watch the thematic videoMajor Scales: How to Play F Major Scale Two Octaves on Piano (Right and Left hand)
The secret piano blues scale the professionals don’t tell you about!
If you’ve ever wondered what the difference is between a normal C major scale and the C blues scale, well I’m about to let you in on a little secret – and it will literally change your way of thinking when it comes to playing the piano. This is the secret piano blues scale the professionals don’t tell you about!
So if you’ve been playing the piano for a little while now and you’re very familiar with the C major scale, you’ll know that it’s the first and easiest scale you’ll learn. Why? Because you only have to play from C until the next C hitting all the white notes and missing out all the black notes – what could be simpler!
However, when it comes to figuring out how to play blues on the piano it can be very different. What you need is the secret piano blues scale! But before that, let’s first of all look at the C scale and how that looks on the keys –
Here you can see an overhead view of some of the keys on a piano or keyboard. To play a C major scale you just have to hit the notes C, D, E, F, G, A, B and C. Typically the fingers would be 1, 2, 3, 1, 2, 3, 4, 5…
If you’ve seen and heard a blues and boogie woogie pianist play in the key of C, they often hit a lot of the black keys too. So what are those ‘blues’ notes and why do they work when it appears they shouldn’t according to what we know about the C major scale? This is the secret piano blues scale!
Before we look at why they work, here’s a common blues scale in the key of C so you can finally see what it looks like –
As you can see this scale is now very different from the original C major scale and the D, E, A and B have been removed and we now have some new notes as well – Eb, F# and Bb. A suggested fingering for this blues scale is 1, 3, 1, 3, 1, 3 and 5. Similar to the fingering you use on a chromatic scale, you can navigate in almost the same way to play this. You can of course replace the finger 3 for a 2 in some or all the places if you wish, but either way this should allow you to practice the scale with some fluidity.
A common f major scale piano finger position to play the blues scale is to also swing the rhythm. So rather than playing each note equally like you would the normal similar motion C scale, you can hold the first note slightly longer, and then skip the next.
But why do these notes work when they are so different to the C major scale?
There are lots of different ways to explain why these notes work and create the blues style sound, but rather than going into too much detail and getting all theory based I will give you my take on this.
First of all let’s have a look at the Eb. If you are familiar with both the C major and minor scale you will understand the difference between the major and minor third. The third note of the C major scale is an E, and the third note of the C minor scale is an Eb. You will notice the difference in the major and minor sound if you play the standard root three note are sea grapes good for you using the 1st, 3rd and 5th note of each scale.
Give it a try – all you need to is play C, E and G at the same time for the C major chord, and then play it again but this time change the third note E to an Eb. This very slight movement changes the chord from C major to C minor. So now you know the difference between a major and minor third, you can begin to understand why it’s used when playing blues piano.
First of all, when playing blues piano you need to often change between the E and the Eb to create both a major and minor sound within the music. In a nutshell, I often describe the blues style as just that – a mixture of both major and minor keys!
This is primarily what makes the blues style so different and so unique when comparing it to other styles of music that usually stick to either major or minor for most if not all of the song. Now when we look at the next black key – the F#, we cannot match this note to either the C major or minor key. So if it’s not used in the scale, then how can it be used when playing blues piano?
My take on this f major scale piano finger position that it very much tries to emulate the way a guitar is played, and you’ll often notice that when a guitarist wants to bend the pitch of a note, they will push the string up so the pitch itself bends and seamlessly moves from one note to the next – usually just one note a way, or what’s called a semi-tone.
So although we cannot seamlessly bend the pitch of a note on a piano (unless you have a pitch bend function usually found on keyboards), the only way we can attempt to do this is to move very quickly from a black key down to a white key – in this case, the F# to the G. When playing blues piano this is typically called a ‘slide’, and a common way to navigate from a black key to a white key is to slide your finger off of the black key so it falls as smoothly as possible to the adjacent white key.
Give this a go, and what you need to do is place your second finger on the F# – roughly at the bottom right of the key, and then slowly slide your finger off and onto the G. You’ll notice that as you get better at this action and a little quicker, that you are effectively bending the pitch of the note. This creates a kind of ‘wrong to right’ pitch which temporarily makes it sound like you’ve hit a bum note, but then very quickly corrects itself.
Ultimately this is what creates the ‘blues’ style, and it’s very much a style of music that likes to break the mould of what we traditionally see as ‘the correct theoretical way’ to how we approach, compose and listen to music. Finally, the Bb is a very common note used in many styles of music f major scale piano finger position works well as probably one of the most commonly used notes in blues – the 7th.
One final thing to point out is that the notes which were removed from the C scale – D, E, G and A, can be used when playing blues piano. They are just often removed from the blues scale and the scale itself is simplified into just seven notes in total.
However, the B is not often used at all and will not really work when playing blues. The B, or ‘major 7th’, is typically more suited to jazz or more laid back styles like ‘lounge’ piano. You’ll hear what I mean if you try this yourself! Head over to the piano and play a C chord (C, E, G), and then add the Bb at the top. You are now playing a C7 chord, and one that is often used in blues piano. If you now change the Bb to f major scale piano finger position B (major 7th), you’ll notice the sound of the chord is very much like a jazz chord, and reminds you of being in a restaurant listening to either jazz or lounge style piano.
And that’s it! You’ve now got the tools you need to begin putting together f major scale piano finger position great what is the routing number for first interstate bank hand piano blues licks. But do you have the right equipment? To help city bank lubbock texas phone number on your learning journey, check out this awesome keyboard/piano shop to find the best deals.
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Piano Fingering for the Left Hand
To play piano, your left hand has to match your right hand in f major scale piano finger position and dexterity. Knowing the correct piano fingering for your left hand improves playing speed and eases the formation of piano chords.
Generally, your left hand plays the notes lower (to the left) of middle C—the lower staff or bass clef—and supports the melody, as well as sets the rhythm. regions bank knoxville saturday hours Working With the Left Hand
Piano fingering for the left hand is similar to right hand fingering, as indicated in these basic rules:
- Fingers are numbered 1–5; the thumb is always 1, and the little finger is 5.
- Fingers 1 and 5 should be kept off accidentals whenever possible.
- After playing black keys, aim to land on a white key with your thumb or little finger. This technique goes for both ascending and descending scales played by either hand.
The left hand often plays rhythm in piano music, but you will play many left-handed melodies and arpeggios. Practice the following finger techniques to build dexterity in the left hand:
In ascending scales, the third or fourth finger crosses over the thumb. So, if you start a C scale with the little finger of the left hand, your thumb will play G, at which point your ring or middle finger crosses over your thumb to play A.
In descending scales, the thumb crosses under the third or fourth finger. For example, if you start with C, your ring finger plays G, at which point your thumb crosses under to play the F key.
Fingering for piano bass chords is just like fingering for treble chords, except the numbers are inverted:
Triads (three-note chords) are formed using fingers 5-3-1.
There are f major scale piano finger position The formation 5-2-1 is used when a chord demands a wide finger span. This can be seen in an A minor chord in the second inversion.
Another exception involves accidentals. Just like in scales, fingers 2-3-4 are best for black keys. Therefore, if a triad began with an accidental, it would also begin with the fourth finger: A D major triad in the first inversion—whose notes are F#-A-D—is played with the fingering 4-2-1.
Tetrads (four-note chords) f major scale piano finger position formed using fingers 5-3-2-1.
Tetrad chords follow the same rules (and exceptions) as triads, and like with triads, you should adjust tetrad fingering for the sake of efficiency. For example, if you need your third finger for another note, use the 5-4-2-1 fingering position instead.
Strengthening the Left Hand
To increase dexterity and strength in your left hand, use your left hand to play the right-hand melody. Practice this exercise for at least 15 to 30 minutes each day. Also, 30 minutes of scales practice with your left hand will improve your skills, building coordination, speed, and agility.
To learn to synchronize the left and right hands, play the melody with both hands at the same time. Do the same thing with scales. Eventually, your left hand will develop the skill level to match that of the right hand.
F Sharp Major Piano Scale
Learn How To Play The F Sharp Major Scale On The Piano!
Today we are going to learn a scale that can be called by two names. It is the F sharp major scale. It can also be called the G flat major scale. The notes are exactly the same regardless of which name you use for it, they just have different names. Let's take a look at the notes now. The F sharp major scale notes are F#, G#, A#, B, C#, D#, E# and back to the F#. If we call it the G flat major scale, then the notes are G flat, A flat, B flat, C flat, D flat, F, and back to the G flat.
Let's take a look at the fingering. For convenience purposes I am only going to call the notes by their F sharp major scale names. Start with the second finger on the F#. When the third finger gets to the A#, cross the thumb under to hit the B. Finish the scale out with your pinky on the F#. Reverse the process coming down.
The left hand starts off with the fourth finger on the F#. F major scale piano finger position you get to the thumb, cross the third finger over to the C#. When the thumb gets to the E# cross the second finger over to finish the scale on the F#. Do the opposite coming back down.
For the next lesson, you can check out the F Sharp Minor Harmonic Scale.
Piano Finger Techniques
Ascending Piano Scales
- On ascending piano scales beginning with a white key (or “natural”), start with your thumb (finger 1).
- In the middle of a scale, your thumb should cross under your middle finger (finger 3). In the scale above, this happens between the E and the F.
- Fingers 1 and 5 are ideal for use on the white keys. When playing in a key signature with few sharps or flats, try to keep them off of the black keys.
Look at the C major scale above. As you probably know, the key of C has no accidentals, so every note is played with a white key. Play the C major scale slowly – while paying attention to the fingering – and repeat it until it feels natural.
Descending Piano Scales
When playing descending piano scales, you should start with a higher finger (5 or 4) so that you have fingers to spare for f major scale piano finger position lower notes. However, since this scale is a continuation of the ascending C scale, we can simply reverse the fingering from the previous scale.
5-Note Piano Scales
Play this 5-note (or “pentatonic”) scale beginning on each note. After you play the C scale, play it again starting with D, then E, etc. Remain in the key of C (don’t play any black keys) even if the scale sounds strange.
(Numbers attached by a activate cash app card with qr code in the image indicate where your thumb will cross under finger 3, and where finger 3 will cross back over the thumb.)
Tip: The last C in the scale is a half-note, which takes up two beats of the measure. It will last as long as four eighth notes, so count one-and-two-and. (Learn more about note lengths).
Pay attention to your wrist positions. Don’t bend your hand into the upper notes; keep your wrist fairly still and loose.
Longer Piano Scales
When dealing with longer piano scales, your thumb will jump around and lead your higher fingers to the higher notes.
Begin this scale with a slow tempo to stay in rhythm; then adjust accordingly.
When playing piano scales and warm-ups with accidentals, use the following techniques:
- Keep thumb and pinky off black keys when playing scales.
- Scales beginning with a f major scale piano finger position key begin with one of the long fingers (2-3-4).
- The thumb may cross under finger 4 instead of finger 3, as suggested earlier in this lesson:
- In the scale above, the B flat is played with the 4th finger, then the thumb crosses under to touch C.
- In the second set of notes in the first measure, this technique is used in anticipation of touching the high G with finger 5.
Black Piano Keys
The G-flat major scale has a flat on every note except F.
Notice how the above scale begins with the index finger: the long fingers are best suited for the black piano keys, so try to avoid hitting the accidentals with your thumb or pinky.
Tip: When starting a scale with a long finger, place your thumb on the next white key when possible. For example, in the G-flat major scale above, the thumb hits the fourth note (a Cb flat), which is a white key.
*C flat and B are essentially the same note.
Simple Piano Chords
Chords won’t always be fingered in sheet music, but there are some standard hand formations to use when playing them. A chord’s fingering will almost always be the same for either hand, only reversed.
- Triad chords in root position are most often formed with fingers 1-3-5.
- Tetrad (4-note) chords are formed with fingers 1-2-3-5, but the formation of 1-2-4-5 is also acceptable.
- Larger chords test the flexibility of your fingers, so hand formation is ultimately up to you. Use discretion; consider the notes or chords that follow, and make sure you’ll be able to strike them efficiently.
Play the above song slowly, using these fingering guidelines. Take your time, and practice until you are comfortable playing it with a steady tempo.
- Tip: A 3/4 time signature holds three quarter-note beats per measure. To get the rhythm down, count one-two-three, one-two-three.
Learn to play major and minor piano chords
Once you know how to construct major and minor scales on the piano, you can take the notes within them f major scale piano finger position start stacking them up together to play chords.
While it’s possible to form simple two-note chords, the most basic form of chord in common usage contains three notes, and is known as a triad.
Like scales, triads come in major and minor flavours, depending on the scales their notes (also known as chord tones) are taken from.
Take the C major scale as an example. It contains the notes C-D-E-F-G-A-B-C. If we use numbers to label the notes (or degrees) in the scale from 1 to 8, we can use these numbers to create formulas to build chords from.
For instance, in a C major scale, C=1, D=2, E=3 and so on, until B=7. So, to build a C major triad, we need the notes numbered 1, 3 and 5 from the major scale; in other words, C, E, and G = C major.
The same idea works when building minor triads from minor scales, too. Take the scale of A natural minor (which uses all the white notes too, from A to A): A-B-C-D-E-F-G-A. Taking the notes numbered 1, 3 and 5 from this scale – A, C and E – gives us an A minor triad.
Looking at it from the point of view of the intervals between the chord tones, the formulas are root + 4 semitones + 3 semitones for a major triad, and root + 3 semitones + 4 semitones for a minor triad. Using a combination of major and minor triads, it’s possible to play thousands of popular songs, so they’re pretty useful things to know!
Step 1: So far, we’ve only been playing single notes, so let’s try some chords. We’ll start with a C major triad - a chord made up of three notes from the C major scale, namely the root (C), major third (E) and fifth (G). This can be played from our basic starting position: thumb on middle C, middle finger on E and pinky on G.
Step 2: Once you’ve got the hang of pressing down these three keys without your other two fingers getting involved, move the whole thing up so that your thumb is on D and play D, F, and A. That’s D major, right? Wrong! Hear how it sounds sadder somehow? That’s because you’re actually playing a D minor triad, made up of D (root), F (minor third) and A (fifth).
Step 3: It sounds different due to the minor third interval between the D and the F. The quality of the third - major or minor - determines whether the triad is a major or minor chord.
Here, the minor third between D and F produces that sad, minor sound. To make it a major third, move the third finger a semitone up to F#. Try it now to play D, F#, A - that’s D major!
Step 4: So, major triads consist of root, major third and fifth, while minor triads are made up of root, minor third and fifth. Try it with an F chord: F major is built from F, A and C, while F minor is made up of F, Ab and C. The only change is that third going from major (A) to minor (Ab).
Step 5: There are three ways to play each triad, depending on which note you put your thumb on. Go back to our C major triad for a second.
As played in step 1, with our thumb on C, middle finger on E and pinky on G, we’re in root position - so called because our thumb is on the root.
Step 6: To get the first inversion of C major, we move the thumb to the next chord tone up: E. The G is now covered by the index finger, and the pinky moves to the next C note up: E, G, C.
Move up again, with the thumb on G, middle finger on C and pinky on E, to get the second inversion: G, C, E.