LEILA FLETCHER | PIANO COURSE INCLUDES PROGRESS PAGESLEILA FLETCHER PIANO COURSE FOREWORD ‘The several Books of the Piano Course are numbered consecutively, not to represent the various grades in music, but as @ presentation of a continuous course in music education. ‘The Piano Couree is designed to ‘meet the requirements of the average pupil, and is graded to allow the average pupil to make sound, steady progress, and to enjoy the immediate satisfactions of fluent reading. The material wsed in the Course has been tested by actual experience in teaching a large number of students, and the results apparent {rom its use are: greater interest im music study, better musicianship, and fewer pupils who discontinue music study through lots of interest or through discouragement ‘The Study of Music should be a delightful experience. Almost every child comes to his first music lesson with happy anticipation. The use of suitable musical material, logically presented, will undoubtedly advance the pupil's interest in music. The Piano Course is dedicated to a four-fold purpose: the development of the ability to fead music fluently and interpret i€ artistically, the establishing of a sound and comprehensive piano technic, the nurturing of the creative musical talent, and the fostering of a lasting appreciation of MAYAIR MONTGOMERY PUBLISHING BOOKVISUALIZING THE KEYS ‘This drill cultivates the art of playing from the printed page without constantly looking down atthe hands —a habit which slows up playing and causes inaccuracies. ‘The pupil places both hands on the surface of the prano keys, each hand over C,D,E, F, GG. sein the diagram on this page. When the thands ate in position, the pupil plays any of the five keys the teacher asks for by leter name (keys ofthe same letter-name in both hands). For the fist few minutes the pupil plays while looking atthe keys as the teacher Sictates the Tetter-names; then the pupil plays while looking away from the keyboard fs the teacher dictates, (This drill should falso be practised hands separately, so that Finger-numbers may occasionally be dictated in place of leter-names, in which ease, the pupil will play the key and give the letter- fame without looking at the keyboard) FIVE-FINGER HAND POSITION IN THE KEY OF C MAJOR Learn it Yourelf ae Now the game's be gin ning, home run, And You canbe sure of . o that!TatiJit tle po- ny. Lit- tle po- ny. Some:times you are | ver y fast, but }some-times you are | slow 1 walle a- long be- | side, | Then per-haps we'll] get there faster, 3. Lazy Pony up the pill we = ieee t Jam-bo jo. my pride![Right hand plays B below Middle C: 4. Moon Shadows ° ce Left hand 2nd finger ‘ham (over) ACCIDENTALS A sharp, flat, or natural that does not belong to the Key Signature is called an accidental, An accidental placed before a rote affects ather notes of the same letter- zname in that measure, but is cancelled by the bat line at the end of the measure. Tn MOON SHADOWS, in the third from last measure, F sharp and E flat are acciden- tals. To remind you that after the bar line E is again played E natural, there isa natural sign in brackets placed before the rote E. | : : | ‘ein out lel bared moody‘The Seale Beautiful - Second Part (Seales RH Ff a 4) 2 A 3 we tr esas ae Stems Up, righthand Stent Down, et and alt bea fal) (Here is the) te (Tat ig beau-ti-fl) af ajisi ay gj es sae Fett Here is the ma-jor scale, the scale of C, —Ring-ing and sing- ing in = ail Et? pre One day the teacher said, “Hearkeen to. me, Scales are all 3 beau-th- fl, Lis-ten and set sweet melo: dys : free ‘That it is beau-ti- ful, you will a. gre 6. Rain found, | Listen to the fove-ty sound: Pit-ter, pat-ter,| all nthe fit eight measure of thie beautiful Fll-ong, we bear the descending © Major Seale played in repented noten ‘There interruption inthe sate i the third measure but here the te oly ial mre Geral Yo the tet lon fote inthe scale propesion “AL the ed of the pisce we again Ieee the major scale the time descending without Intervupion, int grand cecade of melody Ie is rain-ing, | itis rain-ing, | FThe BIRCH CANOE is in the Key of 7. The Birch Canoe fas we swift: ly Tit. tle bro: ther | calls:"Yoo-hoo!” T Tn my lit. tle [birchean-oe, I | pad- dle out, the world to view. My take him with me | too. Down the riv- er | then weglide, We) see the lit. tle | par-tridgehide, And oat tong, We | sing our riv- erContrasting touches ‘The dotted line in CHRISTMAS EVE: indicates the melody line. staccato notes: ¢ (detached) coerced ee 8. Christmas Eve ‘event end held 2 from F, Haydn Christ-mas Eve. the |lights are low, | Then as off to 1 Light hoofs run-ning,| oh, so quick! | It must sure. # (Old MacDonald - Second Part ent mg (OH Myc Dona 4) :7 And ont am ne) 1H. quack. quack. here.)Preparatory Exercise: PLAY end SAY the Ringer numbers five times gear A Old Mac- Don- ald had some chicks, had a farm, Traditional — And | on the farm he A |quack. quack, here, a | moo, moo, there, And: herea chick,there a chick Jev'ry where a chick,chick Old Mac-Don-ald|had a farm, | E- I. E-1-] 0! 2‘The Scale of C Major: (a0 sharps ‘nor flats) The Scale of C Major, written on the bass. staff, one ‘octave lower ‘The Scale of F Major; (one flat, BP The Scale of G Major: (Cone sharp, FF ) ‘The Scale of D Major: (gro shay Fe and Ci Stems Down, eft hand Stems Up, neh hand th Major Scales © Major broken chord G Major D Major broken Chord ced Sheed TS backed bockes ‘honeTHE PIANO KEYBOARD IS ARRANGED IN HALF-STEPS | Ab. || AD AIADL | ava ALL are Half-steps The piano keyboard is arranged in hall-steps, (Half-steps are also called half-tones, or semi-tones) If you play every key on the piano as you come to it, not missing any, white or black (the diagram above shows you how), you are playing hall-steps. ‘Two half-steps make a whole-step (or whole-tone). To play a whole-step, just skip one key —either a white key or a black key From C to Dion the piano is a whole-step—we skip a black key. From Eto F sharp is 2 whole-step— we skip a white key. THE CHROMATIC SCALE IS ALL HALF-STEPS ‘The Chromatic Scale is a series of half-steps We can play the Chromatic Scale beginning on any key. Here the scale begins on D. It is easy to play the Chromatic Scale hands together in contrary motion when the scale begins on D. (Contrary motion means that the two hands move in opposite directions as they play.) Begin the scale with both thumbs on the same D and play outwards stim contrary motion, ‘The fingering is the same in both hands when playing outwards from D. Say the fingering as you play. Play outwards only; do net play back to the D you began withFIVE-FINGER HAND POSITION, KEY OF G MAJOR ACCENT rent, accented, wile other are played more lightly. Court OE ‘ihe of time Bath to base i» 1 Time, the tree beats ae: Strong wea weak In | Time, the four beats at: Strong week, Medium, weak In playing pieces we do not olay rats the Strong Det sn every men Eo Sieue sent dea Boer pel ge or fvinfincieeg lop ara baste ‘on Visualizing the keys Met land ots play ther ses 10. The Forest Ranger ot @ Major as en for & [Note to Teacher: a <> fs Who | did- at last a cad fel-low named | Grain-ger. ‘There |once was a z > 2 when | Bru-in he spied. He |fiung the door | wide, And| ssid'How de-|do!Come in| stran- ger!" >a 11. The Bee gath. er hon. ey, Dressed in jack- et |stripedso fun: ny,| Buzz, buzz, | buzz, busy lit: tle 7 2 2 Emphasize the 12. Roller-Coaster accented notes >Left hand plays fow G, the note on the lowest Tine of the bass staff iy First he shiv- ers, 13. Tower Clock strike the hour, Whenthe clock, high | in the tower, [Thinks that he will then he shud-ders,| Then the soundbursts| from the tower: ‘The GRACE NOTE: ‘The grace note is a very short note; it has no time value: itis played just before the principal note. Do not hold the grace note. In E-G-B, the grace note is A sharp, the prin cipal note is B.’ Hold the Brincipal note for its ul 14. E-G-B Memorize treble lines upwards: E,G, B,D. E.G B lived | in a tree, [Thought he would a | fire-chief be: BE G BG E. E. E! He went march-ing| _gal- lant-ly, ©son Crusoe and strol- ing one | day, [When down the | beach Fri- day (play the chord accompaniment softy) (melody in eft hand) Rob. in: son | Cru-soe said, }"Come fish with me Fri- day said, | “I am your | man.” ig: : fl 16. A-F-D Memorize bass lines down wards: A, FD, BL G A. F-D drifts| out to sea, |Night’sas darkeas| it can be. |Sunis shin-ing| in the sky,| Sea is calm, the| waves are high,. WRIST STACCATO TOUCH ready ‘drop (play) off STACCATO, as you already know, means short, detached. There are different ways of playing staccato. Here we learn to play WRIST STACCATO. The wrist must be very loose. The hand drops lightly onto the key and leaves it instantly — just as a rubber ball when dropped a very short distance, bounces quickly back to you. Wrist staccato produces a light, pleasing staccato. 17. The Bouncing Ball - Study in Wrist Staccato Play with a very loote wrist, and light tone (You drop the ball only a very short distance, perhaps ‘onto a table top, and it bounces right back to you!) PART I PART 1 1. Play the Exercise as written —with 3rd finger in both hands. ‘Then play it with 2nd finger in both hands. ‘Then with 4th finger in both hands, ‘Then with Ist finger, both hands, ‘And last, with Sth finger, both hands. PART IL PART IL 1. Play as written, with fingers 1, 2, 3 in both hands. 2. Then play with fingers 2, 3, 4 in both hands. 3. Then with fingers 3, 4, 5 in both handstems Up, right hand Sa 19. The Zylophone — (Piay ato an octave hiner ehmt — moderately loud imip— moderately soft 20. The Rider fitard — gradually slower Fairly fast (atch et hand Bingering)FIVE FINGER HAND POSITION, KEY OF F MAJOR Fol Song20 Imp — for mexe0:piano, means moderately sot. ‘The dotted ine Pe ey ion 22. The Voyagers’ Song (Chords in © Major wil-lows gleam In Chords in F Major: ‘The Vovagers’ Song Second Part (or Pupil o Teacher) RH = LH German Folk Sone fon; The."] riv- er sings its | song. Now-] by the banks where cool re-flec tion” | in the stream, | On, soft: ly New bass note: F below the staf,Left Hand: ° 23. Skiing — On the |moun-tain side so | steep, Where the | snow is white and| deep, Swift: ly | ‘round, the ski- ers : rar ate eases aie fly.’Neath the | blue and shin-ing | sky: Down the|trails the ski-ers | go, the | val-leys far be: — o—_— 24. Alligator Crawl22 PHRASING IN MUSIC Phrasing is punctuation in music. Just as punctuation separates the words in a sentence into groups and makes clear the thought expressed by the words, s0 phrasing in music arranges notes into groups and gives meaning to the musical thought. The phrase ismarced by a slur: ~~ Play the first note of the phrase with a drop of the arm; keep all notes within the phrase connected; play tie last note of the phrase lightly with an up arm motion, ‘The last note of the phrase is played up arm, and therefore the tone duration of the last note is shortened, so that it loses about cne-half its time value. This note, @ atthe end of a phrase, sounds as though it were written @'y, and this note sounds like (Long notes lose less time value, Prusually sounds like 2 and © sounds like 2°) ‘The illustration shows the position of the hand and arm when playing a two-note phrase: = na felaned writ moves downwards last note of phrase is played as relaxed writ nal drop to key ‘Sto eal playing postion frm ir raised (rat i ale playing fet note ined) __——__—_- Bown ot ‘trop gently to Key PHRASING EXERCISE for Right Hand PHRASING EXERCISE for Left HandHere are two-note phrases having fadjacent totes and also skipe of fone note. Play each phrase con- rectedly. MARIONETTES is an excellent study in phrasing —the phrases are begun with each finger of both right hand and left hand, ‘Three-note Phrases Play each phrase connect edly. Say the words “Down and off” for each phrase — dnd ‘also, say or sing the ‘words of HIKE ALONG. 25. Marionettes 26. Hike Along a e a= lang. Sing a song, 22a ‘When you play POLLY-DOODLE, notice how the phrasing makes the music come to lifel_ Watch the fing- fering, especially at the beginning of each’ phase. ‘The hand position changes several times, but if you ‘watch the fingering af the beginning of each phrase, you will find new hhand positions quickly and easily. Form the habit of giving special attention to fingering at the begin- ning of a phrase mark in any piece fof music you play. 27. Polly - Wolly - Doodle “Traditional == — i30. The Drummer Tat ending 2nd ending Rat. a: | tat, tat, tat! Rat-a. | tat,tat,tat! That's} what my drum is | say- ing; |] We | surely do like |play- ing! =r SS “31. Journey by Train w uncine AgtaPart TD i also in the Key of C Major ‘The F sharp atthe ond of Pare Ht ina ee cates that Part TV isin the Key of G + Throu Major 4 = D.C.—for Da Capo, ‘means the end.Lions - Second Part th i (He goes in-side the cage) 28 acme " oop fe fe ee ern REO RTE PPP ETF ges9 Preparatory Exercise for left hand: 33. Lions Tike to watch the | keeper of the goes in. side the (em hand poston) cage to feed them,| I would not, would | you? The fons, they go. | stalking ‘round, Just “Tike big cats, they|make no sound,But| walk as soft. ly | as can be, and | took at ev-'ty30 THE MAJOR SCALE ‘The Major Scale is series of eight notes in alphabetical order, beginning and ending with the same letter name. For example, the Scale of C Major: C,D,E,F, G, A.B, C. Each major scale is named by the note it begins on, and this note is called the Key-note. ‘The ight consecutive notes of the scale are called the dogrecs of the scale; the degrees are numbered, 1-2-3-8-5-6-7-8, THE MAJOR SCALE IS CONSTRUCTED OF WHOLE STEPS AND HALF STEPS. etc that the haif-step comes between depres 3 and 4, and degrees 7 and 8. Hall-teps are marked:~_~ On the piano, you can Thai's major scale beginning on any Key, white or black, f you memorize this pattern step step, hall-atep? Hep, wep, step halen! Cw DwE Ete FG GwA AtwB Bw = SSS SSS] oe tote whole all whole ‘whole whole half ne mo ‘ ms ho ms te pecrees: 1 “P20 SP a oe Ge EXERCISE IN PREPARATION OF SCALE PLAYING Bit Hand Lat Hae ‘The curved fingers form an arch for the thumb to pass under; the thumb must move along at key surface level and not drawn up in.a cramped position towards the palm of the hand; the wrist is flexible; the arm moves smoothly. In the right hand, as soon as D fs played, the thumb releases Cand begins to move along the surface of the keys under the fingers, so that by the time E is played the thumb is over F, ready to play F. In descending, when E is played, the thumb releases F and begins to move back to C. (Left hhand, similarly.) Tn’all scale playing, x soon as the thumb releases its key, it begins to move along the surface of the keys to its next key. ‘This greatly increases smoothness and also speed in scale playing. 34. The Swing Bridge At the pause in The Swing Bridge, the four hngers of both hands svning into position over their faur keys, ready to play them. (Similarly, n seal paying, when the third gsr pastes over the thumb, the third finger swings nto potion over its Key and then plays, Apply this principle {Sill seme practise do ons thing ata timer fs, eet over the ey, thea play them).MAJOR SCALES OF C, G, D, A, Fand B z (To be played hands separately only.) Seale of C Major — Key Signature, no sharps nor flats. © Major brocked Scale of C Major — Key Signature, no sharps nor f © Major G Major blocked see eeaey Broken chord Shor pets et eee Ee eo t F ‘Scale of G Major —Key Signature, one sharp, F# at Scale of D Major —Key Signature, two sharps, F# and C# Bott fora esa Toten Chord Scale of A Major —Key Signature, three sharps, F#, C#, and G# A Major blocked eget state Troken chord hort32. Scale of F Major—Key Signature, one flat, BP F Major blocked breleen chord chord Bb Major locked Droken chord chord SCALE OF C MAJOR IN CONTRARY MOTION ‘The Major Scales of C. G, D and A, have the same fingering in both hands when played in contrary motion. CHROMATIC SCALE IN CONTRARY MOTION Begin on D and use the same fingering for both hands. Say the fingering as you play. a 4234 449 2 1 3 4 5, 4 = (watch nger 2 be here)35. In a Submarine French Folk Song | In a sub-mar-ine in the |deep, blue o-cean, | We can go ex-plor-ing, the | world a: round. 3 t Up. up wecome at | Trea-sure Isle, [Search for the trea- sure | for a- while; v | Down a-gain we go, down be-| neath the ocean; | A- fri- ca is next, thenwe're home-ward bound|34 The Piper's Son - Secondo th 1h 8 (O-ver|the ) —= fs Tin song music, when one syllable is sung| to two or more notes, a small slur indi 36. The Piper’s Son (oven cates the notes for each syllable, (PRIMO) pi-per’s son, He| learned to play when | he was young, But Over the hills anda | long way off, The | wind will blow my | top-knot off! a he could play was | “O'er the hills and37. Reveille Bugle Call 1, This] toud bu- gle call wilt | wake one and all, They'll] have to get Up this | morn - ing! Itve 2 1 Joan't get'em up, I | can't get'em up, I |can't get'em up this | morn - ing! I can't. get ‘em up. | can’t get ‘em up, can't get ‘em up MUSICAL TERMS sergeant tid the | cap - tain, The | eap- tain told the | ma — jor, the | | p—plano—sot — rr 2 cacny ies Botte Coa oon ies coe on Pe the ea per a er = ES — = 4 ma. jor told the | col - onel, He | said: “Go | y | played loud and tong, this | old bu- gle sone, can't get ‘em Up36 HOW TO USE THE DAMPER PEDAL Soft pda. __=-Damper pedal (ee Toot) ‘rgb lat) “The piano has three pedals. The pedal on the right is called the DAMPER PEDAL, When the Damper pedal is pressed down, it Fee eared ont the stags causing the tone of any Key that is played to be prolonged. Dampers are made of felt, When Fv ti aclesecd, the felts (dampers) fall back against the strings, damping their vibration and thereby stopping the sound: Put the Damper pedal down; play a note or a chord, keep the pedal down and take your hand off the keys. Notice how the sound! aa ee asthe pel, Releave the pedal and the aotnd ceases the felt dampers have touched the strings and stopped the sound. ‘This is why thie pedal is called the Damper pedal “The pedal on the left is the SOFT PEDAL. When itis depressed the tone is softer. The words una corda (or uez), mean that the TE Bedal into be pressed down; tre corde, that the soft pedal is to be released. “The pedal between the Damper pedal and the Soft pedal is called the Sostenvto pedal. This pedal isnot used in early piano study, We shall learn its use later. pees ese change pedal ‘The DAMPER PEDAL sign: Petal iy aver Te ae y old pedal down ‘eld wp down ——shold—w, PEDAL EXERCISE: Place the right foot on the Damper pedal, the heel on the floor, Press the pedal down swiftly, hold it down Fee ce Rie: then let the pedal up. Keep the foot in contact with the pedal so that the pedal will not “bump” at the top of TR eee Shotion. Practise this until it becomes easy for you. Remember to keep the heel on the floor ‘The Damper pedal is used to sustain notes be- | ‘The pedal is also used to connect tones, making them legato. (Legato means smooth, Toning te the same chord, thus adding to the | connected, unbroken.) Practise this example, using directions below: harmonic effect. Play this example: play, pedal play, pedal ploy, pedal play, pedal Seg ee saan ques AU eee Put the Damper pedal down and play the fist chord; keep the pedal down and play the second chord, then change the pedal immediately —up, down—while your hand Ihe eins on the keys to hold the tone. Then play the next chord, change the pedal Jmmediately, and #0 on. Say to yourself “play, pedal - - - play, pedal.” DO NOT USE PEDAL UNLESS IT IS MARKED IN THE MUSIC. Follow pedal marks carefully. Remember that too litte Pal better than too meh And for beginner, i is even more important to notice where you let the pedal up than where you pat it down!38. Morning Canter a38 GAaBC 39. Dutch Dance (ov Rhythically : ,Play and say the Jettermames cDEFG Play rhythmically, and with the contrast tween’ phrased notes and taste” well arte 39. Dutch Dance joven Rhythmically (PRIMO)Preparatory Exercise a for left hand: 41. Hop, Hop, Hop German Folk Song Go and never stop! loved your mas: ter, == o : ? You would tras vel -f fast and fas- ter. [Now you think you'll go? | Not so fast then, Whoa! LE NKTE ett hana 42. Willie Winkie The FIVE C's th, —right hand tn ta high € Th “Wil. Tie Wink go to bed, It’s | eight o'clock!” his | grand-pa said Eh th, Ph. tow CS 1 Ts oF “OF E ih UhRevi piel ers or cemeiné 43. A Sea Song 44. A - Hunting We Will Go English a : - a 1 Welll|eatcha fox and |puthimin box, And {then we'll Tet him] go! (Ob, a-fhuntingwewill| go, A-[hunt-ingwe will] go! e - = eae einay lee 2 Imeat. the male section shade the 45. On Parade “8 melody (sch With precision — <7 —— _ Ter mow ray play “Whi Wy Ar oon rn a.48 ‘When a piece of music is written using the notes of the C Major scale (Key Signature, no sharps nor flats) we say that the piece is in the KEY of C Major, Here are Ten Transposition Studies, ‘The Studies are all written in the Key of C Major. Each study is to be played in several diferent KEYS. When mutic is played in 4 dierent key from that in which iis wetten, it is said to be ‘transposed to the new Key. ‘Transpose each Study to as many different Keys as you can. Put 1 check matk (#7) on the Key Chart beside each key you play the Study in. Here fs an explanation of HOW yoa will transpose the Here is the hand position on the piano keyboard ‘when the Study is played in the Key of © Major: Sa TRANSPOSITION studies: Each study is played on the First FIVE NOTES of the Scale —~in five finger position — and therefore you can easily play the study in any key" (Seale) that you have ever learned. Fist, ‘memorize the study ast is written, in the Key of C: then find your hhand position in the new key (remember, the frst five notes of the new key) and play. Use the same fingering in all Keys Here is another way to transpose the studies to any Major Key, whether you know the scale or not. Begin on any key on the piano Keyboard, and play upwards: step, step, half-step, step. The piano key you begin with is the Key-note of the new KEY, Here is the hand position on the piano keyboard when the Study is played in the Key of G Major: S@@eO_| Pelea iciDIE|FIG G BIC|D D GlAiBIC elt Hand, Sve Sngers Right Hand, five Sager chive kes DEE onitve keys CD, ELS Lele Hand, Give Singer Sivekoe CARED a BED TEN TRANSPOSITION STUDIES STUDY No. 1 - Happy Holiday whieh you the Study! Put a check mark. beside each Key in in the Key of BWMLajor, to remind ROTHREY CHART | Yuta fhe gerd ithe same G Major D Major A Major play, F Major BPMajorSTUDY No. 2 - Autumn Days Whistlingdown the | valley goes the STUDY No. 4 - Hobby Horse STUDY No. 5 - Sailor Dance STUDY No. 6 - Roller Skates STUDY No. 3 - The Windmill = boy who minds the | mall. ach Study on this page has its own Key Chart. Check the right chart for each Study as you trans pose, 4s G Major G Major D Major D Major ‘A Major A Major F Major F Major BPMajor BPMajor Noa REY CHART No.5 KEY CHART G Major G Major D Major D Major “A Major F Major EP Major Noo REY G Major D Major ‘A Major F Major BPMajor48 STUDY No. 7 - Donkey Ride | No.7 KEY CHART G Major D Major ‘A Major vay | buttescup, | F Major | pt : BPMajor STUDY No. 8 - The Juggler [oer GmRT] [1G Major] | D Major] | A Major | | F Major oh : : [BbMajor | STUDY No. 9 - Echoes tut finger down NOOKEY CHART ] “hall er G Major D Major A Major F Major BPMajor STUDY No. 10 - The Sailor CHART D Major ‘A Major Sam, the sail or, | goes a sailing, | Early in the BPMajor|In song style Last’| night as 1 | rode o'er the”} prairie ‘breeze drift-ing | down from the” }north-land Ange] gazed at the Meang}“win- ter time stars in do. ies, o-gies, roll 46. The Cowboy's Song Re KGS. a “Traditional8 eet ate 47. On the River de daned 3 teas ; is (oes oe eae In place of using. the ot, the note could be = Tengthened the same amount by tieing to the next smaller note dis enone dd duis the same as dd) = the star- ry | sky. = Flost a long, Down the riv- er | glide 2 F = Stars are in the | wa-ter, too, They | twin - Ke from its | deepest blue:In song style T= ~ 48. Lullaby J. Brahms50 FIVE FINGER HAND POSITION, KEY OF D MAJOR \ i pe telat crt In song style Preparatory Exercise Chords in B Major Play ten b Tne 1h anne of Wale ne play the may nate, ele 49. Waltz Song [etuing'the hey uo: ti wy he note wil rotor tod German Fote Sor Seceeaey Tia now rs Tol Foals Le Sa pn(Christmas Carol « Second Part aes a q 50. Christmas Carol‘TRIPLETS. In FIREWORKS, three notes are played to one best When three notes are played to a beat, the three notes are called trip" lets, Triplets are usually marked: 4 -one beat fone beat ‘The following words will help you to play triplet rhythm. Say (Notice that these words have three syllables.) 1 love tit. te 51. Fireworks “Yh oR, 52. I Love Little Pussy uss-y, Her coat is $0 warm; And 2 German Fotk Song if 1 don'e| hurt her,She't!| do me no | harm, 2 3Watch fingering in 53. The Jungle Band 53 right hand chords. ™p band. (They're play: ing) Irhey wit play the | jun- gle band for | yout co ‘The Jungle Band - Second Part (Far) way) (You, _can_ hea), jl et St ee (tic * ons.) they, | wit_play), ‘54 From the 9th measure on, we hear 54, The Little Piper the drone bass of the bagpipes. With precisionritard—gradually slow atempo—upto ‘ume againPROGRESS PAGES ‘The PROGRESS PAGES are designed to promote a livelier, keener awareness in music study—thereby advancing the pupil's interest in music, and augmenting his ability to make progress on his own initiative, ‘The examples in the Progress Pages are to be assigned by the teacher, but should be learned by the pupil, with little oF no assistance from the teacher. In this way the pupil, left to his own resources, will necessarily become more observant, more ‘competent; and the teacher will obtain much critical knowledge of the pupil's comprehension of what has been taught in past lessons. The teacher will decide when to assign a piece or exercise in the Progress Pages; suggestions regarding this will be found: below the examples, but these suggestions signify only that all the musical facts necessary for the intelligent performance of the example have, at the point indicated, been presented. ‘TO THE PUPIL: Check all the points on the various POSTS (\/) with pencil that can be erased easily—in case you are ‘wrong! When the teacher agrees that all the points checked are correct, you may then re-check with a permanent pencil or pen 1. All Along the River (Rtythmic Ramble on Blk Keys) Not t00 stowly 1————————___ —— loves. to All along the | river, my |don- key All a-long the |riv-er, the [place that we call | homesALL ALONG THE RIVER is played entirely fon the black keys. The left hand plays an in teresting "Boogie Woogie” bass pattern on black keys Soft winds are | blow-ing, and HITCHING POST for ALL ALONG THE RIVER I play corcectly I-left hand alone, tes and fingering. 2—right hand alone, notes and fingering 3-tight hand alone, counting evenly 4—hands together, smoothly, no stops S—from memory. is shin-ing | high, | Rip-ples_ on the 5758 (OBSERVATION PosT for THE MAGIC CLOCK 1 left hand alone, notes and fingering right 2—hands together, chythmically ‘3hands together, musically, (phrasing, staccato, expression) 1 thtegato % . (Sean fr we after Dutch Dae, No.3) SILLY SONGS POST —_ for BILL GROGA’ 1 play this sone: eck 1—with right hand notes and fingering correct ‘Gnelading changing fingers on some notes") a 2—holding the tied whole-notes for full time value...) ‘3~—with left hand imitating the right hand melody... Speer + “Read paragraph on page 0, cegtring changing the Sages to hold noteBill Grogan's goat was feeling fine, Pulled three red shirts from of the line! Bill took a stick, ave bina whack, ‘And nade him past those three shits back! 4 3. Bill Grogan’s Goat (imitation) 5960 ONLOOKERS STARGAZER POST for WHICH WAY ARE YOU POST for TWINKLE, TWINKLE, GoINa? LITTLE STAR T lay this, making ware that check 1 pay this wong with Chek lat the beginning of each slur, 1—notes and fingering right, both hands... potes and fingering are correct 2-right hand “singing” the words... a-ahred notes are well connected EI 3-eft hand softly and steadily Oo 3—the beat is even and very rhythmic... Se change af pecs ot ccemere 17. a 4. Which Way Are You Going?ae Og ae er tege ee ey a ce Sage ws BF Bb ne 5. Twinkle, Twinkle, Little Star How I wonder what you are? Traditional Smoothly oo 4 (Seared or afar Wa Sone No.8)6. Antelope Lope &,. Rhythmicalty 5 1 —fingering correct in broken «solid (blocked) chords. . C] 2-teft hand over to D and E neatly and clearly moderate speed and precise shyehm: Dog 4nd also, from memoryCertificate of Merit- This certifies that Fe ie ie TA BOOK TWO -The LEILA FLETCHER PIANO COURSE and is promoted to BOOK THREE - The LEILA FLETCHER PIANO COURSE NOTE TO PUPIL: Now that you have completed BOOK TWO, and ate going on to BOOK THREE, do not discard Book Two! You will need it for Review and for further study in Transposition at the Keyboard Play the piceer in Book Two offen, and read ever the pages of instruction, When you play the pleces in Book Two, check for these points: correct noter and fingering. Heady rhythm. a variety of touches ——ophresing saceto, leoatay Dedal and interpretation, To improve your interpretation, read and ty #9 follow any sighs of expression in the paces, The Teanspostion Studies in BOOK TWO and aiso tome of the pieces mill be used for more advanced work in transposition, while you are exploring new musicel elds im BOOK THREE!