ghi hop am, chuyen hop am echordplay sampler

8/20/2019 GHI Hop Am, Chuyen Hop Am EChordPlay Sampler

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The first section explores ways to create the fullest sounds by

playing chords in both hands. Then, it’s all about 7th chords.

The student first plays a tune with triads, then with 7th chords

to hear the difference.

Chord Play ™3The student learns to play 7th chords with the resonant,

open Chopin Voicings.

Exploration 13 is about Jump Bass Styles. This leads to an

exploration of arpeggios with 7th chords in Exploration 14

In Exploration 11, the student learns to invert 7th chords

omitting the fifth to create chord “fragments.”



About the Chord Play™ Series

Each 64-page book is filled with approximately

20 Explorations. By exploring and playing at th

piano, you learn the chords in use today as you

cultivate the art of arranging. Each new chord

becomes a friend to create with rather than a

theoretical abstraction to remember. You explore in three main ways: by playing

sample arrangements written in normal musical

notation, by reading lead sheets and filling in th

missing chords, and by playing and transposing

by ear. This three-way approach cultivates

knowledge and skill in an intuitive, “hands on”

way. For anything to become an art, intuition

must be a key player!

About the Author

Forrest Kinney, NCTM, is a music educator

dedicated to helping others learn the “four

arts” of music: interpretation, composition,

improvisation, and the art of arranging. He is t

composer and author of the Pattern Play ® serie

on improvisation, and the Chord Play ™ series on

arranging. He is also the author of Creativity—

Beyond Compare , a book about creativity. He h

taught music for over 30 years, and has worked

a professional pianist for over 25 years.

The author would like to thank Thomas Green for

his many helpful suggestions.

Here, 7th chords dance to a Latin beat.

fter playing the sample arrangement, the same techniqueused with a familiar tune. The student is frequently

ncouraged to transpose pieces to learn chords in all the

eys and develop the ear.

laying 7th chords with both hands is then explained.

his way of voicing chords features the root and seventh

f the chord played by the left hand

ext is an exploration of Bass Lines in various styles.

The Frederick Harris Music Co., LimitedCanada: 273 Bloor Street West, Toronto, ON M5S 1W2

USA: Suite 882, 60 Industrial parkway, Cheektowaga, NY 142

Tel: 416-673-1426 Toll-free 1-800-387-4013 Fax: 416-408-15



Do You Wish You Could?

◆ Create artistic arrangements for yourselfand your students

◆ Read “fake books” and make spontaneous

arrangements at the piano

◆ Improvise new melodies over the

arrangements you have created

◆ Create accompaniments for singers or for

your own voice

◆ Be able to play by ear and have a good

aural memory

◆ Develop a repertoire to play at various

events and services

◆ Know folk melodies, hymns, and classical

themes that comprise part of our musical

heritage

◆ Learn music theory (chords, keys, and

scales) in a musical and practical way

◆ Memorize your pieces more securely and

reduce performance anxiety

You and your students can learn to do all these things with

the new Chord Play ™ series by Forrest Kinney, author of

the acclaimed Pattern Play ® books on improvisation. Chord

Play ™ offers an exploratory and intuitive approach to the

art of making spontaneous arrangements at the piano. This

series is designed to complement both traditional piano

lessons and the Pattern Play ® series.

Enjoy creating!

Chord Play The Art of Arranging at the Piano

Introducing



Chord Play ™1The series begins with familiar tunes played either by ear or by

reading. The student adds simple major chords guided by a lead

sheet. Beginners who do not read music can do this by ear with

the help of the teacher.

Chords can also be played in different voicings (different w

of distributing the chord notes).

Here the student learns arranging both by playing sample

arrangements and by completing the lead sheet, adding the

suggested chords in the same style.

In Exploration 15, the student learns the arranging techniq

of chord substitution. In this case, minor chords are

substituted for the common major chords.

Then come the minor chords in the key. When a tune appears

for the first time, it has an introduction marked by a bracket.

Each chord can be played in many styles. This book explores

how to transform simple triads into stylish chords.



Chord Play ™2n a later section, “color tones” are added to the basic triads. This book is all about the powers of inversions. It begins b

exploring how inversions allow us to create strong bass line

move stepwise.

In Exploration 4, the student learns to combine inversions

the technique of Chord Substitutions.

In Exploration 5, the student learns to play inverted triads

the Chopin Voicing introduced in book 1. This leads up toexploration of arpeggios in Exploration 8.y the final page of this book, the student understands thatuld Lange Syne can become something special by combining

he ideas of Jump Bass, Chord Substitution, and Added Second

hords.

n the Finishing Touches section at the end of the book,

ntroductions, Endings and Fills are explored.



xploration 9 introduces ways to play chords and their

versions with the right hand to make accompaniments.

Exploration 12 takes the ideas in the previous Exploration

into a different style: ragtime.

Explanations always include sample arrangements of

familiar melodies or classical themes.

In Exploration 16, right-hand inversions are played in gospel

styles.

n Exploration 10, the right hand plays both a melody and

hord tones.

n Exploration 11, this is taken a step further. Here, we explore

ays to play melodies and inverted broken chords with the right

and.

ghi hop am, chuyen hop am echordplay sampler

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