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'how to play piano ~ Make Your Piano Playing Sound More Professional By Learning To Think Like A Singer ~ learn to play piano'

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Dave is a professional musician with 30 years experience. To learn more visit him at how-toplaypiano.blogspot.com/'>How to Play Piano


"....Singers naturally slow down and pause slightly at the end of a phrase to take a breath.....
.....how to play piano, learn to play piano, electronic piano....."

Sounds like a strange laurel for an article on how to perform the piano doesn’t it? However, singers employ some tricks that we piano players can learn from. Think the words to the song as you play. Here are five important ones.

(1) Phrase it like a singer. Singers naturally slow down and pause slightly at the end of a etymon to take a breath. Many times we are so engaged in the notes on the page that we forget that most popular music is also meant to be sung. Most of our listeners are unconsciously contemplative the words to themselves as they pay attention the music. So should we. Certain parts of the song may also need a tempo change. Unless we perform these natural pauses that singers use, our playing comes off as stiff and unemotional. For that reason a singer may increase the tempo slightly. The chorus for example is usually the high point of the song emotionally. Often times the end of the song may need a slight slowing down or retard. We should do the same. By listening to how a singer phrases we can learn a lot.

(2) Focus on the dynamics. Sometimes a verse may be very free wording tempo wise, in the course of the chorus may be very rhythmic. Again a singer will emphasize certain parts of the song by changing dynamic levels. One sure mark of an amateur is a constant dynamics level. Another way that singers deviate dynamics is to emphasize certain words or phrases of what they sing. For example a verse may start out somewhat subdued and build dynamically to emphasize the chorus. Again the key is to put in tune the words to ourselves as we play, and do what is appropriate.

(3) Use contrast. We can do the same thing by slight changes in dynamic level. The key here is to change things a bit etymology by attribution or section by section. Songs that have the same dynamic level, the same tempo, or the same degree of harmonic wilderness get boring pretty fast. If one section is fast, make the next one a little slower. In other words if one theory is loud, make the next one soft. If the song starts out with big two fisted chords, pare things down to a single earmark measure or two part harmony. If the chorus is rhythmic, make the verses a little more free style. Variety is the key. I ponder you get the point. A behalf singer will very every hour make fine changes to the melody. Good singers do this instinctively.

(4) Play with the melody. Often a singer may thrum with the timing a little to add some suspense or jazz things up a little bit. Not so much that the song becomes unrecognizable, but just enough to keep things interesting. Almost sine die do you lend an ear a interest singer chime the song just as it was written. Or maybe they will add a few ornamental notes to add interest. You may think, I could never in all ones born days do that. Neither should we.

(5) Make your own arrangement. As with anything else, practice makes perfect. However, by observing some of the techniques mentioned above you are beginning to do just that. None of the superstars sound like anyone else. Listen to big singers, and one thing they all have in common is that they harmonize a song their own way. We need to reflect the same way. That’s what makes them great. There can only be one Elvis! There can only be one Aretha Franklin. Why are Elvis impersonators laughable? Simple. There can only be one Nat King Cole. There can only be one Sinatra. While it may be OK to learn from the greats, to try to sound just like them, takes away that element that is uniquely you.

We may not all be singers, but we can take a symmetrical from imitating their style. I deliberate you get the point.

"..... If we follow after a few ordinary techniques: ponder about words and phrasing, swerve the dynamics, use contrast, swerve the melody, and make a song uniquely ours we can sound much more professional. If we follow after a few ordinary techniques: ponder about words and phrasing, swerve the dynamics, use contrast, swerve the melody, and make a song uniquely ours we can sound much more professional....'

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