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“A Study in Blues Piano” Course Coupon (starts now, offer expires 3/31/2018)

BLUES ALERT — PLEASE SHARE THIS!

Coupon Expires March 31, 2018* Here’s a handy dandy discount coupon for my “A Study in Blues Piano” on Udemy: Lifetime access for just $12.99. (List price is $24.99.)

*If you missed the discount window, see the bottom of this post for a another link, where you may find this course at a discount as well.

The Course at $12.99 (coupon is automatic)

or use coupon code 88KENT when purchasing.

Please share this with your musical friends!

Expires March 31, 2018 so act now! 

MISSED THE SALE WINDOW?

If you miss the coupon window, the course can be accessed using the link below. Sometimes Udemy sets their own temporary discounts, so you could get lucky!

The course at regular price ($24.99) (may be discounted by the vendor)

 

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Openings NOW for 3 new piano students in Huntington Beach, Fountain Valley, Westminster, Santa Ana, or Costa Mesa, California (individual private lessons).

Contact me here!

Hi folks, I have three new open slots for motivated piano students, in or near Huntington Beach, California (Huntington Beach, Fountain Valley, Westminster, Santa Ana, or Costa Mesa).

I’m offering lessons in Jazz, Blues, Rock, Pop, R&B, Funk, Folk, Worship, Gospel, etc., piano or keyboards.  Sorry, no slots are currently open for classical piano, although if you want to learn to read music as part of your “pop” studies, we can certainly do that (learning to read standard piano notation is recommended, at least at the basic level, but is not required).

As part of these lessons, you will gain a mastery of reading, playing, and improvising from chord symbols, such as C7, Ebm7, Dmaj7, etc.  This is how the pros in rock, pop, jazz, blues, folk, hip-hop, country, etc., operate — it’s all about chords, man!

If you are simply interested in learning a few of your favorite songs, we can take a more direct approach to achieve that.

Levels taught: Beginner, intermediate, advanced.

Piano lessons are 45-minutes, once per week.  In-home lessons are available.

 

Contact me here!

Versatile left-hand voicings for Jazz Chords on piano (Part One)

“Rootless voicings” for the left hand on piano are great for handling big jazz chords that normally can’t be covered by one hand alone. This lesson shows you how to play a rich sounding II-V-I in the left hand, while allowing the bass player (or you, on another beat) to cover the root. This is part one of a pair of lessons. It stands OK by itself. The second lesson is just another way of doing the same thing with the notes in a different arrangement.

How to learn ALL your dominant seventh chords in about an hour

Never try to learn your chords by rote! It’s all about patterns, man!

In this video, you’ll learn that there is one simple pattern (“major-minor-minor”) that every Dominant Seventh chord shares. Learn this one pattern, and you will be able to learn EVERY Dominant 7 chord in one sitting (about one hour). There is no need to memorize each one separately!

Over time, you will start to have the most commonly used dominant seventh chords at your finger tips, but with this system here, you will immediately be able to build any dominant 7 chord from any root, and always be certain that you are using the right notes!


Continue reading “How to learn ALL your dominant seventh chords in about an hour”

Easy 3-finger Technique for Impressive Pentatonic Runs on Piano (that’s right, only 3 fingers!)

Hello improvisors and jammers: Here’s a powerful way to play impressive pentatonic piano/keyboard licks when soloing in rock, blues, or jazz settings, using only three fingers in your right hand.  This video uses the famous “minor pentatonic” scale (“pentatonic” refers to a five-note scale). With a little work you will be amazed how fast you can fly across the keyboard using this simple trick of the trade!

Für Elise and other Easy Sheet Music with Letter-note names

“Für Elise” Notes (Beethoven, “Bagatelle in A minor”)

 

OTHER SHEETS (with Letter-notes included):

Here’s a collection of easy-to-read, easy-to-play sheet music I created a few years ago.  This collection resides on my older website, which is has been purged of most stuff, but still has these sheets on it.  The notes are all labeled with their associated letter-names (such as E, Bb, F#), as an aid to reading, for those who don’t read well.

These are all free and can be downloaded as PDF files.  See link below.

Be advised, these are easy arrangements, some of which are also abridgedClaire de Lune, for example is simplified, and only covers the opening theme.

Here is a list of the pieces:

Claire de Lune (intro)

Star Spangled Banner

Ode to Joy 

Happy Birthday

Moonlight Sonata

Minuet in G (Bach’s)

Greensleeves

Here’s the link:

Easy Sheet Music with Letter-note names (downloadable)

Enjoy!

 

 

 

 

 

Chord Symbols: add2 or add9? (includes my video on using added ninth to chords)

Hi everyone!  I received a question online today (on my YouTube channel), an excellent one, and one which is subject to debate.  The question is in response to one of my videos about using add9 chords on piano.  (A link to the video is included below.)

I thought I would share the thread here:

VIEWER: Isn’t the D in Cadd9 supposed to be an octave higher? I guess I’m just confused as to why it isn’t Add2 instead.

ME: Hi Jordan, this is a very good question, and one that is subject to debate. Technically, the voicing of these add9’s that I am using here are really “add2”. In general practice however, add9 is favored in chord symbols found in sheet music, and is meant to imply add2 or add9, depending on the voicing choice of the player. It’s interesting to note that add9 chords played on guitar have the ninth tone on top sometimes, and sometimes the 9th is not the highest tone, often depending on ease of finger positions. This is also true in a piano player’s choice of voicing. Again, to recap, add9 technically has the 9th as the highest tone in the voicing, as you indicated, but when using chord symbols, add9 is preferred for either one.

 VIEWER: That definitely makes more sense. Thanks for the clarification.
ME: Certainly, your question is much appreciated! Two other interesting points: A very popular, jazzy left-hand voicing for the MINOR 9th chord (as in Am9) — which, by the way, is NOT an add9 chord, because it also contains the 7th (I talk about that difference in the video) — is this, using Am9 as an example: G, B, C, E, where the root is implied, and can be played before or after the first cluster (or covered by the bass player). I bring this up because here you can see that the “9th” is not the top note in that particular voicing. (You might try that out, it sounds very cool!) Another thing: In my full two-handed voicings in the video, such as Cadd9, left hand plays C and G, and the right plays C-D-E-G. On close inspection you will note that the 9th (the D) is actually voiced far above the root (the left-hand C). But that is not mandatory to voice add9 that way, just a certain nice-sounding choice.
****
 Here is the video lesson which prompted the question:
 See ya soon!
Kent

Learn about the Major pentatonic scale, and its cousin, the “Relative Minor” pentatonic (video lesson)

Learn about the Major pentatonic scale, and its cousin, the “Relative Minor” pentatonic scale (a video lesson). The relationship between any major scale (or key) and its relative minor scale or key is explained here as well, in terms of traditional music theory.

Video: Pentatonic scales, Major and Minor

A Nice Technique for Smoother Scales

“SMOOTHER-SOUNDING SCALES” introduces a simple technique for making your scale passages sound more EVEN; that is, with a more consistent loudness across all the notes. The technique involves deliberately accenting certain notes, then removing the accents. The final result is a more even sounding scale!  Voila!

Video: Smoother Scales

See ya soon!