Preparing to Play in All Keys®

Explaining the White Key Exercise

As we look down on the piano keyboard, we can easily see all the white keys.   All of the white keys are actually OK to play.   But, at the same time, it is very difficult to make music out of this.

We need to choose our notes very carefully.  It's choice that we want.  We can't just play random.

Step #4:  The Music Parameters.

The music parameters are the elements which make up music as a whole.  Prepare a list of music parameters.  I did this under three predominant headings:  Melody, Harmony and Rhythm.   Under each of these headings, we can have many many subsets or parameters.  Make your own study of this.  This adds to your total jazz improvisation.  Jazz improvisation is not just a "stream" of notes.

Step #5:  Chord Structures.

An interesting way to begin making sense of the white keys is to use chord structures.  For instance, you can create  a chord structure which uses a major second on the bottom, then the interval of a fourth above that, then another major second above that (the exact intervals will adjust as you play all over the white keys).  Play that structure all over the white keys.  The idea is to get that structure in your head and ears.   Also the main idea is to think down from the top note.  Always treat the structures as a melodic event.

Step #6:  Modes.

A simple explanation of the moes can be seen by observing the white keys.  If you play a scale from C to C, or 1 to 1, (Ionian Mode) the half steps are between 3/4 and 7/8.  In this case, you will have a major third and the total sound will be major.  However if you play from D to D or 2 to 2 (Dorian Mode), the half steps are now between 2/3 and 6/7.  The third is now minor and the total sound of this mode is minor.  Ionian sounds major and Dorian sounds minor.  Take a look at all the modes:

The Modes of the Major Scale

Ionian (Major Scale) 1 - 1
Dorian 2 - 2
Phrygian 3-3
Lydian 4-4
Mixolydian 5-5
Aeolian 6-6
Locrian 7-7

It matters what mode we are playing on the white keys because each mode has its own sound and feeling.  We define what mode is being played by repetition of the bottom bass note.  Experiment with each mode until you get that mode in your ears.

Step #7:  You Play a White Key Improvisation.

Think about what you are playing.   Be very choosy.  There should be a definite pattern to your improv.  There should be a . . . . "there - there".  Give it a try.

Step #8:  Twinkle Exercise.

Let's take a look at the White Key Exercise from another perspective.  I'm going to use a simple tune, Twinkle, Twinkle Little Star.  This tune is totally White-Key (which is diatonic).

First, play the melody.  Then construct a bas line.  Don't just use the root note of the chord.  Sometimes play a third in the bass, or a fifth.  This creates a contrapuntal bass line.

Now create an improv using chord structures.  So, instead of thinking of chord names, take a look at the territory between the bass note and the melody note.  Then "imagine" the tones you want to play in the middle.  There are many choices of notes that you can play either melodically or harmonically as structures.