How To Play Mary Had A Little Lamb On Trumpet? The 128 Correct Answer

Text:

Solfege:

Letter names:

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to write your own lyrics to the melody of “Mary Had A Little Lamb” in the comments section.

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Come on Let’s Sing… Music from Piano Lesson Made Easy Level 1 or Step by Step Piano Course The Fun Way Step 1 Sing the song “Mary Had A Little Lamb” which uses 3 notes, C, D and E ( Solfège : Do Re Mi) only.Mary had a little lamb, little lamb, little lamb.Mary had a little lamb, its fur was white as snow.Mi Re Do Re Mi Mi Mi – Re Re Re – Mi Mi Mi – Mi Re Do Re Mi Mi Mi Do Re Re Mi Re Do – – –E D C D E E E – D D D – E E E –E D C D E E E C D D E D C – – – Create your own rhythmic feel, e.g. clap and sing this rhythm below: Let’s apply C and G chord to Mary Had A Little Lamb improvised melody. In the video clip below, two young students play this together. One plays the chords in the Alberti bass accompaniment while the other plays the improvised melody. Taken from YMSD Improvisation Workshop 3 Click here for MP3 audio of the example below: Let’s get the family involved and make music at home. Please click Kid’s Percussion Band Workshop – Music literacy is very important and being able to read sheet music means you can explore every type of music available today. – This song “Mary Had A Little Lamb” uses only 3 notes, C, D and E (Solfège: Do Re Mi) only.Be A Young Composer. Click here to write a melody using C D E notes. – To recognize the note shapes, note types, note names and note values ​​(the total number of beats in a half-breve, minim and crotchet, etc.). Please click on card games made easy

Singing in Solfege is a lot of fun.

My kids love making up songs with solfege syllables (I know they’re music geeks) so they tried to figure out Mary Had A Little Lamb Solfege.

The Solfege syllables for Mary Had A Little Lamb are simple, comprising only 4 pitches: do, re, mi and sol. Here is the breakdown of the phrases:

Mi re do re mi mi mi re re re mi sol sol

Mi re do re mi mi mi re re mi re do

Look below or the Solfege and historical information about the famous folk song.

Notes for Maria had a little lamb in Solfege

You can sing this song in any key. Most of the time you’ll be playing it in the key of C major, which I’ve included in the notation as follows.

Check out how solfege syllables work and how it develops an ear for music learning.

In what size does Mary have a little lamb?

Traditionally, Mary Had A Little Lamb is performed in C major, but any major key will work. For child singers and recorders it might be better to put it in the key of G major.

This simple use of notes is why the music director will use this as the foundation song at the beginning of instrumental music training.

Check out the Ultimate Solfege FAQ.

How to play Mary Had A Little Lamb?

Playing Mary Had A Little Lamb isn’t difficult, and there’s a shortcut, too. If you start on Bb (the rightmost black key in the triplet), you can play it easily.

Music Practice is about breaking down the steps for learning music.

Here are the steps I take when teaching new pianists how to play Mary Had A Little Lamb.

#1 Find the right pitch

Find your correct starting pitch. For brand new folks I recommend either E or Bb.

If you choose E, look for the two black keys. The E is the white key on the right, touching the right of the two black keys.

If you choose Bb (the easiest option), look for the group of 3 black keys. Bb is the right of the 3 black keys.

#2 Place your fingers

With your right hand, place your middle finger on the button you selected earlier. We will call this finger “3” from now on.

Starting on E, place your index/index finger on the white key to the left of finger 3. This note is D, and we’ll call the pointer “2.”

Next, place your thumb on the nearest white key. This is called C, and we’ll call the thumb “3”.

Starting on B, place your mouse pointer on the middle black key. This is Ab and Finger 2.

Next, place your thumb on the bottom black button. This is Gb and finger 3.

For the remainder of this explanation, I will only refer to the finger numbers. This works with both initial tones.

#3 Down and up

Now it’s time to start playing. Before I let a music student see the sheet music, I want him to hear it.

I will tell you how to play the notes in the following way.

Starting with finger 3, your job is to downplay and then up again like this:

3 2 1 2 3

Once you have that, it’s time for the next step.

#4 Repeat 3, 2 and jump

Add two more 3’s. So you end up with three.

3 2 1 2 3 3 3

Repeat the same step with the 2s. We want three of these to be added.

3 2 1 2 3 3 3 – 2 2 2 –

Go back to 3 and play it once. Then jump to either G (two white keys up for people starting with E) or Db (next black key up for people starting with Bb) to your 5th finger.

Your pinky or pinky finger should play that note.

3 2 1 2 3 3 3 – 2 2 2 – 3 5 5 –

Hint: Instead of jumping to 5, you could just repeat 3 two more times.

#5 Like the beginning

Now add the beginning including the three 3’s.

3 2 1 2 3 3 3 – 2 2 2 – 3 5 5 –

3 2 1 2 3 3 3 –

#6 Fancy ending

And it’s time for the fancy ending. Honestly, this is the part that most people struggle with. With my students, repetition is all that matters.

The failed ending plays two 2s and then ends with 3 2 1.

3 2 1 2 3 3 3 – 2 2 2 – 3 5 5 –

3 2 1 2 3 3 3 –

2 2 3 2 1 – – –

Congratulations! Now you know how to play Mary Had A Little Lamb on the piano. For more visuals and how to learn piano music, check out this video.

What does “Mary had a little lamb” mean?

Mary Had A Little Lamb is a folk song based on an American nursery rhyme. Unlike many folk songs, we have a clear origin of this folk song attributed to Sarah Joseph Hale in 1837. (You may also like to check out Skip To My Lou.)

Allegedly, a young girl named Mary Sawyer took her lamb to school one day, and the incident inspired the now-famous lyrics.

Merrily We Roll Along Vs Mary Had A Little Lamb

Merrily We Roll Along’s association with Mary is iconic and time-tested. So much so that the two are considered interchangeable.

However, their story actually shows that the songs are a bit different.

Merrily We Roll Along is the chorus of the song Goodnight Ladies written by Edwin Pearce Christy in 1847. It was later published as its own song in 1867.

In band and instrumental literature it is usually performed the same as Mary Had A Little Lamb, without the jump up to sol (or G in C major) at the end of the first phrase. It stays on the mi (or E in C major).

This is not how the song was traditionally performed. The reason for changing the song is to allow students to play this three-pitch song early in musical learning.

In truth, the pitches remain exactly the same, but the rhythm for both instances of “Mary” and “…fleece was” is changed from straight paired eighth notes to dotted eighth-semiquavers.

The songs are so close because Christy Merrily is based on Mary’s tune. It is speculated that the reason for this in his song’s chorus is that he wanted a familiar, simple melody that would stick in people’s heads and be easier to sing.

Conclusion

I hope you enjoyed learning the solfege of Mary Had A Little Lamb. The song is not difficult and makes an excellent early recorder or solfege song.

Check out Happy Birthday in solfege.

Anthemic song in trochees

Blake’s Songs of Innocence and Experience aren’t called “songs” for nothing. In both form and rhythm, “The Lamb” bears similarities to Charles Wesley’s hymn, which begins with “Gentle Jesus, meek and mild” from Hymns for Children and was published in 1763, several decades before the Songs of Innocence:

Gentle Jesus, meek and gentle,

look at a little child;

Pity about my simplicity

allow me to come to you

Blake not only borrows the “gentle and mild” line and lamb stuff, but also mimics the simple AABB rhyme scheme and trochaic rhythm of this hymn. These two stylistic features are common to many hymns, perhaps because they make the hymns easier to memorize and identify for the average person in the local church. They have the air of nursery rhymes.

A trochaeus is a type of rhythm that repeats the pattern of an accented beat followed by an unaccented one: “Gab thee life & bid thee feed.” / By the stream & o’er the med”. Throughout English poetry it is more common for the unstressed beat to come first, but in hymns trochaic meter is just as standard.

The rhymes in The Lamb are outrageously simple. Blake rhymes “thee” four times with himself and mostly sticks to single syllables like “feed” and “mead”, “mild” and “child”. Blake only throws us the slightest curveballs with the weird rhyme between “name” and “lamb”.

The poem has two stanzas of ten lines each. The first two and last two lines of each stanza are repeated like the refrain or refrain of the song. These staves are six beats and serve as bookends for the middle six staves, most of which are seven beats.

Hot Cross Buns is a great first song to learn on your instrument!

The song only uses 3 pitches: Mi, Re and Thu, and once you’ve learned it in one key, you can challenge yourself to learn it in many other keys as it only requires a few notes.

How to play Hot Cross Buns

In this video lesson I teach you how to play the song in the key of Concert Bb:

Flute, oboe, trombone, euphonium, tuba, bells – key Bb: D=Mi, C=Re, Bb=Do

Trumpet, clarinet, tenor saxophone – key of C: E=Mi, D=Re, C=Th

French horn – key F: A=Mi, G=Re, F=Th

Alto Saxophone – Key of G: B=Mi, A=Re, G=Th

Just click on the picture for the video!

If you want to play different styles of this song, watch this video of having fun playing Hot Cross Buns by clicking on the link below:

Fun playing hot cross buns

method of music teaching

In music, solfège ( ,[1] ;[2] French: [sɔlfɛʒ]) or solfeggio ( ; Italian: [solˈfeddʒo]), also known by many names as sol-fa, solfa, solfeo, is a method of music education that used to teach listening skills, pitch and sight reading of western music. Solfège is a form of solmization, although the two terms are sometimes used interchangeably.

Syllables are associated with the tones of the scale, allowing the musician to hear or hear the pitches of a piece of music that they are seeing for the first time and then sing them out loud. During the Renaissance (and much later in some Shapenote publications), various interlocking 4-, 5-, and 6-note systems were used to cover the octave. The tonic sol-fa method popularized the seven syllables commonly used in English-speaking countries: do (or doh in tonic sol-fa),[3] re, mi, fa, so(l), la and ti (or si). ), see below.

There are currently two ways to apply solfège: 1) fixed do, in which the syllables are always tied to specific pitches (e.g. “do” is always “C-natural”) and 2) movable do, in which the syllables Scale degrees are assigned to “do” always the first degree of the major scale.

Etymology[ edit ]

The Italian “solfeggio” and the Anglo-French “solfège” derive from the names of two of the syllables used: sol and fa. [4] [5]

The generic term “solmization”, which refers to any system of syllabic designation of pitches of a scale, including those used in India and Japan, as well as solfège, derives from French solmization, from the Latin solfège syllables sol and mi. [6 ]

The verb “to sol-fa” means to sing a passage in solfège.[7]

origin [edit]

In 11th-century Italy, the music theorist Guido von Arezzo invented a system of notation that named the six notes of the hexachord after the first syllable of each line of the Latin hymn “Ut queant laxis”, the “Hymn to John the Baptist”, yielding ut , re, mi, fa, sol, la.[8][9] Each subsequent line of this hymn begins on the next scale degree, so the name of each note was the syllable sung at that pitch in this hymn.

Sheet music for “Ut queant laxis”

Ut queant laxīs re sonare fibrīs

Mī ra gestōrum fa mulī tuōrum,

Sol ve pollūtī la biī reātum,

Sancte Iohannes.

The words were written by Paulus Deaconus in the 8th century. They translate as:

So that your servants with a relaxed voice

resound the wonders of your deeds,

Clean the guilt from our stained lips

Oh John.

“Ut” was changed to the open syllable Do[9] and Si (from the initials for “Sancte Iohannes”) in 16th-century Italy at the suggestion of the musicologist Giovanni Battista Doni (based on the first syllable of his surname). ) was added to complete the diatonic scale. In anglophone countries, “si” was changed to “ti” by Sarah Glover in the 19th century so that each syllable could begin with a different letter.[10] “Ti” is used in Tonic Sol-Fa (and in the famous American show tune “Do-Re-Mi”).

A discredited 17th-century speculation suggested that the Solfège syllables (do, re, mi, fa, sol, la, ti) came from the syllables of an Arabic solmization system درر مفصّلات Durar Mufaṣṣalāt (“Detailed Beads”) (dāl , rā’, mīm, fā’, ṣād, lām, tā’), mentioned in the works of Francisci a Mesgnien Meninski in 1680 and discussed by Jean-Benjamin de La Borde in 1780.[11][12][13][14] No documentary evidence for this idea has ever been found.[15]

In Elizabethan England[edit]

In the Elizabethan era, England and its related areas used only four of the syllables: mi, fa, sol and la. “Mi” stood for modern si, “fa” for modern do or ut, “sol” for modern re and “la” for modern mi. Then fa, sol, and la would be repeated to stand for their modern counterparts as well, resulting in the scale being “fa, sol, la, fa, sol, la, mi, fa”. The use of “fa”, “sol” and “la” for two positions in the scale is a holdover from the Guidonian system of so-called “mutations” (ie changes in the hexachord on a note, see Guidonian Hand). This system was largely eliminated in the 19th century but is still used in some form notation systems that give a different form to each of the four syllables “fa”, “sol”, “la” and “mi”.

An example of this type of solmization is found in Shakespeare’s King Lear, I, 2 (see § Cultural references).

Modern use[edit]

Solfège is still used for sight reading training. There are two main types: Movable Can and Fixed Can.

Movable do solfège [ edit ]

In Movable do[16] or Tonic sol-fa, each syllable corresponds to a scale degree. This is analogous to the Guidonian practice of giving each degree of the hexachord a solfège name, and is used primarily in Germanic countries, Commonwealth countries, and the United States.

A particularly important variant of the movable Do, though different in some respects from the system described below, was invented by Sarah Ann Glover in the 19th century and is known as the tonic Sol-Fa.

In Italy, in 1972, Roberto Goitre wrote the famous cantar leggendo method, which is now used for choirs and music for young children.

The pedagogical advantage of the mobile Do system is its ability to support the theoretical understanding of music; As a tonic is established and then sung in comparison to it, the student derives melodic and chordal implications through his singing. While fixed-do is more applicable to instrumentalists, moving-do is more applicable to theorists and arguably composers as well.

major [edit]

Movable do is commonly used in Australia, China, Japan (where 5th is so and 7th is si), Ireland, UK, United States, Hong Kong and English-speaking Canada. The Movable Do System is a fundamental element of the Kodály Method, used primarily in Hungary but with a dedicated following worldwide. In the moveable do system, each solfège syllable corresponds not to a pitch but to a scale degree: the first degree of a major scale is always sung as “do”, the second as “re”, etc. (for minor keys see below.) In movable do, therefore, a given melody is always sol-faed on the same syllables, no matter what key it is in.

The solfège syllables used for movable do differ slightly from those for fixed do, as the English variant of the base syllable (“ti” instead of “si”) is usually used and chromatically altered syllables are also usually included.

degree of the major scale Mova. do solfège syllable # half steps from Do Trad. pron. 1 Thu 0 /doʊ/ High 1 Di 1 /diː/ Lower 2 Ra 1 /ɹɑː/ 2 Re 2 /ɹeɪ/ High 2 Ri 3 /ɹiː/ Lower 3 Me (or Ma) 3 /meɪ/ ( /mɑː/ ) 3 Mi 4 /miː/ 4 Fa 5 /fɑː/ High 4 Fi 6 /fiː/ Low 5 Se 6 /seɪ/ 5 Sol 7 /soʊ/ High 5 Si 8 /siː/ Low 6 Le (or Lo) 8 /leɪ/ ( /loʊ/ ) 6 La 9 /lɑː/ Raised 6 Li 10 /liː/ Decreased 7 Te (or Ta) 10 /teɪ/ ( /tɑː/ ) 7 Ti 11 /tiː/

If the key of a piece modulates at a certain point, then the solfège syllables must be changed at this point. For example, if a piece begins in C major, C is first sung on “do”, D on “re” and so on. But if the piece then modulates to G major, G is sung on “do”. A on “re” etc. and C is then sung on “fa”.

minor [edit]

Passages in a minor key can be sol-faed in two ways in the movable do: either starting with do (using “me”, “le” and “te” for the lower third, sixth and seventh degrees and “la” and “ti” for the augmented sixth and seventh degrees), which is called “Do-based minor”, or beginning with la (using “fi” and “si” for the augmented sixth and seventh degrees). The latter (referred to as “la-based minor”) is sometimes preferred in choral singing, especially among children.

Choosing which staff to use for minor makes a difference in how you deal with modulations. In the first case (“do-based minor”), when the key moves from C major to C minor, for example, the syllable do continues to point to the same note, namely C, (there is no “mutation” of the do note ), but when the key changes from C major to A minor (or A major), the scale is transposed from do = C to do = A. In the second case (“la-based minor”), when the key signature moves from C major to A minor, the syllable do continues to point to the same note, C again, but when the key signature moves from C major to C minor moves, the scale is transposed from do = C to do = Eb.

Degree of natural minor scale Movable do solfège syllable (La-based minor) Movable do solfège syllable (Do-based minor) Flat 1 Le (or Lo) ( Ti ) 1 La Do Raised 1 Li Di Flat 2 Te (or Ta) Ra 2 Ti Re 3 Do Me (or Ma) raised 3 Di Mi lowered 4 Ra ( Mi ) 4 Re Fa raised 4 Ri Fi lowered 5 Me (or Ma) Se 5 Mi Sol 6 Fa Le (or Lo) raised 6 Fi La Lowered 7 Se (La) 7 Sol Te (or Ta) Raised 7 Si Ti

Fixed solfège[ edit ]

The names of the notes in Romance languages.

With Fixed do, each syllable corresponds to the name of a note. This is analogous to the Romance system of naming pitches after the solfège syllables, and is used in Romance and Slavic countries, including Spanish-speaking countries, among others.

In the main Romance and Slavic languages, the syllables Do, Re, Mi, Fa, Sol, La and Si are used to name notes in the same way that the letters C, D, E, F, G, A and B are used to name notes in English. For native speakers of these languages, Solfège simply sings the names of the notes, omitting any modifiers such as “sharp” or “flat” to preserve rhythm. This system is called Fixed Do and is used in Belgium, Brazil, Spain, Portugal, France, Italy, Romania, Latin American countries, and French-speaking Canada, as well as countries like Russia, Ukraine, and Bulgaria where Romance languages ​​are not spoken. In the United States, the fixed-do system is taught primarily at the Juilliard School in New York City, the Curtis Institute of Music in Philadelphia, the Eastman School of Music in Rochester, New York, and the Cleveland Institute of Music in Cleveland. Ohio.

In the fixed do system shown above, accidentals do not affect the syllables used. For example, C, C♯ and C♭ (as well as C and C, not shown above) are all sung with the syllable “do”.

Chromatic variants[ edit ]

Several chromatic fixed-do systems, also designed to accommodate chromatic notes, and even for double sharp and double F variants. The Yehnian, the first 24-EDO solfège, even proposed quarter-tone syllables, with no exceptions to its rules, and ease of use for both Si and Ti users.

Comparison of the two systems[edit]

Movable Do corresponds to our psychological experience with normal melodies. If the song is sung a pitch higher, it’s still perceived as the same song and the notes have the same relationship to each other, but in a fixed do all the note names would be different. A moving do emphasizes the musicality of the melody, since for the vast majority of people who do not have absolute pitch, the psychological perception of the notes is always relative to a key.

Sotorrio [25] argues that fixed-do is preferable for serious musicians, since music with complex modulations and vague tonality is often too ambiguous about key for a moving system. That is, without prior analysis of the music, any movable-do system would inevitably have to be used like a fixed-do system anyway, which would lead to confusion. With fixed-do, the musician learns to consider each syllable as a tonic, which does not force him to make an analysis of which note is the tonic when ambiguities arise. Instead, with fixed-do, the musician is already being practiced thinking in multiple/indefinite keys by using the appropriate syllables.

Compared to the movable Do system, which relies on short-term relative pitch skills involving comparison to a pitch listed as the tonic of the particular piece, fixed Do develops long-term relative pitch skills involving comparison to an independently defined pitch include its role in the piece, a practice closer to the absolute definition of each note as found in absolute pitch. The question of which system to use is a matter of debate among music educators in schools across the United States. While a flexible do is easier to teach and learn, some believe that a fixed do leads to stronger sight reading and ear training because students learn the relationships between specific pitches as they are independently defined, not just those Function of intervals within melody lines, chords, and chord progressions.[26]

When a performer has been trained with fixed Do, particularly on the rare occasions when the performer has absolute pitch or well-developed long-term relative pitch, the performer may have difficulty playing music notated for transposing instruments: because the “Concert pitch” the note to be performed differs from the note written in the sheet music, the performer may experience cognitive dissonance when having to read one note and play another. Especially in the early stages of learning a piece, when the performer has not yet become familiar with the piece’s relatively expressed melody line, it may be necessary to mentally re-transpose the sheet music to bring the notes back up to concert pitch. However, because fixed pedagogical systems often include instructions for reading all seven clefs, musicians reading transposing instruments are accustomed to mentally substituting one clef. For example, when reading B flat major clarinets written in treble clef, those proficient in writing mentally substitute the tenor clef. In comparison, those trained in moving dos may experience confusion when reading transposing instruments in the context of a score, since it is necessary to ascertain the absolute sounding pitch coming out of the instrument in order to understand pitch’s function in the score Knowing the key of the ensemble This is especially true for French horn parts, which are traditionally written without key signatures and instead have all the signatures notated. A musician who reads fixed do fluently can find the absolute pitches and use these to extrapolate the function.

Those trained in fixed-do will argue that their action is equivalent to reading a language aloud. Just as one reads this sentence precisely without analyzing it grammatically, the direct sounding of the music is also too rigid. While the moving do system requires constant, real-time analysis of tonality and modulations in the score, with the fixed do system the musician uses the knowledge of changing tonality to understand, for example, that the pitch class C-of course the supertonic in Bb is. B flat major or minor and the dominant when the music modulates to F major but the C note keeps the same pitch.

Instrumentalists who are new to sight singing in college find Moving Do to be the system that more closely matches the way they learned to read music.

For choirs, sight singing with fixed Do using chromatically movable Do syllables is more appropriate than singing with movable Do for atonal music, polytonal music, pandiatonic music, music that modulates or changes key frequently, or Reading music where the composer just didn’t do this write a key signature. This is not uncommon in modern or contemporary choral works.

Note names [edit]

In the countries with fixed Do, these seven syllables (with Si replacing Ti) – instead of the letters C, D, E, F, G, A, and B – are used to name the notes of the C major scale. Here, for example, one would say that Beethoven’s Ninth Symphony (in D minor) is in “R minor” and that its third movement (in B flat major) is in “Si bemol major”.

In Germanic countries, on the other hand, the letters are used for this purpose (so that Beethoven’s Ninth Symphony is in “D minor”) and the solfège syllables are found only in their use in sight singing and ear training.

Other ways of denoting Solfège

Rainbow colors assigned by Isaac Newton[ edit ]

Isaac Newton[27] had associated the seven Solfège syllables with the seven colors of the rainbow and suggested that each color vibrated accordingly (a concept possibly related to the modern view of chromaesthesia). So, red vibrates the least, while violet vibrates the most.

Pitch Solfège Color C do (or doh in Tonic sol-fa) Red D re Orange E mi Yellow F fa Green G sol (or so in Tonic sol-fa) Blue A la Indigo Blue-violet B ti/si Violet Red-violet

Cultural references[ edit ]

See also[edit]

Key Names and Translations – Translation of Keys

Numbered Music Notation – Musical notation system used in Asia since the 19th century.

Vocabulary – Meaningful sound uttered by people

Piano Lesson: Mary Had A Little Lamb in G, D and A major

Learn to play the nursery rhyme Mary Had A Little Lamb in the keys of G, D, and A major in this beginner piano lesson. I assume you already know how to play this song in the key of C major. Below you can download sheet music for the lesson.

Below you can download printable sheet music (PDF files) for the song “Mary Had a Little Lamb” in the keys of D and A major. Each has the right hand melody, left hand chord symbols and lyrics. Use them as you study these lessons.

I also have sheet music for more complex versions of Mary Song (with more chords, with piano accompaniment, etc.).

If you need to learn this song in the easiest key, the key of C major, you can find that lesson here.

Back to Lesson Index

I hope you enjoyed the song/lesson!

Strike middle C first, then play the next seven white keys in sequence, going up (to the right) on the keyboard.

C, D, E, F, G, A, B and the next key you play would be a C, one octave higher. The button pattern is repeated here. You actually just played a C major scale. Here are the note names for the C major scale: Moving up from C, you have the notes D, E, F, G. When you get to G, think of “Go” as in “Go Back.” to the beginning of the alphabet, A and B.”

The major scales are usually written with eight notes, and the interval between the first and last note is an octave. For example, the C major scale is usually written as C D E F G A B C, with the initial and final C an octave apart. Two notes separated by an octave have the same letter name and pitch class.

If you are just venturing into the world of piano playing, you may be wondering what are the best easy piano songs to get started. Music consists of pitch – the actual sound of the note – and rhythm – how fast or slow you move from one note to the next. When you start playing the piano, the easy piano songs will be the ones that don’t move too much on the notes and have a fairly simple rhythm.

When playing the piano, of course, two hands are used at the same time. However, if you’ve never played or haven’t played for long, it’s best to start with songs you can play with one hand. When learning a song at any level, it’s always best to learn each hand separately before beginning to play the song hands together.

Also keep in mind that you need to use the most logical finger for each note, and this may take a little experimentation and figuring out what works best for you. Once you find the best finger for each note to move around easily, make sure to use the exact same finger every time you play the notes and that will make it a lot easier.

Here are seven easy piano songs for beginners to get you started.

1. Sparkle Sparkle

Twinkle Twinkle Little Star is always popular, especially with young students, but adults who are just starting out can benefit too. Start by placing your right thumb on the note C. All the notes you need are below your fingers, except for the highest note, which is just a note above your pinky. Watch this video to see how to play Twinkle Twinkle and give it a try:

2. Happy Birthday

Happy Birthday is a very useful and easy piano song that beginners can learn to play. If you’re at a birthday party and happen to have a piano or keyboard nearby, you can lead the singing and it might help people sing to a specific tune! Like Twinkle Twinkle, place your right thumb on C and the first half of the song falls nicely under your fingers. However, there is an octave jump – from the C you start on to the next C. If you play the higher C with your pinky, then the next set of notes is directly under your fingers. There is also a black note – a B. Try a few with the help of this tutorial:

3. Jingle Bells

The chorus of Jingle Bells is one of the best piano songs to learn because there are many repeated notes and almost everyone knows the melody. Knowing a melody always makes learning a song easier than playing one from sheet music you’ve never heard before. Although the verse is a little more complex, it’s not too difficult. Check out this tutorial from Jingle Bells and give it a try:

4. Hallelujah

If you’ve mastered a few songs using just your right hand, it’s time to take it to the next step and learn how to use your left hand. All music is chord based, so learning basic left hand chords is a logical step and a great tool to play any song. One of the most beautiful yet easy piano songs for beginners is Leonard Cohen’s Hallelujah. You can start learning how to play chords with your left hand while playing the melody of the song with your right hand in the following video:

5. Havana

Havana is such a beautiful fun song! It has a slightly more complex melody in the right hand and that off-the-beat rhythm that makes it more challenging. For the chorus, the left hand has a pattern that repeats over and over, so once you get that up and running, you’ve got it. There are a couple of right hand chords first, then we get to the actual melody. This video gives you a really easy to follow tutorial on how to learn each hand and then put them together. Although not as easy as some songs, you might think it’s one of the easiest piano songs if you take it step by step.

6. Prelude in C major by Bach

Bach’s Prelude in C Major is one of the best easy piano songs to learn if you want to start playing classical music on the piano. It’s a notch higher in difficulty than the other easy beginner piano songs mentioned here because it involves more keyboard movement and requires two hands to sound right. This is because the melody is split between the hands, but no two notes are played at the same time. In other words, you only play one note at a time even though you are using two hands.

When you listen to the piece, you don’t particularly notice that two notes aren’t played simultaneously, and that’s because the notes are held down in the left hand while you play the notes in the right hand.

The other great thing about this song is that each note pattern appears twice. So once you have the pattern in each measure and play it through, next repeat the same pattern.

As you read the music to this easy piano song for beginners, you may be put off because it looks a lot more complex than it really is. Just make notes one at a time and you will get there. Use the repeating patterns to look ahead to the next action and figure out what’s next.

This video is the first in a series of short videos that will walk you through each hand and do the review with you. This is a very good way to learn it.

7. For Elise

If you’ve mastered Bach’s Prelude in C major, you might be ready to tackle Beethoven’s Für Elise. Amazingly, it’s one of the most famous piano pieces of all time and one of the best easy piano songs to learn once you’re comfortable playing it with two hands.

Fur Elise includes a few black notes and some of the jumps between notes are wider than in Bach’s C major Prelude, but once you’ve worked your way through these easy beginner piano songs, you should be up for the challenge. The first section of Fur Elise is the best part of it for beginners. The second section is technically a pretty big leap, so try just playing the first section for a while. Everyone knows that anyway and your friends will be amazed!

Learning to play the piano can be difficult, but the journey just got easier with these seven easy piano songs for beginners. In addition to these pieces, having the best tools and music lesson apps really makes a difference. With Tonara Studio, your practice sessions will be more engaging and fun, allowing you to practice more and improve your game.

If you’re looking for a piano teacher but don’t know where to go, be sure to check out all the piano teachers we offer with Tonara Connect!