THE COMPLETE PIANO PLAYER need ‘The only piano course based throughout on today’s popular songs and on famous light classics. Easy-to-follow text and clear demonstration diagrams enable you to progress in the short Tatetter thee ara ernie te] f Ried od eater een =z a: OOK as an oo,THE COMPLETE PIANO PLAYER BOOK 4 ‘By the end of this book your playing will be even more colourful and varied, and you will be playing 22 popular songs, including: Don’t Cry For Me Argentina, Just The Way You Are, The Sound Of Silence, and My Way? Vonmistt Soler Kenneth Baker Wise Publications London/New York/Sydney/CologneExclusive Distributors Music Sales Limited 78 Newman Stret, London WiP 3LA, England Music Sales Pry. Limited 27 Clarendon Street, Artarmon, Sydney, NSW 2064, Australia This book © Copyright 1984 by ‘Wise Publications UK ISBN 0.7119.04340 UK Order No. AM34851 Designed by Howard Brown Photography by Peter Wood Music Sales complete catalogue lists thousands of titles and is fee from your local music book shop, ‘or direct from Music Sales Limited. Please send 25p in stamps for postage to Music Sales Limited, 78 Newman Street, London WIP 3LA. ‘Unauthorised reproduction of any part of this publication by any means including photocopying is an infringement of copyright. Printed in England by Halstan & Co. Limited, Amersham, Bucks.CONTENTS About this book, 5 LESSONS New notes: Low C, D, E for left hand High F, F# for left hand, 6 New notes: Low F, G, A for right hand, 10 The pedals on the piano, 14 Broken chord style for left hand, 18 Key of B Flat, Scale of B Flat, 22 Verse and Chorus, 24 Syncopation, 26 Key of D, Scale of D, 34 Key of D Minor, Scale(s) of D Minor, Relative Majors and Minors, 36 Octaves in the right hand, 37 Key of E Minor, Scale of E Minor, 40 Alternative pedal marking, 42 Left hand fills, 42 Bossa Nova rhythm pattern, 44 Key of G Minor, Scale of G Minor, 46 Last word, 48 SONGS Don’t Cry For Me Argentina, 34 Fifty-Ninth Street Bridge Song (The) (Feelin’ Groovy), 28 Fool On The Hill (The), 22 Green Leaves of Summer (The), 38 Hava Nagila, 39 Hello Young Lovers, 8 Isn’t She Lovely, 10 Just The Way You Are, 44 Laura, 42 March Of Siamese Children(The), 12 Mockin’ Bird Hill, 24 My Favourite Things, 40 My Way, 18 © Barquinho (Little Boat), 30 Peacherine Rag, 27 Pushbike Song (The), 32 Scarborough Fair, 16 Sound Of Silence (The), 17 Symphony No 40.(Theme from), 46 ‘Thank You For The Music, 48 Violin Concerto (Theme from), 20 Younger Than Springtime, 6ABOUT THIS BOOK Book Four takes you a giant step along your road to becoming the complete piano player. It introduces you to the piano pedals, and you will be delighted at how much colour the Sustaining Pedal will add to your playing. ‘Your study of ‘syncopation’ begins here too, and you will learn several great syncopated numbers guaranteed to set the foot tapping. Because it is important, for the sake of contrast, to play in a number of different keys, you will learn five new ones- including three ‘minor’ keys. There are also some new piano techniques which will improve your playing, such as playing in octaves with the right hand, and ‘filling in’ with the left hand. As usual all lessons are based on well known songs made famous by great artists, or tuneful classical compositions. By the end of the book you will have twenty-two exciting new solos to add to your repertoire,FIVE NEW NOTES FOR LEFT HAND Here are some important new notes for Low C, D and E you to lean: High Fand F Sharp |All fr left hand YOUNGER THAN SPRINGTIME Words: Oscar Hammerstein II. Music: Richard Rodgers Con espressione 4 = 60 a G z 7 = Younger than Spring - time Softer thn star ~ light ™P Gay- er than laugh ~ ter Sweet-er than mu - sicD7 Gmaj7 07 G 7 arms, and fill my mp D7 Gmaj7 G7 B a 2 Young -er than Spring — time Gay = er than laugh ~ ter mp (2 tempo) _ - An gel and lov - ery heavy - en and earth am tf i — = oe od © copyi 1949 195 by Richard Rodgers nd The Eat of car Harmer I, Wiligmton Music Company owner of publication an alied ight {orale of he ener Hemp apn Willaion Mac i orl cure of the Eaner Hemp ice en "Ths arrangement © Sopp 1985 by Won Mase ed sed fy ae Ses Eada pennsson: All sh reserve. meron copy searedLook out for the new left hand low notes in the following piece. HELLO, YOUNG LOVERS Words: Oscar Hammerstein II. Music: Richard Rodgers Brightly J = 160Dm7 G7 c = (Fine) oo : & F Gm7 F Gm7 1 1 F Gm7 Fmaj7 F6 Jchance that’ you'll Dm7 G7 DS at Fine _ © Copy 981 1955 by Richard Rodgers nd The Exe of Oxar Harmer I. Wilamoa Manic Company. owner fpubton anal ight forall ofthe Wenn Herp an Japan: Yllgnon Mun Ll for al coun fe tasern Heise ou apa, as arungeat {Copyge 183, by Wlamvon Mus Lid used by ne Sales Ld, th pension, Aleph seed ean cong etre aeTHREE NEW NOTES FOR RIGHT HAND 2 ISN’T SHE LOVELY Words & Music: Stevie Wonder Rhythmically 4 = 116 Dm7 a G9 z = a DZ aaa oe a = Paes oo P ae SS SS i SS ws Fe a oe sss fe al st a | «| ty (a all oh ni IDm7 G7 Gm cu Bymaj7 thought through love Dm7 G Gm as love - ly © copy ste Mas Co, a, nd Bk Dal Mu USA Job Muse L/ick l Mse, 1 Caron Soe Landon Wor UK he Sag eg oe aa og : aLook out for the new right hand notes in the following piece. THE MARCH OF SIAMESE CHILDREN By Richard Rodgers With energy J = 96 Be =: 7 Pp(Five) DS. al Fine 5 1 Copyright 851 & 1968 by Richard Rodgers and The Exate of Oscar Hanser I, Wianson Music Company owner of publication anal igh ‘eco ot ern Nec an ncn et tal or a nae re an emp cet fapa) Tiara {Copygh 1983, by Willamson Mosc La, usdd by Muse Sues Lad, wi permasion Alig excredIntemanona copyright secre.THE PEDALS ON THE PIANO Ve? Qe Soft pedal Sustaining, (worked by the or damper pedal left foot) (worked by the right foot) Soft Pedal ring on after the fingers have been lifted This pedal produces a softer lighter tone __ from the keys. than usual. It is usually indicated in music by the words ‘una cord’ The sustaining pedal is the more important of the two pedals. There are Sustaining, or damper pedal several ways of indicating its use. The This pedal lifts the dampers from the method we shall use for the moment is: strings. This causes the notes played to ee meaning: pedal down (hold pedal down) pedal up eae meaning: pedal down (hold pedal down) change pedal (hold pedal down) (i. lift fully then press down again immediately) ‘The sustaining pedal has two main functions: 1. To combine the notes of a chord: c Slowly —_ ss pedal down (hold pedal down throughout) pedal up2. To link notes in cases where it would be impossible to do so using the fingers alone: c Slowly 7 Left hand Right hand == 3: only only 3 ce (hold pedal down throughout) (hold pedal down throughout) When the harmonies of a piece change it is usual to change the sustaining pedal also: c m7 sony Left hand Sj" only = T= pedaldown change” —change* _ pedal up *(lift as new chord Is played, then press down again immediately) c a Slowly om a + 2 j Right hand 7 only 3 pedal down change change pedal up % 3 i PEDAL CHANGING EXERCISE Using second finger only, plus pedal, play the scale below so that it sounds completely ‘legato’ (joined up). Slowly 2 L i Practise this exercise until you can more familiar with the notes. Observe all perform perfect pedal changes. pedal markings carefully. When making a Here now are four pieces which will give Pedal ‘change’ note that as the fingers go nero an ‘down’ (on the new note(s)) the pedal ‘ou practice in using the sustaining pedal. ie een ye Pe Practise each piece St without te comes ‘up’. (It will then go immediately pedal. Add the pedal as you become down again).SCARBOROUGH FAIR ‘Traditional Flowing 4 = 116 Em D (pedat down) (change) Em (change) i who lives ” a . . (bedat up) © Copyigh 1986 Dorey Brokers Music Lid, London WI Al sight eerie, Itermaonal copyright secure 16THE SOUND OF SILENCE Words & Music: Paul Simon With a gentle rhythm 4 = 100 ; 3 7 z Hl - lo dark-ness, my old to talk with you @ - BD (change) as cote Bb F a ions eter ean | = — Dm _— gk . tg plant -ed = in my still re Fo c Dm 1 “ '2 Dmimaj9) oo 6 3 ( 4 4 =e 3} fl - lo dark-ness my ol | ; Hel di y old PR i 3 ‘pedal un) ‘poset vet *Although the harmony here does not require a change of pedal, the melody does. 1 opyihe 1964 by Paul Simon Alsip eerved. means copyright secured 7BROKEN CHORD STYLE FOR LEFT HAND In this style the left hand provides a nice flowing accompaniment by moving up and down the notes of the chord. The style is greatly enhanced by the use of the sustaining pedal, since this causes the single notes to build into full chords. This style is different from the ‘arpeggio (broken chord) style’ for left hand, first MY WAY Words: Paul Anka. Music: Claude Francois & Jacques Revaux Slowly, with expression J = 84 FE Fmaj7 ——— the end is 2 5 used in Book Three, p.22. In that earlier style the left hand simply split the notes of the chord rapidly upwards, and involved no specific timing. Here there is a rhythm pattern present. ‘changes 07 Gm (enange) Gm7 7 re 4 —— _ ib =e SS I travelled] each. ‘more__much more than|Bbms oS ce Bb6 [ Coa = Ss S= } tas 7 ; this aid it | ny Yes, there were mf aE =a — times_____T'm sure you} knew ___ ‘more than I could crese.pocoapace when there was | doubt, 2 c7 f (eo : tall, [De ee ‘pedel up} Siderits Net tn ER Eos Jen Mur, Pc Sap Berman Col 686 Rg See Ln GPE aot se at od Boe" ares Wut sigh tee & Co Ul S486 Regen Soe, Landon, ”Before playing the next piece turn back to Book Three, p.16, and read about 8Time again. (THEME FROM VIOLIN CONCERTO (stow Movement) By Felix Mendelssohn F G7 c AT Dm Andante 2) = 96 (pedaldown) (change) (change) (change){pedal up) *Semiquaver rest (a silence equal to the value of one semiquaver). (© Copyright 1985, Dorey Brother Matic Lid 76 Newnan Suey, London WI. Alsip ere Inemaionl opi secure, 21KEY OF B FLAT The ‘Key of B flat (major)’ is derived from 5 the ‘Scale of B flat (major), which Scale of Bb b jaa ole requires two black notes: B flat and E flat: ‘The ‘Key signature’ for the Key of Bb is: Key of Bb B Flat, E Flat g rtf st Pieces using this scale predominantly are said to be in the ‘key of B flat. THE FOOL ON THE HILL Words & Music: John Lennon and Paul McCartney Con moto (with movement) J = 108 @®co@®@rca @ ot B Flat, E Flat When you are in this Key you must re- member to play all B's and E’s (wherever they might fall on the keyboard) as B flats and E flats. Bbmaj7 cm7 Sa as a day ot ——= S L F7 Bbmaj7 Bbé : _—— z — — SS SS ee + man with the fool ish grin is per - fect - ly still 12. — 5 no - bo- dy wants 10 2cm7 7 Bbm Ebm6 PS SS SS SS ee _—_ Pane Gbmaj7_Ab Bb Bb7 Ebm Bb (© Copyright 1967 Northern Songs Lined, 19 Upper Brook See, London WI All ight tesered,Imeratona copyright secured,VERSE AND CHORUS Mockin’ Bird Hillis divided into two main sections: the ‘verse’ and the ‘chorus’. The Verse section of a song usually contains the bulk of the narrative and is sung by a solo singer. The Chorus (the main and usually the best known section ofa song) is the part where the audience joins in. MOCKIN’ BIRD HILL Words & Music: Vaughn Horton Brightly J= 160 two-note slur ‘VERSE ee a When the nf (no pedal) glad -_ ness ——— You will get a crisper effect from this piece if you do not use the sustaining pedal. Before you play Mockin’ Bird Hill turn back to Book Three, p.18, and re-read about ‘two-note slurs’,Horus Bb Eb Bb —~ = = = e 2 et Mock - in’ Bird | Hill. Tea la - a = f 1 : = = = — =|} T the | mock - in’ bird's | ill, Bb eb Bb —F = ie a - = Fe = ‘i ie eae i EIS . _| CaS Pes SS e5 {© Copyright 1949 by Souther Musi ub Co Ing, USA. Southern Marc Publishing Co Lid, 8 Denmark Steet, London, WC2 legs reserved. Invemonal eopyrgie secre = = 2526 SYNCOPATION When an important, accented note is played just before, or just after a main beat, rather than on it, the effect is called ‘syncopation’. For example: Example 1 bea:1 2 3 4 12 3 4 No syncopation (each melody note is played on a main beat). Example2 Bar 2 4 beat:1 2 3 4 ‘and2and3 4 Syncopation in Bar 2 (Melody notes ‘C’ and B’ play in between main beats). Play the second example through several times. The repeated left hand ‘C's’ will give you the main beats. Keep the left hand rock-steady throughout. The above is a simplified version of the start of Paacherine Rag. Here now are these same two bars as you will actually play them: Example 3 Peacherine Rag co. eee 1and2and3 and 4 and Play Example 3 through many times to get the feel of the syncopation. Keep the left hand rock-steady and play the right hand melody notes with, and in between, the left hand notes as required.PEACHERINE RAG By Scott Joplin ively 4 = 152 {0 pedal) (© copyright 984, Dorey Brothers Masi Ld, 78 Newzan Sree, London WI, Argh eervedInemaional copyright secured 7Here’s a famous modem piece which Thave arrowed the first seven syncopated uses syncopation: The Fifly-Ninth Street notes for you. Try to find the others for Bridge Song, by Paul Simon. yourself (there are eighteen more). As in Notice the Swing-style ‘dotted rhythms’ (see Book Three, p.46) which help give _ steady throughout. the piece a nice lilt. THE FIFTY-NINTH STREET BRIDGE SONG (FEELIN’ GROOVY) Words & Music: Paul Simon swingy J = 120 F c G7 c F ame E F oa 7 mf Slow down — you got tee alceea z a {no pedal) G7 c F c G7 z morn ~ ing last____just ‘Peacherine Rag, keep your left hand rock- =i tomake the ‘chaknow - in’? Ain't cha got © Copyright 1966 Paul simon, Allright exrvedIneraaiona eopright secured, 29Latin American style tunes use syncopation too, as can be seen in this charming Bossa Nova" called Little Boat’ Since the left hand does not play on every beat in this piece you will have to maintain a strong rhythm in your head! O BARQUINHO uurtie soan, Music: Roberto Menescal. Original Words: Ronaldo Boscoli. English Lyric: Buddy Kaye Medium Tempo 4 = 104 . OO 8m, mien gets Sen T odd 3 PS Toes mp My lit - tle boat is ike} a note boune ~ ing mer = ti-ly @-long hear it te he t é aaa oe =} | = "eS iS hsb! — aoe ahd eS: —— — == =r aia J e =e eee eee a Saas — i —— 4 He age : ; st = *A Latin-American dance rhythm.oo saecee Ss _ ™? 1p 'f » i =— Ee voy-age heav-enbound, tho we | on—ly drift a~ round, [Warmed by the sun, twohearts 3 hee : el 2 5 a= as one beat~ ing | with enchanted bliss, melting} in each oth-er’s kiss. ‘When day - light ends and sly ~ serra y mz 7 = —— ea ae f 7 CY starsto twin-kle bright-ly a - bove— Ie’s_ good D7 C7 Repeat ond Fede) Fmaj7 a © coy yi 9 68 164 Edna Maine Sch, Face ca Wasi, 9 Pcadily, London W fra Eaghpeaing coun Alrighe ese nema copyright secur 3In Pushbike Song’ both left and right hands have syncopated notes (I have arrowed the left hand ones for you). When the left hand is not actually laying down the beats (eg. Bars 9-16) you will have to maintain the time mentally (nod your head strongly on every beat in the early stages of practice). THE PUSHBIKE SONG ‘Words & Music: Idris & Evan Jones With energy # = 138 9 ou 2m : 6 oor ee: ist-ence, I Keptmy| pro-mise, don'tkeepyour| dis-tance. Don'tery for me Ar-gen- — OF pe tees Sssiae beg hp ts oe re t z +g — set oot see A = LL eS ie? let you, allthroughmy| wil days, my mad ex SS SS z i - isteence, Tkeptmy] pro-mise, Don't keep your | dis-tance. = *A popular dance rhythm of African and Latin-American origin. 0g 9 fob dy a Ma Pay. London 35 SAORI en ony pe La, 18 ey, LondKEY OF D MINOR ‘The Key of D Minor is derived from the Scale of D Minor, which requires one black note: B flat: Scale of D Minor (Natural) SS jo the scale given above. These variations occur because there are two other types of D Minor scale in common use which actually use C sharp and B natural: Scale of D Minor (Harmonic) DEF Gca@®@cob ‘The key signature is therefore: Key of D Minor B flat SSS = ca@®@@o Scale of D Minor (Melodic) This is the same key signature as F Major:~ Key of F (Major) B flat Since they share the same key signature, these two keys are said to be ‘related’: D Minor is the Relative Minor of F Major F Major is the Relative Major of D Minor Quite often in the key of D Minor you will come across a C’‘sharp’ or a B ‘natura?. Neither of these notes appears in [oo See DE a®@o When in the key of D Minor remember: 2 ec 1. You must play all B’s (wherever they might fall on the keyboard) as B flats. 2. Look out for occasional C sharps and B naturals (they will be marked as they occur).OCTAVES IN THE RIGHT HAND This is a most important piano technique which will make your playing sound fuller and more professional. First practise playing a scale (the scale of C will do) with your right hand to get the feeling of ‘octaves’ (a distance of eight notes): Scale of C Try other scales similarly. Next go over some of the easier pieces in the previous books, playing your right hand in octaves throughout. Note: if the size of your hand allows, finger all black note octaves: j rather than:. This makes for smoother playing. The next piece: “The Green Leaves Of Summer’ is in the key of D Minor. (Repeat ad lib) 2 In the first part your left hand will be using a technique which you have seen before: ‘chord pyramids’ (see Book Three, p6). In the second part your right hand will play the melody in ‘octaves. Since this involves jumping about you will need to use the sustaining pedal to make this section sound ‘legato’ 37THE GREEN LEAVES OF SUMMER Words: Paul Francis Webster. Music: Dimitri ‘Tiomkin Quite stow J = Dm a7 Dm c7 (no pesai) = leavesof | sum=mer are 2 44 jump ~ in’ 4 © coprigh 1960& 1961 by Ln ei te, ae Prduons Inc and Ero Music Publshng Crp, USA. Rights shroughout she wold contol by Leo FORTE “Aline rb Fre Mat Lint SA! Marner Ser london Wife DR Ee Alpen Tena 38‘Hava Nagila’ (in the key of D minor) will give you further practice in right hand octaves. Ifyou have a large hand, finger the ‘black note’ octaves 4: if not you will have to finger all octaves§. HAVA NAGILA ‘Traditional Fairly fast J = 120 a7 (© Copyright 184, Dory Brother Music id, 78 Newnan Stet, London WI. Allright reserved Inerainal copyright cued 39KEY OF E MINOR Major, both keys requiring one sharp: | | E Minor is the ‘Relative Minor’ of G F sharp: Scale/Key of G (Major) Scale/Key of E Minor St JS ee The ‘accidentals’* likely to occur in the Key of E Minor (due to other forms of the E Minor Scale) are: D# and C# MY FAVOURITE THINGS Words: Oscar Hammerstein II. Music: Richard Rodgers, Allegro animato (Fast, wi Em Em7 Em6 SS == = Ss mp ae [DRG (90 pedal) cmaj7 — Bright cop -__per ket - tes mit ~ tens, mf Brown ya ~ per * Temporary sharps, flats, or naturals. 40sim= ply re = fmem- ber my fa - vor - ite things, and D13 © copy 0b hard Rogers The Et of One Hamer I Willams Mini Go oe of uae a aed ror Soh Be ese {ep amnesia Heme pan es Sats as tla et ag area ane et 4ALTERNATIVE PEDAL MARKING ‘An alternative and simpler method of P means ‘apply’ or ‘change’ the pedal, indicating the sustaining pedal will be the equivalent of — or: __~__ used from now on: + means ‘lif’ the Pedal. LEFT HAND FILLS {fills or ‘fill-ins.. These are short melodic _ piece moving. Play all your fills ‘legato’ | 3 In Laura’ your left hand will be playing _ the right hand part and help keep the fragments which fill in the ‘dead spots’ in and with expression. LAURA Words: Johnny Mercer. Music: David Raksin Freely, with expression D7-9 G Amz. — is the face thecm Cm5 ALT bo 6 £79 z= 3 2 fon the train that is |pass~ ing. thru.. Gm7 c7-? F hhow fa- mil iar they your ver- y first | kiss c G7 — Say Ss butshe’son- ly a |dream, ©. 1945 1966 by Twente Centry Manic Carp, USA. Right shroughout the word cored by Robbins Mac Cor, USA Administered by Sitrce tule, Sat Borde Se London Wi the UR Sd Ee Al ag secoettcrnadea cop secreBOSSA NOVA RHYTHM PATTERN In the next piece you play a simple, but effective Bossa Nova rhythm pattern in your left hand: ad a count: 1 2and3 4 JUST THE WAY YOU ARE Words & Music: Billy Joe! ‘The pattern begins in Bar 5 and continues through most of the first part of the song. Wisttully J = 116 Ene . os 7 D A RY : —# see oe SS oe Tae ae ra Dont go chang ing To try and pense me Would noe [leave you Tn time “ot | trou ~be fies ai 43 1 You nev - er We nev - er let me down be ~ could have come this P Gmaj7 fore far ! ! Gm D Ho os -e = ne * TY gies Take he | fod sie = i" to po, ea eae eee[———Faveat and Fade tas time (Fine) —— Em7 AZ D Gmé D G D Gm6 D7 G AZ Fim7_D. 87 5 7p be need to |knowshat you will] al ways 'tidd the same old | some-one that I Whatwill take till you Gm7 cz A7sus4 DC. alFine the way that , ‘Sora ge gest 45KEY OF G MINOR G Minor is the ‘Relative Minor’ of B flat Major, both keys requiring two flats: B flat and E flat: Scale/Key of B> (Major) -# eS Scale/Key of G Minor The accidentals likely to occur in the Key of G Minor are: F#and E4 (THEME FROM) SYMPHONY NO. 40 By WA. Mozart Allegro moderato (Moderately fast) J = 92 Gi (Pe The following piece begins in the key of G Minor and modulates (ie. changes key) in the last section to Bb Major. it z 3 tba A fl . : 4 1s Eps z =o 5 Spt 6 a e P _ * P * °(© Copyrgh 1944 by Dorsey Brother: Music Ld, 78 Newnin Sse, London WI Alig eerve,Inematona copyright ecedLAST WORD Congratulations on reaching the end of Book Four of ‘The Complete Piano Player’ THANK YOU FOR THE MUSIC Words & Music: Benny Andersson & Bjom Ulvaeus reefully J = Coreen 35 i 07 5: amas Thagk you for + sic, the | songs mf they're bring - Who can live with - out In Book Five You will be: @ Playing in'§ time @ Playing in more new keys ° Adding left hand octaves @ Improving your phrasing @ Learning exciting new modem styles. Till then your last song in this book is: Em7 ale T'm sing - ing. 2 er all_hon - est yy. = SS ae =a aoe what would life be} with-out a thank you for the mu-sic, P P P © opr 97 rhe Word by Unig Song AB, Sweden Bocu Musi Li 1 Wyndham Yr, Wyndham Pace, Landon Wi, for dhe UK Bite Al ight teratinal copy sec 48 10/85,IER GY PEARCE MARCHEANK PHOTOGRAPHY BY GERED MANKOWITZ/STYLING BY ANNIE HANSON THE COMPLETE PIANO PLAYER You learn about syneopation and how to use the pedals, and play songs made famous by such artists as Paul Simon, Stevie Wonder and Billy Joel, as well as music by famous composers. Nothing has been overlooked in making this course easy, enjoyable and rewarding, Its aim is to teach you to make interesting music on the piano in the shortest possible time. Based throughout on today’s popular songs and on famous light classics, it assumes no knowledge of either the piano or of music. Yet from the beginning you Sle clare otac niet Mees Sones” Canh Bey Melee Gey ete te Rain, Among the modern songwriters whose music you will find yourself playing with case ate: The Beatles .. . Elton John . . . and many more: while classical composers arc represented by such great names as Becthoven and Mozart. Step by casy step, the programme lays a solid musical foundation. You acquire sound technique and leatn to play in any style with confidence. By the end of the course you eave aeoreer ce ese cea eee ets cn te Book 1 How to sitcorrectly. The piano keyboard. Book Dynamics in music. Tremolo. THECOMPLETE ff THE COMPLETE relays aol at \d=3 ‘Musical timing and the beat. Phrsing gain Developing your sense of shythm. New left hand rhythm pattern. ‘Keyboard Chart: helps you locate Plus 20 mote popular tunes including The Entertainer House Of The Rising Sun... Pink Panther and learn the notes of the piano with no trouble at all. Plus 24 popular tunes to play, including Sorangers In The Night... Theme. Annie's Song... She Loves You. Book2 Also Available New notes for right and left hands. ‘The Complete Piano Player Chord symbols. Style Book Wise staccato. Designed to help you become a complete, all- ‘Two tunes with one hand. round pianist. Can be used by anyone who has Plus 22 popular tunes, followed The Complete Piano Player or course of including similarstandard. Teaches seventeen modern piano Hard Day's Night... styles, including Boogie Woogie . . . Richar ‘Take Me Home Clayderman . .. Country Road... Modern Blues Bright Eyes: Rock'n’ Roll Book3 ‘4 Chord pyramids. ¥ ‘Accompaniment patterns. Kenneth Baker, who wrote this fascinating course, isone of the country's leading authorities on keyboard playing. His many books are standard works and Have sold millions of copies world wide, ing. More left hand melody playing. in English and other languages. They are used in lus 22 popular tunes including both schools and colleges. The Complete Piano Raindrops Keep Fallin’ On My Head Player aims at making you an accomplished Somewhere My Love... . Fascination. pianist in the shortest possible time.; « Wise Publications Onder No. AB 34891.