to introduce and work with each piece in Piano Lessons Book 1 of the Hal . keyboard. New Concept: High and low on the keyboard. Review: Musical pulse. Part 1 - Learn to Play 72 Chords. Copyright First Steps in Keyboard (Part 1). Table of Contents (It looks a little like the letter “b,” so in this book we will. Keyboard Course Book and Audio| A complete book (pdf) on how to read music, learn rhythms, and play piano. Published by the Church of Jesus Christ of.
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Basic Music Course Lesson Outline Keyboard Skills. Conducting Course and the Keyboard Course. example and follow the music in the book as. Documents Similar To Complete Keyboard Player soundofheaven.info The Complete Piano Player Book 1. Uploaded by. Kelly Rivera. The Complete Keyboard Player -Irish. music notation software which was used for the production of this book. this in mind I recommend that you download the pdf version which can be found.
You get better knowledge of the technique of playing harmonium, before the actual accompaniment. Raga Jogiya Raga is the essential concept of Indian classical music. Over the years many vocalists preferred to be accompanied by the harmonium. The ascent and descent of the notes in every raga is very important.
Concept of a taal 41 Classification of a taal 42 Terms describing properties of ragas 43 Khyaal 44 Alaap 44 Thumri 45 Playing songs with thaat and ragas 47 Thaat Bilawal 1 47 Thaat Bilawal Exercise 49 Songs of Thaat Bilawal 51 Ragas of Thaat Bilawal 52 Raga Alahya Bilawal 53 Raga Pahadi 53 Raga Pahadi Songs 54 Raga Deshkar 54 Raga Deshkar Songs 55 Thaat Bhairavi 2 56 Ragni Bhairavi 56 Ragni Bhairavi Alaap 57 Ragni Bhairavi Songs 59 Raga Malkauns 62 Raga Malkauns Songs 63 Raga Bhoopali Todi 63 Thaat Khumaj 3 64 Raga Khumaj Songs 65 Raga Gara 66 Raga Gara Songs 66 Raga Jhinjhoti 66 Raga Tilang 67 Raga Desh 68 Raga Desh Alaap 69 Raga Desh Songs 70 Thaat Kafi 4 70 Thaat Kafi Film Songs 71 Raga Kafi 72 Songs of Raga Kafi 72 Raga Bheempalasi 73 Raga Bheempalasi Songs 74 Raga Piloo 75 Raga Piloo Songs 75 Raga Shivranjani 76 Raga Shivranjani Songs 78 Raga Bageshri 78 Songs of Raga Bageshri 79 Alankar background 80 Thaat Asavari 5 82 Songs of Thaat Asavari 83 Ragni Asavari Songs 86 Raga Darbari 86 Raga Darbari Songs 87 Raga Jaunpuri 88 Raga Jaunpuri Songs 89 Thaat Poorvi 6 90 Raga Poorvi 90 Raga Lalit 91 Raga Lalit Songs 92 Raga Puria Dhanasri 92 Raga Puryia Dhanasri Songs 93 Thaat Kalyan 7 94 Songs of Thaat Kalyan 94 Raga Yaman 94 Raga Yaman Songs 95 Raga Shuddh Kalyan 96 Raga Shuddh Kalyan Songs 98 Raga Yaman Kalyan 98 Songs of Raga Yaman Kalyan 99 Raga Bhoopali 99 Raga Bhoopali Songs Ragni Todi Ragni Todi Songs Raga Madhuvanti Raga Madhuvanti Songs Thaat Marwa 9 Raga Marwa Raga Sohni Bhairav Thaat 10 Raga Ahir Bhairav Raga Ahir Bhairav songs Raga Kalingada Raga Jogiya Raga Kirwani South Indian Raga Raga Kirwani Songs Rules for playing songs Important tips for musicians Listening with awarness Vocal Health of a singer Glossary Lakshan Geet with Alaap Bandish The important difference is that you can - and do play the keys with your left hand also; but for harmonium, your left hand is used in pumping the bellow to force air under pressure into the inside of the harmonium.
In keyboard our left hand is used for chords. An ordinary keyboard is sufficient to master all the lessons that will follow. If you already have a keyboard, you do not need to buy anything else as of now. For solo performances, you may use a synthesizer keyboard or a harmonium, depending upon your taste, convenience and availability.
Harmonium traditionally suits better for accompaniment during performance of Ghazals, Thumri, Indian Pakistani classical music, and some other types of Indian music.
For accompaniment to movie songs, and all varieties of songs, the synthesizer keyboard is the preferred choice. Keyboard offers a wide variety of instrumental sounds. The instrumental sound you choose is called a voice.
Before you play a song, choose a voice that you like. Practice selecting different voices, and remember the setting for the ones you prefer. Look your keyboard owner's manual to help you. When you play the songs you can use any sound you wish. The rhythm controls provide drumbeats to play along with. These rhythm beats are also called styles. The drum rhythms can be changed to suit the kind of song you are playing.
Moreover you will find tabla styles like kehrva, dadra, teentaal, rupak and jhaptaal in ragatracks website. If you have a keyboard equipped with floppy drive or USB memory then you may copy these styles in your keyboard user memory to play along music. Melody keys are used to play the tune of the song with your right hand. The chord keys are used to play chords with your left hand. This makes the song sound full and beautiful. If you do not know how to play chords then you may use auto chord along with the melody.
Harmonium Playing Positions There are two common sitting positions, a standard position and one used by qawwali singers. The standard position is simple. One simply places the harmonium on the ground. The right hand plays the keys while the left hand pumps the bellows. This is the most common position used in India and Pakistan today. There is also a position used by qawwali singers and folk musicians. For this position one end of the harmonium rests on the ground while the other end rest partially in the lap.
The position is reversed for left handed musicians. In such cases the right hand pumps the bellows while the left hand plays the melody. For harmonium we have to blow air all the time when we play.
For Keyboard it is not required. For keyboard we have to select the best sound out of or more available. The sound should be pleasing and continuous. Suggested sounds are Flute, Synthetic Reed etc. Every keyboard is different; therefore select sounds or voice yourself. For harmonium first open at least 3 big knobs and then Blower dhokni.
In some there is straight dhokni, which is to be opened from both sides and in other it should be opened only from left, for right handed people from right. In all lessons we have shown lessons for right handed persons. In harmonium never press dhokni or blow air until any note - black or white is pressed, otherwise air will not be able to go out from anywhere and the harmonium will start leaking air from sides or anywhere.
Thumb is very rarely used on black keys. For harmonium you need to use right hand only and all lessons are same for harmonium and keyboard. By learning keyboard in desi style you will be able to play Indian and Pakistani film songs. Harmonium, keyboard and synthesizer keyboard are taken to mean the same thing, and are called simply the "keyboard". The notations are used to describe the keys on the keyboard: For convenience, the reference note, called the tonic or the key or the Sa, is assumed to be the first black key, indicated in the diagram by the letter "S".
If you want to sing you may assign any key as "Sa", according to your voice scale. In this book the fingering of keyboard and harmonium is kept same. We will assign same fingers for playing keyboard as well as harmonium so, that we will not face any difficulty if we play both instruments. Most people who play harmonium are not able to play keyboard perfectly. But now you will be able to play both instruments with no difficulty.
Keyboard or Computer Music Music can be defined as collection of small pieces of regular sound played at predefined time interval. An ingenious collection of these notes played over a period of time results in a melody that could be R. Burman or Nisar Bazmi song.
Hence both western and Indian or for that matter any form of regular music has a set of basic notes from which they grow, something like alphabets. In cakewalk studio it is possible to explore beyond basics. Today almost all the keyboards are computerized and produce midi music. Midi means musical instruments digital interface. Midi music can be edited in a computer or in a midi keyboard.
Let us see more on notes. Note can be technically explained as a sound frequency. It does not matter if you press the white key or the black key. Each key plays a predefined frequency. A frequency is number of cycles per second.
The note gets its shape by the amount of time you hold down the key and release it. This is called the note length or duration. Western Music Notes Verses Indian Before we can learn how to play scales it is vital that we learn the notes on keyboard and how they relate to each other. The best way to describe the notes on the keyboard is by comparing them to the notes of the alphabets. Each note differs with each other in sound.
Notice that the seven notes of keyboard repeat themselves over and over again. The notes sound the same but the pitch differs. For example if you play C and move to the right until you find the next C, you will notice that if you play them simultaneously, both notes sounds the same but one is higher than the other. As you will notice the western C major scale is the easiest and simplest scale of the twelve.
In C major scale you may play the song "Ik pyar kaa nagma hai". In western system it consists all the white keys from any starting C to the next octave C. A standard semi professional music keyboard has 48 keys.
You will see 4 sets of 12 keys. This 12 set of notes is technically called an octave. Why 12, why not 13? The aim of this issue is to keep it simple; Western is based on logarithmic division. In Indian system of music you can start playing Indian or Pakistani songs from any note and starting note will always become our reference note or Sa. Remaining notes will be arranged according to achal komal and tiver system. It is recommended that you select first black key for learning keyboard or harmonium.
In western music, Fifth note from C is as 5th. We can further go in deep by playing songs in raga of that particular thaat. To play song in ragas need practice and concept of raga must be clear. Desi music has combined both by adding chords with melody.
In the seven tone-scale the second, third, fourth, sixth, and seventh notes can be sharp or flat, making up the twelve notes in the western scale. However, ragas can specify microtonal changes to this scale: Furthermore, such variations can occur between styles, performers or simply follow the mood of the performer. There is no absolute pitch; instead, each performance simply picks a ground note, and the other scale degrees follow relative to the ground note.
A Scale is a set of 7 notes in a proper order and interval. Or a scale is a set of 7 notes with predefined intervals. The distance between each note is called as interval. It is true that scales and ragas are not same.
Apart from having seven different notes, there are not many similarities. There is a huge difference between a scale and raga in tonal quality or the sound density. Melody and rhythm are the common grounds for music, be it western or Indian.
Indian music is essentially monophonic single melody format or homophonic while Western music can be polyphonic multiple notes played or sung in harmonized arrangement , monophonic or a combination of both. Western classical music is based upon the equal tempered scale, and rests upon melody, harmony and counterpart while swars and taalas are the two basic components of Indian classical music.
Swars are the twelve notes and the intervening semitones, while a taal is a cycle of beats, starting with a stress point called the sam and ending with a release point called the khali.
The original form was that of a pedal organ. The harmonium is a reed organ, with bellows that are operated by hand. Over the years many vocalists preferred to be accompanied by the harmonium. The role of the Harmonium is to provide a backup for the main melodic line, thus endowing it with a sort of strength and an added dimension. Before playing the harmonium instrument it should be placed on a stool alongside of which the vocalist may sit or on a chair of equal height.
Or if the gathering of listeners is organized on a carpeted floor, the instrument may be put in front of the vocalist. Now we will again present a brief summary of our lessons as given below: Harmonium and Keyboard are similar for Indian music so these lessons are equally suitable for both instruments. For Harmonium we have to blow air all the time when we play. For Keyboard we have to select the best sound out of or more available. Suggested sounds are Flute, organ, Clarinet, Reed etc.
Every Keyboard is different; therefore please select your sound of Keyboard yourself. For Harmonium first open at least 3 big knobs and then blower. In some there is straight blower, which is to be opened from both sides, and in other it should be opened only from left.
In Harmonium never blow air until any note black or white is pressed, otherwise air will not be able to go out from anywhere and the Harmonium will start leaking air from sides or anywhere.
Use left hand to blow air and right hand to play keys. Use right hand thumb to play white keys only and adjoining three fingers on black and white keys both. In Harmonium or keyboard thumb is very rarely used on black keys.
For Keyboard you need to use right hand only. In these lessons fingering position is same for Harmonium as well as Keyboard. In keyboards as a general rule, an area of about two octaves can do the job of self-accompaniment.
What you need is really four notes in the lower octave from your chosen tonic note, and another four notes farther from the upper tonic note taar. With the key of the tonic note Sa pressed, pull the bellow gently toward yourself, with the left to get the sound of this note. Along with the sound of this tonic Sa note try to sing your song at this moment, by aligning the tune with the tonic note. Make a judgment of the pitch of the song in high as well as low places on the keyboard.
Feel your way while singing; by touching the suitable keys on the harmonium with those notes, which are related to the song, you want to sing. At this point, the touching of fingers will produce two kinds of sounds. One kind, which resemble the elements of your song and the second kind, which do not resemble. In fact second kind tones will sound boring, so you should avoid and pass over them. As with solo alone playing of the keyboard, the fingers are made to skip over the notes besides other techniques, with self-accompaniment.
The same fingering is done by a method called legato in modern musical terminology which implies constantly keeping pressed one of the appropriate keys along with singing, like a continuous flow of sound tones, exactly as a church organ. In this way you will produce sound effect of a harmonium in your keyboard while practicing sargam.
With a little practice, the fingers will get accustomed, to synchronize with the vocal sounds controlled by the mind. You get better knowledge of the technique of playing harmonium, before the actual accompaniment. Also a teacher, if available in the neighborhood, can help a lot to give a fairly good start or watch video lessons.
In Indian Classical music 3 saptaks Octaves are usually utilized. When the set of seven notes is played in the order it is called a Saptak i. The normal tone of human voice, which is neither high nor low. It is called Madh saptak middle octave. This has got no symbol in the notation system and is notated as simple S. Taar Saptak: The one higher than Madh Saptak is a taar saptak high octave.
The notes are high and sharp. Taar saptak is in right side of middle saptak and with a sign of apostrophe on right side e. The one below the Madh Saptak is called Mandr low. Notes of this octave are sung or played in a low deep tone. This comprises of the saptak that is below the lower Sa. Notes of this saptak are indicated by a sign of apostrophe on left side e.
In these saptak octave the Sa gets repeated after the Ni. The Frequency of the second Sa is twice the frequency of the first Sa. The second Sa is termed as Taar. In some keyboards from this Taar the same saptak gets repeated But this time at twice the frequency of the respective swar The Indian musical scale is said to have evolved from 3 notes to a scale of 7 primary notes, on the basis of 22 intervals.
A scale is divided into 22 shrutis or intervals, and these are the basis of the musical notes. These 7 notes of the scale do not have equal intervals between them. A Saptak is a group of 7 notes, divided by the intervals as given below: The other 5 notes can change their positions in the interval, leading to different ragas. Just as the English word "alphabet" is derived from the Greek letters "alpha, beta", in the same way the word "Sargam" is derived from "Sa-Re-Ga-Ma". Sa, Re, Ga, Ma, is simply the initial notes swar of the Indian musical gamut.
Musical notes are chosen by certain names. However, the names do not refer to notes of fixed absolute pitch. Having decided on the schedule and key in which the performance is to take place, the singer or musician determines the pitch, which will be the fundamental pitch, and designates it as the first note of the octave, calling it by the label " Sa ". The succeeding notes of the octave are then given the following names: In addition there are of course certain notes that are komal flat or tiver sharp versions of some of these.
Thus the full twelve-tone scale arrangement of notes is labeled as: Mandr saptak is situated in extreme left of harmonium or keyboard and notes of mandr saptak have a sign of apostrophe on left side e. Middle saptak is without any sign and taar saptak is in extreme right.
Notes written in taar saptak are shown by a sign of apostrophe on right e. Full twelve tone scale in all three saptak We will use as the fundamental note the C which lies in middle octave in western system. This will correspond to Sa in madh saptak of Indian system. So by combining both systems the other notes will correspond as follows: Many male vocalists will use C or D as their fundamental starting note.
Female vocalists tend to place their fundamental somewhere in the range from F to A.
Female sound pitch is higher than male. Lowercase small letters are shown as "komal" or flat notes, and the uppercase capital letters are shown as "tiver" or sharp. All notes except for Sa and Pa have an alter ego, whose nature is either komal or tiver. Identifying notes and their position: Sa and Pa are never sharp or flat.
As tiver or "bright" Ma is written with an upper case M. Shuddh Ma, however, is written with a lower case m. It is the only note ever referred to as sharp. However, C, C are commonly used as Sa.
Most persons prefer to play music from the western C as their starting point.
In other words, they select Sa from C , which is a common expression which is easy to remember. It is suggested to use C if you are beginning to play harmonium or keyboard as a student of music for simplicity and ease. After learning you may start playing from any note and corresponding notes will change according to our chosen khraj note. Indian classical music is principally based on melody and rhythm, not on harmony, counterpoint, chords, and modulation.
When you have a basic understanding of the notes of a sargam, it will help you sing and play better. You will need the following: A good teacher is essential because this person will correct your mistakes and set a good example to follow. Your teacher should be someone capable of performing and have a good reputation for teaching. Treat your teacher with respect and consideration at all times, even when you are no longer learning from him. Instrumentalists must be sure to learn from both a vocal and instrumental teacher.
From the instrumental teacher you will learn techniques and from the vocal teacher to implement these techniques as though your instrument is singing the words. It is not enough to just attend a class once a week. Practice everyday, even for as little as half an hour.
For those who wish to be performers, weekday practice should be hours. You must be ready to listen carefully to your teacher and to other performers.
Listening to great recordings of old semi-classical will help you learn faster. Attend concerts as well. On the keyboard, the area S through N is called a saptak an octave. There are three octaves: The lower octave is situated to the left of the middle; the upper octave is situated to the right of the middle octave.
Again, this is clearly shown in the diagram above. A note belonging to the middle octave has no sign when represented on the paper; for example, the Pa of the middle octave is represented simply as: The note belonging to the lower octave has an apostrophe to its left. Thus, for example, the Pa in the lower octave is represented as: The note belonging to the higher octave has an apostrophe to its right.
Thus, for example, the P in the higher octave is represented as: The 36 keys of harmonium represent the notes in all three octaves.
In keyboards there could be additional higher saptak or additional lower saptak that cannot be used in singing a song due to their higher or lower pitch of sound.
The rule of achal, fixed tiver and komal will apply to all three octaves as given below. There may be five saptaks in a keyboard. The saptak to the extreme left of the keyboard is for playing chords and to the extreme right is one additional taar saptak but with very sharp voice.
We can also play melody in chords saptak or rhythm section of a keyboard but the sound of melody will produce base sound. The chords saptak and extra taar saptak is not perfect for playing melody of a song due to its higher and lower pitches of sound.
In a complete saptak there are 12 notes, which are seven white keys and five black keys. In a harmonium there are three saptak and 36 keys but in a professional keyboard there are commonly five or four saptak and notes.
It should be noted that while playing songs you will only deal with three saptaks and for chords you will use chords saptak that is located to the extreme left of keyboard. Most of the songs start in madh or middle saptak. Achal or Qyme Swar: These notes are notated as S and P and shown in capital letters.
Achal means fixed notes without saathi notes. Tiver sharp: Komal flat: All notes belong to madh saptak by default; they have no sign of apostrophe.
Notes of mandr saptak are preceded by ' sign of apostrophe e. Lastly, a comma , represents a pause between notes. Learn saptak notes system e. Each note in a scale is referred to as a scale degree.
Though the scales from musical traditions around the world are often quite different, the pitches of the notes in any given scale are usually related by a mathematical rule. Scales are theoretical constructs that may be used to control a composition, but much music is written without any scale in mind. Scales may be described as tonal, modal, diatonic, derived or synthetic, and by the number of tones included. The C major scale of western music system is one of the most important scales to start learning because it has no sharps or flats, and is very easy to play on most instruments like piano simply play all the white keys.
The official name of the major scale is Ionian, and belongs to the group of the church scales.
Natural white keys of western scale The scale in diagram above, illustrates only "white" keys that are natural notes. As mentioned earlier we have assumed the first white key to be the Sa S.
But from now we will use first black key as khraj note for starting point for convenience. You will find that there are 5 sets of black keys in a keyboard. The first white key is that white key which lies immediately to the left of the first black key.
Since there are several sets of 5 black keys, there will also be several "first white" keys. You are going to use only your right hand to play the harmonium. The right hand fingers are numbered as follows: There are total twelve notes in one saptak because five notes also have their saathi notes.
Only two notes are called achal notes because they do not have any saathi. The Achal notes are Sa and Pa. The following five swar have their saathi swars: Dha 5. Ni Sa and Pa are not included in the above-mentioned five swar. The reason is this that their saathi swar do not exist. Sa and Pa are called achal swar and these achal swars are neither komal nor tiver. Komal swar are written with the initial small letters and tiver swar are written in capital letters as given below: List of Komal Saathi Swar which are written in small letters: Here S and P are called achal or qyme swar which are without komal and tiver saathi swar.
When all the swar are tiver in a sargam then it will become the sargam of raga kalyan. In the Sargam of Raga kalyan all swar will be tiver along with Sa and Pa, which are achal swar. These tiver and achal swar are represented here as under: This rule will apply to all three saptak. Below we have shown notes from three saptak. In the Diagram 5 we are beginning from left side. The immediate key just attached to Sa is r with key number 2.
With r the next immediate key attached is R with key number 3. The next key just attached to R is g with key number 4 and so on. The keys attached with each other are shown by numbering 1,2,3,4,5…… In each saptak the specified sequence will be repeated. If you will recognize komal and tiver swar sequence then you will be able to understand thaat and in the end ragas. Saptak is the complete set of five-komal and five-tiver swar along with two achal swars that are Sa and Pa. So there are total twelve swar in a complete Sargam.
Transpose Option: Transposing keyboards such as transposing harmoniums or electronic keyboards with a transpose function can have a similar effect, but are now usually called transposing instruments. These instruments allow the player to change the instrument's transposition electronically or mechanically.
Scale changer harmoniums are called transposing instruments. Singers can change scale with transpose option of keyboard while sing-along music. With transpose option singers can perform with convenience. If the scale of your voice is higher then first black key, you may press transpose button in keyboard one-step higher.
In this way your voice will synchronize with the scale of keyboard. We can fix any key as our own starting point for singing and playing simultaneously.
In harmonium use scale changing option that is available in scale changing harmoniums. If you have taken proper music training and learned your scales well, then you won't need a scale-changing harmonium, as you already know how to play things in different keys.
Some person cannot sing in loud scale so; the musician will select suitable scale for them. Selecting scale means selecting first note elsewhere on a harmonium or keyboard.
The name of first note from where we start playing will become the name of the scale. Notes with cross sign XXXX shown here are not for playing and will not be shown in future diagrams of thaat.
The first swar or key attached just after Sa is always komal r shown with cross and with note no. If we do not play notes with cross sign then it will become sargam of thaat bilawal with notes S, R, G, m, P, D, N, S' as shown in diagram 5 above. Or we can write whole sargam as: Here we will start playing from second white key as Sa which is always achal or qyme swar.
See diagram 6 above. By ignoring notes with cross sign following sargam will be formed again. Here we selected second black key as our khraj note which is Sa.
First swar or key attached just after Sa is always komal r shown with cross and with note no. Be the first to like this. No Downloads. Views Total views. Actions Shares.
Embeds 0 No embeds. No notes for slide. How To Play Keyboard: A Complete Guide for Absolute Beginners to download this book the link is on the last page 2. Description New - from Amazon 1 best-selling music author Ben Parker! This book is the perfect introduction to the electronic Keyboard for absolute beginners of all ages. This great beginner's guide also provides an easy introduction to reading and playing music - so whether you have no previous musical experience OR are simply new to the keyboard, this clear and concise guide will have you playing tunes on your new keyboard in no time!
For kids under the age of 10, you may prefer Ben's 'My First Keyboard' book instead - created especially for the youngest beginner. Check out Ben's Amazon Author page for his other best-selling kids and adult tuition books for: Book Details Author: Ben Parker Pages: Paperback Brand: Book Appearances 5.
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