| JOHN THOMSON EXSIESH RIANS SOURSa Part OneTeachers and Parents PuRrose Wis courte ie cesoned to presen the sist posible apprecch te piano pleyng. Prt One is devoted fo developing ‘ocr in reading by note soking 9 problem tick tl sors fo rote os usc enemy, nes cn wh rest yung "cos. The Wek Shoots toga the oad Aloud Eercha, ppacing Wequnty ato’ pony ofr ot, score The range covered in Rot One is purposely lined. Only ve noes up ane us note down tom mide Care presented ‘nd lime lve do nt go beyond retches This mokes i poset neue mary example ithe foro ese work ‘nd obvites tho nocesty ol wing spplemertary rata inant, wash book othe conte complete sot one onal tae Wing Exercises, Sight Rossing Dit, Review Werk and in ter Doe) Iennco Se, ACCOMPANIMENTS ‘Accomperients ot eacher of potent ote supped wth moto the excImpes They hove baen coretly compote 10 ‘mote th ite paces sounds much as posi ike Yragrant oy orgerampcutons Vaucb nsevere wey hoy ‘ot only make t poribe to layin wareu hes, vedi the deadly moroony of Cray, tte ure meses ‘ime ane sharp yt, especialy when Mey oe ployed ith somewhat vigotow accents thus Raping the pup Teo ‘he yt tom te vary begining, rapine ‘The books inthis course do ot reprasent any certcin gra They simply flowin proper sequence ae Port One a {wo, Pan Three, se: Norofe the lessane mectuled page by page, Some pupils wil master several pages pet letsonotnes ony ne. The cute progresies Pa by Pont rine than ‘Leeson by Lesson, and i et othe each, {to ltr altho ony ene qustion, to dees how mich ot how Iie each pap can cbaoroin one essen PART TWO ferro proceed tom ho exo por rsochd athe ord of Pot One. New nots, tneeves and dient fe pesered Teenie ao began Rat To fet nthe ker c pl ger als oe fer av enol tected ae Fa semaine in whats goeraly Coss! or Pepartery Grade he pie objcine ol he ee cute io han Fa eth, ‘hovel entorhinal nd muscaly eer hn hw lst ~each pupil can posse ft tr‘TEACHERS ond PARENTS THE KEYBOARD - Showing Midle C KEYBOARD CHART RUDIMENTS MIDDLE C AS A SEMIBREVE Inthe Toole “tots Pay’ MIDDLE C AS A SEMIBREVE In the Bost “Let Pay’ MIDDLE CIN MINIMS "Grandtather's Cock MIDDLE C IN CROTCHETS "Moceosin Dance” Work SHEET NEW NOTE -D inthe Table he Wai [NEW NOTE -8 in the Bose he Seobeet’ work SHEET ‘TWO-FOUR- New Time Signature ‘March of the Gnomes THREE FOUR The Dated Minim "Donce of the Gnomes NEW NOTE -Ein tho Febie "Mary Hock ite Lamb NEW NOTE A inthe Bass “he Porattooper™ Contents 2 REVIEW —"Marching Up ond Dowrt REVIEW ~"RagyTime Rogol! WORK SHEET [NEW NOTE-G in the Boss "he Comoe REVIEW Funny Faces! REVIEW - Old MacDonald Ha a Farm RESTS -WORK SHEET REVIEW "Slow the Mon Dover NEW NOTE inthe Treble "ha Church Organ REVIEW -"onkae Dood REVIEW Cary Me Bock 10 O14 Virginny” THE TIE-"The Old Coton Picker NEW NOTE -G inthe Table Theme fom "Te New World Symphony’ Dvoiék REVIEW -'Bughes' PREVIEW ~"Row, Row REVIEW ~’Nobody Knows the Trouble 've Seen! INEWNOTE Fin the Boss ‘neRicahaw" REVIEW = "The Banjo Picker’ REVIEW ~"Princoss Walt” Work SHEET (CERTIFICATE 20 2 36 a 3 » 0The Piano Keyboard ‘There cre WHITE KEYS and BLACK KEYS onthe Plano Keyboard The WHITE KEYS are nomed ect the lters ofthe Musical Alphabet eevera tines. The BLACK KEYS ore grouped in TWOS anc THREES, This is how to find € on your Piano, “uch al the groypt of THO BLACK KEYS on your iano. Cis found to th tet othe TO BLACK KEYS, Lette all the C's you can tnd onthe Keyboard Chat, next page, Now, on yourpiano, PLAY clthe C's you an nl sing the thumb,Keyboard Chart Tiss a peo your kayo ("yout ne name of ch on, turbos page and a Ate ie fring the sername.Middle C on the Music ‘Music is wrt onthe LINES and SPACES of the STAVE The Stave The NOTES onthe music tll us which KEYS 1 ploy. ‘There are ciferent kinds of notes, but fist wo shal lear the SEMIBREVE ASEMIBREVE looks lie this, Its ele for FOUR COUNTS, Clef Signs Treble Cle sign Boss Cet sign o Tiss how MIDDLE Clooksin the bie. ‘This is how MIDDLE C looks in the Boss, leis witton as © SEMIBREVE, and gets FOUR courts Wit aso semibrve, gets FOUR counts Iti played bythe RIGHT HAND thumb, Itlsployes by the LEFT HAND thom. Prey it end count FOUR. Pray nand count FOUR.Musici divided by bar lines © | intobars. The numbers ater the Cet Signs tll us hove to count In thie book we need ony read the TOP number. Inehowshow many counts to each bar Lett Hand Right HendMiddle C as a Semibreve In the Treble Accompaniment evra reer erar IH AL WW Play with right hand thumb ‘and count four to each noteMiddle C as a Semibreve SHAD WA In the Bass Accompaniment let's Play With the Left Hand Play with left hand thumb ‘count four to each note,Middle C in Minims ‘When a note hos an open head endo stem, te ths, (oF 1.) tis called © MINIM ond gets TWO COUNTS ‘ay th following, counting TWO to each note - ! “ONE, TWO’ to the rst note ond "THREE, FOUR tothe second net of each ba Count four to each bar. Grandfather's Clock pecserre brs rrMiddle C in Crotchets Moccasin Dance = - = { eee eo oeee | lop tote for |p 9 9 » pees oeWork Sheefyal yp. “Mark the Time Valves othe following nates, sing | for Crochet, 2 for Minims and for i 9 = 2 u 2 Cee cH Mote Mini ofthe Talioning by Sing stems ‘Stems Us Four Crotchets—_—_SemibreveHAL AS 3,4and5 on page 15.Two-Four FH ANN GQ" Count 0 to each bar. fee 7 ey. March of the GnomesThree- Four and The Dotted Minim The dotted minim looks tke tis (9 4} ‘endl i ele for $count. Count 3 to each bar. x _— 4 Dance of the Gnor orks S t. Do you see the importance of butthay moke a new piec counting? These ar the some noes you played in March of he G ‘you counts to each Sot| Accompaniment AHEAD AN| Accompaniment AHEAD ANbee eS We have fon ‘Round the Son, AccompanimentJohn Thompson’s Easiest Piano Course PART TWO CHAPPELL & CO., LTD. 50, NEW BOND STREET, LONDON, W.1 THE WILLIS MUSIC CO. CINCINNATI, OHIOFOREWORD (Part Two) REVIEW ‘The fist example in Pert Two presents @ review of Notes, Time Values ond other Rudiments leamed in Part One. NEW MATERIAL Great importance is attached fo the fac thet os new notes ort introduced, the pupil is given opportiity to ploy examples in which only one hond is required. ‘This together with the Reading ond Writing exercises on the Work Sheets willersurefomilirty wih the new moteral before ploying hands together. ACCOMPANIMENTS ‘The cccompaniments to be played by teacher or paren, not only make there examples scund complete, but ere @ great ld in establishing good chythm ond even tempo—at well at encouraging the pupil o play with expreson. FINGER DRILLS ‘Most exomples are preceded by short four-bar Finger Drills in Five- finger postion. Since the five-iager group isthe fore runner ofthe sco, the importance of these litle exercises cannot be over-estimate. The Scale a @ musical and technical figure will be taken up mare completely lotr inthe Coure cHoRDS. In the latter port of the book, some vary simple two-ond thres-note chords are introduced-—both in “block” end broken-chord formation, This enobles the pupil te get the “feel” of harmonic accompaniments before he i roquired to learn the Theory and Evclo- fon of chords—which of course, con only follow a knowledge of Scoes ond Interval By progressing sowiy end prerening mony examples containing each new set af note, the pupils certin to have developed fluency ia Reading by the tine Part Twoje Finihedparticuory if emphasis ix placed on the Werk Sheets, the "Reading Aloud Exerciser ond the Finger Drils which are always bull upon the new notes presented,CONTENTS FOREWORD REVIEW— Material leamed in Part One—"Schoo! Day QUAVERS— In Two- Four “Playing Toa” QUAVERS—In Three-Four “Through the Woods” QUAVERS In Four-Four “The Trombone Player BAND D ON LEGER LINES "Oh, Suionna” REVIEW_"Ten Lite Indios” WORK SHEET THE SHARP SIGN “The Boll Ring Out” THE FLAT SION “Sonrite” KEY SIGNATURE: F “The Ballet Dancer KEY SIGNATURE: G MAJOR Three Bind Mice” WORK. SHEET—New Noter EXAMPLE ON NEW NOTES "The Dancing Kangaroo” REVIEW—*Follow the Leader” REVIEW—"ighly Row” REVIEW-—"Seting Up Exercte” WORK SHEET—-Nois Note in the Bost DUET ON NEW NOTES—"Serenade” REVIEW—"The Pipers ore Coming” np es “ 16 v7 1" ” 20 2 2 a u REVIEW—"The Wishing Stor” 25 BROKEN CHORDS—"Mountain Climbing” 6 WORK SHEET—New Treble Note: 7 DUET ON NEW NOTES—"Moypole Dance" ey REVIEW—"Litle Bo-Poop” 2» WORK SHEET—TwoNote Chords 20 DUET ON TWO-NOTE CHORDS “evening Stor” an TWO-NOTE CHORDS—In G Mojor “the Skoter™ 2 TWO-NOTE CHORDS—in C Major “The Dancing Bear” 2 THREENOTE CHORDS—With Stationary Bos, in C Mejor Theme from The “New World” Symphony Dvoték 34 THREENOTE CHORDS.—With Stationary Boss, in F Mejor "Skip 0 My Lou as ‘TWREE-NOTE CHORDS—With Stationary Bass, in G Major “London Bridge i Fling Down” 6 CROSS-HAND PIECE—"The Giant Stope” v7 REVIEW—"Turkey inthe Straw" 1 ACCENTS —"indion TomTom" 9 Ducts for Sight Reading oF Diversion "Sweet ond Low" Joseph Bornby 40 “Prelude” Chopin 42 “The Band Played On” Charles Wd 44 caatiricate 47counts counts @ = 1 count || Aways ae cancer OF THE FINGERING | Review Material learned in Part One School DaysQuavers In Two-Four WHEN NOTES ARE JOINED TOGETHER) Une Tas ( {J on ff) rwer ane caLten quavens 70 one COUNT. Playing Tagee Quavers [Tis piece In Three-Four Gp) BEGINS ON THE THIRD COUNT, Through the Woods Gay wo COUNT? To THiS BAR, BECAUSE WE BEGAN ON THE THIRD. Accompaniment acs soy Eig Ei aS = ro oe SIQuavers In Four-Four The Trombone PlayerOh, Susanna Read Aloud Read Aloud Qe. 2Ts Ten Little Indians 5, “Tendon One lit-tle,Two t+ tle, [three tit-tle Indians, Four t-te Five t-te, [Six t-te Ie = dias, Seven t-te, Bight t-te, }Nine tittle In- dians, | Ten ttle In dianWork Sheet __ Sioa STEMS IN THE FIRST —— TWO EXERCISES, SO AS TO MAKE QUAVERS IN PAIRS Drow the Bar Lines in he next three exercises, nen recite the names ofthe notes.2 The Flat Sign [we ssarbhsmaces | ee rests ee mess) A | toox ar your. caaer, THEN SEE HOW MANY BD's SunriseKey Signature F Mojor The, Ballet Dancer QHTEN THE FLAT OR SHARP SIGN APPEARS NEXT TO THE CLEF SIGN, IT Becomes THE KEY SIGNATURE, IN THIS PIECE, ALL BS ARE. FLATTED. IT 1S INTHE KEY OF F MAJOR - SEE If YOU CAN FIND THIS| BLACK Key BY YOURSELF, SS SSS SSS SSS Accompanimentaoe Key Signature G Mojor IN THIS PIECE, THE SHARP SIGN — ay IS SHOWN IN THE KEY SIGNATURE (\ - IT MEANS ALL FS WILL BE SHARPED. IT IS IN THE KEY OF G MAJOR. Three Blind Mice A\N\yTone fonger= ACL FE ane suanren ‘The duet, “Sweet and Low’, by Joseph Bornby, page 40, may be assigned at this point for Sight Reading or Recreation.7 Work Sheet HERE ARE THREE leternames —— a Transposing ee Write these notes (one octave lower) in the Bass Semie Dotted two Sreve_Minim. Main Crotches Quavers Bee eee eee esetreee crm Read Aloud Pupil The Dancing KangarooFinger Drill Read Aloud = Follow the Leader ‘The duet, poge 42, may be ossigned at this point for Sight Reading or Diversion.Finger Drill Lightly RowSetting-Up Exerciseeee see oar we aes (evs | fs SOS Write letter nomes — Se Transposing ‘Wite the new Boss notes below. Semi Doce Se Mini tnin_Crowhes Quresf Transpote these notes tothe Treble—one octave higher. Tronepote these notes to the Botr—one octave lowerSerenade {For the Left Hand)Finger Drill Read Aloud “ SSeS 4% The Piper's are Coming! 5 e wre? . (ust) 1.5" tehThe Natural Sign 4 Finger Drill Once Upon a TimeFingor Drill RHA a 54 ees Read Aloud Tae te The Wishing Star German Folk Tane CHANGE HAND POSITION HERE.26 Finger Drill Mountain Climbinga Work Sheet TTT lelpt Wte fetter nomes Taandpose Tese NOTES = One Scaave wen in tee raebLe. REXT WATE “Twem THe enss.ewee, C———— [THEN PLAY THEM AND SEE IF YOU CAN NAME THE,a6 Read Aloud Maypole Dance Pupil = Teacher ‘The duet, page 44, moy be assigned at this point for Sight Reading or Musical Recreation.Finger Drill sage Little Bo-PeepChords When two or more notes are played together, they form o CHORD LEARN THESE TWO LITTLE CHORDS. (Prey HC Key of G Key of F 23) toa i 3 i ———- Koy of Key of G Key of F [ Now PLay THEM _} with THE THIRD NOTE ADDED IN THE LEFT HAND NowYOU play these broken chords nthe Key ‘of G cond in the Key of i: WHEN PLAYED THIS OB) wer, THEY ARE CALLED | gy, CHORDS rorPreperatery Enescisa Hands Together In THiS Piece, wHeN STEMS Po wT U DOWNWARD, SLAY WITH THE LEST WAN! WHEN STEMS POINT UPWARD, PLAY WITH THE RIGHT HAND. Teacher:The Skateral ‘The Daneing BearChords with Stationary Bass In C Mojor i Theme from “The New World” Symphony Waen THis Sign = PLAceD BeLow's nore vaca nso Pune iT ONE octave Lower)Chords with Stationary Bass In F Mojor Q 4 r yah Skip to My Lou 4 4 * 2 Preparatory Exercise iy) J. Old Singing ComeChords with Stationary Bass Preparatory Drill ig Melee ee “London Bridge is Falling DownThe Giant Steps 3 5 oat i?Finger Drill = For Sight Reading, use the duet on page 43.NOTES MARKED WITH THIS SIGN SHOULD BE PLAYED WITH EXTRA FORCE. i 1 THE SION OF THe ACCENT) o ‘Apply heovy accents WeM.co, 00has Duet Accompaniment SSeS sty SS nee 7 coaeee fae baba tg de ——=- eS SS] one Sa Sweet and Low 4 Nope Joseph Baraby* Duet from Prelude, Op. 28, No. 20 SecondoDuet bs ‘om Prelude, Op. 28, No. 20 Primo, F. Ghopln In quick fow-our“4 Duet The Band Played On Secondo Charles WartDuet The Band Played On Primo WM.Co ne? Te 3Certificate of Werit This certifies that has successfully completed PART TWO OF John Thompeson’s EASIEST PIANO COURSE and is eligible for promotion to PART THREEJohn Thompson's Easiest Piano Course PART THREE THE WILLIS MUSIC CO.FOREWORD THE PHRASE "Melody" THREE PHRASES nie FOUR PHRASES “Much Ado About Nothing” WRIST STACCATO “Some Fos Do WORK SHEET New Boss Notes STUDY IN WRIST STACCATO AS the Arimel Fale CHANGING HAND POSITION "On the Leveo" NEW EXPRESSION MARKS "Suns ‘THE SLUR Stephen Foster TWO-NOTE SLUR "Pop Goes the Weesel” TWO.NOTE SLURS, LEFT HAND "Beagle Woopie Bil” TWO.NOTE SLURS, RIGHT HAND “Robin Redbreas! SEMITONES (Half- Steps) WHOLE TONES (Whole-Steps) THREENOTE SLURS “Shutfin’ Along” (Boogie Woogie) (CROSS-HAND PIECE “Shadow Dance" MAJOR SCALES SCALE USED AS MELODY “The Juggler” F MAJOR SCALE “Reroba SYNCOPATION "ike Rhyth ACCENTS AND SLURS Tribel Dance Contents 5 16 v7 ” 20 2 2 23 24 DUET FOR TEACHER AND PUPIL "Coke Walk” CHORD BUILDING (Major Tee INVERSIONS. TRIADS IN BOTH HANDS chord Caper" BROKEN CHORD ETUDE CHORD PATTERNS “Ae Old Fale Tone BROKEN CHORDS rosHond Etude DISSONANCES "Chinese Th D MAJOR "Peasont Dance B FLAT MAJOR “Bde in Biot” LEFT HAND BROKEN CHORDS In a Gondols| REVIEW “Cowboy's Song” SYNCOPATION A lite Bit of Rag! ‘A MAJOR Holiday. Song SIX-EIGHT ramp, Tramp, Tromp" George F. Root E FLAT MAJOR "By Meonligh SDXEIGHT How Diye Dot” SCALES AND CHORDS GLOSSARY OF MUSICAL TERMS SUPPLEMENTARY MATERIAL . CERTIFICATE 2% 8 a» 30 31 2 3 34 35 6 7 38 » 40 a a 4A “6Foreword THE PHRASE PART THREE begin by showing the impertonce cf thinking end feling music phrase by phrese rather Teacher should emphosize fe matter of pleying each phrose wth diferent musical rectmen—one of ouch TOUCH is cbviuly 0 vital part of iterprettien and examples in saccao, lego, srs, ee, flow in For through development ofthe various Touches, he tnocher i referred tothe outers eition ofthe HANON STUDIES—now edepied oso sondara port ofthe teaching eevigment of mst pono esata ene ssi whoo. SCALES AND CHORDS ‘Scale formation flows the lesson on Semitanes and Whale Tones ih exemples wing the scale both 1s Melody and ot accompaniment figuer Later Triads and Inverions are shown wit paces employing chord figures in ‘loc’ end broken form The 71h chord [wth treatin) snot analysed hormonal, but simply tough os © CHORD PATTERN hic should be memorized by the pupil becoote of reque! pearance in mune of hh grade, ‘so0cIe Woosie Many teacher may be soled becouse ofthe incon of Bogie Woogie ond cher numbers having « pops favour 811 it must be odmited thet Popular Music shee fo soy—and why nt? It hos very definite place of ‘ts own in the wot of male. “And whether we opprove or nt, our pubis mil be enpored fot doy oe vod sion, gramophone. eds ete Pehops for that very eason it moy even be ody f the so players how fo distinguish Between good and bad Popular Msi! In any even. he mojory of piano pups tke up mute, not or «caren, but os meant of entertainment hich bythe way, i he prime purpete ofall mai, clesc ov cherwse,| The cuton heretore,tectrne "need o opoogite for the popuar typeof some ofthe evamples, if they do noting te, they ot ier tow thot Boogie Woogie, Rog Time, etc, ote not new inventions he popula’ fla bt oe inplyenogpereted te of devices known tthe clic compoves mony Yeon oom I shovd be noted, however, het even the “pop” examples hove « defile purpose ond develop sir & technicolor maicl poi of pani, ied longhaived” muicion to teoeh Young score In Key Stnotves, the book progenies ot fat thee Has ond thee sharps The cemeinng Kay Sig rnetures flow In proper aiden PART FOUR (On poge 44th scles ond chords used in he book ore shown fr reference ‘ Glossory of morcl terms, with abbreviations ond definitions wil be found on poge 45. The lst fow lsons nth book present SIGEIGHT-—a new Tine Signore to for {25 wih he ctr boots in hs Corse the lesan ore specially deigna for he shart practice petieds ofMelody at Phroee ‘and Phrote The Phrase ‘Mase fk longuoge, is dvded into sentences, but musical retences are called PHRASES. The above exomple cons of to rates. Sometimes he second phrase splayed louder thon the Fiat —tonatimes softer, Ba never exact ake How do you think the second phrae should be played? 1 corect ether woy, but shold be ployed ‘he woy you fel Away ink of your Mac prom by prow, not note by nce. Than you wil ploy wih ‘more masicol purpose ond understanding (43903),: Three Phrases fred Pualos fs a ler oh ens lrcmt_1 pe rv tr wer secetgregeg ou te_in pian vry wh 2nd ae ues ode Spo vase Sa be 0 Seund net phon, model ed Zn prs shy eat et, SS Td ne pan nly nt Ind prs, oma of ed phrase, mach ser ‘Checte the woy you Ike best. Tht wil be your very own interpretation, Preparatory Studies RI. 2d, The Bee 2nd Phrase 2rd Phra wacca raFour Phrases Ts piece ha for pro. woe ‘och phot it marked diferent oly he cope heat ow ech prs hd be played anno enn wee oe shoe ern tor eg ee BE SUN TO LOOK THEM UF Much Ado About Nothing et Phrase . at Song if (moderately loud) Ind Phrase inp (moderately wf) Sed PhraseWrist Staccato | EACHERS” NOTE The wb of Touche oo to be raced espa of © Gro Book |" is suggested that the pupil be arsigned at this point, the author's HANON STUDIES which are | soul adopied fr sues 'n ti rede: Each Yoh carly oped od ercoped sooty | Obie, TOUCH i on inpran! pot of erpetton end shoud be nrduced eal i he pnts corer | ec Wt a owen et ma He wi of far tg nd poronet paying in semanary fo, ete he JOHN THOMPSON Hann STUGS, For paying the flowing example gva th pupilyour favourite demensrtion of W Exercise in Writt Staccato ‘ALWAYS BE SURE’ TO NOTICE THE EXPRESSION MARKS.Work Sheet ‘Exercise In naming ond transposing the new notes A ‘Wet the later names bow Writing Exercise ‘Tronspte hese noes one oclave high inthe Bou. Next write hom in the Treble Ca. Than cacit them ot you poy. At the Animal Fair (Stody in Wrst Staccato) 1 feent co te [Anes ent | Fair, The [Bigs and [Reacts wire pepet t10 CHANGING HAND POSITION Up to ti pont you heve changed Hond’ Pasion te ‘Geely when moving from one Pisce to onater “il ind ie ft ‘sary to change poston inthe Imi of ploce ond thot i ‘that hoppers "On the Tiree See how smoothly On the Levee First Time Bar — FIRST AND SECOND TIME BARS. From ths ait, 9o back to the beginning and play over [Atte playing through the SECOND time, do NOT repest the FIRST TIME BARGisted kp {othe SECOND TIME BAR.Sunrise. The Slur “SLURRING in muse he BREATHING in speech—we Yoke sort brats ond Tong brectn. If we keepin sind to moe ew playing of mic BREATHE AT THE END OF EACH SLUR ft wil sengthen he rhythm ond add Iteveraly 10 the interpretation Tn ploying WOOT SLURS think of he words, DROF-ROLL and the eect wil come nary. the {olloning example, play the Fs pole wih @ eve OROP of he orm andthe second note wth o ROLL ofthe ‘Sev ond honda onward end upward maton, wing no finger action and relesing the ole on he vpword rol “Ie foleingilsraton shows the proper postion of honda erm os each Shri reacted, The WRIST smut be completely laced Play the following with the RIGHT hand ees S23 © prop Bell Drop ‘Rall ‘Drop ‘Roll_——-Drop_‘Rall Dip Holt Drop Rall Drop ‘Roll —-Drop ‘all, ee 35S e =e ‘Drip Roll ‘Drop Boll Drop Roll Drop alt ‘he SIGN of the Sur isthe carved ne, ————.-_ All notes undo his ine, except he lat one, shows Ce played LEGATO. The lo ote mast alway be played wih rlig motion ofthe orm forward end i, alee ee eevee aan Tne wat Scab Tae Ronn ddl wg mp wo _Ths ook tid wih tec lary atone on pce fr re eae LURING ATTACK owl orl ta odor! |Pop Goes the Weasel Moderato Be Sure To observe the many ‘wornote sus (dropoll Ako the occant ond oceato notes on the lst line. al S=frouna the fen - tiers fon, The * 5 Poiased the * . on = Ribot twas“ Preparatory Exercise se ae ee eS bas Boogie Woogie Bill Allegro Moderato16 SEMITONES (Half Steps) [A SEMITONE isthe distance barween any hey ond its next nares ay t Ve Fray the ftlowing progresion sng the second finger ofthe ght hand hs, WHITE You have played o sree of Semitones, Notice tha the pione keyboard is oranged in Semitones. All semitones cur between White Key ond Black Key, EXCEPT the two WHITE SEMITONES between ond F and 8 ond C Py these descending semitones wt the lft hand second fager. Review You have lready loomed tht [A SHARP (2) placed before @ note, rime it @ semitone A FAT ) ploced before @ rote, lowers it @ semitone [A NATURAL (3 placed before @ note, concel the shorp or flat signWHOLE TONES (Whole Steps) AWHOLE TONE is rc th ta Therafore there wll obwoys be one key + = =e | Wnt (aa WHOLE TONES AND SEMITONES oF White ying in between. Define the following examples ot whole tones o” samvtones.' Three-note Slur Drop—ConecRel To play o threenote sr; DROP on the firs ote, CONNECT the second with Fiager legato ond ROLL off on the third note Shufflin’ Along (Boogie Woogie) [ oocr woos | 2006IE WOOGEE in Popa enor open ptems evice trowm and wie Senderd Mel inosine ‘About te ey ie ropeler Mai Yopech he ges reson ton woud be ciered fondord Music ‘hiss the second "Boogie Wooeie tne you have had in ths book. |The it wos "BOGE WOOGE BILL" in which the repected ptern fd over and over with monotonous reouerityMajor Scales Writing Exercises ‘Ascale is 6 sicenion of eight notes progresing in clphabetica order Tne votes ore numbered 1:2: 8,4, 5, 6,7, Band ore known os the degroes ofthe scoe ‘The Mojor Scale cortains whale cones and semitones “he semitones occr between & ond 4 and between 7 ond Bex shown inthe exemple which foo seritone men —— Tatoleg wiole g gol gvhoke gue 7g Wve the folowing sles sing shorps or fa ot needed to preserve the order of whole cones and semi: Seale of G Mater Seale of F Meier b =p o= 12 a4 56 Scale of D Major Seale of Moor ee setat tree) «! 12 Seale of A Mejor = 120456 78 Seale of E> MeierMajor Scales Writing Exercises ‘Ascale is 6 sicenion of eight notes progresing in clphabetica order Tne votes ore numbered 1:2: 8,4, 5, 6,7, Band ore known os the degroes ofthe scoe ‘The Mojor Scale cortains whale cones and semitones “he semitones occr between & ond 4 and between 7 ond Bex shown inthe exemple which foo seritone men —— Tatoleg wiole g gol gvhoke gue 7g Wve the folowing sles sing shorps or fa ot needed to preserve the order of whole cones and semi: Seale of G Mater Seale of F Meier b =p o= 12 a4 56 Scale of D Major Seale of Moor ee setat tree) «! 12 Seale of A Mejor = 120456 78 Seale of E> Meier‘The sign Cs jst anther woy of showing the Tine Signature of Four-For In the follwing exomple, you wl find the C major scle, divided between the honds, ond ved os Melody The Juggler ‘egro 3)Syncopation I Like Rhythm 1 ‘Duet for Teacher and Pupil Cake Walk Secondo2 a erormed by couples marching oromd the The CAKE WALK i on instttion of bygone days, ee floor tthe mateo the bond ‘wos posed fom one couple tothe nent and when the bond ln this example the syncopation occurs onthe fost half ofthe fist bet in mest ofthe brs | | te sure apply sigotoun Secor rougher, Cake Walk Prime maceChord- Building Major Triads [A TRIAD i @ chord of thee noes HF you Yoke the Ti, 3 rd 5th noes of the Majo Scale [kiping thre in between) zy +6 5 6 7 8 a you wil hove forma the Chor Tine, of won Cis the RoctE the 3rd and G the Sth Play these Triads the G Mop Tad Broken Triads ‘When Tila eppear in broken frm, they are known os Broken Chords or Arpeggioe. Poy 5 5 Ploy te F Malar ond G Mojoe Arpeggiot inthe form shown above, waccarInversions “Sometimes the notes of Triad are “scrambled” Hike the word in @ pusle—ia which cose they are seid to be INVERTED. The Three Positions of the C Major Triad (Ploy) (@] E Root Poston Fiat Inversion Second lnverion In he mide eae raae eee “Write (ond ploy he tree postion: ofthe F Major ond G Major Tiads—tring the some chor pattern, cs shown inthe examples ebove. Root Poon Fir Invenion Second invenion : maior won Ge eo e30 os ° fea Broken Chord Etude AndontineChord Patterns Here ore rome Chord Pater: that will eppecr frequently in your mui. Play them over many tines ntl you can recognize hem by sight and by ear. “This wil help your Sigh Reading ond Memorisng = oS rrr An Old Folk Tunea Cross-Hand Etude (On Broken Chords RMowr 5gDissonancesPlay the scole and arpeggio of D Major each day before practising thi piace ‘Scale ino keys ved inthis book are shown on poge 44. te set carve te nny woo ss ah ice. Apply harp ocean the fit ofeach bar ene good hth. Peasant Dance primate Fate TonePloy his etude in two ways. Fis ie, ox wrten—2 notes wih the lft hond ond 3 wih the ight. Second time, make crouhond study of iby posing the left hand overt play the last nate ofeach bar ith the second finger. (Ths opplies to all ars excepe the last two) In bars 10, 11, 12 and 15, play the notes wih the litle Hines ander them { with extra singing qualty—elmost ike melody notes Pedal may be wed—~ ance to each bar —at the dicretion ofthe toch. Etude in B FlatPlay ths old Walon song or exprsively ot pone The let hond broken chords should be played with roling mation ofthe hand fom the fifth finger over fo the tend, Ina Gondola ModeratoCowboy’s Song wie farine to that [sweet by -andA Little Bit of RagPlay the A meior Seale and Arpegai del wakca netSix-Eight . Tie Volues ore oF follows d= 2 counts ee 3 counts d= 6 counts Treat mo och fhe bar —e agen on he Ht so On whee on oth Tramp, Tramp, Tramp . George F Rost Vivace FTame! teampt — |ecymp! the boys ere P marae seath the'star ~ ry [riag, We shallfoveathe the air a >fesin,Do, Mis = ter [yonn - son, ttoe Dye "y-thing we | ean,” SCALES and CHORDS Used in this Book LHe ae A ex. 3 oO gies Peet Tea Paes Mejor MRI A 9, 3, 8 Oo yy tee teat teat eae He tate Baas vert ee 8 Mois Tit) fete ste eGLOSSARY of Musical Terms and Expression Marks Used in this book. Accent... Speci emphosisan note or chord | #9’ — Mezzo Forte... Modertely loud | Allegretto. ght ond tly | mp Mere Pano. Nader sf | Allegro. Fost | moderato... Moderately fost Andante... Slow 7) — Pause ... Hold the note or chord longer Andantino Slow, bit nto slow 05 Anda Animato... Arimoted ‘tempo Return 1 oisinal speed = — Crercend-.. Gradvaly louder == Drereneendo .,. Grodvaty softer Diminuendo ... Soter by degrees SF —Fone...toud Bf Vortiniime Very loud to... Smooth ond connected LL taht Hone 8 Play one ccove higher PP—Pissinine | ccosdng one P Piano... Sof Poco tile Ru. 3 comet sion Wht ond Ri... itr... Sowerby deres = Star... Comacted Stcet. Deoced short amp. fee of apeed Vivace Fst ond vivesousJOHN THOMPSON'S EASIEST PIANO COURSE MO hd ddd 0 WH The Willis Music Company Florence, Kentucky 41022-0548John Thompson's Easiest Piano Course PART FOUR THE WILLIS MUSIC CO. CINCINNATI, OHIOForeword The primary purpose of PART FOUR if alow the pupil opportunity to develop elficiency ond fvency lathe application of krowledge gained inthe earlier books Fer that recto, ther ere not many new damands made aa technical way. Several new Keys ore introduced, namely, Major, 8 Major, A Hat Majo, D Flat Major nd G Flot Major, The exomples in the new Keys are purposely kept simple. Leger UUnes between the stoves ote olio presented with charts showing en easy Woy to recognize notes writen on the added lines, The dotted croschet is explained dnd examples given in Thene-Four and FourFour. There are alo examples in which ‘2 change of Fingers required when playing repeated notes, Thi, of course, rests in on extesion of hand postion and prepares the way for pasting the Thumbs under ‘ond the Hond over—s phase of technique takenupinPartFwve, Simple, mos elementary eof the Pedal is ellowed in some ofthe later pieces end prepares the pupil fer deteled study of the or of palling which isola token vp in Part Five In genet, PART FOUR, except for the points outined above, is mostly « book of review work. I should efford the pupil a chonce fo enjoy the fits of hilabour so ote, ond at the some tine develop better pianizn, musicianship ond general mica! derstanding ‘When this book is finthed, the student will be ready for another advonce in ‘echnicucand the folowing beok wil contin material wth more extended posoge ery effort should be made to play the examples in thi book withthe best posible erty fiContents FOREWORD 3 STACCATO STUDY—from the Opera Wali Tel G-Ronini 26 WRIST STACCATO—"Doncng Reindreps” 5 RECITAL PIECE—rom “The Baoutful ive MELODY IN THE LEFT HAND enue” Schoom Stews 28 ‘At the Bal ‘ ‘CROSS.HAND PIECE LEGER LINES ABOVE BASS STAFF a eorace spa a euoe or tage SNe 7 sncoration—collage Capen” » DOTTED CROTCHETS in THREE-FOUR Se erase to WORK SHEET—New Key MAJOR. 30 DOTTED CROTCHETS in FOUR-FOUR STUDY IN B MAJOR—“Bohomion Dance” 31 Puck " NOCTURNE~"Song of Tlgh" 2 LEGER LINES BELOW TREBLE STAFF. 12 STACCATO AND SOSTENUTO ETUDE ON LEGER LINES 13 from "Hopak” — Modott P, Mourorgthy 33 FINGER CHANGE ON THE SAME KEY WORK SHEET—New Key FLAT MAJOR 34 “From a Story Bok’ “ ae ae ee aaa 15 grupe IND FLAT MAJOR 35 Nal thee cna 18 RECITAL PIECE "A? the Skating Rink’ 6 FIVE-FINGER DRILL INE MAJOR ences eae 17 WORK SHEET—New Key—G FLAT MAJOR 38. TWO AND THREE-NOTE SLURS STUDY IN G FLAT MAJOR Borcorlle” om "The Toles of Hot “Korean Serenede” 8 mana” Offenboch 18 NOVELTY—"The Man on the Fyng Trapeze” SHORT AND LONG SLURS “Anon tees 40 “The Cuckoo Clock 9 RECITAL PIECE Se ae ‘rom "Nereis helbert Nevin 42 “he Overland Steg 20 GLOSSARY OF MUSICAL TERMS 4“ WORK SHEET—-Now Koy—A FLAT MAJOR 21 NEW SCALES AND CHORDS 4“ BROKEN CHORD STUDYIN A FLAT MAJOR "Giont Redwood Trees" 22 CERTIFICATE aWrist Staccato TEACHERS NO} veihg bomeng wet saceata. Tor deve SF the vereus Tovthes, sangn Jha Thompons | HANON STUDIES, specially designed for we | [tS ode | AMlegretto wxcamm The Sect (e509Melody in the Left HandLeger Lines (Above the Bass Stoff) Lege nto itl es added shove or blow he stl pon wich owe dena aa ‘The Lege Lines cave the Bos Staff are eony le fead if is remembored tht ol nas above Middle C ‘ore realy Treble Une, boomed ond brovght down for ue at Lege ines Tatlin of te Treble brought 2nd tne ofthe Treble Brovght down te become inthe Baz. downto become G in DE F 6 Theta notes in Tenble Clet———when troraposed to Bass Cle~—lok ike this on the mii. Writing Exercises Trampove these noes fo the Bow Cle Write the leter-names under ese noes, using Leger Lies then Wrempove them 19 Treble Ckrowd rom he Trae and brought down at Lege Etude on Leger Lines Moderato= Dotted Crotchets (In Three-Four) "trom js 3 Song of the BrookDotted Crotchets {in Four-Four)[ Leger Lines (Below the Treble Staff) The Lager Lines below the Table Staff are eony to read if tinremembered tha al lines below Midale C core realy Bes Unes, Borrowed ond brought up for wae os Lager Une. eo eae e) wae g teye Tat ne ofthe Bows Brough up 2nd in of he Bows brought op fabecome Ainthe Table, to become Fin the Table 4 7 Sole or BEBE 7 eesti fee: ot: ore ee eee 2 ‘hve stein Bon Clat— when rampotnd to Treble let —lok ike i on he mie Writing Exercises ‘Wie te eterna ve eve ts “rompoue theta nte tote Teble Ca ‘hen trompove tem fo Bass Clef sing Leger Une waceariee