B

A

S

I

C

M

U

S

I

C

C

O

U

R

S

E

KEYBOARD COURSE

B

A

S

I

C

M

U

S

I

C

C

O

U

R

S

E

KEYBOARD COURSE

Published by The Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah

© 1993 by Intellectual Reserve, Inc. All rights reserved Printed in the United States of America Updated 2004 English approval: 4/03

.46 Practicing All the Line Notes .......14 The Downbeat........2 Components ...............41 The Staff .........................76 Hymns to Learn ....................................40 SECTION 2 ................................................66 “Praise God.........................................38 “How Gentle God’s Commands” ...17 Combining Notes of Different Rhythms ..................32 Finding Middle C ...CONTENTS Introduction to the Basic Music Course ............. the Very Thought of Thee”......18 Reading the Rhythm of the Hymns.......................................................................... Once of Humble Birth”..........63 Learning about Sharps ........................50 Practicing Steps and Skips..........16 Practicing the Rhythmic Names .........................................................................3 A Note of Encouragement..5 Getting Ready to Play the Piano ..........70 The Key Signature ...31 Finding and Practicing the White Keys ..4 SECTION 1 ..63 Flats....12 The Time Signature..51 Reviewing Line Notes..................................................... Space Notes.................32 Finding and Practicing C and F................78 “High on the Mountain Top” .........28 “Jesus...10 Counting the Beats ......70 “How Gentle God’s Commands” ...15 Learning about Notes and Rhythm.... and Skips ....................................................47 The Space Notes..................................................................................9 Learning about Beats and Rhythm ..............29 “Jesus........63 Naturals ...............75 Playing with Both Hands .........................................72 Daily Exercises .76 Daily Exercises ........................1 The Keyboard Course......................................................73 SECTION 3 ...........................45 Other Line Notes...2 Purposes..................68 Daily Exercises with a Flat ............................49 Steps and Skips ....................................34 Finding and Practicing A and B....6 Nine-point Checklist .............................. Our Savior”.......................54 Hymns to Learn ........................................37 Practicing All the White Keys ...................56 “How Gentle God’s Commands” ........................... Steps........36 Finding and Practicing G ........80 “As I Search the Holy Scriptures”.43 Seven Important Line Notes .............................. So He Sent His Son”.................................13 Time and Tempo ..................... the Very Thought of Thee”...................................................64 Daily Exercises with a Sharp..................................2 Advice to Students ..........19 “In Humility............ from Whom All Blessings Flow”................39 “God Loved Us............................................................................ Our Savior”............................................................................................8 “There Is a Green Hill Far Away”....................21 The Keyboard.....42 Matching Notes on the Staff with White Keys on the Keyboard ...........52 Daily Exercises ..............20 “Sweet Is the Work”.......................................................................26 “In Humility.........79 “How Great the Wisdom and the Love”........................................................................................ Once of Humble Birth”........................... So He Sent His Son”.6 Playing by Finger Numbers .58 “God Loved Us............................66 Learning about Flats .19 “Abide with Me!”.......78 “While of These Emblems We Partake”......................................65 Hymn to Learn................................................................69 Hymn to Learn.........................16 Using Rhythmic Names for Notes...............60 Accidentals ..................81 iii ...............56 “Jesus................................22 Playing by Finger Numbers ...........30 “Abide with Me!”.......................24 Practicing Notes and Finger Numbers..35 Finding and Practicing D and E.44 Practicing Seven Important Line Notes ...........................................................................................................48 Practicing the Space Notes .....................62 Sharps .57 “Jesus........

...129 Chording............................................................. Our Father..........................132 Fingering .....................................109 Other Time Signatures.............................115 Using the Hymnbook ......................85 The Sustaining Pedal ..............123 Effective Teaching Methods ............104 “Come..................89 “I Need Thee Every Hour”...............136 “I Know That My Redeemer Lives”...................142 Certificate of Achievement ..155 Index .................................................86 “God........124 Tips for Teaching the Keyboard Course ........................................................102 “Joseph Smith’s First Prayer” .................................................................122 How to Set Up Basic Music Course Programs...................... O God..114 Playing Four-Part Hymns............131 “Redeemer of Israel”...............................................................121 Guidelines for Teachers ............................84 “Lord........137 Organ Registration.........116 Daily Exercises ...........................................84 “God..............................................................109 Hymn to Learn.............................87 Dotted Notes...........................110 The ^ Time Signature........................129 Reading Chord Symbols . Come.......................88 Hymns to Learn ....82 Eighth Notes ........... for a Prophet”.128 Keyboard Skills...............................foldout inside back cover iv .... Hear Us Pray”..............................94 “I Am a Child of God”......................................111 SECTION 4 . Our Father.........................134 Playing the Organ Keyboard.......................................................133 Learning to Play an Organ or Electronic Keyboard......................................................................110 The % Time Signature.........98 Sixteenth Notes..140 Glossary of Musical Terms ..........123 In-Class Duties.........................93 “Keep the Commandments”.134 Playing the Organ Pedals ............90 “Be Thou Humble”....................108 Triplets ...............126 Basic Music Course Lesson Outline ...............................................................................................................Other Note Values ..115 Hymnbook Resources .............................122 Basic Guidelines ...............114 Daily Exercises ........................................106 “Redeemer of Israel”............................................................................................................. Hear Us Pray”..93 “How Great Thou Art”....................................102 “We Thank Thee..................123 To the Teacher: Getting Started .83 Hymns to Learn ................................82 Practicing Eighth Notes.................................111 Hymns to Learn ...............157 Handy Helps..............101 Hymns to Learn ...............91 Rests....................................................................96 “Do What Is Right” .89 “I Know My Father Lives”.. Dismiss Us with Thy Blessing” ............... Ye Saints”..................113 Playing Three-Part Hymns ..................................................117 SECTION 5 ...92 Hymns to Learn ........................................................100 Practicing Sixteenth Notes ....................................130 Using the Chord Chart ....

After completing it. The materials that are available are listed in the next column: Conducting Course Kit Conducting Course manual Conducting Course audiocassette (The videocassette Music Training [53042] includes the segment “How to Conduct a Hymn.” which correlates with the Conducting Course but is not part of it.ldscatalog. and homes to teach all interested members and nonmembers.S. contact Distribution Services as outlined below: Telephone: 240-3800 (Salt Lake City) 1-800-537-5971 (U. You should begin with the Conducting Course. stakes. has four octaves of full-sized keys and is suitable for playing all of the hymns) To order these materials. The Basic Music Course has two parts: the Conducting Course and the Keyboard Course.) Keyboard Course Kit Keyboard Course manual Keyboard Course audiocassette Hymns Made Easy (31249.INTRODUCTION TO THE BASIC MUSIC COURSE Music has always been an important part of worship for Latter-day Saints. you will know how to read music and play some simple hymns on a keyboard instrument. you will know the basics of rhythm and note reading. UT 84104-4233 Internet: www. wards. you will learn music skills in a carefully planned order. As you progress through them. You do not need previous musical training to begin these courses. also available separately) Cardboard keyboard Music note cards Carrying sack Electronic keyboard (80509. It inspires and strengthens. and play a keyboard instrument. and is a unique way to express feelings about the gospel. As you do. brings beauty and unity. Many Church members want to learn how to read music. you will also know how to use the Church hymnbook and conduct most hymns. you will enrich your life and be able to serve in new ways. conduct hymns. The Basic Music Course can be used in branches. and Canada) 1-801-240-1126 (other countries) Mail: Distribution Services 1999 West 1700 South Salt Lake City. No fees beyond the cost of materials should be charged.com 1 . After completing the Keyboard Course. The purpose of the Basic Music Course is to help you develop these skills.

The boxed numbers in the manual correspond to numbered examples on the tape. practice slowly without the tape. These can be used to accompany singing at home and at church. COMPONENTS The Keyboard Course Kit includes several resources to help you learn to play hymns: The audiocassette tape provides recorded examples of exercises in this manual. it would be helpful for you to complete the Conducting Course first. A second purpose of the Keyboard Course is to train you to teach others how to play a keyboard instrument. However. Hymns Made Easy is a collection of sixty simplified hymns. then gradually go faster until you can perform with the tape. It is important that you learn to recognize them instantly and associate them with the correct keys on the keyboard. You might try performing with the tape. you will be qualified to teach it to others. Then try to perform each skill as it is done on the tape. Even though you may not feel confident with your new keyboard skills. One of your goals in this course is to learn to play the hymns as they are arranged in Hymns Made Easy. Practice every day or as often as possible with a keyboard. No previous musical training is necessary for you to begin this course. The “Guidelines for Teachers” section in the back of this manual includes materials to help you teach keyboard classes. The cardboard keyboard will help you study and practice when a keyboard instrument is not available. 2 . use a real keyboard instrument. The music note cards will help you learn to read music notes. Teaching others will improve your own skills and give you more confidence. If the recorded example is too fast. After completing the course. Listen to each example and follow the music in the book as you listen. you will be prepared to serve as an accompanist in your ward or branch.The Keyboard Course PURPOSES The Keyboard Course will help train you to be a keyboard accompanist for hymn singing. Whenever you can. the Church needs you to help others learn them. As you reach this goal.

142–53 in this manual) to learn more about the words printed in bold type in the manual. the cardboard keyboard. Try to master each concept and skill before moving ahead. It is better to finish the course than to quit because you have difficulty with one or two skills. and the Handy Helps (a foldout attached to the back cover of this manual) are all important resources for succeeding in this course. If a skill is too hard for you. Use the Church’s standard hymnbook. The audiocassette. This will help you learn the skills more quickly. Get to know the hymnbook well and keep a copy with you whenever you work on this course. 6. Each of these words appears in bold type the first time it is used. The Lord will bless you as you use your talents to worship him and serve others.Advice to Students Following are some suggestions that will help you complete this course successfully. the music note cards. do your best and move on. This manual will sometimes instruct you to refer to the hymnbook. This course is arranged to help you learn concepts in a logical progression. 3. 7. 5. With patience and practice. you will eventually master all the skills. Use your skills as you learn them. Even if you already understand a concept. 1. Follow all the practice instructions. Use the resources provided. Use the Glossary of Musical Terms (pp. Hymns Made Easy. 3 . review it and do the practice assignments. Practice each skill until you feel comfortable with it. Follow the course in order. 4. 2.

A Note of Encouragement
Learning to play a keyboard instrument is sometimes difficult and frustrating. It may take months and even years before you are proficient at it. These skills will come with time and practice, so persist and be patient with yourself. This course is designed to help you learn step by step. Take time to get comfortable with one step before moving on to the next. Don’t push yourself too fast. Set goals for yourself and work hard to accomplish them. When you complete this course, continue to study and practice. Practice the hymns in Hymns Made Easy until you can play most of them; then progress into Hymns: Simplified Accompaniments and the standard hymnbook. Pray sincerely, and the Lord will enlarge your talent and increase your ability to learn. Blessings will come to you as you use your talents to serve and worship the Lord. The Lord has promised, “For my soul delighteth in the song of the heart; yea, the song of the righteous is a prayer unto me, and it shall be answered with a blessing upon their heads” (D&C 25:12). Some hymns are easier to play than others. Playing even the simplest arrangements of the hymns at church and at home will allow you to serve. Before you begin the Keyboard Course, take a moment to imagine that you’ve already completed it. Imagine yourself as a successful pianist or organist, having learned all the concepts and skills needed to make you a good musician. Picture yourself playing the piano or organ while the congregation sings a hymn. You are confident and sure of yourself as you play. Your playing is smooth and easy for the singers to follow. The congregation feels the spirit of the hymn, and there is a feeling of worship in the room. This image of yourself can become reality as you work and pray to achieve it. You will find joy through sharing your new talents at church and at home.

4

SECTION 1
Concepts and Skills You Will Learn in Section 1
1. How to prepare to play a keyboard instrument 2. How to read the rhythm of music notes 3. How to name the keys on the keyboard

5

GETTING READY TO PLAY THE PIANO
Nine-point Checklist
1. As you sit at the piano and rest your fingers on the keyboard, move the bench back far enough so your elbows are slightly bent. 2. Sit in the center of the bench, directly in front of the center of the keyboard. 3. Sit toward the front edge of the bench with your back straight and your weight forward. 4. Rest your feet on the floor. 5. Sit comfortably, maintaining good posture. 6. Make sure there is good light for you to see the music and the keyboard.

6

but don’t rest them on the keys or on the wood below the keys. keep your finger joints bent. as if they were holding a ball. Position your hands above the keyboard. Hold your palms above the keyboard. 9.7. Stand. Strike the key with the pad of your finger just below the fingertip. Drop your hands to your sides and relax them. Keep each finger curved. Notice their natural curve. lifting it from the knuckle on the back of your hand. As you sit again. letting your fingers touch near the center of the large area on the white keys. 7 . keeping the same natural curve. As you strike the key. place your fingers on the keyboard. 8.

.

9 . (The numbers in black boxes in the Keyboard Course correspond to the numbered examples on the Keyboard Course audiocassette tape. Use the principles of good fingering technique listed on pages 6 and 7. rhythm. 1 Play this hymn.) 4 5 3 2 1 1 2 3 4 5 œ 2 œ 2 œ 2 œ 2 œ 2 œ 2 1 œ 1 œ 1 œ œ 3 œ 3 œ 2 œ 1 œ 4 œ 4 œ 4 œ 4 œ 5 œ 2 œ 4 œ 3 œ 2 œ 1 œ 2 1 œ 1 œ 2 œ 1 œ Now you’ve been introduced to playing the piano and have learned a simple hymn melody. you may want to review them and then go to the keyboard section of this manual (p. If you have already studied these sections in the Conducting Course. Practice the hymn until you are comfortable with it. you need to learn some basic principles about beats. The next few pages of this manual teach these principles. and notes with stems going down are for the left. following the finger numbers as shown. and notes. Notes with stems going up are for the right hand.There Is a Green Hill Far Away Place your hands on the keyboard as shown to the right. When you see a number in a black box. Then try to perform each skill as it is done on the tape. Use the groups of two and three black keys to help you find the correct position. 22). listen to that selection on the tape. To play other hymns.

When you tap your foot to music. like your heartbeat or a ticking clock. once for each note. This fundamental beat can be shown by evenly spaced music notes like these: œ œ œ œ œ œ œ œ œ œ œ œ 2 Clap the beats in the box above.LEARNING ABOUT BEATS AND RHYTHM The first step in reading rhythm is finding the beat. Clap evenly and steadily. The rhythm in a piece of music is based on a constant fundamental beat that you can hear and feel. 10 . you are feeling the fundamental beat and marking it with your foot. The beat in music is steady.

œ œ œ œ œ œ œ œ œ œ œ œ 3 Clap each line of notes on this page. or six beats per measure as shown below. or four beats. Most hymns and children’s songs have three beats per measure as shown above. barline œ œ œ œ œ œ œ œ œ œ œ œ Music can be written with any number of beats per measure. Measures are divided by barlines. Do not pause at the barlines. once for each note.In written music. Clap evenly. two beats. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 11 . beats and notes are grouped into measures.

3. starting at one again after every barline. Count aloud as you clap the beats in the examples on the previous page. 4 Count aloud as you clap the beats in each measure. 2. 1. say: 1 say: 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 say: 1 œ œ œ 2 3 œ œ œ 1 2 3 œ œ œ 1 2 3 œ œ œ 1 2 3 œ œ œ œ œ œ œ œ 2 1 2 1 2 1 2 12 . Count the beats in each measure of the examples below.Counting the Beats Counting the beats correctly will help you read rhythm better.

œ œ œ œ œ œ œ œ œœœœ œœœœ œœœœ 13 . one above the other: The time signature for the first example below is # (say “three-four”). The time signature is made up of two numbers. measures. and barlines in several hymns. Open a hymnbook and find time signatures. Count the beats per measure in the other examples and write @. #.The Time Signature You can find out the number of beats per measure for any hymn or song by reading the time signature at the beginning of the music. or $ in the boxes. The bottom number shows the kind of note that is the fundamental beat for each measure. Look up “Time signature” in this manual’s Glossary of Musical Terms for more information. 3 4 4 4 3 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 4 The top number shows the number of beats per measure. You will learn more about the bottom number later.

Count as you clap. It should stay even from beat to beat. Ye Saints” [Hymns. no. 5 Clap the following lines three times. Another aspect of rhythm that usually stays the same throughout a hymn or song is tempo. First clap the line fast. then medium fast. 3 4 œ œ œ 4 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 14 . Come. The tempo is the speed of the fundamental beat. In only a few hymns does the time signature change (see. 30]). for example.Time and Tempo The number of beats per measure and the time signature usually stay the same from the beginning of a song to the end. then slow. “Come.

emphasizing the downbeats. it is not usually played or sung more loudly. the downbeat. Listen to a recording of music or to someone playing a piano. Since you know the downbeat is count one. but the first beat. Count the beats to find the top number of the time signature. Can you feel the beat? Is the tempo fast or slow? Clap with the beat. emphasizing the downbeat.The Downbeat Each beat in a measure is important. 4 4œ 2 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ When listening to a song. 6 Clap the beats in the following lines. continue counting beats until you feel the next downbeat. 15 . Although it is felt more strongly. is the strongest. you can find out the top number of the time signature (or the number of beats per measure) by listening for or feeling the downbeats.

We will study some of these different values later in the course. notes have the following values: The quarter note ( q ) receives one beat. beats are represented by notes. and each receives a different value. w Rhythmic name dah dah-ah dah-ah-ah dah-ah-ah-ah 16 . Say “dah” for the first beat of each note. Note name quarter note half note dotted half note whole note Beats 1 2 3 4 Note The whole note ( w ) receives four beats. or number of beats. say “ah” for each other beat. When a time signature has a bottom number other than 4. There are several kinds of notes. look at the bottom number of the time signature. The half note ( h ) receives two beats. beats. If the bottom number is 4. q h h. these notes have different values. To determine the number of beats a note receives. The dotted half note ( h.LEARNING ABOUT NOTES AND RHYTHM Using Rhythmic Names for Notes In music. ) receives three You can quickly learn to read rhythm by using rhythmic names to express each kind of note. The chart below shows some of these rhythmic names.

ah . Dah .ah .ah * * * ˙.ah * * * ˙. 4 4˙ 4 4w 4 4œ Dah * œ - dah * dah * œ dah * œ Dah * œ dah * œ dah * œ dah * œ 3 4 ˙.ah * * * * w 17 .ah * * * Dah .ah . Dah .PRACTICING THE RHYTHMIC NAMES 7 Clap a steady beat while saying the rhythmic names of the notes below.ah . Dah * ah * dah * ˙ - ah * Dah * ˙ - ah * dah * ˙ - ah * Dah .ah * * * * Dah .ah .ah .ah * * * * w w Dah . Asterisks (*) show when to clap.ah .ah * * * ˙. Review and practice the rhythmic names until you know them well. Dah .ah * * * * Dah .ah .ah .ah .ah .ah .

ah Dah dah dah dah œœœœ w Dah .ah Dah .ah . Draw barlines to divide the following lines of notes into measures.ah dah .ah dah œ w Dah . Then clap a steady fundamental beat while saying the rhythmic names.Combining Notes of Different Rhythms The four notes you have learned can be combined in several ways within a measure. ˙. œ w 2 4œ œ ˙ œ œ ˙ œ œ œœ ˙ ˙ œœ ˙ œœ ˙ ˙ ˙ ˙ ˙ 3 4 ˙.ah dah . Dah . Double bars should be placed at the end of every piece of music. ˙ œ ˙ œ œ œ œ ˙. These combinations give each piece of music its distinct rhythm. 8 Clap a steady beat while saying the rhythmic names of the notes below.ah . 9 Say the rhythmic names of the notes below. œ œ œ ˙. The top number of the time signature will tell you how many beats to put in each measure.ah .ah Dah dah dah dah œ œ œ œ ˙ ˙ ˙. End each line with a double bar. 4 4 œœ œ œ ˙.ah . œ œ œ œœ w œ œ œ œ ˙ ˙ ˙. 18 . 4 4œœœœ ˙ ˙ Dah dah dah dah Dah .ah .ah Notice the double bar at the end of the line.

When you come to the end of a line.Reading the Rhythm of the Hymns You read music like you read a book—from left to right. œ œ œ œ Dah dah dah œ œ œ œ ˙.ah dah œ œ œ œ ˙ œ œ œ œ ˙. Our Savior 10 Clap a steady beat and say the rhythmic names 3 4˙ ˙ ˙ ˙ of the notes in this hymn. Dah .ah dah œ ˙ œ ˙ œ œ œ œ ˙ Dah dah dah Dah . In Humility. begin on the next line without pausing. œ œ œ œ 19 .

ah .ah dah .ah dah œ œ ˙ œ œ ˙ œ œ ˙ dah Dah .ah œ œ œ œ œ œ ˙ .ah .Abide with Me! 11 Clap a steady beat and say the rhythmic names of the notes in this hymn.ah ˙ ˙ ˙ Dah œ œ œ œ w œ œ œ œ w ˙ w œ œ œ œ w dah dah dah Dah . 4 4˙ ˙ ˙ ˙ 20 Dah .

˙.ah . 3 4œ œ œ œ œ œ œ œ œ œ œ œ Dah dah dah ˙ ˙ ˙ Dah .Sweet Is the Work 12 Clap a steady beat and say the rhythmic names of the notes in this hymn.ah ˙ œ œ œ dah œ ˙ ˙ Dah . 21 .ah œ œ œ œ œ œ œ dah œ ˙.ah ˙. Dah . ˙.

Find the group of three black keys at the left end of the keyboard. Do the same exercise with the right hand. beginning at the rightmost group of three and moving toward the middle. play all the groups of three black keys until you reach the middle of the keyboard.THE KEYBOARD The keyboard is made up of white keys and black keys. Black keys are in groups of two and three. Play one key at a time. three. Beginning here and moving to the right. and two of your left hand. lower notes 22 . using fingers four.

higher notes 23 .

Earlier in this course you were introduced to playing the keyboard by finger numbers (see pp. or down the keyboard. 1 2 2 2 3œ œ œ œ œ œ œ œ 2 1 œ œ 3 3 3 œ œ 2 2 4 4 1 2 2 2 2 2 3 3 3 4œ œ œ œ œ 4 œ œ œ œ œ œ 4 5 œ 4 œ œ œ œ 24 . or repeating the same note. changing directions. Groups of notes that move up on the page mean to play a sequence of keys moving to the right. Follow the finger numbers written above the notes. 8–9). œ œ œ Notes that move down the page tell you to play a sequence of keys moving to the left. play the following note sequences on any consecutive white keys on the keyboard. Follow the finger numbers written below the notes. œ œ œ Play the following note sequences with your left hand on any consecutive white keys. or up the keyboard. Using your right hand. 3 4œ œ œ œ œ œ 3 3 2 2 1 1 2 4 œ œ 3 3 œ œ 4 3 œ œ 3 2 œ œ 3 3 Notes can be written in any sequence: moving up. moving down.Playing by Finger Numbers Music notes on the page show you which keys to play on the keyboard.

Then play the next two examples with your left hand.ah dah œ 4 3 ˙.ah œ 2 dah dah .ah Dah .ah 4˙ 4 3 Dah . dah .ah 1 w 3 ˙ dah . 4 2 œ dah 3 ˙.ah dah dah .ah 25 .ah . Then play the first two examples with your right hand.ah dah 4 œ 3 œ dah dah .ah .ah ˙.ah .ah 2 ˙ œ 2 dah œ 2 dah ˙ 1 dah .ah .ah Left hand 3 2 ˙ 4 œ 2 dah œ 2 dah ˙ 3 dah .ah Dah .ah dah 1 4 ˙. Right hand 3 4 ˙ 1 œ 2 dah Dah .Clap a steady beat and say the rhythmic names of the notes below. dah .ah 3 ˙ dah .ah 3 œ dah 4 œ œ 2 œ 2 dah 3 ˙ dah .ah 1 œ dah 3 ˙ dah . Use any white keys on the keyboard.ah ˙ 1 œ 2 dah ˙ 3 dah . 1 dah .ah .ah .

PRACTICING NOTES AND FINGER NUMBERS 1. ˙ 2 ˙ 3 ˙ 2 ˙ 1 ˙ 4 w 1 ˙ 2 ˙ 3 ˙ 2 ˙ 4 ˙ 1 ˙ 5 w œœ 3 41 1 ˙ 4 1 1 œœ ˙ 3 1 œ1 œ œ w œ 2 3 4 2 2 œ œ 4 ˙ 2 2 œ œ4 ˙ 1 2 œœ œ œ w 4 3 5 26 . Clap a steady beat and say the rhythmic names of the notes below. 4 5 1 3 2 35 4˙ 45 4˙ 4 3 4 œ ˙ 2 œ 3 ˙ 2 œ 4. 13 Place your left hand as shown in the illustration and play the notes below. 2. ˙ 1 ˙ 2 3 œ ˙ 4 3 œ ˙ 4 5 œ ˙.

2 1 ˙ 4 ˙. 1 ˙ 3 w 2 ˙. ˙ 2 ˙. 14 Place your right hand as shown in the illustration and play the notes below. 2 ˙. 4 4œ œ œ œ ˙ 3 2 1 1 1 œœ œœ w 5 5 5 4 3 œ œœ œ ˙ 3 3 3 4 2 œœ œ œ w 3 2 1 1 1 27 . 5 ˙. 5 5 œ ˙.1. 2. 2 3 ˙. 3 1 ˙ ˙. 3 ˙. Clap a steady beat and say the rhythmic names of the notes below. 4 ˙ 2 œ œ˙ 3 2 1 ˙ 5 ˙ 3 w 1 3 4˙ 3 ˙ 3 œ ˙ 4 3 œ ˙ 4 3 ˙. 2 1 3 4 5 4 4˙ 1 ˙ 2 œœ ˙ 3 2 1 ˙ 4 ˙ œ 2. 3 ˙.

Sing the finger numbers as you play. Connect the notes so they flow smoothly.In Humility. 15 Play the hymn with your right hand. 3. Place your hands on the keyboard. 2. 4 5 3 2 1 1 2 3 4 5 Right hand 3 4 ˙ 1 œ 2 œ œ œ ˙ 4 3 2 1 œ 3 œ œ œ ˙ 5 2 2 1 œ ˙ 4 3 œ œ œ œ ˙. Our Savior 1. 3 2 2 1 1 Left hand 3 5 4 ˙ œ 4 2 3 œ œ ˙ œ 5 4 3 4 4 5 œ œ œ œ 1 ˙ 2 œ 3 ˙ 3 œ 4 4 5 5 œ œ œ ˙. as shown to the right. but do not let them overlap. Clap a steady beat and say the rhythmic names of the notes in this hymn (only the first phrase of the hymn is given). 28 . then with your left hand.

Notes for the right hand have stems pointing up. as shown to the right. the ˙ 1 2 - ver œ y 3 ˙ of 2 2 thought œ thee 1 ˙. Play the hymn and sing the words. the notes below the words are for the left. Place your hands on the keyboard. Clap a steady beat and say the rhythmic names of the notes in this hymn. ˙. 29 . 16 Play the hymn and sing the finger numbers. 4 5 3 2 1 1 2 3 4 5 3 4 3 3 4 2œ 2 œ 2 œ Je . see And 4 œ 3œ 1 œ in thy pres ˙ 1 - ence œ rest. But sweet .ness 4 œ 4 œ fills ˙ 1 my œ 1 breast.er œ 3œ 2 œ 1 far ˙ 2 thy 1 œ 2˙ face 3 to œ 4˙ .) 4. (The notes above the words are for the right hand.sus. 2.Jesus. 1 ˙. 3. With 4 œ sweet . the Very Thought of Thee 1. notes for the left have stems pointing down.

2 ble ˙.sus. 2 1 and 5 ˙ 4 œ 5 ˙ 2 œ on 1 2 earth 3 pain.Jesus. 2. ˙ he œ comes 1 ˙ on œ 2œ 3œ 2 œ 3˙ . 17 Play the hymn and sing the finger numbers.fered 1 œ grief œ œ 3 œ 2˙ . Once 1 ˙ 2 he œ suf ˙ . 4 5 1 1 3 2 2 3 4 5 3 4 3 4 2˙ 2 Je . 3. Now he comes ˙ ˙. as shown to the right.ry 1 ˙ 2 œ comes 2 œ 3œ 2 œ 1 ˙ . Clap a steady beat and say the rhythmic names of the notes in this hymn. 30 . once 1 1 œ ˙ 2 of œ hum œ 1 œ 3œ - 1 birth. Once of Humble Birth 1. Place your hands on the keyboard. to earth. Play the hymn and sing the words. 4. earth to reign. 2 1 Now 1 to œ reign. Now 2 1 ˙ in œ glo .

bide! 1 ˙ œ 2 œ 3˙ 1 2 ˙ œ 1 2 œ 1œ # œ 2w 2 When 1 ˙ 1 œ 2 œ 3˙ oth . 1 œ œ œ œ 2 2 1 w 1 The dark . See the box ( ) on the keyboard picture to the right. 18 Play the hymn and sing the finger numbers.bide with 4 4 2 me! fast ˙ 3 falls the e .ness deep .ers ˙ 2 fail and com .Abide with Me! 1. Clap a steady beat and say the rhythmic names of the notes in this hymn. Play the hymn and sing the words.bide with 2 ˙ 1œ œ 1 œ 2œ 3œ œ 1 ˙ 2˙ me! 3 w 31 . It is called a sharp.er help . 4. Place your hands on the keyboard. This symbol means to play the black key to the right of the white key with your right thumb. 2. with me a . Lord. 3. as shown to the right.less.forts flee. 1 œ œ œ 1 1 œ 2w 1 1 Help of the help .ens.ven .tide. oh. I 4 5 3 2 1 1 2 3 4 5 4 1˙ 1 œ 2 œ 3 ˙ 4 A . a . Find the # symbol in the first line of this hymn.

How many times are the letter names repeated in order to give every white key on a standard keyboard a name? How many times are they repeated on your keyboard? Play and name each white key on your piano. as shown below. giving every white key a name. The brand name of the piano is usually printed on the wood above middle C. Below is an illustration of a full-length keyboard for a standard piano.Finding and Practicing the White Keys The white keys are named after the first seven letters of the alphabet: A B C D E F G These seven letter names are repeated several times in succession. Then start at the highest key and move down the keyboard. Begin with the lowest key (A on a standard keyboard) and move up to the highest (C). Middle C is the C nearest the middle of the piano keyboard. FINDING MIDDLE C Middle C is an important key. middle C should point to the middle of your body. Middle A 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 32 . Find and play middle C on your keyboard. playing and saying the letter names backwards. C is located to the left of any group of two black keys. When you sit at the keyboard to play.

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 33 .

19 Play the first exercise below using middle C and F. C 34 . 2. œ œ œ œ F F C C C w C ˙. These are known as guidepost keys.FINDING AND PRACTICING C AND F C is located to the left of any group of two black keys. F is located to the left of any group of three black keys (see the illustration to the right). 3. Label all the C’s and F’s on the keyboard below. Right hand F C F 4 4˙ C ˙ F C ˙ œ F ˙ F C C ˙ C ˙. 4. F ˙. Play and name all of the C’s and F’s on your keyboard. F C ˙ 5. Clap a steady beat and say the rhythmic names of the notes in the exercises below. Then play the second exercise with the thumb and fifth finger of your left hand. 1. Find middle C with your right thumb. œ ˙. œ F Left hand 3C 4˙ C ˙. Place your fourth finger on the F above middle C. Sing the name of each key as you play it. Use middle C and the F below it.

Play them many times with each hand. Sing the name of each key as you play it. Clap a steady beat and say the rhythmic names of the notes in the exercises below. A B 4œ 4 A œ œ B A œ B ˙ A ˙ A œ œ œ œ B B B B ˙ A ˙ A 4 4˙ A ˙ B ˙ B ˙ A œ œ œ œ B B A A w A 5. Label all the A’s and B’s on the keyboard below. then play them with your left hand. 4.FINDING AND PRACTICING A AND B A and B surround the highest black key in any group of three black keys (see the illustration to the right). using different sets of fingers (fingers 1 and 2. 3. Play and name all of the A’s and B’s on your keyboard. 2. C 35 . and so on). fingers 2 and 3. Play the following exercises on any pair of A and B keys with your right hand. 1.

Label all the D’s and E’s on the keyboard below. 3.FINDING AND PRACTICING D AND E D and E are the white keys immediately to the right of C. Sing the name of each key as you play it. Play the following exercises on the C. C 36 . Play them many times with each hand. D. C 5. 4. and so on). D’s. C. C D E 4 4œ œ œ œ œ œ ˙ D D D C C C C E ˙ ˙ E ˙ ˙ D D ˙ œ œœœœ œDœœ E D D D C C C C D ˙ w C 3 4œ œ œ ˙ E E E D œ ˙ D C C œ ˙. 2. D. Play and name all the C’s. and E’s on your keyboard. then play them with your left hand. D œ œ œ ˙ E E E D œ ˙. 2. and 3. using different sets of fingers (fingers 1. and 4. 1. Clap a steady beat and say the rhythmic names of the notes in the exercises below. E C ˙. and E surround any group of two black keys (see the illustration to the right). 3. and E in the middle of the keyboard with your right hand. fingers 2.

G F œ œ œ œ œ œ ˙. G G F F F F F ˙. 2. then your left. 3.FINDING AND PRACTICING G G is on the right side of the lowest black key in any group of three black keys. Play and name all the G’s on your keyboard. C 37 . Clap a steady beat and say the rhythmic names of the notes in the exercises below. Play the following exercises on any set of F and G keys on your keyboard. using a variety of fingerings. F G 4 4˙ F ˙ G œœœœ ˙ ˙ G F F F F F w G ˙ F G ˙ œœœœ ˙ G G F F F G ˙ w F 3 4˙ F œ ˙ G F œ ˙ G F œ ˙. 1. 4. first using your right hand. F 5. Play them many times with each hand. It is also the key on the right side of F (see the illustration to the right). Sing the name of each key as you play it. Label all the G’s on the keyboard below.

3. 2 4œ œ C A œ A œ C œ œ B B C ˙ C ˙ œ œ D B œ D œ B œ œ E œ œ C E ˙ ˙ A D ˙ ˙ A D œ D œ D C ˙ ˙ C B 3 4œ œ œ ˙ E C D D œ œ œ œ ˙ E F E D D œ œ œ œ ˙ F G F E E œ œ œ œ ˙. Sing the name of each key as you play it. 1. A G G E E œ œœœ œ ˙ ˙ A A A F F D D œœœœ w G A E E D 38 . 20 Play the following melodies near the middle of the keyboard with your right hand. F F E D C 4 4œ œ œ œ ˙ A F F D D A ˙ œ œ œ œ ˙. When playing with the right hand. Clap a steady beat and say the rhythmic names of the notes in the exercises below. put your thumb on the first key of each melody and put each finger on keys moving to the right. When playing with the left hand. then with your left hand. 2.PRACTICING ALL THE WHITE KEYS Now that you have learned the names of all the white keys. you are ready to play some melodies. put your fifth finger on the first key of each melody and put each finger on keys moving to the right.

3. Sing the words as you play the hymn. Notice the curved lines that connect some of the notes in this hymn.) Beginning notes in partial measures are called pickup notes. These are common in hymns because they allow the meter of the music to match the natural meter of the hymn text (see Conducting Course. The first measure of this hymn has only one beat.How Gentle God’s Commands 1. 4 5 1 1 3 2 2 3 4 5 3 4œ E E œ E How gen 3 4 œ D œ D œC - œ D tle God’s œ D œB com . (The first two beats are in the last measure. 2. 21 Play the hymn and sing the name of each key. C ˙ 39 . Clap a steady beat and say the rhythmic names of the notes in this hymn. p. They are called slurs and indicate that the two notes are to be sung on the same word or syllable.mands! œ D C ˙ How C œ kind C C œ œ œ A his pre C œ - œ cepts C G œ are! B ˙ Come. œ cast œB your bur C œ œ œ G E dens on œ œ œ G F D E œ œ œ A G And G œ œ œ F E his E œ D C œ the Lord trust con - stant œ care. 28). Read more about slurs in the Glossary of Musical Terms.

3. the a .ton ing ˙ G To D G he F œ E D œ ˙ u trod ˙ œ œ œ œ A G G G one and on .God Loved Us. Sing the words as you play the hymn. They are called fermatas. and they allow you to hold the notes a little longer than their normal value. Find these symbols ( U ) in this hymn. 22 Play the hymn and sing the name of each key. 2. 4 5 3 2 1 1 2 3 4 5 4 4 4 ˙ 4 4C God loved us.ly One.sus. Clap a steady beat and say the rhythmic names of the notes in this hymn. C C D œ œ œ œ ˙ C C 3 so he sent his 1F ˙ ˙ 1 G 2 G œ œ œ œ G G C G ˙ - A ˙ U ˙ G ˙ u E Son. So He Sent His Son 1. ˙ show us D D D œ œ œ œ E by the path The way F ˙ E œ C œ D ˙ u to God. Christ Je . 40 .

How to read notes on a music staff 2. and naturals) 3. How to read accidentals (sharps. flats.SECTION 2 Concepts and Skills You Will Learn in Section 2 1. How to read a key signature 41 .

ß& Í treble clef Notes above middle C are placed on a staff with a treble clef sign at the beginning: ? bass clef w right hand w w w w w left hand & w ? w Notes on lines: middle C ß& w Í w w w w w w w w w w Notes below middle C are placed on a staff with a bass clef sign at the beginning: middle C ? w Notes in spaces: ß& w Í ? w 42 .THE STAFF Music notes are written on a staff. A staff is a kind of chart that has five lines and four spaces. creating a grand staff like the ones shown below. Notes in the treble clef are usually played by the right hand. This makes it possible to know which keys to play without labeling each key with its note name. It looks like this: brace For keyboard instruments. these two staffs are joined together by a brace. and notes in the bass clef are usually played by the left hand.

You should no longer use a note’s stem direction to determine which hand to use. Since the middle part of the keyboard is used most often. Now that you have learned about the treble and bass clefs. ˘ ˙ ˙ ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ G A B C D E F G A B C ˙ D E F G A B C D E F ˙ ˙ ˙ ˙ ˙ ?˙ ˙ ˙ ˙ ˙ Left hand Right hand Middle C 43 . each note on the grand staff is connected to its corresponding key on the keyboard. you should use them to determine which hand to use in playing a note (treble = right hand. bass = left hand).Matching Notes on the Staff with White Keys on the Keyboard Each note on the staff represents a white key on the keyboard. the grand staff represents only the middle keys. On the diagram below.

middle. Have someone show you the cards one at a time to help you learn to recognize the notes quickly. ˘ bottom line & G D ?˙ ˙ ˙ A w middle C w E ˙ ˙ B middle line top line ˙ F bottom line middle line top line Middle G 44 D A C E B F . 7. and top lines of the bass clef. Middle C is between the two clefs on a small line. 13. play it on the piano. Cover the picture of the keyboard below and point at random to notes on the staff. E. and top lines of the treble clef. B. Look at the side of each card that has the note on it.Seven Important Line Notes Memorize the seven line notes shown in the diagram below. 11. As you point to a note. and A are on the bottom. G. 24. 20. 18. and F are on the bottom. Use music note cards 3. Then turn the card over to check yourself. Say the name of the note and play it on the keyboard. and 28 to help you learn these notes. middle. D.

try to play them without looking at your hands. ˙ 5 3 4 œ œ œ ˙.PRACTICING SEVEN IMPORTANT LINE NOTES 3 4 ß& ˙ 1 Í 3 4 ? 4 ß& 4 Í 1. ? 5 1 5œ œ 1 4 ˙ ß& 4 Í 4 5œ œ 1˙ ?4 Í 3 4 ß& 4 ˙ ?4 3 1 ˙ ˙ ˙ 5 ˙. w ˙ ˙ ˙ œ ˙. When you’ve learned these exercises. ˙ ˙ ˙ ˙. œ œ œ ˙ ˙ ˙. œ œ œ 5 œ œ œ œ ˙ œ œ ˙ œ ˙ ˙ œ œ ˙ ˙. 23 Practice the exercises below until you can play them smoothly. 2. 3. 3 œ ˙. Sing the name of each key as you play it. ˙ ˙ 45 . œ w ˙ ˙ 1 ˙. ˙ 1 1 ˙.

Then turn the card over to check yourself.) When you complete this exercise. 24. Say the name of the note and play it on the keyboard. 11. label each line note with its alphabet name. 9. memorize the new notes. Then draw a line to its corresponding key and label each key with its name. 5. 13. (See page 43 if you need help. Look at the side of each card that has the note on it. Have someone show you the cards one at a time to help you learn to recognize them quickly. 22. 26.Other Line Notes On the staff below. and 28 to help you. 7. 20. ß& Í G B ?˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Middle G A B 46 C . Use music note cards 3.

3. Sing the name of each key as you play it. Practice the exercises below until you can play them smoothly. When you’ve learned these exercises.PRACTICING ALL THE LINE NOTES 1. 2. try to play them without looking at your hands. 4 œ ß & 43œ œ œ Í 4 ? 4 1 œ œ œ œ ˙ œ ˙ œ w œ œ œ œ œ œ œ œ ˙ ˙ w 2 4 ß& Í 1 œ 3 5 œ œ œ œ œ ˙ ˙ ß& œ Í 2 4œ ? 5 œ œ 3 œ œ œ œ œ œ œ œ ˙ ˙ 47 ? œ œ œ œ .

memorize the new notes. When you complete this exercise. Then turn the card over to check yourself. 21. 6. Then draw a line to its corresponding key and label each key with its name.The Space Notes On the staff below. 12. ß& Í A ? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Middle A C 48 . and 27 to help you. 10. Have someone show you the cards one at a time to help you learn to recognize them quickly. label each space note with its alphabet name. Look at the side of each card that has the note on it. 19. 23. Say the name of the note and play it on the keyboard. 8. Use music note cards 4. 25.

œ ˙. ß Í ß Í 3 œ 1˙ . 4 ß& 4 Í 4 3œ 1œ œ œ ? 4 3 4 & & 3 5˙ ? 4 ? ˙ ˙ 1 ˙ œ œ œ œ w œ œ œ œ ˙ ˙ œ œ œ 5œ w ˙. 49 . ˙ ˙ œ ˙ œ ˙ œ ˙. ˙. 5 œ ˙. try to play them without looking at your hands. œ ˙. Sing the name of each key as you play it. Practice the exercises below until you can play them smoothly. 1 ˙ ˙ 3 œ ˙. 3. When you’ve learned these exercises. 2.PRACTICING THE SPACE NOTES 1.

& œ œ œ & œ œ œ In this section of the course. a step usually moves from a line note to the space note above or below it.Steps and Skips On the staff. a “step” moves from one white key to the nearest white key to the right or left. or from a space note to the line note above or below. a “skip” jumps over the nearest key to the next nearest key to the right or left. On the staff. or from a space to the nearest space above or below.) In this section of the course. 50 . a skip moves from a line to the nearest line above or below. (Ignore the black keys when finding steps and skips.

4 & 4 ˙ 1 3 ß& 4 Í ß& Í ? œ 4 5œ ?4 ˙ œ œ œ œ ˙ œ ˙ œ œ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ œ œ œ ˙ œ ˙ œ ˙ w w œ ˙ ˙ ˙ 3 4 ˙ œ ˙. ˙. ˙ œ ˙. notes in the bass clef are for the left hand). ˙. Sing the name of each key as you play it. ˙. ˙. 51 . ˙. ˙ œ ˙. ˙. ˙ œ ˙. When you’ve learned these exercises. ˙ œ ˙. ˙. 1 ˙ œ ˙. 2. ˙ œ ˙. 3. try to play them without looking at your hands.PRACTICING STEPS AND SKIPS 1. ? 5 ? ˙ œ ˙. ˙. Practice the exercises below until you can play them smoothly (notes in the treble clef are for the right hand.

Say the name of the note and play it on the keyboard. Have someone show you the cards one at a time to help you learn to recognize them quickly. Go through four or five cards at a time. The short line represents the middle C line. ß& Í w w w w w w w w w ? C w w w w w w w w w w w w *w Middle C 52 C . This note and the note above it are the same (D).Reviewing Line Notes. Space Notes. See the Glossary of Musical Terms to learn more about ledger lines. then review them ten at a time. Steps. The note with an asterisk ( * ) is called a ledger line note. Then turn the card over to check yourself. label each note with its alphabet name. Review these notes with the music note cards. Lay cards on a table and have someone point to them in random order. and Skips On the staff below. Look at the side of each card that has the note on it. Then draw a line to its corresponding key and label each key with its name.

Next. Then have someone point to the notes randomly while you play and say the names. play the notes while saying their names. Right hand ß& Í Left hand w ? w w w w w w w w w w w w w w On the staffs below. draw the missing notes as shown in the first two measures. & w ? w w w w w w w w w w w w w w w w w w w w w w w w w w w w Without looking at your hands. & w ? w step up G A skip down D B step down skip up w step down skip down skip up w w step up w skip down skip up step down step down w skip up step up w skip down w w step up 53 .Play the notes below while saying their names. use the raised black keys to find and play the white keys for each of the notes on the staff below. Say the name of each key as you play it. Then write the note names below each note.

24 Using your left hand. ß& 4 Í 4 œ œ ˙ 4 4 ? 45 œ 4œ œ œ œ œ œ œ 3 œ œ ˙ 3 œ œ œ œ 2 ß& Í ? œ œ ˙ 2 œ œ œ œ œ œ ˙ 1 œ œ œ œ œ œ ˙ œ œ œ œ ß& Í ? œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ w 54 . practice the exercise below every day until you can play it smoothly and naturally.DAILY EXERCISES The following exercises will strengthen your fingers and help you play evenly and smoothly.

4 ß& 4œ œ œ œ Í 4 ?4 1 2 1 2 œ œ ˙ 2 œ œ œ œ 3 2 3 œ œ ˙ 3 œ œ œ œ 4 3 4 œ ˙ ß& œ Í 4 œ œ œ œ œ œ ˙ 5 4 5 3 œ œ œ œ œ œ ˙ 4 3 4 2 œ œ œ œ 3 2 3 ? œ œ œ œ œ œ ˙ 2 1 2 ß& œ œ ˙ Í 1 1 œ œ œ œ œ œ œ œ w 2 3 4 5 ? 55 . practice the exercise below every day until you can play it smoothly and naturally.25 Using your right hand.

HYMNS TO LEARN
Practice the following hymns until you know them well. Follow the instructions for learning each hymn.

How Gentle God’s Commands

1. Clap a steady beat and say the rhythmic names of the notes in this hymn. 2. 26 Play the hymn and sing the name of each key as you play it. 3. Sing the words as you play.

3 4œ ß& 2
Í

3 4 ?

How

gen

œ

œ1

tle

œ

1 God’s

œ

œ œ

com

œ

-

mands!

˙

How

œ

ß& Í

kind 3

ß& œ Í

?

œ

œ

his

œ

pre

œ

4

œ

cepts

œ

are!

˙

Come,

cast

œ

œ

your

œ

bur

œ

-

œ

dens

œ

on

œ

the

œ

Lord

œ

œ

5 And

œ

trust

œ

œ

his

œ

con

œ

-

?

œ

stant

œ

care.

˙

56

Jesus, the Very Thought of Thee

1. Clap a steady beat and say the rhythmic names of the notes in this hymn. 2. 27 Play the hymn and sing the name of each key as you play it. 3. Sing the words as you play.

ß& 4œ 2 Í

3

3 4 ? œ

Je

-

sus,

œ

the

œ

˙ 1

ver

-

œ
y

3 thought 2

˙

of

œ

thee

˙. ˙

ß& Í

?

With 4

sweet - ness

œ

œ

2 fills

˙

1 my

œ

breast;

˙.

3 But

œ

sweet - er

œ

œ

far 1

thy

œ

ß& Í

?

face 2

˙

to 3

œ

see 4

˙.

And

œ

in

œ

thy

œ

2 pres

˙

-

1 ence 1

œ

rest.

˙.

57

Jesus, Once of Humble Birth

1. Clap a steady beat and say the rhythmic names of the notes in this hymn. 2. 28 Play the hymn with the left hand only and sing the name of each key as you play it. 3. Sing the words as you play. The asterisks (*) show where to shift your hand position to follow the fingering.

3 4 ß&
Í

3 1˙ ?4
comes

Je

-

sus, 3

œ

once

˙

of

œ

hum 1

œ œ *1 œ
-

ble

birth, *4

˙.

Now 4

˙

in 3

œ

glo 2

˙

-

ry

œ

ß& Í

œ œ œ ˙. ? ˙ œ *3˙

to

earth.

Once

˙

he

œ ˙

suf

-

fered

œ 1œ œ œ 2˙ .
grief and *1

pain;

Now *1

˙

he 2

œ

Í

ß&

?

comes 1

on *2

earth

to 5

œ

reign. 1

˙.

Now 4

˙

he 3

œ ˙

comes 2

on

œ œ œ œ ˙.

earth

to

reign.

58

Sing the words as you play. ˙. Play the hymn with the right hand only and sing the name of each key as you play it. Clap a steady beat and say the rhythmic names of the notes in this hymn. The asterisks (*) show where to shift your hand position to follow the fingering. Once of Humble Birth 1.Jesus. ˙. 2. *2 Now ˙ in œ glo ˙ - ry œ ß& œ œ œ Í comes to earth. ˙. *5 Now ˙ 4 œ he ? Í ß& 5 comes ˙ œ ˙ *3 *2 on earth ? œ *1 to 5 reign. 59 . and pain. 2 Now ˙ 3 he œ 4˙ comes on œ œ œ œ ˙. 3 4˙ ß& 3 Í 3 4 ? Je - œ 1 sus. 3. *3 Once ˙ he œ ˙ suf - fered grief œ œ œ œ ˙. once ˙ of œ 3 hum œ œ œ 4 2 - ble *1 birth. earth to reign.

˙ u To *5 ˙ show us œ by œ the œ ß& Í ? path 2 ˙ he œ œ trod ˙ u The 2 ˙ one and œ œ œ œ on . œ so œ he œ sent ˙ his ˙ Son.sus. Sing the words as you play. Clap a steady beat and say the rhythmic names of the notes in this hymn. 2. 3. God 5 ˙ loved œ us. 4 ß& 4 Í 4 ?4 Je . The asterisks (*) show where to shift your hand position to follow the fingering. ˙ u œ Christ *4 ˙ ß& Í ? œ œ the œ œ a - ton ˙ 2 ing ˙ One. 29 Play the hymn with the left hand only and sing the name of each key as you play it. So He Sent His Son 1.ly way *2 ˙ to œ œ God.God Loved Us. 5 ˙ u 60 .

Í 4 ß& 4 4 ?4 Je . Play the hymn with the right hand only and sing the name of each key as you play it. The asterisks (*) show where to shift your hand position to follow the fingering. U ˙ *2 Christ ˙ Í ß& œ œ the œ œ a 5 . 2.ton ˙ - 3 ing ˙ One. So He Sent His Son 1.God Loved Us. U ˙ *1 To ? 4 path ˙ show œ us œ by œ the œ Í ß& ˙ he ? U œ œ ˙ trod 4 The ˙ one and œ œ œ œ 5 on . Sing the words as you play. 3. 1 ˙ God loved œ us.sus. Clap a steady beat and say the rhythmic names of the notes in this hymn. 61 . œ so œ he œ sent ˙ his ˙ Son.ly *4 way ˙ to U œ œ ˙ God.

n (natural sign—the note returns to normal) .ACCIDENTALS Accidentals are signs that look like this: # 62 (sharp sign—the note is raised) b (flat sign—the note is lowered) When placed in front of notes on the staff. accidentals change the notes as shown on the following page.

As shown in the diagram below. play the note that way throughout the measure. Its name then becomes F-sharp. As shown in the diagram below. you should play the black key to the right of the F. you should play the black key to the left of the B. when a sharp sign is placed in front of an F on the staff. A barline cancels any accidentals. usually a black key. flat. when a flat sign is placed in front of a B on the staff. NATURALS A natural sign ( n ) means to play the note as written.SHARPS A sharp sign ( # ) means to raise the note by playing the next key to the right. usually a black key. When an accidental makes a note sharp. Can the same black key be both a sharp and a flat? Play A-sharp and B-flat to find out. or natural. Do not raise or lower it. FLATS A flat sign ( b ) means to lower the note by playing the next key to the left. & #œ ? bœ ? bœ nœ F # b B b B F # F # B B 63 .

Learning about Sharps Draw a sharp sign ( # ) in front of each of the following notes. Then draw a line from each note to its corresponding key. ß& Í ? #œ # œ œ œ œ œ œ œ œ œ œ œ G Middle C On the lines below. I I I I I I I I I I I E 64 # . write the names of the sharps marked with . Say the name of each key as you play it. After drawing lines to the keys. find each of the notes on your keyboard instrument.

away from the keys but level with your forearm. 4 5 1 1 3 2 2 3 4 5 Right hand 4 & 4œ œ œ œ & #œ œ #˙ & œ #œ ˙ œ œ œ œ œ œ ˙ œ œ ˙ œ #œ œ #œ 3 4 #œ œ #œ œ #œ œ #˙ œ #œ ˙ #œ œ #œ œ 2 œ 2œ œ œ œ œ ˙ 1 œ œ œ œ œ œ ˙ œ œ ˙ œ œ #œ œ œ œ #œ œ w œ #œ ˙ œ #œ œ #œ 3 Left hand 4œ œ œ œ ?4 ? ? #œ œ #˙ œ #œ ˙ œ #œ œ #œ 3 2 #œ œ #œ œ #œ œ #˙ #œ œ #œ œ 4 5 œ œ œ œ œ œ ˙ 4 œ œ #œ œ œ œ #œ œ w œ #œ œ #œ 3 65 .DAILY EXERCISES WITH A SHARP Play the following exercises evenly. Increase the tempo a little each day. smoothly. Remember to raise each finger high to strike the key. You should hold your wrists high. and firmly.

˙ u . ˙ u Praise *3 ˙ him ˙ a ˙ - bove.tures ˙ ˙ here *1 ˙ be ˙ - low. 30 Play this hymn with the left hand only. 5 ˙ Son. Praise God. 2. ˙ and ˙ Ho ˙ - ˙ ly Ghost. ˙ u Praise *1 ˙ Fa 3 ˙ - ther. Praise 2 ˙ God. ˙ #˙ from whom ˙ all ˙ bless *3 ˙ - ings ˙ flow. ˙ ye ˙ ß& Í 66 heav’n ? ˙ - #˙ ly host. ˙ u Praise ˙ ß& Í ? ˙ all ˙ crea . Sing the words as you play. from Whom All Blessings Flow 1. ß& 4 Í 4 4 ?4 him.HYMN TO LEARN Practice the following hymn until you know it well.

U ˙ ? 67 . 2. U ˙ 5 Praise ˙ 3 ˙ Fa - ther. Play this hymn with the right hand only. crea . U ˙ Praise ˙ him ˙ ˙ a - bove. ˙ #˙ from whom ˙ all ˙ *2 bless ˙ ˙ ings U ˙ flow. from Whom All Blessings Flow 1. ˙ ye ˙ ? #˙ 2 ly ß& ˙ *1 Í heav’n - *1 host. ˙ ˙ Son. ˙ Praise ß& ˙ Í ˙ all him. Sing the words as you play. ˙ and ˙ Ho - ˙ ly Ghost.tures ˙ ˙ ˙ here ˙ be - low. 4 ß& 4 Í 4 ?4 4 Praise ˙ God.Praise God.

ß& Í ? bœ b G œ œ œ œ œ œ œ œ œ œ Middle C On the lines below. After drawing lines to the keys. Say the name of each key as you play it. write the names of the flats marked with .Learning about Flats Draw a flat sign ( b ) in front of each of the following notes. Then draw a line from each note to its corresponding key. find each of the notes on your keyboard instrument. I I I I I I I I I I I I C 68 b .

Play evenly. Increase the tempo a little each day.DAILY EXERCISES WITH A FLAT Play the following exercises until you have mastered them. Right hand 4 5 1 1 3 2 2 3 4 5 & œ bœ ˙ & œ œ ˙ 4 & 4 1œ œ œ œ bœ œ bœ œ bœ œ b˙ œ œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ bœ œ bœ œ œ œ bœ œ œ ˙ œ bœ œ bœ œ œ œ œ w œ bœ œ œ œ bœ ˙ Left hand œ bœ œ bœ œ œ œ œ œ œ ˙ 4 5œ œ œ œ œ œ ˙ ? 4 bœ œ bœ œ bœ œ b˙ œ bœ œ bœ œ bœ ˙ œ bœ ˙ œ œ œ œ ? œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ bœ œ bœ œ œ w ? 69 . smoothly. away from the keys but level with your forearm. and firmly. Hold your wrists high. Remember to raise each finger high to strike the key.

*3 œ cast 3 œ 5 œ your 3 œ bur 4 œ 2 dens 1 œ ß& Í 70 on *5 ? œ Lord 4œ 2œ 1 œ And 2 œ trust 4 œ 3b œ his con 4 œ *5 œ - stant 4 œ care. 2.mands! 3 œ ˙ How *2 œ kind œ œ œ - his œ ß& Í ? œ - cepts œ œ 3b œ the œ are! 3 ˙ Come. Play this hymn with the left hand only. 5 ˙ . How Gentle God’s Commands 1. Sing the words as you play. 3 4 ß& Í 3 4 ? pre How 1 œ gen œ 3 œ - tle œ God’s 2 œ 4 œ com .HYMN TO LEARN Practice the following hymn until you know it well.

2.mands! œ ˙ *4 How œ kind œ œ œ his œ ß& Í œ œ - œ cepts œ 3 are! ˙ *2 Come. 3 4 ß& Í 3 4 ? pre 5 How œ œ gen 3 œ œ tle - 4 God’s œ 2 œ 3 com . Play this hymn with the right hand only.How Gentle God’s Commands 1. Sing the words as you play. ˙ ? 71 . œ 2 cast œ 1 œ œ 2 your œ *1 bur œ 2 - 4 dens œ ? 4 ß& Í 1 on œ bœ 3 the 2 Lord œ 4 œ 5 And œ 4 trust œ œ bœ his 2 con œ - *2 stant œ 1 care.

On the line below each staff. F 2. ? # 4 ( #) œ 3 ( #) œ b4 ß& 4 Í b4 ? 4 ## 4 ß& 4 Í ? ## 4 4 ( ) #œ Answers: 1. The key signature will always be the same in both the treble clef and the bass clef: # 3 ( #) œ ß& 4 Í Fill in the proper key signature for “How Gentle God’s Commands” on pages 70 and 71. It shows which notes are to be sharped (raised) or flatted (lowered) throughout the hymn. This eliminates the need to put a sharp sign or flat sign by every note that needs to be sharped or flatted. 3 bb 4 ß& Í 3 bb 4 ? F natural 3. E 3. F. write the names of the notes that should be played sharp or flat. 1. B. If there is a sharp sign on the F line. for example. # 3 ( #) œ nœ & 4 ( #) œ key signature ¬ ¬ ? #4 4 4. all the F’s should be played sharp unless the key signature changes or an F has a natural sign in front of it. #4 ß& 4 Í 2. C 72 . B 4. This includes all the F’s wherever they are on the staff: Look at each staff below.THE KEY SIGNATURE The key signature is found at the beginning of a staff of music.

3 œ œ œ ? 4 ˙. ? œ œ 3 2 3 5 4 2œ 1œ œ œ œ œ œ œ b4œ œ œ œ œ œ œ œ œ ˙. 73 3 b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. Right hand Left hand 3 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ß& 3 4 2 2 5 1 1œ 4 2 5 Í œ œ œ 3œ 2œ œ œ œ œ œ œ œ œ œ ˙ . œ ß & 4 1œ 2 3 5 2 4 Í 2 3 # 4 5 4œ 2œ 1œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ ˙. With practice. ˙. ? œ . ˙. your fingers will become accustomed to each hand position. ˙.DAILY EXERCISES Play the following exercises with each hand separately. Play them every day until you know them well. ˙. ß& 5 2 1 2 3 4 Í #3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. beginning slowly and increasing the speed a little each day.

Í ## 4 œ œ 3 ? b ˙. ß& 5 2 3 2 4 1 1E œ œ œ œ œ œ œ 2 2 5 4 Í œ œ œ œ 3œ œ œ œ œ ˙. b 3 ? b ˙. Play them every day until you know them well. Right hand Left hand 3 bb 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. ˙. 3 bbb 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ## 3 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. ß& 2 4 5 3 2 1 D 1œ 2 5 4 œ œ œ œ 3œ 2œ œ œ œ œ œ œ œ œ œ ˙ . ˙.Play the following exercises with each hand separately. ß& œ 2œ 3 5 4 2 1 B 1 5 4 2 Í b 4 œ œ œ œ œ œ œ 3œ 2œ œ œ œ œ œ œ œ œ œ ˙ . 3 bb 4 œ œ ?b 74 . Begin slowly and increase the speed a little bit each day.

SECTION 3 Concepts and Skills You Will Learn in Section 3 1. How to play in more time signatures 75 . How to read more note values 3. How to play the keyboard with both hands 2.

Play the exercise with both hands together and increase the tempo a little each day. The following exercises should help you learn this new skill. The finger numbers are important. 1. Play the measures between the repeat bars over and over until you can play that section well. * 3. mastering it with each hand alone. so follow them carefully. Play this exercise slowly and evenly. play them without stopping. repeating each section four times. Then move to the next section. This may seem awkward at first. but it will soon come naturally as you work hard and patiently. The asterisks (*) indicate repeat bars.PLAYING WITH BOTH HANDS DAILY EXERCISES You are now ready to play with both hands together. 31 When you know all the sections. 2. * * 4 ß & { 41 œ 2 œ 3œ 4œ 5œ œ œ œ { { œ 2 œ 1œ 2œ 3œ 2œ 1œ 2œ { { œ 2œ 3œ 1œ 1 1 Í 4 1œ 2œ 3œ 4œ 5œ œ œ œ 1 œ 2œ 1œ 2œ 3œ 2œ 1œ 2œ 1 œ 2œ 3œ 1œ ? {4 { { { { * 2 ß & 2œ 1œ 3œ 2 œ { { œ 2 œ 3œ 1œ 1 Í 76 2 1 œ 2œ 3œ 1œ œ œ ? œ œ { { 2 1 3 œ œ œ œ 3 4 3 œ œ œ œ { 2 1 3 2 2 2 œ œ œ œ { 1 3 * 1 w w 2 œ œ œ œ 3 4 3 5 .

32 Play this exercise slowly and evenly. 2. 4 ß& 4 œ œ œ œ œ œ ˙ 3 1 Í 4 5 ?4 ˙ 3 ˙ ˙ ˙ œœ œ œ œœ˙ 5 ˙ 1 ˙ ˙ ˙ œœœ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œœ œ w ˙ ˙ ˙ ˙ Play the exercises on pages 73 and 74 with both hands together. œ œ œ œ bœ œ œ ˙ ˙. ˙. 2. ˙. œ ˙ 3 ˙. 33 Play this exercise slowly and evenly. ˙. œ 2˙ . 3 4 ˙ ß& 3 Í 1 3 2˙ .1. mastering it with each hand alone. ˙. Play the exercise with both hands together and increase the tempo a little each day. 1. increasing the tempo a little each day. œ ˙ 5 ˙. ß& Í œ œ œ bœ œ œ 4 1 ? ˙. Play slowly and evenly. Play the exercise with both hands together and increase the tempo a little each day. œ 2˙ 1 ˙. ˙ ˙. 4 œ b˙ 4 2 ˙. 1 ˙. 2 œ ˙ 4 1 ˙. ?4 3 œ b˙ 4 2 ˙. 4 œ ˙ 5 ˙. mastering it with each hand alone. 77 . 5 œ ˙.

Clap a steady beat and say the rhythmic names of the notes in the bass clef.er et’s w w *3 be . na . When you learn these hymns. 1. *2 A œ ban . Play the notes in the bass clef (left hand only).ner w œ œ œ œ is un . begin using them to accompany singing at home and at church. w ˙.hold *2 sweet. now look w 2 It ˙ œ œ œ œ ˙. 34 Play the hymn with both hands together. 2. ˙ ˙ w œ ˙ On Zi œ œ œ ˙. Ye œ b œ œ œ nœ ˙. 4. stand! ˙. Play the notes in the treble clef and sing the melody (right hand only). .tain top 3 w ˙. 1 *3 waves to all the world. ß& Í 78 bw ? b˙ ? ˙ up.tions. High on the Mountain Top b4 ß& 4 Í ß & b œ œ œ nœ Í ?b œ 3 1 High on 1w 4 4 œ œ œ œ the moun .HYMNS TO LEARN Practice the following hymns until you know them well. w w b˙ on’s mount w œ œ œ œ ˙ ˙ ˙ ˙ it ˙. œ 5 peace - ful ˙ *5 land.furled. 3. œ œ *5 In Des . Follow the instructions for learning each hymn.

- blems œ we ˙ ˙. ˙.While of These Emblems We Partake 1. Je . 79 . 35 Play the hymn with both hands together. ?4 ? ˙. are clean ˙ ˙ and œ œ pure. *2 œ and for ˙ #œ ˙. be sure *4 ˙. his sake. œ œ œ ˙ *1 Our hearts and hands ˙. 3. ˙. In œ ˙. œ ˙. ˙. and name While of œ these œ em 2 ˙ ˙. Play the hymn with each hand separately. ˙. 3 4œ ß& 3 Í ß& ˙ Í 3 4˙ . - *1 ber œ ß & 4œ œ œ Í ? ˙.sus’ œ œ œ re - ˙ mem #˙. ˙. *4 Let 4 œ bœ us ˙. par œ - take ˙. Sing the words as you play. ˙. 2.

How Great the Wisdom and the Love 1. 4 ˙. 2. œ the œ 3 love 5 ˙ ˙. 3. Sing the words as you play. œ 5 bleed. 36 Play the hymn with both hands together. 3 œ 5 the œ 1 courts *1 œ ˙ œ 2 4 on 3 œ œ 3 high 4 ˙ from ?b ˙ œ œ œ a - 5 bove U ˙ ˙. œ 2 - 4 fer. u *2 To œ œ 1 suf ˙. 1 and œ 2 die! 80 . 1 - œ 4 dom œ œ and 1 ˙. ˙ 5 That œ b ß& œ Í ?b filled 2 ˙. 4 œ 3 the œ *2 wis 4 œ ˙. ˙ ˙ - *3 ior œ ˙. 3 b4 ß& Í ß &b œ *1 Í 3 b4 ? 1 How œ 5 great 5 œ ˙. œ œ the Sav ˙. Play the hymn with each hand separately. 5 And œ œ n œ bœ sent *5 ˙.

kind.As I Search the Holy Scriptures 1.ther n˙ man . œ heart œ be ? b 3˙ b my ˙ blessed with œ œ œ *2 œ n˙ wis . ˙ *1 And œ ˙ 2 4 may knowl . bb 4 œ ß& 4 Í bb œ n œ ß& Í ? b 4 3w b 4 *2 May 1 As œ I 4 search œ œ the ho . Sing the words as you play. 37 Play the hymn with both hands together. 3.dom.tures.ing w œ œ 3 œ œ 4 œ of œ ˙ ˙ Fa .ly œ w œ scrip .edge œ œ ˙ œ œ œ fill ˙ mind. ˙ my ˙ 81 . Play the hymn with each hand separately. 2. œ œ *2 2 Lov .

nah dah . say “dah” on the beat and “nah” between beats (or off the beat). The asterisks (*) show the beats.nah dah .OTHER NOTE VALUES Eighth Notes A quarter note ( q ) can be divided in half. 4 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ 82 . creating two notes that are A beat each.nah dah * * œ œ œ * œœœœ œ œ * * * * œœœ * * œœœ * * œœœœ ˙ * * * 39 Say the rhythmic names of the notes below while clapping once for each beat.nah dah . the rhythmic name for two eighth notes is dah-nah. These notes are called eighth notes.nah œ œ œ œ œ œ œ œ œ œ 38 Clap once for each beat as you say the rhythmic names of the notes below. Eighth notes are twice as fast as quarter notes.nah œ œ œ œ œ œ dah . They are flagged on the stems ( e ) or connected by a beam (œ œ ).nah dah .nah j j j j j j œ œ œ œ œ œ dah . See the chart to the right for a comparison of quarter notes and eighth notes.nah Dah . 2 4 œ Dah * dah * œ Dah . In this course. œ œ 3 4 œ œ œ œ œ œ Dah .nah Dah . As shown below.

Play the exercises with each hand separately. œœœ ˙ œœœ ˙ ˙ œ ˙ 4 5˙ ?4 œ œœœ ˙ ˙ œœœœ œ ˙ œ ˙ œ œ œ œœœ ß& œ Í ? ˙ œœœ ˙ œ œ ˙ œœ œ œ œ œœ œœ œ œœ œœ œ œ œœ œœ˙ œœ œœ˙ 83 . 40 Play the exercises with both hands together. Clap a steady beat and say the rhythmic names of the notes in the exercises below. 5 œ ˙ œ ˙ Í . 2. ˙. 3 b 4 œ œ œœ ß& 4 œ œ œ œ œ œ œ œ ˙. 3.PRACTICING EIGHTH NOTES 1. 3 b4˙ ? 4 ß& 4 œ 1 Í œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. œ ˙ ˙ œ œ ˙.

*2 œ 4 œ of œ we rest. Sing the words as you play. Play the hymn with each hand separately. ? # #˙ .” hymns 82 and 65 of Hymns Made Easy. ˙ 1 As *1 ˙ . we œ take *2 œ ˙. ˙. ? 4 1 God. œ 3 - œ 1. Send 2 ˙. Follow the instructions for learning each hymn. 4 ˙. Our Father. *2 # ˙ . 3. Where three notes are played at the same time. God. ? # grace 3 œ œ this œ ˙ #˙. Play the hymn with both hands together. ˙. leave out the middle note for now. em *5 ˙ œ œ ˙.HYMNS TO LEARN Practice the following hymns until you know them well. ˙. 2. ˙ œ us pray. 4. Hear Us Pray #3 ß& 4˙ ß& Í Í # 3 ˙. hear *4 ˙. ˙. begin using them to accompany singing at home and at church. blems blest. *1 ˙. Follow these instructions also as you learn “Keep the Commandments” and “Let the Holy Spirit Guide. When you learn these hymns. 1 our œ Fa 2 # ˙. Clap a steady beat and say the rhythmic names of the notes in this hymn. ly day. . ˙ thy œ ß& Í 84 # ˙. ˙. œ œ œ œ œ œ ˙ *4 *5 On our Sav ior’s love 1˙ . ho 4 - œ œ ˙. œ ther.

˙ ˙ ˙ ˙ 85 . thy ß&bœ œ œœœ Í love pos . ˙ ˙ Trav . 4 œ œ œœ œ ˙ re .deem .sess . re . 3.der . b4 œ œ œ œ œ ß& 4 Í b4 w ? 4 ˙ ?b b˙ 3 Lord.ing. Dismiss Us with Thy Blessing 1. 41 Play the hymn with both hands together.ness. dis . bœ œ œœ œ œ œ ˙ ß& Í Trav . Sing the words as you play. re . 3 Let œ œœœ œ w us each.’ling thru this ? ˙ wil .fresh us.der . Clap a steady beat and say the rhythmic names of the notes in this hymn.fresh us. Play the hymn with each hand separately.miss 4 us with ˙ œ œ œœœ ˙ œ œ œœ œ Fill thy bless .ing. 2.’ling thru this wil .ness.fresh ˙ us. ˙ re . ˙ œ œ œœœ oh.Lord.umph in ˙ ˙ re . 4. ˙ ˙ *3 Oh.ing grace. ˙ our hearts with ˙ joy œœœœ˙ ˙ ˙ and peace.fresh us. 4 œ œœœ œ œ œ œœœ œ œ œ œ œ œœœœ˙ w oh. œœœœ˙ ˙ ˙ *2 Oh. ˙ œ œ œœ œ Tri .

The pedal can sustain tones while the fingers are preparing to play the next chord. If you hold the pedal too long while playing several notes that don’t go together well. The sustaining pedal can help you play the piano in a smooth and flowing style. confused sound. With practice. Rest the heel of your right foot on the floor and depress this pedal with the ball of your foot. the sound becomes muddy and unpleasant. depress sustain or release depress sustain release depress release 86 . using the sustaining pedal becomes so natural that you seldom think about it when you play. When using the sustaining pedal. It adds a rich. The general rule is to change the pedal just after you play a chord. the sound becomes choppy. You’ll want to change it at least with every harmony change to avoid a muddy. While the fingers hold the keys down. Pedal markings can be written in the music below the bass clef to show you when to depress and release the pedal.THE SUSTAINING PEDAL Learning to use the sustaining pedal is an important part of learning to play the piano with both hands together. If you don’t hold the pedal long enough. the strings of the piano are allowed to vibrate unstopped until you release the pedal. let your ear be your guide. You might change the pedal (release it and depress it again) one or more times in a measure. When you depress the pedal. the foot makes a quick up-and-down motion. The sustaining pedal is located in the center of the piano near the floor. clearing away the previous chord and sustaining the current one. It is the pedal on the right and is usually played with the right foot. fluid quality to the sound.

thy œ ß& Í # ˙. ˙. ˙ ß& œ œ œ Í œ us pray. 2˙ . #˙ ˙ ˙. *1 ˙. Use the sustaining pedal while playing the hymns you have already learned. hear 1˙ . 43 Next. ˙ . ? # grace this # #˙. Our Father. Use the sustaining pedal through the remainder of this course. experiment with the sustaining pedal. ˙. ˙. . 1 As *1 ˙ ˙. . Hear Us Pray 42 Practice using the sustaining pedal as you play the following hymn. #3 ß& 4 ˙ œ œ 3œ œ ˙ 1 God. 87 . we œ take 2 œ ˙. ? em 5 ˙ œ œ ˙. Follow the pedal markings.God. œ *2 4 œ of œ we rest. You may write pedal markings in this book or in your hymnbook. œ œ œ œ œ œ ˙ *4 *5 On our Sav *2 . 4 ˙. blest. Try holding it too long or too short.blems #˙. ho 4 - ly day. Begin with the hymn on page 78. Find the right combination by letting your ear guide you. Send 2 ˙ ˙. ? 4 # œ œ ˙. our Fa ther.ior’s love. Í #3 ˙.

ah * * ˙ dah . Compare the rhythms to the right: Dah œ œ dah œ dah œ œ dah œ Dah dah .nah œ œ dah dah . ). its value increases by A beat (half of the original note). Dah-ah œ.ah * * œ. If you add a dot to it ( q. If you add a dot to it ( h. - ah * - ah * . œ nah dah * j œ œ dah * œ Dah . its value increases one beat (half of the original note). The asterisks (*) show the beats. nah j œ œ.ah * * ˙ 3 4 œ. making it get 1A beats. The remaining A beat is usually written as an eighth note. A quarter note ( q ) gets one beat.ah * * ˙ Dah .Dotted Notes A dot next to a note increases the value of the note by one-half. nah j œ œ Dah * dah * œ dah .nah œ œ 44 Clap a steady beat and say the rhythmic names of the notes in the examples below. nah dah * j œ œ Dah * dah * œ dah * œ Dah * ˙. ).ah * * nah dah * j œ œ Dah . A half note ( h ) gets two beats.ah * * œ. 88 Dah .ah * * œ. making it get three beats. dah-ah nah j œ 4 4œ Dah * dah * œ dah .

my j œ œ 1. Follow the instructions for learning each hymn. When you learn these hymns. Play the hymn with each hand separately. 4. 3.HYMNS TO LEARN Practice the following hymns until you know them well. ˙ it j œ is ˙. 2. Remember to use the sustaining pedal as you play. Clap a steady beat and say the rhythmic names of the notes in this hymn. ß& ˙ Í ? w The œ œ. begin using them to accompany singing at home and at church.pers this ? #w true. 45 Play the hymn with both hands together. *4 And œ w to œ 3 œ 4 œ 5 œ is me and tells 2 tells ˙ *3 me œ œ. Fa - ther œ ˙. true. lives w œ œ 1 3 *2 and œ 5 loves œ *4 too. ˙. *4 #w Spir - j œœ œ *3 w œ œ w œ me me œ œ œ it 2 it whis . I Know My Father Lives 4 ß & 4 2œ Í ß & ˙. . Í 4 ?4 I 4 know 2 w œ. Sing the words as you play. 89 .

*4 Most œ gra œ. ˙. *3 thee! Oh. my Sav . ? Ev 5 . 4. ˙. *4 œ. *4 Can œ peace ˙ j œ. me now. j œ œ œ œ œ œ *3 2 ˙. œ œ œ œ ß& 2 # Í ? # ˙. thee.ery hour I need ˙. œ. #3 ß& 4 œ Í #3 ? 4 # 3 I need 4 ˙. I ˙. 2. *3 œ I need 2 ˙. ˙. Clap a steady beat and say the rhythmic names of the notes in this hymn. œ œ bless 4 œ. Sing the words as you play. I jœ œ œ ˙ œ need # ˙. come j œ œ ˙ to ˙ œ ˙ thee! 90 . ˙. œ. thee ev .I Need Thee Every Hour 1.ery hour. œ œ œ ˙ af œ - ford. Play the hymn with both hands together. ten *3 der voice like thine œ œ ˙ J œ ˙. 3.ior. 1 No œ ß& Í j œ. œ. Play the hymn with each hand separately. oh. j œ œ œ ˙ ˙. thee. - j œ œ œ ˙ cious Lord.

46 Play the hymn with both hands together.ble 2 œ œ ˙ in thy weak . Play the hymn with each hand separately.ance that he cares. ˙ Lord *1 thy God shall lead œ œ œ œ J œ œ thee. Í ˙ ˙. Clap a steady beat and say the rhythmic names of the notes in this hymn. and the 2 œ œ œ œ œ œ œ œ œ *1œ *2 œ ˙ œ ˙ . 3 4œ œ œ ß& 3 Í j ß & œ . 3.swer to thy ˙.ness. ˙. œj œ . 2. œ ˙ œ ˙ ˙. œ œ œ *4œ œ œ *4œ œ œ œ œ ˙ Í 3 4 ? Be thou hum . Be thou hum . 4. ? 91 ? #˙.sur . j œ œ ß& œ œ *5 œ œ œ œ œ œ œ ˙ J *5 2 *4 *2 Lord thy God shall bless thee. ˙ *3 Shall j œ œ .Be Thou Humble 1. lead *5 thee by the hand and give thee an .ing. prayers. Sing the words as you play.ble in thy plead . œ œ œ œ œ . Shall bless thee with a sweet and calm as . ˙. œ œ œ œ œ ˙ and the œ œ *5 œ. #˙. œ.

RESTS
Rests are symbols that indicate a certain length of silence. When you see a rest, don’t play. The beat is still there, but it is a beat of silence rather than sound. Rests are held for the same number of beats as the notes of the same name.

Complete the measures below by adding rests to equal the number of beats per measure as shown by the time signatures.

Sometimes one hand plays while the other rests, and sometimes both hands rest together. Open the hymnbook and find rests. Name them. Draw a line from each rest below to its corresponding note of the same value.

∑ Ó Œ ‰

whole rest half rest quarter rest eighth rest

4 beats 2 beats 1 beat A beat

4 4 œ œ œ 3 4 œ 2 4 œ œ

j œ œ œ œ ˙ œ j œ

˙ œœœœ œ

∑ ‰ Œ

h e q

w

Ó
92

HYMNS TO LEARN
The following hymns will give you practice with eighth notes, dotted notes, and rests. Follow the instructions for learning each hymn, and practice it until you know it well. Use these hymns to accompany singing at home and at church. Be sure to check the key signature for sharps and flats, and continue to use the sustaining pedal.

Keep the Commandments

2 b4 œ ß& 4
Í ß& b œ *2 Í

1. Clap a steady beat and say the rhythmic names of the notes in this hymn. (Notice the tie in the last two measures. A tie is a curved line that connects notes. When two or more notes are tied, add them together and play them as one long note.) 2. Play the hymn with each hand separately. 47 Then play it with both hands together. 3. Sing the words as you play.

2 5˙ ?b4 n˙ n˙
this 1

Keep

the com - mand - ments;

œ œ

œ œ œ ˙

*5 keep

œ ˙

œ œ

the com - mand - ments! In

œ œ œ œ œ ˙ œ

œ œ œ œ ˙

this

there is

safe - ty; in

œ œ

there is

œ œ ˙ b˙ œ œ ˙

?b ß& b œ
Í

peace. 2

He

œ œ œ œ œœ ˙ œ œ ˙

will send bless - ings;

*4 He

œ œ œ œ œœ ˙ ˙ œ œ ˙

will send bless - ings.

*3 Words

œ ˙

of

œ œ
a

proph - et:

*4 Keep *4

œ œ

?b

the com - mand - ments. In 2 3

nœ u

U œ œ œ œœ œ œ *3
this

˙

there is

nœ bœ

safe - ty and peace. *1

œ œ

˙ ˙
93

How Great Thou Art

1. 2. 3. 4.

Clap a steady beat and say the rhythmic names of the notes in this hymn. Play the hymn with each hand separately. 48 Play the hymn with both hands together. Sing the words as you play.

bb 4 œj œ œ ß& 4 œ. 3
Í

bb œ . ß&
Í

bb 4 ‰ Œ ? 4

j œ œ œ œ œ œ

5

˙. ˙ ˙

œ
1

œ

œ.

˙.

j œ œ œ

?

b ˙. b

j œ œ œ œ œ œ

j œj œ œ œ 3 œ. j‰ Œ œ

j œ œ œ œ œ œ

˙.

94

2 ˙. j œ œ œ ˙. œ œ œ œ œ ˙ ß& J 2 Í ? b 1œ b bb œ œ. œ. bb ˙ ? œ œ œ œ œ ˙ J 2 ˙ w jœ œ œ ˙ œ J *2 ˙.ß& Í bb œ . j œ œ œ œ œ œ ˙ ˙ j œj œ œ œ *1 3 j‰ Œ œ j œj œ œ œ *1 3 ? bb ˙ ˙ w jœ œ œ œ J ˙ *5 *1 w j œj œ œ ˙ œ 5 ß& Í bb œ . œ U œ ˙ œ œ J J œ u ˙ w œ J j œ 95 .

ly With j œ œ # 2w par . Sing the words as you play. w *2 œ 5 œ. 96 . 1 Œ Œ kind and ˙. Play the hymn with each hand separately. w And he 1 has sent œ œ J œ me 2 ˙.en œ me œ œ an œ w œ œ. Clap a steady beat and say the rhythmic names of the notes in this hymn.ents œ 5 œ 4 œ ˙.I Am a Child of God 1. ˙. 4. ## 4 ß & 4 1œ œ œ œ Í # # 4 5w ? 4 ## 2 I œ of am a child God. 2. home *2 earth . 2 w ß& Í ? œ # # #4w giv . Play the hymn with both hands together. dear. 3. œ Has here.

ß& Í ? œ 3 œ œ all œ that 5 œ I 4 U œ œ. find 2 me.ß& Í ? ## 1 # # 5w ## 1 Lead œ 3 œ me. 2 do Teach # # 5w me w u must j œ œ *4 1 To 1 live ˙. ˙. œ with 3 œ him some - œ œ day. Help ˙ the œ ˙. 97 . guide œ œ me. J 3 Œ Œ Œ Œ way. ˙. ˙. 3 œ w œ walk be .side œ 2 œ 5 œ ˙ œ me œ.

Clap a steady beat and say the rhythmic names of the notes in this hymn. 3. ˙. - dom and j œ œ light.dawn ˙. Play the hymn with both hands together. *4 Of œ. 5 then œ.lent tak . ˙. ˙. 3 # 3 fu . ˙.ture what is j œ œ ˙ right.Do What Is Right 1. the œ œ day . # 3 œ. œ. ˙. *3 An œ. ˙. - ing a j œ œ ß& œ 1 Í ? #˙ # œ 5 œ of Œ free ˙. do ˙.ing. - bove ˙. 98 . 4.tion. ˙ *4 Hail œ.’ry j œ œ œ 3œ 1 ˙ ac . ˙.ing œ ˙ ˙. œ Œ - gels a j œ œ œ. 2. ev . œ notes si . ˙. what is j œ œ right! ˙. ß & 43 Í Do ? # 4 1˙ . œ œ is œ break . Sing the words as you play. Play the hymn with each hand separately. us are j œ œ ß& œ œ Í ? # ˙.

Í ? # ˙.mor . ˙.quence fol . *3 And *1 ˙. ˙ œ.ß & *1œ Í # ? # ˙. ˙.dom œ in œ œ œ œ #œ *3 5 spir . 99 . might. ˙. ˙. *4 God will pro . œ ˙. let œ the œ œ œ œ ˙ con . œ ˙.tect j œ œ œ 3œ 1 ˙ you. 5 then œ. forth till j œ œ to . j œ œ œ 1 2 Bat . ˙. do ˙. # 5 3 free .se .it and ˙.row. œ Œ œ. with stout hearts ˙. ˙. what is j œ œ right! ˙.tle œ ˙ œ 4 for œ Œ ß& Í #œ ? # ˙. Do *1 what œ œ is right.low. look ye j œ œ ß & œ. œ.

nah dah-nee-nah-nee dah . creating four notes that are B beat each. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ * * * * 4 4 œ œ œ œ œ œ œ œ œ Dah . Four sixteenth notes ( œ œ œ œ ) equal one quarter note ( q ).Sixteenth Notes Two eighth notes ( e e ) can be divided in half. the rhythmic name for four sixteenth notes is dah-neenah-nee.nah dah * * * * œ œ œœœœœœœœœ * * * * œ œ œœœœœ œ œ * * * * 3 4 œ œ * * * * œ œ * * œœœœ ˙ * œœœœ ˙ * * * œ * * œ œ œ * * œ œ œ œ œ œ œ œ œ ˙. and sixteenth notes. eighth notes. See the chart to the right for a comparison of quarter notes. 49 Clap once for each beat as you say the rhythmic names of the notes in the exercises below. * * * * œ œ œ œ œ ˙. * * * * * * 100 . These are sixteenth notes and are double flagged ( x x x x ) or double beamed ( œ œ œ œ ). In this course. Sixteenth notes are twice as fast as eighth notes. The asterisks (*) show the beats.

PRACTICING SIXTEENTH NOTES
Combining two or three of the sixteenth notes in a group of four creates some interesting rhythms, as shown to the right. The third rhythm, a dotted eighth note and a sixteenth note, is used most often in the hymns. It has an irregular, short, skipping motion unlike the regular dah-nah. This rhythm is sometimes called “dotted rhythm.”

œ œ œ œ œ œ œ
Dah-nee - nah

œ œ œ œ
dah

œ œ œ œ
dah

œ

- nah - nee

œ œ

œ.

-

nee

œ

50 Clap a steady beat and say the rhythmic names of the following notes. The asterisks (*) show the beats.

4œ 4 œ.
*

œ

Dah - nee *

œ œ.
*

œ

œ

dah - nee dah - nee dah - nee * * *

œ œ.
*

œ

œ

œ œ.
*

œ

œ

œ œ.
* *

œ

œ

œ œ.
* *

œ

œ

œ œ.
* *

œ

œ

œ œ.
* *

œ

œ

œ

51 Clap a steady beat and say the rhythmic names of the following notes.

4 4 œ œ œ œ œ. œ œ

Dah - nah dah - nah dah - nee dah

œ œ œ œ œ. œœ

œ œ œ. œœ œ œ. œ œ. œœ. œ˙

3 4 œ . œ œ œ œ . œ œ œ œ .œ œ . œœ .œœ . œ ˙ œ . œ œ œ œ . œ œ œ œ . œ œ .œœ . œœ . œ ˙
Dah - nee dah dah dah - nee

101

HYMNS TO LEARN
Practice the following hymns until you know them well. When you learn them, begin using them to accompany singing at home and at church.

After you learn the hymns on pages 102 through 108 in this manual, learn the following hymns in Hymns Made Easy. “There Is a Green Hill Far Away” (p. 51) “Teach Me to Walk in the Light” (p. 83) “Praise God, from Whom All Blessings Flow” (p. 13) “Testimony” (p. 37)

“Help Me Teach with Inspiration” (p. 73) “Keep the Commandments” (p. 82) “How Great the Wisdom and the Love” (p. 48) “O God, the Eternal Father” (p. 46) While first learning these hymns, you may want to leave out the middle note where three notes are to be played at the same time.

We Thank Thee, O God, for a Prophet

## 4 ß & 41 œ . œ œ
Í

1. 2. 3. 4.

Clap a steady beat and say the rhythmic names of the notes in this hymn. Play the hymn with each hand separately. 52 Play the hymn with both hands together. Sing the words as you play.

?

## 4 Œ 4 ## ˙.

We

thank 4

w

thee,

œ. œ œ. œ œ. œ ˙
O God, for

a proph

w

-

et

œ

To

œ. œ œ

guide

w

us

œ. œ œ U œ
-

in these

lat - ter

œ. œ

ß& Í

?

## ˙.

days.

We

œ. œ œ Œ

thank

w

thee

œ. œ œ. œ œ. œ ˙ *1
for send ing

the gos

˙

pel

˙ u

œ
To

102

ß& Í

##

?

## ˙. ## œ

œ

œ. œ œ
our minds

light - en

with

œ. œ ˙. œ ˙.

*2 its rays.

3 We

œ Œ

*5 thank

œ ˙

œ. œ œ œ. œ ˙
thee

3 *2 for ev - e - ry bless

˙

˙

*2 ing

œ œ.œ ˙
Be -

ß& Í

?

## w ## ˙

stowed

by

œ. œ œ

thy boun

-

te - ous hand.

œ. œ ˙. ˙.

*2 We

œ

œ
feel

œ. œ œ
it a plea

Œ

˙

˙

œ. œ
sure

*2

to

ß& Í

?

## ˙

serve

*3 thee,

œ ˙

And

œ. œ œ ˙

love *1

to

œ. œ œ ˙

o - bey

thy

œ.

com - mand.

œ

˙.

˙.

103

œ œ œ œ *1 Bees were hum . œ œ ˙. 4 ß & 41 œ . w ˙ *1 *2 Mu .diant beamed œ. sweet w œ birds œ sing . Play the hymn with both hands together. œ œ œ the œ sun œ a - w œ ˙ w bove.sic ring .ing. œ œ Oh. Play the hymn with each hand separately. 2.ing œ.Joseph Smith’s First Prayer 1. Sing the words as you play.ming. Clap a steady beat and say the rhythmic names of the notes in this hymn. 4. ? œ. how love 2 w Í 4Œ ?4 ß& Í - œ ly was œ *5 the œ œ morn w ˙ ing! *1 Ra . œ œœ œ thru the œ 104 . 3.

˙ land œ.seph œ. œ œ œ . ˙. œ Œ œ. 105 . Jo œ - Œ seph sought God of œ œ love. œ *1 œ 4 2œ *1œ *1 When with . œ. ˙. the 5 - œ y ß& œ Í wood ? ˙. When œ. the shad œ œ J - œ y wood œ œ - w land œ Jo . ? ˙. œ ß& Í sought ? ˙ the œ œ J ˙ God of œ *5 love. ˙.ß & ˙.in ˙ the shad ˙ Œ œ œ œ œ 3œ 2 3 ˙.in w ˙. Í grove. *4 with .

˙ no j œ 2 toil œ ˙ 1 nor œ œ œ ˙ fear. ß& 4 œ But Í #3 œ ? 4 ß& Í # 4 3˙ ? 4 Come. 3 4 œ Grace shall be œ ˙ ˙ as U œ. Ye Saints 1. ye Saints. to you ˙ this j œ # # 1 2 jour . œ œ. Play the hymn with each hand separately (notice that the hymn changes time signatures).bor ˙ 3 4 3 4 with joy œ ˙ ˙ wend œ. œ 1 2 your way. 53 Play the hymn with both hands together. œ œ. œ u 3 ’Tis œ œ Œ 106 . œ œ œ 2 1 your day. 4.ney œ ˙ œ œ œ ˙ may ap .Come. Clap a steady beat and say the rhythmic names of the notes in this hymn. œ ˙ ˙ 4 4œ 4˙ 4 Though hard œ. come. 3. Come. 2.pear. ? ˙ 3 4 œ. œ. la . Sing the words as you play. #4 ß & 4 1œ Í #3 .

œ œ œ. j œ œ œ. œ 2 j œ your œ will ˙ swell — # Œ ? hearts ˙ œ. to *4 drive.less cares ˙. All œ œ ˙ ˙ is well! All œ ˙ ˙ 1 is well! 107 . bet *1 - œ ter œ far œ œ for œ us # œ œ œ ß& Í ? ˙.ß& Í # œ # ˙. œ to œ strive œ œ Our œ œ from # œ ß& Í ? # ˙. œ 3 1 *1 Do this. us use . and joy *3 ˙ Œ œ.

4. 1 ˙ *2 ˙. 2. 4 ß& 4 œ 2 Í 4 Œ ?4 5 whom 5 Re . ˙. ˙. 3. w j œœ ˙ ˙ by day ˙ w œ œ *2 And our our De . Play the hymn with both hands together. ? w œ 4œ . œ œ ˙ our all! ˙.Redeemer of Israel 1. ˙.liv œ 3 ˙ ˙ - ’rer. On œ Œ ß& Í ˙ œ œ for a ? w w bless œ œ œ œ ˙ - #˙ ing we call. Our œ Œ 5 shad 3 ˙ œœœ ow ß& ˙ Í pil - lar œœœœ ˙ by night. . Sing the words as you play. 108 . œœœ ˙ Our on ˙ ˙ - œ *2œ ˙ ly de .deem 5 œ œ *1 œ œ w er of ˙ ˙ Is - rael. Clap a steady beat and say the rhythmic names of the notes in this hymn. Play the hymn with each hand separately.light. œ 2 *1 Our King.

Triplets You have learned that a quarter note ( q ) can be divided in half (creating two eighth notes) and in half again (creating four sixteenth notes). trip-a-let. Clap the following rhythms: œ £ £ œ œ œ œ œ œ j j œ œ œ œ £ £ œ * œ 4 4 œ * œ * œ * œ * £ £ œœœ œ œœœ œ * * * * £ œ œœœ œ * * * £ £ œœœ œœœ œ œ * * * * 3 £ 4 œœœ * œ * œ * £ œœœ * ˙ * * £ œœœ * œ. and the three notes combined get one beat. forming figures like those to the right. 74). The notes in a triplet may be combined. four. two. Say or clap the rhythms before playing them on the keyboard. The triplet always has a little three ( £ ) above or below it. * * £ œ œœœ j * ˙ * HYMN TO LEARN 54 Learn “O My Father” from Hymns Made Easy (p. In this course. two. 109 . three. the rhythmic name for triplets is trip-a-let. The first two measures in the example below are counted like this: one. trip-a-let. four. A triplet (œ œ œ ) is a group of notes that divides the quarter note into thirds.

#. Then study the examples at the bottom of the page. œ œ œ. œœ ˙ . œ . œœ œ . x e Rhythmic name lah lah-ah lah-ah-ah lah-ah-ah-ah-ah-ah . sixteenth Beats 1 2 3 6 A 1A. NOTE VALUES AND RHYTHMIC NAMES IN ^ TIME Note name Eighth note Quarter note Dotted quarter Dotted half note Sixteenth note Dotted eighth. œ œ œ œ œ œ œ œ œ œ 56 Clap the rhythm of “I’ll Go Where You Want Me to Go” (Hymns. œ œ œ œ œ. no. 270). œœ œ . The bottom number shows the kind of note that is the fundamental beat. œ . œ œ œ œ œ œ ˙. 6œ 8œ œ œj œ œ œj œ œ œ œ œ œ. 110 . and @ times. œ.OTHER TIME SIGNATURES The ^ Time Signature You already know that the top number in the time signature shows the number of beats per measure. j œ œ œ œœ œ. Hymns written in ^ time have the eighth note ( e ) as the fundamental beat. In $. œœ ˙ . So far you have learned to play hymns in which the quarter note ( q ) is the fundamental beat. In ^ time there are six eighth notes (or the equivalent) in each measure. j j j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. Study the chart below to learn about note values and rhythmic names in ^ time. but the result must always equal six beats (six eighth notes) per measure. the eighth notes are connected in groups of two ( œ œ ) or four œ œ œ œ ). h. The three notes can be added together or divided in ways you three ( have already learned. In ^ time. A Note e q q. œ œ œj œ œ œj œ œ œ œ œ œ œ. kee x lah-kee 55 Clap the following rhythms: 6 8 œ œ œ œ œ œ œ. the eighth notes are connected in groups of ( œ œ œ ). j j j j œ œ œ œ œ œ œ œ œ .

” p. Say or clap the rhythms before playing them on the keyboard. The fundamental beat is the quarter note. and “Silent Night” is in % time. Study the examples below: 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ jœ œ œ jœ œ œ œ œ œ œ 4 œ œ. 57 “Love One Another. 111 . 80 58 “Come unto Jesus. 60 Other time signatures that use eighth notes as the fundamental beat are ( and ) . œ œ œ. as shown by the 4 on the bottom of the time signature. begin using them to accompany singing at home and at church.” p. 31 59 “Silent Night. The notes in each measure must equal the value of six quarter notes. When you learn these hymns. ˙.” p. œ œ œ œ œ œ œ œ œ œ ˙. The first two are written in ^ time.The % Time Signature Another time signature that has six beats in each measure is %. ˙ œ ˙ HYMNS TO LEARN Learn the following hymns from Hymns Made Easy.

112 .

How to play four-part hymns in the standard hymnbook 113 .SECTION 4 Concepts and Skills You Will Learn in Section 4 1. How to use the standard hymnbook 3. How to play three-part hymns 2.

In these simplified hymns there is always a soprano and a bass line. or from the treble to the bass staff. practice the following exercises with each hand alone. ˙ œ 5˙ ˙ 1 1 5 œ ˙ ˙ ˙ ˙ 5 2 1 4 ˙ ˙ 1.. see Hymns Made Easy... can change from alto to tenor.. Œ ˙ ˙ ˙ ... as found in the standard hymnbook. ? 45 3˙ œ 4 ˙ . 4 & 41 œ œ 3 œ 3œ œ 5 œ œ œ œ œ œ ˙ œ œ œ 1 3 4œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ 4 ? 5 3 3 1 5 3 ˙ 4 ˙ 5˙ .. œ ˙ 2. DAILY EXERCISES Because most hymns in Hymns Made Easy are written in two or three voices. 5 4 3 114 . ˙ ˙ ˙ ˙ ˙ 3 ˙ 1 2 3 2. Œ { ˙ ˙ ˙ .. Always play smoothly and evenly.. These simplified hymns are designed for accompanying unison singing but will usually work for part singing also. œ ˙ . For a list of hymns grouped according to ease of learning. œ 3˙ 1 3 5 2 4 œ ˙ . p.PLAYING THREE-PART HYMNS Most hymns in Hymns Made Easy are written in two or three voices rather than in four... but the middle voice. you will usually need to play two notes with the same hand and the third note with the other hand. ˙ 1 1 5 4 œ ˙ . ˙ 5 3 1 3 4 2 ˙ ˙ .. ˙ ˙ ˙ ˙ ˙ ˙ { 3 2 1 1. 87. 4 & 4 œ 3 ˙ . ˙ . when present. 60 To help prepare you to play two notes with the same hand. ˙ ˙ ˙ . Play slowly at first and increase the speed as you are able. ˙ 1 2 5 œ ˙ .

study the music. though it will require a lot of patience and practice. follow the study techniques you have learned in this course. 152) “I Stand All Amazed” (no. marking the fingering on the page for complicated passages. Follow Me” (no. The transition from three-part to four-part hymns should not be too difficult. First. To help you get started. O God. Play slowly at first and speed up the tempo a little each day until it fits the mood of the hymn. 142) “Let the Holy Spirit Guide” (no. some of the easiest four-part hymns in the standard hymnbook are listed below: “Now Let Us Rejoice” (no. When learning a new hymn. Learn one hand at a time. 147) “God Be with You Till We Meet Again” (no. 125) “Sweet Hour of Prayer” (no. 237) “Keep the Commandments” (no. 116) “How Gentle God’s Commands” (no. looking for unusual or difficult rhythms. 3) “Redeemer of Israel” (no. for a Prophet” (no.PLAYING FOUR-PART HYMNS Using the Hymnbook Playing four-part hymns from the hymnbook is the next step in becoming a Church accompanist. 303) “Teach Me to Walk in the Light” (no. 6) “We Thank Thee. 193) “Do What Is Right” (no. Say or clap the rhythms until you know them well. 304) 115 . 19) “Come. 143) “Sweet Is the Work” (no.

. ˙ ˙ œ œ ˙ . bright they shine! joy I see And talk of all thy truths at night. & ˙ ˙ ? #˙ ˙ # œ œ the work. 10. 2. Like Da .. A few of these are listed below and referenced by number in the hymn to the right. Sin. 1874–1925 6. These are placed on five-line staffs.umph in my Lord what tri . The tempo marking. You are encouraged to include these when you sing the hymns. 1674–1748 Music: John J. 7. 12. The author of the text. suggesting the general feeling of the hymn. 2. 4. 8 œ œ œ œ ˙. 3. my worst enemy before. Page 385 suggests some helps for beginning organists and pianists. how di . tune be found.tal And bless his To thy dear œ œ œ œ œ œ name. 1. Howdeep thy coun . the day of sa . The mood marking.ty! œ œ œ œ œ œ œ œ [ œ œ œ œ œ œœ œ œœ ˙ ˙ . breast. The hymn text. Study these scriptures to help you better understand the hymns.vine! Thy face in full fe .cred rest. McClellan.less œ œ œ œ ˙ #œ œ œ œ & ˙ #œ œ œ œ œ œ ? œ œ sing. showing a suitable piano or organ introduction. And every pow’r find sweet employ In that eternal world of joy. The key signature. my King. Text: Isaac Watts.lic . see pages 379–86 in Hymns. It is correct to refer to hymn numbers rather than page numbers.emn sound. 9 œ œ œ œ ˙ ˙ œ œ ˙ ˙ #œ œ ˙. 13. œ œ œ œ morn .vid’s harp of sol . œ œ œ œ œ Sweet is Sweet is My heart But. 6. Shall vex my eyes and ears no more. The hymn number. give thanks and care shall seize my works and bless his name through end . ˙ ˙ .Hymnbook Resources 5 1 Sweet Is the Work 2 147 The hymnbook provides many important resources that you should become familiar with. Suggested scriptures that may be cross-referenced with the hymns. Introduction brackets. 1 1 12 10 # 3[ & 4 œ œ 6 7 3 4 Fervently 8 q = 84-96 #3 œ ? 4 œ 5 1. The composer or music source. The treble clef sign ( & ) and the bass clef sign ( ? ). 3. The time signature (see p. The title of the hymn. œ œ œ ˙.umph shall I raise œ œ ˙ ˙ 8 ] ˙ ˙ œ œ œ œ ˙ . For more information about using the hymnbook. q = 84–96 tells us that 84 to 96 quarter notes can be played in sixty seconds. 11.. Additional verses of the text. realms ˙ ˙ ˙ by in how of œ œ n œœ ] ˙ . 13). There are six verses (or stanzas) in this text. This tells how many sharps or flats the hymn has. may Thy works When in œ œ œ œ œ œ œ œ thy my of the love heart grace.i . 13 Psalm 92:1–5 Enos 1:27 116 . 5.. 4. showing what key the hymn is written in.ing light. ˙. œ œ œ œ ˙ ˙ ˙ ˙ 8 To show Oh. oh. 5. ˙ To praise thy No mor . or about three quarter notes every two seconds. 9. ˙. days. My inward foes shall all be slain. my God. word. 8. suggesting a general tempo (rate of beats per minute) for the hymn. ˙ ˙. Nor Satan break my peace again. Then shall I see and hear and know All I desired and wished below. shall tri .sels.. Here.

Hymns: Simplified Accompaniments.DAILY EXERCISES The following exercises will prepare you to play hymns from Hymns Made Easy. 4 3 4 5 5 4 5w œ œ &4œœœœ wœœœ wœœœ wœœœ w œ w 1 2 3 2 1 1 wœœœ œœœœ wœœœ œ w œ 1 œ & wœœœ w w 1 Left hand 5 w œ œœœœ w œ œœœœ w œœ œ w œœ œ w w 1 w w œ w œ 41 w œ œ œ w 2œ 3œ 2œ 1œ œ œ œ w œ œ œ w œ w ?4 5 4 3 4 5 5 wœœœ œœœœ wœœœ œ w œ w w œœœœ w w ? w 1 w œ œœœœ w œ œœœœ w œœ œ w œœ œ w w 117 . then increase the speed as you are able. Always play smoothly and evenly. and the standard hymnbook. Right hand 61 Play the following exercises slowly at first.

Right hand 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . œ œ œ œ œ œ œ œ œ ˙ 1 2 1 1 Left hand œ 2œ 1œ 1œ œ œ œ œ œ 3 œ 4 œ 3 œ 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . then increase the speed as you are able.. Always play smoothly and evenly. œ œ œ œ œ œ œ œ œ œ œ œ ˙ 4 ? 1 5 ˙ œ œ œ œ œ œ œ œ œ œ ˙ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ & 45 œ 4 œ 3 œ 5 œ œ œ œ œ 1 2 1 1 3œ œ œ œ œ œ œ œ œ œ œ œ & 43 œ 4 œ 5 œ 3œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ..62 Play the following exercises slowly at first... 3œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 41œ 2œ 1œ 1œ œ œ 3 4 5 3 118 .

. œj œ œ œ œ œ . œ œ œ œ œ .. œ œ œ œ œ œ . œ 1 œ 2œ 3œ 2 œ 1 œ 1 œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œœœœœ œ œœœœœ J J œ 3œ œ œ œ œ ... 1 2 1 Left hand œ 3œ œ œ œ œ ... Always play smoothly and evenly.. œ œ œ œ œ œ . œj œ œ œ œ œ . œj œ œ œ œ œ . œ œœœœœ J j œ œ 119 .. œœœ j œœœ œ œ œ œ œ œ . œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ . œ œ œ œ œ œ. œ œœœœœ J œ œ œ œ œ œ .. œ œ œ œ œ œ . 4 œ 3œ 4œ 5œ 4œ 3œ ? 4J 1 2 1 3 2 4 1 2 j j1 3 . Right hand 4 j & 42 œ 3 œ 4œ 5œ 4 œ 3 œ . œ œ œ j œ œ œ 1œ 2œ 3œ 2œ 1œ . œ œ œ œ œ œ . œœœœœ 2œ 1 1 j j œ œ œœ œ œ œ œ œ . œ œœœœœ J 1 œ œ œ œ œ œ .. then increase the speed as you are able.63 Play the following exercises slowly at first.. & œœ 3 4 3 œ œ....

3 4 œ œ œ ˙ .. Í ˙. ˙ ? 120 ˙. ˙. ? ß & ˙. œ œ œ œ œ œ ˙. Always play smoothly and evenly. Í 3 ˙. ˙.. . 64 Play the following exercises slowly at first. ˙ 5 2 œ œ œ œ œ 5œ 2 ˙. ˙. ˙. œ œ œ ˙. ˙ . ˙. œ œ œ œ œ œ ˙. ß& œ œ œ ˙ 3 4 5 4 1 1 2 1 ˙. œ œ œ ˙. œ œ œ œ œ œ ˙. ˙ ˙ . œ œ œ ˙. ˙. œ œ œ ˙. 1 œ œ 3œ 2˙ .. ˙.. ˙. 2 1 1 1 5 4œ 3œ Í œ œ œ 4˙ .. ˙. ˙. ˙. ˙ ˙. œ œ œ ˙. then increase the speed as you are able. ˙. ˙ ? œ ß & ˙. œ œ œ œ œ œ œ œ œ ˙. ˙. ˙. œ œ œ ˙. ˙. ˙.. ˙. ß& œ œ œ ˙ 5 4 3 2 1 1 ˙.. œ œ œ œ œ œ ˙. ˙. œ œ œ . 1 2 1 1 3 œ 4 œ 5œ Í œ œ œ 4 ˙ . ˙. ˙. ˙. ˙. ˙. ˙ . ˙ œ œ œ œ œ œ ˙. 4 1 ˙. ˙. œ œ œ ˙. ?4 œ œ œ ˙ .

134 Glossary of Musical Terms p. 122 Keyboard Skills p. 142 Certificate of Achievement p. 129 Chording p. 155 Handy Helps inside back cover 121 . 133 Learning to Play an Organ or Electronic Keyboard p. 129 Fingering p.SECTION 5 Guidelines for Teachers p.

Capable members may be called as music specialists to coordinate the Basic Music Course program. Students of Basic Music Course Ward Music Directors. each unit could sponsor its own class. answers questions. Bishopric Ward Music Adviser (Member of Bishopric) Ward Music Chairman Teacher of Basic Music Course In Developing Areas In developing areas of the Church. Members of the stake class might be ward representatives who could then teach the course to ward members. Students can use the manual and materials to teach themselves. If all students will become teachers of the course. These guidelines explain how to set up Basic Music Course programs. and offers encouragement. First. it helps students learn the basic skills of musicianship. They also provide materials to help teachers present the course to individual students or in a classroom. or branch under the direction of stake priesthood leaders (see the “Music Organization for Stakes and Wards” chart). soon there will be many talented musicians able to serve in the home. It may be best to provide training individually or to use the Basic Music Course in the home. Church.GUIDELINES FOR TEACHERS The goal of the Basic Music Course is twofold. Under the bishopric’s direction. Organists. Second. HOW TO SET UP BASIC MUSIC COURSE PROGRAMS In Stakes The Basic Music Course may be taught in the stake. it prepares them to teach these skills to others. MUSIC ORGANIZATION FOR STAKES AND WARDS Stake Presidency Stake Music Adviser (Member of High Council) Stake Music Chairman In Wards and Branches The ward or branch music chairman should make sure interested ward members receive music training. but they usually progress more quickly when a teacher demonstrates techniques. Every person who completes the course should be willing to teach it to others. ward. the ward music chairman may organize and teach the Basic Music Course or ask others to do so. and Pianists 122 . The stake music chairman may organize and teach the course or ask others to do so. and community.

You might want to copy the lesson outline on page 128 to help you prepare. Before teaching this course. these may complicate the concepts or be unavailable to the students. You will teach from the same materials that your students will use. TO THE TEACHER: GETTING STARTED Teaching the Basic Music Course is an exciting opportunity. 123 . Writing a lesson outline helps give you confidence as you teach and will be useful when you teach the course again. and more one-on-one or individual study. Work under the direction of local priesthood leaders. quickest way you can. first teach the course on a stake level to representatives from each ward. you will soon discover the rewards of helping others develop their talents. Even parents who know little about music can use the course successfully in the home. study each principle carefully. you are ready to start preparing specific lesson outlines. Teaching Musical Principles This course provides simple explanations of musical principles. Discover ways to use the chalkboard or other visual aids. Your students may need more or less time than you have planned to learn the concepts you teach.In the Home Families can use the Basic Music Course in their homes on their own initiative. BASIC GUIDELINES Whether you live in a stake. An outline can be very general—simply a list of the page numbers you want to cover. Don’t spend a lot of class time talking about musical principles. Some units of the Church may welcome a full-fledged music program with large classes. To teach them well. If students are confused. The Basic Music Course should meet the needs of people. or developing area of the Church. Once you have a general knowledge of the materials. These representatives can then become teachers in their own wards. If practical. Music programs can help people increase their talents and find new ways to serve. 2. branch. Teach the principle in the clearest. it is best to begin with the Conducting Course. You should not need to use any outside materials. IN-CLASS DUTIES Your in-class duties are to teach musical principles. Use existing priesthood lines. weekly sessions. fewer class sessions. help students practice skills. organizations. Even students who already know how to conduct music should review the Conducting Course and listen to its audiocassette tape before beginning the Keyboard Course. you should become familiar with the course materials (see page 1 for a complete list). Prepare your lessons to be simple and direct. How much material you cover in each session will be determined by your students’ abilities. When teaching the Basic Music Course. The Basic Music Course teaches in a simple way all the concepts and skills necessary to conduct and play Church music. 4. Think of ways to clarify the principle and show how it applies to what the students already know. not the needs of organizations. so do not prepare too many lessons in advance. Or it can be quite specific—a list of each concept to be taught with the activities and assignments you plan to use. following the order of the course materials whenever possible. ward. finding how it builds on previous principles and leads to future ones. Be flexible. then practice it with the students. If you have never taught music skills before. Other units may choose a smaller program with fewer students. Design your program to meet the unique needs of members. 3. and assign homework. Preview each of the course manuals and audiocassettes. follow these basic guidelines when you set up a Basic Music Course program: 1. and large commitments of time and resources. noting the concepts presented and the order and manner of presentation. The skills presented in the Conducting Course lay a foundation for the skills presented in the Keyboard Course. and auxiliaries. Keep the organization simple.

helping the student adjust and improve.you will notice when they try to practice. making your explanation simpler and giving more examples. watching and helping where needed. An example of a typical practice assignment is on page 15. Keyboard students can use the piano. review the principles learned in the previous session and ask the students to perform the skills they practiced at home. (3) clap with the beat. you may need to demonstrate or give other help. Step E: The student shows understanding of the principles or skill by explaining it or teaching it back to the teacher or to a student partner. do. review the material and assign homework. 124 . Try to give assignments in a variety of skills to keep students interested. At the beginning of each class session. and having them repeat assignments if necessary. the faster they learn. Your job may be as simple as instructing students to practice musical skills. Students need to touch. As you preview the course material and prepare lesson outlines. Encourage students to practice at least half an hour each day. If a student ever seems confused as you follow these steps. Use and adapt these steps for each new skill or concept you teach. (2) determine the tempo. watch for these practice assignments. or cardboard keyboard for home practice. return to step A and start again. Step D: The student performs the skill alone for the teacher. adjusts Performs Explains Step A: The teacher explains the new principle and describes the skill while the student listens. They should occupy most of the class time. Involve the students actively as they learn. Emphasize that the more students practice. The following five-step teaching method will help you involve your students physically in the learning process. Homework may include the assignments given in the course materials. Performs. Always follow up on homework assignments. corrects. At the end of each class session. Step C: The student and the teacher perform the new skill together. Assigning Homework To develop musical skills. As you teach new skills. To help students complete this assignment. Practicing Musical Skills Practice assignments are given for almost every principle in the Conducting and Keyboard courses. feel. You may want to provide several examples of music that represent a variety of tempos. Because musical skills are physical skills. Performs C. If students are having problems with an assignment. and (5) determine the time signature. bring some music. Try to give enough work to keep the students progressing but not so much that they cannot finish it. Step B: The teacher performs the skill. electronic keyboard. TEACHER A. combine them with skills students already know. demonstrating the new principle for the student. The teacher praises proper actions and kindly corrects improper ones. students must study and practice at home. 2. You may also create special assignments to help a student strengthen a particular weakness. Listens STUDENT Listens Observes Performs. Seeing and hearing are not enough. Conducting students should use the audiocassette tape and practice in front of a mirror. students learn them best through physical practice. It is easiest to clear up the confusion at this point. Encourage the students to keep practicing until they learn all the skills. Observes E. This EFFECTIVE TEACHING METHODS 1. The assignment is to listen to music and (1) find the beat of the music. Explains B. and move. (4) count the beat. praises D.

twenty questions.” 10. 9. At the start of each class session. Although your students’ future service will be a great blessing to the Church. Recognize that the course has benefits beyond music. Use humor and personality to make the class enjoyable. take more time. 7. and learns to play it himself. 4. covering all of the major principles and skills learned in those sessions. a story. Like most skills. discipline. fasting. If the material seems to move too quickly for a student. Each class or student may have different needs. Flats go down. A memory device can be a picture. Be flexible. One of the world’s greatest music teachers. or add materials that review or reinforce. 8. 125 . Be consistent and follow through. Review regularly. it points up. Shinichi Suzuki. It is also good to spend a few minutes at the end of class reviewing what was learned that day. If a child hears fine music from the day of his birth.Teach so that each learned skill leads logically to the next new skill. The students will also be more sensitive to beauty and artistic expression. Consider activities such as (a) clapping a steady beat while singing and (b) speeding or slowing the tempo while playing the piano. present more principles each class session or give extra assignments to keep quicker students busy. Have fun. allow more practice. Plan these reviews at natural breaks between principles. You might ask review questions that will focus the students’ minds and prepare them to learn something new. Let the students explain what they remember. Use memory devices to illustrate concepts and help the students remember. Ask them what happens to the bicycle tire when it runs over the tack. and enthusiasm will produce results. Your encouragement and positive attitude are very important in helping students overcome discouragement. Make sure that every new principle you teach is consistent with what you have taught in previous lessons. Lots of encouragement. Help students realize that it is natural to have difficulty in learning new skills. Reviews are best when they are fun. musical skills require a lot of time and practice before a person can perform them well. he develops sensitivity. Seek spiritual guidance through prayer.puts the new skills in perspective and helps increase the students’ physical coordination. It goes flat. 6. For example. Hold class regularly on the same day at the same time and place every week. Such memory devices add clarity to your teaching. Feel free to introduce concepts in a different order than the manuals present them. and other fun activities work well. Tell them the tack is sharp. Overcome discouragement. Sharps go up. Keep a record of students’ attendance. If the material moves too slowly for a student. games with music note cards. and scripture study to help you with your teaching assignments. I want to make good citizens. and self-worth. Nurture discipline in your students. or a key word that represents a principle. spend a few minutes reviewing the principles already covered. Combine skills in a variety of ways to add diversity and fun to your lessons. Relay races at the chalkboard. said: “Teaching music is not my main purpose. to teach about flats and sharps. perhaps an even greater blessing will be your students’ feelings of accomplishment. Always encourage progress. Be consistent in your teaching methods and always follow through on what you say you will do and on assignments you give. 5. He gets a beautiful heart. You might also have a longer review every four to six class sessions. open-book fill-inthe-blank quizzes. Be sensitive to these needs and adapt your lessons as you go. show the students a picture of a bicycle about to run over a tack in the road. personal development. 3. and endurance. praise. but let the students’ abilities set the pace.

have them play the difficult measure again and again until they overcome the difficulty. In class. Between classes.TIPS FOR TEACHING THE KEYBOARD COURSE 1. See pages 379–80 in Hymns for information about introductions. When a student comes to class unable to perform a given assignment. teach keyboard students in small groups. make arrangements for the meetinghouse keyboard instrument(s) to be available for student practice. it is better to teach them in two or three small groups rather than in one large group. Help students learn and practice the introductions to the hymns as marked in the hymnbook and in the simplified hymnbook. you may want to place a check mark or a star on the page. the assistants can move from student to student. The music note cards included in the Keyboard Course kit will help students learn to read the notes. Then they should add the measures that immediately precede and follow the difficult spot. If a student has difficulty with fingering. Practicing assignments from two or three past lessons at once is fine. Part of learning to play hymns is learning to play an introduction for each hymn. Students should practice each hymn or assignment in the Keyboard Course until they are able to perform it without mistakes. along with the new material from the current lesson. working with practice keyboards while you work with students at the piano or organ. or several weeks of practice. Students must also learn to play the notes with sensitivity and expression. you may need to write the finger numbers above or below the notes on the page. It is very important to allow every student as much practice time as possible on a real keyboard instrument. 2. 5. When a student has mastered a hymn or assignment. 7. provide help and reassign the hymn or page for homework. lift their hands. Constantly encourage students to use good hand position and good fingering. 9. If possible. During practice sessions in class. This may require one. A particularly difficult hymn or other piece of music could be learned this way. In keyboard classes. If many people want to take the course. one line at a time. but students must master the assignment before progressing very far beyond it. Don’t let them develop the bad habits of playing with stiff fingers. Students should sit at a table with the keyboards. In large classes. 126 . giving each student individual attention is even more important than in conducting classes. alternate students at the piano or organ. 6. Teach your students to play hymns in a style that reflects the nature of each hymn. they should not use the keyboards on their laps. 10. A robust and energetic hymn should be played very differently from a slow and sustained hymn. If students have trouble playing a sequence of complicated notes or rhythms. The cardboard keyboards are meant to be used during group keyboard classes and for home practice assignments where no other keyboard instrument is available. Remind students to curve their fingers. use teaching assistants to help give students the personal help they need. two. 4. 3. or using awkward fingering. but encourage students not to fall behind. Learning the notes is only the beginning to good musicianship. letting their hands rest close to the keys. and play with natural fingering. Students should practice until they can play through the measures without stumbling. 8.

When a student has learned to play a hymn. You may want to schedule small recitals or master classes every month or two to give students the experience of performing in front of each other. Make the recital a fun and rewarding experience. A successful experience playing in such a meeting can boost confidence. Let the students choose their favorite hymns to talk about and perform. 127 . Schedule larger recitals every four to six months for students to perform for family and friends.11. Keyboard students must learn to follow a conductor. have him or her play it while another student conducts. or fireside. priesthood meeting. Make these arrangements far in advance so the students can be well practiced. When students are ready. arrange with your priesthood leader to allow them to accompany the hymns at a youth meeting. 13. 12.

__________________________________________________ __________________________________________________ B. __________________________________________________ __________________________________________________ G. __________________________________________________ __________________________________________________ Special activities: BASIC MUSIC COURSE LESSON OUTLINE Date to be taught: _____________________________________ K Conducting Course K Keyboard Course Lesson: _____ Pages to be covered: ______________________ A. __________________________________________________ __________________________________________________ Special activities: Illustrations and other materials needed: Illustrations and other materials needed: Home practice assignments: Home practice assignments: 128 . __________________________________________________ __________________________________________________ F. __________________________________________________ __________________________________________________ C. __________________________________________________ __________________________________________________ F. __________________________________________________ __________________________________________________ G. __________________________________________________ __________________________________________________ C. __________________________________________________ __________________________________________________ B. __________________________________________________ __________________________________________________ D.BASIC MUSIC COURSE LESSON OUTLINE Date to be taught: _____________________________________ K Conducting Course K Keyboard Course Lesson: _____ Pages to be covered: ______________________ A. __________________________________________________ __________________________________________________ E. __________________________________________________ __________________________________________________ E. __________________________________________________ __________________________________________________ D.

including Hymns Made Easy and Hymns: Simplified Accompaniments. Many songbooks. These songbooks have chording symbols written above the treble clef. as shown below. ˙. Chording is a method of playing songs and hymns that simplifies the music so the right hand plays only the melody and the left hand plays simple. Chording is particularly easy on some electronic keyboards that have automatic chording.KEYBOARD SKILLS Chording The word chord means any set of three or more music notes played at the same time. œ Un œ œ - marred œ C ˙ ˙ ˙ by œ earth - œ œ œ œ G C œ œ œ œ ly care.. are suited to the chording style. sustained chords. ˙ ˙ G You can see that the right hand plays the melody while the left hand plays simple three-note chords.. G 4 ß& 4 œ œ Í The same excerpt written in chording style looks like this: 4Œ ?4 There w w w an œ hour œ of œ œ peace œ 7 ww w and œ rest. œ œ œ 3 1 Un œ œ œ œ œ œ œ - C marred ˙ by œ œ G earth - œ œ œ C œ œ œ ly 4 2 care. The chords are played according to the chord symbols and are sustained until the next symbol signals you to change a chord. ˙ ˙ . 129 .. 4 ß& 4 œ œ 2 [ Í 4œ œ ?4 There 3 œ œ œ is C œ C is an œ œ œ hour œ œ œ 3 1 œ œ œ œ of œ G G peace œ œ œ 7 and œ œ œ rest. ˙ . ˙.

& w w w 130 w w w ¬ & w w w w ? w w G w w w root w w w . the notes of the triad can be stacked in other ways with the root in the middle or top position. it is in root position. Practice playing the following triads in their various positions. Each triad and alteration has a name. (The naming of these chords is further explained in the following section. Generally each symbol stands for a three-note chord called a triad. Usually three or more different triads with their alterations are used in a hymn. Sometimes a fourth note is added to the triad to alter its sound. Whatever position the root is in. The three notes of a triad make harmony when they are played together. with the root on the bottom. Playing some triads in these other positions makes it possible for the hand to move more easily to other triads. the chord symbol stays the same. which is called the root.”) When a triad looks like the one below. “Using the Chord Chart. A triad gets its name from its bottom note. chord symbols above the melody line designate which notes you play. One or two notes of a triad can be raised or lowered to make the harmony sound better with the melody. w w ? w C w w w w w w ? F w w w w w w w w w w w w w w w As shown below.READING CHORD SYMBOLS In chording style.

the middle and top notes of the triad are lowered one half-step each. “Seventh chords” are easier to play if you leave out one of the triad notes and play it in a position other than root or basic position. The chords used most often in that key signature are listed on the chart. you can find it in the chord chart on page 86 of Hymns Made Easy.) & w w w C D w #w w G nw w w 7 bb w w w Am C dim Key of C ? Key of F w w w C w w w F G w w w w w w C G7 ww w C w w w 7 Dm w w w w w w ?b ? # w w w F G w w w C Bb Gm w w w 7 Dm w w w Key of G w w w w w w w w w D D w w w 7 A w w w m w #w w A7 Em w w w 131 . If a hymn lists a chord that is not on the chart. Find the line on the chart that has the same key signature as the hymn you want to play. a fourth note is added to the triad. A small m in a chord symbol stands for minor and means that the middle note of the triad should be lowered. When dim is part of the chord symbol. (Dim is the abbreviation for diminished. When a chord symbol has a small 7 next to it. A lowered note is shown on the chord chart as either a flat (if the original note was a natural) or a natural (if the original note was sharped).USING THE CHORD CHART The chord chart below will help you learn chords and chord symbols. The easier positions are shown on the chord chart.

1. œœœ F 1 2 5 ˙ ˙ ˙ Our on ˙ ˙ ˙ ˙ C G7 C - 1 2 5 ˙˙ ˙ œ œ ly de .light. G call. ˙ . C w w w j œœ our De . w w w œ On ß& Í œ œ for a G w w ? w F œ œ œ œ D7 whom bless ˙ ˙ ˙ - # ˙˙ ˙ 1 3 4 ˙. ˙ ˙ 132 . Play the hymn with each hand separately..liv œ ˙ C G7 C ˙ ˙ ˙ - 1 2 5 ˙˙ ˙ ’rer. 1 3 5 ing we ˙ ˙ ˙ œ Our ˙ 1 3 5 C shad w w w œœœ ow by C ˙ day w w w And œ œ our ß& ˙ Í 2 5 w w ? 1w pil - lar œœœœ ˙ G by 1 3 5 night.. œ œ our all! ˙. ˙ ˙ ˙ Our œ œ ˙ ˙ ˙ C King.deem 1 3 5 w w w œ œ œ œ er C ˙ of ˙ ˙ ˙ Is - rael.Redeemer of Israel This hymn is written in chord style. C 4 ß& 4 œ Í 4Œ ?4 ˙ C Re . ˙. 2. œ. 65 Play the hymn with both hands together.

Once you have chosen the best fingering for a passage. use the most convenient finger on each key as you play the notes leading to and leading away from that note. switch to another finger. you might have to make an awkward hop as you shift your hand position. 6. requiring finger acrobatics and many hand shifts. The goal of fingering is to choose natural finger combinations.Fingering Fingering is deciding which combination of fingers should be used to play a group of notes. When you’ve placed your thumb or fifth finger on the highest or lowest note in the passage. or fourth finger over your thumb. 8. 7. while holding it down. Play the highest note in the passage with the fifth finger of the right hand or the thumb of the left. Good fingering will improve the smoothness of your playing. Other passages are much more difficult to play. If you do. 5. try crossing your second. If you are moving away from the center of the keyboard. Suggested fingerings are provided in many of this course’s exercises and hymns. good fingering is always important. 3. third. You may have to cross your thumb under your fingers or cross your fingers over your thumb. and give you confidence against slipping or playing a wrong note. If you run out of fingers. The notes move within a narrow range. 133 . When you use good fingering. your hand will be balanced. Play the lowest note in the passage with the thumb of the right hand or the fifth finger of the left. and there seem to be the same number of notes as there are fingers to play them. In some passages of music the notes are arranged conveniently for the fingers. making other fingers available to play the upcoming notes. 4. Choose the one that feels most natural to your hand. Following are some general rules for good fingering: 1. helping you play smoothly. try crossing your thumb under your hand. Good fingering minimizes awkward stretches and finger crossings. pencil the finger numbers above or below the notes on the page. You might play a key with one finger and. Try several different fingerings for complicated passages. You can play these passages without using complicated finger combinations or shifting your hand from place to place on the keyboard. giving you good control over your fingers. Always use the same fingering when practicing a hymn or a song. but feel free to use different fingerings if they work better for you. 2. help you learn a song more quickly. Never use your fifth finger before you arrive at the highest note in the right hand or the lowest note in the left hand. If you are moving toward the center. In these passages there aren’t enough fingers to play all the notes unless you strategically play a note with a finger that allows your hand to shift. Whether a passage is easy or difficult to play. go back and try stretching your hand to distribute them over a wider area of keys.

(2) pedal skills. the note sounds. which stops the sound immediately. and (3) organ registration skills.Learning to Play an Organ or Electronic Keyboard Playing an organ or electronic keyboard is much like playing the piano. To achieve an organ sound that is smooth and clear rather than choppy or muddy. When you play an organ key. and (3) glissando. some additional skills are needed to play an organ or electronic keyboard well. (2) finger crossing. you need to depress each key firmly and release it at exactly the same time you play the next key. PLAYING THE ORGAN KEYBOARD Achieving a Smooth Style (Legato) Playing an organ requires special keyboard skills because it produces sound differently than a piano. These include (1) keyboard skills. immediately gets softer. Some skills that will help you do this include (1) finger substitution. 134 . the note remains at the same loudness until you release the key. Use any combination of these skills to help you move from one key to the next while sustaining the notes. and continues for a few seconds after you release the key. When you play a piano key. However.

Finger Substitution.1. it is best used when sliding from a black key to an adjacent white key. you may need to substitute two fingers at the same time. 3. & œ œ ? Right hand: 4 to 5 4 to 5 4 to 3 4 to 3 4 to 3 2 3 2 3 2 1 2 1 2 1 œ œ œ œ œ œ œ œ Left hand: œ œ & œ Right hand: 2-3 2-3 œ 2-3 œ 2-3 & œ 2-3-2 3-2 œ 3-2 œ 3-2 œ œ 2 4 to 1 2 3 4 œ œ to 1 2 3 4 œ œ to 3 2 5 4 œ œ œ œ to 3 5 Practice glissandos by playing the following exercises. replacing the second finger with the third finger without releasing the key. Play the exercises with other fingers. Replace 3 with 4. Play the following exercises with each hand. Then play the exercises using other finger substitutions. œ œ œ œ œ œ œ ? 1 2 1 2 1 2 1 Left hand: & œ ? œ 1 — 1 — 1 — 1 — 1 T B-T B T-B T œ œ œ œ Left thumb: œ œ œ œ 1 — 1 — 1 — 1 — 1 B T-B T B-T B 135 . Right hand: to 3 2 5 4 & bœ 2 — 2 œ #œ 5 — 5 œ 3-2 œ 2. and so on. In the following exercise. begin by playing the first chord with the second and fourth fingers. then move the first finger to the key it needs to play next. Play the following exercises. While this technique can be used to move from one white key to another. Sliding a finger from one key to another is called glissando. crossing the first and second fingers as shown. Then substitute 3 for 2 and 5 for 4. Then play the exercises using other finger crossings. It uses the base and tip of the thumb as if they were two different fingers. then 4 with 5. instead of substituting fingers it is often better to cross a longer finger over a shorter one or a shorter finger under a longer one. To play a neighboring key. Play the following exercises using the base (B) and tip (T) of your thumb as indicated. If a finger that is already playing a key is needed to play another one. Finger Crossing. Right thumb: 1 2-3 2-3 2-3 2-3 When playing chords. move a second finger to the key. Glissando. Place your finger on the black key and slide your hand quickly toward your body so the tip of your finger slips off the end or corner of the black key onto the adjacent white key. Right hand: ? #œ Left hand: 4 — œ 4 bœ 3 — œ 3 œ œ œ œ œ ? Left hand: ? œ 3-2 3-2 œ 3-2 œ 3-2 3-2-3 œ & œ œ œ œ œ œ œ 1 2 1 2 1 2 Thumb glissando is often useful when a sixth finger is needed.

When Playing on Separate Manuals (Keyboards) Many organs have more than one manual (keyboard) that the hands can play. your feet are touching at the heel. They will develop accuracy quickly if you will resist the temptation to look at them. Play the white pedals with your toes close to the black pedals to minimize foot movement. Sit on a piano bench and move your feet as if there were a pedal board. swivel your body on the bench from the hips down so you can keep your balance. 136 . 51) and “Do What Is Right” (Hymns Made Easy. (Narrow heels can slip between the pedals. 66). 3. 4. When your knees are touching. As you become comfortable with the organ. When a foot is not playing a note. Sit on the center of the bench. Organists also should break (rest) the tone slightly at the ends of phrases while maintaining the beat or pulse of the music. creating a fuller. p. Learning to Play the Pedals 1. When playing the organ. beginning with your left foot over the second C pedal from the left and your right foot over the next E pedal. You should normally play on the inside (ball) of your foot rather than the outside of your foot. Develop “eyes” in your feet. You can feel the pedals through the thin soles of your shoes as your feet glide over the pedal surface. Rather than sliding back and forth on the bench to reach high or low notes. it is best to wear shoes. they can work like a compass to measure large intervals. move it into position for the next note it will play. are sometimes tied over to help maintain a legato sound. For some preludes. 7. 9. such as the bass (or pedal) voice. 6. break slightly between other repeated notes also. richer sound. you may want to play a solo melody that is accompanied by harmonies played on a separate manual. Keep your knees together and your heels together as much as possible.Breaking the Tone in the Right Places Singers usually breathe at the end of each musical phrase.) 2. Repeated notes in the melody should usually be separated by a small break (rest) to clarify the rhythm of the notes. The eyes in your head will be busy following the music and music director. Practice these organ keyboard skills on “There Is a Green Hill Far Away” (Hymns Made Easy. if this makes the hymn sound muddy. yet forward enough so your feet can reach both ends of the pedal board. 5. A proper shoe will fit snugly and have a thin sole and a wide heel so it can slide freely on the pedals. The accompaniment and pedal notes should be softer than the solo melody. PLAYING THE ORGAN PEDALS Many organs have a pedal keyboard that may be used to play the bass notes of the hymns. begin trying to play the pedals. Repeated notes in other voices. Continue to touch the pedal lightly with your foot. Sit comfortably back on the bench for good body support. This will add another dimension to your organ playing that listeners and singers will appreciate. p. The length of the separations will vary according to the spirit and rhythm of the music. Learn the pedal part separately as you learn a hymn. postludes. 10. or organ solos. Trust your feet. Practice away from the organ occasionally. However. use both hands on the same manual. When accompanying hymns. you have a smaller compass that helps you measure short distances. 8.

˙ He œ œ œ.liv . know that my Re .. ˙ o ˙ ^ ^ ˙ ˙ ˙ ˙. He lives to bless in time of need. ˙ Œ Œ ˙ B ^ ˙ ˙ ^ .ing Head. ˙ ^ ^ ^ ˙ .... ˙ Œ lives..er lives. C u ˙ ^ . who once was Œ b Œ lives 2 5 ^ ˙ ˙ to bless me with his love.bove. œj2œ 3œ 4 œ 5 œ œ C7 F 7 w w sen . What 2 5 ^ 1 Í b œ . œ 2œ 5 2œ œ œ œ œ ˙ . ˙ ˙. œ œ œ œ œ œ œ œ œ. ˙ ^ .gry soul to feed..tence gives! He ^ F Í ? ˙ ˙ b lives to plead for me a . 4 7 Œ com . I Know That My Redeemer Lives C F U 4 b ß& 4 œ œ œ œ œ œ œ œ œ œ Peacefully 7 q = 72–84 Í b ß & ˙. œj œ œ œ œ ˙ . ˙ œ 2œ 1 He Œ F C7 ^ 137 . ß& 5 2 C7 F ?b ˙ ^ . ˙ ˙ F j œ. ^ lives. Mark underneath a note if the left foot will play it (see the first marked bass note in the following illustration) and above or to the right of a note if the right foot will play it (see the second marked bass note). ˙ ˙ my ev . ˙ 33 5 3 He lives my hun.deem .. 1 C7 He u ˙ ^ . jœ œ œ œ œ ˙. he lives. ˙ ^ ^ ˙ .fort this sweet C U œ œ œ œ œ œ œ œ œ .Marking Pedal Notes Marking pedal notes in your music should make it easier to play them. Mark notes to be played by the toe with ^ and those to be played with the heel with o. Œ ˙. F 4Œ w w b4 ? I dead. œ œ œ œ ˙.er . ˙ F jœ j œ œ œ.

o 138 . To play two black pedals that are next to each other. The forward toe plays about one inch from the black pedals. 3 ^ œ ^ œ ^ œ ^ œ ^ ˙. œ œ œ œ 4œ ? 4œ ?4 ^ ^ 1. 4 œ bœ nœ bœ nœ bœ œ bœ w ? ^ ^ ^ o^o 4 ^ 3 4˙ ? 4. slide your toe from one pedal to the other with a pivoting motion similar to the thumb glissando. 4œ ?4 ^ ^ ^ ^ 5. Practice the exercise that follows each technique. — — — — — — 3. Alternate your toe and heel on adjacent white pedals. ^ ^ ^ ^ ˙ ^ œ œ œ œ œ œ 4 b ^ b^ b^ b^ ?4 2. ˙ ˙ o œ bœ nœ bœ nœ bœ œ bœ w ^ ^ ^ ^ ^ ^ œ ^ œ ^ œ ^ œ ^ œ ^ œ ^ œ o œ ˙ ^ o o œ ^ œ o œ ˙ ^ o œ ^ w o œ ˙. Use these as guidelines when marking pedal notes in your music. use the heel to move smoothly from one note to another with the same foot. ^ œ o o œ ˙ ^ œ ˙ o o b ^ b ^ b^ œ œ ˙ ^ oœ o b œ — b œ — b œ —b œ ^ ^ ^ o ^ œ o œ ^ œ ^ bœ bœ b˙ — — — ^ ^ o œ ^ ˙ ^ ^. Use the toe as often as possible. o œ ^ ^ œ oœ ^ ^ ^ œ o œ ^ ^ ^ œ ^ œ œ œ œ œ ^ œ ^ œ ^ œ ^ ˙.Practicing Pedal Techniques Listed below are ten techniques for playing the pedals. Keep one foot forward and the other foot back when playing two adjacent white pedals. Use the toe on black pedals and the heel (of the same foot) on white pedals if they are next to each other.

Substitute with the same foot by replacing the toe with the heel or the heel with the toe. ^ w ^.o ^. The foot that substitutes can come under or over the first foot.o ^. Try to play skips of less than two notes with the toe and heel of the same foot. 2^.o ˙ ˙ ˙ ˙ ^ ^ w 4˙ ? 2 (cross left foot under right) ^ ^ ˙ ^ ˙ ^ ˙ ^ ˙ ( ^ w cross right foot over left) ^ ˙ ˙ ^ ˙ ^ ˙ ^ ˙ ^ ˙ ^ w 139 . depending on which is more comfortable. Alternate your feet for skips of more than two notes. and the left foot often crosses under the right foot. ? 4œ 3 4˙ ? 3 4œ ? ? 2˙ o 4 ^ œ ^ œ o œ ^ œ ^ œ oœ ^ œ o˙ ^ œ 7.o ^ ^ ˙ ^ ˙ œ ^ ˙ œ ^ ^ ^ ˙ o˙-^ o˙-^ o ^ ^ ˙ ˙. ^ ˙ ^ œ o œ ^ ^ ^ œ œ œ ˙ ^ œ ˙ ^ o ^ ^ œ ^ œ ˙.o ^. one foot usually crosses under the other. Cross your feet if necessary when playing several adjacent notes in the same direction. ^ 8. ^ ^ ˙ ^ ˙ ^ œ ^ ˙. ^ ^ ˙ o œ ^ ˙ ˙. ^ ˙ ^. ^ ˙ ˙ ^ ^ œ ˙ ^ œ ˙ ^. o o ^. When playing black pedals.^- ˙ 10. the right foot often crosses over the left foot. When playing white pedals.6. ^ 9.^˙ o o ^˙. Substitute one foot for another on a note that is repeated or held if you need to prepare for a wide skip. The principle of foot substitution is the same as finger substitution.

The numbers on the tabs or draw knobs. play the hymn with both hands and the pedals. A flute 8' combined with a 2 2/3' ORGAN REGISTRATION Four Kinds of Organ Stops (Sounds) When playing an organ. You can master these passages by learning just a few notes at a time and practicing them until you know them well. These stops include trumpet (or trompette). Other Organ Stops In addition to the four families of sound. Hybrid stops. Certain stops may draw from more than one sound family at the same time. begin with hymns that are easiest to play (see Hymns Made Easy. piccolo. such as those that are long or that are the final note of a phrase. 1 3/5'. Solo reeds have a soft and gentle sound. String stops include violone. Pitch Levels of Organ Stops Organ stops play at different registers or pitch levels. imitating wind instruments such as the clarinet. Mutation stops alter the flavor or color of other stops. Each 8' stop played anywhere on the organ keyboard will be the same pitch as the note played on a piano keyboard. 4. Hybrid stops are soft and include gemshorn and dulciana (or dolce). crisp. diapason. sometimes imitating the brass instruments of the orchestra. do this. Organ flutes share some of the sound qualities of orchestral flutes— clear. and voix celeste. 2. Finally. p. accidentals. 3. Each 16' stop will be one octave lower than the piano pitch. Each 4' stop will be one octave higher than its comparable position on the piano. and (4) reeds. To 140 . Strings. practicing with each hand separately and then with the pedals separately. Then play the hymn with your right hand and the pedals. Choosing these sounds is called organ registration. gamba. rich sound that serves as the foundation for other organ sounds. bassoon. They are sometimes identified on the stops by red letters and numbers. (2) flutes. and bright in their higher notes. or 1 1/3' and include such stops as nazard and tierce. and hands and feet going in opposite directions. melodia. They are often used alone or combined with a flute as a solo voice while a softer accompaniment is played on another manual (keyboard). and each 2' stop will be two octaves higher. you can make one key produce many different sounds. Difficult passages may include tricky rhythms. They are airy or ethereal and may have a slightly piercing tone. They are labeled with fractions such as 2 2/3'. Then play all four voice parts with your hands and the selected bass notes on the pedals. Begin with the most important notes. nazard. Organ strings share some of the characteristics of strings in an orchestra. gedeckt. indicate the pitch level of the stop. Flutes. Learn one line at a time. the organist selects organ stops (or tabs) that are classified into four families of sound: (1) principals (or diapasons).Using the Pedals While Playing Hymns Select some hymns you already know and mark a few bass notes to play on the pedals. Stop names include principal. fagott. and fifteenth. hollow. octave. and tierce. Reeds. Principals (or diapasons) produce a solid. 1. usually flutes and strings. and oboe. Mutation stops. viola. To develop your ability to play with your hands and feet at the same time. Chorus reeds have a strong sound. bombarde. Principals. but you will soon be able to use both feet for even better results. there are other organ stops you may want to know about: 1. (3) strings. Reeds have a colorful and often powerful and assertive sound. usually of the flute family. Flute stops include bourdon. followed by the symbol for foot ('). salicional. At first it may be easier to play with just one foot. There are two kinds of reed stops. English horn. clarion. for a listing of these hymns). 2. choral bass. cello. twelfth. and posaune. They are used to add brilliance to the organ sound. 87. followed by your left hand and the pedals.

scharf. and mixture (plus reeds if needed) Selecting Organ Stops To learn what sounds your organ can produce. to help you know how loudly to play them.” “How Firm a Foundation. For joyful hymns. Be sure to select sounds that will invite reverence and worship. or from a manual to the pedal. Reeds. 2. 2'. As you experiment. 5. are used like mutations—combined with a flute 8' to feature a melody. Most hymns have a descriptive word at the top of the page. These stops should not be used when accompanying a congregation or choir. and special musical selections. 6. Solo reeds and flute combinations often make a good solo melody. play any key several times.” and “Do What Is Right”) or postlude: principals 8'. accompanied by flutes or strings. Pedal registration should include at least an 8' stop and a 16' stop that corresponds and balances with the manual registration. 141 . 4. III. or vibrato may be used sparingly when playing quiet and expressive organ melodies. Mutation stops should not be used alone. 4. add color and excitement when you are playing vigorous hymns. The following chart may help you determine registrations for different situations. They can also be used to add color to soft flute sounds. They also mix well with other sounds. For sacrament hymns and other quiet hymns. Set the desired volume level at the beginning of the hymn or when practicing.is an effective solo combination to feature a melody. selecting a different stop each time. Flutes can serve as a foundation for prelude music and softer registrations. Tremolo. fourniture. 4'. Strings can be used alone for very soft prelude music or passages. such as joyfully or prayerfully. Avoid adjusting the expression pedal during the hymn. congregational and choir accompaniment. Select organ sounds that will help people think of the kind of hymn they are singing. located just above the pedal keyboard. The tremolo. Listed below are a few guidelines to follow: 1. a bright sound with high pitches may be appropriate. and 2' (plus string 8' if needed) principal 8' (plus flutes 8' and 4' if needed) Medium hymn (such as “Sweet Is the Work. and 2' Loud hymn (such as “Now Let Us Rejoice. Listen carefully to each sound. The 8' principal (or diapason) stops are the foundation for congregational accompaniment. 4'. 4'. strings—and listening to the results. Four-foot stops and 2' stops may be used to add clarity and color. or Setting the Organ’s Volume You can control the volume of most organs with the expression pedal. and sesquialtera. Two other mixtures. They also should not be used alone. They are marked with Roman numerals such as II. Mixtures. 4'. you are ready to begin combining stops to create appropriate organ registration. note the combinations of sounds you like for prelude and postlude music. Couplers. Mixtures can add richness and brilliance when playing a full group or ensemble of 8'. After becoming familiar with the sounds that are available. a more restful sound with subdued pitches could be used. Couplers transfer organ sound from one manual to another. tremulant. 5. You also could ask someone else to do this while you listen to the sound that each stop creates. 3. and 2' principal stops. 3. You may want to begin by combining stops within a family of sound—principals. Stop names include cymbale. as well as mutations and mixtures. Then experiment with combining other stops. Soft prelude (such as “How Gentle God’s Commands”): strings 8' or flute 8' or flutes 8' and 4' (plus string 8' if needed) Soft hymn (such as “There Is a Green Hill Far Away”) or medium prelude: flutes 8'. or IV. cornet and carillon. flutes.” and “For the Beauty of the Earth”) or postlude: principals 8' and 4' flutes 8'.” “I Need Thee Every Hour.

Accompaniment The musical background that accompanies the melody. Accent To emphasize one note or one chord by playing it louder or slightly longer. Alto The lower vocal line in the treble clef. A tempo To return to the original tempo or rate of speed. To quicken the tempo gradually. See also Vocal ranges. 241). choir. Bass The lower vocal line in the bass clef. Bass staff The staff marked with a bass clef sign. A tempo can also follow a section of music that is marked slower or faster than the tempo marking at the beginning of the piece. Allegretto See Tempo markings. Allegro See Tempo markings. See also Vocal ranges. Also known as cut time. Alla breve To perform $ music briskly. treating the half note rather than the quarter note as the fundamental beat. or gradually slower) or accel. (accelerando. barline barline > œ œ Accidentals Signs that alter musical notes as follows: Allargando To broaden (slow) the tempo and increase the volume. no. Arpeggio The notes of a chord played one at a time. Also called a broken chord. Adagio See Tempo markings. though they may be written only once. Anthem A musical composition written for choirs. See also Clef. group. Accelerando. The piano or organ provides accompaniment for a solo singer. C b # n flat: lowers a note by one half step sharp: raises a note by one half step natural: cancels a flat or sharp > measure measure measure Accidentals remain in effect throughout the remainder of the measure in which they occur. or gradually faster).GLOSSARY OF MUSICAL TERMS A cappella To perform a choral piece without instrumental accompaniment. Andante See Tempo markings. See the last line of “Count Your Blessings” (Hymns. accel. ? 142 . usually starting with the lowest note and continuing up. A barline cancels the accidentals from the previous measure. (ritardando. The bass staff is reserved for low musical notes and is usually played by the left hand on the keyboard. Barlines Vertical lines that divide measures. This marking usually follows the word rit. Sometimes this is also indicated by tempo I. or congregation.

women’s choirs. A group of singers like a choir but not usually associated with a church. See also Oratorio. ß& Í Circle of fifths A diagram showing the relationships among major keys and their key signatures. Chording See section five in the Keyboard Course manual. like the ticking of a clock. 98) are an example of a chorus. 68) and “O Savior. The brace indicates that these two clefs are to be played at the same time. Chord symbols See section five in the Keyboard Course manual. and C . also called a refrain. A regular. Thou Who Wearest a Crown” (Hymns. advancing an interval of a fifth and adding a sharp each time. and mixed choirs for men and women. is the basis for all rhythm in music. 3. Choir A group of singers that uses several performers for each voice part and usually performs music for church services (see also Vocal ranges). B. 2. 197) are examples of the chorale. A broken chord is a chord whose notes are played one at a time. The cantata is usually accompanied by a piano or organ. Commonly there are men’s choirs. Chord A group of three or more notes played or sung together. which has the maximum of seven flats. the # b scales of F and G contain the same keys when played on the keyboard (see also Enharmonic tones). It is similar to an oratorio but is shorter and is written for fewer performers. Brace The bracket used to connect the two staves of a grand staff. which has no sharps or flats. See also Fundamental beat. Beginning at the bottom of the circle b with C . Chorale A German Lutheran hymn style that had its beginnings in the sixteenth century and played an important historical role in the development of our modern hymn form. Children’s and youth choirs are also common. # # D. are the keys of G. The section of some hymns that is repeated after every verse. 143 . At the bottom of the circle of fifths is an area where sharps and flats overlap. A piece of music written for a chorus or a choir. no. Continuing clockwise. showing that it is possible to write certain scales two ways. no. even beat. In other words. and the oratorio by an orchestra. Chorus 1.Beat Marks the passing of musical time. #˙ ˙ ˙ ( b b ) Bb ( b b b) E ( b b b b) ( b) F C G (# ) D (# # ) # # (## ####) C b A b b ( b b b b b ) ( b b b b) ( b b b b b b ) b bb b A (# # # ) # (## # ) D # (## ###) E b C G # B (##### ) F reached again at the top. E. the circle continues clockwise at intervals of a fifth. See also Triad. making harmony. “A Mighty Fortress Is Our God” (Hymns. A. is at the top of the circle. no. # The key of C has the maximum of seven sharps. The last two lines of “I Need Thee Every Hour” (Hymns. eliminating one flat each time until C is ? Cantata A work for choir and soloists consisting of a short series of pieces. F . The key of C major.

˙. Diminuendo.Clef A symbol at the beginning of a staff that indicates the pitches of the staff.C. it marks the end of the piece. . Common time A synonym for $ time.C. Dal segno. See also Staccato. D. in $ time a dotted quarter note ( q. œ . see “Cue Notes. Diapason The stop on the organ that is best suited for accompanying congregational singing. To repeat the piece of music from the beginning. Another term for diapason is principal. if the tenors sing middle C in one chord and in the next chord the altos sing that same note. The conductor. ) gets 3 beats instead of 2. & c Double bar Two closely spaced barlines that mark the end of a section of music. congregation. through arm and hand movements. p. Cue notes Small notes in the hymns that are optional. 144 . œ & ˙ ˙ ˙ ˙ . shows the beat. a dotted half note ( h. See Tenor clef. Thus. sets the tempo. the dot adds one-half the value of the regular note. 386.S. To learn how these notes may be used. ) gets 1A beats instead of 1 beat. To repeat the piece of music from the place marked with the sign % . indicates dynamics. œ ˙ ? ˙ ˙ When a note has a dot under it or over it. & Couplers Organ stops that do not produce a sound of their own but link various organ sounds together. For example. it is played staccato. or group of instrumentalists. Damper pedal The sustaining pedal. Dotted note When a note has a dot beside it. and interprets mood and phrasing. D. The G clef or treble clef curls around G above middle C. D. Cut time See Alla breve.” Hymns. Conductor Someone who directs a choir. Dolce To sing or play sweetly and softly. Da capo. The same as decrescendo. D. It is the fullest sound on the organ and serves as the foundation for organ registration. To sing or play gradually louder. al fine means to repeat from the sign % to the place marked fine (the end). cresc. When the right barline is thicker than the left.S. ? B Common notes Notes repeated in a different part. dim. Crescendo. it would be a common note. al fine means to repeat the piece from the beginning to the place marked fine (the end). Decrescendo To sing or play gradually softer. The F clef or bass clef centers on F below middle C.

medium loud (forte). skip the first and second endings and use the third ending. They may perform with or without a conductor. very soft (piano). changing from one finger to another while a key is depressed so there is no audible break in the sound. Draw knobs See Tabs. A performance without expression is bland and may leave the listener uninvolved and bored. dynamics. Fermata A hold. the movements of a conductor’s arm. 16' is one octave lower. and third endings. 325) have first endings. medium soft mf f ff (mezzo forte). have different # b names. mp (mezzo piano). For example. The third time.Downbeat The first beat of a measure. followed by the symbol for foot ('). Dynamics Markings that suggest how loudly or softly a piece should be played or sung. tapping the foot. soft the first ending and use the second ending. Foot An organ term that designates the pitch level or register of a rank or a set of pipes. no. use the first ending. The note or rest below the fermata sign ( U ) should be held a little longer than its normal duration—sometimes twice as long. or counting audibly or inaudibly. Fine (pronounced fee-nay) The end. 1. Foundation stop Any 8' stop on an organ. and phrasing used to add emotional or spiritual meaning to music. It is felt more strongly than other beats and is marked by the conductor with a clear downward movement of the arm. loud (fortissimo). 198. “That Easter Morn” (Hymns. The following dynamic markings are the most common: pp p (pianissimo). A good musician will go beyond the notes to convey to the listener deeper meanings and expressions of emotion and spirituality. second endings. Finger crossing In keyboard playing. 198) and “See the Mighty Priesthood Gathered” (Hymns. Fundamental beat The steady measurement of time marked by even beats. Duet A musical work for two performers. The bottom number of the time # b D E Ensemble A small to medium-sized group of performers. very loud Endings Some hymns have different endings for each verse. Expression The variations of tempo. Flat See Accidentals. no. 2. skip © © 145 . It is indicated by a number. because of their relationship to the key. In a key with sharps the tone would be # b called D . and 4' is one octave higher. The first time through hymn no. Enharmonic tones Tones that sound the same but. 3. D and E are examples of enharmonic tones. but in a key with flats it would be E . The performer or conductor decides how long the hold should be. with or without accompaniment. Foundation stops should be used when accompanying congregational singing because the pitch level most closely resembles that of the piano. 8' is the same pitch level as the piano. usually with no more than one or two musicians to a part. The second time through.

(See “Using the Hymnbook. Grave (pronounced grah-vey) In a slow and solemn style. on a three-keyboard organ.) Interval The distance in pitch or space between two tones or notes. It serves to remind the singers of how the hymn sounds. 2. The space of a note between two notes is called a third. A little bounce with the arm and hand at the ictus makes the beat clear and easy to follow.) © © 146 © © © © 2 3 1 2 2 1 4 3 1 . no. pp.” Hymns.signature shows which kind of note represents the fundamental beat. Giocoso In a playful or joking style. as below. (See Hymns. the tempo. The music added to the text is properly called a hymn setting. as in system five of “For All the Saints” (Hymns. 379–80. The space between a note and its neighboring note is the interval of a second. pp. the great is the bottom keyboard. 82) and system four of “I Know That My Redeemer Lives” (Hymns. Glissando In keyboard playing. w & ww w w w w w w w w w w w w w Unison 3rd 5th 7th 2nd 4th 6th Octave When an interval is written one note over the other so that both tones are sounded at the same time. On a two-keyboard organ. See also Time signature. the quarter note represents the fundamental beat. A signal to switch from singing in unison to singing in parts. Harmony 1. If the number is 8. 384–85. If the bottom number is 4. Great keyboard On an organ. the fundamental beat is the eighth note. The combination of two or more musical notes played or sung in a chord. Hymn Originally text written in praise of God. it is shown by a tiny circle at the bottom of each curve. it is a melodic interval. formed by playing two adjacent keys on the keyboard. This term now includes a broad range of sacred songs. w & w w w w w 3rd 5th Octave Introduction The short phrase or phrases played before the hymn begins as a preparation for the congregation or choir. one of the two or three keyboards. Grand staff A treble clef staff and a bass clef staff connected by a brace. and the mood of the hymn. Ictus The point in a conducting pattern where the beat occurs. but in common terms hymn refers to the words and music as one. Hold The same as fermata. and so on as shown on the staff below. See also System. When one note is followed by the other. On written conducting patterns in the hymnbook. it is called a harmonic interval (see example above).136). sliding from one note to another with a thumb or a finger. See also Manuals and Swell keyboard. no. Half step The smallest musical interval. An introduction gives the key or pitch. Two notes of the same pitch are called a unison or prime. it is the middle one. Hybrid An organ stop that borrows characteristics from more than one family of organ sounds.

Each key name is the same name as the home note or home chord. See also Great keyboard and Swell keyboard. C A B Major and minor Two general types of keys. Every traditional piece of music has a tone that is the basis for all its harmonic progression. dignified style. The key signature tells the key of the piece. Although the harmony may move away from C during the hymn. Largo See Tempo markings. Ledger lines Short lines that represent lines and spaces above or below the limits of the staff. scales. key signature 4 œœ œœœœ ˙ ˙ &4 ˙ œ ? œ œ œ œ 147 . See the examples above. Lento See Tempo markings. Maestoso Play or sing in a majestic. For example. each measure in $ time has four beats. If that ending note is a C. Loco See Ottava. Measures are indicated by barlines and contain the number of beats shown on the top of the time signature. Minor keys are based on minor scales and usually sound more somber than major scales. then the hymn is probably written in the key of C. For example. The second way to determine the key of a hymn is to look at the last note of the hymn in the bass voice. Each keyboard controls a certain set of pipes or ranks. Legato Play or sing smoothly. connecting the notes in a flowing style without breaks or spaces. See also Scale. See also Key signature and Circle of fifths. count above or below the middle C line.Key The tonal center of a piece of music. Ledger lines are also used to extend above the treble staff and below the bass staff. counting each line and space. Marcato is indicated by a short line above or below a note: ß& œ œ œ C B E A C D œ œ œ Í œ œ œ E D C Ledger lines are used to extend the treble staff below middle C and the bass staff above middle C. Major keys are based on major scales and usually have an upbeat or happy sound. To name the note. The key of a hymn can be determined two ways. The first is to examine the key signature. Learning how many sharps or flats each key has will help you discover the key of the hymn. it will always return to the C chord because it is the home chord. the keyboards played by the hands. Manuals On the organ. a hymn composed in the key of C will usually begin and end with a C chord. Key signature The sharps or flats found between the clef and the time signature at the beginning of a piece of music. Marcato Playing a note with emphasis (but with less emphasis than an accent mark would indicate). Í ? #4 3 © © measure key signature © © #3 ß& 4 Measures Small divisions in a piece of music. or chords.

Melody The succession of notes that gives a piece of music its tune. or four sounds. or 1 1/3'. (See “Meters. any stop (except a mixture) whose pipes produce tones other than octave intervals measured from the foundation stops (8' stops). The note symbol shows the fundamental beat. sometimes the word loco appears. Notes Notational symbols on a staff that represent musical tones and their durations. A tempo of 120 would mean two beats per second. The meter of a musical piece is indicated by the time signature. The same symbol below a note means to play it an octave lower. the ottava symbol is followed by a dotted line above or below the affected notes.” Hymns. Modulation A series of notes or chords that makes a smooth harmonic transition from one key to another. When more than one note is involved. The hymn melody is usually in the soprano line. meaning to play the notes as they are written. The melody line is the most prominent line of the music. A hymn gets its identity from its melody. Oratorio A lengthy work consisting of settings for chorus. Meter The way beats are divided into measures. q e x quarter note eighth note sixteenth note & œ œœœ 8va w h whole note half note ?œ œœœ 8va 148 . and the numbers show how many of these beats should occur in one minute. The tabs or draw knobs are labeled with Roman numerals II. the tab or draw knobs for these stops are labeled with fractions such as 2 2/3'. A metronome marking is found at the beginning of each hymn in the hymnbook. If you do not have a metronome. See also Interval. At the end of an ottava passage. Although a hymn’s chords and harmonic movement may be similar to other hymns. and IV in addition to their regular names. Handel’s Messiah is a well-known oratorio.” For example. p. See also Tempo. 405. Minor See Major and minor. The other voices accompany and harmonize with the melody. III. Mutations On the organ. Mixtures Organ stops that produce a combination of two.) Metronome A device that maintains a steady beat at tempos from 40 to 208 beats per minute.Medley A musical work made by connecting a group of tunes or hymns and playing them without pause. molto accelerando means to play much faster. as one piece. A hymn text also has meter. The symbol 8va above a note means to play the note an octave higher. All tierce and quint stops and their octaves are mutations. which refers to the number of syllables in each phrase. 1 3/4'. soloists. Octave An interval made by combining a tone with the next higher or lower tone of the same name. its melody will be unique. Ottava To play a note an octave higher or lower than it is written. It is the line you hum or remember most vividly. use a watch or clock as a point of reference. A tempo of 60 would mean one beat per second. Molto A word meaning “very. three. and orchestra.

Hymns are composed of two or more phrases. Reeds Organ stops that imitate the wind and brass instruments of an orchestra. When you match your voice to a tone on a piano. Presto See Tempo markings. 149 . It should reflect a feeling of worship and encourage reverence and meditation as preparation for the service. Generally. Pitch. 194) is made up of two phrases of four measures each. pressing the right pedal sustains the note and pressing the left pedal makes the piano play more softly. “Abide with Me!” (Hymns. usually located immediately below the manuals on the organ keyboard. Quartet Four-part music sung by four voices (all men. Prelude Music played before a meeting begins. On the piano. tone. Pickup beats Notes in partial measures at the beginning of a hymn (see Conducting Course. or the highness or lowness of a musical tone. but if you choose another piece of music.Parallel motion Two voice lines whose pitches are moving in the same direction. Psalm A sacred song of praise. Thus tenor line and tenor part mean the same thing. In contrary motion they move in opposite directions. but rather imitate the sounds of a pipe organ. 38 –39. pp. See also Singing in parts. 48). They have played an important role in the historical development of sacred music. that are used to make quick stop changes. natural rise and fall in volume or intensity. Using the hymns for prelude music is appropriate and is encouraged. or mixed). The same as ritardando. the keyboard played by the feet. 28–30. Rallentando. no. Pistons can be preset with any combination of stops. At the end of a phrase. use good judgment in the selection. “There Is a Green Hill Far Away” (Hymns. and note are sometimes used interchangeably in speaking of a musical sound. you are matching the vibration frequency of the tone. A high pitch has many more vibrations per second than a low pitch. Part The music for any one voice. (Electronic organs don’t have real pipes. Postlude Music played at the conclusion of a worship service or meeting. 166) has four phrases of four measures each.) See also Register. Phrasing Dividing a piece of music into smaller units (phrases) to make it more pleasing. The music should reflect the spirit of the meeting. Sometimes line is used to mean a line of notes that a certain voice sings. sets the tempo and mood for the hymn. no. Preparatory beat The beat the conductor directs just before the first beat of a song or hymn. a phrase has a gentle. you are “off pitch” (or out of tune). Pitch The vibration frequency of a sound. Phrase A series of notes or measures that presents a musical thought. The psalms from the book of Psalms were traditionally sung rather than read in ancient worship services. Pedals On the organ. and allows for a quick breath before starting to sing. rall. Often the last note of a phrase is softened and cut a little short to allow a breath before the next phrase begins. so we say you are “on pitch” (or in tune). all women. there is sometimes a rest in the music and a comma or period in the text. It signals that the hymn is beginning. Pistons Round buttons. Rank A full set of organ pipes that produce a particular type of sound. Poco a poco Little by little. Many pieces called “preludes” may not be appropriate for worship. If your voice is above or below the tone.

and bass) singing its own part or line. and one half step. A. Rhythm The way movement is expressed in musical time. minor. Registration The combining of organ stops to produce a desired sound. one half step. See also Half step and Whole step. Sharp See Accidentals. Repeat bars A kind of barline that signals a repeat of the music between the repeat bars. Twopart and three-part singing are also common. tenor. alto. G. It is written like this on the staff: matically play any sharps or flats that belong to the scale in the key. E. Singing in parts Performing a hymn or song with each voice group (usually soprano. and chromatic. Scale A series of musical tones. See also Endings. Register On the organ. continuing. D. Each major and minor key has a scale that includes all seven fundamental notes of that key. It includes all twelve tones on the keyboard and can begin on any key. This is sometimes referred to as four-part singing and produces a melody with full-sounding harmony. (If there is only an ending repeat bar. If no text is present. repeat only once unless otherwise noted in the music. Rests are held for the same number of beats as the notes of the same name. Rest A symbol indicating a certain length of silence.) If no separate endings exist. The chromatic scale pattern is twelve half steps. the music repeats from the beginning of the piece of music. When you clap the time values of the notes in a hymn. a full set of pipes controlled by one stop. Sempre crescendo means to continue increasing volume. or mixing different families of sound to create a particular tone on the organ. repeat the section once for every verse of text within that section. you will auto- 150 . When you follow this pattern. one half step. B. The time values of notes grouped in different combinations give an infinite variety of rhythmic movement to music. A gradual slowing in tempo. F. you are clapping the hymn’s rhythm.Refrain See Chorus. Rubato In a free style with flexible rhythm. one whole-and-a-half step. It can be used appropriately at the end of a hymn’s introduction or at the hymn’s closing. Sempre Always. using the first and second endings if they exist. three whole steps. whole whole half whole whole whole half step step step step step step step The most common minor scales have one whole step. one half step. See also Rank. and one half step. and C sounded in that order or the reverse. two whole steps. rit. Ritardando. You can play a major scale in any key by beginning on a note and then playing two whole steps. There are three basic types of scales: major. See also Part and Vocal ranges. { { ∑ Ó Œ ‰ ≈ œ & œ œ œ œ œ œ œ whole rest half rest quarter rest eighth rest sixteenth rest The name of the scale is based on the name of the first and last note. The scale for the key of C major is made of the notes C.

always be the top keyboard. The words that accompany the metronome markings help interpret the mood of the hymns. it is to be sung by both voices. 196) has three systems or lines. also called tablets or draw knobs. System A group of staves forming one line of music across the page. Step See Whole step. no. The last part of the beat becomes a rest. 196) has four stanzas or verses. See also Great keyboard and Manuals. Solo A musical work for one performer or for a solo performer with accompaniment. Two or more notes may share a stem when their note values are the same. one of the two or three keyboards. detached style. Hymns are strophic. Tempo The rate of speed of a musical piece. so the tempo is not quickened. Names of tonal qualities are printed on the tabs.Slur A curved line above or below two or more notes. A slur may also indicate that one syllable is sung on two or more notes. Staccato A dot above or below a note that indicates it should be played in a short. Swell keyboard On an organ.165) has five. Setting tabs directs the air to a certain rank of pipes. The swell keyboard will almost Stanza A group of lines forming a section of text or poetry. “Abide with Me. and a single note in the bottom part of the staff will have a stem going upward. #3 £ œ œ & 4 œ œ œ œ œ £ J O my Fa £ œj œ #3 œ J ? 4 œ œ ther. Music directors may choose an appropriate speed based on these suggestions. When a note has two stems. Release the key quickly instead of giving the note its full value. “Jesus Once of Humble Birth” (Hymns. Stops Organ tablets or draw knobs that produce various types of sounds and pitch levels. œ. See also Vocal ranges. no. Tabs Levers located at either the top or sides of the organ keyboard. Strophic A musical setting of a text in which all its stanzas or verses are set to the same music. one pointing up and the other pointing down. ’Tis Eventide” (Hymns. Once of Humble Birth” (Hymns. 151 . playing them in legato style. not to the speed of individual notes. a stanza is also called a verse. The tempo is indicated at the beginning of a musical piece in two ways: either by words (see Tempo markings) or by fixing the number of beats per minute with a metronome marking such as q =66–84 (see Metronome). “Jesus. œ Staff Five lines and four spaces that provide a graph for musical notation. Tempo refers to the speed of the fundamental beat. The metronome markings in the hymnbook are provided as suggested ranges of proper tempos for the hymns. See also Register. no. Soprano The highest vocal line in the treble clef. œ . A single note in the upper part of the staff will have a stem going downward. œ œ œ Stem The vertical line attached to a note. Connect the notes in the slur.

Tenor clef Used in hymn arrangements for men’s voices. The notes in the tenor staff are played or sung as if they were treble clef notes. no. One purpose of transposing a piece might be to place it in a higher or lower key to better suit a performer’s voice. the common tempo markings are listed below: Largo—broad Lento—slow Adagio—at ease (slow) Andante—a walking pace Moderato—moderate Allegretto. Arranged from slowest to fastest. The treble staff is for high notes and is usually played by the right hand on the keyboard. which shows the meter for the piece. Time Signature Number of Beats per Measure Fundamental Beat 2 beats per measure half note ( h ) 2 beats per measure 3 beats per measure 4 beats per measure 6 beats per measure eighth note ( e ) eighth note ( e ) 9 beats per measure 12 beats per measure œ ˙ B 152 6 8 9 8 12 8 2 2 2 4 3 4 4 4 & Tremolo. See also Vocal ranges. Transpose To change a piece of music to a key other than the one in which it is written by moving all the notes up or down the same number of half steps. curved line connecting two notes of the same pitch. œ ˙ is held for three. Tenor The highest vocal line in the bass clef. 323) uses the tenor clef. O Men of God” (Hymns. œ œ is held for two beats. quarter note ( q ) quarter note ( q ) quarter note ( q ) eighth note ( e ) . found at the beginning of a piece of music. Allegro—fast Vivace—lively Presto—very fast Prestissimo—as fast as possible Tempo I See A tempo. but they are played or sung an octave lower than the treble staff. Some musicians can transpose on sight. Time signature A symbol made of two numbers. one above the other. The bottom number shows which note is the fundamental beat (the note that gets one beat). Tone A musical sound. Tie A short. “Rise Up. See also Clef.Tempo markings Words that set the tempo for a musical piece. Tremulant An organ stop that causes the tone to vibrate. and the top number shows how many of these fundamental beats occur in one measure. while others may prefer a written transposition. This stop is usually used on solo or prelude music. These words are often in Italian and are used in most music other than the Church hymnbook. The first note is played or sung and is held for the duration of both notes combined. Treble staff The staff marked with a treble clef sign.

) Value The number of beats a note gets in a measure. E’s. 3rd. any combination of C’s. Verse See Stanza. or four beats. (For more information.” w w w Upbeat The last beat of a measure. £ 4 & 4 œ œ œœœ œ Whole Step An interval of two half steps. Trio A piece written for three performers. p. Unison singing is usually accompanied by parts or other accompaniment played on the keyboard. see Conducting Course. Also. The three notes of a triad are called the root. Singing in unison can be on the same pitch. & & soprano: C–F œ œ œ œ œ 5th alto: G–D œ ? bœ b tenor: B –F ? œ bass: G–D Unison When people sing in unison they all sing the melody line or tune only. The triplet shown here equals the time value of one quarter note. one or more notes at the end of a measure that function as the beginning of a hymn or phrase. say “one. 28. two. as when women sing. as when men and women sing together. Vocal ranges The four main vocal ranges in hymn and choral singing: soprano (high women’s voices). and G’s will always be a C chord. trip-a-let.Triad A chord of three notes comprising an interval of a third and an interval of a fifth. two. Vivo Lively. Triplet A group of three notes performed in the time of one. and 5th. or an octave apart. tenor (high men’s voices). #3 & 4 ˙ ˙ #3 ˙ ? 4 ˙ soprano alto œ œ œ œ ˙ ˙ ˙ œ œ œ œ 153 © © bass © © tenor . and bass (low men’s voices). Vivace See Tempo markings. four. To count this example. Vibrato See Tremolo. The staves below show the note range that each voice should be able to sing without much strain. 3rd The three notes of a triad may be used in any order. signaled in conducting by an upward motion of the arm. alto (low women’s voices).

.

B A S I C M U S I C C O U R S E CERTIFICATE OF ACHIEVEMENT This is to certify that has completed the Keyboard Course Date Teacher .

Note to teachers of the Basic Music Course: When a student completes the Keyboard Course. and present it to acknowledge the student’s accomplishment. . fill in the blanks. copy the certificate on the other side of this page on special paper.

15. 54– 55. 129. 110 and note values. 126 Cards. 145 Draw knobs. 1. 1 Conducting Course manual. 140 Foot. 145 Flutes. 129 Chorus. 2. 82. 152 Allegro. 10. 145 E Eighth notes practicing. 145 Duet. 155 Choir. 142 Accent.16 value of. 143 Chord.” 81 B Barline. 142 Basic Music Course basic guidelines for.” 40. 146 Great keyboard. 144 D Da capo. 142 Allargando. 83 rhythmic name for. 144 Bass staff. 13 Black keys.115 Fundamental beat. 1 lesson outline. 148 Electronic keyboard. 82 value of. 88. 134–35. 122–27 Bass. 2 parts of. 142 Accidentals. 152 Anthem. 145 F Fermata.” 106–7 Common notes. 144. 31 Accelerando. See Dynamics Fortissimo. 72. 15 and fundamental beat. 146 Glossary of Musical Terms. Ye Saints. 145 Enharmonic tones. 72. 8. 146 Guidelines for setting up courses. 63. 123 Conducting Course audiocassette. 152 Advice to students. music note. 143 Cardboard keyboard. 126 Handy Helps. So He Sent His Son. 14. 149 and time signature. 9.11. 144 Cut time. 116. 142 “As I Search the Holy Scriptures. Our Father. 18. 127. 1 Conducting Course Kit. 145 Forte.” 84. 144 Diminished.144 tenor. 142 Accompaniment. 142. 142. 144 Decrescendo. See Music note cards Certificate.16 value of. 143 and downbeat. 146 Hand position. 144 bass. 143 Chord chart. 144 Downbeat. 144 Daily exercises. 144 Dotted notes. 117–20 Dal segno. 42. 116. 3 Alla breve. 122 teachers. 76–77. 69. 144 Cue notes. 42. 123 goals of. 129. 10. 146 Glissando. 152 Alto.145 Four-part hymns. 142–53 “God Loved Us. 146 Grave. 145 Expression. 1 purpose of. 142 Arpeggio. 128 materials for. 142. 143 C Cantata. 68–69. 126 rules for. 110. 42. 1. 144 Double bar. 144 “Do What Is Right. 134–35. Hear Us Pray. 1. Come. 6–7. 124 Flat. See Keys. 142 Accompanying singers. 65. 10. 122 setting up in homes. 123 setting up in wards and branches. 1 setting up in developing areas. 140.” 78 157 . 142. 127 Adagio. 116.INDEX A A cappella. black Brace. 122 introduction to. inside back cover Harmony. 16. 144 Common time. 131 Chord symbols. 2. 126 Finger substitution. 144 Crescendo. 72. 131 Diminuendo. 3. 1 Conductor. 73–74. 142 Andante. 144 Conducting Course. 131 Chord. 144 Damper pedal. 142. 87 Grand staff. 145 Finger numbers playing by. 142 Allegretto. 42. 72. 146 “High on the Mountain Top. 134–35 Fingering importance of good. 17 rhythmic name for. 144 Couplers. 142 A tempo. 143 Chorale. 142 “Be Thou Humble. 17 rhythmic name for. 62. 144 Dotted half notes practicing.” 98–99 Dolce. 145 Dynamics. 63. 130 Chording. 114. 3. 12 definition of. 1. 62. 122–28 Guidepost keys. 143 Clef. 145 Finger crossing. 144 Diapasons. 145 Fine. 24–31 writing on music. 1. 18. 134 Endings. 16. 140. 144. See Dynamics Foundation stop. 34 H Half notes practicing. 145 G Giocoso. 141. 60–61 “God. 16 pickup. 122–23 for teachers. 144 “Come.” 91 Beat counting. 40. 143 Circle of fifths. seventh. 142 “Abide with Me!” 20. 148 Half step. 16. 145 Ensemble. 152 treble. 42. 142 Bass clef. 133 Five-step teaching method.

2. 148 eighth. See Music note cards Note values. 66–67. 1. 36 finding G. 126–27 Keyboard Course Kit. 147 Manuals. 115 using. 1. 16 on lines. 32 Minor. 148 Melody. 147 Measure. 125. 147 Major. 129–32 Keyboard Course audiocassette. 1. 36 finding G. Once of Humble Birth. 58–59 “Jesus. 2. See Notes. 126. 57 “Joseph Smith’s First Prayer. white finding A and B. 18 dotted. 136 playing the keyboard. 42–43. 35 finding C and F. 44.” 104–5 K “Keep the Commandments. 148 in spaces. 147. 88 dotted half. 78–81. 93–99. 22 matching with notes on the staff. 147 Keyboard cardboard. 11.” 94–95 Hybrids. 1 Keys. 129. 22–23 matching with notes on the staff. 32 introduction to. 148 Molto. 111 Hymns: Simplified Accompaniments. 32 half. 140 setting volume. 115 three-part. 114 Hymns Made Easy. 147 “Lord. 52. 141 stops. 34 finding D and E. 43 pickup. 82–83. 84–85. 48– 49. 147. 114. Our Savior. 53 triplets. 3. 4 certificate for completing. See Dynamics Pickup notes. 148 Mezzo forte. 147 Lento. 52. 42–47. 115 resources in. 37 finding middle C. 155 components of. 52. 1 Musicianship. 35 finding C and F. 70–71 “How Great the Wisdom and the Love. 148 Metronome. 149 Pianissimo. 148 introduction to. 4. 102–8. 146 Hymn numbers. 117.” 39. electronic. 2 encouragement in. 48. 140 wearing shoes for. 62. See Dynamics Mezzo piano.” 93 Key. 137 Pedals. 89–91. See Notes Notes. 117.” 30. 3 materials for. 148. 126 J “Jesus. black. 152 Legato. 109. 136. 43 practicing all. marking. 147 Marcato.” 19.” 29. 129. 2 instructions for. 147 Ledger lines. 148 O Octave. 116 transition to. 129 I “I Am a Child of God. 128 Line notes. 39 quarter. 148 Oratorio. 152 Modulation. 72. on lines Loco.Hold. 134–36 introduction to. 141 Music note cards. 148 Moderato. 124. 148 sixteenth. 1. 147 Medley. 9 Keyboard Course blessings of completing. 4. 148 N Natural. 53 matching with white keys. 16–17. 116. 6–7 skills. 146 Homework assigning. 134 playing the pedals.” 96–97 “I Know My Father Lives. 148 Mixtures. 34 finding D and E. 109 values of. 123–25 tips for teaching. finding. 128 “How Gentle God’s Commands.” 90 Ictus. 4 goals of. 1 purposes of. 148 Meter. 46. marking pedal notes. 146 Hymn. the Very Thought of Thee. 131. 70– 71. 148 Mood marking. 136 sustaining. 22–23 Keys.” 80 “How Great Thou Art. 149 Part. 131. 126 electronic. Dismiss Us with Thy Blessing. 149 Phrasing. 130. 148 finding A and B. 140 Hymns to learn. 6–7.” 137 “I Need Thee Every Hour. in ^ time. 2. 124 lesson outline for. 63. 146 Introduction brackets. 16–17. 16–17. 146 “In Humility. 100–101. 37 finding middle C. 126 preparing to play. 147 Key signature. 2. 140 tabs. 110 whole. 56–61. 2 setting goals in. 102. 16–17. 148 combining.1. 140. 149 Pedal notes. 148 P Parallel motion. See Dynamics Piano. 86 Phrase. 126 Mutations. 146 Introduction. 126 Music Training videocassette.” 89 “I Know That My Redeemer Lives. 128 importance of. 134. 28 Interval. 43 position at.” 85 M Maestoso. 109. 116. See also Keyboard. 140. 39 158 . 140. 111. 56. 115–16 Hymns four-part. 136 Ottava. 138–39 setting registration. 152 Lesson outline. 116 Hymnbook list of easy hymns in. 116. 4 teacher’s duties. See Dynamics Middle C. 148 Organ. 137–40 playing on separate manuals. 136– 40 practicing pedal techniques. 38 L Largo. 142 Note cards. 149 on organ.

150 S Scale. 149 Register. organ. 76 Poco a poco. from Whom All Blessings Flow. 122 Stake music chairman. 16–18 reading dotted notes. 128. 109 value of. 136. 150 Seventh chord. 151 T Tabs. See Notes. 100 for triplets. 40. 149 Pitch. 153 Vivo. 152 Transpose. 13 Tone. 136. 149 Prestissimo. 19 reading in % time. 110 % time. 109. 109 for whole notes. 16 for dotted notes. 63. 144 Treble staff. 131 Sharp. 49. 140. 153 159 . 109. 152 Tenor clef. for a Prophet. 153 Triplets practicing. 151 Staff. 110 Ritardando. 151 System. 116 introduction to. 149 Postlude. tremulant. 16. 149 Practice assignments. 100–101. 47. effective methods. 88 reading in hymns. 14.151 Strings. 140 Psalm. 150 Shoes. 149 Preparatory beat. 88 for eighth notes. 42. 152 “There Is a Green Hill Far Away. 18 for dotted half notes. 100–101. 152 Presto. 122 “We Thank Thee. for playing organ. 152 introduction to. 152 Triad. 116. 17 rhythmic name for. 153 Vivace. 152 Time signature changes in. 138–39 “Praise God.” 79 White keys. 43 spaces on. 122 Ward music organization. 153 Trio. 16 for quarter notes. 142.” 9 Three-part hymns. 13 ^ time. 151 Stops. 17 rhythmic name for. 151. 17–21. 122 Stake music organization.16 value of. in spaces Staccato. 152 Tenor. 82–83. 144. 110 Rhythmic names combining. 152 Tremolo. 14 in Hymns. 42– 43 Stake music adviser. 149 Rank. 114 Thumb glissando. 140. 51. 150 Sixteenth notes practicing. 151 Solo. 76. 153 Vocal ranges. 150 Rests. 150 Root position. 135 Tie. 72. 142. 17. 150 Repeat bars. white Whole notes practicing. 149 R Rallentando. 16.110 using rhythmic names to read. 100 value of. 82 for half notes. 122 Ward music chairman. 72. with both hands. 148 Skips. 92. 26. 111 # time. 42 lines on. in parts. 149 Q Quarter notes practicing. See Keys. 136 Singing. 152 Treble clef. 141. 136. 149 Principals. 140. 141 W Ward music adviser. 127 “Redeemer of Israel. 123–24 tips for. 151 Steps. 150 Rhythm. 124 Teaching. 153 Volume.” 102–3 “While of These Emblems We Partake. 109 rhythmic name for. 42– 43 matching notes with white keys. 100–101 rhythmic names for. 126. 151 Space notes.” 108. 149 Refrain. 64–65. 130. 110 in ^ time. 150 Registration. 124.” 66–67 Prelude. 148 Whole step. 148 Quartet. 124–25 Tempo. 130 Rubato. organ. 152 Tempo marking. 100. 16 practicing. 126 learning to read. 50–53. 151 Sustaining pedal. 126 using the five-step teaching method. 153 Upbeat.111 reading in ^ time. 45.140. 101. 82– 83. 109. 116. 93.” 21 Swell keyboard. 16 introduction to.16 value of. 16 –18. 153 V Verse. 140 Strophic. 149 Recitals. 141. 62. 13 @ time. 88. 142. organ. 153 U Unison. 151 Tempo I. 149 Playing. O God. 132 Reeds. 10. 151 Soprano. 122 Stanza. 152. 124 guidelines for. 150 learning difficult. 151 Stem. 16 for sixteenth notes. 122–28 in-class duties. 83. 86 “Sweet Is the Work.Pistons. 50–53 Slur. 141. 13 $ time. 150 Sempre. 153 Vibrato. 151 Teachers assigning homework. 34–38.

w e x ∑ Note name quarter note half note dotted half note whole note eighth note sixteenth note Rhythmic name dah dah-ah dah-ah-ah dah-ah-ah-ah dah-nah dah-nee-nah-nee RESTS Rest Rest name whole rest half rest quarter rest eighth rest Value 4 beats 2 beats 1 beat A beat Right hand 2 3 4 Ó Œ ‰ # b n ACCIDENTALS sharp (goes up one half step) flat (goes down one half step) natural (cancels a sharp or flat) 5 1 TIME SIGNATURE number of beats per measure fundamental beat 4 4 .HANDY HELPS GRAND STAFF NOTES Note Í F G A B C ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ?˙ ˙ G A B C D E Middle 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 FINGER NUMBERS Left hand 4 3 2 5 1 ˙ ß& D ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ E F G A B C D E F q h h.

Sign up to vote on this title
UsefulNot useful