ADULT ALL-IN-ONE COURSE
ADULT ALL-IN-ONE COURSE
LESSON
•
THEORY
•
TECHNIC
FOREWORD
Alfred's Basic Adult All-in-One Course, Level 1, is designed for the beginner looking for a truly
complete piano course that includes lesson, theory, technic and popular repertoire in one
convenient, all-in-one book. This course has a number of features that make it particularly
successful in achieving this goal.
1.
It progresses very smoothly, leaving no gaps that might cause the student to skip difficult sections.
2.
Because it teaches chord-playing in both hands, songs are more musical, and playing
becomes a richer, more rewarding experience.
3.
Also taught is the understanding of how chords are formed. Instead of memorizing chords,
students learn how to derive them regardless of what key they are playing in.
4.
The choice of song material is outstanding, with some popular and familiar favorites mixed
with tuneful originals, all adding to the fun and enjoyment of making music.
5.
For the first time, an adult course has combined Lesson, Theory and Technic sections within one book. This combined approach offers beginners a unified course of instruction.
A. Lesson pages are designed to provide a basic course of instruction that contains all the
concepts and fundamentals needed to perform.
B. Theory pages give beginners an added understanding of music which cannot be taught
any other way. Every concept and principle introduced in the Lesson pages is reinforced.
Additional drills in note recognition make this a valuable aid in developing reading skills.
Important tips are presented that make learning chord progressions easier.
C. Technic pages offer suggestions for the proper care of your hands. Most adult beginners
feel awkward at the keyboard because of stiffness in their fingers, hands and wrists. They
have trouble with coordination, and they feel they could play much better if the muscular
agility and flexibility of their hands could somehow be made to keep pace with their comprehension. The Technic pages included have been developed to make all this possible.
At the completion of this course, the student will have learned to play some of the most popular
music ever written and will have gained a thorough understanding of the basic concepts of music.
The student will then be ready to begin Alfred's Basic Adult All-in-One Course, Level 2 (#14514).
Willard A. Palmer
Morton Manus
Amanda Vick Lethco
A General MIDI disk (5725) and CD (11282) are available,
both of which offer a full piano recording and background
accompaniment.
Copyright© MCMXCIV, MCMXCVI by Alfred Publishing Co., Inc.
All rights reserved . Printed in USA.
ISBN 0-88284-818-6
2
Contents
INTRODUCTION TO PLAYING
4
6
7
Preliminary Exercises.
How to Sit at the Piano.
Finger Numbers. Piano Tones.
8 The Keyboard.
9 Name That Key!
1O Isometric Exercise.
A Beneficial Hand Massage.
11 Four Good Reasons for Playing
with Curved Fingers.
CPOSITION
12
Right Hand C Position.
RIGHT HAND WARM-UP.
13 Quarter Notes & Half Notes.
Measure, Bar Line, Double Bar. ODE TO JOY.
14 The Treble Clef Sign.
16 Left Hand C Position. LEFT HAND WARM-UP.
17 The Whole Note. AURA LEE.
18 The Bass Clef Sign.
THE GRAND STAFF
20
The Grand Staff. Time Signature. Whole
Rest.
PLAYING ON THE GRAND STAFF.
PLAYING C-G ON THE GRAND STAFF
21
ROCK-ALONG. MEXICAN HAT DANCE.
Quarter Rest.
22
23
Writing in Time.
LIGHTLY ROW. AUNT RHODY.
f
Melodic Intervals. Dynamic Signs, p, lflff.
AU CLAIRE DE LA LUNE. TISKET, A TASKET.
25 Measuring Melodic 2nds & 3rds.
26 Harmonic Intervals. f. ROCKIN'
INTERVALS.
27 Measuring Harmonic 2nds & 3rds.
HARMONICA ROCK.
28 Melodic 4ths & 5ths.
GOOD KING WENCESLAS. MY FIFTH.
36
37
MARYANN.
38
39
40
The G7 Chord for Left Hand. Chord Symbols.
The G7 Chord for Right Hand.
41
42
43
44
45
46
47
48
49
Measuring Melodic 4ths & 5ths.
Harmonic 4ths & 5ths. JINGLE BELLS.
Measuring Harmonic 4ths & 5ths.
DUELING HARMONICS.
INTRODUCTION TO CHORDS
32
33
The C Major Chord.
Half Rest. BROTHER JOHN.
HERE'S A HAPPY SONG!
34
Introducing B for Left Hand.
Two Important Chords-C Major, G7.
Tied Notes. MERRILY WE ROLL ALONG.
LARGO.
35
New Time Signature,!- Dotted Half Note.
ROCKETS.
Writing in
Time. Reviewing Dynamics.
Slurs & Legato Playing.
WHAT CAN I SHARE?
DAY IS DONE. Slurs & Ties.
Introducing A for Left Hand.
Introducing the F Major Chord.
Warm-Up using C, G7 & F Chords (LH).
Incomplete Measure.
WHEN THE SAINTS GO MARCHING IN.
Introducing A for Right Hand.
C & F Chords for Right Hand.
Warm-Up using C, G7 & F Chords (RH).
WHEN THE SAINTS GO MARCHING IN.
The F Major Chord for Left Hand.
l'M GONNA LAY MY BURDEN DOWN.
The F Major Chord for Right Hand.
WALTZING CHORDS.
!
G POSITION
50
51
52
53
24
29
30
31
Introducing B for Right Hand.
C & G7 Chords for Right Hand.
54
55
56
57
58
59
60
61
62
63
64
65
66
67
G Position. Intervals in G Position.
LOVE SOMEBODY! A FRIEND LIKE YOU.
Writing in G Position. THE BANDLEADER.
Melodic Intervals in G Position.
Harmonic Intervals in G Position.
The Sharp Sign.
MONEY CAN'T BUY EV'RYTHING!
Writing the Sharp Sign.
The Problem of Developing Equal Skills
with All Fingers.
A Leschetizky Solution.
The G Major & 07 Chords for Left Hand.
THE CUCKOO.
The G Major & D7 Chords for Right Hand.
Block Chords & Broken Chords.
The Damper Pedal. HARP SONG.
Writing the G Major & D7 Chords for LH.
LIZA JANE.
Writing the G Major & 07 Chords for RH.
Block Chords & Broken Chords.
Introducing E for Left Hand.
A New Position of the C Major Chord.
Warm-Up using G, D7 & C Chords.
BEAUTIFUL BROWN EYES.
Writing E for Left Hand.
Writing the C Major Chord Position for LH.
3
68
Introducing E for Right Hand.
New C Major Chord Position for Right Hand.
69 Warm-Up using G, D7 & C Chords.
ALPINE MELODY.
70 Writing E for Right Hand.
71 Writing the C Major Chord Position for RH.
MIDDLE C POSITION
72
73
74
75
76
77
78
80
Middle C Position. THUMBS ON C!
Crescendo, Diminuendo. WALTZ TIME.
Fermata. GOOD MORNING TO YOU!
Eighth Notes. HAPPY BIRTHDAY TO YOU!
More on Eighth Notes. SHOO, FLY, SHOO!
Counting Eighth Notes. SKIP TO MY LOU!
D. C. al Fine.
STANDING IN THE NEED OF PRAYER.
The Amazing Aerobics of Hanon.
Introducing Dotted Quarter Notes.
ALOUETTE.
82
EXPANDING THE 5-FINGER POSITION
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
Measuring 6ths.
LAVENDER'S BLUE.
New Time Signature,
KUM-BA-YAH!
Writing 6ths.
Hanon's Aerobic Sixths.
LONDON BRIDGE.
MICHAEL, ROW THE BOAT ASHORE.
BLOW THE MAN DOWN!
Moving Up & Down the Keyboard in 6ths.
LONE STAR WALTZ.
Staccato.
Measuring 7ths & Octaves.
Writing 7ths & Octaves.
CAFE VIENNA.
LULLABY.
The Flat Sign. ROCK IT AWAY!
Writing the Flat Sign.
Measuring Half Steps & Whole Steps.
Writing Half Steps & Whole Steps.
Tetrachords.
i-
SCALES & CHORDS-THE KEY OF C MAJOR
100 The Major Scale. The C Major Scale.
101 Writing the Major Scale.
102 These Hands Were Made for Playing.
Playing the C Major Scale.
103 .tf. JOY TO THE WORLD.
104 More About Chords.
105 COCKLES AND MUSSELS.
106 The Primary Chords in C Major.
Chord Progressions.
107 About the Blues. GOT THOSE BLUES!
108 Chords and the Blues Progression. The
Natural Sign. CHASING THE BLUES AWAY.
109 BLUES FOR WYNTON MARSALIS.
110 RH: An Extended Position.
ON TOP OF OLD SMOKY.
THE KEY OF G MAJOR
112The G Major Scale. The Key of G Major.
113 Changing Fingers on the Same Note.
THE CAN-CAN.
114 Writing in the Key of G Major.
115 The Primary Chords in G Major.
THE MARINES' HYMN.
116 Syncopated Notes. WHY AM I BLUE?
117 G Blues Scale Performance Piece.
GOOD PEOPLE.
THE KEY OF F MAJOR
118The F Major Scale.
119
Eighth Rest. Accent Sign.
LITTLE BROWN JUG.
120 The Primary Chords in F Major.
CHIAPANECAS.
122
123
124
125
Writing in the Key of F Major.
AULD LANG SYNE.
A New Style of Bass. 0 SOLE MIO!
Arpeggiated Chords.
THE KEY OF A MINOR
126 The Key of A Minor (Relative of C Major).
The A Harmonic Minor Scale.
127 More Syncopated Notes. JERICHO.
128 Writing in the Key of A Minor
(Relative of C Major).
129 An A Minor Chord Progression.
THE STRANGER.
130 Introducing "Overlapping Pedal."
mp. GREENSLEEVES.
132 More About Triads.
The Primary Chords in A Minor.
133 GO DOWN, MOSES.
THE KEY OF D MINOR
134 The Key of D Minor (Relative of F Major).
The D Harmonic Minor Scale.
135 pp. SCARBOROUGH FAIR.
136 The Primary Chords in D Minor.
RAISINS AND ALMONDS.
REVIEW
138
HE'S GOT THE WHOLE WORLD IN
HIS HANDS.
140 LH Warm-Up. THE ENTERTAINER.
142 Eighth-Note Triplets. AMAZING GRACE.
144 The Most Frequently Used Keys,
and Their Primary Chords.
!
•
4
Preliminary Exercises
BE KIND TO YOUR HANDS!
No part of the body takes more abuse than the hands. We wear shoes on our feet to protect them against1
the rough surfaces they walk on. Our hands are almost constantly exposed to the elements and to th
rough things we do to them. Gloves are usually worn only to keep the hands warm in cold weather.
If you want to keep your hands in playing condition, it is best to wear gloves when you are lifting large,
heavy objects, as well as when you are working with tools such as screwdrivers, pliers, wrenches,
spades and pruning shears.
USE A LITTLE WARM WATER
Before practicing, it is good to soak the hands for a few minutes in warm water. This promotes circulation. Many concert pianists use very warm water on their hands before beginning to play. Towel the
hands vigorously until they are dry, then hold your arms out with the hands dangling from the wrist, and
shake out your hands rapidly for a few moments.
DANGLE FROM
WRISTS
No. 1
SHAKE OUT
HANDS
a) Holding your arms in playing position, palms downward, clench both hands tightly,
making two fists. Hold while you count "ONE-TWO."
A
MAKE TIGHT
FISTS
PALMS
DOWN
b) SNAP the fingers quickly outward, opening both hands. Do this with great vigor.
Hold this position with all fingers extended. Count "THREE-FOUR."
SNAP FINGERS
OPEN
PALMS
DOWN
c) Shake out both hands, dangling from the wrists. Count "ONE-TWO-THREE-FOUR."
No. 2
a) Repeat the beginning of the previous exercise, with PALMS UPWARD. Clench both
hands, making two fists. Hold and count "ONE-TWO."
MAKE TIGHT
FISTS
PALMS
UP
b) SNAP the fingers outward (palms up), opening both hands.
Hold fingers outward as you count ''THREE-FOUR."
SNAP FINGERS
OPEN
PALMS
UP
c) Turn hands over, palms down, hands dangling from the wrists, and shake out.
Count "ONE-TWO-THREE-FOUR."
DANGLE FROM
WRISTS
No.3
SHAKE OUT
HANDS
Combining DEEP-BREATHING with Preliminary Exercise No. 1
,eated at the piano, repeat step a) of Preliminary Exercise No. 1, clenching the fists with palms down11/ard, while breathing IN (the lower abdomen moves outward). Mentally count "ONE-TWO."
~epeat step b), snapping the fingers outward, expelling the air while mentally counting
THREE-FOUR."
~epeat step c), shaking out your hands as you inhale, mentally counting "ONE-TWO-THREE-FOUR."
~ontinue as you exhale, counting "ONE-TWO-THREE-FOUR."
ro avoid possible dizziness due to hyperventilation, this exercise should not be repeated more than two
>r three times at first.
·
~o.4
Combining DEEP-BREATHING with Preliminary Exercise No. 2
=oilow the procedure described just above, clenching the hands and snapping the fingers outward with
>ALMS UP. Turn hands over, palms down, hands dangling from the wrists, and shake out.
6
How to Sit at the Piano
SIT TALL!
Lean slightly forward.
Let arms hang loosely from shoulders.
Elbows slightly higher than keys.
Bench must face the keyboard squarely.
Knees slightly under keyboard.
Feet flat on the floor.
Right foot may be slightly forward.
7
Finger Numbers
3
2
2
3
THE THUMB IS
THE FIRST FINGER
OF EACH HAND
1
Response to reading finger numbers should be automatic. Before you
begin to play, practice moving each finger as you say its number aloud.
Piano Tones
When you play a key, a hammer inside your piano touches a string to make a tone.
When you drop into a key with a LITTLE weight, you make a SOFT tone.
String
When you use MORE weight, you make a LOUDER tone.
Hammer
Curve your fingers when you play!
Pretend you have a bubble in your hand.
Hold the bubble gently, so it doesn't break!
1. Play any white key with the 3rd finger of either hand, softly.
2. See how many times you can repeat the same key, making each tone a little louder.
Before you play any key, you should always decide how soft or loud you want it to sound.
For the first pieces in this book, play with a MODERATELY LOUD tone.
8
The Keyboard
The keyboard is made up of white keys and black keys.
The black keys are in groups of twos and threes.
LOW SOUNDS
2 blacks
3 blacks
I\
~
<
DOWN (Lower)
2 blacks
I\
I
3 blacks
2 blacks
3 blacks
~
I\
~
UP (Higher)
>
HIGH SOUNDS
On the keyboard, DOWN is to the LEFT, and UP is to the RIGHT.
As you move LEFT, the tones sound LOWER. As you move RIGHT, the tones sound HIGHER.
Play the 2-BLACK-KEY groups!
--RH
LH
1. Using LH 2 3, begin at the middle
and play all the 2-black-key groups
going ~ the keyboard
(both keys at once).
2. Using RH 2 3, begin at the middle
and play all the 2-black-key groups
going ~ the keyboard
(both keys at once).
Play the 3-BLACK-KEY groups!
RH
LH
3. Using LH 2 3 4, begin at
the middle and play all the
3-black-key groups going
~ the keyboard
(all three keys at once).
4. Using RH 2 3 4, begin at
the middle and play all the
3-black-key groups going
~ the keyboard
(all three keys at once).
9
Name That Key!
--
Piano keys are named for the first seven letters of the alphabet, beginning with A.
A
D
B C
E F G
Each white key is recognized by its position in or next to a black-key group!
For example: A's are found between the TOP TWO KEYS of each 3-BLACK-KEY GROUP.
Play the following.
Use LH 3 for keys below the middle of the keyboard.
Use RH 3 for keys above the middle of the keyboard.
Say the name of each key aloud as you play!
Play all the A's
on your piano.
Play all the B 's.
[fflj
Play all the C's.
~
m
....I
Play all the D's.
[ll]
Play all the E's.
Play all the F's.
[IE
m
Play all the G's.
[ml
You can now name every white key on your piano!
The key names are A B C D E F G, used over and over!
ABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABC
-
t
The lowest key
on your piano
is A.
The C nearest the
middle of the piano is
called MIDDLE C.
Going UP the keyboard, the notes sound HIGHER and HIGHER!
Play and name every white key beginning with bottom A.
Use LH 3 for keys below middle C, and RH 3 for keys above middle C.
..
You are now ready to begin ADULT FLASHCARDS .
10
Isometric Exercise
An isometric exercise is one in which one set of muscles is briefly tensed in opposition to another
set of muscles, or in opposition to a solid surface.
To prepare for this exercise, press the hands
flatly together with all fingers touching, in a
"prayer position."
Now slowly bring the palms apart, with
fingertips touching, until all fingers are
in a curved position.
EXERCISE: Keep fingers in the curved position, relaxed.
Now press the 3rd fingers firmly together. Keep the other fingers relaxed.
Do this four times, counting "ONE-TWO-THREE-FOUR."
Do the same with the 2nd fingers, then the 4th fingers, then the thumbs,
and finally with the 5th fingers.
Repeat several times, then shake out your hands vigorously.
Repeat again.
A Beneficial Hand Massage
1. Place the back of the left hand in the palm of the right hand, relaxed and flat.
2. With the thumb of the right hand, massage the left hand along the ridge of the fingers and along
the fleshy part of the base of the thumb. Do not use excessive pressure, or you may bruise the
hand. Continue this for about 30 seconds.
3. Reverse hands, massaging the right hand with the left.
4. Shake out the hands vigorously for several seconds.
This exercise should be beneficial to circulation and should make the hands more flexible.
11
Four Good Reasons for Playing with Curved Fingers
1.
When the fingers are straight, each
finger has a different length.
When the fingers are curved, each
finger has, in effect, the same length.
2.
If your fingers are straight, the thumb
cannot be properly used.
Curved fingers bring the thumb into
the correct playing position.
3.
Straight fingers will bend at the
first joint, opposite to the motion
of the key, delaying key response.
With curved fingers, keys respond instantly.
You are IN CONTROL when you CURVE!
4.
Moving over the keys will require turning the thumb under the fingers and crossing fingers
over the thumb. Curved fingers provide an ARCH that makes this motion possible.
VERY IMPORTANT!
Keep fingernails reasonably SHORT. It is impossible
to curve fingers properly with long fingernails.
12
Right Hand C Position
Place the RH on the keyboard so that the 1st FINGER falls on MIDDLE C.
Let the remaining 4 fingers fall naturally on the next 4 white keys.
Keep the fingers curved and relaxed.
The names of the 5 keys are in
ALPHABETICAL ORDER: C D E F G.
Notes for this position are written on the TREBLE STAFF.
The TREBLE STAFF has 5 lines and 4 spaces.
Middle C is written on a short line
below the staff, called a leger line.
TREBLE CLEF SIGN:
used for RH notes.
J 7J
~
~ J, 1--4---~....-;"r~-r-----1_+.+-:1.,___-+--e,+--'
, , _ __ _ _ _ _ _ ___,
I
I
I
I
I
I
D is written in the space below the staff.
I
Each next higher note is written
on the next higher line or space.
CDEFG
~)))) *
RIGHT HAND WARM.-UP
Play the following WARM-UP. Say the name of each note aloud as you play.
Repeat until you can play smoothly and evenly. As the notes go higher on the keyboard,
they are written higher on the staff!
Fingers:
'
'
1
2
J
@
5
4
I
4
J J
3
2
5
~
1
~
J
II
J
J
J
1
2
3
4
5
4
3
2
1
J J J J ~ I J I J
~
~
J
J
J J J
J
J
J
~
* ~ ll))
~
3
1
0
2
3
4
4
@
3
2
11
1
This symbol indicates the track number of the selection on the CD. See the General MIDI (GM) disk
sleeve for the GM track numbers.
11
13
Quarter Notes & Half Notes
Music is made up of short tones and long tones. We write these tones in notes, and we
measure their lengths by counting . The combining of notes into patterns is called RHYTHM.
Quarter Note
a short note.
Half Note
J
a long note.
COUNT:
"1"
or: "Quarter"
COUNT:
or:
J
"1 - 2"
"Half note"
Clap (or tap) the following rhythm. Clap ONCE for each note, counting aloud.
Notice how the BAR LINES divide the music into MEASURES of equal duration.
JJJJ
---MEASURE - --
~
. J :EAS: E }_ : AS: E_J__•
BAR
LINE
ODE TO
Joy
BAR
LINE
~ MEAS~RE _ I
BAR
LINE
(Theme from Beethoven's 9th Symphony)
DOUBLE BAR
used at the end
'4))))
1. Clap (or tap) the rhythm evenly, counting aloud.
2. Play & sing (or say) the finger numbers.
I ~
3. Play & count.
4. Play & sing (or say) the note names.
Fingers:
~ jj J J I J J i j I j
j j j Ij j j
II
14
The Treble Clef Sign
locates the G
above the middle
of the keyboard.
The TREBLE STAFF has 5 lines and 4 spaces.
This sign came
from the letter G:
~
(_J-
v
This is the G line. --l-+-'1-t-----'il.l~----.f-f-+--T_he_c_le_f_s....::.ig_n_c_u_rls
around the G line.
1. Trace these treble clef sign:TART__
}kI ,;]: I ,"]; I ,;f;, I ,$,I ,ff, I '~, I ,;§,I
HERE
END HERE
2. Draw a line of treble clef signs.
REVIEW
The notes of the RIGHT HAND C POSITION
are written on the TREBLE STAFF.
• Middle C is written on a short line below the staff,
called a leger line.
Fingering:
~
1
2
3
4
5
'
'
l
JJJJJ
I
I
I
'
I
I
• D is written in the space below the staff.
• Each next higher note is written
on the next higher line or space.
3. Write the names of the 5 notes in RH C position
on the keyboard to the right.
4. Write the name of each note in the box below it.
1
J
J
J J J J
J
J
J
LJ LJ LJ LJ LJ LJ LJ LJ LJ
11
15
5. These notes are on LINES. Write the name of each note in the box below it.
[
.__
1
J J J J J J J J J J J II
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
6. These notes are in SPACES. Write the name of each note in the box below.
~
2
J J J J J J J J J J J
11
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
7. Here are notes on LINES & SPACES. Write the name of each note in the box.
1
J J J J J J J J J J J II
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
j J J J J J J J J J J II
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
8. When a note repeats on the SAME line or space, the note is repeated on the keyboard.
Write the name of each note in the box below it.
~
1
J
J
J
J
J
J
J
J
J J
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
9. Above each note on this page, write the finger number used to play it in RH C POSITION.
10. Play all the notes on this page in RH C POSITION.
11
16
Left Hand C Position
Place the LH on the keyboard so that the 5th FINGER falls on the C BELOW (to the left of) MIDDLE C.
Let the remaining fingers fall naturally on the next 4 white keys.
Keep the fingers curved and relaxed.
M
I
D
D
L
E
Notes for this position are written on the BASS STAFF.
The BASS STAFF also has
5 lines and 4 spaces.
The C, played by 5,
is written on the
second space of the staff.
Fingering: 5
4
3
2
1
I
I
BASS CLEF SIGN:
used for LH notes.
I
ll1Jl1Jll1:
Each next higher note is written
on the next higher line or space.
CDEFG
LEFT HAND WARM--UP '4))))
Play the following WARM-UP. Say the name of each note aloud as you play.
Repeat until you can play smoothly and evenly.
~:
~
Fingers: 1
~:
~
5
~:
~
1
rr
r r ~
~ r r
~
2
2
2
~
5
~
~
1
~
1
5
~
~
5
5
r r
r r ~
r r ~
~
2
2
2
When notes are BELOW the MIDDLE LINE of the staff, the stems usually point UP.
When notes are ON or ABOVE the MIDDLE LINE, the stems usually point DOWN.
~
11
5
~
11
1
~
1
11
17
The Whole Note
Whole Note
a very long note.
0
"1 - 2 - 3 - 4"
or: 'Whole note hold down"
COUNT:
Clap (or tap) the following rhythm. Clap ONCE for each note, counting aloud.
JJJJ JJJ
JJJJ
I
0
AURA LEE ~))))
This melody was made into a popular song, "Love Me Tender," sung by Elvis Presley.
1. Clap (or tap) the rhythm, counting aloud.
2. Play & sing (or say) the finger numbers.
3. Play & count.
4. Play & sing (or say) the note names.
As
Fingers: 5
sat
~:
the
2
3
and piped,
~ ~
5
black - bird
2
r
2
I
in
the Spring,
1
;
heard him
1
sing,
~ I ~ rr ~
2
1
1
'neath the
2
3
sing - ing
I~
2
wil - low
4
tree
3
2
"Au - ra
r rr r
Lee."
I
©
11
2
18
The Bass Clef Sign
n
locates the F
below the middle
of the keyboard.
This sign came
from the letter F: /
F
The BASS STAFF has 5 lines
and 4 spaces.
This is the F line.
D
~[:~Ehii:;~~:r\~:~~~r~pace:rnE
••
The F line passes between
the two dots of the F clef sign.
START '\.
1
.
-'~'1111,;)-=- ~-:-,1,-_..,,~=-=_.. .,. .t-- ,j-~
.........-·::-~-::-...,.r-@"""•-=c-.·_-c-~1...,.1)_ ................_-:-,-1-;:,=-~,.-:-.:-rr-,-:a_~,_
-j-,
Make the
2 dots last.
2. Draw a line of bass clef signs.
REVIEW
Fingering: 5
The notes of the LEFT HAND C POSITION
are written on the BASS STAFF.
• The C, played by 5, is written
on the second space of the staff.
4
I
3
I
2
1
I
I
• Each next higher note is written
on the next higher line or space.
3. Write the names of the 5 notes in LH C position
on the keyboard to the right.
4. Write the name of each note in the box below it.
~:
I
~
~ ~ r
F ~
LJ LJ LJ LJ LJ LJ LJ LJ
lei
5
~
I
~
II
19
5. These notes are in SPACES. Write the name of each note in the box below it.
2
=--
= ---~-~
f r
J F EF EF J
H
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
6. These notes are on LINES . Write the name of each note in the box below.
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
7. Here are notes on LINES & SPACES. Write the name of each note in the box.
J r
J H
E r r
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
5
rrr
rr
E
r J r r E71
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
1
rr
r
r
r
8. Each of these notes repeats on the SAME line or space.
Write the name of each note in the box below it.
-;)=
~
5
LJ
~
r
F
LJ LJ
r r r r
u·
F ~~
LJ LJ LJ LJ LJ
9. Below each note on this page, write the finger number used to play it in LH C POSITION.
10. Play all the notes on this page in LH C POSITION.
20
The Grand Staff
The BASS STAFF and TREBLE STAFF,
when joined together with a BRACE,
make up the GRAND STAFF.
C D E F G
C D E F G
Treble Clef -....
,j. "
I
I
I
I
I
I
'
'
I
I
'
I
I
I
I
I
t
1
I
f
I
I
I
I
1
2
-(il
C!l
3
4
5
,I
~
'\..
,v
~
Brace-..
I
'
I
I
- ,.
Bass Clef
PLAYING ON THE
GRAND STAFF t41)))
I
1::11
5
4
3
-2
-~ --
'
In>
1
means 4 beats to each measure.
means a QUARTER NOTE
J
gets one beat.
The following practice procedure is recommended
for the rest of the pieces in this book:
1. Clap (or tap) & count.
2. Play & count.
3. Play & sing the words, if any.
Only the starting finger number
for each hand is given .
."
,......
I
I
-•
4
4
Music has numbers at the beginning
called the TIME SIGNATURE.
'
,--
'
TIME SIGNATURE
I
••
L'-•
/
'
--
1
,I
••'\..'-._\.I
L
-e
tJ
I..,.
-
,.
/
--
L
C!l
-- --
•=
-
'
LI-
'
LI-
--
-
=
--
11:1
-
t!J
-e -e
-
~
-
"'I
This sign ~ is a WHOLE REST.
LH is silent a whole measure!
RH silent a whole measure.
"
J,
-'
,,. ,
'..I
-
..
-
-
~
,v
'\..'
.J
..
I..,.
/
ill!
5
--•
1:11
-
,--
IC,
IC,
'CJ
IC,
--
1:11
--•
... ...
..
re
7'
/
The double dots mean
repeat from the beginning.
21
RocK--ALONG ~))))
...
1
3
5
..,,,
-(i
--
1
"~
.. j ~
"'
\ 1
~
-
~
,.
L
-
/
..ill
"
If j
~
....
--
-
,L . . . .
-
-
~
-
-
I
~
-©-
-
-
-
-
..
-
"'~
, \ ,I
..
L. , .
/
rr,
5
..,
5
3
..
[H
'GJ
•=-
l::IO
re,
•c~
re,
1
MEXICAN H AT DANCE ~l)))
...
"•
Wl
"' "\.I
~
-
-
••
-
~
1. Play
2. Dance
Play
Dance
it!
it!
...
'GI
L. ....
-
-
-
L.
/
'\.
•
'
~
L.
1
ill
... ...
'
~
- ,..
-- --
'El
2
3
dance!
dance!
.., .,
\.
I
3
4
hat
hat
fa - mous
fa - mous
,_..I
'
t
3
Play the
Dance the
it!
it!
~
4
5
'
This sign ~ is a QUARTER REST.
Rest for one count!
."
5
If j T"ll
"~)
,I
..
L. , .
-/
2
3
,I
'\.
-
'--'
Play
Dance
-it!
it!
-
•
'
~
,::.
....,,
Play
Dance
-it!
it!
-
•
'
2
1
3
4
e
--
-~
e
-©-
Play
It's
it
such
now
fun
for
to
me!
see!
'\.
~
-
..
-
..
22
Writing in
j Time
Remember: Music has numbers at the beginning called the TIME SIGNATURE.
4
4
The TOP NUMBER tells the number of
beats (counts) in each measure.
The BOTTOM NUMBER tells the kind of
note that gets ONE beat (count).
= 4 beats to each measure.
=
QUARTER NOTE
J
gets ONE beat.
,,
...
NOTE
QUARTER
HALF
WHOLE
Total number
of counts
COUNT
J
J
0
"1 "
1
"1 - 2"
2
"1 - 2 - 3 - 4"
4
.)
'-
1. In the box under each note, write the number of counts the note receives.
J J
J J J
0
J
0
J
0
m m ~ m m m ~ m [J m
BAR LINES divide the music into MEASURES. Each measure in
adding up to 4 counts.
t time has notes
2. Complete each measure by adding just one G to each, so the counts add up to 4:
J
0
11
3. Complete each measure by adding just one C to each, so the counts add up to 4:
4. Complete each measure by adding just one F to each, so the counts add up to 4:
r
IF
f FIf
r
0
II
23
LIGHTLY
Row
t4i)))
1. Add BAR LINES like the first one shown, to divide the music into measures of 4 counts each .
2. Add a WHOLE REST in each measure to indicate silence for the LH or RH.
3. Write the name of each note in the box above it.
4. Play the piece.
fl
II
I'
..11,r
•n:....
I
-
.. --,~
I
I
.-I
-
•
I
I
I
.
I
I
I
I
I
0
LH silent a whole measure.
•
I
I
I
I
I
I
I
I
-
I
I
.-I
-
I
I
.-I
I
I
.-1
- .-I
..,,,
I
•
r..
-
-
~
RH silent a whole measure
fl
I
.....
y
,r
.""
'
I
I
I
I
I
.-1
- - WHOLE REST
t)
/
I
I
I
.-I
-
.- ....
l'
r..
r..
-
-
.•
-
I
t)
~ ~
~
,..-
~ ~ ~
......
- ..
- I
I
I
/
1
r,1
I
I
I
I
I
I
-
I
I
~ ~ ~ ~
-
-
,..
t-
I
I
I
I
~
I
I
I
I
I
I
I
I
I
I
I
..
••
I
l
DOUBLE DOTS before DOUBLE BAR
mean repeat from the beginning.
AUNT RHODY ~ l)))
1. Add BAR LINES dividing the music into measures of the correct length.
2. Add WHOLE RESTS as needed.
3. Write the name of each note in the box above it.
4. Add something before the last DOUBLE BAR to indicate that the piece should be REPEATED.
5. Play the piece.
,..
"
....
I -~
I
t
'\: , LI
r..
.. --
t . . ....
/
'
I
I
I
.-1
I
.-I
-
-
t)
<
I
n
II
..II~
•
J
I
I
I
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4
u
4
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r..
I
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I
.-I
",.
-
I
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- •
-
,,.
II
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.
-
I
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4
-
-
-
-
'\: -1/
t)
't ......
/
\
..
~
r,1
I
I
I
1
~
~ ~
,..
I
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I
-
I
I
r~
I
I
I
~ ~ ~ ~ ~ ~
- - ,..- - ,..- J
I
I
I
I
I
I
I
I
I
I
I
I
I
I
~
••
24
Melodic Intervals
Distances between tones are measured in INTERVALS, called 2nds, 3rds, 4ths, 5ths, etc.
Notes played separately make a melody.
We call the intervals between these notes MELODIC INTERVALS.
Play these MELODIC 2nds & 3rds. Listen to the sound of each interval.
1
f\
1
2
3
~
' -'~
--
~
.J
-6
l!l
-E
L 2nd _J
••
L 3rd _J
L 2nd _J
-
L. ....
-
. •.
L
.1111
,, j ~
L.
_/
-
--
L 3rd _J
-
r 3rd -,
r 2nd 7
letl
-
---
r 2nd 7
.•
r 3rd -,
- -- - - ..
letl
1:11'
~
1
The following excerpts contain only repeated notes
and MELODIC 2nds & 3rds.
Au
CLAIRE DE LA LUNE '4i)))
,
'
•,:, "\J
L.
~
p
-E
. .
I...,.
-
1
3
DYNAMIC SIGNS
tell how loud or
soft to play.
p
(piano)= soft
1
~
.
2
••
-
,_
•
LJ
-
~i-
.
..
-- • •
-0-
-
-
_/
.•
-
L
l/1if
TISKET, A TASKET '4J)))
I\
-
ll
,,,
L
~
''--
"
\ I
-
(mezzo forte) = moderately loud
-
-
~
.J
..
-/ ....
"--
'GJ
'
L
-
--
O"_J
-
--
- - - --
.
"_J
f\
,,.
-
-
-- -- -- --
-- -- -- --
~
'-', "v
-
-
@)
-,.
L
-...
_/
2
-
--
-
--
••
-'
-
25
L Measuring Melodic 2nds & 3rds
L
L ~
~
L
L
'
+
L ~
~
L
L
L
~ The distance from any wh ite key to the next white key, up or down, is called a
2nds go from LINE to SPACE:
or from SPACE to LINE:
2nd.
~
.----- When you skip a wh ite key, the interval is a 3rd.
3rds go from LINE to LINE:
or from SPACE to SPACE:
;:,:
j
r
Identify these intervals. If the interval moves UP, write UP in the top box. If it moves DOWN, write
DOWN in the top box. Write the name of the interval in the lower box, as shown in the first two
examples. l'f the note does not move up or down, write SAME NOTE.
L
L ~ J J II J J II J J II J J I J J
L
L
L ~ J J IJ J IJ J IJ J IJ J
L
L ;,= J r r J r r r r II r r
L
L
L 2= r r- r r r r r r II r rL
I
J J II
B 6
I
J J
II
Ea B@ B BB
11
11
11
II
r r
II
BBB B BB
11
11
11
II
r r
II
Harmonic Intervals
Notes played together make harmony.
We call the intervals between these notes HARMONIC INTERVALS.
Play these HARMONIC 2nds & 3rds. Listen to the sound of each interval.
~
",
ri ~
''- \~
@)
2
1
3
1
-
,.
mf 2nd
-6~
2nd
3rd
3rd
-
2nd
3rd
-"'
'le}
2nd
-
"'
&
1
._
,,. "
'\.
~
-- --
f
1...,.
-
••
(F
L
L.
(forts) = loud
+
1. Rock
2. Rock
is
with
•
mel the
/
~
•
-
0
right
Rock
Rock
die!
hand!
-
-
is
with
har the
l=I
'G}
,.f,,
-
mon
left
-- -
~
' @)
,e
•
•is mel
...,.
Rock
Rock
1.....,.
- ,.
/
'
f
3
~
\ I
~
'
1
3
fJ
'
ic!
hand!
•" -- - •"
~
.,,j "',
]
-
-
•
'
~
-
~
'\.
•
'
~
.•
~
[ f
Rest for one count!
4
~
' , \J
,~
·~
3
ROCKIN' INTERVALS ~))))
I
I~
3rd
1
mf 2
Brightly
.•
-
~
-
L.
-
/
-
~
~
~:!II
I..,.
-
-
L
with
-
the
-
.
0
right
•"
~
....
'
-
die!
hand!
-
-
•"
~
-
.•
'
Rock
Rock
'CJ
'l:J
is
with
har the
-- - -- -
1
3
1
2
-
mon
left
ic!
hand!
I
I • I •" ..
'\.
~
~
'
'
•
DUET PART: (Student plays 1 octave higher.)
RH
~= I *~ *~
LH
I*~*~ I*~
I*~ *~ I*~ *~
-*~
fr tr t r1r1 rtr, r1r1 rtr,
I;:~~ rtrt r1rt
I*~ *~ I-*~ -*~ :II
J
27
Measuring Harmonic 2nds & 3rds
1. Play these HARMONIC 2nds & 3rds. Say the name of each interval as you play.
2
fl
,.
..il'I'
•~
-
"
-
I
~
@)
I
3
1
1
L
,,
""
2nd
-
,,,,
-
'
.,.
-
..
-
,,
,_
r
3rd
·: -.,,.. -,.
,._.
-
5
3
~
.ef,)
mf 2nd
L_
5
4
2nd
3rd
,_
.-
3rd
2nd
-.
-
"~
"~
-
..
"~
"~
1
3
5
4
5
3rd
1
3
2
2. In the empty boxes, write the names of the notes that complete these HARMONIC INTERVALS:
~
2nd < ~
2nd <
3rd < ~
3rd < ~
2nd<rn
3rd<tE
2nd < ~
2nd < ~
3rd<~
3rd < ~
HARMONICA ROCK ~lJ))
3. Write the name of each harmonic interval in the box above it (2nd or 3rd).
4. Play, saying the name of each interval.
fl
,.
• ~
-
"
-
I
~
..il'I'
J
._;
I
L
r~
3 -
1~
..........
-
,,
~
I' ..
-
-.,,,. ,~,,,,
"-
-
-
..__
u
Q
f
. --
'
-
r~
,,~
I
~~Q:]
I
I
I
I
r~
,,~
-- -1-
1-
I
I3
4
5
I
5
f\
,
/
I :._;
I
I
&.. . . . .
/
'
-
~
••
-
5
4. -
5 -
3~
-
--- --- --
..
-
~
-
~
~
-.
-
"1
~
1
2
1
3
~~~
--- ---
"~
"1
..
28
Play these MELODIC 4ths & 5ths.
Listen to the sound of each interval.
Melodic 4ths & 5ths
4
1
"' - '
...
r.
".\J
"
Lt-
-a
@)
'-
/
..
,.
1
.,
.I
-a
L4th_J
5
. - ..
--
LSth_J
-
-
,_
-
L5th_j
L4th....J
-
...
r4th,
l"'
--
l"'
...
4
1
5
1
Goon KING WENCESLAS
~l)))
r4th,
r5th,
I
L
..
r5th,
- -- - -
Find the 4ths before you play!
Moderately fast
2
4
"
,I
...
,,j
--
L
"
'-'-._\.I
•::1
L
@)
f
..
Good King Wen- ces
,. -
'-
/
--
- -
las look'd out,
-
.
•
-6
On
the
•
feast of
r
r
Ste - phen,
-
-
-
L
"
,,,~
I
-
~
-
-
-
'-'- .\J
@)
..
When the
-. /....
.._
snow
lay
-- -- -- -
f
"'
e
-
,_
,\J
..
--
-
ven.
-
--
Find the 5ths before you play!
3
.. .
L
p
'- ,.
-
-
--
,
2
-
r. "
/
-- --
Deep and crisp and
Seriously
1
I
"@)
a - bout,
4
MY FIFTH uf l)))
...
round
-(§;
This
is
-fifth,
my
--
,
and
-
may
-- --
-
be
-
you've
u
heard;
-
-
Lt-
.j. "'"
.I
-
-
-
-
" .\J
@)
'-
/
Beet
..
,.
re
p
5
-
hov - en's
fifth
- -
-~
on
is
-
,_
•"
'
~
- ly
a
- - f3
third!
-~
.•
29
Measuring Melodic 4ths & 5ths
.~-----'---~.
--~---..
When you skip 2 white keys , the interval is a 4th .
4ths go from LINE to SPACE:
L
L
l -- - - l
L
l
l
L
......
?:
Jr
~ or SPACE to SPACE: ;>:
Jr
~
or SPACE to LINE:
When you skip 3 white keys, the interval is a 5th.
5ths go from LINE to LINE:
1. Write the names of the keys a 4th apart on this keyboard, beginning with the lowest F:
2. Write the names of the keys a 5th apart on this keyboard, beginning with the lowest F:
3. Identify these intervals. If the interval moves UP, write UP in the top box. If it moves DOWN, write
DOWN in the top box. Write the name of the interval in the lower box. If the note does not move
up or down, write SAME NOTE.
tB QJ tBJ
11Jv£"i
,
-=!.
J
* VI
I
~:
J
j
I
II W
J
II
J
II
ED~ jtD
J J IJ
II
lvt l ~ Ip.ti CD
~
r II r
I
J
r II r r
I F
r
J
11
l?ZCI
I F F
11
30
Play these HARMONIC 4ths & 5ths.
Listen to the sound of each interval.
Harmonic 4ths & 5ths
4
,...
~
...'-' ,~
..il"i
.....
•
"T,
......
..
... t
/
-
(F,
I
-6
4th
-€,
-€,
5th
5th
-
~
-
--6-
r
'-"
mif 4th
L.. , .
-
5
1
1
4th
5th
4th
'GJ
'QJ
--
,_
-
,_...
CJ
mf l
1
5
5th
I
LI"
JINGLE BELLS '4l)))
..
-
..
I
rr~
Before you play: 1. Find all the MELODIC 4ths & 5ths in the RH.
2. Find all the HARMONIC 4ths & 5ths in the LH.
Merrily
"
3
~
..ii
'- ".v
L
.. j
L
~
- -- --f Jin - gle, bells!
1
L.. , .
-
••
/
L
~
...
- -- bells!
---
Jin - gle,
..
1.G"J
L
5 •c~
••
~
5
.
Jin - gle
...
6
all
....
-
'--"'
1- •
the
way!
••
••
••
v
3
4
,I
,....,v
"
'-'
@)
..
L.. , .
/
---- -
Oh, what fun
it
1 ....
4~
_y
....
rj
'-
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3
~
--
\ I
@)
-
..
L. , .
/
--
Jin - gle,
1 ...
--
... •
,~
~
'-'- 1.J
@)
-
..
L. ....
/
is
..
..
.5
4
-
-
-
s
4~
what
fun
it
is
••
..
s
-
2.
-:2..•
the
all
.
c.-
..
sleigh!
-way!
••
••
s
s
-- -- --
-- --
ride
one-horse
to
.
u
••
••
5
- - - - 1 ••
--
Jin - gle
bells!
4
Oh,
..,_
--
._
••
••
s ••
0
-
Jin - gle,
bells!
- • • --one-horse
pen
__,
--
5
~
-- --to- ride
a
a
1
4
2
4
-
3
0 -
•
pen
-0sleigh!
-..
-
••
....
\.le
J
-~
~
--
L
L
31
Measuring Harmonic 4ths & 5ths
1. Play these HARMONIC 4ths & 5ths. Say the name of each interval as you play.
5
1
4
.. -.... -,,,,.
/
...
I
<
t
r"
-
.. -...,.
/
-
~
A... . . .
5
1
--
--
-"1
"1
2
5
5
-6
4th
5th
..
-
5th
4th
--
-
',J
5th
1
..
",J
"1
',J
2
5
1
5
2. In the empty boxes, write the names of the notes that complete these HARMONIC INTERVALS:
2nd<tE
3rd<~
4th <tE
4th <~
5th <;
4th <OO
4th <~
5th <tfil
DUELING HARMONICS
5th <~
4th <~
~l)))
3. Write the name of each harmonic interval in the box above it.
L:
L:
,.
~
.....
L: I ,,. 1~
L: <t .. - f
,.
I
L:
L
L
L
L
4th
5th
mf4th
5
2
(.j
-6
-6
\
L
L
L
L
L
L
I
-
--
~
I
I
1
I\,
4. Play, saying the name of each interval.
1
f\
/
1
ll
" '
~
I
.-
-
-I
La,. ,,.
~
-
/
-
-
~~[lJ
---
\
f\
/
.
-'
~
~
I
~
.._
/
\
.....
f
-...-
f
.- .
-- .-
-i
-
WcrJG:J~
-- - -
- - - -
I
',J
i-
2
5
4
ll
1
1
2
-
- .....,.
-
1
5
~~~
--
-1
",J
'1
1
f
-- -- •-- •
.
.
-
..
-
~~[!]~
- -- - -p1
,_
i-
4
,_
,..
..
32
The C Major Chord
"" ""
,---- RH---,
M
I
""
- ""
D
D
L
A chord is three or more notes played together.
E
The C MAJOR CHORD is made of three notes: C E G.
.
E
3
C
5
~
E
3
C
1
G
5
I
I
~
'"'- 11
I
I
,,_
@)
,.
5 A:
3~
1~
I
I
I
I
L.. , . .
-
G
1
I
Wj r-,.
Be sure to play all three chord notes
exactly together, with fingers nicely curved.
- -- -- - --
.------ LH ---,
111111
L
/
~
1
3
5
'
'r.J
'I;)
'r.J
C MAJOR CHORDS for LH
Play & count.
mf
C MAJOR CHORDS for RH
Play & count.
mf
C MAJOR CHORDS for BOTH HANDS
."
~
~
~
,,,.
,_
..,...,,.
mf {~
~
~
5
ri~
'" .\.J
@)
,..
- ,.
,,_
.._
3
1
~
/
~
3
5
~
r.,
'ti
CJ
~
,I
-~
>-<
...
&W
&W
,,,.
,,,.
'II-
~
~
~
-~
-~
·~
~
,I
~
..,...,,.
>-<
..
~
..
&W
&W
..
33
BROTHER JOHN
~l)))
Read by patterns! For RH, think:
"C, up a 2nd, up a 2nd, down a 3rd," etc.
Think the pattern, then play it!
Moderately fast
., ",.,.
1
3
,I
,I
\ J
"@)
L
-
••
Are
-4
.
Are
/
L
5
4
.
-
..
••
••
..
..
1
-
--
'- , \.,
~
.. .
--
-4
Time for break-fast!
- --
~
.
~
~
-4
Time for break-fast!
.,.,.
••
••.,.
••
L. , .
--
-4
~
'
~
Please come on!
- -
'-
I
'
'
-
1...1
Broth- er John?
••,.
••
3
-
-
\,.
.HI'
/
......-
Broth - er John?
~
-
-
--
••,.
••
1 f'G~
31.E>
5 f'C~
I
L.
"
,,""'
- -4
•you sleeping,
-4
p
L '•
-- -4
•you sleeping,
-
L
t
1
~
-4
Please come on!
\,.
I
~
- -
'
This sign .-. is a HALF REST.
Rest for two counts!
HERE'S A HAPPY SONG! ~ ))))
Read by patterns! For LH, think:
"G, down a 2nd, down a 2nd," etc.
Happily
"
,I
,... ....
'-', \J
-
L
I
~
'
,£
f
-
••
- -- - -- -
•
L. , .
"-1-
/
L
-
\,.
-
--
,
.,
il
\,.
I
~
'
·~ -- --- ---
-- - -- - '--"'
1
...
"'•
•• ....
\J
.. - -- - - -
L. , .
/
\,.
I
-
1
'
--
- -- -
--
- --
..-I
-
~
A.
"@)
-
-
-
-
.
,.
._-
..
~
..
v.-
Introducing (~ ) for Left Hand
..
\\
.&... • •
-
I
I
\
_/
~
\
\
I
•
I
- - - -- ... -
--
LH \ 5 /
-""
11111
M
I
D
D
""
-
TO FIND B:
Place the LH in C POSITION.
Reach finger 5 one white key to the left!
L
E
B C D E F G
5 5 4 3 2 1
Play slowly. Say the note names as you play.
Moves
to B
Move S
Moves
toe
to B
=11
5
3
1
5
2
5
1
2
1
Two Important Chords
Two frequently used chords are C MAJOR & G 7 .
,..
- - --
C MAJOR
,.. ,..,.. •
- -- --
- - - -""' - ""'- - - -"" - G7
M
M
I
D
D
L
I
D
D
L
E
C
5
..
L. , .
-
_/
E
3
E
G
1
1 •.••
3 •1-w
B
F G
5
2 1
..
1 _.u•
L. , .
-
5. ~-
2~
5 -
-
./
Chord symbol: G 7
Chord symbol: C
Chord symbols are always used in popular music to identify chord names.
Practice changing from the C chord to the G 7 chord and back again:
1. The 1st finger plays G in both chords.
2. The 2nd finger plays F in the G 7 chord.
3. Only the 5th finger moves out of C POSITION (down to B) for G7 .
C
~: t iII
G?
- 1}~ =
C
~i II
:II
35
TIED NOTES: When notes on the same line or space
are joined with a curved line, we call them tied notes.
The key is held down for the
0
Count: "1 - 2 - 3 - 4,
COMBINED VALUES OF BOTH NOTES!
WE
MERRILY
l'o
1 - 2 - 3 - 4."
ROLL ALONG ~))))
Play the RH & LH separately at first, then together. Practice the RH mf and the LH
The melody should always be clearly heard above the accompaniment.
p.
Merrily
C*
/
"-
, • ,,.
"~ ,,.
I.
I
-
~
....
...
,,.
.
I
I
..-1
I
I
I
mf
G?
.
.
I
I
I
I
I
I
I
..-1
'
I
I
I
I
I
I
I
I
..-1
,~
-
1 ••
s••
(TIED NOTES!)
G?
I
I
..-1
t)
....
..__
I
I
I
-
c..
...
I
I
•
•
I
I
I
I
I
..-1
'
I
I
..-1
-
••
&•
••
, ••
I
I
.-1
-
-
C
•
I
I
I
2_
"'JI
5
I
I
I
I
I
..-1
-
•
1 __
••
"'.
LARGO
I
I
.-1
3••
II
I ' -1/
I
I
..-1
- - -
(J
--
5
3
"
/
I
I
I
1-·
... _
•••
••
••
1 ••
- ps • •
/
C
. .
I
I
.-1
I
I
..-1
- - -
- •• -,~ 3••
j
I
3
.
I
I
I
&
1 ••
5••
--
3 "' •
'4))))
(from "The New World'J
This melody is also known as "Going Home."
Slow
C
I
I
I\
,~
,,.
·- \I
II
'-'-
I
-
~
.. ,~
,,.
.......
- -
I
3
I
I
...J
I
I
...J
I
_,I
I
I
...J
- -
mf
'
I
1 ••
3 ••
5 "'.
I
••
/
I
J
"'-
I
~
i'' ..
- ,.
'/
I
I
...J
-
••
••
••
I
I
..-1
- -
-
--
--
5
,-
G7
I
I
..-1
-
I
I
.-1
-
I
I
...J
I
I
I
- •
"'JI
••
••
I
I
I
I
4
•
u
-·
1- •
2_
••
••
3
\I
II
I
I
...J
I
I
...J
•
4
C
I\
I
I
I
I
I
- •
-p
/
Dvorak
G7
C
I
_,I
-
I
I
I
•
-·
-
*In most popular sheet music, the chord symbols appear ABOVE the RH melody.
The symbol appears ONLY WHEN THE CHORD CHANGES.
...
I
I
&
"' JI
••
••
36
Introducing ( ~) for Right Hand
M
I
TO FIND B:
D
D
L
Place the RH in C POSITION.
Reach finger 1 one white key to the left!
E
B C D E F G
1 1 2 3 4 5
"-....,,
Play slowly. Say the note names as you play.
t
Move 1
to B
1
1
3
Move 1
toB
Move 1
to C
4
5
1
4
5
5
C & G7 Chords for Right Hand
It is very important to be able to play all chords with the RIGHT hand as well as the LEFT.
Chords are used in either or both hands in popular and classical music.
- - - ... - ... . -- - ..
- - .. .. .. - --- - .. -- - ..
G7
C MAJOR
M
I
D
D
l
I
D
D
l
E
E
C
1
,~.
~
•
-,
\J
"'@)
•
M
E
3
B
G
5
F G
4 5
1
C
G7
"'
~
,,"11"1'
5-
a...;:;
~
'\c' , \J
3 ":"'
@)
1-<c>
1W
Practice changing from the C chord to the G 7 chord and back again:
1. The 5th finger plays G in both chords.
2. The 4th finger plays F in the G7 chord.
3. Only the 1st finger moves out of C POSITION (down to B) for G7 .
C
~i ,11 _
G7
~ <P
-.. 1u
C
,11
:II
l
l
lL
r
r
37
MARY ANN ~))))
Calypso tune
Moderately fast
I\
I .. .,...,
I.I
,II'
/
-
T,
,,,
~
~
It)
)
L '•
,,
·--
I
••
--
-
-~-
-
5
4•
All
If..
I
I
I
I
I
Ma
-
I
r-,1
r-,1
-,.
La_
night,
all
day,
n
I
I
r-,1
I
I
Ann ,
(Ma
-
' -
,_
...-
I
I
I
I
- ry
-
,~
c::
111
11111
~
\
p G?
- ry
Ann ,)
I
I
I
L
r
L
L
C
I\
/
I
-
-
-
I.I
'
, \_/
5 3 "!II
It)
<
t -...
I -,,
..
~
'
L
L
l
-.~....
by
the
-
...-
...-
iJ
I
sift
- in'
...,.
-
iJ
I
....-
5
I4
I
I
_,I
l4
sand;
I
I
I
I
I
I
- shore,
sea
I
,
I
I
"
~
1~
Down
~
~
':I
~
- in'
(sift
.,
sand;)
I
G7
"
-
-
-. """',
I
-- -~
t)
All
the
lit
- tie
L I -·· - - - L
L
"•
L
L I - ,... - ....- ....L
L '•
,,
'
/
I
I
I
I
I
I
3
I
r-,1
I
I
by
the
._
_/
t'
'I
4
I
I
I
l
Ma
- ry
--I
I
I
I
-
I
I
...
I
I
I
I
Ann,
,.,.
-
c::
111
- ry
-
Ann,)
-
iJ
I
I
I
,
~
C
-
-
,I
Down
'
I
'
I
I
I
- dren love
I
• -,.
' ~)
•
I
chil
111
(Ma
,_
,_
-
.-.
-I
sea
- shore,
sift
-
...,,
t'
I
-
....
5
I4
I
I
I
-i
-
in'
I
I
I
sand.
(sift
I
I
I
,,,
••
.-
-I
- in'
---
~
sand.)
38
The G7 Chord for Left Hand
- - - -- - -- -- - G7
• ""
M
I
D
D
L
E
B
F G
2 1
5
The construction of 7th chords will be more fully
explained later. For now, the G7 chord will be
made by playing B F G using LH 5 2 1 .
It is easy to move from the C MAJOR CHORD to
the G7 CHORD and back again, because both
chords have the same Gin common.
-4~----=-:--ldG)_____
---5--@----
C
G7
~i-'31ffl>'il!'C--~"""B~--
1. Practice changing from the C chord to G7.
The COMMON TONE G is played by 1 in both chords.
Chord Symbols
In popular music, chord symbols are used to identify chord names. The symbol for the
C MAJOR chord is C. The symbol for the G SEVENTH chord is G7.
2. Write the chord symbols (C or G7) in the boxes below. Notice that a new symbol is
used only when the chord changes.
3. Play and count.
4. Play and say the chord names .
••
3
5
mf
~:
~ ~ ~ ~
~
11
*
*
3
5
2
5
rrr
~
I~
~
7
I [
~
1
rr
I~
:II
*
Remember: When notes on the same line or space are joined with a curved line, they are called
TIED NOTES. Hold the key down for the COMBINED VALUES OF BOTH NOTES.
5. Write the chord symbols in the boxes.
6. Play and count. Say the chord names as you play.
~
2= i ~ II:
mf
[!J
I :II
I~
~
~,
~ r ~ *
I
:I
I
39
The G7 Chord for Right Hand
""'
- - ""'""'
M
I
D
D
- - - -""' -
G7
""' ""'
""'
L
E
B
1
F G
4 5
C
G7
1. Practice changing from the C chord to G7.
The COMMON TONE G is played by 5 in both chords.
2. Write the chord symbols (C or G7) in the boxes below.
3. Play and count.
4. Play and say the chord names.
5. Write the correct chord symbols in the boxes below. Notice that when
the GRAND STAFF (treble & bass staff together) is used, the chord
symbols are written above the TREBLE STAFF.
6. Play and count. Say the chord names as you play.
I\
I
~
..ill\'
II
--..
'\.'
J
I
-,.
,:,,
-
~
' .. L. . . . .
-
./
\
,.
....,~
5 3'11 -l:
5,
1"l:i
-
~
-
':II
':II
-ii
-ii
lll
mf
-
13•
5•
- 1 - •
- 2- 5 "'
i-
-
--- ---
-
-
..
lll
-- ----
"J
"J
-~
..
40
Dotted Half Note
New Time Signature
3
4
A DOTTED HALF NOTE gets 3 counts.
(2 counts for the half note,
plus 1 count for the dot!)
means 3 beats to each measure.
I
cJ •
J
means a QUARTER NOTE
gets one beat.
COUNT: "1 - 2 - 3"
Clap (or tap) the following rhythm.
Clap ONCE for each note, counting aloud.
J.
J J J
3
4
J.
JJ J
I
=
ROCKETS ~l)))
Moderately fast
/
~:
I
..
"
. ,~
,.,r
••
-.....
'\.
I
f
Rock - ets
I
L. ' - •
•JI
,•
• JI
/
'
-
-
I
I
~
~
I - ...,.
~
/
'
Ro~k
- ets
- I
I
I
I
5
IMPORTANT!
they
-
I
...
I
I
~
p
and
will
I
I
I
trav
I
I
I
I
I
.,
-6
on
the
moon!
1
3
--·
5
G7
I
I
...I
-•
-
- el
I
I
to
-
oth
I
er
.,.j
-
I
I
I
•
worlds
- - ..
-
'
-~J
•'
..l..
'~
'
C
I
I
I
-
•'
..:..
I
I
-
.,.j
land
1 - •.
2- .
5
1
-
II
@>
-
.,.j
I
5
.JI'!
•,,
up
I
I
.,.j
-
I
I
I
I
I
I\
/
-
-
I
,.
go
I
I
C
I
I
I
I
I
I
-
~
G7
1
-
LI
I•
-
I
-4·
soon!
·~..
I
•
'~
Play ROCKETS again, playing the second line one octave (8 notes) higher. The
rests at the end of the first line give you time to move your hands to the new position!
Play ROCKETS one more time, now with the first line one octave higher than written,
and the second line two octaves higher.
This is excellent training in moving freely over the keyboard!
41
f Time
Writing in
1. In the box above each note, write the number of counts it receives.
~
~i
,J
~ ~ ~
J J ~
~
~
IJ
~
IJ
J
QJ
J
I
II
J.
! time must add up to 3!
2. Check your answers. The notes in each measure of
--
~
3. Under each line, write ONE NOTE equal in value to the sum of the TWO notes above it,
as shown in the first example.
J
+~
0
Reviewing Dynamics
f
DYNAMIC SIGNS show how LOUD or SOFT to play.
p
tnif (mezzo forte) = moderately loud
(forte)= loud
d·
0
0
(piano) = soft
.....
4. Write the correct TIME SIGNATURE at the beginning of each of the following staffs.
5 . Add CHORD SYMBOLS in the boxes above the treble staffs.
6. Play, carefully observing the dynamics.
...,;
Notice that a WHOLE REST is used to show silence for a whole measure of
~
L
L
L
r
L
r
t:
l ;.j
!
or
!
time!
Moderately slow
I\
r J
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I
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f
t)
I
5,
3
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4
1~.
1 c:::
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r,
I
t)
4.
-
,.I
••
/
I
~-
1
3
5
--·.
,
~
.
c:::
mf
-
1-
7 ....
,::
I
--
'"'
"1
~
,I
-
~
.
c:::
p
-
-
- ...
::::~
- ..
• '-.
-
-
I
--
-
mf
'1
,I
'J
....
-
I
--
..
~
~
~
f
-
,_..
,
~
-
mf
"1
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"J
- ...
-
p
I...,.
.
- ..
-
,1
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,,
--·.
-
-
l'J
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I
/
'
5 - .
.. ...
I...,.
-
'
I
~
I
l't
/
crJ
..
..
p
...••
..
42
A SLUR is a curved line over or under
notes on different lines or spaces.
Slurs & Legato Playing
SLURS mean play LEGATO (smoothly connected).
Slurs often divide the music
into PHRASES.
I SHARE?
WHAT CAN
--------
A PHRASE is a musical thought
or sentence.
E4J)))
Moderately slow
~
l
,H
• '
'
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t
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my
love
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all
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43
DONE E4i)))
1. Draw a slur over the notes that are played for the second sentence of the lyrics.
2. Play the RH, counting aloud.
3. Play the RH again, saying or singing the words. Connect the notes of each phrase as smoothly
as you can.
::
-=
Is
DAY
4. Add CHORD SYMBOLS in the boxes above the treble staffs.
5. Play with hands together.
--------------1!
I\
II
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51 ~
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------
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~-~1[;•=============:r:1a:::::,,·==========:
,~ .
-•~·-•-•--------------------2 - ·
Slow
-
ly,
slow
-
ly
sinks
the
sun.
_________ _______ _______________
·
s-+-·..__
1-7.._....,,.-=--.- r • - r - 1 1 - - - - - - - - t - - - - - - - - - - + 1
,.__
. . . ./ ~ - - - , ! - - - - - -__._
- - - - - - - - - - -__._s
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is
done.
.
·1.
·1.
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Slurs & Ties
If the notes
are DIFFERENTit's a SLUR.
11
Connect the notes, LEGATO!
_.f;:;;:=:;J;:.===!:"f=:,J;;_.-_-_--H-11
~r~~h~o~~ME- _
it's a TIE!
~,':i"'"--'=-==t~------
Hold the notes, without repeating!
6. Write TIE or SLUR in the box under each pair of notes, as shown in the first box:
$~ J.-----IJ.
~
I J. I J I JJJ I J~ CJ I J IJ. II
LJ
LJ
LJ
LJ
~
~
Introducing (~ ) for Left Hand
..
\
L. , .
/
~
\
\
\
I
I
I
I
\
-- - -- - -- - -- - LH \ 1 /
•
M
I
TO FIND A:
D
D
Place the LH in C POSITION.
Reach finger 1 one white key to the right!
L
E
C D E F G A
5 4 3 2 1 1
Play slowly. Say the note names as you play.
Move 1
to G
Move 1
to A
;l=
i
I
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5
I~ ~ E I~
~
[
5
1
2
[
5
1
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1
Move 1
to A
I ~ ~ E :II
5
2
1
Introducing the F Major Chord
The C MAJOR chord is frequently followed by the F MAJOR chord, and vice-versa.
- - • -- - -- • - -- - -
- - -· - --
FMAJOR
CMAJOR
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D
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3
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2
A
1
F
1...1n
2--w
L. ....
3 U"•
5
:::, • <: •
Practice changing from the C chord to the F chord and back again:
1. The 5th finger plays C in both chords.
2. The 2nd finger plays F in the F chord.
3. Only the 1st finger moves out of C POSITION (up to A) for the F chord.
C
~: t i II ==
I
E
C
G
C
L. ....
M
D
D
L
E
C
-- - -
F
1:l!f
C
l;i II
=II
45
Warm--Up using C, G7 & F Chords
Practice SLOWLY at first, then gradually increase speed.
i,,,, l!tf 11111,,,,
G7
C
2=1
C
F
C
r r r 11--+tln:II
1!r
mf
INCOMPLETE MEASURE Some pieces begin with
an incomplete measure. The first measure of this
piece has only 3 counts. The missing count is found in
the last measure! When you repeat the whole song,
you will have one whole measure of 4 counts when
you play the last measure plus the first measure.
WHEN THE SAINTS
Go MARCHING IN ~l)))
(With RH MELODY & LH CHORDS)
March time
/
1
,~
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C
3
4
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31 5
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46
Introducing (~ ) for Right Hand
M
TO FIND A:
I
D
D
Place the RH in C POSITION.
Leave 1 on C.
Shift all other fingers one white key to the right!
L
E
C D E F G A
1
2 3 4 5
Play slowly. Say the note names as you play.
Move 3 & 5
to E
G
Move 3 & 5
A
to F
~
1
3
1
5
3
j
Move 3 & 5
to F
A
C & F Chords for Right Hand
-
-- - -- - -- - - - -- - -C MAJOR
11111
11111
F MAJOR
11111
11111
11111
M
M
I
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D
D
L
D
D
L
E
C
1
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E
3
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....
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3
C
G
5
1
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A
5
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11111
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5-
5 •.a.•
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....
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Practice changing from the C chord to the F chord and back again:
1. The 1st finger plays C in both chords.
2. The 3rd finger moves up to F and the 5th finger moves up to A for the F chord.
C
~!
~i =
F
=~
ti
1-0
C
l: ui
I
:I
...
--
-
47
Warm--Up using C, G7 & F Chords
mf
Go MARCHING IN
WHEN THE SAINTS
£4))))
(With LH MELODY & RH CHORDS)
March time
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After you have learned both versions of WHEN THE SAINTS GO MARCHING IN, you will find it very
effective to play page 45 followed immediately by page 47. Instead of playing the piece one way and
repeating, you will be playing the melody first in the RH, then in the LH!
45
Warm--Up using C, G7 & F Chords
Practice SLOWLY at first, then gradually increase speed.
i,,,, l!tf 11111,,,,
G7
C
2=1
C
F
C
r r r 11--+tln:II
1!r
mf
INCOMPLETE MEASURE Some pieces begin with
an incomplete measure. The first measure of this
piece has only 3 counts. The missing count is found in
the last measure! When you repeat the whole song,
you will have one whole measure of 4 counts when
you play the last measure plus the first measure.
WHEN THE SAINTS
Go MARCHING IN ~l)))
(With RH MELODY & LH CHORDS)
March time
/
1
,~
. " -,.
C
3
4
II
"
I
-
I
-
...
f
.. -.....,~,. ..• I
I
~
5
I
I
I
I
.-1
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L
/
Saints
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...
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----
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Oh, when the
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-- -- --
(go march- ing
'
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want
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go
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join
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num
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ber,
(yes,
-
'
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2
5
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--
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u
march
-- .. -- ..
3 5
--,_
-- -
5
'
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I
G7
I
I
-'
(go march-ing
1
-2-
F
C
When the
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.J,,.
I
d_9,)
.J,,.
I
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march
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go
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C
3
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Saints
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3
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t
3
5
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... ..• -
go march- ing
-- -- -- --
(Oh, when the
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-
Oh, when the
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1 -2-
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-ein!
---..-
..•
'
'
- -- -•
(go march-ing
31 5
-•
-in!)
..
..
-
47
Warm--Up using C, G7 & F Chords
mf
Go MARCHING IN
WHEN THE SAINTS
£4))))
(With LH MELODY & RH CHORDS)
March time
I\
,.
......
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/
II
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After you have learned both versions of WHEN THE SAINTS GO MARCHING IN, you will find it very
effective to play page 45 followed immediately by page 47. Instead of playing the piece one way and
repeating, you will be playing the melody first in the RH, then in the LH!
48
The F Major Chord for Left Hand
- - -- - - - - -- - F MAJOR
""
""
M
I
D
D
L
E
F
2
C
5
The notes of the F MAJOR CHORD are F A C.
A
1
When moving from the C MAJOR CHORD to the
F MAJOR CHORD, it is easier to play the F chord
with the notes in this order: C F A. This allows the
5th finger to play C in both chords.
--2~:--~=ffl- _ _ _ 5_,,l!"""C)'-----
F
C
1. Practice changing from the C chord to the F chord .
The COMMON TONE C is played by 5 in both chords.
~~
~ ii
5 {cl
2. Write the chord symbols (C, F or G7) in the boxes .
3. Play and count.
4. Play and say the chord names.
Q Q
2= I ~~
mf
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Q Q
Q Q
I~
I~
F
Q
~r
I'M GONNA LAY MY BURDEN DOWN
11
E4l)))
This piece begins with an INCOMPLETE MEASURE of only 3 counts. The missing count
is found in the LAST MEASURE!
5. Write the chord symbol in the box above each chord .
6. Play and count. Notice that the last incomplete measure plus the first imcomplete measure
makes one COMPLETE measure when you make the repeat.
7. Play and say the chord names.
8. Play and say or sing the words.
Q Q
;>= I J [ lg .
J
I
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Rhythmically
m.t:
5
1. The
2 . If
side ,
too ,
I'm
Jar - dan
you get
gon - na
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riv - er's deep
there be - fore
lay
and
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do,
my
But
Tell
r
soon
all
bur - den
f I~ ~ r
I'll
my
down
see
friends
(my
the
I'm
bur - den
r
oth - er
com - in'
down!)
49
The F Major Chord for Right Hand
- - -
F MAJOR
11111
111111 11111
11111111111
11111
M
I
D
D
- -- -
111111
L
E
1. Practice changing from the C chord to the F chord.
F
C
1
A
5
3
The COMMON TONE C is played by 1 in both chords.
F
C
5~--~13
~~
1--©--c_ _ __
2. Write the chord symbols (C, F or G7) in the boxes.
3. Play and count.
4. Play and say the chord names.
•••••••
mf
WALTZING CHORDS ~ l)))
5. Write the chord symbols in the boxes.
6. Play and count.
7. Play, saying the chord name each time the chord changes.
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50
G Position
Until now you have played
only in the C POSITION.
GAB CD
Now you will move to t~1e G POSITION:
~
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RH 1 on the G above middle C.
RH 1
'
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GAB CD
-
""
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LH 5 on the G below middle C.
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3
4
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7
2
- ..,
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el
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......
5
4
3
2
1
Play and say the note names. Be sure to do this SEVERAL TIMES!
2= t
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1,., 11
LH 5
1. MELODIC INTERVALS
Intervals in G Position
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Say the name of each interval as you play.
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row
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1
2
4
3
5
2. HARMONIC INTERVALS
Say the name of each interval as you play.
4
1
th
5
1
.:::, I
1
2
1
3
1
4
1
5
..
51
LOVE SOMEBODY! E4i)))
Before playing hands together, play LH alone, naming each harmonic interval!
Happily
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A FRIEND LIKE y OU
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Before playing hands together, play LH alone, naming each harmonic interval!
Moderately slow
1. A friend like
2. Where could I
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Repeat with LH
one octave (8 notes) lower.
52
Writing in G Position
RH 1 on the G above middle C.
LH 5 on the G below middle C.
LH
5
4
3
2
1
THE BANDLEADER ~ JJ))
1. Write the names of the notes in the boxes.
2 . Play.
Moderately fast, like a march
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proud - ly
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loud
and grand!
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LJ LJ LJ LJ LJ LJ LJ
3. Write notes from the G POSITION that spell these words. The note values in each measure
must add up to 4 counts. Turn note-stems DOWN when notes are ON or ABOVE the middle line
of either staff. Turn note-stems UP when notes are BELOW the middle line.
II
II
I .,
r:
r~
r~
r:
r:
r:
r:
r:
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53
Melodic Intervals in G Position
1. Write the names of the notes in the boxes above the staffs.
2. Write the names of the intervals in the boxes below the staffs.
IJ
L]
L]
r r
L]
IJ
F
IJ
f
II
Ir
r
II
Q Q
Q Q
2= t
F
1
r r
L]
L]
L]
Harmonic Intervals in G Position
3. Write the names of the notes in the boxes above the staffs. Write the name of the lower note
in the lower box and the name of the higher note in the higher box.
-.
4a Write the names of the intervals in the boxes below the staffs.
8
8
8
I J: I ~: I f:
LJ L
~
L
11
LLJ L
8 8 8 8 8 8 8
;>=~t
L
I W If If If If It
L] L] L]
11
54
The Sharp Sign
#
The SHARP SIGN
before a note means
play the next key
to the RIGHT, whether
black or white!
When a SHARP (#) appears before
a note, it applies to that note for the
rest of the measure!
A
Circle the notes that are SHARP:
C
MONEY CAN'T BUY EV'RYTHING! '4))))
March time
Mon - ey
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sad;
make you
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can't
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You are now ready to begin GREATEST HITS, Level 1.
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that
bad!
- - -
all
55
Writing the Sharp Sign
1. Make some SHARP SIGNS:
First, draw the two
vertical lines.
Then, add the heavy
slanting lines.
2. Write the names of the
Draw 4 sharp signs here:
#keys in the boxes below.
0
3. Change each of the notes below to a sharp note. Write the sharp sign BEFORE the note!
t
When writing sharp signs, be sure the CENTER of the
sign is on the line or space of the note to be sharped:
+
--tr-
4. Write the name of each note in the box above it.
5. Play the notes, using RH 3 or LH 3.
j
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56
The Problem of Developing Equal Skills with All Fingers
By this time you will have realized that some fingers are more difficult to control than others.
The 5th finger is the smallest and weakest, and requires special exercise to develop strength equal
to the others.
The 4th finger is the least independent finger, and the least agile. It is the only finger that is bound
to its neighboring fingers by tendons that limit its movement.
The 3rd and 2nd fingers are the most agile fingers. They can move more easily through a larger
arc. They are the strongest fingers.
The 1st finger (thumb) has its own problems. Its muscles are not designed to make it easy to strike
a downward arc, but rather to pull the thumb inward, toward the palm. This makes it practical to turn
the thumb under the fingers for playing scales, as you will see later, but in ordinary playing the
thumb must strike on the side-tip, and is thus more awkward than the other fingers.
The following illustration shows the tendons of the left hand, as viewed from the back of the hand.
The strongest
and most agile
The least independent and
most difficult to control
3
2
The most awkward
for downward motion
5
The smallest and weakest
1
Tendons binding the
4th finger to the
5th & 3rd fingers
Illustration from Gray's Anatomy
57
A Leschetizky Solution
Theodor Leschetizky (1830-1915) was one of the most prestigious teachers of his time. Among his most
famous pupils were Paderewski, Gabrilovich and Artur Schnabel. He was a genius at overcoming the
technical problems of each of his pupils; one of his most effective exercises was specifically devised
for developing skill and agility with all fingers, and overcoming the problems of playing well with the
weakest and most awkward fingers.
IMPORTANT! Read Leschetizky's own instructions carefully before playing:
While FOUR fingers hold the whole notes down, ONE finger plays the quarter notes.
Repeat each measure many times.
3. Proceed similarly with the 3rd finger,
keeping the others down.
1. In the first measure, press down the five
keys together (GAB CD, all the keys in G
POSITION), then raise the thumb JUST
HIGH ENOUGH TO LET THE KEY RISE TO
ITS LEVEL, keeping the thumb in touch with
it. Now have the thumb press the key down
again, hold it a moment, then rise again.
4. Now continue with the 4th finger, but
raise it AS HIGH AS POSSIBLE, so that
this hampered finger may gain more
independence.
5. Continue with the 5th finger, raising it
also AS HIGH AS POSSIBLE, so that it
may acquire more strength.
2. Continue in the same manner with the 2nd
finger, raising it about one-third of an inch
and striking the key repeatedly while the
other fingers hold their keys.
[I]
45
5
4
3
Cg]
1
1
1
Keep fingers CURVED at all times.
J J
J J J :Ill: .j
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5
@] ~
1
3
3
4
4
4
4
[fil 3
4
125
5
5
5
Follow the same procedure as outlined above when playing with the left hand.
--a;
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32
54
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1
1
00
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1
3
4
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2
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45
2
4
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5
43
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58
The G Major & D7 Chords for Left Hand
- - - -- - -
-- -- -- - D7
G MAJOR
M
I
#
L
0
0
L
5
E
G
5
M
I
F
0
0
B
3
E
C D
2 1
D
1
D7
G
lfR
5 ....
..
L. , .
/
--
1-<dilJ..
- ,.
L. , .
2
I
s • .:--I
/
Practice changing from the G chord to the D7 chord and back again:
1. 1 plays D in both chords.
2. 2 plays C in the D7 chord.
3. Only 5 moves out of G POSITION (down to F#) for D7 .
D7
G
i ft
;1: i
G
1.£P..
~~- 0
-
rifl
:II
Play the following several times.
07
G
G
2= ! l--tt---..-1 ~_.:
ft
ft
G
G
2= i
D7
lf=~ff
G
I
p
D7
G
g
07
D7
G
I e eff 1 I eff
G
p :II
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Preparation for THE CUCKOO:
G
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07
1~! :
07
G
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59
THE CUCKOO ~l)))
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-
~:
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60
The G Major & D7 Chords for Right Hand
- - -- - - -- - G MAJOR
M
M
I
I
D
D
L
E
F
#
D
D
L
E
B
3
G
1
,,,,.
"•
~
'' \J
~
1
D
5
CD
4 5
D7
G
ii I
Practice changing from the G chord to the 0 7 chord and back again:
1. 5 plays O in both chords.
2. 4 plays C in the 0 7 chord.
3. Only 1 moves out of G POSITION (down to F#) for 0 7 .
07
G
G
Play several times:
07
G
07
G
G
H
H
Block Chords & Broken Chords
When all three notes of a chord are played together, it is called a BLOCK chord.
When the three notes of a chord are played separately, it is called a BROKEN chord.
Play several times:
Block Chord
G
Broken Chord
G
Block Chord
07
Broken Chord
07
1
4
r
Block Chord
!:
Broken Chord
G
351
Block Chord
G
07
f~
===::=r==::r==::::::;;:11 5
-2:--t--2 ===E======::::::,
::::;=:::::F
5
3
1
If'
~:
5
f
Broken Chord
07
r r
2
1
[
(
61
The Damper Pedal
The RIGHT pedal
is called the
DAMPER pedal.
• Use the RIGHT foot on the damper pedal.
• Always keep your heel on the floor.
When you hold the damper pedal down, any tone
you sound will continue after you release the key.
• Use your ankle like a hinge.
PEDAL DOWN
This sign means:
PEDAL UP
HOLD PEDAL
I
HARP SONG ~l)))
I
Many pieces are made entirely of broken chords, as this one is!
Moderately slow
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Also play HARP SONG in the following ways:
1. Play the third and fourth measures of each line one octave higher than written.
2. Play the first and second measures of each line one octave lower than written.
"- I
I
.-l.
-
..
..
Writing the G Major & D7 Chords for LH
--
07
G MAJOR
i-
""" ""
i-"""
M
I
0
0
L
E
1. Practice changing from the G chord to
the 07 chord. The COMMON TONE D
is played by 1 in both chords.
M
I
0
D
L
E
#
5
B
3
G
5
F
D
C D
2 1
1
.....,..:----~s-='
EJ: ~ -------
07
G
~~
5-4@
~~
~I
~:
5~©
2. Write the chord symbols (G or 07) in the boxes below.
3. Play and count.
4. Play and say the chord names.
J5
!5
f
LIZA JANE ~ l)))
5. Write the chord symbols in the boxes below.
6. Play and count.
7. Play and sing or say the words.
Q
Moderately fast
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NC (no chord)
,~
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63
Writing the G Major & D7 Chords for RH
- - -- - - -- - - - M
I
M
D
D
D
D
L
I
L
E
E
G
1
B
3
- -- - D7
G MAJOR
F
#
1
l
D
5
C D
4 5
1. Practice changing from the
G chord to the 07 chord. The
COMMON TONED is played
by 5 in both chords.
07
G
=!
s~
a~
=!~====~~----1~~©~2. Write the chord symbols (G or 07) in the boxes below.
3. Play and count.
4. Play and say the chord names.
Block Chords & Broken Chords
BLOCK CHORDS: Notes are stacked VERTICALLY.
All notes are played TOGETHER.
II
G MAJOR & 01 BLOCK CHORDS:
BROKEN CHORDS: Notes occur HORIZONTALLY,
and are played SEPARATELY.
G MAJOR & 07 BROKEN CHORDS:
5. Write the names of the individual
chord notes in the boxes above the staff.
~: ~
D
i:
6. Write BLOCK or BROKEN under each chord.
7. Play the chords with the LH.
D
0 0 0
I
~
5
~
3
~
1
II
t=
0 0 0
E ~ II
1 •~
5
2
1
04
Introducing (~) for Left Hand
M
I
TO FIND E:
D
D
L
Place the LH in G POSITION.
Reach finger 1 one white key to the right!
E
G A B C D E
5 4 3 2 1 1
-..__;(
Play slowly. Say the note names as you play.
rr
2= 9 r
5
I
1
3
F
5
Move 1
to E
Move 1
too
Move 1
to E
r t I r r r,
1
2
5
3
r t
F
I
5
2
1
A New Position of the C Major Chord
You have already played the C MAJOR CHORD with C as the lowest note: C E G.
When you play these same three notes in any order, you still have a C MAJOR CHORD.
When you are playing in G POSITION, it is most convenient to play Gas the lowest note: G CE.
The following diagrams show how easy it is to move from the G MAJOR CHORD to the
C MAJOR CHORD, when G is the lowest note of both chords.
- G
5
111111•
M
111111
111111
111111
I
D
0
L
E
D
1
/
..
....
C
G
5
G
L
111111
M
I
D
D
L
E
B
3
- - -- C MAJOR
G MAJOR
11111
2
C
J-R
5 ••
L
/
..
....
i3
5 ••
Practice changing from the G chord to the C chord and back again:
1. 5 plays G in both chords.
2. 2 plays C in the C chord.
3. Only 1 moves out of G POSITION (up to E) for the C chord.
___~ G
+-- 1-A.- -0• 3~:tt----~
5 0
G ---~ 1 c
2= I
1-R-
--,_---,,--3-tt
5
.- 2 -0-
I
I
II
s~-------,,-HI:
E
1
:II
65
...,
Warm--Up using G, D7 & C Chords
This warm-up introduces a new way of playing BROKEN CHORDS.
G
Broken
C
Broken
D7
Broken
G Broken
ff I F f f I f I F f f 1tt= 1•r 11 I F f f I r·
2= ~
1
5
3
1
1
3
5
5
2
5
1
1
2
5
2
1
5
2
5
1
5
3
BEAUTIFUL BROWN EYES '4i)))
Moderately fast
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66
Writing (~ ) for Left Hand
This reviews all LH notes studied so far!
1. Write the name of each note in the box below it.
J J
2=
r r r r r r r r f
11
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
2. These notes are on LINES. Write the names in the boxes below.
11
3. These notes are in SPACES. Write the names in the boxes.
J
2=
r r r r r r r r r
J
11
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
4. These notes are on LINES & SPACES . Write the names in the boxes.
2= f r F r f r f r F r f 1
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
5. The notes in each PAIR of measures spell a word. Write the note names in the boxes.
2=1
r r r r Ir r f 112 r f r Ir f r 1
LJLJLJLJ LJ LJ LJ
2=1rrrf1°
LJLJLJLJ LJ
LJ LJ LJ LJ LJ LJ
112 f t r I f f
LJ LJ LJ LJ LJ
II
67
Writing the C Major Chord Position for LH
C MAJOR
REVIEW
G
5
You have learned that the C MAJOR CHORD
contains the notes C E G.
E
C
2
1
~~
When moving from the G MAJOR CHORD to the
C MAJOR CHORD, it is easier to play the
C chord with the notes in this order: G C E. This
allows the 5th finger to play G in both chords.
5 (G)
~:
C
G
1. Practice changing from the G chord to the C chord.
The COMMON TONE G is played by 5 in both chords.
~~
ii
~:
5@
2. Write the chord symbols (G, C or 07) in the boxes below.
3. Play and count.
4. Play and say the chord names.
BROKEN CHORDS may be played several ways. Each note may be played separately, or one note
may be played, followed by the remaining two notes.
5. Write the chord symbols in the boxes below. You will have to look at all the notes in each
measure to determine the chord name.
6. Play and say the chord names.
[J
;,: ~ ~ ~ ~
mf
3
5
[J
;,:
~
5
1
i i
1
2
[J
I ~
5
[J
E i 1•~ E
2
1
[J
I ~5
2
5
[J
~ ~
1
3
~
1•~
5
1
t t
1
2
[J
~
I ~ ~
5
3
1
[J
i=
1
3
5
11
68
Introducing (~ ) for Right Hand
M
TO FIND E:
I
D
D
Place the RH in G POSITION.
Leave finger 1 on G.
Shift all other fingers one white key to the right.
L
E
G A B C D E
1
2 3 4 5
Play slowly. Say the note names as you play.
Move 3
to C
3
3
&
5
E
Move 3
to B
3
Move 3
toe
3
5
&
D
&
New C Major Chord Position for Right Hand
Notice that two fingers must move to the right when changing from the G MAJOR CHORD
to the C MAJOR CHORD.
- - - -- - -
- - - -- - -
G MAJOR
G
1
B
3
C MAJOR
D
5
G
C
G
"
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,,.....
,,
~
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E
5
C
3
1
f\
53--
i ••
••
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.;or
,, ,,......
1-
"
~
1
I
~
=-
Practice changing from the G chord to the C chord and back again:
1. 1 plays G in both chords.
2. 3 moves up to C and 5 moves up to E for the C chord.
~!
G
C
G
lU
1*'2
I=
~u
:II
5
E
69
Warm-Up using G, D7 & C Chords
Play SLOWLY at first, then gradually increase speed.
t~,,,, 1~#1111,,,, 1,~ ~ ~ 1,,,,
G
G
D7
C
G
ALPINE MELODY ~l)))
The LH melody of this piece consists entirely of BROKEN CHORDS,
which are the same as the BLOCK CHORDS played by the RH in each measure!
Moderately slow
G
f,,
I
t
I
II
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tJ
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D7
Play both hands Bva
(one octave higher)
the 2nd time!
G
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70
Writing ( ~) for Right Hand
This reviews all RH notes studied so far!
rr
~ JJ JJJJ j Fr
I
1. Write the name of each note in the boxes below.
*J
LJ
*J
a
J J J J J
r r r r
1
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
2. These notes are in SPACES. Write the names in the boxes below.
J J Jr r r J J J J 1
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
3. These notes are on LINES. Write the names in the boxes.
*J J J F f F J F J J J
LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ LJ
*LJr LJr LJr LJr LJr LJJ LJJ LJJ LJJ LJr LJr LJr LJr LJr
I
4. These notes are on LINES & SPACES. Write the names in the boxes.
5. T~1e notes in each PAIR of measures spell a word. Write the note names in the boxes.
LJ LJ LJ LJ LJ LJ
LJ LJ LJ LJ LJ LJ LJ
LJ LJ LJ LJ LJ
LJ LJ LJ LJ LJ
11
...,
71
Writing the C Major Chord Position for RH
-- -- - -- - -- - - C MAJOR
""
M
I
1. Practice changing from the G chord to
the C chord. The COMMON TONE G
is played by 1 in both chords.
D
D
L
E
E
5
C
G
1
3
-f--~--m-. ,-------1--©----.
G
C
3~---3_(S_c__
1~
1-©----
In this piece, both hands always play the same chords at the same time.
In the RH, the chords are BROKEN. The LH plays BLOCK chords.
2. Write the chord symbols in the boxes.
3. Play. Carefully observe all ties and pedal indications.
Moderately slow
Q
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fl
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Cross LH
over to G
..
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. - - LH -----, ,--- RH - - ,
Middle C Position
The MIDDLE C POSITION uses notes you already know!
F GA B C D E F G
5 4 3 2 1 2 3 4 5
• RH is in C POSITION.
• LH moves one note down from G POSITION.
• Both thumbs are now on Middle C.
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Play and say the note names. Do this several times!
11
5
THUMBS ON
C!
~ l)))
Moderately slow
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73
NEW DYNAMIC SIGNS
WALTZ TIME ~))))
Crescendo (gradually louder)
Diminuendo (gradually softer)
CONTINUE TO READ BY PATTERNS! For LH, think:
"C, same, down a 2nd, down a 2nd, up a 2nd," etc.
Moderate waltz tempo (tempo = speed)
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74
I":'..
This sign is called a FERMATA.
Hold the note under the fermata longer than its value.
Gooo MORNING To You!
~))))
MIDDLE C POSITION
.,,
Happily
A.
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75
n
Eighth Notes
Eighth notes
are usually played
in pairs.
COUNT: "1
&"
or: "two eighths"
Two eighth notes are played in the time of
one quarter note.
When a piece contains eighth notes, count:
"1 - &" or "quar - ter"
for each quarter note;
"1 - &" or "two eighths" for each pair of eighth notes.
J
Clap (or tap) these notes,
counting aloud:
J
J
You!
HAPPY BIRTHDAY TO
n n n
1
=II
~ l)))
HAPPY BIRTHDAY is exactly the same as GOOD MORNING TO YOU, except for the eighth notes!
Happily
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Birth
day
to
you!
© 1935 by Summy-Birchard Music, Division of Summy-Birchard, Inc., Secaucus, New Jersey. Copyright renewed. All rights reserved . Used by permission.
76
More on Eighth Notes
This piece will prepare you to play EIGHTH NOTES.
1. Play at a very moderate speed. Count aloud, very evenly.
The sign r.-.. over the Gin the sixth measure is a FERMATA or "hold" sign. Hold the note longer
than its value. (Approximately twice its value is a good general rule.)
2. Play again, saying or singing the words.
t IJJJJIJJJ
SHOO, FLY, SHOO! ~))))
Brightly
3
1
711.fFly's
a - buzz - in',
3
5
Shoo,
fly,
3
*
Fly's
a - buzz - in',
Shoo, fly,
IJ
shoo!
Fly's
/':'t..
2
~
J J J J IJ J
2
shoo!
IJ
•I
Two eighth notes are played in the time of
one quarter note.
J J IJ J ~
a - buzz - in',
Shoo, fly,
J J J IJ J
Don't buzz 'round my
two
shoo!
4
n
Counting Eighth Notes
4
2
1
=
eighths
dar
-
lin'!
J
one quarter
To count music containing eighth notes,
divide each beat into two parts:
count: "1 - &" or "quar - ter"
for each quarter note;
COUNT: "1 - &,
or: "quar- ter,
count: "1 - &" or "2 - Sths"
for each pair of eighth notes.
1 -
&," etc.
2 - 8ths," etc.
1. Play SKIP TO MY LOU! at the same speed you played SHOO, FLY, SHOO! Count aloud.
2. Play again, saying or singing the words.
SKIP
Brightly
3
E4))))
1
my
Lost
ro MY Lou!
my
part - ner,
part - ner,
Skip
Skip
to my Lou!
Lost
to my Lou!
Skip
my
part - ner,
to my Lou, my
Skip
dar
to my Lou!
-
lin'!
11
.
.
77
STANDING IN THE NEED OF PRAYER ~ ))))
For this popular spiritual, we return to C POSITION (LH 5 on C).
Rhythmically, not too fast
It's
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--- --- --s.
D. C. al Fine*
*D. C. al Fine (Da Capo al Fine) means repeat from the beginning and play to the end (Fine).
78
THE AMAZING AEROBICS OF HANON
Charles-Louis Hanon (1819-1900) wrote, "The 4th and 5th fingers are almost useless because of thE
lack of special exercises to strengthen them." He then proceeded to devise some exercises whicl
were so successful that they brought him worldwide fame. They are still used as warm-ups by thE
most skilled pianists of the present day.
No. 1
~ ))))
Skip the interval of a 3rd between LH 5 & 4
and between RH 1 & 2 on the first two notes of
this exercise, then play up and down in 2nds.
The LH 5 and RH 1 then fall on the note that
was skipped in the first measure, and the
hands move to a higher position in each following measure. After you reach the highest
note of the exercise, descend by skipping a
3rd between RH 5 & 4, and between LH 1 & 2.
This remarkable exercise gives practice in stretch
ing the LH 4th & 5th fingers while ascending, a111
the 4th & 5th fingers of the RH while descending
The exercise is so simple to grasp that you do no
even have to look at the music to play it, and yo1
can continue up the keyboard as far as you wish.
LIFT FII\JGERS HIGH and play each note dis
tinctly. Practice slowly at first, then graduall
increase speed.
Moderately slow to Moderately fast
f'\
Both hands 1 OCTA VE LOWER
5_
1 2 3 -4
-
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AS WRITTEN
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Both hands 1 OCTAVE LOWER
5_4
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Continue down
the keyboard
in the same manner.
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Continue up the keyboard
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5
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79
No. 2 ~ )))
This exercise is chosen from the HANON
series because it uses the same system as the
previous one for moving up and down the keyboard, and because it not only continues the
stretch between the 5th and 4th fingers but
also strengthens the remaining fingers equally.
Once you have grasped the pattern of the exercise, you will not have to look at the music to play
it. Continue up the keyboard as far as you wish.
LIFT FINGERS HIGH and play each note distinctly. Practice slowly at first, then gradually
increase speed.
Moderately slow to Moderately fast
Both hands 1 OCTAVE LOWER
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I
I
I
I
•
-
,-
I
I
I
I
I
1
-
1
3
- -
r-
,I
I
,,_
~
2
-
•
~
5
4
I
-
·~
,,_
•
-
5
4
,-!-
~fl
I
3
I
I
•
2
4
-- -
I
•-- -,,_
4
5
4
I
I
..-1
-
•
-
• • ,..- •
.,.
• • • ,..-
-...
•
--
43
1
,-
I
I
,,_
2
1
,,_ t-
I
- - - - -- 3
-
,-
I
I
I
I
I
I
I
I
-
I
,-
r-
I
I
5
...-
-- - -•
2
,..- --
Continue up the keyboard
111 the same manner.
I
I
I
4
1
--
•
---'
-5
2
---
I
I
I
I
I
5
-~
-
I
I
• • --
-- -
l!,I
2
4
5
m
I
I
I
--
354
-
AS WRITTEN
L. , .
/
I
I
I
I
324
2
1
...-
-
--
,..-
~
._
--
-- • -
•
-5
\
-'
I
I
..-1
I
I
I',
I ., '
"' J
4
2
\I
I
I
---'
-5
I
354
I
I
,-
I
I
1
4
2
3
2
,..
I
I
I
I
I
I
I
I
I
I
I
I
5
4
,..
I
I
I
I
-
I
I
I
I
,..
I
I
I
I
\
1232
43
1232
2
Both hands 1 OCTAVE LOWER
I
5
.
I •.. '"
-
I
/
....
-
I
I
I
I
I
I
1 2
5
5
,.. ,..-
I
t)
L
4
-- - - ,,_. - • ......
.. - -
~
,..
I
I
,..
I
I
..-1
I
I
-
•
,I
I
1
-4 -
- -- - • - . •
-- - -- -- - - - ..
I
I
I
I
..-1
Continue down
the keyboard
in the sarne manner
•
,-
I
I
1
2
I
I
I
I
I
I
I
I
I
I
I
I
-'
,..
I
I
,..
I
I
I
I
..
-0-
••
After you have learned to play Nos. 1 & 2 evenly, at a moderate speed, you may also benefit by
practicing them softly, with the fingers close to the keys. On the repeat, play very loudly, lifting the
fingers very high. It is also good to begin each exercise softly, making a gradual crescendo as you go
higher, then gradually diminuendo as you come down again to the lowest notes. This builds great
control of each finger muscle.
80
Introducing Dotted Quarter Notes
A DOT INCREASES THE LENGTH OF A NOTE BY ONE HALF ITS VALUE.
2
COUNTS
1
COUNT
Clap (or tap) the following
rhythm. Clap ONCE for
each note, counting aloud.
1
COUNT
+
1/2
COUNT
---COUNT:
or:
In
+
=
=
A dotted quarter note is equal to a
quarter note tied to an eighth note.
The only difference between
the following measure and
the one directly above it is
the way they are written.
They are played the same.
J.
=
A dotted half note is equal to a
half note tied to a quarter note.
~
COUNT:
or:
"1
&
"quar - ter
2
tie,
J.
=
3
COUNTS
J.
11/2
COUNTS
---------
&"
eighth"
etc.
etc.
))
J.
),
=II
"1
&
"quar - ter
2
dot,
&"
eighth"
etc.
etc.
t or f time, th e DOTTED QUARTER NOTE is almost always followed by an EIGHTH NOTE!
81
MEASURES FROM FAMILIAR SONGS USING DOTTED QUARTER NOTES
2. Play & count.
1. Count & clap (or tap) the notes.
3. Play & sing the words.
C POSITION
~~
4
i
J.
~
lent
Si
l
I j_
night,
~
I j_
ly
Ho
night,
MIDDLE C POSITION (Both thumbs on Middle C)
Fa- la- la- la- la
-
la -
la - la - la!
1
MIDDLE C POSITION
I\
I
\I
,I~
.
'
'\.' .\1
,.
-,~
'
I
~
-
'
t)
(
.. --
.......
,,
\
-- - - v~•
S h o ~ auld
-
,.
,.
-
ac - quaint
I
I
I
'
I
..,.
'
I
,,
I
I
I
....I
-
- ance
~
-
I
'
1,1
I
..J.
--
~
••
.,,
be
for - got,
I
I
I
""
I
l
"'
-
4
•
'
C POSITION
1
~I J
Here
~comes
...
~
the
I
bride!
J
All
•
..J.
'
I
I
I
~-
i
dressed
in
I
white!
·-
82
ALOUETTE ~))))
C POSITION
French folk song
Brightly
I\
/
....,.,~
ll
. ·I
~
)
.,,
I
I
•
~
<t
I
L. , .
••
.....-
C
I
I
....
I
I
I
-I
I
I
I
I
.-1
...l
-
p~
.,
--.,
.,
I
I
(no chord)
... • - -9
~
-
",I
I
I
"-'
,_
"l
'
..I
I
-I
-
I
--,
I
I
I
- •
-
-.......,.,- -- • -
~
.
-
-
I
I
-
'
I /
5
I
I
I
-''
2
-
-. ....
'
r
1
.
I
I
--- -
I
2
. ll
•.
•'
~
I
I
I
,_
G7
/
I
I
1-.
1
3
I\
I
...
•
-
......
I
I
I
I
-
....
- -----_,
'"
...
•
------
,/
l
-I
5
/
C
l
l
-I
.,
--.. ,'
-
'
2
....
- f ~
,.
•• .......
/
G7
1
I
I
L_ . . .
I
C
I
-I
-
I
I
I
I
I
I
I
I
-
... ...
I
I
I
I
.
I
I
-
I
I
I
C
I\
/
ll
I
I
-I
I ,.''-
-
I
~
I
I
I
I
- -I
/
'
-
-
•
•.
-
...-
-
.,.,-
.,
.,
--.,
I
I
I
-
- -I
f
.. -
L_ . . .
I
-
-
,.
_,
--I
l
I
'
I
~
I
I
I
I
I
I
I
-I
I
I
I
I
1
'
.
-
I
I
'' _,
'
....
..-'
~
I
I
I
I
I I
I
\
I
G7
/
I
I\
- ----/
I.I
-." ....
I
I
I
•
~
i' ~__;:
'
...,,-
-I
1-.
,-
G7
C
...
I
l
....
I
l
•
-----
~
I
I
•
'-
- ... '
\
-- _,
I
l
-
-"
" '
I
I
I
.
... - I
I
''
I I
I
I
-I
I
I
-I
r-
I
p~
••
.,
.,
-
C
l
I
l
I
I
......
-
I
_,I
-
I
-9
~
.....
..
,_
.....
"I
'-'
,j
1
83
Measuring 6ths
6ths are written
line-space or space-line .
•
When you skip 4 white keys,
the interval is a 6th.
,_ ,_ _,_
M
I
D
D
- ,.
6th7
IIIIIII
,_
L
RH
E
C
D E F G A
1
2
3
4
s
This is C POSITION plus one note (A) played with 5.
•
5
-JJ-JJ..-------+--J--J
RH 5 plays G or A!
--+I--'
Say the names of these intervals as you play!
MELODIC INTERVALS
1
~I J
3
1
2
j
I
2nd
1
J J
I
3rd
J
4
j
4th
1
5
J
I
J
1
I
5th
J
j
6th
HARMONIC INTERVALS
3
1
4
1
5
1
5
1
I)
0
I)
-dJ
g
-0-
-0-
-0-
2nd
3rd
4th
5th
6th
2
1
~I
- - -- - - -- - M
I
D
D
L
E
LH
C
D E F G
A
This is C POSITION plus one note (A) played with 1.
•
543211
LH 1 plays G or A!
Say the names of these intervals as you play!
MELODIC INTERVALS
2: t j
2nd
5
cr
I
j
5
3rd
r
3
j
5
HARMONIC INTERVALS
2nd
3rd
4th
?= i ,e
n
g
3
5
2
5
4
5
4th
r
I
2
j
5
5th
r
1
J6th
I
5th
I
!!
1
5
r,
5
r
:I(
1
6th
I
:;
1
5
I
:I
V"T
In LAVENDER'S BLUE, Sths and 6ths are played with 1 & 5.
Practice this warm-up before playing LAVENDER'S BLUE.
5
5
1
*~ d ~ d 13 d3
1
5
5
5
LAVENDER'S BLUE ~))))
C POSITION + 1
Moderately fast
,
/
I
<t
I
I\
\I
·-~~
. .,..... ,.
'\0:-, \J
5
1
...
~
I
I
-'
-'
--
-
/
\
'
•
•...,.
'
'
1
I
I
I
'
'
..Jo.
~·-
. --
mf
..........
.....,.
-
--
- -
I
I
,.._
I
I
5
I
I
-'
...
.--
-
'
..Jo.
•
..Jo.
'
'
.~
.
~
<f
I
.......,.
/
\
/
...
I •.
I
I
I
\
I
I
I
I
-'
-'
\I
I
"'
~
--
'
..Jo.
..Jo.
'
'
-,
I
.......
- ,.
•
I
..l..
'
--
•
-
-'
I
I
-I
I
-
-
'
•
I
I
-
•
..Jo.
..l..
'
'
.-- --....
I
-
'
'
I
I
I
-
-'
..
I
I
•
4·
- -- - -
•
..Jo.
I
I
--
'
..Jo.
-
--
1
5
2
5
1
5
,,-
I
I
......
1
3
5
- ...---- '
...-
-
I
I
I
I
-....I
.
'
~
I
-'
I
I
'
-
~
I
-'
•
I
I
...
I
I
I
I
I
I
I
I
. -~ -
'
•
-
--
- -
'
~
/
...
I
I
-6 •
'
"
.
r
2
5
5
I\
I
I
1
3
5
I
I
I
I
- -
I
I
I
I
I
'
..i..
•
..i..
..i..
•
'
'
'
'
'
..l..
•
..l..
•
..i..
'
'
'
-
...-
---
I
I
-
I
--
•
p
-
-I
' ...
-
~
-
-I
-.
i·
ritardando
- -- -I
I
I
I':',
·~.
I
•
..
85
NEW TIME SIGNATURE
KuM--BA--YAH!* ~l)))
2
4
WITH CHANGING TIME SIGNATURES
Moderately slow
2nd time both hands 8va
1
l'i,.
I
.... ,..
-"
I
-
-
mf.
t)
1. Kum - ba
2. Some - one's
/ •·
\
,..
L
I\
\I
··"
t)
.IJ'I
I
\
I
,,__
I
-
t)
<
-
.. ,..
I
I
-
\
-
I\
/
\I
..,.
,,__
··"""
" , t)
.IJ'I
.....-,..
... ,..
/
\
I
I
I
r~
"---Oh,
Oh,
.-.,
""
'.I
1
5
.
-
~
-
I
yah,
pray
-
--..
-,..,.
-
.-
\
I
,..
I
T
-=i
Lord,
Lord,
,.
-,.. .,...
- 1
5
* Kum-ba-yah means "Come by here."
I
T
-e·'
-
-
L
-
••
,:;.
,..
u
-
yah!
yah!
,..
~,
-
-
T.
1
,..
L
--6-
Kum
Kum
,.
.
- ..
••
my Lord,
ing, Lord,
I
••
,..
••
,,__
,..
-
2
_ ,
I
3
-
ba
ba
-
I'll,.
-
...
-.-,.
-,..,..
-
-
5
1
...
-
yah!
yah!
T.
I
-I
,..
\
&
-,..
-
I
••
,:;.
I
,..
L
5
.
Kum
Kum
••
-
-
4
my Lord,
ing, Lord,
-
-,..
-
---
-
1
T.
ba
ba
2
5
••,..
,I
-
-,..
-
,..
L
3 &4 &
&
-
- ••
".I
".I
....
- ..- .
-
-
.-..
2
.
.- .
Kum
Kum
'.I
,.
,..
...l
Kum - ba
Some - one's
&
yah,
pray
,..
-
•
L. , • • •
/
my Lord,
ing, Lord,
-
-6
-
I
I
-
-6
...- .- ---·. --
-,.
-
L
·"'"'
"
-,..
-
-
-~
,..
1
-
••
u,
.1111'
.
\
&
I
I
-I
Kum - ba
Some - one's
,.
I\
5
,..
•
.. ...
-,,
2
I
~
.&.... , . , .
&
••
,,__
,..
-
- --
~
COUNT: 1
I
.!
,..
L
I
-.. -
-3
••
I
-
yah,
pray
,.
-
L. , . . . .
.....
.
-
5
1
-,.. - .
- -.
I
I
...l
I
I
Jgets one beat.
5
1
T..
L
..i
means a QUARTER NOTE
5
3
••
means 2 beats to each measure.
-,..
-
.
-
,..
L
'r.I
I
I
-,,__
,..
-
- •
Kum
Kum
--,. --,,__
-
1
2
-,..
-
T
•
-
ba
ba
---
&
-
,..
-,.
-
-
yah!
yah!
...
--.-,.
••
,..
L
..
--,,.
l
I
I
I
-
-,,...
-
-
,..
L
-
ba
ba
- -- ••
r.1
••
-
&
yah!
yah!
.....
1
3
..
OU
Writing 6ths
When you skip 4 white keys, the interval is a 6th.
6ths go from
LINE to SPACE:
E±
~
or SPACE to LINE:
~: ~
~
~:::::=:'.::::::==~=::::::~::=
1. Write the names of the keys a 6th apart on this keyboard, beginning with the lowest C:
2. Write the names of these MELODIC intervals in the boxes.
QQQQQQQQ
~ J j 111 J I J 7 I J J I J j I j f I r J I J F I
Q Q Q Q Q Q Q Q
0
~:
~
z-.2
F II r
0
~
~
II ~
r II r
~ II ~ ~ II ~ I F
F
r II r
~
II
3. Write the names of these HARMONIC intervals in the boxes.
~
Q
-eP
Q
;)=
1#:l
Q
Q
Q
II g
II 8
II g
Q
II
0
-0-
a
Q
II
II
-0-
II
0
u
Q
II
u
11
a a a a a a a
II II
II
~
II
~
II
~:
II ~
II ~
II ~
II
87
HANON'S AEROBIC SIXTHS ~ l)))
This exercise will make you thoroughly familiar with the interval
of a 6th, at the same time giving all fingers a great workout!
Notice how cleverly Hanon uses the 6th to raise the hands to
the next higher position, then to lower them back again.
LIFT FINGERS HIGH. Play each note clearly and distinctly.
Practice slowly, then gradually increase speed.
Moderately slow to Moderately fast
/
I
Both hands 1 OCTAVE LOWER
45
25
3 5
1 5
-
fl
.
I
I
,..
,,,,
~
-,.
'\.
I
-
I fV mf-(;
~ .. -,..
-
L. , .
I
I
--
""'
I
-5
I
2
1
-3
1
I
...i
t
I
'
1
(c't
~
,.:-
-
I
I
-
I
I
- -- -
3
I
...
,-..
I
I
••
,-
4
1
3
1
-
-
4
-
I
I
•
•- •
5
3
5
2
-I 1 - ... "
,.,
- I.
I fV
._
t ......
•
,..-- -- ,..- -I - ..
'-"- I.I
/
'
5
~
,.
r-
I
I
-5
-
1
I
1
-
-
1
- •
r-
I
,:--
rI
I
-
I
I
I
I
-
I
I
•
- -- •- •=
fl- ~
5
1
4
1
1
3
-
4
1
5
~
~
~
I
I
I
5
,..
I
~
I
I
r-
r-
5
3
r-
r-
I
I
5
2
5
1
I
I
-
-
5
Both hands 1 OCTAVE LOWER
5 1
4 3
-
1
-. ... -- - -- -- .. ...
I
I
Continue down
the keyboard
in the same manner.
-
I
,-
,..
4
1
I
I
I
5
-
1
• ,-2..
- - - - - - -- -- -- - -• - • - ... - •- - • •
- - - 2
5
I
5
•
1......
I
I
~
-
1
- - ...
I
I
1 5
I
--
I
I
1
Continue up the keyboard
in the same manner.
-I
~
I
I
1,91
I
-
...i
--
,-..
5
~
-
- - - - -- • • • - • -•
- I
1
--5
r-
I
I
5
I
1
/
4
1
-
5
I
--
I
- - --- - - -1
2
I
I:)
1
I
I
-
1
2
-
-I
5
• • ...
@-
--
L. , .
/
-5
-- • - • ,..- •
r-
1
I
I
--
~
-5
2
5
,......
1
1
5
-
...i
I
I
"
-
(:)
1
4
1
I
.....
I .,,..,.
'-"- I.I
t fV
w
3
AS WRITTEN
- I
-5
I
I
,eJ
-5
5
~
'
...
I
I
- - - -- -fV
... • ... • ...
·:I ........
..
- .. ,."
,.,
I -~
/
I
r-
1
'\.
54
,......
,:--
,..
/
I
1
- - - -- - - - -- -- --
r..
6
,,
-
..
I
I
-0-
ii
r-
1
I
I
I
I
5
-
1
2
3
More exercises by Hanon may be found in Alfred publication No. 617, Hanon, Book 1;
or No. 616, Hanon, The Virtuoso Pianist in 60 Exercises (Complete Edition).
88
When you play in positions that include six or more notes,
any finger may be required to play two notes .
~ - - RH - - ~
. - - -LH - - ~
LONDON BRIDGE
~ lJ))
Brightly
2nd time play RH 8va
4
5
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2
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5
4
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1 on C or D!
5 on B or C!
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.
RH 1 plays C, RH 2 plays E.
MICHAEL, Row THE BoAT ASHORE EJf))))
Moderately slow
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row
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89
BLOW THE
MAN DOWN!.
~ l)))
1 on C or D!
5 on B or C!
Moderately fast
Come
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90
Moving Up & Down the Keyboard in 6ths
To play popular and classical music, you must be able to move freely over the keyboard. These
exercises will prepare you to do this. Each hand plays 6ths, moving up and down the keyboard to
neighboring keys. READ ONLY THE LOWEST NOTE OF EACH INTERVAL, adding a 6th above!
RH 6ths, MOVING FROM
la] UP TO ~ AND BACK.
Begin with RH 1 on MIDDLE C.
5
5
1
etc.
~
~I j
I
LH 6ths, MOVING FROM
~ ~
I
r
~
~ ~
II
:!
-0-
lfil DOWN TO II] AND BACK.
Begin with LH 1 on MIDDLE C.
!
r
f~ f f rr
2= I
-0-
II
I
5
:I
etc.
5
This piece combines the positions used in LONDON
BRIDGE with Moving Up & Down the Keyboard in 6ths
LONE STAR WALTZ ~l)))
Moderate waltz tempo
2nd time both hands Sva
1
1
5
5
/
l
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2nd time ritardando
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5
·~
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Fine
91
.
~
The dot over or under the notes
indicates the STACCATO touch.
Make these notes very short!
. i
5
/
1
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D. C. al Fine
92
Measuring 7ths & Octaves
When you skip 6 white keys,
the interval is an OCTAVE.
When you skip 5 white keys,
the interval is a 7th.
.--OCTAVE7
IIIIIIIII
OCTAVES are written
7ths are written
line-line or space-space.
J
line-space or space-line.
r IJ r
J FIJ
r
Say the names of these intervals as you play!
RH MELODIC INTERVALS
2
1
~i J
j
1
2
1
IJ J IJ
4
3
1
j
IJ
~
5
IJ ~ IJ
1
1
r
5
1
IJOCTAVEr :ii
4th
5th
6th
7th
2
1
3
1
4
1
5
1
5
1
5
1
n
e
-iP
a
e
II
II
-0-
-0-
-0-
-0-
-0-
2nd
3rd
4th
5th
6th
7th
OCTAVE
2nd
3rd
RH HARMONIC INTERVALS
2
1
~i
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LH MELODIC INTERVALS
2nd
3rd
4th
5th
r Ij
f. I j l I j f I j
2= i j
5
4
5
3
5
2
5
1
6th
OCTAVE
7th
f ·I j L I j f :I
5
1
5
1
5
1
LH HARMONIC INTERVALS
2nd
3rd
4th
5th
6th
7th
OCTAVE
-0-
4
5
3
5
2
5
1
5
1
5
1
5
1
5
93
Writing 7ths & Octaves
When you skip 5 white keys, the interval is a 7th.
7ths are written ~
_LINE-LINE:
~
liJJIJJJJrlrlil
or SPACE-SPACE:
When you skip 6 white keys, the interval is an
JJJJr rLr
I I I I I I I I I oc~~~~~s~:;~:tten
w
OCTAVE.
2= J
or SPACE-LINE
r
1. In each measure below, add a higher half note to make the indicated MELODIC interval.
2. Play. Use RH 1-5 or LH 5-1 on the 5th, 6th, 7th & OCTAVE.
~I J
IJ
12:dl
;i=i
IJ
IJ
IJ
IJ
IJ
II
13;tl I:11
~ [:] 1:1 I oc:;vel
II ~
II ~
II ~
II ~
II ~
II
II ~
~
3. In each measure below, add a WHOLE NOTE directly above the given note
to make the indicated HARMONIC interval.
4. Play. Use RH 1-5 or LH 5-1 on each interval.
1:1 Ioc:;vel
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II
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II
loc:;vel ~
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1:1 loc:vel Ioc::vel Ioc::vel
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loc:;vel loc:;vel 1:1 1:1
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n
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II
94
CAFE VIENNA
~ l)))
Play hands separately at first, then together.
Be especially careful of the RH fingering!
Notice that the first two notes, a melodic 3rd, are played with 2 & 1!
Moderate waltz tempo
2
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LULLABY ~))))
Johannes Brahrr
Andante
4
1
2
96
The Flat Sign
The FLAT SIGN
before a note means
play the next key
to the LEFT, whether
black or white!
IT
ROCK
When a FLAT (~) appears before
a note, it applies to that note for
the rest of the measure.
Circle the notes that are FLAT:
AWAY! ~))))
Moderately fast
If
you're feel - in'
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say!
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Play
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rock - in'
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tune,
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cheer - y;
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make you
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sure - ly
will
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feel
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97
Writing the Flat Sign
1. Make some FLAT SIGNS:
First, draw one
vertical line.
Then, add the heavier
curved line.
2. Write the names of the
Draw 4 flat signs here:
~ keys in the boxes below.
3. Change each of the notes below to a flat note. Write the flat sign BEFORE the note!
When writing flat signs, be sure to CENTER the flat sign
on the line or space of the note to be flatted:
4. Write the name of each note in the box above it.
+ jz:
5. Play the notes, using RH 3 or LH 3.
[J [J
[J [J
~t
mf
j
J
[J [J
r r
mf
;,= t
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98
Measuring Half Steps & Whole Steps
HALF STEPS • NO KEY BETWEEN
HALF
STEP
,
,.
HALF
STEP
,,
, "'
.
,
.
HALF
STEP
,,
,.
..
Half Steps
A HALF STEP is the distance from any
key to the very next key above or below
(black or white).
C D E F
WHOLE STEPS • ONE KEY BETWEEN
WHOLE
STEP
. -- - - .
WHOLE
STEP
WHOLE
STEP
Whole Steps
A WHOLE STEP is equal to 2 half steps.
Skip one key (black or white) .
C D E
Tetrachords
A TETRACHORD is a series of FOUR NOTES
having a pattern of
WHOLE
STEP
WHOLE
STEP
HALF
STEP
WHOLE STEP, WHOLE STEP, HALF STEP.
The notes of a tetrachord
must be in alphabetical order
C D E F
• J• J• J•
~J
and must also have this pattern!
__...,.
-
, , '
... - - ...
WHOLE
STEP
__
-.. - - - , -
WHOLE
STEP
,
HALF
STEP
WHOLE
STEP
WHOLE
STEP
99
Writing Half Steps & Whole Steps
1. In the following squares write
indicated by the arrows.
½_
for each HALF STEP and
1
for each WHOLE STEP
R ~.
Tetrachords
2. Study the TETRACHORDS below and answer these questions:
• Does each consist of WHOLE STEP, WHOLE STEP, HALF STEP? Answer: _ _ _ _ __
• Are the notes of each tetrachord NEIGHBORII\JG LETTERS of the musical alphabet?
Answer: _ _ _ __
• Underline the correct spelling of the D tetrachord:
G A B C
DE G~G
D E
DE F#G
G
100
The Major Scale
The MAJOR SCALE is made of TWO TETRACHORDS joined by a WHOLE STEP.
The C MAJOR SCALE is constructed as follows:
~
KEY
WHOLE
NOTE
STEP
J J J
WHOLE WHOLE
L_
HALF
J
tJ}
1st TETRACHORD
KEY
NOTE
rr
WHOLE WHOLE
_j
#
There is no or ~
in the C MAJOR SCALE.
HALF
L_2nd TETRACHORD _J
Each scale begins and ends on a note of the same name as the scale, called the KEY NOTE.
Preparation for Scale Playing
Since there are 8 notes in the C major scale and we only have 5 fingers,
an important trick must be mastered: passing the thumb under the 3rd finger!
This exercise will make this trick easy.
IMPORTANT!
Play HANDS SEPARATELY. Begin VERY SLOWLY. Keep the wrist loose and quiet!
1
2
3
~2 J J J
2= 2 r r r
1
2
3
Pass 1
under3 1
1
Cross3
over 1
2
3
1
I j_
I
J J J
I
r·
I
F
r r
I
I
Pass 1 1
under3
1
Cross3
over 1
2
3
J.
r·
1
The C Major Scale
Begin SLOWLY. Lean the hand slightly in the direction you are moving.
The hand should move smoothly along, with no twisting motion of the wrist!
-!
1
2
Pass 1
under 3
3
1
•
2
3
4
5
@1 J J J J I J J r r
2= I
5
I
4
3
2
Cross 3
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1
3
2
1
rr J J IJJJJ
=11
f E f E I f t f. J I J f. t f I E f E f =II
1
2
3
1
Pass 1
under 3
2
3
4
5
5
4
3
2
1
3
Cross 3
over 1
2
1
101
Writing the Major Scale
1. Write the letter names of the notes of the C MAJOR SCALE, from left to right, on the keyboard
below. Use the tetrachord patterns, and be sure each whole step and half step is correct!
THE C MAJOR SCALE
C
2. Complete the tetrachord beginning on C.
Write one note over each finger number.
3. Complete the tetrachord beginning on G.
Write one note under each finger number.
2
5
4
3
2
3
4
5
IF
11
4. Play the above. Use LH on the first tetrachord and RH on the second tetrachord.
5. Complete a tetrachord beginning on each of the notes below.
Write one note under each finger number.
6. Play with RH . By crossing 1 under 3, you can play the entire scale of 8 notes
with the 5 fingers of one hand!
2
3
1
2
3
4
5
11
7. Complete a tetrachord beginning on each of the notes below.
Write one note over each finger number.
8. Play with LH . Cross 3 over 1.
5
4
3
2
IF
1
3
2
1
9. Play each of the above two scales again, beginning on the HIGHEST note, and descending
to the LOWEST. (Read the notes and fingering in REVERSE, from right to left!) Play the
first with RH, crossing 3 over 1, and the second with LH, passing 1 under 3.
II
102
These Hands Were Made for Playing
The fact that the thumb opposes the remaining fingers is one of the significant differences between
humans and animals. It enables us to use tools skillfully, to write and paint, and also to make music.
It is a particularly important factor in playing a keyboard instrument.
The musculature of the hand allows the thumb to pivot under the palm of the hand and easily touch
the base of the 4th finger. By making use of this facility, we have the ability to move the thumb to
play a key, and then we can shift the position of the hand. This enables us to play continuously up
or down the entire piano keyboard.
The following drawings are views of the PALM of the hand.
The drawing on the left shows the pa/mar fascia, the connective tissue that supports the muscles of
the inner part of the hand.
The drawing on the right shows how the thumb reaches under to the base of the 4th finger to play
scales of eight or more notes without interrupting the flow of the notes.
palmar fascia
PLAYING THE C MAJOR SCALE
As soon as the thumb has played the first note (while the 2nd finger is playing t~1e second note),
pass the thumb under to the base of the 4th finger, so it will be ready to play its next note in advance.
This is one of the most important secrets of smooth, legato scale playing!
Moderately slow
3
nif
1
2
3
(pass thumb under)
F
1
f
2
3
(pass thumb under)
F
1
If
2
r
3
11
4
5
103
JOY TO THE WORLD ~ l)))
NEW DYNAMIC SIGN
ff
Scales occur often in melodies. This favorite melody
is made up almost entirely of major scales.
(fortissimo) = very loud
George Frideric Handel
Joyfully
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104
More About Chords
A TRIAD IS A 3-NOTE CHORD.
ROOT
The three notes of a triad are:
1
The ROOT is the note from which the triad gets its name. The root of a C triad is C.
Triads in ROOT POSITION (with root at the bottom) always look like this:
LINE *
LINE
LINE
5th
3rd
ROOT
SPACE
SPACE
SPACE
or this:
=ff=
5th
3rd
ROOT
Triads may be built on any note of any scale.
TRIADS BUILT ON THE C MAJOR SCALE
Play with RH:
~
5
3
1
tl
5
3
1
H
5
3
1
etc.
§
II
§
H
tl
ft
Play with LH:
9: II
1
3
5
§
1
3
5
1
3
5
II
§
tl
ft
H
etc.
Listen carefully to the sound of these root-position triads!
When you name the notes of any TRIAD IN ROOT POSITION, you will always skip ONE letter of
the musical alphabet between each note. The triads you played above are:
CEG
DFA
EGB
FAC
GBD
ACE
This is the complete "TRIAD VOCABULARY." It should be memorized!
BDF
105
COCKLES AND MUSSELS ~))))
Music based on any particular scale is said to be in the KEY of that scale.
KEY OF C MAJOR
Key Signature: no no ~
#,
If there are sharps or flats in the scale, they are shown at the beginning
of the music. This is called the KEY SIGNATURE.
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The Primary Chords in C Major
The three most important chords in any key are those built on the 1st, 4th & 5th notes of the scale.
These are called the PRIMARY CHORDS of the key.
The chords are identified by the Roman numerals I, IV & V (1, 4 & 5).
The V chord usually adds the note a 7th above the root to make a V 7 (say "5-7") chord.
In the key of C major, the I CHORD is the C MAJOR TRIAD.
The IV CHORD is the F MAJOR TRIAD.
The V 7 CHORD is the G7 CHORD (G major triad with an added 7th).
The Primary Chords in C Major
ff
-.2--=--.. .l~lc----0----,-,----a---,oot--ll----o-----~--------,
:ft:
7th
5th
3rd
V7
IV
I
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Chord Progressions
When we change from one chord to another, we call this a CHORD PROGRESSION.
When all chords are in root position, the hand must leap from one chord to the next. To make the
chord progressions easier to play and sound better, the IV and V7 chords may be played in other positions by moving one or more of the higher chord tones down an octave.
The top note of the IV chord
is moved down an octave:
The I chord is played
in ROOT POSITION:
II
In the V7 chord, the 5th (D) is
usually omitted. All notes except
the root are moved down an octave:
II
II
I
V7
IV
The three PRIMARY CHORDS are
then comfortably played as follows:
~5iti--~B
-z==_ . _. .....t ___ 5 ()
II
V7
IV
I
It is important that you now think of
the C, F & G7 chords in the key of
C MAJOR as the I, IV & V 7 chords!
Play the following line several times, saying the numerals of each chord as you play.
C
F
C
I
IV
I
G7
C
F
C
G7
C
I
IV
I
V7
I
107
About the Blues
Formula for the Blues
There are 12 measures in one chorus
of the blues:
Music called BLUES has long been a part of the
American musical heritage. We find it in the music of
many popular songwriters, in ballads, boogie, and rock.
4 measures of the I chord
2 measures of the IV chord
2 measures of the I chord
1 measure of the V 7 chord
1 measure of the IV chord
2 measures of the I chord
BLUES music follows a basic formula, that is, a standard
chord progression. If you learn the formula for GOT
THOSE BLUES! you will be able to play the blues in any
key you learn, simply by applying the formula to that key.
GOT THOSE BLUES! a1))))
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108
Chords and the Blues Progression
;>= II
THREE IMPORTANT CHORDS
USED IN JAZZ/ROCK:
II
IV
I
V7
CREATING A BLUES PROGRESSION
The NATURAL SIGN cancels
a sharp or flat!
The blues progression is a series of chords
which usually uses the I, IV, V7 chords
and is generally 12 measures long.
A note after a natural sign
is always a white key!
THE C MAJOR BLUES PROGRESSION
n
~~II
I
2= II
I
II
II
I
I
I
II
I~c:;
I§
V7
IV
I
I
,~§
I
IV
§
IV
II
II
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CHASING THE BLUES AWAY
:I I
~))))
Now we add a melody to the C Blues Progression and call it the blues.
Bert Konowitz
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This and the next page are from Alfred's Jazz/Rock Adult Course (#3134) by Bert Konowitz.
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109
BLUES FOR WYNTON MARSALIS ~l)))
Wynton Marsalis is a great jazz trumpet player. He grew up in New Orleans, a city known for great
blues. Wynton plays the blues with jazz groups, as well as classical music with the world's finest
symphony orchestras.
Playing the right-hand eighth notes in a Jazz style
will sound perfect with the Walking Blue Note bass.
INTRODUCTION
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RH: An Extended Position
ON TOP OF OLD SMOKY begins and ends
with the RH in an EXTENDED POSITION.
-!
C
E
G
C
1
2
3
5
@2J_ l . J = bF"
Play several limes:
Up
a 3rd
Up
a 3rd
11
Up
a 4th
LH Review: Block Chords & Broken Chords in C
BROKEN CHORDS
BLOCK CHORDS
I
V7
IV
I
V7
IV
ON TOP OF OLD SMOKY ~ l)))
KEV OF C MAJOR
Key Signature: no no
#.
~
Moderately slow
EXTENDED POSITION -
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The G Major Scale
Remember that the MAJOR SCALE is made up of two tetrachords joined by a whole step.
The second TETRACHORD of the G MAJOR SCALE begins on D.
KEY
NOTE
w
Jr
KEY
ij
WHOLE
STEP
NOTE
r I r rr r
There is 1 sharp CF#)
in the G MAJOR SCALE.
L- 1st TETRACHORD _J ......._____,,, 1-2nd TETRACHORD _,
The Key of G Major
A piece based on the G major scale is in the KEY OF G MAJOR.
Since F is sharp in the G scale, every F will be sharp in the key of G major.
Instead of placing a sharp before every F in the entire piece,
the sharp is indicated at the beginning in the KEY SIGNATURE.
KEY OF G MAJOR
Key Signature: 1 sharp ( F#)
Play all F's sharp throughout.
Practice the G major scale with HANDS SEPARATE.
Begin SLOWLY. Keep the wrist loose and quiet.
Pass 1
under3
1
2
3
1
Cross 3
over 1
NEW NOTES
2
3
4
5
$#I J ~ r F I rr F r ~
5
4
I ~ rr
3
1
2
F rr
I
3
2
1
r r ~ J :II
NEW NOTES
I
2= I j F rr
•
F r, I
1
2
3
Pass 1
under3
2
J ~ J I J 3 J -I I r,
3
4
5
5
4
3
2
•
F rr F :II
3
2
1
Cross 3
over 1
IMPORTANT! After you have learned the G MAJOR SCALE with hands separate, you may play the
hands together. When the scale is played as written on the staffs above, the LH descends as the RH
ascends, and vice versa. This is called CONTRARY MOTION-both hands play the same numberec
fingers at the same time!
You may also play the C MAJOR SCALE at the bottom of page 100 with the hands together, in
CONTRARY MOTION!
113
A New Trick!
CHANGING FINGERS ON THE SAME NOTE: Sometimes it is necessary to replay the same note
with a different finger. Practice the following line to prepare for THE CAN-CAN.
4on
5 on
D
1 on
2on
A
A
D
r r
r r
I
j
j
I
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j
j
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THE CAN--CAN ~ )))
KEY OF G MAJOR
Key Signature: 1 sharp (F#)
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114
Writing in the Key of G Major
1. Write the letter names of the notes of the G MAJOR SCALE on the keyboard below.
Use the tetrachord patterns, and be sure each whole step and half step is correct!
1st TETRACHORD ~
WHOLE
STEP
THE G MAJOR SCALE
WHOLE
STEP
HALF WHOLE
STEP STEP
[ ., ...... ---- ........ , ......................... ,,'"....
,
I.
2nd TETRACHORD
WHOLE
STEP
WHOLE
STEP
.. .... ----- .... .......................
,
.
,
"'
HALF
STEP
, ........ .
1
.
G
Check to be sure that you named the notes in the order of the musical alphabet. If you did, the black
key will be named as a sharp, not a flat!
3. Complete the tetrachord beginning on D.
Write one note under each finger number.
2. Complete the tetrachord beginning on G.
Write one note over each finger number.
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3
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5
5
4
3
2
4. Play the above. Use LH on the first tetrachord and RH on the second tetrachord.
Since the G MAJOR SCALE contains ONE SHARP (F#), music written in the KEY OF G MAJOR
has a KEY SIGNATURE of ONE SHARP. The sharps or flats in the key signature are indicated
at the beginning of the music, just after the clef sign. They remain in effect throughout the music,
or until a new signature appears.
5. Complete a tetrachord beginning on each of the notes below. Write one note under each finger
number. The sharp in the key signature will apply to the F# in the second tetrachord, so you need
not write a sharp before the F.
KEY OF G MAJOR
Key Signature: 1 sharp (F#)
+
*i i
1
2
6. Play with RH. Pass 1 under 3.
3
1
~
2
3
4
5
II
If
7. Complete a tetrachord beginning on each of the notes below.
Write one note over each finger number.
8. Play with LH. Cross 3 over 1.
5
4
3
2
1
3
2
1
9. Play each of the above two scales in REVERSE, starting with the highest note and descending to
the lowest. Play the first with RH, crossing 3 over 1, and the second with LH, passing 1 under 3.
115
The Primary Chords in G Major
Reviewing the G MAJOR SCALE, LH ascending
KEY OF G MAJOR
Key Signature: 1 sharp (F#)
t
;)= I ft
3
2
1
!
0
0
I
The following chord positions
(which you have already learned)
are used for smooth progressions:
C
~--~-!5@
2= - i
~ t t1
5
IV
V7
G
I)
0
1
II
V7
IV
-0-
6
7
8
C
G
D7
G
?= 1I ifjf Ilf-}---'E,l-f-t-1Ul
~dl-
5
..0..
Play several times, saying the chord names
and numerals aloud:
07
~ff:
5
I
4
-0-
G Major Chord Progression with I, IV & V7 Chords
Primary Chords in G
G
<#)I
IV
I
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V7
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THE MARINES' HYMN ~n))
Moderate march tempo
3
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116
WHY AM
I BLUE?
n~J
SYNCOPATED NOTE
Notes played between the main beats of the measure and
held across the beat are called SYNCOPATED NOTES.
n
t
COUNT:
~ ))))
1
&
2
&
3
&
4
Moderately slow blues tempo
Why am
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Blu - er than the deep
blue
sea?
3
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Blu - er than the deep
blue,
IV
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sea,
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V7
Tell her to come home to
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Compare the Roman numerals in this piece with those in GOT THOSE BLUES!
on page 107.
&
117
G Blues Scale Per£ormance Piece
GOOD PEOPLE ~l)))
"Call and Response" is a special technique used in Jazz/Rock to create more excitement.
Measure 9 sounds the call and measure 10 gives the response. Measures 11-12 and 13-14 are used
in the same manner. You may improvise different Blues Scale tones in the "response" measures.
Moderately slow
5
5
mp
Last time only: repeat 3 times,
getting slower and softer eacn time.
4
Fine
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118
The F Major Scale
KEY
NOTE
~
J J J
L- 1st
KEY
NOTE
WHOLE
STEP
~r r r
r
F
I
There is 1 flat (B~)
in the F MAJOR SCALE.
TETRACHORD _ J ' - - - - - " L-2nd TETRACHORD_J
The fingering for the F MAJOR SCALE with the LH is the same as for all the scales
you have studied so far: 5 4 3 2 1 - 3 2 1 ascending; 1 2 3 - 1 2 3 4 5 descending.
Play slowly and carefully!
KEY OF F MAJOR
Key Signature: 1 flat (B~)
t
2= ~
NEW
NOTE
i J J J J IJ [ r f If
4
5
3
2
1
3
Cross 3
over 1
2
1
1
r[
2
J I J J J J =11
3
1
Pass 1
under 3
2
3
4
5
To play the F MAJOR SCALE with the RH, the 5th finger is not used! The fingers fall
in the following groups: 1 2 3 4 - 1 2 3 4 ascending; 4 3 2 1 - 4 3 2 1 descending.
Play slowly and carefully!
1
2
3
Pass 1
under 4
4
1
2
3
4
4
3
2
Cross 4
over 1
1
4
3
2
1
~~I J J Jr Ir FF F If FF r Ir • J J :II
I
As soon as you play the thumb, move it under, carrying it at the base of the 3rd and 4th fingers until
it is needed. Keep the wrist even, and move the hand smoothly along. Never twist the wrist when the
thumb goes under.
Practice the F major scale several times daily. Begin slowly and gradually increase speed.
Play only with HANDS SEPARATE:
4
1
2
3
4
4
3
2
1
4
3
2
1
f I L F F F I F F F r I r J J J =II
mf
mf
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2
3
1
2
J J J I J J J J I J f r f =11
3
4
5
S
4
3
2
1
3
2
1
119
EIGHTH REST means
rest for the value of an eighth note.
'
LITTLE BROWN }UG
ACCENT SIGN means
play with special EMPHASIS!
>
~))))
American folk song
Moderately fast
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120
The Primary Chords in F Major
Reviewing the F MAJOR SCALE, LH ascending
KEY OF F MAJOR
Key Signature: 1 flat (B~)
t
I
9: ~
()
0
ft
2
3
4
5
IV
V7
1
I
6
7
8
II
V7
IV
CHIAPANECAS
.0.
C7
;,= ~ I Ht I!~f--.-1!,:
I
-0-
Play several times, saying the chord names
and numerals aloud:
Primary Chords in F
B~
.0.
F Major Chord Progression with I, IV & V 7 Chords
The following chord positions are
often used for smooth progressions:
F
(~)i
I
IV
V7
I
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(Mexican Hand-Clapping Song)
Moderately fast
F
1
1.
F
4
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The double dots inside the double bars indicate that
everything between the double bars must be REPEATED.
122
Writing in the Key of F Major
1. Write the letter names of the notes of the F MAJOR SCALE on the keyboard below.
Use the tetrachord patterns, and be sure each whole step and half step is correct!
1st TETRACHORD
WHOLE
STEP
l [
2nd TETRACHORD
WHOLE HALF
STEP
STEP
[. ,--·------,,,, ................... ,,,,'' .... ,
THE F MAJOR
SCALE
WHOLE
STEP
WHOLE
STEP
WHOLE
STEP
HALF
STEP
1
.,------- .. .....,,,------- .... ,_............ .
F
Check to be sure that you named the notes in the order of the musical alphabet. If you did, the black
key will be named as a flat, not a sharp!
2. Complete the tetrachord beginning on F.
Write one note over each finger number.
/
2
. " -,~,.,.
.......
~
II
....
~
I~
.
-
ll
ff
3. Complete the tetrachord beginning on C.
Write one note under each finger number.
- .. ....,~,.,. r-II I..,.
'
-
4
5
-
I
I
5
4
I
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/
3
3
2
4. Play the above. Use LH on the first tetrachord and RH on the second tetrachord.
Since the F MAJOR SCALE contains ONE FLAT (B~). music written in the KEY OF F MAJOR
has a KEY SIGNATURE of ONE FLAT.
5. Complete a tetrachord beginning on each of the notes below. Write one note over each finger
number. The flat in the key signature will apply to the B~ in the first tetrachord, so you need not
write the flat before the B.
KEY OF F MAJOR
Key Signature: 1 flat (B~)
6. Play with LH. Cross 3 over 1.
f
IJ
4
3
2
1
II
3
2
1
2
3
4
7. Complete a tetrachord beginning on each of the notes below.
Write one note under each finger number.
8. Play with RH. Pass 1 under 4.
2
3
1
4
I
r
II
9. Play each of the above two scales in REVERSE, starting with the highest note and descending to
the lowest. Play the first with LH, passing 1 under 3, and the second with RH, crossing 4 over 1.
123
AULD LANG SYNE ~ l)))
Old Scottish Air
Words by Robert Burns
ac-quaint-ance
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124
A New Style of Bass
Play this several times before beginning O SOLE MIO:
Moderately slow
COUNT: 1 & 2 & 3 & 4 &
0
SOLE
Mio!
-
1 & 2 & 3 & 4 &
1 & 2 &
3 & 4 &
1 & 2 & 3 & 4 &
'4i)))
From Enrico Caruso to a recording entitled In Concert, by Jose Carreras, Placido Domingo
and Luciano Pavarotti, this great old favorite has provided tenors with surefire encore material.
''There's No Tomorrow," popular in the '50s and '60s, was sung to this melody.
KEY OF F MAJOR
Key Signature: 1 flat (B~)
Eduardo di Capua
Moderately slow
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* Note the D~ in the B~ chord. This changes the IV chord to a MINOR chord, as will be explained later.
**ARPEGGIATED CHORDS
When a wavy line appears beside a chord, the
chord is arpeggiated (broken or rolled). Play
the lowest note first, and quickly add the next
higher notes one at a time until the chord is
complete. The first note is played on the beat.
126
The Key of A Minor
(Relative of C Major)
Every MAJOR key has a RELATIVE MINOR key that has the same KEY SIGNATURE.
The RELATIVE MINOR begins on the 6th tone of the MAJOR scale.
The RELATIVE MINOR of C MAJOR is, therefore, A MINOR.
C MAJOR SCALE
1st
2nd
3rd
4th
5th
6th
A MINOR SCALE
1st
2nd
3rd
4th
5th
6th
7th
8th
Because the keys of C MAJOR and A MINOR have the same KEY SIGNATURE (no sharps, no flats),
they are RELATIVES.
The minor scale shown above is called the NATURAL MINOR SCALE.
It uses only notes that are found in the relative major scale.
The A Harmonic Minor Scale
The most frequently used MINOR SCALE is the HARMONIC MINOR. In this scale, the 7th tone is
raised ascending and descending.
The raised 7th in the key of A MINOR is G#. It is not included in the key signature, but is written in
as an "accidental" sharp each time it occurs.
Practice the A HARMONIC MINOR SCALE with hands separate. Begin slowly.
KEY OF A MINOR
Key Signature: no
#, no ~
,· J
t mf r
2
7th RAISED
#4 "' s
s ~
#4
r r 1r re r I re r r Ir r r J
2
3
3
1
3
2
1
3
2
1
7th RAISED
7th RAISED
+
+
1
2
3
1
Ir J J J I J J J
2
3
4
5
5
4
3
2
1
3
2
1
mf
IMPORTANT!
After you have learned the A HARMONIC MINOR SCALE with hands separate,
you may play the hands together in CONTRARY MOTION, by combining the
two staffs above.
=11
127
MORE SYNCOPATED NOTES:
t
n
COUNT: 1 &
+SYNCOPATED NOTES7
i
~d
2
&
3
I
&
4
&
n
1 &
i
~J J J J I
2
&
3
&
4
&
JERICHO ~ l)))
KEY OF A MINOR
Key Signature: no
#, no ~ *
See how many syncopated notes you can find in JERICHO.
, Moderately fast
1
2123234
4 3 2
1
5
1.
1
2
1
3
2.
2
5
&
>
5
1
-----------r
*To determine whether a piece is in a major key or its relative minor, look at the end of the piece. It will end on
the key note or chord. This piece has no sharps or flats in the key signature and it ends on A (an A MINOR
chord); therefore, the piece is in the key of A MINOR.
128
Writing in the Key of A Minor
(Relative of C Major)
Every MAJOR KEY has a RELATIVE MINOR KEY that has the same KEY SIGNATURE.
The RELATIVE MINOR begins on the 6th TONE of the IVIAJOR SCALE.
~ - -THE C MAJOR SCALE - - ~
C D E F G A B C D E F G A
1st
2nd
3rd
4th
5th
6th
7th
8th
.___-- THE A MINOR SCALE --__.
A MINOR is the relative of C MAJOR. Both keys have the same key signature (no sharps, no flats).
There are 3 kinds of minor scales: NATURAL, HARMONIC & MELODIC.
THE NATURAL MINOR SCALE: This scale uses only the tones of the relative major scale.
KEV OF A MINOR
Key Signature: no
#, no ~
t't J r r r
1. Play with hands separate.
r r r t= E r r r r r r J
2= t r r r r I r J J J I J J J r I r r r r
1
1
1
1
3
I
1
5
I
11
11
3
ACCIDENTALS: Any sharp or flat not contained in the key signature is called an ACCIDENTAL.
THE HARMONIC MINOR SCALE: The 7th tone (G) is raised 1 half step,
ASCENDING & DESCENDING.
2. Add accidental sharps needed to change these NATURAL MINOR scales
into HARMONIC MINOR scales.
3. Play with hands separate.
t t J r r F Ir r r t
r r r Ir F r J
2= t r r r r I r J J J I J J J r I r r r r
1
1
IE
5
11
11
3
THE MELODIC MINOR SCALE: In the ASCENDING scale, the 6th (F) & 7th (G) are raised 1 half step.
The DESCENDING scale is the same as the NATURAL MINOR.
4. Add accidental sharps needed to change these NATURAL MINOR scales
into MELODIC MINOR scales.
5. Play with hands separate.
t t J r r F Ir r r t
r r r Ir F r J
2= t r r r r I r J J J I J J J r I r r r r
1
1
5
IE
3
6. (OPTIONAL) Play all of the above scales with hands together, in contrary motion.
11
11
129
An A Minor Chord Progression
THE STRANGER E4iJ))
This new chord progression includes the A minor chord and is often used in ballad-type Jazz/Rock
music. The melody in the RH should be played in a legato (smooth) manner while the LH moves
down the chord progression at a very steady tempo. First practice measures 1-4 with the LH alone.
Slowly
(fermata last time only)
5
3
r.\
3
2
Fine
Bva (2nd time only) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -,
ft
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This page is from Alfred's Jazz/Rock Adult Course by Bert Konowitz.
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130
...
Introducing "Overlapping Pedal"
...
..
The following sign is used to indicate OVERLAPPING PEDAL.
PLAY
PED
PED
______
U__,
P'4 DOWN
t
As the hand goes down,
the foot comes up.
Pedal again immediately.
At this point, pedal again.
...
..
...
...
Practice the following exercises before playing GREENSLEEVES.
....
...
:II
_.
-
GREENSLEEVES ~))))
NEW DYNAMIC SIGN
mp
KEY OF A MINOR
(mezzo piano) = medium soft
Key Signature: no#, no~
...
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132
More About Triads
1. Some of the 3rds you have been playing are
MAJOR 3rds, and some are MINOR (smaller) 3rds.
MAJOR 3rd
2. All of the Sths you have played so far
are PERFECT Sths.
MINOR 3rd
(4 half
steps)
PERFECT 5th
(7 half
steps)
(3 half
steps)
Any MAJOR 3rd may be changed to a MINOR 3rd
by lowering the upper note one half step!
4. MINOR TRIADS consist of a
3. MAJOR TRIADS consist of a
ROOT, MAJOR 3rd & PERFECT 5th.
MAJOR
3rd
ROOT
ROOT, MINOR 3rd & PERFECT 5th.
PERFECT
5th
MINOR
3rd
ROOT
MAJOR =
TRIAD
MINOR
TRIAD
PERFECT
5th
=
Any MAJOR triad may be changed to a MINOR triad by lowering the 3rd one half step!
5. Play the following triads with RH 1 3 5. Say "C major triad, C minor triad," etc., as you play
each pair. Then repeat ONE OCTAVE LOWER, using LH 5 3 1.
II
The Primary Chords in A Minor
Reviewing the A HARMONIC MINOR SCALE, LH ascending
Small (lower case) Roman numerals are used to indicate minor triads (i & iv).
Small (lower case) m
= minor
§
#ff
0
4
5
6
i
iv
A MINOR (Am)
D MINOR (Dm)
V7
E7
~:
II
1
0
n
2
3
The following positions are often
used for smooth progressions:
Am
Dm
?= ~
1~:
I
~~:
iv
#o
7
0
8
The same, one octave higher.
E7
I
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V7
Am
2= ~
Dm
E7
~--f~I!f= I!:::=::=fl===;::;:11
iv
V7
133
Go DOWN, MOSES ~ )))
KEY OF A MINOR
Key Signature: no no ~
#,
Moderately slow
When
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134
The Key of D Minor
(Relative of F Major)
D MINOR is the relative of F MAJOR.
Both keys have the same key signature (1 flat, 8~).
REMEMBER : The RELATIVE MINOR begins on the 6th tone of the major scale.
The relative minor of F MAJOR is, therefore, D MINOR.
F MAJOR SCALE
D MINOR SCALE
1st
2nd
3rd
4th
5th
6th
7th
8th
The minor scale shown above is the NATURAL MINOR scale. Remember, the natural minor
uses only notes that are found in the relative major scale.
The D Harmonic Minor Scale
In the HARMONIC MINOR scale, the 7th tone is raised ascending and descending.
The raised 7th in the key of D MINOR is C#. It is not included in the key signature,
but is written as an "accidental" sharp each time it occurs.
Practice the D HARMONIC MINOR scale with hands separate. Begin slowly.
KEY OF D MINOR
t ~ I J J J J I J r#r r I r Br r J I J J J J :II
Key Signature: 1 flat (B~)
't
1
2
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IMPORTANT!
After you have learned the D HARMONIC MINOR SCALE with hands separate,
you may play the hands together in CONTRARY MOTION, by combining the
two staffs above.
:11
135
SCARBOROUGH FAIR ~l)))
NEW DYNAMIC SIGN
pp (pianissimo) = very soft
KEY OF D MINOR
Key Signature: 1 flat (B~)
2nd time 8va
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136
The Primary Chords in D Minor
Reviewing the D HARMONIC MINOR SCALE, LH ascending
KEY OF D MINOR
Key Signature: 1 flat (B~)
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D MINOR
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8
7
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The following positions are often
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Om
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G MINOR
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Play several times.
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RAISINS AND ALMONDS ~l)))
Moderately
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138
HE'S GOT THE WHOLE WORLD IN HIS HANDS ~ l)))
This piece reviews the I, IV & V7 chords of the keys of G MAJOR, C MAJOR and F MAJOR.
It also reviews syncopated notes, in preparation for THE ENTERTAINER, on pages 140-141.
KEY OF G MAJOR
Key Signature: 1 sharp
CF#)
Spiritual
Moderately & rhythmically
1
3
5
1
2
5
KEY OF C MAJOR
Key Signature: no no ~
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139
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140
LH Warm-Up
Practice many times, very slowly. These four measures contain everything new
that you will find in the LH of THE ENTERTAINER!
5
1
3
5
1
3
5
1
2
IC
5
1
3
•r f r I t J J J
1
1
3
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=II
3
4°
THE ENTERTAINER ~l)))
Scott Joplin
Not fast! *
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142
Eighth-Note Triplets
When three notes are grouped together with a figure "3" above or below the notes,
the group is called a TRIPLET.
3
m
The three notes of an eighth-note triplet group= one quarter note.
When a piece contains triplets, count "trip-a-let"
or "one & then"
or any way suggested by your teacher.
AMAZING GRACE ~l)))
John Newton, J. Carrell & D. Clayton
Arr. by P. M. & L.
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This means continue playing in the same manner. In this case, continue to play triplets
each time three eighth notes are joined with one beam.
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with RH one octave lower
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143
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144
The Most Frequently Used Keys, and Their Primary Chords
-
MAJOR KEYS
C MAJOR (no
LH
#, no ~)
G MAJOR (1 sharp, F#)
2
3
1
5
5
4
LH 5 4 3 2 1 3 2 1
1
2
9= 1i
F
C
G7
C
5
3
5
3
5
3
5
4
5
3
45
5
1
C
~El I ~ ~ ~ l I
RH (8va)
2
3
4
3
2
1
-3
2
1
2
4
s
3
3
5
2
5
3
5
2
5
I
IV
I
V7
G
C
G
07
5
3
1
5
3
! ffj
£J J1 CEf FI EELJ
iJ; .0 JJ I
j
5
3
5
4
1
5
3
5
I
IV
I
V7
I
F
B~
F
C7
F
5
5
5
5
3
1
2
3
4
t t 1,
I
1*
1
5
3
2
5
3
5
IV
I
V7
I
II
#, no ~)
RH (8va)
3
12
~2345
5432
LH 5 4 3 2 1 3
1
2
1
2
3
1
):j j J I
2
3
4
5
Am
Om
Am
E7
Am
5
3
53
1
5
3
5
4
5
3
!
~
5
5
1
3
5
1
2
5
f f fttj I I
123~2r~r ecr~1 3
4
5
5
4
5
2
Om
Gm
Om
A7
Om
5
3
5
3
5
3
5
4
5
3
1
1
J 11
4 5
r " r#1
3
5
You have now successfully completed Level 1 of Alfred's Adult
All-in-One Course and are ready to begin Level 2 (#14514) .
II
V7
iv
D MINOR, relative of F major (1 flat, B~)
!5
5
2
5
3
2
iv
I
V7
5
1
3
5
-
-
(HARMONIC MINORS)
A MINOR, relative of C major (no
....
5
2
LH
11
1
5
3
-
-
I
5
2
11
3
5
1
3
RH (8va)
~I
1
5
F MAJOR (1 flat, B~)
MINOR KEYS
...
11
Adult All-In-One Level l
57 53
5756
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5725
Book .. ....... .. ... .. .... .... .... .. .. ..... .... ... $14.95
Book & CD ...... ........ .. ... ... .. .. ...... ..$25.95
CD ... .. ..... ... .... ... ... .. .... ...... .. ........ ..$10. 95
General MIDI Accompaniment Disk ....$14.95
Prices in US$
....J
ALFRED'S BASIC
ADULT ALL-IN-ONE
L E \ ' EL
1
Alfred's Basic Adult Piano Course, the most popular and
successful piano course ever written, has just been given a new
dimension. Along with the Lesson pages that teach the concepts
and fundamentals of music, Theory and Technic pages have been
added. Now, for the first time within one book, an adult beginner
can learn all that is needed to perform successfully.
~
.:...J
.J
..:.I
Lesson pages are designed to provide a basic course of
instruction that contains all the concepts and fundamentals
needed to perform.
...I
Theory pages give beginners an added understanding of music
not possible in any other way. Every concept and principle
introduced in the Lesson pages is reinforced . Additional drills in
note recognition make this a valuable aid in developing reading
skills. Important tips are presented that make learning chord
.
.
progressions easier.
....
Technic pages offer suggestions for the proper care of your
hands. Most adult beginners feel awkward at the keyboard
because of stiffness in their fingers, hands and wrists. They have
trouble with coordination, and they feel they could play much
better if the muscular agility and flexibility of their hands could
somehow be made to keep pace with their comprehension .
At the completion of this course, the student will have learned to .
play some of the most popular songs ever written while gaining
a thorough understanding of the basic concepts of music.
Alfred Publishing Co., Inc.
16320 Roscoe Blvd., P.O. Box 10003
Von Nuys, CA 91410-0003
www.olfredpub.com
,I llf~]~ll l Jl!l lUIIII s
5756
....