Contemporary Class Piano [8 ed.] 0199326207, 9780199326204

Table of contents :
Cover
Contents
Preface
UNIT 1 KEYBOARD BASICS
Keyboard Posture
Body
Wrists
Hands
Fingers
Eyes
Basic Note and Rest Values
Notes
Rests
Measures
Finger Numbers
Contrary Motion
Parallel Motion
The Keyboard
Location of White Keys
Registers
Using Black-Key Groups to Locate White Keys
C-D-E Groups
Three-Black-Key Groups
F-G-A-B Groups
Playing by Touch
Playing by Ear
Improvisation: Pentatonic (Black-Key) Scale
Accompaniments
Notation and Notation Symbols
Sharp and Flat Signs
Half Steps
Natural Sign
Enharmonic Tones
Letter Names for All Twelve Tones
Whole Steps
The Major Five-Finger Pattern
C Major Five-Finger Pattern
G Major Five-Finger Pattern
F Major Five-Finger Pattern
D Major Five-Finger Pattern
Ryan's Song
Ode to Joy (Ludwig van Beethoven)
In Praise
Aura Lee (George Poulton)
Reading Notes
The Staff and Clefs
The Grand Staff
Naming and Playing Treble and Bass Clef Notes
Naming Notes and Playing Melody Patterns
Intervals
Melodic Intervals
Harmonic Intervals
Interval Studies
Keeping Time
Meter Signatures
Playing Five-Finger Melodies Using the Right Hand
Playing Five-Finger Melodies Using the Left Hand
Slur and Phrase Markings
Marching
Memories
Rock It!
Rhythmic Studies
Sakura Sunrise
Worksheet Review
UNIT 2 PLAYING MELODIES IN OTHER POSITIONS AND MORE KEYBOARD BASICS
Melodies Divided between Two Hands
Notation Symbols
Whole Rest
A Jazz Waltz (Phillip Keveren)
Tie
Measure Numbers
Shepherd's Song ("Pastoral" from Beethoven's Symphony No.6)
Boogie Beat
Love Somebody (Traditional)
Key Signature
Eighth Notes and Eighth Rests
Feelin' Good
Pagoda
Waltzing
Morning Has Broken (Gaelic)
Little River (German Folk Song)
For the Beauty of the Earth (Conrad Kocher)
Drone Bass
Highlander Tune
French Canadian Round
Major Five-Finger Pattern Improvisation Using a Drone Bass Accompaniment
Classic Miniatures
The Contest (Cornelius Gurlitt)
Two Etudes (Ferdinand Byer)
Repertoire
Surfing (Lee Evans)
Harmonization
Improvisation
Dorian Mode Improvisation
Dorian Accompaniment (Ken Iversen)
12-Bar Blues Improvisation
Start of the Blues
Movin' on the White Key Blues
Improvisation with New Notations and Techniques
It's Up to You
Taking A Chance
Sightreading Studies
Adding Drone Bass Accompaniments
Five-Finger Pattern Studies in Major Keys
Rhythmic Studies
Technical Studies
Ensembles
Student-Teacher Ensemble Pieces
Land of the Silver Birch (Canadian)
Summer Breezes
Lyric Piece (Heinrich Wohlfahrt)
Student Ensemble Pieces
Rock for Two
Tag Along
Black and White
Morning
Worksheet Review
UNIT 3 MORE FIVE-FINGER PATTERNS
Playing in Different Registers
Stepping Up in C
Stepping Down in C
Score Reading
Tempo Markings
More Dynamic Markings
Breezes Are Blowing (Luiseno Indian Rain Chant)
Melody Study (Bela Bartok)
Accidentals
Persian Scene
Sahara
Monday Blues
Dotted Quarter Notes
Fiesta Time
Repertoire
Shoestring Boogie
Damper Pedal
Evening Tide
Upbeat and Downbeat
On the Town (Ken Iversen)
Slurs
Casey Jones (American)
Ole!
Parallel Motion
Stompin!
6/8 Time
Two Studies in 6/8 Time
Allegretto (Anton Diabelli)
Flemish Folk Song
Key Signatures
Sharp Key Signatures
Flat Key Signatures
Key Signature Chart
Warm Up Study in G Major
The Donkey (American)
Two Etudes in A Major
Change of Dynamics
A Sonata Theme (Wolfgang Amadeus Mozart)
Reading Study in E Major
Follow Me
Wheels
Contrary Motion
Calypso Beat
Mysterious Corridors
Classic Miniatures
Minuet (Alexander Reinagle)
Melody (Louis Kohler)
Repertoire
Etude in D (Ferdinand Beyer)
Improvisation
Heart of Space
Creative Music
Sightreading Studies
Melodies with Various Rhythmic Patterns
Different Registers and Register Changes
Slurred Notes
Staccato Notes
Parallel and Contrary Motion
Rhythmic Studies
Technical Studies
Contrary Motion
Fingerbuilders
Ensembles
Student-Teacher Ensemble Pieces
Razzle Dazzle (Lee Evans)
Merry-Go-Round (Arthur Foote)
Student Ensemble Pieces
Spring (Antonio Vivaldi)
Folk Song (French)
Worksheet Review
UNIT 4 MAJOR AND MINOR TRIADS
Major Triads
Major Triad Groups
Five-Finger Studies and Triads in Major
Open Fifths
The Minor Five-Finger Pattern
Relative Minor Keys
Erie Canal (William Allen)
Zum Gali Gali (Israeli)
Imitation and Inversion
Imitation and Inversion (Béla Bartók)
Minor Triads
Five-Finger Studies and Triads in Major and Minor
Five-Finger Studies
Major-Minor-Major Chord Progression
Pieces Using Major and Minor Triads
Aaron's Song (Aaron Pierick)
Pyramids Afar
Mostly Upward
Classic Miniatures
Allegro (Dmitri Kabalevsky)
Etude in A Minor (Ferdinand Beyer)
Repertoire
Moonlit Sea (Phillip Keveren)
Improvisation
Creative Music
Sightreading Studies
Rhythmic Studies
Technical Studies
Coordination Exercises
Canon
Ensembles
Student-Teacher Ensemble Pieces
La Cinquantine (Gabriel Marie)
Prelude (Heinrich Wohlfahrt)
Student Ensemble Pieces
Canon (Johann Pachelbel)
Fanfare
Whistle Daughter (American Folksong)
Worksheet Review
UNIT 5 THE DOMINANT SEVENTH CHORD
Root Position: V[sup(7)]
First Inversion
Block-Chord Accompaniment with I and V6/5
Austrian Folk Song
Music Chord Symbols
Bells of London
Chilean Folksong
Studies in E Major
English Folk Song
Etudes in A Major
German Folk Song
Five-Finger Melodies with Letter Name and Roman Numeral Chord Symbols for I for V6/5 Chords
Folk Song (German)
South American Folk Song
German Tune
Swedish Folk Song
Hey Lidee (American)
Classic Miniatures
Moving Along (Cornelius Gurlitt)
March (Daniel Gottlob Türk)
Repertoire
Vivace (Cornelius Gurlitt)
Improvisation
Pentatonic Improvisation
Japanese Gardens
Little River Call
Sapporo Sunset
Creative Music and Harmonization
i and V6/5 Chords in Minor
Sightreading Studies
I and V6/5 Chords in Major
i and V6/5 Chords in Minor
Rhythmic Studies
Technical Studies
Ensembles
Student-Teacher Ensemble Pieces
Waltz (Heinrich Wohlfahrt)
Joyful Day (Joseph Löw)
Student Ensemble Pieces
Drink to Me Only with Thine Eyes (English)
Amazing Grace (traditional)
Worksheet Review
UNIT 6 THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS
The Subdominant Chord
Root Position: The IV6/4 Inversion
Cadences
Authentic Cadence
Plagal Cadence
Pieces with I–IV6/4–V6/5 Accompaniments
Banks of the Ohio (American)
Beautiful Brown Eyes (Traditional)
French Folk Song
Jingle Bells (J. S. Pierpont)
Shall We Gather at the River (Robert Lowry)
When the Saints Go Marchin' In (Traditional)
Composite Meter
Festive Dance
Exploring D Major
Two Studies
Gentle Rain
Melody from Op. 39 (Dmitri Kabalevsky)
Exploring B Major
Calisthenic Studies
This Land Is Your Land (Woody Guthrie)
Exploring B Major
Studies in B Major
Zulu Farewell Song
Five-Finger Melodies with Letter-Name and Roman Numeral Chord Symbols for I, IV6/4, and V6/5 Chord Accompaniments
Christmas Day Is Come (Traditional Irish Carol)
Alleluia (Traditional)
Git Along, Little Dogies (Cowboy Song)
Changing Five-Finger Positions
Study (Béla Bartók)
Steamroller Rock
Belly-Button Blues
Time-Clock Blues
Round-the-Corner Boogie
Classic Miniatures
Moving Around (Dmitri Kabalevsky)
Dance (Dmitri Kabalevsky)
Repertoire
A Little Joke (Dmitri Kabalevsky)
Improvisation
12-Bar Blues
12-Bar Blues Pattern
Starting the Blues
Walkin' Through Blues
Blue Note
Blue-Note Blues
Blues Beat
Rockin' Blues
I–IV–V Chords in All Major Keys
Creative Music and Harmonization
I, IV6/4, and V6/5 Chords in Major
Sightreading Studies
I, IV6/4, and V6/5 Chords
Change of Five-Finger Position
Rhythmic Studies
Technical Studies
Ensembles
Student-Teacher Ensemble Pieces
Scherzo from Melodious Pieces, Op. 149, No. 6 (Anton Diabelli)
Rumba (Gerard Hengeveld)
Student Ensemble Pieces
Alouette (French)
Quand J'etais Chez Mon Pere (French)
Worksheet Review
UNIT 7 MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS
Major Scales
Major Scales in Tetrachord Position
Sharp Keys
Flat Keys
Major Scales with Fingerings for Both Hands Together
Major Scales and Fingerings
Scale Studies in Clusters
Triads on Major-Scale Degrees
Intervals of a Sixth, Seventh, and Eighth (Octave)
Extending the Five-Finger Position
Moving Along (Cornelius Gurlitt)
The Strawberry Roan (Cowboy Song)
Simple Gifts (Shaker Hymn)
Michael, Row the Boat Ashore (Spiritual)
Kum Ba Ya (Traditional)
Mary Ann (Calypso Song)
Sixteenth Notes and Sixteenth Rests
Keep in the Middle of the Road (African American Spiritual)
The Galway Piper (Irish)
The Dotted Eighth Note
Oh! Susanna (Stephen Foster)
Round and Round (John Hilton)
Scale Study (Carl Czerny)
A Little Scale (Daniel Gottlob Türk)
Musical Forms: AB and ABA
Mexican Hat Dance (Traditional)
Irish Washerwoman (Irish)
Melodies with Letter-Name Chord Symbols for I, IV6/4, and V6/5 Chords
When I Come Back (German)
La Cucaracha (Mexican)
Rock of Ages (Thomas Hastings)
A Christmas Carol (Bohemian)
Nobody Knows the Trouble I've Seen (Spiritual)
Classic Miniatures
Teasing (Daniel Gottlob Türk)
German Dance, No. 2 (Joseph Haydn)
Repertoire
German Dance (Ludwig van Beethoven)
Improvisation
Pentatonic Improvisation
Bagpiper's Strut
Creative Music and Harmonization
Sightreading Studies
Melodies in Parallel Motion
Accompanied Melodies
Rhythmic Studies
Technical Studies
Five-Finger Exercise (Charles-Louis Hanon)
Ensembles
Student-Teacher Ensemble Pieces
Sunset (Dennis Alexander)
Calico Rag (Dennis Alexander)
Student Ensemble Pieces
Lullaby (Louis Köhler)
She' ll Be Comin' Round the Mountain
Worksheet Review
UNIT 8 EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS
Broken-Chord Accompaniment Patterns
Frankie and Johnny (Traditional)
Vive La Compagnie (French)
Waltz Pattern
Du, Du Liegst Mir im Herzen (German)
My Hat, It Has Three Corners (German)
Arpeggio Accompaniment Patterns
On Top of Old Smoky (Traditional)
Barcarolle (Jacques Offenbach)
Gaîté Parisienne (Jacques Offenbach)
Alberti Bass
Ah, Vous Dirai-Je, Maman? (Ah, Shall I Tell You, Mama?) (French)
Syncopation
Etudes in Syncopated Rhythm
Apple Street Rag
The Entertainer (Scott Joplin)
The Damper Pedal
Direct Pedaling
Pedal Studies
The Highlands
Lady Moon (Lynn Freeman Olson)
Other Accompaniment Patterns
Ostinato Accompaniment
He's Got the Whole World In His Hands (Spiritual)
Drum Roll Accompaniment
Battle Hymn of the Republic (William Steffe)
Classic Miniatures
Scotch Dance (Friedrich Kuhlau)
A Little Rondo (Daniel Gottlob Türk)
Repertoire
Écossaise in C Major (Franz Schubert)
Improvisation
Pentatonic Improvisation
Goin' West
Tango Improvisation
Tango Dream (Jeff Kowalkowski)
Creative Music and Harmonization
Sightreading Studies
Rhythmic Studies
Technical Studies
Fingerbuilder Exercise (Friedrich Wieck)
Finger-Strengthening Exercise (Franz Liszt)
Ensembles
Student-Teacher Ensemble Pieces
Rondeau, from First suite, first movement (Jean Joseph Mouret)
Casey Jones (American Railroad Ballad)
Student Ensemble Pieces
Hello, Ma' Baby (Joseph E. Howard/Ida Emerson)
Missa Ramgoat (Jamaican Folk Song)
Worksheet Review
UNIT 9 SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS
Secondary Chords
The ii Chord (Supertonic)
The iii Chord (Mediant)
The vi Chord (Submediant)
Every Night When the Sun Goes Down (American)
Stars of the Heavens (Las estrellitas del cielo; Mexican Folksong)
Ships Ahoy
Oregano Rock
Repertoire
Scherzo (from 24 Pieces for Children, Op. 39, No. 12) (Dmitri Kabalevsky)
Intervals within the Scale
Melodic Lines with Intervals
Seconds
The Chase (Stan Applebaum)
Thirds
Carol of the Drums ("The Little Drummer Boy") (Katherine K. Davis)
Thirds and Fourths
Saturday Smile (Lynn Freeman Olson)
Repertoire
Perpetual Motion (Elyse Mach)
Chord Inversions
Chord Inversions: Blocked and Arpeggiated
Steeplechase (Cornelius Gurlitt)
Triads on the Run
Repertoire
Hunting Horns (Theodore Oesten)
The Damper Pedal (Indirect Pedaling)
Pedal Studies
Big Ben
Twilight (Lynn Freeman Olson)
Hymn Style
In Church (Jane Smisor Bastien)
Prelude (Ludvig Schytte)
Augmented and Diminished Triads
Theme from Symphony No. 9 ("From the New World") (Antonin Dvorák)
A New Fanfare
Classic Miniatures
Study, Op. 101, No. 62 (Ferdinand Beyer)
Dance, Op. 108, No. 1 (Ludvig Schytte)
Repertoire
Etude (Cornelius Gurlitt)
Improvisation
12-Bar Blues Improvisation
Step Along Blues
Scaling the Blues
Boogie-Woogie Blues
Ostinato Accompaniment Patterns
Over Easy Blues
Step Around Blues
Blues Scale
Up and Down Blues
Conversational Blues
Creative Music and Harmonization
Sightreading Studies
Accompanied Melodies
Pedal Studies
Rhythmic Studies
Technical Studies
Finger-Extension Study (Charles-Louis Hanon)
Czerny Fingerbuilder Exercises (Carl Czerny)
Inversion Studies
Repeated-Note Studies
Ensembles
Student-Teacher Ensemble Pieces
Tranquility from On the Green Meadow (Alexander Gretchaninov)
Knock About (Ken Iversen)
Student Ensemble Pieces
Au Clair de la Lune (French)
Courante (Elsie Wells)
Worksheet Review
UNIT 10 MINOR SCALES AND OTHER SCALE FORMS
Minor Scales
Relative Major and Relative Minor Scales
Natural Minor Scale
Harmonic Minor Scale
Melodic Minor Scale
Minor Key Signatures
Relative Key Signatures
Natural Minor Scales in Tetrachord Positions
Sharp Keys
Flat Keys
Harmonic Minor Scales
Harmonic Minor Scales and Fingerings
i–iv64–I–V65–i Chord Progression
Volga Boatman (Russian)
Joshua Fought the Battle of Jericho (Spiritual)
Hatikvah (Israeli)
A Sea Shantey
Moroccan Caravan
Greensleeves (English)
Dark Eyes (Russian)
Marche Slav (Peter Ilyich Tchaikovsky)
Repertoire
Etude in A Minor (Cornelius Gurlitt)
Parallel Major and Minor Scales
Scaling Pyramids
Venetian Waltz
Repertoire
Etude (Ludvig Schytte)
Other Scale Forms (Modes)
Sakura (Japanese)
Aeolian Lullaby (Joan Hansen)
Scarborough Fair (English)
High Noon
Spanish Folk Melody
Lydian March (David Duke)
Sharp Four (Arthur Frackenpohl)
Repertoire
Shepherd Pipes (Tat'iana Salutrinskaya)
The Chromatic Scale The Chromatic Scale
Chromatic Blues
Navy Blues
Repertoire
Chromatizone Rag (Ann Collins)
Classic Miniatures
Etude, Op. 190, No. 31 (Louis Köhler)
The Village Prophet (Jean-Jacques Rousseau)
Improvisation
Melody Improvisation Using Chord Voices of a Piece
Rocker (Jeff Kowalkowski)
Creative Music and Harmonization
Sharp Four (Arthur Frackenpohl)
Sightreading Studies
Technical Studies
Finger-Extension Exercise (Charles-Louis Hanon)
Major-Minor Scale Study, Op. 261, No. 50 (Carl Czerny)
Ensembles
Student-Teacher Ensemble Pieces
Dance of the Sugar Plum Fairy from The Nutcracker Suite (Peter Ilyich Tchaikovsky)
Student Ensemble Piece
Sugarloaf Mountain (Everett Stevens)
Galop (Elsie Wells)
Worksheet Review
UNIT 11 TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES
Jazz
Hallelujah! (Martha Mier)
The Whole-Tone Scale
Morning Mist
Name That Tune
Bitonality
Pomp (Vincent Persichetti)
Two Tone (Joan Hansen)
Atonality
Barcarolle (Ross Lee Finney)
Innovative Notations
5-White-Note Clusters (Ross Lee Finney)
Seashore (Ross Lee Finney)
Winter (Ross Lee Finney)
Quartal Harmony
The Cathedral in the Snow (David Duke)
Classic Miniatures
Jumping Jacks (Op. 146, No. 5) (Dianne Goolkasian Rahbee)
Invention for Piano (Emma Lou Diemer)
Repertoire
Shades of Blue (Robert Starer)
Bitonal Improvisation
Pattern Improvisation (Jeff Kowalkowski)
Ensembles
Student Ensemble Pieces
For the Kid Next Door (Soulima Stravinsky)
Folk Dance (Dianne Goolkasian Rahbee)
Worksheet Review
UNIT 12 MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS
Melodies with Roman Numeral Chord Symbols
Letter Names of I, IV, and V7 Chords
Melodies with Letter-Name Chord Symbols
New River Train (American)
Lavender's Blue (Old English Folk Song)
Long, Long Ago (Thomas H. Bayly)
Hush, Little Baby (American)
William Tell Overture (Gioacchino Rossini)
Melodies with Roman Numeral Chord Symbols
Over the Waves (Traditional)
Aloha Oe (Queen Liliuokalani of Hawaii)
Dona Nobis Pacem (Traditional)
The Washington Post March (John Philip Sousa)
Camptown Races (Stephen Foster)
Melodies with Letter-name Chord Symbols That Include Secondary Chords ii, iii, and vi, and Augmented and Diminished Chords
Jacob's Ladder (Spiritual)
Streets of Laredo (American Cowboy Tune)
Saint Anthony Chorale (Joseph Haydn)
Take Me Out to the Ball Game (Albert von Tilzer/Jack Norworth)
Melodies with Roman Numeral Chord Symbols That Include Secondary Chords ii, iii, and vi, and Augmented and Diminished Chords
All Through the Night (Welsh)
O Mon Cher Amant from La Périchale (Jacques Offenbach)
Auld Lang Syne (Scottish)
Waltzing Matilda (Australian)
Jesu, Joy of Man's Desiring (Johann Sebastian Bach)
Famous Themes
Theme from Bridal Chorus (from Lohengrin) (Richard Wagner)
Theme from the Barber of Seville (Antonio Rossini)
Trepak (from The Nutcracker Suite) (Peter Ilyich Tchaikovsky)
Theme from Don Giovanni (La ci darem la mano) (Wolfgang Amadeus Mozart)
Theme from Symphony No. 4 K. 550 (Wolfgang Amadeus Mozart)
Musetta's Waltz (from La Boheme) (Giacomo Puccini)
La Donna È Mobile (from Rigoletto) (Giuseppe Verdi)
Für Elise (Ludwig van Beethoven)
Theme from Liebestraum (Franz Liszt)
Theme from Piano Concerto No. 2, Op. 18 (third movement) (Sergei Rachmaninoff)
Theme from Symphony No. 9 ("From the New World") (Antonin Dvorak)
Strumming Accompaniments
Dixie (Dan Emmett)
Sweet Betsy from Pike (American)
Arpeggio Accompaniments
Diminished and Augmented Triads
Even Though (Elyse Mach)
Major and Minor Seventh Chords
Somewhere My Love (Lara's Theme from Dr. Zhivago) (Maurice Jarre)
More (Theme from Mondo Cane) (Riziero Ortolani and Nino Oliviero)
Letter-Name Chord Chart
Ensemble Pieces
Nadia's Theme (from The Young and the Restless) (B. De Vorzon and P. Botkin, Jr.
Edelweiss (from The Sound of Music) (Richard Rodgers)
UNIT 13 THIRTY-ONE PIANO CLASSICS
Tambourin (Jean-Philippe Rameau)
Rondino (Jean-Philippe Rameau)
Minuet in G from the Notebook for Anna Magdalena Bach (Johann Sebastian Bach)
Allemande (Johann Hermann Schein)
Sarabande (Arcangelo Corelli)
Minuet in A Minor (Johann Krieger)
Gavotte (Johann Georg Witthauer)
Burleske (from Notebook for Wolfgang) (Leopold Mozart)
Gypsy Dance (Trio) (Franz Joseph Haydn)
Minuet in C (Wolfgang Amadeus Mozart)
Russian Folk Song (Op. 107, No. 3) (Ludwig van Beethoven)
Arabesque (Op. 100, No. 2) (Johann Burgmuller)
Melody (from 43 Piano Pieces for the Young, Op. 68) (Robert Schumann)
Night Journey (Cornelius Gurlitt)
Sonatina in C Major (first movement) (Frank Lyne)
A Pleasant Morning (Op. 3, No. 1) (Jean Louis Streabbog)
Italian Song (Peter Ilyich Tchaikovsky)
Etude in D Major (Op. 108, No. 7) (Ludvig Schytte)
The Bear (Vladimir Rebikoff)
Springtime Song (No. 2 from For Children, Vol. 1) (Béla Bartok)
Au Jardin (To the Garden) (Alexandre Tansman)
A Conversation (Op. 39, No. 7) (Dmitri Kabalevsky)
Moon Dance (No. 2 from Mountain Idylls) (Alan Hovhaness)
Evens and Odds (Robert Starer)
Autumn Is Here (William L. Gillock)
Microjazz I (Blues No. 1) (Christopher Norton)
Early Spring (George Peter Tingley)
Festive Dance (Carolyn Miller)
Razz-Ma-Tazz (Lynn Freeman Olson)
Prelude No. 7 in B Minor (Chaconne) (Robert D. Vandall)
To B or Not to B Flat (Catherine Rollin)
APPENDIX A: SCORE READING
Three-Part Texture
Four-Part Texture
Hush, Little Baby (American)
Red River Valley (American Folk Song)
Londonderry Air (O Danny Boy) (Irish Folk Tune)
Homeward Bound (Ken Iverson)
Sailing (Ken Iverson)
Hymn (Ken Iverson)
New Created World (excerpt from The Creation) (Franz Joseph Haydn)
Chorale (excerpt from Cantata No. 140) (Johann Sebastian Bach)
Hostias (excerpt from Requiem) (Wolfgang Amadeus Mozart)
Movable Clefs
The Alto Clef
Rondo (excerpt from Sextet, No. 1, Op. 18) (Johannes Brahms)
Sarabande (John Ernest Galliard)
The Tenor Clef
Long, Long Ago (Thomas Bayly)
Figured Bass
Figured Bass Symbols
Close and Open Structure
Figured Bass Symbols for Triad Inversions
Melodies with Figured Bass
Lasset Uns Den Nicht Zerteilen (excerpt from The Passion According to St. John) (Johann Sebastian Bach)
APPENDIX B: VOCAL AND INSTRUMENTAL ACCOMPANIMENTS
Camptown Races (Stephen Foster)
Oh! Susanna (Stephen Foster)
Heiden-Röslein (Rose on the Heath) (Franz Schubert)
Ich Grolle Nicht (excerpt from Die Dichterliebe, Op. 48, No. 7) (Robert Schumann)
She's Like the Swallow (Newfoundland Folk Song)
Violin Sonata, Op. 25, No. 5 (excerpt) (Ludwig van Beethoven)
Scotch Dance (excerpt) (Ludwig van Beethoven)
Wende Dich, Herr (excerpt) (Andreas Hammerschmidt)
APPENDIX C: MAJOR AND HARMONIC MINOR SCALES AND ARPEGGIOS IN TWO OCTAVES
Major Scales and Arpeggios in Two Octaves
Harmonic Minor Scales and Arpeggios in Two Octaves
APPENDIX D: THREE PATRIOTIC SONG ARRANGEMENTS
America (Henry Carey)
America the Beautiful (Katharine Lee Bates/Samuel Augustus Ward)
The Star-Spangled Banner (Francis Scott Key/John Stafford Smith)
APPENDIX E: PERFORMANCE TERMS AND SYMBOLS
Tempo Terms
Change-of-Tempo Terms
Dynamic Terms
Other Terms
Symbols and Signs
Title Index
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
Z
Composer Index
A
B
C
D
E
F
G
H
J
K
L
M
N
O
P
Q
R
S
T
V
W
Subject Index
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W

Citation preview

CONTEMPORARY CLASS PIANO

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CONTEMPORARY CLASS PIANO Eighth Edition

E LY S E M A C H Northeastern Illinois University

New York  Oxford

OXFORD UNIVERSITY PRESS 2016

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Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland  Cape Town  Dar es Salaam  Hong Kong  Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2016, 2011, 2008, 2004, 1996 by Oxford University Press, Inc. Copyright © 1996, 1991, 1988, 1982, 1976 by Harcourt Brace Jovanovich For titles covered by Section 112 of the US Higher Education Opportunity Act, please visit www.oup.com/us/he for the latest information about pricing and alternate formats. Published by Oxford University Press 198 Madison Avenue, New York, New York 10016 http://www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Mach, Elyse.  ​Contemporary class piano / Elyse Mach. — Eighth edition.  ​ ​ ​pages cm  ​ISBN 978-0-19-932620-4 (alk. paper)  ​1. Piano—Methods—Group instruction. I. Title.  ​MT222.M155 2016  ​786.2′193—dc23 2015010446

Printing number: 9 8 7 6 5 4 3 2 1 Printed in the United States of America on acid-free paper

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To my loving family

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CONTENTS Preface UNIT 1

xxix 1

KEYBOARD BASICS Keyboard Posture

2 Body 2 Wrists 2 Hands 2 Fingers 2 Eyes 3

Basic Note and Rest Values

3 Notes 3 Rests 3 Measures 3

Finger Numbers

4 4 4

Contrary Motion Parallel Motion The Keyboard

Improvisation: Pentatonic (Black-Key) Scale

6 Location of White Keys 6 Registers 6 Using Black-Key Groups to Locate White Keys 7 C-D-E Groups 7 Three-Black-Key Groups 8 F-G-A-B Groups 9 Playing by Touch 10 Playing by Ear 10

10 Accompaniments 11

Notation and Notation Symbols

12 12 13 13 14 14 15

Sharp and Flat Signs Half Steps Natural Sign Enharmonic Tones Letter Names for All Twelve Tones Whole Steps

Contents

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The Major Five-Finger Pattern

15 C Major Five-Finger Pattern 15 G Major Five-Finger Pattern 16 F Major Five-Finger Pattern 16 D Major Five-Finger Pattern 16 Ryan’s Song 17 Ode to Joy ​(Ludwig van Beethoven) 19 In Praise 20 Aura Lee ​(George Poulton) 21

Reading Notes The Staff and Clefs The Grand Staff Naming and Playing Treble and Bass Clef Notes Naming Notes and Playing Melody Patterns

22 22 22 24 24

Intervals 25 Melodic Intervals 25 Harmonic Intervals 26 Interval Studies 26 Keeping Time Meter Signatures Playing Five-Finger Melodies Using the Right Hand Playing Five-Finger Melodies Using the Left Hand

UNIT 2

27 27 27 29

Slur and Phrase Markings

30 Marching 30 Memories 31 Rock It! 32

Rhythmic Studies

33 Sakura Sunrise 34

Worksheet Review

35

PLAYING MELODIES IN OTHER POSITIONS AND MORE KEYBOARD BASICS

39

Melodies Divided between Two Hands

39

Notation Symbols Whole Rest A Jazz Waltz ​(Phillip Keveren) Tie Measure Numbers

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41 41 42 42

Contents

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Shepherd’s Song (“Pastoral” from Beethoven’s Symphony No. 6) 42 Boogie Beat 43 Love Somebody ​(Traditional) 44 Key Signature 45 Identifying Sharp Key Signatures 45 Eighth Notes and Eighth Rests 46 Feelin’ Good 47 Pagoda 48 Waltzing 49 Morning Has Broken ​(Gaelic) 50 Little River ​(German Folk Song) 52 For the Beauty of the Earth ​(Conrad Kocher) 54

Drone Bass Highlander Tune 56 French Canadian Round 57 Major Five-Finger Pattern Improvisation Using a Drone Bass Accompaniment 58 Classic Miniatures

59 59 60

The Contest ​(Cornelius Gurlitt) Two Etudes ​(Ferdinand Byer)

Repertoire 60 Surfing ​(Lee Evans) 61 Harmonization 62 Improvisation 65 Dorian Mode Improvisation 65 Dorian Accompaniment ​(Ken Iversen) 65 12-Bar Blues Improvisation 66 Start of the Blues 66 Movin’ on the White Key Blues 67 Improvisation with New Notations and Techniques 67 It’s Up to You 68 Taking A Chance 69 Sightreading Studies Adding Drone Bass Accompaniments Treble Clef Melodies for the Right Hand Bass Clef Melodies for the Left Hand Five-Finger Pattern Studies in Major Keys Rhythmic Studies

73

Technical Studies

75

Contents

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70 70 70 71 71

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Ensembles 76 Student-Teacher Ensemble Pieces 76 Land of the Silver Birch ​(Canadian) 76 Summer Breezes 78 Lyric Piece ​(Heinrich Wohlfahrt) 79 Student Ensemble Pieces 81 Rock for Two 81 Tag Along 82 Black and White 83 Morning 84

UNIT 3

Worksheet Review

85

MORE FIVE-FINGER PATTERNS

87

Playing in Different Registers

87 Stepping Up in C 88 Stepping Down in C 88

Score Reading Tempo Markings More Dynamic Markings Breezes Are Blowing ​(Luiseño Indian

89 89 89

90 91 Accidentals 91 Persian Scene 92 Sahara 93 Monday Blues 94 Dotted Quarter Notes 95 Fiesta Time 96 Repertoire 97 Shoestring Boogie 97 Damper Pedal 98 Evening Tide 99 Upbeat and Downbeat 100 On the Town ​(Ken Iversen) 100 Slurs 101 Casey Jones ​(American) 102 Ole! 103 Parallel Motion 104 Stompin! 104 Rain Chant) Melody Study ​(Béla Bartók)

68 Time

68

105 Two Studies in Time 107 Allegretto ​( Anton Diabelli) 107 Flemish Folk Song 108

Key Signatures Sharp Key Signatures Flat Key Signatures

x|

108 108 109

Contents

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♭

Key Signature Chart 110 Warm Up Study in G Major 110 The Donkey ​(American) 111 Two Etudes in A Major 113 Change of Dynamics A Sonata Theme ​(Wolfgang Amadeus Mozart) 114 Reading Study in E Major 115 Follow Me 116 Wheels 117 Contrary Motion Calypso Beat 118 Mysterious Corridors 119 Classic Miniatures Minuet ​ ( Alexander Reinagle) Melody  (Louis Köhler)

120 120

Etude in D ​(Ferdinand Beyer)

121

Repertoire

Improvisation 122 Heart of Space 122 Creative Music

123

Sightreading Studies

125 126 127 128 129 129

Melodies with Various Rhythmic Patterns Different Registers and Register Changes Slurred Notes Staccato Notes Parallel and Contrary Motion Rhythmic Studies

130

Technical Studies

132 Contrary Motion 132 Fingerbuilders 132

Ensembles 133 Student-Teacher Ensemble Pieces 133 Razzle Dazzle ​(Lee Evans) 133 Merry-Go-Round ​( Arthur Foote) 135 Student Ensemble Pieces 137 Spring ​ ( Antonio Vivaldi) 137 Folk Song ​(French) 139 Worksheet Review

140 Contents

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UNIT 4

143

MAJOR AND MINOR TRIADS Major Triads Major Triad Groups

143 144

Open Fifths

145 148

Relative Minor Keys Erie Canal ​(William Allen) Zum Gali Gali ​(Israeli) Imitation and Inversion Imitation and Inversion (Béla Bartók)

149 150 151 151 152 152

Five-Finger Studies and Triads in Major

The Minor Five-Finger Pattern

Minor Triads Five-Finger Studies and Triads in Major and Minor

Pieces Using Major and Minor Triads

153 153 Five-Finger Studies 154 Major-Minor-Major Chord Progression 158 160 Aaron’s Song ​(Aaron Pierick) 160 Pyramids Afar 162 Mostly Upward 163

Classic Miniatures Allegro ​ (Dmitri Kabalevsky) Etude in A Minor ​(Ferdinand Beyer)

164 164 164

Repertoire 165 Moonlit Sea ​(Phillip Keveren) 165 Improvisation 166 Creative Music

167

Sightreading Studies

168

Rhythmic Studies

170

Technical Studies

171 Coordination Exercises 171 Canon 172

Ensembles 172 Student-Teacher Ensemble Pieces 172 La Cinquantine ​(Gabriel Marie) 172 Prelude ​ (Heinrich Wohlfahrt) 175

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Contents

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Student Ensemble Pieces 177 Canon ​ (Johann Pachelbel) 177 Fanfare 179 Whistle Daughter ​(American Folksong) 181

UNIT 5

Worksheet Review

182

THE DOMINANT SEVENTH CHORD

187

Root Position: V 7 187 First Inversion

188

Block-Chord Accompaniment with I and V 56 190 Austrian Folk Song 191 Music Chord Symbols

192 Bells of London 192 Chilean Folksong 193 Studies in E Major 194 English Folk Song 195 Etudes in A Major 196 German Folk Song 197

♭

♭

Five-Finger Melodies with Letter Name and Roman Numeral Chord Symbols for I for V 65 Chords

197 Folk Song ​(German) 197 South American Folk Song 198 German Tune 198 Swedish Folk Song 198 Hey Lidee ​(American) 199

Classic Miniatures

199 199 200

Moving Along ​(Cornelius Gurlitt) March ​(Daniel Gottlob Türk)

Repertoire 201 Vivace ​ (Cornelius Gurlitt) 201 Improvisation 202 Pentatonic Improvisation 202 Japanese Gardens 203 Little River Call 204 Sapporo Sunset 205 Creative Music and Harmonization i and

V 56

205 205

Chords in Minor

Contents

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Sightreading Studies I and V 56 Chords in Major i and V 56 Chords in Minor

206 207 208

Rhythmic Studies

210

Technical Studies

211

Ensembles Student-Teacher Ensemble Pieces Waltz (Heinrich Wohlfahrt) Joyful Day ​(Joseph Löw) Student Ensemble Pieces Drink to Me Only with Thine Eyes ​(English) Amazing Grace ​(traditional)

UNIT 6

212 212 214 216 216 217

Worksheet Review

219

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

221

The Subdominant Chord

221 221

Root Position: The IV 46 Inversion

Cadences 226 Authentic Cadence 226 Plagal Cadence 226 Pieces with I–IV 46 –V 65 Accompaniments 227 Banks of the Ohio ​(American) 227 Beautiful Brown Eyes ​(Traditional) 228 French Folk Song 228 Jingle Bells ​(J. S. Pierpont) 229 Shall We Gather at the River ​(Robert Lowry) 230 When the Saints Go Marchin’ In ​(Traditional) 231 Composite Meter Festive Dance

♭

Exploring D Major

♭

Exploring B Major

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232 233

234 Two Studies 234 Gentle Rain 235 Melody from Op. 39 ​(Dmitri Kabalevsky) 236 237 Calisthenic Studies 237 This Land Is Your Land ​(Woody Guthrie) 238

Contents

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Exploring B Major

240 Studies in B Major 240 Zulu Farewell Song 241

Five-Finger Melodies with Letter-Name and Roman Numeral Chord Symbols for I, IV 46, and V 65 Chord Accompaniments Christmas Day Is Come ​(Traditional Irish Carol) Alleluia ​( Traditional) Git Along, Little Dogies ​(Cowboy Song) Changing Five-Finger Positions

242 242 242 243

243 Study ​ (Béla Bartók) 245 Steamroller Rock 247 Belly-Button Blues 248 Time-Clock Blues 249 Round-the-Corner Boogie 250

Classic Miniatures

251 251 251

Moving Around ​(Dmitri Kabalevsky) Dance ​(Dmitri Kabalevsky)

Repertoire 252 A Little Joke ​(Dmitri Kabalevsky) 252 Improvisation 253 12-Bar Blues 253 12-Bar Blues Pattern 253 Starting the Blues 253 Walkin’ Through Blues 255 Blue Note 255 Blue-Note Blues 256 Blues Beat 257 Rockin’ Blues 258 I–IV–V Chords in All Major Keys 259 Creative Music and Harmonization

260 260

I, IV 46, and V 65 Chords in Major Sightreading Studies IV 46,

261 262 264

V 65

I, and Chords Change of Five-Finger Position Rhythmic Studies

265

Technical Studies

266

Contents

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Ensembles 268 Student-Teacher Ensemble Pieces 268 Scherzo from Melodious Pieces, Op. 149, No. 6 ​ ( Anton Diabelli) 268 Rumba ​(Gerard Hengeveld) 270 Student Ensemble Pieces 274 Alouette ​(French) 274 Quand J’etais Chez Mon Pere ​(French) 276

UNIT 7

Worksheet Review

277

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

279

Major Scales

279

Major Scales in Tetrachord Position Sharp Keys Flat Keys

280 281 283

Major Scales and Fingerings

285 286

Major Scales with Fingerings for Both Hands Together

Scale Studies in Clusters

290

Triads on Major-Scale Degrees

292

Intervals of a Sixth, Seventh, and Eighth (Octave)

293

Extending the Five-Finger Position Moving Along ​(Cornelius Gurlitt) The Strawberry Roan ​(Cowboy Song) Simple Gifts ​(Shaker Hymn) Michael, Row the Boat Ashore ​(Spiritual) Kum Ba Ya ​(Traditional) Mary Ann ​(Calypso Song) Sixteenth Notes and Sixteenth Rests

294 295 296 297 298 299 300 301

Keep in the Middle of the Road ​ The Galway Piper ​(Irish)

302 303

Oh! Susanna ​(Stephen Foster) Round and Round ​(John Hilton) Scale Study ​(Carl Czerny) A Little Scale ​(Daniel Gottlob Türk)

303 305 306 307 308

Mexican Hat Dance ​(Traditional) Irish Washerwoman ​(Irish)

308 309 311

(African American Spiritual)

The Dotted Eighth Note

Musical Forms: AB and ABA

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Contents

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Melodies with Letter-Name Chord Symbols for I, IV 46, and V 65 Chords When I Come Back ​(German) La Cucaracha ​(Mexican) Rock of Ages ​(Thomas Hastings) A Christmas Carol ​(Bohemian) Nobody Knows the Trouble I’ve Seen ​(Spiritual)

312 312 312 313 313 313

Teasing ​(Daniel Gottlob Türk) German Dance, No. 2 ​(Joseph Haydn)

314 314 314

Classic Miniatures

Repertoire 315 German Dance ​(Ludwig van Beethoven) 315 Improvisation 316 Pentatonic Improvisation 316 Bagpiper’s Strut 317 Creative Music and Harmonization

318

Sightreading Studies

320 320 322

Melodies in Parallel Motion Accompanied Melodies Rhythmic Studies

324

Technical Studies Five-Finger Exercise ​(Charles-Louis Hanon)

325 325

Ensembles 327 Student-Teacher Ensemble Pieces 327 Sunset ​(Dennis Alexander) 327 Calico Rag ​(Dennis Alexander) 329 Student Ensemble Pieces 331 Lullaby ​(Louis Köhler) 331 She’ ll Be Comin’ Round the Mountain 332

UNIT 8

Worksheet Review

333

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

337

Broken-Chord Accompaniment Patterns Frankie and Johnny ​(Traditional) Vive La Compagnie ​(French)

337 339 341

Du, Du Liegst Mir im Herzen ​(German) My Hat, It Has Three Corners ​(German)

342 342 343

Waltz Pattern

Contents

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Arpeggio Accompaniment Patterns On Top of Old Smoky ​(Traditional) Barcarolle ​(Jacques Offenbach) Gaîté Parisienne ​(Jacques Offenbach) Alberti Bass

344 346 347 348 348

Ah, Vous Dirai-Je, Maman? (Ah, Shall I Tell You, Mama?) ​(French)

349

Syncopation 350 Etudes in Syncopated Rhythm 350 Apple Street Rag 351 The Entertainer ​(Scott Joplin) 352 The Damper Pedal

354 Direct Pedaling 354 Pedal Studies 354 The Highlands 355 Lady Moon ​(Lynn Freeman Olson) 356

Other Accompaniment Patterns Ostinato Accompaniment He’s Got the Whole World In His Hands ​(Spiritual) Drum Roll Accompaniment Battle Hymn of the Republic ​(William Steffe)

357 357 357 358 358

Scotch Dance ​(Friedrich Kuhlau) A Little Rondo ​(Daniel Gottlob Türk)

360 360 361

Classic Miniatures

Repertoire 362 Écossaise in C Major ​(Franz Schubert) 362 Improvisation 363 Pentatonic Improvisation 363 Goin’ West 364 Tango Improvisation 365 Tango Dream ​(Jeff Kowalkowski) 365 Creative Music and Harmonization

366

Sightreading Studies

368

Rhythmic Studies

370

Technical Studies

371 371 371

Fingerbuilder Exercise ​(Friedrich Wieck) Finger-Strengthening Exercise ​(Franz Liszt)

Ensembles 372 Student-Teacher Ensemble Pieces 372

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Contents

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Rondeau, from First suite, first movement ​ 372 374 378

(Jean Joseph Mouret)

Casey Jones ​(American Railroad Ballad) Student Ensemble Pieces Hello, Ma’ Baby ​(Joseph E. Howard/

378 380

Ida Emerson)

Missa Ramgoat ​(Jamaican Folk Song)

UNIT 9

Worksheet Review

382

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

385

Secondary Chords

385 385 386 387

The ii Chord (Supertonic) The iii Chord (Mediant) The vi Chord (Submediant) Every Night When the Sun Goes Down ​

389

(American)

Stars of the Heavens ​(Las estrellitas del cielo; Mexican Folksong) 390 Ships Ahoy 391 Oregano Rock 392

Repertoire 393 Scherzo (from 24 Pieces for Children, Op. 39, No. 12) ​ (Dmitri Kabalevsky) 393 Intervals within the Scale Melodic Lines with Intervals

394 396 Seconds 396 The Chase ​(Stan Applebaum) 396 Thirds 398 Carol of the Drums (“The Little Drummer Boy”) ​(Katherine K. Davis) 398 Thirds and Fourths 400 Saturday Smile ​(Lynn Freeman Olson) 400

Repertoire 401 Perpetual Motion ​(Elyse Mach) 401 Chord Inversions

402 Chord Inversions: Blocked and Arpeggiated 403 Root Position 403 First Inversion 403 Second Inversion 403 Root Position 404 Steeplechase ​ (Cornelius Gurlitt) 406 Triads on the Run 407 Contents

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Repertoire 408 Hunting Horns ​(Theodore Oesten) 408 The Damper Pedal (Indirect Pedaling)

409 Pedal Studies 409 Big Ben 410 Twilight ​ (Lynn Freeman Olson) 410

Hymn Style In Church ​(Jane Smisor Bastien) Prelude ​ (Ludvig Schytte) Augmented and Diminished Triads

412 412 414 415

Theme from Symphony No. 9 (“From the New World”) ​(Antonin Dvorˇák) 416 A New Fanfare 417 Classic Miniatures Study, Op. 101, No. 62 ​(Ferdinand Beyer) Dance, Op. 108, No. 1 ​(Ludvig Schytte)

418 418 418

Repertoire 419 Etude ​(Cornelius Gurlitt) 419 Improvisation 420 12-Bar Blues Improvisation 420 Step Along Blues 420 Scaling the Blues 421 Boogie-Woogie Blues 422 Ostinato Accompaniment Patterns 424 Over Easy Blues 426 Step Around Blues 427 Blues Scale 428 Up and Down Blues 428 Conversational Blues 429 Creative Music and Harmonization

430

Sightreading Studies

433 433 435

Accompanied Melodies Pedal Studies

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Rhythmic Studies

437

Technical Studies

439 Finger-Extension Study ​(Charles-Louis Hanon) 439 Czerny Fingerbuilder Exercises ​(Carl Czerny) 440 Inversion Studies 441 Repeated-Note Studies 442

Contents

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Ensembles 443 Student-Teacher Ensemble Pieces 443 Tranquility from On the Green Meadow ​ (Alexander Gretchaninov) 443 Knock About ​(Ken Iversen) 446 Student Ensemble Pieces 448 Au Clair de la Lune ​(French) 448 Courante ​(Elsie Wells) 450 Worksheet Review

452

UNIT 10 MINOR SCALES AND OTHER SCALE FORMS

455

Minor Scales Relative Major and Relative Minor Scales Natural Minor Scale Harmonic Minor Scale Melodic Minor Scale

455 455 456 456 456

Relative Key Signatures

457 457

Sharp Keys Flat Keys

458 458 460

Harmonic Minor Scales and Fingerings

462 462

Minor Key Signatures

Natural Minor Scales in Tetrachord Positions

Harmonic Minor Scales

i–iv 46 –I–V 65 –i Chord Progression

466 467

Volga Boatman ​(Russian) Joshua Fought the Battle of Jericho ​

(Spiritual) 468 Hatikvah ​(Israeli) 468 A Sea Shantey 469 Moroccan Caravan 470 Greensleeves ​(English) 471 Dark Eyes ​(Russian) 472 Marche Slav ​(Peter Ilyich Tchaikovsky) 473

Repertoire 474 Etude in A Minor ​(Cornelius Gurlitt) 474 Parallel Major and Minor Scales

475 Scaling Pyramids 476 Venetian Waltz 477

Contents

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Repertoire 478 Etude ​(Ludvig Schytte) 478 Other Scale Forms (Modes)

479 Sakura ​ (Japanese) 480 Aeolian Lullaby ​(Joan Hansen) 481 Scarborough Fair ​(English) 482 High Noon 483 Spanish Folk Melody 484 Lydian March ​(David Duke) 485 Sharp Four ​(Arthur Frackenpohl) 486

Repertoire 488 Shepherd Pipes  (​ Tat’iana Salutrinskaya) 488 The Chromatic Scale The Chromatic Scale 490 Chromatic Blues 491 Navy Blues 492 Repertoire 493 Chromatizone Rag ​(Ann Collins) 493 Classic Miniatures Etude, Op. 190, No. 31 ​ (Louis Köhler) The Village Prophet ​(Jean-Jacques Rousseau)

495 495 495

Improvisation 496 Melody Improvisation Using Chord Voices of a Piece 496 Rocker ​(Jeff Kowalkowski) 496 Creative Music and Harmonization Sharp Four ​(Arthur Frackenpohl)

497 500

Sightreading Studies

501

Technical Studies

506 Finger-Extension Exercise ​ (Charles-Louis Hanon)

506

Major-Minor Scale Study, Op. 261, No. 50 ​ (Carl Czerny)

507

Ensembles 508 Student-Teacher Ensemble Pieces 508

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Contents

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Dance of the Sugar Plum Fairy from The Nutcracker Suite ​ 508 510 510 513

(Peter Ilyich Tchaikovsky)

Student Ensemble Piece Sugarloaf Mountain ​(Everett Stevens) Galop ​ (Elsie Wells) Worksheet Review

515

UNIT 11 TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

519

Jazz 520 Hallelujah! ​(Martha Mier) 520 The Whole-Tone Scale

522 Morning Mist 522 Name That Tune 523

Bitonality 524 Pomp ​ ( Vincent Persichetti) 524 Two Tone ​(Joan Hansen) 526 Atonality 526 Barcarolle ​(Ross Lee Finney) 527 Innovative Notations 5-White-Note Clusters ​(Ross Lee Finney) Seashore ​(Ross Lee Finney) Winter ​ (Ross Lee Finney)

528 528 529 530

The Cathedral in the Snow ​(David Duke)

531 531

Quartal Harmony

Classic Miniatures

533 Jumping Jacks (Op. 146, No. 5) ​ 533 534

(Dianne Goolkasian Rahbee)

Invention for Piano ​(Emma Lou Diemer)

Repertoire 535 Shades of Blue ​(Robert Starer) 535 Bitonal Improvisation

537 538

Pattern Improvisation (Jeff Kowalkowski)

Contents

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Ensembles 539 Student Ensemble Pieces 539 For the Kid Next Door ​ (Soulima Stravinsky) 539 Folk Dance ​(Dianne Goolkasian Rahbee) 541 Worksheet Review

545

UNIT 12 MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS Melodies with Roman Numeral Chord Symbols

547

Letter Names of I, IV, and V 7 Chords

547

Melodies with Letter-Name Chord Symbols New River Train ​(American) Lavender’s Blue ​(Old English Folk Song) Long, Long Ago ​(Thomas H. Bayly) Hush, Little Baby ​(American) William Tell Overture ​(Gioacchino Rossini) Melodies with Roman Numeral Chord Symbols Over the Waves ​(Traditional) Aloha Oe ​(Queen Liliuokalani of Hawaii) Dona Nobis Pacem ​(Traditional) The Washington Post March ​ (John Philip Sousa)

Camptown Races ​(Stephen Foster) Melodies with Letter-name Chord Symbols That Include Secondary Chords ii, iii, and vi, and Augmented and Diminished Chords Jacob’s Ladder ​(Spiritual) Streets of Laredo ​(American Cowboy Tune) Saint Anthony Chorale ​(Joseph Haydn) Take Me Out to the Ball Game ​ (Albert von Tilzer/Jack Norworth)

Melodies with Roman Numeral Chord Symbols That Include Secondary Chords ii, iii, and vi, and Augmented and Diminished Chords All Through the Night ​(Welsh)

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547

548 549 549 550 550 551

551 551 552 552 553 553

554 554 555 555 556

557 557

Contents

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O Mon Cher Amant from La Périchale  ​(Jacques Offenbach) Auld Lang Syne ​(Scottish) Waltzing Matilda ​(Australian) Jesu, Joy of Man’s Desiring ​

557 558 558 559

(Johann Sebastian Bach)

Famous Themes

560 Theme from Bridal Chorus (from Lohengrin) ​ 560

(Richard Wagner)

Theme from the Barber of Seville ​ 560

(Antonio Rossini)

Trepak (from The Nutcracker Suite) ​ 561

(Peter Ilyich Tchaikovsky)

Theme from Don Giovanni (La ci darem la mano) ​(Wolfgang Amadeus Mozart) Theme from Symphony No. 4, K. 550 ​

561 562

(Wolfgang Amadeus Mozart)

Musetta’s Waltz (from La Bohème)  562

​(Giacomo Puccini)

La Donna È Mobile (from Rigoletto) ​ (Giuseppe Verdi)

Für Elise ​(Ludwig van Beethoven) Theme from Liebestraum ​(Franz Liszt) Theme from Piano Concerto No. 2, Op. 18 (third movement) ​(Sergei Rachmaninoff) Theme from Symphony No. 9 (“From the New World”) ​(Antonín Dvorˇák) Strumming Accompaniments

562 563 564 564 565

Dixie ​(Dan Emmett) Sweet Betsy from Pike ​(American)

565 566 567

Diminished and Augmented Triads Even Though ​(Elyse Mach)

569 569 571

Arpeggio Accompaniments

Major and Minor Seventh Chords

572 Somewhere My Love (Lara’s Theme from Dr. Zhivago) ​(Maurice Jarre) More (Theme from Mondo Cane) ​

574

(Riziero Ortolani and Nino Oliviero)

576

Letter-Name Chord Chart

577

Ensemble Pieces Nadia’s Theme (from The Young and the Restless) ​(B. De Vorzon and P. Botkin, Jr. Edelweiss (from The Sound of Music) ​

583

(Richard Rodgers)

Contents

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UNIT 13 THIRTY-ONE PIANO CLASSICS

587 Tambourin ​(Jean-Philippe Rameau) Rondino ​(Jean-Philippe Rameau) Minuet in G from the Notebook for Anna Magdalena Bach ​(Johann Sebastian Bach) Allemande ​(Johann Hermann Schein) Sarabande ​( Arcangelo Corelli) Minuet in A Minor ​(Johann Krieger) Gavotte ​(Johann Georg Witthauer) Burleske (from Notebook for Wolfgang) ​

588 589

(Leopold Mozart) Gypsy Dance (Trio) ​(Franz Joseph Haydn) Minuet in C ​(Wolfgang Amadeus Mozart) Russian Folk Song (Op. 107, No. 3)  ​(Ludwig van Beethoven) Arabesque (Op. 100, No. 2) ​ (Johann Burgmüller)

596 597 598

Melody (from 43 Piano Pieces for the Young, Op. 68) ​(Robert Schumann) Night Journey ​(Cornelius Gurlitt) Sonatina in C Major (first movement)  ​ (Frank Lyne)

590 592 593 594 595

599 600 602 603 604

A Pleasant Morning (Op. 3, No. 1)  ​ (Jean Louis Streabbog) Italian Song ​(Peter Ilyich Tchaikovsky) Etude in D Major (Op. 108, No. 7) ​(Ludvig Schytte) The Bear ​(Vladimir Rebikoff)

607 609 611 612

Springtime Song (No. 2 from For Children, Vol. 1) ​(Béla Bartók) Au Jardin (To the Garden) ​(Alexandre Tansman) A Conversation (Op. 39, No. 7) ​(Dmitri Kabalevsky) Moon Dance (No. 2 from Mountain Idylls) 

613 614 615

​( Alan Hovhaness)

Evens and Odds ​(Robert Starer) Autumn Is Here ​(William L. Gillock) Microjazz I (Blues No. 1) ​(Christopher Norton) Early Spring ​(George Peter Tingley) Festive Dance ​(Carolyn Miller) Razz-Ma-Tazz ​ (Lynn Freeman Olson) Prelude No. 7 in B Minor (Chaconne) ​ (Robert D. Vandall)

To B or Not to B Flat ​(Catherine Rollin)

APPENDIX A SCORE READING

625 628

631

Three-Part Texture

631

Four-Part Texture

636 636 637

Hush, Little Baby ​(American) Red River Valley ​(American Folk Song)

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616 617 618 619 620 622 624

Contents

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Londonderry Air (O Danny Boy) ​(Irish Folk Tune) Homeward Bound ​(Ken Iverson) Sailing ​(Ken Iverson) Hymn ​ (Ken Iverson) New Created World (excerpt from The Creation) ​

638 639 640 641 642

(Franz Joseph Haydn)

Chorale (excerpt from Cantata No. 140 ) ​ 643

(Johann Sebastian Bach)

Hostias (excerpt from Requiem) ​ 644

(Wolfgang Amadeus Mozart)

Movable Clefs The Alto Clef Rondo (excerpt from Sextet, No. 1, Op. 18) ​

648 649 650 652

(Johannes Brahms)

Sarabande ​(John Ernest Galliard) The Tenor Clef Long, Long Ago ​(Thomas Bayly) Figured Bass Figured Bass Symbols Close and Open Structure Figured Bass Symbols for Triad Inversions Melodies with Figured Bass Lasset Uns Den Nicht Zerteilen (excerpt from The Passion According to St. John) ​

APPENDIX B VOCAL AND INSTRUMENTAL ACCOMPANIMENTS

665

Camptown Races ​(Stephen Foster) Oh! Susanna ​(Stephen Foster) Heiden-Röslein (Rose on the Heath) ​

666 668 670

(Franz Schubert)

Ich Grolle Nicht (excerpt from Die Dichterliebe, Op. 48, No. 7) ​(Robert Schumann) She’s Like the Swallow ​(Newfoundland Folk Song) Violin Sonata, Op. 25, No. 5 (excerpt)  ​(Ludwig van Beethoven)

Scotch Dance (excerpt) ​(Ludwig van Beethoven) Wende Dich, Herr (excerpt) 

672 674 679 680 681

​( Andreas Hammerschmidt)

 AJOR AND HARMONIC MINOR SCALES M AND ARPEGGIOS IN TWO OCTAVES

683

Major Scales and Arpeggios in Two Octaves

684

Harmonic Minor Scales and Arpeggios in Two Octaves

690

Contents

9780199326204_Mach_TxT.indb 27

653 653 655 656 658

660

(Johann Sebastian Bach)

APPENDIX C

646 646

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APPENDIX D THREE PATRIOTIC SONG ARRANGEMENTS America ​ (Henry Carey) America the Beautiful ​(Katharine Lee Bates/ Samuel Augustus Ward)

697 698 699

The Star-Spangled Banner ​(Francis Scott Key/ John Stafford Smith)

APPENDIX E

703

PERFORMANCE TERMS AND SYMBOLS Tempo Terms Change-of-Tempo Terms Dynamic Terms Other Terms Symbols and Signs

Title Index Composer Index

707 711

Subject Index

713

700

703 703 704 704 705

ONLINE SUPPLEMENT ACCOMPANYING TRANSPOSING INSTRUMENTS English and French Horns in F Ack, Vermeland, du Sköna ​(Swedish Folk Song) Theme from Don Juan ​ (Richard Strauss) The Last Rose of Summer ​(Irish Air) Theme from New World Symphony No. 9, Opus 95 ​(Antonín Dvorˇák) Romance, Op. 36 (excerpt) ​(Camille Saint-Saëns) The Girl I Left Behind ​(Old Irish Air) The Old Castle from Pictures at an Exhibition ​ (Modest Mussorgsky)

Turn About ​(Elyse Mach) Saxophone Air (exerpt) ​(Alec Wilder/Loonis McGlohon) Clarinet in A Annie Laurie ​(Lady John Douglas Scott) Concerto in A Major for Clarinet, K. 622 (excerpts) ​ (Wolfgang Amadeus Mozart)

Clarinet and Trumpet in B

xxviii|

♭

Yankee Doodle (excerpt) ​(Traditional) Theme from Symphony No. 1 ​(Johannes Brahms) Jasmine Flowers ​(Chinese Folksong) Mountain Stream ​(Adpt. Henry Lazarus) Leonore Overture No. 3 ​(Ludwig van Beethoven) In the Gloaming ​(Annie Fortescue Harrison)

Contents

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PREFACE Contemporary Class Piano, Eighth Edition, is an introduction to the keyboard designed for college students who are enrolled in a class piano course, whether or not they are music majors and whether or not they have prior keyboard experience. It is suitable for nonpiano majors and prospective elementary teachers who must gain keyboard proficiency, for independent teachers to use in their private studios, and for any student who wishes to learn how to play the piano for the sheer fun of it. The book’s creative and multidimensional approach made earlier editions great successes in class piano courses throughout the country. Besides offering a well-rounded and abundant solo and ensemble repertoire—including classical pieces from the baroque to the contemporary period and folk, jazz, pop, and blues tunes—the book teaches students to sightread, to improvise in various styles, to harmonize folk and popular songs, and to compose simple accompanied melodies. In addition, students learn the fundamentals of theory and musical form. Practice Strategies appear in most all of the units and offer the student immediate practice and reinforcement opportunities in mastering a new concept or skill. Throughout, all materials are presented with a logical progression in difficulty. One of the greatest strengths of this text is that, for the instructor, there is a wide selection of material that will accommodate a variety of individual teaching goals and keyboard requirements. This abundance of material allows for great flexibility and enables the teacher to pick and choose—tailoring keyboard experiences in a fresh new way each time—rather than using a page-by-page approach throughout the book.

An Overview of the Eighth Edition The units in the Eighth Edition have been reorganized to make them more accessible for the classroom and to allow instructors and students to locate materials more easily. The text is now divided into thirteen units with five appendices. Unit 1 introduces keyboard basics and the five-finger position. The emphasis is on learning to play by touch, without looking down at the keys. Note reading is taught by interval study, and a multi-key approach to reading is stressed. Within this unit are opportunities to work with improvisation, and at the end of it are rhythmic studies, an ensemble piece, and written worksheet reviews. Unit 2 contains many simple pieces based on the five-finger position and the playing of melodies in other positions, along with more keyboard basics. Sections at the end of this unit and subsequent units are devoted to special repertoire pieces, Classic Miniatures drawn from the work of well-known composers, creative music and harmonization, sightreading studies, rhythmic studies, technical studies, ensembles, and written worksheet reviews—all of which reinforce techniques and skills introduced in each unit. Unit 3 contains more diversified simple pieces based on the five-finger position. A register guide appears at the beginning of every piece in this unit to help students quickly locate the correct starting position for both hands. Unit 4 focuses on five-finger studies in all major and minor keys, and their respective major and minor triads are presented, along with pieces that use these triads. |xxix

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Unit 5 introduces the dominant seventh chord and pieces that use the dominant seventh chord in their accompaniments. Unit 6 presents the subdominant chord along with pieces of varying styles that use these chords as part of their accompaniments. Pieces with changing five-finger positions are incorporated as well. Unit 7 extends the five-finger position and offers students a variety of easy pieces that use block-chord accompaniments. Unit 8 introduces pieces that are largely in extended range and use a variety of easy accompaniment patterns that are also utilized for improvisation and creative writing. Unit 9 features secondary chords and pieces that incorporate their use. Chord inversions of triads and seventh chords along with a variety of pieces that use these chords are also featured. In addition, there are a multitude of styles based on the blues scale for improvisation as well as technical exercises for developing finger agility and dexterity. Unit 10 contains minor and modal materials along with the chromatic scale. The natural minor scale is first introduced in tetrachord positions, followed by the harmonic minor scale for both hands in one octave with fingerings and visual keyboard illustrations. Unit 11 explores twentieth- and twenty-first-century music styles, and it is largely devoted to introducing students to jazz, pandiatonicism, clusters, innovative notations, and polytonal, atonal, and twelve-tone pieces and techniques. Unit 12 provides students with practice in harmonizing folk and popular melodies with various accompaniment patterns. The interpretation of letter-name chord symbols as well as roman numeral symbols is an important feature of this unit. Unit 13 is an anthology by representative composers as well as newer twentieth-century composers of repertoire pieces that vary widely in difficulty, length, and style. The compositions are presented in their original form with no changes except for fingerings and slight editing where necessary to aid the player. For students who advance quickly, these pieces will become “stretcher pieces” in the special challenge they present. In addition to the main text, there are five appendices to the book. Appendix A provides students with an introduction to score reading both three- and four-part textures. It also gives students the opportunity to read music in alto and tenor clefs. Appendix B contains a variety of vocal and instrumental accompaniments for students to play. Appendix C contains major and harmonic minor scales along with major and minor arpeggios in two octaves. Appendix D gives students easy-to-play arrangements of selected patriotic songs. Appendix E offers a list of performance terms and symbols. A new online supplement gives instruction on how to accompany transposing instruments. It helps students understand how to transpose for these instruments at the keyboard while working from standard scores. Upon completing this book, students will have built a strong foundation of keyboard skills, techniques, theory, and repertoire, and will be ready to move to the next level of keyboard study.

What’s New to This Edition? The Eighth Edition retains all the strengths of the first seven editions, and it has been enriched in numerous respects. In general, there has been more ”fine tuning” throughout the text, which includes new illustrations, more clearly defined terminology, changes of harmony, and updating of markings—hopefully, everything that can make the book

xxx|

Preface

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stronger and more effective for instructors and students to use. New features of this edition include the following: • New repertoire appears throughout the text—more diversified than ever. • New Ensembles are added in varying styles and difficulty, with emphasis on various dance styles (i.e., rumba, tango). • New Classic Miniatures sections that feature excerpts of original keyboard pieces written by master composers appear in the newly reorganized units. This new feature allows students to be introduced to a broad mix of representative classical pieces by noted earlier composers, and at the same time affords them the opportunity to have experiences playing excerpts of these pieces in the early stages of keyboard study. • Additional Creative Music and Harmonization sections are featured throughout. • Additional Worksheet Review sections are included for the expanded units. • Additional reading examples are provided throughout the text. • An attached pull-out paper keyboard has been added in the inside back cover for students to use as a practice and study aid. • A Circle of Fifths chart is strategically located on the front inside cover to make it readily available for students to consult.

T R ACK 0 0

EBSI

TE

W

Supplements

T R ACK 0 0

For the first time, the Eighth Edition makes available to both instructors and their piano students all of the repertoire orchestrations online. These recordings are available in streaming audio on the student website for the text at no additional charge: www.oup.com/us/mach. A standard MIDI file (SMF) disk is also available to adopting instructors, and has been updated to include all new repertoire that appears in the Eighth Edition. Also new to this edition are orchestrations for each of the major and harmonic minor scales and arpeggios in two octaves that are presented in Appendix C. All of the orchestrations for this text are the work of renowned composers Phillip Keveren and Jason Nyberg. Jason Nyberg has composed all of the new orchestrations for this Eighth Edition. An icon that shows the track number identifies each piece that has an accompaniment on the disks. The ultimate performance tempos are illustrated.

Acknowledgments This book could not be done without the generous help, assistance, and expertise of others. I am ever grateful to have so many special individuals to single out and thank in the preparation of this Eighth Edition. For all that it takes in the production of this book, my thanks to the team at Oxford University Press; especial thanks to John Challice, Vice President and Publisher, and to Richard Carlin, Executive Editor, for their great support, encouragement, and guidance along the way. Gracious thanks are also a must to Emily Schmid, Editorial Assistant, Claudia Dukeshire, Production Editor, and Bonni Leon-Berman, Designer. For their gifted and creative talents that they so graciously share with others, my genuine respect and gratitude to Phillip Keveren, Jason Nyberg, Ken Iversen, and Jeff

Preface

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|xxxi

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Kowalkowski, composers and arrangers, whose work is indispensable to the book; and to Bill Blomquist for his counsel and keen insight. For so thoroughly and carefully scrutinizing the manuscript and offering many refreshing new ideas and valuable suggestions that were instrumental in preparing a stronger book and this particular edition, my deep gratitude to the reviewers of this edition and previous editions of the work: Susan Chan, Portland State University; Nancy Briggs, Sierra College; Jacob Clark, South Carolina State University; Laura McDowell, Brevard College; Diane Wang, University of Mississippi; David Cartledge, Indiana University; Stephen Brown, Murray State University; Yun-Ling Hsu, Seminole State College of Florida; Gwenneth Threadgill, Troy University; and three anonymous reviewers. Finally, to my students, thanks for the fun it continues to be—the joy of making music together.

xxxii|

Preface

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UNIT 1

KEYBOARD BASICS You see my piano is for me what his frigate is to a sailor, or his horse to an Arab— more indeed: it is my very self, my mother tongue, my life. Within its seven octaves it encloses the whole range of an orchestra, and a man’s ten fingers have the power to reproduce the harmonies which are created by hundreds of performers. Franz Liszt (written in 1838) Romantic period composer, master teacher, and concert pianist

L

earning to play a keyboard instrument is an exciting adventure and challenge. Equally exciting is to know, as Liszt so aptly pointed out, that the ten fingers we use in playing this instrument have the capability of taking us on countless musical excursions of sound. Music is, after all, sound—not just some notes, signs, or terms. Playing a keyboard instrument, however, isn’t just about the fingers that strike the keys. It’s also about a strong supporting cast that is used to assist the fingers in the music-making process. For instance, the body is involved—that is, the shoulders, arms, wrists, and hands are frequently called upon to assist the player in producing the many kinds of sounds that are musically required. Even the feet get involved from time to time when one or both of them are called upon to do the pedaling. The aural facility plays a key role as well. The ears are used by the player to listen to how the musical sounds are being produced, pro­jected, and shaped, and they are essential This figure illustrates keyboard position for the body, arms, wrists, hands, to the player in determining what to do next. and flexed fingers. 

9780199326204_Mach_TxT.indb 1

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The visual aspect is also important. The eyes assist the player in reading, learning, and, often, memorizing the music. In addition, sometimes the player will have to glance down at the keys briefly to make sure that they are struck with greatest accuracy, for example, when there are large jumps from one note to another. Therefore, before starting to learn about the basics of keyboard playing, the first important step should be to learn some of the dos and don’ts about the basics of keyboard posture that include the correct use of the arms, wrists, hands, fingers, and even the eyes.

KEYBOARD POSTURE

Body • Place your body directly in front of the middle part of the keyboard where the name of the keyboard appears. • Both feet should be kept flat on the floor. • Keep your body far enough back from the keyboard so that it bends slightly forward at the waist. • Allow your arms to hang loosely and rather quietly at your sides.

Wrists • Your wrists should be level with the keys so that your hand can fall from the wrist. • Do not allow your wrists to slump below the keyboard level.

Hands • Your hands should be slightly cupped as if you were holding a bubble in each hand.

Fingers • Your fingers should be curved so that each key is struck with the ball or fleshy part of the finger. • Remember to keep your fingers flexed as you strike the keys. Flexing means not allowing the first knuckle of the finger to collapse on striking the key.

2|

Flexed (correct position)

Unflexed (incorrect position)

KEYBOARD BASICS

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Eyes • Your eyes should be on the music. Keep your eyes moving ahead! • Learn to develop a “feel” for the keys—that is, learn to play by touch.

BASIC NOTE AND REST VALUES

Notes

𝅝 = 4 beats 𝅗𝅥. = 3 beats 𝅗𝅥 = 2 beats 𝅘𝅥 = 1 beat

Whole note Dotted half note Half note Quarter note

Rests

A rest represents a silence of the same length as the value of its corresponding note. Notes Rests __𝄻_ 𝅝 __𝄼_ 𝅗𝅥

𝄽

𝅘𝅥

Whole rest

4 beats or any whole measure

Half rest

2 beats

Quarter rest

1 beat

The combination of note values and rests is called rhythm.

Measures Beats are part of a recurring pulse that continues like the ticking of a clock throughout the music. Beats are grouped together to form measures. Measures may contain two, three, four, or more beats. The beats are counted 1–2, 1–2, 1–2 or 1–2–3, 1–2–3, 1–2–3 or 1–2–3–4, 1–2–3–4, 1–2–3–4, and so on. Bar lines divide the regular beats into measures of equal duration. Double bar lines are used to indicate the end of a piece. double bar lines

measure

count:

1

2

3

4

1

2

3

4

1

2

3

4

1

2

3

4

bar lines

Basic Note and Rest Values

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FINGER NUMBERS Practice various finger-number combinations by tapping on the wood panel over the keyboard, first with each hand separately, then with both hands. Remember that the two thumbs are 1, the two index fingers are 2, the two middle fingers are 3, and so on.

3

3

4

2

4

2

5

5 1

1

LH

RH

Contrary Motion Tap various finger-number combinations where both hands use the same finger numbers. When both hands are playing the same finger numbers, the patterns will be played with both hands moving in opposite directions (contrary motion). For example: Right Hand tap 1 2 3 4 5 Left Hand tap 1 2 3 4 5

Then tap both hands together: RH 1 2 3 4 5 LH 1 2 3 4 5

Parallel Motion Tap finger-number combinations where both hands move in the same direction (parallel motion). For example: RH tap 1 1 3 3 5 5 LH tap 5 5 3 3 1 1

Then tap both hands together: RH 1 1 3 3 5 5 LH 5 5 3 3 1 1

PRACTICE STRATEGIES Tap the finger-number combinations, which will move in contrary motion, with the indicated hands and finger numbers. Contrary Motion 1

1

2

2

3

2

1

1. RH LH

1

1

2

3

4

5

4

3

2

1

1

2

2

3

2

1

1

2

3

1

2. RH LH

4| RH 3.

1

2

3

1

2

3

4

5

5

4

3

2

1

4

5

5

4

3

2

1

KEYBOARD BASICS

4

5

4

3

2

1

1

LH

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2. RH LH

1

2

3

1

2

3

4

5

5

4

3

2

1

1

2

3

4

5

5

4

3

2

1

4

1

2

3

4

5

1

3. RH LH

1

3

1

3

5

3

4

3

4

3

2

2

3

2

2

1

4. RH LH

5

1

Next, tap these finger-number combinations, which will move in parallel motion to the right-hand finger-number combinations given. Parallel Motion 4

3

2

1

5

1

2

3

4

5

5

4

3

2

1

1

2

3

2

5

4

3

4

1

5. RH LH

1

3

3

2

2

3

4

5

1

2

1

5

1

6. RH LH 5

5

3

1

4

3

3

3

4

5

1

3

5

3

5

3

5

1

1

1

5

5

5

7. RH LH 5

3

4

5

5

4

1

3

3

1

3

3

3

4

3

2

3

2

3

4

8. RH

1

LH

3

2

1

1

2

3

Finger Numbers

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THE KEYBOARD The standard piano keyboard has eighty-eight keys, but only the first seven letters of the alphabet—A, B, C, D, E, F, G—are used to name the white keys.

C D E F G A B C D E F G A B C D E F G A B C D E down (lower)

middle C

F G A B

up (higher)

Location of White Keys Practice playing the musical alphabet up and down the keyboard, saying the letter names as you play, until you are familiar with the names and locations of the white keys. Do this first with the right hand, then with the left, using whatever finger is most comfortable for you. As you move to the right, you will be playing higher tones or pitches. As you move to the left, you will be playing lower pitches.

Registers Next, play the musical alphabet in different registers—segments of the total range of the keyboard—lower register, middle register, and upper register, as in the following diagram. (Middle C is the C nearest the center of the keyboard.) Use whatever finger or fingers are comfortable to use. Use LH for keys below middle C and RH for keys above middle C.

middle C

C D E F G A B C D E F G A B C D E F G A B C D E F G A B lower register

6|

middle register

upper register

KEYBOARD BASICS

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Using Black-Key Groups to Locate White Keys Two-Black-Key Groups RH

LH 3

2

3

2

2

2

3

1. Play all the groups of two black keys on the keyboard, both upward and downward, using the RH fingers 2 3 together, first, and the LH fingers 3 2 together, next. 2. Use the right hand, beginning in the middle section of the keyboard, to play the twoblack-key groups (one key at a time) going upward and then downward on the keyboard, observing the fingerings and rhythms given.

3

2

2

3

2

2

3

RH

3

2

2

3. Use the left hand, beginning in the low section of the keyboard, to play the two-blackkey groups going up until reaching the middle section of the keyboard, and then going down, observing the fingerings and rhythms given.

LH 2

3

move up

move up

move up

3

3

move up

move up

move up

2

2

3

C D E

2

3

3

C D E

2

3

3

2

3

C D E

C-D-E Groups Notice that three white keys—C, D, E—are located around the groups of two black keys. 1. Using the groups of two black keys as reference points, play all the C’s and E’s, then all the D’s.

The Keyboard

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2. Use the right hand, beginning on middle C, to play all the C-D-E white-key groups, observing the fingerings and rhythmic patterns given. continue moving upward starting on C each time

2

1

3

3

E

E

2

2

1

1

D

C

RH

D

C

D

3

3

2

E

1

D

C

C

middle C

3. Use the left hand, beginning with the third finger on middle C, to play all the C-D-E white-key groups, observing the fingerings and rhythmic patterns given. D

C

LH

2

3

E

E

1

1

D

C

2

D

C

3

2

3

E

E

1

1

D

C

2

3 continue moving downward starting on C each time

middle C

Three-Black-Key Groups LH 4

RH

3 2

2

3 4

1. Play all the groups of three black keys on the keyboard (all three keys at once), going up and then down, first using the RH fingers 2 3 4 together, and then the LH fingers 4 3 2 together. RH 2. Use the right hand, beginning in the middle section of the keyboard, to play the three-black-key groups on the keyboard (one key at a time), going up and then down, observing the fingerings and rhythms given. 2 3 4

2

3

4

3

2 2

3

4

2 3

2

3 4

2 3

2

3

4

3

2

2

2

2

2

RH

8|

KEYBOARD BASICS

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3. Use the left hand, beginning in the low section of the keyboard, to play the three-black-key groups on the keyboard (all three keys at once), going up until reaching the middle section of the keyboard and then down again, observing the fingerings and rhythms given.

4

2

3

4

3

4

2

3

4

LH

3 2

4

3

4

3

4

LH 4

3

2

3

3 2

4

4

4

4

4

F G A B

F G A B

F G A B

F-G-A-B Groups Four white keys—F, G, A, B—are located around the groups of three black keys. Using the groups of three black keys as reference points, play all the F’s and B’s. Practice the rest of the tones in the same manner. Next, use the right hand, beginning with the thumb on F below middle C, to play all the F-G-A-B white-key groups, observing the fingerings and rhythmic patterns given. continue moving upward starting on F each time

1

RH

F

2 G

3 A

4

4

3

B

B

1

2

A

1

G

2

3 A

G

F

4

4

B

B

3

2

A

1

G

F

F

Then, use the left hand, beginning with the fourth finger on F below middle C, to play all the F-G-A-B white-key groups, observing the fingerings and rhythmic patterns given.

LH

F

4

G

3

A

2

B

B

1

1

A

2

G

3

F

4

F

4

G

3

A

2

B

B

1

1

A

2

G

3

F

4 continue moving downward starting on F each time

The Keyboard

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Playing by Touch After you have learned the keys by sight, start to locate them by touch—that is, learn to find any key without looking down. First, without looking down, play all the groups of two black keys. Next, play all the groups of three black keys. Using these black-key groupings as reference points, start picking out individual tones.

PRACTICE STRATEGIES Locate and play the following pitches. Next, using the groups of two black keys and three black keys as reference points, locate them by touch. 1. middle C 2. F above middle C 3. F below middle C 4. a low B

5. ​a high E 6. ​any D 7. ​any A 8. ​using both hands, two C’s in different registers at the same time

Playing by Ear The songs listed below can be played with just the five black keys. Challenge yourself to figure out these tunes. (Note: the starting pitch is given in parentheses.) • • • • •

Amazing Grace (D ♭) Arkansas Traveler (G ♭) Auld Lang Syne (D ♭) I’d Like to Teach the World to Sing (E♭) Merrily We Roll Along (B♭)

IMPROVISATION: PENTATONIC (BLACK-KEY) SCALE Using the pentatonic scale (a five-tone scale built on the black keys only) is an excellent way to begin improvising because there will be no wrong notes! Begin making up your own melodies. Use only the black keys. The following accompaniments will be played by the instructor. Suggested rhythms for your improvisations are given to help you get started. 1. Begin and end your melody on the key marked with an asterisk (*).

LH

RH *

M I D D L E

3

2

2

3 4

C

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KEYBOARD BASICS

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Accompaniments 1. Oriental Begin and end your melody on the key marked with an asterisk (*).

LH

RH *

M I D D L E

3

2

2

3 4

C Ken Iversen Student

suggested rhythm: Slowly

Accompaniment

2. Jazz Waltz Begin and end your melody on the key marked with an asterisk (*).

LH

RH

* M I D D L E

3

2

2

3 4

C Ken Iversen Student

Accompaniment

Improvisation: Pentatonic (Black-Key) Scale

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3. Rock Begin and end your melody on the key marked with an asterisk (*).

LH

RH

* M I D D L E

3

2

2

3 4

C Ken Iversen Student

suggested rhythm:

Lively

Accompaniment

NOTATION AND NOTATION SYMBOLS

Sharp and Flat Signs

A sharp (♯) raises a pitch one half step. A flat (♭) lowers a pitch one half step.

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KEYBOARD BASICS

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Half Steps A half step is the distance from one key to the very next key, whether it moves up or down, whether it is a black key or a white key. 12

♯

12

C

12

12

A

C

E E

A

Sharp: one key up (to the right). This can be a black key or a white key.

C D E F G A B C

E♯ and B♯ are white-key sharps.

♭

12

12

B

G

G

B

F

F

Flat: one key down (to the left). This can be a black key or a white key.

C D E F G A B C

F ♭ and C ♭ are white-key flats.

PRACTICE STRATEGIES 1. Practice playing half steps from middle C upward to the next C and then back down again. State the letter names aloud and their half-step relationships in sharps as you play them. 2. Practice playing half steps beginning on middle C downward to the next C and then back up again. Call aloud the letter names and their half-step relationships in flats as you play them.

Natural Sign

A natural sign (♮ ) cancels a sharp or flat. For example, D♯ will be lowered one half step when it becomes D ♮ to go back to its natural state. B♭ is raised one half step when it becomes B♮ so it can go up to its natural state. D

D

B

B

Notation and Notation Symbols

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Enharmonic Tones Enharmonic tones have the same pitch but are referred to by different names. For example, the black key between F and G is called either F♯ or G♭. F♯ and G♭ are enharmonic tones. G

F

F G A B What are the two names of the black key between G and A? between A and B?

Letter Names for All Twelve Tones The seven white-key pitches and the five black-key pitches make up the total of twelve tones with which our music is written.



D C C B

D

A G

G F

E D

F E

F E

G

B A C A B

PRACTICE STRATEGIES Play the following tones, and say the names aloud. Then name the pairs of tones that are enharmonic: 1. G, G♯, G ♭ 2. C, C♯, C ♭ 3. F, F♯, F ♭ 4. A, A♯, A♭ 5. D, D♯, D ♭ 6. E, E♯, E♭ 7. B, B♯, B♭

14|

KEYBOARD BASICS

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Whole Steps A whole step is a combination of two half steps. For example, E ♭ to F is a whole step, A to B is a whole step, and C♯ to D♯ is a whole step. Notice that one key is skipped in building a whole step.

1

1

1

C D

E

F

A B

Practice playing and saying whole steps up and down the keyboard.

THE MAJOR FIVE-FINGER PATTERN The major five-finger pattern (also called a major pentachord or pentascale) is arranged in the following pattern:

Tonic:

1

2 WHOLE STEP

3 WHOLE STEP

4 HALF STEP

5 WHOLE STEP

The major five-finger pattern can be constructed on any of the twelve tones. The first tone of the major five-finger pattern is referred to as the tonic. If we build the pattern on C, C is the tonic. If we build the pattern on G, G then becomes the tonic. The major five-finger pattern is the first five tones of a major scale (as discussed in Unit 7). Practice playing the five-finger patterns given, starting with the one in C, and then in G, F, and D. Play the patterns first with each hand separately ascending and descending.

C Major Five-Finger Pattern Next, play the patterns with both hands moving in parallel motion. Play all the patterns legato—that is, connect the tones so they sound as smooth as possible. middle C

5 4 3 2 1 1 1 LH

12

1

1 2 3 4 5 1 1 RH

12

1

RH 1 C 5 LH

2 D 4

3 E 3

4 F 2

5 G 1

4 F 2

The Major Five-Finger Pattern

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3 E 3

2 D 4

1 C 5

|15

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G Major Five-Finger Pattern middle C

5 4 3 2 1 1 1

1 2 3 4 5 1 1

1

12

LH

1

12

RH

RH 1 G 5 LH

2 A 4

3 B 3

5 D 1

4 C 2

4 C 2

3 B 3

2 A 4

1 G 5

F Major Five-Finger Pattern middle C

4

2 5 4 3 1 1 LH

12

5

1 2 3

1

1 1 RH

1

RH 1 F 5

12

1

2 G 4

3 A 3

5 C 1

4 B 2

4 B 2

3 A 3

2 G 4

1 F 5

LH

D Major Five-Finger Pattern middle C

3

3 5 4 LH

1 1

4 5

2 1

1 2

1

1 1 RH

12

12

1

RH 1 D 5

2 E 4

3 F 3

5 A 1

4 G 2

4 G 2

3 F 3

2 E 4

1 D 5

LH

PRACTICE STRATEGIES Build and then begin playing the major five-finger patterns on the starting tone (tonic) given. Be sure to use five different letter names in building your pattern. 1. A Major

2. ​E Major

A 16|

E

KEYBOARD BASICS

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3. G ♭ Major

4. ​D ♭ Major

G

D

Dynamics

TAKE NOTE

Dynamics are the degrees of softness and loudness in music. Common dynamic markings are the following: Sign

Italian Name

𝆏 piano 𝆐𝆏 mezzo piano 𝆐𝆑 mezzo forte 𝆑 forte

Meaning soft medium soft medium loud loud

RYAN’S SONG

Student

Elyse Mach

T R ACK 1

EBSI

TE

W

Ryan’s Song can be played using the tones of the five-finger pattern. Here is the five-finger pattern of C.

T R ACK 1

Flowing

RH 2

3

4

5

1

1

2

3

4

5

4

3

5

4

3

4

3

4

3

2

1

1

2

5

4

3

4

3

2

1

2

3

2

1

2

3

2

3

4

5

5

4

2

1

2

3

2

3

4

5

4

3

LH

The Major Five-Finger Pattern

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FIVE-FINGER NOTATION C Major Five-Finger Pattern

middle C

1 2 3 4 5

5 4 3 2 1 LH

RH

PRACTICE DIRECTIONS 1. Clap or tap the rhythm while counting the beat before playing the melody. 2. Place your hand (or hands) in the correct five-finger position. Try not to look down at the keys once you have found the correct position. 3. Do an abstract of the melody—that is, go through the finger motions of playing the music in each hand without producing any sound. As you do so, say or sing aloud the finger numbers. Next, go through it saying or singing the letter names. 4. Next, play and sing aloud the letter names of the notes. Do not stop or hesitate to find the notes. Remember to keep the beat moving!

RYAN’S SONG Play Ryan’s Song with • the right hand • the left hand, and/or • both hands together

Accompaniment Flowing

18|

KEYBOARD BASICS

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ODE TO JOY

Student

Ludwig van Beethoven (1770–1827)

T R ACK 2

EBSI

TE

W

Next, sing and play the melodies of Ode to Joy, In Praise, and Aura Lee, first with the right hand, then with the left, and finally with both hands. Use the same practice directions as given on page 17.

T R ACK 2

Majestically

RH 3

3

LH 3

3

RH 3

3

LH 3

3

4

2

4

2

5

1

5

1

5

1

5

1

4

2

4

2

3

3

3

3

2

4

2

4

1

1

5

5

1

1

5

5

2

4

2

4

3

3

3

3

3

3

2

4

2

2

4

4

1

1

5

5

ODE TO JOY Accompaniment

Arranged by Ken Iversen

Majestically

The Major Five-Finger Pattern

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5/27/15 9:24 AM

W

Student

E. M.

T R ACK 3

EBSI

TE

IN PRAISE

T R ACK 3

Reverently RH 3

3

5

2

2

3

4

5

3

3

3

1

4

4

3

2

1

3

LH

RH 5

5

5

5

4

3

2

3

2

1

1

1

1

1

2

3

4

3

4

5

LH

Accompaniment

IN PRAISE

Reverently

20|

KEYBOARD BASICS

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W

Student

Greg Poulton

Flowing 1

4

3

4

5

2

5

4

3

2

3

T R ACK 4

EBSI

TE

AURA LEE

T R ACK 4

4

RH

LH

2 5

1

2

3

2

1

4

3

4

5

2

3

2

1

4

2

1

2

3

4

5

4

3

2

3

1

2

3

4

3

3

4

RH

LH 5

4

2

Play Ryan’s Song, Ode to Joy, and In Praise in the five-finger patterns of G, F, and D.

AURA LEE Accompaniment

Arranged by Ken Iversen

Flowing

The Major Five-Finger Pattern

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READING NOTES

The Staff and Clefs A staff consists of five lines and four spaces.

A clef is added to indicate the pitches of the notes. The treble clef is placed at the beginning of the staff and is called the G clef because it circles around the second staff line, designating that line as the note G. (The right hand usually plays the notes in the treble clef, to the right of middle C.) G

(middle C)

The bass clef sign is placed at the beginning of the staff and is called the F clef because the fourth staff line is enclosed by dots, designating that line as the note F. (The left hand usually plays the notes in the bass clef, to the left of middle C.) (middle C)

F

The Grand Staff The grand staff, also called the great staff, is made up of two staves, one with a treble clef, the other with a bass clef. The short lines above and below the staff are called leger lines. Their purpose is to extend the range of the staves when necessary. The darkened notes ( 𝅘𝅥 ) are landmark notes which will help you learn the notes more quickly. In 𝄞 clef, use the C’s and G’s as landmarks.

In

22|

𝄢 clef, use the C’s and F’s as landmarks.

KEYBOARD BASICS

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middle C

C

D

E

F

G

A

B

C

D

E

F

G

C

A

D

E

F

G

A

B

C

D

E

F

G

A

B

C

B

C D E F G A B C D E F G A B C D E F G A B C D E F G A B C LH

middle C

RH

PRACTICE STRATEGIES 1. Beginning on middle C, play and name the notes in the treble clef, moving upward to the next C and then back down again. Next, beginning with C, third space in the treble clef, play and name the notes up to the next C and then back down again. 2. Beginning with C, second space in the bass clef, play and name the bass clef notes up to middle C and down again. Then, beginning with the lowest C given on the staff, play and name the notes up to the C, second space in the bass clef, and down again. 3. Using the graphic chart given below, practice playing and naming the notes in the spaces and then the notes cutting the lines in the treble clef. Follow the same procedure in the bass clef.

Reading Notes

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Naming and Playing Treble and Bass Clef Notes Name and play the following treble clef notes with the given right-hand fingerings. Notice that the circled notes are landmark notes, as discussed on p. 22. 1.

2.

1

9.

3.

4

10.

1

4.

3

11.

12.

5.

13. 3

1

2

5

4

5

6.

14.

7.

3

5

15.

4

8.

1

16. 2

1

Name and play the following bass clef notes with the given left-hand fingerings: 1.

2.

5

3.

3

9.

4.

4

10.

2

11.

1

12.

6.

1

13.

1

3

5

5.

7.

3

5

14.

2

8.

15.

2

16.

2

4

1

Naming Notes and Playing Melody Patterns Write the starting note on the line provided for each of the melody patterns. Circle the starting notes that are landmark notes (refer to p. 22). Then say the note names of each pattern as you play. 1.

 ​2.

2 __

3.

1 __

 ​4. 3 __

5.

 ​6. 4 __

24|

2 __

1 __

1 __

KEYBOARD BASICS

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7.

 ​8.

1 __

9.

2 __

10.

4 __

3 __

11. 12. 2 __

1 __

13. 14. 2 __

3 __

1 __

15. 16. 4 __

2 __

17. 18. 3 __

2 __

19. 20. 3 __

4 __

INTERVALS Good reading habits in music are developed by learning to read notes in relationship to each other—that is, recognizing the distance between notes. This is called reading by interval. An interval is the distance between two notes. For example: C to F is a fourth because, counting upward by letter name, C is 1 and F is 4.

Interval:

second

third

fourth

fifth

Melodic Intervals Melodic intervals are written and played one note following the other:

Intervals

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Harmonic Intervals Harmonic intervals are written and played together:

Harmonic intervals are also called blocked intervals.

PRACTICE STRATEGIES Practice playing the following intervals, which are given both melodically and harmonically. First, practice hands separately, and then with both hands. 1

2 1

1

3 1

4 1

5 1

5

4 5

5

3 5

2 5

1 5

Interval Studies Write the distance of each of the intervals (second, third, etc.) on the lines provided. Next, read the intervals and then play them without looking down at the keyboard as you move from one note to the next—that is, concentrate on developing a “feel” for the distance between the various intervals. A. Right-hand examples 1.

2.

2

1

6.

7.

3

26|

3.

4.

1

8.

1

5.

9.

3

1

1

10.

5

1

KEYBOARD BASICS

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B. Left-hand examples 11.

12.

5

16.

13.

5

17.

2

14.

2

4

18.

1

15.

19.

5

3

20.

3

5

KEEPING TIME

Meter Signatures At the beginning of a piece you will find a meter signature—two numbers that look something like a fraction. The top number indicates the number of beats in a measure, and the bottom number indicates the kind of note that receives one beat.



24  2 beats to the measure 44 or 𝄴  4 beats to the measure the quarter note ( 𝅘𝅥 ) the quarter note ( 𝅘𝅥 ) receives one beat

3

receives one beat

TAKE NOTE

4  3 beats to the measure the quarter note ( 𝅘𝅥 ) receives one beat

Tempo Tempo is the rate of movement or speed. Note values are always relative, depending on the tempo. For example, a quarter note would be held longer in a slow tempo than it would in a fast tempo.

Playing Five-Finger Melodies Using the Right Hand PRACTICE DIRECTIONS 1. 2. 3. 4. 5. 6.

Clap or tap the rhythm while counting the beat aloud. Place your hand in the correct five-finger position. Try not to look down at the keys. Study the interval patterns of the melody. Abstract the melody (finger motions but no sound). Play and count aloud. Play and sing aloud the note names. Remember to keep the beat moving! Keeping Time

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Write the name of the starting note on the given line below it. 1. Steadily 1

___ count:

1

2

3

4

2. Joyfully

3rd

3

___ count:

1

2

3

4

3. Gently 3

___ count:

1

2

1

2

4. 4th

Flowing 5

___ count:

1

2

1

2

5. Gracefully

5th

3

___ count:

28|

1

2

3

1

2

3

KEYBOARD BASICS

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Playing Five-Finger Melodies Using the Left Hand Follow the same practice directions as given on page 27. Write the name of the starting note on the given line below it. 1. Steadily

5 ___

count:

1

2

3

4

1

2

3

4

2. Flowing

1 ___

count:

1 2 3

4

1

2

3

4

3. Steadily

3

___ count:

1

2

1

2

4. Lively

5

___ count:

1

2

3

1

2

3

5. With spirit

1

___ count:

1

2

3

1

2

3

Keeping Time

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SLUR AND PHRASE MARKINGS A slur is a curved line which appears above or below a group of notes. A short curved line is usually called a slur marking*, and means that the notes within that curved line are to be played legato (smoothly connected). A longer curved line (usually four measures in length) indicates phrasing. A phrase is a musical sentence that is usually four or eight measures in length. The end of each phrase is a place of punctuation, and your fingers should be lifted off the keys so that there is a slight break. Be sure you do not interrupt the rhythmic flow of the music when you are phrasing.

MARCHING

Student

E. M.

T R ACK 5

EBSI

TE

W

Marching, Memories, and Rock It! use alternating hands—first one hand plays, then the other.

T R ACK 5

Marchlike 1

2

MARCHING Accompaniment

Arr. by Ken Iversen

Marchlike

*Slurs are discussed further on page 101–102.

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KEYBOARD BASICS

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W

Student

E. M.

Remembering

2

T R ACK 6

EBSI

TE

MEMORIES

T R ACK 6

5

5

MEMORIES Accompaniment

E. M.

Remembering

Slur and Phrase Markings

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5/27/15 9:24 AM

W

Student

E. M.

T R ACK 7

EBSI

TE

ROCK IT!

T R ACK 7

With energy 2

1 2

1 3

ROCK IT! Accompaniment

Arranged by Ken Iversen

With energy Introduction

32|

KEYBOARD BASICS

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RHYTHMIC STUDIES Tap and count the various rhythmic patterns that follow. The RH taps the notes with stems going up. The LH taps the notes with stems going down. First tap each hand separately and then with both hands together. Next, play rhythms on a selected pitch for the right hand, and a selected pitch for the left one. 1.

2.

3. RH LH

4. RH LH

5. RH LH

Rhythmic Studies

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ENSEMBLE PIECE Select your choice of register as you play each of the parts given.

SAKURA SUNRISE Student

E. M.

Peacefully 2

3 4

3

2

3

Piano 1 Piano RH 1 RH Piano 1 RH Piano 2 Piano LH 2 LH Piano 2 LH

2 2 2

4 4 4

3 3 3

Piano 3 Piano LH 3 LH Piano 3 LH

3 3 3

2

2

3 3 3

4 4 4

2 2 2

2 2 2

4 4 4

3 3 3

3 3 3

2 2 2

2 2 2

3 3 3

3 3 3

3

3

4

2

4 4 4

3 3 3

4 4 4

2 2 2

2 2 2

3 3 3

3 3 3

3

4

2

3

2 2 2

3 3 3

3 3 3

4

3

4

2

1

2 3

3

3

2

3

3

3

2

2

3

2

3

SAKURA SUNRISE Accompaniment

E. M.

Peacefully

34|

KEYBOARD BASICS

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UNI T 1  ​W ORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER 1. Name the checked pitches:

2. Name the treble clef notes on the lines provided below them: 1)

—

2)

3)

—

4)

—

5)

—

6)

—

7)

—

8)

—

—

9)

10)

—

—

3. Name the bass clef notes on the lines provided below them: 1)

—

2)

3)

—

4)

—

5)

—

6)

—

7)

—

8)

—

—

9)

10)

—

—

4. Name the following melodic intervals and write the letter names on the blanks below. Note names:

3

——

Interval size:

Note names:

——

——

——

Interval size:

——

—— ——

4

——

——

—— ——

——

——

—— ——

——

——

—— ——

——

——

—— ——

——

——

—— ——

——

——

——

© Oxford University Press

|35

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CONSTRUCTION 5. Create and write out four measures of rhythm for the following time signatures:

6. Construct harmonic intervals up from the notes given; next, write the letter names on the blanks below. 1)

2)

3rd

4th

3)

2nd

4)

5)

5th

4th

6)

5th

7. Construct harmonic intervals down from the notes given; next, write the letter names on the blanks below. 1)

2nd

2)

5th

3)

2nd

4)

5)

3rd

5th

6)

4th

8. Write out the letter names for the following major five-finger patterns: 1. ​ G Major ___ ___ ___ ___ ___

4. ​ F Major ___ ___ ___ ___ ___

2. ​ D Major ___ ___ ___ ___ ___

5. ​ G Major ___ ___ ___ ___ ___

3. ​ A Major ___ ___ ___ ___ ___

♭

9. Build half steps upward from the note names given: 1. ​E to _________

♭

2. ​F♯ to _________

3. ​E to _________

1. ​C to _________

3. ​E to _________

2. ​F to _________

4. ​B to _________

5. ​C to _________

4. ​B to _________

10. Build whole steps up from the note names given:

♯

♭

5. ​E to _________

© Oxford University Press

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MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A

COLUMN B

♮

1. natural sign ( )

_____ rate of speed

2. interval

_____ common time

𝆏

3. piano ( )

_____ basic pulsation

4. meter

5. contrary motion

_____ arrangement of note values ____ _____

6. tempo

_____ the distance from one note to another

7. whole step

_____ moving in the same direction

8. half rest

_____ a combination of two half steps

9. parallel motion

_____ three beats to a measure with the quarter note receiving one beat

𝄴

𝄻𝄻

10.

_____ moving in the opposite direction

11. whole rest

_____ smoothly connected

𝅘𝅥

12. quarter note ( ) _____ 13. legato

𝆑 15. sharp ( ♯ ) 16. flat ( ♭)

_____ a note receiving one beat

14. forte ( )

17. rhythm

𝄻𝄻

____

_____ raises a pitch one half step _____ C to C

♯

_____ cancels a sharp or flat

𝆐𝆑 )

_____ locates the F below the middle of the keyboard

18. mezzo forte (

_____ lowers a pitch one half step

3 20. 4

_____ play loud

19. half step

_____ locates the G above the middle of the keyboard

21. leger lines 22. treble clef sign

23. bass clef sign

𝄞

𝄢

_____ play soft _____ used to extend the range of the grand staff _____ play moderately loud

© Oxford University Press

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UNIT 2

PLAYING MELODIES IN OTHER POSITIONS AND MORE KEYBOARD BASICS

I

n this unit, we will introduce playing melodies in two hands, expand our knowl edge of basic notation and expressive terminology, and learn about the drone bass  accompaniment.

MELODIES DIVIDED BETWEEN TWO HANDS In the next three examples, the melody is divided between the two hands. Let the starting tone and finger number be your guide in placing your hands in the correct positions. 1. With vigor 1

1

1

1

Melodies Divided between Two Hands

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2. Gently 1

!

Š ð ]\ Ý

!

Š½

Ł

Ł

3

Ł

Ł

ð

ð

ÿ

ÿ ¼

Ýð

Ł

ÿ

Ł

ð

ð ÿ

Ł

½

Ł

Ł

1

Ł

1

½ Ł

Ł

Ð ÿ Ð ÿ

3. Playfully

3

5

1

1

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NOTATION SYMBOLS

Whole Rest

4 The whole rest (__𝄻_) is used to indicate a full measure of silence in any meter, not just in 4. In A Jazz Waltz the value of the whole rest is three beats. W

Student

Phillip Keveren

3 4

Carefree

43

1

2

T R ACK 8

EBSI

TE

A JAZZ WALTZ

T R ACK 8

1

2

4

4

A JAZZ WALTZ Accompaniment Carefree

Phillip Keveren = 126 (

)

Permission granted by Phillip Keveren.

Notation Symbols

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Tie A tie is a curved line connecting two adjacent notes of the same pitch. The second note is not sounded; instead, it is held for the duration of its value. For example, the tied F in measure 7 is held for the combined value of both notes, which is six beats in all. Where is there another tie?

Measure Numbers Measure numbers are indicated above a score in a small box.

SHEPHERD’S SONG 

(“Pastoral” from Symphony No. 6)

Student

Ludwig van Beethoven

T R ACK 9

EBSI

TE

W

9 identifies the ninth measure of the piece. The boxed number □

T R ACK 9

Flowing 3

1

4

9 4

3

3

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SHEPHERD’S SONG 

(“Pastoral” from Symphony No. 6)

Accompaniment RH

Arranged by E. M.

Flowing

LH

9

Student

W

E. M.

T R ACK 10

EBSI

TE

BOOGIE BEAT

T R ACK 10

Driving 2

4

2

9

BOOGIE BEAT Accompaniment

E. M.

Driving

9

Notation Symbols

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LOVE SOMEBODY FIVE-FINGER NOTATION Love Somebody uses the five-finger pattern in G:

middle C

G Major Five-Finger Pattern

1 2 3 4 5

5 4 3 2 1

RH

Student

Traditional

²0 Š 0

Cheerfully

! !

ÿ

]\ Ł Ł ݲ0 Ł Ł 0 5

²

Š Ł Ł Ł Ł ][ Ł Ł ݲ Ł Ł

44|

ÿ Ł Ł ð Ł Ł ð Ł Ł ð

Ł Ł Ł Ł 1

ÿ Ł Ł Ł Ł Ł Ł Ł Ł

T R ACK 11

EBSI

TE

W

LH

T R ACK 11

Ł Ł ð ÿ Ł Ł ð Ł Ł ð

Playing Melodies in Other Positions and More Keyboard Basics

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LOVE SOMEBODY Accompaniment

Arranged by E. M.

Key Signature

Š

²

Since Love Somebody uses the five-finger pattern constructed on G, we can say that it is written in the key of G. G is our tonic or key note. The key signature appears after the clef signs and indicates the notes that should be played as sharps or flats throughout a piece—that is, the key signature helps to indicate the key of a piece.

Identifying Sharp Key Signatures Major keys using sharp key signatures can be identified by taking the last sharp, in this case F♯ , then moving up one half step higher to the next letter name, which would be G.

Š

²

F²

Š

²Ð

G

Note that although the F ♯ is not used in the five-finger pattern of G, the F♯ must be written after the clef signs to indicate the key of G. All F’s are to be played as F♯. It is necessary to use an F ♯ in the key of G because with the introduction of the major scales on page 279, the five-finger pattern is extended to eight tones, and these tones must conform to a specific pattern of whole steps and half steps. The G major scale is given below to illustrate where the F♯ is used. G Major Scale

Ð ²Ð Ð Ð Ð Ð Ð Š Ð ²

Notation Symbols

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Now play this piece in the key of F major. Playing a piece in a different key (a different five-finger pattern) is called transposition. You are transposing this piece into the key of F major. Play it in the key of D major, also, and other keys of your choice.

Eighth Notes and Eighth Rests An eighth note (𝅘𝅥𝅮) receives one half of one beat if the meter signature has the quarter note receiving one beat. An eighth rest (𝄾 ) represents a silence the same length as the value of the eighth note. Two eighth notes are equal to one quarter note and should be played evenly in one beat. When two eighth notes are paired together, a beam is used. beam

=

or

= 1

+

Practice counting the eighth notes like this:

ŁŁŁŁŁ 1

+

2

+

3

Ł

+

4

+

Once you are able to feel the beat divided into two equal parts, count as follows:

Ł Ł Ł Ł Ł Ł 1

2

3

4

Practice clapping and counting the rhythm that appears in Feelin’ Good. After you have studied the rhythmic and melodic patterns, play it in the key in which it is written. What five-finger pattern is used? Try playing this piece in various other keys, always starting with the fifth tone of each five-finger pattern.

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Playing Melodies in Other Positions and More Keyboard Basics

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W

Student

E. M. Lively

! !

² ð Š  [ ݲ 5

ð ÿ

²Ł Ł Ł Ł Ł Ł Š ݲ

Ł Ł Ł Ł Ł Ł

ðý ½

¼ ¼

Ł Ł 3

ÿ

½

Ł Ł Ł Ł

ðý

T R ACK 12

EBSI

TE

FEELIN’ GOOD

T R ACK 12

¼ Ł Ł

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ð Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ð FEELIN’ GOOD

Accompaniment

Arranged by Ken Iversen

Notation Symbols

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PAGODA

Student

E. M.

² ¼ Ł Š 00 ½ \ ݲ0 Ł Ł Ł ¼ 0 Quietly

! !

2

ݲ

ÿ

½

¼ Ł

Ł Ł Ł

¼

¼ Ł

Ł Ł Ł

ÿ

3

² Š Ł Ł Ł Ł Ł

½

Ł Ł Ł Ł Ł

Ł Ł ½

T R ACK 13

EBSI

TE

W

After you have studied the rhythmic and melodic patterns of this piece, play Pagoda as written and in other keys of your choice. For variety play this piece one octave higher than written.

T R ACK 13

Ð

¼

½

ÿ ÿ

Ł Ł Ł Ð

PAGODA Accompaniment

E. M.

Quietly

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WALTZING FIVE-FINGER NOTATION After you have studied the rhythmic and melodic patterns in Waltzing, play it in the key of F major. The five-finger pattern follows:

middle C F Major Five-Finger Pattern

2 5 4 3

4 5

1 2 3

1

RH

LH

Student

E. M. Gracefully

!

Š − /0

!

Š− ¼

Ý−/ ð 0 ][

ÿ Ł

3

Ý− ð

ý

ŁŁ ŁŁ

5 3

¼ ðý ¼ ðý

ŁŁ \

ŁŁ

ÿ ð

ŁŁ ŁŁ Ł

ŁŁ

ŁŁ

¼ Ł

ðð

ðý

Notation Symbols

9780199326204_Mach_TxT.indb 49

T R ACK 14

ðý

ÿ Ł

5 4

¼

Ł

T R ACK 14

EBSI

TE

W

The in the key signature establishes the key of F major. Play the piece in various other keys as well, always starting with the third finger of the left hand. Bring out the left-hand melody while keeping the right-hand accompaniment in the background.

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WALTZING Accompaniment

Arranged by E. M.

Gracefully

Student Flowing

!

Š − /0

ÿ

4

]\ Ý−/ Ł Ł Ł 0 Š − ðý

Ý− ÿ 17

!

ðý

ðý

ÿ

ÿ

5

9

!

ÿ Ł Ł Ł

¼ ¼ ðý

Š− ÿ

ÿ

ÿ

Ý − ðý

ðý

Ł Ł Ł

50|

W

Gaelic Arranged by E. M.

Ł Ł Ł

ðý

ÿ

Ł

]\ ðý Ł Ł Ł

\

ðý

ÿ

ðý ÿ

Ł Ł Ł

ÿ

ÿ

ðý

ÿ

ðý

ÿ

T R ACK 15

ðý

ðý

ÿ

ÿ

ÿ

¼

Ł Ł Ł

ðý

Ł

\

EBSI

TE

MORNING HAS BROKEN

T R ACK 15

ðý

ÿ

ÿ Ł Ł Ł Ł

ðý

ÿ

Playing Melodies in Other Positions and More Keyboard Basics

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MORNING HAS BROKEN Accompaniment

Gaelic Arranged by E. M.

Flowing

7

13

19

Notation Symbols

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LITTLE RIVER FIVE-FINGER NOTATION Play Little River and For the Beauty of the Earth in the key of D, which has two sharps in the key signature. The five-finger pattern of D is shown below:

middle C

D Major Five-Finger Pattern

3

3 5 4

1 2

2 1

4 5

RH

LH

♯

♯

Student

German Folk Song Lively

! !

² Š ²

1

ŁŁŁŁŁ Ł ][ Ý ²²  ÿ ²² Š

Ł Ł Ł Ł Ł Ł \ Ý ²² ÿ

Ł Ł Ł Ł ÿ Ł Ł Ł Ł ÿ

ÿ

]\ ŁŁŁŁŁ Ł 5

1

Ł Ł Ł Ł Ł Ł [ Ł Ł Ł Ł Ł Ł 5

T R ACK 16

EBSI

TE

W

The key signature in the key of D major is two sharps; F and C .

T R ACK 16

ÿ ŁŁŁŁð Ł Ł Ł Ł ð rit.

Ł Ł Ł Ł ð

Transpose to F major.

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TAKE NOTE

Ritardando (rit.) is a term indicating a gradual slowing of the tempo.

LITTLE RIVER First play this piece as written. Then move both hands to the next D pattern one octave higher.

Accompaniment

Arranged by E. M.

Lively

rit.

Notation Symbols

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Student

W

Conrad Kocher (1786–1872) Arranged by E. M.

T R ACK 17

EBSI

TE

FOR THE BEAUTY OF THE EARTH

T R ACK 17

Piano 1

²² 0 ½ Š 0 Ł Ł ]\ Ł Ł Ý ²² 0 Ł ½ 0 Stately

!

2

Ł Ł ð ÿ

1

² Š ²½

ÿ Ł Ł Ł Ł

!

Ł Ł Ł

Ý ²²

²² Š Ł

!

][ Ý ²²

ÿ

Ł Ł ð ÿ

ÿ

Ł Ł Ł Ł

ÿ

9

Ł Ł Ł

ÿ

Ł Ł ð

½

Ł Ł ð

3

5

Ł Ł

ÿ

½

¼ Ł

Ł Ł ð

Ł Ł ð

Ł Ł Ł ¼ [

Ð

ÿ

ÿ

Piano 2

² Š ² 00 Ł Ł Ł Ł Ł Ł Ł ð ]\ ²² Š Ł Ł Ł Ł Ł Ł Ł ð Stately

2

ð

Ł Ł

Ł Ł ð

ð

Ł Ł

Ł Ł ð

5

² Š ²Ł Ł Ł Ł ][ 9

54|

Ł Ł ð

Ł Ł Ł Ł [

Ł Ł ð

Ð

Playing Melodies in Other Positions and More Keyboard Basics

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FOR THE BEAUTY OF THE EARTH Accompaniment

Conrad Kocher (1786–1872) Arranged by E. M.

Stately

5

9

DRONE BASS A drone bass is an accompaniment that repeatedly uses the interval of a fifth. It is effective with many tunes. To construct a drone bass, take the lowest tone (tonic) and the highest tone of the five-finger pattern you are working in and sound them together with the left hand on the first beat of each measure, or as indicated in the music. Five-Finger Pattern of C

ÝÐ Ð Ð Ð Ð 5

1

Drone Bass

Ý ÐÐ 1 5

Highlander Tune and French Canadian Round use a drone bass accompaniment.

Drone Bass

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Student

W

E. M.

T R ACK 18

EBSI

TE

HIGHLANDER TUNE

T R ACK 18

Spirited 1

!

Š Ł Ł Ł Ł ][ Ý  ÐÐ

!

ŠŁ Ł Ł Ł

ÐÐ

1 5

Ý ÐÐ

Ł Ł Ł Ł

Ł Ł Ł Ł Ł

Ł Ł Ł ð ÐÐ

ÐÐ Ł Ł Ł Ł Ł ÐÐ

Ł Ł ð ÐÐ

Ł Ł ð ÐÐ

Transpose to G major.

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TAKE NOTE

A round is a melody that is played with each new person (or group) starting the melody at specific times indicated.

FRENCH CANADIAN ROUND French Canadian Round uses a drone bass in the left hand, using the first and fifth tones of the five-finger pattern in F. After you have studied and played this piece as written, play it as a round. The Piano 1 group begins and then the Piano 2 group will start when the first group has reached measure 3. This piece can be repeated as many times as desired.

Student 1 In march time

2

!

Š − 00 Ł Ł Ł Ł ][ Ý − 0 ÐÐ 0

!

Š− Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð

1

1 5

Ý − ÐÐ

Ł Ł Ł ð ÐÐ

ÐÐ

Ł Ł Ł Ł

Ł Ł Ł ð

Ł Ł ð

Ł Ł ð

ÐÐ

ÐÐ

ÐÐ

ÐÐ

Transpose to D major.

Drone Bass

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Major Five-Finger Pattern Improvisation Using a Drone Bass Accompaniment Improvise major five-finger pattern melodies using the rhythm patterns given on this page. The left hand will use a drone bass accompaniment on the first beat of each measure. 1. Improvise a melody, using the right hand first, then the left hand, then both hands. Be sure to end each example on the tonic. Occasional pitches have been provided to give you some help with the melody. 2. Improvise your own five-finger pattern melodies, using other rhythms discussed in this unit. 3. Harmonize the improvised five-finger pattern melodies, using the rhythm patterns given. Then harmonize your own five-finger pattern melodies with new rhythms, using a drone bass accompaniment. 1. Key of G G

00 ð Ð

ð

(Ð)

ð

ð

Ð

(Ð)

Ł

Ł

Ð

(Ð)

A

Ł

Ł

G

ð

ð

Ð

(Ð)

2.

/0 ð

Ł

D

Ł

Ł

Ł

ð

Ł

ðý

D

3. Key of F

.0 Ł

Ł

F

Ł

Ł

Ł

Ł

Ł

Ł

Ł

Ł

Ł

Ł

Ł Ł Ł Ł

ðý

A

4.

/0 Ł

Ł

A

5. Key of G♭

00 ðý − G

58|

Ł Ł

Ł ðý

Ł

Ł Ł

G

Ł

Ł

Ł

D−

Ð

Playing Melodies in Other Positions and More Keyboard Basics

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CLASSIC MINIATURES

Cornelius Gurlitt (1820–1901)

W

from 18 Short Pieces, Op. 136, No. 3 T R ACK 19

EBSI

TE

THE CONTEST 

T R ACK 19

(Classic Miniatures continue on the next page)

Classic Miniatures

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W

EBSI

TE

TWO ETUDES No. 12 Ferdinand Beyer (1803–1863)

T R ACK 2 0

W T R ACK 21

EBSI

TE

No. 13

T R ACK 2 0

T R ACK 21

REPERTOIRE As discussed at the beginning of this unit, melodies are sometimes divided between the two hands. Let the starting tone and finger number be your guide in placing your hands in the correct positions. The arrow indicating where middle C is located in the left hand pattern will also serve as a guide.

²

Hand positions:

!

Š

ÿ

1

2

3

4

Ł Ł Ł Ł Ł 1

Ł Ł Ł Ł Ł ݲ LH

60|

RH

middle C

5

2

3

4

5

ÿ

Playing Melodies in Other Positions and More Keyboard Basics

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W

Student

Lee Evans

T R ACK 2 2

EBSI

TE

SURFING

T R ACK 2 2

Relaxed

!

² Š /0 ð ý \ ݲ/ ¼ Ł Ł 0 3

²

Š Ł

Ł

ݲ 11

!

ðý

Ł Ł Ł

¼

3

6

!

ðý

Ł

ÿ

²

Š ðý ݲ

Ł

Ł

ÿ 3

ðý

ðý ÿ

Ł

ÿ

Ł Ł 3

1

ðý

Ł Ł Ł

Ł Ł ÿ Ł

Ł

Ł Ł Ł

ÿ ÿ

4

ðý

ðý

Ł

1

ðý

¼ Ł Ł

ÿ

2

ðý ð

ðý Ł

ðý

Surfing by Lee Evans. Copyright © 1984 by Piedmont Music Company. This arrangement Copyright © 2010 by Piedmont Music Company. International Copyright Secured. All Rights Reserved. Reprinted by permission of Hal Leonard Corporation.

Repertoire

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SURFING Accompaniment Relaxed RH LH

3

2

1

5

6

5

1

11

1

4

4

3

2

1

4

5

1

HARMONIZATION Harmonize the following melodies using harmonic intervals of a fifth in each measure where marked with a short line ( ____ ). Use the notated example in the first measure as your guide. Write in the fifth for each measure where it is required. Notice that sometimes the left hand will be playing the fifth and at other times the right hand will be playing the fifth. 1.

! !

Not fast

Š 00 ¼ Ł Ł Ł ]\ Ý 0 ÐÐ 0 3

¼ Ł Ł Ł

¼ Ł Ł Ł

Ł Ł Ł

¼ Ł Ł Ł

¼ Ł Ł Ł

1 5

5 1

Š ÐÐ ][ ݼ Ł Ł Ł

62|

3

¼

¼

Ł ð

Playing Melodies in Other Positions and More Keyboard Basics

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2.

! !

²0 Ł Ł Ł Š 0¼ \ ݲ0 Ð 0Ð

Ł Ł Ł Ł

¼ Ł Ł Ł

Ł Ł ð

Ł Ł Ł Ł

Ł Ł Ł Ł

Ł Ł ð

ŁŁ

ÿ

Leisurely 3

1 5

²

Š ¼ Ł Ł Ł

ÐÐ

ݲ

3.

ÿ

Gracefully

! !

Š − /0

]\ Ý−/ Ł 0

ÿ

Š− Ý− Ł

Ł

Ł

5

Ł

¼

Ł

ðý ¼

ðý

ŁŁ

Ł 5 4

ŁŁ ¼

Ł

Ł ¼

Ł

¼

Ł

¼

ðý ¼

ðý

Harmonization

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4. Smoothly

!

² Š ² .0 Ł Ł Ł Ł \ Ý ²² . 0 ðð ²² Š Ł Ł Ł Ł 3

1 5

!

Ł Ł Ł

Ł Ł Ł

Ł Ł Ł Ł

ðð Ł

Ł

Ł

Ł

Ł

Ł

ð

Ý ²²

64|

Playing Melodies in Other Positions and More Keyboard Basics

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IMPROVISATION

Dorian Mode Improvisation Improvise melodies using only the white keys. All sounds will blend! The pattern of whole steps and half steps formed by the white keys from D to D is the scale of the Dorian mode. Begin and end your melody on D.

DORIAN ACCOMPANIMENT Ken Iversen Dorian

!

Š 00 ¼ Ł Ł ¹Ł ][  Ý0 0ð 6

!

ŠÐ ¼ ŁŁ ŁŁŁ ¼ ŁŁ ŁŁŁ Ð ŁŁ ŁŁ Ł Ł Ł Ł ¹ Ł Ł ¹ Ł Ł ¼ ¼ ¼ ¼ ¼ ¼  Ý Ł Ł Ł ð Ł Ł ð ð Ł Ł ð Ł ðð ÐÐ  Š¼ Ł Ł Ł Ł Ł Ð ð Ð ðð Ł Ł ¹ Ł Ł ¼ ¼ Ł ¼ Ł ð  ðð ÐÐ Ý  ðð ð Ð Ł Ł ð Ł ð Ł ð

11

!

¼ ŁŁ ŁŁŁ ¼ ŁŁ ŁŁŁ Ð ŁŁŁ Ð ŁŁ ¼ ŁŁ Ł ŁŁ ŁŁ ¹ Ł Ł ¹ŁŁ ¼ ¼ ¼ ¼ ¼  ¼ Ł Ł Ł Ł Ł ð Ł Ł ð Ł Ł ð Ł ð

1.

2.

¼ ŁŁ ŁŁŁ ¹ Ł Ł ¼ ð

Ł ŁŁ ¼ ½ Ł ŁŁ Ł ¼ ½

Improvisation

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Ł

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12-Bar Blues Improvisation Using the Pentatonic Scale

START OF THE BLUES ♭ ♭

♭

The 12-bar blues form is so called because it always consists of twelve four-beat measures. Playing the black keys E , A , and B with your left hand, as illustrated below, begin Start of the Blues. Do not stop or slow down when you change notes—keep the beat moving!



E 5

 

A B 2 1

LH E−

Ý −− − − 0 −− 0 Ð

Ð

5

A−

Ð

Ð

Ý −− − − −− Ð

Ð

Ý −− − − Ð −−

Ð

Ð

Ð

Ð

Ð

2

B− 1

As soon as you have mastered this left-hand pattern, add the right hand and begin improvising on the black keys. Remember that it is impossible to play a wrong note! Let your right hand move freely on the black keys and be sure to keep the beat moving. If at first you have difficulty working with both hands, play various black-key patterns in quarter notes with the right hand until you feel comfortable enough to experiment with rhythmic patterns using other note values. Several rhythmic patterns are shown next to get you started. Try them and then add some of your own.

00 ð Ł Ł 00 Ł Ł Ł Ł Ł 66|

00 Ł Ł Ł Ł Ł Ł 00 Ł Ł Ł Ł Ł Ł Ł Ł

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Using Dorian Mode

MOVIN’ ON THE WHITE KEY BLUES Following the same procedure described in the preceding paragraph, practice improvising blues in the Dorian mode to Movin’ on the White Key Blues. Here is the left-hand pattern:

D 5

G A 2 1

LH

Ý0 0Ð D

Ð

5

Ý

G

Ð 2

Ý

1

Ð

Ð

Ð

Ð

Ð

Ð

Ð

A

Ð

Ð

Improvisation with New Notations and Techniques Some twentieth-century music uses clusters, which are sounds constructed of bunched seconds, such as all the tones of a five-finger pattern played simultaneously. Although clusters can be notated traditionally, a new notation consisting of stemmed, block-like figures is frequently used. The pitch of a cluster is determined by its position on the staff, as shown below:

blocked clusters (played simultaneously)

(Ł Ł Ł Ł Ł)

(Ł Ł Ł Ł Ł)

77777

Š

7

ð

( ðððð)

777777

Š

broken clusters (the notes are played in the direction of the arrow)

Sometimes composers use nonstandard sounds in their music and invent notations to suit their own purpose. For instance, the tapping of a spoon on a glass might be notated as   or & & , or a gradually slowing tempo as . Frequently, the composer will simply give verbal instructions within a specific measure, such as “strike a wooden board,” “hum in a high register,” and so forth.

Ł Ł Ł Ł Ł

Ł

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Another sound that produces a special effect is the glissando, a sweeping sound that is used in both traditional and innovative pieces. This sound is produced by pulling one or more fingernails—usually the nail of the third finger—over the keys. The usual notation s. is 77g7l7i7s7777 .

IT’S UP TO YOU 44

It’s Up to You uses the notations we have just discussed. Observe that every measure is in , and should be played in strict time, with no change of tempo. Play individual tones, harmonic intervals, clusters, and other sounds according to the written directions and rhythmic patterns provided. For example:     means to play two half notes, while means to play a half-note cluster followed by two quarter-note clusters. Throughout, the exact pitches are up to you! Following the directions given, improvise using the white keys only the first time you play the piece. Next, improvise with the black keys only. Work with the right or left hand only, then use alternating hands, and finally, use both hands together wherever possible. You might also play this as an improvisational ensemble piece.

half-note quarter-note cluster clusters

00 ð

use intervals of a fifth

ðð

68|

𝅗𝅥𝅗𝅥

ð

ðð

’’ ’’

’’ ’’

’’ ’’

knock on wood



  

use lower register



use upper register

Ł Ł Ł Ł Ł

Ł

Ł

ð

77777777g7li77s7777777 s.

Ł

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TAKING A CHANCE The composers of aleatoric (chance) music use the element of chance in creating a piece. For example, pitches and intervals may be determined by the numbers obtained from rolled dice. Aleatoric music also allows the performer to improvise freely or to select an arbitrary arrangement of patterns, as in Taking a Chance. Play the numbered segments of Taking a Chance in any order you like. Remember to keep the beat moving! Improvise your own aleatoric segment in the two-measure blank (number 8). Use any of the contemporary techniques discussed so far. Each time you play Taking a Chance it will sound like a different piece.

1.

Š 00 Ł Ł Ł Ł Ł Ł Ł ð !Ý 00 Ł Ł Ł Ł Ł Ł Ł ð 1

5

2.

Š 00      77777777777 !Ý      ÿ 00 s.

glis

3.

Š 00 Ł Ł Ł Ł !Ý ÿ 00 4.

3

Š 00 !Ý 00 ½

ð 2

5

Š 00 !Ý 00

1

6.

Š 00 !Ý 00 7.

ð

5

ÿ

silence

ÿ

¼ ŁŁ ¼ ŁŁ ŁŁ ¼ ŁŁ ¼ 3 2

3 4

Š 00 Ł Ł Ł Ł Ł Ł ð !Ý Ł Ł Ł Ł Ł ð 00 Ł 3

3

8.

½ ð

ÿ

5.

Ð

Š 00 !Ý 00

Create your own chance segment here.

Improvisation

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SIGHTREADING STUDIES

Adding Drone Bass Accompaniments For each of the following exercises, review the practice directions discussed earlier on page 27. After you have completed these practice exercises, transpose exercises of your choice to various other keys studied so far. Then, harmonize Exercises 1 through 9 with a drone bass accompaniment by taking the tonic and the interval of a fifth in the five-finger pattern you are working in and playing them together on the first beat of each measure. Treble Clef Melodies for the Right Hand 1. Key of C Smoothly

Š 00 ð ð ð ð Ł Ł Ł Ł ð ð ð ð ð ð Ł Ł Ł Ł ð ð \ ]\Ð Ð 1

( Ð)

( Ð)

2. Flowing

Š 00 Ł Ł Ł Ł Ł Ł ð ð ð ð ð Ł Ł Ł Ł Ł Ł ð Ł Ł Ł Ł Ł Ł ð ][ ]\ 3

3. Key of G Cheerfully

² Š /0 Ł Ł Ł Ł Ł Ł Ł Ł Ł ðý Ł Ł Ł Ł Ł Ł ð Ł ð ý [ ][ 5

4. Key of F Majestically

Š − .0 Ł Ł ]\ 1

Ł Ł

Ł Ł

ð

Ł Ł ][

Ł Ł

Ł Ł

ð

5. Key of D Gliding

² Š ² 0/ Ł Ł Ł ð Ł Ł Ł Ł ðý Ł Ł Ł ð Ł Ł Ł Ł ðý ]\ \ 3

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Bass Clef Melodies for the Left Hand 6. Key of C Steadily

Ð

(Ð)

Ð

(Ð)

Ý0 ð ð ð ð Ł Ł Ł Ł Ł Ł ð ð ð ð ð Ł Ł Ł Ł ð ð 0 [ ][ 5

7. Key of G

Ł Ł Ł Ł Ł ðý Ł Ł Ł Ł Ł Ł Ł Ł ðý ݲ/ Ł Ł Ł ¼ ¼ 0 ][ ]\ Gracefully

5

8. Key of F

Ý−0 ð Ł Ł ð ð ð Ł Ł Ł Ł ð ð Ł Ł ð Ł Ł Ł Ł Ł Ł ð ½ 0 ]\ \ Smoothly

3

9. Key of D

Ý ²² . Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð 0 ]\ ][ With energy

5

Five-Finger Pattern Studies in Major Keys

Determine what key each of the following examples is written in. 1. Marchlike

!

ÿ ÿ ÿ ÿ Š 00 Ł Ł Ł Ł Ł Ł ð Ł Ł Ł ŁŁŁ ð \ Ý0 ÿ ÿ ŁŁŁŁ ð ð ÿ ÿ ŁŁŁŁ Ð 0 1

1

Sightreading Studies

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2. Cheerfully

! !

² Š 00 Ł Ł Ł Ł ]\ ݲ0 ÿ 0

Ł Ł ð

3

Š

²

][ Ł Ł Ł ݲ Ł

Ł Ł ð

ÿ

Ł Ł Ł Ł

ÿ

ÿ

2

ÿ

ÿ

Ł Ł ð

ÿ

Ł Ł ð

ÿ

Ł Ł ð

3. With energy

!

Š − 00 ð ][ Ý−0 0

!

Š−ð

Ł

Ý−

ÿ

1

72|

Ł

ð

ðý

ÿ

ÿ ðð

ÿ Ł

Ł

ÿ

ŁŁ ŁŁ

1 2

ðð

1 3

ðý ÿ

ðð

ÿ ðð

ŁŁ ŁŁ

ÿ ÐÐ

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4. Lightly

! !

² Š ² .0 Ł Ł Ł Ł ]\ Ý ²² . ÿ 0

ÿ

5

²² Š

Ł Ł Ł Ł 2

ÿ

Ł Ł Ł Ł

Ý ²² Ł Ł Ł Ł

Ł

ÿ

ÿ

Ł Ł

Ł

ÿ

Ł Ł Ł

ÿ

ÿ Ł

Ł Ł Ł

RHYTHMIC STUDIES Tap and count the following rhythmic patterns with both hands as given. When clapping these patterns, start with a comfortable speed for the quarter pulse. Repeat the pattern at a slower tempo and then at a faster tempo. In addition, incorporate dynamic contrasts (𝆑, 𝆏, 𝆐𝆑, 𝆐𝆏). Then tap them out using various finger-number combinations. For example, Exercise 1 might be tapped out in the following manner: 2

3

3

/0 Ł Łÿ Ł ðýÿ

RH 1

Ex:

LH

RH

1.

/0 Ł Łÿ Ł ðýÿ LH

RH

2.

/0 ðý ÿ LH

ð ýÿ

3

2

2

2

Ł Łÿ Ł ðÿý

Ł Ł Ł ÿ Ł Ł ¼ Ł ð ÿý Ł ÿ Ł ¼ Ł ¼

Ł Łÿ Ł ðÿý

Ł Łÿ Ł Ł Łÿ Ł Ł ¼Ł Ł ð ÿý ¼ ¼

1

2

3

Ł Łÿ Ł

3

ð ýÿ

1

3

ðýÿ

2

ð ýÿ

1

2

ð ÿŁ

Rhythmic Studies

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1

ð ýÿ

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/0 ð ÿ Ł Ł Łÿ Ł ð ÿ Ł Ł Łÿ Ł Ł Łÿ Ł Ł Łÿ Ł ð½ ¼Ł ðýÿ RH

3.

LH

00 Ł½ Ł Ł½ Ł Ł Łÿ ð Ł Łÿ Ł Ł ð ÿ ½ ½Ł Ł Ł½ Ł Ł Łÿ ð ð ÿŁ Ł Ðÿ RH

4.

LH

ðÿ

RH

.0 ð ÿ

5.

LH

Ł ÿŁ

ðÿ

Ł ÿŁ

Ł ÿŁ

Ł¼ Ł ¼

ðÿ

00 ŁŁ ŁŁ ŁŁ ŁŁ ðð ðð ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ðð ½½ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ¼ ŁŁ ¼ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ÐÐ ¼ ¼ RH

6.

LH

ÿ 00 Ł ŁÿŁ Ł ð ÿ ð Ł Łÿ Ł Ł Ł Łÿ Ł Ł Ł ŁŁŁ ÿ Ł Ł ŁŁŁ Ł ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ðð ðð RH

7.

LH

.0 Ł ÿŁ Ł Ł ÿŁ Ł Łð Ł Ł Ł Łð Ł Ł ÿŁ Ł Ł ÿŁ Ł ŁŁ Ł ŁŁ Ł ðð RH

8.

LH

.0 Ł Ł ÿŁ Ł Ł ÿŁ Ł Ł ÿŁ Ł Ł Łÿ Ł Ł Ł ÿ Ł Ł ÿ Ł ŁŁ ŁŁ Ł ¼Ł Ł ¼ RH

9.

LH

.0 Ł ÿŁ Ł Ł Łÿ Ł Ł Łÿ Ł Ł Ł ÿ Ł Ł ¼Ł Ł Ł Ł ¼Ł ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ¼ ¼ RH

10.

LH

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TECHNICAL STUDIES Practice Examples 1, 2, and 3 in the various keys studied so far. 1. Parallel motion Steadily

!

Š 00 Ł Ł Ł Ł [ Ý0 Ł Ł Ł Ł 0 1

Ł Ł Ł Ł

Ł Ł Ł Ł

Ł Ł Ł Ł

5

Ł Ł Ł Ł

Ð Ð

2. Contrary motion Steadily

!

Š 00 Ł Ł Ł Ł [ Ý0 Ł Ł Ł Ł 0 5

Ł Ł Ł Ł

Ł Ł Ł Ł Ł Ł Ł Ł

5

Ł Ł Ł Ł

Ð Ð

3. Melodic seconds Steadily

!

Š 00 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ð ][ Ý0 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ð 0 1

2

5

4

3

2

3

4

Play this pattern as written, starting on C. Using only white keys, shift the same pattern upward as you begin on D. Continue in new locations until the LH reaches middle C. Then work your way down an octave. 4. Marchlike

!

ÿ

1

Š Ł Ł ð ][ Ý ÿ

Ł Ł ð 5

5 1

ÐÐ ÐÐ 1 5

ÿ

1

Ł Ł ð ÿ

Ł Ł ð 5

Technical Studies

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ÐÐ ÐÐ

etc.

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ENSEMBLES

Student-Teacher Ensemble Pieces The repeat bar indicates that the piece should be repeated from the beginning or from wherever there is another repeat bar. Hand positions:

Š−

!

middle RH 1 C

ÿ

Ý− Ł Ł Ł Ł Ł 5

LH

4

3

2

1

2

3

4

𝄆𝄇

5

Ł Ł Ł Ł Ł ÿ

LAND OF THE SILVER BIRCH Play one octave higher than written with both hands the second time.

Canadian Arranged by E. M. Gently 5

1

Student

Accompaniment

5

Student 1

1

Accompaniment

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9

Student

5

Accompaniment

13

Student 1

5

Accompaniment

Ensembles

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SUMMER BREEZES* E. M. Singing 3

Student

2

Accompaniment

Student

Accompaniment

*The student part may be played one octave higher than written if so desired.

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TAKE NOTE

Da Capo al Fine means to return to the beginning of the piece and play to the measure where the word Fine (It., “end”) appears.

LYRIC PIECE 

from The Children’s Musical Friend, Op. 87, No. 27

Both hands should be played two octaves higher than written throughout when using one piano.

Student

Heinrich Wohlfahrt (1797–1883)

Slowly

!

3

Š ð \ Ý ð 3

ð

ð

Ł

ð

Ł

ð

Ł

ð

ð

ð

Ł Ł

ð

ð

ð

Ł

Ł

Ł

5

!

Š ð Ý ð 9

!

2

Šð ][ Ýð 4

Fine

Ł

Ł

ð

Ł

ð

Ł

ð

ð

Ł

ð

ð

Ł

ð

ð

ð



ð

ð

Ð

ð

Ð

Ł

ð

ð

Ð

Ł

ð

ð

Ð

rit.



13

!

ŠŁ

Ł

ÝŁ

Ł

Ł

Ł

Ł Ł

Ł

Ł

Ł

Ł

Ł

Ł

Ł Ł

D.C. al Fine

ð

ð

ð

Ð

ð

Ð Ensembles

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LYRIC PIECE 

from The Children’s Musical Friend, Op. 87, No. 27

Accompaniment

Heinrich Wohlfahrt (1797–1883)

Slowly

5

3

1

3

5

1

5

1

5

4 1

Fine

rit.

5

9

5

5

3

1

13

5 4 2

4

80|

2

4

2

1

D.C. al Fine

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Student Ensemble Pieces

ROCK FOR TWO E. M. Forcefully

Piano 1

Piano 2

1

2

! !

2

ð

Š Ł Ł Ł Ł [ Ý Ł Ł Ł Ł

ð

4

5

Š ð ][ Ý ð

ð

Ł Ł Ł Ł

ð

Ł Ł Ł Ł

ð

1

ð

!

ŠŁ Ł Ł Ł ÝŁ Ł Ł Ł

ð

!

Šð

Ł Ł Ł Ł

Ýð

ð ð

ð

ð ð

Ł Ł Ł Ł

Ł ŁŁŁ Ł Ł ŁŁŁ Ł ð

ð

ð

ð

Ð Ð Ł ŁŁŁ Ł Ł ŁŁŁ Ł

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł

Ł Ł

Ł Ł Ł Ł

Ensembles

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Ð Ð Ð Ð

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TAG ALONG E. M. Cheerfully

Piano 1

Piano 2

1

2

! !

Š 00 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ][ Ý0 ŁŁŁŁŁ Ł ŁŁŁŁŁ Ł ŁŁŁŁŁ Ł ŁŁŁŁŁ Ł 0 1

5

Š 00 ð \ Ý0 ð 0 1

5

!

Šð \ Ýð

!

ŠŁ ][ ÝŁ

82|

ð

ð

ð

ð

ð

ð

ð

ð

ŁŁŁŁ Ł ŁŁŁŁ Ł

ð ð ð ð

ŁŁŁŁŁ Ł ŁŁŁŁŁ Ł

ð

ð

ð

ð ð ð

ð ð

ŁŁŁŁŁ Ł ŁŁŁŁŁ Ł

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð Ł Ł ð ŁŁŁŁð ŁŁŁŁð

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BLACK AND WHITE Piano 1: White-key cluster—use C-D-E played together. Piano 2: Black-key cluster—use G ♭ -A ♭ -B♭ played together.

E. M.

With energy

Piano 1

!

00 [ 00

Š count:

Ý

4 3 2

1

  2

2 3 4

stamp feet 3 4

 

’ ¼ ’ ¼   ½

’ ’’½ 1

2

+

snap fingers

3

4

’ ’’½

’ ¼ ’ ¼   ½

white-key clusters only throughout

Piano 2

!

− Š − −−−− 00  

4 3 2

[

snap fingers 1 2 3

count:

Ý −− − − 0   −− 0

2 3 4

¼ ’ ¼ ’

½ 4

1

½

2

3

4

½

’ ’ ½ ¼ ¼

black-key clusters only throughout use upper register

1

2

! !

Š Ý

’’¼ ’’¼ ’’¼ ’’¼

− Š − −−−− ¼ Ý −− − − ¼ −−

½ fists on white keys

ÿ

’’¼ ’’ ½ ’’ ’’ ½ ¼

fists on black keys

’’’’’’’’ ’’’’’’’’ ’’’’’’’’ ’’’’’’’’

let arms rest on white keys

let arms rest on black keys

use lower register

Ensembles

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MORNING* E. M. Gently

² Ł Ł Ł Ł ð Ł Ł Ł Ł ŁŁ Ł Ł ð Ł Ł Ł Ł Ł Ł ð Ł ŁŁŁ ŁŁ Ł Ł ð Piano 1 Š 0 Ł Ł 0 ][ ]\ 3

² Łð ŁŁŁ Ł Ł Ł ð ð ð Ł Ł Ł Piano 2 Š 0 Ł Ł Ł Ł Ł Ł ð Ł Ł Ł 0 ]\ \ 1

² Š 00 ½ ðð ½ ðð ðð ]\ 5 1

Piano 3

ð ð ð ŁŁ ð ݲ0 Piano 4 0 ]\

ðð ð

3

Piano 6

ð ð

Ł Ł Ł Ł ð Ł Ł Ł Ł ŁŁ Ł Ł ð Ł Ł Ł Ł Ł Ł ð Ł ŁŁŁ ŁŁ Ł Ł ð

ݲ0 ð ½ ð ½ ð 0ð ð ð ]\ 1 5

ð ð ð ð ð ŁŁ ð ð

½ ðð

\

1

ŁŁ ² Ý 00 Piano 5 ][

½ ŁŁ ŁŁ ½ ðð ½ ðð ðð ðð \

ŁŁð

]\

ðð

ðð ½ ðð ½ ðð ½ ðð ðð \

ðð ðð

*Two parts can be played at one piano if so desired.

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UNI T 2  ​W ORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER 1. Write out the letter names for the following major five-finger patterns: 1. ​G Major

♭ 3. ​F♯ Major

2. ​D Major

♭ F ♯

____ ​____ ​____ ​____

D ____ ​____ ​____ ​____ ____ ​____ ​____ ​____

4. ​E Major

E

5. ​G Major

G ____ ​____ ​____ ​____

♭

CONSTRUCTION

44 34 4 34

G

♭

____ ​____ ​____ ​____

2. Create and write out four measures of rhythm, making each measure different, for the following time signatures. Be sure to use some eighth notes in each of your examples.

© Oxford University Press

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MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A 1. cluster

COLUMN B _____ ​a melody that is played with each voice starting the melody at specific times

2. ritardando

_____ ​a group of bunched seconds sounded together

3. key note

_____  repeat bars

4. key signature

_____ ​uses the element of chance in creating a piece

5. eighth note

_____  a sweeping sound over the keys

6. eighth rest

_____ pattern of whole steps and half steps formed by the white keys from D to D

7. beam

_____  a gradual slowing of the tempo

𝄾

8. tie _____  9. drone bass

_____ ​a line that joins two eighth notes

10. transposition

_____ ​an accompaniment that repeatedly uses the interval of a fifth

11. Dorian mode

_____ ​connecting two adjacent notes of the same pitch with a curved line; the second note is held for the duration of its value

12. glissando

_____ ​playing a piece in a different key

13. aleatoric music

_____ ​help to indicate the key of a piece

𝄇

14.

_____ ​the tonic

15. round

_____ ​

𝅘𝅥𝅮

© Oxford University Press

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UNIT 3

MORE FIVE-FINGER PATTERNS

PLAYING IN DIFFERENT REGISTERS A register guide, like the one at the beginning of Stepping Up in C, will be used in Units 3 through 6 to help you find the starting notes for both hands. It shows the location of middle C, the C an octave higher, and the C an octave lower. Play the five-finger pattern up the keyboard in C, as shown below. Next, transpose the five-finger pattern to other keys of your choice.

Playing in Different Registers

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5/27/15 9:25 AM

W

Student

E. M.

register guide Steadily

!

Ł

Ł Ł

Š 00

][

ÿ

ÿ

ÿ

1

Ý0 ŁŁ ð Ł¼ Ł Ł ¼ 0 ŁŁŁŁ ð Ł

1

ÿ

5

LH middle C

T R ACK 2 3

ŁŁ ð Ł Ł Ł ¼ ŁŁŁŁ ð Ł¼

RH

ÿ

T R ACK 2 3

EBSI

TE

STEPPING UP IN C

ÿ

ÿ

ÿ

5

STEPPING UP IN C Accompaniment

E. M.

Steadily 2 2 1

Now play the five-finger pattern down the keyboard, following the same procedure.

Student

W

E. M. Steadily RH

T R ACK 24

EBSI

TE

STEPPING DOWN IN C

T R ACK 24

Ł Ł Š0 ŁŁŁ ð Ł¼ Ł ÿ ÿ ÿ ŁŁŁ ð Ł¼ ÿ 0 Ł ]\ ÿ ÿ ÿ ÿ ŁŁŁŁ ð Ł¼ Ł Ý 00 ŁŁŁŁ ð Ł¼ 5

!

5

LH

1

1

STEPPING DOWN IN C Accompaniment

E. M.

Steadily 2 2 1

88|

MORE FIVE-FINGER PATTERNS

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PRACTICE STRATEGIES Practice playing the following patterns in the various registers. First play the patterns in the key given and then transpose them to the keys of G and D major. 1. 3. 5 1

Š /0 Ł Ł Ł ðð ¼ 1

3 1

Š 00 Ł Ł Ł Ł ÐÐ 5

2. 4.

Ý 0 Ł Ł Ł Ł ðð ½ 0 5

1 5

Ý 0 Ł Ł Ł Ł ðð ½ 0 1

1 3

SCORE READING

Tempo Markings Tempo, as discussed earlier on page 27, is the rate of movement or speed. Tempo markings indicate how fast or slow the music is to be played. Several basic tempo markings that will be used for some of the pieces ahead are given below: Allegro

fast; lively

Allegretto

moderately fast

Moderato moderately Andante

at a walking pace; moving along

More Dynamic Markings

𝆑𝆑 𝆏𝆏

fortissimo

very loud

pianissimo

very soft

Score Reading

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5/27/15 9:25 AM

TAKE NOTE

Notation Symbol

𝄐

A fermata ( ) is used to sustain a note longer than the indicated time value.

BREEZES ARE BLOWING

Luiseño Indian Rain Chant Moderato

Ł Ł Ł Ł Š Ł Ł Ł \ ÿ Ł Ý 4

! !

ÿ

Š

Ł Ł Ł Ł Ł Ý

90|

ŁŁŁŁŁ Ł ÿ ÿ

Ł Ł Ł Ł Ł Ł

1

4

ŁŁŁ Ł Ł ÿ

Ł Ł Ł Ł Ł \\Ð 4

T R ACK 2 5

EBSI

TE

W

Breezes Are Blowing is written in Dorian mode (as discussed earlier on page 65), which is made up of the pattern of whole steps and half steps formed by the white keys from D to D. The Dorian mode can be constructed by starting on any pitch as long as the pattern of whole steps and half steps remains the same.

T R ACK 2 5

ŁŁŁŁŁ Ł ÿ

Ł Ł Ł Ł Ł Łq Ðq

rit.

1

MORE FIVE-FINGER PATTERNS

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MELODY STUDY 

(No. 1 from First Term at the Piano)

PRACTICE DIRECTIONS 1. Tap the rhythmic patterns of Melody Study with both hands. 2. Identify the direction of the melody by calling out (i.e., C–Up–Up–Up–Down– Down–Down, etc.) while tapping the rhythm patterns.

Béla Bartók (1881–1945)

! !

Ł Ł ð Ł Ł ð ð Ł Ł 0 Š0 Ł [ Ł Ý 00 Ł Ł Ł Ł ð Ł Ł ð ð 1

Ł Ł Ł Ł ð Ł Ł ð ð

5

Ł Ł ð

Ł Ł Ł Ł

Ð

ð

Ł Ł

Ł Ł ð

Ð

ÝŁ Ł ð

Ł Ł Ł Ł

Ð

ð

Ł Ł

Ł Ł ð

Ð

Š

T R ACK 2 6

Ł Ł Ł Ł ð Ł Ł ð ð

Moderato

Ł

T R ACK 2 6

EBSI

TE

W

3. Play the piece as written.

Transpose to other keys of your choice.

ACCIDENTALS

Accidentals—sharps (♯ ), flats ( ♭), and naturals ( ♮ )—are temporarily added to the body of a piece to alter the pitches. Unlike the sharps or flats in a key signature, these signs are cancelled by the bar lines. Besides using the accidental of D ♭, Persian Scene utilizes the treble clef ( 𝄞 ) for both staves to avoid the use of a large number of leger lines. Why is the register guide in this piece different from the one previously used?

Accidentals

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5/27/15 9:25 AM

W

E. M.

Ł Ł

!

Ł Ł

count:

middle C

!

Š

Andante

Ł Ł Ł −Ł . Š0 ]\ Š .0 ðð

middle C

Ł

5

1

+

3

2

2

+

Ł 1

Ł

Ł

Ł

Ł ðð

Š ðð

+

2

ðð

1 5

−Ł Ł Ł Ł

Ł +

Ł

T R ACK 2 7

Ł

etc.

ðð −Ł

T R ACK 2 7

EBSI

TE

PERSIAN SCENE

Ł −Ł ðð

ðð Ł

Ł

ð ðð

TAKE NOTE

Transpose to the key of G major.

92|

When 8va appears below a note or chord, play it an octave lower than written. When the octave sign 8va appears above a note or chord, play it an octave higher than written.

MORE FIVE-FINGER PATTERNS

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W

Student

E. M.

T R ACK 2 8

EBSI

TE

SAHARA

T R ACK 2 8

Moderato 5

2

5

5

rit.

SAHARA Accompaniment

Arranged by E. M.

Moderato

5

rit.

Accidentals

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5/27/15 9:25 AM

MONDAY BLUES

♮

Student

E. M.

T R ACK 2 9

EBSI

TE

W

A natural sign ( ) is frequently used as a reminder in the measure following a temporary sharp or flat, as in the right-hand part of measure 2 in Monday Blues.

T R ACK 2 9

Andante

Š 00 Ł Ł ²Ł Ł Ł ][ ÿ Ł Ý 00

!

Ł

!

Š

1

4

4

½

Ł ²Ł

5

5

Ł

2

Ð

ð

¦Ð

Ł

()

2

−Ð

ÿ

ð

½

ÿ

ÝŁ

Ł Ł Ł Ł

¦Ð

()

3

Ł

½

ð Ł −Ł 3

ð

½

½

ð

In the following version of Monday Blues, the piece has been transposed to the key of F major, with the left-hand part moved to the lower register. Note the key signature of one flat. Andante

Š − 00 Ł Ł ¦ Ł Ł Ł ][ ÿ Ł Ý − 00

! !

94|

−Ð

()

½

Ł Ł ¦Ł Ł 5

2

4

½

ÿ

Š− Ý−

4

1

Ł

−Ð

()

2

ð 5

ð

Ł Ł Ł Ł

−Ð

ÿ

½

Ð

3

ð

Ł Ł Ł −Ł 3

ð

ð ½ ½

MORE FIVE-FINGER PATTERNS

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MONDAY BLUES Accompaniment

E. M.

Andante

1 5

DOTTED QUARTER NOTES A dot placed after a note increases its value by one-half: A dotted quarter note is equal to a quarter note plus an eighth note. =

or

=

1½ beats

(

)

plus

𝄽 𝄽 𝄾 ) represents a silence of the same length as the value

A dotted quarter rest ( . or of a dotted quarter note. Study the rhythmic pattern count as you clap:

that appears below. Isolate this pattern and

or 1

+

2

+

3

+

PRACTICE STRATEGIES Clap or tap the following rhythm patterns, which use dotted quarter note patterns.

1.

2.

/0 Ł

Ł

 00 Ł ý Ł Ł Ł 1 + 2 +

3.

3

+

4

1

+

.0 Ł ý 1

9780199326204_Mach_TxT.indb 95

+

2

+

+

+

2

+

+

ð

3 + 4 +

 Ł

2

 Ł Ł 3

+

Ł

1

+

Ł

Ł

Ł Ł Ł Ł Ł Ł 2

+

Łý

ðý

Ł

 Łý Ł Ł Ł

Ł Ł ð

 00 Ł Ł Ł ý Ł ð 1

4.

Łý

Ł

 Ł

ð

ð

Ł Ł ð ð

Dotted Quarter Notes

|95

5/27/15 9:25 AM

00 Ł Ł Ł ý Ł ð

3.

1

+

.0 Ł ý

4.

1

2

+

+

 Ł

Ł

+

1

Ł Ł Ł Ł Ł Ł

+

2

Ł

Ł Ł ð

 Ł

Łý

+

 Ł

Łý

¼

TAKE NOTE

5.

3 + 4 +

2

.0 Ł

ð

Ł

Ł

ð Ł

¼

Staccato notes are marked with a dot above or below each note. They should be played very crisply and in a detached way. Staccato is the opposite of legato (smooth and connected). An accent ( emphasis.

𝅻 𝅘𝅥𝅻 or • ) is a sign placed under or over a note to indicate stress or

FIESTA TIME After you have studied the dotted-quarter-note rhythm patterns, play Fiesta Time. Note that the bass clef ( ) is used for both staves. W

Student

E. M.

middle C

!

Łl

Allegretto

Ł Ł

Ý−/ 0

Ł Ł

Ý−/ 0

5

][

Łl

Ł ÿ

Ł Ł 

Ý − Łý

 Ł Ł

5

!

1 + 2

+

3

Łl

Łl

¼

¼

1

middle C

ý Ý− Ł

Ł

Łl

Łý +

1 + 2

Łý

Ł Ł  +

3

 Ł Ł

+

Łl

Łl

Ł ÿ

¼ Łl

Łl ¼

T R ACK 3 0

T R ACK 3 0

Ł

Łl

Łl

Łl

¼

¼

Łnl

n Łl ¼

¼

Łln

Łln ¼

¼

[[

EBSI

TE

𝄢

Transpose to G major. 96|

MORE FIVE-FINGER PATTERNS

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REPERTOIRE

W

Student

E. M.

T R ACK 31

EBSI

TE

SHOESTRING BOOGIE

T R ACK 31

Allegro 1

3

5

5 2

LH over

4

2

2

5

9 1

2

13

Repertoire

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5/27/15 9:25 AM

SHOESTRING BOOGIE Accompaniment

Arranged by Phillip Keveren

Allegro

5

9

13

Permission granted by Phillip Keveren.

DAMPER PEDAL The damper pedal, which is the pedal to the right, is used to produce the blurred tonal effects needed to obtain the mood of the following piece. Push the pedal down with the right foot, hold as indicated by the marking, and then release. (See pages 354–356 for a more thorough discussion of the damper pedal.) pedal hold pedal down up

98|

MORE FIVE-FINGER PATTERNS

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EVENING TIDE Let Evening Tide sound smoothly connected (legato). As you play, do not look at the keys. At the end of each musical phrase, lift your hands at the same time you lift the damper pedal. Now play the piece an octave higher than written, still alternating hands, and then an octave lower than written. Next, play the piece in different registers with the right hand an octave higher than written and the left hand an octave lower. The F and C in the key signature establish the key of D major, although C does not appear in this piece.

♯

♯

E. M.

Ł Š ²² 0 ½ 0 Ł Ł Ł ]\ Ł ½ Ł Ý ²² 00 Ł Moderato

! !

² Š ²½ 5

Ł Ł

\ Ý ²² Ł Ł ½ ²² Š Ł

]\ Ý ²² ½ ²² ½ Š

Ł

½ Ł Ł

13

!

Ł Ł

\ Ý ²² Ł Ł ½

9780199326204_Mach_TxT.indb 99

½

Ł Ł Ł Ł

Ł Ł Ł Ł

Ł Ł

½

ÿ ð

Ł Ł

Ł ¼

ÿ

Ł Ł ½

ÿ

ÿ

Ł Ł ½

ÿ

Ł Ł Ł Ł Ł Ł Ł Ł ÿ

Ł Ł

½ ½

T R ACK 3 2

Ł ¼

ð

Ł Ł ½

ÿ

5

9

!

1

T R ACK 3 2

EBSI

TE

W

♯

ð

Ł ¼ LH*

Ł Ł

rit.

Ł Ł ½

Ð Ð 2

Damper Pedal

|99

5/27/15 9:25 AM

Ł Ł

Ý ²² ½ ²² ½ Š

Ł Ł Ł Ł

13

!

\ Ý ²² Ł Ł ½

ð

Ł ¼ LH*

½

Ł Ł Ł Ł

Ł Ł

Ł Ł

½

Ð Ð 2

Ł Ł

rit.

Ł Ł ½

ÿ

*Cross over left hand to play D.

UPBEAT AND DOWNBEAT

ON THE TOWN

Student

!

E. M. 1 Allegretto

ÿ ½ ¼ Ł −Ł ¦ Ł Ł Ł Š 00 ¼ n Ł 1234 [ n Ł Ý ÿ 00 Ł −Ł ¦ Ł Ł −Ł ¦ Ł Ł ¼ Ł Ł

2

3

5

count:

5

3

upbeat

!

1

2

ÿ

Š

Ý Ł −Ł Ł Ł

100|

1

½

Ł −ð

¼

5

Ł Ł 1

Ł −Ł Ł Ł Ł −Ł Ł Ł

T R ACK 3 3

EBSI

TE

W

An upbeat begins with a beat or beats other than the first in the measure, as opposed to a downbeat (the first beat). When a piece begins with an upbeat, the missing beats in the first measure will be found at the end of the piece. Here the upbeat consists of one beat, so the last measure consists of three beats. The first complete measure is identified as 1 . measure one □

T R ACK 3 3

Ł ð

¼

¼ ½

Ł

−Ł ð (1

2

−Ł ð

3)

MORE FIVE-FINGER PATTERNS

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ON THE TOWN Accompaniment

Ken lversen

Allegretto

SLURS A slur is a curved line above or below a combination of two or more notes to indicate that these notes are to be played legato. The first note of the slur usually receives more emphasis than the others. The last note of the slur is usually played more softly and is released a bit short of its full note value. Think of two-syllable words like MOV-ing, WALK-ing, CLIMB-ing, to help you develop the dynamic shaping of two-note slurs. fall

lift

Š−Ł Ł

FALL Weight on the key LIFT Weight is released

Fall from the wrist to play the first note of a slur. Lift the wrist to play the last note of a slur.

Slurs

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PRACTICE STRATEGIES Practice playing two-note slur combinations of the five-finger patterns ascending and descending, first with hands separately and then with hands together. Next, try practicing three-note slur combinations in the same manner. For example: Two-Note Slurs 1

Three-Note Slurs 1

Practice playing the various slur combinations before playing Casey Jones.

W

American

! !

Ł

Allegretto

Š 00

ÿ

Ł Ł Ł Ł Ł Ł

][ Ł ð Ł Ý 00 Ł Ł

Ł Ł ð

ÿ

3

ÿ

3

ŠŁ Ł ð ]\ Ý ÿ

ÿ

1

Ł Ł Ł Ł Ł Ł

T R ACK 3 4

EBSI

TE

CASEY JONES

T R ACK 3 4

Ł Ł Ł Ł ð ÿ

3

Ł Ł Ł Ł Ł Ł Ł ð [ Ł Ł Ł Ł Ł Ł Ł ð 3

Transpose to F major.

102|

MORE FIVE-FINGER PATTERNS

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TAKE NOTE

𝆍𝆑𝆎

Sforzando ( ) is a dynamic marking that means to play strongly emphasized.

OLE! ♮

E. M.

l Ł Š ² / Ł Łl Ł 0 l Ł ][ ÿ Ł Ý ² /0

! !

²

Š Łl

²

9

1 5

Š ¼ ][l Ł ݲ Ł

9780199326204_Mach_TxT.indb 103

Łl ¼

ÿ Łl

Łl

¼

ŁŁl

¼

l Ł Łl

−Ł −Ł Ł Ł Ł ÿ

1

ÿ

Š ¼ ][ ŁŁl ݲ ²

Łl Łl Łl

Łl

Łl

ݲ

13

!

ÿ

5

5

T R ACK 3 5

Play as B− A−

Allegretto

!

T R ACK 3 5

EBSI

TE

W

Remember that accidentals are carried out throughout the measure and cancelled by the bar line or the use of a natural sign ( ).

¼

ŁŁl

Łl Łl ¼ l Ł Łl

ÿ

Łl

Ł Ł Ł −Ł −Ł

Łl

n l ¼ −Ł −Ł Ł ]\ ŁŁl ¼ ¼

¼ ¼

ŁŁl

n Ł −Ł −Ł Ł

− Ł Łl −Łl ŁŁl ¼ ¼

()

1 2

ŁŁl 5 4

¼

¼

− Ł −Łl −Łl

()

n ¼ −Ł Ł Łl ŁŁl ¼ ¼ Łl ¼

nl Ł ¼ Ł |103 Slurs [ nl ^[_nl Ł ŁŁ

5/27/15 9:25 AM

ŁŁl ݲ

¼

1 5

l Ł Łl

²

13

!

¼

Š ¼ ][l Ł ݲ Ł ¼

¼

ŁŁl

¼

l Ł ¼ Łl ŁŁl ¼ ¼

ŁŁl

¼ ¼

ŁŁl

¼

ŁŁl

¼

¼

n Ł −Ł −Ł Ł

Łl ¼

¼

¼

¼

¼

¼

nl Ł ¼ Ł [ nl ^[_nl Ł ŁŁ

PARALLEL MOTION In parallel motion, both hands move in the same direction.

STOMPIN!

Student

E. M.

T R ACK 3 6

EBSI

TE

W

The left hand in the piece Stompin! is playing a harmony to the right-hand melody. (See especially measures 5 and 7.)

T R ACK 3 6

Solid 3

5

3

1

Transpose to G and F.

104|

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STOMPIN! Accompaniment

E. M.

Solid

68   TIME

6 6 beats to the measure 8 the eighth note ( 𝅘𝅥𝅮 ) receives the beat 6 The note values in 8 =

Notes

𝅘𝅥𝅮 eighth note 𝅘𝅥 quarter note 𝅘𝅥 . dotted quarter note 𝅗𝅥 . dotted half note

68 example:

Ł Ł Ł Ł Ł Ł Ł 1

2

3

4

5

6

1

2

= 1 beat = 2 beats = 3 beats = 6 beats

 Ł Ł 3

Rests

𝄾 𝄽 𝄽. or 𝄾 𝄽 𝄽. 𝄽. or ___ 𝄻𝄻 .

4

5

 Ł Łý 6

1

2

3

Łý 4

= 1 beat = 2 beats = 3 beats = 6 beats

5

6

ðý 1

2

3

4

6 8 Time

9780199326204_Mach_TxT.indb 105

5

6

|105

5/27/15 9:25 AM

PRACTICE STRATEGIES Tap and count aloud the note values for the patterns that follow. Notice that there is an accent (𝅻) on the first and fourth beats in every pattern, except the last measure in Example 1. 6 When a piece in 8 is played quickly, it is easier to count two beats to a measure rather than six, with the dotted quarter note receiving one beat. Once you are familiar with these rhythmic patterns, try tapping and counting aloud the patterns with two beats to the measure. Accent the first and second beats in every pattern.

n n n n 24 Ł Ł ŁÿŁ Ł Ł Ł Ł Łÿ Ł Ł Ł Ł Ł Łÿ Ł ý n n 1 2 3 4 5 6 1 2 3 4 5

1.

count:

2.

1

2

2

6

ðð ýý n ŁŁ n

Ł Łný Ł Łý  n

n n n n n n n n ÿ Ł ý Łÿ Ł Ł Ł ý Ł Ł Ł ŁŁ ý Ł Ł ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ý Ł Ł ŁŁ ŁŁ ŁŁ ŁŁ ýý 42 n n n n n n n n 1 2 3 4 5 6 1

4.

2

n n n  n  24 Ł Ł ÿŁ Ł Ł Ł ÿ Ł Ł Ł Ł Łÿ Ł Ł Ł Ł Łÿ Ł Ł  n   n n 1 2 3 4 5 6 1

3.

1

Ł Ł Łÿ Ł ý n n

2

n Ł 42 Ł n

1 2 1

106|

ŁŁ  3

n ŁŁ n

4 2

5

n n Ł Ł Ł Ł Ł Ł Ł Łn Ł Łn Ł Łn Ł Łný Ł Ł Ł Ł Ł Ł Łý Łý Ł Ł Ł Ł Łý  n n n n n n 6

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6

TWO STUDIES IN 8 TIME Study 1

!

² ý Š 42 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł [ ö\ Ł Ł Ł Ł Ł Ł Łý Ł Ł Ý ² Ł  42 1

Ł

*

5

Study 2

!

Moderato

Moderato

Š − 42 Ł Ł \ ö[ Ł Ý − 42 Ł Ł

3

3

 Ł Ł Ł 

 Ł Ł Ł Ł Ł Ł Ł Ł Łý  Ł Ł Ł Ł Ł Ł Ł Ł Łý  

Ł Ł Ł Ł ¹

 Ł Ł Ł Ł Ł

 Ł Ł Ł Ł Ł Ł Ł ¹

ðý

 Ł Ł Ł Ł Ł

ðý

Anton Diabelli (1781–1858)

*Play

W T R ACK 37

EBSI

T R ACK 37

𝆑 the first time through and 𝆏 the second time.

6 8 Time

9780199326204_Mach_TxT.indb 107

 TE

ALLEGRETTO



|107

5/27/15 9:25 AM

W T R ACK 3 8

EBSI

TE

FLEMISH FOLK SONG

T R ACK 3 8

Moderato 1

1

2

3

4

5

6

1

2

3

4

5

6

5

KEY SIGNATURES Key signatures appear after the clef signs and indicate the notes that should be played as sharps or flats throughout a piece. The key signature helps to indicate the key of a piece.

Sharp Key Signatures The order of sharps in their key signatures:

sharp keys:

F

C

G

D

A

E

B

Remember that sharp key signatures in major keys are identified by taking the last sharp, then moving up a half step higher to the next letter name. 1/2 D

108|

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Flat Key Signatures The order of flats in their key signatures:

flat keys:

B

E

A

D

G

C

F

The order of flats is the reverse of the order of sharps in their key signatures. Flat key signatures in major keys are identified by taking the name of the next-to-thelast flat (always the second flat to the left). A

Learn the key signatures of every major key as quickly as possible by remembering this rule of thumb: The number of sharps and flats in two keys with the same letter names will always add up to seven. For example: keys

C♯, C

C, C ♭

G, G ♭

D, D ♭ A, A♭

E, E♭

sharps/flats 7

0

total 7

0 7

7

1 6

7

2 5

7

3 4

7

4 3

7

etc.

Key Signatures

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Key Signature Chart Another way to learn the key signatures of every major key is to think up a fifth, then down a fourth. For example:

1

th a4

up a

A

 3

 5



2

C

D

7

E



4

F



5 3  C (D ) Eb

7

B (C )

wn do

5 th

G



6



6  (G )

4  A

F

1

2  B

Play the above pattern several times from left to right and from right to left and you will quickly have your major key signatures learned. A Circle of Fifths diagram appears on the back inside cover and serves as an aid in learning the key signatures.

WARM-UP STUDY IN G ♭ MAJOR FIVE-FINGER NOTATION

First play the Warm-Up Study in G ♭ Major. Then study the rhythmic and melodic patterns in The Donkey. Play this piece in the key of G ♭ major, the five-finger pattern of which follows:

middle C

♭

G Major Five-Finger Pattern

5 4 3

1 2

4

LH Moderato

!

− Š − −−−− /0 Ł Ł Ł [ ö\ Ł Ł Ł Ý −−−−−− /0 1

Ł

110|

RH

Ł

Ł

Ł

Ł

Ł

Ł

Ł

Ł

5

5

1 2 3

Ł Ł Ł Ł Ł Ł

Ł Ł

ðý



ðý



MORE FIVE-FINGER PATTERNS

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TAKE NOTE

A sequence is a pattern of tones that is repeated at a higher or lower pitch.

THE DONKEY ♭

Student

American

T R ACK 3 9

EBSI

TE

W

Measures 5–6 of the following piece have the same tonal pattern as measures 1–2, but are played at a higher pitch. The six flats in the key signature establish the key of G .

T R ACK 3 9

Allegretto

!

− Š − −−−− 00 Ł Ł Ł Ł Ł \ ÿ Ł Ý −−−−−− 00

− Š − −−−− Ł Ł Ł Ł ]\ Ý −− − − Ł Ł Ł Ł −− 5

!

sequence 3

ð

Ł Ł Ł Ł

ÿ

− Š − −−−− ð ý ðý Ý −− − − ð ý −− 1 5

Ł ¼

ðý ðð ýý

Ð

ÿ

ÿ

ð

ð

Ł Ł Ł Ł

ðý

ð

ð

Ł Ł Ł Ł

ðý

5

9

!

ð

1

Ł

Ł ¼

Ł ŁŁ

Ł ¼

Ł ŁŁ

Ł ¼

[ ¼

Ð ÐÐ

Key Signatures

9780199326204_Mach_TxT.indb 111

Ł

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THE DONKEY Accompaniment

American Arranged by E. M.

Allegretto

5

9

Play this piece as a round, with each person (or group) starting four measures after the preceding person (or group).

Transpose to G major. (Just change the key signature to F♯. The actual reading of the notes on the staff will remain the same.)

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TWO ETUDES IN A MAJOR FIVE-FINGER NOTATION The key of A major has three sharps in the key signature. Construct the five-finger pattern of A, as shown below:

middle C

3

A Major Five-Finger Pattern

5 4

3 2 1 4

1 2

LH

4 5

RH

Study the melodic and rhythmic patterns before playing Two Etudes in A Major. An etude is a technical study.

l l ² Ł Š ²²  Ł Ł Ł Ł Ł Ł Ł ][ ö]\ ² ÿ Ł Ý ²² 

Study 1

!

ÿ

1

²²² / Š 0 Łý Ł ]\ ö][ Łý ² ² Ý / Ł ² 0

Study 2

!

Allegretto

Ł

Andante 1

5

Ł Ł  Ł Ł 

Ł Ł Ł Ł Łl Łl 1

Łý Łý

Ł Ł  Ł Ł 

Ł Ł Ł Ł Łl Łl 1

Ł Ł Ł Ł Łl Łl

ðý ¼  ðý

ð

Ł



ð

ðý

Ł

ðý



Key Signatures

9780199326204_Mach_TxT.indb 113

¼ 

|113

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TAKE NOTE

CHANGE OF DYNAMICS

crescendo (cresc.) or play more loudly

means to gradually

diminuendo (dim.) or play more softly

means to gradually

A SONATA THEME

Wolfgang Amadeus Mozart (1756–1791)

² Ł Š ²² / Ł ý Ł Ł 0  Ł ]\ð ý ² ðý Ł Ý ²² /0 Andante

!

²²² ð Š 6

!

ðý Ý ²²²

Ł

114|

Ł

ðð

1 5

²²² Ł ý Ł Ł Š  \ð ý ð ý Ý ²²² 11

!

ð

3

ð

ðý ð ðð

¼ ð

ðð

¼

ð ð

¼ Ł Ł

ð ð

Ł

ð ð

rit.

¼

Ł

ð

Ł

ðð Ł Ł

T R ACK 4 0

ð

ðý

Łý Ł Ł  ]\ ðð ýý

Ł

ð

¼

Ł

1 2

Ł Ł

Ł

ð

Łý Ł Ł  \ ðð ýý

T R ACK 4 0

EBSI

TE

W

A Sonata Theme uses seconds, fifths, and parallel motion to harmonize the melody.

¼ ðý ðý

MORE FIVE-FINGER PATTERNS

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READING STUDY IN E MAJOR FIVE-FINGER NOTATION Reading Study in E Major, Follow Me, and Wheels are in the key of E major, which has four sharps in the key signature. Here is the five-finger pattern of E.

middle C

2 3

4 3

E Major Five-Finger Pattern

2 1

5

1

LH

RH

!

² Ł Š ²² ²  Ł Ł Ł Ł Ł Ł ][ ² ÿ Ł Ý ²² ² 

!

²²²² Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Š \ [ ][ Ý ²²²² Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł

Moderato 5

5

1

4 5

Ł Ł Ł Ł Ł ÿ

ÿ

\ Ł Ł Ł Ł 4

ÿ ð

ð

ð

ð

ð

ð

Change of Dynamics

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W

Student

E. M.

T R ACK 41

EBSI

TE

FOLLOW ME

T R ACK 41

Piano 1

²²²² 0 Š 0 Łl Ł Ł ð Ł [ ² ÿ Ł Ý ²² ² 00 Moderato

! !

ÿ

3

Ł

²²²² Š

5

ÿ

l Ý ²²²² Ł Ł Ł ð

\l Ł Ł Ł ð 1

Łl Ł Ł ð \ ÿ

²²²²  Š Łý Ł Ł Ł ][ Ý ²²²² ÿ 9

!

116|

Ł Ł Ł Ł Ł Ł [ Ð

Ł Ł ð Ð

Ł Ł Ł Ł Ł Ł [ ð ð Ł Ł Łý Ł [ ÿ

Ð

ð

ð

ð

ð Fine

Ð Ð D.C. al Fine

Ł Ł Ł Ł

MORE FIVE-FINGER PATTERNS

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FOLLOW ME Accompaniment

W

E. M.

T R ACK 4 2

EBSI

TE

WHEELS

T R ACK 4 2

² Ł Š ²² ²  Ł Ł Ł Ł Ł Ł ¦ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł (²)Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð Ł [ ÐÐ Ł Ł ð ÐÐ Ð ² ² Ý ² Ł ²  Allegro

! !

3

3

1 5

²²²² Ł Š Ł Ł Ł Ł Ł Ł Ł ¦ Ł Ł Ł Ł Ł Ł Ł Ł (²)Ł Ł Ł Ł Ł Ł Ł Ł ¦ Ł Ł ð Ý ²²²² ÐÐ

Ð

ÐÐ

Ł Ł (²)ð

CONTRARY MOTION In contrary motion the hands move in opposite directions. Calypso Beat and Mysterious Corridors use contrary motions.

Contrary Motion

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Student Allegretto

! !

W

E. M.

Š −  Ł Ł Ł Łý Ł Ł Ł Ł ¼  Ł [ ðý Ý Ð Ł ¼ − 5

Ł

2

2

T R ACK 4 3

Ł Ł Ł Ł ý Ł Ł Ł Ł ¼ Ð

5

q  Ł Ł − ð Ł Ł ý Ł Łl Łl Š Łl Łl ðq Ý− Ð

T R ACK 4 3

EBSI

TE

CALYPSO BEAT

ðý

¼

Ł Ł Ł ý Ł Ł Łl ð  Ł Łl ð ð ð

CALYPSO BEAT Accompaniment

Ken lversen

Allegretto

118|

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W

Student

E. M.

T R ACK 4 4

EBSI

TE

MYSTERIOUS CORRIDORS

T R ACK 4 4

Andante

!

8va 3

Š /0 ²Ł ²Ł Ł \ Ł Ý /0 ²Ł ²Ł Ł

3

8va

!

Ł Ł

¦Ł

Ł

Ł

²Ł ²Ł

Ł

Ł

Ł

Ł

²Ł ²Ł

Ł

()

¦Ł

ð

Ł

ð

()

ŠŁ 1

Ł

Ł

²Ł ²ð

²Ł ²Ł

Ł

(¦)ð ý

ðqý

ÝŁ

Ł

Ł

²Ł ²ð

²Ł ²Ł

Ł

ðý

ðqý

1

MYSTERIOUS CORRIDORS Accompaniment

E. M.

Andante

5

Contrary Motion

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|119

5/27/15 9:25 AM

CLASSIC MINIATURES

W

Alexander Reinagle (1756–1809)

T R ACK 4 5

W

Louis Köhler (1820–1886)

120|

T R ACK 4 5

T R ACK 4 6

EBSI

TE

MELODY

EBSI

TE

MINUET

T R ACK 4 6

MORE FIVE-FINGER PATTERNS

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REPERTOIRE

W

Ferdinand Beyer (1803–1863)

T R ACK 47

Repertoire

9780199326204_Mach_TxT.indb 121

EBSI

TE

ETUDE IN D

T R ACK 47

|121

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IMPROVISATION

1. Using the F major five-finger pattern—E, F ♯, G ♯, A, B—improvise various melodies with the right hand to the given accompaniment which is to be played by your instructor. Begin and end your melody on E.

HEART OF SPACE Teacher Accompaniment

Jeff Kowalkowski

2. Improvise five-finger melodies in the blank measures using quarter and eighth notes.

122|

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CREATIVE MUSIC The following examples of phrase pairs are designed to help you create music of your own. Each example consists of two matching phrases, each four measures in length. After you have studied and played them, try improvising a matching phrase 2 to the three incomplete examples on page 124. 1. Parallel phrases phrase 1

phrase 2

1

In phrase 2 of the first example, measures 5 and 6 are parallel to the first two measures of phrase 1; that is, they repeat those measures. Measure 7 uses a change of rhythm and moves stepwise toward the tonic or key note in measure 8 with a 2–4–3–2 pattern. 2. Inverted phrases phrase 1

phrase 2

1

In phrase 2 of the second example, measures 5 and 6 repeat the first two measures, but they invert (reverse) the order of D–F♯ –A to read A–F♯ –D and E–G–A to read A–G–E. The rhythmic structure of phrase 2 is identical to that of phrase 1. Measure 7 prepares to move to the tonic with a 5–4–2–3 pattern. 3. Sequential phrases phrase 1

Š − 00 Ł Ł Ł Ł ][ 3

Š−Ł Ł Ł Ł [

Ł Ł Ł Ł Ł Ł Ł Ł ð

Ł Ł Ł Ł

phrase 2

Ł Ł Ł Ł

Ł ý Ł Ł Ł

Ð

In phrase 2 of the third example, measures 5 and 6 appear in sequence to measures 1 and 2; that is, the same melodic pattern is repeated at a different pitch. As in the first example, measure 7 introduces a change of rhythm (dotted quarter and eighth). Frequent use of the I-chord tones (F, A, C) gives a strong sense of key. As in the other two examples, measure 8 ends on the tonic.

Creative Music

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Using parallelism, inversion, or sequence, write a phrase that matches each of the three following phrases. 1.

Š − .0 Ł ][ Š− 1

Ł

Ł

Ł

Ł

Ł

Ł

2.

²²² / Ł Š 0 \ ²²² Š 3

Ł

Ł

Ł

Ł

Ł

Ł

Ł

Ł

Ł Ł Ł

Ł

ð

ðý

3.

² Š ² 00 Ł Ł Ł Ł Ł ][ ²² Š 3

124|

Ł Ł Ł Ł

Ł Ł Ł Ł Ł

ðý

¼

MORE FIVE-FINGER PATTERNS

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Improvise matching phrases to the five-finger melody given below. Select your best phrase and write it down for both hands to play. Transpose it to other keys. Play with the right hand an octave higher, then with the left hand an octave lower. Finally, play with both hands in different registers at the same time. 4.

!

²0 Š 0Ł Ł Ł Ł [ ݲ0 0Ł Ł Ł Ł 1

5

!

Š

²

ŁŁŁŁŁ Ł

Ł ŁŁŁ Ł

ŁŁŁŁŁ Ł

ŁŁŁŁŁ Ł

Ł ŁŁŁ Ł

ŁŁŁŁŁ Ł

ݲ SIGHTREADING STUDIES

PRACTICE DIRECTIONS 1. Determine the key of the study. 2. Observe the meter signature, then tap out the rhythmic pattern, counting aloud as you do so. 3. Study the melodic and harmonic patterns. 4. Place hands in the correct position. Once you begin playing, do not stop or hesitate to find the notes. Keep the beat moving! 5. Play the notes while keeping your eyes on the printed page.

Sightreading Studies

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|125

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Melodies with Various Rhythmic Patterns 1. Key of D

2. Key of F Moderato 5

5

126|

2

1

MORE FIVE-FINGER PATTERNS

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Different Registers and Register Changes 3. Key of _____________ Marchlike 3

5

3

3

1 5

4. Key of _____________ With confidence

5 3

2

1

1

Sightreading Studies

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Slurred Notes 5. Key of _____________ Andante

! !

². Ł Š 0 Ł Ł Ł ]\ ݲ. ÿ 0

Ł Ł Ł

3

²Ł Ł Ł Ł Š ][ Ł Ł Ł Ł ݲ

ÿ Ł Ł Ł Ł Ł Ł

ÿ

ÿ ð

Ł Ł Ł Ł 3

Ł Ł Ł Ł Ł Ł Ł Ł

ð

½

ð

½

6. Key of _____________ Flowing

!

²² Š Ł Ł Ł Ł Ł ]\ Ý ²²  Ð

!

²² Š Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł \ \\ Ð Ý ²² Ð

3

5

128|

Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł ð

½

Ð

Ð

½

ð

Ł Ł Ł Ł Ł Ł Ð \ Ð Ð

MORE FIVE-FINGER PATTERNS

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Staccato Notes 7. Key of D Gracefully 5

1

Parallel and Contrary Motion 8. Key of F Moderato 1

2

5

5

Sightreading Studies

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9. Key of E

²²²² 2 Ł   Š 4 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ¹ ]\ Ý ²²²² 2 Ł ý Ł ý Ł ýý ýý Ł ýý ýý Ł ¹ ŁŁ ýý Ł Ł 4 Łý Łý Ł Ł Ł Ł Ł Flowing

!

5

1 5

!

 ²²²² Ł Š Ł \ Ý ²²²² Ł ý Łý 3

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Łý   ][  Łý Ł ýý Ł ýý ýý Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Łý 3

5

RHYTHMIC STUDIES Tap and count the following rhythmic exercises with both hands, or work with different objects (i.e., pencils, spoons, hitting against bottles) to obtain different timbral choices. Also play the rhythmic exercises, using the various percussion sounds that can be produced on the electronic keyboards.

1.

00 Ł Ł Łÿ Ł ¼ Ł Ł Łÿ Ł Ł Ł Ł Ł Łÿ Ł Ł Ł Ł ¼ Ł Łÿ Ł Ł Ł Ł Łÿ

2.

Ł Ł Ł Łÿ Ł Ł Ł Ł Ł ÿŁ Ł Ł Ł Ł ÿ ¼ Ł ¼

00 Ł Ł ÿ¼ Ł

Ł ¼Ł ½Ł Ł ¼

130|

Ł Ł ÿŁ

¼

Ł Ł Ł ÿŁ Ł Ł Ł Ł Ł Ł ÿŁ Ł Ł

Ł ¼Ł Ł ½Ł Ł ¼

Ł½ Ł ½Ł Ł

ðð

ðð

MORE FIVE-FINGER PATTERNS

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3.

/0 ŁŁ ŁŁ

4.

/0 ðð ý

¼Ł

Ł ¼

Ł ¼

¼Ł Ł

Łð ý Ł Ł Ł Ł

ŁŁ ŁŁ Łð ý Ł

Ł Ł Ł ¼ ¼

¼Ł Ł ¼Ł Ł

ðŁ ý Ł Ł Ł Ł

Ł ¼

¼Ł ŁŁ

ŁŁ

Ł ¼

Ł ¼

ŁŁ

Łð ý Ł Ł Ł Ł Ł Ł ¼Ł Ł Ł Ł ¼ ¼

ðð

Ł Ł ¼Ł ¼ ŁŁ

ðð ðð

¼ ¼

¼ ¼

5.

6.

Rhythmic Studies

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TECHNICAL STUDIES

1. ​Contrary motion Practice this exercise in various keys of your own choice.

!

Š 00 Ł Ł Ł Ł ][ Ý0 Ł Ł Ł Ł 0 1

2

1

2

1

Ł Ł Ł Ł

2

Ł Ł Ł Ł

Ł Ł ð

1

3

Ł Ł Ł Ł

Ł Ł Ł Ł

3

2

Ł Ł ð

2. ​Fingerbuilders a. ​Practice this exercise in various tempos, using different dynamic levels.

!

Š /0 Ł Ł Ł Ł Ł ][ Ý/ Ł Ł Ł Ł Ł 0

!

ŠŁ Ł Ł Ł Ł

Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł

ÝŁ Ł Ł Ł Ł

Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł

1

1

2

2

1

2

1

2

Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł

1

1

Ł Ł Ł Ł Ł 2

Ł Ł Ł Ł Ł 2

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł

b. ​Practice this exercise in various major and minor keys of your choice, and play it in various higher and lower registers.

132|

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ENSEMBLES

TAKE NOTE

Student-Teacher Ensemble Pieces

𝄋

Dal Segno al Fine (D.S. al Fine) means to repeat from the sign to Fine (It. “end”).

RAZZLE DAZZLE Student

Lee Evans Moderate swing

!

Ñ

Š 00 ²Ł Ł Ł Ł ][ Ł Ý 0 Ł 0 Ł

ÝŁ 2

Š −ð

²Ł Ł Ł

ð

Š −ð Ý

9780199326204_Mach_TxT.indb 133

ð

Ł

ðý

Ł 4

−Ł Ł

Ł −Ł Ł Ł

Fine

−Ł

−Ł

ðý

Ł Ł

¼ 1

Ł

Ł 1

2

²Ł Ł Ł

2

Ý 13

!

2

Š

9

!

Ł −Ł Ł Ł

1

5

!

2

Ł

Ł 1

Ł

ð

Ł

Ł

Ł

1

ð Ł

ð

Ł

ð

D.S. al Fine

Ł

Ł

Ensembles

Ł 4

Ł

Ñ

|133

5/27/15 9:25 AM

!

13

!

Ł

Ý

1 2

Š −ð

ð

−Ł

Ý

Ł

ð

Ł

ð

Ł

ð

D.S. al Fine

Ł

Ł

1

Ł

1

ð

Ł

Ł

Ł

Ł 4

Ñ

Ł

Razzle Dazzle by Lee Evans. Copyright © 1984 by Piedmont Music Company. This arrangement Copyright © 2010 by Piedmont Music Company. International Copyright Secured. All Rights Reserved. Reprinted by permission of Hal Leonard Corporation.

RAZZLE DAZZLE Accompaniment

Lee Evans

Moderate swing

1

LH

1

2

2

1

2

3

5

5

Fine

1

1

3

2

1

5

4

1

2

9

1 5

1 5

13

D.S. al Fine

1 5

1 5

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MERRY-GO-ROUND 

from Twelve Duets on Five Notes, No. 3

Both hands one octave higher than written throughout if played at one piano.

Student

Arthur Foote (1853–1937) Allegro

!

Š 42 Ł Ł [ Ł Ý 42 Ł 3

Ł

3

5

!

ŠŁ \ ÝŁ 9

!

Š Łý Ý Łý 13

!

ŠŁ

cresc.

ÝŁ

 Ł Ł Ł Ł 

 Ł Ł Ł Ł 

 Ł Łý Łý Łý Łý

Ł 

Ł

Ł Ł Ł Ł 

Łý \\ Łý

ðý

Ł Ł Ł  Ł Ł Ł Ł

Ł Ł Ł Ł  ðý

Ł Ł Ł

Ł Ł

Ł

 Ł Ł Ł Ł

 Ł Ł Ł 

Ł

 Ł Ł Ł Ł 

 Ł Ł Ł Ł Ł Ł Ł Ł  Ł Ł

Ł Ł Ł Łý Ł Ł Ł Łý

 Ł Ł Ł Ł  Ł Ł Ł Ł

Ł Ł Ł Ł Ł Ł

Ł 

ðý

Łý

Ł

Łý

Ł

 Ł ¹ Ł Ł Ł Ł Ł espress.

ðý

¹ Ł Ł Ł Ł Ł

Ł 

Łý Łý Łý Łý

Ensembles

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 Ł

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MERRY-GO-ROUND 

from Twelve Duets on Five Notes, No. 3

Accompaniment Allegro

Arthur Foote (1853–1937)

5 2

4 1

4 1

3 2

3

2

2 1

5

4 2

3 1

1

2

3 1

9

5

4 3

3 1

2

3

13

2 1

3 1

136|

1

2

4

5 1

5 3

4 1

espress.

cresc.

3

1

5

2

MORE FIVE-FINGER PATTERNS

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Student Ensemble Pieces

SPRING 

from The Four Seasons Antonio Vivaldi (1678–1741) Arranged by Ken lversen

Allegretto

ŁŁ Ł Ł Łl Łl Ł Ł Ł ð ý Š 00 Ł Łl Łl Ł Ł Ł ð ý ]\ Piano 2 Š 0 0 Ł Łl Łl Ł Ł Ł Ł Łl Łl Ł Ł Łl Łl Ł Ł Ł Łl Łl Łl Ł Ł ]\ l Łl l Łl Ł Ł Ł Ł Ý Ł Ł Ł Ł Ł Ł ð 00 ¼ ð Piano 3 ]\ Ł ðð ýý Ł ðð ðð ðð ýý Ý 0 ¼ ðð ðð Piano 4 0 ]\ 1

Piano 1

1

5

1 5

5

1

Š Ł Ł Ł Łl Łl

ŠŁ Ł Ł Ł Ł l Ýð ð 3 2

4

Ý ðð

ðð

ðý

Ł

Ł Łl Łl Ł Ł Łl Łl Ł ðý

Ł

Łl Łl Ł Ł Ł ð ý Łl Łl Ł Ł Ł Ł Ł Ł Ł ð

ðð

ðð

Ł Ł Łl Łl

ðð ýý

Łl Ł Ł Łl Ł Ł

(continued)

Ensembles

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9

1

Š Ł Łl Ł Ł Ł ð ý

Š Ł Ł Ł Ł Ł Ł l Ý ð Ł Ł Ł 3 2

4

Ý ðð

138|

ðð

ðý

Ł Ł Ł Ł Ł Ł Ł Łl Łl

Łl Ł Ł Ł Ł Ł Ł Ł Łl Ł ð ð Ł

ðð

ðð

ð

Ł

ð

Ł

Ł Ł Ł Ł Ł Ł

MORE FIVE-FINGER PATTERNS

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FOLK SONG French Smoothly

Š − 00 Ł Ł ð ][ Ł ð Piano 1 ! Ý−0 Ł 0 Ł Š − 00 ð ]\ Piano 2 ! Ł Ý−0 ð 0 Š − 00 Ł Ł Ł Ł Ł ]\ Ł Ł Ł Ł Piano 3 ! Ý−0 Ł 0 Ý−0 Ð Piano 4 0Ð ]\ Ł Ł Š−ð ]\ 1 ! Ł Ł Ý− ð 1

5 3

3 1

5

Ł ð Ł ð

2

3

4

Š−Ł ! Ý ]\Ł −

Ý− Ð Ð ]\

ð ð

ŁŁŁŁ Ł ŁŁŁŁ Ł

Ł Ł ð Ł Ł ð

ð ð

Ł Ł Ł Ł Ł Ł Ł Ł

Ł ŁŁŁŁŁ Ł ŁŁŁŁŁ Ł ð Ł ŁŁŁŁŁ Ł ŁŁŁŁŁ Ł ð

1 5

Š−Ł Ł ! Ý ][Ł Ł −

Ł Ł Ł Ł Ł Ł ð Ł Ł Ł Ł Ł Ł ð

Ł Ł ð Ł Ł ð

ð ð Ł Ł

ÐÐ

Ł Ł

Ł Ł Ł Ł

Ł Ł

ð ð

Ł Ł

ŁŁŁŁŁ Ł ŁŁŁŁŁ Ł ÐÐ

ÐÐ

Ł Ł Ł Ł

ð ð

Ł Ł Ł Ł

ŁŁŁŁŁ Ł ŁŁŁŁŁ Ł ÐÐ

ÐÐ Ł Ł ð Ł Ł ð Ł Ł ð Ł Ł ð Ł Ł ð Ł Ł ð ÐÐ

Ensembles

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ð ð

|139

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UNI T 3  ​W ORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER 1. Name the major key for each of the key signatures given:

Š

²

1)

Ý ²²²² 7)

²²²

2)

8)

−−

3)

−

²²²² ²² ²

9)

−−−−

−−−−−−−

4)

5)

10)

−−−−−

²²²² ²

11)

²²

6)

12)

−−−

CONSTRUCTION 2. Write the seven sharps in the order used in key signatures on the grand staff.

3. Write the seven flats in the order used in key signatures on the grand staff.

© Oxford University Press

140|

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MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A

COLUMN B

1. upbeat

______ ​moderately fast

2. Fine

______ ​begins on the first beat

3. allegro

______ ​play strongly accented

•

4. crescendo

______ ​play very loudly

5.

______ ​play in a detached manner

𝅘𝅥 •



𝆑𝆑)

𝄋 to Fine.

6. fortissimo (

______ ​to repeat from the sign

7. downbeat

______ ​begins with a beat other than the first in the measure

8. sforzando ( 9. sequence

6 11. 8

𝆍𝆑𝆎)

10. andante

______ ​hold longer than the indicated time value ______ ​the eighth note receiving one beat ______ ​ ______ ​play an octave higher or lower than written

12. accidentals

𝆏𝆏)

______ ​gradually becoming louder

13. pianissimo (

______ ​an accent sign

14. allegretto

______ ​play quickly

15. damper pedal

______ ​play very softly

16. 8 va--------

______ ​play at a walking pace

17.

______ ​finish or “end”

18. DS al Fine

______ ​a pattern of tones repeated at a higher or lower pitch

19. fermata (

______ ​gradually becoming softer

𝅻

𝄐 )

20. diminuendo

______ ​sharps, flats, and naturals temporarily added

© Oxford University Press

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This page intentionally left blank

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UNIT 4

MAJOR AND MINOR TRIADS

This unit introduces major and minor triads, along with pieces that use these triads.

MAJOR TRIADS A triad consists of three tones—the root, so called because it is the tone on which the triad is constructed; the third; and the fifth. A triad is also called a chord. Major triads are formed by taking the first (root), third, and fifth tones of the major five-finger patterns and sounding them together. C major chord (I chord)

!

1

ŠŁ Ł Ł Ł Ł ÝŁ Ł Ł Ł Ł 5

5 3 1

ððð ððð 1 3 5

Major Triads

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Major Triad Groups An easy way of learning the major triads and their spellings is to categorize them in like groups. The chord group of C, F, and G triads uses only the white keys. (In the following diagrams, W = White Keys, and B = Black Keys.)

F

C

G

WWW

G

E

C

F

A

G

C

D

B

Practice this three-chord grouping, first with the right hand, then with the left, and then with both hands. Learn to develop a “feel” for each chord and the movement from one chord to the next. Look for tones that repeat—common tones—to help you when moving from one chord to another. The chord group of D, E, and A uses only white keys in the open fifth with the third a sharped black key.

D



WBW

F

D

A

E G

A

E





C

B

A

E

The chord group of D ♭ (C♯), E♭, and A♭ uses only black keys in the open fifth with the third a white key.



BWB

D



A

D

F





E B

E

G





A

A



E C

C



C

144|



E

G



MAJOR AND MINOR TRIADS

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The G ♭ (F♯) triad uses only black keys. BBB G

G





B





F

D

F A





C

The B and B♭ major triads use these arrangements: WBW + BWW





D

B White



F

B

Black

Black Black

D

F

White White

FIVE-FINGER STUDIES AND TRIADS IN MAJOR Next, practice the following major five-finger patterns and the major triads formed from them in the keys shown. You will be moving up in half steps, or chromatically, as you start each five-finger pattern followed by the major triad. Remember to use the whole step, whole step, half step, whole step formula in building each of the major five-finger patterns. C 1

1

3 5

5

5

3 1

5 3 1

D

Student

1 3 5

Accompaniment

Five-Finger Studies and Triads in Major

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|145

5/27/15 9:25 AM

D

E

S

A

146|

MAJOR AND MINOR TRIADS

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Five-Finger Studies and Triads in Major

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Open Fifths

PRACTICE STRATEGIES Triads without their thirds are called open fifths. Playing open fifths in half-step progressions is good preparation for playing major and later the minor triads which are introduced on p. 155. Using both hands, construct open fifths starting on C and play them both upward and downward as illustrated next. Notice that if the lower tone of the fifth is a white key, the upper tone will also be a white key. If the lower tone is black, the upper tone will also be black. The only two exceptions are the fifths B♭ –F (black-white) and B–F♯ (white-black). 5 1

1 5

Play the following major triads with each hand separately, then with both hands, first upward, then downward.

!

5 3 1

Š ÐÐÐ 1 3 5

Š ²²²ÐÐÐ Ý ²²² ÐÐÐ

148|

²ÐÐÐ

−−ÐÐÐ

D−

D

E−

−−ÐÐÐ

Ý ÐÐÐ C

!

−−ÐÐÐ

F²

−−−ÐÐÐ

−−− ÐÐÐ

G−

−−ÐÐÐ

²ÐÐÐ ÐÐÐ ÐÐÐ G

−−ÐÐÐ

−− ÐÐÐ

A−

²ÐÐÐ

ÐÐÐ

E

F

ÐÐÐ

²ÐÐÐ ²ÐÐÐ

² ÐÐÐ A

−ÐÐÐ

− ÐÐÐ B−

²²ÐÐÐ

²² ÐÐÐ B

MAJOR AND MINOR TRIADS

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Practice playing major triads, one at a time, in various registers, as well. For example:

!

5 3 1

5 3 1

ÐÐÐ

Š 00 ÐÐÐ ][ Ý0 ÿ 0

ÿ

ÿ

ÐÐÐ

ÿ

ÐÐÐ

1 3 5

1 3 5

THE MINOR FIVE-FINGER PATTERN The minor five-finger pattern (also called a minor pentachord or minor pentascale) can be constructed on any of the twelve tones. The minor five-finger pattern is constructed as follows:

Tonic:

1

2 WHOLE STEP

3 HALF STEP

4 WHOLE STEP

5 WHOLE STEP

FIVE-FINGER NOTATION Here is the five-finger pattern in D minor:

D Minor Five-Finger Pattern

5 4 3 2 1 1

12

1 2 3 4 5 1

1 1

LH

12

1 1

RH

An easy way to play the minor five-finger pattern is to begin with the major five-finger pattern and lower the third tone one half step. D major F²

Š Ð Ð ²Ð Ð Ð

D minor F

Ð Ð Ð Ð Ð The Minor Five-Finger Pattern

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Play other five-finger melodies such as Love Somebody (page 44) and Ode to Joy (page 19) in minor by lowering the third tone one half step. Can you hear the difference between major and minor?

Relative Minor Keys Each major key shares the same key signature with what is referred to as the relative minor. The name of the relative minor is found by moving three half steps down from the name of the major key. For example, if the key signature has two sharps, the piece is either in D major or, counting down three half steps, B minor.

3 half steps

B

D

Relative Major Minor Key

PRACTICE STRATEGIES Write the name of each major and the name of its relative minor that corresponds to the key signatures provided. Remember to always skip one letter name (i.e., C to Am, skip the letter name B) as you move down three half steps. Key Signature 1.

Major Key

Minor Key



C ______

Am* ______

2. ______ ______ 3.

______ ______

4. ______ ______

*The small “m” stands for minor

150|

MAJOR AND MINOR TRIADS

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ERIE CANAL

William Allen

T R ACK 4 8

EBSI

TE

W

Play measures 1, 2, 4, 5, and 6 of Erie Canal staccato (detached) where shown and the rest of the piece legato (smooth and connected).

T R ACK 4 8

Moderato

! !

Š − 00 Łl Ł ][l Ł Ł Ý − 00 Ł

Š−Ł l Ý − Łl

5

1

1

Łl Łl 5

Łl Łl

Łl Łl

Łl Łl

Łl Łl

Łl ð Łl ð

Łl Łl

Łl Łl

Łl Łl

Łl Łl Łl ð Łl Łl Łl ð

Łl Łl

Ł Ł Ł ŁŁ ŁŁŁ Ł ]\ ð Ð Ł

Łl ][l Ł

Łl Łl

Ł Ł Ł Ł Ł Ł Ł Ł Ł ]\ ð Ð Ł

ZUM GALI GALI

Israeli

T R ACK 4 9

EBSI

TE

W

Play Zum Gali Gali in E minor.

T R ACK 4 9

Moderato

! !

²0 Š 0Ł ŁŁŁŁ Ł ][ ÐÐ ² Ý 0 Ł 0 ² Š ¼ Ł Ł Ł Ł Ý ² ÐÐ 1

Ł

3

1 5

ŁŁ Ł ŁŁ¼ Ł Ł ŁŁŁŁŁŁ Ł ŁŁ¼ Ł Ł ÐÐ Ł ð ð ¼ ¼ 1

Ł Ł Ł ð ÐÐ

¼ Ł Ł Ł Ł ]\ ÐÐ

Ł Ł Ł ð ðð ðð

The Minor Five-Finger Pattern

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Imitation and Inversion Imitation is the repetition of a musical idea in another voice. In inversion, a musical idea is presented in contrary motion to its original form.

IMITATION AND INVERSION

Béla Bartók (1881–1945)

T R ACK 5 0

EBSI

TE

W

Play Imitation and Inversion also as a duet with each player doubling the treble or bass clef with both hands. Imitation and Inversion is written in the Dorian Mode.

T R ACK 5 0

Andante

! !

Š 00 Ł Ł Ł Ł ð Ł Ł ð Ł ¼ ½ Ł Ł Ł Ł ð ð Ł ¼ Ł [ ð Ł Ł ð Ł Ł ð Ł Ł Ł Ł Ł Ł Ł ð Ł Ł Ý 00 ½ ¼ ¼ Ł

1

5

ŠŁ Ł Ł Ł ð ݽ

Ł Ł Ł Ł Ł ¼ ½

Ł Ł Ł Ł ð

Ł Ł Ł Ł ð

Ł Ł Ł ¼ Ł Ł Ł Ł ð

Ł Ł ð

Ł Ł Ð

Imitation and Inversion from Mikrokosmos, SZ107 by Béla Bartók Copyright 1940 by Hawkes & Son (London) Ltd.; renewed 1967. Reprinted by permission of Boosey & Hawkes, Inc.

152|

MAJOR AND MINOR TRIADS

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MINOR TRIADS Minor triads are formed by taking the major triad and lowering the third (the middle note) one half step. C minor chord (i chord)

!

Š Ł Ł −Ł Ł Ł Ý Ł Ł −Ł Ł Ł

5 3 1

− ððð −ððð 1 3 5

FIVE-FINGER STUDIES AND TRIADS IN MAJOR AND MINOR Practice all major and minor five-finger patterns along with all major and minor triads as shown.

Five-Finger Studies and Triads in Major and Minor

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5/27/15 9:26 AM

FIVE-FINGER STUDIES C

Student

!

5 3 1

Cm

Student

!

!

Ý 0 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł −Ł Ł Ł Ł −Ł Ł ð −ððð (¦)ÐÐÐ 0 Š 00 ¼ ŁŁ ¼ Ł ð ð Ł Ý 0 Ł ¼ 0 Ł ¼

¼ − ŁŁ ¼ ð ð

ŁŁ

Ł

¼

¼ Ł

1 3 5

1 3 5

¼ − ŁŁ ððð ð

ðð (¦) ð

Ł ¼ −ððð

ð ð

Dm

D

Ý −− − −Ł −Ł Ł −Ł −Ł −Ł Ł −Ł −Ł −Ł −Ł −Ł −Ł −Ł −Ł −Ł −ð −−−ððð (¦)−−ÐÐÐ −− − Š − −−− ¼ ŁŁ ð Ý −− − Ł −−

154|

¼

¼ ŁŁ ð Ł

¼

¼ ð Ł

−ŁŁ

¼ ð

ŁŁ

¼

Ł

¼

¼ −ŁŁ ððð ð Ł ¼ −ððð

ÿ

−−−−−

ÿ

−−−−−

−ð − ð ð −ð

−−−−−

ÿ

¦¦¦¦¦ ²²

ÿ

¦¦¦¦¦ ²²

Ł Ł Ł Ł −ð −Ł Ł −−−−−

− −− −− − Š − −Ł −Ł Ł −Ł −Ł −Ł Ł −Ł −Ł −Ł −Ł −Ł −Ł −Ł −Ł −Ł −ð −−−ððð (¦)−−ÐÐÐ

Accompaniment

!

Arranged by Ken lversen

Š 00 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł −Ł Ł Ł Ł −Ł Ł ð − ððð (¦) ÐÐÐ 1

5

Accompaniment

5 3 1

ðð ð ¦ ð ¦ ð (¦)ð ð ²ð¦ ð

¦¦¦¦¦ ²²

Ł Ł Ł Ł ¦ ð ¦ Ł ²Ł ¦¦¦¦¦ ²²

MAJOR AND MINOR TRIADS

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Student

!

² Š ²

D

² Š ² ¼ ð Ý ²² Ł

ŁŁ ¼ ð

ŁŁ

¼ Ł

¼

¼ ¦ ŁŁ ððð ð

¼ ¦ ŁŁ ¼ ŁŁ ð ð Ł

E−

Ł ¼ ¦ ððð

¼ Ł ¼

¦¦ −− −

−ð ¦ ð ð −ð

¦¦ −− −

Ł Ł Ł Ł −ð ¦ Ł Ł ¦¦ −−−

E −m

− Š − − ¼ ŁŁ ð Ý −− Ł ¼ −

¼ ð

ŁŁ

Ł

¼

¼ −ŁŁ ð

¼ ð

ŁŁ

¼

Ł

¼

Ł

¼ −ŁŁ ððð ð Ł ¼ −ððð

ðð (¦)ð

ÿ

² ¦¦¦ ²² ²

ÿ

² ¦¦¦ ²² ²

E

ð ð

Ł Ł Ł Ł ¦ ð ²Ł ²Ł ¦¦¦ ²²²²

ÿ

¦ ¦ ¦ ¦−

ÿ

¦ ¦ ¦ ¦−

¦ð ¦ð ð −ð

¦¦¦¦ −

Em

Ý ²²²² Ł ²Ł ²Ł Ł Ł Ł ²Ł ²Ł Ł ²Ł ¦ Ł Ł Ł Ł Ł ²Ł ð ¦ ððð (²)ÐÐÐ ²² Š ²² ¼ ð Ý ²²²² Ł

ŁŁ ¼ ð

ŁŁ

¼ Ł

¼

¼ ð Ł

¦ ŁŁ ¼ ŁŁ ð ¼ Ł ¼

¼ ¦ ŁŁ ððð ð Ł ¼ ¦ ððð

² ¦¦¦ ²² ²

¦ð ² 𠦲ðð

²²²² Š Ł ²Ł ²Ł Ł Ł Ł ²Ł ²Ł Ł ²Ł ¦ Ł Ł Ł Ł Ł ²Ł ð ¦ ððð (²)ÐÐÐ

Accompaniment

!

ð ð

Ý −− −Ł Ł Ł −Ł −Ł −Ł Ł Ł −Ł Ł −Ł −Ł −Ł −Ł −Ł Ł −ð −−−ððð (¦)−−ÐÐÐ −

Student

!

ðð (²)ð

− Š − − −Ł Ł Ł −Ł −Ł −Ł Ł Ł −Ł Ł −Ł −Ł −Ł −Ł −Ł Ł −ð −−−ððð (¦)−−ÐÐÐ

Accompaniment

!

ÿ

Ý ²² Ł Ł ²Ł Ł Ł Ł ²Ł Ł Ł Ł ¦ Ł Ł Ł Ł Ł Ł ð ¦ ððð (²)ÐÐÐ

Student

!

¦¦ −− −

Ł Ł ²Ł Ł Ł Ł ²Ł Ł Ł Ł ¦ Ł Ł Ł Ł Ł Ł ð ¦ ððð (²)ÐÐÐ

Accompaniment

!

ÿ

Dm

ðð (²)ð

ð ð

Ł Ł Ł Ł ¦ð ¦Ł Ł ¦¦¦¦ −

Five-Finger Studies and Triads in Major and Minor

9780199326204_Mach_TxT.indb 155

−

F

−Ł Ł −Ł

Fm

−Ł Ł −Ł

ð

Ð

ÿ

|155

² ¦ ²² ² ²

5/27/15 9:26 AM

Ý ²²²² Ł

Ł

¼

¼ Ł

Ł Ł Ł Ł ¦ð ¦Ł Ł ¦¦¦¦ −

Ł ¼ ¦ ðð

¼ Ł ¼

Student F

!

Fm

Š − Ł Ł Ł −Ł Ł −Ł Ł Ł Ł Ł −Ł −Ł Ł −Ł −Ł Ł ð −ððð (¦)ÐÐÐ Ý − Ł Ł Ł −Ł Ł −Ł Ł Ł Ł Ł −Ł −Ł Ł −Ł −Ł Ł ð −ððð (¦) ÐÐÐ Accompaniment

!

! ! ! !

Š − ¼ð ŁŁ Ý − Ł ¼

Ł

! !

156|

Ł

¼

¼ð −ŁŁ ððð

ŁŁ

¼ ð

¼ FŁ²m

Ł ¼ −ððð

¼

ðð (¦)ð

F² F

ŁŁ ŁŁ ¼

¼ ð ¼ ðŁ Ł

¼

² Š ² Š ݲ ݲ

ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ G G

Accompaniment

² ¼ Ł ð Ł ² Š ¼ð ŁŁ Ý ² Ł ¼ Ý ² Ł ¼ Š

¼ ð ¼ ð Ł Ł

ŁŁ ŁŁ ¼ ¼

ŁŁ ŁŁ ¼ ¼

Ł

¦ ŁŁ

¦ ŁŁ ¼ ¼

Ł Ł −Ł Ł Ł Ł −Ł Ł Ł Ł −Ł Ł Ł Ł −Ł Ł Ł Ł −Ł Ł Ł Ł −Ł Ł Ł Ł −Ł Ł Ł Ł −Ł Ł Gm Gm

¼ −ŁŁ ð ¼ −ŁŁ ðŁ ¼ Ł ¼

MAJOR AND MINOR TRIADS

9780199326204_Mach_TxT.indb 156

¼ð ¼ð Ł

¼ ð ¼ ð Ł Ł

ŁŁ ŁŁ ¼ ¼

¼ð ¦ ŁŁ ððð ¼ð ¦ ŁŁ ¦ ðððð Ł ¼ ð Ł ¼ ¦ ððð

ŁŁ ŁŁ ¼

¼ ð ¼ ðŁ

Ł ¼

ð ð ð ð

−ððð −ððð − ððð − ððð

−ŁŁ ððð −ŁŁ ððð − ðð ¼ Ł − ððð ¼ ¼ ð ¼ ðŁ

ÿ

² ¦ ²² ²²² ² ¦ ²² ²²²

Ł Ł Ł Ł ²ð ²Ł ²Ł ¦ ²²²² ² ²

F m

²²²² ² ² ¼ ŠAccompaniment ð ²²²² ² Š ² ¼ð Ý ²²²² ² Ł ² Ý ²²²² ² Ł ²

² ¦ ²² ²²²

²ð ² 𠦲ðð

ð ð

²²²² ² ŠStudent ² ²Ł²²Ł ²Ł Ł ²Ł Ł ²Ł ²Ł ²Ł²²Ł ¦ Ł Ł ²Ł Ł Ł ²Ł ²ð ¦²²ððð (²)²²ÐÐÐ ²²²² ² Š ² ²Ł ²Ł ²Ł Ł ²Ł Ł ²Ł ²Ł ²Ł ²Ł ¦ Ł Ł ²Ł Ł Ł ²Ł ²ð ¦²²ððð (²)²²ÐÐÐ Ý ²²²² ² ²Ł ²Ł ²Ł Ł ² Ł Ł ²Ł ²Ł ²Ł ²Ł ¦ Ł Ł ² Ł Ł Ł ²Ł ²ð ¦²² ððð (²)²² ÐÐÐ ² Ý ²²²² ² ²Ł ²Ł ²Ł Ł ² Ł Ł ²Ł ²Ł ²Ł ²Ł ¦ Ł Ł ² Ł Ł Ł ²Ł ²ð ¦²² ððð (²)²² ÐÐÐ ²

Student

! !

¼ð −ŁŁ

ŁŁ

¼ ð

ÿ

ÐÐ (¦)Ð ÐÐ (¦)Ð ÐÐ (¦) Ð ÐÐ (¦) Ð

¦ð ¦ð ð¦ ð ¦ð ¦ð ð¦ ð ¦ð ¦Ł Ł Ł Ł Ł Ł ¦ð ¦Ł Ł

² ððð ð ð ðð ð (²)ð Ł Ł ðŁ Ł ()

−ð ¦ ððð ð ð ð −ð ðð ð (¦)ð ð ð Ł Ł Ł Ł −ð Ł Ł Ł Ł −ð ()

ÿ ¦¦¦¦¦¦ ² ÿ ¦¦¦¦¦¦ ² ÿ ¦¦¦¦¦¦ ² ÿ ¦¦¦¦¦¦ ²

ÿ ÿ ÿ ÿ

¦¦¦¦ ¦ ² ¦ ¦¦¦¦ ¦ ² ¦ ¦ ¦¦ ¦ ¦ ² ¦ ¦¦¦¦ ¦ ² ¦

¦ −− − − ¦ −− − − ¦ −− − − ¦ −− − −

¦ −− − −ð − −ð ¦ −− − −ð −¦ ðŁ Ł ¦ − −−−− ¦ Ł Ł ¦ −− − −

5/27/15 9:26 AM

! !

! !

! !

!

A −m

A

Am

Š − − ¼ð ŁŁ Accompaniment − ŠÝ −−−− ¼ðŁ ŁŁ − −− ¼ Ý −− − Ł ¼ −

¼ ð

ŁŁ

Ł

A

² Š ² ¼ð ²²² ¼ ŠÝ ² ² ðŁ ²

ŁŁ

ŁŁ ¼

ÝStudent ²²² BŁ− ¼

¼ ð

¼ ðŁ Ł

ŁŁ

ŁŁ ¼

¼ ð

−ŁŁ ¼

¼ðŁ Ł

¼

A

−ŁŁ

¼ð

ŁŁ ¼

¼ ðŁ

²²² Ł ²Ł Ł Ł Ł ²Ł Ł Š Ł ²²² Ł ²Ł Ł Ł Ł ²Ł Ł Š Ł Ł ²Ł Ł Ł Ł ²Ł Ł Ý ²²² Ł Ł Ł Ł ²Ł Ł ² Ł Ł Ł ² ÝAccompaniment ²² ²

ŁŁ ¼

¼ ðŁ Ł

¼

¼

Ł Ł ¦Ł Ł Ł Ł Ł Ł Ł Ł ¦¦ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ Ł Ł ŁŁ Ł Ł¦Ł Ł Ł Ł Ł Ł Am

¼ð ¦ ŁŁ

¼ ð

¼ðŁ ¦ ŁŁ ¼ ŁB −m ¼

¼ð ¦ ŁŁ ððð ¼ðŁ ¦ ŁŁ ¦ððð ¼ Ł ¦ ððð ¼

ŁŁ

¼ ðŁ

ŁŁ ¼

Ł

()

Ł Ł Ł Ł ¦ ð ²Ł ²Ł ¦ ¦ ² ² ¦¦ ²

ð ¦ ððð (²)ÐÐР𠦦 ððððð (²²)ÐÐÐÐÐ ð ð ( )Ð ð ¦ ððð (²) ÐÐÐ

Am

ÿ

ÿ ÿ

Ý −− Ł ¼

¼ ð Ł

ŁŁ ¼

¼ ð Ł

−ŁŁ

¼ ð

ŁŁ

¼

Ł

¼

ÿ

¦¦¦ −−

¦¦¦ −− ¦¦¦ −− ¦¦¦ −−

¦ð ¦ð ¦¦¦ −− ð −ð ¦ð ¦ð ¦¦¦ −− ðð ð (²)ð ð Ł Ł ðŁ Ł ¦ ð −¦ðŁ Ł ¦ ¦ − ¦ − Ł Ł Ł Ł ¦ð ¦Ł Ł ¦ ¦ − ð Ð ²¦ ² − ² ððð

ð ð

()

Ł − Ł Ł − Ł Ł Ł −Ł Ł − Ł − Ł Ł − Ł − Ł Ł −ð −− ððð −(¦) ÐÐÐ Ł − Ł Ý −− − Š − ¼ð ŁŁ

ÿ

¦ ðð 𠲦 ðð ¦ ð ¦¦¦¦ ²²² ð ¦ð ðð ð ¦ ð ¦ ð ¦¦¦¦ ²²² (¦)ð Ł Ł ðŁ Ł ²¦ðð ¦²ðŁ ²Ł ¦ ¦ ² ² ¦¦ ²

¼ð −ŁŁ ðð ¼ðŁ −ŁŁ −ðððð ¼ Ł − ððð ¼

ŁŁ

−− −Ł Ł Ł −Ł Ł −Ł ¼Ł Ł −Ł Ł −Ł −Ł Ł −¼ Ł −Ł Ł −ð −−ðð −(¦)ÐÐ Š

Accompaniment

!

² ¦¦¦¦ ²² ÿ ¦¦¦¦ ²²² ÿ ¦¦¦¦ ²²² ÿ ¦¦¦¦ ²²²

−−−− −Ł −Ł Ł −Ł −Ł −Ł Ł −Ł −Ł −Ł −Ł −Ł −Ł −Ł −Ł −Ł −ð −−−ððð (¦)−−ÐÐÐ Š − − Student −Ł −Ł − −ð −Ð Š − −− −Ł −−ŁŁ ŁŁ −−ŁŁ − Ł −−ŁŁ ŁŁ −−ŁŁ −Ł −−ŁŁ −−ŁŁ −−ŁŁ − Ł −−ŁŁ −−ŁŁ −−ŁŁ −ð −−−−ðððð (¦¦)−−ÐÐÐÐ −Ł −ð − ð ( )− Ð Ý −− − −Ł − − Ł − Ł − Ł Ł −Ł −Ł −Ł − Ł − Ł − Ł − Ł − Ł −Ł −ð −−− ððð (¦)−− ÐÐÐ Ý −− − −Ł −Ł Ł ð ð −−−

Student

! !

A−

¼ −ŁŁ ððð ð Ł − ððð ¼

ÿ

¦¦ ² ²²

ÿ

² ¦¦ ²² ²²

¦ ððð ð ²²ðð ²ð ð ¦ð

()

² ¦¦ ²² ²²

Ł Ł Ł Ł ²ð ²Ł ²Ł ¦ ² ² ¦ ² ²² |157

Five-Finger Studies and Triads in Major and Minor

²²²² Ł ²Ł ²Ł Ł ²Ł Ł ²Ł ²Ł Ł ²Ł ¦ Ł Ł ²Ł Ł ¦ Ł ²Ł 𠦲ððð (²)²ÐÐÐ Š ² B

9780199326204_Mach_TxT.indb 157

Bm

ÿ

5/27/15 9:26 AM

−−

²²²² Ł ²Ł ²Ł Ł ²Ł Ł ²Ł ²Ł Ł ²Ł ¦ Ł Ł ²Ł Ł ¦ Ł ²Ł 𠦲ððð (²)²ÐÐÐ Š ² Student

!

B

Bm

Ł ² Ł Ł ² Ł ² Ł Ł ² Ł ¦ Ł Ł ² Ł Ł ¦ Ł ² Ł 𠦲 ððð (²)² ÐÐÐ ² Ł ² Ł Ł Ý ²²²² ² Accompaniment

!

¦¦ ² ²²

¼

¼

¼

¼

¼

²² Š ² ²² ¼ð Ý ²²²² Ł ²

ŁŁ

¼ ð

¼

Ł

ŁŁ ¼

¼ ð Ł

¦ ŁŁ

¼ ð

ŁŁ

¼

Ł

¼

¼ ¦ ŁŁ ððð ð Ł ¦ ððð ¼

ÿ ÿ

q Ł ðÐÐ ð q ðð ýýý (²) ð ð Ł ÐÐ ð ðð ýýý (²)ð

Major-Minor-Major Chord Progression

PRACTICE STRATEGIES Play the major-minor-major progression below chromatically upward and downward starting with C. Practice playing these chords in various registers. C

!

158|

5 3 1

5 3 1

5 3 1

Š 00 ŁŁŁ − ŁŁŁ ¦ ððð Ý 0 ŁŁŁ −ŁŁŁ ¦ ððð 0 1 3 5

1 3 5

1 3 5

M

m

M

D−

−−ŁŁŁ −−−ŁŁŁ ¦−−ððð −−ŁŁŁ −−−ŁŁŁ ¦−−ððð

D

²ŁŁŁ ¦ ŁŁŁ ²ððð ²ŁŁŁ ¦ ŁŁŁ ²ððð

etc.

MAJOR AND MINOR TRIADS

9780199326204_Mach_TxT.indb 158

5/27/15 9:26 AM

Next, play the minor triads with each hand separately, then with both hands. Practice playing minor triads, one at a time, in various registers, as well. The * denotes a double flat, which lowers a tone two half steps, or the equivalent of one whole step.

!

−−−ÐÐÐ

Š − ÐÐÐ

−−−ÐÐÐ

Ý −ÐÐÐ

Cm

−− −−ÐÐÐ

*

Š ²²ÐÐÐ Ý ²² ÐÐÐ

TAKE NOTE

!

D −m

F ²m

−− −− ÐÐÐ

G −m

−−−ÐÐÐ

ÐÐÐ

−−−ÐÐÐ

ÐÐÐ

Dm

−ÐÐÐ

− ÐÐÐ

−−−ÐÐÐ

−−− ÐÐÐ

A −m

Gm

E −m

−ÐÐÐ

ÐÐÐ

−ÐÐÐ

ÐÐÐ

Em

ÐÐÐ ÐÐÐ Am

−−ÐÐÐ

−− ÐÐÐ

Fm

²ÐÐÐ

² ÐÐÐ

B −m

More Tempo Markings Vivace

quickly; spirited

Andantino somewhat faster than andante Lento slow Largo

slow; broad

a tempo

return to the original tempo

Five-Finger Studies and Triads in Major and Minor

9780199326204_Mach_TxT.indb 159

Bm

|159

5/27/15 9:26 AM

PIECES USING MAJOR AND MINOR TRIADS

AARON’S SONG Aaron’s Song uses open fifths and major and minor triads melodically throughout. First study the triads, assigning the proper letter names (GM, Em, etc.) to the triads that appear in the preparatory exercise below. Next, identify and block (play as a chord or open fifth) the triad patterns used every two measures in the piece. Finally, play the piece as written.

!

Ł Ł

² Š .0 ¼

Ł Ł 1

1

Ł Ł

¼

Ł Ł ² Ý .0 Ł ¼

¼

Ł Ł ¼

5

1

Ł Ł

Ł Ł ¼

5

1

¼

Ł Ł

Ł Ł ¼ 5

Student

Ł Š². ¼ Ł Ł 0 Ł ][ Ł Ł Ł Ý ² .0 ¼ Lento

!

Aaron Peirick

1

Ł Ł Ł Ł ÿ

5

*

5

!

²

1

Š ¼ Ł Ł \ ݲ Ł Ł ¼

Ł Ł Ł Ł

5

ÿ

1

¼ Ł Ł ]\ Ł Ł ¼ 5

¼

1

Ł Ł

Ł Ł ¼ 5

rit.

T R ACK 51

EBSI

TE

W

5

T R ACK 51

Ł Ł Ł Ł ÿ Ł Ł Ł ÿ

*The use of the damper pedal is optional throughout.

160|

MAJOR AND MINOR TRIADS

9780199326204_Mach_TxT.indb 160

5/27/15 9:26 AM

9

!

a tempo

Ł Ł Š ¼ ][ Ł ݲ Ł ¼ 13

!

²

²

Š ¼ Ł Ł \ ݲ Ł Ł ¼

Ł Ł Ł Ł ÿ ¼

Ł Ł

Ł Ł ¼

Ł Ł Ł Ł

¼ Ł Ł ]\ Ł Ł ¼ ¼

Ł Ł

ÿ Ł Ł

ð

LH

\\ ÿ

rit.

¼

The accompaniment may be played one octave higher than written. The accompaniment can also be played by another instrument or group of instruments, or sung.

Accompaniment

Arranged by E. M.

Pieces Using Major and Minor Triads

9780199326204_Mach_TxT.indb 161

|161

5/27/15 9:26 AM

PYRAMIDS AFAR Pyramids Afar and Mostly Upward use triads throughout. First, name and write in triad names on the lines provided in each piece. Then play the triads in each piece without the left-hand part. Finally, play the pieces as written. Note that an accent mark can also look like as in measure 7.

E. M. Andantino

!

5 3 1

5 3 1

Š  ÐÐÐ Ł ]\ ð Ł Ý ¼ Ł

ÐÐÐ

Ł

1

ð

¼

Ł

5

!

Š ÐÐРݼ Ł Ł Ł 9

!

Š ÐÐÐ

ݼ Ł Ł Ł

ÐÐÐ ¼

ÐÐÐ ¼

Ł Ł Ł

Ł Ł Ł

13

!

Š ÐÐÐ \ ݼ ð

162|

Ł

−−ÐÐÐ ¼

ð

ÐÐÐ

Ł

¼ ÐÐÐp ¼ ÐÐÐ ¼

ð

Ł

ÐÐÐ

T R ACK 5 2

EBSI

T R ACK 5 2

ð

Ł

¼ ð

Ł

¼

TE

W

•

accent mark

Ł Ł Ł

Ł Ł Ł

ÐÐÐ ][ ð ¼

Ł

ÐÐÐ ÐÐÐ ¼ ððð \ ð

ð

Ł ½ ½

MAJOR AND MINOR TRIADS

9780199326204_Mach_TxT.indb 162

5/27/15 9:26 AM

W

E. M.

!

Vivace

5 3 1

5 3 1

Š 00 ¼ ŁŁŁ ¼ ŁŁŁ Ł [ Ł Ý 00 ¼ Ł ¼ Ł Ł

1

5

!

¼ ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ðð ð

¼ Ł ¼ Ł

Ð

Ð

! !

ŁŁŁ ¼

Š¼ [ Ý ¼ Ł

ŁŁŁ ŁŁŁ ðð ð

ŁŁŁ ŁŁŁ ððð

Ð

¼ ŁŁŁ ŁŁŁ ŁŁŁ ]\ Ð

¼

ŁŁŁ

¼ Ł ¼ Ł

Š ¼ ŁŁŁ ŁŁŁ ŁŁŁ \ Ý Ð 13

¼ ŁŁŁ ŁŁŁ ŁŁŁ \ Ð

¼ ŁŁŁ ¼ ŁŁŁ

9

ŁŁŁ

Ł ¼

ŁŁŁ ŁŁŁ ððð

Ł

ŁŁŁ ¼ ¼

Ł ¼

¼ [[ Ð

Ð

ŁŁŁp ŁŁŁp ŁŁŁp

Ð ÐÐÐp

rit.

Ðv

Pieces Using Major and Minor Triads

9780199326204_Mach_TxT.indb 163

T R ACK 5 3

¼ ŁŁŁ ¼ ŁŁŁ

5

Š ¼ ŁŁŁ ¼ ŁŁŁ [ Ý ¼ Ł ¼ Ł

T R ACK 5 3

EBSI

TE

MOSTLY UPWARD

|163

5/27/15 9:26 AM

CLASSIC MINIATURES

W

Dmitri Kabalevsky (1904–1987) Op. 89, No. 4

Ferdinand Beyer (1803–1863)

164|

W

Op. 101, No. 60

T R ACK 5 4

T R ACK 5 5

EBSI

TE

ETUDE IN A MINOR 

T R ACK 5 4

EBSI

TE

ALLEGRO

T R ACK 5 5

MAJOR AND MINOR TRIADS

9780199326204_Mach_TxT.indb 164

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REPERTOIRE

MOONLIT SEA

Phillip Keveren

T R ACK 5 6

Repertoire

9780199326204_Mach_TxT.indb 165

EBSI

TE

W

In what key is Moonlit Sea written?

T R ACK 5 6

|165

5/27/15 9:26 AM

IMPROVISATION Improvise melodies in the Dorian mode (the seven white keys from D to D) to the lefthand accompaniment of open fifths. 1.

1 5

Improvise various open fifths melodically and harmonically in both hands in a style similar to the one provided below. Explore a wide range of high and low sounds, shifting between different sections of the keyboard. 2.

!

ÿ

Š 00

]\ Ý 0 Ł Ł ðð 0

166|

5

5 1

Ł Ł ðð 1

1 5

ÿ

ÿ

½ RH

Ł Ł Ł Ł

LH

5

1

1

5

1

Ł Ł

Ł Ł ½

LH

5

5

1

etc.

MAJOR AND MINOR TRIADS

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CREATIVE MUSIC 1. Improvise five-finger melodies in G major that blend with the left-hand accompaniment. Select your best phrases and write them down on the staff provided.

2. Improvise a matching phrase to the one given using major and minor chords in the right hand. Select your best phrase and write it down on the staff provided.

Creative Music

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|167

5/27/15 9:26 AM

SIGHTREADING STUDIES

PRACTICE DIRECTIONS 1. Determine the key of the study. 2. Observe the meter signature, then tap out the rhythmic pattern, counting aloud as you do so. 3. Study the melodic and harmonic patterns. 4. Place hands in the correct position. Once you begin playing, do not stop or hesitate to find the notes. Keep the beat moving! 5. Play the notes while keeping your eyes on the printed page. 1. Key of Em Allegro

!

² Łý  Ł Ł Ł Š  [ ݲ Ð Ð 5

1 5

!

² Š Ł ý Ł Ł Ł ][ ݲ Ð Ð

Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł

Ł Ł ð

ÐÐ

ÐÐ

ÐÐ

Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł Ł

ð

ÐÐ

ÐÐ

ÐÐ

ð

2.

168|

MAJOR AND MINOR TRIADS

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5/27/15 9:26 AM

3.

4.

Sightreading Studies

9780199326204_Mach_TxT.indb 169

|169

5/27/15 9:26 AM

5.

RHYTHMIC STUDIES Tap and count the following rhythmic exercises with both hands, or work with different objects (i.e., pencils, spoons, hitting against bottles) to obtain different timbral choices. Also play the rhythmic exercises, using the various percussion sounds that can be produced on the electronic keyboards. 1.

2.

170|

MAJOR AND MINOR TRIADS

9780199326204_Mach_TxT.indb 170

5/27/15 9:26 AM

3.

4.

TECHNICAL STUDIES

Coordination Exercises Practice these exercises in various major and minor keys of your choice. 1.

Technical Studies

9780199326204_Mach_TxT.indb 171

|171

5/27/15 9:26 AM

2.

CANON In a canon, one melodic line/voice imitates another.

3.

! !

²0 ŁŁ ŁŁŁ ð ŁŁŁŁŁŁŁŁ ð ð Ł ð Š 0 ŁŁ ][ ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ ð ð ݲ0 ÿ 0

E. M.

1

5

² Š Ł Ł Ł Ł Ł Ł Ł Ł ð ð

ݲ ð

ð

Ð

Ł Ł Ł Ł Ł Ł Ł Ł ð

ÿ ð

Ð

ENSEMBLES

Student-Teacher Ensemble Pieces

LA CINQUANTINE* La Cinquantine has a first ending and a second ending indicated by the marks shown below.

1.

2.

*The student part may be played one octave higher than written if so desired.

172|

MAJOR AND MINOR TRIADS

9780199326204_Mach_TxT.indb 172

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After playing the piece through the first ending, go back to the beginning and play the piece again, this time skipping the first ending and going directly to the second ending.

Student

Gabriel Marie (1852–1958) Arranged by Faber and Faber Dancing lightly 1

!

Š 00 ¼ Łl Łl Łl Ł Ł Ł ð Ł ]\ Ł ½ ÿ Ł Ý 00 ¼ Ł

2

14

1.

ÿ

Š

l Łl Ł Ł Ł Ł Ý

ÿ

ðý

5

Ł ŁŁŁ Ł l l ÿ

¼ Łl Łl Łl Ł Ł Ł ð Ł ½ ÿ ¼

3

6

!

9

ðý

Ł

1

ÿ

 ¼ 

2.

ðý

ÿ Ł

ðý

ÿ ¼

17

!

4

2

Ł ŁŁŁ Ł

Š ¼ Łl Łl Łl ][ ÝŁ ¼ ½

ÿ

Ł Ł ŁŁŁŁ Ð ÿ

22

!

1

ŠŁ ŁŁŁ Ł Ý

ÿ

Ł Ł ŁŁŁŁ

27

!

Š ¼ Łl Łl Łl Ł Ł Ł ð ÝŁ ¼ ½ ÿ

ÿ

Ð

ÿ

3

ÿ

¼ Łl Łl Łl ]\ Ł ¼ ½

¼ Łl Łl Łl \ Ł ¼ ½ Ł ŁŁð ÿ

ÿ ÿ ÿ Ł ŁŁŁ Ł l l Ł Ł Ł Łl Łl ðý Ł Ð ÿ

Ensembles

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|173

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LA CINQUANTINE Accompaniment 1

9 RH

LH

6

1.

14

2.

17

1

2

1

22

27

© 1990 Faber Piano Adventures c/o Faber Piano Institute. All Rights Reserved. Used by Permission.

174|

MAJOR AND MINOR TRIADS

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PRELUDE  Student

( from The Children’s Musical Friend) Heinrich Wohlfahrt (1797–1883) Op. 87, No. 2

Ensembles

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|175

5/27/15 9:26 AM

PRELUDE  Accompaniment

176|

( from The Children’s Musical Friend) Heinrich Wohlfahrt (1797–1883) Op. 87, No. 2

MAJOR AND MINOR TRIADS

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Student Ensemble Pieces

CANON Johann Pachelbel (1653–1706) Arranged by Ken Iversen

Š 00 ÿ

Moderato

Piano 1

Ý0 ÿ 0

Piano 2

Ý0 Ð 0 \ Ý0 ÿ Piano 4 0 Piano 3

1

9

Ð

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

ÿ

Ð

ÿ

Ð

Ð \ 3

Ð

Ð

Ð

ÿ ÿ ÿ Š Ł¼ŁŁ ŁŁŁŁ Ł¼ŁŁ ŁŁŁ¼ ÿ ]\ ŁŁŁŁ Ł ŁŁ ð ð Ł Ł Ł Ł Ý ÿ ÿ ½ ¼ ÿ 2 ¼ ¼ ]\ ÝÐ ÿ ÿ ÿ ÿ ÿ 3 Ð Ð ]\ Ý ÿ ÿ ÿ 4 Ð Ð Ð Ð Ð ]\ 3

1

3

1

3

Ensembles

9780199326204_Mach_TxT.indb 177

|177

5/27/15 9:26 AM

CANON Accompaniment 1

9

17

25

Moderato

–

17

–

–

3

ŠŁŁð ð ð ŁŁð ð ð ð ð ð ð ][ ŁŁŁ ð ð ŁŁð ð ð ŁŁð Ł Ý ÿ 2 ][ ÝÐ ÿ ÿ ÿ 3 Ð Ð ][ Ý ÿ ÿ ÿ 4 Ð Ð Ð ][ ÿ ÿ ÿ 1 Š Ł ¼ Ł ð ð Ł ŁŁð [ Ł ŁŁ ŁŁð ð ð Ý ÿ ÿ ÿ 2 ¼ [ ÝÐ ÿ ÿ ÿ 3 Ð Ð [ Ý ÿ ÿ ÿ 4 Ð Ð Ð [ 1

4

ð ð ð ð ð ð ŁŁð

1

3

25

6

178|

14

22

30

1., 2., 3.

ÿ

ÿ Ð

Ð

ð ð Ð ð ð Ð ÿ

ÿ

ð ð Ð

4.

MAJOR AND MINOR TRIADS

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FANFARE Elyse Mach

Ensembles

9780199326204_Mach_TxT.indb 179

|179

5/27/15 9:26 AM

180|

MAJOR AND MINOR TRIADS

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WHISTLE DAUGHTER* American Folksong Cheerfully

Piano 1 Š − 0 Ł Ł Ł Ł 0 ][ ÿ Piano 2 Š − 0 0

Łð Ł ŁŁŁŁ Ð

3

5 1

Š − 00 ÐÐ ][ Ý −0 ð ð Piano 4 0 ][ Ý −0 Ł Ł Ł Ł Piano 5 0 ][ Ý −0 ÿ Piano 6 0 Piano 3

3

ŁŁŁŁ ][ ÐÐ

Łð Ł ŁŁŁŁ Ð

Ð

ŁŁŁŁ Łð Ł ŁŁŁŁ Ð

ðð ðð ðð ðð ÐÐ ðð ðð ðð ðð ÐÐ ÐÐ ð ð ð ð ð ð ð ð ð ð ð ð ð ð Ð

5

3

ŁŁŁŁ Łð Ł ŁŁŁŁ Ð

Łð Ł ŁŁŁŁ Ð

ŁŁŁŁ Łð Ł ŁŁŁŁ Ð

ŁŁŁŁ Łð Ł ŁŁŁŁ Ð ][ Ð ð ð ð ð Ð 3

Ð

ŁŁŁŁ Łð Ł ŁŁŁŁ Ð

Ý −0 0Ð Ð ð ð ð ð Ð ][ Ý Piano 8 − 00  ¼  ¼      ¼  ¼      ¼  ¼      ¼  ¼      ¼  ¼ ][ Piano 7

5

snap fingers

*Each part may be played in a higher or lower octave.

Ensembles

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UNI T 4  WORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER 1. Identify the major five-finger patterns from the black-white key groupings given. WWWBW ____________ BWWBW ____________ WBBWB ____________ WBBWW ____________ BBBWB ____________

2. Identify the quality (major or minor) of the triads below. Use the uppercase letter to signify major (i.e., D for D major) and the uppercase letter followed by a small m to signify minor (i.e., Dm for D minor).

Š ÐÐÐ

2)

Ý −ÐÐÐ

8)

1)

7)

²ÐÐÐ

²ÐÐÐ

3)

9)

ÐÐÐ

−−−ÐÐÐ

−ÐÐÐ

4)

²²ÐÐÐ

10)

5)

−−ÐÐÐ

−−ÐÐÐ

11)

6)

−ÐÐÐ

−−−ÐÐÐ

12)

© Oxford University Press

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CONSTRUCTION 3. Build each of the major and minor five-finger patterns on the keyboards provided. In doing so, be sure to remember to use five different letter names. 1.  C major

2.  C minor



E

C D E F G

♭

♯

C D

F G

♯

3. D major (C major)

4. C minor

5.  D major

6.  D minor

♭

♭

7. E major

8. E minor

9.  E major

10.  E minor

11.  F major

12.  F minor

© Oxford University Press

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♯

♭

♯

13. F major (G major)

14. F minor

15.  G major

16.  G minor

♭

♭

♯

17. A major

18. A minor (G minor)

19.  A major

20.  A minor

♭

♭

21. B major

♯

22. B minor (A minor)

♭

23.  B major (G major)

24.  B minor

© Oxford University Press

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MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A

COLUMN B

1. double flat

______ ​a root, third and fifth

2. major triad

______ ​quickly and spirited

3. canon

______ ​accent mark

4. a tempo

______ ​slow

5. lento

______ ​marking indicating first ending and a second ending

6. vivace

______ ​lowering the third one half step in a major triad

7.

______ ​reverse the order

8. invert

______ ​a repetition of a musical idea in another voice

9. triad

______ ​somewhat faster than andante

10. minor triad

______ ​triads without their thirds

11. andantino

______ ​Ab – C – Eb

12. largo

______ ​slow and broad

13. a first ending and a second ending sign

______ ​return to the original tempo

14. open fifths

______ ​

15.

______ ​key of G minor



16.



______ ​key of E minor

17.



______ ​key of B minor

18. 19. 20.



______ ​key of F minor

♯



______ ​key of F minor

♯

______ ​key of C minor

© Oxford University Press

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UNIT 5

THE DOMINANT SEVENTH CHORD

This unit introduces the dominant seventh chord and pieces that use the dominant seventh chord in their accompaniments.

ROOT POSITION: V7 To make a V7 or dominant seventh chord, add to the V triad a note an interval of a seventh above the root. Five-Finger Pattern in C

ŠÐ

Ð

Ð

Ð

ÐÐÐ

V(G)

fifth third root

ÐÐÐ Ð

seventh fifth third root

V7 (G7)

The V chord has a root, third, and fifth; the V7 chord has a root, third, fifth, and seventh. The roman numeral V represents the fifth degree, the root on which the triad is constructed. The arabic numeral 7, to the right of the V, represents the interval of a seventh between the root and the highest tone of the chord. Since the root is used as the lowest tone of the chord, we say that the chord is in root position. The V7 chord also derives its letter name from its root. Thus, in the key of C, as above, the V7 chord is called a G7 chord; in the key of G, V7 is called D7; and in D, V7 is called A7.

Root Position: V7

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FIRST INVERSION An easier way to play the V 65 chord is to rearrange, or invert, the chord so that a tone other than the root is used as the lowest tone. When the third of the chord is used as the lowest tone, we say that the chord is in first inversion* and we call it V 65. Note that the root of the chord now appears as the top tone and the rest of the tones have been inverted:

ÐÐÐ Ð

Š ÐÐÐ

root

ÐÐÐÐ

(fifth often omitted) 6 6 V5 (G5)

V7 (G7)

I (C)

root third

The numbers represent the intervals formed between the lowest tone and the ones above. In V 65 in C, the 6 represents the sixth from B to G, and the 5 represents the fifth from B to F:

Ý

fifth

ÐÐ [ Ð]

sixth

V65 (G56)

Note that V 65 forms its letter name (G 65 above) from the fifth degree, the root, just as V7 does. The V 65 chord for all keys is constructed by sounding the 4th and 5th tones of the fivefinger pattern together with the tone a half step down from the first tone (or tonic).

FIVE-FINGER NOTATION Five-Finger Pattern in C

Tonic

!

Š

1

Ł Ð

ÝŁ Ð 5

2

3

4

5

Ð

Ð

Ð

Ð

Ð

Ð

Ð

Ð

4

3

2

1

5 4 1

ÐÐÐ

ÐÐÐ 1 2 5

V65 (G65)

*Chords and their inversions are discussed further in Unit 9.

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An easy way to move from the I (tonic) chord to the V 65 chord in any given key is to remember the following steps: 1. The top note remains the same. 2. The middle note moves up a half step. 3. The bottom note moves down a half step.

!

5 3 1

Š ÐÐÐ

5 4 1

1/2 1/2

5 3 1

ÐÐÐ

ÐÐÐ

Ý ÐÐÐ ÐÐÐ 1 3 5

C:

I

ÐÐÐ

1/2 1/2

1 3 5

1 2 5

V65

I

When playing combinations of I and V 65, remember that the same V 65 chord is used in both major and minor, as illustrated below:

Ý − ððð F

I

ððð

V65

ððð

−ððð

I

i

Fm

ððð

V65

−ððð i

Playing the V 65 instead of the V7 in root position at this point allows more ease in playing the chord progressions involving dominant seventh chords.

PRACTICE STRATEGIES I–V 56 –I Chord Progressions 1. Practice playing I and V 65 chords with the left hand in major and minor in all keys, as shown. 2. Give the root (or letter name) of each chord as you play it. 3. Remember not to look at the keys. 4. Try to develop a feel for the I–V 65–I progression and anticipate the changing of chords.

First Inversion

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1. C

Ý ÐÐÐ ÐÐÐ 1 3 5

ÐÐÐ

1 2 5

−ÐÐÐ ÐÐÐ −ÐÐÐ

1 3 5

V6 5

I

Cm

1 3 5

I

1 2 5

V6 5

i

Ý ²ÐÐРвÐÐ ²ÐÐÐ D

ÐÐÐ ÐÐ ²Ð

Dm

1 3 5

D−

D −m

E−

E −m

−−ÐÐÐ −−ÐÐÐ −−ÐÐÐ

−−−ÐÐÐ −−ÐÐÐ −−−ÐÐÐ

i

ÐÐÐ

−−ÐÐÐ −−ÐÐÐ −−ÐÐÐ

−−−ÐÐÐ −−ÐÐÐ −−−ÐÐÐ

etc.

Another way of practicing the I–V 65–I chord progression is to play the chords with the right hand while the left hand plays the root (or letter name) of each chord as shown below: 2. C

!

5 3 1

5 4 1

5 3 1

Cm 3

I

V65

I

5

1

5

Š ÐÐÐ ÐÐ ÐÐÐ Ð ÝÐ Ð Ð

5

1

5 4 1

5 3 1

i

V65

i

5

1

5

− ÐÐÐ ÐÐÐ − ÐÐÐ Ð Ð Ð

D−

−−ÐÐÐ −−ÐÐÐ −−ÐÐÐ −Ð −Ð −Ð

D −m

−−−ÐÐÐ −−ÐÐÐ −−−ÐÐÐ −Ð −Ð −Ð

etc.

BLOCK-CHORD ACCOMPANIMENT WITH I AND V 56

PRACTICE DIRECTIONS 1. Identify the key of each of the following pieces by checking the key signature. In addition, look at the lowest note at the end of the piece; it will usually be the tonic, or key note. 2. Study the rhythmic and melodic patterns of each piece, then play the I–V 65–I progression several times before trying two hands together. 3. Transpose these pieces to other keys. 4. Try playing these pieces in selected minor keys of your choice. To play the five-finger pattern in minor, remember to lower the third tone of the major five-finger pattern one half step. Then take the major I chord and make it minor by lowering the third (or middle tone) one half step, as well.

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W T R ACK 57

EBSI

TE

AUSTRIAN FOLK SONG

T R ACK 57

Allegretto C

!

Ł Ł Ł

Š /0 Ł Ł ][ Ý / ððð ýýý 0 3

Ł Ł ð

Ł

ððð ýýý

1 3 5

!

Ý ððð ýýý

Ł

Ł Ł Ł

Ł

Ł Ł ð

ððð ýýý

ððð ýýý

1 2 5

V65

I

Š Ł

G7/B

Ł

Ł Ł ð ððð ýýý

5 4 1

ððð ýýý

Ł Ł Ł 1

5 3 1

ððð ýýý Ł

tonic (C)

ðý

Block-Chord Accompaniment with I and V 56

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MUSIC CHORD SYMBOLS Music chord symbols are often given as follows: G7 = chord name

the letter before the slash indicates the chord being played

/B = bottom note the bottom letter appearing after the slash indicates the lowest note

ÐÐÐ

Ý ÐÐÐ Ð

Chord name: G7

Roman numeral name:

G7/B

V7

V56

W T R ACK 5 8

Moderato F

Ł

Ł

Ł

Ł

1

Ł

5 4 1

ððð ýýý Ł

Ł

Ł Ł

ððð

Ł ¼ ¼

V65

ððð ýýý Ł

Ł

Ł

Ł

7777

Ý− Ł

Ł

7777

Š − ððð ýýý

ððð ýýý

Ł

1 2 5

I

5 3 1

Ł

T R ACK 5 8

7777

1 3 5

Ł Ł

C7/E

7777

ððð ýýý

7777

!

Ł

7777

!

Š − /0 Ł Ł \ Ł * ð ýý ðý Ý Ł − /0 ð 5

EBSI

TE

BELLS OF LONDON

ððð

¼

ð

¼

*Gently roll the chords as marked.

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W T R ACK 5 9

Allegretto D

!

²² . Š 0Ł ŁŁ Ł Ł Ł ][ ð ððð Ł Ý ²² .0 ðð 5

Ł

1 3 5

Ł ŁŁ ð ððð

ððð

!

Ý ²² ððð

ððð

T R ACK 5 9

A7/C#

Ł ŁŁ ŁŁŁŁ ð ð

ð

ððð 1 2 5

ð

ððð

V6 5

I

² Š ² Ł ŁŁ Ł Ł

EBSI

TE

CHILEAN FOLK SONG

Ł ŁŁ ð ð

ð

Ł ŁŁ ŁŁŁŁ ð [ ŁŁŁ ŁŁŁ ððð ððð

Ł ¼ ŁŁŁ ¼

FIVE-FINGER NOTATION The key of E♭ major has three flats in the key signature. The five-finger pattern of E ♭ major is shown below:

♭

middle C

E Major Five-Finger Pattern

2 1

5 4 3 LH

4 5

1 2 3 RH

Music Chord Symbols

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Study 1

! !

Moderato

STUDIES IN E ♭ MAJOR

− Š − − 00 Ł Ł Ł Ł ð Ł Ł ð Ł Ł Ł Ł ð Ł ][ Ł ð Ł Ł ð Ł Ł Ł Ł ð Ł Ł Ý − Ł 0 Ł −−0 − Ł Ł ð Š−− Ł Ł Ł Ł Ł Ł ð Ł Ł ð Ł Ł ð Ł Ł ð Ý −− Ł Ł Ł Ł Ł Ł ð − 1

Ł

5

Transpose to D major Study 2

!

Allegretto

− ÿ ÿ Ł ŁŁ ŁŁŁŁ Ł ŁŁ ¼ Š − − .0 Ł Ł Ł Ł Ł Ł Ł ][ ]\ Ł ŁŁ ð Ł ŁŁ ŁŁŁŁ Ł ŁŁ Ł Ý ÿ ÿ − . Ł ¼ −−0 3

Ł

5

2

1

Transpose to C major

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ENGLISH FOLK SONG ♭

Student

!

English Moderato E−

Ł Š −−− 2 4Ł Ł Ł Ł Ł Ł Ł ][ ðð ýý Ł Ý −−− 42 ð ý I

!

Łý Łý

ððð ýýý

1 3 5

− Š−− Ł Ł Ł Ł Ł Ł \ Ý −− ððð ýýý −

B −7/D

Ł Ł Ł Łý

1

Ł

ððð ýýý

T R ACK 6 0

Łý Łý ]\ ððð ýýý

ððð ýýý 1 2 5

 Ł Łý

T R ACK 6 0

EBSI

TE

W

Study the left-hand I–V 65 –I chord progression in E major before playing English Folk Song.

V65

Łý ][ ððð ýýý

Ł

Ł 

ðý ððð ýýý

ENGLISH FOLK SONG Accompaniment

Arranged by Ken Iversen

Music Chord Symbols

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FIVE-FINGER NOTATION

♭

The key of A♭ major has four flats in the key signature. Here is the five-finger pattern:

A Major Five-Finger Pattern

middle C

5 4

2 1

1 2

3 LH

Study 1

!

3 RH

ETUDES IN A ♭ MAJOR

Andante

Ł Ł − Š − −− .0 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ]\ \ Ł Ý −−−− .0 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 1

Ł

5

Study 2

!

4 5

ŁŁð Łð Ł ð ½ ŁŁð ÿ Łð Ł ð ½ Ł Š −−−−  ÿ ]\ ][ ]\ ][ Ł ŁŁð Łð Ł ð Łð ÿ Łð Ł ð ½ Ł Ý ÿ ½ − Ł − −− 

196|

Allegretto

3

5

4

5

2

3

THE DOMINANT SEVENTH CHORD

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W T R ACK 61

Moderato

!

− Ł Š − −− .0  Ł ]\ Ł Ý −−−− .0 ¹ 5

Ł

A−

Ł

Ł Ł

ððð 1 3 5

Ł ððð

E −7/G

Ł Ł

Ł

ððð 1 2 5

!

ð Ý −− − ðð −

Ł

Ł ŁŁŁ

T R ACK 61

¹ Ł  ¼

V65

I

− Ł Š − −−

Ł Ł

EBSI

TE

GERMAN FOLK SONG

Ł

Ł ððð

Ł

Ł

Ł ððð

Ł

Ł

Ł ŁŁŁ

¹ ¹

FIVE-FINGER MELODIES WITH LETTER-NAME AND ROMAN NUMERAL CHORD SYMBOLS FOR I AND FOR V 65 CHORD ACCOMPANIMENTS Play the following melodies which use letter-name chord symbols for the I and V 65 chord harmonizations.

1. ​FOLK SONG German Allegretto C

Š /0 Ł ð 5

I

G7/B

Ł ð

G7/B

C

C

Ł Ł Ł ð Ł Ł ð

V65 C

C

ŠŁ Ł Ł ð Ł Ł Ł Ł ð Ł Ł ð

Ł ð Ł ð

G7/B

C

Ł Ł Ł ðý G7/B

C

Ł Ł Ł ðý

Transpose to G major Five-Finger Melodies with Letter-Name and Roman Numeral Chord Symbols

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2. ​SOUTH AMERICAN FOLK SONG

1

Transpose to D major Play the following melodies that use Roman numeral chord symbols.

3. ​GERMAN TUNE

Transpose to E major

4. ​SWEDISH FOLK SONG

Transpose to E♭ major

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5. ​HEY LIDEE American

Transpose to A major

CLASSIC MINIATURES W

Op. 117, No. 5 Cornelius Gurlitt (1820–1901)

Allegretto

Ł Ł Ł Ł

1

5

3

5

T R ACK 6 2

EBSI

TE

MOVING ALONG 

T R ACK 6 2

2

1

9

Classic Miniatures

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W

Daniel Gottlob Türk (1756–1813) Allegro

Ł

3

T R ACK 6 3

EBSI

TE

MARCH

T R ACK 6 3

2

Ł Ł

5

1

5

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REPERTOIRE W

Cornelius Gurlitt, Op. 117, No. 8 (1829–1901)

T R ACK 6 4

Repertoire

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EBSI

TE

VIVACE

T R ACK 6 4

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IMPROVISATION

Pentatonic Improvisation A historical note of interest: It is thought that the pentatonic scale is representative of an early stage of musical development. For example, a variety of pentatonic scales occur in the music of Native Americans, sub-Saharan Africans, and East and Southeast Asians (e.g., the five tone slendro scale of the Javanese) as well as in numerous European folk melodies. Many 20th century Western composers such as Claude Debussy used the pentatonic scale in a somewhat experimental capacity. Use the five black keys (the pentatonic scale) to improvise various melodies with the right hand, and use the left hand to play an accompaniment in fifths. The four sets of fifths that can be played on the black keys are shown below:



D

  2.

1 5

ÐÐ

202|

1 5



A B

D E

1.

Ý −− − − − − ÐÐ

 

 

G A

E

3.

4.

1 5

1 5

ÐÐ

ÐÐ

THE DOMINANT SEVENTH CHORD

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JAPANESE GARDENS PRACTICE DIRECTIONS 1. For an “Eastern” sound, play sustained open fifths in the accompaniment, as illustrated in Japanese Gardens. 2. Then play this piece in different registers—for example, with the right hand one and two octaves higher than written. 3. Finally, make up your own melody to the accompaniment.

♭

4. For Japanese Gardens, place the right-hand thumb on G and the rest of the fingers on the corresponding black keys:

− Š − −−−− Ł 1

Gently

!

3

Ł

− Š − −−−− 00 Ł Ł Ł Ł Ł \ Ł Ý −−−−−− 00 Ð Ð Ł

3

2

!

4

Ł 5

E. M.

Ł Ł Ł Ł Ł Ł Ł Ł Ł

4

5

1 5

ÐÐ

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ÐÐ

Ð

ÐÐ

ÐÐ

1 5

− Š − −−−− Ł Ł Ł Ł \\ Ý −− − − Ð −− Ð

Ł

Ł

2

ÐÐ

Ð ÐÐ

Improvisation

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LITTLE RIVER CALL PRACTICE DIRECTIONS

♭

44

♭

1. For a drumming sound, play a fifth (for example, E and B ) in the lower register on every beat in meter, as in Little River Call. 2. With the right hand, begin playing various melodies on the black keys. Play Little River Call to give yourself some ideas. 3. Then begin to improvise your own melodies.

♭

4. For Little River Call, place the right-hand thumb on D , and the rest of the fingers on the corresponding black keys:

− Š − −−−− Ł 1

2

3

4

Ł

Ł

Ł

Ł 5

E. M.

Andante

! !

−− −− − ðn ð Łn Ł ð ý Š − Ł ][ Ł Ý −−−−−−  Ł Ł Ł Ł Łn Ł Ł Ł ŁŁn ŁŁ ŁŁ ŁŁ −− −− − ðn ð Š − Łn Ł ð Ł 5

Ł

4

Ý −− − − Ł Ł Ł Ł −− Ł Ł Ł Ł n

204|

3

ŁŁ n

2

ŁŁ ŁŁ ŁŁ

1

½

Łn Ł Ł Ł

ðn

ŁŁ ŁŁ ŁŁ Ł Ł n

ŁŁ ŁŁ ŁŁ ŁŁ n

Łn Ł Ł Ł Ł

Ðn

ŁŁ ŁŁ n

ÐÐ n

rit.

ŁŁ Ł Ł

THE DOMINANT SEVENTH CHORD

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SAPPORO SUNSET Improvise your own accompaniment (single notes, fifths, etc.) on the black keys to the pentatonic melody that appears next. Play the melody and accompaniment in different registers. Flowing

− Š − −−−− .0 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð \ ]\

E. M.

5

CREATIVE MUSIC AND HARMONIZATION

i and V 56 Chords in Major Harmonize the following melodies with a I or V 65 chord on the first beat of each measure. The correct chord will be the one with some of its tones represented in the melody. Before creating the chord, look at the notes of each measure, especially strong-beat notes, and plan a chord that will fit those notes before your ear tells you something is wrong. Write in the chord for each measure. 1.

!

Š 00 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð ð Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð ð ][ ]\ Ý 0 ÐÐÐ 0 3

1 3 5

I

2.

!

²²²² / Š 0 Ł Ł Ł Ł Ł Ł Ł Ł Ł ðý Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð ý ]\ ][ Ý ²²²² / ððð ýýý 0 1

1 3 5

I

Creative Music and Harmonization

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Write a matching phrase for the one given and harmonize, using I and V 65 chords. 3.

!

² Š ² /0 Ł ý Ł Ł ]\ Ý ²² / ððð ýýý 0 3

1 3 5

Ł ý Ł Ł ððð ýýý

Ł Ł Ł

ððð ýýý 1 2 5

ðý ððð ýýý

V65

I

Add a matching phrase to the one below, using a single-note accompaniment in the left hand. Single tones can substitute for complete chords. 4.

!

²² / Š 0 Ł ý Ł Ł \ Ý ²² / ð ý 0 3

5

I

Ł ý Ł Ł ðý

Ł Ł Ł ðý

ðý ðý

V 65

SIGHTREADING STUDIES

PRACTICE DIRECTIONS 1. Determine the key of the study. 2. Observe the meter signature, then tap out the rhythmic pattern, counting aloud as you do so. 3. Study the melodic and harmonic patterns. 4. Place hands in the correct position. Once you begin playing, do not stop or hesitate to find the notes. Keep the beat moving! 5. Play the notes while keeping your eyes on the printed page.

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THE DOMINANT SEVENTH CHORD

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I and V 56 Chords in Major 1. Key of __________ Moderato

!

1

Š  Ł ŁŁð [ Ý  ÐÐÐ 1 3 5

Ł ŁŁð Ł Ł Ł Ł ð ð Ł ŁŁð Ł ŁŁð Ł Ł Ł Ł ][ ÐÐÐ ÐÐÐ ÐÐÐ ÐÐÐ ÐÐÐ ÐÐÐ 1 2 5

Ð ÐÐÐ

2. Key of __________

3. Key of __________

Sightreading Studies

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4. Key of __________

i and V 56 Chords in Minor 5. Key of Cm Andante

! !

− Š − − 42

 Ł  Ł Ł Ł Ł Ł Ł Ł Ł

Ł  Ł Ł Ł ][ ŁŁŁ ýýý Ý −− 2 ŁŁŁ ýýý −4 1

1 3 5

− Š − − Ł Ł Ł Ł [ ŁŁŁ ýýý Ý −− ŁŁŁ ýýý −

208|

5

ŁŁŁ ýýý

ŁŁŁ ýýý

Ł¦ ŁŁ ýýý 1 2 5

ŁŁŁ ýýý

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ŁŁŁ ýýý

ŁŁŁ ýýý

Ł¦ ŁŁ ýýý

ŁŁŁ ýýý

Ł Ł Ł ý ŁŁŁ ýýý

ŁŁŁ ýýý

 Ł Ł Łý ŁŁŁ ýýý

ŁŁŁ ýýý

THE DOMINANT SEVENTH CHORD

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6. Key of __________

7. Key of __________

Sightreading Studies

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8. Key of __________

RHYTHMIC STUDIES Tap and count the following rhythmic exercises with both hands, or work with different objects (i.e., pencils, spoons, hitting against bottles) to obtain different timbral choices. 1.

2.

3.

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THE DOMINANT SEVENTH CHORD

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4.

TECHNICAL STUDIES Practice the following I–V 65–I chord progressions in various major keys of your choice. as you move your hands from one Think of making an arc movement octave to the next upward and then again as you proceed downward. 1.

2.

3.

Technical Studies

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ENSEMBLES

Student-Teacher Ensemble Pieces

WALTZ 

from The Children’s Musical Friend, Op. 87, No. 39

Student

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Heinrich Wohlfahrt (1797–1883)

THE DOMINANT SEVENTH CHORD

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WALTZ 

from The Children’s Musical Friend, Op. 87, No. 39

Accompaniment

Heinrich Wohlfahrt (1797–1883)

Tranquil 1

2

1

5

3

2

1

1

5

1

4 1

2

3

2

1

3

Fine

rit. last time 2 5

9

3

1

2

5

13

5 2

4

1

1

2

5 3

3

2

D.C. al Fine 1

2

Ensembles

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5

2

5

1

3

|213

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JOYFUL DAY Vivace, non troppo is a term indicating to be performed in a brisk, lively manner, but not too much. Tranquillo means calmly, peacefully.

Student

214|

Joseph Löw (1834–1886)

THE DOMINANT SEVENTH CHORD

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JOYFUL DAY Accompaniment

Joseph Löw (1834–1886)

Ensembles

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5/27/15 9:27 AM

Student Ensemble Pieces

DRINK TO ME ONLY WITH THINE EYES English (Arr. E. M.)

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THE DOMINANT SEVENTH CHORD

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AMAZING GRACE Traditional, Arranged by Ken Iversen Moderato

3

Piano 1

1

Piano 2

Piano 3 5

Accompaniment

Ensembles

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5/27/15 9:27 AM

6

1

2

3

A

12

1.

2.

1.

2.

1

2

3

A

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THE DOMINANT SEVENTH CHORD

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UNI T 5  ​W ORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER 1. Identify the following major and minor triads and the seventh chords that appear in first inversion. Use chord symbols for the seventh chord, e.g., C 65 (first inversion). 1.

2.

3.

——— 7.

———

9.

———

5.

10.

———

6.

11.

———

———

———

———

———

——— 8.

4.

12.

———

———

CONSTRUCTION 2. Build the chords indicated by the letter symbols given.

Cm ——

G ——

E ——

Gm ——

A 65 ——

D ——

B ——

D 65 ——

Am ——

B ——

E ——

C 65 ——

♭

3. Construct the I–V 65 –I chord progression in the keys of G and E major in both treble and bass clef.

© Oxford University Press

|219

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MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A

COLUMN B

1. tonic

_______ ​gently roll the chord as marked

2. root position

_______ ​not too much

3. V

_______ ​when the third of the chord is used as the lowest note

4. dominant seventh chord

_______ ​calmly or peacefully

5. F/C

_______ ​a music chord symbol

6. dominant

_______ ​to rearrange the tones of a chord, so that the root is not in the bass

7. inversion

_______ ​first inversion of a seventh chord

8. Daniel Gottlieb Türk

_______ ​the fifth degree of a five-finger pattern

9. first inversion

_______ ​when the root of the chord is in the bass

10. non troppo

_______ ​the first degree of a five-finger pattern

11. tranquillo

_______ ​a V triad with a note an interval of a seventh above the root

12.

_______ ​a romantic period composer



13. Cornelius Gurlitt

_______ ​a classical period composer

© Oxford University Press

220|

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UNIT 6

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

T

his unit introduces the subdominant chord and pieces that use the subdominant chord as well as the dominant seventh chord in their accompaniments. Changing five-finger positions and pieces that use changing five-finger positions are also introduced in this unit.

THE SUBDOMINANT CHORD The root-position IV or subdominant chord is constructed by building a major triad on the fourth degree of the five-finger pattern in all keys.

Root Position: The IV 46 Inversion Five-Finger Pattern in C Major

ŠÐ

Ð

Ð

ÐÐÐ

IV(F)

The Subdominant Chord

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By inverting the IV triad and putting the fifth of the chord on the bottom, you will have an easier way to move between the I and IV chords. Note that the root of the IV 65 chord now appears as the middle tone. When the fifth of the chord is used as the lowest tone, we say that the chord is in second inversion* and we call it IV 64. C

root

Š ÐÐÐ

I (C)

ÐÐÐ

fifth

ÐÐ Ð

root

IV46 (F64 )

IV (F)

As with V7 and V 65, the arabic numbers 64 represent the intervals formed between the lowest tone and the ones above. In IV 64 in C, the 6 represents the sixth from C to A, and the 4 represents the fourth from C to F. C

Ý

fourth

ÐÐ Ð

sixth

IV64 (F64)

The IV 64 chord for all keys is constructed by sounding the first and fourth tones of the five-finger pattern together with the sixth tone, which is a whole step up from the fifth tone of the five-finger pattern.

FIVE-FINGER NOTATION Five-Finger Pattern in C Major

!

1

ŠÐ ÝÐ 5

2

3

4

5

Ð

Ð

Ð

Ð

Ð

Ð

Ð

Ð

4

3

2

1

5 3 1

Ł ÐÐ Ð Ł ÐÐ Ð 1 2 5

IV64 (F64 )

The right-hand fingering for the a 5e IV 64 chord is The left-hand fingering for the g w1 IV 64 chord is

*Chords and their inversions are discussed further in Unit 9.

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THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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An easy way to move from the I (tonic) chord to the IV 64 chord in any given key is to remember the following steps: 1. The top note moves up a whole step. 2. The middle note moves up a half step. 3. The bottom note remains the same. 5 3 1

5 3 1

5 3 1

1 3 5

1 2 5

1 3 5

I

IV 64

I

1 1/2

1 1/2

C:

The IV 64 chord derives its letter name from the root, which is the 4th tone of the fivefinger pattern. For example:  In the key of C, the IV 64 chord is called an F64 chord. In the key of G, the IV 64 chord is a C64 chord. In the key of D, the IV 64 chord is a G64 chord.

PRACTICE STRATEGIES Practice playing the chord progression I–IV 64 –I–V 65–I with the left hand in all major keys, as shown next. I–IV 46 –I–V 65 –I Chord Progressions 1. Use the fifth tone of the five-finger pattern as the first tone (or tonic) of each subsequent chord progression. 2. Remember not to look at the keys. 3. Try to develop a feel for the progression and anticipate the changing of chords. After you have mastered the progression in major keys, try playing the i–iv 64 –i–v 65–i progression in various minor keys of your choice. (See the progressions on pages 466–467.) Remember that the i chord in minor has its third tone lowered a half step, the iv 65 chord has its sixth tone lowered a half step, but the V 65 chord remains unchanged.

The Subdominant Chord

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Major Keys C

Ý ÐÐÐ 1 3 5

ÐÐÐ

ÐÐÐ

IV64

I

1 2 5

I

ÐÐÐ

1 3 5

ÐÐÐ

1 2 5

V 65

I

ÐÐÐ

−ÐÐÐ

Minor-key example

−ÐÐ Ð

Cm

Ý −ÐÐÐ 1 3 5

1 2 5

−ÐÐÐ 1 3 5

iv6 4

i

i

1 2 5

Ý ²ÐÐÐ

ÐÐ Ð

²ÐÐÐ

вÐÐ

Ý ²ÐÐÐ

² ÐÐ Ð

²ÐÐÐ

Ð ²ÐÐ

D

E

ÐÐ Ð

ÐÐÐ

− ÐÐÐ

− ÐÐ Ð

− ÐÐÐ

²ÐÐ Ð

²ÐÐÐ

Gm

Cm

V 65

ÐÐÐ

G

Ð ²ÐÐ

ÐÐÐ

Ð Ð ²ÐÐ − ÐÐ

i

²ÐÐÐ

²ÐÐÐ

A

B

²ÐÐÐ

²²ÐÐÐ

²ÐÐ Ð

²²ÐÐÐ

Ð ²ÐÐ

²ÐÐÐ

² ÐÐ ²²ÐÐÐ ²Ð

− − ÐÐÐ −−− ÐÐÐ −−− ÐÐÐ −− ÐÐ −−− ÐÐÐ ² Ð ² ² Ð Ð Ð ² ² Ð − Ð Ð ² Ð ² Ð ² Ð − Ð Ý ²Ð ²Ð ²Ð ² Ð ²Ð F ² (or G −)

224|

G

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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D − (or C ²)

C²

Ý −−ÐÐÐ −−−ÐÐÐ −−ÐÐÐ −−ÐÐÐ −−ÐÐÐ ²²²ÐÐÐ ²²²ÐÐÐ ²²²ÐÐÐ ²²²ÐÐÐ ²²²ÐÐÐ

A−

Ý −ÐÐ −Ð

B−

Ý −ÐÐÐ

Ð −−ÐÐ

Ð −−ÐÐ

−−ÐÐÐ

−ÐÐÐ

−−ÐÐÐ −−ÐÐÐ

−ÐÐÐ −ÐÐÐ

E−

−−ÐÐÐ

Ð −−ÐÐ

−−ÐÐÐ

−−ÐÐÐ

−−ÐÐÐ

ÐÐÐ

− ÐÐÐ

ÐÐÐ

−ÐÐÐ

ÐÐÐ

F

Another way of practicing the I–IV 64 –I–V 65–I chord progression is to play the chords with the right hand while the left hand plays the root (or letter name) of each chord as shown below: C

!

5 3 1

Š ÐÐÐ I

ÝÐ 5

5 3 1

5 3 1

ÐÐ Ð

ÐÐÐ

2

Ð

IV64

Ð

I

5

5 4 1

5 3 1

ÐÐÐ

ÐÐÐ

1

Ð

V6 5

Ð

I

5

G

ÐÐÐ Ð

ÐÐ Ð Ð

ÐÐÐ Ð

Ð ²ÐÐ Ð

ÐÐÐ Ð

etc.

After you feel secure playing the harmonic progression in major keys, play the i–iv 64–i– progression in various minor keys following the format above.

V 65–i

The Subdominant Chord

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CADENCES A cadence is a musical punctuation used at the end of a phrase. It marks a close in the melody or harmony.

Authentic Cadence A phrase that ends with a dominant-to-tonic (V–I) or a dominant-seventh-to-tonic (V7or V 65–I) chord progression closes with an authentic cadence. Authentic Cadences

Ý ÐÐ Ð G

V

ÐÐÐ C

I

Ý ÐÐÐ Ð

G7

V7

ÐÐÐ C

I

Ý ÐÐÐ

G7/B

V56

ÐÐÐ C

I

Plagal Cadence A phrase that ends with a subdominant-to-tonic (IV–I) chord progression, in root position or in one of its inverted positions (like IV 64), closes with a plagal cadence. Sometimes the plagal cadence is nicknamed the “Amen” cadence because it often appears at the end of church hymns. Plagal Cadence

Ý ÐÐÐ F

IV

226|

ÐÐÐ C

I

Ý ÐÐÐ

F/C

IV 64

ÐÐÐ C

I

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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PIECES WITH I–IV 64 –V 65 ACCOMPANIMENTS W

American Moderato

!

Ł Š²0 Ł Ł Ł 0 ][ Ł

G

Ð

1

I

ÐÐÐ

asked my

ÐÐÐ

love

ݲ0 ¼ ½ 0

Ł

Ł Ł Ł Ł

1 3 5

to

take

a

D7/F ²

5

!

ÐÐÐ

Ł

Ł

Ð Ý ² ÐÐ

ÐÐÐ

a

lit

²Ð Š

Ł

9

!

side

ÐÐÐ

Ð Ý ² ÐÐ

² Š Ð

1 2 5

Ł -

Ł Ł Ł where the

take

a

Ð

Ł

Ł

Ł

Ł

tle

walk

ÐÐÐ

ÐÐÐ

And

down

be

Ł

C/ G

Ð

Ł

Ł

ÐÐ Ð

ÐÐ Ð

Down

Ł

Ł

wa - ters

flow,

1 2 5

Ł

banks

Ð Ý ² ÐÐ

To

by

-

the

IV6 4

13

!

ÐÐÐ

walk,

V6 5

Ł

walk,

T R ACK 6 5

Ł Ł Ł Ł

Ð

I

² Ð Š

T R ACK 6 5

EBSI

TE

BANKS OF THE OHIO

ððð

Ł

of

Ł the

Ł

O

ððð

-

Ł

hi

-

Ð

o.

ÐÐÐ

Ł ŁŁŁ

Transpose to F major.

Pieces with I–IV 46 –V 56 Accompaniments

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W

Traditional

T R ACK 6 6

EBSI

TE

BEAUTIFUL BROWN EYES

T R ACK 6 6

Allegretto

!

5 3 IV6 4 1

5 3 1 I

² ý ððð ýýý Š /0 ððð ýý Ł ][Ł Ł Ł Ł Ł Ł Ł Ý ² /0 Ł

ðð ýýý ð

Ł ð

ððð ýýý

3

1 3 5

D7/F ²

C/G

²Ł Ł Ł Š Ł Ł Ł Ł ð ðð ýý ððð ýýý ððð ýýý ðý ݲ 9

ððð ýýý

ððð ýýý ððð ýýý Ł Ł Ł Ł Ł Ł ðý ð Ł

3

G

!

ðð ýýý ð ðý

1 2 5

5 2 V6 5 1

Ł Ł Ł Ł Ł Ł ðý ðý ðð ýý ðð ýý ððð ŁŁŁ ððð ýýý ððð ýýý ðý ðý ðý

1 2 5

Transpose to D major.

W T R ACK 6 7

Moderato

!

Ł Š − 2 Ł 4 Ł ]\ Ł Ý − 42 ¹ 3

1 3 5

 Ł − Ł Ł Ł Ł Š ý Ý − ððð ýý Transpose to A major.

228|

T R ACK 6 7

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ý Ł Ł  ððð ýýý ððð ýýý ŁŁŁ ýýý ŁŁŁ ŁŁŁ ýýý ŁŁŁ ýýý ¹

F

F

1 2 5

I

5

!

C7/E

EBSI

TE

FRENCH FOLK SONG

Ł Ł Ł Ł Ł ððð ýýý

B −/ F

V6 5

 Ł Ł Ł Ł Ł ðð ýýý ð

Łý ŁŁŁ ýýý

IV6 4

I

1 2 5

Plagal Cadence

Ł ŁŁŁ

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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W

J. S. Pierpont (1822–1893) Allegretto F

!

Š− Ł Ł ð Ł ][ Jin - gle bells, ÐÐÐ Ý Ł −

Ł Ł ð

Ł Ł Ł ý Ł Ð

jin - gle bells,

jin - gle

3

Ł

ÐÐÐ

1 3 5

all

the

Ð

Ł Ł Łý Ł 

way,

ð ð

Š− Ł Ł Ł Ł Ł Ł Ł Ł Ł Ý − ÐÐÐ

to ride in a

one-horse o - pen

¦Ð

11

!

 Š − Ł Ł Łý Ł Ð jin - gle all the

Ý− Ð

Oh, what fun

ÐÐ Ð

it

1 2 5

IV64

6

is

T R ACK 6 8

B −/ F

I

!

T R ACK 6 8

EBSI

TE

JINGLE BELLS

way,

ð ð

ð

ð sleigh.

Ł Ł Ł Ł

Ł Ł ð

Ł Ł ð

Jin - gle bells,

jin - gle bells,

ÐÐÐ

ÐÐÐ

Ł Ł Łý Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ð 

Oh, what fun

ÐÐ Ð

it

is

ÐÐÐ

to ride in a

one-horse o - pen

ÐÐÐ 1 2 5

sleigh.

ÐÐÐ

V6 5

Transpose to G major.

Pieces with I–IV 46 –V 56 Accompaniments

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Student Flowing gently D

!

²² 0 Š 0Ł Ł Ł Ł Ł Ł ð Ł ][ ÐÐ ÐÐÐ Ł Ý ²² 00 Ð 3

Ł

1 3 5

²² Š Ł Ł Ł Ł Ł Ł ð ]\ ððð Ý ²² ÐÐÐ

T R ACK 6 9

G/ D

A7/C ²

ÐÐ Ð

ÐÐÐ

IV64

V65

Ł Ł Ł Ł Ł Ł ð

ð

1 2 5

I

!

W

Robert Lawry (1826–1899)

EBSI

TE

SHALL WE GATHER AT THE RIVER

T R ACK 6 9

ð

1 2 5

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ð rit.

½

ð

ð

Ł Ł ð

Transpose to A major.

SHALL WE GATHER AT THE RIVER Accompaniment Flowing gently

rit.

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Student Joyously

!

Š 00 Ł Ł Ł Ð ][ Ł 1

Ł

Oh, when the

Ý0 ¼ ½ 0

Ł

C

F/C

Ł Ł Ł Ł Ð

Saints

go march-in’

1 3 5

T R ACK 70

Oh, when the

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ½ ¼ ¼

1 2 5

IV6 4

5

G7/B

Šð

ð

Saints

go

ð

T R ACK 70

Ł Ł Ł Ł

in,

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ½ ¼ ¼ I

!

W

Traditional

EBSI

TE

WHEN THE SAINTS GO MARCHIN’ IN

ð

march - in’

Ł ð

Ł Ł Ł Ł ðý

Ð

in.

Oh, how I

Ý ¼ ŁŁŁ ¼ ŁŁŁ ¼ ŁŁŁ ¼ ŁŁŁ ¼ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ¼ ½

want

to

be

Ł Ł in that

Ł Ł Ł ¼ ŁŁ ŁŁ ¼ ¼ ŁŁ ½

1 2 5

V6 5 11

!

Š Ł ðý num-ber,

ݽ

Ł Ł Ł Ł Oh, when the

ŁŁ ŁŁ ŁŁ ½ Ł Ł Ł ¼

ð

ð

Saints

go

Ł Ł ¼ ŁŁ ¼ ŁŁ

ð

ð

march - in’

Ð

in.

Ł



Ł Ł Ł Ł Ł Ł ¼ ŁŁ ¼ ŁŁ ¼ ŁŁ ŁŁ ŁŁ ŁŁ 

Transpose to F major.

Pieces with I–IV 46 –V 56 Accompaniments

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WHEN THE SAINTS GO MARCHIN’ IN Accompaniment

Arranged by Ken Iversen

Joyously

5

9

14

1.

2.

COMPOSITE METER Festive Dance is written in composite meter, which is a combination of two different 3 2 5 meters. Here 4 and 4 are combined to produce 4. Before playing the piece, tap out some of 5 the rhythmic patterns in 4 as given in the Practice Strategies section.

PRACTICE STRATEGIES

1.

2.

ý 01 ð

Ł Ł

01 Łn Ł Ł Łn Ł

Łn Ł Ł Łn Ł Ł Ł Ł ð

Ł Ł ðý Ł Ł Ł ð Łn Ł Łn Ł Ł

ðý ðCHORD ANDŁ CHANGING Ł ŁFIVE-FINGER Ł POSITIONS Ł ðý 01 ð THE SUBDOMINANT

232| 3.

1Ł Ł Ł Ł ð

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4.

ðý

Ł Ł

ðý

Ł Ł Ł ð

Ł Ł Ł ð

Ł Ł Ł Ł ðý

ð

5/27/15 9:27 AM

2.

3.

4.

5.

01 Łn Ł Ł Łn Ł ðý

01 ð

Ł Ł Ł ð

ð

01 Ł Ł Ł Ł ð 01 Ł Ł Ł ð

Ł Ł Ł ðý

Łn Ł Łn Ł Ł Ł Ł ðý

Ł Ł Ł ð

Ł Ł Ł ð

Ł Ł

ðý

Ł Ł Ł Ł ðý

Łn Ł Ł Ł ðn

ðý

Ł Ł

ð

Ł Ł Ł Ł ð

How many of the rhythms given above can you find in Festive Dance?

W

Student

E. M. Allegro

! !

Ł Ł Ł Š 01 Ł Ł [ Ł ðð ýý ðð Ý Ł 01 Ł

Ł Ł ðý n ðð ððnýý

1

1 5

Ł Ł Ł Ł Ł Š ][ ðð ðð ýý Ý

n Ł Ł ðý ðð

ðný

Ł Ł Ł Ł Ł ðð ýý

ðð

Ł Ł Ł Ł Ł [ ðð ðð ýý

T R ACK 71

EBSI

TE

FESTIVE DANCE

T R ACK 71

ðý

Ł Ł

2

½

ðý

n Ł ðý Ł n n ŁŁn ŁŁn ððnýý

FESTIVE DANCE Accompaniment

E. M.

Allegro

Composite Meter

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EXPLORING D ♭ MAJOR FIVE-FINGER NOTATION

♭

Two Studies and Gentle Rain are in the key of D major. Here is the five-finger pattern:

♭

middle C

D Major Five-Finger Pattern

2 1

5 4

1 2

4

5

3

3 LH

RH

TWO STUDIES Study 1

!

Allegretto

− Š − −−− .0 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ][ ð ð ð ð ð ð ð Ł Ý −−−−− .0 ð Ł

1

2

5

2

Transpose to E major. Study 2

!

Moderato

− Š − −−− 00 Ł Ł Ł Ł Ł Ł Ł ][ ÿ Ł Ý −−−−− 00 ¼ 3

Ł

ÿ

¼ ]\ ½ ¼ ŁŁ Ł Ł Ł Ł ðý

1

½ ¼ ŁŁ [ ðý ŁŁ 3

3

6

!

− Š − −−− Ł Ł Ł Ł Ł Ł Ł ý Ł Ł Ł Ý −− − Ł Ł Ł Ł Ł Ł Ł ý Ł Ł Ł −− 

234|

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł

ðý ðý

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

9780199326204_Mach_TxT.indb 234

5/27/15 9:27 AM

!

][ Ł Ý −−−−− 00 ¼ Ł

]\ ½ ¼ ŁŁ Ł Ł Ł Ł

ÿ

[ ŁŁ

ðý

1

3

6

!

− Š − −−− Ł Ł Ł Ł Ł Ł Ł ý Ł Ł Ł

Ł Ł Ł Ł Ł Ł

Ý −− − Ł Ł Ł Ł Ł Ł Ł ý Ł Ł Ł −− 

ðý

Ł Ł Ł Ł Ł Ł

ðý

Transpose to D major.

W

Student

E. M. Andante

!

Ł Ł Ł Ł

D−

ŁŁ

ŁŁ

− ¼ Š − −−−  ¼ \ − Š − −−−  ŁŁŁ ¼ ŁŁŁ ¼ 5

1 3 5

¼

ŁŁ

¼

ŁŁ

¼

ŁŁ 4

¼

ŁŁ

ŁŁ ¼ ŁŁ ¼ Ł Ł

ŁŁŁ ¼ ŁŁŁ ¼

1 2 5

IV64

I

!

G −/D −

A −7/C

¼

T R ACK 7 2

ŁŁ

¼

V6 5

− Š − −−− ŁŁŁ ¼

ÐÐÐ

rit.

ŁŁŁ ¼

ŁŁ

1 2 5

Ð

ŁŁŁ ¼

T R ACK 7 2

ŁŁŁ ¼ ŁŁŁ ¼

Ł Ł Ł Ł Ł Ł Ł Ł Ł −−− Ł Ł Ł Ł − Š −¼ ¼ ¼ ¼ ¼ ŁŁŁ ¼

EBSI

TE

GENTLE RAIN

ÐÐ Ð

Transpose to C major.

GENTLE RAIN Accompaniment

E. M.

Andante

rit.

♭

Exploring D Major

9780199326204_Mach_TxT.indb 235

|235

5/27/15 9:27 AM

MELODY  𝅽•

from Op. 39

Dmitri Kabalevsky (1904–1987) Moderato

!

Ł Ł Ł Ł

Ł Ł Ł Ł Š Ł Ł ŁŁð Ł Ł ][ ÐÐ Š  ÐÐ ÐÐ 3

2 5

1 3

T R ACK 7 3

EBSI

TE

W

A tenuto is a short horizontal line ( ) above or below a note. It means that the note should be played for its full value.

T R ACK 7 3

ðm ðm Ł Ł Ł Ł Ł Ł ð Ł Ł Ł Ł ðm ðm ÐÐ

\ ÐÐ

ÐÐ

ÐÐ 1 3

][ ðð ðð m m 2 5

Transpose to D ♭ major.

236|

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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EXPLORING B ♭ MAJOR

Calisthenic Studies and This Land Is Your Land are in the key of B♭ major; here is the fivefinger pattern:

FIVE-FINGER NOTATION

♭

middle C

B Major FiveFinger Pattern

2

5 4 3

1

4 2 3

1

LH

5

RH

CALISTHENIC STUDIES Study 1

! !

Ł Ł Ł

− Š− 

− Š−

ÿ

1

Ł Ł Ł Łý ][ Ý −−  ÿ

 Łý Ł Ł Ł [[ Ý −− Ł ý Ł Ł Ł  3

3

Study 2

!

Allegretto

Ł Ł Ł ð ÿ

[ Łý Ł Ł Ł  4

Ł ð

Ł

Ł ð

Ł

ÿ Ł Ł Ł ð

Ł Ł Ł Ł Ł Ł

Ł ðý

Ł Ł Ł Ł Ł Ł

Ł ðý

Allegro

− Š − /0

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ðý ðý Łý Łý Łý Ł Łý Ł [ Ł Ý −− /0 Ł ý Ł Ł Ł ý Ł Ł Ł Ł Ł ð ý Ł ý Ł Ł Ł ý Ł Ł Ł Ł Ł ð ý     Ł

1

5

♭

Exploring B Major

9780199326204_Mach_TxT.indb 237

|237

5/27/15 9:27 AM

THIS LAND IS YOUR LAND

Student

Words and music by Woody Guthrie (1912–1967) Adapted by E. M. Allegretto

!

E −/B −

Ł Š −−  Ł Ł Ł ][ Ł This land is ½ Ł Ý −−  ¼ 1

ð

ð

your

land,

Ð Ð

¼ Ð Ð

1 5

B−

Ł Ł Ł

this

land

ð

is

!

!

− Š− ½ From

Ý −− ¼

-

Ł ½

ÐÐ 1 5

for

¼

ð

-

nia

− Š− ¼

to

Ð

Ð

the New York

Ý −− Ð

ð

Ł Ł Ł Ł

From the red - wood

½

ð

Ý −− ðð

½

for

Ð Ð

-

est

3

3

Ł ð

Ł

This

land

ÿ

was

½ý

is

ð

-

land,

5

¼ Ł Ł Ł Ł

ð

ð Ð

1

5

8

− Š−

Ł Ł Ł Ł

V

12

!

Cal - i

ð

land,

I

F/A

Ł Ł

T R ACK 74

ð

my

IV6 4 4

T R ACK 74

EBSI

TE

W

In measure 13, the third finger moves down to C to accommodate the movement of the melody line. The finger number is circled as a reminder to move the third finger down to C.

to the Gulf Stream

Ð Ð

ð

wa

ÐÐ

ð

-

ters;

3

1

made for

1

you

Ł

and

Ł Ł Ł ¼ 1

Ð

me.

Ł

ÐÐ

ŁŁ

3 5

AIR FOR SAXOPHONE. Music by Loonis McGlohon and Alec Wilder. TRO-© Copyright 1972 (Renewed) Ludlow Music, Inc., New York, NY. Used by Permission.

238|

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

9780199326204_Mach_TxT.indb 238

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THIS LAND IS YOUR LAND Accompaniment

Arranged by Ken Iversen

Allegretto

Introduction

1

(Students begin)

Chorus

5

9

13

♭

Exploring B Major

9780199326204_Mach_TxT.indb 239

|239

5/27/15 9:27 AM

EXPLORING B MAJOR Studies and Zulu Farewell Song are in the key of B major; here is the five-finger pattern:

FIVE-FINGER NOTATION middle C

B Major Five-Finger Pattern

4 3 5

2 3

1 1

2

LH

5 4

RH

STUDIES IN B MAJOR

²²²² 2 ÿ ÿ Š ²4 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ][ ² Ł Ł Ł Ł Ł ý Ł ý ÿ ÿ Ł Ý ²² ²² 42 

Study 1

! !

Moderato 1

Ł

1

²²²² Š ²

1

Ł Ł Ł Ł Ł Ł [ Ý ²²²² Ł Ł Ł Ł Ł Ł ² 5

Ł Ł Ł Ł Ł Ł

 Ł Ł Ł Ł ð ý Ł Ł Ł Ł ð ý 

²²²² / Š ²0 Ł Ł Ł ð Ł Ł Ł Ł ð Ł Ł Ł ð Ł Ł Ł Ł ðý Ł Ł \ ]\ ² Ł Ł Ł ð Ł Ł Ł Ł ðý Ł Ý ²² ²² 0/ Ł Ł Ł ð Ł Ł Ł Ł Ł ð

Study 2

!

Ł Ł Ł Ł Ł Ł

Andante 5

Ł

240|

1

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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ZULU FAREWELL SONG Zulu Farewell Song uses harmonic intervals of a fifth and sixth in the left-hand accompaniment.

Ý ²²²² 2 ŁŁ ýý ²4

1

Student

E. M.

² Ł Š ²² ²² 2 4 Łý Ł \ ² ý Ł Ý ²² ²² 42 ŁŁ ý ²²²² Š ² Łý Ł ]\ Ý ²²²²² ŁŁ ýý ŁŁ ýý Gently

! !

3

1 5

Ł Ł Ł Ł ýý Ł 1

Ł Ł

 Łý Ł Ł Ł ýý ŁŁ ýý Ł

Łý Ł Ł Ł ŁŁ ýý ŁŁ ýý

 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ýý Ł ýý ŁŁ ýý ŁŁ ýý Ł Ł rit.

T R ACK 75

EBSI

TE

W

1 5

Ł ýý Ł T R ACK 75

 Ł Ł Łý Ł ýý ŁŁ ýý Ł Łý Łý ŁŁ ýý ŁŁ ýý

ZULU FAREWELL SONG Accompaniment

Arranged by Ken Iversen

Exploring B Major

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5/27/15 9:27 AM

FIVE-FINGER MELODIES WITH LETTER-NAME AND ROMAN NUMERAL CHORD SYMBOLS FOR I, IV 46, AND V 56 CHORD ACCOMPANIMENTS Play the following five-finger melodies, which use letter-name chord symbols for the I, IV 64, and V 65 chord harmonizations.

CHRISTMAS DAY IS COME Traditional Irish Carol Allegretto A 1

²²² . Š 0Ł Ł ][

Christ-mas

1

²²² Š Ł Ł Let

is

Ł Ł

A

us

Ł Ł ¼

Ł Ł Day

all

re

A

Ł Ł

come,

-

Let

us

D6 4

Ł Ł ¼

Ł Ł Ł

joice,

Christ - mas

E6 5

Ł Ł Ł now

re

Ł ¼

-

joice,

E6 5

A

Ł Ł

Day

Ł ¼

is

come.

ALLELUIA Traditional Moderato

B −64

Ł ð Ł Ł Ł ð Ł Ł − 0 Š 0 ][ 1

F

Ł ð − Š 5

242|

F

Ł Ł

B −6 4

Ł ð

C6 5

Ł Ł Ł ð Ł Ł

C6 5

Ł ð

F

Ł Ł Ł ð Ł Ł

Ł Ł

F

Ł ð

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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Play the following five-finger melodies that use Roman numeral chord symbols.

GIT ALONG, LITTLE DOGIES 

(excerpt) Cowboy Song

Spirited

²² / Š 0Ł ]\ ² Š ² Łý ²² Š Łý ²² Š Ł

Ł Ł

-

a

cow

Ł

-

Ł

IV 6 4

Ł

Ł Ł

was throwed

Ł

he

Ł

ap

walk - ing

Ł

back IV 6 4

-

Ł

proached he

rid V6 5

Ł

his

Ł

Ł

-

Ł

and

morn - ing V6 5

a

spurs

Ł

was

I

Ł Ł Ł

one

Ł

punch - er

I

as

a

IV 6 4

I

hat

13

was

I

spied

9

I

V6 5

Ł Ł Ł

Łý Ł Ł

As

5

IV 6 4

I

1

for

Ł

-

were V6 5

Ł

sing -

a

Ł a

Ł

ing

pleas - ure,

I

I

Ł

ing

Ł

Ł Ł Ł ð

-

Ł

lone;

His

I

-

Ł

Ł

jing - ling,

Ł

his

Ł

And

I

ð

song.

CHANGING FIVE-FINGER POSITIONS Changing five-finger positions involves moving from one five-finger position to another. This means shifting the entire hand to a new position. Except for the examples in the improvisation section of this unit, all hand-position shifts will be indicated by a circle around the fingerings involved.

Changing Five-Finger Positions

9780199326204_Mach_TxT.indb 243

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5/27/15 9:27 AM

PRACTICE STRATEGIES Practice playing a series of five-finger patterns in various positions. The objective is to move from one pattern to another without any hesitation in the beat. For example: ​Start with the five-finger pattern of C major, moving upward and downward with both hands; start next with F major, and so on. Practice the hand-position shifts shown next before playing Study. Use the same procedure for the pieces that follow. Moderato

! !

1

Š ð Ł ][ Ł Ý ð Ł

5

Ł Ł Ł Ł

Šð 4

Ł Ł

Ýð

244|

Ł Ł

2

Ł Ł ð

1

ð

Ł Ł

Ł Ł ð

ð

Ł Ł

Ł Ł Ł ð Ł Ł Ł ð

5

5

ð ð 1

Ł Ł Ł Ł

Ł Ł ð Ł Ł ð Ł Ł Ł ð Ł Ł Ł ð

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

9780199326204_Mach_TxT.indb 244

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STUDY Study begins in the five-finger pattern of G, shifts to the five-finger pattern of D, and then returns to the original pattern of G. common tone

!

Ł Ł ²Ł Ł Ł

ŠŁ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ý Ł Ł

1

5

1

Ł Ł ²Ł Ł Ł

1

5

5

PRACTICE DIRECTIONS 1. In measure 9, use the D in the right hand as the common tone to shift to the fivefinger pattern of D. Only a fingering change will be required. 2. In the left hand, make the shift to the D pattern by moving the fifth finger from G down to D. Your hands will be playing two octaves apart.

Béla Bartók (1881–1945) Moderato

!

Š 00 Ł Ł Ł Ł Ł Ł Ł ¼ Ł [Ł Ł Ł Ł Ł Ł Ł Ł Ý 00 ¼ 3

Ł

3

6

!

ŠŁ Ł Ł ¼ ÝŁ Ł Ł ¼

Ł Ł Ł Ł Ł Ł Ł Ł

ð Ł Ł Ł Ł Ł ¼ ð Ł Ł Ł Ł Ł ¼

T R ACK 76

T R ACK 76

Ł Ł Ł Ł Ł Ł Ł Ł

²Ł Ł Ł Ł ²Ł Ł Ł ð Ł ¼ ¼ \ ð Ł Ł ²Ł Ł Ł ¼ ²Ł Ł Ł ¼ 1

5

3

3

Changing Five-Finger Positions

9780199326204_Mach_TxT.indb 245

EBSI

TE

W

3. Do not look down at the keys when making the change and be sure to keep the beat moving—don’t slow down! Use the same procedure when returning to the original position of G.

|245

5/27/15 9:27 AM

ð Ł Ł ²Ł Ł Ł Š ¼ 11

!

Ý ð Ł Ł ²Ł Ł Ł ¼ 16

!

Š

ð

Ł ¼ 1

Ýð

Ł ¼ 5

21

!

ŠŁ Ł Ł Ł Ł Ý Ł Ł Ł 26

!

Š Ł ¼ ½ Ý Ł ¼ ½

246|

Ł Ł ²Ł Ł ²Ł Ł Ł ¼

Ł ²Ł Ł Ł

Ł Ł ²Ł Ł ²Ł Ł Ł ¼

Ł ²Ł Ł Ł

Ł Ł Ł ¼

Ł Ł Ł ¼ Ł Ł Ł ¼

Ł Ł Ł Ł [Ł Ł Ł Ł 3

Ł Ł Ł

3

Ł Ł Ł ¼ Ł Ł Ł

¼

Ł Ł Ł Ł [ Ł Ł Ł Ł

ð

Ł Ł Ł Ł

ð

¼

Ł Ł Ł Ł

ð

Ł Ł Ł Ł ð ð

ð ð

ð Ð Ð

Ł ¼ Ł

¼

Ð \ Ð

Ł ¼ ½ Ł

¼ ½

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

9780199326204_Mach_TxT.indb 246

5/27/15 9:27 AM

STEAMROLLER ROCK Practice this hand-position shift before playing Steamroller Rock:

1

1 3 5

1 3 5

4 2 1

ÐÐÐ ÐÐÐ

5 3 1

ÐÐÐ ÐÐÐ

¦ ÐÐÐ ¦ ÐÐÐ 1 3 5

1 3 5

1 3 5

E. M.

T R ACK 77

EBSI

TE

W

!

5 3 1

² Š ² Ł Ł Ł Ł Ł ¦ Ł Ł Ł ¦Ł Ł Ł ÐÐ ¦ ÐÐÐ Ł Ý ²² Ð Ł

1

T R ACK 77

Allegretto

!

²² 0 Š 0¼ Ł Ł Ł [Ð ² Ý ² 00 ÐÐ Ł 1

Ł Ł

1 3 5

² Š ²¼ Ł Ł Ł Ý ²² ÐÐÐ 5

!

²² Š ¼ Ł Ł Ł ! Ý ² [ÐÐ ²Ð

1

Ł Ł Ł Ł ¼ ¦ Ł Ł Ł ¦Ł Ł ¦ Ł Ł ÿ ÿ ¦ ÐÐÐ 1 3 5 5 3 1

Ł Ł Ł Ł ŁŁŁ ŁŁŁ ¦ ŁŁŁ l l l [[Łl Łl Łl ŁŁ ŁŁ ¦ ŁŁ ÿ 1 3 5

9

² Š ²¼ 13

!ݲ

Ð ² ÐÐ

Ł Ł Ł

4 2 1

Ł ð

ÿ

Ł

5 3 1

ŁŁŁ nn ŁŁŁ

¼ ¦Ł Ł Ł ¦ ÐÐÐ

Ł Ł Ł Ł ŁŁŁ ŁŁŁ ¦ ŁŁŁ [[Łll Łll ll ŁŁ ŁŁ ¦ ŁŁŁ ÿ

¦Ł ð ŁŁŁ nn ŁŁŁ

½

ððð ððð

½ ÿ

ððð ððð

Changing Five-Finger Positions

9780199326204_Mach_TxT.indb 247

Ł ½ ½ |247

5/27/15 9:27 AM

BELLY-BUTTON BLUES Practice the left-hand position shift before playing Belly-Button Blues.

Ý Ł −Ł ¦ Ł Ł 3

2

1

3

5

2

1

E. M.

!

Ł

Š 00

5

Š

Ý Ł −Ł ¦ Ł Ł 5

ÿ

Š

[[ Ý Ł −Ł ¦ Ł Ł 13

!

2

ÿ

9

!

3

ÿ

Š

Ý Ł −Ł ¦ Ł Ł

248|

5

ÿ

5

¼ Ł Ł Ł Ł l

[ Ł Ł Ý 00 Ł −Ł ¦ Ł Ł

5

!

ÿ

Allegretto

Ð

1

Ł −Ł ¦ Ł Ł 3

5

2

1

T R ACK 7 8

EBSI

TE

W

5

Ł −Ł ¦ Ł Ł T R ACK 7 8

¼ Ł Ł −Ł Ł l Ð

¼ Ł Ł Ł Ł ¼ Ł Ł Ł −Ł Ł ¦ Ł Ł l ]\ Ð Ð Ð 1

ÿ

5

¼ Ł Ł Ł Ł l Ð

¼ Ł Ł Ł Ł l Ð

3

Ł −Ł ¦ Ł Ł 5

1

¼ Ł Ł Ł ][ Ð

3

¼ Ł Ł −Ł Ł l Ð

2

3

−Ł ¦ Ł ð [ ð ð 4

rit.

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

9780199326204_Mach_TxT.indb 248

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Practice these three hand-position shifts before playing Time-Clock Blues. Remember to look ahead of the notes you are playing to prepare for the hand-position changes.

W

E. M.

T R ACK 7 9

Changing Five-Finger Positions

9780199326204_Mach_TxT.indb 249

EBSI

TE

TIME-CLOCK BLUES

T R ACK 7 9

|249

5/27/15 9:27 AM

ROUND-THE-CORNER BOOGIE Practice the hand-position shifts in each hand before playing Round-the-Corner Boogie.

l ¼ Ł −Ł ¦ Ł Ł ¼

Š 00 ¼ Ł −Ł ¦ Ł Łl ¼ 3

2

3

5

3

l l Łl Ý0 Ł Ł Ł Ł Ł l 0 l Łl Łl l 5

2

5

¼ Łl Łl Łl Ł 5

E. M.

250|

T R ACK 8 0

EBSI

TE

W

2

¼ Ł −Ł ¦ Ł Ł Łl 3

T R ACK 8 0

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

9780199326204_Mach_TxT.indb 250

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CLASSIC MINIATURES W

Dmitri Kabalevsky (1904–1987)

T R ACK 81

W

Dmitri Kabalevsky

T R ACK 8 2

Classic Miniatures

9780199326204_Mach_TxT.indb 251

T R ACK 81

EBSI

TE

DANCE

EBSI

TE

MOVING AROUND

T R ACK 8 2

|251

5/27/15 9:27 AM

TAKE NOTE

REPERTOIRE

Scherzando is a tempo marking that means to play in a joking manner, playfully.

W

Dmitri Kabalevsky (1904–1987)

Łl Łl Łl Ł Ł Š .0 ][ Š .0 Ł Ł Łl Łl Łl Scherzando

!

Ł Ł Ł Ł

5

3

3

5

1

Łl Łl Łl Ł Ł Łl Łl Łl Łl Łl Łl Ł Ł Łl Łl 2

Łl Łl Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Łl Łl l l l l l l l 4

Ł Ł Łl Łl

mŁl Łml

l l Ł Ł Ł Ł

l l Ł Ł Ł Ł

Š Łl Łl Łl Łl

Ł Ł Łl Łl

Łlm Łlm

Ł Ł Łl Łl

Ł Ł Łl Łl

Š

1

5

3

5

3

l Łl l Łl l l Łml Łml l l Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ŠŁ [ Š Ł Ł Łl Łl Ł Ł Łl Łl Ł Ł Łl Łl Ł Ł Łl Łl Łlm Łml 11

!

T R ACK 8 3

Łl Łl Łl Łl

6

!

1

T R ACK 8 3

EBSI

1

5

252|

3

3

TE

A LITTLE JOKE

1

5

3

3

2

ðm ðm

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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IMPROVISATION

12-Bar Blues 1. Before playing Starting the Blues, practice the major chords of C, F, and G with your left hand, as shown below. You will have to move the left hand out of position to build these three chords. 2. Start by playing the tones of C, F, and G with the little finger of your left hand until you can play them easily without looking down at the keys. Work to develop a feel for the distances, or intervals, between the tones. 3. Next, review and play the chords in the same manner, first as whole notes on the first beat of each measure, and then in the quarter-note figures as written.

Ý ÐÐÐ 1 3 5

ÐÐÐ

ÐÐÐ

F

G

1 3 5

C

1 3 5

12-Bar Blues Chord Pattern Starting the Blues, like any 12-bar blues, can be played in any major key, using the chords I, IV, and V. The left hand will always follow this pattern:

Ý0 Ý 00 Ý 00 0

Ý ŁŁŁ Ý ŁŁŁ Ý ŁŁŁ 5

ŁŁŁ ŁŁŁ ŁŁŁ

1 3 5 C 1(I) 3 5 C 1(I) 3 5

C (I)

5 5

1 3 5 1 F (IV) 3 5 1 F (IV) 3 5

ŁŁŁ ŁŁŁ ŁŁŁ

9 F (IV)

Ý Ý Ý 9

9

1 3 5 1 G (V) 3 5 1 G (V) 3 5

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ

​I

I

I

I

IV

IV

I

I

V

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

IV

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ

I

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ F

F

F

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ STARTING ŁŁŁ ŁŁŁ ŁŁŁ THEŁŁŁ BLUES ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ I

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

C

C

C

C

C

C

Improvisation

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Playing the major chords of C, F, and G in the left hand, improvise a right-hand melody using the tones in the chord you are playing. For example, with the C chord, the right hand would play a melody with the tones C, E, G; with the F chord, a melody with the tones F, A, C; and so on. Here is a simple example:

!

Š 00 Ł 1

3

5

Ł

Ł

Ý 0 ÐÐÐ 0

1

Ł

Ł

ÐÐÐ

1 3 5

3

Ł

Ł 5

Ł

1

Ł

ÐÐÐ

1 3 5

Ł 3

Ł 5

Ł

1 3 5

Numerous blues melodies can be improvised by changing the note combinations and using a variety of rhythm patterns. Here are just a few ways of playing the same melody with four different rhythm patterns:

Š 00 Ł Ł Ł Ł 3

5

3

1

Ł ŁŁŁ Ł

 Ł Ł Ł Ł Ł Ł Ł Ł Łý Ł Ł Ł Ł Ł

Melodies can be improvised not only with the tones in the chord you are playing but also with all the tones of the five-finger pattern for that chord. For instance, in Walkin’ Through Blues the C-chord melody tones use the five-finger pattern of C, the F-chord melody tones use the five-finger pattern of F (making it necessary to play B ♭), and the G-chord melody tones use the five-finger pattern of G. Just remember to match the five-finger pattern to the chord you are playing. In other words, think of the left-hand chord as the key you are playing in when improvising the right-hand melody combinations. Also improvise different rhythm patterns to the left hand, such as these:

Ý 0 ððð ŁŁŁ ŁŁŁ 0 1 3 5

254|

or

Ý 0 ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ 0

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WALKIN’ THROUGH BLUES

!

Š 00 Ł Ł Ł Ł Ł Ł ]\ ð ððð Ł Ý 00 ðð 1

Ł

1 3 5

Ł Ł ŁŁŁ

Ł Ł ŁŁŁ

Ł Ł ŁŁŁ

ððð

ððð

ððð

ððð

ððð

ððð

C (I) 5

!

Š Ł Ł Ł −Ł Ł

Ł Ł Ł −Ł Ł

Ý ððð

ððð

1

1 3 5

ððð

ððð

Ł Ł Ł Ł Ł

ððð

ððð

ððð

ððð

C

F (IV) 9

!

Ł Ł Ł Ł Ł

ŠŁ Ł Ł Ł Ł

Ł Ł Ł −Ł Ł

1

ððð

ð Ý ðð 1 3 5

ððð

ððð

F

G (V)

Ł Ł Ł Ł Ł

ð

ððð

ððð

ððð

½ ½

C

Blue Note Now include what is called the blue note. With the right hand, construct the C major chord. Next, lower the third a half step from E to E♭ to form a C minor chord. The lowered third, E♭ in this case, becomes the so-called blue note. 1

3

5

ŠÐ Ð Ð

5 3 1

ÐÐÐ C

1

3

5

Ð −Ð Ð blue note

5 3 1

− ÐÐÐ

Cm

Improvisation

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You will be using the three tones of the major chord and also the blue note in Blue-Note Blues. Before playing the piece, practice the individual chord patterns as illustrated. Use the second finger of the right hand to play the blue note. 2

3

Ł −Ł ¦ Ł Ł

5

1

Š Ł −Ł ¦ Ł Ł 1

C

2

3

5

F

Ł −Ł ¦ Ł Ł 1

2

3

5

G

BLUE-NOTE BLUES

!

Š 00 Ł −Ł ¦ Ł Ł Ł ][ ÐÐ Ł Ý 00 Ð 1

Ł

2

3

5

1 3 5

Ł −Ł ¦ Ł Ł

Ł −Ł ¦ Ł Ł

Ł −Ł ¦ Ł Ł

ÐÐÐ

ÐÐÐ

ÐÐÐ

C (I) 5

!

Š Ł −Ł ¦ Ł Ł

Ł −Ł ¦ Ł Ł

Ý ÐÐÐ

ÐÐÐ

1

2

3

5

1 3 5

9

!

Ł −Ł ¦ Ł Ł

ÐÐÐ

ÐÐÐ

C

F (IV)

Š Ł −Ł ¦ Ł Ł

Ł −Ł ¦ Ł Ł

Ð Ý ÐÐ

ÐÐÐ

1

Ł −Ł ¦ Ł Ł

2

1 3 5

3

5

F

G (V)

2

3

Ł −Ł ¦ Ł Ł

Ł −Ł ¦ Ł ð

ÐÐÐ

ÐÐÐ

tonic

C

Next, reverse the parts so that the right hand plays the chords, one octave higher, and the left hand plays the melody, one octave lower.

256|

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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Next, for added harmonic color, improvise melodies to an accompaniment of open fifths that move downward chromatically in several places:

Ý −Ł −Ł

ŁŁ

1 5

−−ŁŁ

1 5

ŁŁ

1 5

1 5

After you are familiar with the downward pattern, play fifths that move chromatically upward to the fifths on C, F, and G:

ŁŁ

Ý ²ŁŁ 1 5

ŁŁ

ŁŁ

1 5

²²ŁŁ

1 5

1 5

1 5

ŁŁ 1 5

Finally, make up your own combinations of fifths moving both downward and upward chromatically to the fifths on C, F, and G, similar to those used in Blues Beat.

BLUES BEAT

!

5

1

2

3

5

Š  ¼ Ł Ł −Ł ¦ Ł Ł ][ Ý Ł Ð Ð Ł

C:

5

5

1

2

3

F:

9

Š¼ Ł Ł ð

!Ý

G:

1 2 5 (or 5)

Ł Ł ð 5

½

1

3

1 5

−−ŁŁn ðð ýý 1 5

¼ Ł Ł −Ł ¦ Ł

¼ −Ł Ð − Łn Ð

¼ Ł Ł ð

5

ðð ýý

3

Ł Ł ð ¼ Ł Ł −Ł ¦ Ł ½ ¼ ²Ł Ð Łn Ð

1 5

Š ¼ Ł Ł −Ł ¦ Ł !Ý ÐÐ

1

¼ Ł Ł −Ł ¦ Ł

−−ŁŁn ÐÐ

Ł Ł ð ½ ¼ ŁŁ n 1 5

Ł Ł ð ½ ¼ ²²ŁŁ n 1 5

Ł Ł ð ½ ¼ Ł Łn Improvisation

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The following accompaniment effectively provides the strong, recurring rhythms characteristic of rock music. It uses a broken major triad and a lowered third (blue note):

Ý

ŁŁ ŁŁ − Ł ¦ Ł 3

1 5

ŁŁ ŁŁ −Ł ¦ Ł

ðð

2

C

3

1 5

ŁŁ ŁŁ −Ł ¦ Ł

ðð

2

3

1 5

F

ðð

2

G

After practicing this accompaniment pattern, play Rockin’ Blues. Then, using the same pattern, improvise your own melodies.

ROCKIN’ BLUES

!

Ł Ł Ł

Š 00

ÿ

][

5

3

2

!

5

ÝŁ Ł Ł Ł −Ł ¦ Ł 3

F: 1

2

ÿ

5

ŁŁ ŁŁ − Ł ¦ Ł

l Łl Ł − Ł ¦ Ł Š¼

l ¼ Ł −Ł ¦ Łl Ł

Ýð ð

ðð

9

!

3

½

ðð

5

2

5

3

½

1

G: 5

258|

2

5

¼ Ł −Ł ¦ Łl Łl

ŁŁ ŁŁ − Ł ¦ Ł

l ¼ Ł −Ł ¦ Łl Ł

ÿ

Š

ÿ

5

½

ðð

5

5

3

¼ Ł −Ł ¦ Łl Łl

Ý0 0 ŁŁ ŁŁ − Ł ¦ Ł C: 1

2

½

½

ðð

¼ Ł −Ł ¦ Łl Łl ½

ðð

¼ Ł −Ł ¦ Łl Łl

ÐÐ

¼ −Ł − Łl

ÐÐ

ðð

1 5

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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I–IV–V Chords in All Major Keys The following illustrates the I, IV, and V chords in every major key. Use this chart to help you improvise your own 12-bar blues and transpose them to various keys. C Key: Chord name: C

F

G

C

G

C

1 3 5

1 3 5

1 3 5

1 3 5

I

D

ÐÐÐ

ÐÐÐ

Ý ÐÐÐ

D

G

ÐÐÐ

² ÐÐÐ

I

IV

V

Ý ²ÐÐÐ I

F²

² ÐÐÐ

²² ÐÐÐ

IV

V

A

F²

Ý ²Ð ²² ÐÐ I

²²ÐÐÐ

IV

²ÐÐÐ

G

V

I

D

²ÐÐÐ

A

IV

V

I

IV

A

ÐÐÐ

A

D

²ÐÐÐ

ÐÐÐ

E

²ÐÐÐ

²ÐÐÐ

I

I

B

B

B

D

ÐÐÐ

I

A

E E

ÐÐÐ

V

IV

Ý ²ÐÐÐ

G

E

B

²ÐÐÐ I

C²

²²²ÐÐÐ

V

I

F²

²²²ÐÐÐ I

G−

G−

−−−ÐÐÐ I

I

F²

E

²²ÐÐÐ

²ÐÐÐ

²ÐÐÐ

²²² ÐÐÐ

IV

V

C−

−−−ÐÐÐ

IV

B

²²ÐÐÐ I

D−

−−ÐÐÐ V

−−−ÐÐÐ

Improvisation

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G−

I

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CREATIVE MUSIC AND HARMONIZATION

I, IV 46, and V 56 Chords in Major Complete the harmonization for the examples below, using I, IV 64, and V 65 chords. 1.

!

²² / Š 0ŁŁŁ ŁŁŁ ŁŁŁ Łð ]\ ðð ýýý ððð ýýý ððð ýýý Ý ²² / ððð ýýý ð 0 3

1 3 5

1 2 5

1 2 5

V 65

IV 46

I

ŁŁŁ ŁŁŁ ŁŁŁ Łð

2.

!

− Š − − 00 Ł Ł \ Ý −− 0 ððð −0 3

1 3 5

I

!

Ł Ł ðð ð 1 2 5

ððð

ððð

IV 64

− Š−− Ł Ł Ł Ł ]\ Ý −− −

260|

Ł Ł ð 1 2 5

Ł Ł Ł Ł ððð

ðð ð

V 65

Ł Ł ð

ðý ððð ýýý

¼ ¼

I

Ł Ł Ł Ł

ðý

¼

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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Improvise matching phrases to the one below, using I, IV 64, and V 65 chords for the harmonization. Then select one melody to write down, along with the harmonization. 3.

Š .0 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð ][ ðð ððð Ý . ððð ððð ð 0 1

!

1 3 5

1 2 5

1 2 5

IV 64

I

V 65

Write a melody that blends with the left-hand accompaniment below: 4.

!

²²² 0 Š 0

\ Ý ²²² 0 Ð 0

Ð

Ð

IV 46

V 65

5

I

ð ð

Ð

Ð

Ð

Ð

SIGHTREADING STUDIES

PRACTICE DIRECTIONS 1. Determine the key of the study. 2. Observe the meter signature, then tap out the rhythmic pattern, counting aloud as you do so. 3. Study the melodic and harmonic patterns. 4. Place hands in the correct position. Once you begin playing, do not stop or hesitate to find the notes. Keep the beat moving! 5. Play the notes while keeping your eyes on the printed page.

Sightreading Studies

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I, IV 46, and V 56 Chords 1. Key of ______________ Allegretto

!

Š − .0 Ł Ł \ Ý − . ððð 0 3

1 3 5

2. Key of E♭

Gracefully

! !

− Š − − /0 Ł ]\ Ý −− / ¼ −0 5

− Š − − Łý

Ý −− ððð ýýý −

262|

ŁŁŁ ððð

ŁŁŁŁ ð ðð ð

ððð

1 2 5

Ł Ł ]\ ððð

Ł ý Ł Ł

Ł ý Ł Ł

1 3 5

1 2 5

3

ðð ýý ðý

ððð ýýý

 Ł Ł

Łý

ðð ýý ðý

 Ł Ł

ŁŁŁ

ŁŁŁŁ ð

ððð

ððð

Ł Ł Ł

Ł

1 2 5

ððð ýýý Ł

ððð ýýý

ððð

Ł \ ¼

ð

ððð 1 2 5

Ł

Ł

ð ððð

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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3. Key of ______________

4. Key of ______________

Sightreading Studies

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Change of Five-Finger Position 5. Key of ______________ Moderato

!

Š /0 ð Ł Ł Ł Ł Ł Ł Ł ð ¼ ð Ł Ł Ł Ł Ł Ł Ł ð ¼ ]\ ][ Ł Ł Ł ð Ý/ ð Ł Ł Ł Ł Ł Ł Ł ð ¼ ð Ł Ł Ł Ł ¼ 0 1

1

5

5

6. Key of C

Ł Ł / Š0 ][ Ý/ 0 ðð ýý With energy

!

3

1 5

5

!

Š Ý 9

!

Ł

Ł

[

Ł Ł Ł

1

Ł

Ł

ðð ýý

ðð ýý

Ł Ł Ł

Ł

ðð ýý

ŠŁ Ł Ł ]\ Ý ðð ýý

264|

Ł

Ł

ðð ýý Ł

Ł ðð ýý

Ł

Ł Ł Ł Ł Ł

Ł

ðð ýý

Ł

Ł

Ł

ðð ýý Ł

Ł

Ł Ł Ł

ðý

Fine

ðð ýý Ł

ðð ýý

Ł Ł Ł Ł Ł

D. C. al Fine

ðð ýý

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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RHYTHMIC STUDIES Tap and count the following rhythmic exercises with both hands, or work with different objects (i.e., pencils, spoons, hitting against bottles) to obtain different timbral choices.

1.

.0 ŁŁ Łð

2.

Ł

Ł Ł ¼ Ł

Ł

Ł Ł Ł Łð Ł 01 ð ý ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ

3.

ð ðý 01 Ł Ł Ł Ł Ł ðŁ Ł ðŁ ý Ł Ł

4.

00 Łð Ł Łð Ł ðŁ Ł ðŁ Ł

5.

ŁŁ Ł Ł Ł ¼ Łð

Ł

ðð ýý

Ł

ðð

ðŁ ý Ł Ł ðŁ Ł

Ł

ÿŁ

Ł ¼

Ł

Ł Ł Ł Ł ÿ

Ł¼

ðŁ

Łð ý Ł Ł Łð Ł

Łð ý Ł Ł ðð

ðŁ ý Ł Ł ŁŁ ŁŁ

Ł½ Ł Ł ½Ł Ł ¼

ðŁ Ł ðŁ ý Ł Ł

ðð

ðŁ Ł ðŁ ý Ł Ł

Łð ý Ł Ł ðð

Łð ý Ł Łð Ł

ðŁ Ł ðŁ Ł

ðŁ ý Ł ðŁ Ł ÐŁ   ý ý 24 Łý Ł Ł ¼Ł Ł Ł Łý Ł ¼Ł Ł ¼ ¼  ŁŁ ý Ł ŁŁ ý Ł ŁŁ ý Ł Ł ŁŁ ý Ł Ł

ðŁ ý Ł Ł

Ł Ł Ł

ðŁ ý Ł Ł ðð ðð ýý

ðð

ðŁ Ł Łð Ł ÐÐ

ŁŁ ý Ł Ł ŁŁ ý Ł Ł ŁŁ ýý

ŁŁ ýý

¼Łý Ł Ł Ł Ł Ł ŁŁ ŁŁ ŁŁ ýý ¼ý  Rhythmic Studies

9780199326204_Mach_TxT.indb 265

Ł

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TECHNICAL STUDIES Practice the following I–IV 64 –I chord progressions in various major keys of your choice. As as you move your hand discussed earlier, think of making an arc movement from one octave to the next upward and then again as you proceed downward. 1.

2.

3.

266|

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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4. Practice the following chord crossover exercise in various tempos and in various major keys of your choice. Be sure to plan ahead by developing a “feel” for the keys you will play as well as by looking for the keys you will play before you cross your hands over. RH

RH

1 3 5

RH

1 3 5

5 3 1

1 2 5

LH

RH

5 3 1

1 2 5

LH

5 3 1

LH

LH

5 4 1

1 2 5

LH

LH

RH

LH

RH

RH

RH

RH

RH

5 4 1

1 2 5

LH

LH

LH

RH

5 3 1

RH

LH

LH

RH

RH

LH

LH

LH

Technical Studies

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ENSEMBLES

Student-Teacher Ensemble Pieces

SCHERZO 

from Melodious Pieces, Op. 149, No. 6

Student

268|

Anton Diabelli (1781–1858)

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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SCHERZO  Accompaniment

from Melodious Pieces, Op. 149, No. 6 Anton Diabelli (1781–1858)

Allegro

9

17

25

Ensembles

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RUMBA A rumba is a dance of Cuban origin (meaning “party” or “spree”) and is characterized by its pronounced rhythms. The accompaniment is best counted 1–2–3 ​1–2–3 ​1–2.

Student

270|

Gerard Hengeveld (1910–2001)

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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Ensembles

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RUMBA Accompaniment

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Gerard Hengeveld

THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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© Oxford University Press. Mixed Doubles, edited by Pauline Hall, 1979.

Ensembles

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Student Ensemble Pieces

ALOUETTE* French Arranged by E. M.

Piano 1

Piano 2

Piano 3

!

Ł

!

Ł

!

Ł

Ł

Allegretto

 Łl Łl Ł Ł Ł Ł Łl ¼ Š  Łý Ł ][ l l l Ł l Ł Ł Ł Ł Ł Ł Ł Ł Ý ²  Łý  ²

1

5

² Š  Łý ]\ Ý ²  Łý

Ł Łl  Ł Łl 

Ł Ł

ݲ ð

Ł Ł

ݲ

Ł Ł

3

3

4

]\ ð 1

Łl Ł Ł Ł Ł Łl Ł l Łl Ł Ł Ł Ł Łl Łl

 Łl Łl ŁŁŁŁð Łý Ł Ł ý Ł Łl Łl Ł Ł Ł Ł ð  l Łý Ł Ł  Ł ý Ł Łl 

ð

ð

Łl Łl Łl Łl ð

ð

ð

Łl Ł Łl Łl ð l

1

4

Fine

Łl Ł Ł Ł Ł ð

Fine

Łl Ł Ł Ł Ł ð

ð

ð

ð

ð

ð

ð

Fine

*Piano 3 is optional. The Piano 1 and 2 parts may be played at one piano if the Piano 1 part is played an octave higher than written and the Piano 2 part an octave lower than written.

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THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS

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1

2

! !

l Łl Łl Ł Ł Ł Š ŁŁ \ Łl Łl Łl Ł Ł Ł Ł ݲ ²

Š

²

ÿ

1

ÿ

ݲ

ÿ

Łl Łl Łl ½

½

½

5

Łl Łl Łl

ÿ

5

Łl Łl Łl ½ 1

ŁŁŁŁŁŁŁ ½ l l l ][ Ł Ł Ł Ł Łl Łl Łl ½

1

Łl Łl Łl

½

Łl Łl Łl ]\ Łl Łl Łl ½ 5

D.C. al Fine

D.C. al Fine

ð ð Łl Łl Łl Łl D.C. al Fine

3

!

ݲ Р4

ݲ

\

Ð 1

ð

ð

ð

ð

ÿ

½

ÿ

½

5

Łl Łl Ł Ł l l 1

Ensembles

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QUAND J’ETAIS CHEZ MON PERE 

(When I Was at Father’s) French Arranged by E. M.

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UNI T 6  ​W ORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER 1. Identify the following major chords along with the subdominant chords that appear in second inversion, and the seventh chords that appear in first inversion. Use chord symbols for the subdominant chord, e.g., F 64 (second inversion) and for the seventh chord, e.g., C 65 (first inversion).

CONSTRUCTION 2. Build the chords indicated by the letter symbols given.

© Oxford University Press

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♭

3. Construct the I–IV 64 –I–V 65 –I chord progression in the keys of F and D major in both treble and bass clefs. F major

I

IV 64

I

V 65

I

I

IV 64

I

V 65

I

D major

MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A

COLUMN B

1. authentic cadence

______ ​a musical punctuation

2. subdominant

______ ​V to I

3. cadence

______ ​IV to I

𝅽• 5.

4. plagal cadence

______ ​a dance of Cuban origin ______ ​composite meter

5 7. 4

______ ​tenuto marking

8. blue note

______ ​a lowered third used in blues

9. Anton Diabelli

______ ​the fourth degree of a five-finger pattern

6. scherzando

______ ​to play in a joking manner

10. Dmitri Kabalevsky

______ ​a contemporary period composer

11. rumba

______ ​a classical period composer

© Oxford University Press

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UNIT 7

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

MAJOR SCALES This unit introduces pieces that go beyond the five-finger pattern—that is, pieces with an extended range—along with easy accompaniments to play and improvise. Most melodies and chords are based on some kind of scale system. A scale (from the Italian word scala, ladder) is a step-by-step series of tones in a specific pattern. In most scales, this pattern is a combination of whole steps and half steps. In the major scale, the pattern consists of eight tones with half steps between tones 3 and 4 and between 7 and 8, and with whole steps between the other tones. For example, in the C major scale, the half steps occur between E and F and between B and C.

ŠÐ Ð Ð Ð Ð Ð Ð Ð 1

2

3

1

1

4

5

1/2

1

6

1

7

1

8

1/2

In all other major scales, it is necessary to use one or more black keys (accidentals) to preserve the pattern of whole steps and half steps. G major scale 1 2

Ð ²Ð Ð Ð Ð Ð Ð ŠÐ 1

3

1

4

1/2

5

1

6

1

7

1

8

1/2

D major scale 1 2

Š Ð Ð ²Ð Ð Ð Ð ²Ð Ð 1

3

1

4

1/2

5

1

6

1

7

1

Major Scales

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8

1/2

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MAJOR SCALES IN TETRACHORD POSITION The major scale may be divided into two tetrachords, each tetrachord consisting of two whole steps and one half step. A whole step separates the two tetrachords. C Major Scale in Tetrachords

1

1

1/2

ŠÐ Ð Ð Ð Ð Ð Ð Ð 1

1

1/2

1

The two tetrachords are divided into a lower position tetrachord, played by the left hand, and an upper position tetrachord, played by the right hand. An easy way to start playing the major scales is by using four fingers (no thumbs) in each hand as the tetrachord position. upper position RH

C

ŠÐ Ð Ð Ð Ð Ð Ð Ð 2

5

4

3

3

4

5

2

LH lower position

The major scales in tetrachord position and their key signatures are shown next. Begin practicing the major scales using sharp keys in tetrachord positions starting with C major and continuing through C♯ major. Notice that the upper tetrachord of the C major scale, G–A–B–C, becomes the lower tetrachord of the G major scale. This progression of the upper tetrachord becoming the lower tetrachord of the next scale is continued throughout the major scales. Each new scale retains the sharp or sharps of the previous scale and adds one new sharp to the seventh degree.

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Sharp Keys RH

C

Ý0 0Ł Ł Ł Ł Ł Ł Ł Ł 2

5

3

4

3

4

5

2

LH

G

ݲ0 ²Ł Ł Ł Ł Ł Ł 0Ł Ł Ł Ý ²² 0 Ł Ł ²Ł Ł Ł Ł ² Ł 0 D

²²² 0 Š 0 ² Ł Ł Ł ²Ł ²Ł Ł Ł Ł A

(continuted)

Major Scales in Tetrachord Position

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²²²² 0 Ł Š 0 Ł ²Ł ²Ł Ł Ł ²Ł ²Ł E

²²²² 0 Ł ²Ł ²Ł Ł ²Ł ²Ł ² Ł Ł Š ²0 B

F²

8va

²²²² ² 0 ²Ł ²Ł ² Ł ² Ł Ł ² ² Ł Š 0 ²Ł ²Ł

8va

²²²² ²² 0 ²Ł ²Ł ²Ł ²Ł ²Ł ² Ł ² Ł ² Ł Š ² 0 C²

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Next, begin practicing the major scales using flat keys in tetrachord position starting with C ♭ major and continuing through C major. Notice that, similar to scales using sharp keys, the upper tetrachord of the C ♭ major scale, G♭–A♭–B♭–C ♭, becomes the lower tetrachord of the G ♭ major scale. This procedure is continued from one major scale to the next. Each new scale retains the flat or flats of the previous scale and adds one new flat (when starting with C major and moving to C ♭ major) to the fourth degree.

Flat Keys C−

Ý −− − − 0 −−−0

RH 2

3

4

5

−Ł −Ł − Ł − Ł − Ł − Ł −Ł −Ł 5

4

3

2

LH

G−

Ý −− − − 0 Ł −Ł − Ł − Ł − Ł − Ł − − 0 −Ł −Ł −Ł Ý −− − 0 −Ł −Ł Ł −Ł −Ł −Ł Ł −−0 D−

(continued)

Major Scales in Tetrachord Position

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A−

− Š − −− 00

Ł −Ł Ł − Ł − Ł Ł −Ł −Ł

E−

− −Ł Š − − 00 −Ł Ł Ł −Ł −Ł Ł Ł −− 0 −Ł Ł Ł −Ł Ł Ł Ł − Ł Š 0 B−

8va

Ł Ł Ł Ł − 0 − Ł Ł Š 0Ł Ł F

8va

Ł Ł Ł Ł Ł Ł Ł Š 00 Ł C

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MAJOR SCALES WITH FINGERINGS FOR BOTH HANDS TOGETHER The major scales with fingerings for both hands together and their key signatures are shown next. • Each sharp scale begins on the fifth degree of the preceding scale. • Each flat scale begins on the fourth degree of the preceding scale.

PRACTICE STRATEGIES Practice playing the following warm-up scale preparation exercises: move thumb under 3

cross 3 over thumb

1. Š / 0Ł Ł Ł

ðý

Ł Ł Ł

ðý

Ł Ł Ł Ý /0 2.

ðý

Ł Ł Ł

ðý

move thumb under 3

cross 3 over thumb

1

3

1

1

3

1

1

3

1

3

1

1

Š /0 Ł Ł Ł

Ł Ł Ł

Ł Ł Ł

Ł ð

Ł Ł Ł Ý /0 4.

Ł Ł Ł

Ł Ł Ł

Ł ð

1

3.

1

3

3

1

1

5

5

1

1

3

3

1

1

• Next, practice playing these scales, first with hands separately, then with hands together. • Be sure to observe the fingerings provided. The five-finger pattern of any key is taken from the first five tones of the corresponding scale. Only the fingerings differ. • The places where both hands use the same finger numbers in the scales are bracketed to help you learn the correct fingerings more quickly. The keyboard diagrams give the location of scale tones and also help you to visualize the entire scale pattern at once.

Major Scales with Fingerings for Both Hands Together

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SCALE STUDIES IN CLUSTERS on pages 290–291 provides helpful practice suggestions to learn the scale patterns and their specific fingerings more easily.

Major Scales and Fingerings*

C

!

1

3

Ł Ł Ł Ł

1

2

ŠŁ Ł Ł Ł 5

²² Š

4

1

3

2

2

3

1

1

Ł Ł Ł Ł

Ý ²² Ł Ł Ł Ł 5

4

3

3

4

5

Ł Ł Ł Ł

ÝŁ Ł Ł Ł

D

!

2

2

3

2

1

²

G

3

4

5

2

3

1

2

5

A

4

1

3

2

2

3

1

1

Ł Ł Ł Ł

Ł Ł Ł Ł ݲ² ² Ł Ł Ł Ł 1

3

2

1

5

4

3

5

4

3

Ł Ł Ł Ł

ݲ Ł Ł Ł Ł

²²² Ł Ł Ł Ł Š 2

Ł Ł Ł Ł

Š Ł Ł Ł Ł 1

2

3

2

3

2

1

4

5

Ł Ł Ł Ł Ł Ł Ł Ł 1

3

2

1

*Major scales and their fingerings in two octaves are given in Appendix C, on pages 686–693.

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²²²² Š E

!

2

3

² Ł Ł Ł Ł Š ²² ²²

1

2

Ł Ł Ł Ł 5

4

3

3

4

5

B

1

2

3

1

Ł Ł Ł Ł

Ł Ł Ł Ł ݲ² ² ²² Ł Ł Ł Ł

Ý ²²²² Ł Ł Ł Ł

F²

!

1

2

1

3

2

1

4

C²

3

2

1

Ł Ł Ł Ł 2

3

4

1

Ł Ł Ł Ł 4

3

2

1

Ł ²²²² ²² ²²²² ² Ł Ł Ł Ł Š ² Ł Ł Ł Ł Ł Ł Ł Ł Š ² Ł Ł Ł Ł Ł Ł Ł Ł Ł Ý ²²²² ²² Ł Ł Ł Ł Ł Ł Ł Ł Ý ²²²² ² Ł Ł ² ² 2

3

4

1

2

3

1

2

4

3

2

1

3

2

1

4

2

3

1

2

3

4

1

2

3

2

1

4

3

2

1

3

Major Scales with Fingerings for Both Hands Together

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F

!

!

2

3

4

1

E−

4

3

2

1

− Š−− Ł Ł Ł Ł 3

1

2

3

Ý −− Ł Ł Ł Ł −

288|

3

2

1

2

3

4

4

1

2

Ł Ł Ł Ł

3

1

Ł Ł Ł Ł

Ł Ł Ł Ł Ý −− Ł Ł Ł Ł

Ý− Ł Ł Ł Ł 5

B−

Ł Ł Ł Ł Š −−

Š−Ł Ł Ł Ł 1

4

3

2

1

3

A−

Ł Ł Ł Ł Š −−−− 4

1

2

3

2

3

1

4

3

2

Ł Ł Ł Ł

Ł Ł Ł Ł Ý − − −− Ł Ł Ł Ł 3

2

1

3

3

2

1

3

4

Ł Ł Ł Ł

4

1

2

4

3

2

1

3

1

2

3

Ł Ł Ł Ł Ł Ł Ł Ł 3

2

1

3

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

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!

!

D−

3

1

2

3

C−

− Š − −−−−−

2

1

1

2

4

3

3

1

Ł Ł Ł Ł

Ý −− − − Ł Ł Ł Ł −−− 4

3

2

4

1

2

2

3

4

1

Ł Ł Ł Ł Ý −− Ł Ł Ł Ł − − −−

Ý −− − Ł Ł Ł Ł −− 3

G−

Ł Ł Ł Ł Š −−−−−− Ł Ł Ł Ł

− Š − −−− Ł Ł Ł Ł 2

1

2

1

3

4

3

2

1

Ł Ł Ł Ł 2

3

2

Ł Ł Ł Ł 3

2

1

4

Ł Ł Ł Ł 2

3

4

1

Ł Ł Ł Ł 4

3

2

1

Major Scales with Fingerings for Both Hands Together

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1

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SCALE STUDIES IN CLUSTERS The major scales can be practiced in clusters to learn the scale patterns and their specific fingerings more easily. Using one hand at a time, block scales as illustrated below, moving from one group to the next in a continuous motion. 5 4 3 2

ðððð ð ð ð ð ð ð ððð Š ð ðð ð ððð ð ð ð ðð ð ð ð ðð ð ðð ð ð Ý ð ð ð ð ðð ð ð ð ð ð ð ð ððð ðððð C

1

2 3 4 5

290|

3 2

1

1

2 3

4 3 2

1

1

2 3 4

3 2

1

1

2 3

1

1

3 2

2 3

1

1

2 3 4

4 3 2

1

1

3 2

2 3

1

1

2 3 4 5

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

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The black-key scales—B (C ♭), C♯ (D ♭), and F♯ (G ♭)—can be learned more readily when they are blocked. The black-key scales that follow should be practiced both ascending and descending, first with hands separately, and then with hands together. Note that each hand uses the same fingering: group of two black keys

RH 2–3 LH 3–2

group of three black keys

RH 2–3–4 LH 4–3–2

The white keys primarily use the thumb of each hand.

! ! !

B(C −)

Š

3 2

1

1

ð

²² ðð

ð

4

²²ðð

ð

Ýð

2 3

C ²(D −) 3 2

Š ²² ðð Ý ²²ðð 2 3

²²²ððð 2 3 4

4 3 2

1

²²²ððð

²ð

²²²ððð

²ð 1

2 3 4

F ²(G −)

Š

²²²ððð

1

2 3

4 3 2

Ý ²²²ððð ²²²ððð

ð ð 1

1

²² ðð ²²ðð 2 3

²²² ððð ²²²ððð

ð ð

²²² ððð ²²²ððð

²ð ²ð 1

²ð ²ð

²²ðð

²ð

²ð

²ð

²ð

1

4

RH

4 3 2

²ð 1

²ð

ð

²²ðð

ð

²² ðð

1

ð ð 1

1

5

1

LH

1

²²ðð ²² ðð

²ð ²ð

RH

1

2

3

LH

1

1

²ð ²ð 1

²²²ððð

²²²ððð

ð ð

²² ðð

1

2

2 3 4

Scale studies in Clusters

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TRIADS ON MAJOR-SCALE DEGREES Triads, like other chords, can be constructed on every degree (tone) of the scale of any key, taking into account the sharps or flats in the key signature for that key. • Triads constructed on the first, fourth, and fifth degrees are major. • Triads constructed on the second, third, and sixth degrees are minor. • The triad constructed on the seventh tone is diminished (see page 415). Study the triads constructed on the two scales that follow. C major

Š ÐÐÐ

Scale degree: Tonic Letter name: C major Roman numeral: I

²² Š ÐÐÐ D major

Letter name: Roman numeral:

D major I

ÐÐÐ

Supertonic D minor ii

ÐÐÐ

E minor ii

ÐÐÐ

Mediant E minor iii

ÐÐÐ

F ² minor iii

ÐÐÐ

Subdominant F major IV

ÐÐÐ

G major IV

ÐÐÐ

Dominant G major V

ÐÐÐ

ÐÐÐ

ÐÐÐ

ÐÐÐ

Submediant Leading Tone A minor B diminished o vi vii

ÐÐÐ

A major V

B minor vi

C ² diminished o vii

Each triad can be identified by its scale-degree name, its letter-name chord symbol, or the roman numeral traditionally used to designate the scale degree. • Uppercase roman numerals are used for major triads. • Lowercase roman numerals are used for minor triads.

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To identify triads and other chords by scale-degree names or roman numerals, you must know the key of a piece. For example, if asked to play a dominant (V) chord in the key of C, you would play a G major triad. If asked to play a dominant (V) chord in the key of D, you would play an A major triad.

²² ŁŁŁ Ł Ł Ð ŠÐ Ð Ð Ð Ł Ð Ð Ð Key of C

Key of D

V G

V A

PRACTICE STRATEGIES Play triads on each scale degree in the keys of C, F, and G. As you play the chord, give the scale degree and identify the chord by letter name.

INTERVALS OF A SIXTH, SEVENTH, AND EIGHTH (OCTAVE) Intervals of a sixth, seventh, and eighth (octave) require an expansion or stretch of the hands.

PRACTICE STRATEGIES Practice playing the following intervals, which are given both melodically and harmonically in the key of C. First, practice hands separately, and then with both hands.

!

2 1

5 1

5 1

5 1

1 5

1 5

1 5

Š  Ł Ł ðð Ł Ł ðð Ł Ł ðð Ł Ł ðð Ł Ł ðð Ł Ł ðð Ł Ł ðð ][ Ý  Ł Ł ðð Ł Ł ðð Ł Ł ðð Ł Ł ðð Ł Ł ðð Ł Ł ðð Ł Ł ðð 5

Transpose to D and F major.

Intervals of a Sixth, Seventh, and Eighth (Octave)

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EXTENDING THE FIVE-FINGER POSITION Melodies that extend beyond the five-finger position have certain fingering changes that differ from the fingerings of the five-finger position. Most of these changes will be one of the following four types: 1. Extension: The fingers extend outside the five-finger position.

Š 00 Ł Ł Ł Ł ð Ł Ł Ł Ł Ł Ł Ð 3

1

5

4

3

1

3

2

3

5

2. Substitution: The fingers are changed on the repeat of the same tone or tones.

Š 00 Ł Ł Ł Ł 1

3

2

4

5

4-3

3

Ł Ł ð

1

3

4

Ł Ł Ł Ł Ł Ł Ł Ł ð

3. Crossing: The finger or fingers cross over or under another finger or fingers.

Š .0 Ł 1

2

Ł Ł Ł Ł

3

1

Ł Ł

Ł

Ł Ł

5

2

1

2

3

Ł Ł Ł Ł

ð

4. Contraction: The fingers are contracted (brought closer together) within the five-finger position.

Š /0 ð 1

294|

4

Ł

ð

1

Ł

Ł Ł 5

1

Ł 5

ðý

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

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MOVING ALONG 

Op. 117, No. 12

Cornelius Gurlitt (1820–1901)

T R ACK 8 4

Extending the Five-Finger Position

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EBSI

TE

W

Moving Along uses examples of crossing over and under in both hands.

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THE STRAWBERRY ROAN

Cowboy Song Moderato C

!

Š /0 ð Ł ][ 5

Oh, that

Ý / ððð ýýý 0 1 3 5

Ł Ł Ł ðý

straw-ber - ry

roan,

ð ¼

ððð ýýý

ððð ýýý

ððð ¼

5

Oh, that

ðð ýý ðý

Ý

ðð ýý ðý

on him is

ðð ýý ðý

straw-ber - ry

ðð ýý ðý

roan.

ððð ýýý

ð Ł The

ððð ¼

IV6 4

ŠŁ Ł Ł Ł ŁŁ Ł ŁŁ ð man that gets

Ł Ł Ł ðý

1 2 5

9

!

3

ð Ł

V6 5

I

T R ACK 8 5

F/C

G7/B

1 2 5

T R ACK 8 5

EBSI

TE

W

The Strawberry Roan shows examples of contraction and extension of fingerings. In measure 12, contraction occurs in the right hand when the fourth finger moves to F so that the first three fingers are available to play the lower notes of the melody.

bound to be

ððð ýýý

4

Ł ð Ł

thrown. Get

ððð

G7/B

off that

ðý ¼ ðð ýý

Ł Ł Ł ðý

straw-ber-ry

ððð ýýý

roan!

ððð ŁŁŁ

ð ððð

Transpose to D and E major.

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SIMPLE GIFTS

Shaker Hymn

!

²0 ½ Š 0 ]\ ’Tis a Ł Ł ݲ0 0

G

Andante

1

Ł Ł

ð

gift

to

ÐÐÐ

1

be

ð

Ł Ł Ł Ł

sim - ple, ’tis

a

ÐÐÐ

1 3 5

Ł Ł

gift

ÐÐÐ

to

T R ACK 8 6

ð

be

EBSI

TE

W

Simple Gifts, Michael, Row the Boat Ashore, and Kum Ba Ya use extended fingering in the melody.

T R ACK 8 6

Ł Ł

free,

’tis

ððð

a

½

I

²

D7/ F ²

5

!

Š

ð

gift

Ð Ý ² ÐÐ

ð

ð

to

down

ÐÐÐ

1 2 5

Ł

ð

come

Ł

where

Ł

we

ððð

ought

ÿ

1

Ł

to

When ][ ð ð

be.

½

V6 5

²

9

!

1

Š ð

we

Ð Ý ² ÐÐ ²

Ł Ł

find

our

-

13

!

Š

ð

be

Ð Ý ² ÐÐ

Ł

in

Ł

the

ð

Ł Ł Ł Ł selves

in

ÐÐÐ

ð

val

ððð

-

the

Ł

ley

½

Ł Ł

place

just

ÐÐÐ

Ł

of

ð

ð

love

ððð

Ł Ł

right,

it

ððð

C/ G

Ł

ðð ð

and

1 2 5

Ł

de

will

½ -

ð

light.

ððð

IV64

Transpose to F major. Extending the Five-Finger Position

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W

Spiritual Allegretto

!

Š − 00 Ł Ł ][ Mi - chael, Ý−0 ½ 0 1

F

Łý

 Ł Ł

Ł

row

the boat

a

2

4

ÐÐÐ

ð -

Ł [

shore,

Al

ððð

1 3 5

Ð

le

-

½

!

Š− ð

Ł Ł ][ 3

ia!

Mi - chael,

Ý − ððð

½

lu

-

ðð ð

ðð ð

1 2 5

IV6 4

I

4

T R ACK 8 7

B −/F

Ł -

T R ACK 8 7

EBSI

TE

MICHAEL, ROW THE BOAT ASHORE

Ł ý Ł Ł Ł

C7/E

3

row

ÐÐÐ

the boat

a

ð -

shore,

ððð 1 2 5

Ł Ł ]\

Al - le

ð -

½

lu

ð

ððð ðð ð

ð -

ia!

ððð

V65

TAKE NOTE

Transpose to E♭ major.

298|

𝄵 is a meter signature that indicates 2 cut time ( 2 ). Count one for each half note.

Alla breve

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

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W

Traditional Moderato

!

− Š − −−− ‡ Ł Ł ]\ 1

Ý −− − ‡ ½ −−

-

ŁŁ ŁŁ Ł Ł

my Lord,

Lord,

ya,

ððð

3

Ł

Ý −− − ŁŁŁ ýýý −−

− Š − −−− Ł

Ł

Ł

Ł

1

!

Lord,

Ý −− − ÐÐÐ −−

ððð

Lord,

ŁŁŁ ððð

13

ðý

-

1 2 5

Kum - ba

ððð

ŁŁŁ ððð

my

4 2 1

ÐÐÐ

ððð

ÐÐÐ

ððð

ya,

IV64

9

!

ðð ð

I

Ý −− − ŁŁŁ ýýý ŁŁŁ ððð −− − Š − −−− ŁŁŁ ýýý

Kum - ba

ððð

1 3 5

my

5 3 1

ððð

ŁŁŁ ýýý ŁŁŁ ððð

− Š − −−− ŁŁŁ ýýý ŁŁŁ ððð ya,

ŁŁŁ ýýý ŁŁŁ ððð

ya,

5

!

G −/ D −

4 2 1

2

Kum - ba

D−

ððð ½ ððð

-

ŁŁ Ł

Ł

Ł

Kum - ba

Kum - ba

½

Ð

ya,

ð

ðð ð

ð 3

ŁŁ Ł

ðð ð

A −7/C

1

ððð

1 2 5

1 2 5

ya,

-

Ð ððð

2

Kum - ba -

½ 1

Ł

Ł

Kum - ba -

½ 4

ð

Oh

ðð ð

ððð

ðð ð

T R ACK 8 8

Ł Ł

ððð

ÐÐÐ

ya.

1

V65

ÐÐÐ

-

T R ACK 8 8

EBSI

TE

KUM BA YA

ð

ððð

Transpose to D major.

Extending the Five-Finger Position

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MARY ANN

Calypso Song Allegretto

!

² Š 00 ð ][ All Ð Ý ² 0 ÐÐ 0 G

day,

²

Š

ð

all

night,

ð

Ł

Down

by

the

²Ł Ł Ł Ł Š Ð Ý ² ÐÐ ²

13

!

300|

lit - tle

ð

Ł

Ł

Down

by

the

Ð Ý ² ÐÐ

Ð

Ann,

ÐÐÐ

T R ACK 8 9

Ł

Ł

ð

Ł

ð

3

V65

Ł

Ev - en

ð

Ł

Ma - ry

I

Ð Ý ² ÐÐ

Š

Ł

1 2 5

1

2

ð

ð sea

ÐÐ

-

9

!

D7/F ²

ð ÐÐÐ

1 3 5

5

!

ð

3

T R ACK 8 9

EBSI

TE

W

What kind of fingering is used in measure 6 of the melody?

ÐÐÐ

-

ÐÐ

dren

ð

ð sea

shore

-

shore

ð

Ł

sift - ing

ÐÐÐ

Ð

sand.

Ł

Ł Ł ð

Ł Ł

ð chil

Ł

join

in

the

ÐÐÐ Ł

Ł

sift - ing

ÐÐÐ

Ð

band

ð sand.

Ł Ł ð Ð Ł

Ł

ð

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

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SIXTEENTH NOTES AND SIXTEENTH RESTS

 Ł Ł Ł Ł Ł Ł Ł Four sixteenth notes are equal to one quarter note.

Ł Ł Ł Ł

Ł

=

ŁŁŁŁŁ

count:

1

+

2

1 quarter note.

+

One sixteenth note by itself is written with two flags. Groups of sixteenth notes are often joined with a double beam.

 Ł

ŁŁŁŁ

A sixteenth rest (𝄿 ) represents a silence of the same length as the value of a sixteenth note.

PRACTICE STRATEGIES Tap and count the following rhythmic exercises, which use sixteenth notes, with both hands as given.

1.

.0 Ł Ł Łÿ Ł Ł Ł Ł Ł ÿ Ł

count: 1

+

2

+

Ł Ł Łÿ Ł Ł 2.

1

+

2

Ł Ł ÿŁ Ł

Ł Ł Łÿ Ł Ł

Ł Ł ÿŁ Ł

.0 Ł Ł Ł ÿŁ Ł Ł Ł Ł Ł Ł ÿŁ Ł Ł Ł Ł Ł ÿ Ł Ł

count: 1

+

2

+

Ł Ł Ł Łÿ Ł Ł Ł Ł Ł Ł ÿ Ł Ł 3.

+

Ł Ł Łÿ Ł Ł Ł Ł Ł ÿ Ł

ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ

Ł Łÿ Ł ŁŁ ŁŁ ŁŁ ŁŁ

Sixteenth Notes and Sixteenth Rests .0 ŁŁ Ł Ł Ł ŁŁ Ł Ł Ł ŁŁ Ł Ł ŁŁ Ł Ł ŁŁ Ł ŁŁ Ł ŁŁ ŁŁ

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Ł Ł Ł Łÿ Ł Ł Ł Ł Ł Ł Ł Ł 3.

ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ

ŁŁ ŁŁ ŁŁ ŁŁ

.0 ŁŁ Ł Ł Ł ŁŁ Ł Ł Ł ŁŁ Ł Ł ŁŁ Ł Ł ŁŁ Ł ŁŁ Ł

ŁŁ Ł Ł Ł ŁŁ Ł Ł Ł ŁŁ Ł Ł ŁŁ Ł Ł ŁŁ Ł ŁŁ Ł 4.

ŁŁ

ŁŁ

ŁŁ ŁŁ ŁŁ ŁŁ

ÿ Ł Ł Ł ŁŁŁŁŁŁŁŁŁ Ł Ł Ł 00 Łð Ł Ł Ł Łð Ł Łð ŁŁŁ ŁŁ Łð Ł Ł ŁŁŁŁŁŁŁŁ ÿ

ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ðð KEEP IN THE MIDDLE OF THE ROAD

African American Spiritual

T R ACK 9 0

Allegretto

! !

Š .0 Ł ]\ Ý. ¹ 0 4

Ł Ł Ł Ł

Ł Ł Ł

1 3 5

1 2 5

ŁŁ Ł

ððð

ŁŁŁ

ŠŁ Ł Ł Ł Ł Ł Ł Ł ŁŁ Ł

Ý ððð

ŁŁŁ

4

2

1

4

Ł Ł Ł Ł Ł Ł Ł Ł ][ ŁŁŁ ŁŁŁ ŁŁŁ 1 2 5

4

1

3

T R ACK 9 0

¹ Ł Ł ]\ ¼

1

3

EBSI

TE

W

Keep in the Middle of the Road and Galway Piper use sixteenth notes in the melody. Examples of extension are used in measures 4 and 8.

1

Ł Ł Ł Ł Ł Ł Ł Ł ][ ŁŁŁ ŁŁŁ ŁŁŁ

¹ ¹

Transpose to F major. 302|

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In measures 3, 5, and 7, examples of fingers crossing occur in the right-hand part between the thumb and the second finger. Remember not to look down at the keys when making finger changes.

W

Irish Allegretto

! !

². Ł Š 0 Łl l Łl Łl ][l Ł Ý ² . ŁŁ ¼ 0

1

1 3 5

2

4

2

1 2 5

n Ł Łl Łl ŁŁŁl ¼

Łl Łl Łl Łl ŁŁŁl ݲ ¼ Š

T R ACK 91

Łl Łl Ł Ł Ł Ł Łl Łl Łl Łl Łl Łl Ł Ł Ł Ł ŁŁŁl ŁŁŁl ŁŁŁl ¼ ¼ ¼

1

²

T R ACK 91

EBSI

TE

THE GALWAY PIPER

1

Ł Ł Ł Ł Ł Ł Ł Ł Ł l l l ŁŁl Ł Ł Ł Ł Ł Ł Ł 1

2

1

1 2 5

Łn ŁŁŁn

Transpose to F major.

THE DOTTED EIGHTH NOTE The dotted eighth note will have the same value as an eighth note tied to a sixteenth note.

=

or

=

A dotted eighth note will frequently be followed by a sixteenth note.

count:

Ł Ł Łý Ł 1

+

2

+ ah

The Dotted Eighth Note

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Another way of practicing this dotted-note rhythm is to count a fast four for the sixteenth-note groupings, with the sixteenth note occurring on four.

Łý count:

Ł Łý

Ł

ŁŁŁŁŁŁŁŁ

1 (1

2

3 +

4

1 2

2

3 +

4

)

PRACTICE STRATEGIES Tap and count the following rhythmic exercises, which use the dotted eighth note followed by a sixteenth note, with both hands as given.

1.

00 ŁŁ ý Ł Ł ŁŁ ŁŁ ý Ł Ł ŁŁ ŁŁ ý Ł Ł ŁŁ ŁŁ ý Ł Ł ŁŁ ŁŁ ý Ł Ł ŁŁ ý Ł Ł ŁŁ ý Ł Ł ŁŁ

ŁŁ ý Ł Ł ŁŁ ŁŁ ý Ł Ł ŁŁ ŁŁ ý Ł Ł ŁŁ ŁŁ ý Ł Ł ŁŁ ŁŁ ý Ł Ł ŁŁ ý Ł Ł ŁŁ ý Ł Ł ŁŁ

2.

.0 ŁŁ ŁŁ ŁŁ ŁŁ

3.

Ł Ł Ł ŁŁ ýý Ł Ł ŁŁ ý Ł Ł Ł ŁŁ ý Ł Ł Ł ŁŁ ŁŁ ŁŁ ŁŁ ý Ł Ł ŁŁ ŁŁ ŁŁ Ł ŁŁ ŁŁ ýý 42 Ł ý

304|

ŁŁ ý Ł Ł ŁŁ ŁŁ

ŁŁ ŁŁ ŁŁ ŁŁ

ŁŁ ý Ł Ł ŁŁ

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

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OH! SUSANNA

Stephen Foster (1826–1864)

T R ACK 9 2

EBSI

TE

W

Oh! Susanna uses the dotted eighth note followed by a sixteenth note. You will also find examples of extended and substitution fingering in the piece.

T R ACK 9 2

Allegretto 1

3

I It

4

5

came from Al rained all night

1

4

a - ba - ma the day I

with left,

my The

ban - jo wea - ther

on it

my was

1 3 5

4 1

knee, dry,

I'm The

1 2

9

goin' to Loui - si - an - a, My true love for to sun so hot I froze to death, Su - san - na, don't you

1 2

1 2 5

3

4

Oh!

Su

see. cry.

-

san - na,

oh,

don't you

2

1

cry

for

me;

For I'm

1 2 5

13 3

goin'

to

Loui - si - an - a,

My

true love

1

for

to

see.

1 2

1 3

Transpose to F major.

The Dotted Eighth Note

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ROUND AND ROUND Round and Round (a round, as its name suggests) uses crossing, extension, and substitution.

John Hilton (1599–1657) 1

Lively

Š‡ ð ][ 5

Ł Ł

2

ŠŁ Ł Ł Ł Ł Ł Łý Ł Ł Ł Š  3

306|

5

Ł Ł Ł Ł 3

Ł Ł Ł Ł Łý Ł Ł Ł 

1

4

Ł Ł ð

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 1

5

3

 Łý Ł Ł Ł 1

2

1

5

Ł Ł ð Ł Ł ð

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

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SCALE STUDY

Carl Czerny (1791–1857)

1

3

3

1

1 3 5

!

T R ACK 9 3

ŁŁ ŁŁŁŁŁ Ł ŁŁŁŁŁŁ Ł Ł Ł ŁŁŁŁŁ Ł Ł Ł Ł Ł Ł Š ]\ ðð ððð Š  ÐÐÐ ððð ÐÐÐ ððð ð Allegro

!

T R ACK 9 3

EBSI

TE

W

Examples of fingers crossing over and under are found in Scale Study and A Little Scale.

1

1 2 5

ŁŁŁ ŁŁŁŁŁ Ł Ł Ł Ł Ł ŠŁ Š ÐÐÐ

ðð ð

ððð

3

1 2 5

ŁŁŁŁŁŁŁŁ ŁŁŁŁð 2

ððð

2

1

2

ððð

ÐÐ 3 5

The Dotted Eighth Note

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W

Daniel Gottlob Türk (1750–1813) Allegretto

! !

²² . Ł Š 0 ][ Ý ²² . ¹ 0 5

Ł Ł Ł Ł 1

ÿ

² Ł Š ²Ł Ł Ł 3

Ý ²²

1

ÿ

3

¼

¹ Ł 

Ł

¹ Ł  3

Ł

1

5

Ł Ł Ł Ł ¼

Ł Ł Ł Ł

Ł Ł Ł Ł

2

1

Ł

Ł

2

T R ACK 9 4

¹ Ł 1

5

Ł

l Ł ¹ Łl ¹ 1

Ł Ł Ł Ł 3

T R ACK 9 4

EBSI

TE

A LITTLE SCALE

5

Ł

¹

l Ł Łl Łl  5

1

MUSICAL FORMS: AB AND ABA The word form refers to the architecture or structure of music. Two of the most common forms used in songs are two-part song form (sometimes referred to as binary or AB form) and three-part song form (sometimes referred to as ternary or ABA form). Two-part song form (AB form) is illustrated in Mexican Hat Dance. Section A A—phrase 1 A′—variation of phrase 1 A and A′ repeated Section B B—contrasting phrase (introduces new material) B′—variation of contrasting phrase B and B′ repeated

308|

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

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W

Traditional

!

Allegretto Section A

Š /0 ¼ ][l Ý/ Ł 0 l ÝŁ

Łl

Łl

Łl

Łl

¼

¼

¼

1

Łl

Łl

Łl

¼

¼

¼

Łl

Łl

Łl

¼

¼

¼

¼

¼

Łl

Łl ¼

Łl

Łl

¼

l Ł Ý

¼

Łl

¼

¼

Łl

¼

Łl

¼

A'

Š¼

l ÝŁ Section B 3

Š ðý ]\ Ý ðý 5

¼

Łl

Łl

Łl

Łl

¼

¼

¼

ðý ðý

¼

¼

Łl

Łl Ł

ðý

Ł

¼ ¼ Ł

T R ACK 9 5

T R ACK 9 5

ŁŁl n Łnl

ŁlnŁ ¼ Łnl ¼

¼

ŁŁ ln Łnl

ŁŁl ¼ n Łnl ¼

¼

ŁŁl n Łnl

ŁlnŁ ¼ Łnl ¼

¼

¼

¼

¼

5 3

¼

A

Š¼

17

!

¼

2

13

!

Łl

A'

Š¼

9

!

¼

1

5

!

2

5 2

2

Łl n [[ Łnl 1

Ł

¼

¼

¼

n Łl ¼

¼

Łl ¼ n

¼

Ł

ð

EBSI

TE

MEXICAN HAT DANCE

¼ ¼ (continued)

Musical Forms: AB and ABA

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21

!

ðý

ðý

B'

Š ¼

Ý ŁŁl 1 2

Ł

Ł

Ł

2

Łl

Łl

¼

¼

Ł

ðý

ðý

5

TAKE NOTE

Ł

ðý

2

1

Łl

ŁŁl

Ł

Ł

Łl

Łl

Łl

¼

¼

ŁŁl 1 3

¼ ¼

Ł

ð

B

3

Š ðý ]\ Ý ðý

310|

Ł

ðý

5

29

!

2

Š ðý \ Ý ðý 25

!

B'

¼ Ł

ð Łl n [[ Łnl

¼

n Łl ¼ Łl ¼ n

¼ ¼ ¼ ¼

Con moto Con moto is a tempo marking that means to play quickly, “with motion.”

MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS

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IRISH WASHERWOMAN Three-part song form (ABA form) is illustrated in Irish Washerwoman.

Irish Con moto Section A

!

² Š 42 Ł Ł Ł Ł Ł Ł Ł ][ Ł Ý ² 2 ¹ ŁŁ ¹ ¹ ¹ ¹ 4 3 5

1

²Ł Ł Ł Ł Ł Ł Š 3

Ł Ý ² ŁŁ ¹ ¹ ¹ ¹

²Ł Ł Ł Ł Ł Ł Š 7

!

Ł Ł ݲ Ł ¹ ¹ Ł ¹ ¹ 1 5

1

1

5

ݲ Ł ¹ ¹ Ł ¹ ¹ 3

A'

Ł Ł Ł 1

2

ŁŁ ¹ ¹ Ł ¹ ¹ Ł Ł Ł Ł

1

Ł Ł

Ł ŁŁ ¹ ¹ ¹ ¹ 2 5

1

Ł Ł Ł Ł Ł Ł

Ł Ł

Fine

2

ŁŁ ¹ ¹ Ł ¹ ¹

Section B

Ł 5

3rd

Ł Ł Ł Ł Ł Ł 3

4th

]\ Ł ¹ ¹ ¹ Ł ¹ ¹

ŁŁ ¹ ¹ Ł

1

Ł Ł Ł Ł Ł Ł 1

2

4

Ł Ł Ł ¹ ¹ Ł ¹ ¹

D.C. al Fine

Ł Ł Ł Ł ŁŁ ¹ ¹ Ł

Musical Forms: AB and ABA

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T R ACK 9 6

6th

5th

²Ł Ł Ł Ł Ł Ł Š 10

!

1 5

Ł Ł Ł 4

ŁŁ ¹ ¹ Ł ¹ ¹

LH

4

!

Ł Ł Ł Ł Ł Ł

5

T R ACK 9 6

EBSI

TE

W

A—phrase 1 A′—repeat of phrase 1 with some alteration B—contrasting phrase (introduces new material) A—phrase 1 (Da Capo section) A′—repeat of phrase 1 with some alteration (Da Capo section)

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MELODIES WITH LETTER-NAME CHORD SYMBOLS FOR I, IV 64 , AND V 65 CHORDS Play the following melodies which use letter-name chord symbols for the I, IV 64, and V 65 chord harmonizations.

WHEN I COME BACK German C

Lively

Š 00 Ł ][ 1

Ł

F/C

ð

C

Ł

Ł

3

ð

Ł

Ł

Łý

Łý Ł Ł Ł

3

Ł Ł

ð

Ł Ł

Ł

G7/B

F/C

4

Š Ð

C

4

C

4

Ł Ł Ł Ł

ð

LA CUCARACHA Mexican C

Lively

count:

1

+

2

G 7/B

+ 3

3 2

1

3

2

1

+

4

+

G 7/B 3

312|

3

2

1

C

C

1

F/C

4

3

+ 3

2 2

+ 1

3

+ G 7/B

4

+ G 7/B

C

4 1

3

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ROCK OF AGES Thomas Hastings (1784–1872) Andante

C

ŠŁ Ł ]\ 3

C

F/C

Š /0 Ł ý Ł Ł ][ 2

Ł

Łý

G7/B

Ł Ł Ł

Łý

Ł Ł

Łý Ł ð C

ð

G7/B

C

3

Ł Ł Ł

Łý

G7/B

Ł Ł

C

ð

Fine

D.C. al Fine C

Ł Ł Ł

ð

A CHRISTMAS CAROL Bohemian Allegretto

²/ Ł Ł Ł Ł Ł Š 0 ]\ G

G

Ł Ł Ł Ł Ł

C/ G

4

C/ G

²Ł Ł Ł Ł Ł Š \ 4

G

G

C/ G

C/ G

Ł Ł Ł Ł Ł

D7/F ²

5

G

G

Ł Ł Ł Ł Ł 4

G

ð

D7/F ²

G

Ł Ł Ł Ł Ł 5

4

¼

ð

¼

NOBODY KNOWS THE TROUBLE I’VE SEEN

In “Nobody Knows the Trouble I’ve Seen,” the right- and left-hand parts overlap. Let the left hand play an incomplete chord (the root and third) while the right hand takes the fifth for the melody.

Spiritual Andante F

B −/ F

F

Š − 00 Ł Ł Ł Ł ý Ł Ł Ł Ł ð \ 5

F

3

B −/ F

Š − Ł Ł Ł Łý Ł

F

Ł Ł Ł ð

B −/ F

F

Ł

C 7/ E

Ł Ł Łý Ł Ł ðý F

C 7/ E

Ł Łý ð 5

F

ðý

Melodies with Letter-Name Chord Symbols for I, IV 46 , and V 65 Chords

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CLASSIC MINIATURES

Daniel Gottlob Türk (1750–1813)

W T R ACK 97

Franz Joseph Haydn (1732–1809)

314|

W

T R ACK 97

T R ACK 9 8

EBSI

TE

GERMAN DANCE, NO 2

EBSI

TE

TEASING

T R ACK 9 8

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REPERTOIRE W

Ludwig van Beethoven (1770–1827)

T R ACK 9 9

Repertoire

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EBSI

TE

GERMAN DANCE

T R ACK 9 9

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IMPROVISATION

Pentatonic Improvisation PRACTICE DIRECTIONS 1. For a “bagpipe” sound using the pentatonic scale, improvise by playing open fifths 6 3 with the left hand in 8 or 4 meter. 2. The open fifth G♭–D ♭ seems to blend most easily with black-key melodies in this style. 3. Play the open-fifth accompaniment in the lower register so the accompaniment will sound fuller. 4. An even better bagpipe sound will result with the addition of a grace note figure to the open-fifth accompaniment, as below. A grace note ( ) appears in smaller print, receives no note value, and is played quickly, almost together with the following note. 5. An effective way to get a good bagpipe sound is to play all three left-hand notes (the grace note and open fifth) together, and then lift up the second finger quickly.

𝆔

Ý −− − − 2 Ł ý Ł ý Ł ý Ł ý − − 4 Łý Łý Łý Łý

etc.

1 5

1 5

Ý −− − − 2 ¦  Ł ý − − 4 Łý 2

1 5

 ŁŁ ýý

Ý −− − − / ð ý − − 0 ðý

¦  ŁŁ ýý 2

1 5

 ŁŁ ýý

2

¦  ŁŁ ýý 1 5

ý ðð ŁŁ ðð ý  ŁŁ ýý

ðð ŁŁ

2

¦  ŁŁ ýý 1 5

etc.

 ŁŁ ýý

Now improvise your own melodies over the open-fifth accompaniment. Look at some of 6 3 the pieces in this book in 8 or 4 meter to give you ideas for various melody rhythms. The next piece, Bagpiper’s Strut, is a good place to start.

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BAGPIPER’S STRUT E. M. Moderato

! !

− Š − −−−− 42 Ł Ł Ł Ł Ł Ł Ł ][ Ý −− − − 2 ¹ ¦ Ł ý Ł ý −− 4 Łý Łý 2

1 5

− Š − −−−− Ł Ł Ł Ł Ł Ý −− − − ¦ Ł ý − − Łý

ŁŁ ýý

¦

ŁŁ ýý

ŁŁ ýý

¦

ŁŁ ýý

ŁŁ ýý

ŁŁ ýý

Łý Ł Ł Ł ¦

2

ŁŁ ýý ŁŁ ¹ 1 5

Ł Ł Ł Ł Ł Ł

Ł Ł Ł Ł 1

¦

Ł ŁŁŁŁ

Ł ŁŁ Ł

1

ŁŁ ýý

¦

ŁŁ ýý

¦

ŁŁ ýý

¦

Łý

Ł

ý ŁŁ ý

ŁŁ

PRACTICE DIRECTIONS 1. For a “Western” sound, play one of the following ostinato accompaniment figures with the left hand.

Ý −− − − . Ł Ł Ł −− 0 Ł 5

2

1

2

Łý Ł Łý Ł

2. In the pentatonic scale, two positions of this accompaniment are possible.

Ý −− − − . Ł Ł Ł −− 0 Ł 5

G−

2

1

2

Ł Ł Ł Ł 5

2

1

2

D−

Improvisation

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CREATIVE MUSIC AND HARMONIZATION 1. The following two phrases extend beyond the five-finger position. Improvise matching phrases for each, using an extended range. Write the phrases on the staves provided, then add fingerings to the phrases and circle those that extend the range by using extension, substitution, crossing, and contraction. Consider tempo, dynamics, and kinds of phrasing as well. a. 5

1

1

3

3

m

b. 5

5

1

2

1

3

m

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2. Improvise matching phrases in extended range for each of the following phrases and harmonize with I, IV 64, and V 65 chords. Write the phrases, chords, and chord numbers on the staves provided. a.

! !

²²² / Ł Ł Š 0 ]\ ððð ýýý Ý ²²² / 0 3

1

Łý

Ł

ððð ýýý

1 3 5

2

Ł

1

Ł Ł

ðð ýýý ð

Ł

Ł

1 2 5

ð

ððð ýýý

Ł

²²² Š Ý ²²²

b.

! !

Š 01 Ł Ł Ł Ł Ł \ ðð Ý 1 ðð ýý 0 3

Ł Ł Ł ð

1 5

ðý ðý

I

IV64

1 5

ðð

Ł Ł Ł Ł Ł ]\ ðð ýý ðð 3

Ł Ł Ł ð ðý ðý

ð ð 1 5

V65

Š Ý

Creative Music and Harmonization

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SIGHTREADING STUDIES

PRACTICE DIRECTIONS 1. Determine the key of the study. 2. Observe the meter signature, then quickly scan the example to look at rhythmic and melodic patterns and any harmonic patterns. 3. Note changes of fingering where they occur. 4. Observe all dynamic and expression markings. 5. Look ahead in the music as you play. 6. Be sure not to look down at the keys!

Melodies in Parallel Motion 1. Flowing

!

Š 00 Ł ][ Ý0 Ł 0

!

ŠŁ

ð

Ł

ÝŁ

Ł

ð

2

ð

Ł

Ł

ð

Ł

320|

1

2

ð

Ł

Ł

ð

Ł

Ł

Ł

5

ð

Ł

Ł

ð

ð

Ł

ð

Ł

Ł

3

4

Ł 4

Ð Ð

ð

ð

ð

Ð

ð

Ð

3

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2. Lightly

! !

² Š ² /0 Ł ]\ Ý ²² / Ł 0 3

3

² Š ²Ł

][ Ł Ý ²²

Ł

Ł

Ł

Ł

Ł Ł Ł

5

Ł Ł ð

Ł Ł Ł

Ł Ł ð 1

Ł

Ł

Ł

ð

Ł

Ł

ð

Ł

2

Ł

5

5

4

Ł

1

Ł Ł Ł Ł Ł Ł

1

ðý ðý

Ł

ðý

Ł

ðý

3.

²²²² / Š 0Ł ]\ Ý ²²²² / Ł 0

Moderato

! !

3

3

²²²² Š

Ł Ł

Ł Ł Ł

Ý ²²²² Ł Ł Ł

Ł

Ł Ł

Ł

Ł Ł Ł 5

Ł 1

Ł

Ł

Ł

Ł Ł Ł 1

Ł Ł Ł

Ł Ł

Ł

Ł

Ł

Ł

Ł

Ł Ł

ðý

Ł

Ł

Ł Ł

ðý

Ł Ł Ł Ł

ðý

Ł Ł Ł Ł

ðý

5

Sightreading Studies

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Accompanied Melodies 4. Gracefully

! !

Š /0 Ł ]\ Ý / ðý 0 1

Ł

Ł

Ł

ðý

5

1

Ł

ŠŁ

Ł

Ł

ðý

Ý ðý

Ł

Ł

2

Ł

5

4

Ł

Ł

ðý ðý

ðý 4

Ł

1

5

Ł

Ł

2

Ł Ł Ł Ł

ðý

Ł

ð

ðý 3

5. Lively

! !

Ł Š Ł ŁŁ Ł ][ Ý Ð Ð

Ł ŁŁŁŁŁ

Ł ŠŁ Ł Ł Ł ][ ÝÐ Ð

Ł Ł Ł Ł Ł Ł Ł Ł Ł

ð

ÐÐ

ŁŁ Ł ðð Ł

1

1 5

322|

5

ÐÐ

Ł ŁŁŁ Ł ]\ ÐÐ 1 5

5

ÐÐ

Ł ŁŁŁŁŁ ÐÐ ð

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6. Flowing

! !

² Š 4/ Ł ][ Ý ² / Łý 4 1

Ł

Ł

1

Łý

Ł

Ł

Ł

Ł

3

Ł

Ł

Łý

Łý Łý

4

Š

²Ł

Ł

5

Ł

Ł

Ł

Ł

1

3

Ł

Łý

Ł

Ł

Łý

Ý ² Łý

Ł

Ł

Łý

7. Easily

!

²² . Š 0 ðð ]\ Ý ²² . Ł 0 5 3

5

!

² Š ² ðð Ý ²²

Ł 1

5 4

ðð Ł

Ł

Ł

Ł 3

1

1

Ł

Ł

3

4 2

ðð Ł

Ł

Ł

Ł

Ł

Ł

ðð

Ł

Ł

Ł

ðð Ł

ðð ð ðð

Ł

Ł

ð

Sightreading Studies

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8. Leisurely

!

Š − /0 Ł [ ý Ý − / ððð ýý 0

!

Š− Ł

5

ð

1 3 5

5

ðð ýýý ð

ð

1 2 5

ð

ý Ý − ððð ýý

Ł

Ł 5

ðð ýýý ð

Ł

Ł

Ł 2

ððð ýýý

ððð ýýý

1 2 5

ð

Ł 5

ððð ýýý

Ł

ð

Ł

Ł

ðý

ððð ýýý

RHYTHMIC STUDIES Tap and count the following rhythmic exercises with both hands.

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TECHNICAL STUDIES 1. Play the following Hanon fingerbuilder exercise in various tempos. Alternate tempos by playing every other measure at twice the speed. This exercise can also be practiced legato, staccato, in various slur groupings, and with various changes of dynamics.

FIVE-FINGER EXERCISE Charles-Louis Hanon (1819–1900)

!

Š 00 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ý0 ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ 0 1

5

4

4

2

3 5

3

1

4

2

2

4

3

1

3

5

2

4

4

2

3 5

3 1

4

2

2

4

3

1

4

2

2

4

3

1

3 5

2

4

4

2

3

3

5

1

4

2

2

4

3

1

3 5

2

4

4

2

3

3

Š Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ŁÝ Ł

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1

2

Continue up to C.

3

ŁŁŁŁŁŁŁŁ ŁŁŁŁ ŁŁŁ Ł Š 5

!

2

ŁŁŁŁŁŁŁŁ 5

4

2

3

1

2

4

3

ŁŁŁŁŁŁŁŁ 1

2

4

3

5

4

2

Continue down to C.

3

Technical Studies

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2. Practice the following two-octave scale in contrary motion in keys of your own choice.

!

Ł Ł ŁŁŁŁŁ Ł Ł Ł Ł Ł Ł ŁŁŁ Š 00 Ł Ł Ł Ł Ł Ł Ł Ł Ł ŁŁŁ Ð [ ŁŁ Ð Ł Ý0 Ł ŁŁŁŁŁŁ Ł Ł Ł Ł Ł ŁŁŁŁŁ ŁŁŁŁŁŁ Ł 0 Ł 1

1

5

1

1

1 3

1

4

1 3

( )

(

1

1

1

1

1

1 3

5

4

)

1 3

3. Practice the following exercise in keys of your own choice. Do not twist the wrists back and forth as you practice this study.

326|

1

3

1

1

1

1

3

1

1

1

5

5

3

1

3

1

3

3

3

1

3

1

3

3

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ENSEMBLES

Student-Teacher Ensemble Pieces

SUNSET* Student

Dennis Alexander

Moderately slow

!

Š /0 Ł Ł \ Ý / ððð ýýý 0 3

1 3 5

5

!

5 1

Š ŁŁ

Ý ðý

Ł Ł Ł Ł

Ł 5 1

Ł ýý Ł

ŁŁ ýý

ŁŁ

Ł

ðý

Ł

Ł Ł Ł 1 5

Ł

Ł

Ł Ł ð

Ł

ððð ýýý Ł

Ł

Ł Ł

ðý

ŁŁ

Ł

1 5

ð

Ł

Ł

ð

Ł

ritardando

Ł Ł Ł Ł

9

!

ŠŁ

a tempo

Ł

Ł Ł ð

Ł

Ý ððð ýýý 13

!

ŠŁ Ý

ðð ýý ðý

Łý

Ł Ł Ł Ł

Ł

5

Ł

Ł ððð ýýý

Łý

Ł

Ł

Ł

ððð ýýý Ł Ł Ł

ð

Ł

ðð ð 1 2 5

Ł

ŁŁ

Ł Ł

Ł

ŁŁ

¼ q ðý ððqýý

“Sunset” from Alfred’s Basic Adult Duet Book, Level 1 (#2227). Copyright © 1986. Reprinted with permission of Alfred Publishing Co., Inc.: www.alfred.com.

*Student plays one octave higher than written when playing at one piano.

Ensembles

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SUNSET Accompaniment

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Dennis Alexander

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CALICO RAG Student

Dennis Alexander

(may be performed one octave higher)

© 1988, Alfred Publishing Co., Inc. Used by permission. All rights reserved.

Ensembles

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CALICO RAG Accompaniment

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Dennis Alexander

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Student Ensemble Pieces

LULLABY Louis Köhler (1820–​1886) Arranged by E. M.

ð Ł ð Ł ŁŁŁ ð Piano 1 Š − / 0 ]\ ðý ðý Ł Ł Ł ð Piano 2 Š − / 0 ]\ Piano 3 Š − / ð 0 Ł ð Ł ŁŁŁ ð ]\ ð Ý − / ð ý ð ý ðý Piano 4 0 ]\ m Ł Łý Ł ð ý Ł Ł Ł ð ŁŁ 1 Š − ][ m Ł ðý ð ðý ðý 2 Š − ][ m Ł Łý ð Ł 3 Š − ŁŁ ð Ł Łý Ł ][ ý Ý − ðý ðý 4 ðm Ł ð ][

ð Ł Łý Ł Ł Ł Ł Ł ð

Andantino

5

3

4

2

3

1

8

2

1

1

3

1

1

¼

ðý 4

¼

Łý Ł Ł Ł Ł Ł ð ¼ 1

2

5

¼ ð Ł Łý Ł Ł Ł Ł Ł ð ¼ ý ð Ł ð ¼ ¼ ðý ð 5

5

ð Ł Łý Ł Ł Łý \ ðý Łý Ł Ł ð \ ð Ł Łý Ł Ł Łý \ ð Ł ð Ł ð \ 2

1

1

1

4

4

5

4

1

4

ŁŁ ð Ł Ł ð Ł ŁŁ ð Ł Ł ð Ł

Ensembles

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SHE’LL BE COMIN’ ROUND THE MOUNTAIN Southern mountain song (Arr. E. M.)

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UNI T 7  ​W ORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER 1. Give the name of the sixth degree in each of the following major scales:

♯

♭ D ♭ __________ A ♭ __________

F __________ E __________ E __________

♭ C ♯ __________

G __________

B  ​__________

D __________

B __________

2. Write the correct RH fingering on the lines that appear above the staff and the correct LH fingering on the lines below the staff for the scales given. F Major ——

——

——

——

——

——

——

——

——

——

——

——

——

——

——

——

B Major

♭

—— —— —— —— —— ——

—— ——

—— —— —— —— —— ——

—— ——

A Major ——

—— —— —— —— ——

—— ——

——

—— —— —— —— ——

—— ——

——

—— —— —— —— ——

—— ——

——

—— —— —— —— ——

—— ——

A Major

© Oxford University Press

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CONSTRUCTION 3. Build the following major scales using letter names. D ​____ ​____ ​____ ​____ ​____ ​____ ​____ E ​____ ​____ ​____ ​____ ​____ ​____ ​____

♭ G ♭ ​____ ​____ ​____ ​____ ​____ ​____ ​____​ C ♯ ​____ ​____ ​____ ​____ ​____ ​____ ​____

B ​____ ​____ ​____ ​____ ​____ ​____ ​____​

4. Write a one-measure music example to illustrate each of the four types of fingerings: a. Extension

b. Substitution

c. Crossing

d. Contraction

© Oxford University Press

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MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A

COLUMN B

1. mediant

_____ ​the fingers are brought closer together within the five-finger position

2. con moto

_____ ​name of the sixth degree of a major scale

3.

_____ ​name of the second degree of a major scale



4. leading tone

_____ ​name of the third degree of a major scale

5. submediant

_____ ​same value as one quarter note

6. ternary form

_____ ​a meter signature that indicates cut time ( )

7. binary form

_____ ​the finger crosses over or under other fingers

8. alla breve

_____ ​play with motion

9. crossing

_____ ​name of the seventh degree of a major scale

22

10. supertonic

_____ ​same value as an eighth note tied to a sixteenth note

11. finger substitution

_____ ​a Classical period composer

12. contraction

_____ ​a Romantic period composer

13. Ludwig van Beethoven

_____ ​the fingers extend ourside the five-finger position

14. Stephen Foster

_____ ​two-part song form (AB)

15.

_____ ​three-part song form (ABA)



16. extension

_____ ​the fingers are changed on the repeat of the same tones

© Oxford University Press

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UNIT 8

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

This unit introduces pieces that are largely in extended range and use a variety of easy accompaniment patterns to play and improvise.

BROKEN-CHORD ACCOMPANIMENT PATTERNS Practice the following broken-chord accompaniment patterns and substitute them in some of the pieces on pages 339–343. Choose previous pieces to use with these patterns from Units 1–9. The patterns use I, IV 64, and V 65 chords and are in a variety of meters. For simplicity, all are notated in the key of F. Transpose to other keys as necessary. First, the basic pattern is shown in block-chord form:

Ý − 0 ÐÐÐ 0 1 3 5

(F)

24 Pattern

Ý − . Ł ŁŁ 0 I

ÐÐÐ

IV64 (B −64)

I

1 2 5

I

5

ÐÐ Ð

1 3

ÐÐÐ

ÐÐÐ

1 2 5

V65 (C65)

(F)

I (F)

Ł Ł Ł

Ł ŁŁ

Ł Ł Ł

Ł ŁŁ

IV46

I

V56

I

5

1 2

5

1 2

Broken-Chord Accompaniment Patterns

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5/27/15 9:28 AM

34 Patterns

Ý − / Ł ŁŁ ¼ 0 5

1 3

I

Ý − / Ł ŁŁ ŁŁ 0 5

1 3

44 Patterns

ðð

Ý−0 ð 0 5

1 3

ŁŁ Ł ¼

Ł ŁŁ ¼

Ł Ł Ł ¼

IV64

ŁŁ ŁŁ Ł

5

1 2

5

1 2

ðð

ð 5

1 2

IV64

I

1 2

Ł ŁŁ ¼

I

V65

Ł ŁŁ ŁŁ

Ł Ł Ł Ł Ł

Ł ŁŁ ŁŁ

ð

ðð

5

5

1 2

ðð

ð 5

1 2

ð

ðð

V65

I

Ł Ł Ł Ý − 0 Ł ŁŁ ŁŁ ŁŁ Ł Ł Ł Ł Ł ŁŁ ŁŁ ŁŁ Ł ŁŁ ŁŁ ŁŁ Ł ŁŁ ŁŁ ŁŁ 0 1 3

5

5

1 2

5

1 2

68 Patterns

Ł Ł Ý − 2 Ł ŁŁ Ł ŁŁ Ł Ł Ł Ł Ł ŁŁ Ł ŁŁ Ł ŁŁ Ł ŁŁ Ł ŁŁ Ł ŁŁ     4   5

1 3

5

5

IV64

I

Ý − 2 Łý 4 5

338|

1 2

ŁŁ ýý 1 3

Łý 5

I

ŁŁ ýý 1 2

Łý

ŁŁ ýý

1 2

V65

I

Łý Łý Ł ý

Łý

5

1 2

ŁŁ ýý

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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FRANKIE AND JOHNNY

Traditional Moderato

!

1

2

Š Ł Ł Ł Ł Ł Ł Ł ][

Frank- ie and John - ny were

Ý ððð 1 3 5

Š ðý

love.

They

Ý ŁŁŁ −ŁŁŁ ¦ ŁŁŁ ¼ 8

!

Ł

1 3 5

1 3 5

1

3

Š Ł Ł Ł −Ł bove. He was her

Ý ŁŁŁ ¼ ½

Ł Ł Ł Ł Ł Ł Ł

lov - ers,

ððð

1

swore to be true

Oh, Lord - y,

ððð

Ł Ł ŁŁŁŁ Ł 3

to each

ððð

Ł ð oth - er,

how

they could

ððð ŁŁ Ł ŁŁ Ł Ł just as

true as the stars a -

ðð ð

ðð ð

Ð

Ł Ł Ł Ł Ł

Ð

ð

ððð

ððð −Ł ¦ Ł

ð

1 2 5

man,

½

ðð ð

ðð ð

but he done her

1 2 5

ððð

ðð ð

ðð ð

wrong.

3

2

ðð ð

Broken-Chord Accompaniment Patterns

9780199326204_Mach_TxT.indb 339

T R ACK 10 0

4

Ł ðý

ððð

4

!

1

5

5

3

T R ACK 10 0

EBSI

TE

W

Play Frankie and Johnny with a block-chord accompaniment as given.

½ ½

|339

5/27/15 9:28 AM

FRANKIE AND JOHNNY Next, play the same melody using a broken-chord pattern in the accompaniment.

Ý  ð ðð 5

ð ð ð

IV64

V65

5

1 2

5

1 2

Traditional

340|

T R ACK 101

EBSI

TE

W

I

1 3

ð ð ð

T R ACK 101

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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VIVE LA COMPAGNIE Practice the broken-chord accompaniment in Vive la Compagnie before playing the piece as written.

Ý ²² 2 Ł ý ŁŁ ýý Ł ý ŁŁ ýý Ł ý ŁŁ ýý 4 5

5

1 2

IV64

5

1 2

V65

French Vivace

!

² Š ² 42 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ¹ ][ ŁŁ ýý ŁŁ ¹ Ý ²² 2 ð ý 4 5

!

5

Łý 1

ðð ýý 1 2

² Ł Ł Ł Łý Š ²Ł Ł Ł Ł Ł Ł 9

!

3

][ Ý ²² Ł ý 3

\ Ý ²² Ł ý 5

4

[ ŁŁŁ ýýý

1 3

²² Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ý Š 5

Łý 3

ðð ýý 1 2

ŁŁŁ ýýý 1 2 5

ŁŁŁ ýýý ŁŁŁ ¹

Ł Ł Ł Ł Ł Ł Ł Ł Ł Łý

]\ Łý

ŁŁ ýý

Łý

ŁŁ ýý

Ł Ł Ł Ł Ł ðý [ ŁŁŁ ŁŁŁ ŁŁŁ ýýý ŁŁŁ ýýý ŁŁŁ ýýý 3

Broken-Chord Accompaniment Patterns

9780199326204_Mach_TxT.indb 341

T R ACK 10 2

Ł Ł Ł Ł Ł Łý Ł ¹

1

5

T R ACK 10 2

EBSI

TE

W

I

1 3

|341

5/27/15 9:28 AM

WALTZ PATTERN The next two pieces, Du, du liegst mir im Herzen and My Hat, It Has Three Corners, use the waltz pattern, a broken-chord accompaniment in which the first beat is stressed and the second and third beats are played staccato. Think of playing down on the key for beat 1, and playing up on the keys for the other two beats (oom-pah-pah). down up

up

down up

l ŁŁl Ł m Ł Ý−/ Ł 0 5

up

l l mŁ ŁŁ ŁŁ

1 3

5

Łm

1 2

up

ŁŁl ŁŁl

5

V65

I

down up

down up

up

mŁ ŁŁl ŁŁl 5

I

DU, DU LIEGST MIR IM HERZEN

German Moderato

!

Š − /0 ðý ]\ l l Ý − / Łm ŁŁ ŁŁ 0 3

5

6

!

mŁ ŁŁl ŁŁl

1 3

Š − ðý

Ł Ł Ł

l l Ý − Ł ŁŁ ŁŁ m

ððð ýýý

Š− Ł Ł Ł

ð Ł

11

!

ðý

ý Ý − ððð ýý

342|

ððð ýýý

Ł Ł Ł 1

ðý

ð Ł

Ł Ł Ł ððð ýýý

ððð ýýý

ð ¼

ðý ]\ l l Łm ŁŁ ŁŁ

1 2 5

ððð ýýý

Ł Ł ðý

1

Ł

ðý

T R ACK 10 3

ðý \ l l Ł Ł Łm Ł Ł

Ł Ł Ł

rit.

T R ACK 10 3

EBSI

TE

W

The small arrow in the left-hand part of measure 6 in Du, du liegst mir im Herzen indicates a jump down to the note C.

ðý

l l Łm ŁŁ ŁŁ ð

¼

ð

¼

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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MY HAT, IT HAS THREE CORNERS Practice this pattern before playing My Hat, It Has Three Corners.

mŁ ŁŁl ŁŁl

l ŁŁl Ł m Ł ݲ/ Ł 0 5

1 3

5

l ŁŁl Ł Ł Łm

1*

5

ððð ýýý

1*

1 3 5

V65

I

German

T R ACK 10 4

EBSI

TE

W

I

T R ACK 10 4

!

² / Ł Łl Ł Łl Ł Ł Ł Ł Ł ð Ł ð Ł ðý ð Š 0 ¼ ¼ ][ ŁŁŁl ŁŁŁl Łl ŁŁl m ŁŁl ŁŁl m ŁŁl ŁŁl m ŁŁl ŁŁl Łm ŁŁl ŁŁl Ł m ݲ/ ¼ ¼ ¼ ¼ ¼ Ł Ł Ł Ł 0

!

² ð Ł Łl Ł Łl Ł Ł ð ¼ Š ¼ ][ l ŁŁŁ ŁŁŁl m ŁŁl ŁŁl ð ݲ ¼ ¼ ¼ ¼ ¼ Ł

Spirited 4

1 3 5

5

1 3 5

1

5

1

5

1 3

Ł Ł Ł ð Ł ð Ł ðý ð ]\ l l l l l l mŁ ŁŁ ŁŁ Łm ŁŁ ŁŁ Łm ŁŁ ŁŁ Ł Ł Ł ð 4

1

*Take both notes with the left-hand thumb.

Waltz Pattern

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5/27/15 9:29 AM

ARPEGGIO ACCOMPANIMENT PATTERNS An arpeggio is a chord in which every note is played separately, one after the other. Practice the following arpeggio patterns in the same way as described on page 337 for brokenchord patterns. Play some of the earlier pieces studied in Units 1–5 as well as some of the melodies in Unit 12, using various arpeggio accompaniments as given on this and the next page.

24 Patterns

Ł Ł Ł Ł Ł Ł Ý−. Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 0 3

5

1

3

2

5

1

2

I

(F)

2

5

IV64 (B −64)

I

(F)

1

2

V65 (C65)

I

(F)

Ł Ł Ł Ł Ł Ł Ý−. Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 0 1

5

3

1

34 Patterns

3

2

1

1

5

2

1

IV64

I

1

5

Ł Ł Ł

Ý−/ Ł Ł Ł 0 5

1

5

2

1

Ł Ł Ł

Ł Ł Ł

Ł Ł Ł

I

V65

I

5

2

1

Ł Ł Ý−/ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 0 5

344|

3

1

3

1

3

5

2

1

2

1

2

5

2

1

2

1

2

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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44 Patterns

Ł Ý−0 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 0 5

3

1

3

5

2

1

2

IV64

I

5

I

2

1

2

V65

I

Ł Ł Ý−0 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 0 5

1

3

1

5

1

2

1

5

1

2

1

68 Patterns

Ł Ł Ý−2 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 4 5

3

1

5

2

1

5

IV64

I

I

2

1

V65

I

Ł Ý − 2 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł     4   5

3

1

3

5

2

1

2

5

2

1

2

Arpeggio Accompaniment Patterns

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ON TOP OF OLD SMOKY In On Top of Old Smoky, the left-hand accompaniment is made up of arpeggio figures based on the I, IV 64 , and V 65 chords. Practice playing the left-hand accompaniment as block chords while you hum the melody. Then break the chords into arpeggios as shown below. Notice that the first four notes of the melody form an arpeggio of the C major chord.

Ý ŁŁŁ 1 3 5

5

ŁŁ Ł

Ł

Ł

Ł

3

1

Ł

1 2 5

5

Ł

Ł 2

ŁŁŁ

1

IV46

5

2

1

V65

Traditional Moderato

!

Š /0 Ł ]\ On 1

3

ðý

of

old

Smok

Ł Ł Ł

top

Ý/ ¼ 0

5

2

ÿ

ðý -

Ł Ł Ł 5

2

1

y,

Ł Ł Ł

6

!

ðý

Š ðý 2

Ł

ð

ÝŁ Ł Ł 3

Ł Ł Ł

1

Ł Ł Ł

All

cov - ered with

Ł Ł Ł

I

lost

Ł Ł Ł

my

T R ACK 10 5

Ł

Ł Ł Ł

5

snow,

5

ð

T R ACK 10 5

EBSI

TE

W

I

Ł

1 2 5

Ł

Ł

true

Ł Ł Ł

Ł Ł Ł

ðý lov

-

Ł Ł Ł 5

2

1

11

!

Š ðý

ð

ÝŁ Ł Ł

Ł Ł Ł

er,

Ł Ł Ł Ł Ł

By a - court - in’

too

Ł Ł Ł

ðý

ðý

ð

Ł Ł Ł

Ł Ł Ł

ð

slow.

Transpose to D major. Next, play On Top of Old Smoky using a waltz pattern in the left-hand accompaniment. Remember, the first beat is stressed and the second and third beats are played staccato. 346|

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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BARCAROLLE

Jacques Offenbach (1819–1880)

T R ACK 10 6

EBSI

TE

W

Practice the arpeggio accompaniment in Barcarolle in the same way that you did for Old Smoky.

T R ACK 10 6

 ²²²² 2    Ł ¹ Š 4 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Łý \ Ý ²²²² 2 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 4 Moderato

!

3

5

!

²²²² Š Ł

3

1

 Ł Ł

5

2

1

 Ł Ł Ł Ł Ł

 Ł Ł Ł Ł Ł

 Ł ðý

Ý ²²²² Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ý Transpose to A major.

Arpeggio Accompaniment Patterns

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GAÎTÉ PARISIENNE Another form of the arpeggio accompaniment is found in Gaîté Parisienne. First, try playing the melody with blocked chords throughout, then play the given accompaniment pattern while humming the melody. Finally, play the piece as written.

Ý ²² 0 ÐÐÐ 0

Ł Ł Ł Ł ÐÐÐ

1 3 5

5

3

1

3

Ł Ł Ł Ł

1 2 5

5

2

1

2

V65

Jacques Offenbach (1819–1880) Allegretto

! !

²² 0 Š 0Ð ŁŁŁŁ [ Ý ²² 0 Ł Ł Ł Ł Ł Ł Ł Ł 0

ð ð ŁŁŁŁ ð ð

1

5 3 1 3

² Š ²

5

5

1

4

ÐÐÐ

2 1 2

T R ACK 107

ŁŁŁ ŁŁ Ł Ł ŁŁ Ł Ł Ł 1 3

5

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ŁŁ ¼ ½ ŁŁ ¼ ½

ÐÐÐ

1 3 5

2

T R ACK 107

EBSI

TE

W

I

1 2 5

Ł¼ Ł Ł ¼ Ł Ł Ł Ł Ł Ł Ł ^[_ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ŁŁ ¼ ŁŁ ¼ ŁŁ ¼ ŁŁ ¼

ŁŁŁŁ ð ð ŁŁŁŁ ð ð 5

Ð

Ý ²² Ł Ł Ł Ł Ł Ł Ł Ł ÐÐÐ

4

1

ÐÐÐ

2

ALBERTI BASS The Alberti bass is an accompaniment pattern using a repeated arpeggio figure arranged with • • • •

the lowest tone first, followed by the highest tone, then the middle tone, then a repeat of the highest tone.

It is named after the “Galant” composer Domenico Alberti who bridged the baroque and classical eras, and who frequently used this kind of accompaniment in his music, as did later classical composers.

348|

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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TAKE NOTE

Sempre staccato means “always staccato.” Note that staccato dots are unnecessary with this instruction.

AH, VOUS DIRAI-JE, MAMAN? 

(Ah, Shall I Tell You, Mama?)

Ah, Vous dirai-je, Maman? uses an Alberti bass.

Ł Ł Ł Ł Ý−0 Ł Ł Ł Ł Ł Ł Ł Ł 0 5

1

3

1

5

1

2

IV64

1

5

1

2

1

V65

French Allegretto

!

4

Ł Ł

ð

5

Ł Ł Ł Ł Ł Ł Š − .0 Ł Ł ]\ Ł Ł Ł Ł Ý−. Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 0 1

5 1 3 1

sempre staccato

!

Ł Ł

T R ACK 10 8

Š−Ł Ł 5

Ł Ł

4

4

5 1 2 1

Ł Ł

ð

5 1 2 1

Ł Ł

Ł Ł

Ł Ł

EBSI

TE

W

I

T R ACK 10 8

ð

Fine

ððð

D.C. al Fine

ð

Ł Ł Ł Ł Ý−ŁŁŁŁ Ł Ł ŁŁŁŁ ŁŁŁŁ ŁŁŁŁ Ł Ł ŁŁŁŁ ŁŁŁŁ

Alberti Bass

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SYNCOPATION Syncopation is a rhythmic effect in which the stress is placed on the off-beats (weak beats) of the measure. For example:

00 Ł ð 1

2

3

Ł 4

00 Ł Ł Ł Ł Ł 1

+ 2 +

3 + 4 +

Play the following etudes, which use syncopated rhythm in their melodies. Then transpose these etudes to other major keys of your choice.

ETUDES IN SYNCOPATED RHYTHM Study 1 Moderato

!

Š 00 Ł Ł Ł Ł Ł ][ Ý 0 Ł Ł Ł Ł Ł 0  1

5

  Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł  

 Ł Ł Ł Ł Ł  Ł Ł Ł Ł Ł 

 Ł Ł Ł ð Ł Ł Ł ð  

Study 2 Moderato

!

²0 Ł Š 0 Ł ][ Ł ݲ0  Ł 0

350|

5

1

 Ł Ł Ł Ł Ł Ł 

Ł Ł Ł ð Ł Ł Ł ð

Ł Ł Ł Ł Ł Ł Ł Ł   Ł Ł Ł Ł Ł Ł Ł Ł   

 Ł ð Ł ð 

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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APPLE STREET RAG

Elyse Mach Easily

3

1

5

5

4

1 3

1

3

1

4

1 2

4

4

1 3

5 1

1 2

4

2

3

5

1

5

5

4

1 3

4

9 5

5

2

2

1 3

5

13

4

5

2

5

1 3

1

1

1

4

1 3 4

T R ACK 10 9

1

4

1

T R ACK 10 9

EBSI

TE

W

Apple Street Rag, written in ragtime style, has a syncopated melody against a steady left-hand “oom-pah” bass accompaniment which occurs on the beat, thereby creating a “ragged” effect. Ragtime was the most prevalent style of jazz piano playing at the turn of the twentieth century. The most famous ragtime composer of that period is Scott Joplin.

1 3

5 2

3

rit.

4

1 2

1

5

1

1

Syncopation

9780199326204_Mach_TxT.indb 351

2

5

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THE ENTERTAINER In The Entertainer, the right-hand melody uses syncopation by placing a longer note value on a weak beat (the second half of beat 1), so that the weak beat is stressed.

00 Ł Ł Ł Ł Ł Ł

count:

+ 2 +

1

3 + 4

+

Scott Joplin (1868–1917) Not fast

8va

!

q ŁŁŁ 5 4 1

T R ACK 110

Ł ÿ ½ Š .. Ł Ł Ł Ł Ł Ł ŁŁŁŁŁŁ ¼ Ł ²Ł ]\ \ Ł8vaŁ Ł Ł Ł Ł Ł Ł −Ł Ł Ý. ½ ÿ ¼ ¼ Ł ¼ . w 2

4

4

2

5

!

T R ACK 110

EBSI

TE

W

The Entertainer also has a first ending and a second ending indicated by the marks shown below, first discussed on page 172. Before playing the piece as written, block the broken-chord accompaniment in the left hand.

1

Š Ł

Ł 5

Ý ð

352|

5

Ł

Ł −ðð 1 3

Ł

Ł ð ð 5

3

1

Ł Ł Ł ²Ł Ł Ł Ł Ł Ł Ł Ł [ ðð ðð ð 1

1 3

2

3

4

2

5

1 3

2

1

ðý

1

2

1

2

5

Ł ²Ł \ ŁŁ Ł Ł ¼ 1 2

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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9

!

Ł Ł ²Ł Ł Ł Ł Ł Ł Ł Ł ð ý Š Ł Ł Ł Ł Ł Ł ðý Ł ²Ł \ [ −ðð ŁŁ ð ðð ²ðð Ýð ð Ł Ł Ł 5

4

5

13

!

1

1

ŠŁ Ýð 2

Ł

Ł

1 3

5

Ł

Ł ð

−ðð

Ł

ð

1 3

3

2

1 3

1

3

5

4

1

ð 3

1

Ł Ł Ł ²Ł Ł Ł Ł Ł Ł Ł Ł [ ðð ðð ð 1

5

−ð 4

ð 5

ðð

1

¼

2.

ðý

¼ Ł ²Ł \ Ł Ł Ł Ł Ł Ł¼ ¼ 1

Syncopation

9780199326204_Mach_TxT.indb 353

Ł Ł 2

ŁŁ Ł Ł

1 3

2

5

ðý

2

1.

−ð

1

1 2

Ł ŁŁ Ł ŁŁ Ł ŁŁ Š Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ðý Ýð

3

1 3

17

!

5

2

5

|353

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THE DAMPER PEDAL As discussed in Unit 3, the damper pedal is the pedal farthest to the right. It is used to obtain more resonance and to connect and sustain tones that require legato playing. It works by releasing the felt dampers from the strings and allowing the strings to continue vibrating freely. Push the pedal down with the right foot, hold as indicated by the markings below, and then release. Remember to keep your heel on the floor while pedaling.

down

up

Other standard markings: down

up-down

down



up

down



up

Direct Pedaling Depress the damper pedal simultaneously with the chord, as indicated by the markings above. Release the pedal on one of the following beats. This type of pedaling is used primarily for resonance and to achieve a stronger feeling of legato. No attempt is made to bind all harmonies together.

PEDAL STUDIES Using direct pedaling, practice playing triads on the white keys only:

!

5 3 1

5 3 1

Š .0 ððð

ððð

1 3 5

1 3 5

Ý . ððð 0

354|

ððð

ððð ððð

ððð ððð

ððð ððð

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THE HIGHLANDS

E. M. Allegretto

!

Š /0

Ł 5

][ Ý/ 0 ðð ýý

Ł

Ł

!

Š

Ý 9

!

5

Ł

5

3

ðð ýý

Ł

Ł

ðð ýý Ł

Ł ðð ýý

2

1

Ł

Ł

Ł

Ł

Ł

Ł Ł Ł

Ł ðð ýý

ðý

Fine

ðð ýý Ł

ðð ýý Ł

3

ðð ýý

ðð ýý Ł

T R ACK 111

Ł Ł Ł Ł Ł

ðð ýý

Ł Ł Ł

Ł

Ł

Ł

ðð ýý

ŠŁ Ł Ł Ý

Ł

ðð ýý

ŠŁ Ł Ł ]\ Ý ðð ýý 13

!

Ł

Ł

Ł

ðð ýý

1 5

5

Ł Ł Ł

T R ACK 111

EBSI

TE

W

The Highlands and Lady Moon use direct pedaling.* Practice lifting the hands at the end of each phrase along with the pedal lifts.

Ł Ł Ł Ł Ł ðð ýý

Ł

Ł

Ł Ł Ł Ł Ł

D.C. al Fine

ðð ýý

*Other pieces that use direct pedaling are Evening Tide in Unit 3, on page 99 and Aaron’s Song in Unit 4, on page 160.

The Damper Pedal

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W

Lynn Freeman Olson (1938–1987)

T R ACK 112

EBSI

TE

LADY MOON

T R ACK 112

Gently 2

4

4

3

3

4 5

2

3

5

3

7 2

2

3

3

3

10

3 2

4

rit.

3

3

3

3

Lady Moon by Lynn Freeman Olson. Copyright © 1983 by Carl Fischer, Inc. All Rights Assigned to Carl Fischer, LLC. International Copyright Secured. All rights reserved. Reprinted with permission.

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OTHER ACCOMPANIMENT PATTERNS

Ostinato Accompaniment An ostinato pattern is a constantly recurring figure usually found in the bass.

HE’S GOT THE WHOLE WORLD IN HIS HANDS He’s Got the Whole World in His Hands uses an ostinato pattern called a walking bass. Notice how the four tones of the walking bass move either up or down scalewise, beginning or ending with the root of the appropriate chord.

Ý 0 ÐÐÐ 0

Ł Ł Ł Ł ÐÐÐ

1 3 5

1

2

3

Ł Ł Ł Ł

1 2 5

4

1

V65

3

4

Spiritual

T R ACK 113

EBSI

TE

W

I

2

T R ACK 113

With spirit

!

Š 00 Ł Ł Ł ]\ 2

He’s got

2

ð

the

Ł Łý

whole

Ý0 ¹ ¼ 0

Ł 1

world

Ł

Ł

3

!

Šð whole

Ý 6

!

Ł Łý world

Ł Ł Ł 1

ŠŁ Ł in

ÝŁ

Ł

1

hands,

Ł

Ł

Ł Ł Ł Ł Ł

in

hands,

His

Ł

Ł

Ł

Ł Ł

Ł Ł Ł Ł Ł

in His

hands,

Ł

Ł

Ł Ł Ł Ł Ł

His

Ł Ł

He’s got

Ł

the

He’s got the

Ł Ł

Ł Ł

whole world

ð 5

He’s got

Ł ð

Ł 4

Ł Łý

whole

world

Ł Ł Ł

Ł

1

3

Ł

in

ð 2

q Ł

2

Ł

His

ð

hands.

Ł 1

Ł 2

Other Accompaniment Patterns

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the

Łq |357

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Drum Roll Accompaniment To play the drum roll accompaniment, place the left thumb, second, third, and fourth fingers on the keys and roll the whole hand quickly to the right.

Ý

C

ŁŁŁÐ 1 4 3 2

F

G

Ł Ł Ł Ð1

Ł Ł Ł Ð1 4 3 2

4 3 2

W

William Steffe March tempo

!

Š 00 Ł ]\ Mine Ý0¼ 0 3

3

!

eyes have seen

2

3

the glo - ry of

!

Š Ý

358|

5

the

the vin - tage where the

4

1

3

Łý Ł Łý Ł Ł

grapes

of wrath

are stored;

Łý Ł Łý Ł Ł

Łý Ł Łý Ł Łý Ł Łý Ł 1

ŁŁŁÐ

Łý Ł 4

He

is

Łý Ł He

hath

ŁŁŁÐ

Ł Ł Ł Ð1

loosed

the Lord;

T R ACK 114

ŁŁŁÐ

1 4 3 2

tramp - ling out

3

com - ing of

ŁŁŁÐ

4 3 2

5

4

Łý Ł Łý Ł Łý Ł Łý Ł

Š Ý

Łý Ł Łý Ł Ł

Łý Ł Łý Ł Łý Ł Łý Ł 1

T R ACK 114

EBSI

TE

BATTLE HYMN OF THE REPUBLIC

2

3

the fate - ful light - ning of

4

5

His

ter

-

ri - ble

swift sword,

Ł His

ŁŁŁÐ

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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7

!

Ł Ł

Š

truth is

Ý

!

Š Ý 14

!

Š

march-ing

on.

3

ŁŁŁÐ

Glo - ry, glo - ry, hal - le

Ł Ł ŁÐ

ð

Ł Ł

5

-

ŁŁŁŁ

jah!

His

Ł Ł truth

Ł Ł Łð

is

3

ð -

¼

2

4

Łý Ł Łý Ł Łý Ł ][

1

3

ð

lu - jah!

1

2

3

4

Glo - ry, glo - ry, hal - le -

ŁŁŁÐ

Ł Ł

ðý

march- ing

on.

ŁŁŁŁ

ŁŁŁŁ

ŁŁŁŁ

Other Accompaniment Patterns

9780199326204_Mach_TxT.indb 359

3

ŁŁŁÐ

ŁŁŁÐ

Ł ŁŁð

1

][Glo - ry, glo - ry, hal - le -

ŁŁŁŁ

1

lu - jah!

ŁŁŁÐ

1 4 3 2

3

Łý Ł Łý Ł Łý Ł

ð

5

Łý Ł Łý Ł Łý Ł

3

ŁŁŁŁ

4 3 2

ð

lu

Ý

Ð

Ł Ł Ł ð1

Ł Ł Ł ð1 4 3 2

10

Ł Ł

|359

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CLASSIC MINIATURES W

Friedrich Kuhlau (1786–1832)

T R ACK 115

EBSI

TE

SCOTCH DANCE

T R ACK 115

Allegro tranquillo 4

3

dolce

5

5

3

2

5

360|

4

legato

1

5

3

3

5

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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A LITTLE RONDO

Daniel Gottlob Türk (1750–1813)

T R ACK 116

Classic Miniatures

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EBSI

TE

W

A rondo contains an initial A section that is repeated in alternation with contrasing sections: A–B–A–C–A–D–A and so on.

T R ACK 116

|361

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REPERTOIRE

ÉCOSSAISE IN C MAJOR

34 time that was popular in the eighteenth Franz Schubert (1797–1828)

362|

T R ACK 117

EBSI

TE

W

An écossaise is a lively English country dance in and nineteenth centuries.

T R ACK 117

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IMPROVISATION

Pentatonic Improvisation PRACTICE DIRECTIONS 1. For a “Western” sound, play one of the following ostinato accompaniment figures with the left hand.

Ý −− − − . Ł Ł Ł −− 0 Ł 2

5

1

2

Łý Ł Łý Ł

2. In the pentatonic scale, two positions of this accompaniment are possible.

Ý −− − − . Ł Ł Ł −− 0 Ł 2

5

1

G−

2

Ł Ł Ł Ł 5

2

1

2

D−

3. Here are two variations of the accompaniment in different meters:

Ý −− − − / Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł −− 0 Ł Ł 5

2

1

2

m Ł m Ł Ý −− − − 2 Ł Ł Ł Ł − − 4 Łn   Łn   5

2

1

Improvise your own melodies over one of these Western accompaniments. Play Goin’ West to give yourself some ideas.

Improvisation

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GOIN’ WEST E. M. Slowly

!

− ð ð ð Š − −−−− 00 ð ]\ Ý −− − − 0 − − 0 Łý Ł Łý Ł Łý Ł Łý Ł Łý Ł Łý Ł Łý Ł Łý Ł 1

2

5

1

3

!

− Łý Łý Š − −−−− Ł Ł ý Ł Ł Ł ý Ł ð 5

4

2

ð

ð

ð

Ý −− − − Ł Ł ý Ł Ł Ł ý Ł Łý Łý Łý Łý − − Łý Łý Łý Ł Ł Łý Ł Ł Łý Ł Ł Łý Ł Ł 6

!

2

− Š − −−−− ð

Łý Ł Łý Ł Łý Ł Łý Ł ð Ł ¼ \ Ý −− − − Ł Ł ý Ł Ł Ł ý Ł Łý Łý Łý − − Łý Łý Łý Ł Ł Łý Ł Ł Łý Ł Ł Ł ¼

364|

ð

rit.

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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Tango Improvisation

TANGO DREAM 42 44

The tango (from the Latin word tango, meaning “touch”) is a partner dance that originated in South America in the early twentieth century. Is is usually written in or time and characterized by marked rhythms and abrupt pauses. Using the G major five-finger pattern—G–A–B–C–D—improvise melodies with the right hand to the accompaniment provided which should be played by your instructor.

Jeff Kowalkowski

Improvisation

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CREATIVE MUSIC AND HARMONIZATION 1. Play the following melody with the Alberti bass pattern (a), then with the extendedarpeggio pattern (b).

Ł Ł Ý0 Ł Ł 0 a.

5

1

3

b.

1

5

I

!

²0 Ð Š 0 ][ Ð Ý ² 0 ÐÐ 0

1

Ð

Ł

ÐÐ Ð

ÐÐÐ

1 2 5

1 2 5

IV 64

I

!

3

ðý

ð

ÐÐÐ

1 3 5

3

I

ð

5

Ł Ł Ł Ł

² Š Ð

ð

2

Ł

5

ð

ÐÐ Ð

Ð Ý ² ÐÐ

Ł

ÐÐÐ

V 65

1

Ł

Ł 3

Ð ÐÐÐ

2. Play the melody below with a broken-chord pattern.

Ý − . Ł ŁŁ 0 5

1 3

i

!

Š − .0 Ł Ł Ł Ł Ł Ł Ł ² Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ¼ ]\ ððð ððð ððð ŁŁŁ ð²ðð ð²ðð ð²ðð Ý − . ððð ¼ 0 3

1 3 5

i

366|

5

3

1

3

5

3

1 2 5

V 56

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3. Add the indicated accompaniment pattern to the melody below. First play the melody with the waltz pattern (a), then with the arpeggio pattern (b).

l ŁŁl Ł Ł Ý−/ Ł 0 a.

5

1 3

I

!

Š − /0 Ł ]\ ý Ý − / ððð ýý 0 3

Ł Ł Ł 5

3

!

ý Ý − ððð ýý

Ł

ðð ýýý ð

ð

Ł

ððð ýýý

1 2 5

IV 64

I

Š− Ł

Ł

Ł

ððð ýýý

1 3 5

1

I

ðý

Ł

Ł

b.

Ł

Ł

ð 4

ðð ýýý ð

Ł

5

Ł Ł Ł 1

ððð ýýý 1 2 5

Ł 3

ðý ððð ýýý

Creative Music and Harmonization

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SIGHTREADING STUDIES

PRACTICE DIRECTIONS 1. Determine the key of the study. 2. Observe the meter signature, then quickly scan the example to look at rhythmic and melodic patterns and any harmonic patterns. 3. Note changes of fingering where they occur. 4. Observe all dynamic and expression markings. 5. Look ahead in the music as you play. 6. Be sure not to look down at the keys! 1.

2.

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3.

4.

Sightreading Studies

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RHYTHMIC STUDIES Tap and count the following rhythmic exercises with both hands.

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TECHNICAL STUDIES

1.  FINGER BUILDER EXERCISE Practice the following fingerbuilder exercise in the keys of C and G.

Friedrich Wieck (1785–1873)

2.  FINGER STRENGTHENING EXERCISE The romantic composer and pianist Franz Liszt wrote the finger-strengthening exercise below specifically for one of his young piano students. Practice this exercise with both hands in the keys of C, G, and F. Play the left-hand part one octave below what is written.

Franz Liszt (1811–1886)

Technical Studies

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ENSEMBLES

Student-Teacher Ensemble Pieces

RONDEAU 

from First Suite, first movement (The PBS “Masterpiece Theatre” theme) (excerpt)

Student

Jean Joseph Mouret (1682–1738) Arranged by Weekley and Arganbright

Accompaniment

Student

Accompaniment

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Student

Accompaniment

Student

Accompaniment

Ensembles

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CASEY JONES American railroad ballad arr. Pauline Hall

Student

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Ensembles

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CASEY JONES Accompaniment

376|

American railroad ballad arr. Pauline Hall

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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“Casey Jones” arranged by Pauline Hall from ‘American Railroad Ballad’ © Oxford University Press 2005. Reproduced by Permission. All Rights Reserved.

Ensembles

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Student Ensemble Pieces

HELLO, MA’ BABY Music by Joseph E. Howard (1878–1961) Words by Ida Emerson

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HELLO, MA’ BABY Music by Joseph E. Howard (1878–1961) Words by Ida Emerson

Ensembles

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|379

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MISSA RAMGOAT Jamaican Folk Song Arr. Barbara Kirby-Mason Cheerfully 4

1

Piano 1

2

3

1

2

1

4

2

3

1

2

4

marcato

1

2

3

4

2

1

3

1

380|

2

2

1

2

3

1

2

3

EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS

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MISSA RAMGOAT Jamaican Folk Song Arr. Barbara Kirby-Mason

‘Missa Ramgoat’ arranged by Barbara Kirkby-Mason from ‘Jamaican folk-songs (Piano Duet)’ © Oxford University Press 1970. Reproduced by permission. All rights reserved.

Ensembles

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UNI T 8  ​W ORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER Provide the meter signatures within the music examples and on the lines given for the following accompaniment pattern styles:

1. _______ 4. ​_______

2. _______ 5. ​_______

3. _______ 6. ​_______

CONSTRUCTION 7. Write a one-measure example to illustrate each of the following accompaniment pattern styles listed. Use the tonic (I) chord of F major for each of your examples. Be sure to observe the meter signatures given. a. ​arpeggio pattern

b. ​Alberti bass pattern

c. ​waltz pattern

d. ​walking bass pattern

8. Construct a two measure rhythmic example that contains syncopation using a meter signature of your choice.

© Oxford University Press

382|

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MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A

COLUMN B

1. sempre staccato

______ ​a constantly recurring pattern

2. con moto

______ ​always staccato

3. sempre

______ ​play with motion

4. ostinato pattern

______ ​always

5.

______ ​stressing the offbeats in the measure



𝆮

6.

*

______ ​A–B–A–C–A–D–A

7. écossaise

______ ​a grace note

8. rondo

______ ​Classical period composer

9. syncopation

______ ​Romantic period composer

10. Scott Joplin

______ ​Twentieth century composer

11. Friedrich Kuhlau

______ ​depressing the damper pedal simultaneously with the chord

12. Franz Liszt

______ ​a partner dance originating in South America

13. tango

______ ​a lively country dance in

34 time

© Oxford University Press

|383

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UNIT 9

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

SECONDARY CHORDS This unit introduces secondary chords, melodic lines with intervals, chord inversions of triads and seventh chords, and augmented and diminished triads. The primary chords, I, IV, and V, have been used in blues improvisation and in a variety of accompaniment patterns so far. The secondary chords, ii, iii, and vi, can also be used to accompany melodic lines. They are often referred to as substitute chords for I, IV, and V.

The ii Chord (Supertonic) The ii chord (supertonic) is a minor triad constructed on the second degree of the major scale. It is sometimes substituted for the IV chord, since the chords have two tones in common.

ŠÐ

ŁŁŁ

ii supertonic

Ð

Ð

Ð

Ð

Ð

Ð

ŁŁŁ ŁŁŁ ii

IV

Secondary Chords

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Note that the letter name of the ii chord is taken from the root of the chord.

²

G

²

G

ÐÐÐ

Š Ð

ÐÐÐ

Š Ð

ii Am

F

Š−Ð

ii Am

F

−ÐÐÐ

Š−Ð

ii Gm

−ÐÐÐ

ii Gm

Practice playing the following chord progressions, using the ii chord in all major keys, noting common tones in the movement from one chord to the next.

1.

1.

4 2 1

4 2 1

5 3 1

5 3 1

5 3 1

5 3 1

4 3 1

4 3 1

4 2 1

4 2 1

1 3 5

1 3 5

1 2 5

1 2 5

1 3 5

1 3 5

1 2 5

1 2 5

1 3 5

I

I IV 64 IV 64 ii

I

ii V 65 V 65

4 2 1

4 2 1

1

1

I

I ii 6 ii 6 V 7 V 7 I

I

4 2 1

45 23 11

1 3 5

I

2.

2.

5 4 3 3 1 1

4 3 1

Transpose Examples 1 and 2 to G major, D major, F major, and A major.

The iii Chord (Mediant) The iii chord (mediant) is a minor triad constructed on the third degree of the major scale. It is sometimes substituted for the V chord since the chords have two tones in common.

ŠÐ

Ð

ŁŁŁ

iii mediant

Ð

Ð

Ð

ŁŁŁ ŁŁŁ

Ð

Ð

iii

V

Again, note that the letter name of the iii chord is taken from the root of the chord.

²ÐÐÐ ²ÐÐÐ ² Ð Ð Š Ð Š Ð ²

G

G

iii Bm

386|

iii Bm

F

F

Š−Ð

Ð

ÐÐÐ − Š Ð

iii Am

Ð

ÐÐÐ

iii Am

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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Practice playing the following chord progressions using the iii chord in all major keys, again noting common tones in the movement from one chord to the next. Key of C Major 5 3 1

1. 1.

Š Š00 ððð00

!!

Ý Ý0 ððð0 00 1 3 5

I

5 5 3 3 1 1

5 3 1

5 3 1

5 4 3 2 1 1

4 2 1

5 2 1

5 2 1

ððð ððð ððð ððð ððð ððð ððð ÐÐÐ ððð ððð ððð ððð ððð ðð ððð ÐÐÐ

ÐÐ Ð

1 3 5

1 3 5

iii

IV IVV42 * V42 * I6

I6

1 1 3 3 5 5

I iii

1 2 3 4 5 5

2 4 5

1 3 5

5 2 1

2. 2.

54 22 11

4 2 1

5 3 1

Š Š00 ððð00 ðððððð ððð ððð

!!

ÐÐ Ð

55 32 11

5 2 1

5 2 1

54 22 11

4 2 1

5 2 1

5 2 1

ðððððð ððð ðð ððððð ððð ÐÐ ÐÐ ð ð ÐÐ

Ý Ý0 ð0 ðð ð ð ðð ð ð ðð ð Ð Ð 00

1 3 5

5

5

I

I iii

iii IV IVii6 ii6 I6 4

I64V7 V7 I

I

Transpose Examples 1 and 2 to G major, D major, F major, and A major.

The vi Chord (Submediant) The vi chord (submediant) is a minor triad constructed on the sixth degree of the major scale. It is sometimes substituted for the I chord since the chords have two tones in common.

ŠÐ

Ð

Ð

Ð

Ð

ŁŁŁ

vi submediant

Ð

ŁŁŁ ŁŁŁ

Ð

vi

I

Again, note that the letter name of the vi chord is taken from the root of the chord.

ÐÐ ÐÐÐ ² ² Ð Ð Ð Š РРЊРРРРРG

G

vi Em

vi Em

ÐÐÐ ÐÐÐ Ð Ð − Ð − Ð Š РРЊ Ð Ð Ð F

F

vi Dm

vi Dm

*Seventh chords and their inversions are discussed on p. 400.

Secondary Chords

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Practice playing the following chord progressions using the vi chord in selected keys, again noting common tones in the movement from one chord to the next. Key of C Major 1. 1.

4 4 2 2 1 1

5 5 2 2 1 1

5 5 3 3 1 1

4 4 3 3 1 1

4 4 2 2 1 1

ŠŠ00 00ððð ððð ððð ððð ððð ððð ðððð ÐÐÐ ÐÐÐ ðð

!!

I

I

1 1 3 3 5 5

vi6 vi6

3.

!

1 1 2 2 5 5

1 1 2 2 5 5

IV64IV64 V65 V65

!!

5 2 1

Š 00 ððð Ý0 ð 0 1

I

5 3 1

ðð ð ð vi

5 5 3 3 1 1

4 4 3 3 1 1

4 4 2 2 1 1

ÝÝ0 0ð ð 0 0 ð ð ð ð ð ð ÐÐ

1 1 3 3 5 5

I

5 5 2 2 1 1

ŠŠ00 00ððð ððð ððð ððð ððð ððð ðððð ÐÐÐ ÐÐÐ ðð

ÝÝ0 0ððð ððð ððð ððð ððð ððð ðððððð ÐÐÐ ÐÐÐ 00 1 1 3 3 5 5

4 4 2 2 1 1

2. 2.

1 1

I

I

IV IV V7 V7

vi vi

I

I

I

5 3 1

5 2 1

5 2 1

4 2 1

ððð

ðð ð

ð 5

ð

ð

ð

IV

ii6

I64

V7

2

ðð ð

ððð

5 2 1

ÐÐ Ð Ð I

Transpose Examples 1, 2, and 3 to G major, D major, F major, and A major.

388|

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EVERY NIGHT WHEN THE SUN GOES DOWN Before playing Every Night When the Sun Goes Down, study the triads that make up the accompaniment pattern. Give the letter names (C, Dm, etc.) of the triads used in this piece.

American

T R ACK 118

EBSI

TE

W

Ý −ÐÐÐ

()

ÐÐÐ

ÐÐÐ

ÐÐÐ

¦ ÐÐÐ

ÐÐÐ

ÐÐÐ

T R ACK 118

Allegretto

!

Š 00 Ł Ł \ Ý0 ½ 0 1

6

!

1 3 5

ŠÐ

Ý ððð −ððð

ŁŁŁ ¼

1 3 5

Š Ł Ł Ł −Ł Ł Ý ŁŁŁ ¼

Ł ŁŁŁ Ł

ððð ððð

2

11

!

Ð

Ð ððð

½

1 3 5

4

ððð

Ł Ł ŁŁ Ł ]\ ŁŁŁ ¼ ½

ððð ðð −ð

½

Ł Ł ][ ½ 2

ð ððð 3

Ð ððð

ððð

ð Ł Ł ]\ ððð ½

Ð

Ð ððð

ððð

Ł Ł Ł Ł ŁŁŁ ¼ ½

Ð ððð ððð 1

5

ŁŁŁ ¼

½

Ł Ł Ł Ł Ł

Ð

ððð ðð −ð

Secondary Chords

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ð ððð

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STARS OF THE HEAVENS 

(Las estrellitas del cielo)

Stars of the Heavens uses the supertonic (ii) and the mediant (iii) chords in the accompaniment.

Ý ²² 2 4

ŁŁŁ ýýý ŁŁŁ ýýý 1 3 5

ý Łý Ł 5

ŁŁŁ ýýý ŁŁŁ ýýý

1

1 3 5

5

ii Em

ý Łý Ł

1 3 5

1

5

1

iii F ²m

Mexican Folk Song Andante

! !

²² 2 Š 4Ł Ł Ł Ł Ł Ł ]\ Łý Ý ²² 2 Ł ý 4 2

5

² Š ²Ł Ł Ł Ł Ł Ł Ý ²² Ł ý

390|

5

Łý

Łý Łý

Ł Ł Ł Ł Ł Ł

Łý Łý

Łý

Łý Łý Łý Łý 5

2

Łý

Ł Ł Ł Ł Ł Ł ]\ Łý Łý

rit.

5

T R ACK 119

Łý Ł Ł ][ Łý Ł ¹

3

3

T R ACK 119

EBSI

TE

W

I D

ŁŁŁ ýýý ŁŁŁ ýýý

Łý Łý

Łý

Łý

Łý Ł Ł 5

2

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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SHIPS AHOY Ships Ahoy uses the mediant (iii) chord in the accompaniment.

Ý ²²²  ÐÐ Ð

ÐÐÐ 1 3 5

1 3 5

ÐÐÐ

VII G

I A

1 3 5

iii C ²m

1 3 5

E. M.

²²² Ł Ł Ł Ł Š [ Ý ²²² ðð ½ ð Allegro

!

1 3 5

Ł Ł ð

Ý ²²² ðð ð

ððð

½

²²² ŁŁl Š Ł

ŁŁŁl ¼ [[ ŁŁŁl Ý ²²² ¼ ¼ [ Ý ²²² ðð ð

½

½

ŁŁŁl ŁŁl ¦Ł ¼

²²² Ł Ł Ł Š Ł 13

!

½

²²² Ł Ł Ł Š Ł 9

!

ððð

1 3 5

5

!

Ł Ł ð

1

ŁŁŁl ½ ŁŁŁl ¦ ½ ¼ Ł Ł ð ððð

½

l Łl Łl Łl Ł ¼ Łl ŁŁl ¦Ł ½ ¼ 1

Łl Łl Łl ¼ Łl ½ ¼

1 3 5

T R ACK 12 0

T R ACK 12 0

n Łl ð ŁŁŁl ðððn 1 3 5

Łl Łl ðn lŁ ŁŁl ððn Ł ¦Ł Ł ð n Łl Łl ð ŁŁŁl ŁŁl ðððn ¦Ł

Łl Łl Łl ¼ Łl ½ ¼

Łl ¦ Łl ðn Łl Łl Łl ¼ [[ Łl ŁŁŁl ŁŁl ðððn ¦Ł ½ ¼ 3

Secondary Chords

9780199326204_Mach_TxT.indb 391

EBSI

TE

W

I A

¦ ÐÐÐ

|391

5/27/15 9:29 AM

OREGANO ROCK Oregano Rock uses the supertonic (ii) and mediant (iii) chords in the right-hand part. Practice the triads below as a warm-up for this piece. 4 2 1

²² ŁŁŁ

ŁŁŁ

¦ ŁŁŁ

D

5 3 1

C

D

4 2 1

ŁŁŁ

Em

ŁŁŁ

(ii)

(iii)

F ²m

E. M.

Spiritedly

!

5 3 1

4 2 1

5 3 1

T R ACK 121

EBSI

TE

W

Š

5 3 1

T R ACK 121

² Š ² 00 ¼ ŁŁŁ ¼ ¦ ŁŁŁ ¼ ŁŁŁ ¼ ŁŁŁ ¼ ŁŁŁ ¼ ¦ ŁŁŁ Ł Ł ²Ł Ł ð [ Ý ²² 0 0 Ł ý Ł Ł ý Ł Ł ý Ł Ł ý Ł Ł ý Ł Ł ý Ł ÐÐ 5

2

3

5

²² Š ¼ ŁŁŁ 5

!

Ý ²²

Ł Łý

Łý

¼ ŁŁŁ Ł Łý

Ł Łý

¼ ŁŁŁ Ł Łý

Ł Łý

¦ Ł −Ł ¦ Ł Ł ¦ Ł Ł −Ł

Ý ²² Ð Ð

¼ ŁŁŁ

¦¦ ÐÐ

Łý

392|

5

2

3

1

2

5

5

Ł ²Ł Ł Ł ð

¼ ¦ ŁŁŁ

² ¦Ł Š ² Ł −Ł ¦ Ł Ł Ł Ł 9

!

¼ ŁŁŁ

¼ ¦ ŁŁŁ

Ł ÐÐ 5 3 1

4 2 1

rit.

ÐÐÐ

Ł Łý

Ł Ð

¼ ŁŁŁ

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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REPERTOIRE

SCHERZO 

from 24 Pieces for Children Op. 39, No. 12

Dmitri Kabalevsky (1904–1987) Vivo 1

5

3

5 3

1

1

T R ACK 12 2

EBSI

TE

W

What secondary chords are used in this piece? Practice the triads that appear in both the right- and left-hand parts blocked, in studying this piece.

T R ACK 12 2

5 3

5

5

9

cresc.

13

dim.

Repertoire

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5/27/15 9:29 AM

INTERVALS WITHIN THE SCALE The intervals formed between the tonic and the other degrees of the major scale are illustrated below.

Š ÐÐ

ÐÐ

TAKE NOTE

perfect unison P1

ÐÐ

ÐÐ

major second M2

major third M3

perfect fourth P4

ÐÐ

perfect fifth P5

Ð Ð

major sixth M6

Ð Ð

Ð Ð

major seventh M7

perfect octave P8

Perfect intervals: unison, fourth, fifth, octave Major intervals: second, third, sixth, seventh

A perfect interval becomes diminished when the top tone is lowered a half step, or when the bottom tone is raised a half step.

Š ÐÐ

P4

−ÐÐ

d4

ÐÐ ² ÐÐ P5

d5

Ð Ð

P8

−Ð Ð

d8

A major interval becomes minor when the top tone is lowered a half step, or when the bottom tone is raised a half step.

Š ÐÐ − ÐÐ M2

394|

m2

ÐÐ ² ÐÐ M3

m3

Ð Ð

M6

−Ð Ð

m6

Ð Ð Ð ²Ð M7

m7

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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A major or perfect interval becomes augmented when the top tone is raised a half step.

Š ÐÐ ² ÐÐ M2

A2

Ð ²Ð Ð Ð M6

ÐÐ ²ÐÐ

ÐÐ ²ÐÐ

A6

P4

A4

P5

A5

Interval Diagram Augmented Major Minor

Augmented Perfect Diminished

PRACTICE STRATEGIES Practice building and playing melodic and harmonic intervals in various major keys of your choice. Name each interval.

Intervals within the Scale

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MELODIC LINES WITH INTERVALS Melodies using various intervals harmonically appear on the following pages.

Seconds

TAKE NOTE

88

In time, there are eight beats to the measure with the eighth note receiving one beat.

THE CHASE The Chase uses harmonic and melodic major seconds (a whole step apart) throughout the right hand. whole step

ŠÐ Ð

Ð Ð

whole step

whole step

Ð Ð

whole step

Ð Ð

Stan Applebaum

As fast as possible

!

3 2

Š 44

][

Š 44 ²Ł

ŁŁ

Š ¦ ŁŁ ŁŁ ¦ ŁŁ ŁŁ

Ł

396|

Ł

ŁŁ Ł

3 2

Ł

ŁŁ Ł

2

3

!

¦ ŁŁ

4

4 3

²Ł

²Ł

1

2

3

²Ł ²Ł ²Ł

2

Ł

2

9780199326204_Mach_TxT.indb 396

Ł ²Ł ²Ł

3

2

1

Ł 2

²Ł

3

¦ ŁŁ ŁŁ ŁŁ ŁŁ

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

Š ²Ł

T R ACK 12 3

¦Ł

²Ł

2

Ł (¦)Ł

Ł

1

¦Ł

T R ACK 12 3

EBSI

TE

W

Notice that the right hand “chases” the left at the distance of a minor second (one half step) throughout. The Chase is bitonal, which means that it is in two different keys simultaneously. The left hand is pentatonic, using only the five black keys, spelled here with sharps instead of flats. The right hand uses only the white keys in the five-finger pattern of C major. Note that a beam connects the eighth note in the left hand to the eighth note in the right hand.

²Ł

Ł

Ł

Ł

5/27/15 9:29 AM

Š 44 ²Ł

Ł

Ł

Ł

Š ¦ ŁŁ ŁŁ ¦ ŁŁ ŁŁ

Ł

2

3

!

3 2

Š ²Ł

4 3

!

Š ²Ł

Ł

¦Ł ²Ł

Ł ²Ł ² Ł

2

3

2

3 2

3

2

¦Ł ²Ł 2

1

²Ł

²Ł

2

²Ł 3

2

²Ł 2

Ł

Ł

Ł

nl Ł Ł ¦ Ł ¦ ŁŁ ¼

Ł

Ł 1

²Ł

3

¦ ŁŁ ŁŁ ŁŁ ŁŁ

Ł

ŁŁ

¦ ŁŁ

²Ł

2

Ł (¦)Ł

Ł

1

6

Š

²Ł

1

²Ł ²Ł ²Ł

Ł ²Ł ²Ł

2

²Ł

²Ł

²Ł

²Łnl

¼

Copyright © 1974, Jodi Music Company. Used by permission.

Melodic Lines with Intervals

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Thirds

CAROL OF THE DRUM 

“The Little Drummer Boy”

Practice the following preparatory exercise containing thirds before playing Carol of the Drum. RH

−Ł Ł Ł ð −Ł Ł ŁŁ ð ð 3 5 4 1

2

2 1

ŁŁŁ ð 5 4 3

2

3 5 4 1

2 1

Ł Ł ŁŁ ð ð

ŁŁŁ ð 5 4 3

2

3 5 4 1

2 1

Ł Ł ŁŁ ð ð

Words and Music by Katherine K. Davis (1892–1980)

!

Moderato

Š − 00

\

ÿ

Ý−0 Ł ¼ Ł Ł 0 Łn Ł Ł 1 5

ÿ

1

ðý

Ł

ð

“Come,”

they

told

T R ACK 124

EBSI

TE

W

Š − 00

5 4 3

T R ACK 124

Ł Ł me,

Pa -

ŁŁn ¼ ŁŁ ŁŁ

ŁŁ ¼ ŁŁ ŁŁ n

ŁŁ ¼ ŁŁ ŁŁ n

Ð

¼ Ł Ł Ł

Ł Ł Ł Ł

5

!

Š−Ł Ł Ł ð rum-pa-pum - pum,

Ý− Ł Łn

¼ ŁŁ ŁŁ

“Our new - born

!

398|

¼ ŁŁ ŁŁ

see!” Pa -

ŁŁn ¼ ŁŁ ŁŁ

ŁŁ ¼ ŁŁ ŁŁ n

Ð

¼ Ł Ł Ł

Ł Ł Ł Ł

1

“Our

rum-pa-pum - pum,

Ý− Ł Łn

to

ŁŁ ¼ ŁŁ ŁŁ n

9

Š−Ł Ł Ł ð

King

ŁŁ ¼ ŁŁ ŁŁ n

fin - est

ŁŁ ¼ ŁŁ ŁŁ n 1 5

gifts we’ll bring,” Pa -

ŁŁ ¼ ŁŁ ŁŁ n

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

9780199326204_Mach_TxT.indb 398

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13

!

Š−Ł Ł Ł ð Ý− Ł Łn Š−

¼ Ł Ł Ł Ł 3 1

−Ł Ł ŁŁ ð ð 5

4

2 1

Ý− Ł Łn

4

3 1

2 1

Ł Ł ŁŁ ð ð

¼ ŁŁ ŁŁ

Š − ðý \

ŁŁn ¼ ŁŁ ŁŁ 5

rum-pa-pum-pum,

21

!

Ð

rum-pa-pum - pum,

17

!

¼ Ł Ł Ł ][ To lay be

1

Ł

So

to

Ý− Ł ¼ Ł Ł Łn Ł Ł

Ł Ł Ł Ł

1

Rum-pa-pum-pum,

ŁŁ n

hon - or

- fore

ŁŁ ¼ ŁŁ ŁŁ n 4

!

When

Ý−

we

ÐÐ

Rum-pa-pum - pum,

ŁŁ n

ŁŁ ¼ ŁŁ ŁŁ n

¼ ŁŁ ŁŁ

Ł Ł Ł ð

Ð

Him, Pa - rum-pa-pum - pum,

ŁŁ ¼ ŁŁ ŁŁ n Ð

come.”

ŁŁ ¼ ŁŁ ŁŁ n

the King! Pa -

3 1

ŁŁ n

¼ ŁŁ ŁŁ

25

Š− Ł Ł Ł ð

3

ŁŁ ¼ ŁŁ ŁŁ n

Ł Ł ŁŁ ð ð ]\ 5

¼ ŁŁ ŁŁ

Ł Ł Ł Ł

4

Ł Ł Ł ð \\

ŁŁ ¼ ŁŁ ŁŁ n Ł ¼ ½

rit.

ŁŁ ¼ ŁŁ ŁŁ n

ŁŁ ¼ ŁŁ ŁŁ n

ŁŁ ¼ ½ n

© 1941 (Renewed) EMI MILLS MUIC, INC. All Rights Controlled and Administered by EMI MILLS MUSIC, INC. and ALFRED PUBLISHING CO., INC. All Rights Reserved. Used by Permission of ALFRED MUSIC.

Melodic Lines with Intervals

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Thirds and Fourths

SATURDAY SMILE Saturday Smile uses major and minor thirds along with perfect and augmented fourths throughout, as illustrated in the following preparatory exercise. 3 1

3 1

ðð ðð

ðð ðð

W

ðð ðð

3 1

Lynn Freeman Olson (1938–1987) Casually

!

3 1

Š 00 ŁŁ ŁŁ ŁŁ ŁŁ ][ Ý 0 ÐÐ 0

!

Š Ł Ł Ł ðð 1

Ý ÐÐ 9

!

1 5

cresc.

3 1

Š ŁŁ ŁŁ ŁŁ ŁŁ ]\ Ý ŁŁ ¼ ½

13

!

Š Ł Ł Ł ðð Ý ŁŁ

cresc.

ŁŁ ¼ ¼

ŁŁ ŁŁ ŁŁ ŁŁ

Ł Ł Ł ðð

detached

5

3 1

Ł Ł Ł ðð 1

ÐÐ

Ł Ł Ł ðð

Ł ¼ ¼ Ł

Ł Ł Ł ðð 1

ŁŁ

ÐÐ

Ł Ł Ł Ł Ł Ł −Ł −Ł Ł Ł Ł Ł 1

ŁŁ ¼ ¼

1

1

ÿ

ŁŁ

T R ACK 12 5

Ł Ł Ł ðð

ÐÐ

ÐÐ

T R ACK 12 5

EBSI

TE

Š 00 ðð ðð

3 1

1

dim.

ÿ

3 1

ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ¼ ½ 5 3

4 2

Ł Ł Ł ðð ŁŁ 4 2

¼ ŁŁ −−ŁŁ ŁŁ ŁŁ ¼ ½

3 1

ðð ½

ŁŁ ¼ ¼ ½

ŁŁn ¼

From HILLEY/OLSON. Piano for the Developing Musician, 6E. © 2006 Wadsworth, a part of Cengage Learning, Inc. Reproduced by permission. www.cengage.com/permissions.

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SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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REPERTOIRE

PERPETUAL MOTION

Elyse Mach

T R ACK 12 6

Repertoire

9780199326204_Mach_TxT.indb 401

EBSI

TE

W

Perpetual Motion uses harmonic intervals of a second, third, fourth, fifth, sixth, and octave. The “perpetual motion” sets up a strong and constant feel of beat without interruption.

T R ACK 12 6

|401

5/27/15 9:29 AM

CHORD INVERSIONS As discussed in Unit 6, a chord is inverted when a chord tone other than the root is in the bass. Triads may be inverted twice. When the third of the chord is in the bass, the chord is in first inversion. When the fifth of the chord is in the bass, the chord is in second inversion.

!

Š Ý

triads

root

ÐÐÐ ÐÐÐ

root position

3rd

ÐÐÐ ÐÐ Ð

5th

first inversion

ÐÐ Ð ÐÐ Ð

second inversion

Seventh chords have three inversions:

!

Š Ý

root

ÐÐÐ Ð ÐÐÐ Ð

root position

3rd

ÐÐÐÐ

first inversion

ÐÐÐ Ð

ÐÐÐÐ

ÐÐÐÐ

dominant seventh chords

5th

ÐÐÐÐ

second inversion

7th

Ð ÐÐÐ

third inversion

The numbers beneath the chords below represent the intervals that make up the chord, counting from the bottom note to the notes above. For example, in the first inversion of the C major triad, the CV 63, E to C is an interval of a sixth and E to G is an interval of a third. triads

Š ÐÐÐ

C

ÐÐ Ð

C63

(or C6) root position

402|

ÐÐ Ð

C64

dominant seventh chords

Š − ÐÐÐÐ

C7

root position

ÐÐÐÐ 6

C5 3

(or 65 )

ÐÐÐÐ

6

C4 3

(or 43 )

Ð ÐÐÐ

6

C4 2

(or 42 )

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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Chord Inversions: Blocked and Arpeggiated Practice playing major chords in root position and in their inverted positions in all keys, using correct fingerings. First play them blocked and then arpeggiated as illustrated below. They may also be played arpeggiated first and then blocked. Then play the chords in minor. Root Position 1 3 5

C major

!

Š /0 Ý/ 0

][ ððð ýý ý LH

LH

ððð ýýý

1 3 5

Ł Ł Ł

ðý

Ł Ł Ł

ðý

3

ððð ýýý

5 RH 3 1

Ł Ł Ł

ðý

ðý

5

RH

Ł Ł Ł 1

Ł Ł Ł 1

3

5

3

3

1

3

5

First Inversion

!

Š

1 3 5

][ Ý ðý ðð ýý LH

1 3 5

5 RH 2 1

ðð ýý ðý

ðð ýý ðý

LH

ðý 3

5

RH

Ł Ł Ł 5

3

1

Ł Ł Ł 1

2

3

1

3

5

Second Inversion

!

Š

1 2 5

][ Ý ðð ýý ðý LH

1 2 5

5 3 RH 1

ðð ýý ðý

ðð ýýý ð

LH

ðý 3

5

RH

Ł Ł Ł 5

2

1

Ł Ł Ł 1

3

2

1

5

Chord Inversions

9780199326204_Mach_TxT.indb 403

3

|403

5/27/15 9:30 AM

Root Position

− Š − − /0

1 3 5

C minor

!

][ Ý −− / − 0 ðð ýý ðý LH

1 3 5

5 RH 3 1

ððð ýýý

ðý 3

ððð ýýý

LH

RH

ðý Ł Ł Ł 5

Ł Ł Ł Ł Ł Ł 1

5

3

3

3

1

3

etc.

5

1

Next, practice playing chord inversions in all keys, using correct fingerings, first with hands separately and then together. The inversions for the C, G, and D chords are given below. Continue in the order of the circle of fifths (see the inside-front cover) for the remaining keys. The circle of fifths is a convenient tool for memorizing key signatures. Read it clockwise for the sharp keys. Starting from C and moving by fifths, each new key adds one more sharp to the key signature. Read it counterclockwise for the flat keys. Starting from C and moving by fourths, each new key adds one more flat.

C

5 3 1

5 2 1

5 3 1

Š ÐÐÐ

ÐÐ Ð

ÐÐ Ð

Ý ÐÐÐ

ÐÐ Ð

ÐÐ Ð

1 3 5

404|

1 3 5

1 2 5

G 5 3 1

ÐÐÐ ÐÐÐ 1 3 5

5 3 1

ÐÐ Ð

ÐÐ Ð

ÐÐ Ð

ÐÐ Ð

5 2 1

1 3 5

1 2 5

D 5

5 2 1

5 3 1

²ÐÐÐ

Ð ²ÐÐ

²ÐÐ Ð

²ÐÐÐ

Ð ²ÐÐ

² ÐÐ Ð

3 1

1 3 5

1 3 5

etc.

etc.

1 2 5

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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Triads are built in thirds. However, when a triad is inverted and there is an interval of a fourth, the top of those two tones is the root of the triad. Identify and play the following major triads, using the chord symbols as illustrated:

Š ÐÐÐ 11.

TAKE NOTE

Ý ÐÐÐ

2.

12.

ÐÐ Ð

−−ÐÐÐ

C64

C6

C

1.

ÐÐ Ð

ÐÐ Ð

Ý ÐÐÐ 3.

ÐÐ Ð

13.

²ÐÐ Ð

4.

Ð ²ÐÐ

5.

6.

Ð ²ÐÐ

15.

16.

14.

−−ÐÐÐ ÐÐ Ð

−ÐÐ Ð

²ÐÐÐ

7.

ÐÐ Ð

17.

²ÐÐ Ð

−−−ÐÐÐ − −ÐÐ −Ð

8.

9.

18.

19.

−− ÐÐÐ

−−ÐÐÐ

10.

−−−ÐÐÐ

20.

Grazioso means graceful.

Chord Inversions

9780199326204_Mach_TxT.indb 405

−−ÐÐÐ

|405

5/27/15 9:30 AM

STEEPLECHASE 

( from Opus 117)

Cornelius Gurlitt (1820–1901) Grazioso

!

1

3

2

1

3

5

5 3 1

4 2 1

Łl Łl Łl Łl Ł ý Ł ¹

ÿ

5

T R ACK 12 7

ŁŁl ŁŁl ŁŁl ŁŁl ŁŁ ýý ŁŁ ¹ Ł Ł Ł Ł Łý Ł

Ł Ł Ł Ł ¹

Š 42 Ł Ł Ł Ł Ł Ł ][ Ý2 Ł ¹ ¼ ¹ 4 1

5 3 1

T R ACK 12 7

EBSI

TE

W

Practice the inverted triads in the right-hand part of Steeplechase before playing the piece.

2

Ł Ł Ł Ł ¹

5 3

4 2

Łý Ł ¹

!

ŠŁ Ł Ł Ł Ł Ł ]\ ÝŁ ¹ ¼ ¹

!

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ¹ Ł Š Ł ¼ Ł Ł ¼ ¹ Ł Ł Ł [ Ł Ł Ł Ł Ł Ł Ł Ł ¹ Ý ¹ ¼ ¹ ¹ ¹ ¼ ¹ Ł Ł 9

5

3

5

13

!

ŠŁ Ł Ł Ł Ł Ł ]\ ÝŁ ¹ ¼ ¹

406|

5

ÿ

3

5

ŁŁ ŁŁ ²ŁŁ ŁŁ l l l l Łl Łl Łl Łl Ł Ł

1

1

1

2

2

5

ÿ

ŁŁ ýý ŁŁ ¹

1 5

1 2

5

5

1

5

Ł Ł Ł Ł ¹

3

5 2 1

ŁŁ Łl ][ Łl 2

ŁŁ Łl

4 2 1

ŁŁŁ l

2

ŁŁŁ ŁŁŁ ýýý ŁŁŁ ¹ l

Łl Łl Łl

Łý Ł ¹

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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TAKE NOTE

Hemiola is a rhythmic device that shifts stresses from groups of two to groups of three, and vice versa.

W

E. M.

Allegro

!

5 3 1

ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁŁ Ł Ł Ł Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł Ł Š ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ

ŁŁ Ł

ŁŁ ŁŁ ŁŁ ŁŁŁ Ł Ł Ł

Ý Łý Łý

ðð ýý

1 5

5

9

!

ŁŁ ýý

5 2 1

Š ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ Ł Ł Ł Ł Ł Ł Ý 13

!

ŁŁ ýý

ŁŁ ýý

Š ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ Ł Ł Ł Ł Ł Ł Ý

ŁŁ ýý

ŁŁ ýý

ŁŁ Ł

ŁŁ ŁŁŁ ŁŁŁ Ł ðð ýý

ŁŁ ŁŁŁ ŁŁŁ Ł

ðð ýý

ŁŁ ýý

ŁŁ Ł

ŁŁ ýý

ŁŁ ýý

ðð ýý

ŁŁ ðð Ł ð

¼

ðð

¼

ŁŁ ýý

ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ Ł Ł Ł Ł Ł Ł

ŁŁ ŁŁ Ł Ł Ł ŁŁ

ŁŁ ýý

ðð ýý

ŁŁ ýý

ŁŁ ŁŁ ŁŁ −−ŁŁ ŁŁ ŁŁ Ł Ł Ł Ł Ł Ł ŁŁ ýý

−−ŁŁ ýý

ðð ð

¼

ðð

¼

Chord Inversions

9780199326204_Mach_TxT.indb 407

T R ACK 12 8

Ł Ł Ł Ł Ł Ł Ł Š 42 /0 ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁŁ ŁŁŁ ][ Ý 2 / Łý ŁŁ ýý 4 0 Łý ðð ýý 1 5

!

T R ACK 12 8

EBSI

TE

TRIADS ON THE RUN

|407

5/27/15 9:30 AM

REPERTOIRE W

Theodore Oesten (1813–1870)

T R ACK 12 9

EBSI

TE

HUNTING HORNS

T R ACK 12 9

Allegretto 1

2

5

1

5

3

4

5

5

3

1

3

3

5

5 1

2

9

3

3

1

5 3

5

3

3

3

2

1

3

2

4

3

4

2

1

3

2

1

3

1

13

1

5

3

5

3

2nd time rit.

2

408|

1

5

1

3

3

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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THE DAMPER PEDAL (INDIRECT PEDALING) Indirect or legato pedaling is used to obtain a very smooth connection of tones. This is created by depressing the damper pedal immediately after sounding the chord. As you play each subsequent chord, release the pedal quickly, then depress it immediately once again.

Pedal Studies Using indirect pedaling, practice playing triads on the white keys only. 1.

!

5 3 1

5 3 1

Š  ÐÐÐ

ÐÐÐ

ÐÐÐ

1 3 5

1 3 5

ÐÐÐ

Ý  ÐÐÐ 1 3 5

down

5 3 1

up down

ÐÐÐ

ÐÐÐ

ÐÐÐ

ÐÐÐ

up down

ÐÐÐ

up down

up down

Practice the following two chord progressions in various keys. 2. 3.

!

1 3

4 2

Š  ðð

ðð

1 3

ð ð 1 5

I

V7

Ý  ðð

ÐÐ ÐÐ I

!

4 2 1

Š  ÐÐÐ Ý  ÐÐÐ 1 3 5

I

5 3 1

ðð ð ðð ð 1 2 5

IV64

4 3 1

ððð

ððð 1 2 5

V65

ÐÐÐ ÐÐÐ I

The Damper Pedal (Indirect Pedaling)

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|409

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BIG BEN

Arr. by E. M. Lento

!

5 2 1

5 3 1

ð Š 00 ðð ððð ]\ Ý0 0Ð 5

5 2 1

5 3 1

5 2 1

ðð ð ð ðð

ðð ððð ð

ðð ð ð ðð

ðð ð ð ðð

ðð ð ð ðð

Ð

Ð

Ð

Ð

Ð

T R ACK 13 0

5 3 1

EBSI

TE

W

The right-hand part of Big Ben uses inverted triads throughout. Be sure to observe the legato pedal markings.

T R ACK 13 0

5 3 1

5 2 1

ðð ŁŁŁ ŁŁŁ ÐÐÐ ð \ rit.

Ð

Ð

TWILIGHT

Lynn Freeman Olson (1938–1987)

²²² / ÿ Š 0 \ Ý ²²² / ð ý 0 ðý

3 1

Lento

!

ðð ýý

²²² Š 7

!

ðð

Ý ²²² ð ý ðý

410|

ðð

ðð ýý

1 5

¼

ðð ýý

ðð ýý 4 2

ðý ðý

¼

ÿ ¦ð ý ðý 1 5

3 1

ðð ýý

ÿ ðý ðý

ðð ýý ðð ýý ðý ðý

ðð

ðý ðý

T R ACK 131

4 2

ðð ýý ðý ðý

1 5

¼

T R ACK 131

EBSI

TE

W

Twilight and In Church use indirect pedaling throughout. Be sure to carefully observe the pedal markings.

ðð ýý ðý ðý

ÿ ðð ýý

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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²²² Š 14

!

ðð ýý

Ý ²²² ð ý ðý ²²² ÿ Š

ðð

ðð ýý

¼

ðð ýý

ðð ýý

21

!

Ý ²²² ðð ýý ²²² Ł ð Š 28

!

3

Ý ²²² ðð ýý

ðð ýý

¼

ðð

ð ýý ð

ð ýý ð ÿ

\ ðð ýý

]\ ðð ýý

4 2

ÿ

ðð ýý ðð ýý

1 5

3 1

ðð ýý ðð ýý

ðð ýý

Ł ð

ðð

ðð ýý

ðð ýý

ð ýý ð

¼

3 1

ðð \\ ðð ýý

¼

ðð

ð ýý ð

¼

4

ðð ýý 3 2

ÿ

ð ýý ð

¼

ðð

Ł ð

ð ýý ð ðð ýý 5 3

ðð ýý

ððqýý q ðð ýý

From HILLEY/OLSON. Piano for Pleasure, 4E. © 2002 Wadsworth, a part of Cengage Learning, Inc. Reproduced by permission. www.cengage.com/permissions.

The Damper Pedal (Indirect Pedaling)

9780199326204_Mach_TxT.indb 411

|411

5/27/15 9:30 AM

HYMN STYLE

IN CHURCH

Jane Smisor Bastien

T R ACK 13 2

EBSI

TE

W

In hymn style, the melody is harmonized with chords divided between two hands. In Church and Prelude are written in hymn style. Play these hymns with indirect pedaling, aiming for a perfectly smooth connection between the chords.

T R ACK 13 2

Andante

!

²² 0 Š 0 ðÐ ]\ Ý ²² 0 ÐÐ 0 3 1

ðð

Ł

² Š ²

ðÐ

Ý ²² Ð Ð

Ł

Ł

9

!

² Š ²

ðð

ð

Ł

5 2

ðð

Ł

ð ð

1 5

3 1

2

1 5

5 2 1

5 3 1

ðð ð

ð

ÐÐÐ Ð

Ð

2

3 1

Ł

ðÐ ÐÐ

5 2

Ł

1 5

5 3 1

1 5

9780199326204_Mach_TxT.indb 412

Ł Ł

ð 1 5

5

ÐÐ Ð Ð 1 5

4 1

ðð ð

ððð

ÐÐ

2

5

1 2

4 2

ÐÐ \\ CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS 412| ÐÐ Ý ²² SECONDARY ÐÐ ÐÐ ð ð ð ð ð ðÐ

Ð Ð 3 2 1

4

ðÐ Ð

ðð

ÐÐ 1 5

5 2 1

5

ð ð

Ł

ÐÐ

1 5

1 5

13

!

3 1

1

Ð Ð

1 5

²² Š ðÐ \ Ý ²² ÐÐ

5 2

5 2

Ł

ðÐ

ð ð

1 5

3 1

3 1

ðð

ð ð

1 5

5

!

Ł

5 2

1 4

4 1

ÐÐ ÐÐ 2 4

5/27/15 9:30 AM

1 5

ð ð 1 5

ð ð

3 1

5 2 1

5 3 1

Ý ²² ÐÐ ²² Š 13

!

ðÐ

Ý ²² Ð Ð 1 5

2

Ł Ł

ð ð ð 1 5

ÐÐ

Ð Ð

1 5

5 3 1

1 5

4 1

ðð ð

ðð ð

ððð

ÐÐ

ð

ð

ð

1 2

5

2

5

ÐÐ

4 2

ÐÐ \\ ÐÐ 1 4

4 1

ÐÐ ÐÐ 2 4

From Older Beginner Piano Course, Level 2, by James Bastien. Copyright © 1978 Neil A. Kjos Music Company, San Diego, California. International copyright secured. All rights reserved. Reprinted with permission 2014.

Hymn Style

9780199326204_Mach_TxT.indb 413

|413

5/27/15 9:30 AM

W

Ludvig Schytte (1848–1909) 9

Lento 3 1

T R ACK 13 3

EBSI

TE

PRELUDE

T R ACK 13 3

3 1

2 4

5

3 1

2 5

9

3 1

4 1

1 5

3 1

2 4

13

5 3

2 1

4 1

2 4

414|

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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AUGMENTED AND DIMINISHED TRIADS An augmented triad is formed by raising the fifth tone of a major triad one half step. A diminished triad is formed by lowering the third and fifth tones of a major triad one half step. 1 3 5

1 3 5

Ð Ý ÐÐ

² ÐÐÐ

ÐÐÐ

G augmented G+ or G aug.

G major chord symbol: G

1 3 5

−− ÐÐÐ

G major

G diminished G° or G dim.

PRACTICE STRATEGIES Practice playing the four kinds of triads—major, augmented, minor, and diminished— using the following pattern in major keys of your choice. Practice with hands separately and then hands together.

!

5 3 1

5 3 1

Š 00 ððð ²ŁŁŁ ŁŁŁ Ý 0 ððð ²ŁŁŁ ŁŁŁ 0 1 3 5

C

1 3 5

C aug.

5 3 1

5 3 1

ððð − ŁŁŁ ŁŁŁ −−ððð ððð −ŁŁŁ ŁŁŁ −−ððð 1 3 5

C

Cm

1 3 5

C dim.

ððð ððð

ÐÐÐ ÐÐÐ C

Augmented and Diminished Triads

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|415

5/27/15 9:30 AM

(“From the New World”)

TAKE NOTE

Antonín Dvorˇák (1841–1904)

416|

T R ACK 13 4

EBSI

TE

W

THEME FROM SYMPHONY NO. 9 

T R ACK 13 4

Marziale means to play in the style of a march.

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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5/27/15 9:30 AM

A NEW FANFARE

E. M.

Moderato marziale

!

4 2 1

² ðð Š ð [ ð Ý ²  ðð 1 2 4

5 3 1

ððð

ððð ýýý

1 3 5

4 2 1

5 3 1

ŁŁŁ

ŁŁŁ −−ŁŁŁ

2

Ł Ł 1

ððð ýýý

¦ ððð

4 2 1

ŁŁŁ −− ŁŁŁ ŁŁ ¦Ł

¼

1 2 4

1 2 4

1 3 5

G dim.

!

² Ł Ł Ł Ł Š Ý ² ¦ ððð

ðð ð 1 3 5

Ł Ł Ł Ł Ł ððð 1 2 4

² ŁŁŁ 1 2 4

¼

ð [[ ððð

Ł Ł

T R ACK 13 5

ððð ýýý

5 3 1

ŁŁŁ ŁŁŁ

¦ ŁŁŁ ŁŁŁ 1 3 5

T R ACK 13 5

Ł 5

ððð ýýý

¼

EBSI

TE

W

Identify the various triads and their inversions in this piece.

¼ ÐÐÐ ÐÐÐ

G aug.

Augmented and Diminished Triads

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|417

5/27/15 9:30 AM

CLASSIC MINIATURES W

Op. 101, No. 62 Ferdinand Beyer (1803–1863)

T R ACK 13 6

EBSI

TE

STUDY 

T R ACK 13 6

Allegro moderato 1

1

1

5

5

1

3

5

1

1

1

5

Ludwig Schytte (1848–1909)

W

Op. 108, No. 1 T R ACK 137

EBSI

TE

DANCE 

T R ACK 137

Allegro moderato 1

1 3 5

1 2

5 1

1 3 5

418|

5

5

5

1 3 5

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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5/27/15 9:30 AM

REPERTOIRE W

Cornelius Gurlitt (1820–1901)

²² Š ¼

Ý ²² Ł Ł Ł ¼ 9

Ł Ł Ł ¼

!

1

[ Ł Ł Ý ²² Ł ¼ 5

2

1

3

2

3

Ł Ł Ł 5

5

5

Ł Ł Ł 1

Ł Ł Ł ¼

1

5

Ł Ł Ł ¼ 1

Ł Ł Ł

1

5

2

simile

Ł ¼ Ł Ł

Ł ¼ Ł Ł

5

5

1

5

1

3

1

Ł Ł Ł ¼

Ł Ł Ł ¼

cresc.

²² Š ¼

5

Ł Ł ²Ł ¼

Ý ²² Ł Ł Ł ¼

5

1

3

Ł Ł ²Ł ¼

Ł Ł Ł ¼

13

2

1

Ł Ł Ł ¼

²² Š ¼

2

1

5

5

!

3

1

3

5

!

T R ACK 13 8

²² . Ł ¼ Š 0¼ Ł Ł Ł Ł Ł3 Ł ¼ Ł Ł ²Ł ¼ Ł Ł ]\ Ý ²² . Ł Ł3 Ł ¼ Ł ²Ł ¼ Ł Ł ¼ Ł Ł Ł ¼ Ł Ł 0 ~ Allegretto

!

T R ACK 13 8

EBSI

TE

ETUDE

5

Ł Ł Ł ¼

Ł ²Ł Ł

¼

5

1

¼

Ł Ł Ł ¼ 5

2

2

1

5

Ł Ł Ł

1

¼ ÿ

Ł

Repertoire

9780199326204_Mach_TxT.indb 419

Ł Ł Ł 2

¼

|419

5/27/15 9:30 AM

TAKE NOTE

Ped. simile means to pedal in the same manner as previously marked. A triplet is a group of three notes played in the same time as two notes of the same value. The triplet figure has a slur and a 3 either above or below it.

Ł Ł Ł 3

Ł Ł

=

IMPROVISATION

12-Bar Blues Improvisation Practice playing the 12-bar blues in various keys, using rhythms such as a dotted eighth note followed by a sixteenth note, and with or without a triplet figure containing the blue note. After playing Step Along Blues, which uses a triplet figure, improvise melodies using the same dotted-note combination along with triplet figures. To get the right rhythm for the triplet figure, chant “step-a-long” as you play each triplet in the piece.

STEP ALONG BLUES step -a-long

!

step -a-long

Š 00 Ł ý Ł −Ł ý Ł ¦ Ł −Ł ¦ Ł Ł ý Ł 3 ][ ððð Ý 0 ððð 0 1

2

3

2

3 5

ý ý Ł ý Ł −Ł ý Ł ¦ Ł −Ł3 ¦ Ł Ł Ł Ł ý Ł −Ł ý Ł ¦ Ł −Ł3 ¦ Ł Ł Ł ððð

1 3 5

ððð

ððð

ððð

I

!

Š Ł ý Ł −Ł ý Ł ¦ Ł −Ł ¦ Ł Ł ý Ł Ł ý Ł −Ł ý Ł ¦ Ł −Ł ¦ Ł Ł ý Ł 3 3 ððð ððð ððð Ý ððð 1

2

3

2

3

5

etc.

1 3 5

IV

420|

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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5/27/15 9:30 AM

SCALING THE BLUES Next, improvise melodies that extend the five-finger pattern. Let’s begin with a scale as the melody. In Scaling the Blues, the major scales of C, F, and G are used. Also try playing Scaling the Blues with a dotted rhythm for the scale melody:

Łý Ł Ł ý Ł Łý Ł Ł ý Ł

!

Š 00 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ]\ ÐÐÐ ÐÐÐ Ý 0 ÐÐÐ 0

!

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł − Ł − Ł Ł Ł Ł ŠŁ Ł Ł Ł Ł Ł Ł Ł Ł ÐÐÐ ÐÐÐ Ý ÐÐÐ

!

²Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ŠŁ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ÐÐÐ ÐÐÐ Ý ÐÐÐ

1

3

1

2

1 3 5

I

4

4

1

4

1 3 5

IV

7

1

3

1

2

1 3 5

I

V

Ł Ł Ł ð Ł Ł Ł − Ł Ł Ł Ł Ł ŠŁ Ł Ł − Ł ¦ Ł Ł Ł Ł Ł ÐÐÐ ŁŁŁ ŁŁŁ ððð Ý ÐÐÐ 10

!

1

1

IV

I

1 3 5

3

1

2

1 2 5

IV64

Improvisation

9780199326204_Mach_TxT.indb 421

5

|421

5/27/15 9:30 AM

You can improvise a boogie-woogie pattern by using the • basic triad of the accompaniment (tones 1, 3, 5) • plus the sixth tone • plus the seventh tone lowered by one half step.

Ý C:

Ł −Ð Ð Ð Ð

1

3

5

6

Ł −Ð Ð Ð Ð

F:

7

1

3

5

6

7

G:

Ł Ð Ð Ð Ð

1

3

5

6

7

If you add the lowered seventh tone to the accompaniment as well, you will have a V7 (dominant seventh) chord.

BOOGIE-WOOGIE BLUES Play Boogie-Woogie Blues. Notice that the bracketed top tone of the dominant seventh chord is optional throughout.

!

Š Ý 5

!

5 3 2 1

−ÐÐÐ Ð ][

[

Ý

[

5

5 3 2 1

3

1

2 1 2

]

]

[

−ÐÐÐ Ð

]

[

−ÐÐÐ Ð

]

3

[

ŁŁŁ 5

2

3

2

Ł −Ł Ł Ł Ł 1

2

1

2

*Frequently played (

422|

−ÐÐÐ Ð

Ł −Ł Ł Ł Ł Ł Ł Ł −Ł Ł Ł Ł Ł Ł Ł −Ł Ł Ł Ł Ł Ł Ł −Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł *

−Ð Š ÐÐÐ [

]

3

−ÐÐÐ Ð

]

ŁŁŁ

−Ł ý Łý Ł Łý Ł Ł Łý Ł

[

Ł −Ł Ł Ł Ł

−ÐÐÐ Ð

]

ŁŁŁ

[

Ł −Ł Ł Ł Ł

−ÐÐÐ Ð

]

ŁŁŁ

Ł −Ł Ł Ł Ł

).

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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!

5 3 2 1

ÐÐÐ ŠÐ

9

[

−ÐÐÐ Ð

]

[

−ÐÐÐ Ð

−ÐÐÐ Ð

]

Ý ŁŁŁŁŁŁŁ Ł −Ł Ł Ł Ł Ł Ł Ł −Ł Ł Ł Ł Ð Ł Ł Ł Ł Ł Ð 3

5

2

1

2

1

2

3

Next, try reversing the parts so that the right hand plays the boogie-woogie pattern while the left hand plays the chords.

!

4 3 2

Š  Ł Ł Ł Ł −Ł Ł Ł Ł ][ Ý  −ÐÐÐÐ 1

[

2 3 4

]

1 2 3 5

5

[

Ł −Ł Ł Ł Ł Ł Ł Ł −Ł Ł Ł Ł Ł Ł Ł Ł −ÐÐÐ −ÐÐÐ Ð Ð ]

[

]

Ł −Ł Ł Ł Ł Ł Ł Ł

[

−ÐÐÐ Ð

etc.

]

Finally, start improvising your own melodies with different rhythmic patterns, using the boogie-woogie pattern as a starting point.

Improvisation

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Ostinato Accompaniment Patterns

Ý  ŁŁ

Ł −Ł Ł Ł

Ł Ł

Ý  ŁŁŁ

ŁŁ −ŁŁ Ł Ł

ŁŁ Ł

Ý  ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ

Ý  ŁŁŁ

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ

1.

1 5

1 5

2.

1 3 5

1 2 5

3.

1 3 5

1 2 5

ŁŁ ŁŁ −ŁŁ Ł Ł Ł

1 2 5

4.

Ý

1 5

1 3 5

1 3 5

5.

ŁŁ ŁŁ ŁŁ Ł Ł Ł

1 2 5

−ŁŁ Ł

ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ Ł Ł Ł Ł Ł

1 3 5

ŁŁ ŁŁ ŁŁ ŁŁ −ŁŁ ŁŁ ŁŁ ŁŁ l l l l l l l l 6. ŁŁ −ŁŁ ýý ŁŁŁ ŁŁŁ ýýý Ý  ŁŁŁ ýýý Ł Łý

ŁŁ Ł

1 5

1 3 5

Ý Ł

Ł

Ý Ł

Ł

Ł

−Ł

Ý Ł

Ł

Ł

Ł

Ý Ł

Ł

²Ł

7.

1

8.

5

9.

5

10.

5

424|

Ł

1 3 5

5

1

1

1

2

1 3 5

−Ł

Ł

ŁŁ ýý Łý

ŁŁ Ł

Ł

Ł

Ł

Ł Ł Ł

Ł

Ł

²Ł 2

Ł

ŁŁ ŁŁ Ł Ł

¦Ł

()

2

−Ł

¦Ł −Ł

−Ł ð

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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An ostinato pattern with a minor ii chord is effective for improvising blues melodies. Note the interval of a diminished seventh (dim. 7) in the second chord. dim. 7

Ý  ððð ²−ððð 1 3 5

I

1 2 5

ððð ðð ð 1 3 5

ii

1 2 5

V56

After practicing the accompaniment pattern, play Step Around Blues. Then improvise your own melodies using this accompaniment pattern.

Improvisation

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OVER EASY BLUES There are many kinds of ostinato accompaniment patterns that are effective for blues improvisation. Over Easy Blues uses an ostinato pattern with I, vi6, and a V 7 chord borrowed from another key. When moving from the vi6 to the V 7, repeat the two bottom tones in the left hand and move the thumb tone up a half step.

Ý  ŁŁŁ ŁŁŁ −ŁŁŁ ŁŁŁ 1 3 5

1 3 5

vi6

C: I

1 3 5

V7 (borrowed from F)

ŁŁŁ ŁŁŁ − ŁŁŁ ŁŁŁ 1 3 5

F: I

1 3 5

vi6

1 3 5

V7 (borrowed from B −)

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ 1 3 5

G: I

1 3 5

vi6

1 3 5

V7 (borrowed from C)

After practicing the accompaniment pattern, play Over Easy Blues. Then improvise your own melodies, using this accompaniment pattern and some of the suggested patterns on page 424.

!

1

2

Š  ðý −Ł ¦ Ł Ł 3 ]\ Ý  ŁŁŁ ŁŁŁ −ŁŁŁ ŁŁŁ 1 3 5

1 3 5

9

!

3 5

−Ł ¦ Ł Ł Š ðý 3 ŁŁ − ŁŁ ŁŁ Ł Ł ÝŁ Ł Ł Ł 2

1 3 5

1 3 5

−Ł ¦ Ł Ł ðý 3 ŁŁŁ ŁŁŁ −ŁŁŁ ŁŁŁ

−Ł ¦ Ł Ł ðý 3 ŁŁŁ ŁŁŁ −ŁŁŁ ŁŁŁ

−Ł ¦ Ł Ł ðý 3 ŁŁŁ ŁŁŁ −ŁŁŁ ŁŁŁ

−Ł ¦ Ł Ł ðý 3 ŁŁŁ ŁŁŁ − ŁŁŁ ŁŁŁ

−Ł ¦ Ł Ł ðý 3 ŁŁŁ ŁŁŁ −ŁŁŁ ŁŁŁ

−Ł ¦ Ł Ł ðý 3 ŁŁŁ ŁŁŁ −ŁŁŁ ŁŁŁ

1 3 5

5

!

3 5

1 3 5

−Ł ¦ Ł Ł Š ðý 3 Ł Ł Ł Ł Ý ŁŁ ŁŁ ŁŁ ŁŁ

426|

1

1 3 5

2

1 3 5

1 3 5

3

5

−Ł ¦ Ł Ł ðý 3 ŁŁŁ ŁŁŁ − ŁŁŁ ŁŁŁ

5 3 1

Ð −Ł ¦ Ł Ł ÐÐ 2

ðý ŁŁŁ ŁŁŁ −ŁŁŁ ŁŁŁ

1

3

2

ÐÐ

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STEP AROUND BLUES

!

Š  ¹ −Ł ¦ Ł Ł ¹ −Ł ¦ Ł Ł Ł Ł Ł Ł ð ]\ −ð ððð Ý  ððð ððð ²ðð

¹  Ł¹  Ł Ł Ł −Ł ¦ Ł −Ł ¦ Ł Ł Łð

 Ł ¹  Ł −Ł Ł ¹ − Ł ¦ Ł −Ł ¦ Ł Ł Łð Š

¹  Ł¹  Ł Ł Ł −Ł ¦ Ł −Ł ¦ Ł Ł Łð

2

4

1 2 5

2

3

4

− ðð ²ð

1 3 5

1 2 5

1 3 5

5

Ý ððð

− ððð

1 2 5

1 3 5

ððð 1 2 5

 Ł ¹ −Ł Ł Ł ¹ ¹ ¹ Ł Ł − Ł ¦ Ł Ł − Ł ¦Ł Ł Š    ðð ððð − ðð ððð ²ð ²ð Ý 9

!

5

1 3 5

5

!

3

2

1 3 5

3

5

1 2 5

1 3 5

ððð

−ð ²ðð

−ðð ²ð

ððð

ððð

ððð

ððð

ððð

¹  Ł¹  Ł ŁŁŁŁð −Ł ¦ Ł −Ł ¦ Ł 1

ððð

−ðð ²ð

2

3

ŁŁŁ −−ŁŁŁ ðð ð

Improvisation

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5/27/15 9:30 AM

Blues Scale Now try improvising melodies, using the blues scale, which is made up of • scale degrees 1, 4, 5, and 8 • plus the third, fifth, and seventh tones, each lowered by one half step.

Ð ² −Ð Ð −Ð ¦ Ð ¦ Ð Ð − Ð Ð − Ð ¦ Ð − − Ð − Ð Š Ð −Ð Ð −Ð ¦ Ð Š Ð −Ð Š Ð 1

2

1

3

1

3

4

1

C

2

3

1

2

5

4

F

1

2

1

3

1

3

4

G

First get the “feel” of the blues scale by playing it ascending and descending in each key. Then begin accenting the second and fourth beats as you play Up and Down Blues. (Note that the top tone of the seventh chord may be omitted throughout if necessary.) Next try improvising your own melodies with different rhythmic patterns based on the blues scale.

UP AND DOWN BLUES

!

n Ł Š  Ł −Ł Łn−Ł ¦ Ł −Ł Ł Ł −Ł Łn−Ł Ł (−) Ł n ][ Ý  −ÐÐÐÐ ÿ

!

n −Ł ŁnŁ Ł −Ł −Ł −Ł Ł(−) Ł Š Ł −Ł −Ł −Ł ¦ Ł n n − ÐÐÐ Ý Ð ÿ

!

n−Ł ¦ Ł Ł Łn n −Ł Łn Š Ł −Ł Ł Ł −Ł −Ł −Ł ¦ Ł ÐÐÐ − ÐÐÐ Ð Ý Ð

1

2 1

[

3

1

1

2

[

4

1

4 3

2

]

1 2 3 5

5

3

1

2

4

5

2

1

4

3

]

1 2 3 5

9

428|

3

2

1

[

1

]

1 2 3 5

[

[

1

]

3

[

]

]

n Ł − Ł Ł Ł −Ł Ł −Ł −Ł − Ł ¦ Ł Ł − Ł Ł n n Ł n −ÐÐÐ ÿ Ð

4

3

n Ł −Ł Ł Ł −Ł Ł −Ł −Ł − Ł ¦ Ł Ł − Ł Ł n n Ł n −ÐÐÐ ÿ Ð

[

n Ł − Ł Ł Ł −Ł Ł −Ł − Ł ¦ Ł Ł − Ł Ł n n ð −ÐÐÐ ÿ Ð ]

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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Now try improvising melodies based on the blues scale. Conversational Blues uses the ostinato accompaniment pattern I–I–V7–IV 64 –I to obtain a musical question-and-answer dialogue. The “question” is stated in the left hand:

nýý n − Ł Ł Ł Ł Ł Ý  ŁŁ ŁŁ Ł ŁŁ ý  1 2 5

1 3 5

ŁŁŁ 

1 3 5

1 2 5

IV6 4

V7

C: I

n n ŁŁŁ ŁŁŁ − ŁŁŁ − ŁŁŁ ýýý  1 3 5

1 2 5

V7

F: I

(borrowed)

ŁŁŁ  1 3 5

IV6 4

ŁŁnýý Łý

ŁŁŁ ŁŁŁn ŁŁŁ  1 3 5

1 2 5

1 2 5

(borrowed)

1 3 5

IV64

V7

G: I

ŁŁŁ 

(borrowed)

The “answer” is a free-style melodic line that differs both melodically and rhythmically each time it is stated. Try playing Conversational Blues, and then begin improvising your own free-style melodies. Finally, improvise blues-scale melodies with continuous left-hand accompaniment patterns.

CONVERSATIONAL BLUES

ÿ ÿ

Š Š

!! [[ Ý  ŁŁŁ

ŁŁŁnn −−ŁŁŁ Ý  ŁŁŁ ŁŁ Ł 

1 2 1 5 2 5

1 3 1 5 3 5

5

!!

ŁŁnnýýý ŁŁŁ ýý

ŁŁŁ ŁŁ 

1 3 51 3 5

1 2 1 5 2 5

2

1

3

1

1

2

1

3

1

2

3

3

Łnn Ł

n ¹ Ł −Łn−Ł −Ł ¦ Ł ¹ Ł −Ł −Ł −Ł ¦ Ł 3 3 ŁŁŁ ½ ŁŁ ¹¹ ¼ ½  ¼

ŁŁŁ ŁŁ

n Ł ¼ Łn −−ŁŁ Ł −Łn Ł Ł −Łn Ł ¼ ŁŁŁnn −−ŁŁŁ ŁŁŁnnýýý ŁŁŁ ¹ ½ ŁŁ Ł ŁŁ ýý ŁŁ ¹ ¼¼ ½   4

ÿ ÿ

4

3

1

3

1

3

1

3

1

Š ¼ −Ł ¦ Ł ŁŁ −−ŁŁ −Ł Łn−Ł Š ¼ −Ł ¦ Ł 3 −Ł Łn−Ł 3 nýý Ł n Ł − Ł Ł Ł Ł Ł Ł Ý ŁŁ ŁŁ ŁŁn −Ł ŁŁŁný ŁŁ ¹ ¼ ½ ÝŁ ŁŁ ŁŁ Ł Ł ý ŁŁ ¹ ¼ ½   n−Ł ¦ Ł Ł Łn n −Ł Łn Ł  ÿ ¹ −Ł −Ł −Ł ¦ Ł Š ¹ −Ł Ł Ł −Łn Ł −Ł Łn  ŁŁŁ − ŁŁŁ nýý Ł n − Ł Ł Ł Ł Ł Ł Ł¹ ¼ ½ Ý ¹ ¼ ½ ŁŁ ŁŁ Ł ŁŁ ý ŁŁ ¼ ½    ÿ ÿ ŁŁŁnn −− ŁŁŁ − ŁŁŁnnýýý ŁŁ ŁŁ − ŁŁ ýý 

5

1 3 1 5 3 5

9

!

¹ ¹

n  −Ł Ł −Ł ¦ Ł −−ŁŁn Ł Ł −Łnn Ł −Ł ¦ Ł ¹ ½ ¹ ¼¼ ½ 1

1 2 1 5 2 5

2

1 2 3 5

1

1

2

1

1 2 1 5 2 5

1

2

1

2

ÿ ÿ

2

1

5

1

3

2

1

5

1

3

1 3 1 5 3 5

4

3

1

3

2

3

1

2

1

1 2 3 5

Improvisation

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CREATIVE MUSIC AND HARMONIZATION 1. Use the melody tones given to help you improvise melodies to the blues-style accompaniment that follows. 1

ŠŁ ý Ý 2 ŁŁ ýý ŁŁ ý 4 \ ý Ý ŁŁ ýý ŁŁ ý 1 5

1

Ł

Ł

Ł

Ł −Ł ¦ Ł 3

2

Ł ý −Ł ý Ł ý Ł ý −Ł ý Ł ý

Ł ýý Ł ý Ł ý Ł ý Ł ýý Ł ý Ł ý Ł ý − Ł ý Ł ý Ł ý Ł Ł ý Ł ý Ł ý Ł Ł ý Ł ý Ł ý −Ł ý Ł ý Ł ý

1 5

Ł ýý Ł ý Ł Łý

Ł ýý ŁŁ ýý Ł

Ł ýý Ł ý Ł Łý

Ł ýý −Ł ýý Ł −Ł 1 5

Ł ý −Ł ý Łý Łý

1 5

ŁŁ ýý ŁŁ ýý

2. Harmonize the following melody with I, IV 64, and V 65 chords in the same accompaniment style as in the first measure, and add chord numbers below each as indicated. Next, try replacing some of the I, IV 64, and V 65 chords in the accompaniment with the secondary chords ii, iii, and vi, for added color. 3

5

I ——

1

3

430|

1

1

I ——

——

——

——

—— 2

——

2

——

——

——

——

5

—— 4

——

——

1

——

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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3. A melodic skeleton and one possible completed version of it are given below. Use this as an example for improvising your own version of melodic skeleton 1 and to help you complete melodic skeleton 2. Melodic skeleton 1 3

1 3

5

5

1 2

5

1 3

5

1 3

5

1 2

1

5

1 2

5

1 3

Melodic skeleton 1 completed 3

1

1 3

5

5

1

5

5

1 2

4

1 2

5

1 3

1 3

2

1

5

1 2

2

5

1 3

Creative Music and Harmonization

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|431

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Melodic skeleton 2

!

²² . Š 0ð \ Ý ²² . Ł ŁŁ 0 1

5

1 3

ð

ð

Ł Ł Ł 5

1 2

Ł ŁŁ

ð

Ł Ł Ł 5

1 2

ð

Ł ŁŁ

ð

Ł Ł Ł

ð

Ł ŁŁ

ð ððð

Improvise some completions for melodic skeleton 2 and write down your favorite one. Melodic skeleton 2 completed

!

²² . Š 0

Ý ²² . 0

4. Write your own composition in two-part song form (AB) or three-part song form (ABA). Select a key, meter signature, accompaniment style, tempo, expression and dynamic markings, and pedal markings (if pedal is desired). Indicate any fingering changes. First notate the music in pencil and then make any necessary corrections before writing the final version. Be sure to give your composition a title.

432|

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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SIGHTREADING STUDIES

PRACTICE DIRECTIONS 1. Determine the key of the study. 2. Observe the meter signature, then quickly scan the example to look at rhythmic and melodic patterns and any harmonic patterns. 3. Note changes of fingering where they occur. 4. Observe all dynamic and expression markings. 5. Look ahead in the music as you play. 6. Be sure not to look down at the keys!

Accompanied Melodies 1. Energetically 3 1

4 1

5 2

3 1

4

5 5 2

4 1

3 1

5 2

2

1

5

3

5

5

2

1

Sightreading Studies

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1

|433

5/27/15 9:30 AM

2.

3. Joyfully

5

3

1 3

1

434|

3

2

1

5

2

5 1

2

5

1

5 3

1

3

2

1

4

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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4.

! !

²²²² Š ²

With spirit 1

Ł Ł Ł Ł Ł Ł Ł ð ][ ðð ðð Ý ²²²² ð ² 5

²²²² Š ²

Ł Ł Łý Ł Ł Ł ð ðð

ð

1 3

ðð

ð

1 2

5

5

Ł Ł Ł Ł Ł Ł Ł ð

Ý ²²²² ð ²

ðð

Ł Ł Ł Ł Ł Łl Łl ðn n ð Ł ð Ł ð ð Łl Łl ð

ðð

ð 5

1 2

Pedal Studies 5.

! !

²/ Š 0Ł ]\ ݲ/ ¼ 0 2

ŁŁ Ł

ŁŁ Ł

ŁŁ Ł

ŁŁ Ł

ŁŁ Ł

4 2 1

ŁŁ Ł

ŁŁŁ ŁŁŁ ŁŁŁ ðý

ðý

ðý 5

5 3 1

²

Š ŁŁ Ł ݲ

5 2 1

5 2 1

Andante

ðý

ŁŁ Ł

ŁŁ Ł

ŁŁŁ ðý

ŁŁŁ

ŁŁŁ

ŁŁŁ ð

ŁŁ Ł

ŁŁŁ Ł

ðð ð

Ł

ð

¼ ðð ð ðý

Sightreading Studies

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5/27/15 9:30 AM

6. Reverently

! !

5 3 1

Š 00 ŁŁŁ ]\ Ý 0 ŁŁ 0

ððð ýýý

Š ŁŁŁ

ððð ýýý ðý ðý

Ý ŁŁ 1 5

ŁŁ Ł Ł Ł

ðð ýý

1 5

5 3 1

5 3 1

1 5

5 3 1

5 2 1

ðð ýýý ð

ŁŁ Ł

ðý ðý

Ł Ł 1 5

5 2 1

ðð ýý ðý

−ŁŁŁ −Ł −Ł

ŁŁ Ł

ðý ðý

1 5

−Ł Ł 1 5

ððð ýýý

ÐÐ

ð ýý ð

ÐÐ

1

ðð ýý

Ð

ðý ðý

ÐÐ 1 2

7. Soulfully 5 3 1

4 2 1

5 3 1

4 2 1

5

4 2 1

436|

5 3 1

5 2 1

5 3 1

5 2 1

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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RHYTHMIC STUDIES Tap and count the following rhythmic exercises with both hands. 1.

.0 ŁŁ Ł Ł Ł ŁŁ Ł Ł Ł ðŁ Ł Ł Ł Ł Ł Ł Ł ŁŁ Ł ŁŁ Ł Łð Ł ŁŁ ý Ł ŁŁ ý Ł ŁŁ ý Ł ŁŁ ý Ł ŁŁ Ł ŁŁ Ł

2.

    .0 ŁŁ Ł Ł Ł ŁŁ Ł Ł Ł ŁŁ Ł ŁŁ Ł ŁŁ Ł Ł Ł ŁŁ Ł Ł Ł ¹Ł Ł¼ 

ðð ŁŁ ŁŁ

Ł¹  ŁŁ ŁŁ ŁŁ

3.

 /0 Łð ýý Ł Ł 3

Łð Ł Ł Ł ŁŁ

3

Łð Ł Ł Ł ŁŁ Łð ýý Ł Ł

ŁŁ ý Ł Ł ŁŁ ðŁ ý Ł ŁŁ 

ðð

ŁŁ

¼Ł Ł ¼ ¼ ¼

Rhythmic Studies

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5/27/15 9:30 AM

4.

  /4 ŁŁ ŁŁ ŁŁ ŁŁ Ł ŁŁ ŁŁ Ł ŁŁ ŁŁ ý Ł Ł ŁŁ ŁŁ ŁŁ

ŁŁ ý Ł 

ŁŁ ý Ł 

ŁŁ ýý

5.

  /4 Ł¹ ¹Ł ¹Ł ŁŁ Ł Ł ŁŁ ŁŁ Ł Ł ŁŁ ŁŁ ýý    ¹ Ł ¹ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ¹ Ł Ł Ł Ł Ł Ł Ł     

6.

  00 ðŁ ý Ł Łð Ł Łð Ł Ł Łð Ł ŁŁ ý Ł Ł ŁŁ ŁŁ ŁŁ Ł ŁŁ Ł ŁŁ ŁŁ ðŁ Ł Ł Ł ðŁ Ł

438|

ðŁ ý Ł ðŁ Ł 

ðŁ Ł ðŁ Ł

ðð ðð

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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TECHNICAL STUDIES

FINGER-EXTENSION STUDY Play this Hanon fingerbuilder exercise in various tempos. Alternate tempos by playing every other measure at twice the speed. This exercise can also be practiced legato, staccato, in various slur groupings, and with various changes of dynamics.

Charles-Louis Hanon (1819–1900) 1

2

5

4

3

4

3

2

1

2

5

1

2

5

1

2

5

5

3

1

2

3

2

3

4

5

3

1

5

3

1

5

3

1

5

2

1

1

3

5

5

9

5

2

1

2

3

2

3

4

5

2

1

5

2

1

1

3

5

4

3

4

3

2

1

3

5

1

3

5

13

Technical Studies

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|439

5/27/15 9:30 AM

CZERNY FINGERBUILDER EXERCISES Practice the following in the keys of D, E, and A.

1. Op. 261, No. 1

Carl Czerny (1791–1857)

2. Op. 261, No. 2 Allegro 5 2 1

4 2 1

5 2 1

5

1

440|

3

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

9780199326204_Mach_TxT.indb 440

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INVERSION STUDIES Practice these inversion exercises in various keys. Try not to look down at your fingers as you go through these studies.

1. 1

3

5

1

2

5

1

5

3

1

5

3

1

5

5

1

3

5

3

5

3

1

2

1

3

5

2

1

1

5

2

5

3

1

2. 1

3

5

5

3

1

1

3

5

5

2

1

5 3 1

5 3 1

1 3 5

1

2

5

5

3

1

5 2 1

1 3 5

1 2 5

Technical Studies

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|441

5/27/15 9:30 AM

REPEATED-NOTE STUDY Use a finger brushstroke as you practice the repeated-note patterns.

442|

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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ENSEMBLES

Student-Teacher Ensemble Pieces

TRANQUILITY 

from On the Green Meadow Alexander Gretchaninov (1864–1956)

Student

Accompaniment

Student

Accompaniment

Ensembles

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|443

5/27/15 9:30 AM

Student

Accompaniment

Student

Accompaniment

Student

Accompaniment

444|

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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Student

Accompaniment

Student

Accompaniment

Ensembles

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|445

5/27/15 9:30 AM

KNOCK ABOUT Student

Ken Iversen

Accompaniment

Student

Accompaniment

Student

Accompaniment

446|

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

9780199326204_Mach_TxT.indb 446

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Student

Accompaniment

Student

Accompaniment

D.S. al Fine 1st Ending 1

2

5

4

D.S. al Fine 1st Ending

Permission granted by Ken Iversen.

Ensembles

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|447

5/27/15 9:30 AM

ENSEMBLES

Student Ensemble Pieces

AU CLAIR DE LA LUNE French (Arr. by E. M.)

448|

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

9780199326204_Mach_TxT.indb 448

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Ensembles

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|449

5/27/15 9:30 AM

COURANTE Elsie Wells (1895–1978) Allegretto 1

Piano 1

3 5

7

3

1

3

14

4

3

1

20

2

2

3

26

450|

3

1

2

2

1

3

1

3

4

1

2

SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS

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COURANTE Elsie Wells (1895–1978)

Courante by Elsie Wells from ‘A Seven Piece Suite.’ © Oxford University Press 1979. Reproduced by permission. All rights reserved.

Ensembles

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|451

5/27/15 9:30 AM

UNI T 9  ​W ORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER 1. Analyze the following major, minor, augmented, and diminished triads: 1.

2.

Š − ÐÐÐ 7.

Ý ²ÐÐÐ

8.

3.

²ÐÐÐ

−ÐÐÐ

9.

ÐÐÐ

−−− ÐÐÐ

4.

²ÐÐÐ

10.

ÐÐÐ

5.

−−ÐÐÐ

11.

−−−ÐÐÐ

ÐÐÐ

6.

² ÐÐÐ

12.

2. Identify the following major and minor triads and their inversions. (Use chord symbols, e.g., C [root position] C 6 [first inversion] C 64 [second inversion]) 1.

Ð Š ÐÐ

2.

Ý −−−ÐÐÐ 7.

Ð ²ÐÐ 8.

−−ÐÐÐ

3.

ÐÐ Ð 9.

Ð −−ÐÐ

4.

−ÐÐÐ −ÐÐ Ð

10.

5.

ÐÐ Ð Ð ²ÐÐ

11.

6.

²Ð ² ÐÐ ÐÐ −Ð

12.

© Oxford University Press

452|

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CONSTRUCTION 3. Build the triads indicated by the roman numeral symbols and the given major key signatures. 1.

2.

V

5.

IV

iii 9.

8.

4.

3.

6.

vi

7.

ii

vii

V

10.

I

vi

V

4. Build the triads indicated by the letter-name symbols given.

Š Š

1.

2.

8.

D aug

4.

C²

A −m

Gm

7.

3.

Fm

9.

Em

5.

A

10.

B −m

6.

G dim

11.

12.

D − aug

E aug

E − dim

5. Build perfect fourth intervals (either melodically or harmonically) upward from the given pitch. Write the names of the pitches on the lines provided. 1.

ŠÐ ÝÐ 6.

2.

7.

Ð

−Ð

3.

4.

−Ð 8.

Ð

5.

Ð 9.

²Ð

−Ð −Ð

10.

© Oxford University Press

|453

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MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A

COLUMN B

1. augmented triad

_____ ​graceful

2. diminished triad

_____ ​to pedal in the same manner as previously marked

3. ped. simile

_____ ​play in the style of a march

4. Carl Czerny

_____ ​three notes played in the same time as two notes of the same value

8 6. 8

_____ ​a shifting of stresses from groups of two to groups of three

7. indirect pedaling

_____ ​a melody harmonized with chords divided between two hands

8. perfect intervals

_____ ​I, IV, V

9. major intervals

_____ ​depressing the pedal immediately after sounding the chord

5. hymn style

_____ ​when the fifth of the chord is in the bass

10. second inversion

_____ ​when the third of the chord is in the bass

11. marziale

_____ ​eight beats to the measure with the

12. first inversion

_____ ​ii, iii, vi

13. triplet

_____ ​formed by raising the fifth tone of a major triad one half step

14. hemiola

_____ ​formed by lowering the third and fifth tones of a major triad

𝅘𝅥𝅮 receiving the beat

one half step 15. Alexander Gretchaninov

_____ ​1, 4, 5, 8

16. grazioso

_____ ​2, 3, 6, 7

17. bitonal

_____ ​two different keys simultaneously

18. primary chords

_____ ​Classical period composer

19. secondary chords

_____ ​Romantic period composer

© Oxford University Press

454|

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UNIT 10

MINOR SCALES AND OTHER SCALE FORMS

MINOR SCALES This unit introduces minor scales, scales of other modes, and the chromatic scale, together with pieces based on these scales.

Relative Major and Relative Minor Scales Each minor scale is built from a corresponding major scale with the same key signature; this major scale is referred to as the relative major. For example, the F major scale is the relative major of the D minor scale (and the D minor scale is the relative minor of the F major scale) because both scales have one flat in their key signatures.

Ð Ð Š−Ð Ð Ð Ð Ð Ð F major scale

Š−Ð Ð Ð Ð Ð Ð Ð Ð D minor scale

Minor Scales

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|455

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Natural Minor Scale The natural minor scale is formed by beginning on the sixth tone of its relative major and continuing up an octave. The natural minor scale can also be formed by beginning three half steps down from its relative major key (see p. 457). 1/2

1/2

Š−Ð 1

2

3

Ð

Ð

Ð

4

Ð

5

Ð Ð

Ð Ð

Ð Ð

6

7

8

1

2

3

Ð

Ð

Ð

4

5

6

Ð

7

Ð 8

1/2

1/2

Note that while the half steps occur between tones 3 and 4 and between tones 7 and 8 in the major scale, they occur between tones 2 and 3 and between tones 5 and 6 in the natural minor scale.

Harmonic Minor Scale Besides the natural form, there are two other forms of the minor scale—the harmonic and the melodic. The harmonic minor scale is probably the most frequently used form of the three. It is the same as the natural minor scale with the exception of the seventh tone, which is raised one half step with the use of an accidental. harmonic minor scale

raised 7th

Š − Ð Ð Ð Ð Ð Ð ²Ð Ð 1/ 2

1/2

1/2

1/2

Note that the half steps in the harmonic minor scale occur between tones 2 and 3, between tones 5 and 6, and between tones 7 and 8. The raised seventh tone creates an interval of a step and a half between tones 6 and 7.

Melodic Minor Scale The melodic minor scale is the same as the natural minor scale, except that the sixth and seventh tones are raised one half step in its ascending form. The descending melodic minor scale is identical to the natural minor form: melodic minor scale

raised 6th and 7th

lowered 7th and 6th

Š − Ð Ð Ð Ð Ð ¦ Ð ²Ð Ð ¦ Ð −Ð Ð Ð Ð Ð Ð 1/2

1/2

1/2

1/2

Note that the half steps in the melodic minor scale occur between tones 2 and 3 and between tones 7 and 8 ascending, and between tones 2 and 3 and tones 5 and 6 descending. 456|

MINOR SCALES AND OTHER SCALE FORMS

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MINOR KEY SIGNATURES Since each minor scale and its relative major scale have the same key signature, the key of a piece cannot be determined by looking only at the key signature. Therefore, be sure to do the following: 1. Look at the final tone of the piece (particularly the lowest tone of the final chord), which will usually be the key tone, or tonic. 2. Look for tones 1, 3, and 5 of the tonic triad at the beginning and end of the piece. 3. Your ear can also help determine whether the piece has a major or a minor sound to it. If you know the major key signatures, but are not completely certain of the minor key signatures, remember this: • The minor key is three half steps down from its relative major key. • For example, if the key signature has two sharps, the piece is either in D major or, counting down three half steps, B minor. D — C² — C¦ — B

² Š ²Ð D major

Ð ²Ð ¦Ð Ð 1/2

1/2

²²

B minor

1/2

Ð

Here is a list of all major-minor key signature pairs:

Relative Key Signatures C, Am

Š F, Dm

Š−

²

G, Em

B −, Gm

−−

A, F ²m

²²²

²²

D, Bm

E −, Cm

−−−

E, C ²m

²²²² A −, Fm

−−−−

B, G ²m

²²²² ²

D −, B −m

−−−−−

F ², D ²m

²²²² ² ²

G −, E −m

−−−−−−

C ², A ²m

²²²² ²² ²

C −, A −m

−−−−−−−

Minor Key Signatures

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|457

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NATURAL MINOR SCALES IN TETRACHORD POSITIONS Begin practicing the natural minor scales using sharp keys in tetrachord positions starting with A natural minor and continuing clockwise upward in fifths through A♯ natural minor. Notice that the upper tetrachord of the A natural minor scale, E–F–G–A, becomes the lower tetrachord of the E natural minor scale by raising the second degree one half step, E–F♯ –G–A. This procedure is continued from one natural minor scale to the next. The harmonic and melodic forms of the minor scales can be worked out from the natural minor scales given.

Sharp Keys RH

Ý0 Ł Ł Ł Ł Ł Ł Ł 0Ł Am

2

5

4

3

3

4

5

2

LH

Ł Ł Ł Ł Ł Ý ² 0 Ł ²Ł Ł 0 Em

2

5

4

3

3

4

5

2

raised 2nd degree

²² 0 Š 0 ² Ł Ł Ł ²Ł Ł Ł Ł Ł Bm

F ²m

²²² 0 Ł ²Ł Š 0 ²Ł ²Ł Ł Ł ²Ł Ł

(continued)

458|

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 458

5/27/15 9:30 AM

²²²² 0 ²Ł ²Ł Ł ²Ł ²Ł Ł Ł ² Ł Š 0 C ²m

G ²m

Ý ²²²² 0 ²Ł ²Ł Ł ² Ł ² Ł Ł ² 0 ²Ł ²Ł ²Ł Ý ²²²² ² 0 ²Ł ²Ł ²Ł ²Ł ²Ł Ł ² Ł ² 0 D ²m

A ²m

²²²² ²² 0 Š ² 0 ²Ł ²Ł ²Ł ² Ł ² Ł ² Ł ² Ł ²Ł

Natural Minor Scales in Tetrachord Positions

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|459

5/27/15 9:30 AM

Begin practicing the natural minor scales using flat keys in tetrachord positions starting with A♭ natural minor and continuing clockwise upward in fifths through A natural minor. Notice that the upper tetrachord of the A♭ natural minor scale, E♭–F ♭–G ♭–A♭, becomes the lower tetrachord of the E♭ natural minor scale by raising the second degree one half step, E♭–F–G ♭–A♭. This procedure is continued from one natural minor scale to the next. The harmonic and melodic forms of the minor scales can be worked out from the natural minor scales given.

Flat Keys RH

A −m

Ý −− − − 0 −Ł −Ł −Ł −Ł −Ł −Ł −Ł − − − 0 −Ł 2

5

4

3

3

4

5

2

LH

−Ł Ł − Ł − Ł − Ł − Ł Ý −− − − 0 −Ł Ł −− 0 E −m

2

5

4

3

3

4

5

2

raised 2nd degree B −m

− Š − −−− 00

−Ł −Ł − Ł Ł − Ł − Ł −Ł Ł Fm

Ł −−− 0 − Ł − Ł Ł − − Ł Š 0 Ł Ł −Ł

(continued)

460|

MINOR SCALES AND OTHER SCALE FORMS

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5/27/15 9:30 AM

Cm

−− 0 − Š 0

−Ł −Ł Ł Ł Ł − Ł Ł Ł − 0 Ł −Ł Ł Ł −Ł Ł Ł − Š 0Ł Gm

Dm

Ý−0 0 Ł Ł Ł Ł Ł −Ł Ł Ł Ý0 Ł Ł Ł Ł Ł Ł Ł 0Ł Am

Natural Minor Scales in Tetrachord Positions

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|461

5/27/15 9:30 AM

HARMONIC MINOR SCALES The following chart illustrates each minor scale in harmonic form with fingerings for both hands. (The natural and melodic minor scale forms can be worked out from the harmonic scales given.) 1. Practice playing the scales, first with hands separately, then with hands together. 2. Be sure to observe the fingerings provided. The places where both hands use the same finger numbers are bracketed to help you learn your fingerings more quickly. 3. The keyboard diagrams give the locations of scale tones and help you to visualize the entire scale pattern at once.

Harmonic Minor Scales and Fingerings*

Am

!

1

2

3

1

2

3

4

5

Ł ²Ł Ł Ł Ł Ł Ł Ł ²Ł Ł Ý Ł Ł Ł Ł Ł Ł Š

5

4

3

2

1

3

2

1

² ²

Em

²Ł Ł Ł Ł Ł Ł Ł Ł Ł ²Ł Ł Ł Ł Ł Ł Ł 1

2

3

1

2

3

4

5

5

4

3

2

1

3

2

1

*Harmonic minor scales and their fingerings in two octaves are given in Appendix C, on pages 690–695.

462|

MINOR SCALES AND OTHER SCALE FORMS

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² Š ²

Bm

!

2

3

1

Ł Ł Ł Ł 4

²²²² Š

3

3

2

4

2

Ł Ł Ł Ł

Ý ²²²² Ł Ł Ł Ł 3

2

1

Ł Ł ²Ł Ł

4

3

3

4

5

3

4

1

2

3

4

3

2

1

4

G ²m

3

2

1

2

3

Ł Ł ²Ł Ł

Ł Ł ²Ł Ł ²²² Ł Ł Ł Ł

1

1

F ²m

²²² Ł Ł Ł Ł Ł Ł Ł ²Ł 2

Ý ²² Ł Ł Ł Ł

C ²m

!

1

1

2

1

4

²²²² Ł ² Ł ² Ł Ł Ł Ł Ł Ł

Ł Ł ף * Ł

3

3

3

1

2

3

3

4

1

2

Ł Ł ²Ł Ł ²²²² Ł Ł Ł Ł ² 2

1

3

3

2

1

4

3

1

2

3

Ł Ł ף Ł 2

1

3

𝄪

*A double sharp ( ) raises a tone two half steps or one whole step.

Harmonic Minor Scales

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|463

5/27/15 9:30 AM

D ²m

!

!

²²²² ² Š ² Ł Ł Ł Ł 3

1

2

3

Ý ²²²² ² Ł Ł Ł Ł ² 2

B −m

− Š − −−−

4

1

1

4

2

3

3

Ł Ł Ł Ł

Ý −− − Ł Ł Ł Ł −−

464|

2

1

3

2

E −m

Ł Ł × Ł Ł −−−−−− Ł Ł Ł Ł

Ł Ł ¦Ł Ł

2

2

4

1

2

3

Ł Ł ף Ł 1

3

2

3

1

2

3

−− −− − Ł Ł Ł Ł − 2

1

4

4

1

2

3

Ł Ł ¦Ł Ł

3

1

3

2

−−− Ł − ¦ Ł Ł Ł Ł Ł Ł Ł

Ł Ł ¦Ł Ł

1

1

1

2

3

4

Fm

1

2

3

4

Ł Ł ¦ Ł Ł −− − Ł Ł Ł Ł − 4

3

2

5

4

3

2

1

2

3

4

Ł Ł ¦Ł Ł 3

2

1

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 464

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Cm

!

− Š−−

1

2

3

2

Ł Ł Ł Ł 4

3

2

1

Dm

!

3

4

5

Ł Ł ¦Ł Ł

Ý −− Ł Ł Ł Ł − 5

Gm

− Ł Ł ¦Ł Ł − Ł Ł Ł Ł

1

Š−

1

3

2

2

3

1

1

Ł Ł Ł Ł

Ý− Ł Ł Ł Ł 5

4

3

2

1

2

3

1

Ł −− Ł Ł Ł 5

4

3

2

Ł Ł ²Ł Ł 2

3

5

Ł Ł ²Ł Ł 1

3

2

1

Ł Ł ²Ł Ł 2

3

4

5

Ł Ł ²Ł Ł 1

3

2

1

Harmonic Minor Scales

9780199326204_Mach_TxT.indb 465

4

|465

5/27/15 9:30 AM

i–iv 64 –i–V56 –i Chord Progression Practice playing the chord progression i–iv 64 –i–V65–i with the left hand in all minor keys, as shown below. 1. Use the fifth tone of the five-finger pattern as the first tone (tonic) of each subsequent chord progression. 2. Remember not to look at the keys. 3. Develop a feel for the progression and anticipate the changing of chords.

−ÐÐ Ð

Cm

Ý −ÐÐÐ 1 3 5

1 2 5

iv6 4

i

−ÐÐÐ 1 3 5

i

ÐÐÐ 1 2 5

V6 5

−ÐÐÐ 1 3 5

− ÐÐ Ð

− ÐÐÐ

вÐÐ

− ÐÐÐ

ÐÐÐ

ÐÐ Ð

ÐÐÐ

ÐÐÐ

²ÐÐÐ

ÐÐ Ð

вÐÐ

²ÐÐÐ

− ÐÐÐ

Gm

i

Dm

Ý ÐÐÐ

−ÐÐ Ð

ÐÐÐ

ÐÐÐ

Ý ÐÐÐ

ÐÐ Ð

вÐÐ

Am

ÐÐÐ

вÐÐ

ÐÐÐ

Bm

Em

Ð Ý ²² ÐÐÐ ²ÐÐ ²² ÐÐÐ ²²ÐÐÐ ²² ÐÐÐ F ²m

A −m

Ý − −ÐÐ − −ÐÐ − −ÐÐ −−ÐÐ − −ÐÐ − Ð −Ð − Ð Ð −Ð B −m

Ý −−ÐÐÐ

466|

−−−ÐÐÐ

−−ÐÐÐ

−ÐÐÐ −−ÐÐÐ

² Ð ²Ð ² ÐÐ ÐÐ

D −m

−−−ÐÐÐ −−−−ÐÐÐ −−−ÐÐÐ −−ÐÐÐ −−−ÐÐÐ E −m

−−−ÐÐÐ −−− ÐÐÐ −−−ÐÐÐ −−ÐÐÐ −−−ÐÐÐ −ÐÐÐ

Fm

−− ÐÐÐ

−ÐÐÐ

−ÐÐÐ

−ÐÐÐ

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 466

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Another way of practicing the i–iv 64 –i–V 65–i chord progression is to play the chords with the right hand while playing the root (or letter name) of each chord with the left hand, as shown next. 5

5 3 1

Cm 3

!

1

5 3 1

−ÐÐ Ð

Š − ÐÐÐ Ý Ð

5 4 1

5 3 1

− ÐÐÐ

ÐÐÐ − ÐÐÐ 1

Ð

V65

i

5

Ð 2

Ð

i

iv64

i

Ð

5

Gm

−ÐÐ Ð

−ÐÐÐ

Ð

Ð

5

−ÐÐÐ

Ð Ð ²ÐÐ −ÐÐ

Ð

Ð

Ð

etc.

VOLGA BOATMAN

Russian

T R ACK 13 9

EBSI

TE

W

Volga Boatman and Joshua Fought the Battle of Jericho use the natural form of the C minor scale and the harmonic form of the D minor scale, respectively.

T R ACK 13 9

Lento

!

− Š−− Ł Ł [ Ý −−  ððð − 3

1 3 5

!

− Š−− ð 2

Ý −− ððð −

ð

ŁŁ ŁŁ Ł Ł

ð ŁŁ ŁŁ Ł Ł

1 2 5

ðý ðð

ððð

ð

Ł Ł Ł ð ððð

Ł Ł ð

Ł

Ł Ł ¦ŁŁ ŁŁ 1 2 5

Ð

ŁŁ ŁŁ Ł Ł

ðð

3

Ł Ł ð [ ŁŁ ŁŁ ððð Ł Ł

Ð

ŁŁ ðð ¼ Ł ð

i–iv 64–i–V 65–i Chord Progression

9780199326204_Mach_TxT.indb 467

ð

|467

5/27/15 9:30 AM

W

Spiritual With spirit

  Ł Ł Ł ð Ł Ł ²Ł Ł Ł Ł Ł Ł ][ ðð Ý − 0 ðð ð ð 0

!

Š − 00

!

Š−

ðð

5

1 3

ðð

ð

1 2

5

ð

   Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Łý Ł ²Ł Ł

Ý − ðð

ðð

ð

ðð

ð

T R ACK 14 0

  ŁŁ Ł ŁŁŁŁ

  ŁŁ Ł ð

2

1

T R ACK 14 0

EBSI

TE

JOSHUA FOUGHT THE BATTLE OF JERICHO

Ð Ł Ł ð

²ð 5

1

2

HATIKVAH

Israeli Moderato

!

Š − 00

5

Ł Ł Ł Ł ð

2

Ł Ł Ł Ł Ł Ł \ ððð Ý − 0 ððð 0

ðð ð

1 3 5

5

!

1

Š−

1

Ł [ Ý − ððð

468|

Ł Ł Ł 5

ðð ð 1 3 5

Ł Ł Ł Ł ð 1 2 5

ðð ð

ððð 1 3 5

1

Ł ][ ððð 1 3 5

ððð

Ł Ł Ł ðð ð

T R ACK 141

Ł Ł Ł Ł ð 

4

Ł ŁŁ Ł Ł

ððð

1 2 5

ððð

1

T R ACK 141

EBSI

TE

W

Hatikvah, the Israeli national anthem, uses the natural form of the D minor scale.

ð²ðð 1 2 5

ððð 

Ł Ł Ł Ł ð

ððð

ððð

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 468

5/27/15 9:30 AM

9

!

ŁŁŁŁŁŁŁ

Š− Ł Ł Ł Ł Ł ]\ ððð Ý − ð²ðð 4

1

3

ðð ð

ððð

4

Ł ŁŁŁ Ł ŁŁŁŁð \ ððð ððð ð²ðð ð²ðð rit.

A SEA CHANTEY

Traditional

T R ACK 14 2

Moderato

!

² Š /0 Ł ]\ ݲ/ ¼ 0 1

3

Ł

ð

ŁŁ Ł ¼ 1 5

Ł

ð

ŁŁ Ł ¼

3

1 5

3

6

! !

Š

²ð

Ł

Ý ² ŁŁ Ł ¼ ²

12

Š ð

2

ðý ððð ýýý

ŁŁ Ł ¼

1

2

ð

3

1

ð

Ł

ð

Ł

Ł

ð

Ł

ð

Ł

ŁŁ Ł ¼

ŁŁ Ł ¼

2

3

Ł

rit.

ŁŁ Ł ¼

ŁŁ Ł ¼

ŁŁ Ł ¼

ðý

ð

ŁŁŁ ŁŁ Ł ¼ 1 3 5

1 3 5

i–iv 64–i–V 65–i Chord Progression

9780199326204_Mach_TxT.indb 469

T R ACK 14 2

Ł

ŁŁ Ł ¼

Ł Ł ð

ŁŁ Ł ¼

1

ŁŁ Ł ¼

3

Ł Ł ð

Ý ² ŁŁ Ł ¼

Ł

ð

ð

2

EBSI

TE

W

A Sea Chantey uses the natural form of the E minor scale. Practice playing the left-hand accompaniment as a block chord on the second beat of each measure before playing the piece as written.

ððð |469

5/27/15 9:30 AM

MOROCCAN CARAVAN

E. M. Andante

!

Š 00 Ł Ł Ł Ł Ł ²Ł \ Ý0 ÿ 0 1

5

!

ÿ

l Łl l Ł Ł Łl Łl

l Łl l Ł Ł Łl Łl

5

2

1 5

2

3

¼

ðý

l Łl Łl Łl Ł Łl Łl

1

¼ Š Ł Ł ²Ł Ł Ł Ł Ł Ł ð ý ¼ ²Ł ðý ŁŁŁŁŁ ]\ ][ l l l l l l l l Ý ðý ¼ Łl Ł Ł Łl Ł Ł ²ðð ýý ¼ Łl Ł Ł Łl Ł Ł ðý

13

!

ÿ

T R ACK 14 3

ÿ

Š Ł Ł ²Ł Ł Ł Ł Ł Ł ð ý ¼ Ł Ł Ł Ł Ł ²Ł ]\ \ l Łl Łl Łl ð ý Ý ðý Ł ¼ ¼ ðý Łl Łl ðý 9

!

Ð

T R ACK 14 3

EBSI

TE

W

What minor key is Moroccan Caravan written in, and what form of the minor scale does it use?

Łm ²Ł Ð Ł Ł Ł m Ł Ł [ l Łl Łl Ý ðý Ł ¼ ðý Łl Łl Š

470|

2

3

1

rit.

Ł ¼ ½ \\ Łl ¼ Łl ¼ Łl ¼ ½ Ð

1

5

8va

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 470

5/27/15 9:30 AM

GREENSLEEVES

English Moderato

!

 ² Š 42 Ł Ł Ł Ł ý Ł Ł Ł Ł Ł ý Ł Ł ]\ ððð ýýý Ý ² 2 ¹ ððð ýýý 4 1

²

2

3

1 3 5

1 3 5

6

! !

2

1

T R ACK 14 4

EBSI

TE

W

Name and then write down the letter names of the chords on the lines provided. Next, play the triads in the left-hand part of Greensleeves, and then play the piece as written. What forms of the minor scale are used in the piece and in what minor key is it played?

T R ACK 14 4

 Ł Ł Ł ý Ł Ł Ł ²Ł Ł Ł Ł Ł ý Ł Ł Ł ðý ððð ýýý ²ŁŁŁ ýýý ŁŁŁ ¹ ðð ýý 2

4

3

2

1

ý ý Š Ł Ł Ł ý Ł Ł Ł ý Ł Ł ²Ł ý ² Ł Ł Ł ý Ł ý Ł Ł ²Ł Ł Ł Ł Ł ý Ł Ł Ł Ł Ł ý ²Ł Ł [ ŁŁŁ ýýý ŁŁŁ ýýý ŁŁ ýý Ł ý ýý Ł ý ŁŁ ýý Ł ý ŁŁŁ ýýý ²ŁŁ ýýý Ł Ý ² ððð ýýý Ł Ł ²

1

4

12

Š Ł ²Ł Łý Ý ² ²ŁŁ ýý

Łý

3 1

3

5

4

3 5

1

Ł ý Ł ý ²Ł Ł Ł  Ł Łý Ł Ł ]\ ŁŁ ýý Ł ý ŁŁ ýý Ł ý 5

4

4

1

3

3 1

3

1

2

2

Ł ý Ł Ł ²Ł ý ² Ł Ł Ł ý ŁŁŁ ýýý

²ŁŁŁ ýýý

Ł

ŁŁŁŁ

i–iv 64–i–V 65–i Chord Progression

9780199326204_Mach_TxT.indb 471

4

|471

5/27/15 9:30 AM

DARK EYES Dark Eyes uses the harmonic form of the D minor scale. Practice playing the left-hand accompaniment, which uses a jump bass pattern made up of i, iv, and V 65 chords.

5

3

1

5

3

1

1 5 2 Jump bass

i

5

3

1

2

5

iv

1

5

2

1

5

2

1

V 65

Russian

T R ACK 14 5

EBSI

TE

W

3 4

T R ACK 14 5

Freely

3

2

1

4

43

5

2

1

5

2

1

3

5

5

2

1

10

2

15

1

5

3

2

1

5

3

1

1.

2

4

5

5

4

4

4

1

5

1

2.

2

2

1

4

rit.

5

472|

2

1

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 472

5/27/15 9:30 AM

MARCHE SLAV Marche Slav uses the Byzantine scale (also called the Hungarian minor scale), which is the harmonic minor scale with a raised fourth degree. This scale is often used by Russian composers.

Ð ²Ð Ð Ð ² Ð Ð Ð ŠÐ 1 1/2

1 1/2

Peter Ilyich Tchaikovsky (1840–1893)

T R ACK 14 6

EBSI

TE

W

Byzantine

T R ACK 14 6

Andante

!

5

Š ð

²Ł Ł Ł ð ý

Ý Ł Ł Ł Ł Ł Ł Ł Ł 1 5

!

Š

¼

Ł Ł ²Ł Ł Ł Ł ðý

¼

1

Ł Ł Ł Ł

ÝŁ Ł Ł Ł Ł Ł Ł Ł

ŁŁ ŁŁ ŁŁ ŁŁ

ŁŁ ŁŁ ŁŁ ŁŁ

1 5

5

Ł Ł Ł Ł ²Ł Ł Ł ð ý

Ł ²Ł Ł Ł Ł Ł ŁŁ

ŁŁ

ŁŁ ŁŁ

²ð ð

ðð

1 5

¼ ŁŁ ŁŁ ŁŁ

²Ł Ł Ł ¼ Ł Ł Ł 1 2

9

!

¼ Šð ²Ł Ł Ł ð ý Ł Ł Ł Ł ²Ł Ł Ł ð ý [ ݼ Ł ¼ Ł ¼ ŁŁ ŁŁ ¼ ¼ ŁŁ ¼ ŁŁ ¼ ŁŁ ŁŁ ŁŁ Ł Ł 13

!

Š

Ł Ł Ł Ł

ݼ Ł ¼ Ł Ł Ł

Ł ²Ł Ł Ł Ł Ł ¼

ŁŁ

¼ ŁŁ

Ł Ł ²Ł Ł Ł Ð rit.

ðð

²ð ð

½

i–iv 64–i–V 65–i Chord Progression

9780199326204_Mach_TxT.indb 473

ðð n |473

5/27/15 9:30 AM

REPERTOIRE

ETUDE IN A MINOR

Cornelius Gurlitt (1820–1901)

474|

T R ACK 147

EBSI

TE

W

A modulation is a change of key within a composition. Where does the modulation take place in this piece? What key does it modulate to?

T R ACK 147

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 474

5/27/15 9:31 AM

PARALLEL MAJOR AND MINOR SCALES When the third and sixth tones of a major scale are lowered, that scale’s parallel harmonic minor scale is obtained. Since both scales begin with the same tonic, the reverse is also true. By raising the third and sixth tones of the harmonic minor scale, its parallel major scale is obtained. There is no other relationship between parallel scales. Unlike relative scales, parallel scales do not share the same key signature. C major

ŠÐ Ð Ð Ð Ð Ð Ð Ð Ð Ð Ð Ð Ð Ð Ð − Š − − Ð Ð −Ð Ð Ð −Ð ¦ Ð Ð ¦ Ð −Ð Ð Ð −Ð Ð Ð C harmonic minor

Ð ²Ð Ð ²Ð Ð Ð Ð Ð Ð Ð Ð Ð Ð Š Ð Ð ²

G major

− Ð −Ð Ð Ð −Ð ²Ð Ð ²Ð −Ð Ð Ð −Ð Ð − Ð Š Ð G harmonic minor

Parallel Major and Minor Scales

9780199326204_Mach_TxT.indb 475

|475

5/27/15 9:31 AM

TAKE NOTE

A change of mode is when there is a parallel change of key within a composition.

SCALING PYRAMIDS

E. M. Moderato

! !

− Š − − 00

Ł ¦Ł Ł ð Ł Ł Ł Ł Ł ]\ Ý −− 0 ÐÐ ð −0

ð

− Š − − Ł Ł ¦Ł Ł Ł ¦Ł ¦Ł Ł ð ð ]\ Ý −− ÐÐ ð ð −

¦Ł Ł Ł Ł ¦Ł Ł Ł Ł ð ð ][ ¦ð ð ð ð

1

3

1

2

1 5

476|

T R ACK 14 8

Ł ¦Ł Ł Ł Ł Ł Ł Ł ð ][ ÐÐ ð 5

ð

2

3

3

T R ACK 14 8

ð ð

3

rit.

5

1

EBSI

TE

W

Scaling Pyramids and Venetian Waltz each contain a mode change. Both pieces begin in a minor key and change to their respective parallel major keys.

1

Ð ÐÐ

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 476

5/27/15 9:31 AM

W

E. M. Andante

!

 − ý Š − /0 Ł Ł Ł Ł ]\ ð Ý −− / Ł ð 0

!

 Ł Ł ¦Ł Ł Ł Ł Ł ý  Ł Łý − Łý − ð Ł Ł Š Ł Ł \\ ][ ð ð ŁŁ ¦ ŁŁ ² Ý −− Ł ¦ ð ¦Ł ð ð ð

Łý

5

5

Ł Ł Ł Ł Ł

4

Ł ðð

1 3

 Ł Ł Ł

T R ACK 14 9

5

ð Ł ð

Ł ðð

1 2

1

rit.

5

1 3

5

1 3

1 2

Parallel Major and Minor Scales

9780199326204_Mach_TxT.indb 477

T R ACK 14 9

ðý

5

5

EBSI

TE

VENETIAN WALTZ

5

|477

5/27/15 9:31 AM

REPERTOIRE W

Ludvig Schytte (1848–1909)

T R ACK 15 0

EBSI

TE

ETUDE

T R ACK 15 0

Moderato

!

Ł Ł ý Ł Ł Ł ý Ł Ł Ł Ł Ł ¼ý 2 Ł ¼ Š4 ¼ Ł Ł Ł Ł Ł Ł Ł Ł \ Ł Ł Ł Ł Ł Ý 2 ¼ý ý ý ý ¼ ¼ ¼ 4 5

3

5

1

1

3

3

5

5

1

3

2

5

1

3

3

1

2

ped. simile

5

!

Ł Ł ¼ý Ł

Š Ł Ł Ł ¼ý 5

3

Ý ¼ý

5

3

9

!

Ł Š Ł Ł ¼ý Ý [¼ ý 13

!

Ł Ł Ł

Š Ł Ł Ł ¼ý Ý ¼ý

478|

5

1

Ł Ł Ł

3

Ł Ł Ł ¼ý

Ł Ł Ł ¼ý 1

Ł ²Ł Ł

2

3

5

3

Ł ²Ł Ł ý ¼ 1

3

1

Ł Ł ý Ł ¼

Ł Ł Ł ¼ý

Ł Ł Ł

¼ý

¼ý

¼ý

Ł Ł Ł

Ł Ł ¼ý Ł

Ł Ł Ł ¼ý

5

Ł Ł Ł

Ł ²Ł Ł ¼ ý

Ł Ł Ł ¼ý

Ł Ł Ł 2

3

Ł Ł Ł 1

2

Ł ý ¼ý

4

Ł ²Ł Ł ŁŁ ýý ý ¼ 1 2

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 478

5/27/15 9:31 AM

OTHER SCALE FORMS (MODES) The word mode has a meaning similar to the word way; that is, a particular mode is a particular way of arranging whole steps and half steps in scale form. For roughly the last three hundred years, most Western music has used the major and minor modes or scales. But there are other modes, some of which are used in American folk tunes and in the music of other cultures. Each mode has its own arrangement of whole steps and half steps, and each can be constructed on the white keys alone, as illustrated below. (When the scales of these modes are transposed to the various sharp and flat keys, accidentals must be added to preserve the half-step arrangement.) Ionian mode (major scale)

ŠÐ Ð Ð Ð Ð Ð Ð Ð 1/2

1/2

Dorian mode (minor with a raised 6th)

ŠÐ Ð Ð Ð Ð Ð Ð Ð 1/2

1/2

Ð ŠÐ Ð Ð Ð Ð Ð Ð Phrygian mode (minor with a lowered 2nd)

1/2

1/2

Ð Ð ŠÐ Ð Ð Ð Ð Ð Lydian mode (major with a raised 4th)

1/2

1/2

Ð Ð Ð Ð Ð Ð ŠÐ Ð Mixolydian mode (major with a lowered 7th)

1/2

1/2

Ð Ð Ð Ð Ð Ð ŠÐ Ð Aeolian mode (natural minor scale)

1/2

1/2

Ð Ð Ð Ð Ð Ð ŠÐ Ð Locrian mode (Phrygian with a lowered 5th)

1/2

1/2

Other Scale Forms (Modes)

9780199326204_Mach_TxT.indb 479

|479

5/27/15 9:31 AM

TAKE NOTE

Poco ritardando means to gradually slow down the tempo a little.

SAKURA

Japanese

T R ACK 151

EBSI

TE

W

Both Sakura, a Japanese tune, and Aeolian Lullaby use the Aeolian mode (the natural minor scale).

T R ACK 151

Moderato 3

!

Š Ł Ł ð ]\ð ð ð ð Ý 1 5

ð ð

ðð

1 5

5

!

3

ŠŁ Ł Ł Ł Ý ÐÐ 1 5

10

!

4

ŠŁ Ł Ł ð Ý ðð

480|

ðð

Ł Ł Ł Ł

Ł Ł ð

4

Ł ŁŁð ð ð

ðð 2 4

Ł Ł ð \ð ð ð ð

ð ð

ðð

Ł Ł Ł Ł \ð ð ð ð 3

Ł Ł ð ðð

Ł Ł Ł ð

ð ð

ðð

Ł ŁŁð ðð

ðð

ðð

Ł Ł Ł Ł ]\ Ð Ð

1

Ł Ł Ł Ł Ł

dim.

ðð 3 5

ðð 2 5

ðý ðð ýý

¼ ¼

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 480

5/27/15 9:31 AM

W

Joan Hansen Gently, moderate

!

Š /0 ð ]\ ðð ýý Ý/ 0

Šð \ ðý Ý ðý

Ł

3

3

Ł

ÝŁ

3

1

2

Ł

ðý

¼

ðð ýý

ðð ýý ]\ ð

Ý

ðý 1

¼

¼

ðð ýý \ ð 3

1 5

Ł Ł

Ł Ł Ł ðý

1 5

4 1

1 5 4 1

ðð ýý

5

¼ \ ðð ýý

ðð ýý 4 1

ðý

a tempo

Ł

Ł

3

Ł

5

a tempo

ðý

ðý

ðý 3

Ł

¼

5

ðý

poco rit.

3

Š Ł

ðý 4

poco rit.

ðý

Ł Ł Ł

Ý ðý

20

!

Ł

Ł

2

1

Ł Ł Ł

Šð

ð

Ł

5-3

ðý

15

!

Ł

Ł

ð

1 5

Š

4

2

ðý

T R ACK 15 2

ðý

Ł

5

1

10

!

ðý

ð

Ł

Ł

Ł

1 5

5

!

Ł

3

T R ACK 15 2

EBSI

TE

AEOLIAN LULLABY

Ł

Ł

ð

Ł

1

3

Bring out the LH

Ł Ł

Ł

¼ Ł

¼

Ł

ðý Ł

rit.

4

Ł

Ł

ðð ýý ðý

From Music of Our Time © 1977 Walerloo Music Co. Ltd., Walerloo, Ontario, Canada. Reprinted by permission.

Other Scale Forms (Modes)

9780199326204_Mach_TxT.indb 481

|481

5/27/15 9:31 AM

SCARBOROUGH FAIR Scarborough Fair uses the Dorian mode, beginning on E.

²

Dorian

Ð Š Ð Ð Ð Ð Ð ²Ð Ð 1/2

English Andante

!

² Š /0 ð Ł ]\ ݲ/ Ł Ł Ł 0 5

6

!

Š

Ł Ł

3

²ð

Ł

ݲ Ł Ł Ł

 Ł Ł

Łý

1

Łý

Ł

3

ð

²Ł Ł Ł

Ł

Ł Ł Ł

2

5

2

Ł Ł Ł

2

ð

Ł

5

ð

Ł Ł Ł

!

Š

5

Ł Ł

ݲ Ł Ł Ł

482|

5

2

Ł ð ðý

1

5

ð

ðð ýý

Ł

ð ðð ýý

Ł

2

5

1

2

Ł Ł Ł rit.

ðð ýý

Ł

Ł Ł Ł

11

²Ł

Ł

2

Ł Ł Ł 4

T R ACK 15 3

ð

ðý

Ł

Ł Ł 5

Ł ²Ł Ł 5

 Ł Ł

T R ACK 15 3

EBSI

TE

W

1/2

2

q ðý ððqýý

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 482

5/27/15 9:31 AM

HIGH NOON High Noon is in the Mixolydian mode, which sounds like the major scale with a lowered seventh degree. This mode is frequently used in the jazz idiom. 1/2

1/2

Š Ð Ð Ð Ð Ð Ð −Ð Ð E. M. Andante

!

5 3 1

5 3 1

Š 00 ÐÐÐ ]\ Ý0 0 Ł ý Ł −Ł Ł

 ý Ł Ł −Ł Ł

1

!

5 3 1

Š ÐÐÐ Ý

 Ł ý Ł −Ł Ł

4 2 1

ŁŁŁ ŁŁ −Ł

ððð

5 3 1

ððð

ŁŁŁ ŁŁŁ

 Ł ý Ł −Ł Ł

T R ACK 15 4

ððð ýýý

T R ACK 15 4

2 1

4 2

ÐÐÐ

ððð

 ý Ł Ł −Ł Ł

 ý Ł Ł −Ł Ł

4 2 1

−ŁŁŁ

 Ł ý Ł −Ł Ł

5 3 1

− ŁŁ ŁŁ

ÐÐÐ

ÐÐÐ

 Ł ý Ł −Ł −Ł

ð ð

\\

1

Other Scale Forms (Modes)

9780199326204_Mach_TxT.indb 483

EBSI

TE

W

Mixolydian

5

8va

|483

5/27/15 9:31 AM

SPANISH FOLK MELODY Spanish Folk Melody uses the Phrygian mode, which sounds like the natural minor scale with a lowered second degree. The Phrygian mode is frequently used in Spanish flamenco music. Phrygian

Ð ŠÐ Ð Ð Ð Ð Ð Ð 1/2

T R ACK 15 5

EBSI

TE

W

1/2

T R ACK 15 5

Lento

! !

Š /0 ð Ł Ł Ł Ł ð Ł ð ý ]\ ðð ýý ðð ýý ðð ýý Ý / ðð ýý 0 2

1 5

4

ð Ł Ł Ł Ł Ł Ł Ł ðý ðð ýý

1 5

ðð ýý

ðð ýý

ðð ýý

Ped. simile

Š ¼ ²Ł Ł Ł Ł Ł Ł Ł ²Ł ð ý ð Ł Ł Ł Ł ¦ Ł Ł Ł Ł ð ý ]\ ][ ý ðð ý ð ý ðð ýý ðð ýý ðð Ł Ł ð ðð ýý Ý ðð ýý ðý Ł

484|

2

1

5

3

2

rit.

1 5

5

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 484

5/27/15 9:31 AM

LYDIAN MARCH

Ð Ð Ð Ð Ð ŠÐ Ð Ð 1/2

1/2

David Duke Fast

!

Š 40 [ Ý0 4 5

!

Łl

ÿ

Łl Łl

3

Š Ł Ł Łl ŁŁŁ Ý 10

!

ÿ

1

5

Łl

Łl Łl

5 2 1

Š ðð ð Ý

l Łl Ł Ł Łl l 5

3

2

1

Łl

Ł Ł Ł [

[[

Łl Łl

T R ACK 15 6

1

5

Ł Ł Ł

Łl

Łl Łl

Łl

EBSI

TE

W

Lydian

T R ACK 15 6

5

Łl Łl

ðð ð

1

Ł Ł Ł 5

Ł Ł Ł

Ł

Ł Łl ŁŁl

Łl Łl Łl

Łl

Łl Łl

Łl

Łl

Łl Łl

ðð ð Łl 2

Łl Łl

ðð ð Łl 3

Łl Łl

5

Łl Łl

5

ðð ð

ðð ð

Łl Łl Łl 8va



1

2

5

 

Knock on wooden part of the piano.

“Lydian March” by David Duke from Music of Our Time © 1977 by Waterloo Music Company Limited, Waterloo, Ontario, Canada. Reprinted by permission.

Other Scale Forms (Modes)

9780199326204_Mach_TxT.indb 485

|485

5/27/15 9:31 AM

SHARP FOUR Sharp Four and Lydian March are both in the Lydian mode, which sounds like the major scale with a raised fourth degree.

²Ð Ð Ð Ð ² Ð Ð ŠÐ Ð Lydian

1/2

1/2

Arthur Frackenpohl (born 1924)

!

l Ł ð . Š . Łl [ ðð Ý. ½ .

l Ł ð Łl ðð ½

Łl Łl ²Ł Ł

Łl ²Łl ð

½

½

!

l Ł Š Łl ð ðð ݽ

²Łl Łl Ł Ł

Łl Ł ð l ðð ½

Lively 1

1 5

6

11

!

ðð 5 1

Š½

l ²Ł Ł l Ł Ł Ý

486|

2

ðð

½ ½

ðð

Łl ² Łl ð

½

ðð 1 5

ðð

Łl Łl ð 1

5

5 1

ðð

l Łl Ł ð

5

ðð

Łl Łl ð

ðð

½

l Łl Ł ð ½

T R ACK 157

Łl Ł ð l ðð ½

ðð

½

T R ACK 157

EBSI

TE

W

Note that in Sharp Four the Lydian mode begins on G and accidentals are required to preserve the half-step arrangement.

½

ðð

² Łl Łl Ł Ł

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 486

5/27/15 9:31 AM

16

!

ðð

Š½

l Ý Ł Łl ð 21

!

ÿ

Š

ð

2

l Ł ð Š Łl ðð ݽ 31

!

ð

Š ½

ðð

ð

ð

ÿ

l ² Ł Ł Ł Ł Ý 26

!

Ł Ł ²Ł Łl \ ÿ 2

ð

ÿ

ÿ

ÿ

Ł ²Ł

Łl ²Łl ð

½

½

½

ðð

l Łl Ł Ł Łl l ² Ł Ł ð Ý Courtesy of Robert Pace. Used by permission.

Ł Ł

ÿ

Łl Łl ²Ł Ł ðð

²ð

ðð

ÿ

ð

ð

½

ðð

Łl Łl ð

n n ð ² Ł ²ð Ł Ł Łl ð [[ n ÿ ½ ð ²ð n 5

1

l Ł ð Łl [ ðð ½ ½

ðð

Łl Łl ð n Ł Ł Ð n n Łn Łn Ð n

Other Scale Forms (Modes)

9780199326204_Mach_TxT.indb 487

ð

ð

|487

5/27/15 9:31 AM

REPERTOIRE

Tat’iana Salutrinskaya (dates are unknown)

488|

W T R ACK 15 8

EBSI

TE

SHEPHERD PIPES

T R ACK 15 8

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 488

5/27/15 9:31 AM

THE CHROMATIC SCALE The chromatic scale contains all twelve tones and is constructed by using half steps only. Notice the fingering for this scale as given below. • The third finger is used on the black keys. • The thumb is used on most of the white keys. • The second finger is used for the notes F and C in the right hand and for the notes E and B in the left hand. RH

1

2

ŠÐ

Ð

ÝÐ

Ð

LH

2

1

Ð 1

Ð

Ð

Ð

2

1

2

PRACTICE STRATEGIES First, play the following preparatory chromatic scale exercises. 1. Using the middle finger (3), first in the right hand, then the left, and then with both hands, play lightly upward and then downward on the black keys only, beginning on F♯ and ending upward one or more octaves on an F♯.

²Ł ²Ł ²Ł ² Ł ² Ł ²Ł ²Ł ²Ł Š ²Ł ²Ł ²Ł 3

3

3

3

3

3

3

3

3

3

3

2. Play the same black keys with the third finger of each hand, but add lightly the thumb. When you come to a pair of white keys (B–C, E–F), play the first one and omit the second white key.

ð ²Ł Š ²Ł ð ²Ł ð ²Ł ð ²Ł ð ²Ł ²Ł 3

1

3

1

3

1

3

1

3

1

3

3

The Chromatic Scale

9780199326204_Mach_TxT.indb 489

|489

5/27/15 9:31 AM

3. Next, practice the following chromatic scale warm-up exercises that use the pair of white keys with RH 1–2, LH 2–1 finger combinations.

!

1

3

1

3

1

3

1

3

1

1

Š Ð ² Ð Ð ²Ð Ð −Ð ¦ Ð −Ð ¦ Ð 3

1

3

1

3

1

3

3

1

3

1

3

2

1

Ð Ð ²Ð Ð ²Ð ¦ Ð ²Ð ¦ Ð Ð Ð Ð ²Ð Ð ²Ð ¦ Ð ²Ð ¦ Ð Ð

Ý Ð ²Ð Ð ²Ð Ð −Ð ¦ Ð −Ð ¦ Ð 1

2

1

2

1

3

1

3

1

3

1

2

4. Finally, practice the chromatic scale ascending and descending, first with each hand separately, then with hands together. Be sure to observe the correct fingering.

THE CHROMATIC SCALE chromatic scale ascending

!

(2) 1

3

1

3

1

2

3

1

3

1

3

1

2

1

3

1

3

2

1

3

1

3

1

3

2

1

Š Ð ² Ð Ð ²Ð Ð Ð ²Ð Ð ²Ð Ð ²Ð Ð Ð Ý Ð ²Ð Ð ²Ð Ð Ð ²Ð Ð ²Ð Ð ²Ð Ð Ð chromatic scale descending

TAKE NOTE

!

490|

2

1

3

1

3

1

3

2

1

3

1

3

1 (2)

1

2

3

1

3

1

3

1

2

3

1

3

1

Š Ð Ð −Ð Ð −Ð Ð −Ð Ð Ð −Ð Ð −Ð Ð Ý Ð Ð −Ð Ð −Ð Ð −Ð Ð Ð −Ð Ð −Ð Ð

Molto rit. is a term indicating a marked slowing of the tempo.

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 490

5/27/15 9:31 AM

CHROMATIC BLUES

E. M.

T R ACK 15 9

EBSI

TE

W

Chromatic Blues and Navy Blues use chromaticism in their melodies.

T R ACK 15 9

Easygoing

!

Š 00 Ł −Ł ¦ Ł Ł −Ł ¦ Ł Ł −Ł ¦ Ł Ł −Ł ¦ Ł Ð 3 3 3 ][ 3 Ý0 Ł Ł 0Ł Ł Ł Ł Ł Ł 1

2

3

1

2

5

1

4

Ł

Ł

Ł

Ł

Ł

Ł

Ł

2

5

Ł

1

2

10

!

Ł

Ł

Ł 2

3

Ý

Ł

Ł 5

3

Ł 2

Ł Ł 1

3

Ł

Ł Ł

Ł −Ł3 ¦ Ł Ł −Ł3 ¦ Ł Ł −Ł3 ¦ Ł Ł −Ł3 ¦ Ł −Ðm Ł

Ł

Ł

Ł

¦Ð \\

()

Ł Ł Ł Ł

The Chromatic Scale

9780199326204_Mach_TxT.indb 491

2

3

Š Ł ²Ł ¦ Ł Ł Ł Ł ð 1

3

3

Ł Ł Ł Ł

Ł

Ł

Ł ²Ł Ł Ł Ł Ł ð 2

1

Š Ł −Ł ¦ Ł Ł −Ł ¦ Ł Ł −Ł ¦ Ł Ł −Ł ¦ Ł Ð 3 3 3 3 Ý

Ł

Ł

Ł

7

!

Ł

Ł −Ł3 Ł Ł Ł3 Ł Ł Ł3 Ł Ł Ł3 Ł Ð

Š Ð Ý

2

Ł

Ł

Ł

2

4

!

Ł −Ł3 ¦ Ł Ł −Ł3 ¦ Ł Ł −Ł3 ¦ Ł Ł −Ł3 ¦ Ł

Ð |491

5/27/15 9:31 AM

!

Š 02 −ð ¦ Ł ð ý \ ðý Ý 2 ðð ýý ðý 0 2

!

2

5

Ý ðð ýý

1 5

1 5

4 1

Ł Ł

Š −ð ¦ Ł ð ý \ ðý Ý ðð ýý ðý

Ý ðð ýý

492|

ðý ðý

ð ýý ð

Ł ð Ł ²ð

2

Š Ł Ł −Ł ð

ðý ðý

ðý ðý

ð ýý ð

Ł Ł −Ł ð ý

ðý ðý 5 1

4 1

¦Ł ð ý

−ð

ðý

T R ACK 16 0

ðý

ðý

ð ýý ð

ðý ðý

T R ACK 16 0

Ped. simile

3

17

!

ð ýý ð

1 5

−ð Š ²ŁŁ ŁŁ ŁŁ ð ][ −ð Ý ŁŁ ŁŁ ŁŁ − ð 13

!

ðý

Š Ł −Ł ¦ Ł Ł −Ł ¦ Ł 9

!

3

1 5

5

W

E. M.

Slow and easy

EBSI

TE

NAVY BLUES

ð ð

ðý ð ýý ð Ł

−ð ¦ Ł Ł Ł Ł −ð ý ð ý 1

ðý ðý

Ł −ðð ýý Ł

2

1

ðý ðý

ð ýý ð

ð ýý ð ý ð ðý

Ł Ł −Ł Ł Ł Ł −ð ý ð ý ]\ −ð ý ðý ðý ðý −ð ý ðý ðý ðý 1

Ł −ð ý Ł −ð ý

¦Ł ð ý

−ð

ðý ðý ðý

ðý ðý

ð ýý ð

Ł Ł −Ł ð Ł ð ýý ðý ð ðý 1

molto rit.

2

1

ðý ð ýý ð

ðý ðý ðý

ðý

ðý

ð ýý ð

ðý ðý 5 2

ðý

ðð ýý

ý ðð ý

ðð ýý

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 492

5/27/15 9:31 AM

REPERTOIRE W

Ann Collins

T R ACK 161

EBSI

TE

CHROMATIZONE RAG

T R ACK 161

(continued)

Repertoire

9780199326204_Mach_TxT.indb 493

|493

5/27/15 9:31 AM

17

1

3

2

1

5

3

1

2

1

4

21

3

1

3

4

3

25

3

1

3

1

3

1

2

3

1

29 1

3

1

3

3

1

1

2

3

2

3

1

From HILLEY/OLSON. Piano for the Developing Musician, 6E. © 2006 Wadsworth, a part of Cengage Learning, Inc. Reproduced by permission. www.cengage.com/permissions.

494|

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 494

5/27/15 9:31 AM

CLASSIC MINIATURES W

Op. 190, No. 31 Louis Köhler (1820–1886)

T R ACK 16 2

W

Jean-Jacques Rousseau (1712–1778)

T R ACK 16 3

Classic Miniatures

9780199326204_Mach_TxT.indb 495

T R ACK 16 2

EBSI

TE

THE VILLAGE PROPHET

EBSI

TE

ETUDE 

T R ACK 16 3

|495

5/27/15 9:31 AM

IMPROVISATION

Melody Improvisation Using Chord Voices of a Piece

ROCKER Using any mix of the three voices (tones) in the right hand part of Rocker, improvise a melody as your instructor plays the piece.

Teacher Accompaniment

496|

Jeff Kowalkowski

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 496

5/27/15 9:31 AM

CREATIVE MUSIC AND HARMONIZATION 1. Play the following melody, which is written in the natural form of minor. Next, play the melody in its harmonic form. Then transpose the example to various minor keys, playing the melody in natural form and then in its harmonic form.

2. Improvise matching phrases to the one given below using the relative major key. Then select one melody to write down.

3. Improvise a new melody using the same melodic rhythm and the accompaniment of Volga Boatman on p. 467.

Creative Music and Harmonization

9780199326204_Mach_TxT.indb 497

|497

5/27/15 9:31 AM

4. Improvise a minor scale melody to the left-hand accompaniment. Experiment using some interesting and varied rhythmic patterns in your melody.

1

5

5. Improvise matching phrases to the one given, using i, iv 64, and V 65 chords for the harmonization. Then select one melody to write down, along with the harmonization.

498|

3

4

i

iv 64

1

5

1

V 65

3

i

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 498

5/27/15 9:31 AM

6. Harmonize the following melody using i, iv 64, and V 65, in the same accompaniment style as given in the first measure. Add chord symbols on the lines provided below as indicated.

7. Improvise melodies in minor to the chords below using the given rhythm patterns.

i

i

i

i

6

iv 4

6

iv 4

i

6

i

i

iv 4

6

V5

i

Creative Music and Harmonization

9780199326204_Mach_TxT.indb 499

6

i

V5

i

|499

5/27/15 9:31 AM

8. Improvise matching phrases in the style of the composer.

SHARP FOUR

♯

♯

Sharp Four is written in the Lydian mode beginning on G, and uses C and F in its scale.

Arthur Frackenpohl (born 1924) Lively 1

2

1 5

1 5

9. Improvise melodies to a chromatic left-hand accompaniment such as the one started below.

etc.

2

500|

3

1

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 500

5/27/15 9:31 AM

SIGHTREADING STUDIES As you sightread these studies, do not slow down to find the notes or correct mistakes. If you encounter difficulties, isolate the passage later and work out the problem with careful study and practice. 1. Harmonic form E minor Wistfully

! !

² Š /0 ð ]\ð ý Ý ² / ðð ýý 0 1

Š

²ð

Ł

1 3 5

][ Ý ² ððð ýýý

Ł ððð ýýý

1 2 5

Ł

5

Ł

ð ðð ýý ðý Ł

ð

ðð ýý ðý

Ł

ð²ðð ýýý

Ł

Ł

ðý

ð²ðð ýýý 1 2 5

Ł

²Ł

ðý [ ððð ýýý

2. Parallel keys Energetically

! !

Ł Ł Ł Š − .0 Ł Ł ][ Ý − . ððð 0

Ł

Ł

ŁŁ Ł

ŁŁ Ł

ð²ðð

ŁŁŁ

ŁŁŁ

Ł

Ł

Ł ²Ł Ł Ł Ł Ł Ł Ł

n Ł

¦ ŁŁ Ł

ŁŁ Ł

ð²ðð

1

1 3 5

Ł ²Ł Ł Ł Ł − Š 1

Ý − ²ððð

1 2 5

²Ł Ł ¦ Ł Ł Ł Ł Ł Ł 3

1 2 5

²ŁŁŁ

Sightreading Studies

9780199326204_Mach_TxT.indb 501

Ł

ŁŁŁn

|501

5/27/15 9:31 AM

3. Harmonic form A minor Smoothly

!

Łý

Š

ððð ýýý Ý

Ł ððð ýýý

ðý

²Ł

ððð ýýý

ð²ðð ýýý

1 2 5

²Ł Ł 

Ł

Ł

ðð ýýý ð

1 3 5

5

!

1

3

Ł

Ł

Ł

Ł Ł 

Š /0 Ł ý ][ð ý ý Ý / ðð ý 0 1

1 2 5

Ł

Ł

Ł

1

3

Ł

Ł

4

ð²ðð ýýý

ð

ððð ýýý

4. Relative keys Joyously

! !

Ł Š /0 Ł ][ Ý/ ð 0 5 3

3 1

ðð

Ł

5

5 3

Š ŁŁ ]\ Ýð

502|

3 1

ðð

5

Ł

ŁŁ

ðð

ð ŁŁ

ðð

ð

4 2

ŁŁ

Ł

Ł

ð 4 2

Ł

ŁŁ ð

ŁŁ

ŁŁ

ŁŁ

ŁŁ

ðð

ð ŁŁ Ł

Ł

ðð ýý ðý

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 502

5/27/15 9:31 AM

5. Aeolian Quietly

!

Š 00 Ł ]\ Ý0 ¼ 0

!

ŠŁ

Ł Ł Ł Ł

1

ÐÐ

Ł Ł Ł Ł

1

ÐÐ

1 5

Ł

ÐÐ Ý

Ł Ł Ł Ł 2

1 5

Ł

Ł

Ł

Ł

Ł

Ł

ÐÐ

Ł

2

ðý

ÐÐ

ðð ýý Ł

Ł

ðð

ðð

Ł

1

Ł \ ¼ ðý ðð ýý

6. Phrygian Lively

!

Š 42 Ł ý ][ Ý 2 ðý 4 ðý 1 5

!

Łý

1

Š Łý ]\ Ý ðý ðý

4

Łý

Ł Ł Ł Łý

Ł Ł Ł Ł Ł Ł

Łý

ŁŁ ýý

ŁŁ ýý

ðð ýý

5

ŁŁ ýý 1

ŁŁ ýý 2

Ł Ł Ł Łý

Ł Ł Ł Ł Ł Ł

Łý

ŁŁ ýý

ðð ýý

ðð ýý

ŁŁ ýý

Sightreading Studies

9780199326204_Mach_TxT.indb 503

Łý

Łý 5

|503

5/27/15 9:31 AM

7. Dorian Simply

! !

ð

Ł 3

Š /0 ð ]\ Ý / ðð ýý 0 1

ðð ýý

1 5

Ł

Ł 1

Š¼ Ý

Ł

ðð ýý

Ł

Ł

Ł

ðý ðð ýý

ðð ýý 1 5

ð

Ł

Łý

ðð

ŁŁ

ðð ýý

Ł 

Ł

ðý ðð ýý

8. Lydian Gracefully

504|

!

²  Š 42 Ł Ł Ł Ł ]\ Ý ² 2 ððð ýýý 4

!

² Š Ł Ł Ł \ Ý ² ððð ýýý

1

1 3 5

  Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ý ððð ýýý 1 2 4

 Ł Ł Ł Ł Ł ððð ýýý

ððð ýýý

ððð ýýý

 Ł Ł Ł Ł Ł ŁŁŁ ýýý

ŁŁŁ ýýý

 Ł Łý Łý ððð ýýý

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 504

5/27/15 9:31 AM

9. Mixolydian

!

Ł Ł Ł Ł / Š0 ]\ Ł Ý/ Ł Ł 0

!

ŠŁ \ ÝŁ

Moderato 2

5

3

1

Ł

Ł Ł

Ł

Ł

Ł Ł Ł Ł

Łý

Ł Ł Ł

Ł Ł

5

3

1

Ł

Ł

Ł Ł

Ł

Ł

Ł

Ł Ł Ł  Ł

Łý Ł

Ł

ðý Ł Ł Ł

Ł Ł  Ł

ðý ðð ýý

10. Byzantine (Hungarian minor) Majestically 1

1 5 2

1 5 1

3

1

rit.

Sightreading Studies

9780199326204_Mach_TxT.indb 505

|505

5/27/15 9:31 AM

TECHNICAL STUDIES

FINGER-EXTENSION EXERCISE Play this Hanon fingerbuilder exercise in various tempos. Alternate tempos by playing every other measure at twice the speed. This exercise can also be practiced legato, staccato, in various slur groupings and rhythmical arrangements, with right hand played forte and left hand played piano, and vice versa, and with various changes of dynamics.

Charles-Louis Hanon (1819–1900) 1

2

5

4

3

4

3

2

1

2

5

1

2

5

1

2

5

5

3

1

2

3

2

3

4

5

3

1

5

3

1

5

3

1

5

2

1

1

3

5

5

9

5

2

1

2

3

2

3

4

5

2

1

5

2

1

1

3

5

4

3

4

3

2

1

3

5

1

3

5

13

506|

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 506

5/27/15 9:31 AM

MAJOR-MINOR SCALE STUDY 

Op. 261, No. 50

Practice this study in a slow tempo to begin with, always working for evenness and a smooth legato. Then try playing the exercise in various faster tempos.

Carl Czerny (1791–1857) Allegro

1

3

1

1

5

3 2

3

3

1

1

3

1

1

3

1

3

1

4

1

1

cresc.

1

5

5 1

3

4

1

3

1

1

3

1

5

1

4

1

4

1

3

1

4

1

3

1

4

1

2

4

1

Technical Studies

9780199326204_Mach_TxT.indb 507

1

4 2

1

7

4

|507

5/27/15 9:31 AM

ENSEMBLES

Student-Teacher Ensemble Piece

DANCE OF THE SUGAR PLUM FAIRY  from The Nutcracker Suite Peter Ilyich Tchaikovsky (1840–1893) Arr. by E. M. Andante

5

3

2

lightly

Student

lightly

3

1

4 5 3 1

Accompaniment

lightly

lightly

5

6

Student 2

1

3

2

1

5

5

3

cresc.

3

1

Accompaniment

2

1

3

3

1

4 4 2 1

5 3 1

3 1

5 3 1

5 2 1

cresc.

2 4

508|

1

1

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 508

5/27/15 9:31 AM

11

Student

5

2

1 4

2

1

3

2

3

1

2

3

Accompaniment

5

16

Student 1

5

4

3

1

2

3

5

1

4 5 3 1

Accompaniment 3 1

2 4

1

2

2

1

Ensembles

9780199326204_Mach_TxT.indb 509

2 1

|509

5/27/15 9:31 AM

Student Ensembles

SUGARLOAF MOUNTAIN Everett Stevens

Ł Ł Ł Ł Ł Ł

Moderately, with expression

Piano 1

Piano 2

! !

²/ Š 0

1

]\ ²/ Š 0ŁŁ Ł Ł legato

ݲ/ ¼ 0

ðý

\ ðð ýý 5

1 5

5

ðý

ðý

ðý

ðý

ðð ýý

ðð ýý

ðð ýý

ðð ýý

1 5

²Ł Ł Ł Ł Ł Ł ð

6

Piano 1

Piano 2

510|

! !

Š

Ł Ł Ł Ł Ł Ł 1

][ ]\ ŁŁ Ł Ł

²

1

ŁŁ Ł Ł

1

Pedal may be used

Š

Ł

1

Ł

5

ݲ/ ¼ 0

Ł Ł

3

Ł

5

Ý ² ðý

ðý

ð ¼

Ý ² ðý ðý

ðð ýý

ðð ¼

1

Ł Ł Ł Ł Ł Ł Ł Ł Ł 3

ðð ýý

1

ðð ýý

ðð ýý

MINOR SCALES AND OTHER SCALE FORMS

9780199326204_Mach_TxT.indb 510

5/27/15 9:31 AM

²Ł Ł

12

Piano 1

Piano 2

! !

Š Š

Piano 2

! !

1

²

Ł Ł Ł

Ł Ł

ð

1

ŁŁ Ł Ł

Ł

5

Ł Ł Ł

Ł Ł ŁŁ ð

ŁŁ ð

Ý ² ðý ðý

ðð ýý

ðð ýý

ŁŁ

3

ŁŁml ² Š ¼ ¼ \ ² Łml Š ¼ Ł¼ 5 1

1 5

¼

ŁŁml

¼

ŁŁml ¼ ¼

¼ ŁŁl ¼ m

¼

ŁŁml

ml Ł ¼ Ł¼

¼ ¼

¼ ŁŁ ¼ lm ð Ł Ł ð Ł Łý Ł Ł Ł ð ݲ Ł

ŁŁ ð

ݲ ð ¼ ð

¼

3

1

3

ðð ¼

ðð

¼

ðð

ŁŁŁ 3

¼

3

][ ŁŁ 1 5

¼

¼

ŁŁŁ

¼ ŁŁ ¼

ŁŁ ð ¼

3

1 5

ðð

ŁŁ 3

¼ (continued)

Ensembles

9780199326204_Mach_TxT.indb 511

ŁŁ

3

3

ðð

¼

][ ð ¼

1

ðð

¼

ð

Ł ð ݲ

17

Piano 1

Ł

1

|511

5/27/15 9:31 AM

² ŁŁŁŁ Ł Ł Ł Š ¼ ¼ ]\ ² ðð Š ¼ ŁŁ ¼ ŁŁ Ł Ł 23

Piano 1

Piano 2

! !

Piano 2

! !

2

ð

Ł

Ý ² ðý ðý

Š

¼ ¼

ðð

Ł Ł Ł

\ ðð ýý 3

Ł Ł Ł Ł

²Ł Ł

1

1

²

Ł Ł Ł 3

Ł Ł Ł

5

ݲ Ł Ł

Š

1

1

1 5

28

Piano 1

3

1

Ł Ł Ł

Ł Ł Ł

ðð ýý

ðð ýý 8va

Ł Ł Ł

Ł Ł

Ł ð ݲ

Ł Ł Ł Ł Ł ŁŁ ð

Ý ² ðý ðý

ðð ýý

3

ðð ýý

ðð

ð ð \\ ðð 5 1

5

Ł

ŁŁ Ł Ł 5

1

rit.

ŁŁ ð 4

ŁŁ

rit.

ðð

1 5

Ł Ł ðð 1

5

4 2

\\ ŁŁ ðð

Sugarloaf Mountain by Everett Stevens. Copyright © 1959 by Elkan-Vogel, Inc. Copyright renewed. This edition copyright 2009 by Elkan-Vogel, Inc. Used by permission.

512|

MINOR SCALES AND OTHER SCALE FORMS

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GALOP Elsie Wells (1895–1978)

Ensembles

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|513

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GALOP Elsie Wells (1895–1978)

Galop by Elsie Wells from ‘A Seven Piece Suite.’ © Oxford University Press 1979. Reproduced by permission. All rights reserved.

514|

MINOR SCALES AND OTHER SCALE FORMS

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UNI T 10  ​W ORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER 1. Give the name of the sixth degree in each of the following minor (natural form) scales:

♯

Cm ​____________

C m ​____________

Am ​____________

Em ​____________

Fm ​____________

Dm ​____________

Gm ​____________

Bm ​____________

F m ​____________

♯

2. Name the major and relative minor keys that share the following key signatures. Write the major key first, followed by its relative minor key.

Š

²

²²²²

−

Ý ²²²

−−

²²²² ²

−−−−

3. Identify the following chords by letter names. If the chord is inverted, be sure to use numbers indicating the inversion.

Ý ÐÐÐ

−−ÐÐÐ

−ÐÐ Ð

−−−ÐÐÐ

вÐÐ

−ÐÐÐ

−ÐÐ Ð

−ÐÐÐ

−ÐÐ Ð

−ÐÐÐ

© Oxford University Press

|515

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CONSTRUCTION 4. Build the following minor scales in harmonic form using letter names. Gm

_____ ​_____ ​_____ ​_____ ​_____ ​_____ ​_____

Cm

♭

_____ ​_____ ​_____ ​_____ ​_____ ​_____ ​_____

Dm

_____ ​_____ ​_____ ​_____ ​_____ ​_____ ​_____

Em

_____ ​_____ ​_____ ​_____ ​_____ ​_____ ​_____

B m _____ ​_____ ​_____ ​_____ ​_____ ​_____ ​_____

5. Construct a chromatic scale ascending and descending one octave upward and then downward in both bass and treble clefs. Then indicate the rightand left-hand fingerings on the lines provided above and below the treble and bass clefs. The beginning notes and fingerings have been provided to get you started.

!

Ð

1

1

ŠÐ

Ð

ÝÐ 1

1

6. Construct the C minor scale using each of the three forms. C minor—natural form

C minor—harmonic form

C minor—melodic form (ascending and descending)

© Oxford University Press

516|

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MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A 1. Phrygian mode

COLUMN B ______ ​a minor scale that has half steps between the 2–3 and 5–6 degrees

2. modulation

______ ​a modal scale that has half steps between the 1–2 and 4–5 degrees

3. Dorian mode

______ ​A major

4. parallel scales

______ ​a modal scale that has half steps between the 1–2 and 6–7 degrees

5. Byzantine scale

______ ​B minor

6. poco ritardando

______ ​a modal scale that has half steps between the 1–2 and 5–6 degrees

7. Aeolian mode

______ ​is related to a minor scale having the same key signature

8. Lydian mode

______ ​is related to a major scale having the same key signature

9. Mixolydian mode

______ ​a harmonic minor scale with a raised fourth

10. molto ritardando

______ ​a change of key within a composition

11. lonian mode

______ ​a major scale with a raised fourth degree

12. Locrian mode

______ ​a mode frequently used in the jazz idiom

13. relative minor scale

______ ​scales that begin with the same tonic

14. relative major scale

______ ​the same as the natural minor scale, except the 6 and 7 tones are raised one half step ascending, and descending is identical to the natural minor form

15. natural minor scale

______ ​a major scale

16. harmonic minor scale

______ ​to gradually slow down the tempo a little

17. melodic minor scale

______ ​a marked slowing of the tempo

18. D major is relative to

______ ​a scale that contains all twelve tones using half steps only

19. F minor is relative to

______ ​a minor scale that has half steps between the 2–3, 5–6, and 7–8

♯

degrees, and the 7th tone raised one half step with the use of an accidental

20. chromatic scale

______ ​the same as the natural minor scale, except the 6th and 7th tones are raised one half-step ascending, and descending is identical to the natural minor form

© Oxford University Press

|517

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This page intentionally left blank

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UNIT 11

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

T

his unit introduces selected twentieth- and twenty-first-century music styles, along with pieces based on these styles. These styles include jazz, bitonality, and atonality. Quartal harmonies and additional innovative notations are also introduced.



9780199326204_Mach_TxT.indb 519

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JAZZ Jazz has been one of the most influential musical styles in the twentieth century.

HALLELUJAH!

Happily, with spirit (Play

Martha Mier

evenly) 5

4

4

3

2

T R ACK 16 4

4

1

EBSI

TE

W

Hallelujah! uses some of the basic style elements of jazz, which include syncopation, off-beat accents, and chromaticism.

T R ACK 16 4

1

2

1 5

4

5

4

1

2

1

7

1 5

1 5

1 5

5

10

520|

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

9780199326204_Mach_TxT.indb 520

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13

5

2

1

1 2 5

16

5

4

1

3

2

1 5

20 1

3

2

1

5

2

1

23

rit.

“Hallelujah!” By Martha Mier. © 1993 ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved. Used by Permission of ALFRED MUSIC.

Jazz

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THE WHOLE-TONE SCALE The whole-tone scale contains six tones and is constructed by using whole steps only. Some early twentieth-century music, notably that of Debussy (1862–1918), uses the wholetone scale. whole-tone scale

!1 5

Š Ð Ð Ð ²Ð ²Ð ²Ð Ð 1

2

1

2

3

4

(

1

2

3

3

4

2

)

1

TAKE NOTE

𝅘𝅥 = 126 is a metronome marking. A metronome is a timekeeping instrument

which produces a ticking sound at any desired speed. This particular marking means to set the metronome at 126, with the resultant ticking sound equivalent to the duration of a quarter-note beat, 126 beats a minute.

MORNING MIST

E. M. RH

Lightly

!

Š 02

]\ Ý 2 Ł Ł Ł ²Ł ²Ł ²Ł 0 2

RH

ðý ðý

4

T R ACK 16 5

ð ²Ł ðý

4

4

Š ²Ł ²Ł ²Ł Ł Ł Ł LH 2

Ý

522|

²Ł Ł Ł Ł ²Ł ²Ł

LH

LH

!

2

T R ACK 16 5

EBSI

TE

W

Veiled, atmospheric effects can be produced by using the damper pedal to sustain wholetone groupings, as in Morning Mist. Play this whole-tone piece with a very light touch.

4 2 1

4 3 2

ÐÐÐ ýýý

ðý ²²²ððð ýýý − ÐÐ ýý

ÐÐ ýý

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

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NAME THAT TUNE

E. M.

T R ACK 16 6

EBSI

TE

W

For fun try rewriting a familiar tune, using the whole-tone scale. It will sound somewhat changed! Here is an example.

T R ACK 16 6

Take other familiar tunes and arrange them in whole-tone settings by altering tones to fit the whole-step pattern. Then try improvising melodies that use the whole-tone scale.

The Whole-Tone Scale

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BITONALITY As mentioned in Unit 9, a bitonal piece uses two keys simultaneously. Pomp and Two Tone are examples. In Pomp, the right hand is in the key of A, and the left hand is in the key of C. Before playing these two pieces, identify the various triads and practice them first with each hand separately and then with both hands together.

TAKE NOTE

Allegro con brio is a tempo marking that means to play quickly and with vigor; briskly. Intenzionato means to play in a deliberate manner.

𝆮 refers to use of the damper pedal.

Con forza means to play with forcefulness; stressed.

W

Vincent Persichetti (1915–1987) Allegro con brio

âý = 76

Š /0 ð ²Ł Łl ¼ ¼ ð ²Ł Łl ¼ ¼ l ŁŁl ŁŁl [ Ł l l l Ł ŁŁŁ ŁŁŁ ŁŁŁ Ý/ ÿ Ł Ł Ł ÿ 0 ~ ~ n ÿ ²ŁŁ ŁŁ ŁŁ ð Š ý ²ŁŁŁl ŁŁŁl ŁŁŁl Łl Łl Łl ! Ý ŁŁŁl ŁŁŁl ŁŁŁl n n n l Ł ÿ Ł ð ¼ ¼ ~ 1

!

intenzionato

1 3 5

1 3 5

5 3 1

7

5

13

!

ÿ

Š

Ýð Ł ~

524|

5

2

¼ Łl Łl ² ŁŁŁl ŁŁŁl ŁŁŁl Łl ŁŁŁnl ŁŁŁnl ŁŁŁnl ¼ ¼

ÿ ÿ

1

T R ACK 16 7

T R ACK 16 7

Łl ²Łl Łl ŁŁŁl ŁŁŁl ŁŁŁl

2

5

ð ²Ł ÿ

~

EBSI

TE

POMP

5 3 1

ÿ

²ŁŁŁl

ŁŁŁl

ŁŁŁl

ð ²Ł ÿ

Łl ŁŁŁl

¼ ŁŁŁl

¼ ŁŁŁl

ð Ł ~ 5

~

Łl ¼ ¼

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

9780199326204_Mach_TxT.indb 524

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19

!

Š ð ²Ł Łl ¼ l ŁŁl Ł Ł Ý ÿ Ł Ł ~ ŁŁŁl ² Ł Š ²ŁŁl ¼ ¼ ¼ ^[_Łl ^[_l Ý ¦ ŁŁŁ ¼ ¼ ŁŁ ¼

¼ ŁŁŁl

31

!

Š ¼ Ł ²Ł Ý ŁŁŁl ¼ ¼ ~ ÿ Š l ŁŁl ŁŁl Ł Ł ÝŁ Ł Ł

36

!

42

!

Š

Ý Łl

Łl ¼ ¼ ŁŁŁl ¼ ¼ ²ŁŁŁl n

ŁŁŁ ln ÿ

ŁŁŁ ln

2

2

Łl

²Ł

Łl 2

ð 1

~

ŁŁŁ ln ÿ

ŁŁŁ ln

¼ Ł ²Ł Łl ¼ ŁŁŁl ŁŁŁl ¼ ¼ ¼ ~ Łl ²Łl Łl Łl Łl ŁŁŁl ŁŁŁl ¼ ¼ ¼

¼

ŁŁŁl ² Ł ¼ ²ŁŁl ¼ ¼ ¼ ¼ ^[_Łl ^[_l ŁŁ ŁŁŁ ¼ ¼ ¼ ¼ ¼

25

!

ð ²Ł ÿ

n ðý ŁŁŁl

Łl ²Łl Łl ŁŁŁl ŁŁŁl ŁŁŁl

ŁŁŁnl

¼ Ł ŁŁŁl ¼ ~ ÿ

²Ł ¼

²ŁŁŁl n ŁŁŁl ŁŁŁl

con forza

ŁŁŁl ² Ł ²ŁŁl ¼ ¼ ¼ ¼ ^[_Łl ^[_l Ł ŁŁŁ ¼ ¼ ¼ ¼ Ł ¼ ¼

Ł ¼ ¼ ÿ

2

ð 1

~

²Ł

¼ Łl ¼

ÿ [[

ð Ł ~ ¼ ¼ 5

l Ł ² Ł Łl ¼ ¼ Ł n ^[[_l ŁŁŁ ÿ ¼ ¼ ~

Pomp from PARADES by Vincent Persichetti. Copyright © 1955 by Elkan-Vogel, Inc. Copyright renewed. This edition copyright 2009 by Elkan-Vogel, Inc. Used by permission.

Bitonality

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TWO TONE

²² 0 Łl Łl Łl Łl Łl Š 0 [ l Łl l l Ł l Ł Ł ݲ 0 Ł 0 ²² Ł Ł Ł Ł Ł Ł Š Ý ² ¦Ł Ł Ł Ł Ł Ł Moderato

!

1

staccato throughout

Ł Ł Ł Ł Ł Ł 5

Łl

T R ACK 16 8

T R ACK 16 8

Ł Ł Ł Ł 5

½

Ł Ł Ł Ł Ł Ł ¦Ł Ł Ł Ł ½ 2

4

3

5

ŁŁŁŁ ²¦ ½ ŁŁŁŁŁ Ł ŁŁŁŁŁ Ł \ [ ¦Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ¦Ł Ł Ł ½ ²² Ł Ł Ł nl Łnl Ł Ł ² Ł Ł Ł Ł Ł ¹ Ł Ł Ł Ł Ł ²² ²Ł ½ ² ŁŁ ² ŁŁ Ł Š ¼ ¼ ¼  [[n n ]\ ŁŁŁl ŁŁŁl Ł ¦ Ł Ł Ł Ł Ł Ł Ł Ł ² Ł Ł Ł Ý ²² ¦ Ł ¹ ½ ¦ ¼ ¼ ¼  5

5

8

!

Łl

5

4

!

Joan Hansen

EBSI

TE

W

In Two Tone, the right hand is in the key of D and the left hand in the key of G. This piece can be played as a duet by having one player take the treble clef part with two hands, and another player take the bass clef part with two hands.

5

2

5

2

5

5

5

5

3

5

5

1

5

4

5

“Two Tone” by Joan Hansen from Music of Our Time, © 1977, Waterloo Music Co. Ltd., Waterloo, Ontario, Canada. Reprinted by permission.

ATONALITY An atonal piece does not have a tonal center—that is, it has no key, and no one tone seems more important than any other. Some atonal music is written with the use of twelve-tone technique, in which all twelve tones of the chromatic scale are arranged in a particular series or tone row. These tones have no key or tonal center. The entire row is usually heard in full before it or any of its tones is repeated. After the row has been introduced, it may be varied in a number of ways; it may be used in inversion (upside down), in retrograde (backward), or in retrograde inversion (upside down and backward).

526|

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

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BARCAROLLE The tone row in Barcarolle is divided between the two hands in the first five measures, and then is repeated with a change of note values. Beginning in measure 9, the row is stated in retrograde (backwards). After playing this piece, try writing a new melody to familiar words, using a tone row of your own.

A tone row or series

1

2

3

4

5

6

7

8

9

10

11

12

Ross Lee Finney (1906–1997)

T R ACK 16 9

EBSI

TE

W

𝄒 means to take a short pause before continuing the music.

T R ACK 16 9

With rocking motion 1

1

4

1

4

6

9 2

ritard

1

in tempo

2

3

12 3

much ritard

From 32 Piano Games. Copyright © 1960 by Henmar Press, Inc. (C. F. Peters Corporation). Reprinted by permission of the publisher. All rights reserved.

Atonality

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INNOVATIVE NOTATIONS An innovative notation is any notation invented by a composer to indicate special effects and how they should be performed.

5-WHITE-NOTE CLUSTERS

ä = 60

!

Š Ý

Ross Lee Finney (1906–1997)

T R ACK 170

[5]

[

ÿ

ðý 3

8va

!

T R ACK 170

EBSI

TE

W

In 5-White-Note Clusters, the white stemmed rectangles are half-note clusters. In Seashore they are dotted-half-note clusters. The number 5 that appears above the rectangles specifies the number of tones, and the positions of the rectangles on the staff specify the exact pitches. Play the clusters in the following pieces with your fingers or your fist. As mentioned earlier, clusters can also be played with the knuckles, the palm of the open hand, or the arm. Sometimes clusters are even played with pieces of wood or other devices.

Ł

Ð

Ł Ł ð

Ł Ł Ł Ł

Š Ý

Ł

(8va)

Ł

ð

Łn Łn Łn Łn

Łn Łn Łn Łn

Ðn

TAKE NOTE

Copyright 1960 by C.F. Peters Corporation. On behalf of Henmar Press, Inc. Used by permission. All rights reserved.

528|

15 ma means to play 15 notes (two octaves) higher than written.

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

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SEASHORE Six components make up the piece called Seashore. First, study and play each of these components, given on this page. Next, tap out the rhythms of the piece, and then play it as written.

Components:

!

Š /0

1

ðý

3

3

[5]

ý ý

Ý/ 0

2

15 ma

ÿ

4 3 1

ÿ ÿ

5

ðð ýý

ðý

−− ðð ýý

ÿ

6 4 2

ÿ

−−ðð ýý

ÿ

1 3

3

Ross Lee Finney (1906–1997) Moderato

!

3 1

7

!

Š Š 14

!

ðð ýý −− ðð ¼

1 3

[5]

Š ¦¦ ýý −ð ý Ý − ðý

ý ý

¼

ðð ¼

ð

¼ ðð ¼ ðð ¼ ŁŁ −−ŁŁ ¦¦ −− ðð ýý −− ðð ýý −− ðð ýý

ý ý

−− ðð ýý

~

¼

−− ðð

−−ŁŁ ¦¦

\\

ÿ

Ł Ł Ł

8va

ÿ Ł Ł Ł

Ł Ł 3

[5]

−− ðð

−−ŁŁ

[5]

ý ý

¼

¼

[5]

Š

8va

Ý

ý ý

ðð

4 2

3

Ł Ł Ł

T R ACK 171

15ma

ä = 120

Š /0 ðð ýý \ −− ðð Ý/ ¼ 0 (15ma)

T R ACK 171

EBSI

TE

W

8va

ý ý

ý ý

~ ¼ ŁŁ −−ŁŁ ÿ

Ł Ł Ł Ł Ł ~ Ł15maŁ Ł Ł Ł

8va

[5]

ý ý

−− ðð ýý

ÿ

ÿ

¼

~

Copyright © 1960 by C.F. Peters Corporation. On behalf of Henmar Press, Inc. Used by permission. All rights reserved.

Innovative Notations

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WINTER In Winter, the composer has used several innovative notations in addition to clusters: or

Ł Ł Ł Ł

   pause for an indeterminate length of time

Ł

Ł

Ł

   make a ritardando as indicated by the increasingly wide distance between the notes Finney has also omitted meter signature and bar lines, to give the performer the freedom to interpret the music in his or her own way.

Ross Lee Finney (1906–1997) Moderato 8va throughout

Ł Ł −Ł

!

Š Š

!

Š

8va throughout

\

−Ł Ł

no Ped.

Ł ²Ł ² Ł Ł Ł ¦ Ł Ł Ł

Š

Ł −Ł ¦ Ł −Ł 4

Ł Ł Ł 4

2

3

Ł

2

1

Ł

Ł

4

1

Ł

3

[5]

2

Ł

ss.

Łl q

]\

[5]

q ²²² ððð

8va

q

q

\\ ² ð ²² ðð

8va

i 3 gl

!

−Ł −Ł ¦ Ł

2

1

8va

Š

4

1

8va

Š

Ł Ł

Ł ²Ł Ł − Ł

5

q

Ł ]\

s.

glis

Łl

1 2 3

Ł glis

s.

\

~ Łl Łl Łl [[ \\

Copyright 1960 by C. F. Peters Corporation. On behalf of Henmar Press, Inc. Used by permission. All rights reserved.

530|

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

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QUARTAL HARMONY Some contemporary composers use quartal harmony, which is based on chords built in fourths rather than in the traditional thirds.

THE CATHEDRAL IN THE SNOW 

(A Gregorian Christmas chant)

In The Cathedral in the Snow, which uses an old Christmas chant, the whole-note figures are in quartal harmony. Other contemporary features are the omission of meter signature and bar lines, and the use of tones that are blurred together for effect by holding the pedal down for the duration of the piece.

David Duke Very slowly

ÐÐ 4 1

!

Š

Ð

][ ŠÐ 1

Bells fading away

! ! !

Ð

Š

−Ł Ł Ł Ł Ł Ł Ł Ł Ł Ð 1

Ð \ Ð

ÐÐ

Š Ð ]\ Š Ð ÐÐ Š [ 1 5

Š Ð −Ð

9780199326204_Mach_TxT.indb 531

2

5

5

3

]\ −Ð

Ł Ł Ł Ł Ł Ł Ł Ł 5

Ð ]\

1

3

4

\\

][ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ð Š \\ 2

2

Ð

−− ÐÐ

\ Ð

Ð

\ [ ][ Ð Ð − Ł − Ł Ł Ł Ł Ð Ł ŁÐ Ł ][ Ł Ł Ł Ł Ł Ł Ł Ł Ł ÐÐ

Ł Ł −Ł Ł Ł

4

4

\

1

2

1

1

2

2

\\ Ð

Ý

ÐÐ \\\ Harmony Quartal

|531

5/27/15 9:31 AM

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ð Š \\ 2

! !

3

Š Ð ]\ Š Ð

2

5

Ð −− ÐÐ

Ð

Ð

\ [ ][ Ð − − Ł Ð Ð Ł Ł Ł Ł Ł Ł ŁÐ ][ Ł Ł Ł Ł Ł Ł Ł Ł Ł ÐÐ

Ł Ł −Ł Ł Ł

4

ÐÐ Š [

4

\

1 5

Š Ð −Ð

1

2

1

1

2

2

\\ Ð

Ý

ÐÐ \\\

TAKE NOTE

“The Cathedral in the Snow” by David Duke from Music of Our Time, © 1977, Waterloo Music Co. Ltd., Waterloo, Ontario, Canada. All rights reserved. Used by permission.

532|

A tremolo is a quick alternation from one cluster to the other, and is indicated by the parallel lines between the clusters.

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

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CLASSIC MINIATURES W

(Op. 146, No. 5) Dianne Goolkasian Rahbee

Steadily; clearly 5 1

1

LH 3 5

5 3 1

5 3 1

RH 3

1 3 5

1 3 5

T R ACK 17 2

EBSI

TE

JUMPING JACKS 

T R ACK 17 2

5 3 1

1 3 5

sempre staccato

4

7

rit.

Jumping Triads (Opus 146, No. 5) by Dianne Goolkasian Rahbee. From Contemporary Collage (Music of the 21st Century), Vol. 1, Book 2. Copy 2008 Frank J. Hackinson Publishing Company (BMI). International Copyright Secured. Made in U.S.A. All Rights Reserved. Used by Permission.

Classic Miniatures

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|533

5/27/15 9:32 AM

W

Emma Lou Diemer (b. 1927)

T R ACK 17 3

EBSI

TE

INVENTION FOR PIANO

T R ACK 17 3

Moderato 1

1

rit.

Invention for piano by Emma Lou Diemer. Copyright 1962 by Boosey & Hawkes, Inc. Reprinted by permission.

534|

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

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REPERTOIRE W

from Sketches in Color, Set 1 Robert Starer (1924–2001)

T R ACK 174

Repertoire

9780199326204_Mach_TxT.indb 535

EBSI

TE

SHADES OF BLUE 

T R ACK 174

|535

5/27/15 9:32 AM

Shades of Blue from SKETCHES IN COLOR, SET ONE by Robert Starer. Copyright © 1964 UNIVERSAL MUSIC CORP. Copyright Renewed. This arrangement © 2010 UNIVERSAL MUSIC CORP. All Rights Reserved. Used by Permission. Reprinted by permission of Hal Leonard Corporation.

536|

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

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BITONAL IMPROVISATION 1. First play the following examples. 2. Then improvise your own melodies, using the left-hand accompaniment patterns given. 3. Finally, create new left-hand patterns to accompany your own melodies. Also think of changing meters, using different registers, and trying out various tempo changes as well as experimenting with new dynamic shadings. 1. Improvise a bitonal melody with the right hand to the left-hand accompaniment of open fifths, which is in the key of C. The right-hand melody is in the key of E.

!

²²²² Š Ł Ł Ł Ł Ł Ł Ł Ł ]\ ÐÐ Ý  ðð ðð 3

etc.

1 5

2. Using a black-key ostinato pattern as the left-hand accompaniment, improvise whitekey melodies with the right hand.

!

2

Š /0 Ł ð ][ ²Ł ²Ł Ý / ²Ł 0 5

ðð ýý ²Ł

²Ł ²Ł

etc.

3. Using black-key open fifths in the left hand, improvise white-key melodies and harmonic intervals with the right hand. Use the toccata style below to start with. Toccata (from the Italian word toccare, “to touch”) is a keyboard composition in the style of an improvisation that is intended to exhibit a player’s technique.

!

3 1

ŁŁ ŁŁ ½ Š 00 ¼ ŁŁ ¼ ŁŁ [ Ý 0 ²Ł ¼ ² Ł ¼ ²Ł ŁŁ ðð 0 ² Ł (²)( )Ł ² Ł

etc.

1 5

Bitonal Improvisation

9780199326204_Mach_TxT.indb 537

|537

5/27/15 9:32 AM

4. Using a left-hand pattern based on the whole-tone scale, improvise melodies that will blend with the accompaniment. Use the pattern below as a model.

!

Š 00 ð ð ]\ Ý 0 Ł Ł ²Ł ²Ł 0 5

5

4

Ð Ł

Ł ²Ł ²Ł

etc.

5. Improvise a melody using e–f ♯ in the left hand and b–d–e–f ♯ in the right hand as the instructor plays the pattern accompaniment. Begin and end the melody on E. Right Hand b–d–e–f ♯ Left Hand E–F ♯

PATTERN IMPROVISATION Teacher Accompaniment

538|

Jeff Kowalkowski

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

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5/27/15 9:32 AM

ENSEMBLES

Student Ensemble Pieces

FOR THE KID NEXT DOOR Soulima Stravinsky (1910–1994) Allegro

Piano 1

Piano 2

Piano 1

Piano 2

! ! ! !

² ð Ł Ł ð ð Š ‡ [ ð Ł Ł ð ð ݲ‡ 4

²

2

Ł Ł Ł Ł ð ð

5

2

4

1

4

2

5

Ł Ł Ł Ł ð ð

²

4

²

Š ð ݲ ð

ð

ÿ

ð ð

4

2

ð Ł Ł ð 2

4

ð ð

2

ð Ł Ł

ÿ

ð Ł Ł ð

ð Ł Ł 2

4

Ł Ł Ł Ł Ł Ł Ł Ł

4

½ ð Ł Ł Ł Ł 4

ð

4

Ł Ł Ł Ł ð ð

7

ݲ Ł Ł Ł Ł ð

ð Ł Ł ð ð

Ł Ł Ł Ł ð ð

1

Š Ł Ł Ł Ł ð

2

2

Š ‡ð Ł Ł ð ð [ ݲ‡ ð Ł Ł ð ð 2

ð Ł Ł ð ð 4

Ł Ł Ł Ł ½ ð 2

2

Ł Ł ð

ð

4

ð

Ł Ł ð

Ł Ł Ł Ł

Copyright 1960 by C.F. Peters Corporation. Used by permission. All rights reserved.

Ensembles

9780199326204_Mach_TxT.indb 539

|539

5/27/15 9:32 AM

² Š ð 12

Piano 1

Piano 2

! !

ݲ

Piano 2

! !

ÿ

ÿ

ð

ÿ

ÿ

²

Š Ł Ł ð ݲ Ł Ł ð 4

²

2

4

4

2

Piano 2

540|

! !

2

5

Š ð ²Ł ²Ł ð ²ð Ý ² ð ²Ł ²Ł ð ²ð 2

4

1

²

Ł Š ¼ Ł Ł ݲ ¼

² Š Рݲ Ð

Ł Ł Ł

Ð Ð

ð

Ð

ð

Ð

ÿ

4

ÿ

²Ð

Ð

Ł Ł ²Ł ²Ł ð ²ð

ÿ

ð ²ð

Ð

Ł Ł ²Ł ²Ł ð ²ð

Ł Ł Ł Ł

ð

2

Ł Ł ð ð

ð

ð ²ð

2

Ł Ł ²Ł Ł

Ł Ł ð ð

ð

Ł Ł Ł Ł

ð

4

²ð ð

ð ð

ð Ł Ł ð ð ݲ

Ł Ł ²Ł Ł

²ð ð

ð ð

2

24

Piano 1

4

²ð Ł Ł ð ð Š 18

Piano 1

ð

ð

ÿ

²Ð

Ł Ł Ł Ł Ł ¼ Ł Ł ¼

Ł Ł Ł Ł Ł Ł Ł

4

2

Ð Ð

4

Ð

ð ð

Ð

ð ð

Ð

ð ð

ð

ð

2

ð ð

ð

ð

Ð

Ð Ð Ð Ð

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

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FOLK DANCE  43

44

Op. 146, No. 4

47

Folk Dance is written in composite meter, which is a combination of two meters. Here and are combined to produce .

Dianne Goolkasian Rahbee

Lively (3 + 4 beat meter)

Piano 1

(1 - 2 - 3,

1

-

2

-

3 - 4,

1

-

2 - 3,

1

-

2

-

3 - 4)

3 1

5

6

3 2

9

2 3 Folk Dance (Opus 146, No. 4) by Dianne Goolkasian Rahbee. From Contemporary Collage (Music of the 21st Century), Vol.1, Book 2. Copyright 2008 Frank J. Hackinson Publishing Company (BMI). International Copyright Secured. Made in U.S.A. All Rights Reserved. Used by Permission.

Ensembles

9780199326204_Mach_TxT.indb 541

|541

5/27/15 9:32 AM

TAKE NOTE

In

47 time, there are seven beats to the measure

with the quarter note receiving one beat.

FOLK DANCE 

Op. 146, No. 4 Dianne Goolkasian Rahbee

Lively (3 + 4 beat meter) 4 3 2

1

Piano 2

2

3

1

2

3

4

1 3 2 1

3

6

4 3 2

9

1 2 3

542|

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

9780199326204_Mach_TxT.indb 542

5/27/15 9:32 AM

Piano 1 3 2

3 2

12

2 3

15

cresc.

18

3 2

1

5

21

24

Ensembles

9780199326204_Mach_TxT.indb 543

|543

5/27/15 9:32 AM

Piano 2 12

15

cresc.

4 3 2

18

2

1

21

24

3

544|

TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND TWENTY-FIRST-CENTURY MUSIC STYLES

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UNI T 11  ​W ORK SHE E T RE V IE W NAME DATE SCORE

SHORT ANSWER 1. Quartal harmonies are based on intervals of a _____________________. 2. Give two examples of innovative notations that Ross Lee Finney employs in his piece Winter, appearing on p. 530, and explain what they mean: a. ____________________________________________________________________________ b. ____________________________________________________________________________ 3. Name three style characteristics of jazz: __________________ , __________________ , and __________________ . 4. Give an example of bitonality: _______________________________________________ _______________________________________________________________________________. 5. Name four ways in which clusters may be played: ____________________________________ , ____________________________________ , ____________________________________ , and ____________________________________ .

CONSTRUCTION Write your own tone row, using whole notes and then state it in retrograde. Then begin improvising rhythmically, using your own tone row as the basis. Tone Row

1

2

3

4

5

6

7

8

9

10

11

12

Tone Row in Retrograde

© Oxford University Press

|545

9780199326204_Mach_TxT.indb 545

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MATCHING Write the numbers from Column A to correspond to the given answers in Column B. COLUMN A 1. atonal

COLUMN B _____ ​seven beats to the measure with the quarter note receiving one beat

2. bitonal

_____ ​a piece written in two keys simultaneously

3. whole-tone scale

_____ ​a piece having no specific key

4. con brio

_____ ​to take a short pause before continuing with the music

5. quartal harmony

_____ ​to play in a deliberate manner

6. 15ma

_____ ​to play with vigor

7.

_____ ​a ritardando

8. retrograde

_____ ​a quick alternation from one cluster to the other

9. con forza

_____ ​to play with forcefulness

𝆮

∨∧ 11. 𝅘𝅥 = 80 12. 𝄒 10.

13. intenzionato

_____ ​an innovative notation meaning to pause _____ ​backwards _____ ​Vincent Persichetti _____ ​all twelve tones of a chromatic scale are arranged in a particular series

14. retrograde inversion

_____ ​a metronome marking

15. twelve-tone technique

_____ ​upside down and backwards

16. tremolo

_____ ​play two octaves higher than written

7 18. 4

_____ ​chords built on fourths _____ ​“to touch”

19.

_____ ​a pedal marking

20. (1924–2001)

_____ ​a scale using only whole steps

21. (1906–1997)

_____ ​Ross Lee Finney

22. (1915–1987)

_____ ​Robert Starer

17. toccata

© Oxford University Press

546|

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UNIT 12

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

M

any printed versions of folk tunes and popular songs do not include any accompaniment; instead, chords are identified merely by letter names. Letter names are used instead of roman numerals because they are much simpler and faster to read. In this unit (and in other printed songs), the letter-name chord symbols are meant to serve as a guide for improvising your own accompaniments. It is important to know that letter-name chord symbols indicate root position only of the given chord, not inversions. Depending on the accompaniment pattern you choose, you have the option of using any chord in its root position or in one of the inversions studied earlier—particularly the second inversion of IV (IV 64) and the first inversion of V7 (V 65). In addition, numerous melodies are included that use Roman numeral chord symbols to provide students with additional study and opportunities.

LETTER NAMES OF I, IV, AND V7 CHORDS Remember that the I, IV, and V7 chords are named for their position in the scale. I chords are constructed on the first degree of the scale. IV chords are constructed on the fourth degree of the scale. V7 chords are constructed on the fifth degree of the scale.

Letter Names of I, IV, and V 7 Chords

9780199326204_Mach_TxT.indb 547

|547

5/27/15 9:32 AM

In the key of C, for example, the letter names of these three chords are C, F, and G7. C

Š ŁŁŁ I

Ð

Ð

IV

ŁŁŁ Ł ŁŁ Ł

G7

( ) ( )

ŁŁŁ ŁŁ Ł

F

or IV64

V7

Ð

Ð

Ð

or V65

The following chart gives the letter names of the I, IV, and V7 chords in all major keys along with the IV 64 and V 65 inversions. Key I

IV IV 64 V7 V 65

C C F F/C G7 G7/B

G G C C/G D7 D7/F♯

D D G G/D A7 A7/C♯

A A D D/A E7 E7/G♯

E E A A/E B7 B7/D♯

B B E E/B F♯7 F♯ 7/A♯

F♯ F♯ B B/F♯ C♯7 C♯7/E♯ G ♭ G♭ C ♭ C ♭/G ♭ D ♭7 D ♭7/F

C♯ C♯ F♯ F♯/C♯ G♯7 G♯7/B♯ D ♭ D ♭ G ♭ G ♭/D ♭ A♭7 A♭7/C

A♭ A♭ D ♭ D ♭/A♭ E♭7 E♭7/G

E♭ E♭ A♭ A♭/E♭ B♭7 B♭7/D B♭ B♭ E♭ E♭/B♭ F7 F7/A

F F B♭ B♭/F C7 C7/E

MELODIES WITH LETTER-NAME CHORD SYMBOLS Letter names rather than roman numerals have been used for the I, IV, and V7 chords in the melodies that follow. Refer back to the section in Unit 8 titled “Broken-Chord Accompaniment Patterns” (page 337) as a guide for choosing appropriate patterns for improvising left-hand accompaniments to some of these melodies, using the indicated harmonies.

548|

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

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5/27/15 9:32 AM

W

American

T R ACK 175

EBSI

TE

1. ​NEW RIVER TRAIN

T R ACK 175

Allegretto

C

1

9

F/C

2

C

C

4

F/C

3

4

C

F/C

2

3

4

4

G 7/B

C 5

G 7/B 1

C

W

Old English Folk Song Allegretto

D

D

G/D

1

1

La - ven - der's 5

D

blue,

Dil - ly,

Dil - ly,

D

T R ACK 176

EBSI

TE

2. ​LAVENDER’S BLUE

T R ACK 176

G/D 5

La - ven - der's

green,

A 7/C

A 7/C

1

When 9

am

D

Who 13

I

Dil - ly,

Dil - ly,

D

told

you

D

'Twas

King,

so,

own

heart,

shall

be

G/D

Dil - ly,

Dil - ly,

D

my

you

G/D

1

5

Who

told

you

A 7/C

Dil - ly,

Dil - ly,

that

Queen.

so? D

told

me

so.

Melodies with Letter-Name Chord Symbols

9780199326204_Mach_TxT.indb 549

|549

5/27/15 9:32 AM

W

Thomas H. Bayly (1797–1839)

T R ACK 177

W

American

550|

T R ACK 177

T R ACK 17 8

EBSI

TE

4. ​HUSH, LITTLE BABY

EBSI

TE

3. ​LONG, LONG AGO

T R ACK 17 8

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 550

5/27/15 9:32 AM

W

Gioacchino Rossini (1792–1868) C

Allegro

C

1

T R ACK 17 9

G 7/B

C

4

3

G 7/B

C

5

T R ACK 17 9

EBSI

TE

5. ​WILLIAM TELL OVERTURE

2

C

1

MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS W

Traditional Moderato

7

2

1

V65

3

3

V65

2

4

20

I 3

I

I

1

1

5

4

5

V65 1

1

3

I

IV 64 1

I 3

Melodies with Roman Numeral Chord Symbols

9780199326204_Mach_TxT.indb 551

2

V65

IV 64

I

3

2

5

V65

14

26

2

T R ACK 18 0

I

I

I

1

T R ACK 18 0

EBSI

TE

1. ​OVER THE WAVES

|551

5/27/15 9:32 AM

W

Queen Liliuokalani of Hawaii (1838–1917) Lento 2

IV 46

8 1

2

V 56

I

1

5

IV 46 1

2

1

3

I 2

2

1

3

4

T R ACK 181

T R ACK 181

I

2

V 56

EBSI

TE

2. ​ALOHA OE

I

W

Traditional

T R ACK 18 2

EBSI

TE

3. ​DONA NOBIS PACEM*

T R ACK 18 2

*This Latin song may also be played as a round. Numbers 1 and 2 designate round entrances.

552|

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 552

5/27/15 9:32 AM

W

John Philip Sousa (1854–1932)

T R ACK 18 3

W

Stephen Foster (1826–1864) Lively

I

I

V 65

4

m De 5

Camp -town

la - dies

sing

dis

song,

9

Gwine

13

five

I

mile

long,

to

2

3

run

all

2

Gwine

to

mon - ey

on

de

bob - tail

run

all

day,

V 65

I

my

day.

I

1

bet

doo - dah

3

I

nag,

I'll

I 3

Some - bod - y

bet

on de

bay.

Melodies with Roman Numeral Chord Symbols

9780199326204_Mach_TxT.indb 553

De

I

IV 64

night,

T R ACK 18 4

3

Oh!

I

1

Doo - dah,

V 65 1

Camp - town race - track

T R ACK 18 4

EBSI

V 65

Doo - dah,

I

I

T R ACK 18 3

TE

5. ​CAMPTOWN RACES

EBSI

TE

4. ​THE WASHINGTON POST MARCH

|553

5/27/15 9:32 AM

MELODIES WITH LETTER-NAME CHORD SYMBOLS THAT INCLUDE SECONDARY CHORDS ii, iii, AND vi, AND AUGMENTED AND DIMINISHED CHORDS In addition to I, IV, and V7, the following melodies include the secondary chords ii, iii, and vi, as well as augmented and diminished chords. Follow the same procedure in improvising accompaniments for these melodies, using the indicated harmonies.

W

Spiritual Moderato

D

D

D

11

1

A7/C

G/D

T R ACK 18 5

A7/C

D

3

6

T R ACK 18 5

EBSI

TE

1. ​JACOB’S LADDER

A7/C

D

D

D

D

D aug

5

A7/C

D

G/D

D

5

554|

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 554

5/27/15 9:32 AM

W

American Cowboy Tune

T R ACK 18 6

W

Franz Joseph Haydn (1732–1809) Moderato G

² Š 00 Ł ý Ł Ł Ł ][ 3

6

G

² Łý Ł Ł Ł Š 

C/G

ð

G

ð

C/G

G

ð

ð

D7/F ²

G

C ²dim

Am/C

T R ACK 18 7

G/D

Łý Ł Ł Ł Ł Ł ð 

ð

ð

D7/F ²

G

Am/C

ð

ð

Łý Ł Ł Ł 

G/D D7 1

2

EBSI

T R ACK 18 7

D7

Ł ¼

D7

G

ð

Ł ¼

Melodies with Letter-Name Chord Symbols that Include Secondary Chords . . .

9780199326204_Mach_TxT.indb 555

T R ACK 18 6

TE

3. ​SAINT ANTHONY CHORALE

EBSI

TE

2. ​STREETS OF LAREDO

|555

5/27/15 9:32 AM

Albert von Tilzer (1878–1956) Words by Jack Norworth (1879–1959) Lively

C 1

Take

7

*G 7/B

5

me

G 7/D

out

to

G7

1

5

the

ball A7

5

Take

me

out with

Dm

Buy me some

pea - nuts and

G 7/B

care

if

I

F

G7

get

3

back, Let

C7

If

they

C/G

er - jack,

I

me

don't

win it's

5

root,

root,

root

1

2

1

out,

At

the

3

a

shame.

D7

G7

old

ball

don't

G 7/D

1

1

C/E

three strikes you're

-

F 3

team,

crack

C

nev - er

the

2

1

27

1

5

14

T R ACK 18 8

C

game,

C dim

crowd.

20

G7

T R ACK 18 8

EBSI

TE

W

4. ​TAKE ME OUT TO THE BALL GAME

For

it's

for

1

5

the

home

F

F dim

5

4

one,

two,

C

game.

*Second inversion.

556|

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

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MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS THAT INCLUDE SECONDARY CHORDS ii, iii, AND vi, AND AUGMENTED AND DIMINISHED CHORDS W

Welsh

Jacques Offenbach (1819–1880)

W

from La Périchale T R ACK 19 0

Melodies with Roman Numeral Chord Symbols that Include Secondary Chords . . .

9780199326204_Mach_TxT.indb 557

T R ACK 18 9

EBSI

TE

2. ​O MON CHER AMANT 

T R ACK 18 9

EBSI

TE

1. ​ALL THROUGH THE NIGHT

T R ACK 19 0

|557

5/27/15 9:32 AM

W

Scottish Moderato

3

1

5

V 65

I 5

I

3

1

V 65

vi

4

3

1

2

V7 1

5

I

2

W

Australian I

V 65

vi

3

5

9

I

V 65

I

vi

IV 64 2

1

IV 64

I

iii

IV 64

V 65

iii

V 65

I

5

5

IV 64

I

IV

2

I

5

V 65

IV 64

V 65

1

3

T R ACK 19 2

V 65

I

13

I

558|

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 558

vi

I

T R ACK 19 2

EBSI

TE

4. ​WALTZING MATILDA Moderato

T R ACK 191

IV 64

I

3

T R ACK 191

EBSI

TE

3. ​AULD LANG SYNE

iii 5

5/27/15 9:32 AM

W

Johann Sebastian Bach (1685–1750) Moderato

I

4

5

Š

ii

iii

1

I

²Ł 4

2

1

IV

² Š Ł Ł Ł Ł Ł Ł Ł Ł Ł 7

IV 1

² ý Š ð 10

14

Š

I

² ðý I

5

V 63

Łý vi

Łý

1

IV 63

ðý

ii 6

3

2

1

1

2

3

5

Ł Ł Ł Ł Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł Ł Ł Ł iv ²o

V7

vi

I

1

4

V

5

3

IV 64

vi

1

vi

Ł Ł Ł Ł Ł Ł Ł Ł Ł

2

3

I

1

² Ł Ł Ł Ł Ł Ł Ł Ł Ł Š 3

V7

5

I

2

ðý

I 64

V

Łý

Łý I 64

Ł Ł Ł Łý

I

ðý 3

Łý

I

ðý

ðý V7

Łý

3

3

I

ðý

Melodies with Roman Numeral Chord Symbols that Include Secondary Chords . . .

9780199326204_Mach_TxT.indb 559

T R ACK 19 3

Ł Ł Ł Ł Ł Ł Ł Ł Ł

IV 64

²5 ¹ Ł Ł Š 4 Ł Ł Ł Ł Ł Ł ]\ 1

T R ACK 19 3

EBSI

TE

5. ​JESU, JOY OF MAN’S DESIRING

IV 64

Łý

IV 64

Łý

Łý

|559

5/27/15 9:32 AM

FAMOUS THEMES from Lohengrin

Richard Wagner (1813–1883) Majestically

F/C 1

C 7/E

F

F/C 1

2

3

5

3

B /F 2

1

T R ACK 19 4

C 7/E

T R ACK 19 4

F

4

Antonio Rossini (1792–1868)

W T R ACK 19 5

EBSI

TE

2. ​THEME FROM THE BARBER OF SEVILLE

560|

EBSI

TE

W

1. ​THEME FROM BRIDAL CHORUS 

T R ACK 19 5

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 560

5/27/15 9:32 AM

Peter Ilyich Tchaikovsky (1840–1893)

Presto

G

C/G

9

D 7/F

G

D 7/F

2

1

1

C/G

D 7/F

G

G 5

D 7/F

G

2

D 7/F

G 2

G

D 7/F

T R ACK 19 6

5

5

13

T R ACK 19 6

D 7/F

G

1

5

G

C/G

2

G

1

(La ci darem la mano)*

Wolfgang Amadeus Mozart (1756–1791) G

Am/C

A 7/C

A7/C

D

2

8

1

G

1.

G

Am/C

3

2.

G 1

3

D/F

G

5

D7

A/C

3

T R ACK 197

D

3

5

T R ACK 197

EBSI

TE

W

4. ​THEME FROM DON GIOVANNI 

Andante

EBSI

G

5

5

W

from The Nutcracker Suite

TE

3. ​TREPAK 

4

D7

G

*“Give me your hand” (translation from Italian).

Famous Themes

9780199326204_Mach_TxT.indb 561

|561

5/27/15 9:32 AM

W

from Symphony No. 40, K. 550 Wolfgang Amadeus Mozart (1756–1791)

W

from La Bohème Giacomo Puccini (1858–1924)

Moderato

C

Em

5

9

13

562|

F

G7

C

C

3

Em

C/E 5

T R ACK 19 9

3

G7

1

T R ACK 19 9

EBSI

Dm

2

1

5

T R ACK 19 8

TE

6. ​MUSETTA’S WALTZ 

T R ACK 19 8

EBSI

TE

5. ​THEME 

C

F

2

Dm

2

1

Am/E 3

G7

G7

C

2

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 562

5/27/15 9:32 AM

W

( from Rigoletto) Giuseppe Verdi (1813–1901)

T R ACK 2 0 0

W

Ludwig van Beethoven (1770–1827) Poco moto

Am

5

5

E7

Am

T R ACK 2 0 0

T R ACK 2 01

E7

Am

Am

Am

EBSI

TE

8. ​FÜR ELISE

EBSI

TE

7. ​LA DONNA È MOBILE 

T R ACK 2 01

5

2

10

16

C/G

E7

5

G

Am

5

Am

E

Am

Am

E7

Famous Themes

9780199326204_Mach_TxT.indb 563

Am

|563

5/27/15 9:32 AM

W

Franz Liszt (1811–1886) Moderato 1

9

B7

G 5

D7

E7

D7

G

A7

T R ACK 2 0 2

A7 3

G

2

5

17

E7

3

T R ACK 2 0 2

D7

1

B7 3

G

Sergei Rachmaninoff (1873–1943)

T R ACK 2 0 3

EBSI

TE

W

10. ​THEME FROM PIANO CONCERTO NO. 2, OP. 18  (third movement)

564|

EBSI

TE

9. ​THEME FROM LIEBESTRAUM

T R ACK 2 0 3

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 564

5/27/15 9:32 AM

11. ​THEME FROM SYMPHONY NO. 9

Antonín Dvorˇák (1841–​1904)

T R ACK 2 0 4

EBSI

TE

W

(“From the New World”)

T R ACK 2 0 4

Vigorous

Dm

Gm/D

Dm

1

7

Am

Dm

4

Dm

A

Dm

A

Dm

Gm/D

1

Gm

Gm

A

A

Gm

A

3

13

A

Gm

Gm

A

A

Gm

A

Dm

Gm/D

1

19

Dm 4

Am

Dm

Dm

Gm/D

Dm

A

Dm

1

STRUMMING ACCOMPANIMENTS Strumming is an accompaniment that uses both hands, while the melody is usually provided by another individual or group, vocal or instrumental. This type of accompaniment is very effective for community singing activities. In strumming, it is important to remember that the left hand plays individual tones of the chord. For example, with a C chord the left hand would play the root tone C most frequently and would perhaps alternate with G, the fifth of the chord. If extended use were made of the C chord as a harmony, the left hand would probably play E, the third tone, as well. The right hand plays a block chord, whether in root position or in first or second inversion. Notice that the left hand and the right hand always alternate in a strummed accompaniment. Play the following two examples of songs with strummed accompaniments while humming the melodies.

Strumming Accompaniments

9780199326204_Mach_TxT.indb 565

|565

5/27/15 9:32 AM

DIXIE Dan Emmett (1815–1904) Allegro

Š .0 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł [  ¹  ¹  ¹  ¹ Ł ¹ ¹ . ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ Š0 ŁŁ [ Ý . ¹ Ł ¹  ¹ Ł ¹  ¹  ¹ Ł Ł 0 Ł 5

!

2

1

3

5 3 1

1

Š

!

1

Łý 5

4

2

Ł Ł Łý 3

  Š ¹ ŁŁŁ ¹ ŁŁŁ Ý Ł ¹  ¹ Ł

566|

5 3 1

5

2

5

Ł Ł Łý

¹ Ł ¹ Ł ŁŁ ŁŁ  Ł ¹ Ł ¹

Łý Ł Łý Ł Ł Ł Ł Ł 1

¹ ŁŁ Ł ¹ Ł

¹ Ł

5

Ł Ł Łý

5 4 1

¹ ŁŁ ¹ ŁŁ Ł Ł  ¹  ¹ Ł Ł 2

¹ ŁŁ ¹ ŁŁ Ł Ł

5

 ¹ Ł Ł Ł

etc.

¹ Ł ¹ Ł ŁŁ ŁŁ  Ł ¹ Ł ¹

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 566

5/27/15 9:32 AM

SWEET BETSY FROM PIKE American Moderato

²² / Š 0Ł ]\ ²² / Š 0¼ 1

! !

² Š ²¼

Ý ²² Ł

ŁŁŁ ŁŁŁ l l

Ł

Ł

Ł

ŁŁŁ l

ŁŁŁ l

¼

¼

¼

3

5 4 1

ŁŁŁ l

¼

¼

¼

1

2

Ł

5 3 1

¼ ]\ Ł

Ý ²² / ¼ 0 ² Š ²

Ł Ł Ł

Ł Ł Ł

Ł

ð

Ł

ŁŁŁ ŁŁŁ l l

¼

ŁŁŁ ŁŁŁ l l

¼

Ł ¼

¼

Ł ¼

4

5

ŁŁŁ l

Ł Ł Ł

Ł ¼

¼

¼

Ł

Ł

Ł

Ł

Ł

ð

Ł

ŁŁŁ l

ŁŁŁ l

¼

ŁŁŁ ŁŁŁ l l

¼

ŁŁŁ ŁŁŁ l l

¼

¼

Ł

¼

Ł

¼

¼

etc.

¼

An easy way to practice strumming is to play the root of the chord with the left thumb, and then to play the fifth transposed down one octave with the fourth finger, as illustrated below. Practice playing this pattern in all keys.

ÝÐ 1

C

Ð 4

−Ð

D−

1

−Ð

Ð 1

4

D

Ð

etc.

4

Strumming Accompaniments

9780199326204_Mach_TxT.indb 567

|567

5/27/15 9:32 AM

Next, with the right hand, play major triads in root position in all the keys. Then do the same in minor. The right hand alternates with the left, which remains unchanged.

!

5 3 1

5 3 1

Š 00 ¼ ŁŁŁ ¼ ŁŁŁ ¼ −−ŁŁŁ ¼ −−ŁŁŁ ][ Ý0 Ł ¼ Ł ¼ −Ł ¼ −Ł ¼ 0 1

4

C

D−

1

etc.

4

Finally, with the right hand, practice these same triads in first inversion and then in second inversion through all the major and minor keys, as illustrated below. first inversion

!

5 2 1

5 2 1

Š 00 ¼ ŁŁŁ ¼ ŁŁŁ ¼ −−ŁŁŁ ¼ ][ Ý0 Ł ¼ Ł ¼ −Ł ¼ −Ł 0 1

4

C

D−

1

second inversion

!

5 3 1

4

5 3 1

Š 00 ¼ ŁŁ ¼ ŁŁ ¼ − ŁŁ ¼ −Ł Ł Ł ][ Ý0 Ł ¼ Ł ¼ −Ł ¼ −Ł 0 1

C

4

D−

1

4

ŁŁ Ł

etc.

¼ ŁŁ Ł

etc.

¼

Sing or hum some of the melodies presented earlier in this unit while accompanying yourself with this strumming technique. Then, experiment with a few of your own strumming accompaniments. Try using the third of the chord in the left hand and try alternating root-position chords and inverted chords in the right hand.

568|

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 568

5/27/15 9:32 AM

ARPEGGIO ACCOMPANIMENTS

Diminished and Augmented Triads In addition to major and minor triads, diminished and augmented triads are often used in the accompaniments of popular songs. In the table below, note the way diminished and augmented triads are formed.

ÐÐÐ

Ý

−ÐÐÐ

1 3 5

−−ÐÐÐ

1 3 5

²ÐÐÐ

1 3 5

triad C major C minor symbol C Cm formation lower the third tone one half step

1 3 5

C diminished C° (or C dim.) lower the third and fifth tones one half step (when starting from a major triad)

C augmented C+ (or C aug.) raise the fifth tone one half step

PRACTICE STRATEGIES First, practice the following four kinds of triads in all keys, with the left hand playing block chords in two octaves, until you are familiar with the difference in their sound.

Ý

ÐÐÐ

ÐÐÐ

1 3 5

1 3 5

C

−ÐÐÐ − ÐÐÐ

−−ÐÐÐ

−− ÐÐÐ

² ÐÐÐ

C+

Co

Cm

²ÐÐÐ

Next, play the triads as arpeggios in two octaves with the left hand.

ÐÐ −Ð Ð −Ð −Ð Ð ²Ð Ð Ð Ð Ð ÐÐÐ Ð −Ð Ð Ð − Ð −Ð Ð Ð ²Ð

Ý

C

5

5

1

3

3

1

Cm

5

3

1

5

3

1

C°

5

3

1

5

3

1

C+

5

3

1

5

3

1

Finally, play the arpeggios as before, but omit the third tone from the first part of the arpeggio.

5

C

1

(or 2

5

3

1

1

3

2)

5

Cm

1

(or 2

5

3

1

1

3

2)

5

C

1

(or 2

5

3

1

1

3

2)

5

1

(or 2

5

3

1

1

3

2)

C

Arpeggio Accompaniments

9780199326204_Mach_TxT.indb 569

|569

5/27/15 9:32 AM

Practice playing this pattern not only ascending but descending as well. Be sure to observe the correct fingering and look away from the keys as much as possible! Other strum accompaniments for you to try are shown next. 1.

!

Š 00 ¹ Ł Ł Ł ¹ Ł Ł Ł ¹ Ł Ł Ł ¹ Ł Ł Ł ¹ Ł Ł Ł ¹ Ł Ł Ł ][ Ý0 ð ð 0 ð ð ð ð 1

1

4

1

1

4

etc.

4

2.

!

Š − 42 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł \ Łý Ý − 2 Łý Łý Ł ý ý Ł 4 Łý Łý Łý 5

3

1

1

1

4

3

5

2

1

4

5

1

5

1

4

etc.

5

3.

!

5 3

Š 00 ¼ ¹ Ł ŁŁ Ł ]\ Ý 0 Łý ¹ ½ 0 1

1

5 3

5 4

¼ ¹ Ł ŁŁ Ł

¼ ¹  ŁŁ Ł Ł

¼ ¹ Ł ŁŁ Ł

Łý

Łý

Łý

1

¹ ½

5

1

4

¹ ½

etc.

¹ ½

4.

!

5 3 1

Š 00 ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ [ Ý0   0 Łý Ł Łý Ł 5

570|

2

1

5 3 1

ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ ŁŁ

5 4 1

ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ

Ł Łý  ý Ł Ł Ł Łý  Ł Ł Ł Ł Ł Ł Ł Łý  Łý Łý 5

2

1

5

etc.

2 1

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 570

5/27/15 9:32 AM

Next, improvise an arpeggio accompaniment for Even Though. In measure 23 play the arpeggio pattern as shown here.

Ý

−Ł Ł Ł Ł Ł Ł Ł Ł C

Gm

W

Elyse Mach Tenderly C

ðý Ð 0 Š0 ]\ Ł Ł Ł Ł Š 7

13

Š

Ł

Gm

Dm

C

Ł (¦)Ł

Gm

ð

Gm

F

Ł Ł Ł Ł

Am

Gm

Ł Ł Ł Š Ł −ð 19

C

Ð

C

ð

Ł Ł Ł Ł −ð

Ł Ł

B−

Ð

Ł −Ł F

G

C

Ð

Ł Ł Ł Ł

Ð

ðý Ł Gm

C

ð

C

ðý

Ð

Ł Ł

T R ACK 2 0 5

Gm

Ł Ł Ð C

Ł

Ð ðý

Gm

Gm

Arpeggio Accompaniments

9780199326204_Mach_TxT.indb 571

T R ACK 2 0 5

F

Ł Ł Ł −Ł C

EBSI

TE

EVEN THOUGH

Ł

Ð

C

|571

5/27/15 9:32 AM

MAJOR AND MINOR SEVENTH CHORDS In addition to the dominant seventh chord, the major and minor seventh chords are used frequently in the accompaniments of popular song melodies. All three of these chords are constructed similarly—they all have a third, fifth, and seventh tone above the root. A raised seventh distinguishes the major seventh chord from the dominant seventh chord, and a lowered third distinguishes the minor seventh chord from the dominant seventh chord:

Ý

²ÐÐÐ Ł Ð 1

ÐÐÐ Ł Ð 1/2

Ł −ÐÐÐÐ 1

chord major seventh dominant seventh minor seventh 7 7 symbol GM G Gm7 formation start with a major start with a major start with a minor triad (root, third, triad (root, third, triad (root, third, fifth); add the fifth); add the fifth); add the eighth, forming an eighth, forming an eighth, forming an octave with the octave with the octave with the root; lower the root; lower the root; lower the eighth one half eighth one whole eighth one whole step step step The easiest way to recognize the difference between the chords is to remember that the dominant seventh and minor seventh chords lower the octave one whole step, while the major seventh chord lowers the octave one half step. GM7 uses tones from the key of G major. It is called a major seventh chord because it uses the first, third, fifth, and seventh tones of the G major scale. As previously discussed, G7 uses tones from the key of C major. It is called a dominant seventh chord because it is constructed on the fifth (or dominant) tone of that key. Gm7 uses tones from the key of G minor. It is called a minor seventh chord because it uses the first, third, fifth, and seventh tones of the G minor scale.

572|

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 572

5/27/15 9:32 AM

PRACTICE STRATEGIES Practice playing major seventh, dominant seventh, and minor seventh chords in various keys, as illustrated below. CM 7

C7

Cm 7

FM 7

F7

Fm 7

DM 7

D7

Dm 7

B M7

B

7

B m7

Next, practice the three seventh chords in an arpeggio pattern in the key of C, as illustrated below. Play this pattern in various keys, ascending and descending. Be sure to observe the correct fingering.

5

G7

1

(or 2

5

3

2

1

1

3

2

1)

5

GM7

1

(or 2

5

3

2

1

1

3

2

1)

5

1

(or 2

5

3

2

1

1

3

2

1)

Gm7

Major and Minor Seventh Chords

9780199326204_Mach_TxT.indb 573

|573

5/27/15 9:32 AM

SOMEWHERE MY LOVE 

Music by Maurice Jarre (1924–2009) Moderato G*

² Š /0 ðý ]\ ²

9

²

Š

²

25

D7

ð

G

²

ðý

D7

ð

C

ðý

Ł Ł Ł

ðý

Ł Ł ²Ł

ðý

Ł

ð

Ł Ł Ł

ð −Ł

D7

Ł Ł ²Ł

Ł Ł Ł

ðý

ðý

ðý

ðý

G

D7

G

ðý

C

ð −Ł

D7

ðð ýý

ðð ýý

Ł

ðð ýý

T R ACK 2 0 6

D7

G

ðý

G

Am7

Š ðý

Ł

ð

C

ðý

ðý

ðý

ðý

ðý

G

G

ðý

ðý

ðý

©1965, 1966 METRO-GOLDWYN MAYER INC. All Rights Controlled and Administered by EMI ROBBINS CATALOG INC. and ALFRED MUSIC. All Rights Reserved. Used by Permission of ALFRED MUSIC.

!

574|

ðý

Ł

ð ²ŁŁ

Š ðý 33

ðð ýý

ð ²ŁŁ

Am7

Š ðý 17

G

T R ACK 2 0 6

EBSI

TE

W

(Lara’s Theme from Doctor Zhivago)

² / *G Š 0 ðý

Ł ݲ/ 0 Ł Ł

ð

G

ðð ýý

²ŁŁ

Ł Ł Ł (

)

Ł Ł Ł

ðð ýý

Ł Ł Ł (

etc. )

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 574

5/27/15 9:32 AM

41

²

B−

Š ðý ²

49

Š

²

57

G

ðý

Š

² ²

73

ð ²ŁŁ

G

ðý

Ł

ð ²ŁŁ

Am7

Š ðý

G

ðð ýý

D7

ð

ðý

G

ðð ýý

D7

ð

Ł Ł Ł

¦ ð ²Ł

()

Am7

Š ðý 65

¦ ðý

B−

Ł

ðý

ðð ýý ðý ðð ýý ðý

B−

D7

−ð ý

F

ðý

ðý D7

G

Ł Ł Ł

ð −Ł

D7

Ł Ł ²Ł

ð

Ł

ð −Ł

D7

Ł Ł −Ł

ðý

ðý

ðý

ðý

G

D7

G

Ł Ł Ł

ð

Ł

ðý G

ðý

Major and Minor Seventh Chords

9780199326204_Mach_TxT.indb 575

ðý

ðý ðý

|575

5/27/15 9:32 AM

MORE 

(Theme from Mondo Cane)

Riziero Ortolani and Nino Oliviero

²

Moderato G

Am7

Em

Š  ðý Ł Ł Ł Ł Ł Ł ]\ 7

Š

² ²

12

1.

Am7

ðý

B7

²

23

Š

²

27

G

C

ðý Ł Ł Em

Ł ðý Ł Ł Ł Ł Ł Ł

ðý

Š ðý

C ²°

Ł Ł Ł Ł Am7

Ł

ðý

D7

D7

Ł Ł Ł Ł

D7

Ł −Ł Ł Ł

G

Ð

ðý Ł Ł

Em

Ł ðý Ł Ł Ł ²Ł Ł

2.

D7

B7

Em

Ł Ł Ł ²Ł  Ð

ð

D7

C

Ł ðý Ł Ł Ł ²Ł Ł

Em

A7

T R ACK 2 07

Em

ðý Ł Ł Ł Ł Ł Ł

1.

Am7

Ð

Em

ð Ł Ł Ł ²Ł  Ð

Ł

Š Ł Ł Ł Ł ²  Š

Ł

G

2.

D7

C ²°

17

ðý

D7

T R ACK 2 07

EBSI

TE

W

Using the arpeggio pattern, improvise an accompaniment to More and the other pieces that follow, changing the harmonies as indicated by the letter-name chord symbols.

Ł Ł Ł Ł Ł Ł

ðý

G

Ð

E−

Ð

Em

Ł Ł Ł Ł Ł Ł GM7

Ð

Ð

Copyright © 1962 renewed and assigned CAM s.r.l. Rome, Italy, via Cola di Rienzo.

576|

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

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LETTER-NAME CHORD CHART The following chart lists every chord discussed in this unit in all major and minor keys. It will help you to quickly form the chords you will need to improvise accompaniments. C

Š ÐÐÐ

− ÐÐÐ

D−

Š −−ÐÐÐ D

−−ÐÐÐ

D −m

−−−ÐÐÐ Dm

Š ²ÐÐÐ

ÐÐÐ

E−

Š −−ÐÐÐ

E −m

−−−ÐÐÐ

E

Em

ÐÐÐ

Š ÐÐÐ

Fm

Š ²ÐÐÐ F

Š ²²²ÐÐÐ

D −°

−−−−ÐÐÐ

²²ÐÐÐ

−ÐÐÐ

²²ÐÐÐ E −°

−−−−ÐÐÐ E°

−ÐÐÐ

F ²°

²ÐÐÐ

D −+

− ¦ ÐÐÐ ()

Cm7

−ÐÐÐ Ð

D+

D°

−−ÐÐÐ F ²m

C7

²ÐÐÐ

F°

−ÐÐÐ F²

C+

C°

Cm

E −+

−−ÐÐÐÐ D −7

D −m7

−− ÐÐÐÐ

D7

Dm7

DM7

²ÐÐÐÐ

E −7

ÐÐÐ Ð

E −m7

E+

²²ÐÐÐ

²ÐÐÐÐ

ÐÐÐ Ð

F+

F7

F ²+

²×² ÐÐÐ

D −M7

−−−−ÐÐÐÐ

−−−−ÐÐÐÐ

²ÐÐÐ

ÐÐÐ Ð

−−−ÐÐÐÐ

−−−ÐÐÐÐ

−ÐÐÐ

CM7

E7

−ÐÐÐ Ð F ²7

²²²ÐÐÐÐ

Em7

Fm7

−−ÐÐÐÐ

F ²m7

Ð ²²ÐÐÐ

²²ÐÐÐÐ

E −M7

−− ÐÐÐÐ ²²ÐÐÐÐ

EM7

FM7

ÐÐÐ Ð

²²²²ÐÐÐÐ

Letter-Name Chord Chart

9780199326204_Mach_TxT.indb 577

F ²M7

|577

5/27/15 9:32 AM

G−

Š −−−ÐÐÐ G

−Ð Š − ÐÐ A

A −m

−−−ÐÐÐ ÐÐÐ

B−

B −m

−−ÐÐÐ

Ð Š −ÐÐ

B

²ÐÐÐ ² Š C−

−−−ÐÐÐ

−− −−−ÐÐÐ

Bm

²ÐÐÐ

C −m

−− −−ÐÐÐ

G −+

−−ÐÐÐ G+

−−ÐÐÐ

Am

Ð Š ²ÐÐ

G −°

G°

−ÐÐÐ

A−

578|

−− −−ÐÐÐ Gm

Š ÐÐÐ

Š

G −m

²ÐÐÐ A −°

−−−−ÐÐÐ A°

A −+

−ÐÐÐ A+

²²ÐÐÐ

−ÐÐÐ

B −°

−−−ÐÐÐ B°

B −+

−²ÐÐÐ B+

ÐÐÐ

²× ÐÐÐ C −°

−− −−−ÐÐÐ

C −+

−−ÐÐÐ

G −7

G −m7

G −M7

−−−−ÐÐÐÐ

−− −−−ÐÐÐÐ

−−−ÐÐÐÐ

ÐÐÐ Ð

−ÐÐÐÐ

²ÐÐÐ Ð

G7

A −7

Gm7

A −m7

−−−ÐÐÐÐ

−−−−ÐÐÐÐ

²ÐÐÐÐ

ÐÐÐ Ð

A7

B −7

− ÐÐÐ −Ð ²² ÐÐÐÐ

B7

C −7

−−−−− ÐÐÐÐ

GM7

A −M7

Ð −−ÐÐÐ ²²ÐÐÐÐ

Am7

AM7

B −m7

−−− ÐÐÐÐ ² ÐÐÐÐ

B −M7

ÐÐÐ −Ð

²²² ÐÐÐÐ

Bm7

BM7

C −m7

−− −−−− ÐÐÐÐ

C −M7

−−−− ÐÐÐÐ

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

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5/27/15 9:32 AM

ENSEMBLE PIECES

NADIA’S THEME 

from “The Young and the Restless” B. De Vorzon and P. Botkin, Jr. (Arr. E. M.) 5

Very slowly

1

Piano 1

5

1

2

2

5

1

4 2

Piano 2

2

5

3

4-5 1

Piano 1

2

5

5 2 1

2-1

4 2

3

3

4 2

4 2

Piano 2 2

3

2

3

2

3

Nadia’s Theme from THE YOUNG AND THE RESTLESS by Barry DeVorzon and Perry Botkin, Jr. © 1971 (Renewed 1999) SCREEN GEMS-EMI MUSIC INC. This arrangement © 2010 SCREEN GEMS-EMI MUSIC INC. All Rights Reserved. International Copyright Secured. Used by Permission. Reprinted by permission of Hal Leonard Corporation.

Ensemble Pieces

9780199326204_Mach_TxT.indb 579

|579

5/27/15 9:32 AM

To coda 10

2

Piano 1

4

4 2

To coda

Piano 2 2

15

3

3

3

3

Piano 1

Piano 2

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MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

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19

3

1

Piano 1 3

3

RH

Piano 2

1

5

5 3

3

5 3 2

1

1 5 2

1 5 2

Dal segno al coda

23 4

5

1

4

poco rit.

Piano 1 5

2

1

2

1

3

Piano 2

5

2

1

4

2

5

1

Dal segno al coda 5

poco rit. 2

5

2

1

5

2

1

1

1

5

Ensemble Pieces

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|581

5/27/15 9:32 AM

Coda

27

3

rit. e dim.

Piano 1 3

Coda

rit. e dim.

Piano 2

5

30

Piano 1

1

1

2

3

LH

Piano 2

TAKE NOTE

5

582|

𝄌

2

Dal segno al coda means to repeat from the sign and play to the coda sign or word coda; then skip to the next or coda and finish the piece.

𝄌

2

1

𝄋

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

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5/27/15 9:32 AM

EDELWEISS 

from The Sound of Music Richard Rodgers (1902–1979) Arr. by E. M.

Slowly

Piano 1

Piano 2

! !

− Š − /0

Ł ðý

1

2

ð ]\ Ý −− / ð 0

ð

5

ý Ł ð

5

3

1

4 3 1

− Š − /0 ¼ ðð ð ]\ Ý −− / ð ý 0 2

Piano 2

! !

5 3

4 2

5 2 1

2 1

ðý

ðý

ðý 1

3 1

5 3

¼ ðð ð

¼ ððð ¼ ðð ð

ðý

ðý

ðý

¼ Ł ŁŁ Ł ðý

Ł ðý

ð

1

ð

Ł ð Ł Ł 1

1

5

4 3 1

2

− − Š ¼ ŁŁ ŁŁ ðð ýý Ł Ł ðý

ðý

ðý

4

4 2 1

4 3 1

5

3 1

ðý

Ý −− ð ý

ðý

3

¼ Ł ŁŁ ¼ ŁŁ Ł ¼ ŁŁ ŁŁ Ł Ł Ł Ł

ðý

Ý −−

Ł Ł Ł Ł

ð

¼ ððð ¼ ðð ð

− Š − ðý

5 3 1

Ł Ł Ł Ł

ð

Ł ðý

1

4 2 1

2

Ł ðý

ð

7

Piano 1

1

5

2

5

ý Ł ð 3

1

ð

4

1

3

Ł ðý Ł ðý 1

3

Edelweiss from THE SOUND OF MUSIC. Lyrics by Oscar Hammerstein II. Music by Richard Rodgers. Copyright © 1959 by Richard Rodgers and Oscar Hammerstein II. Copyright Renewed. This arrangement Copyright © 2010 by WILLIAMSON MUSIC. WILLIAMSON MUSIC owner of publication and allied rights throughout the world. International Copyright Secured. All Rights Reserved. Reprinted by permission of Hal Leonard Corporation.

Ensemble Pieces

9780199326204_Mach_TxT.indb 583

|583

5/27/15 9:32 AM

13

Piano 1

Piano 2

! !

− Š − ¼ ŁŁ Ł Ł Ý −− − Š−

4 2

ðý ð

Ý −− ð

Piano 2

584|

! !

¼ ŁŁ ŁŁ Ł Ł

¼ ŁŁ ŁŁ Ł Ł

ðý

ðý

ðý

Ł

Ł Ł Ł

Ł

Ł Ł Ł

ðý

1

2

4

¼ ŁŁ ŁŁ

ðý

4

2

18

Piano 1

4 3

2 1

1

−Ł − Š Ł Ł ð 1

Ł ðý

2

1

Ł ðý

Ý −− Ł Ł Ł ð

n Ł ¹ ¹ Ł Ł  Łn ¹ ¹ Ł Ł   5

5

ðý

¼

ðý

Ł 3

Ł ð

ð 5

2

Ł

Ł Ł

¼

1

Ł ðý

Ł ¦ð

ð

1

Ł ðý

1

− Š− ¼ Ł Ł ¼ Ł ¼ Ł ¼ Ł Ł ¼ Ł ¦ Ł ðý Ł Ł 1

Ý −−

Ł ¼ Ł 5

1

2

Ł Ł ¼ 3

3

Ł ¼ Ł

Ł Ł Ł ¼ ¦Ł ¼ 5

2

5

1

Ł Ł Ł 5

2

1

MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES WITH ROMAN NUMERAL CHORD SYMBOLS

9780199326204_Mach_TxT.indb 584

5/27/15 9:32 AM

24

Piano 1

Piano 2

! !

− Š − ðý

Piano 2

!

ý Ł ð

5

4 2 1

− Š − ðý

¼ ðð ð \ Ý −− Ł Ł Ł ð ý 30

!

ð ]\ ð

Ý −− ð ý

2

Piano 1

Ł ðý

1

1

3

2

3

ð

Ł ðý 1

Ł

ð

3

ðý

ðý

4

2.

¼  ðý ¼  ðý

ðý

ðý

rit.

ðý

ðý

− Š − ¼ ŁŁ ŁŁ ¼ ŁŁ ŁŁ ¼ ŁŁ ŁŁ  ¼ Ł ŁŁ ¼ Ł ŁŁ ðð ýý ðý Ł Ł Ł Ł Ł Ł 1.

Ý −−

2.

rit.

ðý

ðý

ðý

 ðý 1

ðý 3

Ensemble Pieces

9780199326204_Mach_TxT.indb 585

Ł

ð

ðý

ð

1

Ł ðý

ðý

Ý −− Ł Ł Ł ð ý

4

3

¼ Ł ŁŁ ¼ ŁŁ Ł Ł Ł

ð

1.

1

¼ ððð ¼ ðð ð

− Š − Ł Ł Ł ðý 1

ð

ðý

|585

5/27/15 9:32 AM

This page intentionally left blank

9780199326204_Mach_TxT.indb 2

5/27/15 9:24 AM

UNIT 13

THIRTY-ONE PIANO CLASSICS

T

his unit consists of thirty-one solo keyboard pieces from the Baroque, Classical, Romantic, and Contemporary periods. Each piece varies in difficulty, style, length, and form. The pieces have been arranged by period rather than by degree of difficulty.

Thirty-One Piano Classics

9780199326204_Mach_TxT.indb 587

|587

5/27/15 9:32 AM

1. ​TAMBOURIN

Jean-Philippe Rameau (1683–1764)

² . Ł l Łl Š 0 Łm Ł Ł [ ݲ. Ł ¼ 0Ł Presto

!

1

l Ł l Ł Š Łm Ł Ł \ ݲ Ł ¼ Ł 5

!

1 5

²

ŁŁ

Łm Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł l l 5

ŁŁ

¼

l Ł lŁ lŁ Łl ŁŁ

¼

ŁŁ

¼

Łm Ł Ł Ł Ł Ł Ł Łm ][ ŁŁ ŁŁ ¼

¼

Łl  ¼

1

1

4

1

3

3



1

² ŁŁŁ ŁŁŁ ŁŁŁ ŁŁŁ ŁŁ Ł Ł Ł Ł Ł Ł Ł Ł Ł Łm Łl  Š Ł [ ݲ Ł ŁŁ ŁŁ ŁŁ ¼  ¼ ¼ ¼ Ł 13

!

5

T R ACK 2 0 8

l ²  Łm Ł Ł Ł Łl Łl Łl Łl Łl Ł Łm Ł Ł Ł Ł ŁŁ ŁŁŁŁŁŁŁŁ Š ][ ݲ Ł ŁŁ ¼ ŁŁ ŁŁ ¼ ¼ ¼ Ł 9

!

l Ł lŁ Łl lŁ

T R ACK 2 0 8

EBSI

TE

W

The tambourin is a lively dance usually in duple time, popular in the French theater. It has a fast-moving melody with a repeated drone figure in the bass.

588|

2

1

2

1

cresc.

Thirty-One Piano Classics

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5/27/15 9:32 AM

W

Jean-Philippe Rameau (1683–1764)

T R ACK 2 0 9

Thirty-One Piano Classics

9780199326204_Mach_TxT.indb 589

EBSI

TE

2. ​RONDINO

T R ACK 2 0 9

|589

5/27/15 9:32 AM

from the Notebook for Anna Magdalena Bach

Johann Sebastian Bach (1685–1750)

590|

T R ACK 210

EBSI

TE

W

3. ​MINUET IN G 

T R ACK 210

Thirty-One Piano Classics

9780199326204_Mach_TxT.indb 590

5/27/15 9:33 AM

Thirty-One Piano Classics

9780199326204_Mach_TxT.indb 591

|591

5/27/15 9:33 AM

4. ​ALLEMANDE The dance suite was an important instrumental form of the Baroque period (roughly 1600–1750). It consisted of a series of short dances or movements that were usually in AB (binary) form. A suite opened with an optional prelude, followed by an allemande, a courante, a sarabande, then one or more optional dances—such as a minuet, a bourrée, or a gavotte—and ended with a gigue. The allemande is a German dance (allemande in French means “German”) in time with a moderate tempo. An allemande is frequently the first movement in a dance suite.

Johann Hermann Schein (1586–1630)

!

²

Moderato

Š ŁŁŁ Ł ŁŁ Ł ŁŁð ]\ Ł Ł ð ݲ ð ð 1

2

² Ł ²Ł Ł Ł Ł Š

ð

ð

Ł Ł Ł

ð

ð

5

!

ݲ Ł 9

!

Š

²Ł

Ł Ł Ł Ł Ł

ݲ Ł

592|

4

2

Ł Ł

Ł

ŁŁŁ Ł ŁŁ Ł ŁŁŁ Ł ][ ð Ł Ł Ł Ł ð Ł Ł ð  Ł Ł ð [ ][ Ł Ł Ł Ł  ð ð 5

2

Ł Ł Ł Ł Ł Ł

T R ACK 211

1

4

dim.

T R ACK 211

EBSI

TE

W

44

Ł Ł Ł 5

1

Ł Ł Ł Ł Ł

ð

Ł Ł Ł

ð

Ł

ð ð ðð

 

Thirty-One Piano Classics

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5/27/15 9:33 AM

5. ​SARABANDE

Arcangelo Corelli (1653–1713) Largo

!

Š − /0 Ý−/ 0 5

!

ð Ł

Ł 5

[ Ý −  ²Ł Š

−Ł 4

¦Ł ý Ł

\ Ý− Ł 3

Ł ð

Ł

Łý

ð

Ł

²Ł

Ł

Ł

2

Ł 1

2

Ł

Ł

Ł

ð

1

ð 5

Ł

dolce

1

Š− ]\ Ł Ý−

13

!

\ Ł

5

Š− 

Ł

4

Ł

9

!

Ł

Ł Ł

Ł

ð ¦Ł

3

Ł ²Ł ý 2

Łý 1

2

1

ð

Ł  2

3

ð

Ł

Ł

][ Ł

1

`ð

Ł

ð

Ł

ð −Ł ý 1

Ł

ð

Ł  2



Ł

Ł

ŁŁŁŁŁŁŁ

Ł 

2

Ł

Ł

3

1

Ł

ð ðý 2



ðý



2

Thirty-One Piano Classics

9780199326204_Mach_TxT.indb 593



ðý

Ł Ł `Ł ý Ł

T R ACK 212

²Ł Ł Ł ²ð ý 

2

Ł Ł  Ł Ł 

4

3

5

ŁŁŁŁŁŁŁŁ

Ł 

Łý

Ł

T R ACK 212

EBSI

TE

W

The sarabande is a slow, stately Spanish dance in triple time, frequently played with an accent on the second beat of the measure. This sarabande contains two trills in measures 4 and 15. A trill (tr) is an even alternation of two adjacent tones. Play the trills as written out in small notes.

|593

5/27/15 9:33 AM

6. ​MINUET IN A MINOR

34

Johann Krieger (1651–1735)

ðý

Moderato

Ł Ł Š /0 ! Ý ]\ð ý /0 4

Ł

5

4

4

Ł Ł Ł ²Ł Š Łý !Ý Ł  ð Ł Ł 1

9

2

Ł Š Ł Ł ! Ý ][ð Ł  Ł Ł Łý Š !Ý Ł Ł Š

!Ý 594|

ðý

Ł

Ł

1

Ł ý Ł Ł Ł ²Ł Ł Ł  Ł Ł Ł Łý Ł Ł  1

2

ðý

Ł

ðý Ł Ł Ł

Ł Ł Ł \ ðý

Ł Ł Łý

Ł Ł ðý

4

4

Ł 2

Ł

 

Ł Ł Ł Łý Ł Ł 

2

3

4

Ł

Ł

Ł Ł ðý

Ł Ł Ł ][ Ł Ł Ł Ł Ł Ł

Ł Ł Ł ]\ Łý Ł Ł Ł ðý 

Ł Ł ðý

Ł

ðý

1

Ł Ł Ł 4

Ł

2

Ł 4

Ł Ł Łý

2

4

2

20

Ł

T R ACK 213

ðý

Ł

Ł

Ł Ł Ł ðý ]\ Ł Ł Ł ð Ł

2

1

15

Ł

Ł

Ł

1

Ł Ł \ ðý

T R ACK 213

EBSI

TE

W

The minuet is a graceful seventeenth-century French dance in time with a moderate tempo. Its name is derived from the French word menu (“small”), in reference, perhaps, to the small steps taken by the dancers.

Ł

ðý

 

Thirty-One Piano Classics

9780199326204_Mach_TxT.indb 594

5/27/15 9:33 AM

7. ​GAVOTTE

44 time, with a moderate tempo. It usually starts on the Johann Georg Witthauer (1750–1802)

Moderato

!

l m Š ‡ Łl Ł ð \ Ý ‡ ¼ Łl ²Ł Ł

!

l Š  Ł ][ Ý  ²Łl

1

1

2

2

Łl Łl

Łl Łl ²ð m Łl Łl Ł Ł 2

1

Ł Ł Łl \ ðm ²Łl

3

Łl Łl

1

T R ACK 214

Łl Łl

T R ACK 214

Ł Ł Ł Ł Ł Ł ²ð  m Ł l Łl Łl Łl ²Ł Ł Ł Ł  1

Ł Ł Łl ][ ðm ²Łl

2

1

3

2

1

Łl

Ł Ł Ł Ł Ł ²Ł ð

Łl

Ł Ł Łl

2

1

2

4

Łl 1

Thirty-One Piano Classics

9780199326204_Mach_TxT.indb 595

EBSI

TE

W

The gavotte is a French dance in third beat of the measure.



1

Ł  Ł 5

1

|595

5/27/15 9:33 AM

W

from Notebook for Wolfgang Leopold Mozart (1719–1787)

T R ACK 215

EBSI

TE

8. ​BURLESKE 

T R ACK 215

Allegro

!

l Ł Łl Ł Ł Ł ². Ł Ł Łl Ł Ł Łl Ł Ł Łl Ł Ł Ł Ł Ł Š 0Ł [ Ł Ł Ł Ł Ł Ł ݲ. Ł Ł Ł Ł Ł Ł 0Ł Ł 1

5

4

3

4

4

2

1

LH detached throughout

l Ł Łl Ł Ł Ł Ł Ł Łl Ł Ł Łl Ł Ł Łl Ł Ł Ł Ł Ł Š Ł Ł \ Ł Ł Ł Ł Ł Ł ݲ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ²

4

!

²

1

8

!

Š

Ł

5

Ł

3

Ł

Łl Ł Ł Łl Ł Ł Ł 2

[ Ł Ł ݲ Ł Ł Ł Ł Ł Ł

4

5

4

2

Ł

4

Łl Ł Ł Łl Ł Ł 4

\ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł

q l Ł Łl Ł Ł Ł Łl Ł Ł Ł Ł Ł Łl Ł Ł Łl Ł Ł Ł Š Ł ŁŁŁ [ q Ł Ł Ł Ł Ł Ł Ł ݲ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ²

13

!

Ł

4

596|

1

4

4

4

poco rit.

Thirty-One Piano Classics

9780199326204_Mach_TxT.indb 596

5/27/15 9:33 AM

W

(Trio)

Franz Joseph Haydn (1732–1809)

!

Ł − Š − − .0 Ł Ł Ł Ł ¹ \ ŁŁŁl Ý −− . ŁŁŁl −0 1

1 3 5

5

! !

− Š−− Ý −− −

3

1

ŁŁŁl

Ý −− ŁŁŁl −

13

!

ŁŁŁŁŁ ¹ 

Ł − Š − − Ł Ł Ł Ł ¹

n  (−) Ł Ł  [l Ł  ŁŁ

9

1 3 5

ŁŁŁl

Ł − Š − − Ł Ł Ł Ł ¹ 1

Ý −− ŁŁŁl −

Łl 

ŁŁŁl

ŁŁŁl

2

3

ŁŁŁl

1

ŁŁ

3

lŁ Łn  ŁŁl Ł

ŁŁ Ł 1 2 5

Łl  4

ŁŁl Ł

1 3 5

ŁŁ



1 3

Ł Ł Ł Ł Łl Łl ŁŁŁl

ŁŁŁl

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Łl Łl ¦Ł  Ł 2

ŁŁŁl

1

ŁŁŁl

3

2

ŁŁ Ł

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¦ ŁŁ

2

ŁŁŁl

ŁŁŁl

ŁŁŁl

ŁŁŁŁŁ ¹ 

¦ ŁŁŁl

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Łl Łl ¦Ł Ł 

4

ŁŁŁl

ŁŁl Ł 1 2 5

Ł Ł Ł Ł Łl Łl

5

1

ŁŁŁl

ŁŁŁl

5

ŁŁŁl

ŁŁŁl

T R ACK 216

Łl Ł Łl Łl  Ł Ł Ł Łl Łl

ŁŁŁŁŁ ¹ 

Allegro

T R ACK 216

EBSI

TE

9. ​GYPSY DANCE 

ŁŁ



|597

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W

Wolfgang Amadeus Mozart (1756–1791)

T R ACK 217

EBSI

TE

10. ​MINUET IN C

T R ACK 217

Andante

!

Ł Ł ²Ł Ł ð Ł Ł ²Ł Ł ð ð ð / Š0 \ ]\ Ł Ł Ł Ł Ł Ý/ ¼ Ł Ł Ł ¼ ¼ ¼ 0 Ł Ł Ł ²Ł Ł Ł Ł Ł ý ²Ł Ł Ł Ł Ł Š Ł  Ł ²Ł ²ðm  ][ Ł Ł Ł ¦Ł Ł Ł Ł Ł Ł ݼ Ł Ł  2

2

3

2

1

5

!

2

1

1

5

2

Š ð ]\ Ý ¼ Ł 2

3

13

!

4

2

9

!

3

Ł Ł

Ł ²Ł ð

Ł

¼

1

3

Ł

1

¦ð \ ¼ Ł

Ł

5

Ł

1

3

Ł

Ł

1

1

2

3

Ł Ł ð Ł

¼

1

Ł

 Ł  Š Ł Ł Ł Ł Ł Ł Ł ý ²Ł Ł Ł Ł Ł Ł Ł Ł ð ][ Ł Ł ÝŁ Ł Ł Ł Ł Ł  Ł Ł Ł Ł

598|

1

1

2

3

4

2

2

1

1

3

2

5

1

2

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Ludwig van Beethoven (1770–1827)

W

Op. 107, No. 3 T R ACK 218

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EBSI

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11. ​RUSSIAN FOLK SONG 

T R ACK 218

|599

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Op. 100, No. 2

EBSI

TE

W

12. ​ARABESQUE 

An arabesque is described as a short, fanciful musical piece.

Johann Burgmüller (1806–1874)

600|

T R ACK 219

T R ACK 219

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( from Forty-Three Piano Pieces for the Young, Op. 68)

Robert Schumann (1810–1856)

T R ACK 2 2 0

EBSI

TE

W

13. ​MELODY 

T R ACK 2 2 0

Ł Ł Ł Ł Ł Ł Ł Ł ŁŁŁŁŁ Ł ²ŁŁ Ł ¼  Ł Š ! \ Š ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ ŁŁŁŁ Ł  Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ý Ł Ł Ł Ł Ł Ł Ł ¼ Ł ¦Ł Ł Š ¼ ]\ Š ¦ Ł Ł Ł Ł Ł Ł ²Ł Ł Ł Ł Ł Ł Ł ²Ł Ł ¦ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ² Ł Ł Ł Ł Ł Moderato

5

5

5

5

!

5 4

4

3 1

Ł Ł Ł Ł Ł Ł

5 3

5

4

2

3

2 1

2

3 2

3

3

4

1

5 4

3

2

5

5

4

3 2

Ł Ł Ł Ł ŁŁ Ł ŁŁ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ¼ Ł Š \ ŠŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁ

17

!

5

4

ŁŁŁŁ ŁŁ Ł Ł Ł Ł Ł Ł Ł Ł Ł ¼ Š Ł \ ŠŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ ŁŁŁŁŁŁŁŁ Ł Ł Ł Ł Ł Ł Ł Ł Ł ý Ł Ł Ł Ł Ł Ł Ł Ł ¦Ł Ł ¼ ¼ Š ]\ Š Ł Ł Ł Ł Ł Ł ²Ł Ł Ł Ł Ł Ł Ł ²Ł Ł ¦ Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ² Ł Ł Ł Ł Ł

13

!

1

3

2

9

!

1

3

4

3

2

3 2

5 3

3

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Cornelius Gurlitt (1820–1901)

T R ACK 2 21

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EBSI

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14. ​NIGHT JOURNEY

T R ACK 2 21

|603

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15. ​SONATINA IN C MAJOR 

Op. 39, No. 1 (First Movement)

A sonata is an instrumental composition, usually containing three or four movements. Each movement has its own specific form. A sonatina is sometimes called a “little sonata,” because it is usually shorter and simpler. The first movement is usually written in a sonata form (sometimes also referred to as sonata-allegro form). The sonata-allegro form consists of three sections. Section 1: Exposition—Two main themes are stated. The first theme is in the tonic key and the second theme is usually in the dominant. The section may conclude with a coda (“tail”), or winding-up passage. Section 2: Development—The themes and other materials from the exposition are treated freely.

Frank Lynes (1858–1913)

604|

T R ACK 2 2 2

EBSI

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W

Section 3: Recapitulation—There is a restatement of the material in the exposition, but not an exact repetition. The second theme usually appears in the tonic. A coda may follow the recapitulation to bring the movement to its close.

T R ACK 2 2 2

Thirty-One Piano Classics

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|605

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606|

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Op. 63, No. 1

Jean Louis Streabbog (1835–1886) Allegro moderato 1

3

1 3 5

1 2 4

4 1

3

1 3 5

1

1

1 3 5

7

3

1 2

3

1 2 5

T R ACK 2 2 3

1

3

1

1

T R ACK 2 2 3

EBSI

TE

16. ​A PLEASANT MORNING 

4

1

3

3

1 3 5

1 2

1 2 5

10 3

2

1 2 5

1 3 5

2

3

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14

3

1

3

17 1

3

1

1

1 3 5 1

4

1

3

1 3 5

3

3

1

1

3

1 2 4 2 1

23 3

2

1 2 5

1 3 5

1

3

1 2

5 2 1

5

1

3

5 2 1

1

5

608|

1

1 2 4

20

26

2

3

3

5

1

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Peter Ilyich Tchaikovsky (1840–1893)

T R ACK 2 24

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EBSI

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17. ​ITALIAN SONG

T R ACK 2 24

|609

5/27/15 9:33 AM

610|

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Ludvig Schytte (1848–1909)

W

Op. 108, No. 7 T R ACK 2 2 5

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18. ​ETUDE IN D MAJOR 

T R ACK 2 2 5

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Vladimir Rebikoff (1866–1920)

ÿ

ÿ

Andante pesante

!

Š .0

Ý . ][ 0 Łl Łl Łl Łl ÝŁ Ł Ł ! lm lm m Ý Łl Łl Łl Łl Ý −ŁŁm ŁŁm ! [ Ý Łl Łl Łl Łl Ý −ŁŁml −ŁŁml ŁŁm 6

3

11

4 2

16

!

Ý 26

Ý

2

Łl

Łl

Łl

Łl

3

Łm

Łl

Łl

Łl

Łl

Łm Łl

Łl m m −ŁŁl −ŁŁl 5 3

Ý

4 2

Łl ŁŁm

Łl

Łl

3

¦ Łm [

Łl ][ ²Łml Łl m

Łm

Łl

Łl

Łl

3 1

Łl

Łl

Łl

Łl

2

Łl

Łl

Łl

Łl

Łl

Łl

Łl

Łl

Łl

Łl

Łlm Łlm Łlm Łlm Łl

Łlm Łlm Łlm Łlm ðm Łl

Łl

Łl

Łl

Łl

3

Łl

Łl

4 2

2 1

4 2

Łl

Łl

Łl

Łl Łl l l m ²ŁŁ ŁŁ ²ŁŁ ŁŁ ¦−ŁŁ ŁŁ ŁŁ lm ml lm lm

Łl m ²ŁŁ ŁŁ ²ŁŁ ŁŁ ¦−ðð lm lm lm lm Łl

Łl

Łm [

Ł ][l ²Łml Łl Łm m

Łl

Łl

3

Łl m −ŁŁ ]\

Łl

Łl

Łl

Łl ŁŁm

Łl

Łl

Łl

Łl

Łl

Łl

Ł Łl \l ²Łml Łml Łm 4

Łm Łl

T R ACK 2 2 6

2

²Łml Łml Łm

Łm

3 1

Łl

4

T R ACK 2 2 6

EBSI

TE

19. ​THE BEAR

Łl

Łl

Łl

Łlm Łlm Łlm Łlm Łm ¼ !Ý \\ \ Łl Łl Łl Łl Łl Łl Łl Łl Łl Łl Ł ¼ Łl Łl Łl Łl Łl Łl Łl Łl Łl Łl Łm 612|

Łlm Łlm Łlm Łlm Łlm Łlm Łm

Łm

dim.

Łm

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20. ​SPRINGTIME SONG 

Béla Bartók (1881–1945)

T R ACK 2 2 7

EBSI

TE

W

No. 2 from For Children, Vol. 1

T R ACK 2 2 7

Andante

Š .0 Łm Ł Ł ! Ý \m Ł .0 ŁŁ ŁŁ 3

Łm ŁŁm

dolce

2 4

6

!

3 5

1 5

Ł ŁŁ

¼ Ł Ł

1 4

1

Ł Ł Ł Ł − ŁŁ ¼

2 4

Šð Ý ŁŁ Ł

ŁŁ

dim.

1 2

ÿ Ł

Ł

ð ððð

3

ŠŁ ¼ Ý ŁŁ ² ŁŁ 18

!

3

ŠŁ Ł Ł Ł Ý ðð 12

!

2

Łm Ł Ł ŁŁm ŁŁ Ł

¼

2

ÿ

1 4

¼ Ł Ł Ł Ł ŁŁ Ł ²ŁŁ ¼ 2 5

1 5

Ł Ł

Ł

ŁŁ

1 3

1 2

¼ Ł Ł Ł ¼

Ł Ł Ł ŁŁ Ł −ðð ¼

3

1 3

Ł Ł

Ł

ð ŁŁ Ł

Ł Ł Ł Ł ð \ð ðð ð 2 4

¼ ŁŁ

2 5

2 5

2

ÿ

ŁŁ

Ł Ł Ł Ł \\ −ŁŁ ÿ

Ł

Ł Ł Ł Ł

¼

Ł Ł ðð

3 5

24

Š Ł ! Ý −Ł Ł

¼

ÿ

Ł Ł Ł Ł ðð ŁŁ

Łm ŁŁm

ð ð ð 1 5

q \\ðq ðð 1 2

Springtime Song by Béla Bartók. © Copyright 1946 by Boosey & Hawkes, Inc. Sole agents for Benelux States, British Commonwealth, France, Italy, Portugal, Scandinavian States, Spain, Switzerland, United Kingdom, USA. Editio Musica Budapest for all other countries. Reprinted by permission.

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Alexandre Tansman (1897–1986)

614|

W

(To the Garden) T R ACK 2 2 8

EBSI

TE

21. ​AU JARDIN 

T R ACK 2 2 8

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² Š /0

Moderato

!

[n l l Ý ² / Ł Łl Ł Łl 0

!

Š

²

ÿ

Łnl Łl Łl Łl ݲ Š

²

ÿ

²

Š Łl Łl Łl Ł Ł ll 1

²

19

!

n Łl Ł Ł Ł lll

Š

ݲ

ÿ

Łnl Łl Łl Łl

3

Łnl Łl Łl Łl ÿ

\l l l Ł Ł Ł Łl Łl

5

ÿ

ÿ Łl Łl Łl Łl Łl

W T R ACK 2 2 9

ÿ

n Łl Łl Łl Łl ÿ

lll Łl Łl Ł Ł Ł ÿ

5

lŁ Łl Łl Łl Łl

ÿ

1

ÿ

Ý

[n Łl Łl Łl Łl

Š

nl Ł Łl Łl Ł l ÿ

5

ÿ

Łnl Łl Łl Łl

n Łl Łl Łl Łl ÿ

ÿ

Łnl Łl Łl Łl

n Łl Ł Ł Ł l l l

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T R ACK 2 2 9

1

lŁ Łl Łl Łl Łl

ÿ

EBSI

3

1

5

Łl Łl Łl Łl Łl

Łnl Łl Łl Łl

Łnl Łl Łl Łl

Łl Łl Łl Łl Ł l

1

ÿ

ÿ

ÿ

1

5

ÿ

Łnl Łl Łl Łl

ÿ

ÿ

1

13

!

nl Ł Łl Łl Ł l

1

7

Dmitri Kabalevsky (1904–1987)

3

ÿ

(Op. 39, No. 7)

TE

22. ​A CONVERSATION 

ÿ

|615

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(No. 2 from Mountain Idylls) Alan Hovhaness (1911–2000)

Allegro (äý = 100–120)

T R ACK 2 3 0

EBSI

TE

23. ​MOON DANCE 

T R ACK 2 3 0

Ł Ł Ł Łý ý Łý Ł Ł Ł Ł Łý Łý Łý ý Ł Ł Ł 2 Š4  ! \ \\ Š 42 Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł 1

1

1

1

3

5

5

Ł Ł Ł Łý

5

Łý

Ł Ł Łý Łý ý Ł ŁŁ  Š  ! ]\ Ł ŠŁŁŁŁŁŁ ŁŁŁŁŁŁ ŁŁŁŁŁŁ ŁŁŁŁŁŁ ŁŁ ŁŁŁ Łý Łý Ł Ł Łý Ł Ł Ł Łý Łý Łý Ł Ł Ł Łý  Š ! \ ŠŁŁŁŁŁŁ ŁŁŁŁŁŁ ŁŁŁŁŁŁ ŁŁŁŁŁŁ ŁŁŁŁŁŁ Łý Łý Ł Ł Łý Łý Łý Ł Ł Łý Łý Łý ý   Š Ł Ł Ł ! \ \\ Ł Š ŁŁŁŁŁŁ ŁŁŁ ŁŁŁ ŁŁ ŁŁŁ ŁŁŁŁŁŁ ŁŁŁŁŁŁ ŁŁŁŁŁŁ ŁŁŁ Ł Ł Ł Łý Ł Ł Ł Łý Ł Łý Ł ŁŁŁ Š  ² Ł ý ðý ðý Ł ŁŁ Ł Ł Ł Ł Ł Š Ł ŁŁ ŁŁ ŁŁŁ ŁŁ ŁŁŁ 6

11

Ł Ł Ł Łý 1

1

4

3

4

1

4

16

22

4

3

!

3

1

(hold pedal to end)

4

3

Moon Dance by Alan Hovhaness. Copyright 1955 (Renewed) by Associated Music Publishers, Inc. (BMI) International Copyright Secured. All Rights Reserved. Reprinted by Permission.

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Robert Starer (1924–2001) Allegretto

!

Š 00 ð ][ Ý 0 ðð 0 3

3 5

5

!

Ý 0 ðð 0 8

!

3 5

Š 00 ð

ð

ð ðð

Ý 0 ðð 0

ðð

Š 00 ð

/0 ²ðð 2 4

ð

ŁŁ

/0 Ł

¦Ł

ŁŁ

ŁŁ

00 ¦ ðð

ð ðð

Ðý 02 02 −ðð

00

01 −−ðð

00

ðð

2 4

20 −ðð

ðð

ŁŁ

00

−¦ ðð

Ł Ł Ł Ł Ł 01 10 ¦²ðð

ðð −¦ ðð

ðð

ŁŁ

00 Ð

00 00 00

00 ÐÐ

Evens and Odds by Robert Starer. Copyright © 1979 UNIVERSAL MUSIC CORP. This arrangement © 2010 UNIVERSAL MUSIC CORP. All Rights Reserved. Used by Permission. Reprinted by permission of Hal Leonard Corporation.

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T R ACK 2 31

10 Ł −Ł Ł −Ł Ł 02 Ðý

Ł

00 ð

/0 Ł −Ł −Ł

/0 −−ðð

ðð

ŁŁ

/0 Ł −Ł −Ł /0 −−ðð

ð

00 ðð

/0 ²ðð

ðð

Ý 0 ¦ ðð 0 12

!

ðð

Š 00 ð

00 ð

/0 Ł Ł Ł

ð

T R ACK 2 31

EBSI

TE

24. ​EVENS AND ODDS

|617

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William L. Gillock (1917–1993) Slowly, with a singing tone

Š /0 Ł Ł Ł ! Ý ][ ÿ /0 1

4

ðý ¼

6

ŠŁ Ł Ł

!Ý 11

!

Ý Ý

17

ðý

5

ÿ

1

Ł −Ł Ł ÿ

¼ ðý

1 3 5

ðý

ŁŁŁ ŁŁŁ

¼ ðým 3

ŁŁ ŁŁ Ł Ł

¼

1 2 5

5

Ł Ł Ł ÿ

ŁŁŁ ŁŁŁ

5

¼

ðý

1

ŁŁŁ ŁŁŁ

¼ Ý

ŁŁŁ ŁŁŁ 1 3 5

Ł Ł Ł ÿ

Ł Ł ²ŁŁ ŁŁ

ðý

1

4

Ł −Ł Ł ÿ

¼

¼

Ł Ł ²ŁŁ ŁŁ

² ŁŁŁ ŁŁŁ 1 3 5

q 𠼊 ðððq ¼Š

Fine

3

ðmý

T R ACK 2 3 2

1

1 2 5

3

T R ACK 2 3 2

EBSI

TE

25. ​AUTUMN IS HERE

ðý

ŁŁŁ ŁŁŁ

poco rit.

¼

1 3 5

1 2 5

1 3 5

Š Ł Ł Ł Ł Ł Ł Ł Ł Ł ðý Ł Ł Ł ðý Ł Ł Ł ðý ! [ ][ð ý ð ý ]\ð ý ðý Ý Š ðý ðý ðý ðý 25

!

1

1

1

3

2

2

ŠŁ Ł Ł Ł Ł Ł \ð ý ²ð ý Ý 1

1

Ł Ł Ł ðý 2

Ł Ł Ł ðý

4

3

ðý ðý

dim.

4

2

1

ðý ²ð ý

ðý ²ð ý

D. C. al Fine

ðý ðý 5

Autumn is Here by William Gillock. © 1964 by The Willis Music Co. This arrangement © 2010 by The Willis Music Co. International Copyright Secured. All Rights Reserved. Reprinted by permission of Hal Leonard Corporation.

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Blues No. 1 Christopher Norton

T R ACK 2 3 3

EBSI

TE

26. ​MICROJAZZ I 

T R ACK 2 3 3

Steady 4 ( = c. 120) 5

5

1

4

1 5

2

1

1

8

3

12

5

2

5 3 1

4 2 1

5

5 2 1

3

5 3 1

3

3 5

2

15

dim.

Blues No 1 from MICROJAZZ I FOR PIANO by Christopher Norton © Copyright 1983 by Boosey & Hawkes Music Publishers Ltd. Reprinted by permission.

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George Peter Tingley

T R ACK 2 3 4

EBSI

TE

27. ​EARLY SPRING

T R ACK 2 3 4

Quietly optimistic

!

²² Ł Š ‡ ðý \ Ý ²² ‡ ¼ Ł ð 3

ð ¼ Ł

5

² Š ² ðý

!

²² ð ý Š

!

Ł ð

ðý ¼

1

1

2

cresc.

Ý ²² ¼ Ł ð 1

5

simile

3

²² Š ðý 13

ð Ł ¼

5

Ł

Ł

Ł Ł

ð

3

ðý ¼

Ł

Ł ð

ð ¼ Ł

Ł Ł

ð

ð Ł ¼

5

Ý ²² ¼

3

ðý

Ý ²² ¼ Ł ð 9

!

Ł

cresc.

Ł

1

ðý

ð ¼ Ł

4

5

Ł Ł

ð

Ł

ðý

ðý 1

¼

ðý

Ł

ðý

Ł −

Ł

1

dim. e riten.

5

ŁŁ ð ¼

1

ðý Ł ][ ¦Ł ð ¼ 1

Ł ðý ]\ \ ð Ł ¼

2

Ł ð

Ł

¼

²Ł ð

()

2

−

“Early Spring” by George Peter Tingley. © 1998 ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved. Used by Permission of ALFRED MUSIC.

620|

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17 a tempo

!

Š − ðý \ Ý− ¼ Ł ð

Ý− ¼

ðý − Š

ð

Ł

ðý

ð Ł ¼

Ł

ðý

3

Ł ð

Ł

5

3

Š− ¼ Ł ð Š − ðý 2

Ý− ¼ 33

!

Ł ð

Ł Ł

¼

Ł Ł

ð 1

Š−

Ł

1

Ł

ð

¼ Ł ð ðý

2

1

ðý ]\

Ł

riten.

Ł

¼

ð

Ł

ð

Ý− ¼

Ł ð

ðý

a tempo 5

ðý \

¼

Ł

ð

Ł

¼

3

ðý

Ł

¼ Ł ð ¼

Ł Ł Ł 5

5

2

1

Ý 1

Ł

5 1

Ð Ð Ð

Thirty-One Piano Classics

9780199326204_Mach_TxT.indb 621

Š

Ł

¼ ŁŁ ð

1

¼ Ł ð

rall.

Ł

1

¼ Ł ð

ðý

dolce

ðý

2

2

Ł Ł

Ł ð

4

ðý

¼ Ł ð

Ł

][ \ ¼ Ł ð

¼ Ł ð

Ł

2

ðý

4

cresc.

29

!

Ł

Š − ðý 1

25

!

ðý ¼

5

21

!

Ł

3

|621

5/27/15 9:34 AM

l Ł Ł Ł Ł Ł Ł Ł Ł

Ý −− 0 ¼ 0 [ Ý −− 0 Ł ð ý 0 Ł Ł ðý Moderato 1

!

5

5

!

Ý −− ¼

Ý −− Ł ð ý Ł Ł ðý 9

!

l Ł ŁŁ ŁŁ Ł ŁŁ

¼

¼

Ł ŁŁ ðð ýý

1

1

2

622|

W

4

ðð ð

2nd time to Coda |

ð 1

Š

ð 5

8va

1

1

ÐÐ 3

ÐÐ

ŁŁ¼ ŁŁ¼

Ð

T R ACK 2 3 5

ŁŁŁŁŁŁŁŁ Ð

3

− Š− Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð Ð Ý −− Ð

ý Ł ŁŁ ðð ý ŁŁŁl ŁŁŁl ² ¼ ¼

l Ł ŁŁ ŁŁ Ł ŁŁ

T R ACK 2 3 5

l Ð Ł Ł Ł Ł Ł Ł Ł Ł ²Ð

¼

Ł ŁŁ ðð ýý

− Š− Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð ][ Ð ÐÐ Ý −− Ð 13

!

l Ł Ł Ł Ł Ł Ł Ł Ł

Carolyn Miller

EBSI

TE

28. ​FESTIVE DANCE

Ðð ð

2

4

2

Ð

ðð

ð

Ł Ł Łl ²Ł ¦ Ł Łl ðð

3

D.C. al Coda

Ý

ð

Festive Dance by Carolyn Miller. © 1996 by The Willis Music Co. This arrangement © 2010 by The Willis Music Co. International Copyright Secured. All Rights Reserved. Reprinted by permission of Hal Leonard Corporation.

Thirty-One Piano Classics

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| − Š− Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð ][ Ð ÐÐ Ý −− Ð 17

!

Coda* 1

4

3

1

ÐÐ

Š

2

2

Ð

− Š − ÐÐ

ðð

ðð

ð

ð

ý Ł ŁŁ ðð ý l Ł Ł Ł Ł Ł Ł Ł Ł ¼

ðð

ð ²ŁŁŁl

Ý −− ¼

Ý −− ¼ Ý −−

ÐÐ

l Ł ŁŁ ŁŁ Ł ŁŁ

[ Ý −− Ł ð ý Ł Ł ðý

¼

l Ł ŁŁ ŁŁ Ł ŁŁ

ý Ł ŁŁ ðð ý

Łl Ł Ł Ł Ł Ł Ł Ý −− Š 32

!

2

Ł Ł Łl ²Ł ¦ Ł Łl

29

!

1

ÐÐ

3

25

!

2

−− Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł ð Š 21

!

Ł Ł Ł Ð Ł Ł Ł Ł Ł

3

1

Ý −− Ð Ð

l Ł Ł Ł Ł Ł Ł Ł Ł

Ł ŁŁ ðð ýý ¼

l Ð Ł Ł Ł Ł Ł Ł Ł Ł ²Ð

¼

ŁŁŁl ¼

Ý Ý

Ł ŁŁ ðð ýý

Ł Ł ¼ Ł Ł ¼ nl l l Ł Ł Ł Ł ¦ Ł ²Ł Ł Ł ¼ Ł Ł ¼ Ł Ł Ł Ł Ł Ł l Ł 1

1

ÐÐ

ÐÐ

2

1

Łl

¼ ŁŁl ¼ n

*Coda means “a tail.”

Thirty-One Piano Classics

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|623

5/27/15 9:34 AM

W

Lynn Freeman Olson (1938–1987)

T R ACK 2 3 6

EBSI

TE

29. ​RAZZ-MA-TAZZ

T R ACK 2 3 6

Fast, happy

44

6

4

5

1

3 5

2 5

2 4

11 4

2 4

3 5

16

2 4

2 4

3 5

5

From HILLEY/ OLSON. Piano for Pleasure, 3E. © 1998 Wadsworth, a part of Cengage Learning, Inc. Reproduced by permission. www.cengage.com/permissions

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30. ​PRELUDE NO. 7 IN B MINOR 

(Chaconne)

Robert D. Vandall Stately 1

3

T R ACK 2 37

EBSI

TE

W

The prelude is a short character piece that establishes and maintains a particular mood. This piece is based on a continuous variation of a series of chords, which is called a chaconne.

T R ACK 2 37

3

1

1

5 1

3

1

1

9

2

4

1

1

2

4

2

1

2

5

1

3

5

cantabile

1

4

“Prelude No. 7 in B Minor” by Robert Vandall. © 2006 ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved. Used by Permission of ALFRED MUSIC.

13 2

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|625

5/27/15 9:34 AM

1

4

13 2

17

3

3

cantabile

5

2

1

1

2

5

simile

21 3

2

25

1

3

1

3

29 2

626|

Thirty-One Piano Classics

9780199326204_Mach_TxT.indb 626

5/27/15 9:34 AM

1

3

1

3

29 2

1

33

2

1

1

37 1

2

4

rit.

Thirty-One Piano Classics

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|627

5/27/15 9:34 AM

Catherine Rollin

628|

W T R ACK 2 3 8

EBSI

TE

31. ​TO B OR NOT TO B FLAT

T R ACK 2 3 8

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“To B or Not To B Flat” by Catherine Rollin. © 1992 ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved. Used by Permission of ALFRED MUSIC.

Thirty-One Piano Classics

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|629

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This page intentionally left blank

9780199326204_Mach_TxT.indb 2

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APPENDIX A

SCORE READING

THREE-PART TEXTURE Score reading involves the ability to read music from several staves simultaneously as well as the ability to read music written in clefs other than treble or bass. Various examples of score reading are provided here to acquaint you with the basics of the technique. The following exercises appear in three-part texture. • • • • •

Play each part separately. Play various combinations of 1–2, 1–3, 2–3. Play the upper two parts with the right hand. Play the lower part with the left hand. Practice playing all parts together. Play as a three-part ensemble piece.

Be sure to work out the fingerings and indicate them in the music.

Three-Part Texture

9780199326204_Mach_TxT.indb 631

|631

5/27/15 9:34 AM

1. Andante

1

2

3

1

2

3

2. Flowing

1

2

3

1

2

3

632|

SCORE READING

9780199326204_Mach_TxT.indb 632

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3. Moderato

1

2

3

1

2

3

4. Adagio

1

2

3

5

1

2

3

Three-Part Texture

9780199326204_Mach_TxT.indb 633

|633

5/27/15 9:34 AM

5.

$ ² Š /0 ð ² /]\ Š 0ð \ ݲ/ ð % 0

Gracefully

$ ²ð Š ² Š ð ݲ ð %

Ł

ð

Ł

Ł

Ł

Ł

ð

Ł

Ł Ł

ð ð

Ł Ł

Ł Ł

Ł Ł

Ł Ł

ð ð

¦Ł Ł

ð

¼

Ł

ð

Ł

Ł

Ł

Ł Ł

ð ð

Ł Ł

Ł

Ł

Ł Ł

Ł Ł

ð

Ł Ł

ð

Ł Ł

ð

Ł Ł Ł Ł

Ł Ł Ł Ł

ð

Ł Ł Ł Ł

ð ð

Ł Ł

ð

Ł

Ł

Ł Ł

ð

¼

ð

Ł

¼

6.

$ ²² Š .0 Ł Ł ][ ² Š ² .0 Ł Ł ]\ Ý ²² . Ł Ł % 0 Happily

$ ²² Š Ł Ł ²² Š Ł Ł %

Ý ²² Ł Ł

634|

Ł Ł

Ł Ł

ð ð

Ł Ł ²Ł Ł ²ð ¦Ł Ł Ł Ł ð

Ł Ł Ł Ł Ł

Ł −Ł Ł Ł Ł Ł Ł −Ł Ł Ł

Ł Ł

ð

ð

Ł ¼

ð

Ł ¼

ð

Ł ¼

SCORE READING

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7.

8. Andante

1

2

3

1

2

3

Three-Part Texture

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|635

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FOUR-PART TEXTURE The following exercises appear in four-part texture. • • • • •

Play each part separately. Play various combinations of S–A, S–T, S–B, A–T, A–B, and T–B. Play the S–A parts with the right hand. Play the T–B parts with the left hand. Practice playing all parts together. Play as a four-part ensemble piece.

Be sure to work out the fingerings where needed and indicate them in the music.

1. ​HUSH, LITTLE BABY

$ ²²² Š ‡Ł ]\ ²²² Š ‡Ł \Ł Ý ²²² ‡ \ Ý ²²² ‡ Ł % \

Moderato

Soprano

Alto

Tenor

Bass

American

Ł Ł Ł Ł

Ł Ł Ł ð

Ł Ł Ł Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł Ł Ł

Ł Ł Ł ð Ł Ł Ł ð

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł

Ł

Ł Ł Ł ð

Ł Ł Ł Ł Ł Ł Ł

Ł Ł

$ ²²² Ł Ł Ł ý Ł Ł Ł Ł Ł Ł Ł ð Š ²²² Š Ł Ł Ł ý Ł Ł Ł Ł Ł Ł Ł ð ý Ł Ł Ł Ł Ł Ł Ł ð Ł Ł Ł ² Ý ²² 

Ý ²²² Ł Ł Ł ý Ł Ł Ł Ł Ł Ł Ł ð %  636|

Ł ŁŁŁŁŁ Ł Ł Ł ð ŁŁŁŁŁ ŁŁ Ł Ł ð ŁŁŁŁŁ ŁŁ Ł Ł ð ŁŁŁŁŁ ŁŁ Ł Ł ð

SCORE READING

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2. ​RED RIVER VALLEY

$ ² Š 00 Ł Ł Ł ² 0][ Š 0Ł Ł Ł ]\ ݲ0 Ł Ł Ł 0 ]\ ݲ0 Ł Ł Ł % 0 ]\ $ ²Ł Ł Ł Ł Ł Ł Š Andante

Soprano

Alto

Tenor

Bass

American Folk Song

Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł Ł

Ł Ł Ł Ł Ł Ł

Ł Ł ð

Ł Ł

Ł Ł Ł Ł Ł

Ł Ł

Ł Ł ð Ł Ł ð

Ł Ł

3

² Š Ł ݲ Ł

%

ݲ Ł

Ł Ł Ł Ł Ł Ł

Ł Ł Ł Ł

Ł Ł Ł

Ł Ł

$ ²Ł Ł ð Š ² Š Ł Ł ð ݲ Ł Ł ð

ðý

Ł ý Ł Ł Łý Ł Ł  Łý Ł Ł 

6

ݲ Ł Ł ð %

Ł Ł Ł Ł

Ł Ł

Ł

Ł Ł

Ł

Ł Ł Ł Ł

Ł Ł

Ł Ł Ł

Ł Ł

Ł Ł Ł

Ł Ł

Ł ¦Ł Ł Ł Ł Ł q ðý

Ł

Ł Ł Ł

Ł Ł

Ł Ł Ł Ł Ł Ł

Ł Ł Ł Ł

Ł Ł

Ł

Ł Ł Ł

Ł Ł

Ł

Ł Ł

Ł Ł Ł Ł

q Ł Ł Ł Ł Ł Łq q Ł Ł Ł

Four-Part Texture

9780199326204_Mach_TxT.indb 637

Ł Ł Ł Ł

|637

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3. ​LONDONDERRY AIR 

$

Gently

Š − 00 Ł Ł Ł ]\ Alto Š − 00 Ł Ł Ł \ Ł Ł Ł Ý Tenor − 00 \ Ý−0 Ł Ł Ł Bass % 0\ $ Łý Ł Ł Ł Ł Ł Š−  Š − Ł ý Ł Ł Ł Ł Ł Ý − Ł ý Ł Ł Ł ¦ Ł Ł Soprano

3

Ý − Łý Ł %  $ Š−Ł Ł Ł Š−ð Ý− ð 6

%

Ý− Ł

638|

Ł Ł Ł Ł

(O Danny Boy)

Ł ý Ł Ł Ł Ł Ł Ł ý Ł Ł Ł Ł −Ł Ł ý Ł Ł −Ł Ł Ł  Łý Ł Ł Ł Ł Ł  ð

Irish Folk Tune Arranged by Ken Iversen

Ł Ł Ł Ł Ł Ł Ł

Ł

Ł ý Ł Ł Ł Ł −Ł Ł ý Ł Ł −Ł Ł Ł  Łý Ł Ł Ł Ł Ł 

Ł Ł Ł Ł

Ł Ł Ł Ł Ł Łý  Ł Ł Ł  Ł Ł Ł Ł ý Ł ¦ Ł Ł Ł Ł Ł Ł Ł Ł Ł ý Ł Ł ¦ Ł −Ł  Ł Ł Ł Łý Ł Ł Ł Ł Ł Ł 

Ł ð Ł ð Ł ð Ł ð

Ł Ł Ł Ł Ł

Ł ý Ł Ł Ł Ł Ł

Ł Ł Ł Ł

ð Ł Ł Ł Ł Ł − Ł −Ł ¦ Ł Ł Ł ð

Ł Ł ¦Ł Ł Ł Ł Ł Ł

ð ð

ð

Ð

ð ð

Ð Ð

ð

Ð

Ł ¼ ¹ ¹ ¼ Ł Ł ¼ ¹ Ł ¼ ¹

SCORE READING

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4. ​HOMEWARD BOUND When the staff marked tenor with an “8” below it is given, notes are to be sung or played an octave lower than the notes written in the treble clef. Play as a four-part ensemble.

Ken Iversen Moderato

Soprano

Alto

Tenor

Bass

Four-Part Texture

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|639

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5. ​SAILING Play the tenor and bass parts together several times. Remember to drop the tenor part down an octave. Add the alto part, and finally the soprano part. This example and those that follow can also be played as four-part ensembles.

Ken Iversen Andantino

Soprano

Alto

Tenor

Bass

640|

SCORE READING

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6. ​HYMN Ken Iversen Majestically

Soprano

Alto

Tenor

Bass

Four-Part Texture

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7. ​NEW CREATED WORLD 

excerpt from The Creation Franz Joseph Haydn (1732–1809)

Allegro moderato

Soprano

Alto

Tenor

Bass

642|

SCORE READING

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8. ​CHORALE 

excerpt from Cantata No. 140 Johann Sebastian Bach (1685–1750)

Andante

Soprano

Alto

Tenor

Bass

7

12

Four-Part Texture

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|643

5/27/15 9:34 AM

9. ​HOSTIAS 

excerpt from Requiem

In the “Hostias” from Mozart’s Requiem, play your choice of a part or select various combinations of the soprano, alto, tenor, and bass parts while the instructor plays the accompaniment.

Wolfgang Amadeus Mozart (1756–1791)

644|

SCORE READING

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Four-Part Texture

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|645

5/27/15 9:34 AM

MOVABLE CLEFS

The Alto Clef The alto clef places middle C on the third line of the staff. This clef is used primarily by the viola.

Š Ð

middle C

Ð

Practice the following alto clef exercises first with hands separately, then hands together. 1. Andante

5

646|

SCORE READING

9780199326204_Mach_TxT.indb 646

5/27/15 9:34 AM

2. Allegretto

3. Moderato

6

12

Movable Clefs

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|647

5/27/15 9:34 AM

4. ​RONDO 

excerpt from Sextet, No. 1, Op. 18

Both parts are written in alto clef. First play through each individual part. Next, select one part and have a classmate or the instructor play the other part as an ensemble. Then play as written, using both hands.

Johannes Brahms (1833–1897) Moderato

Viola 1 espress.

Viola 2 espress.

7

13

648|

SCORE READING

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5. ​SARABANDE Play the solo part while the instructor plays the accompaniment.

John Ernst Galliard (1680–1749) Adagio moderato

Viola

–

Keyboard

–

5

9

13

1.

2.

1.

2.

Movable Clefs

9780199326204_Mach_TxT.indb 649

|649

5/27/15 9:34 AM

The Tenor Clef The tenor clef places middle C on the fourth line of the staff. This clef is used primarily by the cello and trombone.

Š Ð

middle C

Ð

Practice the following tenor clef exercises first with hands separately, then hands together. 1. Andante

650|

SCORE READING

9780199326204_Mach_TxT.indb 650

5/27/15 9:34 AM

2. Allegretto

9

3. Moderato

Movable Clefs

9780199326204_Mach_TxT.indb 651

|651

5/27/15 9:34 AM

4. ​LONG, LONG AGO Practice playing the tenor clef part. Add the alto part, and finally the soprano part. The right hand will play the alto and soprano parts while the left hand plays the tenor clef part. This piece can also be played as a three-part ensemble.

Thomas Bayly (1797–1839) Moderato

Soprano

Alto

Tenor

652|

SCORE READING

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FIGURED BASS Figured bass was a Baroque practice of having numbers under the bass notes that indicated to the performer which harmony was required. A continuo is a keyboard instrument accompaniment that the soloist plays to provide a harmonic texture. Originally only a figured bass line, without chords being realized, was provided.

Figured Bass Symbols Figured bass symbols are used to indicate intervals, accidentals, and other signs. Examples and explanations of basic figured bass symbols are illustrated as follows: 1. The numbers 5 and 3 indicate intervals of a fifth and a third above the note C. The triad that results in is C major in root position.

2. The ♯ 3 indicates that the third should have a sharp (F becomes F ♯). The triad that results is D major.

3. An accidental that stands by itself ( ♭) affects the note a third above the bass, which in this example is B-flat. The triad that results is G minor.

p pt 4. A slash ( ) through a number raises the note represented one half step ( refers to A e p raised one half step to A ♯ ; refers to F raised one half step to F♯.) The triad that results is D augmented.

Figured Bass

9780199326204_Mach_TxT.indb 653

|653

5/27/15 9:34 AM

pe 5. The indicates that the third above the bass should be raised one half step from B-flat to B natural (♮ ).

6. The ♭5 indicates that the fifth should be lowered a half step (G becomes G-flat), and the ♭3 indicates that the third should be lowered a half step (E becomes E-flat). The triad that results is C diminished.

A. Write and play the triads as indicated by the figured bass symbols.

B. Write down the figured bass symbols for the given triads.

654|

SCORE READING

9780199326204_Mach_TxT.indb 654

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Close and Open Structure The way in which the three upper voices are spaced determines whether a chord is in close or open structure. Close Structure

Notice that the upper three voices are as close together as they can be.

Open Structure

Notice that there is a skip of a triad note between the soprano and alto, and the alto and tenor parts.

C. Analyze the following chords and indicate whether they are written in open or close structure. Use O for open, C for closed.

Figured Bass

9780199326204_Mach_TxT.indb 655

|655

5/27/15 9:34 AM

D. Write in the alto and tenor voices so that each chord will appear in close structure. Remember to double the root wherever possible.

E. Write in the alto and tenor voices so that each chord appears in open structure.

Figured Bass Symbols for Triad Inversions Examples and explanations of figured bass symbols for triad inversions appear below. 1. The triad in its first inversion uses the figured bass symbol 63. The number 6 is sufficient, however, to indicate the first inversion triad.

p 2. The slash ( ) through the 6 indicates that the interval of a sixth above the figured bass note be raised one half step (A to A ♯ ).

656|

SCORE READING

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3. The sharp sign (♯ ) indicates that the third above the figured bass note be raised one half step (E to E ♯ ).

4. The triad in second inversion uses the figured bass symbol 64. Both of these numbers are necessary to indicate the triad in its second inversion.

p 5. The slash ( ), the use of a sharp (♯), or flat (♭) symbol follows the same procedure with the second inversion triad, 64 , as in the first inversion triad.

F. Write and play the triad inversions as indicated by the figured bass symbols.

Figured Bass

9780199326204_Mach_TxT.indb 657

|657

5/27/15 9:34 AM

G. Write down the figured bass symbols for the given inverted triads.

Melodies with Figured Bass H. Using the left hand to play the triads indicated by the figured bass symbols, play the following melodic examples for practice. 1.

2.

3.

658|

SCORE READING

9780199326204_Mach_TxT.indb 658

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I. Write and play the triad inversions as indicated by the figured bass symbols.

J. Write down the figured bass symbols for the given triads.

Figured Bass

9780199326204_Mach_TxT.indb 659

|659

5/27/15 9:34 AM

LASSET UNS DEN NICHT ZERTEILEN  excerpt from The Passion According to St. John Study the figured bass symbols of the keyboard part and how they are used in an excerpt of J. S. Bach’s “Lasset uns den Nicht Zerteilen” from The Passion According to St. John. Then play your choice of a part or select various combinations of the soprano, alto, tenor, and bass parts while the instructor plays the accompaniment.

J. S. Bach

660|

SCORE READING

9780199326204_Mach_TxT.indb 660

5/27/15 9:34 AM

Figured Bass

9780199326204_Mach_TxT.indb 661

|661

5/27/15 9:35 AM

662|

SCORE READING

9780199326204_Mach_TxT.indb 662

5/27/15 9:35 AM

Figured Bass

9780199326204_Mach_TxT.indb 663

|663

5/27/15 9:35 AM

664|

SCORE READING

9780199326204_Mach_TxT.indb 664

5/27/15 9:35 AM

APPENDIX B

VOCAL AND INSTRUMENTAL ACCOMPANIMENTS

These suggestions will be helpful in learning to play more quickly and effectively the various vocal and instrumental accompaniments that appear on the following pages. • Study the harmonic structure of the accompaniment. • Familiarize yourself with the rhythm of the solo part and the accompaniment. Using a metronome, try tapping out the rhythm of the solo part with your right hand while tapping out the rhythm of the bass clef accompaniment with the left hand. • Play through the solo part slowly enough so that you can carefully listen to yourself. • Play the accompaniment part slowly enough so that you can carefully listen to yourself. • Play and record the solo part. Then play the accompaniment to the recorded solo. • Keep moving your eyes ahead of what you are playing. • Don’t stop to correct yourself. Isolate the difficulties and work them out later.

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 665

|665

5/27/15 9:35 AM

CAMPTOWN RACES Stephen Foster (1826–1864) Arr. by Ken Iversen Lively

The

Camp - town la - dies come down day with my

sing this song hat caved in

Doo - dah! Doo - dah!

Piano

4

doo - dah! doo - dah!

The I

7

race - track home with a

1.

Oh! Oh!

666|

Camp - town go back

doo - dah doo - dah

day!

five miles pocket full of

long tin

2.

I

day!

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 666

5/27/15 9:35 AM

10

2 Goin'

to

run

all

night!

Goin'

to

run

all

13

day!

I'll

bet

my

mon - ey

on

the

bob - tail

nag

16

some

-

bo

-

dy

bet

on

the

bay.

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 667

|667

5/27/15 9:35 AM

OH! SUSANNA Stephen Foster (1826–1864) Arr. by Ken Iversen Allegretto

I

come from Al rain'd all night

a - ba - ma the day I

with left,

my the

ban - jo wea - ther

on it

my was

Piano

4

knee dry;

I'm The

7

goin' sun

to so

-

1.

true love san - na,

for don't

to you

see.

1.

668|

Lou' hot

si I

-

a froze

na to

my death,

Su -

2.

It

cry;

2.

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 668

5/27/15 9:35 AM

10

Oh!

Su

-

san -

na,

do

not

cry

ba - ma

with

for

13

me;

I

come

from

Al

-

a

-

my

16

ban

-

jo

on

my

knee.

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 669

|669

5/27/15 9:35 AM

HEIDEN-RÖSLEIN 

(Rose on the Heath) (excerpt) Franz Schubert (1797–1828)

670|

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 670

5/27/15 9:35 AM

rit.

cresc.

13

a tempo

In the hedge -row Rös - lein auf der

grow Hei

-

ing. den.

a tempo

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 671

|671

5/27/15 9:35 AM

ICH GROLLE NICHT 

excerpt from Die Dichterliebe Op. 48, No. 7 Robert Schumann (1810–1856)

“Ich Grolle Nicht, Op. 48 No. 7” by Robert Schumann from Schumann Fifty-Five Songs Copyright © G. Schirmer, Inc. International Copyright secured. All Rights Reserved. Used by permission.

672|

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 672

5/27/15 9:35 AM

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 673

|673

5/27/15 9:35 AM

SHE’S LIKE THE SWALLOW Newfoundland Folk Song Arranged by Carl Strommen Edited by Jay Althouse

Tenderly ( = ca. 84-88)

(pedal carefully throughout)

4

a tempo

She's

like

the

swal

-

low

that

flies

so

a tempo

rit.

8

high.

She's

like

the

riv

-

er

that

nev - er

runs

“She’s Like the Swallow” from Folk Songs for Solo Singers, Volume 1 (#21838). Copyright © 2003. Reprinted with permission of Alfred Publishing Co., Inc.: www.alfred.com.

674|

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 674

5/27/15 9:35 AM

12

dry.

16

She's

rit.

like

the

sun

-

shine

on

the

lee

is

no

a tempo

shore.

I

love

my

love

and

love

a tempo rit.

20

more.

It's

out

of

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 675

wild

|675

5/27/15 9:35 AM

24

ros

-

es

she

made

a

bed,

a

ston

-

y

28

pil

-

low

for

her

head.

She

laid

her

32

down,

676|

no

word

she

spoke

un

-

til

this

fair

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 676

5/27/15 9:35 AM

36

a tempo

slight rit.

maid's

heart

was

broke.

a tempo

slight rit.

41

rit.

Somewhat freely

She's

like

the

swal - low

that

flies

so

high.

She's

nev - er

runs

dry.

She's

like

the

Somewhat freely

rit.

46

like

the

riv - er

that

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 677

|677

5/27/15 9:35 AM

51

sun

-

shine

on

the

lee

55

shore.

I

love

my

In tempo

love

and

love

is

no

more.

I

love

my

In tempo

59

a bit slower

love

molto rit.

and

love

is

no

a bit slower

678|

more.

molto rit.

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 678

5/27/15 9:35 AM

VIOLIN SONATA, OP. 25, NO. 5 

(excerpt) Ludwig van Beethoven (1770–1827)

Allegro

Violin

Piano

4

7

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 679

|679

5/27/15 9:35 AM

SCOTCH DANCE 

(excerpt) Ludwig van Beethoven (1770–1827)

680|

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 680

5/27/15 9:35 AM

WENDE DICH, HERR 

(excerpt) Andreas Hammerschmidt (1612–1675)

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 681

|681

5/27/15 9:35 AM

682|

Vocal and Instrumental Accompaniments

9780199326204_Mach_TxT.indb 682

5/27/15 9:35 AM

APPENDIX C

MAJOR AND HARMONIC MINOR SCALES AND ARPEGGIOS IN TWO OCTAVES

P

lay the major and harmonic minor scales and corresponding arpeggios in two octaves, first with hands separately, then with hands together. Also try practicing the scales using cluster techniques as illustrated earlier on pages (290–291). The arpeggios may be clustered in three-note groupings as well. Other ways of playing the scales are with shifting accents such as Ł Łn Ł Ł groupings and Ł Ł Łn Ł . Then play the scales, using various slur groupings like Ł Ł Ł Ł Ł Ł Ł Ł . Other suggestions would be to play one hand more loudly than the other, and then the reverse. Or play the right hand legato while playing the left hand staccato, and then the reverse.



9780199326204_Mach_TxT.indb 683

|683

5/27/15 9:35 AM

C Major

RH:

1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5



LH:

5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

1

3

1

2

4

5

4

1

1

1

3

5

1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5

3

1

2

3

2

1

4

2

1

4

5

1

5

3

1

3

2

1

5

1

3

5

1

2

1

3

2

4

1

2

4



RH:

1

1

5

1

3

T R ACK 24 0

3

1

4

1

3

EBSI

T R ACK 24 0

1

1

1

4

1

3

1

TE



3

3

A filled circle (•) above the fingering indicates a black key. • • RH: 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • LH: 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

G Major

4

1

3

1

5

1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5

LH: 5 ​4 ​2 ​ ​ ​ ​ 1 ​4 ​2 ​1 ​ 1

5

684|

1

4

1

LH: 5 ​4 ​2 ​ ​ ​ ​ 1 ​4 ​2 ​1 ​ 1

3

1

1

RH:



1

3

T R ACK 2 3 9

W



3

1

3

1

4

5

1

1

3

1

4

T R ACK 2 3 9

EBSI

TE

W

MAJOR SCALES AND ARPEGGIOS IN TWO OCTAVES

2

4

3

2

1

2

1

4

3

2

5

5

1

1

3

2

1

2

4

1

3

2

2

4

1

5

Major and Harmonic Minor Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 684

5/27/15 9:35 AM



LH:

• • • • 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • • • 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

3

1

3

1

5

3

2

2

3

5

1

2

1

3

LH: 1

3

4

1

1

3



RH:

LH: 1

5

2

3

3

2

1

4

1

5

1

2

3

1

1

3

1

1

3

2

2

3

1

2

3

1

5

1

3

T R ACK 24 2

3

1

2

3

1

3

2

1

4

5

5

1

1

4

1

3

T R ACK 24 2

1

1

3

3

2

1

2

3

1

1

5

3

2

2

3

1

5

Major Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 685

EBSI

1

1

• • 1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5 • • 5 ​3 ​2 ​ ​ ​ ​1 ​3 ​2 ​1

1

5

2

1

T R ACK 241

3

3

5

1

3

1

5

3

4

5

3

1

• • • • • • 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • • • • • 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

RH:



1

4

EBSI

TE

A Major

1

1

LH: 1

3

1

• • 1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5 • • 5 ​3 ​2 ​ ​ ​ ​1 ​3 ​2 ​1

RH:



T R ACK 241

3

1

4

4



1

W

1

5

1

3

W

RH:

TE

D Major

|685

5/27/15 9:35 AM

LH:

1

1

3



3

RH: LH: 1

2

5

3



1

3

1

2

1

3

1



4

RH:



LH: 1

5

686|

2

3

1

4

1

1

2

3

1

5

1

1

3

2

5

1

1

1

1

4

4

3

1

2

3

2

1

3

2

1

5

1

3

2

3

1

2

3

1

5

T R ACK 24 4

3

1

5

1

1

4

1

3

EBSI

T R ACK 24 4

1

1

3

5

T R ACK 24 3

3

2

1

• • • • 1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5 • • • • 5 ​3 ​2 ​ ​ ​ ​1 ​3 ​2 ​1

3

1

5

3

3

4

3

4

• • • • • • • • • • 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • • • • • • • • • 4 ​3 ​2 ​1 ​4 ​3 ​2 ​ ​ ​ ​1 ​3 ​2 ​1 ​4 ​3 ​2 ​1 4

1

1

1

3

LH:

1

• • 1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5 • • 5 ​3 ​2 ​ ​ ​ ​1 ​3 ​2 ​1 2

RH:

T R ACK 24 3

3

TE

B Major (or C ♭ Major)

3

1

4

1

1

1

4

5

5

1

3

EBSI

TE



• • • • • • • • 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • • • • • • • 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

W

RH:

W

E Major

1

4

4

1

3

2

1

3

2

2

3

1

2

3

1

5

Major and Harmonic Minor Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 686

5/27/15 9:35 AM



2

4 1

3

4

1

1 2

1

1 4

1

4

1

4

1

3

1

2

3

2

3

5

1

2

1

3

3

2

T R ACK 24 5

1

3

1

1

3

4

1

4

5

5

1

1

3

2

3

1

1

4

3

2

1

2

3

1

3

2

2

1

3

5

3

1

1



3

4

2

1

4

1

1

4

2

4

1

4

2

2

3

1

4

W

1

1

4

1

3

1

3

4

1

1

1

2

4

4

2

4

4

2

2

4

1

1

4

2

2

4

1

1

1

Major Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 687

3

T R ACK 24 6

2

1

3

• • • • ​• RH: 4 ​1 ​2 ​ ​ ​ ​4 ​1 ​2 4 • • • • • LH: 2 ​1 ​4 ​ ​ ​ ​2 ​1 ​4 ​2

1

1

T R ACK 24 6

EBSI

TE

2

4

1

4

1

T R ACK 24 5

1 4

• • • • • • • • • • • D ♭ Major (or C♯ Major) RH: 2 ​3 ​1 ​2 ​3 ​4 ​1 ​ ​ ​ ​2 ​3 ​1 ​2 ​3 ​4 ​1 ​2 • • • • • • • • • • • LH: 3 ​2 ​1 ​4 ​3 ​2 ​1 ​ ​ ​ ​3 ​2 ​1 ​4 ​3 ​2 ​1 ​3 3

EBSI

1

3

• • • • ​ • • • RH: 1 ​2 ​3 ​ ​ ​ ​1 2 ​3 ​5 • • • • • • • LH: 5 ​3 ​2 ​ ​ ​ ​1 ​3 ​2 ​1 ​



W

• • • • • • • • • • • RH: 2 ​3 ​4 ​1 ​2 ​3 ​1 ​ ​ ​ ​2 ​3 ​4 ​1 ​2 ​3 ​1 ​2 • • • • • • • • • • • LH: 4 ​3 ​2 ​1 ​3 ​2 ​1 ​ ​ ​ ​4 ​3 ​2 ​1 ​3 ​2 ​1 ​4

TE

G ♭ Major (or F♯ Major)

3

4

2

|687

5/27/15 9:35 AM



3

4

1

3

4

1

1

3

1

4

1

4

1



2

4

1

3

2

1

T R ACK 247

3

1

1

4

4

1

2

3

2

1

4

4

4

2

2

3

1

3

1

2

4

1

2

1

4

4

1

2

4

2

2

1

4

2

3

2

1

1

4

•3 • • • RH: 4 ​1 ​2 ​ ​ ​ ​4 ​1 ​2 ​4 • • • • LH: 2 ​1 ​4 ​ ​ ​ ​2 ​1 ​4 ​2

3

4

1

3

1

2

1

3

4

4

1

2

4

2

1

4

2

1

2

4

4

2

2

2

4

T R ACK 24 8

1

4

4

EBSI

3

1

1

3

W

1

4

3

T R ACK 24 8

4

1

1

1

4

3

1

1

3

1

4

1

4

T R ACK 247

1

3

4

1

• • • • • • • RH: 3 ​1 ​2 ​3 ​4 ​1 ​2 ​ ​ ​ ​3 ​1 ​2 ​3 ​4 ​1 ​2 ​3 • • • • • • • LH: 3 ​2 ​1 ​4 ​3 ​2 ​1 ​ ​ ​ ​3 ​2 ​1 ​4 ​3 ​2 ​1 ​3



688|

1

4

3

EBSI

TE

E♭ Major



2

• • • • • RH: 4 ​1 ​2 ​ ​ ​ ​4 ​1 ​2 ​4 • • • • • LH: 2 ​1 ​4 ​ ​ ​ ​2 ​1 ​4 ​2



2

1

3

1

W

• • • • • • • • • RH: 3 ​4 ​1 ​2 ​3 ​1 ​2 ​ ​ ​ ​3 ​4 ​1 ​2 ​3 ​1 ​2 ​3 • • • • • • • • • LH: 3 ​2 ​1 ​4 ​3 ​2 ​1 ​ ​ ​ ​3 ​2 ​1 ​4 ​3 ​2 ​1 ​3

TE

A♭ Major

1

3

1

4

2

1

4

1

2

4

1

2

Major and Harmonic Minor Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 688

5/27/15 9:35 AM

4

1

1

4

1

3

3

1

3

1

4

1

4

1



2

4

1

2

1

3

2

1



LH: 3

1

4

1



3

RH: LH:

1

2

3

1

5

4

2

1

4

1

4

4

3

3

4

1

4

1

1

4

2

1

4

2

1

1

2

3

1

2

3

1

1

1

3

2

4

3

2

5

1

4

4

1

1

3

1

4

3

T R ACK 2 5 0

4

3

1

1

4

1

3

2

2

4

5

1

3

2

1

1

2

4

5

Major Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 689

T R ACK 2 5 0

1

1

5

EBSI

3

1

1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5 5 ​4 ​2 ​ ​ ​ ​1 ​4 ​2 ​1

T R ACK 24 9

1

3

4

3

1

• • 1 ​2 ​3 ​4 ​1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​4 ​1 ​2 ​3 ​4 • • 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

4

5

1

T R ACK 24 9

3

EBSI

TE

RH:



3

1

3

2

F Major

1

1

4

• • • RH: 4 ​1 ​2 ​4 ​1 ​2 ​4 • • • LH: 3 ​2 ​1 ​3 ​2 ​1 ​3



3

4

1

W



W

• • • • • RH: 4 ​1 ​2 ​3 ​1 ​2 ​3 ​ ​ ​ ​4 ​1 ​2 ​3 ​1 ​2 ​3 ​4 • • • • • LH: 3 ​2 ​1 ​4 ​3 ​2 ​1 ​ ​ ​ ​3 ​2 ​1 ​4 ​3 ​2 ​1 ​3

TE

B♭ Major

|689

5/27/15 9:35 AM

RH:



LH: 3

1

4

1

5

1

3

5

1

2

RH:

1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5

LH:

5 ​4 ​2 ​ ​ ​ ​1 ​4 ​2 ​1

2

1

2

3

1

4

2

RH:



LH:

3

3

1

5

1



690|

1

2

5

4

1

1

3

3

3

1

3

3

2

1

2

4

1

1

1

1

1

5

3

2

2

4

1

5

3

T R ACK 2 5 2

3

1

1

4

4

1

1

1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5

LH:

5 ​4 ​2 ​ ​ ​ ​1 ​4 ​2 ​1

3

1

2

2

1

4

3

2

5

1

3

1

3

2

T R ACK 2 5 2

1

1

5

EBSI

3

1

RH:

T R ACK 2 51

1

5

1

1

4



5

1

• • • • 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • • • 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1 4

1

5

4

EBSI

TE

E Minor

1

1

4

3

4

5

3

3

3

1

1

3

1

4

1

T R ACK 2 51

W

1

• • 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

TE

A Minor

W

HARMONIC MINOR SCALES AND ARPEGGIOS IN TWO OCTAVES

5

2

1

3

2

4

1

2

4

1

5

Major and Harmonic Minor Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 690

5/27/15 9:35 AM



LH: 3

1

4

1



LH: 2

4

5

3

1

2

3

2

1

4

2

3

3

1

4

1

1

1

4

3

1

1

3

1

1



5

1

1

4

3

1

3

1 4 • • • • • RH: 4 ​1 ​2 ​ ​ ​ ​4 ​1 ​2 ​4 • • • • LH: 2 ​1 ​4 ​ ​ ​ ​2 ​1 ​4 ​2

4

1

1

3

2

1

3

2

2

4

1

2

4

3

3

4

1

2

4

2

1

4

2

1

1

2

4

4

1

1

4

1

2

2

2

4

4

1

5

4

3

1

1

1

4

1

T R ACK 2 5 4

3

4

4

2

1

4

2

4

1

2

Harmonic Minor Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 691

EBSI

1

3

4

1

T R ACK 2 5 4

3



3

1

• • • • • • • RH: 3 ​4 ​1 ​2 ​3 ​1 ​2 ​ ​ ​ ​3 ​4 ​1 ​2 ​3 ​1 ​2 ​3 • • • • • • • LH: 4 ​3 ​2 ​1 ​3 ​2 ​1 ​ ​ ​ ​4 ​3 ​2 ​1 ​3 ​2 ​1 ​4



4

3

5

4

T R ACK 2 5 3

TE

F♯ Minor (or G♭ Minor)

1

EBSI

1

• • 1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5 • • 5 ​4 ​2 ​ ​ ​ ​1 ​4 ​2 ​1

RH:

1

4

T R ACK 2 5 3

3

1

4

1

3

4

1

4

1

3

1

W

1

5

1

3

W

• • • • • • 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • • • • • 4 ​3 ​2 ​1 ​4 ​3 ​2 ​ ​ ​ ​1 ​3 ​2 ​1 ​4 ​3 ​2 ​1

RH:

TE

B Minor

|691

5/27/15 9:35 AM

3

4

3 1

4 1

1

3

1

3

1 3

1 4



4

1

1

4

1

2

4

1

2

1

4

2

1

4

2



4

4

4

2

2

4 1

3

1

3

1 4

4

1

2

1

4



3

4

2

1

4

4

1

2

4

1

2

1 3

T R ACK 2 5 6

1 4

1

3

EBSI

T R ACK 2 5 6

1 4 3

1

3

4

1

2

4

4

2

1

4

2

2

4 1

1

• • • • • RH: 4 ​1 ​2 ​ ​ ​ ​4 ​1 ​2 ​4 • • • • • LH: 2 ​1 ​4 ​ ​ ​ ​2 ​1 ​4 ​2



1

1

1 4

1 3

3

4 3

1

• • • • • • • • • RH: 3 ​4 ​1 ​2 ​3 ​1 ​2 ​ ​ ​ ​3 ​4 ​1 ​2 ​3 ​1 ​2 ​3 • • • • • • • • • LH: 3 ​2 ​1 ​4 ​3 ​2 ​1 ​ ​ ​ ​3 ​2 ​1 ​4 ​3 ​2 ​1 ​3 3 1

T R ACK 2 5 5

1

2

1 3 1

692|

3

3

4

• • • • • RH: 4 ​1 ​2 ​ ​ ​ ​4 ​1 ​2 ​4 • • • • • LH: 2 ​1 ​4 ​ ​ ​ ​2 ​1 ​4 ​2

3 4 1

2

1

1

EBSI

TE

G♯ Minor (or A♭ Minor)

1

1 4

3

3



T R ACK 2 5 5

1 3

W



W

• • • • • • • • • RH: 3 ​4 ​1 ​2 ​3 ​1 ​2 ​ ​ ​ ​3 ​4 ​1 ​2 ​3 ​1 ​2 ​3 • • • • • • • • • LH: 3 ​2 ​1 ​4 ​3 ​2 ​1 ​ ​ ​ ​3 ​2 ​1 ​4 ​3 ​2 ​1 ​3

TE

C♯ Minor (or D ♭ Minor)

2

1

4

4

1

2

2

4

1

1

3

4

2

Major and Harmonic Minor Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 692

5/27/15 9:35 AM

3

4 1

3 1

1

1 4

2

4

5

2

3

1

3

2

1

2

1

3

3

2

3

3

2

5

1

1

1

3

1

4

1



2

1

4 1

3

1

1

1 3

2

4 1 2

3 1

2

2

3

4

1

1

4

3

2

1

3

4

1

3

1

3

2

1

2

3

1

5

T R ACK 2 5 8

3

1

3

1

1

3

2

1

1

1

4

2

4

2

2

3

3

3

1

4

1

3

2

1

1

2

3

1

1

3

1

3

2

2

3

Harmonic Minor Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 693

EBSI

T R ACK 2 5 8

4

3

• • • • • RH: 2 ​3 ​1 ​ ​ ​ ​2 ​3 ​1 ​2 • • • • • LH: 3 ​2 ​1 ​ ​ ​ ​3 ​2 ​1 ​3 1

T R ACK 2 57

4

• • • • • • • • • RH: 4 ​1 ​2 ​3 ​1 ​2 ​3 ​ ​ ​ ​4 ​1 ​2 ​3 ​1 ​2 ​3 ​4 • • • • • • • • • LH: 2 ​1 ​3 ​2 ​1 ​4 ​3 ​ ​ ​ ​2 ​1 ​3 ​2 ​1 ​4 ​3 ​2



1

3

1 3

EBSI

TE

B♭ Minor (or A♯ Minor) 4

3 2 3

5

3

2

T R ACK 2 57

1 4

1 3 • • • • • • • RH: 1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5 • • • • • • ​ • LH: 5 ​3 ​2 ​ ​ ​ ​1 ​3 ​2 1

1

3

1

4

1

W



W

• • • • • • • • • RH: 3 ​1 ​2 ​3 ​4 ​1 ​2 ​ ​ ​ ​3 ​1 ​2 ​3 ​4 ​1 ​2 ​3 • • • • • • • • • LH: 2 ​1 ​4 ​3 ​2 ​1 ​3 ​ ​ ​ ​2 ​1 ​4 ​3 ​2 ​1 ​3 ​2

TE

E♭ Minor (or D♯ Minor)

2

|693

5/27/15 9:36 AM

LH:

3 1

1

4

1

1



3

1

2

3

1

5

4

2

1

LH:

1

3

4

1

1



3

5

694|

2

4

3

1

1

2

2

1

5

1

3

• • 1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5 • • 5 ​4 ​2 ​ ​ ​ ​1 ​4 ​2 ​1

LH: 1

4

1

4

4

1

1

3

3

1

2

3

2

1

4

2

5

1

1

5

1

3

2

1

1

2

4

5

T R ACK 2 6 0

3

1

1

4

4

1

1

3

1

3

2

EBSI

T R ACK 2 6 0

1

3

5

1

5

T R ACK 2 5 9

3

1

RH:



5

1

1

3

4

5

1

3

• • • • 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • • • 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

RH:



2

1

EBSI

TE

C Minor

4

3

T R ACK 2 5 9

4

1

3

2

1

1

•1 • 1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5 • • 5 ​4 ​2 ​ ​ ​ ​1 ​4 ​2 ​1 5

RH: LH:

3

1

4

5

4

1

4

W



W

• • • • • • 1 ​2 ​3 ​4 ​1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​4 ​1 ​2 ​3 ​4 • • • • • • 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

RH:

TE

F Minor

2

1

3

2

4

1

2

4

1

5

Major and Harmonic Minor Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 694

5/27/15 9:36 AM

LH: 1

3

1

4

3

1

5

1

1

3



LH: 1

2

3

2

4

5

RH:



LH:

1

3

4

1

2

1

4

3

2

1

5

1

5

2

3

3

2

5

1

1

3

1

4

1

1

3

3

1

LH:

5 ​4 ​2 ​ ​ ​ ​1 ​4 ​2 ​1

RH:

1

1

3

3

2

1

2

4

1

5

1

1

3

3

2

1

3

3

2

5

1

1

5

2

2

1

4

5

T R ACK 2 6 2

3

1

1

4

4

1

1

3

1

5

3

2

1

3

2

2

3

1

2

3

1

5

Harmonic Minor Scales and Arpeggios in Two Octaves

9780199326204_Mach_TxT.indb 695

T R ACK 2 6 2

1

1

5

EBSI

3

1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5

1

3

1

• • • • 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • • • 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

4



4

5

4

T R ACK 2 61

TE

D Minor

1

1

EBSI

1

• • 1 ​2 ​3 ​ ​ ​ ​1 ​2 ​3 ​5 • • ​ 5 ​4 ​2 ​ ​ ​ ​1 ​4 2 ​1

RH:



3

T R ACK 2 61

3

1

4

1

3

1

5

1

W



W

• • • • • • 1 ​2 ​3 ​1 ​2 ​3 ​4 ​ ​ ​ ​1 ​2 ​3 ​1 ​2 ​3 ​4 ​5 • • • • • • 5 ​4 ​3 ​2 ​1 ​3 ​2 ​ ​ ​ ​1 ​4 ​3 ​2 ​1 ​3 ​2 ​1

RH:

TE

G Minor

|695

5/27/15 9:36 AM

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9780199326204_Mach_TxT.indb 2

5/27/15 9:24 AM

APPENDIX D

THREE PATRIOTIC SONG ARRANGEMENTS

Easy-to-play arrangements of three patriotic songs, America, America the Beautiful, and The Star-Spangled Banner, appear in this section. For students who will be working in the classroom, these pieces are essential to learn to play.

Three Patriotic Song Arrangements

9780199326204_Mach_TxT.indb 697

|697

5/27/15 9:36 AM

W

Henry Carey (1793–1879)

T R ACK 2 6 3

EBSI

TE

AMERICA

T R ACK 2 6 3

Moderato 3

2

My coun - try,

1

'tis

of thee,

1 3

Sweet land

1 2

4

1 3

of

lib

3 5

1 4

-

er - ty,

3

Of

2

1

2

thee

I

1 5

6 1

5

sing.

Land where my

1 2

3 5

2 4

fa - thers died!

2 3

1 3

1 5

698|

1 5

5 1

11

From

ev

-

'ry

moun

Land of

-

1 5

tain - side,

4

Let

2

the

1 4

Pil - grim's pride!

1 3

4

free - dom

ring!

1 2

Three Patriotic Song Arrangements

9780199326204_Mach_TxT.indb 698

5/27/15 9:36 AM

Words by Katharine Lee Bates (1859–1929) Music by Samuel Augustus Ward (1847–1903)

T R ACK 2 6 4

EBSI

TE

W

AMERICA THE BEAUTIFUL

T R ACK 2 6 4

Moderato 4

2

O

beau - ti - ful

5

for

1

spa - cious skies, For

1 5

1 5

am - ber waves of

2

2

4

grain,

For

1 2

1 4

4

1 5

1 3

5 5

pur - ple moun - tain

1 4

ma

1 5

-

jes - ties

3

1

A - bove the

1 5

1 3

fruit - ed

1 4

2

plain.

1 5

A -

3 5

1 2

9 5

mer

3

-

i - ca!

1 3

4

A

-

1 5

4

mer

-

i - ca!

1 5

2 5

God

shed

1

1 5

His grace

2

2 5

on

thee,

3

1 5

And

13

crown

1 2

thy good with

1 5

1 5

broth

1 5

-

er - hood From

3

sea

1 5

to

shin - ing

sea.

2 4

Three Patriotic Song Arrangements

9780199326204_Mach_TxT.indb 699

|699

5/27/15 9:36 AM

THE STAR-SPANGLED BANNER

♭

Words by Francis Scott Key (1779–1843) Music by John Stafford Smith (1750–1836)

T R ACK 2 6 5

EBSI

TE

W

The Star-Spangled Banner can also be played, if preferred, in the key of A major by changing the key signature to four flats and observing accidentals wherever necessary.

T R ACK 2 6 5

Steadily 3

2

O

say

2

5

2

3

5

5

can

you

see,

by

2

1 3

1 4

3

5 1

proud

-

ly

3

2 1

3

we

hail'd

at

1

the

1

the dawn's ear - ly

light,

1 3

what so

1 2

5

3

3

3

3

twi - light's

5

last

2

2

2

3

2

gleam - ing? Whose broad

3

2

3

9 2

stripes

and

5

bright

13 3

ram

-

parts we

stars,

thro'

1 3

1 4 2 1

watch'd,

3

700|

1

the

per

-

i

1

-

lous

1 3

3

were so

3

fight,

O'er the

1 2

3

gal - lant - ly

2

2

2

3

stream - ing?

3

5

And the

1

Three Patriotic Song Arrangements

9780199326204_Mach_TxT.indb 700

5/27/15 9:36 AM

17 3

4

rock - ets'

red

glare,

the bombs burst - ing

1 5

1 3

21 1

proof

night

say

2-1

does

that

3

1 4

1 2

1 5

ban -

1 4

2

Gave

1 3

1 4

2

still

5

star - span - gled

4

land

3 5

was

3 1

5

29

flag

1 5

5 1

air,

1

that our

1 5

25

1 5

1 3

3

thro' the

4

in

1 5

3

of

the

free

and

5

4

3

1 3

the

there.

O

1 2

2

4

ner

yet

5

3

1

wave

2

O'er the

1 4

5 1

5 1

5 1

5 2

home

of

the

brave?

1 4

2 4

Three Patriotic Song Arrangements

9780199326204_Mach_TxT.indb 701

|701

5/27/15 9:36 AM

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9780199326204_Mach_TxT.indb 2

5/27/15 9:24 AM

APPENDIX E

PERFORMANCE TERMS AND SYMBOLS

Tempo Terms Presto Vivace Allegro Allegretto Moderato Andantino Andante Adagio Lento Largo Grave Change-of-Tempo Terms A tempo Accelerando (accel.) come sopra Meno mosso Più mosso Rallentando (rall.) Ritardando (rit., ritard.) Ritenuto (riten.)

very rapidly quickly; spirited fast; lively moderately fast; slower than Allegro moderately somewhat faster than Andante at a walking pace rather slow; leisurely slow slow; broad very slow; solemn

return to original tempo gradually increasing in tempo as above; pertaining to the tempo given above with less movement or motion with more movement or motion gradually slowing in tempo immediately slowing in tempo; also used synonymously with rallentando and ritardando

Performance Terms and Symbols

9780199326204_Mach_TxT.indb 703

|703

5/27/15 9:36 AM

Dynamic Terms Crescendo (cresc.) Decrescendo (decresc.) Diminuendo (dim., dimin.) Pianissimo (𝆏𝆏) Piano (𝆏) Mezzo piano (𝆐𝆏) Mezzo forte (𝆐𝆑) Forte (𝆑) Fortissimo (𝆑𝆑) Sforzando (𝆍𝆑, 𝆍𝆑𝆎)

gradually becoming louder gradually becoming softer very soft soft moderately soft moderately loud loud very loud strongly accented; with an emphatic stress

Other Terms Animato Cantabile Coda Con forza Con moto Da capo (D.C.) Da capo al coda

animated; with spirit in singing style a concluding section of a few measures at the end of a composition with forcefulness; stressed with motion repeat from the beginning repeat from the beginning and play to the coda sign (𝄌); then end with the coda Da capo al fine (D.C. al fine) repeat from the beginning to Fine, the finish or end Dal segno (D.S.) repeat from the sign 𝄋 Dal segno al coda repeat from the sign 𝄋 to the Coda Dal segno al fine repeat from the sign 𝄋 to Fine Dolce sweetly; delicately Espressivo expressively Fine at the end of a composition Giocoso humorously; playfully Grazioso gracefully Intenzionato in a deliberate manner Legato smoothly; connected Leggiero lightly; nimbly Lunga long Maestoso majestically; with dignity Marcato marked; stressed Marziale in a march-like manner Meno less Molto much Mosso with agitated motion Pesante heavily Più more Poco little; a little Risoluto boldly Scherzando playfully Sempre always Senza without Simile in the same manner; similarly Sostenuto sustained Subito suddenly, at once Troppo much; too much Una corda soft pedal

704|

Performance Terms and Symbols

9780199326204_Mach_TxT.indb 704

5/27/15 9:36 AM

ððð

777







Symbols and Signs _

a ccent mark—a sign placed over or under a note to indicate stress or emphasis a rpeggio—a sign placed before a chord to indicate that the notes are to be quickly rolled, one after the other, from bottom to top; harplike



breath mark—indicating a brief pause before resuming



a cluster of notes to be played simultaneously, usually with the palm of an open hand, or the arm



crescendo—gradually becoming louder



decrescendo or diminuendo—gradually becoming softer

1.



s.

glis



 = 126





7

 







77 77 7777







2.

Łl

Łl Łu

ŁŁŁl



g lissando—a sweeping sound produced by pulling one or more fingernails rapidly over the keys

4

a meter signature standing for common time; same as 4

2

a meter signature standing for cut time (alla breve); same as 2 metronome marking

pedal markings repeat bar line s taccato mark—a dot placed under or over a note to indicate that the note is to be played detached, nonlegato

ð ð

t remolo—a rapid alternation of two pitches of an interval larger than a second

Ł Ł3 Ł



fermata—indicates a hold or pause

ŁŁŁ l o Ł

`



first and second endings

staccato mark—indicates a very short staccato note

trill—an even alternation of two adjacent tones t riplet—a group of three notes played in the same time as two notes of the same value 8va octava—means to play eight notes higher than written

8va 15ma

q uindecima—means to play 15 notes, or two octaves, higher than written

Performance Terms and Symbols

9780199326204_Mach_TxT.indb 705

|705

5/27/15 9:36 AM

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9780199326204_Mach_TxT.indb 2

5/27/15 9:24 AM

TITLE INDEX

Aaron’s Song (Peirick), 160 Aeolian Lullaby (Hansen), 481 Ah, Vous Dirai-Je, Maman?, 349 All Through the Night (Welsh), 557 Allegretto (Diabelli), 107 Allegro (Kabalevsky), 164 Alleluia, 242 Allemande (Schein), 592 Aloha Oe (Liliuokalani), 552 Alouette, 274 Amazing Grace, 10, 217 America (Carey), 698 America the Beautiful (Bates and Ward), 699 Apple Street Rag, 351 Arabesque (Burgmüller), 600 Arkansas Traveler, 10 Au Clair de la Lune, 448 Au Jardin (Tansman), 614 Auld Lang Syne, 10, 558 Aura Lee (Poulton), 19, 21 Austrian Folk Song, 191 Autumn Is Here (Gillock), 618 Bagpiper’s Strut, 317 Banks of the Ohio, 227 Barcarolle (Finney), 527 Barcarolle (Offenbach), 347 Battle Hymn of the Republic (Steffe), 358 The Bear (Rebikoff), 612 Beautiful Brown Eyes, 228 Bells of London, 192 Belly-Button Blues, 248 Big Ben, 410 Black and White, 83 Blue-Note Blues, 256 Blues Beat, 257 Boogie Beat, 43 Boogie-Woogie Blues, 422 Breezes Are Blowing, 90 Burleske (Mozart), 596 Calico Rag (Alexander), 329–330 Calisthenic Studies, 237 Calypso Beat, 117–118, 374, 376 Camptown Races (Foster), 553, 666 Canon (Pachelbel), 172, 177–178 Carol of the Drum (Davis), 398 Casey Jones, 102, 374, 376 The Cathedral in the Snow (Duke), 531 The Chase (Applebaum), 396 Chilean Folk Song, 193 Chorale (Bach), 643 Christmas Day Is Come, 242

A Christmas Carol, 313 Chromatic Blues, 491 Chromatizone Rag (Collins), 493 The Contest (Gurlitt), 59 A Conversation (Kabalevsky), 615 Conversational Blues, 429 Courante (Wells), 450–451 Dance (Kabalevsky), 251 Dance (Schytte), 418 Dance of the Sugar Plum Fairy (Tchaikovsky), 508 Dark Eyes, 472 Dixie (Emmett), 566 Dona Nobis Pacem, 552 The Donkey, 111–112 Dorian Accompaniment (Iversen), 65 Drink to Me Only with Thine Eyes, 216 Du, Du Liegst Mir Im Herzen, 342 Early Spring (Tingley), 620 Écossaise in C Major (Schubert), 362 Edelweiss (Rodgers), 583 English Folk Song, 195 The Entertainer (Joplin), 352 Erie Canal (Allen), 151 Etude (Gurlitt), 419 Etude in A Minor (Beyer), 164 Etude in A Minor (Gurlitt), 474 Etude in D (Beyer), 121 Etude in D Major (Schytte), 611 Etude (Köhler), 495 Etude (Schytte), 478 Etudes in A flat Major, 196 Etudes in Syncopated Rhythm, 350 Even Though, 571 Evening Tide, 99 Evens and Odds (Starer), 617 Every Night When the Sun Goes Down, 389 Fanfare, 179 Feelin’ Good, 46–47 Festive Dance, 233 Festive Dance (Miller), 622 Fiesta Time, 96 Finger Builder Exercise (Wieck), 371 Finger-Extension Exercise (Hanon), 506 Finger-Extension Study (Hanon), 439 Finger Strengthening Exercise (Liszt), 371 Five-Finger Exercise (Hanon), 325 Five-Finger Studies, 154 Flemish Folk Song, 108 Folk Dance (Rahbee), 541–542 Folk Song (French), 139, 197

Folk Song (German), 197 Follow Me, 116–117 For the Beauty of the Earth (Kocher), 52, 54–55 For the Kid Next Door (Stravinsky), 539 Frankie and Johnny, 339–340 French Folk Song, 228 Für Elise (Beethoven), 563 Gaîtê Parisienne (Offenbach), 348 Galop (Wells), 513–514 The Galway Piper, 303 Gavotte (Witthauer), 595 Gentle Rain, 235 German Dance, No. 2 (Haydn), 314 German Dance (Beethoven), 315 German Folk Song, 197 German Tune, 198 Git Along, Little Dogies, 243 Goin’ West, 364 Greensleeves, 471 Gypsy Dance (Haydn), 597 Hallelujah! (Mier), 520 Hatikvah (Israeli), 468 Heart of Space (Kowalkowski), 122 Heiden-Röslein (Schubert), 670 Hello, Ma’ Baby (Howard and Emerson), 378–379 He’s Got the Whole World in His Hands, 357 Hey Lidee, 199 High Noon, 483 Highlander Tune, 56 The Highlands, 355 Homeward Bound (Ken Iversen), 639 Hostias (Wolfgang Amadeus Mozart), 644 Hunting Horns (Theodore Oesten), 408 Hush, Little Baby, 550, 636 Hymn (Iversen), 641 Ich Grolle Nicht (Schumann), 672 I’d Like to Teach the World to Sing, 10 Imitation and Inversion (Bartók), 152 In Church (Bastien), 412 In Praise, 19–20 Invention For Piano (Diemer), 534 Inversion Studies, 441 Irish Washerwoman, 311 Italian Song (Tchaikovsky), 609 It’s Up to You, 68 Jacob’s Ladder (Spiritual), 554 Japanese Gardens, 203

Index

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|707

5/27/15 9:36 AM

A Jazz Waltz (Keveren), 41 Jesu, Joy of Man’s Desiring (Bach), 559 Jingle Bells (Pierpont), 229 Joshua Fought the Battle of Jericho, 468 Joyful Day (Löw), 214–215 Jumping Jacks (Rahbee), 533 Keep in the Middle of the Road, 302 Knock About (Iversen), 446 Kum Ba Ya, 299 La Cinquantine (Marie), 172, 174 La Cucaracha, 312 La Donna è Mobile (Verdi), 563 Lady Moon (Olson), 355–356 Land of the Silver Birch, 76 Lasset Uns Den Nicht Zerteilen (Bach), 660 Lavender’s Blue (Old English Folk Song), 549 Little River, 52–53 Little River Call, 204 A Little Joke (Kabalevsky), 252 A Little Rondo (Türk), 361 A Little Scale (Türk), 308 Londonderry Air, 638 Long, Long Ago (Bayly), 550, 652 Love Somebody, 44–45, 150 Lullaby (Köhler), 331 Lydian March (Duke), 485 Lyric Piece (The Children’s Musical Friend) (Wohlfahrt), 79–80 Major-Minor Scale Study (Czerny), 507 March (Türk), 200 Marche Slav (Tchaikovsky), 473 Marching (Iversen), 30 Mary Ann, 300 Melody (Kabalevsky), 236 Melody (Köhler), 120 Melody (Schumann), 602 Melody Study (Bartók), 91 Memories, 31 Merrily We Roll Along, 10 Merry-Go-Round (Foote), 135–136 Mexican Hat Dance , 309 Michael, Row the Boat Ashore, 298 Microjazz I (Norton), 619 Minuet in A Minor (Krieger), 594 Minuet in C (Mozart), 598 Minuet in G (Bach), 590 Minuet (Reinagle), 120 Missa Ramgoat, 380–381 Monday Blues, 94–95 Moon Dance (Hovhaness), 616 Moonlit Sea (Keveren), 165 More (Ortolani and Oliviero), 576 Morning, 84 Morning Has Broken, 50–51 Morning Mist, 522 Moroccan Caravan, 470 Mostly Upward, 163 Moving Along (Gurlitt), 199, 295 Moving Around (Kabalevsky), 251 Musetta’s Waltz (Puccini), 562 My Hat, It Has Three Corners, 342–343 Mysterious Corridors, 119 Nadia’s Theme (De Vorzon and Botkin, Jr.), 579

708|

Name That Tune, 523 Navy Blues, 492 New Created World (Haydn), 642 New River Train, 549 A New Fanfare, 417 Night Journey (Gurlitt), 603 Nobody Knows the Trouble I’ve Seen, 313 O Mon Cher Amant (Offenbach), 557 Ode to Joy (Beethoven), 19, 150 Oh! Susanna (Foster), 305, 668 Ole!, 103 On the Town (lversen), 100–101 On Top of Old Smoky, 346 Oregano Rock, 392 Over Easy Blues, 426 Over the Waves, 551 Pagoda, 48 Pattern Improvisation (Kowalkowski), 538 Perpetual Motion, 401 Persian Scene, 92 A Pleasant Morning (Streabbog), 607 Pomp (Persichetti), 524 Prelude No. 7 in B Minor (Vandall), 625 Prelude (Schytte), 414 Prelude (Wohlfahrt), 175–176 Pyramids Afar, 162 Quand J’Etais Chez Mon Pere, 276 Razz-Ma-Tazz (Olson), 624 Razzle Dazzle (Evans), 133–134 Red River Valley, 637 Repeated-Note Study, 442 Rock for Two, 81 Rock It!, 32 Rock of Ages (Hastings), 313 Rocker (Kowalkowski), 496 Rockin’ Blues, 258 Rondeau (Mouret), 372 Rondino (Rameau), 589 Rondo (Brahms), 648 Round and Round (Hilton), 306 Round the Corner Boogie, 250 Rumba (Hengeveld), 270, 272 Russian Folk Song (Beethoven), 599 Ryan’s Song, 17–18 Sahara, 93 Sailing (Iversen), 640 Saint Anthony Chorale (Haydn), 555 Sakura, 480 Sakura Sunrise, 34 Sapporo Sunset, 205 Sarabande (Corelli), 593 Sarabande (Galliard), 649 Saturday Smile (Olson), 400 Scale Study (Czerny), 307 Scaling Pyramids, 476 Scaling the Blues, 421 Scarborough Fair, 482 Scherzo (Diabelli), 268–269 Scherzo (Kabalevsky), 393 Scotch Dance (Beethoven), 680 Scotch Dance (Kuhlau), 360 A Sea Chantey, 469 Seashore (Finney), 529 Shades of Blue (Starer), 535

Shall We Gather at the River (Lawry), 230 Sharp Four (Frackenpohl), 486, 500 She’ll Be Comin’ Round the Mountain, 332 Shepherd Pipes (Salutrinskaya), 488 Shepherd’s Song (Beethoven), 42–43 She’s Like the Swallow, 674 Ships Ahoy, 391 Shoestring Boogie, 97–98 Simple Gifts, 297 Somewhere My Love, 574 A Sonata Theme (Mozart), 114 Sonatina in C Major (Lynes), 604 South American Folk Song, 198 Spanish Folk Melody, 484 Spring (Vivaldi), 137 Springtime Song (Bartók), 613 The Star-Spangled Banner (Key and Smith), 700 Starting the Blues, 253 Starts of the Heavens, 390 Steamroller Rock, 247 Steeplechase (Gurlitt), 406 Step Along Blues, 420 Step Around Blues, 427 Stepping Down in C, 88 Stepping Up in C, 87–88 Stompin!, 104–105 Streets of Laredo, 555 Studies in B Major, 240 Studies in E flat Major, 194 Study (Bartók), 245 Study (Beyer), 418 Sugarloaf Mountain (Stevens), 510 Summer Breezes, 78 Sunset (Alexander), 327–328 Surfing (Evans), 61–62 Swedish Folk Song, 198 Sweet Betsy from Pike, 567 Tag Along, 82 Take Me Out to the Ball Game (von Tilzer and Norworth), 556 Taking a Chance, 69 Tambourin (Rameau), 588 Tango Dream (Kowalkowski), 365 Teasing (Türk), 314 The Strawberry Roan, 296 Theme from Bridal Chorus (Wagner), 560 Theme from Don Giovanni (Mozart), 561 Theme from Liebestraum (Liszt), 564 Theme from Piano Concerto No. 2, Op. 18 (Rachmaninoff), 564 Theme from Symphony No. 9 (Dvorˇák), 416, 565 Theme from Symphony No. 40 (Mozart), 562 Theme from the Barber of Seville (Rossini), 560 This Land Is Your Land (Guthrie), 238–239 Time-Clock Blues, 249 To B or Not to B Flat (Rollin), 628 Tranquility (Gretchaninov), 443 Trepak (Tchaikovsky), 561 Triads On the Run, 407 Twilight (Olson), 410 Two Etudes (Beyer), 60 Two Etudes in A Major, 113 Two Studies, 234

Index

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Two Studies in 68 Time, 107 Two Tone (Hansen), 526 Up and Down Blues, 428 Venetian Waltz, 477 The Village Prophet (Rousseau), 495 Violin Sonata, Op. 25, no. 5 (Beethoven), 679 Vivace (Gurlitt), 201

Vive La Compagnie, 341 Volga Boatman, 467 Walking’ Through Blues, 255 Waltz (Wohlfahrt), 212–213 Waltzing, 49–50 Waltzing Matilda, 558 Warm-Up Study in G flat Major, 110 The Washington Post March (Sousa), 553 Wende Dich, Herr (Hammerschmidt), 681

Wheels, 117 When I Come Back, 312 When the Saints Go Marchin’ In, 231–232 Whistle Daughter, 181 White-Note Clusters (Finney), 528 William Tell Overture (Rossini), 551 Winter (Finney), 530 Zulu Farewell Song, 241 Zum Gali Gali, 151

Index

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|709

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COMPOSER INDEX

Alexander, Dennis, 327–330 Allen, William, 151 Althouse, Jay, 674 Applebaum, Stan, 396 Bach, Johann Sebastian, 559, 590, 643, 660 Bartók, Béla, 91, 152, 245, 418, 613 Bastien, Jane Smisor, 412 Bates, Katharine Lee, 699 Bayly, Thomas, 550, 652 Beethoven, Ludwig van, 42–43, 315, 563, 599, 679–680 Beyer, Ferdinand, 60, 121, 164 Botkin, Perry, 579 Brahms, Johannes, 648 Burgmüller, Johann, 600 Carey, Henry, 698 Collins, Ann, 493 Corelli, Arcangelo, 593 Czerny, Carl, 307, 440, 507 Davis, Katherine K., 398 De Vorzon, Barry, 579 Diabelli, Anton, 107, 268–269, 393 Diemer, Emma Lou, 534 Duke, David, 485, 531 Dvoˇrák, Antonín, 416, 565 Emmett, Dan, 566 Evans, Lee, 61–62, 133–134 Finney, Ross Lee, 527–530 Foote, Arthur, 135–136 Foster, Stephen, 305, 553, 666, 668 Frackenpohl, Arthur, 486, 500 Galliard, John Ernst, 649 Gillock, William L., 618 Gretchaninov, Alexander, 443 Gurlitt, Cornelius, 59, 199, 201, 295, 406, 419, 474, 603 Guthrie, Woody, 238–239 Hall, Pauline, 102, 374, 376 Hammerschmidt, Andreas, 681 Hanon, Charles-Louis, 325, 439, 506 Hansen, Joan, 481, 526 Hastings, Thomas, 313 Haydn, Franz Joseph, 314, 555, 597, 642 Hengeveld, Gerard, 270, 272 Hilton, John, 306

Hovhaness, Alan, 616 Howard, Joseph E., 378–379 Iversen, Ken, 10, 19, 30, 32, 65, 150, 154, 217, 446, 638–641, 666, 668 Jarre, Maurice, 574 Joplin, Scott, 352 Kabalevsky, Dmitri, 164, 236, 251–252, 418, 615 Keveren, Phillip, 41, 165 Key, Francis Scott, 700 Kocher, Conrad, 52, 54–55 Köhler, Louis, 120, 236, 331, 495 Kowalkowski, Jeff, 122, 365, 496, 538 Krieger, Johann, 594 Kuhlau, Friedrich, 360 Lawry, Robert, 230 Liliuokalani, 552 Liszt, Franz, 371, 564 Löw, Joseph, 214–215 Lynes, Frank, 604 Mach, Elyse, 17–20, 31, 34, 43–50, 56, 78, 81–84, 87–88, 92–101, 103–105, 111–112, 116–119, 150, 162–163, 172, 177–179, 203–205, 216, 233, 235, 241, 247–250, 317, 351, 355, 364, 374, 376, 391–392, 401, 407, 410, 417, 470, 476–477, 483, 491–492, 522–523, 571, 579 Marie, Gabriel, 172, 174 Mier, Martha, 520 Miller, Carolyn, 622 Mouret, Jean Joseph, 372 Mozart, Leopold, 596 Mozart, Wolfgang Amadeus, 114, 561–562, 598, 644 Norton, Christopher, 619 Oesten, Theodore, 408 Offenbach, Jacques, 347–348, 557 Oliviero, Nino, 576 Olson, Lynn Freeman, 355–356, 400, 410, 624 Ortolani, Riziero, 576

Queen Liliuokalani of Hawaii, 552 Rachmaninoff, Sergei, 564 Rahbee, Dianne Goolkasian, 533, 541–542 Rameau, Jean-Philippe, 588–589 Rebikoff, Vladimir, 612 Reinagle, Alexander, 120 Rodgers, Richard, 583 Rollin, Catherine, 628 Rossini, Antonio, 560 Rossini, Gioacchino, 551, 560 Rousseau, Jean-Jacques, 495 Salutrinskaya, Tat’iana, 488 Schein, Johann Hermann, 592 Schubert, Franz, 362, 670 Schumann, Robert, 602, 672 Schytte, Ludvig, 478, 611 Smith, John Stafford, 700 Sousa, John Philip, 553 Starer, Robert, 535, 617 Steffe, William, 358 Stevens, Everett, 510 Stravinsky, Soulima, 539 Streabbog, Jean Louis, 607 Strommen, Carl, 674 Tansman, Alexandre, 614 Tchaikovsky, Peter Ilyich, 473, 508, 561, 609 Tingley, George Peter, 620 Türk, Daniel Gottlob, 200, 308, 314, 361 Vandall, Robert D., 625 Verdi, Giuseppe, 563 Vivaldi, Antonio, 137 Von Tilzer, Albert, 556 Wagner, Richard, 560 Ward, Samuel Augustus, 699 Wells, Elsie, 450–451, 513–514 Wieck, Friedrich, 371 Witthauer, Johann Georg, 595 Wohlfahrt, Heinrich, 79–80, 175–176, 212–213, 414

Peirick, Aaron, 160 Persichetti, Vincent, 524 Pierpont, J. S., 229 Poulton, Greg, 19, 21 Puccini, Giacomo, 562

Index

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|711

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9780199326204_Mach_TxT.indb 2

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SUBJECT INDEX

68 time, 105–108 74 time, 542 88 time, 396

7 (arabic numeral), signification, 187 8va, 705 12-bar blues form, 66 15ma, 528, 705 20th- and 21st-century music styles, 519–546 a tempo, 703 AB musical form, 308, 592 ABA musical form, 308, 311 accelerando (accel.), 703 accent marks, 162, 705 accidentals explained, 91 figured bass symbols, 653 half-step arrangements, 479 See also flats; naturals; sharps accompaniments, 337–384, 665–682 arpeggio patterns, 344–349 broken-chord, 337–341 classic miniatures, 360–361 creative music and harmonization, 366–367 damper pedal, 354–356 ensembles, 371–381 improvisation, 363 ostinato, 357–359 repertoire, 362 rhythm, 370 sightreading, 368–369 strumming, 565 syncopation, 350–353 technical development, 371 vocal and instrumental accompaniments, 665–682 waltz pattern, 342–343 “Western” sound, 317, 363 adagio, 703 Aeolian mode, 479 Alberti bass, 348 aleatoric music, 69 alla breve 𝄵, 705 allegretto, 703 allegro, 703 allemande, 592 alto clef, 646–649 “Amen” cadences, 226 andante, 703 andantino, 703 animato, 704

arabesque, 600 arpeggios explained, 344 accompaniment patterns, 344–349, 569–576 Alberti bass, 348 arpeggiated inversions, 403 sign, 705 in two octaves, 684–695 atonality, 526–527 See also tonality augmented intervals, 395, 415–417 augmented triads, 415, 569 authentic cadences, 226 backwards (retrograde), 526 bagpipe sound, 316–317 bar lines, 3 Baroque period, 592 Alberti bass, 348 figured bass, 653 basic understanding of piano keyboard. See keyboard basics bass clef, 22–24 basso continuo, 653 beat. See time and rhythm binary form, 308, 592 bitonality, 524, 537 explained, 396 bitonal improvisation, 537–538 black keys two-key groups, 7 three-key groups, 8–9 flats and sharps, 13 pentatonic scale improvisation, 10–13 two-key groups, 7–8 white key reference points, 7–9 block-chord accompaniment, 190–191 major scales and easy pieces, 279–335 blocked clusters, 67 blocked intervals, 26 blocked inversions, 403 blue note, 255–258 blues scale, 428–432 12-bar form, 66 body posture, 2–3 illustration, 1 boogie-woogie pattern, 422–423 breath mark, 705 broken chord accompaniment patterns, 337–348 broken clusters, 67 Byzantine scale, 473

C major five-finger pattern, 15, 18 cadences, 226 canon, 172, 177–178 cantabile, 704 C-D-E keyboard groups, 7–8 chance music, 69 change of mode, 476 change-of-tempo terms, 703 changing five-finger positions, 243–278 classic miniatures, 251 creative music and harmonization, 260–261 ensembles, 268 improvisation, 253–259 repertoire, 252 rhythmic studies, 265 sightreading, 261–264 technical development, 266 chords chromatic moves, 145 classic miniatures, 164 creative music, 167 defined, 143 ensembles, 172–181 first inversion, See V 65 inversion five-finger studies and triads in major, 145–147 five-finger studies and triads in major and minor, 153–157 groups, 144 i chord, 547–548 ii chord (supertonic), 153, 385–386 iii chord (mediant), 386–387 improvisation, 166 IV chord, See IV chord letter-name vs. roman numeral chord symbols, 547–585 major triads, 143–152 mediant, 386–387 minor five-finger pattern, 149–150 minor triads, 153–159 pieces using major and minor triads, 160–163 repertoire, 165 rhythmic studies, 170–171 roman numeral vs. letter-name chord symbols, 547–585 scale system, explained, 279 sightreading, 168–170 subdominant, See subdominant chords supertonic, 153, 385–386 technical development, 170–171 tonic chords, See I (tonic) chords

Index

9780199326204_Mach_TxT.indb 713

|713

5/27/15 9:36 AM

chords (continued) v7 chord, See root position vi chord (submediant), 387 See also chord inversions of triads and seventh chords; chords; I (tonic) chords; IV chords; root position; subdominant chords; V65 inversion chord inversions of triads and seventh chords, 402–454 augmented and diminished triads, 415–417 classic miniatures, 418 creative music and harmonization, 431–432 damper pedal, 409–411 ensembles, 443–453 hymn style, 412–414 improvisation, 420–429 indirect pedaling, 409 repertoire, 408, 419 rhythmic studies, 437–438 sightreading, 433–435 technical development, 439–442 chromatic moves, 145, 257 chromatic scale, 489–490, 526 classic miniatures accompaniment patterns, 360–361 chord inversions of triads and seventh chords, 418 dominant seventh chord, 199–200 five-finger patterns, 120 major scales and easy pieces with blockchord accompaniments, 314 minor scales and other scale forms, 495 tonality, 533 triads, 164 clefs, 22–23 alto clef, 646–649 bass clef, 22–24 movable clefs, 646–652 tenor clef, 650–652 close structure, 655 clusters, 67, 528 scale studies in, 290–291 symbol for, 705 C major five-finger pattern, 15, 18 coda, 704 within sonata-allegro form, 604 come sopra, 703 common time, meter signature, 705 common tones, 144 composite meter, 232–241 con brio, 524 con forza, 704 con moto, 704 continuo accompaniment, 653 contrary motion, 4, 75, 117–119, 129 creative music and harmonization accompaniment patterns, 366–367 chord inversions of triads and seventh chords, 431–432 dominant seventh chord, 205–206 five-finger patterns, 123–125 major scales and easy pieces with blockchord accompaniments, 318 minor scales and other scale forms, 497 triads, 167 crescendo (cresc.), 704–705 crossing finger position, 294–295

714|

cut time (alla breve), 705 Czerny fingerbuilder exercises, 440 da capo (d.c.), 704 da capo al coda, 704 da capo al fine (d.c. al fine), 704 dal segno (d.s.), 704 dal segno al coda, 704 dal segno al fine, 704 damper pedal, 98, 354 accompaniment patterns, 354–356 chord inversions of triads and seventh chords, 409–411 marking in score, 524 dance suite, 592 decrescendo (decresc.), 704 symbol, 705 diminished intervals, 394 diminished triads, 415, 569 diminuendo, 705 diminuendo (dim., dimin.), 704 direct pedaling, 354 dolce, 704 dominant seventh chord, 187–220, 572 classic miniatures, 199–200 creative music and harmonization, 205–206 ensembles, 212–218 first inversion, 187–189 i and v65 accompaniment, 190–191 improvisation, 202–205 letter name and roman numeral chord symbols for I for v65 chords, five-finger melodies, 197–199 music chord symbols, 192 repertoire, 201 rhythmic studies, 210 root position, 187 sightreading studies, 206–210 technical development, 211 Dorian mode, 65–67, 479 improvisation, 65 pieces, 90, 152, 166 dotted eighth notes, 303–308 dotted quarter notes, 95 downbeat, 100 drone bass, 57, 70 defined, 55 improvisation, 58 drum roll accompaniment, 358 duets student-student, 135–136, 152, 381, 526 student-teacher, 76, 327 dynamic terms and markings, 17, 114–117, 704 ear, playing by, 10 88 time, 396 8va, 705 eighth notes, 46 eighth rests, 46 endings, symbols for, 705 enharmonic tones, 14 ensemble pieces accompaniment patterns, 371–381 chord inversions of triads and seventh chords, 443–453 dominant seventh chord, 212–218

easy pieces using various accompaniment patterns, 372–381 five-finger patterns, 133 letter-name chord symbols and melodies vs. roman numeral chord symbols, 579 major scales and easy pieces with blockchord accompaniments, 327 minor scales and other scale forms, 508 tonality, 539 triads, 172–181 espressivo, 704 exposition within sonata-allegro form, 604 extended range block-chord accompaniments, 279–335 other accompaniment patterns, 337–383 eyes and eye position, 2–3 fermata, 705 F-G-A-B groups, 9–10 15ma, 528 figured bass, 653–664 fine, 704 finger numbers, 4–5 fingerings block-chord accompaniments, 285–289 C-D-E keyboard groups, 7–8 F-G-A-B groups, 9–10 harmonic minor scales, 462–465 fingers, 2 contraction, 294 finger builders, 132, 325, 371, 439–440, 506 illustration of correct finger position, 2 numbers, 4–5 See also five-finger patterns first inversion. See V65 inversion five-finger patterns, 15–16, 45, 87–141 accidentals, 91 classic miniatures, 120 contrary motion, 117–119 creative music, 123–125 drone bass accompaniment, 58 dynamics, changing, 114–117 ensembles, 133 I and V65 chords, 197–199 improvisation, 122 key signatures, 108–110 major pentachord, 15–16 major triads, 145–147 minor pentachord, 15–16 registers, 87–100 repertoire, 121 rhythmic studies, 130–131 score reading, 89–91 sightreading, 125–130 68 time, 105 studies in major keys, 73 technical development, 132 triads, 153–157 See also extended range five-tone scale built on black keys only, 15–16 flat key signatures, 109 flat keys, 283–284 minor scales and other scale forms, 460 flats, 91 folk tunes, chord symbols, 547–585 form, explained, 308 forte, 704

Index

9780199326204_Mach_TxT.indb 714

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fortissimo, 704 four-part texture, 636–645 gavotte, 595 giocoso, 704 glissando, 705 grand staff, 22 grave, 703 grazioso, 704 groups, 144 hands, 2 stretch, 293 See also fingers; wrists Hanon fingerbuilder exercises, 439, 506 harmonic intervals, 26, 62, 241, 401 harmonic minor scales, 456, 462, 690–695 harmonization, 62, 197, 242, 366 drone bass accompaniment, 58 hymn style, 412 See also creative music and harmonization harp-like sound. See arpeggios hemiola, 407 history of pentatonic scale, 202 Hungarian minor scale, 473 hymn style, 412–414 I (tonic) chords, 143, 189, 547 chart, 548 creative music, 123 letter names, 547 moving to IV64 chord, 223 substituting vi chord, 387 ii chord (supertonic), 153, 385–386 iii chord (mediant), 386–387 improvisation, 15–16, 65–67 accompaniment patterns, 363 chord inversions of triads and seventh chords, 420–429 dominant seventh chord, 202–205 Dorian mode, 65 five-finger patterns, 122 keyboard basics, 10–12 major scales and easy pieces with blockchord accompaniments, 316 minor scales and other scale forms, 496 pentatonic improvisation, 363–364 pentatonic (black-key) scale, 10–12 tango improvisation, 365 tonality, 537 triads, 166 indirect pedaling, 409 innovative notations, 528 instrumental accompaniments, 665–682 intenzionato, 704 intervals, 25–27 intervals within scale, 394–395 inversions, 188, 526 arpeggiated inversions, 403 blocked inversions, 403 figured bass symbols for, 656–658 first inversion, See V65 inversion IV chords, 222 second inversion, 402 See also chord inversions of triads and seventh chords Ionian mode, 479

IV chords, 221–222, 547 chart, 548 inversions, 222 supertonic substitution, 335 See also subdominant chords jazz musical style, 520–521 key note, 45 key signatures, 45, 108–110 keyboard basics, 1–86 drone bass accompaniment, 55–73 finger numbers, 4–5 harmonization, 62 improvisation, pentatonic (black-key) scale, 10–12 major five-finger pattern, 15–17 notation, See notation and notation symbols posture, 2–3 rhythm, See time and rhythm standard piano keyboard, 6–10 largo, 703 legato, 704 legato pedaling, 409 leggiero, 704 lento, 703 letter-name chord symbols, 547–585 letter-name vs. roman numeral chord symbols, 547–585 chart, 548 Locrian mode, 479 lower position in tetrachord, 280 lower register, 6 lunga, 704 Lydian mode, 479 maestoso, 704 major chords, 143–152 augmented triads, 415, 569 five-finger notation, 18, 44, 49, 52, 110, 113, 115, 149, 188, 193, 196, 222, 234, 237, 240 major key groupings, 144–145 seventh chords, major and minor, 572 subdominant chords, 234–239 major five-finger patterns, 15–21, 44, 49, 52, 87–141 dominant seventh chord, 193–196 drone bass accompaniment, 58 major and minor triads, 145, 149 subdominant chord and changing fivefinger positions, 234, 237, 240 tango improvisation, 365 major intervals, 394 major pentachord/pentascale, 15–16 major scales AB musical form, 308 ABA musical form, 308, 311 arpeggios in two octaves, 684–689 block-chord accompaniments, 279–335 classic miniatures, 314 clusters, scale studies in, 290–291 creative music and harmonization, 318 dotted eighth notes, 303–308 ensembles, 327 fingerings for both hands together, 285–289

five-finger position, extending, 294–298 improvisation, 316 melodies with letter-name chord symbols for i, iv64 , and v65 chords, 312–313 repertoire, 315 rhythmic studies, 324 sightreading, 320 sixteenth notes and sixteenth rests, 301–303 technical development, 325 tetrachord position, 280 marcato, 704 marziale, 704 measures basic values, 3 measure numbers, 42 meter signatures, 27 numbering of, 42 repeat bar, 76 melodic intervals, 25, 396–400 melodic minor scales, 456 melodies bass clef, 22–24 bitonal improvisation, 537–538 chromatism in, 491 divided between two hands, 39–40 with figured bass, 658–659 five-finger melodies for left hand, 29 five-finger melodies for right hand, 27 with letter-name chord symbols for i, iv64, and v65 chords, 312–313 in parallel motion, 320–324 treble clef, 22–24 white-keys only, 68 See also five-finger patterns meno, 704 meno mosso, 703 meter signatures, 27 metronome, 522 metronome marking, 705 mezzo forte, 704 mezzo piano, 704 middle register, 6 minor chords, 153–159 five-finger pattern, 149–150 seventh chords, major and minor, 572 minor intervals, 394 minor scales and other scale forms, 455–517 chromatic scale, 489 classic miniatures, 495 creative music and harmonization, 497 ensembles, 508 flat keys, 460 harmonic minor scale, 456 harmonic minor scales, 462 improvisation, 496 melodic minor scale, 456 minor key signatures, 457 natural minor scale, 456 natural minor scales in tetrachord positions, 458 parallel major and minor scales, 475 relative key signatures, 457 relative major and relative minor scales, 455 repertoire, 474, 478, 493 sharp keys, 458 sightreading, 501 technical development, 506

Index

9780199326204_Mach_TxT.indb 715

|715

5/27/15 9:36 AM

minuet, 594 missing beats, 100 Mixolydian mode, 479 mode, explained, 479 moderato, 703 modulation, 474 molto, 704 mosso, 704 movable clefs, 646–652 musical form, explained, 308 natural minor scale, 456–458 in tetrachord positions, 458 naturals, 91 natural sign, 13 nonstandard notation, 67 non-Western scale forms, 479 notation and notation symbols, 12–15 eighth notes and eighth rests, 46–48 five-finger notation, 44–45, 49–55 innovative notations, 528 intervals, 25–27 keeping time, 27 measure numbers, 42–44 note and rest values, 3 reading notes, 22–23 rests, 41 sightreading studies, 70–72 slur and phrase markings, 30–32 symbols and signs, 705 tempo terms, 703–704 note clusters, symbol for, 705 notes basic values, 3 dotted eighth notes, 303–308 dotted quarter notes, 95 eighth notes, 46 half steps, 12–13 quarter notes, 3, 27 reading, 22–23 sempre staccato, 349 sixteenth notes, 301–303 staccato, 96 transposition, 46 octava, 705 octaves 15ma, 528 major and harmonic minor scales and arpeggios in two octaves, 683–697 major and minor seventh, 572 octave sign, 705 off-beats, 350, 520 open fifths, 148 open structure, 655 ostinato accompaniment, 357–358, 424 parallel major and minor scales, 475 parallel motion, 4, 104 parallel phrases, 123 pedaling, 354–356 direct pedaling, 354 indirect pedaling, 409 pedal markings, 705 pentachord/pentascale. See five-finger patterns pentatonic scale, 15–16, 66 history of, 202 improvisation in, 202, 363–364

716|

perfect intervals, 394 performance terms and symbols, 703–705 pesante, 704 phrase markings, 30 phrases authentic cadences, 226 defined, 30 parallel phrases, 123 sequential, 123 Phrygian mode, 479 pianissimo, 704 piano, 704 pitch, 6, 12 enharmonic tones, 14 pitch clusters, 67 See also tones più, 704 più mosso, 703 plagel cadences, 226 poco, 704 popular music, chord symbols, 547–585 posture at keyboard, 2–3 illustration, 1 prelude, 625 presto, 703 quartal harmony, 531 quarter note clusters, 68 quarter notes, 3, 27 68 time, 105 74 time, 542 dotted quarter notes, 95 quarter rests, 3 question-and-answer musical dialogue, 429 quindecima, 705 rallentando (rall.), 703 recapitulation within sonata-allegro form, 604 registers, 6–7 five-finger patterns, 87–100 relative key signatures, 457 relative major, 455 relative minor, 150, 455 repeat bar line, 76, 705 repertoire, 60, 362 accompaniment patterns, 362 block-chord accompaniments, 315 chord inversions of triads and seventh chords, 408, 419 dominant seventh chord, 201 five-finger patterns, 121 minor scales and other scale forms, 474, 478, 493 secondary chords, 401 tonality, 535 triads, 165 rests in 68 time, 105 basic values, 3 dotted quarter, 95 eighth rests, 46 retrograde (backward), 526 rhythm. See time and rhythm risoluto, 704 ritardando (rit., ritard.), 703 ritenuto (riten.), 703 roman numeral vs. letter-name chord symbols, 547–585

rondo, 361 root position explained, 143 chord inversions, 402, 405 dominant seventh chord, 187 and letter-name chord symbols, 547–548 subdominant chord, 221 round, defined, 57 sarabande, 593 scala, 279 scales explained, 279 Aeolian mode, 479 blues scale, 428–432 Byzantine scale, 473 chromatic scale, 489–490 clusters, scale studies in, 290–291 harmonic minor scales, 456, 462, 690–695 intervals within scale, 394–395 Ionian mode, 479 Lydian mode, 479 major five-finger pattern, 15–16 natural minor scale, 456–458 Phrygian mode, 479 two octaves, major scales and arpeggios in, 684–689 whole tone scale, 520–522 See also minor scales and other scale forms scherzando, 704 score reading, 631–664 figured bass, 653–664 five-finger patterns, 89–91 four-part texture, 636–645 movable clefs, 646–652 three-part texture, 631–635 second inversion, 402 secondary chords, 385–401 intervals within scale, 394–395 melodic lines with intervals, 396–400 repertoire, 401 sempre, 704 sempre staccato, 349 senza, 704 sequences, 111 74 time, 542 7 (arabic numeral), signification, 187 seventh chords dominant seventh chord, 187–220 See also chord inversions of triads and seventh chords seventh degree, 280 sforzando, 704 sharp keys, 91, 281–282, 458 sharp key signatures, 45, 108 sightreading, 70 accompaniment patterns, 368 block-chord accompaniments, 320 chord inversions of triads and seventh chords, 433 dominant seventh chord, 206 five-finger patterns, 70, 125 minor scales and other scale forms, 501 triads, 168 signs and symbols, 705 simile, 704 68 time, 105–108

Index

9780199326204_Mach_TxT.indb 716

5/27/15 9:36 AM

sixteenth notes and sixteenth rests, 301–303 slurs, 30, 101–102 sonata, 604 sonata-allegro form, 604 sonatina, 604 sostenuto, 704 staccato, 96 sempre, 349 staccato mark, 705 staff and clefs, 22–23 standard piano keyboard, 6–10 strengthening exercise for fingers, 371 stretch of hands, 293 strumming, 565–568 subdominant chords, 221–243 B-flat major, 237–239 B major, 240–241 cadences, 226 composite meter, 232–233 D-flat major, 234–236 five-finger melodies, 242–243 IV 64 inversions, 221–222 root position, 221 second inversion, 222 See also IV chords subito, 704 substitute chords. See secondary chords symbols and signs, 703, 705 syncopation, 350–353 tambourin, 588 tango improvisation, 365 technical development accompaniment patterns, 371 chord inversions of triads and seventh chords, 439–442 dominant seventh chord, 211 five-finger patterns, 132 major scales and easy pieces with blockchord accompaniments, 325 minor scales and other scale forms, 506 triads, 170–171 tempo defined, 27 markings, 703–704 See also time and rhythm tenor clef, 650–652 tenuto, 236

ternary form, 308, 311 tetrachord position major scales, 280–284 minor scales, 458–461 three-black-key groups, 8–9 three-note slurs, 102 three-part song form, 308, 311 three-part texture, 631–635 ties, 42 time and rhythm, 33–34, 73–84 accompaniment patterns, 370 beats, basic values, 3 chord inversions of triads and seventh chords, 437–438 dominant seventh chord, 210 five-finger patterns, 130–131 keeping time, 27–29 major scales and easy pieces with blockchord accompaniments, 324 rhythmic patterns, 33 triads, 170–171 tonal center, 526 tonality, 519–546 atonality, 526–527 bitonality, 524, 537 classic miniatures, 533 ensembles, 539 improvisation, 537 innovative notations, 528 jazz musical style, 520–521 quartal harmony, 531 repertoire, 535 tonal center, 526 whole tone scale, 520–522 tone row, 526–527 tones basic understanding of keyboard, 6 common tones, 144 enharmonic, 14 letter names, 14 pitch clusters, 67 scale system, explained, 279 See also pitch tonic, 45 tonic chord. See I (tonic) chord touch, playing by, 10 eyes and eye position, 2–3 transposition, 46 treble clef, 22–24

tremolo, 705 triads. See chords trill, 705 triplet, 705 troppo, 704 twelve-bar blues form, 66 blue note, 255–258 boogie-woogie pattern, 422–423 chord pattern, 253 improvisation, 66, 253, 420 twentieth- and twenty-first-century music styles, 519–546 two-note slurs, 101–102 two-part song form, 308, 592 una corda, 704 upbeat, 100 upper position in tetrachord, 280 upper register, 6 upside down (inversion), 526 V (roman numeral), signification, 187 V65 inversion, 402 authentic cadences, 226 block-chord accompaniment, 190–191 dominant seventh chord, 187–189 melodies with letter-name chord symbols for, 312–313 V7. See root position verbal instruction in musical notation, 67 vivace, 703 vocal accompaniments, 665–682 walking bass, 357 waltz accompaniment pattern, 342–343 “Western” sound, 363 white keys black keys as reference points, 7–9 C-D-E keyboard groups, 7–8 F-G-A-B groups, 9–10 flats and sharps, 13 location, 6 whole notes, 3 whole rests, 41 whole steps, 15, 45 whole tone scale, 520–522 wrists, 2 illustration, 1 to play slurs, 101

Index

9780199326204_Mach_TxT.indb 717

|717

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