Cobbway Piano Syncopation Lesson 7 of 8

8/3/2019 Cobbway Piano Syncopation Lesson 7 of 8

1/11

-- ~ TO BETTERP IAN O SYN CO PAT IO N

T H E

LESSON 7PUBLISHED BY

T~E HARO LD CO BB SCHOO L O F P IAN O S YN CO P AT IO N. C HANC ER Y LA NE , 91 ST . GEO RGE 'S S TR EE T , C A PE TOWN


2/11

ss on 7

LESSON 7.Contents:

1. Examples and explanations of the melodic rhythmic solo style in the fox trot and waltz, usingsplit chords (Chart 11).

2. Consecutive tenths and their use (Chart 12).3. More about breaks.4. One and two bar breaks (Chart 13).S. Swing style piano playing-passing notes.

EXAMPLES AND EXPLANATIONS OF THE MELODIC RHYTHMIC SOLO STYLE INTHE FOX TROT AND WALTZ, USING SPLIT CHORDS (Chart 11).1. How did you get on with Lesson 6? If you introduced all the work I gave you there, your playingshould sound very full and interesting.2. In Chart 11, I have applied some of the methods I showed you in Lesson 6-ways of changing

rhythms and of splitting chords-to the fox trot and waltz which we have gradually been building upthroughout this course. Let us analyse Chart 11.The Fox Trot.

3. In bar 1 of the fox trot (Chart 11) there is a thumb break on the second beat; in bars, 2, 3 and 4the melody has been changed to a more rhythmic pattern; the type of embellishment shown in ExamplesD, Chart 10, is applied on the 2nd and 3rd beats of bar 7. Let me stress again that you must practisethese runs separately, until you can play them smoothly, before you introduce them in your playing.

4. I have worked out the rest of the fox trot in the same way: In bar 18, the chord is split on the3rd and 4th beats; in bar 24, the chord is split on the 1st and 2nd beats-s-in different styles; in bar 30,the chord is again split up on the 1st and 2nd beats.Play and study the fox trot, and study all the new changes I have made. You may begin to intro-duce split chords and rhythmic changes into other fox trots.The Waltz.

S. In bar 1 of the waltz (Chart 11) there is a thumb break on the 2nd beat; in bars 3 and 4, therhythm has, been changed in the right hand; on the 2nd beat of bar 6 there is a broken chord; in bar 8,I have broken up the chord on the first beat of the bar.

Study this waltz and play it many times. Remember that it is not enough to be able to play thefox trot and waitz as I have written them. You must also understand what you are playing, and howto apply all the syncopation methods I have taught you.

CONSECUTIVE TENTHS (Chart 12).6. Consecutive tenths may be used to dress up the left hand in an interesting way. They are really

a harmonic progression from one tenth to another, and fall into three groups.Consecutive Tenths-Group 1 (~).

7. Group I in Chart 12 shows consecutive tenths which. may be used where the same harmonycontinues for. two bars.8. In the first bar of the fox trot version, on the 3rd and 4th beats, consecutive tenths are built upon two of the intervening notes between the 1st and 3rd degree of the scale.In the 2nd bar the tenth is in the first inversion, in order to eomplete the progression.9. In the 1st bar of the u'altz (Chart 12. Group I), the same progression is used, beginning on the1st beat.10. Notice also that the middle note is not sounded in a tenth which falls in a progression of con-

secutive tenths.11. In future I will use the symbol, ~ to show consecutive tenths which fall into Group I. The

first chord in a progression of tenths will be denoted by its lowest note, e.g., C-4,G~ , etc.12. Study and memorise consecutive tenths, Group I (Chart 12).

Group II (~).13. Consecutive tenths in Group II always lead from the tonic (or 1st degree) chord to the dominant(or 5th degree chord) of the scale, as in Chart 12, Group II.14. In the fox trot version of Group II, the tenth and after-beat are followed, on the 3rd beat, by

the 2nd tenth (a tenth in its 1st inversion is called a 2nd tenth).From the 2nd tenth we descend a semi-tone to a passing note on the 4th beat, and then another semi-

tone to the 1st beat of bar 2, which will therefore be the reversed tenth of the dominant (or Sth degree)~rl ~I


3/11

15. The waltz version is the same except that, naturally, the after-beat on the 2nd beat of the foxtrot version is omitted.16. The symbol for Group II tenths will be (e.g., B~, .F~).17. Study and memorise Group II consecutive tenths, as shown in Chart 12.

Group III (~)',18. In Group III, as in Group II, the consecutive tenths lead from a bar of one harmony, to a bar

of another harmony-from the tonic chord to the sub-Dominant (4th degree) chord; The symbol forGroup III consecutive tenths will be (e.g., A ~, Eb ~ ).

19. Study and memorise Group III consecutive tenths, as shown in Chart 12.20. PAY PARTICULAR ATTENTION TO THE PEDALLING SIGNS IN CHART 12.ALWAYS PEDAL AFRESH FOR EACH CONSECUTIVE TENTH.

MORE ABOUT BREAKS.21. The word " break" in dance music, denotes a " fill in " at the end of a musical phrase or sentence.Where, you ask, is the end of a musical phrase or sentence? The average waltz or fox trot is 32

measures (bars) in length. These 32 measures are divided into 4 sections, each of 8 measures. The 7thand 8th measure in each section is usually the end of a musical sentence. Go through some popular piecesand practise finding the ending of these sentences.

22. Most professional pianists prefer to invent their own breaks. Before long, if you study my coursethoroughly, you will be able to do the same. But as you cannot be expected to do this at once, I will giveyou various breaks in this and the next lesson.Study them carefully, practise them well, and use then; with discretion in your own pieces.More important still, I want you to analyse the construction of these breaks and " fill ins," so thatyou will learn to build your own.

ONE AND TWO BAR BREAKS,2:l It is better not to play breaks at all, than to play them badly. So practise well the one andtwo bar " fill ins" in Chart 13, A and B.First try to practise them mentally, as I advised you in the section on "How to Practise." Thenpractise each hand separately. Only then should you practise them as written.Stop at intervals and try to imagine how these " fill ins" should sound when they are played at the

correct tempo.24. Once again I must remind you to study and analyse these examples carefully. Learn how to

construct them and how to apply them. Try to build one and two bar breaks of your own.SWING STYLE PIANO PLAYING-PASSING NOTES.

25. You will have noticed that AI.L BREAKS AND RUNS ARE BUILT UP ON CHORDS, orthe splitting of chords into arpeggio form.In swing, the pianist builds up a new melody line by changing the time value of the melody notesand adding passing notes (notes which do not belong to the chord). The performer, however, does notnecessarily aim to make the original melody unrecognisable.

26. The result is that, in swing, mainly single notes are played in the right hand.Example 47: Example 48:

27. Example 47 shows the notes of the C major chord, while Example 48 shows one way of playingthe notes of the same chord in swing style, i.e., I have added the passing notes marked "x" to the samechord.28. Notice that these passing notes are usually a semi-tone above or below the notes of the chord.Practise and compare the two examples.29. Before you proceed further with this lesson. study and practise Chart 13, C, and work ot41theexamples there in other keys. Do this thoroughly Page 2 L ess


4/11

Lesson 7

Example 49:

< D eVA 1-...I- .. r- L- , . ., - - - I I

, 1 ,I .l II :~ ..

1II

:1/I 1= = J

30. Play and study Example 49. Notice that I have written the straight melody ill the first twobars.In bars 3 and 4, however, I have changed the time value of the melody notes and added passing notes(marked x).Example 50:

~ .- If / . . . . . . .~ .- - ~, A r- . ."J' ~J I IEM ~:(1 A M D7

,. - = i : - - ~ ..~ .u- -" , . o f " ' . A - -- . . . - - ""II r-Example 51 :

~ -~ - ' - - ~ .-I A -AtJ G7C DM CJ : : 1 = ,. - -I :~ -:::- /I r- . . -. . I'/I -~~ = " " 1 1 ' - - - : i ~~. . 1Ir-31. For the next and last lessonIwant you to work out Examples 50 and 51 in swing style using

passing notes. Add consecutive tenths and breaks to the new fox trot and waltz in Chart 14.

P age 3


5/11

CHAQT J 1 .

~ ~ : = ._@ ~ - : f ! : - ~ ~ : : =. . . .

~ ~: j A i i = - _ c "G ; ; f : - = 1 : - : - - ' ! = = 1 : : : :J:~ = ""ill ~f- ~ 4i. . .

Page 4 L esso


6/11

e ~- t, : t E : ~ : . : t ~~. c : -. , . n ol....I (I 67 C ~l- D N I ~ . : : 1 = :tC : J : :~ I

-.:jj~

. . . .- - -:if-

esson 7 Page 5


7/11

-- - ____1'

r 2 r f i 4:jdl


8/11

CHART 12. CONSECUTIVE TENTHS.FOX TROT WA l TZi s : } ] f + *~I i j f J f I : d j * F I f j 1 f I

~ 1 ; 1 3 r f $ 1 j1l l t j f + I!11 1~ i 9 ; t l f ~pW I j11t In ~ p I j , f Ii s ! , } 1 f J Iff if Iljp 4 Ij 1 1 J/ ra; : fd ld~I~~4!141 j~I~ ~~J1;1, 1 ijI j 1J f litt 1 ~j I 3 1 1Ii;ld J f ~ p o f Id ' J'1 4 3 ' [ bp Ij,!

~i~~~jj F IjI f I n j * F d f 1 - 1-~< r ; : ! J 1p tHit ~114 j ~ p t t t = 1 t 4 Hjiii j f f P I t1TIlt] f r 1 1 b i ~lidm t P J IE 1 4 1 1 4 1 f * Ij~1go'-e', h&- o I i ! i ! ~ ~ ~f 1 k i

\ . b i r - . . t : : . -.1- ~ ~ j,il= ~ t= .. p . . . . .

Lesson 7 P age 7


9/11

C H A R T J3 .ON E S AR & P . f A K S .

A= 1 =

. . . . .1-

T W O & A I l & I \E A K S .

B

P age 8 L esso n


10/11

B

L es so n 7

CHART 13.TW O 8A~~EAKS .. /'"'" .

CI

8VA. . . .T~ r : r - - ~ ! " " " " = . I....-.:--. ~ - . . . . . . lo r - I.~~: r ~ ! r = . . . . .1 " " ' " ~ 'I I- I E M 'A M I :~ :, I 61 ~ Ic 1 ~. A M - J ~M ~ 1 : I I I ~ I ~ . . - =. . I (;.. s: I . . . . . I~ . . . .~\,!. :~ ~ "11 . . . 11S T U I > V I N P A S S I N 6 H O T E S .< AL L PA SSIN G NO TE S MAR K fD X )

-e-I

oI

P a g e 9


11/11

CHAR T 14.$ J g j n I r - FO X TROT m @r I ~.;=J 1 =-0= i3B "7 FM B ~A uq E"~

1 $ . % Q 1@r r (~ r~ [ I @ eEP . EP~ BbRev. 6b,I $ . ~ r E F r t r r r r F r s - r m

(!)" I r ) O F I ~ . rqE P EP ~ ~I>~y.

o o r " IF r lF--4-t j ~r I i ~ 0

67 ~J - I 0 I J t' - - _ q

WALTZ .!: C D ~ G > @ ) (J)l i j i g O J 1 J J 1 j J L g . 1 . ; I . . J 1 o J J IC--I..,;. PM (] ~ c c~ G ReV .t @~ @ (!) @-l

I~ J 1 : J . I " r 1 J 1 . J . I h 1 J ~ 1E_.4 A ,. 1: :. D71 $ J t J t : J t \ J J t a J t J . I JIDM -G7 c~ DM (j~ C

I ~ ~ J 1 J ' J t J . I O J jilt J j I @ J J 1c ~ (3 Rev. E7 ,..,.,..$ s Q f ) r r r I J . I @ J .

P age 1 0

G )

I

Lesson

Documents

Cobbway Piano Syncopation Lesson 7 of 8