Getting Creative on the Keyboard for Beginners | Jon Goode | Skillshare

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Getting Creative on the Keyboard for Beginners

teacher avatar Jon Goode, Get writing music!

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (35m)
    • 1. IntroSkill Share

      2:11
    • 2. Week 1 Scale Construction

      5:54
    • 3. Week 2 Building Chords Final

      3:50
    • 4. Week 3 Chord Progressions

      5:48
    • 5. Week 4 Melody

      7:43
    • 6. Week 5 Structure

      5:27
    • 7. Week 6 Final thoughts

      4:18
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About This Class

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Love music but never had any formal lessons? Ever wondered how to start writing music or song using a keyboard? This class teaches you the relationship between basic concepts of harmony and melody and how they fit together - you will be creating your own music in no time......

 

The only resources you need are:

  • A keyboard
  • Bags of enthusiasm

 

Over the duration of the class, will be looking at:

  • Scale construction
  • Building Chords
  • Chord progressions
  • Writing Melody
  • Structure
  • Writing a piece of music

 

Meet Your Teacher

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Jon Goode

Get writing music!

Teacher

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Transcripts

1. IntroSkill Share: my name's John. Good. I'm gonna be your keyboard shoes over the next six weeks. Bass player and synth bass player with problems selling artist, country regularly touring point, faster balls, stadiums and arenas across Europe. Cases Well, real privilege to build that city keyboards over these next six weeks. And they're gonna be 70 looking at some of the key components of what constitutes malady and hardly fits in together. All of it, based around the experience that I've gone through the last 20 years, first asked would be looking at scale construction notes on the keyboard. So if you're a beginner, don't panic. We're gonna go through this whole thing step by step. Second lesson, we're gonna be looking to court. What is a court? How do we build ports? How do they relate to the major scale? From this point on, you'll be asked Right now, using the information third week, we're gonna be from the corporations to create great variation way to create. I want to be looking a repetition how to create a conversation, as is the case with everything you need some kind of structure. From this point, we're gonna be living. You're gonna be waste around lyrics to it would just be investigating. Integrated together? What do you hope you'll join us on this journey? 2. Week 1 Scale Construction: - Hi . Welcome to getting creative on the keyboard for beginners. It's really great that you've taken this class on the hope that the explanations that I give you between harmony and malady or based around the major scale will come in useful few as we go through the next six sessions. I understand that some of the people taking this class are beginning, so I'm just going to talk a little bit about what the notes on the keyboard are on, how we put them into a particular order to create a scale. The reason this is important is because we'll be referring back to a subsequent lessons on This is where we're going to start building accords from. So the very first stage is to identify what the notes on the keyboard actually are. So, basically, if you find these two black notes here and you go to the note to the left of it, you come to the sea. OK, it's the same everywhere across the keyboard to the two black notes rather than the three, and you go to the left and you come to the sea. Now. Then, when it comes to identifying what the notes on the keyboard, you'll notice that it kind of follows the alphabet up to G. And then it goes back to a. So if we think of sick, uh, hey, be see when we get to see the whole sequence starts again, See de e uh, G A B and then see on That's up. And that's the same all across the keyboard. If ever you find yourself getting lost on some of those nuts, look for the two black notes and go for the note immediate to the left and you'll find yourself plain the Sea Knight. What's quite interesting is that sequence of notes that we've just played is actually what we call a scale. What's interesting is the notes that we've just played are actually a scale. Scales are determined by a sequence or a pattern. This particular scale, the major scale, falls into its own. Patton. Let me show you. Basically, we talk about distance between notes, being what we call a tone or a Sami town. The tone is basically two steps away from whatever new you started Sam Ito. It's basically one step, so if you imagine that a tone is two steps on your Sammy tone is one step. So the distance between the 1st 2 notes is a tone distance between the second or third note is also a tone, but this is where it changes the distance between the third and 1/4 boat is a Sami tone way . Have a tone. I think we have a tone. Then we have another town on. Then we have a Sami town. So basically, if you think the order of all major scales follows the same pattern off tone tone, Sammy tone, soon tone Sammy time tone, tone, Sammy tone, tone, tone, tone Samitova, Let's try it again, starting a different. So this time I'm going to start on the next D. So there's much to black notes there, see? And if I could. But when I come to a T now, if I go up a tone two steps to the E, if I go up two steps, I come to the F shop. If I go up one step, I come to the G. A tone from the G is two steps to the a tone. From the A's two steps. We come to the B tone from the big going up two steps that come to the sea shop. And then I got a semi tone that come to the T. You're noticed as your plane. These different scales Europe hitting black notes along the way because you have to follow that sequence of tones and Sammy tens. Basically, if a notice raised by a semi tone, it's a sharp. If a note goes down by a Sami tone, it's a flat. So think of it, the shops go up and flats go down. If you use that sequence, you're able to work out all the major scales and all the keys. You're able to work out all the key signatures as well. So when you are coming to play music and when you are coming too, right, if you're with a singer, for instance, who do the ideal pitch is not perhaps see. Then you'll understand what the major scale is in that key, and you could start thinking about what chords you be able to fit underneath. You don't have to do any homework, but it would be great if if you could think about this for next class, and perhaps you could write out the major scales in a few different keys. You could actually have a go at starting a different notes on the keyboard using this sequence of turns, and Sammy turns on being able to work out what the key signatures are little certainly coming. 3. Week 2 Building Chords Final: Welcome to Week two. Last week we were looking at the major scale and we were looking at what constitutes a major scale and the distance between the different note to the scale and how you can start anywhere on the keyboard on work out the major scales. From any note this week, we're going to start building cords to the very first thing with a look at is what is Accord? Well, Accord two or more notes play together. Uh, some of the court's view when the notes you play together, sound lovely in seven, then perhaps don't site and cried so nice. But what's cool about this is that if we refer everything back to the C major scale, you're not really gonna go many miles. Okay, so let's start working this out. So the very first thing that we're gonna look at is how to build a triad. If you remember last week, we were looking at the major scale now that if we actually label each of these notes with a number, we could start working at some chords. So the first note is number one, Andi, That's up notebook called number one as well, because Actually, it's the same. It's just a knocked it higher. Okay, so what we're gonna do stop building a Triad? As the name suggests, It's a cord made of three notes. These particular three notes are made from the first of the scale, 1/3 of the scale on the fifth of the scale. There's my try it. What's quite cool is I could move this around and made. There's my tribe. Now, if someone Mr Term and say Can you play court one? You build a triad on the first degree of the scale. So we're still in the key of C. So I'm gonna build my tried, which I said was number one. Number three, number five. Okay, 135 If someone said, Can you please play court to I play the first degree, which is the D third? Remember? Fifth, we're starting on the second note of the scale, which is why it's called Court to someone said, Can you play court three? I start in the third degree, the scale, but I build up my tried with roots 13 five and so on. Full court. 567 4. Week 3 Chord Progressions: Hi there. Welcome to Week three. First lesson we were looking at. We were looking at the major scale. We established that degrees of the scale. We also worked out what constituted a major scale and the distance between notes and more order. They were put in last week. We were looking at how to build cords what chords were on. Then we would discover in how the scale and the cords fit together. And I asked you to go away and right itself some court sequences. So this time we're going to start looking at court progressions. Okay, So you have come up with some of these for your homework and how we can actually make them sound a bit more interest in there. Perhaps just block such as this plenty pop music without any mind units. That's wrong without, But sometimes it's good to be able to create variations. Let me give you an example. I'm gonna play cold one. I'm gonna play court to well, based around the Triads in the C major scale. I'm gonna play Court six. I'm gonna play court for now. This time, I'm gonna create a variation. So I've got the three notes in my court, and I'm going to start playing them broken. That's cool to put six. So you can see all I'm doing is I'm breaking up the court. I'm playing them in different orders. Alright? Complaint. Try it. That's quite actually quite common. Why do my left hand? I'm just playing the route. So if I'm playing court one, I'm playing the roots to play in the roots. Six. There's my try it. You start recognizing shootings when it comes to when you start, Listen cities. So I'm still gonna play the same court. I'm gonna put this at the top. I'm gonna put this thing. So we're creating these different ways of playing. The same chords were using the same notes. The other thing you could consider doing is not playing all the notes and the triad when you're playing them. So, for instance, if you just wish to use some of the notes, that's sometimes a good way to create variation within your court secrets as well. So must see triad. But this time I'm not gonna play. Play these two notes. You might recognize that famous. So I'm gonna go from court 12 called for now. Then there's my court for okay because it starts in the fourth degree of the scale. But what do you notice this now? Here's a C like the one I've just started on, so that's displayed by one chord without my cold one. Go to court. I was six simple ways. Teoh. Create some kind of variation within your court patents, and you don't need to be right man enough to be able to. It's just thinking of creative ways to play those notes, and you can place him in any. See if you can create yourself some variations using the court partners that you've created . Start with working out how you can use those triads in different orders across the keyboard . To be able to create something quite interesting, you might surprise yourself. Great. I'll see you next week. 5. Week 4 Melody: Hi. Welcome back to getting creative on the keyboard. For beginners, it's the very first week we were looking at the major scale. What? The sequence of tones of semi turns of the major scale are the second week we were looking at how to build triads around the notes from the major scale. And then last week, we were looking at court progressions. We were looking at core progressions and how we're able to create some kind of variation within those. So this week, we're going to start writing some melody lines to go over the court sequences that you've already written. So basically, this is quite interesting because we're in the key of C will always keep it in the key of C , and you're able to transfer all of this information across to other other keys and you know how to work the keys out if you follow the sequence of turns and Sammy turns. But in this particular instance, we're just gonna use see So because all of our chords and chord sequence come from the notes, see, we're able to create a malady using the nets and the C major scale. So has my C major scale and I'm gonna play my cord one underneath, so it fits nicely. I'm gonna play the court to and so on and so on, Isa Bit tricky on the seventh court there. There's a number of reasons for that which we can look at in a later class. Basically, you're able to use all of these cords underneath your Maliti life. Let me give you an example. Let me give you an example of how the scale can fit over the courts if I just take basically the rudeness playing what's called an octave an octave is where you play the same note on Occupy its eight notes back to the major scale. It's kind of the eighth degree of the scale, which I said in the previous class was the first, because obviously it's the same is where you're starting. So if I just play, let's play my active. I could play my chords underneath it. A little sick 64 one to good six full three. Fine to, uh, basically how various I can play any notes of the C major scale over these court plans. Let's just try this again thing and so on. So Basically, when it comes to writing a malady, I know as long as I use the note of the cords within the C major scale that my malady line will fit Aysel notion to see Major a work order from the C major scale. You know, it's when I was playing my malady. I'm using what's called repetition. In other words, I come up with, like, a little hook, our little line, which I'm able to repeat time and time again over the course on s so on, so on. So you could think of a little line which you're able to become repetitive. Then you'd be able to play overall that court sequence and you've got yourself what we call a little hook on your vocalist or if you're gonna sing. Or if you would listo wish to write your maliti line over the top about then you're able to do that as well. A couple of people ask me what you do with the left hand. What basically got my triads of cord one and play in my room on. I'm just kind of using what we discussed in the previous lesson where I don't have to play all of the notes that try it. It's quite common to miss out 1/3 of the court. So I've got my route. Okay, so I'm just kind of playing now, if you could really, really, uh, we are big stretch. You can actually stick the third all away from here. Not many people playing nice. But when I'm playing those playing this voices down here in other words, the notes of the try that playing, playing really lush bombing 66 Wait, So you're starting to be able to create. So what we're doing here is nothing particularly technically difficult. What we're actually looking at is being able to construct the malady line using the C major and still use it in ways that we built from that from the major scale, which we've looked at in previous lessons as well. You know what would be great if you could come up with a little melody line? It needs to be something repetitive, super simple. It's not about technical ability. It's about thinking Are that fits with that and how you're able to put it together to create something quite cool. Fantastic. I'll see you guys next week 6. Week 5 Structure: Hi. Welcome to Week five. So we've been looking at the major scale in week one. We then looked at building triads and weak to. We then looked at core progressions in Week three. We then looked a building a malady over the court progressions all within the confines off the original key C major scale, which is where we started. So what do you mean by structure? While this is about putting all of those things into some kind of order, we've looked at how to play chords through variations, broken chords, how to use notes within the scale to create repetitive patterns and so on. And that's great when their on their own. But now is the time to start putting them all together into some kind of order. So when we talk about structure and popular music, there are lots of different ways to Dio, and it's great if you be able Teoh go away and listen to different kinds of songs and work out how they actually piece them all together and how they put all the parts together at the same time for this particular instance that we're gonna break it down just 23 simple parts just to get you thinking about the variations between them. The very first woman look at is the introduction. The introduction is basically what starts the whole track off. So I'm gonna come up with the court's you're going to come up with Court one. I'm gonna come up with court for in a couple cord want cut record for now, then that simple court pattern of court one of four. It's just basically setting up this song as to where we're heading. So if I'm going to use my broken chords, which we've looked at from the Triads, So I'm kind of starting the song off and I'm applying in the introduction What might happen ? Obviously, if I've got my introduction cause one of four, then I stop played something really out there. It might not actually fits. Okay, so So I've got my introduction. I love this. - So you could see that when I'm playing the verse that I'm actually used in the court secrets from the introduction as a basis for the verse itself. Court One. I'm just using the nets from the C major scale. Honestly, you can't play the wrong note if you if you thio Thio, make sure you stick within the confines. Okay, so I'm like the time I get to the chorus. I need another alternative as well. So if I go my first chorus six all notes on the C major scale A different order. Uh, basically, all I'm doing is using different chord patterns for different sections of the song. I'm starting to piece it together, but all of that malady, Linus from the major scale on what we're playing in the left hand is what we looked at the previous week. Way I'm playing them sometimes interesting, or if you can stretch it up. But I know that everyone might be able to do that. But I love you to have a go. See if you can start piecing together different melodies and different core patterns to create your introduction. Your version. Your course. See how you get on. And then next week we'll talk about how we can put it all together. 7. Week 6 Final thoughts: Hi there. Welcome to the last in adolescence on getting creative on the keyboard beginnings. So in week when we've looked at the major scale in Week two, we looked up building cords from your knowledge of the major scale. In Week three, we looked at ways of playing those court broken chords, and then we looked at You can move the cords into different order and play them to create some kind of variation. We've looked at malady, and we talked about structure. So before you actually go away and write your entire piece of music, there's just a couple of other things which you can consider within the knowledge that you're building. So we talked last week about introductions, verse and chorus is now. Obviously, when you listen to some pop music or some just music in general, they'll also have different sections, such as a pre chorus, which is a slight lift and then the middle late as well, or a bridge which actually links different sections together. One of things would be great if you could consider when you're writing Your piece of music is how the malady intertwines within the harmony. So we've talked about repetition. But what would be an actual great thing for you to do is to be able to come up with something which has a question and answer within the malady. As a question. He is an answer. That's an answer you have like this little question and answer, and you know what that does when you start putting all of this together, you start creating a bit of a sense of a sense of journey. Doesn't sound like somebody's just playing random cause. Around the melody line, it sounds like the song is leading somewhere because the melodies dying to tie this together a bit more. So if you imagine in your piece of music you have what you call your harmonic structure, that was. You have your chord patterns underneath, which determine the different sections and then your malady line. You can actually start incorporating this little question and answer sequences to be able to help move the song along with the time you get to the end of it, you've actually taken the listeners on a bit of a journey. A great way to do that is to where every hook you start your introduction with you could bring it back in the chorus. So using a very simple nursery rhyme, you're able to create some kind of a sense of a journey using repetition using parts which listeners have heard before on being able to change the harmonic structure underneath it to get you to get you moving along. Well over the last six weeks, I hope you've learned some fundamental basics which which might take you a few months to master. But, you know, the principle is there on you be able to relate this to your own songs would be amazing if you could start writing some lyrics to go on top of that. Or we could look about in a different class, all the very best, and I'd love to hear what you guys are doing. So please feel free to post whatever songs you've written on to YouTube or Vimeo or whatever. And yes, send me a link would be great. Teoh. It's a hey, how you guys doing? Great, Thank you very much.