Have you ever wanted to accompany yourself or others while singing? The desire to do so is one of the key motivations for a surprising number of piano students. Yet so many students feel intimidated by this idea. Some days, it seems hard enough to play the piano piece by itself. How will you ever learn to sing at the same time – and carry a tune?

Don’t give up! The ability to accompany yourself on the piano while singing is a skill like any other. And like any skill, it can be taught. (Didn’t I say the same thing about improvisation not too long ago?)

If you already have a good grounding in piano basics, such as knowing the notes, knowing your scales, reading music – great! You have a very firm foundation for learning how to accompany yourself. Now you can learn to read a “lead sheet,” which is a kind of musical shorthand. (Don’t worry, if you’ve already learned to read traditional music, you’ll find this a piece of cake.)

A lot of pop, rock, country, and other contemporary music is noted down in this non-classical format. These lead sheets are collected in books called “fake books.” In its simplest form, the lead sheet consists of a single line of notes that pick out the melody, accompanied by chord notations above.

In accompanying yourself or others using a lead sheet approach, the vocalist takes the melody, and the accompanist plays the chords. Pretty simple, really.

But wait, you say, don’t you have to pick out the melody with the right hand, while singing it too? Actually – and this is the big secret of accompanying yourself – you don’t. In fact, it sounds better if you don’t.

Remember, the goal of an accompanist – even when accompanying himself – should be to get out of the way of the vocalist. The singer has the melody, the voice has the spotlight. If the piano is plunking out the melody underneath, it pulls attention away from the voice.

If you want to sound great when you’re accompanying yourself, you’ll need to try something called “chord piano.” This is, as the name implies, a style of playing in which the piano plays primarily chords, and leaves the melody to the vocalists, or perhaps another instrument.

Here’s what you need to do to accompany yourself and sound great doing it:

• Learn to sing the melody (if you can’t do this, what’s the point?)
• Play the chords, as noted in the lead sheet, with your right hand
• With your left hand, play the roots – your left hand takes on the role of the string bass in a jazz trio

Not only will your music sound better this way, but it’s easier too! All you have to do is look ahead on the lead sheet to the next chord that’s coming up, and pick out a bass line with your left hand.

With a bit of practice and some guidance from your teacher, you too can learn to accompany yourself on the piano.

In 1924, pianist and composer George Gershwin produced what has proven to be one of the most enduringly popular works of the piano repertoire: The Rhapsody in Blue.

It is somehow fitting that Gershwin, this child of immigrants, rising from humble beginnings, should have written what he himself described as a “musical kaleidoscope of America.”

The work is boisterous, exuberant – it defies classification. Is it jazz? Is it classical? It’s a concerto, it’s a melting pot mishmash of folk tunes and jazz elements – and it’s absolutely brilliant. What could exemplify the best of America better than this composer, and this work?

Later critics, including no less a luminary than Leonard Bernstein, would criticize Rhapsody in Blue for what they saw as the chunkiness and clunkiness of the work. “It has no overarching theme,” they said; “It’s just a slapdash collection of various individual themes jostling up against one another.”

But that was Gershwin’s whole point. That’s what this nation of immigrants is like. In the space of five minutes in a large city, you could bump up against Jewish culture, Chinese culture, Irish culture, African-American culture – and somehow it all worked together to create a harmonious, even beautiful whole. The same is true today. Even those who don’t live in a big city bump into all those pieces of the whole in movies, radio, TV, and the internet.

As I mentioned in my previous post, Gershwin wrote this amazing piece in only 5 weeks, at the request of his friend, the band leader Paul Whiteman. Whiteman was organizing a concert of jazz and jazz-influenced music which he intended to call An Experiment in Modern Music. He asked Gershwin to compose a concerto-like jazz piano work for the event.

At first, Gershwin thought that he couldn’t produce such a major work in the short amount of time left before the concert. But then, in a newspaper article about the upcoming concert of “experimental” music, Whiteman was quoted as saying, “George Gershwin is at work on a jazz concerto.” Seeing this, Gershwin felt he had to deliver.

Fortunately, during a train journey to Boston, Gershwin found inspiration in the rhythmic sounds of the train. By the time he arrived in Boston, Gershwin had most of the piece composed in his head. Working feverishly, he managed to finish it in time.

The concert was held on February 12, 1924. Rhapsody in Blue was second-to-last on the lengthy program, and the audience was quite restless by then. But Gershwin’s work held them spellbound.

Much else that was premiered that day has long since been forgotten. But generations of pianists – and concertgoers – have enjoyed the Rhapsody in Blue right up to the present day.

From the opening glissando of the clarinet to the glorious finale, the piece contains 5 distinct themes and a sixth “tag.” All of the themes are written in some form of the “blues scale,” with its lowered sevenths and prevalent use of thirds, both major and minor. Each theme is presented in various styles and with the frequent use of rubato, and is handled by both the solo piano and the orchestra at different times.

Gershwin’s respect for jazz and other popular music of his day is evident from his use of “blue notes,” his use of syncopation, and the inclusion of “vernacular” instruments such as banjo and saxophone. He also presented various popular piano styles of the day, including stride piano, novelty piano, and comic or vaudeville piano, as well as the style of the song-plugger, which is where he got his professional start.

Any pianist who can perform the Rhapsody in Blue demonstrates mastery of the instrument, in both classical and jazz styles.

Composer George Gershwin is among the best-known composers. His style was uniquely American: Big, boisterous, and an energetic fusion of old and new. He typified the “melting pot” that was the America of his day.

Born Jacob Gershovitz in 1898 to Russian Jewish immigrant parents, the boy who later became George Gershwin was no Mozart-like child prodigy. He was inspired to begin music lessons after attending the violin recital of a young friend of his – at the ripe old age of 10.

So much for the idea that you can’t amount to much, musically, unless you start piano before your feet can reach the pedals.

George’s parents had bought a piano for his older brother Ira, and at his request, allowed the younger boy to begin lessons. Five years later, George Gershwin was ready to quit school and begin playing piano professionally.

Command performances for the royalty of Europe? Um, no. Again, in contrast to Mozart, Gershwin began his professional career as a lowly “song plugger” – a pianist hired by a music company to demonstrate the latest songs available on sheet music. In this way, perhaps, he developed an ear for popular music that would serve him well later.

In 1916, when he was just 17 years old, Gershwin published his first song for the princely fee of $5. Also in 1916, Gershwin began work for the Aeolian Company and Standard Music Rolls in New York City, making recordings, arranging, and composing under his own and assumed names.

By 1920, Gershwin had begun to see commercial success for his compositions. In 1924, he collaborated with older brother Ira on a musical called Lady Be Good, the first of many productive collaborations between the two brothers. George handled the musical composition, while Ira wrote the dialogue and lyrics (the “book”).

Also in 1924, George Gershwin wrote what is perhaps his most famous major piano work, the Rhapsody in Blue. It is an American composition: A 15-minute concerto for piano and full orchestra – containing clear elements of jazz, popular, and folk music woven into the very fabric of the piece. Gershwin himself thought of it as “a kaleidoscope of America.”

Gershwin wrote this amazing piece in only 5 weeks, and only reluctantly at that. His friend, band leader Paul Whiteman, had requested a concerto-like jazz piano piece for a concert he wanted to put on called An Experiment in Modern Music. The concert was held on February 12, 1924.

Initially Gershwin refused, thinking that he couldn’t produce such a major work in the short amount of time allotted. But after seeing a report in the newspaper that quoted Whiteman as saying, “George Gershwin is at work on a jazz concerto,” he felt he had to deliver. And deliver he did.

1924 was a busy year for young George. This was also the year in which he traveled to Paris, seeking to study under master composers of the day. Maurice Ravel, an admirer, famously refused to take him on as a student, fearing it would ruin the jazz influence that made Gershwin so unique. While in Paris, Gershwin wrote another piece that has proved enduringly popular, the symphonic work An American In Paris.

In 1935, Gershwin produced his most ambitious work, which he called a “folk opera,” Porgy and Bess. This was based on the novel Porgy, by DuBose Heyward. Heyward, with his wife, had previously adapted the novel to play form, and collaborated with Ira Gershwin to adapt the play to the operatic form.

In 1937, Gershwin, then only 38 years old, began to experience blinding headaches. Later in the year, he was diagnosed as having brain cancer, although the diagnosis of the exact kind of cancer since been questioned. Following surgery for his tumor, George Gershwin died on July 11, 1937.

Here Gershwin finally comes to resemble Mozart. Not a child prodigy, not a performer for royalty. Yet still a prolific composer of wildly popular music — and Gershwin, like Mozart, died too young.

In my last post, I told you that you could learn to improvise at the piano. I even shared with you some of my own story that explains why a pianist should learn improv.

Now, I’ll be honest with you. There’s only so much you can learn by reading what someone has written about improvising at the piano. You really need to watch and listen, and follow the example of a mentor who has been through it before. That’s why I created my homestudy course with DVDs that demonstrate and explain more fully what you need to do.

But here, I’ll share with you a few of the principles that I teach at greater depth in my course.

(1) Practice, practice, practice!

I’m sure you’ve heard this before! But it’s true of improv just as much as any other skill: You’ll only improve if you practice.

(2) A solid grasp of the basics will help you learn to improvise much more quickly and effectively.

This is because improv is really your own combination of the musical elements you’ve mastered. The basic piano technique skills are like the words of your vocabulary; improv is like having a conversation.

It’s free-flowing, and authentic to what you’re thinking and feeling at the moment. But if you had never learned the words in the first place, you couldn’t express yourself in a conversation, could you? And the more “words” you add to your musical vocabulary, the better able you’ll be to express yourself.

For example: Suppose you wanted to say “The man walked across the road.” Great; you’ve expressed a basic concept. But now suppose instead of the word walked, you used a word like ambled, or sauntered, or plodded, or staggered. These words all mean some form of walked, but they each give the sentence a whole new meaning.

Improv on the piano is like that. The more skills and techniques you know, the more meanings and emotions you’ll be able to put into your improvisation.

(3) So learn your scales! Learn your chords. Learn your theory.

You’ll put it all to work in your improv. (Sorry if you thought improv meant you didn’t have to do all that!)

In my course, I’ll teach you all about how to use chords effectively in improv. I’ll show you how knowing the key of a piece (that is, the scale) can help you improvise a great harmony for an existing melody, or even a pleasing melody itself.

(4) You’ll also want to learn solfege, or the art of sight-singing.

What does singing have to do with improvising at the piano, you ask?

Well, solfege (sight-singing) will help you tremendously in learning to “play by ear.” This ability is an important component of improvisation. You’ll want to be able to “pick up” a tune and improvise around it. In order to do this, you’ll need to know not only how to play chords and chord progressions on the piano, but also how to recognize them when you hear them. You’ll need to learn to recognize chords and the intervals that make up arpeggiated chords. And solfege helps you do this.

(5) Don’t forget to have fun!

Take some of your piano practice time, and shut your music. Just play around with some of your “musical vocabulary.” Let your fingers express what you’re thinking and feeling. And enjoy yourself.

You can learn to improvise. Good luck!

Want to know a secret about piano improvisation?

Here it is: The ability to improvise at the piano is a skill like any other – and like any other skill, it can be taught!

The big question is, why do so many musicians think with regard to improvisation, “You’ve either got it or you don’t”? Why are so few pianists taught this skill during the many, many years they may have taken piano lessons?

Have you taken many years of lessons? Have you mastered a respectable amount of repertoire – yet you still feel paralyzed with fear if you do not have your music handy? If friends make impromptu requests for you to play, do you lack confidence?

Believe it or not, I understand! I had exactly the same experience. I was so embarrassed at one such request that my mind went blank and I froze at the piano. Eventually I told my friends I didn’t feel well and slunk off. I was so upset after this, I vowed I would not let it happen again. I started on my quest to learn improvisation skills.

Now, I can play for my friends on request – I can even play in front of the entire congregation of my church! Now, I have added improv skills to the lesson plan for all my students. And, I developed a home study course to enable literally any pianist to learn this skill.

I recommend my course, and not just to make a sale; I really want to help people learn a skill that, deep down, nearly all pianists wish they had. That’s why I went into piano teaching in the first place – to help others learn. The great thing about the internet, and digital technology in general, is that now I can teach people who can’t make it to my studio in person.

The skill of improvisation is best taught by an example that you can watch and hear – whether a lesson in a studio, or on the DVDs that come with my study course. But although what I can teach you from just written words is somewhat limited, I’ll mention a few of the principles here, and in my next post.

The main thing you need to know in order to improvise is that improvisation is not completely spontaneous! It builds on tiny pieces of musical repertoire that you can learn – beginning with chords and scales. (Ah-hah! A good reason to practice your scales!)

So, knowing that, the first few steps to improvisation are…
1. Know your scales. If you don’t know them yet, learn them!
2. Learn about chords. Start with triad chords (chords that contain 3 notes).
3. Spend some creative time at the piano — without music in front of you. Play around with the notes and your technical skills.

Just like when you’re learning a language, you need to spend time on writing essays and composing sentences with vocabulary learned. Set aside some practice time during which you set aside your sheet music. At first, you will probably find it difficult and awkward, maybe even boring. But if you push through the challenge and keep practicing anyway, it will become natural and even fun. You’ll be improvising!

Once you learn the principles of improv, you can explore jazz playing. But you can also add flair to popular music, hymns, and so on. If you learn the skill of improvisation at the piano, it will enhance your own enjoyment as a musician – and will make you the life of any party!

In my last post, I discussed whether the piano should be classed as a percussion instrument. As we saw there, it is a percussion instrument which is played using a keyboard. Or, we could also see the piano as a keyboard instrument whose means of sound production is percussive.

Just for variety’s sake, let’s talk about some other tuned percussion instruments – and I’m not talking about tympani. Let’s consider several instruments which provide at least an octave or two of tuned notes. As such, they can play melodies, even chords and harmonies, and in this way they approach their piano cousin much more closely than does, say, the snare drum. Moreover, the tuned elements are arranged in a way that resembles the piano keyboard, only on a much larger scale.

Xylophone: The xylophone gets its name from the Greek word for “wood” combined with the word for “sound.” Xylophones consist of a series of tuned wooden bars arranged horizontally on a stand.

Modern xylophones have short resonating tubes below the bars, which help the tone carry out to the audience. The xylophone sounds one octave higher than written, and in standard xylophones, the top note corresponds to the top note on a piano. The instrument has a bright, high tone. A concert xylophone can be as small as 2-1/2 octaves, but most concert xylophones provide 3-1/2 to 4 octaves.

The xylophone can be struck with a variety of mallets, whose heads may be hard rubber or plastic. Each of these types of mallets produces a slightly different quality of sound in the xylophone.

Marimba: The marimba is similar to a xylophone, and like its smaller brother is made of a series of tuned wooden bars, arranged horizontally on a stand and struck with mallets.

However, marimba bars are shaped differently from those of the xylophone. Marimbas always have long resonating tubes, which can extend almost to the floor. As a result of these two differences in construction, the marimba’s tone is much warmer than that of the xylophone, and its notes sound where written, rather than being transposed up an octave or two.

This difference in tonal quality is accentuated by the softer mallets used on the marimba. The heads of marimba mallets are almost always covered with yarn or cord, resulting in a softer, warmer tone.

Concert marimbas are generally at least 3-1/2 octaves in size, and often as much as 4-1/2 or even 5 octaves.

Vibraphone: A vibraphone is like a marimba with bars made out of metal, rather than wood. It is generally used in jazz or rock ensembles, rather than concert ensembles. Because its bars are cut like those of the marimba, combined with the use of yarn or cord mallets, the sound quality of the vibraphone is more similar to the warm tones of the marimba rather than the bright tones of the xylophone.

The vibraphone also has a pedal, which works exactly like the sustain (right) pedal of the piano; and a series of motor-driven fans, which can be used to create a vibrato effect. This is where the vibraphone gets its name.

Glockenspiel: The glockenspiel resembles a small xylophone with metal bars instead of wooden ones. Like the xylophone, the glockenspiel is a transposing instrument. In the case of the glockenspiel, the notes sound 2 octaves above where they are written. The glockenspiel is a small instrument, generally no larger than 2-1/2 to 3 octaves.

Glockenspiels do not generally use resonating tubes and are struck with hard mallets. They produce a very clear, sweet, bell-like tone.

Chimes: Chimes are outstanding instruments – literally. They are usually positioned out near the front of an ensemble, and are highly visible since they stand upright. They also have a clear, strong tone that rises distinctly above the rest of the ensemble. Chimes are often used to mimic church bells in ensemble pieces.

Chimes consist of a series of tuned metal pipes (called bars) arranged so as to stand upright in a rack. They are struck by a small hard rubber mallet (called a striker), and can produce a surprisingly loud, pure tone.

Chimes come in various sizes, but typically the smallest set has 12 bars, or a single octave. Larger sets can have 33, 36, or even as many as 66 bars, providing a terrific range for this instrument.

Each of these percussion instruments differs from their keyboard brethren, in that they are struck directly with sticks or mallets. Yet, like the piano, they are capable of producing lyrical melodic lines, and multi-tone harmonies. Percussion is not “just” drums!

When you think of percussion, you first think of drums, right? Most people do. Snare drums, bass drums, maybe tuned drums such as tympani. Cymbals, temple blocks, perhaps gongs.

These instruments produce sounds which are integral to many an ensemble, from a small jazz combo to a full symphony orchestra. But these sounds are generally not what we might consider “lyrical” or “melodic.” We think of these sounds as being single-tone, abrupt, and perhaps even harsh in some cases.

It’s easy to forget that the piano is a percussion instrument, too.

Technically, anyway. This is because each note of a piano is produced by means of a tiny hammer striking the strings. And it’s this “striking” aspect which defines a percussion instrument, in technical terms.

The rich tones produced by the piano, reverberating in harmonic overtones that add depth to the sound, the liquid melodies, the complex chords… When considered by means of sound production, all of these are produced by a percussion instrument.

However, in practical terms, there is a clear distinction between pianists – who may not know how to hold a pair of drumsticks properly, let alone perform a paradiddle – and percussionists – who may not know how to find middle C on the keyboard.

There has also been discussion of whether the piano could or should be classified as a stringed instrument. Most musicians would say no, despite the fact that you can’t have a piano without strings. The technical definition of a stringed instrument is one whose sound is produced by bowing or plucking the string, not by striking it. Think violin, or guitar.

A better case could be made for the harpsichord to be considered a string instrument, since its strings are indeed plucked. Yet because of its keyboard, it is played using much the same techniques as the piano – technically, as we’ve said, a percussion instrument.

In fact, as an interface between the musician and the sound-producing mechanism, that keyboard is a highly distinguishing feature. Because of this, many musicians opine that there is (or should be) an entirely separate class of instruments, the keyboard family.

These musicologists would class piano, harpsichord, organ, celesta, and electronic keyboards together, due to the similarities in playing technique – regardless of how the sounds are actually produced.

So the Keyboard family would look something like this:
- Piano (Percussion – sound produced through striking)
- Harpsichord (String – sound produced through plucking)
- Organ (Wind – sound produced through air flow)
- Celesta (Percussion again)
- Electronic Keyboard (?????)

Yes, it’s complicated. How you class the piano depends on which of the following classification schemes you feel is most relevant:
(1) By how the sound is produced. By one thing striking another (percussion), by plucking or bowing (strings), or by vibrating a column of air (wind).
(2) By construction. If you can’t make the sound without the strings, then call it a stringed instrument.
(3) By method of playing. If you use a keyboard, it’s a keyboard instrument; if you hit it with a stick, it’s a percussion instrument.

Traditionally, the first classification scheme has held sway. Number 2 is not widely accepted. But Number 3 is gaining ground.

For now, most musicologists would agree, the piano is a percussion instrument, and also a keyboard instrument. Perhaps a happy medium would be to define it as a keyboard instrument whose means of sound-production is percussive.

Plenty of people make a living as professional musicians. Granted, very few of them are touring as top-billed soloists.

If that’s your dream, well – give it your best shot. You could be the one, and don’t let anyone tell you otherwise. Realize, though, that it takes a high degree of natural talent, plus years and years of devoting your life to your art. And, let’s face it, there’s also an element of luck – of being at the right place at the right time. (Of course, if you haven’t prepared to take advantage of that lucky break – then you won’t.)

However, you can make a living as a pianist in many other ways besides soloing. Here are a few of them.

Ensemble Musician. A pianist can make a living on stage without being the soloist. Keyboard artists are in demand for ensemble work, whether classical or contemporary.

If classical music is what you love, then you might find yourself playing with chamber ensembles, or in some orchestral performances. If you prefer contemporary music, you could tickle the ivories in a jazz ensemble, or rock, pop, or country band.

Studio Musician. A studio musician is someone who plays for television shows, ads, radio, or cinema soundtracks. A studio pianist might play alone or in an ensemble. Unlike those who make their living performing live onstage, the studio musicians are normally heard but not seen. Yet their services are valuable: We all know how much is added to the emotional impact of these media by a good musical soundtrack.

Freelance Performer. These are pianists who play for weddings and other events, or who provide enjoyable music in non-concert venues – places like upscale stores or restaurants.

While it may be possible to do this kind of work full-time, probably most of these performers have other jobs. Perhaps they work as piano teachers, piano tuners, or studio performers, and these freelance opportunities help them supplement their income.

Accompanist. A good accompanist is worth his or her weight in gold. (Unfortunately, this is just a figure of speech.)

An accompanist is a pianist who plays the supporting parts for a soloist, a choir, or a dance studio. As such, the accompanist is absolutely crucial to a good rehearsal and an excellent performance. The best soloists and choir directors realize this, and treat their accompanist with great respect.

Though you must have mastered your instrument in order to be a good accompanist, not every good player is a good accompanist. (See my earlier post on choir accompanists for more about this specialty.)

Private Piano Teacher. You can make a living as a piano teacher.

However, as with the accompanist, while you must be an excellent pianist yourself in order to become a piano teacher, not every good pianist has what it takes to be a good piano teacher.

To make your living as a piano teacher, you must really love the teaching aspect, since that’s what you’ll spend the majority of your time doing. You’ve got to love kids, and be able to tolerate beginning-level playing. You must be able to see the students’ potential – not what they are today, but what they could be – and help them reach it.

Music Educator – College or University. Another possibility is to become a college professor.

Of course, you must first be willing and able to obtain advanced degrees in music. Again, like the soloist, you must give up years of your young adulthood to achieve your PhD in piano pedagogy before you can become a professor.

And, like the private piano teacher, you must also love the teaching aspect. You won’t be dealing with beginning students, but you must be able to motivate and encourage your advanced students to advance still further.

* * *

As you see, there are many opportunities for a pianist to make a living, beyond soloing. The work may not be as steady or lucrative as, say, becoming an accountant. But if you know that office work isn’t for you, and you simply love to play piano, you certainly can make a living at it.

Sometimes parents encourage their children to become music majors, because the parents really wish they had followed their musical dreams when they were young. Sometimes parents are reluctant to allow their children to become music majors because they’re worried about the young person’s ability to make a living later. And often, parents just want their children to do what’s right for them.

How can you decide whether to become a music major in college? Here are 3 good reasons why you might want to do so.

Reason 1: You want to be a music educator.
If you have dreams of being a high-school band director – or, dare I say it, a piano teacher? – then you pretty much have to pursue higher education in music.

You’ll learn extensive music theory, music history, and music pedagogy. If you want to lead ensembles, then you’ll also learn conducting. After all, you can’t teach a subject before you master it yourself.

Reason 2: You want a music performance career – and you have real potential for achieving it.

Maybe you’ve entered – and won – an amateur competition or two. Or maybe you’ve been told by an experienced professional musician that you have real potential for a performance career. This could be your teacher, but ideally, you’ll have been told this by at least one other serious musician as well.

Realize that very, very few musicians ever make a long-term career as a concert soloist. But there are other opportunities for a professional musician, which I’ll tackle in another post. And if you want to pursue any of these performance career possibilities, the experience of majoring in music can provide you with the skills and contacts you’ll need to make your dream a reality.

Reason 3: You love to practice.
And I do mean love. Excellence in any activity can only be achieved through spending many, many hours on it. And if you don’t love what you’re doing, these hours and hours become a chore rather than a delight.

Of two people with similar natural abilities, which one is going to go farthest with a particular skill – the one who loves to do that activity, or the one to whom it’s a chore?

So, if you resist practicing until a recital looms, you might want to think long and hard about whether being a music major is for you.

You can expect to spend several hours per day in individual practice, ensemble rehearsals, and individual or group lessons. This will be the case even if you do not intend to be a performance major. Music education, conducting, and composition students simply practice other things.

So, there you have it. If you truly love music more than any other activity, if you are serious about pursuing a career in music, whether teaching or performance – then you may just have what it takes to be a music major.