journey piano intro

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How to Play the Piano Part for Journey's "Don't Stop Believing"

Last Updated: December 27, 2023

This article was co-authored by Cuong Nguyen . Cuong Nguyen is a Music Teacher and the Co-Owner of both OC Musica and the Huntington Beach School of Music. He has been teaching music for over 45 years and has extensive knowledge in music teaching pedagogy. He and his team of over 20 professional instructors specialize in teaching piano, voice, guitar, violin, brass, and woodwind instruments. Cuong is the 1984 winner of the Yoshiro Irino Memorial Prize in Composition. He received his Bachelor of Music with Honors from the Victoria University of Wellington, New Zealand. This article has been viewed 59,173 times.

“Don't Stop Believing” is a widely known song released by the rock band Journey in 1981. It follows a typical four-chord progression and features a piano riff that is instantly recognizable. The intro, verses, and chorus use the chords E–B–c#/g# minor–A, while the pre-chorus largely alternates between A and E major. The piano part is on the intermediate level, but anyone can learn it with the right amount of practice (even beginners).

Understanding the Basic Chords and Song Structure

• 2 Understand the breakdown of the song.  There are a few main sections to this song: the intro, 4 verses, chorus, instrumental sections, and the fade-out ending.  In the intro/ verse/ instrumental/ ending sections, the piano plays the same chord progressions, so it is crucial to know all these chords.

Mastering the Riff

• E2, F#2, G#2, B3 (5, 4, 3, 2)
• C#3, D#3, C#3 (3, 2, 3)
• D#3, E3, A3 (2, 1, 5)
• D#3, E3 (2, 1)
• C#3, D#3, G#2 (3, 2, 5)
• G#2, A3 (5, 5)
• 2 Practice this riff until it becomes second nature, as it is used for most of the song.  Make sure you memorize which finger to use for each note. (Advanced players should play this riff using octaves for a more rich bass-line sound).
• 3 Begin learning the right-hand accompaniment that plays over the left-hand riff. Learn and master this part separately before trying to play it on top of the left hand.
• 5 Focus on the technique and style of the right-hand part. If you listen to the song, you will notice that the right hand is bouncing back and forth between notes, while the left hand is playing the melody. It will take time and practice to play both hands together, but for now, focus only on the style of the right hand.
• For the E major chord, you will be bouncing back and forth between E4 and B4 (fingers 2 and 5 respectively) and B3 (finger 1).
• For the B major chord, you will be bouncing back and forth between F#4 and B4 (fingers 3 and 5 respectively) and B3 (finger 1).
• For the C# minor chord, you will be bouncing back and forth between E4 and B4 (fingers 2 and 5 respectively) and B3 (finger 1).
• For the A major chord, you will be bouncing back and forth between E4 and A4 (fingers 2 and 5 respectively) and A3 (finger 1).
• The next E and B major chords are similar as the previous ones.
• For the G# minor chord, you will be bouncing back and forth between D#4 and B4 (fingers 2 and 5 respectively) and B3 (finger 1).
• For the last A major chord, you will be bouncing back and forth between E4 and A4 (fingers 2 and 5 respectively) and A3 (finger 1).

• 8 Put both hands together and work on the synchronization. This will be difficult, and maybe even frustrating at first for beginners, but the only way to learn is through practice. Start slowly, then work up to a faster tempo when you feel comfortable.
• 9 Listen to the song and try to sync up both parts just how keyboardist Jonathan Cain plays it. This will prove to be a big help, especially for beginners. Listening to the style and technique will help you grasp a better understanding of the style of the eight notes in the right hand.

Playing the Chorus

• 2 Play these chords as triads in the right hand. A triad is a chord which uses the 1-3-5 structure, which is the first (tonic), third (mediant), and fifth (dominant) note of the scale. For example, a triad for the A major chord is A, C#, E. A triad for the E major chord is E, G#, B, and so on.
• 3 Learn the left-hand part of the chorus. In the left hand, you can just play the root note of the chord in a lower octave. A root note is the note the chord is based on. For example, the root note for the A major chord is just A, and for the E major chord it is E, and so on.
• 4 Play this root note as single note, or, if you want to challenge yourself a bit more or are a more advanced player, play the notes as octaves with fingers 1 and 5. Playing octaves means that you play 2 of the same notes together that are separated by one octave. For example, to play an A octave you would play A2 and A3, or any pair of As on the keyboard that are 7 notes apart.

Taking It a Step Further

• Be creative and make it your own. Add glissandos and arpeggios where you feel they would fit. Solo during the instrumental sections if there is no guitarist. Experiment with different octaves, and most importantly, have fun.
• 2 Play the song whenever and wherever you can!  After learning the song, don't be afraid to play it at any social gathering or outing you go to. You've worked hard to learn it, now let your friends and family sing along and enjoy the music you make!

Expert Q&A

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Thanks for reading our article! If you’d like to learn more about playing the piano, check out our in-depth interview with Cuong Nguyen .

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Dont Stop Believing Sheet Music and Piano Tutorial

Home » Piano Tutorials » Dont Stop Believing Journey Sheet Music and Piano Tutorial

This piano tutorial is perfect for those who don't like to sing and prefer an easy arrangement that includes the melody, chord and bass at the same time.

This arrangement is made for beginners and intermediate players and you'll discover your can play the song easy by simply printing the piano sheet under this piano tutorial and following the instructions in the piano tutorial easily.

Here's the Dont Stop Believing sheet music. Print it and have it infront of \your eyes while watch the piano tutorial.

Check out our complete "Piano by chords" course where you'll go through a journey that combines both piano lessons and piano tutorials that will make you play the piano like a PRO, including courses for beginners, intermediate and advanced players!

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Journey - Faithfully Piano Tutorial

Faithfully is the second single from US rock band Journey's eighth studio album "Frontiers", released in 1983. Four songs from the album reached top 40 on Billboard Hot 100 chart. Faithfully peaked at #12 and has become one of their most recognizable songs.

sustain? wtf?

1 decade ago | Reply

You did a wonderful Job! Very impressed

vendredvil33

ASSSSSSSSSSSSSSTIG.

tupazzz weak

http://www.youtube.com/watch?v=skVoyfzcuWI This is a great tutorial that accomodates for singing roles as well.

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Don’t Stop Believing – Journey Easy Letter Notes

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We have added the letter notes of Don’t Stop Believing – Journey song in two versions for you. You can reach the notes of this song for piano with Do re mi and A B C version. Written notes were created to provide convenience to those who do not know how to read notes. You can examine the notes of Don’t Stop Believing – Journey piano letters below. You can share your thoughts by commenting. The Piano Notes wishes good work …

Don’t Stop Believing – Journey Letter Notes ABC Easy Notes

A___ F___G___ G___A Just a small town girl

D-F__F_ F_^C-Bb_A-G Livin’ in a lonely world

D____ A___ F____G-G____ A She took the midnight train

G-F____G-A-F Goin’ anywhere…

A__F_G-G_A Just a city boy

D____ F____ F___F__^C___Bb-A-G Born and raised in south Detroit

D___ A___ F___ G-G____ A He took the midnight train

D__A-G__A_ F__G-G__ A A singer in a smoky room

D___F__ F___F___F___^C___Bb-A-G A smell of wine and cheap perfume

A_ G_ A-G For a smile

F_____ F____ G___ G___ A They can share the night

G___F__G__ A__G It goes on and on,

A___ G__ A__ A-G-F And on, and on_ ~

G – F_______ G-A Strangers waiting

F___ F____ F___F___ ^C-Bb-A Up and down the boulevard

G______ G – F_____ G – A Their shadows searching

G__F__G-A-F In the night_~

G – F__________G-A Streetlights, people

F – F___F__ F__^C_ Bb-A-G Living just to find emotion

G-F______ G – A____ G__ F___^C Hiding somewhere in the night!

Bb-A__ A___G-Bb-A Don’t stop believin’

Bb A Bb ^C ^D-^C-A-G-F Hold on to the feelin’

Bb_-_A______ Bb-A Streetlights, people

Don’t Stop Believing – Journey Letter Notes Do Re Mi Easy Notes

La___ Fa___Sol___ Sol___La Just a small town girl

Re-Fa__Fa_ Fa_^Do-Sib_La-Sol Livin’ in a lonely world

Re____ La___ Fa____Sol-Sol____ La She took the midnight train

Sol-Fa____Sol-La-Fa Goin’ anywhere…

La__Fa_Sol-Sol_La Just a city boy

Re____ Fa____ Fa___Fa__^Do___Sib-La-Sol Born and raised in south Detroit

Re___ La___ Fa___ Sol-Sol____ La He took the midnight train

Re__La-Sol__La_ Fa__Sol-Sol__ La A singer in a smoky room

Re___Fa__ Fa___Fa___Fa___^Do___Sib-La-Sol A smell of wine and cheap perfume

La_ Sol_ La-Sol For a smile

Fa_____ Fa____ Sol___ Sol___ La They can share the night

Sol___Fa__Sol__ La__Sol It goes on and on,

La___ Sol__ La__ La-Sol-Fa And on, and on_ ~

Sol – Fa_______ Sol-La Strangers waiting

Fa___ Fa____ Fa___Fa___ ^Do-Sib-La Up and down the boulevard

Sol______ Sol – Fa_____ Sol – La Their shadows searching

Sol__Fa__Sol-La-Fa In the night_~

Sol – Fa__________Sol-La Streetlights, people

Fa – Fa___Fa__ Fa__^Do_ Sib-La-Sol Living just to find emotion

Sol-Fa______ Sol – La____ Sol__ Fa___^Do Hiding somewhere in the night!

Sib-La__ La___Sol-Sib-La Don’t stop believin’

Sib La Sib ^Do ^Re-^Do-La-Sol-Fa Hold on to the feelin’

Sib_-_La______ Sib-La Streetlights, people

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The 20 Best Piano Intros of All Time

The unmistakable chords of “Imagine,” the rhythmic pulse behind “Clocks,” and the heartfelt resonance of “Someone Like You” are a testament to the timeless allure of the piano. This article unveils the 20 most memorable piano intros of all time.

In just a few moments, these intros capture our attention and set the emotional tone for the entire song. As we journey through these iconic melodies, we not only relive musical masterpieces but also witness the transformative power of the piano’s first few notes.

1. “Imagine” by John Lennon

2. “bohemian rhapsody” by queen, 3. “don’t stop believin'” by journey, 4. “clocks” by coldplay, 5. “let it be” by the beatles, 6. “the way it is” by bruce hornsby and the range, 7. “your song” by elton john, 8. “bennie and the jets” by elton john, 9. “layla” by derek and the dominos, 10. “a thousand years” by christina perri, 11. “november rain” by guns n’ roses, 12. “someone like you” by adele, 13. “my immortal” by evanescence, 14. “new york state of mind” by billy joel, 15. “all of me” by john legend, 16. “river flows in you” by yiruma, 17. “tiny dancer” by elton john, 18. “piano man” by billy joel, 19. “home” by edward sharpe & the magnetic zeros, 20. “great balls of fire” by jerry lee lewis, related posts:.

John Lennon’s “Imagine” begins with a gentle, sparse piano arrangement, setting the mood for a song that is both dreamy and introspective. Its simplicity is its strength, providing an unembellished canvas for lyrics that champion global unity and peace.

Lennon draws inspiration from his experiences, crafting a piece that isn’t just musical but philosophical, suggesting a world free from materialism and barriers.

“Bohemian Rhapsody” commences with a soft, tantalizing piano melody that gives little hint of the genre-blending rollercoaster ahead. It’s a musical odyssey, encapsulating rock vigor, operatic drama, and balladic tenderness — truly a testament to Queen’s versatile genius.

Gently unfolding with thoughtful piano chords, “Don’t Stop Believin'” paints an evocative picture of small-town dreams set against a sprawling city backdrop. Journey captures a universally relatable spirit of hope and aspiration, resonating across generations.

Distinguished by its rhythmic piano opening, “Clocks” encapsulates themes of fleeting time and introspection. Coldplay’s choice of an unrelenting piano motif underscores the song’s theme and accentuates the poetic exploration of love and decision-making.

Soothing chords introduce “Let It Be,” a song bathed in tranquility and wisdom. Amid The Beatles’ internal turbulence, McCartney crafted this piece as a beacon of solace and hope, with the piano serving as the comforting constant amidst life’s storms.

Bruce Hornsby delivers “The Way It Is” with a memorable piano intro, quickly making its mark in the listener’s mind. The track, with its blend of pop and jazz, provides thoughtful commentary on societal norms and the potential for change.

Starting with uncomplicated piano chords, “Your Song” is a genuine reflection of affection and appreciation. Elton John’s straightforward approach to this ballad, both in melody and lyrics, resonates with many, making it an enduring favorite.

Elton John’s “Bennie and the Jets” kicks off with a distinct piano rhythm that’s unmistakably him. It’s a track that captures the lively atmosphere of the 70s, reminiscent of concert halls filled with enthusiastic fans.

Although “Layla” is known for its iconic guitar parts, the song’s softer piano section offers a contrasting, reflective moment. It’s a well-balanced combination that showcases both passion and introspection.

The ethereal piano notes in “A Thousand Years” serve as a prelude to a tale of eternal love. Christina Perri’s emotive voice and lyrical depth ensure this song resonates across ages, much like the love story it tells.

The distinct piano chords that lead “November Rain” serve as a gateway into Axl Rose’s expressive narrative. Beyond its rock facade, the song emerges as a profound reflection on the intricacies of relationships, woven with threads of longing and acceptance.

Beginning with unadorned piano notes, “Someone Like You” effortlessly conveys the song’s core sentiments even before Adele’s distinctive voice enters the mix. This introspective intro, paired with lyrics on love and reflection, has solidified its place as a memorable pop ballad.

The soft piano opening of “My Immortal” lays the groundwork for a track steeped in memories and emotions. Amy Lee’s haunting vocals, intertwined with the piano’s gentle melodies, evoke a sense of nostalgia and heartache that’s both moving and memorable.

Billy Joel’s “New York State of Mind” commences with a refined, jazzy piano motif, instantly evoking imagery of New York’s lively avenues and its diverse tapestry of life. It’s a musical homage to the city’s charisma, reflecting Joel’s genuine admiration for the Big Apple.

With a subtle and soulful piano introduction, “All of Me” effortlessly sets the tone for a song that dives deep into the complexities of love. John Legend’s artful composition and earnest lyrics combine to craft a song that feels both intimate and universally relatable.

Yiruma’s piece stands out with its gentle, rolling piano melodies that many find reminiscent of flowing water. Although often mistaken as a part of the “Twilight” movie soundtrack due to its popularity during that era, the song has its own identity. It’s a go-to for many seeking relaxation or background music, symbolizing both tranquility and emotion.

Introduced with a soothing piano, “Tiny Dancer” quickly captures the atmosphere of 1970s California. Elton John, in collaboration with lyricist Bernie Taupin, crafts an ode to the women of the LA music scene.

While the song took some time to gain its iconic status, its catchy chorus and vivid imagery have made it a classic, often associated with road trips and sunsets.

Billy Joel’s “Piano Man” has become synonymous with sing-along bar tunes. The song’s narrative, revolving around diverse patrons in a bar, has its roots in Joel’s own experiences as a piano lounge singer. Its combination of relatable lyrics and an unforgettable harmonica-piano intro ensures its place as a timeless anthem.

With its lively start and unique folk-pop sound, “Home” became an instant hit for Edward Sharpe & The Magnetic Zeros. Celebrating love and camaraderie, the track brings forth images of communal singing, campfires, and shared stories. Its catchy chorus, “Home is wherever I’m with you,” resonates deeply with listeners, emphasizing bonds and connections.

A raucous explosion of energy from the first note, Jerry Lee Lewis’ intro in “Great Balls of Fire” is the epitome of rock & roll piano. With its upbeat tempo and wild spirit, it’s a throwback to the days of jiving and jukeboxes.

Final Thoughts

Just as these pieces have left an indelible mark on music history, they remind us of the timeless connection between melody, memory, and emotion. In the end, the best piano intros aren’t just about the notes played; they’re about the feelings they evoke and the memories they awaken.

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Any Way You Want It By Journey - Digital Sheet Music

Price:   559,29 ₽  or 1 pro credit pro credits included with musicnotes pro learn more.

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G Major (Orig. published key)

-10 A Major (3 sharps)

-9 Bb Major (2 flats)

-5 D Major (2 sharps)

-4 Eb Major (3 flats)

-2 F Major (1 flat)

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Product Information Any Way You Want It by Journey - Digital Sheet Music

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Any Way You Want It digital sheet music. Contains printable sheet music plus an interactive, downloadable digital sheet music file.

• Contains complete lyrics

The Arrangement Details Tab gives you detailed information about this particular arrangement of Any Way You Want It - not necessarily the song.

Not the arrangement you were looking for view all arrangements, the song details tab gives you detailed information about this song, any way you want it, the related products tab shows you other products that you may also like, if you like any way you want it, displaying all reviews (1) in order to write a review on digital sheet music you must first have purchased the item..

Voice: Advanced / Director or Conductor / Composer

11/7/2016 3:52:38 PM

Accompaniment in the beginning is nothing like the actual song intro.

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The Piano That Made Musical History

Since opening our doors in London on 4 August, over 131,000 visitors have travelled across the globe to explore Freddie Mercury’s world. Overwhelmed by this response, Mary Austin has decided that his adored Yamaha Baby Grand Piano , which she has so treasured over the years, should now be offered without reserve, to open the possibility of bidding to all of Freddie’s fans. 

To bid on this lot please contact us via email at [email protected] to pre-register your interest.

I n 1975, Freddie, with the financial backing of music mogul Don Arden - who was unsuccessfully attempting to woo Queen to his management stable - set out to find his perfect piano. The success of the band’s first three albums, each of which showcased increasingly complex musical ideas, meant Freddie’s musical ambitions were fast outgrowing his trusty old upright piano. As his compositions became more panoramic, Freddie wanted an instrument with a particular sound, one that resonated with him, one that he felt a creative connection with. On the road and in the studios, Queen would be using professional equipment, and increasingly high-end pianos - Bosendorfers, Steinways, Blüthners. But at home, Freddie needed a domestic-sized piano that would meet his vaulting ambition (and fit into his living room).

 According to Mary Austin, Freddie ‘searched intensely, for weeks in numerous stores’ but would return home each time, frustrated and disappointed. He simply couldn’t find the one he was looking for until one day he finally came home filled with excitement. He had found ‘the Yamaha', it cost around £1000 and would just about fit the small apartment he shared with Mary.

The Yamaha G2 was a baby grand, one of the small number of Yamaha pianos on the market at the time. The Japanese firm had only begun to export their pianos in the early 1970s, and there was a long wait for delivery. Nevertheless, as the auspicious day rolled around, Freddie enlisted the help of his band-mates to relocate his upright piano, upon which he had composed songs such as ‘Killer Queen’ and ‘Seven Seas of Rhye’, from the living room into the bedroom, the only other room with enough space to accommodate it, to allow his new acquisition pride of place in the living room.

Mary recalls that the Yamaha was delivered whilst she was at work. When she arrived home that day, she was taken aback - she knew it was a baby grand, but in his excitement, Freddie hadn’t quite prepared her for its size. It occupied a full third of their small sitting room, which necessitated some shuffling around of furniture, but Freddie was thrilled. He loved the sound - this was his perfect piano.

‘The Yamaha G2 was a very clean and clear-sounding piano,’ says classical pianist Joseph Fleetwood. ‘As a rock musician, Freddie would have been attracted to that. And he loved the action on the Yamaha - each player has a personal preference, and it must feel fluid and easy. If it feels like it's sticking at any point, then it becomes difficult to play.’

‘Freddie treated the Yamaha with absolute respect. He considered it to be more than an instrument, it was an extension of himself, his vehicle of creativity'

‘Freddie treated the Yamaha with absolute respect,’ recalls Mary. ‘He considered it to be more than an instrument, it was an extension of himself, his vehicle of creativity. He would never smoke at the piano or rest a glass on top of it and would ensure nobody else did either. The piano was always pristine.’

With its bright, ebonised polyester case, square tapered legs, brass castors, and faux-ivory keys, the G2 was built at Yamaha’s flagship factory in Hamamatsu, Japan, in production between 1965 and 1990. ‘Yamaha had designed this piano as direct competition to a Steinway, but at a lower price point,’ says Joseph Fleetwood. ‘And because of their modern production techniques, they built a really good instrument. I have one in Scotland that’s similar. It has a really beautiful, clear sound, a very even touch.’

And Freddie loved its easy keyboard action, plangent sound, and elegant look, keeping the Yamaha close to hand for the rest of his life. ‘He felt the action was the best on the Yamaha - really, he just wanted the nicest possible piano to play. And in the 1970s, the G2 was really the quintessential domestic grand piano’ says Fleetwood.

Freddie’s new piano quickly proved its worth. as soon after taking possession, Mercury used it to complete the epic ‘Bohemian Rhapsody’ - the Yamaha’s size and sound affording Freddie the tool he needed to build this unprecedented track. Shortly after that single’s release, in late 1975, the piano moved with Freddie and Mary to their new apartment in Stafford Terrace. In 1978, when Mary moved to Phillimore Gardens, Freddie relocated the Yamaha from Stafford Terrace to her apartment, where he would visit, and concentrate on his playing and composing. After briefly returning to Stafford Terrace, it made its final move to Garden Lodge in 1986/87, where it remained until March 2023.

When the piano arrived at Garden Lodge, Freddie and Mary spent a long day deciding where to place it, wheeling it around the sitting room, from one prospective location to the next. At each potential site, Mary would watch as Freddie stood back to survey the piano, then sit down and raise his hands as if he were about to play, before pausing in contemplation, shaking his head and then insisting they try another spot. At one point, the pair tried placing it to face the garden, but then Freddie realised direct sunlight from the bay windows would bleach the piano. Eventually, it was pushed into a shaded corner, next to the bay windows, which faced into the room, Freddie went about his usual process, but this time - finally - rather than shaking his head he sat at the piano and ran over some scales. He looked up to Mary and said, ‘Fuck it. Let’s put it here’. And there it stayed.

Mary remembers that Freddie ‘always kept his pendulum on top of the piano to his left, though he would only use it for certain songs, and a tape recorder was usually on his right. Everything had its place and would be carefully and intentionally positioned’. During its time in Garden Lodge, the piano served as Freddie’s primary musical instrument upon which he would tinker, experiment, and compose.

'He would usually begin by warming up with a scale, followed by that determined look that said, “Right - time to get to work"'

When in work mode, Freddie would often spend the entire day sitting at the piano, writing and composing, preferring a quiet environment, without disturbance. ‘He would enter his own world,’ recalls Mary. ‘I knew that the piano lid being open usually indicated he was polishing a more finished song, whereas it being closed indicated he was earlier in the writing and composing process. He would usually begin by warming up with a scale, followed by that determined look that said, “Right - time to get to work”’.

When friends and collaborators visited, the piano became a hub of activity, around which everything from party singsongs to more formal performances took place. The key collaborator in Freddie’s final years (and a frequent player of the piano) was music producer, composer and multi-instrumentalist Mike Moran, who first met Freddie in 1986 and would go on to co-produce Freddie’s 1987 Top Ten solo hit, ‘The Great Pretender’. Their collaboration thrived, when Freddie invited him to co-produce the second - and final solo album of his lifetime - Barcelona . This album, which united Freddie with his heroine, legendary soprano Monserrat Caballé, was borne from fragments of music composed on the Yamaha at Garden Lodge, where Moran would work alongside Mercury in working up the phrases, lyrics and melodies that would form Freddie’s final, operatic masterpiece. Indeed, the Barcelona project itself came about after a champagne-fuelled evening of bonding, singing and laughter with Mike, Montserrat and Freddie around the Yamaha in 1987, following a performance by Caballé at the Royal Opera House in Covent Garden, conducted by Moran.

During the evening, as they worked up fragments that would eventually become 'Barcelona', the theme of the 1992 Barcelona Olympics, Monserrat wondered aloud how rock albums were made, this being a process that was somewhat alien to an opera star of her standing. Hearing how it worked, 'Montse' imperiously suggested they record an album themselves. Freddie of course, was thrilled. The 1988 Barcelona album by Montserrat and Freddie was the result. Much of it was composed by Mike Moran and Freddie, on the Yamaha piano.

From ‘Bohemian Rhapsody’ to Barcelona , across the decades and spanning a musical journey, from baroque to balladry, disco to opera, this piano is the cornerstone of Freddie's musical legacy, unrivalled in historical significance, and an inspiration for generations to come.

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