Take Another Look At the Keyboard Return to catalog Table Of Contents   FOREWORD   DEFINITIONS AND ABBREVIATIONS   THE KEYBOARD     The Unequal-Segment Viewpoint     Equal-Segment Viewpoints     The Mirror-Image Viewpoint     The Major Scale Viewpoint   INTERVALS     Perfect and Imperfect Intervals     Supplemental Methods for Viewing Intervals     Enharmonic Intervals     Interval Inversion   SCALES   Tetrachords   The Major Scale   The Modes   The Minor Scales   Irregular Scales   Rare Scales   TRIADS     Major Triads     Minor Triads     Major and Minor Suspended Fourth Triads     Diminished Triads     Structural Differences between Triad Types   SEVENTH CHORDS     Altered Seventh Chords     Diminished Seventh Chords     Major Seventh Chords     Minor Seventh Chords     Half-Diminished Seventh Chords     Seventh-Chord Rotations   NINTH, ELEVENTH, AND THIRTEENTH CHORDS     Distasteful Thirteenth Chords     Visualization of Thirteenth Chords     Incomplete Thirteenth Chords   BLANK KEYBOARDS   73 pages	Sample Page... FOREWORD When I studied guitar, I was pleased to learn that any given visual pattern would produce similar sounds anywhere along the keyboard. This fingerboard convenience made transposition very simple: all I had to do was to duplicate whatever happened in the original tonality somewhere else up or down the neck. But when I began my piano study, I found that no such consistent system applied. Instead, I found that keyboard patterns which look alike don't always sound alike - three alternate white keys might make a diminished chord or a Major chord or a minor chord: And I found that keyboard patterns which sound alike don't always look alike - a Major chord might put a black key between two whites or a white key between two blacks or two blacks above a white or two whites above a black, and so on. As a matter of fact, I had to visualize six different formats to play by eye the first phrase of the Blue Danube Waltz in every key. These various keyboard patterns turned out to be visual versions of Major triads. Obviously, learning the multiple keyboard looks of each interval type, each type-scale, and Each keyboard type would be simplified if I could find some consistent visual principles. This book is a result of my search. It views the blank keyboard from several fresh standpoints, then relates those views to actual keyboard patterns. It develops keyboard structures of all kinds from a few unmistakable models. And to facilitate eye training, its illustrations show keyboards rather than notes. I believe that this book will prove valuable to anyone who might like a new look at the keyboard. It's for professionals or amateurs, for readers or non-readers, for teachers or students WILLIAM L. FOWLER