question is asked by Rev. David Ball of Fort Worth, Texas. (It is a follow-up question to the one from 5-16-11).

Q. Does my copyright help me get paid if my song gets played on the radio?

A.  No. Copyright only makes it easy to prove a song is yours. If you feel there is any chance of your song being played on the radio, you will also want to sign up with a "Performance Royalty" company. If your song started getting airplay in, say Los Angeles, you wouldn't have a clue in Texas. But performance royalty (sometimes called performance rights) companies, have representatives monitoring every radio and TV station in the country. They track the songs, bill the station for the songs of their members, take a cut, and send a royalty to the songwriter. BMI, ASCAP, and SESAC are among the most well-known performance royalty companies. You can sign up online at their sites.

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5-23-11  This question is asked by Curtiss Mims of Fort Worth, Texas.

Q. When you play, your chords use notes that are not in the scale. Why is that?

A.  Well, whenever you play a song, you are using at least two scales. You are mainly aware of the scale of the key you are in (let's use "C" for example). In the key of "C" you play C, D, E, F, G, A, and B chords. But when you play a D major chord your chord includes F# which is not on the C scale. When you make your D chord it is based on the D scale. That's why you play D-F#-A. The same thing happens when you play an "A" major chord. The chord is made from an A major scale; A-C#-E. In summation, you always use two scales when you play; the scale of the key you are in, and the scale of the chord you are playing.

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5-16-11 This question is asked by Rev. David Ball of Fort Worth, Texas.

Q.How do I copyright this song I just wrote?

A.Well, technically your song is already copywritten. Your song belongs to you by law on the day you complete it. The tricky part is PROVING it in court if
someone uses your song. If your praise team has been singing your song since 2003 and someone records your song in 2005....cha-ching! Your church members and church service tapes give you a victory in court. Over the years, people have also used the "poor mans" copyright. If you mail your song to
yourself, as long as you don't open the package, the postmark serves as a valid date.

However, the easiest way to protect your song is to REGISTER it with the Library of Congress Copyright Office. A lot of people call this "copyrighting"
the song, but you are simply registering the song to make it easy to prove it's
yours. You won't even have to go to court. The form PA is only one page (front
and back). The easy to follow instructions are included. You can register by
mail for $65, or online for only $35. The Copyright Office site is:

http://www.copyright.gov/forms/formpa.pdf

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5-9-11  This question is asked by Ted Taylor of San Diego, California.

Q. How do I get more fluid with my chords? I play them, but they are not as smooth as I'd like.

A. I would give you two recommendations. One: Gradients!!! Take a few chords and play them with a metronome or drum beat. Start so slow that it is irritating. Then gradually speed up. By the time you get to a high speed, you will feel a new degree of smoothness and coordination. It is THE absolute most important thing you can do to get better on the piano.  Two: Get all your chords in one place for a systematic study. We can help you with that. In May, we will be rereleasing our book: Basic Chords Every Serious Musician Should Know.  You will have each chord in order and in every key. Watch for it. 

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5-2-11  This question is asked by Bea Hill of Fort Worth, Texas (and many other "rhythmically challenged" people).

Q. They say all Black people have rhythm, but I think I got shortchanged (LOL).  Do you have any way I can improve my timing?

A.  Actually, I do! This trick is AWESOME!!! As you said, some people are "rhythmically challenged" in their bodies or hands. But, we ALL have rhythm in our tongues. We can easily imitate ANY sound we HEAR. We have imitated sounds since we were children. THE GOOD NEWS IS, once we "say" the rhythm, it is easy to play along with what we say. I see this work over and over. As I tell my students: "Say it-Play it". Try it!!

 -If you have any music questions, please email us or submit them on our "comments" box below. You can even call us at 817.451.4991.

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 4-25-11  This question is asked by Alvin Chadwick of Fort Worth, Texas.

Q. What does it mean to play in a "minor" key?

A. When you play most songs you play in a "major" key. That means your song follows the "major" scale. The song ends on the root of that major key. (We will use "C" for our example). The root "C" is a major chord by default. Our "number system" is based on the major scale, and we call the root chord the "one" chord.

    Sometimes the songwriter wants to give the song a more dramatic feel by using more minor chords (see "the 4 uses of scales" or "the 4 chord drill" in the theory lesson section). If he starts and ends on the "six" chord, the song will take on that "dramatic" feel he is looking for. (also see "relative minor" dated 1-24-11 in the Question Archives). 

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 4-11-11  This question is asked often by many people.

Q. What do people mean when they refer to "modes? 

A. Modes are a series of scales used in place of the major scales. We in America tend to think and sing mostly in the major scale. But there are ways to give your music more exotic or jazzy sounds if you learn how to use these other scales. Depending on which chord you use, you can work these different modes in. It takes a while to get used to playing them, but you will never get the true jazz sound you want without them.  They are not that hard to understand IF...you learn from the right person. Our April and May 2011 theory lessons feature the guy who made it click for me: Rev. Joel McCray of Arlington Tx. Look up "modes" in the search engine on the home page and take the clearest, simplest jazz course you will ever find. 

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4-3-11  This question is from Paula Williams Fort Worth, Texas.

Q. Why do you always say "circle of 4ths" rather than "circle of 5ths"?

A. "Circle of 4ths" is more realistic. Music moves naturally by 4ths, not 5ths. Take your most common progression of all: the 2-5-1 ending. In the key of C that is a D chord, to a G chord to a C chord. Each of those intervals is a 4th, not a 5th. Every common progression is made mostly of 4ths. Keep your music straight and simple. Don't let "theory" keep you from being "musical".

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3-28-11  This question is from James Ramey from Long Island NY.

Q. How do you know when a black key should be called sharp or flat?

A. Very thoughtful question, James. Most people never even think about this. They just pick one and go with it. When it comes to actually playing, it sounds the same whether you call it sharp or flat. But when it comes to notation, it's good to know the rules.

     Every black key has two names. For example, the black key between C and D can be called C# or Db. What you call it depends on what key you are in. Each scale must use every letter once. So if I am playing the A major scale, my notes would be: A-B- "C#"....not D flat. The letter C comes after B. If the scale were Ab, then the names would be: Ab-Bb-C- "Db"....not C#. In this case that same note between C and D is C#, not Db. You would not say C and C# in the same major scale.

      If you are starting your scale on a black note, you can call it whatever you want. But notators tend to choose whatever looks less cluttered on the paper. For example, the key of Db is much easier to read than C#.

Db-Eb-F-Gb-Ab-Bb-C-Db   is easier than:

C#-D#-E#(same as "F"...Yuk!)F#-G#-A#-B#(same as C) D#.

     In summary, you must use every letter once in order, and keep it simple when starting on the black keys. I hope this was helpful.

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3-21-11  This question is from Debra Seastrain from Columbus, Georgia.

Q. I have been learning piano and I want to play for my church. Our old musician left. How do I know when I am ready? 

A.  Well Debra, it depends on the church. And the operative word is "agreement". If they sing from the hymnal (like traditional methodist for example), you need to know how to read music. Ask for a list of the songs you will be playing so you can practice them. Check the songs on the list as you learn them. Then make an "agreement" with the pastor and whoever is in charge of the music that they will only use the songs checked on the list. If they are patient, you and the church music ministry will grow together. 

      If your previous musician played by ear, they most likely will want to do a lot of the same. This is fine, but once again, they will have to shorten their song list. Tell the Pastor and the music minister that you WILL NOT change keys on the fly or try to "follow" people who stand up and start singing a song.

      Keep in mind that most people don't have a clue how long it takes to master the instrument, and that people learn differently. Just because Bro. "so-and-so" got "touched by the spirit" and played means nothing. People are naturally impatient. Don't let anyone push you into comparisons, or anything else you are not ready for. The Spirit moves when HE wants to, not when church members tell Him to. AMEN! If you have trouble getting them to listen to you, have them call me. My number is 817.451.4991 (I'm serious). Most people will encourage you, but this warning is for the few that sometimes give starting musicians the "blues". If it is a little rough at first, don't give up. It WILL get easier as you get used to it. God bless you in your calling, and let me know when you get started.

3-14-11  This weeks question is from Julia Lee Evans form (no city given).

Q.  I am an "old school" musician and I'm not really interested in Contemporary. But I would like to add a few "runs" to what I already do. What are some easy things for me to start with? I need something to add to all these chords. 

A.  Well Julia, I picked your question because it just happens to lead into the feature video for next week. For traditional gospel, the easiest and best sounding run of all is the "blues scale". I will show you a "foolproof" way to master it and make it a part of your repitiore. This is a "must-see" lesson for you! See you then!

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3-7-11  This weeks question is one I get over and over from everyone, everywhere.  

Q.  How do you train yourself to hear choir parts on a recording?

A.  Like learning to "hear" any music, there are two steps: "Awareness" and "Repetition". Awareness is knowing what to listen for. I will show you that. Repetition is listening to it over and over. After a few (depending on how often you practice) seemingly fruitless weeks, you will get your first breakthrough. You will "hit-or-miss" for a few more weeks. But you will soon get more hits than misses. Just stay patient. This priceless skill is worth the wait.

     When learning to hear choir parts it is best to start with "choir" songs, rather than groups. The older the recording, the better. Older songs have predictable patterns. Plus it is easier to pick out the tenor part. Just listen for the male voices. The tenor part will be much harder if you start with, say, the Clark Sisters.

      High notes tend to stick out in the harmony, and are easier for the ear to hear than low notes. So the soprano part is usually easier to hear than alto. More often than not, the sopranos sing the main melody, especially on older songs. Once it clicks with the older choir songs, try some of the newer songs. Stay patient, and good luck.

     For more ear-training exercises, visit the Ear Training section of this site.

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2-28-11  This weeks question is from Natalie Cannon of Fort Worth, Texas.  

Q.  How do you train yourself to hear the number system?

A.  Good question, Natalie. I admire you for wanting to take that next step. Well, like any ear training there are two steps: "Awareness" and "repetition". First you need to know what to listen for. Then just listen to it over and over. When you least expect it, it clicks.  

     Once you know the number system in any key, try this exercise. Play the 2-5-1 progression ten times in a row. Say each number out loud as you play it. Notice the unique personality of that number. Do the same thing as you play 1-3-4-5. Then play 7-3-6 ten times, saying the numbers out loud. Then play all three at random, saying the numbers as you play. After a week, add 4-3-2-3, 1-3-6, and 4-3-2-5-1. Don't panic if it doesn't work right away. It's like learning to ride a bicycle. It takes a while, but once you get it, you can do it forever.

     POWERFUL TIP: If you have a cassette recorder or some other recording device, record yourself playing and saying the numbers. As you listen to yourself "playing and saying" it will click much faster (usually in about a week). Wouldn't that be great?

       For more ear-training exercises, visit the Ear Training section of this site.

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2 -14-11  This weeks question is from Beatrice Hill of Fort Worth, Texas.  

Q.  I always get nervous when people change keys on me. How can I get better at this?

A.  Well, you are not alone. Changing keys is probably the biggest challenge in your music education.  Even most good musicians shy away from certain keys or do just enought to get by.  But there are  ways to conquer this giant.

1. Remember that it's just like riding a bike. You'll wobble at first, but when you get it, you got it forever. Pick a day for just one new key, and stay there for a couple of hours (no matter how bad it sounds). It will get better.

2. Learn the number system in your new key. Then you will AUTOMATICALLY play all the songs you know in the new key. Do the same with the circle of 4ths. (Don't forget to do your plain major scale first. Make sure you know where the numbers are).

3. Start with easy songs. Take the songs you know best to a new key. It will help you feel more at home and you will adjust quicker.

4. Remember that during a song, most key changes go up a half step or a whole step. If they throw a curve way out in left field, use the method from our lesson "What Key am I in?"

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1-31-11  This weeks question is from Vondell Sanders of Center, Texas.  

Q.  There are so many lessons on this site. Where is a good place to start?

A.  Thanks. Well, there are two basic approaches;

1- Theory, which is understanding how music works. You will learn scales, chords, bass, progressions, etc. and how they work together to make the music you love. It takes a lot longer, but you understand what you are doing.

2- The Number System. It is based on the scale. You will memorize a simple chord for each note of the scale. After you know them well, I will call out numbers, and you will play songs. It is just that simple! You will also train you ear with the number system. However, you will not understand what you are playing.

   For most people, I recommend the number system first. You will play in a much shorter time. Then you can study theory to understand what you are playing. Plus, you will already know your example songs.

   Keep in mind that this site features lessons on five different skill levels. Choose the one that fits you best.

   If all else fails, give us a call at (817)451-4991 for a one-on-one guided tour.  Have fun!

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1-17-11     This weeks question is from Curtiss Mims of Fort Worth, Texas.

Q. What is the difference between playing traditional and contemporary gospel?  How easy would it be to update my playing?

A. I can tell you the difference in two words: "Chords" and "modulations". Traditional gospel uses mostly major, minor, and dominant 7th chords. The dominant chords give traditional gospel it's signature, "soulful" sound. (Think James Cleveland or Ray Charles). Traditional hardly changes keys except when it raises the key for excitement.

      Contemporary Gospel adds jazz chords; mainly 9th, 11th. and 13th chords. It often modulates, or moves between different keys. 

      For more detail, see our lessons under "Turning Traditional Into Contemporary" in the Theory Lesson section.

If you have any music questions, email us or submit them on our "Question of the week" link on our Home Page. See you next week!!! 

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