Ehsan Koopayeh 2018 Photos and Images(Wallpapers):
Picture #9

Music Industry in VIDEO

Ehsan Koopayeh 2018 New Musical Harmony & Music Industry

Chordology:  Popular & Romance Music Harmony

Ehsan Koopayeh 2018 New Music Industry

POP Music Harmony

Ehsan H. Koopayeh old pic

CHORDOLOGY by Ehsan Koopayeh 2018 New

Ehsan Koopayeh 2018 New

Ehsan Koopayeh:The Blues & POP Pianist and Piano Tutor:

Inversion CHORDOLOGY of diminished 7th Quadriads in Close & Open Position:


The diminished 7th Quadriad Formula: 1+b3+b5+6 or

 root+min 3rd+dim 5th+dim 7th

or a diminished Triad+  a min third interval to chord's fifth

source: Harmony & Theory Keith Wyatt

Inversion CHORDOLOGY of Dominant 7th Quadriads in Close & Open Positions:

Dominant 7th Quadriad Formula: 1+3+5+b7 or

 root+Maj. 3rd+Perf. 5th+min. 7th

or a Major Triad+ min 7th

Inversion CHORDOLOGY of b5 chords in Close and Open Voicings:

b5 chord Formula: 1+3+b5  or
 root+Major third(3rd)+flat Fifth(5th)

property #6: another great factor in POP and Romantic Music Hamony

Ehsan Koopayeh

Music Industry PDF

Ehsan Koopayeh 2018 New Black & White

Music Industry

Ehsan Koopayeh 2018 New Black & White

Flat-Five CHORDOLOGY

Types of Flat five (b5) 3 notes Chords:

 

Music Industry: A great Industry in 2018

Ehsan Koopayeh:  English Translator

Ehsan Koopayeh:  Chordology Phrase Inventor

Inversion CHORDOLOGY of Major Triads in Close & Open Position:

source: Music Theory For Dummies PDF by Michael Pilhofer

Inversion CHORDOLOGY of minor Triads in Close & Open Position:

CHORDOLOGY in the Melodic minor scale

Property #4
other way for connecting harmony of dissonant triad(diminished triad) to consonant triads

 CHORDOLOGY in the Melodic minor scale

Property #3
 
a Great harmonic factor in the popular and romance music harmony
 

Sub-dominant chord flexibility in the Melodic minor scale

Progression #1:

 Am(i)-D(IV)-Dm(iv)

Progression #2 with added Sevenths:

Am(i)-D7(IV7)-Dm(iv7)

Progression #3 with added Ninth or second(add2 or add9):

 Am(i)-Dadd2(IV2)-Dmadd2(iv2)

CHORDOLOGY in the Melodic minor scale:

Property #2

Connecting Harmony of dissonant triad(augmented triad) to consonant triads in the minor keys:

i told you that melodic minor scale is the best musical scale
moving Tonic(i) chord root in chromatic half step.
its mean, i chord "third" and "fifth" : Fixed
whiles, i chord "root": variable toward Lowering in chromatic half steps 

CHORDOLOGY in the Melodic minor scale

Property #1
Connecting Harmony of dissonant triad(diminished triad) to consonant triads in the minor keys:

i told you that the Melodic minor scale is the best. Tonic(i) chord fifth chromatic movement in half step,
that's mean, i chord "root" and "third" :fixed
but i chord "fifth": variable toward raising in chromatic half steps


i always would like to generalize The Blues,Popular,Jazz,Rock,Soul,Country and Romantic Music Harmonies,but these are only an idea

Chordology: A New Brand by Ehsan Koopayeh

Music Business For Dummies by Loren Weisman

Music Industry For Dummies:

Inversion CHORDOLOGY of Semi-diminished 7th Quadriads in Close & Open Positions:

Ehsan Koopayeh: Playing Keyboard in 4 years old

Piano for Dummies 2nd edition PDF by Blake Neely

Songwriting For Dummies PDF:

Inversion Chordology of Major & minor Seventh(7th) Quadriads:

Suspension of Primary and Secondary Dominants Applied in Romantic Music Harmony



(Variations on Secondary Dominants):

Inversion CHORDOLOGY of Augmented Triads in Close&Open Voicings:

Note:
In every Key,first inverted chord of Tonic augmented chord(root position) correspond the Mediant augmented chord and second inverted chord of tonic chord(root position) equal the sharp(raised) dominant augmented chord on the same key 

Inversion CHORDOLOGY of Diminished Triads in Close and Open Voicings:

Inversion Chordology of Suspended Chords in Close&Open Voicing:


My Favorite chord:Suspended chord:

Blake Neely: Composer, Pianist, arranger and Author

Variations on the Seventh quadriads through eliminating Mediant or Dominant steps:

Ehsan Koopayeh in 4 years old during playing keyboard with playing Violin by his Father:

Ehsan Koopayeh: 4 years old

Ehsan Koopayeh in 4 years old during Playing keyboard:

Suspended Quadriads:

Blues CHORDOLOGY by Ehsan H. Koopayeh:

 

Jazz CHORDOLOGY by Ehsan Koopayeh:

source: Piano for Dummies by Blake Neely

Piano Exercises For Dummies by David Pearl(PDF):

Piano & Keyboard's

Exercises and Practices With Ehsan Koopayeh

I) Isolating and Exercising L.H. and R.H Fingers



a) Two-Finger Exercises for the Left Hand & Right Hand

One and Two Fingers's Practices ,including:  Left Hand & Right Hand-
Two and Three Fingers's Exercises, Includes: Right Hand & Left Hand-
Three and Four Fingers's Exercises, Including: Right Hand and Left Hand-
Four & Five Fingers's Practices Includes: Left Hand and Right Hand-

b) Three-Fingers Exercises for the Left Hand and Right Hand

One,Two and Three Fingers's Exercises,Including: Left Hand and Right Hand-
Two,Three and Four Fingers's Practices, for The Left & Right Hands-
Three, Four and Five Fingers's Exercises,includes: Left Hand & Right Hand-


c) Four-Fingers Practices for The Left Hand and Right Hand

One, Two, Three and Four Fingers Exercises, for the Left&Right Hands-
Two,Three,Four and Five Fingers's Exercises, Includes the Left&Right Hands-

g) Five-Fingers Exercises for The Left Hand 7 Right Hand, Includes: one, Two, Three,Four and Five Fingers Exercises


II) Playing Music by Ten Fingers: Five-Fingers L.H. and Five-Fingers Right Hand


a) Playing and Exercises Articulation

b) Legato Articulation'(Smooth' Articulation is called "Tenuto'  Articulation") Exercises Exercises for the Left-Hand & Right-Hand

c) Short Articaulation'(is called "Staccato Articulation") Practices for The Left & Right Hands

d) Developing Left & Right Hands Fingers's Independence with Scaling as to Five-Fingers Positions, includes : Major, and minor Scales and Variation on the minor and Major Scales



III) Developing a Strong,Supple and Speedy L.H. for the Left-Handers and Developing a Supple,Strong& Speedy R.H. for the Right -Handers


a) Passing-Unders(P.U.) and Crossing Overs(C.O.): A great and Useful  Exercises on the Piano& Keyboard and Best Fingering Tricks ( i Love the P.U. and C.O. Fingering Tricks) b) P.U. and C.O. The First Type, Includes: One Under Two, Two Over One

c) P.U. and C.O. Second Type, includes: One Under Three and Three Over One

d) C.O. and P.U. Third Type, Including: Four Over One and One Under Four

e) Extending All Kinds of Scales by C.O. Aand P.U. Graet Tricks




IV) Playing and Exercising Musical Intervals and Intervals Inversions on The PIANO&KEYBORAD Through Ten Fingers( L.H. and R.H. Five-Fingers)


a) Playing and Practicing Second Intervals Through different Fiingers Combinations

Combination #1: one and Two Fingers for the Left & Right Hands-
Combination #2: Two & Three Fingers for the Left & Right Hands-
Combination #3: Three and Four Fingers For The Left Hand and Right Hand-
Combination #4: Four and Five Fingers for the Left and Right Hands-




b) Exercising & Playing Third Intervals by Different Finger Combinations

Combination #1: One and Three Fingers for the Left Hand & Right Hand-
Combination #2: Two and Four Fingersfor The Left Hand and Right Hand-
Combination #3: Three and Five Fingers for The Left & Right Hands-


c) Playing and Practicing Fourths(Fourth Intervals) by Different Finger Combinations


Comb #1: One and Four Fingers for The Left Hand and Right Hand-
Comb #2: Two and Five Fingers for the Left & Right Hands-


d) Playing & Exercising Fifths(Fifth Intervals) Via Different Finger-Combinations


Comb #1: One and Five Fingers for the Left & Right Hands

Comb #2: One and Four Fingers for the Left&Right Hands, Stretching out for a little bit one or Four Finger

Comb #3: One & Third Fingers for the Left & Right Hands, Extending One or Three for Enough

Comb #4: One and Two Fingers for The Left Hand and Right Hand,Stretching Out One or Two Finger for enough(Stretching out more than Comb #3)


e) Exercising and Playing Sixths(Sixth Intervals) for the Left & Right Hands by Different Combinations


Comb #1: Playing Sixths Via One and Five Fingers for the Left and Right Hands, Stretching out One or Five Finger for enough

Comb #2) Playing and Exercising Sixths by Two and Five Fingers for the Left&Right Hands, Stretching out Two or Five Finger for Enough

Comb #3: Playing Sixths Via One and Two Fingers for the Left Hand and Right Hand , Stretching out(Extending) One and Two within enough(within Much)

     
f) Playing & Exercising Sevenths(Seventh Intervals) for The Left Hand and Right Hand with Different Combinations


Comb #1: Playing Sevenths through One and Five Fingers for the Left and Right Hands, Stretching One or Five Finger for enough(Stretching Out a few more than Comb #1 as to "playing Sixth Intervals")

Comb #2: Playing and Exercising Seventh with Two and Five Fingers for he Left Hand and Right Hand, Stretching Out Two and Five Fingers for enough(Extending a few more than  Comb #2 as to "Playing Sixths")

Comb #3: Exercising and Playing Seventh by One and Two Fingers for the Left&Right Hands, Stretching out One and Two for enough Much(Stretching out One & Two more than Comb #3 as to " Playing Sixths")


g) Playing & Practicing Octaves(Octave Intervals) for the Left Hand and Right Hand With Different Combinations


Comb #1: Playing Octaves With One and Five Fingers for the White Keys of Piano&Keyboard for the Left&Right Hands, Stretching out One and Five Fingers for too Much

 Comb #2: Playing and Exercising Octaves by One and Four Fingers for the Black Keys of Piano&Keyboard for the Left&Right Hands, Stretching out One and Four within too much



V) Playing and Exercising Chords, Chord-Progressions and Chords and Melody Combinations

a) Chord Relaxation

b) Exercising and Playing Simple & Longer Chord-Progressions

    c) Playing and Exercising Voicing Chords

d) Playing and Exercising Voicing Chords and Chord-Progression Repetition

e) Playing & Exercising Chord and Melody Combinations




VI) Exercising, Playing and Extending Different Scales


a) The 12 minor, Harmonic minor, and Melodic minor Scales

b) The 12 Major, Harmonic Major and Melodic Major Scales

c) The 12 Chromatic Scales

d) The 12 minor & Major Blues Scales

e) The 12  Major & Minor Pentatonic Scales

f) The Three Diminished Scales




VII)  Exercising and Scaling Parallel and Contrary Motions in the Scales,Scaling and Scalewise


a) Parallel Motion Exercises at the Intervals at the Negative or Positive Directions

Parallel Thirds Exercises-
Parallel Sixth Exercises-
Parallel Octaves Exercises-
Parallel Tenths Exercises-
Parallel Scalewise Motion in the Major Scales-
Parallel Scalewise Motion in the minor Scales-
Parallel Scaling in The Blues Scales-
Parallel Scalewise Movement in The Pentatonic Scales-


b) Contrary Movement(Motion) "Toward the Center" and "Away from the Center"


Diatonic(Diatonic minor and Major Scales) Scalewise Toward the Center-
Chromatic Scaling Movement Toward the Centar-

Diatonic(Diatonic Major &  minor Scales) Scaling Away from the Center-
Chromatic Scalewise Motion Away from the Center-


The Blues Scalewise Motion Toward the Center-
Pentatonic Scaleweis Movement Toward the Center-


The Blues Scaling Movement Away from the Center-
Pentatonic Scalewise Motion Away from the Center-





VIII) Two-FootsWork: Using the Three Pedals

Right Pedal: Damper Pedal(Sustain Pedal) by The Right Foot

Middle Pedal: Sostenuto Pedal with The Right Foot

Left Pedal: The Soft Pedal(Una Corda Pedal) by The Left Foot

a) Pedaling Chords

Broken-Chords Pedaling-

Block-Chords Pedaling-

b) Pedaling Changes on a Single Lines

Unifrom Pedal Changes-

Varied Pedal Changes-

c) Pedaling For Effect

Blurred Lines abd Long Sustaions by Damper Pedal-

Sustaining by Damper Pedal as the Left&Right Hands Leave the Keyboard-

IX) Jumping and Landing The Fingers Across The Piano&Keyboard

a) Playing and Exercising : Jumpings and Landings Accuracy Skills

Note-To-Note Jumps-

Note-To-Chord Jumpings-

Octave-To-Chord Jumps-

Chord-To-Chord Jumps-

b) Mastering more Complicated Jumpings

Accent Articaulation on the Downbeat and Upbeat-

c) Jumping With Both Hands together

Two-Hands parallel & Contrary Motion Jumps-

d) Left-Hand Accompaniment Patterns with and Without The Damper Pedal

Bass-Note-to-Chord Pattern in 4/4 meter(Common Time) and 3/4 meter(Waltz Time) with The Damper Pedal

Ragtime and Stride Patterns without The Damper Pedal

X) Playing and Exercising Arpeggios

a) Fingers Jumpings:  Jumping in Thirds,Fourths,Fifth and Sixths Intervals

b)The Chords Arpeggios Exercises

Triads Arpeggios Exercises-

 Quadriads Arpeggios Exercises-

Broken-Chords Arpeggios Exercises in The Blues and Guitar Styles-

XI) Alternating Hands

a) Hand-To-Hand  Handoffs Exercises

Scale Handoffs Exercises-

Arpeggio Handoff Exercises-

b) Crossing-Overs and Passing-Unders With The Left Hand and Right Hand

c) One Hand on Top's Exercises with The Left Hand and Right Hand

d) Extreme Keyboard Positions and Full-Version Piano&Keyboard Exercises in the Chords(Triads and Quadriads) and Arpeggios

XII) Stretching Out with Octaves and Broken Octaves

a) Opening Up to The Octaves

Octave Scaling Exercises-

Octave Intervals Exercises-

b) Octave Jumpings

Shorter and Longer Jumps Exercises-

c) Broken Octaves

Exercising Wrist Rotation-

Two-Hand' Contractions and Expansions-

d) Octave Chords

Adding One & Two Inner Notes-

XIII) Exercising and Playing Chord-Progressions and Cadances

a) Triad Chord-Progressions Exercises

Diatonic Triad Progressions Exercises-

Chromatic Triad Progression Exercises-

b) Quadriad Chord-Progressions Exercises

Exercising Diatonic Quadriad Progressions-

Chromatic Quadriad Progressions Exercises-

c) Playing & Exercising Chord Cadances with Accompaniment Petterns in Familiar Time Signatures

d) Extended Chord-Progressions Exercises

Exercising Chord-Progression Extended Major-Key and Major Variations-

Playing Extended minor-Key & minor-Variations Chord-Progressions-

e) Chords With Melody Exercises: Playing Chords in One Hand, Playing Melody in other Hand

XIV) Exercising and Playing Fancy Ornaments on the Piano & Keyborad

a) The Grace Notes Exercises

b) Exercising The Thrills

c) Playing & Exercising The Glissandos

d) Exercising and Playing The Tremolos

e) Exercising The Mordents, Turns and Repeated Notes in The Triplet Rhythms & Eight-Note,Sixteenth Notes Rhythms

d) Rolling Chords in Both Hands

XV) Mastering and Challenging Independence, Rhythms and Syncoptions

a) Exercising Scalea and Arpeggios Patterns Combination

Includes: Exercising and Playing Independent Rhythms, Scales and Arpeggios

b) Playing and Note-Values Changes Exercises

Scaling and Scalewise with Changing Note-Values-

Arpeggios Patterns with Changing Note-Values-

c)Scaling and Arpeggios Patterns with Changing Rhythm and Meters

Scalewise, Scaling and Arpeggios Patterns with changing from Compound meter(6/8 meter) to Ordinary meter(3/4 meter)

Expanding and Contracting Meters Changes

Tutor & Teacher: Ehsan Koopaeh

Exercises(Practical) Educational Resourcses


Piano Exercises for Dummies by David Pearl-
 
Five-finger reinforcement practice by Aloys Schmitt-

Contacts

Mobile Phone:+989167654800

Whatsapp,Telegram and Imo:+989167654800

Public E-mail:Koopayeh.ehsan1991@gmail.com

Private E-mail: ehsankoopayeh@gmail.com