You are on page 1of 100

LevelZ

THE
OLDER BEGINMER
PIANO COURSE
by James Bastien

i ie^

'%
II

\
m
«
i\ ^
V

yAe 7?as//en
i 0/c/er 7^epinner
T^iano J0i6rart/

M. -i^^ML,
Digitized by the Internet Archive
in 2011

http://www.archive.org/details/olderbeginnerpia02bast
t^;

Level 2

THE
OLDER BEGINNER
PIANO COURSE
Iw James Bastien

Jne ^asiien Ojoer Tjeoinner Tjtano Jbiorarty

(c> 1077 Kjos \V«M. S.ni DicKo. C.ilif.


PREFACE

The OLDER BEGINNER PIANO COURSE leads the student step by step through basic keyboard fundamentals. Each
book contains original music and carefully selected familiar music to provide an enjoyable learning experience. A functional
approach is used allowing the student to play and harmonize melodies from the beginning. Multi-key reading is introduced
gradually through the course.

For optimum results the OLDER BEGINNER, LEVEL 2 is designed to be used simultaneously with its companion book
MUSICIANSHIP, LEVEL 2. Theory, technic, and sight reading materials are presented more comprehensively in this book.

Complete materials designed to be used in conjunction with this book are listed below.

Suggested Use of Materials with THE OLDER BEGINNER PIANO COURSE, LEVEL 2

When the student reaches page 5, he is ready to begin Musicianship, Level 2 (WP35)
When the student reaches page 21, he is ready to begin Favorite Melodies the World Over,
Level 2 (WP38)
When the student reaches page 33, he is ready to begin Easy Piano Classics (WP42)
When the student reaches page 37, he is ready to begin Pop, Rock 'N Blues, Book 2 (GP38)
When the student reaches page 45, he is ready to begin Scott Joplin Favorites (GP90)

'-1977 Kjos West, San Diego. California


Any reproduction, adaptation or arrangement of this work in whole or in part

without the consent of the copyright owner constitutes an infringement of copyright.


All Rights Reserved. International Copyright Secured Printed in U.S.A.

Published by Kjos West.


Distributed by Neil A. Kjos Music Company.
National Order Desk. 4382 Jutland Dr., San Diego, CA 92117
ISBN 0-8497-5030-X
Cover Photo: Harry Crosby/Photophile

WP33
CONTENTS

Information Page

UNIT1 UNIT 4 ^^
BASS ST/LES broken chord bass 5 TRIPLET RHYTHM J JJ 29
waltz bass 5 Triplet Etude 29
Juanita 6 Steal Away 30
German Folk Song 7 Stately Procession 30
Oh! Susanna 8 Minuet binary form 31
Red River Valley 9 LEGER LINE AND SPACE NOTES 32
Frankie and Johnny 10 Reading Studies 33
Nashville 11 TRIADS OF THE SCALE 34
REVIEW— UNIT 1 12
March J^ PP 34
The Passing Parade 35
REVIEW — UNIT 4 36

UNIT 2 UNIT 5
Preparatory Drill 13
Camptown Races 13 INTERVALS perfect, major 37
On Top of Old Smoky 14 TRIADS AND INVERSIONS 38
Every Night When the Sun Goes In 15 Preparatory Drill 38
Triad and Inversion Etude 39

SYNCOPATION J J J, J' J J^..16 Aloha Oe lo 40


Syncopated Rhythm Etudes 16 Molly Malone 41
Nobody Knows the Trouble I've Seen 17 THE CHROMATIC SCALE 42
Shenandoah 18 Preparatory Drill 42
He's Got the Whole World In His Hands 19 Chromatic Scale Study 42
REVIEW — UNIT 2 20 Night Riders 43
REVIEW — UNIT 5 44

UNIT 6
UNIT 3
CHORD NAMES subdominant,
tonic,
MINOR CHORDS 21 dominant 45
FORMATION OF MINOR THE ORDER OF FLATS order of flats 46
SCALES relative minor 22 MAJOR FLAT KEY
natural minor 22 SIGNATURES key signatures
flat 46
harmonic minor 22 GROUP 3 KEYS Db, A'r,,Eh 47
melodic minor 23 READING IN D? MAJOR Do five finger position ... 48
MINOR KEY SIGNATURES 23 I, IV. V7 in Db 48
Three Minor Scales A, D, E minor 24 Jacob's Ladder 49
Scarborough Fair 25 READING IN A^ MAJOR Ab five finger position ... 50
Greensleeves 26 /, IV. V7 in Ao 50
REVIEW — UNIT 3 28 Aura Lee 51

WP33
Information Page

READING IN El> MAJOR Eh five finger position ... 52 DIMINISHED TRIADS 72


I,IV,V7 in Eb 52 Minor - Diminished Triad Etude 72
Chiapanecas 53 Lonesome 73
REVIEW — UNIT 6 54 REVIEW — UNIT 9 74

UNIT 7 UNIT 10

"OVERLAPPING" PEDAL TECHNIC .... LJu-J 55 GROUP 4 KEYS (Unusual Group) Gb.Bh.B 75
Preparatory Drill 55 READING IN Gl? MAJOR Gh five finger position ... 76
55 I, IV,V7 in Gh 76
Pedal Study
In Church 56 Ridin' at Daybreak 77
Blues in the Night 57 READING IN Bl> MAJOR Bh five finger position ... 78
l,IV,V7inBb 78
RECOGNIZING FIRST INVERSION TRIADS 58
59 All Alone 79
Chimes
READING IN B MAJOR B five finger position , . , . 80
RECOGNIZING SECOND INVERSION TRIADS 60 IV.V7 I, in B 80
Solemn Procession 61 I've Been Working on the Railroad 80
REVIEW —
UNIT 7 62 REVIEW — UNIT 10 82

UNIT 8
SIXTEENTH NOTES 63 SUPPLEMENTARY REPERTOIRE
Sixteenth Note Etude 63
TABLE OF NOTE AND REST VALUES 64 Bagatelle {D\abe\\\) 83
Dixie 64 Minuet in G Major (J.S. Bach) 84
Minuet in G (Haydn) 86
•Tj Minuet in C (K. 6) (Mozart) 87
DOTTED EIGHTH NOTE RHYTHM 65
Arabesque (Burgmijlier) 88
Dotted Eighth Note Etude 65
66
Ecossaise in G (Beethoven) 90
Country Gardens

Blue Grass J^ 67
REVIEW — UNIT 8 68

REFERENCE

UNIT 9 CIRCLE OF KEYS 91


MAJOR SCALES AND PRIMARY CHORDS
My Old Kentucky Home 69 Sharp Keys 92
AUGMENTED TRIADS 70 Flat Keys 93
Major - Augmented Triad Etude 70 CHORD DICTIONARY 94
Preparatory Drill 71 CADENCES 95
Lasting Love 71 MUSIC DICTIONARY 96

WP33

»J
UNIT I
• BASS STYLES

BASS STYLES
The harmonizations in LEVEL 1 of the OLDER BEGINNER PIANO COURSE were primarily limited to block chord
style basses. In LEVEL 2 you will learn to use a variety of bass accompaniment styles.

PRACTICE Practice each bass style shown below with your Left Hand until you can
DIRECTIONS play it smoothly. Play by "feel." Do NOT look at your hand for the chord
changes. Transpose each style to the keys of G, F, D. A, and E Major.

BROKEN CHORD BASS (1st Style)

^ C

s
F

IV
i
G7

V7
2 1
m 3 1

BROKEN CHORD BASS (2nd Style)


C F G7

s ^ 22
5
IV
S i5

V7
^2:
^ i

WALTZ BASS

m 5
IV
G7

p^^
6 ^
Yo begin a new book in the OLDER BEGINNER PIANO LIBRARY — Musicianship, Level 2.
•1977 KJOS Wf

WP33 UNIT 1

PRACTICE Practice the Left Hand alone BEFORE playing each of the foitowing two
DIRECTIONS songs.

JVANITA
Andante SPANISH SONG

te
f
F
4

i ^
CI

hi
mp

^ r
*
£ ? ^ ^
i
^/^
S

r
'
C7

i zs:

^
^ p
i*^ ^
3;

^
Z2Z

\
Fine

B^
CI
1 -

-^
pHiC

^
:22:
^ "
'

?
mf
£ ^-M^ ^^ 5 2
H >-

^
Bl.

^m i
F D.C.ol Fim

^ f=^

UNIT 1 WP33
Allegretto
GERMAN FOLK SONG
C G7 /
3

z^

^ rnf
# ' # *

-t r-
/ 3

^- J -5^ ^^

s i
G7

-5>-
-5^"

§ ^ i

G7

J J i i i <=t
^9—tr
Jli
122
%
C
G7
/
1 ^^ 3
1
5
t
1 2 4 5 ~"~^~ ^^

r..
i

VL .

M
(r\
VJ ^ J
« -J
^ *
tf

V) # -y- 3 /.;,.

( rroyj uicr )

-~
/^«
i'\' i r-^ \
•_/• >
/ 1
f rJi

2 4 .-)

PRACTICE Practice the GERMAN FOLK SONG Aqam usma thp .vaStr has^; ^tvle
DIRECTIONS showri on page 5

WP33 UNIT 1
— t

PRACTICE Practice the Left Hand alone BEFORE playing each of the following two
DIRECTIONS songs.

^^
OH! SUSANNA

^
Moderately STEPHEN FOSTER
(1826-1864)
G
D7 ^_
3 4

S
4 1
* 3z ^3 1

i i^ # 3 22 i
come from Al - a ba-ma with my ban -jo on my knee, I'm

^/ • •

&.
9^^^ 221 s:
i zz
J
' I

i
f
g-oing- to Lou -
i
si an - a,
^
my
f
true love
f
D7

for
m

to
-«i^

see.
*

m 7Z.

i m^ i J
G
D7

Now don't
0-

you cry
i
for
22

me.
m
For Vm
"if

^
G_ D7 G
3 4 3 1

I k
0^
i going' to Lou - si an - a, my.
f
true love for to see.

& *—
^ 2Z
fc^

UNIT 1 WP33
RED RIVER VALLEY
Moderately P COWBOY SONG, U.S.A.


i —
^^^
I
c

W ^
II i9-
-^ -^^
w From this val ley they say you are go • in^.

zz.

i i :?z:

" -7

G D7

* 3X
J ? j J i
We will miss your brig-ht eyes and sweet smile

.a=^
^n f i i i ? i -t5^

u
G
* i
^^ So re mem
? ^
ber the
i
Red Riv er val -
22

lev

^-** h
Sl 122:

§
i^t L
i

I «_j

G D7

* y 1
^ ^ i £ # # -o-

And the one that has loved you so true

^ ^ 1^

3
J2.
^ :t

wpa3 UNIT 1
# —
10

PRACTICE Practice the Left Hand alone BEFORE playing each of the following two
DIRECTIONS songs.

FRANKIE AND JOHNNY


Moderate blues tempo TRADITIONAL
C
1 X2

Frank-ie and John


3 5

-
^ ny were lov-ers, Oh,Lord-y
m
how_ they could

w ^rm-^ -m W
2 1

love. They SA^^ore to be true_ to each


m

oth -
r^

er,
m
just as

m fm C3E
i ^r ^r T-
5 3 2 1

Dm

m T5

')
true

f
as

\
the stars

r
a bove.

^
He was her man

G7
s:
^ — fe J
but he done her wrong-.

^2:
i i %

UNIT 1 WP33
11

NASHVILLE
Lively country beat JAMES BASTIEN

^
C C
1

r f
? g g ^

:z: -1^
:2:
22:
I

^
D7 G
2

m
1 3

^ 19- t 22:
i
13 2 1

::^: -71

i * *> ^

Id
if"
^
^ zz

G7 c

fe ^ J J J
S

^ T2
r/^

ibsi
^ f^ r^
r\

'i'

APv. UNIT 1
12

REVIEW - UNIT I

1. For each block chord, write a broken chord bass (1st style) as shown in the first measure. Play this broken
chord bass. Transpose itto the keys of G, F, D, A, and E Major.

^ Wr
m E
G7
^2^
$^ 1

^
2. For each block chord, write a broken chord bass (2nd style) as shown in the first measure. Play this broken
chord bass. Transpose it to the keys of G, C, D, A, and E Major.

^* -o-
C7

xi: ^

m 3
±

3. For each block chord, write a waltz bass as shown in the first measure. Play this waltz bass. Transpose it to
the keys of A, E, C, G, and F Major.

^ D G
6^
A7

Ul
D

^
UNIT 1 WP33
13

UNIT 2
SYNCOPATION

PRACTICE As a preparatory exercise, practice the following Drill BEFORE playing


DIRECTIONS CAMPTOWN RACES. Stretch your fingers apart for the large reach of an
octave.

Preparatory Drill
©
m
3,
i -©-

7^
-o-
? i i

Lively
CAMPTOWN RACES STEPHEN FOSTER
D
A7
*i
o? t ^
Camp-town la - dies
^ zz
Doo-dah,
l.The sing- this song-, doo-dah! The
mf 2. I came down there with my hat caved in, Doo-dah, doo-dahf I'll
:kj& 3^
')--h it> X XE i
D A7
1
D
is:
I -««

Camp- town race track's five miles long-, Oh, doo - dah day/
g-o back home with lots of tin, Oh, doo - dah day I

55
i i
Z3^
mm
Chorus

^
I
1

Goin' to
u
run all
-o-

nig-ht,
G
3

^f^e^
Goin' to run all
^=7
D

day, I'll

g^¥^ s ¥^m n
-«-
^m
^ b^'t my mon-ey on the
f —#
bob -tail nag-,
A7

Some bod-y - bet


^—
on the bay.

s Zm
fr^
WP33 UNIT 2

14

ON TOP OF OLD SMOKY


Moderately KENTUCKY MOUNTAIN SONG
G

m 1.

2. Oh,
On
-0-
top
court -
i
of
in's
old
a
19^

smok
pleas
t9^

7'-
ure.
$ All
And

^^ i
'
f

I
%
i
^k
f %

*
^^ cov ered
^
with snow,
31 22

part m' IS g-rief, A

J' ft H
J

kl

*
i
lost my
t
true lov er,
-^
By-
m
false heart - ed lov er, Is.

^*F^ ^ m ^^
D
D
I
I
i
court - in' too slow,
worse than a thief.

M974 General Words and Music Co., Park Ridge, Illinois

Used by Permission.

UNIT 2 WP33
15

£V£Rr NIGHT WHEN THE SUN


GOES IN
Slowly, with feeling APPALACHIAN FOLK SONG

i ^ -o- 3 ^r^
B'.

p Ev' ry nig-ht

^ when the sun g^oes


- in,

O: 4 _
^^
^

? -o- J J^ i^p ^ -©-

^
Ev'- ry nio-ht when the sun g-oes in,
mf
^ ^ 4- ^
G B^

-5^ i -O- J
J J J
J
/^^
Ev'- ry nio;"ht when the sun g^oes in.

g t^
i ^
^ s& ^

Dm9 Em Dm9
B'
1 3

•"i
i
I hanirdown
'
mv
J -o-

ht-ad
?
and mourn
^
-
^
ful (r\-.

') i
mp
-^ i ^^ ^ (/I'm. « ;v7.

E
E

., .. and Music Co Park Ridge.


.'..jrds ,
Illinois
Used by Permission

WP33 UNIT 2
16

SYNCOPATION
SYNCOPATION means to stress or accent weak beats. Often a LONG note is placed on a weak beat. This
syncopated rhythm pattern is "short - long — short."

short long short short long short

J J J J) J >

PRACTICE Clap and count the foilowing rhythm. Use either of the suggested ways for
DIRECTIONS counting this syncopated rhythm.

V %" M«BiS«lf»»(«^i~W/Bir. ^m»S*»-V»>.viS!¥K!Si»»»»4W!«!!&K^' ' 5»v«SS««M!K!!SW!>¥Sji!»'

i^ J ^ J J
1. 1 and - 2 and 3 (and) 4 (and)
2. 8th quar-ter 8th quarter quarter

PRACTICE Count aloud while you play the following ETUDES. Use either of the ways
DIRECTIONS given above for counting the syncopated rhythm. Transpose each ETUDE
to other keys.

SYNCOPATED RHYTHM ETUDES


1.

I ^ E fe
k k
^^ m fe:

^ pr ^r r ^r (tr r
22 J

^ ^ mf
S


^
/ i»
2.

r^
k
,M-#^
S
^*

V' ('
? * ff ^ p^ pr P
^ rJ

UNIT 2 WP33
17

NOBODY KNOWS THE TROUBLE


WE SEEN
n ^
Slowly, with feeling SPIRITUAL

G C G

* k
I E
m fc
§ i9-
^,

^
No -bod - y knows the trou-ble iVe seen, No-bod- y knows but Je - sus,

fe -ft
£ -©- E

^
D7 G F/,ne

*
^^ ^ 1^
^
d f ^ «"

^ii
i
No -bod -
y knows

5
the trou-ble I've

-o-
seen, Glo - ry hal - le

-^. —
lu -jah!

G GM7 Em7 D7
* P P # 0- s;

"\f.
f
Some - times I'm up, some - times I'm down. Oh yes Lord, Some

^^
5eS & -©-
fi
%

G GM7 CM7 D7 G D.C.alFine


I: f^ 0- 3:
i9-
J
times Vm al - most to the ground, Oh yes. Lord,

&
m & -€>-
£
^
wPa3 UNIT 2
18

SHENANDOAH *

Slowly, with feeling FOLK SONG

Shen-an - doah, I long- to hear you, Way, hay, you roll-ing-

^^ i s?-

Shen-an - doah, I can't be near you. Way,


j2-
^ si
5^
§ i t

Am C7

zz
i •777

way, 'Cross the wide Mis sour- 1.

2. Oh, Shenandoah, love your daughter,


I 3. Oh, Shenandoah, love her
I truly,
Way, hay, you rolling river. Way, hay, you rolling river,
Oh, Shenandoah, love your daughter,
I Oh, Shenandoah, love her
I truly,
Way, hay, I'm bound away. Way, hay, I'm bound away,
'Cross the wide Missouri. 'Cross the wide Missouri.

4. Oh, Shenandoah, I'm bound to leave you,


Way, hay, you rolling river.
Oh, Shenandoah, I'm bound to leave you.
Way, hay, I'm bound away,
'Cross the wide Missouri.

*The word "Shenandoah" has two implications: Shenandoah was an Indian chief;
Shenandoah is also a valley between the Mississippi and Missouri rivers.

UNIT 2 WP33
19

PRACTICE Improvise (make up) a different bass part for each successive verse to
DIRECTIONS HE'S GOT THE WHOLE WORLD IN HIS HANDS. One bass pattern is

shown below as an example.

^ ^m t simile

HE'S GOT THE WHOLE WORLD


IN HIS HANDS
With spirit SPIRITUAL

('

W
4

J J E i ^^^

m
He's gt)t the whole world- in His hands,- He's g-ot the

•/!> ,
j ^
F i

G7
4 2

5
1

^ i ^
whole world- in His hands, _ He's g^t the whole world-

55^

m i i

^ J' j^.i=i r ^^
G7

§
^
*j

^ in His hands,- He's

¥
^
g-ot the whole world

-•s^
in His hands,

f I
7I
3
1

2. He's got the wind and ram in His hands. . 4. He s got you and me in H^s hands. . . .

3. He's got that little baby in His hands, . . . 5. He s got the whole world in His hands,

WP33 UNIT 2
20

REVIEW - UNIT Z

1. Syncopated rhythm is often produced in music by stressing a note on a weak beat.

2. Clap and count this rhythm.

I J J J ij J ij J J o II

3. Clap and count this rhythm.

'

I ^ J > IJ J I ^ J J- IJ II

4. What similarity was there between the two lines of rhythm above?

5. Play this melody. Count aloud as you play. Transpose it to the keys of C, G, and F Major.

*
^ 1 2 ^

^
g ^ zz s 221 i
F
I
"
pr p
i5« "27 m
6. Play the following chord progression with your Left Hand in the rhythm indicated.

07 F
o
r r r r r If r r

UNIT 2 WP33
UNIT 3 21

MINOR CHORDS
FORMATION OF MINOR SCALES
MINOR KEY SIGNATURES

MINOR CHORDS •X-

PRACTICE Practice each pattern shown below first with your Left Hand, then with your
DIRECTIONS Right Hand, then both hands together. Play by "feel/" Do NOT look at your
hands for the chord changes. Transpose each pattern to the keys of G, F,
D, A, and E.

MAJOR — MINOR
C Cm C
1

E J.J^^* ^m ^
^r^
S ass^sj axs^^ ^m ^^
I V7 UN MINOR
Cm G7 Cm G7 Cm
S nw J
3^ 3^
^ ?
m * 7 ^ =^=
^ ^^21
m i± ^
1 V7 V7

PRIMARY CHORDS IN MINOR


Cm Fm Cm G7 Cm
E J
5
n^ ^ ^ ^
^ IZJ

i iy
s^
i
s V7
g
i
fe
:2± J

For review of minor chords, refer to UNIT 10, page 82 of the OLDER BEGINNER PIANO COURSE, LEVEL 1 (WP32)

You are ready to begin a new book in the OLDER


'-)•
BEGINNER PIANO LIBRARY — Favorite Melodies the World Over, Level 2.
KJUi Wt S' S,.' [).'jo Cl-'O'".) (E.l Nil /rflMH;

WP33 UNIT 3
.

22

FORMATION OF MINOR SCALES


Major and minor scales are RELATED by their KEY SIGNATURES.

C MAJOR A MINOR
(No rsor b's) (No rsor b's)

Because these two keys have the SAME key signature they are called RELATIVES.

RELATIVE MINOR SCALES


The RELATIVE MINOR scale begins on the SIXTH tone (degree) of the Major scale.

C MAJOR SCALE
^
f
-o- XE
-o- xn o **
"O"

NATURAL MINOR
XE -O- xr
A MINOR SCALE XT -O-

FORMS OF MINOR SCALES


There are THREE forms of minor scales:

(1) NATURAL (2) HARMONIC (3) MELODIC

1 The NATURAL minor scale uses exactly the SAME notes as the relative Major scale (see above.)

2. The HARMONIC minor scale uses the notes of the natural minor scale, but the SEVENTH tone (degree) is
RAISED A HALF STEP.. The raised seventh must be written in as an accidental, because it is not in the key
signature.

HARMONIC MINOR
-o-
Q XT O ffo
fr
XE ^ II

7th raised

UNIT 3 WP33
23

3. The MELODIC minor scale uses the notes of the natural nninor scale, but the SIXTH and SEVENTH tones are
RAISED A HALF STEP going UP. The SIXTH and SEVENTH tones are LOWERED going DOWN.

MELODIC MINOR

XE fefc=^=fe=^ ^ XT -O-
i? XE O *^ -o- XE -O- XE

6th 7th 7th 6th


raised lowered

MINOR KEY SIGNATURES


Both the Major and its relative minor key have the SAME signature. To tell whether a piece is in Major or minor,
look at the first and last notes. These are CLUES which help tell Major or minor. Also, listen to see if the piece
sounds Major or minor. If the piece sounds minor, you can find the minor key name with this rule:

Count down THREE HALF STEPS from the Major key name.

G MAJOR E MINOR

Sw
4
-&-

-1
(tO

half step-
(l]u) ^ 4
-o-

2 half steps-
3 half steps-

PRACTICE Write the minor key name on the blanks below


DIRECTIONS

F Major n minor C Major minor

iW ^ w ¥ ^
WP33 UNIT 3
24

THREE MINOR SCALES

PRACTICE Practice each harmonic minor scale for at least a week. Play hands sepa-
DIRECTIONS rately at first

A HARMONIC MINOR


12
ir^
(Relative of

3® 234
C

^
Major)

1^
3

j
2

J
1

J
©21
* » 3
g¥=?
§ 1 J
5
J
4
J
3
r
12
^
1®21
fe fc
230? '2
^
34
D HARMONIC MINOR (Relative of F Major)

12 3®

^=^ ^ ^m i 2, 3 4 5 4 3 2i

I
1 ®
*=^ g
2 1

g¥=^
§ 1^ i f5 '4 32I
i ^ ^ ^
1@21 2302 3
-!

4
1-

E HARMONIC MINOR (Relative of G Major)

*^
^=^
1 2

^
3 ® 2

^^
3 4 5 4

^
3

r f J ^
® 2 1

-^h

'>-n r r r r i ^^J^ 'rr r r ^ # za.

4 3 2 1 2 2 3 2 3 4 5

PRACTICE Practice the above scales as NATURAL minor scales by leaving out the
DIRECTIONS written sharps in the second and third measures (see page 22).

Practice the above scales as MELODIC minor scales by raising the sec-
ond note of the second measure a half step and leaving out the sharp m
the third measure (see page 23).

UNIT 3 WP33
I
25

SCARBOROUGH FAIR A/^


/
>'-' J
Key of minor ENGLISH FOLK S¥NG

Slowly, with feeling Dm

S —77
;i=3«:

^ 3
i1
i ^m
A7
Dm

J. J J

^ f

G Dm

:^=i:£
t©-
a
mf

i^^ 5 2 1 1
g
1
^m "2 1
r=f

B' Dm Dm

^=^ -"^^

m/?
? ^^
dim.
2 1 2

?
r//.
:^

S J
^ 1 2 r "5
T T m
WP33 UNIT 3
26

PRACTICE Write the chord symbols above the melody line for GREENSLEEVES.
DIRECTIONS

GREENSLEEVES
Key of
'/ minor
ENGLISH FOLK SONG
Slowly, with feeling-

i ?
1

i ^^? '

s j

V
^^ 1

s;

i 3 J. i< . f ^ ?

fe
^ i

^
i ^^
i u^ ^m
^
^
^
^
9

5
s^^ p= ^^ ^
-y ?7^
:^

^ ^

g^ 2iv
^ i

UNIT 3 WP33
27

I
m
\? r*''

/
i
^ ^
^
?

X
#v s J

^m 5
i ^ 22: i

t==^ i ^ 5
?
f
m t ^

^
R— r//.
^
^^ i
i
:e
4 !

WP33 UNIT 3
28

REVIEW - UNIT 3
1. Relative Major and minor scales have the. key signatures.

2. The relative minor scale begins on the. tone of the Major scale.

3. There are. forms of minor scales. Their names are.

r-.

DlMLCand'^M

4. Change this natural minor scale to harmonic minor. Play it.

E minor
* o- xi:
xr
X£ XE
-o-

5. Change this natural minor scale to melodic minor. Play it.

A minor
^o ^o -e- o o
o XE -o- IDE ^^ O II -e-
i» xx

6. To find the relative minor key signature, count down.


1 half steps from the Major key name.

7. Write the minor key name on the blanks below.

G Major minor F Major minor

4
D Major mmor C Major minor

m g S
UNIT 3 WP33
29

UNIT 4
• TRIPLET RHYTHM
• LEGER LINE AND SPACE NOTES
• TRIADS OF THE SCALE

TRIPLET RHYTHM
A triplet eighth note figure is equal to one quarter note. 000 =

PRACTiCE The triplet rhythm may be counted in various ways. Clap and count the trip-

DIRECTIONS let rhythm in the ways given below.

1.

2.
3.
j"n
1

trip-

1
-

-
un
i

2
-

-
un
let

3
J
2
quarter
1
m3
trip
1-2-3
-

-
ee
i
-

-
ee
let
J
4
quarter
1

PRACTICE Play first with your Right Hand, then with your Left Hand, then with both
DIRECTIONS hands together. Count aloud while you play. Use any of the ways given
above for counting the triplet figure. Transpose the TRIPLET ETUDE to
other keys.

TRIPLET ETUDE

m
i J ^ J ^m ii=^^=^ ^>—^

m^ uUs _s

WP33 UNIT 4
30

STEAL AWAY
Slowly, with expression SPIRITUAL
F Dm C7

^ mp
^
12.
t
Steal a -way, stea 1 a - way, steal a -way to Je - sus.

P ^ 1 ^
^
G.
55=
«

Am Dm C7

^
F
1

S g ^ g
Steal a - way, oh, steal a-wayhome, I don't have time to stay here.

5^ ^ ^xc «:
*

STATELY l^ViOC^SSlO^
Alia marcia

4n ^ ^
H
1 *
ffP^^^f

—-t
t
c
I I 1
\
-<

'
1

» ^
H
^^^jj^J y

^ '"/

J 221
f r r f

S
VF^^f ^ ^ ' *^ ^"TJ ^ ^ ^ ^
^^ i £
^ ^ :s

UNIT 4 WP33
31

BINARY FORM
This piece is in BINARY, or TWO-PART form. The two
parts are called Section A and Section B.

MINUET
Section A GEORGE PHILLIP TELEMANN
Moderato (1681-1767)

1= =3= ->
— I-

f ' '
1
::s:

5 :*=m:

^f
^^ 1^ 7^ 2Z
^

£
Section B
,Vo
i
^ * ^ * %
p

m £ -TZ. :zz

1 ' 2

^'^^
y^i^-
/
/ /
S J
is:
i 4

UNIT 4
32

LEGER LINE AND SPACE NOTES


The short lines added above and below the staff are called LEGER LINES. Line and space notes are written on
these short leger lines.

You have already played some leger line and space notes. Now you need to learn more of these notes to play
music in a wider range.

PRACTICE Practice naming and playing the following leger line and space notes.
DIRECTIONS Write the note names on the blanks below.

NOTES BELOW THE I


/k STAFF

I -«-
TT XT TT
-O-
^ TT TT

B A G
Ji_ ^ ^ A_ ^ J_
NOTES ABOVE THE 9* STAFF
C D E F

^ £JL ^ — XL _ ^ :!^ _ jQ.

m
1

u
t)

NOTES ABOVE THE A) STAFF


i
A B C D

-o- XI.
XL ^
— -o- —
Ja.
-^^ —
XI.
-o-

I
r.

NOTES BELOW THE <): STAFF

^ '^ :^
^^ ^
XT ^ XT
B O

*Drill on the leger line and space notes using the Bastien Music Flashcards.
h969 GWM. Inc.. Park Ridge, Illinois. (Ed. No. GP27.)

UNIT 4 WP33
33

READING STUDIES

1.
-I 1-

^^
i :^c=#:

f-P ..z—m..^ -^

-^-
^ # ^ ^
fe
f
/-^

2Z
y a
S: i
5 ,3

3 J
^

^^ nif

V ^> 1 3^.

legato

^ ^

^ ^;
r^ f ^ ^'

You are ready to begin a new book in the OLDER BEGINNER PIANO LIBRARY — Easy Piano Classics.
'g^'^ K JOS WES' i.i' Jfq... C.J •^- ,1 ;EJ 'Jo A'SM.'

WP33 UNIT 4
34

TRIADS OF THE SCALE


I

A triad (three-note chord) may be built on any note of any scale.

TRIADS OF THE C MAJOR SCALE

» n » 8 »
ji U B

PRACTICE Practice the above triads FORWARD and BACKWARD. Play first with your
DIRECTIONS Right Hand, then with your Left Hand. Transpose the triads to the keys of G
and F Major,

MARCH
5 5

^^
Strict march time

^
1 1

E
Jf
^^ "if
^ m
i
"^
iU ^ ^^ m ^mi
^^ jE

^ I ^^
^ ^ r^^ fe^
dim. mo I to

i ^ J ^ J ^
-©-

DYNAMICS // FORTISSIMO = Very Loud pp PIANISSIMO = Very Soft

UNIT 4 WP33

i
35
THE PASSING PARADE
Strict march time

E i ^ ? i i i f

^^ 'lA

^^ i ^

^
jj I
r J i -*5Li s

7
^^ r
f

ir^^ I 5 i M >

i ^^g^
ova
V

^>' • • •
i ^^
4 1 3 5

^ *

3 I • I • • • • •

8 va
V
4 1

t J ^^
f 4^ ^^ 1

S
V
r//m.

6*;'fl
mo/fo

y » ^
PP

^
^kJ

WP33 UNIT 4
36

REVIEW - UNIT 4
1. A triplet eighth note figure is equal to. .quarter note.

JT3

2. Clap and count this rhythm.

J ;t3 J I J n } \i } sf:\i II

3. Play this melody. Count aloud as you play. Transpose it to the keys of C and D.

*
^ ^ d m 3^ * W^ d ' i

4. Name these leger line and space notes. Play them.


XL -O-
li.

xr XT

r^
n "^ ,r\

£L
m TT -O-
XT
C A /

ii

5. Write the triads of the G Major scale. Play them. ^^

UNIT 4 WP33
37

UNIT 5
• INTERVALS
• TRIADS AND INVERSIONS
• THE CHROMATIC SCALE

INTERVALS
An INTERVAL is the distance in pitch between two notes. The bottom and top notes are counted, plus the letter

names in between.

31
-e--©- -e*^ -§r
m ~&- XE -©-

Perfect Major Major Perfect Perfect Major Major Perfect


Prime 2nd 3rd 4th 5th 6th 7th Octave

PERFECT INTERVALS: Prime, 4th, 5th, Octave MAJORilNTERVALS: 2nd, 3rd, 6th, 7th

There are TWO ways of writing intervals: HARMONIC


n
r^ MELODIC i
(notes played together) (notes played separately)

Any Major interval may be changed to minor by LOWERING the top note one half step.

XE En: o ^ -»-

Major minor Major minor Major mmor


3rd 3rd 6th 6th 7th 7th

The following chords are formed with Major and minor intervals:

MAJOR TRIAD MINOR TRIAD DOMINANT SEVENTH*


(V7)

minor 7th

^
Perfect 5th
Major 3rd
(Root) W Perfect 5th
minor 3rd
(Root)
5 Perfect 5th
Major 3rd
(Root)

'Full explanation of the Dominant Seventh chord is given on page 45

You are ready to begin a new book — Pop, Rock, 'N Blues, Book 2.
ei971 GWM, INC ,
Park R 1 No GP38)

WP33 UNIT 5
38

TRIADS AND INVERSIONS


TRIADS
5TH(top note)
You have already played many Major and minor triads. 3RD(middle note)
The three notes in a triad are called ROOT, 3RD, 5TH. ROOT (bottom note)

The intervals of a triad are measured from the ROOT up. The interval from the ROOT to the middle note is the
interval of a 3RD. The interval from the ROOT to the top note is the interval of a 5TH.

TRIAD INVERSIONS
A triad in ROOT POSITION has notes which are either on all lines ^ or all spaces

Any ROOT POSITION triad may be INVERTED (rearranged) by moving the ROOT NOTE to the TOP or
MIDDLE.

ROOT POSITION FIRST INVERSION SECOND INVERSION


3E
^ ^ -Q-

ROOT on bottom ROOT on top ROOT in middle

PRACTICE Practice the following triad and inversion Preparatory Drill, hands sepa-
DIRECTIONS rately. Use the CORRECT fingering. MEMORIZE the fingenng.

Preparatory Drill
C MAJOR TRIAD AND INVERSIONS A MINOR TRIAD AND INVERSIONS
Transpose: F, G Transpose: d,e

^ i
4 ^ S^=^ t i i
t-^
^^ 1
t i
6

UNIT 5 VVP33
39

PRACTICE Write the letter names of the chords and the correct fingering BEFORE
DIRECTIONS practicing the TRIAD AND INVERSION ETUDE.

TRIAD AND INVERSION ETUDE


Moderate

I'i i i

^ «/

I i 4
is^'

S
^ -^0- g
f

i
err so.

s *

i
/
1 ^
s

WP33 UNIT 5

40

ROLLED CHORDS
The wavy line before a chord j8 means to roll the chord quickly from the bottom to the top. By rollina the
chords, a strumming effect is created imitating the sound of the ukulele or guitar.
rai ANCE ^
Ccompan\n\^^

ALOHA OE* (Farewell to Thee)


Slowly QUEEN LILIUOKALANI
G

W Z2Z

Fare well to thee, fare well to thee, Thou


A lo ha oe, a lo ha oe. E

^^ ^^ i
-0- *
t m^ i ii
D7_ G
2
::^
S i -o-
-^ —9-
charm - ing one who dwells a - mong- the flow ers; One
ke o - na ona no - ho i ka li po; One

Fm
i -o- 9-
J

722 t5^

fond em brace be fore I leaTe, un


fond em brace a hoi ae au, un

'/*
X \i I \
t i fci i m^ i
$=Je
J
D7 G

221 -o-

til we meet g-am,


til we meet g-ain. n't.

^:
^m
§ -©- «
ALOHA OE was written by the last reigning Hawaiian Island Queen, Liliuokalam. Although the word "aloha can be used as a greeting
or fareweii, this song is traditionally sung at Hawaiian gatherings as a fond farewell.

UNIT 5 .VP33
41

MOLLY MALONE
Not fast, broadly and freely IRISH FOLK SONG
B! C7 F

M
F
3

ig
IP 1 i ^p ? s
^ In Dub-lin's fair ci - ty where g-irls are so pret-ty, I first set my

^S zr/M pedal
-Sli
s-=- EE

Dm G7 C7
Bf,

* IS
:x:

m i ^ i
eyes on sweet Mol-ly Ma lone: As she \^1ieeled her wheel bar-row, Thru streets broad and

m te S
1
2
&.
«-

5 Chorus
C7 Dm C7

S
^
p
i
P
3 g
nar-row, Cry-ing-: Cock-les and mus-sels a - live, a-live oh/"'

^^ei -U2^
i^ 21

Dm

^
Dm Gm C7

g h
P f
ohl_ liye, a-live oh 1 — Cry- ing-: ''Cockles and mus-sels, a - live, a-live ohl"
_

m
nf.

ri fc^ r$ ^
> i
^ 1
2
? 1 1 1
3
1
3 ^ "* 1
-•?
2
5 5 5 5 5 5 5

2. She was a fishmonger, and sure 'twas no wonder, 3. She died of a "Faver," and no one could save her.
Since so were her father and mother before; And that was the end of dear Molly Malone;
They each wheeled a barrow But her ghost wheels her barrow
Through streets broad and narrow Through streets broad and narrow
Crying, Cockles and mussels alive, alive oh! " Crying, 'Cockles and mussels alive, alive oh!"
Chorus: Chorus:

wPi3 UNIT 5
42

THE CHROMATIC SCALE


The CHROMATIC SCALE is made of HALF STEPS.
The chromatic scale may begin on ANY note. The
chromatic scale uses twelve half steps (one octave).

FINGERING RULES

2.
. Use your 3rd finger on all

Use your thumb on all the white keys, EXCEPT


the black keys.

when two white keys are together, then use your 1st
R.H.

LH. '3 HVIIJ


3

3
3

3
^3

»f * 3
3 3

and 2nd fingers (1 - 2 or 2 - 1). R.H.

LH. tJ
A

ft)
1

J
T
^7
2

^
1 2

PRACTICE Practice the following CHROMATIC SCALE Preparatory Drill. Play hands
DIRECTIONS separately.

*...v.<W.^: WSSSfiSSf?**

Preparatory Drill
R.H. Fingering
13 13 13 13 3 12 1 3 12 1

5
^
1
L.H. Fingering
^3 13
1 1^313 1 3212 3212 3

PRACTICE Practice the following CHROMATIC SCALE STUDY. Play hands sepa-
DIRECTIONS rately.

CHROMATIC SCALE STUDY


13 13 CEZH HZZU 13

^^
1 2 Q 3 3 3

^^ m f
I I
1 3 1, 3, 1 1, 3, 1 1

^ i i J (J J JJ JlJ
1'^
ff -©-

^^ 1 3
ll
'1
lo
'3
QZI]
¥ 3 1
#^^f^
3 13 12 II
S s
2 3 1
k^fe
3 13 I
E
2]
W=i^
3 'l '3
XE
1

UNIT 5 WP33
43

NIGHT RIDERS

4_L 12
^^
2 1 5

ZZ

i g ^ ^^
4__3 12
^^
2 1

S^ «Li

s
"^ [> J ^^
•'^
^2 3 3
1 1 1

X
P^ d bd ^'
i

S i v=§ \ ^ U ^^ I

L=
WP33 UNIT 5
44

REVIEW - UNIT S

1 . An interval is the distance in pitch between two notes. There are two ways of writing intervals: notes played

together form a interval; notes played separately form a interval.

2. Name these harmonic intervals.

sx.
3X XE -O-
XE XE
-O- S xr
-rtO-
XC -O-

3. Name these melodic intervals.

1
^ ^

./-
4. The chromatic scale is made with .
-
steps.

5. Any root position triad may be inverted by moving the to the top or middle.

6. Write the inversions of the F Major triad. Play all three chords.
Root First Second
Position Inversion Inversion

rT
g
7. Write the inversions of the D minor triad. Play all three chords.

Root First Second


Position Inversion Inversion

s
UNIT 5 WP33
45

UNIT 6
• CHORD NAMES
• THE ORDER OF FLATS
• MAJOR FLAT KEY SIGNATURES
• GROUP 3 KEYS
• READING IN Di' MAJOR
• READING IN Al' MAJOR
• READING IN Eb MAJOR

CHORD NAMES
PRIMARY CHORDS
Chords can be constructed on each note of the scale. The PRIMARY CHORDS are named TONIC (I chord),
SUBDOMINANT(IV chord), and DOMINANT (V chord).
C F G
^
i^=^
^ « o ^
^ w.
ZI o *

I ii iii IV V Ti vii I

THNIC
^'^'^ SUB- DOMINANT
DOMINANT

DOMINANT SEVENTH CHORDS


The DOMINANT SEVENTH CHORD in root position is built on the FIFTH tone of the scale (Major or minor).

G7
XE -&- IE
^ o o **

DOMINANT
SEVENTH

DOMINANT SEVENTH CHORD INVERSIONS


The Dominant Seventh chord has four positions because it is a four-note chord: Root Position, First Inversion,
Second Inversion, Third Inversion.
Each inversion of the Dominant Seventh chord has an interval of a SECOND. The ROOT of the inverted chord is

the TOP note of the interval of the second.

ROOT FIRST SECOND THIRD


POSITION INVERSION INVERSION INVERSION
"^
^1 ^^^ '^^
^^
Root

You are ready to begin a new book — Scott Joplin Favorites.


'1975 GWM INC Parv Ridge iiiifKus (Ed No GP90i

WP33 UNIT 6
'

46

THE ORDER OF FLATS


The FLATS are ALWAYS written in the same order on the staff. MEMORIZE this order.

Line Flat E Space Flat


::32
£

^ B

PRACTICE Write the order of flats three times on this staff.

DIRECTIONS-

l.^ 1

MAJOR FLAT KEY SIGNATURES


RULES FOR FINDING FLAT KEY SIGNATURES
1 . Look at the NEXT-TO-THE-LAST flat. ^^ B b Major

2. The letter name of this flat is the name of the MAJOR KEY.
EXCEPTIONS:

I F Major C Major
(one flat) (no sharps or flats)

PRACTICE Name these Major flat key signatures,


DIRECTIONS

a ^ ^
fe*

*DrJII on the flat key signatures using the Bastien Music Flashcards.
=
1969 GWM, INC ,
Park Ridge, Illinois (Ed No GP2?)

UNIT 6 WP33
47

GROUP 3 KEYS
GROUP 3 KEYS Dl^, Al», E^

The GROUP 3 KEYS (Db, Ab, Eb) have a WHITE KEY under the MIDDLE FINGER and black keys on
either side in their or tonic chords. En is underlined because it is the UNUSUAL key in this group. The
I

five finger position in E:? has TWO


white keys under the 2nd and 3rd fingers in the Right Hand, and under
the 3rd and 4th fingers in the Left Hand.

POSITIONS FOR THE GROUP 3 KEYS

PRACTICE The circled finger numbers outline the or tonic chords within the five
I

DIRECTIONS finger positions below. Play these five finger positions and chords. 1

KEY OF Db

^^^ (^)^i7\0 ,,
( -4

^
fete H
(S^J^V
1 i

^ {,\m\ytt
^
"-rr W

Left Hand Right Hand

KEY OF Ai^

^ £5
^ i,i^ frt;
T,'*
^
1 \
1

1/ i ,./

/i '

J_LlJlO_
N A A K >^^^ A ^
1

Left Hand Right Hand

KEY OF El^

a)#(i')p ,/^)

';^h.'T r
rT'T r-^ til
J J
. J
^'^'* )
(:-> )
^ **^
:GI
^

Left Hand Right Hand

WP33 UNIT 6
48
I
READING IN Db MAJOR
PRACTICE Practice the five finger position and the primary chords in Db BEFORE I
DIRECTIONS playing the three pieces on this page.

R.H.
FIVE
tte
FINGER
POSITION*
i i J
L.H. 5

U G!> D!' Al.?

PRIMARY
CHORDS m^^ fc-i JZ
-S-9-

IV
2£:

v?

1.
A'^T DL
k^=^
^^F^
^^^ \^
i "5^
m
f-p
^^ S ^=t

V;
^S &
2. Dl> Gl>

t' l /L <•

/-^
S #— I*
^ it*
Dl>

g
A^7

3 i
D^^

"Sf

^& fe*
fi
-o-

IV
3g:
:2:

V7

^'^^VJi
y_^

nu
W g
5

f f
ZZl
td

*The Db Major scale is given on page 93.

UNIT 6 WP33
49

JACOBUS LADDER
Moderately slow SPIRITUAL

^ Yz 12L
22

^ a1?7
1
mp We are climb - ing- Ja - cob's

d!>
lad - der,

S^ << .
g*' -.^
1©^ 31
We are climb - ing- Ja - cob's lad - der,

s^ z£ rjg P
r :& z^
sc 2:

Dl? Aug^ g!.


d!.

^
m^ i5^

We are climb - ing- Ja - cob's lad - der,

Sm
cresc.

fe fe
9-

Ahl d!. Gl. D[>

H
W^^ :^
X
3 -«^ "O" XT
Sol - diers of the cross.

^
e^
r// m
z^ z^ 5^ «^

PRACTICE Improvise a different bass part for each successive verse.


DIRECTIONS

2. Every round goes higher, higher. 4. If you love Him, you must serve Him, . . .

3. Brother,do you love my Jesus? 5. We are climbing higher, higher, . . .

WP33 UNIT 6
50

READING IN Ab MAJOR
PRACTICE Practice the five finger position and the primary chords in Ab BEFORE
DIRECTIONS playing the three pieces on this page.

R.H.
FIVE
FINGER
POSITION*
t*
^ ^
L.H.
f
TT'

%
K\ Af> Wl

^^
1
2-^
PRIMARY -h-9- 3=2
CHORDS ^ $
IV I Vy

2. Al. Dl>
k\ E^7 Al.

t*
^i=^
/-^
^ i i ^ s f r "^^ •

^&
<is-
-o- 9- zz.

IV v?

^ ^
S

'n''i> }i
^^ ^^ £

*The Ab Major scale is given on page 93.

UNIT 6 WP33
51

AURA LEE
TRADITIONAL
Slowly, with feeling
A^ m. Ef*?

^
.

1 ^^Ti 4 1
t* 31
i i
P
rnp As the black-bird in the spring-, 'Neath the wil - low tree

§ rszo
?± ^ ^§1^
^ XE
^8^

B!>7 Et>7
A(,

1*
i ;#tr=i^ i J
Sat and piped, I heard him sing-, Sing-- ing- Au - ra Lee.

1S
-:^ ^ -o- 3X
i
A'' Aug-. Dl.
A\>

^^
*T

B)* XE
I Au
f
ra Lee, Au - ra Lee, Maid of g-old - en hair,

^^ ^ —ft
o

Bl7 £1^7

^ !*

Sun- shine come


?
long with thee. And
h

swal-lows in
f
the
is;:
XE

air.
r/f.
a ti mpo dim.

^.^
<^^ A. 4t
7-i>,b 5—«- XE

'Numerous versions of this popular serenade have been \vritten over the years was a favorite of college glee clubs and barbershop
It

quartets The West Point Cadets gave a new title ARMY BLUE. A version by Elvis Presley, LOVE ME TENDER, was an instant hit and
it

rose to the top of the charts.

WP33 UNIT 6
52

READING IN Eb MAJOR
PRACTICE Practice the five finger position and the primary chords in Eb BEFORE
DIRECTIONS playing the three pieces on this page.

FINGER
FIVE

POSITION*
R.H.

jT—r

L.H.

n At
is^
i ^
Eh
J

PRIMARY
CHORDS ^^m
M^^ 5E "
^

isP-
5 g & -^
^,
i
IV I V7

2.
^ m 3
E!>

i ^ B!.7 E!.

^S
f-p

IV
£ J
^ «f^
®-

V7
s

^^
f
i ^ ±zi

^^ ^
/-?

v^'i, li ri r rr

*The Eb Major scale is given on page 93.

UNIT 6 WP33
53

Animato
CHIAPANECAS
MEXICAN FOLK SONG

r,
— I

i
1

• •
1

S ^^ 1

• •

/
^^
^^^I'l.
'i f i I
I ^ J ^ ^^
m:
E^

^ 5

^
> ^ ^ :

^ ^^
2.
Ei.
B'.7 E!.

7P

A^
^ ^ I I r=r^
^ ^
t 'F=^=

m ^ * # 7Z.
3^
1©^

iS
'"Z

^^
«^-r
i 4-^

B!-7
^• •

'
«=*
1

^ f
• •
f

^'v-

iS^

• •
2

^— •
321 i
"t •

^^

*=f Jfc=* *=^


5 1
9
f
El. B''? B^7 E^
E!.
^
^^
1
®

w
3

s d d ^ J
f ^

^ ^m
jsr

n, T -^ i i
^> *C i ^fc:
r

WP33 UNIT 6
54

REVIEW - UNIT 6
1 . The Primary chords are built on the I, IV, and V tones of the scale. The names of these chords

are (I) ,
(iV) . and (V)

2. The Dominant Seventh chord in root position is built on the tone of the scale.

3. The order of flats is

4. The order of sharps is F C G DA E B. What is similar between the order of sharps and flats?

5. Name these Major key signatures.

m^ ^ g
I

6. Write the I chords in the Group 3 keys. Add the necessary flats. Play these chords.

D\} Major A[> Major El> Major

3 3 m
7. What do they have in common?

8. Write the notes in each five finger position for the Group 3 keys. Add the necessary flats. Play these positions,

D\> Major AI7 Major Eh Major

9. Which is the unusual key in Group 3? Why'

UNIT 6 WP33
55

UNIT 7
• "OVERLAPPING" PEDAL TECHNIC
• RECOGNIZING FIRST INVERSION TRIADS
• RECOGNIZING SECOND INVERSION TRIADS

44
OVERLAPPING'' PEDAL TECHNIC
The DAMPER PEDAL (right pedal) is used to SUSTAIN and CONNECT tones.

The damper pedal is often used in an OVERLAPPING manner.

PRACTICE Practice the following "overlapping" pedal Preparatory Drill.

DIRECTIONS

Preparatory Drill
Continue Continue
up the
scale.
3fc=i ^ up the
scale.

COUNT: 12 3 1 2 3 COUNT: 12 3 1 2 3
PEDAL; press (hold) release press (hold) PEDAL: press (hold) release press (hold)

I I I i I.

The overlapping pedal is usually shown this way:

»/\\
press (hold) change (hold) change (hold) release

PRACTICE Practice the following PED^L STUDY using the "overlapping"' pedal.
DIRECTIONS

Andante
PEDAL STUDY
3

i -v5-
i 31 3: "Cr -o-

TTlf

4V A -r sz: -H9- 3X1:


--^ 121
t^ 4 -9-

WF33 UNIT 7
56

IN CHURCH

With reverence
3

a^
*
1

I I 22

^ xr
w/?

^ S
+o-
-&^ 52:
4-0-
-6-»-
+0-
po:

5K4
i
i
^^ i
r f-
^^m
§ ^ +0-
-&^
+0-
XE
jV.

I
i 3
ZZ

P
25
i5^ -«5>

i XE

S +0-
-&^ d 2:
4-0-
^^
40-
^It

*f

r^ 5f ^8^

S 4-0-
-frO-

5^ i 2Z 3 « XE
-o- «

UNIT 7 WP33
n
57

BLUES IN THE NIGHT


Mournfully
4 _1 2 4
*5 ^

==^
V
^^ :±
«-#^
i
1
^ i
5

.\ /V. -A— simile

^-^ ^ -5^
^^ ST

^ i;^
i 5
^
i
4_1 2

i :?z M
J* ^*
\
'
r^

^ F
i

2i 4 2
* ^
^1

^ !*zat
^ J

^
ir^^ w^^
^ ''e r r* ^
/ /;?/?

m I
5
30
4
^5 5
I

m "if
—t-

#=^ r//.

w-33 UNIT 7
I

58

RECOGNIZING FIRST INVERSION


TRIADS
FIRST INVERSION TRIADS have two notes at the bottom close together
(to form an interval of a THIRD).
4th
The ROOT is always the TOP note of the interval of the FOURTH. 3rd[==&

Examples:

8
-ROOT
(C Major) ^ ROOT
(A minor) ROOT
(A Major)
3 o
ROOT
(D minor)

PRACTICE Find the FIRST INVERSION triads in this group, Circle the root and write
DIRECTIONS the name of each first inversion triad on the blank below. Play these
chords.

Example:

IW
-»-
fi
^
-o-
H
-O-
XE
« m
*
1 H o & -©-
m
):
-o- ;H s -©-
flF

PRACTICE Play first inversion triads of the C Major scale. Practice hands separately.
DIRECTIONS

Transpose: G, F*

i9-
zz
E r
E z;
S'
i^ ^ £

iE ICS +^ 3 sz:
(5>-

S
?3

*When playing in G Major, remember the FJf s. When playing in F Major, remember the Bb's

UNIT 7 WP33
59

CHIMES
Slowly
5
j2_
1 h =8=
3!

V
^^ -o-
XE
-©-

xi_

^ «^
I
§ -O-
-o-
-©-
-©-

=8:

g XE
-O-
XE
-©-

1^
a E
cresc.
/
2^
m -o-
-©- -o-
XE

WP33 UNIT 7
60

RECOGNIZING SECOND INVERSION


TRIADS
SECOND INVERSION TRIADS have two notes at the top close together
(to form an interval of a THIRD).
3rd L ^==g
-»- 4th
The ROOT is always the TOP note of the interval of the FOURTH.

Examples:

ROOT
(C Major)
;y
J'
^-^
* ^
= ROOT
(A minor)
^^ ROOT
(A Major)
ROOT
(D minor)

PRACTICE Find the SECOND INVERSION triads in this group. Circle the root and write
DIRECTIONS the name of each second inversion triad on the blank below. Play these
chords.

Example:

ft
XE STT"
3X
«^
-©-
s

§iv 8
3X
IE
«
i^
3X
s «^
XE
m

PRACTICE Play second inversion triads of the C Major scale. Practice hands sepa-
DIRECTIONS rately.

Transpose: G, F*

E
'*~77

9- 2:
&&- 2:
t

') <-. i^
l6
^^ ¥^
: w9- G-

'When playing in G Major, remember the F^s. When playing in F Major, remember the Bp's

UNIT 7 WP33

J_
61

SOLEMN PROCESSION
Stately
3
1

$ g w=t
5>- 3 m^ §
/
XE
g iz XE XT
ilX

^ "ST
5 3:
XT
Fm,

^ xr -O-
4
J J J XE
5
A. A.

m -^
2 s;
^^ 22

S^:
n3 J

^ XE
fi^^

D. C. o/ F/;ip

a i " r"^5 XE -©-


5^
?:?
-Sr
dim. e rit.

S XE i 22 -O-
4
A.

WP33 UNIT 7
62

REVIEW - UNIT 7
1 . First inversion triads have two notes close together at the _to form an interval of a third.

The root is always the note of the interval of the fourth.

2. Find the first inversion triads in this group. Circle the root and write the name of each first inversion
triad on the blank below. Play these chords.

XE -O-

I « g ^xi: ffl
-o-
^ «:
H
XL
^^ 7~rr
m m
^^
H ^ -o-
-O-
H

3. Second inversion triads have two notes close together at the .to form an interval of a

third. The root is always the note of the interval of the fourth.

4. Find the second inversion triads in this group. Circle the root and write the name of each second
inversion triad on the blank below. Play these chords.

H XE te fi -o-
H
XE S -O-

I -o- #«:

" y^
i \.
« tr-TT-
W I m -«-
s
«:
XE

UNIT 7 WP33
63

UNIT 8
• SIXTEENTH NOTES
• DOTTED EIGHTH NOTE RHYTHM

SIXTEENTH NOTES
Four sixteenth notes equal one quarter note:
TT^.J
The four sixteenth notes are often divided:

A single sixteenth note has TWO FLAGS.

Two or more sixteenth notes are connected


by a DOUBLE BEAM. n
PRACTICE Clap and count the following rhythm. Use any of the suggested ways for

DIRECTIONS counting sixteenth notes.

1.1
2.
J

4
-

six-
J
ee- and
J

teenth notes
J

-a 2
2
and
8ths
J
1

4
-
J
ee-
six-
J
and
teenth
J
- a

notes
J
2
2
— ]
and
8ths
II

3. 1 2 3 4 1 and 1 2 3 4 1 and

PRACTICE Play first with your Right Hand, then with your Left Hand, then with both
DIRECTIONS hands together. Count aloud while you play. Use any of the three ways
given above for counting the sixteenth notes. Transpose this etude to other
keys.

SIXTEENTH NOTE ETVDE

WPa? UNIT
64

TABLE OF NOTE AND REST VALUES


NOTES RESTS

^ Va beat
1

n 1/2 beat
1

m • mm 1 beat
I

PRACTICE Ciap and count the foHowing rhythm BEFORE playing DIXIE.
DIRECTIONS

I n in rm \n ;>

and da 1 and 2- 00 and da 1 and 2

DIXIE DANIEL EMMETT


(1818-1904)
With spirit

^
F
3 ® 2 1
3
®
m
4
XE
-i^—d
J7 JJ^^ • •

/
S ^3 ^^
c
^3 G7

B'
m mm
a
UNIT 8 WP33
m
• •

m
• • •

f=f

^
65

DOTTED EIGHTH NOTE RHYTHM


Dotted note rhythm patterns have a LONG-SHORT "feel." 6' J = - 4 beats

4 0' ^ : = 2 beats
4
J* « , = 1 beat

FOUR

A
sixteenth notes equal

dotted eighth note is


ONE

equal to
quarter note:

THREE sixteenth notes:


JTf3
— 3
=
=
J

PRACTICE Clap and count the following rhythm. Use any of the suggested ways for

DIRECTIONS counting the dotted eighth note.

1.1-2-3
3
4
J^

1-2-3
— 3
4
J
half-note
2. long short long short 3 - 4
3. 1 and a 2 and a 3-4

PRACTICE Count aloud while you play the following etude. Use any of the three ways
DIRECTIONS given above for counting the dotted eighth note. Transpose this etude to
other keys.

DOTTED EIGHTH NOTE ETUDE


s i
* '
d

^^ i J

^ ^-^ ^^ 3^ %

'>
r ^ ^ WP33 UNIT 8
66

The form of this piece is A B C A.

Moderate
COUNTRY GARDENS
Section A ENGLISH FOLK DANCE

V
m^ 1| 3

^ m J jEjd i
? ^^
^^
Section B
4 2 1
i 4 2
£*
r f ^
f
mp
1 3

IF
3

g
5|

^^
4

3
^
m 19~
ZL
i ZL
i
szzzzz

Section C

s^
:^

^^ i^z
<p

p ^
^
5¥=^
§
/
52:
p
1^ s:
/
19-
t
1 ^
12
^

UNIT 8 WP33
67

GRACE NOTE
The GRACE NOTE }" is printed in small type. It is not counted in rhythm but is played QUICKLY,
almost together with the next note.

Moderately
BLUE GRASS JAMES BASTIEN

3;
© ^ G7

-#

^
zf.

^ t

m
f :^^
^ :^K=^

m 3: i * ^— '

3:
y
BE
m^^' m ^
^
s i
G7

3;
J -#» «^^ J X
-O-

')
* -^ -
^
^9-

'1974 ;"d Music Co ,


-
Illinois
^
-'^rmission

WP33 UNIT 8
68

REVIEW - UNIT 8
1. Four sixteenth notes equal _ quarter note.

2. Clap and count this rhythm.

I fff^n ijjm ij /3T3IJ 1

3. Play this melody. Count aloud as you play. Transpose it to the keys of E and A minor.

» ^ ^
1 2 1

i^ 3 I

4. Clap and count this rhythm.

I ji^n imj ijmn imj ii

5. Play this melody. Count aloud as you play. Transpose it to the keys of D and C minor.

n ^j^'i
4
3E
^ »

6. Clap and count this .rhythm.

J nn} I J.

7. Play this melody. Count aloud as you play. Transpose it to the keys of D and Eb Major.

E
4^—
-M
--^

^'^J^Jl
15 3

^
UNIT 8 WP33
69

UNIT 9
• AUGMENTED TRIADS
• DIMINISHED TRIADS

MY OLD KENTUCKY HOME

^
STEPHEN FOSTER
Andante
Bl. G7 C7
3
1
_
BE ^ ? ^

^
»//>

J fYY i

% F Bl. C7
Fine
2 1

P j l
i^ s * ^^ =gi ^:

a
&.
S>-
i ^^
2 12 1 5
f
1
2
J
5
r1
2
t II

B! B! D. S. fl/ F/>ie

^^ p J' i J
fe
m
"/

^
t V. . |g

1 2
P^^ fe
3 2
4^

1
^
WP33 UNIT 9
70

AUGMENTED TRIADS
The word AUGMENT means to make LARGER.

An AUGMENTED TRIAD is formed by RAISING the top note (5th) of a Major triad a half step.

MAJOR AUGMENTED

te ^— Raised 5th

G Aug

PRACTICE Practice the foltowing chord drill in Group 1, 2, and 3 keys. Play hands
DIRECTIONS separately at first. Play the Left Hand an octave lower than written.

GROUP I KEYS (C, G, F)


l.H. P ^.^"S C G GAug- G F FAug-

5

L.H.
j^ ff^
i
^ ^ t H i ''i a ^^^
GROUP

^
2 KEYS A, E)

^
(D,
D D Aug- D A AAug^ A E EAug- E

I i i
i "i I 'ij
m ^
GROUP 3 KEYS {D\>, Al^, EM

^
^
DI? Dl^Aug-

i ^ Dt A\?

l!'i
At Aug-

'Ij I
A\?

'^i
E\>

||^[>j
E^Aug-

^j j
Ei.

!>j

PRACTICE Practice the following chord etude hands separately at first. Use the COR-
DIRECTIONS RECT fingering. Write the name of each chord.

MAJOR- AUGMENTED TRIAD ETUDE


i
^ S ^ s^ z^

y-*p^ ttj s:
') i I "i g.
i IS

UNIT 9 WP33
71

PRACTICE Preparatory Drill


DIRECTIONS
Practice the Left
Drill first with
Hand Preparatory
BLOCK CHORDS.
^^ C Aui F

xt
Ci7

«
1
etc.

2
5

LASTING LOVE
Slowly, with feeling- JAMES BASTIEN
G7
C C Aug

ii
7T'

t i ^m
S 5 3

with pedal
#
14
;^==F
^

Am Ddim

^ # m i s^
cresc.
^ ?s^

g ^ r "F
"

f 2 4 1 f
Ein7 Dni7 Em

t ^ i ^m
f dim.

a
^ i
2 1 5 3

G7
5 4 2 1 5 3
i

C Aufi-

i i ^ 1 1

VTT

rit.

') J r
''
s
5 '3
6 2

WP33 UNIT 9

.
72

DIMINISHED TRIADS
The word DIMINISH means to make SMALLER.
A DIMINISHED TRIAD is formed by LOWERING the top note (5th) of a minor triad a half step.

MINOR DIMINISHED

fe Lowered 5th

Gm G dim

PRACTICE Practice the foliowmg chord dril! in the Group 1 2, and 3 keys. Play hands
,

DIRECTIONS separately at first. Play the Left Hand an octave lower than written.

GROUP I KEYS fC, G, F)


_ ^
n n
Cm C dim Cm Gm Gdim Gm Fm Fdim Fm
. . n 5

5 ^ ^
:± ^ t^
j ^l
II
^i i f i I I
!> 1 i I
L.H.

GROUP 2 KEYS (O, A, E)

if}'i
Dm D dim

i 'i i^
Dm

GROUP
Am A dim

3
t
>
KEYS
f
(Dl^,
Am

'f

Al^, E(»)
II
Em Edim

j i ^^ Em

dU Apdim Apm Epdim m

^^
D!7diim D!?m Al?m E!?m E"-

),;,, M,j i',j 11


^1.1 "'I i''l Ih-^^^
j
Double Flat: Lowers note
a whole step.

PRACTICE P.^actice the foltowing chord etude hands separately at first. Use the COR-
DIRECTIONS RECT fingering. Write the name of each chord.

MINOR'DIMINISHED TRIAD ETUDE


^
^ g
^=^=^
5
-3H
5
8-

I'i 1 H ^s -5
Z^
li

'n I'i

II
3
'i
II
3
^
ii

1
3
^^^ ^t ^t
H
^'

H
2Z
22:

5 5 5

UNIT 9 A^33
73

LONESOME
Slowlv

TT
C
3_

Wjt;
'
^ ^
1

J ^'
C8dim
5
Dm

£
G7
JAMES BASTIEN

^>V i i i^ 1=1

C Aug- F G7
5

^
3 2 1 1

') i i ^^
4 1

m
3
Citdim

# S^ G7

^^^3 ^^ 1=^

F c

^^
3 5

fe
^ zz
^

V I f ^
g
^
i

wPXi UNIT 9
74

REVIEW - UNIT 9
1 . An Augmented triad is formed by the top note of a Major triad a half step.

2. Name these Augmented triads. Play them.

Nil
I h\
w ft m
3. Write these Augmented triads. Play them.

C Aug- E Aug- E!' Aug- F Aug- A^^ Aug- G Aug-

iw
4. A diminished triad is formed by the top note of a minor triad a half step.

5. Name these diminished triads. Play them.

1 » '
1 a UB
iS.

6. Write these diminished triads. Play them.

E dim Cdim Ef' dim Gdim D dim F dim

UNIT 9 WP33
75

UNIT lO
• GROUP 4 KEYS
• READING IN Gi^ MAJOR
• READING IN B^ MAJOR
• READING IN B MAJOR

GROUP 4 KEYS (UNUSUAL GROUP)


The GROUP 4 KEYS(Gb, Bb, B) have unusual I chords and five finger positions. Each position and chord must
be learned separately.

POSITIONS FOR THE GROUP 4 KEYS

PRACTICE The circled finger numbers outline the ! or tonic chords within the five

DIRECTIONS finger positions below. Play these five finger positions and I chords.

KEY OF G\^

./ml' r I
1
I
I

II
^^=^ !*
2d2 K.vi^(.^^'-'^",''; ^^

Left Hand Right Hand


KEY OF Bi^

Left Hand
KEY OF B
^ij/ii^^„,„ |
.'"
^^ ,^h\ ^r,p^Y r'^ ^
in 11
„jLLiQ_^TiLLJ_jLJ
i m
Left Hand Right Hand

INIT 10
76

READING IN Gb MAJOR
PRACTICE Practice the five finger position and the primary chords in Gb Major
DIRECTIONS BEFORE playing the three pieces on this page.

FINGER
FIVE

POSITION*
fe i
R.H.

L.H.
(^^
* ^ -i9^ i

PRIMARY
CHORDS

1.
Dt? Gh
fe 'JTJT^ ^ J^ I :|
P

/-^

E ^M v?
^^^ ^
2.

^
U^
'5'"'^" '^

/-^
ci:;
Gl>

r
Cl,

r^

^ G\> d!>7

^L
g\>

IV

^m ^ ^
^ ^ tr

^^^ f-p
fe *i^
f ^^
'The Gb Major scale is given on page 93.
UNIT 10 WP33
77

RIDf N' AT DAYBREAK JAMES BASTIEN


Moderately

p ^ r^^^ i
f- :?:

2 1

i
^^
^^ ]f^t=±
^ f r

m T^

f P f
5
i^' ^
P tS^

^^ * -^

i ^ f f ^
I I 2z:

§^
I,
L I ' 1

iC^it
2

f t
4

^
S:
XE
^^

4
H h
#
J
J
#-
L
^E^ ^
^^:
^5^
J

y^
!,IV^
=2=^
P

'nf
-tS^

p ^
y^i^ -i5^

^
^

*
>^^
t#
-«.
-^
5 2 1

WP33 UNIT 10
^
78

READING IN Bb MAJOR
PRACTICE Practice the five finger position and the primary chords in Bd Major
DIRECTIONS BEFORE playing the three pieces on this page.

FINGER
FIVE

POSITION*
R.H.
5
^
L.H. It
5
m 121 i -d— m
B!> F7 Bf>

PRIMARY
CHORDS •^ ^ ^
z* &
32
9-
is£
:i2Z S J
IV v?

1.
^ i^^* i
F7

f ^
Bl

^
/-^
'>^- ''
ml:; r J
xs:0-
XE ^
Z.

^
Eb
Bb

22:
5 ^
J ^
/-^

V^b"<' § H
-O-

IV v?
^
3.

*The Bb Major scale is given on page 93.

UNIT 10 WP33
79

ALL ALONE
Andante
JAMES BASTIEN
B^ E!. F7 B^

i W'

mp
^^ Jj}} ^=^ m 5?
^^
^z:^ f
w
^ J

El>
F7 B".

^^ s ? s^
3
i ;oj ^ir^ 3::

^^ s- ^^ %

^
Et, F7

:^
^ 3 J
i ^^J^
«/
^^ ae=zd
^ rj
2e
2Z:

Bi. Et F7 B^

mp
^^^P
i?^^ ^^ ^ rit.
s:;

^m f
i
^
Z2^
/^j

WP33 UNIT 10
80

READING IN B MAJOR
PRACTICE Practice the five finger position and the primary chords in B Major BEFORE
DIRECTIONS playing the two pieces on this page.

FIVE
FINGER
POSITION*

B B
p:^
Ftl7 B
m J

PRIMARY msL
CHORDS :&Z2 J
IV V7

^
F(t7
B
"
It
ff n r. >
t5» 5^
5

5
^
f-p

')-\kK'>
^
*The B Major scale
8
H
-^
£:
zr ^
is given on page 92.

I'VE BlSMfi WORKING ON THE RAILROAD


Alia marcia AMERICAN FOLKSONG
4 <9 va
1

m^m&
U. 22
-tSt "5
-2
J
f P

^^^
E B

ym 5.
-eh

mf I've been work-ing" on the rail - road All


"m
the live- long" day,

^s
UNIT 10
m
WP33
I I % % t
5
I've been work-ing' on the rail - road To pass the time a way J

^
'mhi i i i ^ MM HM • • • •

P
i i f—^

F|f7 B E B

0' -o-
^^^If^ p#CT^
Can t you hear the whis-tle blow - ing-? Rise up so ear-ly in the morn

^
J

fr • •
MM
• •

i
r
10- f I
t

Can t you hear the Cap-tain shout nah, blow your horn."

^
mg-, •T)i -

I P
i=i MM M
• • • • •

#

*•

B E F:7

Us 1 1


J J* 0'
0» 0i ii

f
Di-nahwoiftyou blow, Di - nah wont you blow, oh Di-nah wWt you blow your

^
^^——i*— t 5^ -s=^ ^
^ ^
^B

^
horn
^
•B

horn.
J
/
31=3
-t5^
<9/'w.

::<^
^5*^ J

^fe -^ ^^
A-i3 UNIT 10
82

REVIEW - UNIT 10
1 . The Group 4 keys are called UNUSUAL because each I chord and five finger position is

2. Write the I chords in the Group 4 keys. Add the necessary sharps or flats. Play these chords.

G\> Major B[> Major B Major

m m m
3. Write the notes in each five finger position for the Group 4 keys. Add the necessary sharps or flats.

Play these positions.

G\f Major B\> Major B Major

i?

4. Name these Major, minor, Augmented, or diminished chords. Play them.

^m
w m m I I I LB m
w^s »
§ \ H ft
il'ii I
'"

s g H ''it
g
I
I

^^ g s
ft
l
#tf§
=f=^

UNIT 10 WP33
83

BAGATELLE
Moderato ANTON DIABELLI (1781-1858)
F

? i
?

^ g < < —
< % % f

i=^
i
mp

>;:# p P f
m mz E
^
*

/
5¥*
§
*— S f
I I I —
f# ^
i

J
i^

— —*—
^ w * * g:
J

A^3? UNIT 10
84

MINUET IN G MAJOR
JOHANN SEBASTIAN BACH
(1685-1750)
from The Notebook for Anna Magdalena Bach"
Allegretto

0=^ , ^
^ • • • •

^ "f
^ g (^i-

*
r LLi} w^m
^^ ?7V
f
5
Tr
1
r

i ^S ^ Q ^ 1
X

i

m i«!-1^

±
^^ ^ J -rrji
1 2^\
3;
1

n: zz:
';# r r f

SUPPLEMENTARY REPERTOIRE wp33


^
85

i 1 3 2
i
i i
i /
m i^^ X

X s i
*•
^-1* 15^

4 2 5
E
1

i
i
i*

^ i
5^^"^ 1 rxi

^
• •
2

^ 2 3

5Et
§'-^
g i
2 1

WP33 SUPPLEMENTARY REPERTOIRE


86

MINUET IN G
FRANZ JOSEPH HAYDN
(1732-1809)

Moderate 1

±
/
^S 1 2 1
i
;^==^
i

*
F P d i^=i

^ ^ 1

4 1

-ir-
# 1^
m
1/2^3
P m ^
1/2 i

^ ^ J ^^ J r ^ ?

5 2
4 fc3K

^ ^ -tSi

/
^^
cresc.

5¥5i;
§ -&
1 2

SUPPLEMENTARY REPERTOIRE wP33


87

MINUET IN C
(K. 6)

WOLFGANG AMADEUS MOZART


(1756-1791)
Moderate
2

S s:

777/7
^ 1
§ ga
^m m '\
i ^m i

*_J 3. 1 3
I I
I s M
^ ^^ s

=-^ s i^3
^^y-

^—^
3:

g ^ J ^ 3Z
^

wP_v. SUPPLEMENTARY REPERTOIRE


^

88

ARABESQUE
FRIEDRICH BURGMGLLER
(1806-1874)

^
Allegro scherzando
1

5 ^ '^ dk y
I
P ep-p-iero
'Sg

55i=S=
i I^

mcresc.
i
/
g ±=^i
w 0—^
^
— #=F

4#- :t=E
1

^
I

m sfo
^=3it^ »^—
6
^cresc.
e

mi

f
^ g t i

;t=t
S

SUPPLEMENTARY REPERTOIRE wp33


89

f
i k
f
5¥ Mpf r r ^
i
t
m ^fe
# I
1 3

t i
/ dim. e poco rit.

M: Yfff F ,

^
^
^
a tempo

•f
*^^-r»

?
^
irr

^
§ I
^_ I risoluto r\
ftfs
^ ^ ^ £
lA
f
s
o

WP33 SUPPLEMENTARY REPERTOIRE


90

ECOSSAISE IN G
Allegretto LUDWIG VAN BEETHOVEN (1770-1827)
IV 2 3

*
^ f
tit
-! 5- ~i :

FT=f
i 5-

^^
M h± ^m W^ ^m ^^
3 4
1 2 D.C. al fine

* w m m k y y :

P f f

1
6
;^

5 1
i
e^
6 1
I
1 1

SUPPLEMENTARY REPERTOIRE wp33

i
91

REFERENCE
CIRCLE OF KEYS
This chartis called the CIRCLE OF KEYS. The sharps are arranged from the top, moving CLOCKWISE. The flats
are arranged from the top, moving COUNTERCLOCKWISE.

There are fifteen Major keys: SEVEN sharp keys SEVEN flat keys ONE key with no sharps or flats.

Likewise, there are fifteen relative minor keys.

The keys at the bottom of the circle are called ENHARMONIC. These have TWO NAMES.

E9 minor

JVP33 REFERENCE
92

MAJOR SCALES AND PRIMARY CHORDS


•HARP KEYS
C MAJOR

^ G7
C F C C
1 2 S 1 2 3, 4 5 4 3|
'^ 2,
^1 ^
1 3 2 1

E ^S
l

^ ^^ j—?7:P ?^
^ \-ir

"^^i^
Q MAJOR
5 4 m '3 '2 13 2
£
1 2
s 3 1 2 '3 ?
'4 5 ^
»i=j*

I IV
'

-i»^

I
2 ' gr^

^
V7
s
I

*E 1231 234 ^ O ** 5.
Ul 4321 321 G C G D7 G

^ ^m 1^ ¥
^^^ 432 f1321 S ^
2312 34.=
t s 3^
^ S
D MAJOR
I
s^ ^ ^m 1 2 3 1, 21 3 4 5 4

?
3 2 1 1 ,

i
3 2

*^^
1
D
^^
»
G D

?J=^
^3=^
A7 D

^ 5 '4 32 1321 2312


££=
lo
'3
\

'4
A
T^
5
^ ^ :sz:
s
A MAJOR

s p5^ ^
4S

^;^[t"
<'
12

J J J
3 1 2 3 4i 5i

^
4, 3 2 1

f
3 2 1
AD

i^3
^
A

^
E7

3^

1
5 4 3 12 1^ 2 1 2 3 1 '2 3 4 5

E MAJOR
E A E B7

i tf'Orj^ f
2 3 4 5 4 3 2

i
li

g 3, 2 1

1^
^==^ t
^ft
B MAJOR
432 1321
^ ^
2312
T f r
34 '5
^^-^
ri g
^
^-^f=^ ft

BE B Fi;7 B

*''"
iijJ
yy
2 3 1 2

^ g
3, 41 5 4i 3, 2 1 3

*^^
2 1

REFERENCE
^'^

WP33
4~3 12 '1 '4 3 ^2 1 2 3 '4 '1
^12 3 4
93

MAJOR SCALES AND PRIMARY CHORDS


FLAT KEYS
F MAJOR
1234 1234 3214 321 F Bl. F C7

^ i i ^ i ^^m
9i c
MAJOR
r r
5
^

432
^ 1321 2312 345
i^ qt^
1-

I
6*9-

IV I
/:&-
4:^^

V7
^
I

^ ^
Bi'

4123 12 3213 214


^W
I
3,

f
4

at;it i
5=3^
B^

g
F7

sT '

¥
B^

^^ s ^
.

7? -*

v-^" <'
J J r r
32 14 3213 1234 ?
123
s^ s
MAJOR

P ^ ^
E!'

312 3, 4123 214 213 3,


£!. a!. E^^ B!.7 E!,

=«:
\'l I'
J J J 3 3^
s
^ 1
J -«>
^i*

^^^ i q?iH«
2z:
^£ ft
3214 3213 1234 12 3

m^
A(^ MAJOR
3412 312, 3, 2132 143 A^ Dl' Ai' El*? A!>

^s 5
^ i 5 ?? ?
D\> MAJOR
3 2 1 '4
g3 2
Mze
13 1
SE
'2 '3 '4 12
I 3
^ ^ /^
;?:
2^=^
^ s

i*
msE
2 3 12,
m i
3,

^ m^4 1 2 1 4 3, 2, 132
^^-5^
B^

^
G^ B^

a
A':'7

g|^
:^
D^

Gl> MAJOR
Iq
3214 3213 1234 12 I
9 1 A
S£ ^ ^ *i
'3
:fe
-r5^
2&
^
41 2312 1321 432 Gi> C^ G^ D!^7 G^

ms
3
in

fit i s^=S m if ^ ¥
'''"|i'l,V'
! .'TjJ
4321 iP
214
'3

(2)
*^

-1
^ —-f-^ :^^^=^
1231 234
1-
^ ^
:|=^
^ ^
-Z^
7T
WP33
^
REFERENCE
94

CHORD DICTIONARY
DOMINANT
MAJOR MINOR DIMINISHED AUGMENTED SEVENTH
C Cm Cdim C Aug- C7

^ m S

CiJ C^m cu im CtAuj C#7

(or
en
Dl^)
^ D
?m
Dm
tf^
Ddim
'
m
^tft
D
Double Sharp
Aug-
^ D7

m # W w m
El> E!. m EU im E(»Aug- E[>7

El* i
E Double Flat

E Em Edim E Aug- E7

m ^ 1
Fm Fdim F Aug- F7

g 1 « 1 i
F# F(tm FiJdim HAw F|t7


(or Gl>) ^ G
? g
Gm
m
Gdim
m G Au'
p
G7

S ^ m
At. m A!? dim Al Aug- Al>7

^
A[.

At s m g 1
ik

Am A dim A Aug- A7

m s 1 ^ m
Bt Bl m BUiim B\> Aug B[>7

Bl> m ^ m
B Bm Bdim B Au' B7

(or
B
CI.)
^ ^
95

CADENCES
A CADENCE is a chord progression which marks a close or conclusion at the ends of phrases, sections, or at the
end of the entire piece. Cadence is a Latin word which means "to fall. Cadences mark the "falls" (points of rest)
"

in music.

PRACTICE Practice these Cadences, first hands separately, then together. Play in all

DIRECTIONS keys.

PLAGAL CADENCE I IV I

FIRST POSITION SECOND POSITION THIRD POSITION


F C

J s:
2
ZZ2:
^ J £ M %
3;
r
rrr
ST s :^ UL
sz: 2 t i %
IV I

AUTHENTIC CADENCE V I

FIRST POSITION SECOND POSITION THIRD POSITION


G C

i
-^
t g m. J
5 # f 5^

^ i
zz ^
I
J
i9-
£ 9-
J
d ^ zr
i

COMPLETE CADENCE IN THREE POSITIONS I IV I V I

C Major FIRST POSITION SECOND POSITION THIRD POSITION


C F C G C

t^: ^ i
3 3:
^ J g E m^
f
X !? g
I IV
^?
g zz
^ s ^ tS^
tSi-*

m.
i
&
S
A minor
Am Dm Am E Am

^= J 22:
# 7±-fr
ST
3 ^ 5:
i
"Try
^
'^m 1 IV
i

w ?^
22=22:
i i^
:2 ^fe ^
15^
is: M ^.
WP33 REFERENCE

96

MUSIC DICTIONARY
Accent Sign > stress and play louder
Alia Breve | time; two strong beats to the measure
Alia marcia in march time
Allegretto moderately fast

Allegro fast ("cheerful")

Andante walking speed

Animate lively

A tempo return to the original speed


Cantabile in a singing style
Coda an added ending
Common Time Q another way of indicating | time

Con brio with spirit


Con spirito with spirit
~
Crescendo cresc. gradually play louder

Da Capo al Fine D. C. al Fine return to the beginning and play to the word "Fine"

Decrescendo decresc. :r=r==i^— .... gradually play softer

Dal Segno al Fine D. S. al Fine return to the sign ( 5!^ ) and play to the word "Fine"
Diminuendo dim gradually play softer

Dolce sweetly

Fermata ^ hold the note (or notes) longer f

Fine Fine the end


Forte y loud

Fortissimo very loud


ff
Grazioso gracefully

Largo very slowly

Legato smooth, connected tones

Mezzo Forte rr^f moderately loud


Mezzo Piano mp moderately soft

Moderate a moderate speed

Molto much, very

Octave Sign 8va play eight scale degrees (one octave) higher when the
sign IS above the notes: play eight scale degrees lower
when the sign is below the notes
Pianissimo very soft
pp
Piano soft
p
Poco a poco little by little

Presto very fast

Repeat Sign -
B go back and play again

Ritardando rit. gradually play slower

Sforzando s/z a sudden strong accent

Simile similar

Staccato • J short, disconnected tones


\[
Tempo rate of speed
Tenuto Sign - slight accent

Tie J^^ I J connects notes on the same line or space; hold the notes
" for their combined value
Vivace lively

REFERENCE \NP33
O^/ie cyDastien K^lder oyueginner C^/tano a>L> tbraty
oOy ^ames (ZyDasiien ana ^ane QJmtsor aslten

THE OLDER BEGINNER PIANO LIBRARY is rodoy's nnneless piono course designed especiolly for rhe older

beginner frorri o rnorure


2 ro o yourhful 80 This carefully plonned insrrucrionol progrom consisrs of
1

METHOD DOOK5 —
THEORY/TECHNIC/fXEADING BOOKS SUPPLEMENTARY AAATERIALS — PIANO LITERA- —
TURE The opprooch is funcnonol, rhe ocquired skills ore rronsferoble Srudenrs ploy ond hornnonize
nnelodies fronn rhe very beginning. Connprehensive musicianship blended wirh original nnusic and
carefully selected fonnilior runes fornn o unified srrucrure building a sound nnusic progrom of happy
uninrerrupred progress.

Level 1
METHOD:
MUSICIANSHIP The Older Beginner
FOR THE FAVORITE MELODIES Piono Course, Level 1
OLDER BEGITflMER THE WORLD OVER VP32)
by James Bastien
airanged 1^ Jane Smisor Bastien
THEORY/TECHNIC/READING:
Musicionship for the Older
Beginner, Level 1

SUPPLEMENTARY:
Fovorire Melodies rhe
World Over, Level 1
(NVP37)

lA, 7!„^m')M,r 7!.,,nnr T^mL.i^r, '^/^ Ti^ nnM-


i ^imHr£.<ir»ry

L^'e)2 Level2 METHOD:


MUSICIANSHIP The Older Beginner
FOR THE FAVORITE MELODIES Piono Course, Level 2
OLDER BEGINNER THE WORLD OVER VP33)
by James Bastien
arranged by Jane Sn^or Bastien
THEORY/TECHNIC/READING:
Musicionship for the Older
Beginner, Level 2

SUPPLEMENTARY:
Fovorire Melodies rhe
World Over, Level 2
WP38;

SUPPLEMENTARY:
Clossic Themes by
rhe Mosrers
(WP40)
Religious Fovorires

Easy Piono Classics

0.1
Solo Repertoire
(WP83)

O
CO
o
in

CD

00

KJ05 WEST, Neil A. Kjos, Jr., Publisher 4382 Jurlor^d Dr., Son Diego, CA 921 1 7