The Bollywood Piano
i The Bollywood Piano
ii
iii The Bollywood Piano By Rajan Shah Langdon Street Press
iv
I thank you, Lord, for giving us love, hope, freedom to choose, eternal life and especially for your son, the prince of peace. Dedicated to my wife, Sangeeta. I would like to thank Russell Wilson for verifying the information in this book. Russell Wilson studied classical and jazz piano at the University of Maryland in College Park. He joined the President’s Own Marine Band, which plays regularly for the White House and around Washington DC area. His music can be heard at http://cdbaby.com/cd/russellwilson.
2 Table of Contents Introduction 3 Chapter One: The Keyboard . 4 Chapter Two: The Staff . 7 Chapter Three: The Note Value . 13 Chapter 4: Major Scales 26 Chapter 5: Minor Scales 37 Chapter 6: Chords . 46 Chapter 7: Hodgepodge . 60 Appendix A 72 Appendix B 76 Appendix C 80 Epilogue . 86 Index . 87 Alphabetical List of Songs . 89
3 Introduction Welcome to your exciting musical journey. Music is a subject that needs constant exploration, a hobby that could keep entertaining for hours, a device that could help a mind stay young, a medicine that could provide some much needed healing, a medium that could take stress off of one’s daily routine, and a friend who is always around. The purpose of the book is to teach how to play songs as soon as possible by following a method specifically developed by the author. To accelerate the learning process, most of the songs are taken from Bollywood (hence the name Bollywood piano, more on this in chapter three), under the assumption that majority of the people haven’t heard them, so the notes and duration of the notes cannot be guessed. The author has been composing original “Bollywood” style songs in the USA for past 12 years. Some of these songs can be heard at various mp3 websites. The author hasn’t taken traditional music lessons. Most of his knowledge is from experience and books. This asset allows him to propose a new approach to learn music. This book offers the easiest and fastest method to learn, understand, and play piano/keyboards. If you are serious about learning, please don’t just read; you need to understand and practice what you study in this book. Answer all the chapter review questions, play all the songs and perform all the percussive exercises before you move on the next section. When it comes to music, practice is the key to success. The goal of each chapter is stated clearly as well as the least time required to achieve it. As a suggestion, please have the children practice twice a day for no more than 3035 minutes a session, unless they want to. The goal is to make children like playing music. If you need more songs to practice please look in the appendices A, B, and C or log on to www.BollywoodPiano.com/more.htm for suggestions and ideas. A zip file named mp3.zip can be downloaded from aforementioned link. This file needs to be unzipped in a known folder, so you could locate the files in it. It has 25 mp3 files and the names of the files are provided in the brackets [ ] where needed, refer to second paragraph on page 13 for an example. Note that the word keyboard and/or piano are being used as synonyms. If you want to learn harmonium simply disregard the music and the instructions for the left hand (bass clef), as you will be pulling the bellow to sound the harmonium. Accordion students must learn how to push and pull the bellow properly. Generally though an accordion offers more choices than harmonium, when it comes to left hand. Depending upon the make and model, there may be bass notes, major, minor, and seventh chords etc. for the left hand.
4 Chapter One: The Keyboard The Goal: You will be able to name all the white keys on a keyboard. Time required: 1 hour. The figure below (Fig. 1-1) shows a typical keyboard. The difference between a piano and a keyboard, as far as keys are concerned, is that most keyboards have about 61 keys (approximately five octaves) and most pianos have about 88 keys (approximately seven octaves). Pianos are significantly larger (and therefore heavier and costlier) than a typical keyboard. In this book the term piano and/or keyboard is used interchangeably. The arrow on the top in figure 1-1 is pointing to middle C. The middle C is also sometimes referred to as C4. The keys are labeled as C, D, E, F, G, A, B, and C. This last C in this sequence is one octave higher than the middle C. An Octave is a group of eight sequential keys. For example C to C is an octave. (Fig. 1-1) Any C note (or key) can be easily located on the keyboard, as it is the first white key found immediately to the left of the set of two black keys (Fig. 1-2). An F can be found easily as well, since it is the first white key immediately to left of the set of three black keys. The White key immediately to right of the C is D and the white key to the right of the D is E. Analyze Fig. 1-2 to find and memorize the location of other keys. These notes on the keyboards are stationary and do not move, although they could be upper or lower octaves. Black keys will be discussed in Chapter four.
5 (Fig. 1-2) Knowing the following system will help you compose and arrange music on the computer and will help with the advance programming of the keyboard including sequencing and layering of sounds. The first C (C2), from the left, in the figure below (Fig. 1-3) is two octaves lower than the middle C (C4). The octave from first C (C2), in the figure below (Fig. 1-3), to the first B (to the left of C3) is known as the second octave. The octave from C3 to the next B (to the left of C4) is known as the third octave. The octave from C4 to the next B (to the left of C5) is known as the fourth octave. The octave from C5 to the next B (to the left of C6) is known as the fifth octave. There could also be a zero octave, first octave, sixth octave, seventh octave etc., depending on the size of the keyboard/piano. All the notes within the octave go by the specific number, for example the D to right of the middle C (C4) is known as D4 and the E (to the right of D4) is E4 because they both are in fourth octave. Same rule applies to other notes and octaves. (Fig. 1-3)
6 Chapter Review 1. Which white key is located immediately to the right of the set of two black keys? 2. Which white key is located immediately to the left of the set of two black keys? 3. Which white key in the middle of the set of two black keys? 4. Which white key is located immediately to the left of the set of three black keys? 5. Name all the keys in the figure below. 6. What is an octave? 7. What is the other name for middle “C”?
7 Chapter Two: The Staff The Goal: You will be able to name the notes on the staff. Time required: 2 hours. In the western music system the music notation is read from the staff from left to right and top to bottom, just like reading an English language book. Staff is the combination of clefs, lines, notes, time signature, etc. Let’s do some decoding of the staff system. Figure (Fig. 2-1) below shows a typical treble clef. Treble clef is usually played by the right hand and is also known as G Clef because the big round part of the clef itself encircles the second line (Fig. 2-1) from the bottom, which happens to be the G note. The staff also includes five horizontal lines. (Fig. 2-1) To read the notes fluently you must be familiar with the notes on the staff. Notes on the staff can be memorized using the standard acronyms. For example, the notes that fall in the spaces (space notes) spell the word “FACE” from bottom to top (Fig. 2-2). The notes on the line (line notes) can be memorized using the mnemonic, Every Good Boy Does Fine. (Fig. 2-2) More lines, known as ledger lines, can be added at the top or at the bottom of the staff (Fig. 2-3), to accommodate the need of notes that are higher or lower than the normal five lines configuration (Fig. 2-2). In the figure below (Fig. 2-3), a ledger line is added on
8 top of the F line to place the “A” note and another ledger line is added at the bottom to place the middle C. Notice how from a line to the next line (up or down) a note is skipped, which is a space note. For example look at the B line, the next line up is the D line and the note that is skipped is the C note, which is the space note between the two lines. It works in the same manner on the way down, for example between B line and G line the note that is skipped is the “A” note, which is the space note between the B and the G line. (Fig. 2-3) The figure below (Fig. 2-4) shows how the two octaves to the right of the middle C correspond to the staff. The notes move from left to right on the keyboard as they move upwards on the staff, one note at a time, line to space, space to line. In other words, as the pitch (timbre of sound) of the notes move from low to high, the notes on the staff move upwards. Once this information is understood, reading music notation becomes easy. In the figure below (Fig. 2-4) the distance from C to D is known as second, C to E as a third, C to F as a fourth, C to G as a fifth, C to A as the sixth, C to B as a the seventh, and C to C as the octave apart (more on this in Chapter 6). (Fig. 2-4)
9 Let’s do some more decoding. In the figure (Fig. 2-5) below a typical treble clef is shown with the time signature 4/4 (called four-four), also known as C or common time, as more than 90% of pop songs are 4/4 time. A time signature is made up of two numbers. The top number (4 in this case) tells us exactly how many beats are in a bar (Fig. 2-5), bar is also known as a measure. If the top number is 4 than the count is 1, 2, 3, 4, 1, 2, 3, 4, etc., if the top number is 3 (waltz beat) then the count is 1, 2, 3, 1, 2, 3, etc., if the top number is two the count is 1, 2, 1, 2, etc., and if the top number is 6 the count is, you guessed it, 1, 2, 3, 4, 5, 6, 1, 2, 3, 4, 5, 6, etc. The bottom number signifies the note value; in this case it’s a 4, which means it’s a quarter note (more on the note value in Chapter 3). Bar lines (vertical lines) divide the lines (horizontal lines) into measures. Double bar means it’s the end of a piece (or section or song). A typical song consists of numerous measures (Fig. 2-5). (Fig. 2-5) The figure (Fig. 2-6) below shows the left and right hand with numbers. These numbers will help us play the proper note with proper finger initially. Notice that the numbers are increasing from left to right on both hands to avoid the confusion. In some piano method books the left hand is label 5, 4, 3, 2 and 1 from left to right. (Fig. 2-6)
10 The figure (Fig. 2-7) below shows which finger will play what note initially. The thumb (1) of the right hand will play the middle C, the index finger (2) will play the D, the middle finger (3) will play the E, the ring finger (4) will play the F, and the little finger (5) will play the G note. (Fig. 2-7) When you are ready to play, make sure both hands are relaxed with a little curve almost like holding a grapefruit size cotton ball. There shouldn’t be any strain or tension on the hands. Sit up straight and place your fingers on the keyboard as suggested above (Fig. 2-7). Leave the fingers in this position when you are about to play so the fingers are ready to hit the notes instantly. Press only the finger(s) specified in the notation, leaving all the other fingers touching the keys but not pressing them. Left Hand Figure (Fig. 2-8) below shows a typical bass clef also known as F clef due to fact that the line between the two smaller dots is an F Line. The space notes can be memorized using the famous mnemonic: All Cows Eat Grass, and the line notes can be memorized using: Good Boys Do Fine Always. (Fig. 2-8)
11 The figure (Fig. 2-9) below shows how the left hand rests on the keyboard. Pay attention to the location of the middle C. (Fig. 2-9) The Figure (Fig. 2-10) below shows a Grand Staff for piano. Grand Staff means that both treble and bass staves are combined. Middle C can be played by the right hand (the added ledger line below the E line of the treble clef) as well as by the left hand (the added ledger line above the A line of the bass clef). Notice that distance from any line to any line is a third and any space to any space is a third as well. For example middle C is a line note and moving upwards the next line note is the E line, which is a third. In fact, moving upwards and measuring the distance from middle C, all the line notes are odd (third, fifth, seventh etc.) and all the space notes are even (second, fourth, sixth etc.). For example distance from C to D is the second. (Fig. 2-10)
12 Chapter Review 1. Name the notes.
13 Chapter Three: The Note Value The Goal: You will be able to comfortably play up to sixteenth notes. Time required: 10 hours. At this point in our journey we know the names of the notes on the keyboard, what they correspond to on the staff, as well as what finger will play the specified note(s) initially. What we don’t know is how long to hold a note. Let’s figure it out. A song is made up of several repetitious beats known as rhythm. Rhythm is the backbone of a song, hence very important. In most cases rhythm is apparent, although at times it could be implied so you may have to feel it rather than hear it. Rhythms are better understood by using a device called metronome. Metronomes help keep the beat with regards to the time. You may already have it on your keyboard, please refer to the owner’s manual to access and use it. You may also need to learn how to change the tempo of a beat (or the metronome) of your particular keyboard. Tempo is the speed of the music, given in BPM (beats per minute). If your keyboard doesn’t have the metronome, it can be purchased from any music store for as little as 15.00 or as much as 100.00 or even more, depending upon its functions and options. A cheap one will do for our purposes. There are also seven examples [1-7] of approximately one minute MP3s at 60, 70, 80, 90, 100, 120, and 140 BPM in a zip file named mp3.zip that can be downloaded from www.BollywoodPiano.com/more.htm. Every click (or tick or beat) of the metronome is a quarter note (Fig. 3-1). The round and darkened part of the note (Fig. 3-1) is called the note’s head, and line itself is referred to as a stem. To develop a sense of timing, every time you hear a song try to count the beat or tap your foot while the song is playing. This practice will help you in all kinds of musical adventures such as singing, playing instruments, dancing etc. Practice playing a note, any note, on a keyboard with the metronome at various tempos starting with 60 BPM. You will develop a sense of timing needed to become a good musician. At 60 BPM the metronome is ticking every second (each second has 1000 milliseconds), as there are 60 seconds in a minute. It is very important that you keep the note down until it is time to hit the note again (the same or other note). Be patient as it may take a few tries to play with the metronome. As a matter of fact, even the most seasoned artist won’t be able to play with the metronome all the time; only a machine (like a computer or a metronome itself) could do it over and over again. As long as you are playing the note with the metronome most of the time, you are on your way to become a good musician, composer, singer, or dancer. As mentioned earlier, every click (or tick or beat) of the metronome is a quarter note (Fig. 3-1). A quarter note is played once and held down for each click of the
14 metronome. A half note is played once and held down for two consecutive quarter notes or click of the metronome. A whole note is played once and held down for either four consecutive quarter notes or for the whole measure. Therefore, in four-four time (4/4), a whole note (or rest) is equal to four quarter notes (or rests), or two half notes (or rests), or a combination of the quarter and the half note(s) (or rests). Silent passages, where a particular hand does not play, are also a part of the music known as a rest. A whole rest (it looks like a hole in the ground) means that nothing is played for four consecutive quarter notes or for the whole measure for particular hand. A half rest (it looks like a hat) means not to play for two consecutive quarter beats, and quarter rest means not to play for one beat for particular hand. Familiarize yourself (Fig. 3-1) with some of the ways a whole, half, and quarter notes, as well as rests may appear on the staff. Rest Note Whole Half Quarter „ Ó Œ ð Ô (Fig. 3-1) We are now ready to play some famous western melodies based on quarter, half, and whole notes, and rests. Follow these tips to play properly, better, and faster. 1. Sit up straight and make sure your fingers stay on the keyboard, ready to play. 2. Familiarize yourself with all the notes on the staff using the mnemonics discussed in chapter two. 3. Look at the notation page while playing, not at the keyboard. 4. Play with the metronome (or with a suitable rhythm on the keyboard) at a slower tempo first, gradually increasing it to suggested level. Playing at a slightly faster tempo may help develop faster fingers. 5. Press and keep the note down for its full value. 6. Release the note completely before playing the next note. 7. Don’t be discouraged if you’re not getting it right in the beginning, it takes some practice to play properly. In the song below the double bar with the two dots to the left, at the end of the song, is the repeat sign, which means to play the song one more time. The symbol q 120 is the tempo sign suggests that the tempo is 120 BPM. All the songs in this book are arranged so they are easy to play, and for that reason they may sound a little different from the original
15 melody. Let’s practice right hand first. The suggested finger numbers are provided under the notes. Ode to Joy By Beethoven Mary Had A Little Lamb Dotted notes are followed by a dot to the right of the note’s head. Dotted notes increase the value of a note by one half of its original value. For example, the half note value is two beats. Adding a dot to the right of this note will increase the value by one more beat (half of two) bringing the total to three beats. This can be accomplished by
16 playing and holding the note down for three consecutive beats. It works the same way for other beat values discussed later in this chapter. London Bridge The next example covers the whole octave. Pay attention to the fingering. Notice the new hand position in the fifth measure of the song below where the little finger (5) plays the C note. In measure one and four the little finger played the G note. It is a common practice to move (or jump) the hand back and forth, from one position to another, all over the keyboard at different positions as needs arise. Row Row Row Your Boat
17 The next example includes the tied notes. A curved line joins the tied notes either above or below the note’s head. Tied notes mean to play and hold the note for the combined value of the two notes. A tied note must be of the same pitch and it is mainly used to sound the same note over to the next measure. For example in the first measure the G note is played and held for the total of three beats, counting 3, 4, 1. Play the G note on the count of 3 and hold it for 4 as well as the 1st beat of the second measure. Tied notes should not be confused with the slur (or phrase) markings, which are discussed in Chapter 7. Let’s practice the tied note exercise. Tied Note Exercise The next few examples are the same songs as above but for the left hand. For more practice songs please refer to Appendix A towards the end of the book. Ode To Joy by Beethoven
18 Mary Had A Little Lamb The next few songs are examples of parallel movement, which means that both hands are playing the same melody at the same time. Ode To Joy by Beethoven
19 Mary Had A Little Lamb The next is the example of a contrary movement, which means that both hands are moving in opposite direction. In the next example the left hand is imitating the right hand after one measure. Next example is the delayed movement, which means that one hand is playing exactly the same notes but delayed by, in this example, two beats.
20 The next song has two different endings, one with the repeat sign and one with the end sign. The first time the song is played up to the repeat sign. The second time the two bars with the number one (1) are skipped and the last two bars with the number two (2) are played as alternate ending. In both cases a total of eight bars are played. Jingle Bells 1. 2. The figure below (Fig. 3-2) shows couple of the different ways you may see an eighth note and the eighth rest on the staff. The line attached to the stem is referred to as a flag. The eighth note has one flag. To play the eighth note set the metronome to 60 BPM and start to count 1, 2, 3, 4, and tap your foot with each count. Add an “N” to your count every time your foot comes up, so now the count is 1, N, 2, N, 3, N, 4, N, etc. Here is what’s happening at 60 BPM: every click is one second (1000 milliseconds) and “N” is being added approximately half of that distance (500 milliseconds) with regards to time. If you don’t understand the millisecond illustration don’t worry; the key objective is that you are able to add the “N” in the count. In the beginning it is easier to count the entire
21 measure with the “N” that has eighth note(s) or rest(s) as opposed to only counting it for a note or a rest. To understand the count listen to the mp3 labeled 8 (at 60 BPM) and 9 (at 120 BPM) [8 and 9] in the mp3.zip file that can be downloaded from www.BollywoodPiano.com/more.htm. In these files the middle C (C4) is clicking on the count of 1, 2, 3, 4 etc., and the C5 is clicking on the count of “N”. There are two eighth notes (or rests) in a quarter note. Notes Eighth ‰ or Rest Â Ò (Fig. 3-2) Let’s practice some percussive exercises. You don’t have to be near a piano for these exercises, simple clapping could do by hitting hard on one, two etc., and softly for the “N”. The key objective of these exercises is to get in the habit of playing the eighth notes and rests with other notes and rests. Follow the tips on page 14 to play theses examples properly. A trick that works fairly well for the rest is to tap the hand (or finger or foot) outside the keyboard. For example, in Percussive Exercise 3 and 5 the rest (on 1 etc.) can be tapped anywhere but on the keys and play the remainder of the notes normally. Percussive Exercise 1 1 N 2 N 3 N 4 N 1 N 2 N 3 N 4 N . Percussive Exercise 2 1 N 2 N 3 N 4 N 1 N 2 N 3 N 4 N . Percussive Exercise 3 (tap)1 N 2 N 3 N 4 N 1 N 2 N 3 N 4 N . Percussive Exercise 4 1 N 2N3N4 N 1 N 2N3N4 N .
22 Percussive Exercise 5 (tap)1 N 2 N 3 N 4 N 1 N 2 N 3 N 4 N . If you have practiced the percussive exercises enough times, you will have no problem playing the songs on next few pages. If the song is known, the ability to read the music (the pitch and the note value) may be affected. Since you may not know these songs, you must figure out the notes by using the mnemonics and the beat value by counting properly, hence you may learn to read music faster. Most of these songs are taken from Bollywood movies. Just like Hollywood in America, Bollywood is a movie industry in India. Most of the Indian pop songs come from Bollywood movies and some from pop albums. These songs can be heard and/or purchased from various MP3 websites. They can be searched either by their underlined song title, and/or by name of the movie (or Album) and/or by the music director provided in the parenthesis, separated by a dash. If you want to learn to read music properly, please don’t listen to these songs until you have perfected them. All songs are arranged so they are easy to play and have simple bass lines. If you need more songs to practice please see appendix A or visit www.BollywoodPiano.com/more.htm. Andekhi Anjaani (Mujhse Dosti Karoge – Rahul Sharma) In the song below, the opposite repeat sign, in the beginning of measure five, means to repeat the song from this point when the end of the song is reached. Dil Na Diya (Krrish – Rajesh Roshan)
23 It is essential to learn to play sixteenth notes and rests (Fig. 3-3) as more than ninety percent of pop songs are using them one way or another. A sixteenth note has two flags. There are four sixteenth notes in one, quarter note and two sixteenth notes in one, eighth note. Some practice and understanding is needed to play the sixteenth note and rest properly. Figure (Fig. 3-3) below shows couple of ways a sixteenth note and rest may appear on the staff. Notes Sixteenth Ù or Rest Ê Å (Fig. 3-3) The easiest way to count a sixteenth note and rest is to say 1 e N a, 2 e N a, 3 e N a, 4 e N a, 1 e N a, 2 e N a, 3 e N a, 4 e N a, etc., for the measures that have sixteenth note(s) and rest(s). Depending on the speed, this count could be very fast. For practice exercises, keep the sixteenth count going even if you see a rest; simply don’t play any note for the rest. The more you practice the better feel you will get for the sixteenth note. To understand the count listen to the mp3 labeled 22 (at 60 BPM) and 23 (at 90 BPM) [22 and 23] in the mp3.zip file. In these files the middle C (C4) is clicking on the count of 1, 2, 3, 4 etc., and the C5 is clicking on the count of “e N a”. For illustration only, here is what’s happening: At 60 BPM a sixteenth note is played at approximately every 250 milliseconds (one fourth of a second), whereas a quarter note is played every 1000 milliseconds (every second), and eighth note is played every 500 milliseconds (one half of a second). Let’s perform some percussive exercises to get a feel for the sixteenth notes and rests. Repeat these exercises as necessary, until you get accustomed to play the sixteenth notes and rests.
24 Percussive Exercise 1 1 e N a 2 e N a 3 e N a 4 e N a . Percussive Exercise 2 1 e N a 2 e N a 3 e N a 4 e N a . Percussive Exercise 3 1 e N a 2 e N a 3 e N a 4 e N a . Percussive Exercise 4 1(tap) e N a 2 e N a 3 e N a 4 e N a 1 e N a . Percussive Exercise 5 1 e N a 2 e N a 3 e N a 4 e Na 1 e N a . A dotted eighth note is equal to three sixteenth notes. As you know an eighth note is equal to two sixteenth notes. A dot increases the value by one half of the original note value, in this case to another sixteenth note, bringing the total to three, sixteenth notes. Percussive Exercise 6 1 e N a 2 e N a 3 e N a 4 e N a 1 e N a .
25 After completing these exercises you should be confident enough to understand and play sixteenth notes and rests properly. Let’s practice by playing a couple of songs. See Appendix A for more practice songs. Aap Jaisa Koi (Qurbani – Kalyanji Anandji) Dekha Na (Bombay to Goa - R.D. Burman)
26 Chapter 4: Major Scales The Goal: You will be able to play and recognize all of the major scales. Time required: 8 hours. So far we stayed in the realm of songs that use white keys or natural notes. Only one scale uses all the white keys, scale of C (or key of C). Let’s analyze figure 4-1 to learn more about scales. (Fig. 4-1) The following notes are the part of the scale of C: C, D, E, F, G, A, B, and C (an octave higher). The name of the scale is determined by the note that’s played first. This note is also known as Ist, root, or tonic. Generally, in western music, the notes played in ascending order are the same notes played in reverse on the way down. For example in the scale of C the notes played on the way up are C, D, E, F, G, A, B, and C; but on the way down the notes are played in this order: C, B, A, G, F, E, D, and C (an octave lower). Let’s practice playing the scale of C one hand at a time, right hand first then left and then try to play with both hands simultaneously. Exercise below shows the suggested fingers for the scale of C for left as well as for the right hand. Let’s look at the scale of C major in terms of melodic intervals (or distances or degrees), which means to play one note at a time. If a move is made from C to D (Fig. 41), that distance is known as a whole step because a note (first black key in the set of two)
27 is skipped. From D to E the distance is a whole step as well. From E to F the distance is half a step because no notes are being skipped. It’s a whole step from F to G, G to A, A to B, and lastly the distance from B to C is half a step. By memorizing and using the formula just discovered “WWHWWWH” (where W is whole step and H is half step), any major scale can be built. Introducing sharp ( ) and flat ( ): A sharp means a half step up and flat means a half step down. The first black key (Fig 4-2) could either be a C sharp, because it is half note higher than C, or D flat, because it is half note lower than D. A note that can be called by two different names is known as enharmonic. The second black key could be D sharp or E flat. The third black key could either be F Sharp or G flat. The fourth black key could either be G sharp or “A” flat, and the fifth black key could either be “A” sharp or B flat. (Fig 4-2) Most of the notes, not just the black keys, can be enharmonic. For example, F could be E sharp, and C could also be B sharp. It’s the scale that determines which role a particular key will play. The key of C has no sharp and no flats, in other words key of C has all natural notes (white keys), and therefore it doesn’t need any key signature in the staff. A key signature, between the clef and the time, indicates what keys are flat or sharp in a scale (or a song) for the entirety of the song. The only exception to this rule is a sharp and/or flat sign in a measur
process, most of the songs are taken from Bollywood (hence the name Bollywood piano, more on this in chapter three), under the assumption that majority of the people haven't heard them, so the notes and duration of the notes cannot be guessed. The author has been composing original "Bollywood" style songs in the USA for past 12 years.
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Dr. Sunita Bharatwal** Dr. Pawan Garga*** Abstract Customer satisfaction is derived from thè functionalities and values, a product or Service can provide. The current study aims to segregate thè dimensions of ordine Service quality and gather insights on its impact on web shopping. The trends of purchases have
Chính Văn.- Còn đức Thế tôn thì tuệ giác cực kỳ trong sạch 8: hiện hành bất nhị 9, đạt đến vô tướng 10, đứng vào chỗ đứng của các đức Thế tôn 11, thể hiện tính bình đẳng của các Ngài, đến chỗ không còn chướng ngại 12, giáo pháp không thể khuynh đảo, tâm thức không bị cản trở, cái được
being objectified in Bollywood item songs down the ages with the help of lyrics. The primary texts for the analysis are Bollywood item songs. And the researcher has done a semiotic content analysis of the lyrics studying the various metaphors and symbols used in such songs to show how various metaphors are used to objectify women reducing
Howard Lees is a British Chartered Civil Engineer with 40 years construction experience. In 2004 he set up Hollin Consulting Ltd, specialising in Behavioural Management
