Do You Feel Like We Do: Piano/Vocal/Chords
Item: 00-PS-0015544
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Description
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About the Composer: Peter Frampton
Peter Frampton emerged as one of rock's most distinctive voices in the 1970s, bringing technical virtuosity and emotional directness to arena rock. His 1976 album "Frampton Comes Alive!" became a cultural phenomenon, establishing him as a guitarist and vocalist of exceptional range. Beyond performing, Frampton's influence on rock music education extends through his willingness to make complex arrangements accessible to musicians at various skill levels.
Why we love this
This collection captures the DNA of classic rock in a format that works for pianists, vocalists, and guitarists simultaneously. The piano voicings stay true to the original recordings while remaining playable, and the dual instrumentation approach means a single book serves multiple musicians in your studio or ensemble. You get 40+ songs spanning five decades of rock history, all arranged with enough authenticity to satisfy players who know these records inside and out.
What to expect
Opening this book is like walking into a jukebox filled with your favorite songs from the golden age of rock radio. The writing honors the original production without overwhelming the page; you hear the iconic moments (the piano riff from "Don't Stop Believin'," the atmospheric sweep of "The Great Gig in the Sky") rendered playable. Whether you're recalling the first time you heard these songs or discovering them fresh, the arrangements deliver the recognition and emotional impact that made them last.
Who it's for
Pianists and singer-pianists who grew up on classic rock and want to play the music they love. Guitarists adding keyboard players to their projects will find this resource invaluable for arranging sessions. Voice teachers and private studio instructors can use these arrangements for pop-leaning repertoire that engages students who might otherwise resist traditional classical material.
How to get the most out of it
- Study the original recordings before diving into the arrangements. These piano parts are designed to reflect the studio versions, so listening first will clarify which elements matter most in your interpretation.
- Balance the vocal melody against the piano part carefully. The lyrics are full, giving singers plenty of space, but the keyboard foundation needs to stay grounded and present beneath the vocal line.
- If adding guitar, use the chord grids as a starting point rather than a limitation. Many of these songs benefit from fingerpicking or specific rhythmic approaches that go beyond basic strumming.
How to use it
Build a rock retrospective recital by selecting songs that span the artists and decades represented. Pair this book with a mix of your own original material or other contemporary songs to create a concert program that speaks to students who live and breathe this music. Use it in studio sessions where you're accompanying vocalists, or as a resource for pianists preparing repertoire for auditions and performance exams that welcome popular music.
Skills your students will build
- Reading chord charts alongside standard notation
- Balancing melody, harmony, and accompaniment texture as a pianist
- Interpreting vocal phrasing and dynamics from lead sheets
- Sight-reading rock-era harmonic progressions and rhythmic patterns
- Coordinating keyboard and guitar parts in ensemble contexts