Searching for beautiful melodies, I suddenly remembered that Chopin believed that his theme for Étude Op. 10, No. 3 was his most beautiful melody. I first came upon it in childhood when I opened a music box containing a ballerina dancing to Tristesse (according to the label beneath); though Chopin didn’t name his composition Tristesse, it has become the popular title, so I defer!
You can listen to the original piece here, and watch a video of my intermediate arrangement below:
Happy September! I think many of us are looking forward to the cooler days of autumn. With all of the recent disasters, I hope that playing your piano can remind you of all that is beautiful in your life.
I have some additional posts planned for this month, and be sure to leave a comment if you have a piano-related issue you would like me to address in a post. Do you have a favorite piece you would like me to arrange for beginning or intermediate piano? Remember, I can only give away arrangements of songs and pieces that are in the public domain (i.e. written before 1925). How is your practice going? Give us an update! Be well friends 💛
Scott Joplin was one of the most innovative composers in the history of western music. Credited with inventing ragtime music in the 1890s, Joplin composed over 100 pieces before he died at age 48. One of my favorite Joplin pieces is Solace. Though not as popular as The Entertainer or The Maple Leaf Rag, Solace, with the subtitle, A Mexican Serenade, is a slow, reflective piece that expresses a wide range of emotions. You may remember that Solace was featured in the 1973 film, The Sting.
I have arranged the final theme from Solace for early-intermediate piano. As always, remember that the fingering I have printed is only a suggestion. If you find a fingering you like better, cross mine out and write yours in, in order to keep your fingering consistent.
If my arrangement is too difficult for you to play, just play the top notes of the treble staff; that way you will still enjoy Joplin’s beautiful melody without the difficulty of playing two right hand notes at a time. If you are a more advanced pianist and would like to play Joplin’s original sheet music, click below:
I hope that playing the piano is providing some solace for you. Sometimes a tasty meal, a cutting of flowers, or a beautiful melody can lift our spirits and remind us that a world of beauty surrounds us. What are you doing to self-care?
You might want to watch a French film on Netflix for free. You can also watch some old French films such as Marius and Fanny for free on Amazon Prime video, or rent one of my all time favorite films (on Amazon Prime video), Chocolat, starring the French actress Juliette Binoche, with Judi Dench, Alfred Molina and Johnny Depp.
Of course, in my opinion, the best way to celebrate French culture is with French music! In the film Chocolat you can hear French composer Erik Satie’s hauntingly beautiful Gnossienne No. 1. Click below if you would like to play my simplified arrangement of Gnossienne No. 1 from my Songs of the Season: Autumn book:
You can print both my easy and my intermediate arrangements of Claude Debussy’s Clair de lune for free here.
I love the Edith Piaf favorite La Vie En Rose, but since it is not in the public domain I can’t arrange it for you for free. I did find a site that allows you to download the original sheet music for free here. (Click on the blue “Download” box above the top right corner of the sheet music to print.) If you are a beginner, just play the top vocal line.
I hope you enjoyed mon petite tour du France post today. These days we need to find fun ways to celebrate wherever we can, non?
Now more than ever it feels important to play beautiful music, to calm and elevate the spirit. The theme from Swan Lake has a gorgeous, haunting melody that I hope you will enjoy playing. I have created an early intermediate piano arrangement for you that expands on the theme I offered in Upper Hands Piano BOOK 4. If you are a beginner, you can play just the treble staff notes, or you can add a note or two from the bass staff. You can listen to a Youtube video of the Swan Lake theme here.
You may have heard of the phrase, The Circle of 5ths. It’s a useful tool for musicians to understand, and for composers and songwriters to use in their pieces. In Part 1 of this series on Composing and Songwriting, I suggested that you start by limiting your piece to just the chords which are built on the C scale (C, Dm, Em, F, G, Am, Bdim) and I provided you with a chart so that you could figure out the seven chords in any key. But perhaps you are now feeling that you want to step outside of the key. For example, if you are in the key of C and want to move to an unexpected B-flat major chord, you can use the circle of 5ths to help navigate your way back to the key of C.
I’m going to let my friend Fred Sokolow take it from here because he is the Circle of 5ths master. Start at 5:30 in the video below and continue on to the end if you would like to join him for his jam:
Fred is an crazy good multi-instrumentalist and has created a small vinyl cling decal of the circle of 5ths for $3 which you can purchase here. You can safely stick it to your piano because there’s no adhesive. (Fred also gives private online lessons in banjo, ukulele, guitar, mandolin and dobro if you are so inclined!) If you have a Paypal account would you consider “tipping” Fred to say thanks for today’s instruction here or search for Fred Sokolow on Venmo? Any amount even $1 or $2 would be appreciated! You can receive notice of Fred’s future mini lessons (there are a lot of great ones!) by joining his mailing list: firstname.lastname@example.org. For more jams and free lessons, follow Fred on Facebook.
In classical music there are many ways to structure a piece. Generally when you are starting out, you want to establish a primary theme, move to second theme, then come back to the first theme and end the piece. All of what I wrote about in Parts 1 (chords), 2 (melody), and 3 (melody and chords) are relevant to composing classical music, as well as the Circle of 5ths discussion above, as all melodic music is based upon chords. You can also add lyrics to your classical piece, as with an aria or operatic piece. Feel free to ask questions in our comments below, and please tell us how your songs and pieces are coming along! It would be great to emerge from the Covid quarantine with a few original songs or pieces under your belt!
I have a piano student who had always wanted to write songs, but just couldn’t seem to get started. When I asked him what he’d like to write about first, he grimaced, “I can’t do it! I’m so uncomfortable!”
“Great!” I replied. “I’m so uncomfortable. That’s your first line.” And he wrote a wonderful, poignant song called, Uncomfortable. If you want to write a song, start from where you are or what you are feeling, and just jump in.
The first step when considering lyric ideas is to get it all down – out of your head, onto paper or into your recording device or app (the Voice Memos app in iPhones is handy). Writers speak of their messy first draft, and the same applies to songwriters. Don’t censor your impulses, just let the ideas flow spontaneously. When you feel you are done, take a break, for at least a few hours. Do something else to clear the palate of your mind, heart and soul.
Then sit back down with your words, read them aloud, and see what you think. Which lines do you love? Which are not flowing well? Have you said what you need to say, or do you need to dig deeper? Or do you want to lighten up the mood a bit? Make notes on your initial impressions, and then get down to work.
If you have started with your lyrics, you will need to begin singing them into a melody. As I have said in Part 3, sometimes it helps to take a walk or drive while singing your lyrics to activate your creative juices in a less pressured environment.
If you have started with a melody, hum the melody and see if any lyric ideas arise from the rhythm of the notes. When the melody dictates the words they are likely to fit really well; but if lyrics arise with a few too many syllables, you can easily add extra notes to your melody.
When writing a popular song, you have two primary kinds of lyrics to consider. The lyrics for the verse, and the lyrics for the chorus. Generally the verse lyrics tell what the song is about. The chorus contains the hook, which is the part of the song we remember best; the chorus lyrics usually repeat, and consist of shorter phrases sung to a memorable melody. The song Every Breath You Take by The Police starts with two verses, each with 5 lyric lines, the last of which repeat in every verse (I’ll be watching you). The chorus reads:
Oh can’t you see, You belong to me.My poor heart aches, With every step you take.
Every Breath You Take has such simple words! Its chords, melodies and structure are also very simple. And yet it was the biggest hit The Police ever had. I’m not suggesting that you write a song with a view to it being huge hit (that’s never a good way to create art), but I do want you to remember that a song doesn’t have to be complicated in order to be really good.
Many songs also contain a bridge. The bridge serves to elevate the song to greater energy or excitement. Every Breath You Take has a bridge at 1:22 consisting of five lyric lines followed by a 16-bar rhythmic instrumental passage.
Some songs also have an instrumental hook such as the Gary Jules recording of Mad World. In Mad World, the piano hook comes as an introduction that repeats in the choruses. Notice also in Mad World that there are two distinct sections to the verses. When that is the case, we call the first section the A, the second section the B:
A: All around me are familiar faces, worn out places, worn out faces. Bright and early for the daily races, going nowhere, going nowhere. Their tears are filling up their glasses, no expression, no expression. Hide my head I want to drown my sorrow, no tomorrow, no tomorrow.
B: And I find it kind of funny, I find it kind of sad. The dreams in which I’m dying are the best I’ve ever had. I find it hard to tell you, I find it hard to take. When people run in circles it’s a very very…
Chorus: Mad world. Mad World.
There is no bridge in Mad World, perhaps because the verses are long, and the B-sections feel like a bridge. Notice that there are a lot of repeated lyrics, which can be a great dramatic tool.
Generally, there are two categories of songs; there are songs that tell a story, and songs that paint a picture. Sometimes you might want to write a song that tells a story about something traumatic or something wonderful that has happened to you, or as with the song Raymond by Brett Eldredge, your song can be like a short story. Other times you might just want to paint a picture for your listener such as Paul McCartney’s Junk, or create an impression about something such as what it feels like to be in love, or to be the victim of discrimination, or how to live a better life.
Some examples of songs that tell a story:
Eleanor Rigby, by The Beatles
Cats In The Cradle, by Harry Chapin
Runaway Love, by Ludacris and Mary J Blige
Whisky Lullaby, by Brad Paisley and Alison Krauss
Just My Imagination, by The Temptations
Fast Car, by Tracy Chapman
Raymond, by Brett Eldredge
American Pie, by Don McLean
Don’t Give Up, by Peter Gabriel
Jack and Diane, by John Mellencamp
Some examples of songs that paint a picture, which can include expressing an emotion, giving advice, or making a political statement :
Over The Rainbow, by Harold Arlen and Yip Harburg
Yellow, by Coldplay
Shallow, by Lady Gaga and Bradley Cooper
Girl On Fire, by Alicia Keys
Thinking Out Loud, by Ed Sheeran
Unanswered Prayers, by Garth Brooks
Running On Empty, by Jackson Browne
Good Riddance, by Green Day
Complicated, by Avril Lavigne
Under The Table, by Fiona Apple
Let’s take a closer look at a song that incorporates all of the song elements I have discussed so far. I first heard Ben Fold’s song The Luckiest while watching one of the best, most positive movies ever made (in my humble opinion), About Time.
There is an introduction at the beginning of the song, with a piano hook, and for the rest of the song Folds is playing simple major and minor chords which he is constantly breaking up into single notes.
In the A-section, Folds paints a picture of a man who makes mistakes, and he also acknowledges that our mistakes are an important part of who we become:
I don’t get many things right the first time. In fact I am told that a lot. Now I know all the wrong turns, the stumbles, the falls brought me here.
In the B-section of the verse, Folds reveals that he is in a relationship. It is also in the B-sections of The Luckiest that Folds provides the only rhyming lines: day rhyming with face:
And where was I before the day that I first saw your lovely face. Now I see it everyday. And I know that…
And the second B-section rhymes eyes with recognize necessitating a few extra notes for the extra syllables in the word recognize:
In a wide sea of eyes, see one pair that I recognize. And I know that…
The choruses are simply: I am, I am, I am the luckiest.
After the chorus, Folds plays his piano hook again, then another verse and chorus. After the second chorus he provides a short bridge:
I love you more than I have ever found a way to say to you.
Up until now I would unreservedly call The Luckiest a song that paints a picture. But in his third verse Folds tells a story:
Next door there’s an old man who lived into his nineties, and one day passed away in his sleep. And his wife, she stayed for a couple of days and passed away.
In the B-section that follows, the lyrics read: I’m sorry I know that’s a strange way to tell you that I know we belong. So although the song contains a short story, the song is not about that story; Folds simply uses it to illustrate his feelings about his own loving relationship. So, The Luckiest is not a story-song.
While most of the lines in The Luckiest don’t rhyme, almost all of the lines in Every Breath You Take do rhyme. So remember that while some rhymes in your song give the song sing-ability and cohesiveness, you don’t have to rhyme all the time if you don’t want to.
Once you have finished the first draft of your song, take another break from it for at least a day or two. Enjoy your time away and trust that you will take a look with fresh eyes when the time is right. Then come back to fine-tune it. The process of editing is often where creative flow breaks down. Editing your song is a daunting task and the failure to face up to it is why many would-be songwriters never finish their songs. Ask yourself if there are any lyrics, chords or melody notes that aren’t quite there yet. Work on it everyday until you feel good about all of it. Don’t let too many days go by without completing your song, as you run the risk of having nothing but half-finished melodies in your repertoire. On the other hand, you also need to be able to intuit when to stop editing and call it done.
Even if you ultimately decide it’s not very good, finish your song. Completing things is a practice of its own, and we only get better and faster at writing, editing and completing our work though consistent practice. The willingness to edit and complete a song makes the difference between a songwriter and a wannabe.
In classical music there are many ways to structure a piece. Generally when you are starting out, you want to establish a primary theme, move to second theme, then come back to the first theme and end the piece.
In my next and final post about composing I will expand a little on chords, then will move on to the next musical topic! I hope you have enjoyed analyzing a few good examples of how to put together simple but effective songs. If you are interested in further study, look up some of the songs from the bulleted lists above on Youtube.com and ask yourself questions to deepen your understanding of the writer’s style: What is the structure of the song? Do the verses have a B-section? What are the choruses? Is there a bridge? Does the song tell a story or paint a picture? Are lines repeating? Rhyming? Do some of the verses add extra lyric syllables requiring extra notes?
But don’t analyze too much or for too long. Rather than continually asking what makes a great song, take that time to create one of your own. Remember that your song will be different from anyone else’s because no one has experienced your unique life. You can create something fun or personal that is as beautiful, important and valid as anyone else’s. So get to work!
When scoring a film I am constrained not only by the emotion and action of the scene, but also by its length, which could be anywhere from 5 seconds to a few minutes. Limitations make it so much easier to compose! You might want to set some limitations on your music too. Set an intention to write 2 verses and 1 chorus for your first song, or a short 16-measure theme for your instrumental piece. You might also want to limit yourself to playing in one key. In these videos on composing, the limitation I set was that both my melody notes and chords will be within the key of C. To review the chords in any key, watch Composing – How To Write a Song or Piece, PART 1 and print out the chord chart.
Once you have come up with a short melody you like on the 1-chord (C Major), you can start to expand on the melody. Just work on one short phrase at a time, finding a melody, then the chords to go with it. Or you can start with a short progression of chords, then find a melody you like to go with them.
Keep your piece short and simple. Keep moving forward on your piece even if you aren’t loving it; try to always complete a piece before starting a new one. As with all things, you will get better at composing with time and practice. Don’t expect your first try to be a masterpiece! REALLY, lower your expectations, and enjoy the process of learning without judgement.
If you are drawing a complete blank, take a walk outside, or get in your car and drive, bringing your phone or digital recorder with you. Sometimes when we aren’t so hyper-focused, the creativity flows more easily. While you are driving or walking, think about a memory, an emotion or a story you might like to tell, and start humming melodies. Be sure to record the melodies you have been humming. Later you can listen back and expand on the melodies that interest you.
Thanks for joining me in this composing adventure! Let us know what you are writing in the comments below! With love and music, Gaili
Although we think of Chopsticks as a quirky beginner’s tune, it is actually not that easy to play! Chopsticks is most fun when we play it as a duet, but if you are sheltering in place, a duet partner might not be so easy to find.
This Chopsticks arrangement has a secondo part that is easy and repetitive enough so that even a non-musical but willing companion in your quarantined life should be able to pick it up with a little patience and practice after watching the video below.
The first page of the sheet music shows an easy secondo accompaniment you can teach your partner by rote. In the video below, my husband is playing the first pagesecondo part throughout, which is the best choice for a non-pianist. My husband felt most comfortable using his Right Hand 3-4 fingers for F-G, and 2-4 fingers for E-G, but your partner might prefer using just RH 2-3 fingers for both chords. (You can make it even easier by having your partner play just a RH G throughout, instead of RH F-G and E-G.)
The second and third pages add some notes in the secondo part which you can teach to someone who has some piano skills. The primo part changes on each page.
These were the variations I learned as a child, but I bet you know some others! Click Download below for some additional (more advanced) variations that include some fun glissandos:
Chopsticks was originally called The Celebrated Chop Waltz and was composed by a 16-year-old girl named Euphemia Allan, in 1877. Her brother was a music publisher and helped her get it published under the pseudonym Arthur de Lulli. Allan gave this instruction for the primo: “Play both hands turned sideways, little fingers lowest, so that the movement of the hands imitates the chopping from which this waltz gets its name.”
I hope that you are coping as well as possible during this sad and difficult time. If you are sheltering in place, I hope you have a bit of fun learning the Chopsticks duet with a partner! 🎵 😊 🎵
One of the most daunting aspects of writing music is the limitless possibilities for chords, melodies and lyrics. In this post I will give you some strategies for how to begin writing a melody using examples from popular songs and pieces, and by setting some limitations for yourself.
When I was a film composer in the 1990s and 2000s, I would ask the director to describe the emotion of the scene for which I was writing background music. How did s/he want the the audience to feel? Excited? Terrified? In love? Triumphant? Suspicious? Ecstatic? Once I knew the emotion, I searched for a childhood memory of feeling that emotion (childhood memories are the most poignant, but any moment from your history works). Then I started humming melodies, or playing them on the piano with chords, until I found one that seemed to capture the emotion best. (BTW- always record your humming or keyboard noodling – you can use the voice memo app on your smartphone, or invest in a small digital recorder.) If you are writing a song with lyrics, then you may already know what you want to write about. But if you are writing an instrumental piece, decide upon an emotion, or think about a story you want to tell through your music.
For your first tries at composing, write within a scale, (such as the C-scale as suggested in the Part 1video, as well as the Part 2 video below) and start the song on the 1-chord (C Major). Notes within a scale are not all created equal! Watch the video below to learn about the strong and weak notes in a scale:
After watching the Part 2 video, play a C Major chord with your left hand and experiment with notes with your right hand until you find a melody you like. Have fun with this first step and celebrate when you find your first melody line. In Part 3 we will go deeper into setting chords to melody, or melody to chords!
I hope you have been getting your creative juices flowing after spending some time improvising on your instrument. If you haven’t yet tried improvising, read this post.
To compose a song or piece, you can start with the chords, or the melody, or the lyrics, or a combination of those three elements. In this post we will approach composing using chords. To show you how to find the chords that will work for your song or piece, I have made a YouTube video demonstrating chord theory, with examples of chord progressions from popular songs and pieces. It might seem confusing at first, but after watching it a few times I hope it starts to make sense:
To reiterate what you saw in the video above, you can find the chords for your song by playing triads (3-note chords that skip a key/letter) on each note of whichever key you choose to write in, using only the notes from the scale to form your chords.
In the video I chose to use the key of C for ease and comfort. But if you are composing a song with lyrics you might need to use other keys in order to accommodate the range of the singer.
To make it easier for you, here is a chart showing the seven chords associated with each scale, or key. Click to Print:
After watching the video and printing out the chart, experiment with some chord progressions. Keep trying combinations of chords until you find a progression you really like. Or you can use one of the progressions outlined in the video. Have fun with this! Don’t expect to write your masterpiece on your first try!
In my next post I will approach composing from the melody, but you will find it easier if you already understand the chord theory described in the video and chart above.
Best wishes for your good health, with love and music, Gaili