Chord Progressions

Chord progressions provide the harmonic foundation for most popular music, and they can also work well for writing or improvising instrumental piano songs. In this article I'll introduce some basic chord progressions and some ideas for adding flavor and variety to your songs.

The basic chord progression in many Christmas, religious and folk songs is called a I-IV-V progression, because it uses major chords built on the first, fourth and fifth tones of any major scale. This chord progression is displayed below:


Playing the above chord progression can be a little awkward for the left hand (since it has to jump around a lot), so here is the same chord progression with inverted chords (this example uses G7 instead of G, as the V chord is most often a V7 chord):


Any chord can be inverted (meaning that the notes can be played in a different order) for a slightly different sound and to add variety to music. Typically a song will end with the root of the chord in the bass. For example, a song in the key of C will end with a C chord in the root position of C-E-G. But that same C chord can be played with its notes in a different order (E-G-C or G-C-E) throughout a piece.

Songs in a minor key can use chords similar to the I-IV-V7 progression, but minor chords are notated with lower-case roman numerals. Here is a i-iv-v7 minor progression:

The basic chord progression in jazz music is the ii-V7-I progression:


It's important to write and play chords within the usable range of the piano. Sometimes low notes can sound a bit "muddy," as in the following example:


This problem can be solved by playing the chords an octave higher (the right hand can be moved an octave higher as well to avoid conflicts with the left hand):


Another way to solve the problem of "muddy" lower tones is to remove the third, which determines if a chord is major or minor and tends to be the "muddiest" of the three tones in a major or minor chord:


Another useful chord technique is called chord substitution. Two examples of C chord substitution appear below. The first involves using an Em chord instead of C, since Em and C share two notes. The second involves using an Am chord instead of C (since again, Am and C share two notes). This technique can add variety and interest to your chord progressions:


In certain contexts major 7th and minor 7th chords can be substituted for major chords to give songs a more contemporary sound:


Here are the chord progressions used in a few popular songs:

Viva la Vida (Coldplay): IV-V-I-iv
Back to December (Taylor Swift): I-iv-IV-V
I Just Wanna Run (Downtown Fiction): i-III-v-iv
Hallelujah (Leonard Cohen): I-IV-V-vi-IV-V-iii-vi
You Found Me (The Fray): iii-V-IV-V-I

When improvising, I often use the following I-IV-V-vi-V-IV-I progression to provide the harmonic structure:


Try experimenting with your own chord progressions and see what unique harmonies you can come up with!

In the Key of White

In my last blog entry I talked about improvisation as a foundation for composing instrumental piano songs, and I suggested using the black keys (the pentatonic scale) to begin experimenting with this technique. Today I'd like to talk about improvising on the white keys using either a major or minor scale, and I'll introduce some basic patterns I use when improvising.

A scale is simply a group of notes drawn from the chromatic scale, which is the mother of all scale and includes all 12 notes used in western music. There are a number of different types of scales that can be built on each of the 12 "keys," but the most common types of scales are major and minor. If you play each of the white keys from one C to the next, you're playing a C Major scale:



If you play each of the white keys from one A to the next, you're playing an A Minor scale.

The C Major scale, like all major scales, has a set of accompanying chords built on each of its notes. All major scales contain 3 major, 3 minor and one diminished chord. These chords can be referred to generically by roman numerals (which can be applied to any key), but they also have specific names. Upper case roman numerals denote major chords, lower case numerals indicate minor chords, and a degree symbol indicates a diminished chord (however, since I don't know how to type a degree symbol I will simply use the letters "dim"). The key of C major contains the following chords:

I - C Major (C)
ii - D minor (Dm)
iii - E minor (Em)
IV - F Major (F)
V - G Major (G)
vi - A Minor (Am)
vii(dim) - B diminished (Bdim)



The order the chords are played in can make all the difference in the world, and in my next entry I'll talk about chord progressions in more detail. For now I want to introduce a few common patterns I use while improvising. The first pattern is the "block chord" pattern and simply involves playing the notes of any chord from the C major or A minor scales. This pattern is quite simple and can be a good place to start:



The only problem with the above pattern is that it can become a bit tedious and boring after a while. If you want to mix things up a little, here is another pattern that I use quite often. I call it the "root-fifth-octave" pattern:



This pattern can be used with any of the chords. So for the C chord it involves hitting a C, then hitting the G five notes above that, then hitting the next C above that. The rhythm may vary and it doesn't matter which order the notes are played in. The advantage of this pattern is that it isn't likely to "clash" with any of the right hand melody notes, since it is somewhat indeterminate (neither major nor minor). It can be a good pattern to use when you are focusing on writing a melody and just need a generic harmony foundation to build on so you can get a general idea of what the song you are writing will sound like.

Finally, the pattern below is one that I call the "ballad" pattern, and it works well with slower songs:

Piano Improvisation

I've decided to post a series of articles explaining the process I use for composing instrumental piano music. Over the next several weeks I hope to provide you with the skills and confidence you'll need to begin writing your own music, regardless of the number of years you've been playing. I believe that EVERY pianist can and should learn how to compose as a foundational part of their musical fluency, because it provides a practical way to understand basic theoretical concepts and it can be a very enjoyable creative outlet.

Today I'd like to spend some time talking about improvisation, since it's one of the most important components of my composer's toolbox. While improvisation is a foundational part of jazz music studies, classical training often overlooks this important skill. Mozart, Beethoven and many other past composers were superb improvisers, but today's classical training often neglects this important aspect of musicianship.

The word improvisation means "to compose and perform or deliver without previous preparation." This definition is slightly misleading, because it implies a "tabula rasa" in which someone creates something our of thin air without any prior training or thought. But all musical learning can serve as "preparation" for improvisation, and performing "without previous preparation" simply refers to the fact that no DIRECT preparation has occurred. In other words, the musician isn't playing something that's been previously written down or memorized. One approach to improvisation would be to play random notes and learn "by ear" which ones sound good together. This may work for some, but I've found that my best improvisations are usually based on chords and scales, the foundation of all music.

In future blog entries I'll discuss the details of chords and scales and key changes, but for now I want to discuss the emotional side of improvisation. I find that playing piano has a tendency to melt my stress away. Sometimes I play familiar songs from my repertoire, and other times I site read new material. When I want to create and express what I'm feeling in my own way, though, improvisation is my preferred option. With time and practice I've learned to express what I'm feeling in musical form. I might use a hard-driving, bass-heavy rhythm as the foundation for my improvisations when I'm feeling angry, frustrated or anxious. Or I might move to the higher registers of the piano and play a delicate lullaby-sounding song when I'm feeling peaceful. I prefer to be alone when I improvise, because it helps me feel a little more free to experiment and make "mistakes." When I improvise for an audience I usually resort to common patterns and tend to avoid potentially risky key changes. The results may sound better, but I don't learn as much.

The best way to begin improvising is to start with a technique I introduce to all of my piano students early in their lessons. The black keys on the piano make up a pentatonic (5-note) scale, and if you play anything with a steady rhythm using only the black keys you can produce improvised music that, well, sounds like music, even if you are a beginner. You can experiment with sounds and patterns without worrying about "too much dissonance." The amount of dissonance you can handle is a personal preference, and there are no mistakes in improvisation (only unexpected turns), but a knowledge of chords and scales can help keep you from wandering too far into "modern music la la land," which is why the black keys are a "safe" place to start.

Spice Up Your Playing with Chord Style Piano

Have you ever gone to a nice restaurant or a mall and heard a pianist playing beautifully without any sheet music at all? She might have memorized every note of the piece you are hearing, or she might be playing by ear, but chances are she's using chord style piano to help her play the harmony parts. Chord style piano is used by many pop/rock artists and performers, and it is also a learning style that is well-suited to adult piano students who can more easily comprehend the intellectual framework it provides.

When I was growing up, we had a piano that didn't serve much purpose other than to hold lamps and picture frames. Every once in a while I would sit down and plunk out a melody, playing mostly by ear. I even learned a few basic chords and added harmonies to simple songs. That's about as far as I got before deciding as an adult to finally take piano lessons. I wanted to learn how to play the piano "right," so I ignored those little symbols above the notes on my sheet music--symbols like "Cmaj7, D, G7, Bb7#9"--and learned to play notes exactly as they were written on the treble and bass clefs. I made good progress over the course of a few years, but learning was sometimes slow and frustrating. Then I was introduced to chord style piano and discovered that a knowledge of chords gave me a "map" to the piano and let me pick and choose notes that would sound good in a given song. I combined this knowledge with the classical piano skills I had already learned, and soon was regularly receiving compliments on my playing. Chord style piano even helped me site read and play classical music better, because I had increased confidence and my hands were already familiar with many of the shapes and movements found in other piano styles.

Here's a very brief description of how chord style piano (sometimes called "popular piano") works. Think of a simple song like "Twinkle, Twinkle Little Star." This song consists of 3 chords: C, F, and G7. These letters are both names of chords and the names of the root note each chord is built on. The C chord contains three notes: C, E, and G. The F chord also contains 3 notes: F, A and C. The G7 chord contains 4 notes: G, B and D and F. These notes could be written on the bass clef using standard notation (with stems and rhythm values), but in chord style piano the bass clef is eliminated or ignored and the left hand part is simply notated with letters and other chord symbols. This type of notation is very common in jazz and popular music. It can be found in "fake books," in music marked "Piano - Vocal - Guitar" and in most non-classical arrangements. Advanced chord style pianists with a good knowledge of theory can even look at music without chord symbols and determine which chords to play.

The pianist who is learning to play chord style piano has three key challenges to overcome. First, the pianist must memorize a variety of chords. Basic 3-note chords are either major (happier sounding chords) or minor (sadder sound chords). Beyond these, there are diminished chords, augmented chords, and extended chords such as G7 (mentioned above) and F13 (a chord that contains 7 notes in its original form, although sometimes certain notes are dropped to improve playability). While the sheer number of possible chords may seem overwhelming, they follow consistent patterns, so the same hand shape can be used to play several chords. As an example, the same hand shape used to play the C major chord can be used to play D minor, E minor, F major, G major, A minor, and B diminished. The only thing that changes is the note you start on. Also, since chords are the building blocks for songs, once you learn a C chord you can use it in thousands of other songs that call for it. It is helpful to learn some of the theory behind how chords are constructed, to make it easier to find the right notes for a given chord. There are also chord reference guides that show pianists which notes to play for each chord.

The second challenge the chord style pianist must overcome is that of variety and interest. Playing the same chords the same way in a song--especially if the chord is only played once during a measure of music--is boring and unsatisfying for both pianist and listener. Fortunately, chords can be much more versatile than a written bass clef, because the pianist gets to choose how he wants the song to sound, and can either plan what he will play in advance or make up the left hand as he goes. An experienced chord style pianist rarely plays a song the same way twice, creating interest by inverting, arpeggiating, and playing chords in different places on the keyboard. Chord notes can also be dropped to create different sounds (as an example, try playing just the C and G notes of a C chord). Chord notes can be played with just the left hand or with both hands, and if the pianist isn't satisfied with the chords for a given arrangement, he can experiment with others that may sound better (this is called chord substitution). For example, Cmaj7 can sometimes be substituted for C to give songs a jazzier sound, and Em can sometimes be substituted for C to create variety. He can also vary the rhythm in the left hand, playing eighth notes instead of quarter notes, for example, or syncopating the rhythm. The right hand can add additional variety with run-ups, trills, fills, slides, octave melodies and glissandos. There is no end to the possibilities chord style piano allows. This is personal, expressive, creative piano at its best! Just remember to keep a steady rhythm while playing. Experiment with different sounds and techniques, and let your ears tell you when you've found something that works.

The third challenge the chord style pianist must overcome is that of her own perception and the perceptions of others. Unfortunately, chord style piano is sometimes touted by dishonest web scams as a way to "play piano instantly," "learn to play piano in just 10 days" or "learn to read music in 30 minutes." These utterly ridiculous claims of overnight success would be laughable if so many people weren't fooled by them. Chord style piano is a valid technique for improving your playing, but it can't take the place of years of correct practice. On the other side of the equation, many classical/traditional piano teachers think that chord style piano is "cheating." This may be a valid claim for classical music, since chord style piano is usually not well-suited to that type of playing. However, when playing songs like "Moon River" or "As Time Goes By," chord style piano can allow the pianist to produce far more satisfying results than when playing notes exactly as written. Too many piano students get stuck on the mental process of reading and playing notes, and never really teach their fingers how to play quickly and creatively. Chord style piano allows pianists to make use of notes but not be entirely at the mercy of the arranger. It also reduces sheet music expenses, since a chord style pianist can experiment with a variety of styles using the same piece of music. Ultimately, the best defense against those who think chord style piano is "cheating" is simply to ignore them. As long as you are satisfied with the results you are getting, that's what matters.

Chord style piano can also provide a great foundation for successful improvisation. Ironically, improvisation was a common practice by classical era composers such as Mozart and Beethoven, but it is typically marginalized by modern classical piano teachers. At first, learn to improvise over a standard chord progression (such as C-F-G7-C), and then experiment with creating your own progressions, planning them in advance or making them up as you go. When you invent a new melody and play it over your chord progression, you're improvising. Jazz musicians do this all the time, and it's a great exercise for songwriters too. Another improvisation technique involves taking an existing song like "Silent Night" and playing its exact chord progression with the left hand while making up a new melody in the right hand using scale notes. This may seem intimidating at first, but keep in mind that the improviser never makes mistakes--she just takes unexpected turns. The goals is to create, learn, experiment, develop your own style, express yourself and most of all to have fun.

So how do you learn chord style piano? Get a chord reference book, get some arrangements of your favorite songs, find a competent teacher who is willing and able to instruct you in this style, and start playing. With time, effort and consistent practice, chord style piano can bring you a lifetime of enjoyment.

An Introduction to Classical Guitar

I was at my favorite guitar store a few days ago and noticed that there were only seven or eight nylon string guitars among dozens of steel string instruments. This makes sense, since most popular music features steel string guitars, but nylon strings have a unique, warm tone that is often overlooked by new guitarists. I learned to play on a steel string acoustic guitar, but when I heard a soloist perform a rendition of "Carol of the Bells" on a nylon string classical guitar, I was hooked.

A classical guitar, sometimes called a Spanish guitar, is different from an acoustic guitar in several ways. All of the strings are made of nylon, but the lower three strings are steel-wrapped. Nylon strings are easier to play than steel strings, making them a good option for new guitarists who have not yet developed calluses on their left hand fingertips. Also, since classical guitars are generally strummed or plucked with the fingers rather than with a guitar pick, a classical guitar has a wider neck than an acoustic guitar. This makes it easier to isolate individual strings with the right hand. A classical guitar may also feature different internal construction, since nylon strings have much less tension than steel strings. Finally, a classical guitar usually does not have a protective plastic pick plate.

The classical guitar is rich with tradition and has a repertoire that includes baroque compositions written for other instruments but adapted for guitar such as those by Bach. Renaissance music originally played on the lute such as "Greensleeves" is also part of the standard repertoire. Then there are songs such as Malaguena that were written specifically for the classical guitar. Fernando Sor, Mauro Giuliani and Matteo Carcassi are three well-known classical guitarists who composed pieces for solo guitar during the early part of the 19th century. In the early 20th century, Andres Segovia popularized the classical guitar as a concert instrument. In 1940, Joaquin Rodrigo wrote a concerto for guitar called "En Aranjuez Con Tu Amor." The second movement of this piece, written as a memorial to victims of the Spanish Civil War, is--in my opinion--one of the most hauntingly beautiful pieces of music ever written. However, in addition to traditional repertoire, the classical guitar can also be used to play folk, new age, latin, gospel, jazz and many other styles of music. It has also found its way into popular music, such as in Eric Clapton's "Tears in Heaven" and the popular 1960's hit "Classical Gas."

Classical guitarists traditionally read standard notation (looks like piano music, but without the bass clef). Beginning classical guitarists may choose to fast-track their studies by using guitar tablature (tab) which makes many songs--including the traditional classical repertoire--more accessible to those unfamiliar with standard note reading. However, most classical guitar pieces are notated with standard notation, so I highly recommend that anyone interested in playing the classical repertoire learn to read notes at some point in their skill development.

A classical guitarist traditionally plays while sitting, using a foot stool to elevate the left leg. The classical guitar rests in the guitarist's lap, with the guitar neck pointing up at about a 35 degree angle. This position may feel strange for guitarists accustomed to a horizontal neck. However, it allows the guitar to sit securely so that the left hand can concentrate solely on playing. It also allows the guitarist's left wrist to be held straight rather than bent. This playing position can take a while to get used to, but I've found that I'm able to play for longer without wrist fatigue and I am more relaxed when I play. I have even started using this position for some of my steel string acoustic and electric guitar playing.

Classical guitarists typically shape their right hand fingernails in a way that allows them to easily pluck strings with their nails. This creates a sharp attack and allows for more volume dynamics than just plucking with the fingers. Personally, I enjoy a finger-plucked tone, but the best players typically use their fingernails in concerts and recordings. The sound of the classical guitar can be varied by playing in different locations with the right hand. Strumming towards the bottom of the strings, away from the fretting hand, produces a hollow, tinny sound that works well for certain pieces, while strumming over the fretboard closer to the fretting hand produces a soft, harp-like tone. Classical guitars can also be played in a percussive, flamenco-like style to produce a distinctly Spanish sound.

If you enjoy great music with history and tradition, you'll find what you're looking for in the classical guitar. If you've never pictured yourself as a classical guitarist, you may be surprised by how much fun it is to play. You don't have to change your name to Giovanni and develop a taste for fine wines and cheeses to enjoy playing the classical guitar. With a little dedication, you may even find that your electric solos and acoustic fingerstyle playing will improve. Whatever your musical interests, give the classical guitar a try and find out what you've been missing.

Buying Your First Guitar

Buying your first guitar can be a very fun experience. I bought a guitar on a whim a few years ago and it was one of the best decisions I've ever made. If you are on the fence but aren't sure which guitar is right for you, I encourage you to read this information before buying an instrument. There's also some advice for parents of would-be guitarists and beginning players.

Question: I want to learn how to play the guitar. What type of instrument should I buy?
Answer: That depends what style of music you want to play. There are electric, classical, and acoustic guitars. If you enjoy distorted guitar and want to play heavy metal, some jazz and blues, crossover country or modern rock, an electric guitar may be the best instrument for you. An acoustic guitar is a versatile instrument that can be played with just about any style of music. It works well if you want to sing around the camp fire or just enjoy that unique steel string sound. A classical guitar has a beautiful soft tone that is ideal for playing instrumental melodies & harmonies.

Question: How much should I plan to spend on a new guitar?
Answer: If you're just starting out and want an entry-level instrument, expect to pay anywhere from $99-$250 for an acoustic guitar, $200-$400 for an electric guitar with amplifier, and $200-$350 for a classical guitar.

Question: What if I want a higher quality acoustic guitar?
Answer: A higher-end guitar will have a solid wood top (compared to lower quality instruments which are made of laminate), and the highest quality acoustic guitars are made entirely of wood. A laminate guitar will usually sell for $99-$200, a solid top guitar from $200-$300 and solid wood guitars start at $350 and go up to $2,000 or more. If you enjoy the process of playing your instrument (largely determined by the "action"--the amount of force required to hold down a string to play a note or chord) and the sound of your instrument, you will likely make more rapid progress as a musician. The action can often be adjusted at the store where you purchase your guitar. Finding the instrument with the best sound can be done with a "blind test." Find a guitarist friend or store employee and sit across from this person while he or she plays several guitars. Close your eyes and try to identify the guitar sound you like best without seeing which instrument is being played. Sometimes an instrument will look great but sound awful, or vice versa.

Question: I've seen guitar "kits" for sale that include picks, method books, a strap, a case, and a guitar. Are they a good value?
Answer: They can be a great value for a beginner. An acoustic kit retails for as low as $99 and an electric kit for around $200. But beware, with all of the money spent by manufacturers on accessories and packaging, there isn't a lot left for the guitar. You may get an acoustic instrument that has high action, making it very hard to play. In an electric guitar package, the amplifier will certainly leave a lot to be desired.

Question: I'm looking for a guitar for my child, age 7-10. Should I purchase a 3/4 size or 1/2 size guitar?
Answer: Smaller steel string guitars do not stay in tune for very long (lower quality instruments sometimes won't even stay in tune for a single song). Consider a small nylon string acoustic or full-size electric guitar for the smaller player. Electric guitars work well for younger students because they have narrow necks and light, low tension strings. If your child's arm is too short to reach the first fret, put a capo on the second or third fret. (A capo is a device that raises the pitch of the guitar by shortening the string length.)

Question: I found a small guitar with four nylon strings. It's the perfect size for my child and stays in tune.
Answer: That's a ukulele.

Question: What is a bass guitar?
Answer: A bass guitar usually has four strings that sound an octave lower than the lowest four strings on a standard guitar. It is typically electric, typically has frets, and uses the same tuning as an upright acoustic bass (one that you would see in an orchestra or bluegrass band). Learning to play the electric bass is somewhat different from learning to play the guitar, since chords are used less often and notes are usually struck individually. However, familiarity with one makes the other easier to learn.

Question: I'm trying to find a good beginning guitar book, but there are so many to choose from. Some teach how to read notes, others how to play chords or tab, still others teach finger-style, Hawaiian slack key or slide guitar. Which book is best?
Answer: There are a lot of different approaches to learning guitar, and it is doubtful you will find a single comprehensive method book. Some of the most important skills for beginners include (in order of importance): learning to play chords, learning strumming techniques, learning to play guitar tab, learning to read standard notation (this one is optional for most players, although classical guitarists will find it beneficial). Of course, if you have an instructor you can ask him or her for a method book recommendation. Try to find a book that teaches these skills. A chord chart or chord book is indispensable, and if you combine this with an easy guitar book of some of your favorite songs, you should have what you need to get started. Folk songs, children's songs, Christmas songs and hymns are often good candidates for beginners since these tunes usually feature only four or five chords. After you can play several songs while strumming chords, I recommend learning to read guitar tab. Once you've got the basics down, you can investigate more advanced techniques such as finger-style, Hawaiian slack key, jazz, rock or slide guitar.

Question: Can't I just learn to play by ear?
Answer: Yes, if you have been blessed with extraordinary talent you will probably be able to listen to songs and duplicate those sounds on your guitar. You won't be able to purchase any guitar books at your local store, write down songs, or communicate with other musicians. If that's the route you want to take, go right ahead, but the journey will be difficult and may end in frustration. If you learn to read chord diagrams and tab, you'll have a much better chance at success.

Question: Should I purchase an electronic tuner for my guitar?
Answer: YES. Tuning by ear is a great skill, but you'll spend a lot of time playing out of tune if you rely on it when you're just starting out. An electronic tuner is worth every penny you'll pay for it.

Question: Besides the tuner and method/chord book, what accessories do I need to purchase?
Answer: You'll probably want a strap (required if you want to play standing up) and guitar picks. I recommend a very thin pick for beginning strummers, and thicker picks for playing individual notes or for louder strumming. A case or a guitar stand is also helpful to hold your instrument when it's not in use or when it's being transported. A capo is optional, but recommended as it will allow you to adjust the pitch of the guitar so you can sing along with songs that aren't in your vocal range. A portable music stand may be helpful, too.

Question: What is a good amplifier for my electric guitar?
Answer: You should look for an amplifier that has enough power and features--sound effects, distortion, etc.--to allow you to play the music you want to play. Often, beginning electric guitar kits come with very limited 5- or 10-watt amplifiers. I recommend upgrading to at least a 30-watt amplifier, and if you are going to perform for small groups you will want at least 100 watts. You will also need a 1/4" to 1/4" stereo cable to connect your guitar with the amplifier.

Question: Should I purchase an acoustic/electric guitar?
Answer: Acoustic/electric guitars are acoustic guitars with a built-in "pick-up" microphone inside the guitar. Often, the acoustic pick-up is powered by a 9-volt battery and includes a built-in electronic tuner. It connects to an amplifier using the same cable as an electric guitar, but the amplifier is specifically made for acoustic sounds. This type of guitar is best if you plan to perform for larger audiences. Keep in mind that when you purchase a low cost guitar with a pick-up, the quality of your guitar may be less desirable than a similarly priced guitar without electronics. If you decide to purchase a fully acoustic guitar, you can decide later to purchase an after-market pickup (placed over the sound hole), or you can have a local guitar shop install an electronic amplifier.

Question: I bought a new guitar and brought it home. What should I do now?
Answer: Tune your guitar. The strings should be tuned, in order of lowest (thickest) string to highest (thinnest): E A D G B E. Once the guitar is tuned, pick it up and try playing a few chords such a G, D and C. Then start learning on your own or find an instructor. There are a lot of great songs and a lot of free guitar information available on the Internet, but there's no substitute for a good teacher.

Question: I tried playing my new guitar, but it made my fingers sore. Am I doing something wrong?
Answer: Probably not. It's possible your "action" needs to be lowered, but most new acoustic guitarists can only play for 15-30 minutes at a time before their fingers are too sore to continue (classical and electric guitarists have it a little easier). In time, you'll develop calluses on the tips of your fingers. You may want to try putting a thin coating of super glue over your fingertips to make it less painful to play. It's also a good idea to keep the fingernails of your left hand cut short, so they don't interfere with your ability to hold down the strings.

Question: My guitar buzzes a lot when I play. Is something wrong with the guitar?
Answer: Probably not. It's possible your "action" needs to be raised or you need to use a thinner pick, but most buzzing is caused by not holding down the frets with enough pressure, or holding them down in the wrong place. Some beginners try to place their fingers exactly in the middle of the fret they are playing, but it's best to slide the finger closer to the fret (in the direction of the sound hole of the guitar). You don't want to press the metal part of the fret, which deadens the sound, but just behind it, where it takes less pressure to produce a good tone. Your guitar may buzz a little while you're learning, but over time you'll develop better technique and increased hand strength.

Question: How often should I change my strings?
Answer: New strings can do a lot to improve the sound of your guitar. Your strings will last longer if you wash your hands each time you play. Avid players will need to change their steel strings every few months (nylon strings last a little longer). You'll know it's time to replace your steel strings if they become visibly tarnished, or if they lose their bright sound. Some music stores provide string changes and other adjustments free or at low cost. If you want to change your own strings, I recommend purchasing a peg winder, which will make it easier to turn the tuning pegs. You'll also need some wire cutters. At the store, you can buy a new set of lighter or heavier strings, depending on the desired sound and your playing style. Change one string at a time, paying careful attention to the direction the original string was wound around the tuning peg. Be sure to cut the new string to the approximate length of the old one. When you are done, you may have to re-tune the strings a few times, as the guitar re-adjusts. Your strings will go out of tune more quickly for the first few days you play (classical strings take a few weeks to "train"), but you should notice an improvement in sound quality right away.

Feel the Fear and Do It Anyway

Your heart is pounding, your thoughts are racing, adrenaline is flowing. Your palms are sweaty, your muscles tense, your breathing shallow. No, it's not a first date. It's a music performance, and all you can think about are the dozens, or hundreds, or thousands of eyes directly on you. Now you are stumbling, missing a note here and there, trying to keep an even tempo and thinking only of the conclusion of your performance when you'll be able to run from the stage and this nightmare. You've played this piece hundreds of times before, often flawlessly, in the comfort of your own home. Yet suddenly, just when you need to play your best--when people are watching, expecting, listening--you choke.

Stage fright, also known as performance anxiety, is something musicians, actors and actresses, athletes and public speakers all must face. When I began playing the piano as an adult, I had dreams of concert halls and television gigs, albums and record deals. I worked hard to develop my skills, but could barely get through a song for my piano teacher, much less a large audience. Even playing for my own family was a challenge, especially when they were trying to sing along.

Over the past several years, I've worked hard to improve my performances and conquer fear. Above my piano at home, I have a sign that says "Feel the fear and do it anyway." For me, it's a reminder that performance anxiety is a reality of life but can be overcome. Here are a few tips I've learned along the way:

1. Know your material
When you are preparing to perform, learn your material inside and out. Site reading is a great skill, but it is usually not something you want to rely on when performing. If possible, memorize your piece so that instead of focusing on notes you can focus on other aspects of making great music. When memorization is too difficult, or time does not allow for such preparation, bring sheet music--but don't use it as a crutch. It is common for nervous performers to lose their place. If you know the material well, you should be able to find your place again without anyone knowing the difference.

When you are practicing, you will develop muscle memory so that even if your attention strays or your anxiety takes over during a performance, your hands will know what to do. Begin learning a new piece by playing it slowly. Each time you make a mistake, repeat that passage of music correctly several times so that your hands learn what they should do. Then gradually speed up the tempo, still repeating sections of music when you make mistakes. When you have worked up to full playing speed, practice with a steady beat as if you are performing (you may wish to do this with a metronome). Even if you make a mistake, keep going and stay with the beat. Alternate these practice methods as needed. It also helps to practice the song exactly as you will perform it. If it has an introduction, play the introduction before beginning the song. If it has repeats, take the repeats every time. If you will be playing multiple verses during your performance, play these verses every time you play the song.

2. Visit your venue
If possible, visit the venue where you will be playing, and practice on the same instrument you will be performing on. Find out how large the audience will be and how the program will proceed. Learn as much as you can about every circumstance surrounding your performance so you aren't thrown off balance by a last minute surprise.

3. Visualize your performance
Picture your audience while practicing. If you will be accompanying other instruments or singers, try to imagine the sounds you will be hearing while you play. Sometimes just the thought of being in front of an audience will cause you to feel some of the anxiety you will actually feel on stage. If you can play a song well while picturing your audience, you're on your way to a better performance. It also helps to picture the applause you will receive afterwards.

4. Know yourself
When selecting a song to perform, choose one that isn't too difficult to play under pressure. Avoid pieces that are on the very edge of your playing ability unless you have adequate time (weeks or months) to prepare.

5. Embrace imperfection
No one plays perfectly all the time. Not professionals, not music geniuses, not you. It can't be done. But, it is possible to cover most mistakes by keeping a steady beat. If you set perfection as your goal and accept nothing less, you will be a very frustrated and unhappy musician. But if you embrace imperfection and learn to work with it, your performances will improve. I recently heard a professional piano player admit -- can you believe it? -- that he sometimes makes mistakes. One of his strategies for recovering from a mistake was to play the rest of the song while making the same mistake on purpose, so people would think it was supposed to be played that way!

While practicing for a performance, I use a few techniques to throw off my balance and practice responding under pressure. I like to slide my music all the way to the left or right on the piano, so that I have to lean over and squint to see it (don't tell my eye doctor). When I am performing on an unfamiliar instrument, sometimes the music sits in a different place than I'm used to. With this technique, I'm ready for anything. I also like to increase the tempo to a very fast rate. If I'm going to perform a song at 100 beats per minute, I'll work up to 125 or more, just to see how I do under pressure. When I come back to the original tempo, psychologically it seems slower and easier.

During a recent performance, I began a song by playing the wrong notes. It wasn't a great start, but I was able to keep my cool and within a measure or two I was back in the right place. The rest of the song went well, and as I played I became more comfortable and more confident. By the time I was done, my initial mistakes were forgotten and the performance was well received.

6. Play for increasingly larger audiences
When it comes to overcoming stage fright, there's no substitute for experience. At first, you may just play for your music teacher or your family. As your confidence and skills develop, though, you should take every opportunity you can to play in front of others. Always have some music with you or a few pieces memorized, since you never know when you'll have a chance to play. It may help to explain to your impromptu audience that you are trying to gain experience playing in front of others. Just make sure you don't sell yourself short. Many poor performances begin with predictions of failure like, "I'm not very good, but I'm going to try to play anyway." A better approach is to simply tell people what you are going to play and play it. Let them judge your performance without disclaimers or excuses.

7. Practice and perform with a group
If you join a group of musicians, practices will give you an opportunity to become comfortable playing your instrument with others in an informal setting. If your group performs for audiences, you won't have to be alone on stage.

8. Believe in yourself
When the time comes to perform, be confident and give yourself permission to be amazing.

9. Stay focused
A performance is about you playing as well as you can, keeping the rhythm and expressing yourself. Don't let your thoughts move too far away from these tasks, particularly to your audience and what they might be thinking. You can worry about the audience later. Right now, it's time to play.

10. Find your inner performer
This may sound like a new age Zen concept, but it's not as ethereal as it sounds. In acting it's called "getting into character," in sports it's called "being in the zone." To find your inner performer, think back to a time in your life when you felt great, absolutely on fire. Perhaps it was when you were falling in love, graduating, getting a promotion, or being complimented by a friend or loved one. Maybe you'll want to think of a great vacation, a previous successful performance or the memory of a perfect day. How did you feel at that moment? Motivated? Happy? Fulfilled? When you're getting ready to walk out on stage, think of that memory and the emotions you felt. Focusing on something overwhelmingly positive will help you overcome fears and inhibitions and perform at a higher level.

Once again your heart is pounding, your thoughts are racing, and adrenaline is flowing. But this time, you're in control. You are expressing the passion that you feel for your music. Notes are flowing effortlessly and your preparation is paying off. A wrong note here, a mistake there--easily recovered from, easily overcome and noticed by no one. You conclude your performance with a flourish and smile in the moment of silence between your fading notes and the applause you are about to receive. Stand up and take a bow. You deserve it.