L'-
2
Contents
INTRODUCTION TO PLAYING
4 How to Sit at the Piano.
21
Tied Notes. MERRILYWE ROLLALONG.
LARGO (trom "The New World").
5
6
Finger Numbers. PianoTones.
The Keyboard.
22
IntroducingB tor RH.
C Major,G7 Chords tor RH.
7
NameThat Key!
23
MARYANN.
24
Time Signature,!. The DottedHaltNote.
ROCKETS.
25
Slurs & Legato Playing.
WHAT CAN I SHARE?
Quarter Notes & Halt Notes.
Measure, Bar Line, Double Bar.
26
Introducing A tor LH.
F Major Chord tor LH.
ODE TO JOY.
27
Warm-Up using C, G7 & F Chords tor LH.
WHEN THE SAINTS GO MARCHING IN.
28
Introducing A tor RH.
C & F Chords tor RH.
29
Warm-Up using C, G7 & F Chords tor RH.
WHEN THE SAINTS GO MARCHING IN.
C POSITION
8 R. ht H d C P
't '
T
bi
Ig
an
OSIIon. re e
RIGHT HAND WARM-UP.
9
Cl t S.
e Ign.
10
Lett Hand C Position. Bass GIet Sign.
11
LEFT HAND WARM-UP.
The Whole Note. AURA LEE.
THE GRAND STAFF
12
The Grand Staff. Time Signature, ~.
Whole Rest. Repeat Sign.
G POSITION
30
G Position. Intervals in G Position.
PLAYING C-G ON THE GRAND STAFF
31
LOVE SOMEBODY! A FRIEND LIKE YOU.
13
ROCK-ALONG. MEXICAN HAT DANCE.
32
THE DONKEY.
14
Melodic Intervals, 2nds, 3rds.
33
The Sharp Sign.
Dynamic Signs, p, 11ft
AU CLAIRE DE LA LUNE.
TISKET, A TASKET.
34
MONEY CAN'T BUY EV'RYTHING!
.
7
The G Major & D Chords tor LH.
15
Harmonic Intervals, 2nds, 3rds.
35
THE CUCKOO.
36
16
Quarter Rest. f. ROCKIN' INTERVALS.
Melodic 4ths, 5ths.
The G Major & D7 Chords tor RH.
Block Chords & Broken Chords.
GOOD KING WENCESLAS. MY FIFTH.
37
The Damper Pedal. HARP SONG.
Harmonic 4ths, 5ths. JINGLE BELLS.
38
Introducing E tor LH.
A New Position ot the C Major Chord.
INTRODUCTION TO CHORDS
18 The C Major Chord.
39
Warm-Up using G, D7 & C Chords.
BEAUTIFUL BROWN EYES.
19
Halt Rest. BROTHER JOHN.
HERE'S A HAPPY SONG!
40
Introducing E tor RH.
New C Major Chord Position tor RH.
20
Introducing B tor LH. Two Important
Chords tor LH-C Major, G7.
41
Warm-Up using G, D7 & C Chords.
ALPINE MELODY.
17
~
..
3
~
!
L!
-- ,
MIDDLE C POSITION
THE KEY OF G MAJOR
42
Middle C Position. THUMBS ON C!
70
The G Major Scale. The Key ot G Major.
43
Crescendo, Diminuendo. WALTZ TIME.
71
Changing Fingers on the Same Note.
44
Fermata. GOOD MORNING TO YOU!
45
Eighth Notes.
HAPPY BIRTHDAY TO YOU!
72
The Primary Chords in G Major.
THE MARINES' HYMN.
46
D.C. al Fine.
STANDING IN THE NEED OF PRAYER.
73
Syncopated Notes. Natural Sign.
1st & 2nd Endings. WHY AM I BLUE?
47
Combining Middle C and C Position.
THE GIFT TO BE SIMPLE.
THE KEY OF F MAJOR
48
Dotted Quarter Notes.
74
The F Major Scale.
49
Measures trom Familiar Songs Using
Dotted Quarter Notes.
75
Eighth Rest. Accent Sign.
LITTLE BROWN JUG.
50
ALOUETTE.
76
THE CAN-CAN.
EXPANDING THE 5 FINGER POSITION
78
The Primary Chords in F Major.
CHIAPANECAS.
0 SOLE MlO.
51
Measuring 6ths.
79
Arpeggiated Chords.
52
53
LAVENDER'S BLUE.
KUM-BA-YAH!
THE KEY OF A MINOR
54
LONDON BRIDGE.
MICHAEL, ROW THE BOAT ASHORE.
80
The Key ot A ~ino~.
The A Harmonlc Minor Scale.
55
BLOW THE MAN DOWN!
81
More Syncopated Notes. JERICHO.
56
,
.
Movlng Up and Down the Keyboard In 6ths.
LONE STAR WALTZ.
82
Overlapping Pedal. mp.
GREENSLEEVES
.
57
Staccato.
84
More about Triads.
The Primary Chords in A Minor.
58
Measuring 7ths & Octaves.
85
GO DOWN, MOSES.
59
CAFÉ VIENNA.
60
The Flat Sign. ROCK IT AWAY!
THE KEY OF D MINOR
61
Measuring Halt Steps & Whole Steps.
Tetrachords.
86
The Key ot D Minor.
The D Harmonic Mino~cale.
87
88
pp. SCARBOROUGH FAIR.
The Primary Chords in D Minor.
SCALES & CHORDS-THE
KEY OF C MAJOR
62
The Major Scale. The C Major Scale.
63
64
65
ff.
JOY TO THE WORLD!
More about Chords.
COCKLES AND MUSSELS.
90
HE'S GOT THE WHOLE WORLD
IN HlS HANDS.
66
The Primary Chords in C Major.
92
THE ENTERTAINER.
Chord Progressions.
94
Eighth Note Triplets. AMAZING GRACE.
About the Blues. GOT THOSE BLUES!
RH E t d d P .t '
96
The Most Frequently Used Keys,
67
68
x en e
OSI Ion.
ON TOP OF OLD SMOKY.
RAISINS AND ALMONDS.
and Their Primary Chords
4
How to Sit at the Piano
SITTALL!
Lean slightly forward.
Let arms hang loosely from shoulders.
Elbowsslightly higherthan keys.
,
Bench must face the keyboard squarely.
Knees slightly under keyboard.
Feet flat on the floor.
Right foot may be slightly forward.
6
The Keyboard
The keyboard is made up of white keys and black keys.
The black keys are in groups of twos and threes.
2 blacks
3 blacks
2 blacks
1\ /1'\
LOW SOUNDS
<
DOWN (Lower)
3 blacks
1\ /1'\
I
UP (Higher)
I
2 blacks
3 blacks
1\ /1'\
>
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!
LH
RH
1. Using LH 2 3, begin at the middle
and play all the 2-black-key groups
going
the keyboard
(both keys at once).
<::=~KJ
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!
LH
~
\
RH
3. Using LH 2 3 4, begin at
the middle and play all the
4. Using RH 2 3 4, begin at
the middle and play all the
3-black-key groups going
<~~KJ the keyboard
(all three keys at once).,
3-black-key groups going
[==~=> the keyboard
(all three keys at once).
~
7
Name That Key!
Piano keys are named tor the first seven letters of the alphabet, beginning with A.
ABC
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 tor keys below the middle of the keyboard.
Use RH 3 tor 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.
[!J]
~
l
D E F G
Play all the D's.
[DJ
m
Play all the B's.
Play all the E's.
[JE
Play all the C's.
In]
Play all the F's.
lmJ
Play all the G's.
m
You can ncw name every white key on your piano!
The key names are ABC
D E F G, used over and over!
ABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABC
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 tor keys above middle C.
You are now ready to begin ADULT THEORY BOOK 1 and ADULT FLASHCARDS.
8
Right Hand C Position
Place the RH on the keyboard so that the 1st FINGER talig 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 tor this position are written on the TREBLE STAFF.
~
The TREBLE STAFF has 5 lines and 4 spaces.
Fingering:
~~~~~~~~.
Middle C is written on a short line
TREBLE CLEF SIGN:
below the staff, cal led a leger line.
used tor RH notes.
D is written in the space below the staff.
2
3
4
5
I
I
I
I
I
,
,
I
I
I
I
I
I
I
I
I
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Each next higher note is written
on the next higher line or space.
CDEFG
RIGHT HAND WARM, UP
14))))*
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:
...
~~~~~~~~~§~
~
~
i
~
@
51
=~~~===::~
41
D
~
31
21
~
~~~~~~~~~~~~~ ~
*
1,
S
51
~~~~~~~~~~~~~
~
41
D
~
31
21
~
~
1,
11,
I.
~~~~~~~~
~
~)))) This symbol indicates the track number ot the selection on the CD and cassette tape. See the General
MIDI (GM) disk sleeve tor the GM track numbers.
9
Quarter N otes & Half N otes
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
Half Note
I
a short note..
d
I
a long note.
COUNT:
"1"
COUNT:
or: "Quarter"
or:
"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.
~
:EAS:E
ODE
~~
BAR
LINE
,TO JOY
~
:EAS:E
:EAS:E
BAR
LINE
(Theme trom Beethoven's
~~
BAR
LINE
9th Symphony)
MEAS~RE
1
DOUBLE BAR
used at the end
14))))
1. Clap (or tap) the rhythm evenly, counting aloud.
2. Play & sing (or say) the finger numbers.
3. Play & count.
~
4. Play & sing (or say) the note names.
Fingers:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~I
You are now ready to begin ADULT SIGHT READING BOOK 1.
10
Left Hand C Position
Place the LH on the keyboard so that the Sth FINGER talls on the C BELOW (to the lett ot) MIDDLE C.
Let the rernaining tingers tall naturally on the next 4 white keys.
Keep the tingers curved and relaxed.
Notes tor this position are written on the BASS STAFF.
.
.ngerlng:
5 lines and 4 spaces.
!he ?, played by 5,
~~~~f~~~~~~
F"
The BASS STAFF also has
BASS CLEF SIGN:
used tor LH notes.
5
:
4
3
2
1
I
I
.
IS wrltten on the
I
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secondspaceot the staff.
:
:
: :
:
Each next higher note is written
on the next higher line or space.
CDEFG
LEFT HAND WARM
~
Up
14))))
Play the tollowing WARM-UP Say the narne ot each note aloud as you play.
Repeat until you can play srnoothly and evenly.
~~~~~~~~
Fingers: 1
~
~.
~
~
~
r:
3
4
5
1
2
3
.
r~
~
Î:
c~
E.
:'~~~~~~~~
4
3
2
1
5
4
3
2
~~~~~~~~
.
5
~-
~
.
~~~~~~~~~
.
4
5
~
2
1
I
~~~~~~~~~~~~~
~ ~~~~~~~~
~
When notes are BELOW the MIDDLE LINE ot the staff, the sterns usually point UP.
When notes are ON or ABOVE the MIDDLE LINE, the sterns usually point DOWN.
11
The Whole N ote
Whole Note
0
a very long note.
COUNT:
"1 - 2 - 3 - 4"
or: "Whole note hold down"
Clap (or tap) the tollowing rhythm. Clap ONCE tor each note, counting aloud.
J J J J
AURA
LEE
J J J
J J J Jol
14))))
This melody was made info a popular song, "LOVE ME TENDER," sung by Elvis Presley.
1. Clap (or tap) the rhythm, counting aloud.
2. Play & sing (or say) the tinger numbers.
3. Play & count.
"."
4. Play & sing (or say) the note names.
As
the black- bird
~~~~~~~~~~~
sat
and piped,
I
in
the Spring,
'neath the
wil - low
tree
I:: i~~~~~g~~~~~~~~
heard him
sing,
sing - ing
"Au - ra
Lee."
~~~~~~~~~~I:~ if~~~~~~~~~~~~~~~~~~
12
The Grand Staff
.LH.
.RH
I
The BASS STAFF and TREBLE STAFF,
when joined together with a BRACE,
C D E F G
make up the GRAND STAFF.
I
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Treble Clet
Music has numbers at the beginning
PLAYING
GRAND
ON THE
STAFF
5
4
called the TIME SIGNATURE.
~))))
Only the starting tinger number
tor each hand is given.
I
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1
Brace
Bass Cl
TIME SIGNATURE
C D E F G
4
3
2
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2
3
4
5
1
means 4 beats to each measure.
~
L-:I: means a QUARTER NOTE
I
~
gets one beat.
The tollowing practice procedure is recommended
tor the rest ot the pieces in this bock:
1. Clap (or tap) & count.
2. Play & count.
3. Play & sing the words, it any.
1
This sign --- is a WHOLE REST.
LH is silent a whole measure!
RH silent a whole measure.
.
..
..
5
The double dots mean
repeat trom the beginning.
You are now ready 10 begin ADULT FINGER AEROBICS.
13
ROCK~ALONG
~
,
~
1
14))))
1
3
5
~
~
--
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,~ ~
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5
MEXICAN
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3
1
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DANCE
.
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ft,
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114))))
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1. Play
2. Dance
L ,.
it!
it!
al
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"-
./
'-
1
3
Play
Dance
Gl
r
it!
it!
~..
Play the
Dance the
ta - mous
ta - mous
-.,. -
~
'"
~
~.z,
t
4
hat
hat
3
2
dance!
dance!
~
,.
~
4
3
.
5
This sign ~ is a QUARTER REST.
Rest tor one count!
~
~
,~ ~
5
3
~
-
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=
,9,
--
Play
Dance
L.'.
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2
it!
it!
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Play
Dance
it!
it!
-
C!J
3
4
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<0-
tor
to
me!
see!
8~
--
Play
it
It's such
2
ncw
tun
-
You are now ready 10 begin ADULT DUET BOOK 1.
..
-
..
14
Melodic Intervals
Distances
between
tones are measured
in INTERVALS,
Notes played separate/y make a me/ody.
We call the intervals between these notes MELODIC
Play these MELODIC
1
2nds & 3rds.
2
1
cal led 2nds, 3rds, 4ths, 5ths, etc.
INTERVALS.
Listen to the sound of each interval.
3
.
.
r2nd-,
,3rd,
r2nd-,
,3rd,
.
.
1
The following
excerpts
and MELODIC
Au
contain
only repeated
1
3
notes
2nds & 3rds.
CLAIRE DE L A LUNE
2
DYNAMIC SIGNS
teil how loud or
.:4»)'
~
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P
(piano)
= soft
soft to play.
1
.
.
-e.
.
TISKET,
A TASKET
f\
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,""'"'--IJ"-
ll1ff (mezzoforte) = moderately
lIG»))
-
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-
loud
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--
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--
&'8
15
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 ot each interval.
2
1
3
1
.
.
2nd
3rd
2nd
3rd
2nd
3rd
..
mf~
ROCKIN'
Brightly
INTERVALS
~
14))))
[
Rest tor one count!
Z~~~~~J
(forte) = loud
f
t
4
0
-
right
Rock
Rock
is
with
1
2
1
3
f
har the
mon
left
-
ic!
hand!
3
.
.
Rock
is
Rock
with
1
3
DUET PART: (Student plays 1 octave higher.)
RH
1
2
har the
mon
left
.
-
ic!
hand!
..
16
d. 4 h
MI
e 0 IC
1
t
4
MELODIC 4ths & 5ths.
& 5t h Slisten Play these
to the sound of each interval.
s
1
5
.
.
r4th-,
r5th-,
r4th-,
r5th-,
.
.
1
GOOD KING
WENCESLAS
--
L
""
,"' .I L
~
ti
f
-
-
Good King Wen - ces
L'... './
5
2
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1
Find the 4ths befare you play!
Moderately tast
4
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4
. -
-6 ...'-
las look'd out,
On
the feast
r
of
Ste - phen,
r
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When the snow
lay
-- -- -.
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round
a - bout,
- -r-
L ,.
Deep and crisp and
--
r
f2
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Seriously
1
-.
."
3
-
L
""
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ven.
Find the 5ths befare you play!
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."
- ~
-
4
M Y FIFTH
~
e
-(§j
'-
..
P This
is
L'... '-
--
..
my
--
r
fifth,
and
may -
-
-
--
--
be
you've
U
heard;
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Beet
1:.,.
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hov - en's
fifth
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is
"-
on
r
-
.
-
Iy
a
-
-
third!
'
...
f3
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17
.
HARMONIC 4ths & 5ths.
armomc 4th S & 5th SlistenPlay these
to the sound of each interval.
4
1
~
..
"~~~..I
~
L
L
~
,.
5
1
if
rF
~
~
-(.§;
-(.§;
4th
-6
5th
-6
4th
5th
-
c.~.
"-
/"
-
-
-.
4th
5th
4th
W
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.7
C
--:J
-
.
5th
.
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.
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L
~
JINGLE BELLS
~))))
if
1
1
4
5
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
- gle, beiis!
!
4
it
to
ride
a
4
3
!
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4
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.
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f:)
1. W
r
4"-1"
beiis!
Jin - gle
5
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Oh, what
L ,.
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Jin - gle,
fun
it
- -- -- -is
. 'I
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to
ride
a
all
4
-- -- .
one - horse
1 .J
4- ,..,
the
.2
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0 - pen
'.J
way!
sleigh!
. W
.w
18
The C Major Chord
r--LH~
r--RH~
A chord is th ree or more notes played together.
The C MAJOR CHORD is made of three notes: C E G.
I
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5
Be sure to play all three chord notes
exactly together, with fingers nicely curved.
C MAJOR
CHORDS
~1
~
tor LH
Play & count.
~
.
3
5
~111
C
~
11
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~
I
.
11
.
mf
C MAJOR CHORDS tor RH
Play & count.
:i~
31
:~~~:::!t:=::::~~
j
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1:1
I1
Ij
j
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1:1
"I.
mf
C MAJOR CHORDS tor BOTH HANDS
.
.
.
.
.
19
BROTHER }OHN
~))))
Read by patterns! For RH, think:
""C, up a 2nd, up a 2nd, down a 3rd," etc.
Think the pattern, then play it!
Moderately tast
1
3
?
5
4
3
1
1
This sign --- is a HALF REST.
Rest tor two counts!
HERE's A HAPPY SONG!
~))))
Read by patterns! For LH, think:
"G, down a 2nd, down a 2nd, up a 2nd," etc.
Happily
1
.
.
.
.
1
20
(~)
Introducing
tor Left Hand
TO FIND B:
Place the LH in C POSITION.
Reach finger 5 one white key to the left!
Play slowly. Say the note names as you play.
Move 5
to B
-~lt
/.
T WO
Two
~5
4
I
~
ft
I.3
Important
frequently
I
I.1
1 ~~
I
Move 5
to C
~
~
I.2
I
I.1
I;
5
I
Move 5
to B
~1
~
I.3
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I~ ~
I.
I
~2
.
fl
.11
I.1
I.
:1.
Chords
used
chords
are
C
MAJOR
& G7.
G7
Chord
Chord
symbols
E
B
3
5
symbol:
C
are
always
Chord
used
in
popular
music
to
identify
symbol:
chord
G7
names.
.
Practice changing trom the C chord to the G7 chord and back again:
1. The 1st finger plays G in bath chords.
2. The 2nd finger plays F in the G7 chord.
3. Only the 5th finger moves out of C POSITION (down to B) tor G7.
~
C
~~~J~~Il~~~~~~~~~~~
.
3
~111
5
2
1
5
G7
-
~
C
~
3
1 I1
.
'
5.
~
!J
,
)
--~:4
~
21
TIED NOTES: Wh en notes on the same line or space
are joined with a curved line, we call them lied nates.
~-~
I0
0
The key is held down tor the
COMBINED VALUES OF BOTH NOTES!
Caunt: "1 - 2 - 3 - 4,
MERRILY WE ROLL ALONG
1 - 2 - 3 - 4."
~))))
Play the RH & LH separatelyat first, then together. Practicathe RH nif andthe LHp.
The melody should always be clearly haard above the accompaniment.
'.
Merri Iy
C*
G7
3
,..
,
L-8-
I
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-
~JL-8-
,
mf
L'...
-
1...1
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"'5.~
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1
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5
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1.~
3.~
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5.~
.
C
.. -.
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...1...1
-
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2
1
.~
..
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.~
.~
./
...I
G7
.~
..
-
(TIED NOTESf)
-
J...I
u
~
3
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I
,.1.~
L-8- 3.~
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.
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-&
1. ~
3. ~
5..
-
5
LARGO (trom "The New Wor/d")
I
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ut))))
This melody is also known as GO/NG HOME.
D
Slow
~
.
,.
,"' J""...I
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<
../
L ,...
G7
,
,
I
mf
,. 1. ~
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.
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5 ~--
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u
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.P
C
v'
vara k
L-8-
",~,.
.
C
3
G7
C
-&
*In most popular sheet music, the chord symbols appear ABOVE the RH melody.
The symbol appears ONLY WHEN THE CHORD CHANGES.
22
(~) {or Right Hand
lntroducing
TO FIND B:
Place the RH in C POSITION.
Reach tinger 1 one white key to the left!
~ 9 ~
"---"
Play slowly. Say the note names as you play.
Move 1
to B
Move 1
toC
Move 1
to B
~:j~~.~I~..~~~~~~~~~~~~~~~~~~~~.~~~~~~.
C & G7 Chords for Right Hand
It is very important to be able to play all chords with the RIGHT hand as weil as the LEFT.
Chords are used in either or bath :hands in popular and classiqal music.
C MAJOR
G7
M
I
D
D
L
E
C
1
E
3
G
5
F G
4 5
C
G7
3
1
Practice changing trom the C chord to the G7 chord and back again:
1. The 5th tinger plays G in bath chords.
2. The 4th tinger plays F in the G7 chord.
3. Only the 1st tinger moves out ot C POSITION (down to B) tor G7.
~ ,~~~,~
5
5
C
3
1 --"1
G7
4"0""-
.
C
5
-"13
.
-
-""'='="~
23
MARY ANN
~))))
Calypso tune
,
Moderately tast
G7
-
"
Ir""'"
,"' )1 L8-
P
-
-
-
...
AII
'.
./
,.
day,
al!
r.l
I
rJ
"
I
night,
Ma
r.-l
-
I
I
-
ry
Ann,
-
-r-.
- ry
r
~
Ann,)
--
r-
L8-
mfT3
-
5
4.1-'
(Ma
I
C
-
\
,
\
f
,~
,"' "".I
-
-
5
.J
by
the
-=
r-
r-
I-'"
I
14
I
I
I
I
sea -
shore,
I
..
./
-i
.
I
-
r-
5
sand'
(sift - in'
r.l
'.,
~
sand;)
I'
-
-I
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,
sift - in'
-'
.i
~-I
Down
,
L'-.
-"
I
r-I
14
1
I
G7
-
"
,"' 1
,,~
.J
AII
L'...
./
the
lil - tie
-I
I
-I
I
I
13
,
Ma - ry
Ann
---
_r
t"'"
I
-
~
-
rI
I
I
I
I
-
-
r~"
-.
-.
-
(Ma - ry
'
r
-
~
Ann,)
=
I
I
-
-
,"' .I
.J
Down
f L'.
..
./
-r-
C
"
I
chil - dren love
I
I
-
f"'"
14
by
the
r-
rI
I
sea I
-I
~
5
shore,
r14
sift - in'
...
I
I
I
I
sand.
-.
-
'S
~
.J
..
~
(sift - in'
I
r..l
~
sand.)
24
N ew Time Signature
3
4
Dotted Half N ote
means 3 beats to each measure.
A DOTTEDHALF NOTE gets 3 counts.
(2 counts tor the half note,
plus 1 count tor the dot!)
rJ
CaUNT: "1 - 2 - 3"
I
means a QUARTER NOTE
.
I
~
gets one beat.
Clap (or tap) the following rhythm.
Clap ONCE tor each note, counting aloud.
!
J J J
RaCKETS
.,
..
1
Rock - ets
,... .,
..
./
II
I
,..
-
go
...
-
up
and
...I
-
-I
-
..
Ir
J
~.I
""
~
»
t
.'"
p
RO~k - ets
L'...
./
II
-
-
5
IMPORTANT!
,
will
-
-
.
-6
land
on
the
moon!
I
I
'.I.
5
5 .I
G7
...I
trav - el
-
...I
I
-
to
..
"
C
-.
I
oth - er
~
,
..
'.I
~.
I
I
~
"
1
3
'.I
1
2~
.
-
1
,
C
I
they
I
I
5
.
:1
I"
1...1
I
f
J.
G7
-,
L
~
J J J
r;4))))
Moderately tast
Ir
""
,"' .I
J.
I
I
I
4.
worlds
'.I.
scan!
.I.
.
-- .
.J'
'.I .
-
I
Play RaCKETS 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 RaCKETS 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!
-~
-~
~,-
J
L
25
SI
& L
Pl .
urs
egato aymg
=-:~=
SLURS
-
A SLUR is a curved line over or under
notes on different lines or spaces.
mean play
.. LEGATO
- - a- - (smoothly
,
.. connected).
~::
Slurs often divide the music
into PHRASES.
WHAT CAN I SHARE?
A PHRASE is a musical thought
or sentence.
14))))
Moderatelyslow
C
'\
I I' "" .,..,..
,"'.I"'"
~
-<
G7
...
~
~
.3.
"3~ 5.
mf
.-
1~
I L'..'
,... /",..
---
- I-
13
What
can
-i
I
5 -
--
1~
~
r.l .
"3~. 5
1~-i
-
~..
r-
I
I
I.
"4-
C
,
...
I
I
share
with
C
~
you
G7
C
~
.
, ,.~J""
...
.3.
"
@)
~
~
~
~
.3.
-- -
-- -
~
~
...
~
"
<
t L,.,.
r-
----
/"
I
I
1
I
I
'
To
~
3
~
<
t
p
.
~
~
~
-
-
1
"",,'
I
my
love
is
true?
C
G7
C
---
---
""
@)
.-
I
-
-
-&.
I
u'
all
we
need
to
t
"
II
Ir"".
show
-
I
I-
~
Love's
L ,.
,.
'
I
-
/"
1
3
...
.
-
-
5-
"
share
~
...
-
C
-J.
--
.3.
"
21 --
5
G7
-
--
~
...
~
-
1
3
5-
-
C
~
.
,
,. '"
~.I
~
I
I
-I
-
To
-<
-I
-
show how
I
I
I
-9.
much
Cl.
-&~
we
care!
.4.
slower
.
,
.
L'.
/"
,.
~
...
~
"
-
-
...
~
,
-
.
-
-
-
-
,
.3..
-
:.I.
-.I .
'.I .
26
(~) for Left Hand
lntroducing
TO FIND A:
Place the LH in C POSITION.
Reach tinger 1 one white key to the right!
~
Play slowly. Say the note names as you play.
Move 1
10 A
~!
f
~
~
~
lntroducing
I.~
~
Move 1
10 G
~
I.~
~
Move 1
10 A
~
~
I ~
the F Major Chord
J
The C MAJOR chord is trequently tollowed by the F MAJOR chord, and vice-versa.
F MAJOR
C
5
E
3
G
1
C
5
A
1
C
..
1
3
F
1
..
G
E
5 c
Practice changing trom the C chord to the F chord and back again:
1. The 5th tinger plays C in bath chords.
2. The 2nd tinger plays F in the F chord.
3. Only the 1st tinger moves out ot C POSITION (up to A) tor the F chord.
~
:
C
F
C
~fi~~!~~~~n~~1
3
2
1
3
5
5.
.
'
~
/J
-
L.
27
Warm~Up using C, G7 & F Chords
Practice SLOWLY at first, then gradually increase speed.
~
~~~~~~~~~~~~i~~~~~~'~~~~~Ii~1
C
.
G7
C
1
3
5
F
1
2
5
C
1
3
5
1
2
3.
5
.
mf
S
WHEN THE
INCOMPLETE MEASURE Same pieces begin with
an incomplete measure. The first measure of this
~iece 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.
AINTS
Go MARCHING IN
14))))
(With RH MELODY & LH CHORDS)
March time
~
1
3
,..
~
w.""
,..
~J~
..
I""
.J
f
L'.'"
,.
4
5
,
I
I
-
Saints
,
..
-
,.. ..
~
~
"
-
.J
-
.. -
in,)
L,.,.
--
""
_..
..
-
(go march- ing
,
..
-
in,)
- --
-
""
""
1\
.."
-
I
I
r.l
",,".I
;
I
-I
When the
do,)
-9
march -
,..
-
u,
ing
in,
- ..
_..
~
""
-9
-9
-
want
to
join
that
1
3
--
C
-
-
ing
'.. 21 -(go
- march--- ..
--
5
--
-
F
..
"" 5-
I
I
-
~
-
-
G7
-II
--
--I
..
3
\.I
11
-
,..
-
-
I
go
--
-
..
I
-
..
'
..
C
How
<
".,.
-
--I
..
~
-.
~,--,'
I L'.,.
I
"
..
.."
in,
.
,
3
w.
~ ".I
.J
-
-
Saints
-
,
~
,",- .I
-
5-
--I
Oh, when the
t
-
I
.I '--'
-"-
Saints)
,
..
,"'
~
go march- ing
1
3
~
W, "
-
...
-.,
(Oh, when the
,
..
-
I
I
-
Oh, when the
~
""
C
Saints
""
--
..
-
"
G7
go
1. .. -.. 3.
~ 5.
~
'"
,- ..
~
-
-II
I
r..l.
num - ber,
--
..
-
"
-
(yes,
1
2
K
5-
1
~
-
C
I
I
I
C"I
march
-
Q
-
ing
,12- - .. - ..
.. 5 - .. ,,"
.
.
&-
~..
in!
(go march-ing
,1
.. 3-- -- --
.. 5.
You are now ready to begin ADULT SAC.RED BOOK 1.
- -
in!)
--
..
28
(~)
lntroducing
for Right Hand
TO FIND A:
Place the RH in C POSITION.
Leave 1 on C.
Shift all other fingers one white key to the right!
Play slowly. Say the note names as you play.
Move 3 & 5
to F
A
Move 3 & 5
to E
G
~~i~~~~~~ ~ ~,~
I
I
Move 3 & 5
to F
A
~
~ ~~~~~~t~~~~~~~~~
C & F Chords for Right Hand
C MAJOR
G
5
C
F
5
3
A
F
1-(Ç)-
Practice changing trom the C chord to the F chord and back again:
1. The 1st finger plays C in bath chords.
2. The 3rd finger moves up to F and the 5th finger moves up to A tor the F chord.
;i
4
i C
-
:~~::!t=~i;:::: ~~
1-g F~
-
~§s
I
~~i
gC
-
,11
..
\
-I'
--,""",,
..,~~~
29
Warm~Up using C, G7 & F Chords
~ j~j~~:JI~~~~~~,j~j~~,~~î~~~I'~
c
G7
C
F
5
3433
1
1
C
5
5:
1
3
1
1
mf
WHEN THE SAINTS Go MARCHING IN
14))))
(With LH MELODY & RH CHORDS)
March time
C
1
G7
C
1
Wj ~
~
cL
~
--=-
~
L
~
oL
~
~
~
L
-
--
~
i
I
i
5
3~
1.
~
~.
~
-
~
F
.::..
..
.L.
~
1'-i..
~
..
~
I
-~
..
--
..
~
~
i
3--
..
~
i
5--
---
1
---~.
~
--L-LLI
I
13
I
I
C
G7
C
.
.
.
.
3
After you have learned bath versions of WHEN THE SAINTS GO MARCHING IN, you will find it very
effective to play page 27 followed immediately by page 29. Instead of playing the piece one way and
repeating, you wijl be playing the melody first in the RH, then in the LH!
You are now ready to begin ADULT CHRISTMAS BOOK1.
I
c=~,.c!
~
I
30
.
.LH
.RH
I
G Position
Until ncw you have played
only in the C POSITION.
GAB
Now you will move to the G POSITION:
'II
I
C D
'II
I
I
I
I
GAB
I
I
I
I
RH 1
C D
I
I
I
I
I
I
I
I
2
3
4
5
RH 1 on the G above middle C.
LH 5 on the G below middle C.
LH 5
4
3
2
1
Play and say the note names. Be sure to do this SEVERAL TIMES!
:!~~==~==~ F
F
~~!*~~~~~~~~~~t~~
:i~=~tt~:Et!:~~:!E:~:
LH 5
~
Intervals in G Position
I
I
I
I@-
~
I
-ft
1. MELODIC INTERVALS
Say the name of each interval as you play.
1
2
3
4
..
r2nd-,
r3rd,
4th
5th
\
.
.
1
2. HARMONIC
2
3
4
5
INTERVALS
Say the name of each interval as you play.
2
1
3
1
4
1
5
1
.
.
4th
h
2nd
3rd
4th
5th
.
.
1
2
1
3
1
4
1
5
LOVE SOMEBODY!
14))))
Before playing hands together, play LH alone, naming each harmonic interval!
",
1
3
1
4
1
4
1
2
.
.
.
.
A
FRIEND
Before playing
L lKE
hands together,
Moderately
1.
A
2. Where
Y 0U
14))))
play LH alone, naming
each harmonic
interval!
slow
friend
could
like
I
you
find
is
a
hard
friend
to
like
find.
you?
1
1
5
You're
A
al - ways
friend
so
1
4
true,
kind.
kind,
true.
5
.
.
.
.
Repeat with LH
oneoctave(8 notes)lower. .
32
THE DONKEY
14))))
G POSITION
Betore playing hands together, play LH alone, naming each harmonic interval.
Brightly
Sweet - Iy
sings the
don -
key
at
the
break
of
day.
.d:11
2
If
you
do
not
feed
him,
This
1
3
is
what
he'll
say,
1
4
,haw,
Hee
-
haw,
.
.
.
.
.
.
Hee
-
haw,
1
5
hee - haw,
THE DONKEY may be played as a round tor two to tour pianos.
The second piano begins atter the tirst has played 4 measures.
The third begins atter the second has played 4 measures, etc.
Play 4 times.
"Hee
hee
-
haw!"
~
-
33
The Sharp Sign
#
. .,
The SHARP SIGN
before a note means
play the next key
to the RIGHT, whether
black or white!
A
'",;.- ..
When a SHARP (#) appears before
a note, it applies to that note tor the
rest of the measure!
Circle the notes that are SHARP:
~ t ~ #~ ~ ~
C
MONEY CAN'T BUY EV'RYTHING!
I
F ~ #~ ~
I
0
14))))
March ti me
Man - ey
5
can't
4
buy
ev - 'ry - thing! ,
3
Man - ey
can't make
2
you
1
5
Mon - ey
may
not
bring
a
king.
1
3
suc - cess;
Mon - ey
can't
buy
hap - pi - ness!
1
2
But
of
Mon - ey
one
thing
does - n't
I
make
am
you
sure:
sad;
Mon - ey
Mon - ey
does - n't
can't
be
make
all
you
that
paar.
bad!
f
You are now ready to begin GREATEST HITS, Level 1, and CHRISTMAS HITS, Level 1.
I1
34
The G Major & D7 Chords tor Left Hand
G
5
B
3
D
1
G
10
3
.
.
5
D7
1~
B
G
Practice changing trom the G chord to the D7 chord and back again:
1. 1 plays D in bath chords.
2. 2 plays C in the D7 chord.
3. Only 5 moves out ot G POSITION (down to F#) tor D7.
~:
G
l!~~
3
5
D7
~
G
l~~~~
.
.
l:!~~
3
5
2
5
~1-:d1-
1
Play the tollowing several times.
;
ft
1
~
.
.
,
i
~
~:
G
-d':1-
.
I
D7
ft
1
-:d1-
#~
111
2
G
5
l:!~~~~
3
D7
5
:
~
G
G
D7
G
D7
~~~
3
5
2
5
,111
~F
~ ~r
I
I
G
D7
~
~ ~F
G
1
D7
G
~ ~F
~
:
Preparation tor THE CUCKOO:
~ lf~~~i
.,11.
1.F .
.
2.
G
.
.
3
5
D7
~
5
~
G
I
~.
~
.
7 ..
D7
I
~
~
G
I
~.
~
.
-~
'.
..
~~~~~
r
35
r
-,'"
c,jo-
..
I
i
-_.
THE CUCKOO
,
I Ir "..
~
14))))
Happily
G
07
5
-.
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I
-'
---
-
---
~.
oW
1
3
5
.
.
1
2
5
G
7
A
07
~
I
5
-
r'-'
<
.I
@)
tI~:L.,.
,.
7"
"'
-
r-
-
r-
I
.I.
~~
"'
-
,
I
- ,
I
~:
'.I.
..
~:
'.I.
.;6Q..:
~
...
,..
.
.,;62:.
oW
"
I
--
--'
I
-
-/.
-"
~:
J.
36
The G Major & D7 Chords for Right Hand
G MAJOR
G
1
G
D7
5
5
4
1
1
Practice changing trom the G chord to the D7 chord and back again:
1. 5 plays D in bath chords.
2. 4 plays C in the D7 chord.
3. Only 1 moves out ot G POSITION (down to F#) tor D7.
G
07
G
~~~II~~~~~$~~~
~5
~ 5':1=
3
4
1
..
3
1
1
Play several times:
~ 'i====:t~#:~
,115
G
D7
3
1
4
1
G
D7
11
I
I
G
#:~
.
11
I
Block Chords & Broken Chords
When all three notes ot a chord are played together, it is cal led a BLOCK chord.
When the th ree notes ot a chord are played separately, it is cal led a BROKEN chord.
Play several times:
Block Chord
G
~
~
3
1
~
:
~
~
,11:
Broken Chord
G
I
~1
~3
Block Chord
D7
~5
I1
.
4
1
Block Chord
G
3 .;11.
l~~
5.
~ #~
5:
Broken Chord
G
I
~
5
~
~
3
1
~
1
#~ 1
~4
~5
.
Block Chord
D7
I1
Broken Chord
07
2
~#7~
1 .
5
.
.
.
Broken Chord
D7
I'~
5
~
~, .
2
1
:
c-" -
37
The Damper Peda!
The RIGHT pedal
is cal led the
DAMPER pedal.
.Use the RIGHT foot on the damper pedal.
. Always keep your heel on the fiGaro
. Use your ankle like a hinge.
This sign means:
HARP SONG
Moderately
G
When you hold the damper pedal down, any tone
you sound will continue after you release the key.
PEDAL DOWN
I
PEDAL UP
I
HOLOPEDAL
14)))) Many pieces are made entirely of braken chords, as th is one is!
slow
I
I
07
5
I
"
2
1
I
G
4
I
I
07
G
.
.
.
.
.
1
I
I
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
38
(~) tor Left Hand
Introducing
ol.
TO FIND E:
Place the LH in G POSITION.
Reach tinger 1 one white key to the right!
~
Play slowly. Say the note names as you play.
Move 1
to E
~!~
~
~
~
5
3
1
I
~
f
~
2
1
5
Move 1
to D
I
~
~
~
5
3
1
Move 1
to E
I
~
f
~
2
1
5
,11
A N ew Position of the C Major Chord
You have al ready played the C MAJOR CHORD with C as the lowest note: C EG.
When you play these same th ree notes in any order, you still have a C MAJOR CHORD.
When you are playing in G POSITION, it is most convenient to play G as the lowest note: G C E.
The tollowing diagrams show how easy it is to move trom the G MAJOR CHORD to the
C MAJOR CHORD, when G is the lowest note ot bath chords.
C MAJOR
.f
G
B
D
E
5
3
1
1
G
C
I
~:8:
Practice changing trom the G chord to the C chord and back again:
1. 5 plays G in bath chords.
2. 2 plays C in the C chord.
3. Only 1 moves out ot G POSITION (up to E) tor the C chord.
~
.
..
G
CG.
l~~~~=::::=::
~!
~~~~~ ~
!
5
5
5
~
:8:
-
l~~~~
..
~ -~,.,_..~~-
--c_-'
39
Warm, Up using G, D7 & C Chords
This warm-up intraduces a new way af playing BROKEN CHOROS.
~/~~.: ~~;
G
Braken
I ~
~ ~
CBraken
I
~~,11'
.: I
07
~
~t
Braken
~ ~ I~F;. I'~
I
G Braken
E ~ ~
I [~..
.
..
1
3
5
5
1
3
1
2
5
5
1
2
1
2
5
5
1
2
5
1
3
5
BEAUTIFUL BROWN EYES ~))))
Moderately
G
3
tast
C
1
5
3
5
1
I
2
5
I
I
1
2
I
'.
C
I
I
.
.
5
I
1
3
I
...
40
(~) {or Right Hand
lntroducing
TO FIND E:
Place the RH in G POSITION.
Leave finger 1 on G.
Shift all other fingers one white key to the right.
GAB
C DE
1
2 3 4 5
Play slowly. Say the note names as you play.
Move 3
10 C
~~
New
~
~
I~
~
&
~
5
E
Move 3
10 B
I~
~
&
~
5
D
Move 3
10 C
I~
~
C Major Chord Position-Right
&
~
5
E
~
,11
Hand
Notice that two fingers must move to the right wh en changing trom the G MAJOR CHORD
to the C MAJOR CHORD.
- -G-MAJOR
--
~
G
1
B
3
- ~ C~MAJOR
~- - -
~
D
5
G
1
C
3
G
5
."
~..I
E
5
C
~
S&W
~
3>C
1 >C
3&W
'j"
~J
~
~
1
'-'
@)
Practice changing trom the G chord to the C chord and back again:
1. 1 plays G in bath chords.
2. 3 moves up to C and 5 moves up to E tor the C chord.
G
C
:::::i:::I:::
:~~::!J=g
~ ~
~ ===~ I
-
t I~~~
3
1e
G
~
I~- g
~-ö
--=tI.11
""'~
~
~.:;1~'l
"
41
Warm~Up 'using G, D7 & C Chords
Play SLOWLY at first, then gradually increase speed.
G
07
G
~
C
~~'~~'~~~~~~"~f~~~~~~~~~~~5 5
3
4
1
3
1
ALPINE
1
MELODY
G
5
3
5
1
3
1
.
.
~))))
The LH melody of this piece consists entirely of BROKEN CHOROS,
which are the same as the BLOCK CHOROS played by the RH in each measure!
Moderatelyslow
G
07
1
1
5
I
I
I
C
-"
---
LI~
~ ~..:.
~
..
I'
~
~
~
~
~
'
-.:.
~"
--u...
~
lJ..
11
.L
~
~
-2-
~
~
~.
~.
.
.
-~
I
1
I
Play bath hands Bva
(one octave higher)
the 2nd time!
,,'
G
,
~
"
I
G
07
I
I
8
-L-8
.L
~--L
--L
~
~L11L
~
.L .
-=-::::::
.L .
~
.
I
.
.
I
42
-.
.
r--LH--,.RH
I
Middle C Position
The MIDDLE C POSITION uses notes you already know!
. RH is in C POSITION.
C D E F G
~ ~ ~ ~ ~ ~ ~ ~ ~
LH movesone notedowntromG POSITION.
.Both thumbs are ncw on Middle C.
.
F GAB
I
:
LH 5
I
:
I
:
I
I
:
I
I
I
I
:
:
:
1
2
3
4
5
4
3
2
1
:
:
:
:
:
'\
!ot:
Play and say the note names. Do this several times!
~~~~~~~~~~~~~~~J
~l~~I~;~~~~~~I~~1
~
THUMBS ON C!
14))))
Moderately slow
1
5
5
.
.
mf
..
44
t:"\
This sign is cal led a FERMATA.
Hold the note under the fermata langer than its value.
GOOD MORNING Ta YOU!
&4))))
MIDDLE C POSITION
Happily
\
5
4
...
4
Good
morn
-
ing
to
.
-
ing
to
Good
5
3
2
3
morn
you!
you!
Good
morn
-
ing,
Dear
,1"':'\
,1"':'\
2
!
Good
morn
-
ing
to
you!
ow
45
n
Eighth N otes
Eighth notes
Two eighth notes are played in the time ot
are usually played
in pairs.
COUNT: "1
&"
or: "two eighths"
onequarternote.
When a piece contains eighth notes, count:
"1
&" or "quar ter"
tor each quarter note;
"1
&" or "two eighths" tor each pair ot eighth notes.
-
-
Clap (or tap)
these aloud:
notes,
counting
-J
Q
~
-J
-Jln.n
HAPPY B IRTHDAY Ta Y a U!
I
-
-
-
-n
-
-
ijl
.11
14))))
HAPPY BIRTHOAY is exactly the same as GOOOMORNING Ta YOU, except tor the eighth notes!
~
Happily
.,
,
..
"
" '" ..,..
~ 1-..
.J
I
.
~
~
"
---
--I"---
I
-I
I
I
,
,..
.-
mf
L'.
.,
,. ..
./
5
4
r-
#
-
n
II
-~
-
---
-I
I
4
Hap - py
Birth
-
day
2
.
to
you!
Hap -
py
~
~
3
Birth
l
-
day
to
you!
Hap - py
Birth
-
day,
Dear
1":'\
1
2
!
Hap - py
Birth
-
day
to
you!
f
@ 1935 by Summy-Birchard Music, Oivision of Summy-Birchard, Inc., Secaucus, New Jersey. Copyright renewed. AII rights reserved. Used by permission.
Î
You are ncw ready to begin ADULT POP SONG BOOK 1.
i
i
46
STANDING IN THE NEED OF PRAYER
14))))
Far this papular spiritual,we return ta C POSITION(LH 5 an C).
Rhythmically, not too tast
It's
3
me!
It's
me,
me,
Oh
Not my broth-er, not my sis-ter, but it's
Oh
Lord!
Lord!
me, oh Lord!
Stand-ing
in the need of
prayer.
prayer.
Stand-ing in the need of
prayer.
It's
l ;:~'~:
!
I
"'
~
47
~;èé;
THE GIFT Ta BE SIMPLE
COMBINING
~))))"
MIDDLE C POSITION & C POSITION
You are ncw ready to play music that involves more than one position. This piece begins with the
hands in MIDDLE C POSITION. Atter the tirst tuil measure is played, the LH moves to C POSITION
to play chords. Change positions as indicated in the music.
This beautitul aid Shaker melody was used by the tamous American composer, Aaron Copland, in his
well-known symphonic composition, Appalachian Spring.
Moderately
slow
F
Move LH to
C POSITION!
1
~
3
5
Return LH to
MIDDLE C POSITION!
2
Move LH to
C POSITION!
.
.
2nd time ritardando*
-
-
1':"'1
.
.
2
5
*ritardando means gradually slowing.
48
lntroducing Dotted Quarter N otes
A DOT INCREASES THE LENGTH OF A NOTE BV ONE HALF lTS VALUE.
d
A datted half nate is equal to a
halt note tied to aquarter note.
J
2
+
1
COUNTS
COUNT
A datted quarter nate is equal to a
J
quarter note tied to an eighth note.
1
COUNT
j,
+
1/2
=
J.
=
3
COUNTS
J.
=
=
COUNT
1 1/2
COUNTS
Clap (or tap) the tollowing
rhythm.
Clap
ONCE
.
tor
~
J_n
---
-
J_n
---
---
-
.11
.
.
---
each note, countlng aloud.
COUNT:
or:
The only difference between
the tollowing measureand
the one directly above it is
the way they are written.
They are played the same.
t
COUNT:
or:
"1
&
"quar - ter
2
tie,
j)
~..
"1
&
"quar - ter
&"
etc.
eighth" etc.
2
dot,
~..
j)
;11
:
&"
etc.
eighth" etc.
In ~ or ! time, the DOTTED QUARTER NOTE is almost a/wars tollowed by an EIGHTH NOTE!
L .0--,,",---
-
-
49
MEASURES
FROM FAMILIAR
SONGS
1. Count & clap (or tap) the notes.
USING DOTTED
QUARTER
2. Play & count.
NOTES
3. Play & sing the words.
C POSITION
~ ~ j~~~~~~~
~.
Si
-
jent
~
j~~~~~~~~ .
I
night,
Ho
-
Iy
I
night,
MIDDLE C POSITION (Both thumbs on Middle C)
.
.
i
f"
.
.
1
MIDDLE C POSITION
e
tor - got,
be
4
C POSITION
~t
j~~=~~~~~~~!
~.
Here
comes
the
bride!
I
J~~~~~~~~~
AII
dressed
in
§
.
white!
You are now ready to begin ADULT ALL- TIME FAVORITES, Book 1.
I
"
50
è",
ALOUETTE
..
-""
Elf»))
C POSITION
Brightly
French folk song
C
1
G7
1
3
5
1
2
5
G7
C
C
(no chord)
=
,. '"
,"'",
~
-I
I
I
-
-I
-
-
f
C'.
/"..
G7
~
C
-
..
=
-
--I
I
~
1
C
I
I
-
rI
'
-.
..~
-I
'
I
I
rI
I
~
-I
-I
.
~~--/
'
...
.,
.,
G7
C
Measuring 6ths
6ths are written
line-space or space-line.
I_[6th
'I I I I I'J- I
When you skip 4 white keys,
the interval is a 6th.
I
RH
1
1
1
1
1
I
I
~
~
I.
~
I
~
~..:J
I
I
I
This is C POSITION plus 1 note (A) played with 5.
~~~~~~~~
Û~
5 plays G or A!
I
Say the names of these intervals as you play!
MELODIC INTERVALS
~~
~
~-"
~
I
~
~~,
2nd
I
~
3rd
~
..L
I
~
4th
_..
~
I
5th
,11
6th:
HARMONIC INTERVALS
ift
2
1
11
,ft
dJ
1#
2nd
3
11
4
11
I~
3rd
11
I~
4th
LH
5
5
~II\
I~
5th
"11
6th
This is C POSITION plus 1 note (A) played with 1.
CDEFGA
~;I
~ ~ ~ ~ ~ ~
~--~~~s
G or A!
I
Say the names of these intervals as you play!
MELODIC INTERVALS
. 1I"
/"
lt
I
2nd
i
~
HARMONIC INTERVALS
2nd
~}~ ~
-
.. f:)
4
5
I
I
3rd "
'i
I
3rd
I
I
-
5-
5th F'
11
I
1
5-
6th ~;
11
Ir
."11
6th
I ::
-
I
I~
5th
~
2
I
I~
'2
4th
I 1I
5..
4th ~
I~
13
3
I
I
-
~
1
5
I)
~II
52
In LAVENDER'S BLUE, 5ths and 6ths are played with 1 & 5.
Practice this warm-up before playing LAVENDER'S BLUE.
5
1
~;~ ~
~
~
~
1
5
1
5
1
5
I ~
~
LAVENDER'S BLUE
~
'11
~~ ~
5
1
5
1
~ ~ ~
I
~
j
~
"I
14))))
C POSITION+ 1
Moderately tast
1
5
5
1
3
5
1
2
5
.
.
.
1
5
1
5
2
5
3
5
1":\
.
.
I
I
--
rK UM
53
,.
~
BA YAH! *
~»))
~
NEW TIME SIGNATURE
2
4
WITH CHANGING TIME SIGNATURES
means 2 beats to each measure.
means a QUARTER NOTE
j
gets one beat.
Moderately slow
2nd time both hands 8va
1
~
~
~
COUNT: 1
&
2
&
1 & 2
&
t
I.
!
,
,
2
5
3 & 4 &
3
5
!
!
1
2
5
1
!
!
.
.
.
!
!
.
.
1
5
1
5
*Kum-ba-yahmeans "Gameby here."
1
2
1
3
.~IIII_I.:~~~~~
54
~no;.;nno
.h~.
;n~l. "'0
0;.
n.
-~.~
~~.~"
When you play in positions that include six or more notes,
any finger may be required to play two notes.
,LH
ONDON BRIDGE
5
4
,RH
I
14))))
Brightly
2nd time play RH 8va
4
I
5 on B or C!
1 on C or D!
3
Skip of a 3rd
with 2 & 1
2
1
1
.
.
.
.
MICHAEL, Row
THE BOAT ASHORE
14))))
Moderately slow
1
2
4
row
help
a the
share,
sail,
-
.
.
share,
sail,
-
-
..
~
-~
55
~
'
,
,
LH
,
,RH
I
BLOW THE MAN DOWN!
'"
;
~»))
5 on B or C!
Moderatelytast
Gome
all
tel
-
lows
who
tol
-
low the
Ii
"
~,
t
,
11
5
1\';
Jij
,,.
sea,
~
1
3
Sing-ing
'
"Way!
Hey!
Blow
the man'
4
ll:
I
;j
,
,;
~
I
5
""
I:..
down!"
And
me;
Give
please pay
us
some
at
time
-
ten - tion
to
and
blow
lis -:n
the man
"
1
f:1
to
down!
-
~
1':'\
.
ritardando
.
.
.
.
56
,
i"
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!
AH 6ths, MOVING FAOM
~
UP TO
~ AND BACK.
Begin with RH 1 on MIDDLE C.
~i i
~
LH 6ths, MOVING FAOM
~,
11
~
~
DOWN TO
Ir
~
I~
~
I~
~
~~
I
~ AND BACK.
Begin with LH 1 on MIDDLE C.
~
If
F
LONE STAR W ALTZ
I~
F
Ii;~
14)))) This piece combines the positions used in LONDON
BRIDGE with Moving Up & Down the Keyboard in 6ths.
Moderate waltz tempo
2 nd time both hands 8va
1
5
2
5
1
~
I
I
5
I
Fine
I
(
b,
57
I
~
.
1-
I
5
1
.
The dot over or under the notes
r
indicates the STACCATO touch.
Make these notes very short!
5
1
etc.
-=
--"
- -
-
~
LL~
~I.L
~
-
-=-
.
"
f
.._~.
~.
L
I
-=
.-.1.."
-=
"
-
-L
--
-
-
.
---
~"
-
-
-=
"
-=-
~
'""
~
--
~
-
!
-."
...,
--
~
t."
-
.
~
,
I ~ -1.
.
-
~.L.
--
oL.
-
-
.
-
~"
--
-=-
P4
~
..,~.
~.
L
~
-1
5
~
.
-r1
5
-
.
~
,~
I
~
L
~
--
-
-
---
~"
-
.
oL"
~
:
~
~
--- ."
oL
~
-..L
--
~
.L'
--
..:.
-L
lJ
~
.
.
oL.
etc.
IL.~
'-'
..-
-
-
oL"
--~"
-
JL
.L!.
~
.
~
mf
.
~
~
4
2
3
-L
~ oL
~
.
--
,
~
~
-=
"
-
~
~~
R
-
~
mf~
I
.
--
-L
...
---ë
'-
"
"
--~
'-
~
~
.
R.
-
r-
--
.
8
~
~
~
...
:
:
~"
L"
D" C" al Fine
58
..
Measuring 7ths & Octaves
When you skip 5 white keys,
the interval is a 7th.
When you skip 6 white keys,
the interval is an OCTAVE.
.~_.~- 7th ~--~
OCTAVE
r
I~IIIIIIIÎ
1~1_..IIII!î
7ths are written
line-line or space-space.
~
I~
E
~
aCTAVES are written
line-space or space-line.
~
~
~ I~
~
Say the names of these intervals as you play!
RH MELODIC INTERVALS
2nd
3rd
4th
5th
RH HARMONIC INTERVALS
2
2
1
I
1
I
3
1
I
=1!lt
I
~
I
:i=~
dJ
1:8:
2nd
3rd
5
I
:3:
5
~
5
:1:
5
5
I ~
-&
I
7th
6th
~
5
5
I ~.-~
I__~..aCTAVE
7th
6th
I
aCT AVE:
7th
6th
5th
I
5
-&
I
5th
4th
I
I~.
5th
4th
LH HARMONIC INTERVALS
2nd
3rd
.4';:;
~
4th
LH MELODIC INTERVALS
2nd
3rd
~
4
~
6th
aCTAVE
7th
I
~
5
aCTAVE
I
~~
5
I.
59
CAFÉ V IENN A
~))))
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
5
1
1
2
4
3
1
1
3
5
1
2
~
'",'
I
i
4
~
I
---~
I
-
60
The Flat Sign
~
,.
c'
The FLATSIGN
.
Whena FLAT(~) appearsbefore
before a note means
a note, it applies to that note tor
play the next key
the rest of the measure.
Circle the notes that are FLAT:
to the LEFT:whether
black or whlte!
ROCK IT AWAY!
Moderately 1ast
If
you're fee I - in'
B
~~t
1It))))
blue,
if
you're
~ ~~F ~ I~F ~ F ~ I~e
fee I - in'
kind - a
we ar - y,
G
1
.
If
G
you're feel - in'
.~
'-.'""I
~
,.
L,.
)/
I
-:-I
T
-:-I
rI
I
-
rI
I
blue,
bet - ter
'
I
T
'"~
r-
r-
I
I
n--
-
-
3,-
r=-
v
I
II
-I
I
say!
07
-
-
"fT
..
"-
r-
..
I
-e-e-
'~
"fT
hear what
C
1
.. -
2~
.
5
~
~
./
Play this rock - in'
tune,
it
will
sure - Iy
make you
cheer - y;
G
.
When you
G
feel
in
trou
-
bie,
just
rock
it
a
-
way!
C---07
--,~-
I1
p..--
~
..11-
6
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.
WHOLE
STEP
, ,'
'. .,
Whole Steps
.,
..,
WHOLE
STEP
,'
'. .,
..,
ONE KEY BETWEEN
WHOLE
WHOLE
WHOLE
STEP
STEP
STEP
,'
'. ., ,'
., ,'
,
,v,
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 WHOLEHALF
,,
"~:_~~.
s~~P
, '.' , ..s.~~:-. " '.",
,
WHOLE STEP, WHOLE STEP, HALF STEP.
The notes of a tetrachord
must be in alphabetical order
..
C D E F
~ t. t" t t
..1..
~
and
must
siso
have
th is
P attern'
.
~"~---'
WHOLE
STEP
~. ---' ,~
WHOLE
STEP
_..1
,,~
HALF
STEP
.v,
.,
62
The Major Scale
The MAJOR SCALE is made of TWO TETRACHORDS joined by a WHOLE STEP.
~;
The C MAJOR SCALE is constructed as follows:
~ '~
~
KEYc
NOTE
~
j
~
WHOLE
STEP
~
KEY-
F
..~
NOTE
There is na # ar
I
~
in the C MAJOR SCALE.
""---"'"
WHOLE WHOLE
HALF
WHOLE WHOLE
L-1 st TETRACHORD
~
L-2nd
HALF
TETRACHORD ~
Each scale begins and ends on a note of the same name as the scale, cal led the KEY NOTE.
Preparation tor Scale Playing
IMPORTANT!
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.
Play HANDS SEPARATELY. Begin VERY SLOWLY. Keep the wrist loose and quiet!
1
~~ ~
~ .~ ~
2
~
~
1
Pass 1
under 3 1
3
~
~I
~
~
I
2
3
Pass 1 1
under 3
,':.
r-
Cross 3
1 over 1 3
2
1
§
~
~
I~.
I ~
~
~
I
3
2
I
,11.
1
.11
~.
.
.
1
Cross 3
over 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!
Pass 1
under 3
Cross 3
over 1
~~! ~
~
~
§
I~
3
~
~
I~
~
3
~
I§
~
~
~
,11
~~I! ~
~
~
~
I
~
~
~
; I;
~
~
~
I
~
~
~
~
'11
Pass 1
under 3
Cross 3
over 1
~--~~~-
,..
W ORLD
J OY TO THE
14»))
Scales occur often in melodies. This favorite melody
is made up al most entirely of major scales.
NEW DYNAMIC SIGN
ff
(fortissimo)= very loud
George Frideric Handel
Joyfully
I
0
-
I
I
0
.cc"
I
.,",cc
"
64
'"..
-,'
..
More About Chords
A TRIAD IS A 3-NOTE CHORD.
The three notes of a triad are:
[~:]_~~~HIRD
r--;;;~~l
ROOT
1
3
I
5
=:1:= 5th
3rd
I
ROOT
The ROOT is the note from which the triad gets its name. The root of aCtriad
is C.
Triads in ROOT POSITION (with root at the bottom) always look like this:
LlNE
LlNE
:::1:=
LlNE
or this:
3rd
5th
SPACE
ROOT
=ft=
SPACE
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
~~i
5
3
5
3
Ü
~
~~.
§
I1
§
{1
;;
U
11
i
ft
i
ft
i
~
~
~
5
5
5
with :L: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
This is the complete "TRIAD VOCABULARY."
FAC
GBD
ACE
BOF
It should be memorized!
~ .- ~
I
I
I:
L
65
COCKLES AND MUSSELS
Music based on any particular scale is said to be in the KEY of that scale.
If there are sharps or flats in the scale, they are shown at the beginning
KEY OF C MAJOR
Key Signature: no # no
,
lIG)))),.
~
of the music. This is ca/led the KEY SIGNATURE.
Moderately slow
In
Dub
-
lin's fair
Git
-
Y
where
girls
are
so
pret
-
ty
I
1
1
P
first
set
1
3
5
1
3
5
my
eyes
on
sweet
Mol
1
3
5
-
Iy
Ma
-
lone,
1
3
5
wheeled
a wheel -
bar - row through
She
2
4
streets braad and
nar
-
row,
1
Cry- ing
3
1
3
5
"Cock
-
les
and
mus
-
seis,
a
-
live,
2
4
a - live
1
3
-
o!"
I
I
66
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 cal led 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 V7 (say "5-7") chord.
In the key of C major, the I CHORD is the C MAJOR TRIAO.
The IV CHORD is the F MAJOR TRIAO.
The V7 CHORD is the G7 CHORO (G major triad with an added 7th).
The Primary Chords in C Major
~~I
1I
:
e
§ ft
i
..
e
3rd
5th
Ith
n
&
-&
root
I
IV
V7
ChordProgressions
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 I chord is played
in ROOT POSITION:
~~
11
The top note of the IV chord
is moved down an octave:
i---~~
11
I
-~
In the V7 chord, the 5th (0) is
usuallyomitted. AII notes except
the root are moved down an octave:
11 H~~_~==::!1
IV
V7
The th ree PRIMARY CHOROS are
then comfortably played as follows:
~~~8=====~~====~~~3
:Z==slt
5:1~5
e
IV
V7
I
I1
It is important that you ncw think of
the C, F & G7 chords in the key of
C MAJOR as the I, IV & V7 chords!
Play the following line several times, saying the numerals of each chord as you play.
~
.
C
F
C
G7
i~~~i~~~i~~~i~~~i~1
1
1
1
3
5
2
5
I
3
5
IV
1
2
5
I
C
1
3
5
V7
F
2
5
I
IV
C
1
G7
C
1
3
5
1
2
5
I
3'
5.
V7
I
-.~~
67
About the Blues
Formula tor the Blues
Music cal led BLUES
There are 12 measures in one chorus
of the blues:
has long been a part of the
American musical heritage.
We find it in the
music of
..
.
many popular song wrlters, In ballads, boogie, and rock.
BLUESmusicfollows a basicformuia,that is, a standard
chord progression. If you learn the formuia tor GOT
THOSEBLUES! you will be able to play the blues in any
key you learn,simply by applyingthe formuiato that key.
GOT THOSE BLUES!
Moderately
slow
5
4 measures 0f th e I c hord
2 measures0f the IV chord
2 measuresof the I chord
1 measureof the V7 chord
1 measureof the IV chord
2 measuresof the I chord
~))))
2
1
IV
I
*The eighth notes may be played a bit unevenly:
~
~
~
~
long short long short, etc.
68
RH: An Extended Position
ON TOP OF OLO SMOKY begins and ends
with the RH in an EXTENDED POSITION.
C
E
:i a
~"~~i-
11
Play several times:
G
.:"'- ~.I ~ ~I..
21
Up
a 3rd
C
31
-
Up
a 3rd
11
I1
Up
a 4th
LH Review: Block Chords & Broken Chords in C
~.
BLOCKCHORDS
3.
l~!~i
1.
5.
.
2
BROKENCHORDS
2r
.11.
1
5.
1
.
~
I1
1
~
~
I
~
~
~
~
~
5
V7
2
I
~
5.
IV
5
I
V7
ON Top OF OLD SMOKY
3
1
5
IV
2
1
1
EJf))))
KEY OF C MAJOR
Key Signature:na #, na ~
Moderatelyslow
EXTENDED POSITION
1
2--3
I
5
5
I
5
I
3
1
3
2
1
I
I
I
-~
~~
69
",.
I
_.~~
I
-
a
is
5
I
I
I
I
I
5
I
,
.
I
"
,
'"
I
I
70
,;
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.
KEYNOTE
~
~
~
KEYNOTE
WHOLE
~
F
~ STE!
~TEP
/~~~~~~~~~
.
L-1st TETRACHORD~
"'---'"
There
in the G
is MAJOR
1 sharp (F#)
SCALE.
L2nd TETRACHORD-J
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 wijl 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 al! "F's" sharp throughout.
Practice the G major scale with HANDS SEPARATE.
Begin SLOWLY. Keep the wrist loose and quieto
Pass 1
under 3
Cross3
over 1
NEW NOTES
NEW NOTES
~~ I ~ ~ ~ ~ ~
I
~
~
.}
~
I
~ ~
~ ~
~
I
Pass 1
under 3
~ ~
~
~II
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 writlen on the staffs above, the LH descends as the RH
ascends, and vice versa. This is cal led CONTRARY MOTION-both
hands play the same numbered
fingers at the same time!
You mayalso play the C MAJOR SCALE at the botlom of page 62 with the hands together, in
CONTRARY MOTION!
-
-
~~""-~~~
I
c
I
A N ew Trick!
CHANGING FINGERS ON THE SAME NOTE: Sometimes it is necessary to replay the same note
with a different tinger. Practice the tollowing line to prepare tor THE CAN-CAN.
5 on
~t
4 on
~
~
THE CAN~CAN
1 on
I~
~
2 on
I~
,j
I~
j
,11
~))))
KEY OF G MAJOR
Jacques Offenbach
Key Signature: 1 sharp (F#)
Brightly
1
1
3
A with
2
A with
5
1
I
I
l
~~'i!j$'~1
--
*Descending G major scale
2
72
The Primary Chords in G Major
Reviewing the G MAJOR SCALE, LH ascending
KEY OF G MAJOR
Key Signature: 1 sharp (F#)
I
~~---;---;~.
~~~
:-~~7
:&
3
12
~
-e..0..
-:--;---;-
(#).:8I
c
45
I
IV
V7
The tollowing chord positions
(which you have already learned)
are used tor smooth progressions:
G Major Chord Progression with I, IV & V7 Chords
Play several times, saying the chord names
Primary Chords in G
and numerals aloud:
G
C
07
!h
~:~~::
~ I1
15
'-'
IV
V7
~i=~
~:il::::=::=f
:I 5
:z~:~::::J::
5::=
-
I
THE MARINES'
G
C
G
07
G
~.-T-~
~F
ä- 5f=::::f:
~b
~F
~ 5~=~~===:
:z~~:::I=
5
5
~ ::I:: 5~ft=::::==:::IJ
--:
I
IV
I
V7
I
H YMN L':4))))
Moderatemarch tempo
3
.
.
.
.
I
IV
V7
I
I
V7
IV
I
Fine
I
D. C. al Fine
--c-~~~'~"'?~
SYNCOPATED
~OTE
-
~
nn
~
--
73
+
ft
Notes played betweenthe main beats of the measureand
held across the beat are ca/led SYNCOPATEDNOTES.
4
'
I
'-"
COUNT" 1
WHY AM I BLUE? 14)))) ~
~
d
&
2
&
3
&
4
&
I
blue,
"";C'
:j
Blu - er than the deep
blue
sea?
3
I
I
Since my ba-by's gone and left me? Whyam
~
I
blue,
Blu - er than the deep
blue
IV
sea,
I,
11 you see my ba - by,
1
V7
me!
11. (Play 15t time only!)
112. (Play 2nd time)
4 5
111:"\,-..
5
.
.
IV
II
"
.
The NATURAL SIGN cancels a sharp or flat!
A note after a natural sign is always a white kerf
Moderatelyslow blues tempo
Why am
I
IV7
I
~
Compare the Roman numerals in this piece with those in GOT THOSE BLUES,
on page 67.
You are now ready to begin the Adult JAZZ/ROCK Course.
I
~
74
The F Major Scale
KEYNOTE
WHOLE
STEP
i .I .
~
-~ ~.
"~
I
VIL-I;
I
st TETRACHORD ~ '--"",
L-1
KEYNOTE
~
~
~
I
I
~
I
I
I
I
Thereis1f1at(B~)
in the F MAJOR SCALE.
L-2nd TETRACHORD~
The tingeringtor the F MAJOR SCALEwith the LH is the same as tor all the scales
you have studied so tar: 5432 1 - 3 2 1 ascending; 1 23- 1 2 3 4 5 descending.
Play slowly and caretully!
KEY OF F MAJOR
Key Signature: 1 flat (B~)
~! ~
t
NEW
NO TE
"~'L
~
~
~
~
I
~
~
~
~
I
~
~
Cross 3
over 1
~
~
I
~
~
~
'11
Pass 1
under 3
To play the F MAJOR SCALE with the RH, the 5th tinger is not used! The tingers tall
in the tollowing groups: 1 2 34- 1 2 3 4 ascending; 432 1 - 4 3 2 1 descending.
Play slowly and caretully!
Pass 1
under 4
~~~i
~
~
~
~
Cross 4
over 1
I~
~
~
~
I~
~
~
~
I~
~
~
~
'il
As scan as you play the thumb, move it under, carrying it at the base ot the 3rd and 4th tingers 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:
i~j
111 ~~.,,~.
~! ~
~--
i
~
~
~
li
I1
~
~
I
~
~
I ~
I
I
I~
I1
~
I
~
I
~
I
~
I~
I~
~
~
~
I
1
-.
.1.
3
~111 ~II
~
~
mf
v~
~
~
~
~
~
~
--
~
~C-~-~~CC~~"""~
.11
,
75
~
>
EIGHTH REST means
I
rest tor the value ot an eighth nate.
LITTLE BROWN J UG
ACCENT SIGN means
play with special EMPHASIS!
~»))
American folk song
Moderately
~
tast
3
11.
-I-
-
~
-..
i
-.n. -=--
I. ~
-H-
~IJ
i
--.
1
-i
oL.
~
- -
2
.
-I
3
--.
r-
~
-LL
,.
4
L
.
--
~
-L=:l.
~
'-
~
r-
~
--
-
:...
-18
c
5
1
~
oL
~
I
r
. -..
~
~
mf
~
i
.rL
-=:8:-
oL-
./.a.".
~
I
~
L
1
5
1,
~
2
1-
...
-4-
., ~
---
""
.
---~.
I
I
I
~
r
1
- -.
~..
~
~
i
i
I
.
...
--
~
~
~
~
--
-=
..
5
~
3
1
-'
L
tJ
>
- --.
- -
-
\.
~
~
1
~.
K-
~
..,
~.
-""
. ~. --.
~
,.
1
~
5
i
i
,-
>
-'i
~
~
mf
'"
~
~
~
..
.
-
~
--
~
./
-.
4
1
1
--L
.L
.-
.
1
2
~
~
-
--;
.
..
.
,
.
4
1
-L
~
5
-L
5
5
1
~
>1
~
.
5
>
~
l
~
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~
>
---
>
.;;.
~
I
-
>
iC
i
J
~
-"~
/'
>
~
-,.,
5
1
>
~
-
-..
i
L
I
I
f
~
4
1
L
~
'"
la
-~
-.
L
.
~
mf
L
,-
--
1
.
--
~
~
-SoL
~
-=-
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--
.
-L
-=I
---
-I
.
.
--;
---
.
-"-
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'
J
~
..
76
The Primary Chords in F Major
Reviewing the F MAJOR SCALE, LH ascending
~
,~
KEY OF F MAJOR
Key Signature: 1 flat (B~)
I
~_'2~~
:
1
2
~-~ ~-~-~~~
~
(p)~
~
..0..
3
1
678
4
5
IV
V7
The following chord positions are
F Major Chord Progression
of ten used for smooth progressions:
Primary Chords in F
Play several times, saying the chord names
and numerals aloud:
~.
~ .~im~~i~!~'
1.
3:
2:
.
F
B~
i~~~~~1
1G7
3
2
2
5
5
5
I
IV
CHIAP ANECAS
Moderately
F
1
4
2
F
.
V7
B~
5
5
I
(Mexican Hand-Clapping
with I, IV & V7 Chords
IV
Song)
l'3:F
G7
1
..
2
5
5"
I
.
V7
14))))
tast
G7
1
11.
F
5
112.
F
G7
2
>
F
>
;
~~~:,;
77
B~
1
2
F
5
1
3
C7
2
11. F
21-
1-
1-
-L
LL
~.L
~~
-L
L.
~
<
j,-
~
I-
-=
~~-hL
* 11;
--"
i
~
..L
i
~
C7
~
5
1
2-,-
î
---
I
i
--
>-
I
t--
""
i
12. F
11.
r-"'Ir-..L"
I
..
4
3~
-L
n
~
3
>-
.
>
"
~
~
~
---
4
>
5
>
r-
-
.
I
.
~
F
C7
.
.
I
-.
..
I
*
F
.
I
1
:11 The do~ble dots inside the double bars indicate that
I
ï I everythlngbetweenthe double bars must be REPEATED.
78
A N ew Style of Bass
-
Play this several times before beginning 0 SOLE MlO:
Moderatelyslow
,_:~;t
~!-r-A-5..
51
. 3~î
I
!~~ ~
COUNT: 1 & 2 & 3 & 4 &
0 SOLEMlo!
11
I
f
~
-
I(
-
~
I~_.
1 & 2 & 3 & 4 &
2 r,
,
~$1= 1=
I~
I
1
1 & 2 & 3 & 4 &
~
~
'I.
-
.11
1 & 2 & 3 & 4 &
~))))
From Enrico Caruso to a recording entitled "In Concert," by José Carreras, Placido Domingo
and Luciano Pavarotti, this great aid 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
slow
Moderately
t"":"\
-.
t"":"\
I'..
I...... 2 --
.-
w.~ v ,~ 1 ,"'.I
f
6..
,.,..
,.
...
v
...
./
-
...
~
I...~
t"":"\
~
41
5 .-
-
2
1
'""
J
legato
t"":"\
t"":"\
t"":"\
"
"
"
"
~
~
'"
..
5
3
-
~
.
'.-'
'.I
..
-.
-
t-
I:-
I:~
~
'"
.
--
,
-
"
..
4
2
-~
'"
5
I
1
3
I
.,.
2"
5
I
5
1
2
4
2
2
1
I
3
1
~
5
1-
,
3
2
-L
h.:s.L
I
~
~
~
-'-'
.
~
~,,~
-1I
-"~.
--
,.
L
~
1-
@)
~
11
1-01"0
:oL'
~
L
79
3
~
.
..
t
t
jc
.
r-
~
~
tc
- . *~I-"
I-
-=
I
L
I
j
I
5
I
5
3
1
/1.5
1
2
I
2
3
I
1
I
3
.
.
.
.
I
I2.
1
I
- ...... 1:"\
~
**
1
A
4
-
'
5
1
ritardando
I
1
I
1
*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.
..
.
1:"\
:
.
80
The Key of A Minor (Relativeof 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 cal led 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
7th RA/SED
Key Signature:na ~, na ~
.;(5
5~
mf
7th RA/SED
~/~I
t
7th RA/SED
t
~ ~~
~
~
I
~
;
~
~
I
~
~
;
t
~
I
~
~ #~
~
.11
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.
,,~-~
l!!'
~
81
MORE SYNCOPATED NOTES:
tn
L
COUNT: 1 &
}ERICHO
r
SYNCOPATED NOTES
i
~jin
2
&-3
&
-
t
i ~ jl1188JI11
I
4
&
1 &
2
&-3
&
4
&
14»))
KEY OF A MINOR
Key Signature: no
#,
no ~ *
See how many syncopated notes you can find in JERICHO.
Moderately tast
121232345
1
5
4
5
5.0-
I
11.
1
2
1
.
.
.
.
12.
5
5
2
1
I
5
*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.
82
,
lntroducing
"Overlapping
Pedai"
The following sign is used to indicate OVERLAPPING PEDAL.
PLAY
!\
I
PED
I
PED
UP h DOWN
t
As the hand goes down,
the foot Games up.
Pedal again immediately.
At this point, pedal again.
Practice the following exercises befare playing GREENSLEEVES.
I
~
A
..
1
~I~~~~~~~~
5
i~~~~~~~~.
.
A
~ i~~~~~~
3 .
5
.
A
~ i~~~~~~~
3
..
1
~
1
.
5
I
A
.
3
1
.
5
A
GREEN SLEEVES ~))))
I
:
A
I
NEW DYNAMIC SIGN
mp (mezzo piano)
=
medium soft
KEY OF A MINOR
Key Signature:na #, na ~
M
0
1 /a
der
tel
~y
~-
s~
I
2
A
1,
~
21 ~
A
83
A
2
"
I
;--
.
3
I
1.
-1
3--
.
.
.
.
--11
A
A
A
I
4
I
A
A
A
I
I
4
--11
A
A
A
*FINGER SUBSTITUTION: While holding the note down with 1, change to 3 on the 2nd beat.
I
"
84
More About Triads
1. Same of the 3rds you have been playing are
MAJOR 3rds, and same are MINOR (smaller) 3rds.
MAJOR 3rd
2. AII of the 5ths you have played sa far
are PERFECT 5ths.
MINOR3rd
PERFECT5th
(4 half
steps)
(3 half
steps)
(7 half
steps)
Any MAJOR 3rd may be changed to a MINOR 3rd
by lowering the upper note one half step!
3. MAJOR TRIADS consist of a
ROOT, MAJOR 3rd & PERFECT 5th.
MAJOR
3rd
ROOT
MAJOR
TRIAD
4. MINOR TRIADS consist of a
ROOT, MINOR 3rd & PERFECT 5th.
PERFECT
5th
MINOR
3rd
ROOT
--
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 IOCmajor triad, C minor triad," etc., as you play
each pair. Then repeat ONE OCTAVE LOWER, using LH 531.
t
j
The
~j
Reviewing
the
Small (Iower
~
I #~
Primary
~~~-~~.;_~~sm;11
;;"
\'UW~~
(Iower
A HARMONIC
case)
Roman
'"
"=~J
case)
~~
Chords
m
=
~
~
~i
I
~~
SCALE,
are used
LH ascending
to indicate
minor
triads
(i & iv).
6
for
iv
D MINOR
(Am)
following
used
4
positions
smooth
are
aften
progressions:
i~~~~~~~fi~~~~~
Am
.
.1.
Dm
5.
.
I
E
.
21.
3.
5.
.
IV
(Dm)
8
V7
El
The
1
~
7
5
2
i
A MINOR
The
I1
~""u, minor
3
1
I,~~
in A Minor
MINOR
numerals
I.i
same,
~
.
..
.
1
2
5
V7
one
octave
higher.
~~!~~~.
1.
3:
2:
1
2
5
5.
Am
Dm
5
El
..
.
..
I
IV
V7
C=-c-
~
85
Go DOWN, MOSES ~))))
KEY OF A MINOR
Key Signature: na
#,
na
~
Moderately slow
When
Is - rael
was
in
E - gypt's land,
Let
my
peo - ple
go!
4
I
pressed sa
A
A
hard they
could
A
not stand,
5
I
Let
Op -
I
my
peo - ple
I
go!
2
.
.
I
A
Go
down,
A
Mos - es,
4.
1
A
>
.
>
.
.
.
I
>
aid
'Way
down
in
E - gypt's
land,
.
.
.
.
.
A
Teil
I
A
Pha - raoh,
A
Let
A
my
peo - ple
A
I
go.
"
.
.
.
.
I
A
I
I
I
86
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, B~).
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
1st
2nd
3rd
4th
5th
6th
D MINOR SCALE
1st
2nd
3rd
The minor scale shown above is the NATURAL MINOR scale.
uses only notes that are found in the relative major scale.
4th
5th
6th
7th
8th
Remember, the natural minor
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.
rKEYOF0
Begin slowly.
MINOR
L~~~nature:
1 flat (B~)
7th RAISED
mf7th RAISED
t
7th RAISED
t
mf
IMPORTANT!
Af ter 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.
--~ "'
~
--
87
SCARBOROUGH FAIR ~))))
NEW DYNAMIC SIGN
PtllJ
r
KEY OF D MINOR
Key Signature:1 flat (B~)
Moderately
,
'j~
'\.:
alJ
-
.~
I
..
V' ,..
~
p
L ,..~
/
2nd time 8va
Are
you
slow
,. I1 ..,..
- r-
r-
15
I
3
..
-
-
~
I
I
.
~
1
I
-
fair?
~.
--
sage,
I
ber
me
to
Rose - mar - y
a
-.
~..I
~
-I
--
-
---
L,.,.
/1 V'
and
,
--
--
,
---
I
-
-I
I
I
I
I
13
1
thyme.
Re -
A
there.
She
was
2
true love of
1
2
.
I
V'
I
I
lA
once
'"
I
2
5
A
A
--AAI
"
- ~I-
r-
I
one who lives
2
-
Scar - bar- ough
I
A
-
1
-
r-
I'
--A
mem
-
-
r-
~
Pars-ley,
to
r..l
.. -
I
goin'
51
mp
r-
~
1
(pianissimo)= very soft
1
--AA
I
-
I
I
I
I
-J
8va - - - - - - 5
1
.I
""I
1
I
-I I
.
mine.
3
-.
I.
I.
-- .
'"'
I
..-(J.
(.I',
-,
1:"'\
r.
r.
_V-
-
rI
I
A
IIr-.
.
I
r-
pp
.
I
ri/arde
-r- r-
1:"'\
l-- .
I
I
88
The Primary Chords in D Minor
Reviewing the D HARMONICMINOR SCALE, LH ascending
; .~~~~~~~~~~~
KEY
OF
Key
D MINOR
Signature:
1 flat
~!
(B~)
~
-
~ 7-:
_:
E
.
7
3
1
i
following
used
for
~.
are
of ten
progressions:
Dm
Gm
~~~~~~1
3
2
.
5
iv
V7
G MINOR
positions
smooth
4
8
6
2
D MINOR
The
~
-&..0.
5
1
2
5
i
Play
several
and
numerals
times,
saying
the
chord
names
aloud:
~ ~~~~~i~!~.
.
.
2.
A7
Dm
..
5
iv
A7
Gm
1.
~
V7
.
5
i
Dm
1.
.
3
5
iv
A7
1
.
2
.
.
5..
i
.
V7
D MINOR PROGRESSION with braken i, iv & V7 chards
Play several times.
Dm
~}~ ~
~
~
Gm
~
~
I
i
RAISINS
~
Dm
~
~
iv
AND
I
~
A7
~
~
i
ALMONDS
III~
~
~
'11
V7
rï4))))
Moderately
Folk song
I
A
A
"""~-
89
,
And
--11
A
7
'
Dm
--11
--11
'A
A
m
A
A
Dm
A7
A
A
A
7
Dm
I
-:A
--11
'
A
A
lA
A7
4
Dm
A
A
A
1':'\
I
90
HE's GOT THE WHOLE WORLD IN Hls HANDS
~))))
This piece reviews the I, IV & V7 chords ot the keys ot G MAJOR, C MAJOR and F MAJOR.
It also reviews syncopated notes, in preparation tor THE ENTERTAINER, on pages 92-93.
KEY OF G MAJOR
Key Signature: 1 sharp (F#)
Moderately & rhythmically
Spiritual
1
3
5
1
2
5
\
1
2
5
KEY OF C MAJOR
Key Signature: na #, na ~
1
3
5
~
91
,
1
2
5
2
2
5
KEY OF F MAJOR
Key Signature: 1 flat (B~)
1
3
5
,
1
2
5
I
A
A
I
92
.
LH Warm~Up
Practice many times, very slowly. These tour measures contain everything new
that you will tind in the LH ot THE ENTERTAINER!
~~
f
~
~
~ b~
3
3
I
~
THE ENTERTAINER
~
~
2
3
~
I
~.~
F
~
I
~
3
!
~
.11
5
~))))
Not fast!*
Scott Joplin
8va - - - - - - - - - - - - - - - 4
3
ï
2
1
1
2
5
4
1
2
1
2
3
3
2
1111
* "Not
tast"isthecomposer's
ownindication!
3
1
2
.
1
2 -3
5115
~
5
42-1
3
5
-
2
5
..
t
--
93
.
5
/-2-~--
1
3
3
5 _~--""3-2--
'"
~
1
3
.
.,
=
':
1
1
2
1
3
1
3
11.
112.
I
.
.
1
4
.
5
..
94
Eighth N ote Triplets
When three notes are grouped together with a figure "3" above or below the notes,
the group is called a TRIPLET.
3
The three notes of an eighth-note triplet group = one quarter note.
= J
m
When a piece contains triplets, count "trip-a-let"
or "one & then"
or any way suggested by your teacher.
AMAZIN G G RACE
~))))
John Newton, J. Carrell & D. Clayton
Arr. by P. M. & L.
Moderatelyslow
I
,
.-".
1
1
.'8
"',.
'-' J L+
1
-I
-
L+
-
"
--A
I
'-' I
<
-
.
~
1
ti
5
ti
-
1
n
1I
-
1._,
-I
"
"5
=
'5
1
ti
3
2
~
1
3
5
ti
r-
-
..
~
-
1
3
1
I
3
1
IIV~..
I
.--
2
1
5
I
~
I'
I
*
.~
..
I
-
- 18
. .
.
1 h.
--
t:-
8
,
..
~.
---
'"
.
~
'
11
1
*simile
-
~
1
5
"]
-
8
r-
,-'
3
5
3.
I
. .
"I
ti
~
n
1..-
--.
I
~~IK .~
'.I
h.
5
--
I L'...
r-
3
Slm I /.e
-
1
~
./
I
1
- -~
r-
-
r,",,~
1
3
'
5
2
~
.-
3
I
2
~~')
'"
3
I
~
r-
'.I
-
"
5
.,~
4
ee,;mg
I
...'8
.
,. ~
I
I
I.-
J.
~
,
./
r-
--
.h fi
egato, WIt
~.~"'
5
r"
[,
P
t@)
I
5
2...,..-
\
2
same.
ti
ti
ti
This means continue playing in the same manner. In th is case, continue to play triplets
each time three eighth notes are joined with one beam.
-
,::'
9
L---,--5~
1'-"-5
1--.;:
-~
t;
2
1
~
5
1
2
--
/
~
J
<
WJ
~oL
~
~
-
-
~
-
-=--i
I
~
...
~
---A
~
A
5
3
1
~L
WJ ~
-
-=
~mf
I.o..
~.
L
..L
L
3
-1~
i
5
3
~2
~
~~
-
4
- - r..L
r-
~
~ 1--~ ~..
---
--
-..
'"
--"
I
3
1
3
I
J
-
~
-=
~
..'"
-L-
~
5
3
~~
-1
.1
b.
~
I2nd
A
A
A
time
slower
5
with
RH
one
octav
lowe
3
5
3
1
2
1
~
2
0
°0
0
°
1AI1II
---A
II5
A
2
5
A
A
2
~
r-
-
-l.
~.
I
A
1
3
5
L
I
1
1---~
~
~
~.L.
~..L
~
1"5
3
A
5
---A
~
---
A
~
A
..-=-
-
-
2
1
;.
--
L
2
î I
5
I
-U~'-'
~
j
:oL
3~
~
r-
-..
Q
---
3
1
~
A
-L-n~-La..=. ~r-
--
0.
'"
~
4
..L
-1
I.o..
I
-
-
-Z
5
1
5
--
"-5
-
..
~
-2-
k
- "Ir-
~
oL
---
---
---
5
A
-
1
2
1
5
.jooL.
-L-
1
I
~
-!:.-=I
3
---0 °
i
---
1---
.
-L
i
-2-
~
~
--L'
I
~
--
~
~
~
,
96
The Most Frequently U sed Keys, and Their Primary Chords
MAJOR KEYS
C MAJOR (no
RH
.I~
#,
no
~)
(8va)
5
;t
~ ~ ~ ~ ~ ~ ~
LH
5
5
E IE ~
~ ~ ~ ~ ~ ~
4
3
4
5
"
~~ ~
2
~
1
3
1
2
~ ~ ~
I
1~~~~~~~
~
11
~
1
1
1
~~~~
2
3
2
1
3
4
~
RH (8va)
/:
~
'1
1
~;;
~H~ ~ ~ ~ ~1
I
; ; ~1
13
;
~~
~ ~
C
5
4
5
3
11
5
~
5
I
IV
I
V7
I
G
5
3
1
C
5
3
1
G
5
3
1
07
5
4
1
G
5
3
1
11
;.
1
2
5
3
1
1
IV
I
V7
I
F
5
3
B~
5
3
F
5
3
C7
5
4
F
5
3
: LH
5
4
2
1111
I~
1
1
3
2
RH (8va)
;;
LH
1
1
2
3
1
2
3
4
5
4
4
3
11
IV
I
1
11
I
1
1
I'
1
~
5
V7
I
Am
5
3
1
Dm
5
3
1
Am
5
3
1
El
5
4
1
~
~
~
~
~
5
5
5
5
5
i
iv
i
V7
i
5
5
Dm Gm Dm
4
~. ~~1 I ~~1 ~
5
1
555
D MINOR, relative of F major (1 flat, B~)
,_: ~
1
5
(HARMONIC MINORS)
1
3
,
1
I1
11
1
3
5
31
A MINOR, relative of C major (no #, no ~)
RH (8va)
1
1
2
5
1
MINOR KEYS
I
11
1
3
5
f
11
I ;1,
~
5
4~~~~~~~
I ~-
G7
5
3
~
F MAJOR (1 flat, B~)
"J~ I lt
C
5
3
, ~\ ,\
RH (8va)
~ ;~--'1~
/.: ~H ~ ~ ~ ~
F
5
3
I ! I~
I1
G MAJOR (1 sharp, F#)
~~
C
2
1
3
2
1
1
2
3
1
2
3
II
4
5
You have now successfully completed Level 1 of the LESSON BOOK
of Alfred's Basic Adult Piano Course and are ready to begin Level 2.
Am
5
3
1
Al
Dm
5
4
5
3
5
3
5
3
5
3
~
~
~:: ~
1
3
5
i
1
2
5
iv
1
3
5
i
1
2
5
V7
I ~
3
1
5
i
II