y Nancy and Randall Fabe ) | Va av-LEONARD®ALL-IN-ONE PIANO COURSE Online Support ssons * Technique = Theory PANO dventures’ by Nancy and Randall Faber Production Coordinator: Jon Ophoft Cover: Terpstra Design, San Franciseo Engraving: Dovetee Productions, Inc: FABER PIANO ADVENTURES ‘Book Only ISBN 978-1-61677-302-1 Book & Disc Set ISBN 978-1-61677-301-4 ‘Copyright © 2001, 2009, 2016 Dovetree Productions, Ine. clo FABER PIANO ADVENTURES, 3042 Creek Dr., An Arbor, MI 48108, Iniemational Copyright Secured. All Rights Reserved. Printed in U.S.A. WARNING: The music ex, design, and graphics inthis publication are protected by copyright lw. Any duplication i an infringement of US. copyright lawWelcome New to the Piano? Returning to the Piano? This book offers musical instruction that will If you had piano lessons previously, this is your guide you as a beginning adult learner. Over refresher course. You may move quickly two hours of instructional video provide a through Book 1, but take your time with the professional perspective to accelerate your musical training Supporting audio video content of each unit, You'll gain deeper understanding and find an expressive dimension in your playing. Energize your Brain! tracks convey a New and familiar melodies, basic music theory, sonic world of creative exploration, and expressive playing rhythm, melody fatance you lervig wi instuciond vdeosby Pride stimulation and enrichment! and harmony — _Yetldrenowned pianist ond educator Randell ober. essential for learning musical concepts How This Book is Organi You will study 16 units, each — covering a new concept while providing review of previous topics and skills, Treble Clef Note -G tiller Gann Li 6-0e Concepts are displayed ina shaded file folder. and shape Warm Practice suggestions ‘guide your first steps. Chant of the M Discovery questions invite deeper analysis and creative activities \ ‘engage your brain in new ways. Optional teacher duets provide. — a steady beat and a rich sound. Online video and audio tracks are noted at the bottom of corresponding pages. When you see these icons, visit pianoadventures.comfadultdave Sgn (8°- Oar) Ru ae, New musical terms are Each Technique page has a video training quizzes provide additional shown in double-lined boxes. 80 you can “see it in action.” listening and learning activities. At the end of each unit, you will find a 3-Minute Technique page and a Music Theory page. Technique pages develop an optimal physical approach to the piano, and build finger dexterity in just three minutes a day. Music theory activities help you learn chords and harmony while increasing your reading skills. Enhanced Audio Support Download the Piano Adventures Player™ app for interactive accompaniment tracks that adjust to any speed. Fun and easy to use! CLASSICS : Expand you PIANO repertoire! ¢ Play dozens of familiar songs at just the right UCT level in the Adult Piano Adventures supplementary books. Choose among your favorite genres, including Popular, Classics, and Christmas. eeContents ree UNIT | Introduction to Playing. 8:27 stance, height, poste, med potion, finger numbers dxsper Pedal, igh and low, and P, oJ, double bar line, music ‘lphabes interval, seconds, (Backed and broker), hd, ransposing, measure, pentecae, repeat sign pedal mark, mf G pentascale, ‘musical form, musical patterns, sequence Posture atthe Piano 8 Finger Numbers 9 High and Low, Soft and Loud on the Keyboard 0 Raindtops (or RH), Thunder (for LH) u Amazing Grace. 2 ‘The Rhythm Chart rr Campiown Races 1s Music Alphabet Melody 6 RH, on C-D-E Keys, LH. on C-D-E Keys. 7 RH. Interval Warm-up, LH. Interval Warm up 8 Merily We Roll Along (C-D-E) 19 F.G-A-B on the Keys, Transposing 20 Merily We Roll Along (F-G-A) a1 Pentascale Warm-up 2 Warm-up with 3d 2 Ode 1 oy m4 3 MINUTE TECHNIQUE MUSICTHEORY UNIT 2 Orientation to the Staff. 28-41 staff, grand staf, bass clef, treble le, time signature, time, Yeimesaccen mark, 2ndson the sta lder line the te, tobe clef notes, (Middle C,D,E, F), bass clef notes (Middle C, B, A), legato, Sightreading The Grand Stal 28 Bass Clef and Treble Clef 29 Beat Alphabet 30 ‘Beat Alphabet 31 Melodies Using land 1 Tine Signatures 2 Warn with 2ads M Catch Faling Sie 35 Russian Folk Son %6 Miaight Ride 8 [MINUTE TECHNIQUE 40 MUSIC THEORY 1 UNIT 3 Reading Reinforcement 42-49 G clef F clef treble clef note G, bass clef notes G and P, coda (Chant ofthe Monk 2 Chan ofthe Monks 3 Shining Stars 4 Roman Tmpets 46 MINUTE TECHNIQUE 48 MUSIC THEORY 49 UNIT 4 More About Staff Reading..........50-61 nds on the staff quarter res (2),D.C.at Fine, chord, half rest(~), whole rest(~) ‘Camprown Races si Fine Kleine Nachtmusik 32 New World Symphony Theme s4 € Choa! Warm-up 56 Single Bells 57 Royal Procession ss 3-MINUTE TECHNIQUE. 0 MUSIC THEORY 61 UNIT 5 More Bass Clef Note Reading Bass clef notes C-D-E, rules for stems, staccato, Ist and 2nd endings Bass Clef Modis e ‘Suprise” Symphony (Theme from the) 6 Hungarian Dance 6s Shepherd's Sone 66 3-MINUTE TECHNIQUE. 6 MUSIC THEORY oy UNIT 6 Eighth (8th) Notes....... + 70-81 cighth notes (£2), flag, Beam, Mp, minet, phrase, crescendo, diminuendo, downbeat, fermata, upbeat (pick-up note), C major chord, Csusd chon, ledger note B Eighth Notes 70 Fronch Minuet a Morning 2 Taps. 74 Happy Binbday 75 English Folk Song 76 Gavowte 7 Simple Git 78 MINUTE TECHNIQUE 0 MUSIC THEORY 81 UNIT 7 Treble Space Notes: F-A-C-E.........82-89 B, rossovers,F chord, cros-hand treble clef space notes F-A-C arpeggion Moon on the Water 2 500-Year-Old Melody. 7 Revel 6 3-MINUTE TECHNIQUE 88 MUSICTHEORY 9 UNIT 8 Treble C Pentaseale. = 90-95 treble notes C-D-E-F-G, imitation, rtardando May Dance 0 ‘When the Saints Go Marching In 1 African Celebration 92 3-MINUTE TECHNIQUE 94 MUSICTHEORY 93UNIT 9G Pentascales in 3 Locations .......96-103 G pentascaes,G chord, Gust chord Octave Warmup, 96 G Pentascale Warmups 97 Muscte 8 American File Tne 99 ‘Theme by Mozart 100 3: MINUTE TECHNIQU 10 MUSIC THEORY 103 UNIT 10. Sharps and Flats 104-115) ‘aif step, sharp (1), flat (3), natural), whole step, major pentancale (WWHW) Warm-up with Sharps. tos Half-Time Band 105 Greensleeves 106 Warm-up with Fats 108 Romance 10 Sleeping Beauty Waltz 10 Summer Mouotin Rain 12 3: MINUTE TECHNIQUE us MUSIC THEORY us UNIT 1] Intervals: 4ths, Sths, 6ths . + 116-127 “th (broken and Blocked), Sth (broken and Blocked, 6th (broken ‘and blocked) Fourth ths) and Fits (Shs 116 Promenade u7 Chinese Kites us Danny Boy uy New Age Sounds “The Mariage of Figaro (Aria fom) Sith Sense The Lion Sleeps Tonight Nobody Knows the Trouble ve Seen. 3. MINUTE TECHNIQUE MUSICTHEORY UNIT 12 The C Major Scale .....+6++0 +++ 128-133 major scale, tonic, dominant, lading tone, parallel and Scale Warm-ups 1s ‘One Octave C Major Seale. bs Vive la France 30 3-MINUTE TECHNIQUE 12 MUSIC THEORY 13 UNIT 13 The G7 Chord .........26++0644 134-141 V7 chord (G7 chord symbol), finger substitution The GT Chord a4 Trumpet Voluntary Bs Can-Can 136, lee Skaters 138. 3-MINUTE TECHNIQUE 40 MUSIC THEORY ut UNIT 14 Primary Chords in C Major TeV 07 sect eins ane srtereeee 42153) primary corde: IV-V7, root poston, inversion, PP, accidentals, lead sheetin € major Primary Chord Study M2 TV Chord Warm-up in C M44 Rise and Shine 14s “Trumpet Concerto (Theme from). 146 The Entenainer M8. ome onthe Range (lead shet) 150 3-MINUTE TECHNIQUE 132 MUSIC THEORY 153 UNIT 15 The G Major Scale «154-159 ‘onic, dominant, lealing tone, key signature for G major G Scale Warmups 1st One Octave G Major Seale 155 Minuet in G 156, 3-MINUTE TECHNIQUE 158 MUSIC THEORY 159 UNIT 16 Primary Chords in G Major: HIV-V7. 160-173 V7 chord (D7 chord symbol), 1V chord (C chard symbol), lead sheet in G major The DT Chord 160 Alexander March 161 Amazing Grave 12. 1V Chord Warm-up in G 165. French Dance 165 Polovisian Dance 166 For He's a Jolly Good Fellow (lead sheet) 168, Banuwa (Village) 170 MINUTE TECHNIQUE 2 MUSIC THEORY 13 Review Piece The Camival of Venice. m4 Major Pentascales & Cross Hand Arpeggios. . ..176 Dictionary of Musical Terms... +1806 About the Ins trument THE PIANO eZ ‘The piano is perhaps the world’s most celebrated instrument. The standard acoustic piano boasts a range ‘of sound that encompasses the longest string of booming low A to the shortest string of the highest C, 1 dynamic range of hushed pianissimo (very soft) to thunderous fortissimo (very loud), and a unique capacity to play any number of notes at the same time. The piano is a veritable orchestra at our fingertips. Since its invention around 1700 by Bartolomeo Cristofori, the piano has evolved to a magnificent Instrument with over 10,000 parts Strings —Tatay’s piano ses high te stings. There ae three stings foreach ke bass (lower) e there are two strings per key or 4 single string wrapped in coiled copper. Te pitch of « sing is determined by is length and tension. The higher tones have shorter stings, while lower tes may have stings over thce fect in length n steel for the ister wher ‘The strings of a grand piano are horizontal, whereas an upright piano utili s vertical strings to save floor space. Keys — ‘he standard piano keyboard spans 88 keys ‘The key mechanism re a, with ech key being lever. As the key is stuck, a hinged hammer on the oer end comes up to srike the strings. At the moment of impact, the key also lifts the damper off of the sings allowing the sting to continue to ibat, The white keys formerly made of ivory, ae plastic on today’s piano. The biack key, formery of ebony, are usally constructed of stained pear wood mbles a se Hammers — The hammers (located underneath the strings) are covered with felt. The volume of sound is, determined by the speed of the hammer striking the string To play louder, the hammer must strike the string faster. To play sof the hammer must strike the string slower. Escapement =e mos rls feature of Crstfor’s early piano was the escapement This escapeme: ner fall avay immediately after striking the string, thus letting the sound ring. Through continued improvernels the eseapement in the modern piano makes rpid repetition of «key posible it and revolutionary action allows the h Soundboard — vie soundboard is located below the strings (behind the strings on an upright piano). The soundboard amplifies the tone of the vibrating strings through sympathetic vibration. Cracks can develop in the soundboard due to dryness or extreme temperature changes. Humidity control and stable temperatures pres health of the soundboard, ve the Pedals — Pianos have two or three pedals. The damper pedal (the pedal to the right is used most often. I its the dampers off the strings sustaining the sound until the pedal i released, The damper ped to melodies, a richness to harmonies, and shimmer to fast passagework ‘adds a soulfulness The una corda or “soft pedal” (left pedal) shifts the keyboard to the right, causing the hammers to strike one fewer string. In addition to softening the sound, the tuna cord pedal changes the tone quality to a more ‘muted, veiled sound. Ifa piano has a sostenuto pedal, iti the pedal in the ‘middle. The sostenuto pedal sustains the sound of those oes down. Notes played are not sustained. The sestentto pedal is not keys depressed when the pe after thi essential for playing the piano repertoire,unit Posture at the Piano Distance Sit straight on the front half of the bench with your body weight balanced, With your arms extended out, your knuckles should reach the fallboard. If you have to lean, move the bench forward or backward. Seating Height Check 1. With shoulders relaxed, place your hands on the keys. = shoulders down and relaxed sit on the front half ‘of the bench feet fat on, the floor forearms level , with the keyboard Hand Position ed oa Let your arms hang loosely at your sides. Notice the natural curve of your fingers. Now gently place your hands on the keys. Itis important to keep a relaxed, rounded hand position as you play the piano. Your forearms should be level with the keyboard. Adjust your seating height up or down pionoedventures om adultFinger Numbers Each finger is given a number—I, 2, 3, 4 and 5. The thumb is finger 1. Shorter fingernails will enable you to play more easily ‘on your fingerpads. Finger Number Warm-ups Place your hands in a rounded hand position on your lap. 7 Gently “scratch” finger 1s (thumbs), finger 2s, finger 3s, finger 4s, finger Ss. © With a rounded hand position and firm fingertips, choose any white key. Play it with RIGHT HAND finger 1, then 2, 3, 4, and 5, Now reverse, starting with finger 5 S'S Hint: Play the thumb on the side tip. © Then, with a rounded hand position and firm fingertips, choose any white key. Play it with LEFT HAND finger 1, then 2, 3, 4, and 5. Now reverse. Unit 1: Introduction to Playing 910 High and Low on the Keyboard The piano KEYBOARD has white keys and black keys. Notice the black keys alternate between groups of two and three. & Silently touch all the 2-black-key groups on the piano. Use L.H. for lower groups and R.H. for higher groups. Now silently touch all the 3-black-key groups on the piano. Use L.H. for lower notes and R.H. for higher notes. 1B Now close your eyes. Can you find a group of 2-black-keys? A group of 3-black-keys? Low HIGH | <— DOWN—— — uP——_> going LOWER in pitch going HIGHER in pitch Soft and Loud on the Keyboard The keys on the piano can be played softly or loudly, with many variations in between. Let's begin with these two basic tones: P = PLANO The Ktalian word for soft, quiet. SF = forte The ttalian word for loud. (Pronounced FOR tay.) Unit 1: Introduction to PlayingRaindrops for R.H. Ringers 23 on a 2bladoy group Damper pal 1. Begin and end in the MIDDLE of the keyboard. Use R.H. fingers 2 and 3 together: Play the 2-black-key groups going UP, then back DOWN the keys (higher, then lower). 1. Play piano. Sink gently into the keys. Lift gently from the wrist as you move across the keys. 3. Now play and depress the damper pedal (right foot pedal) throughout, Keep your heel on the floor and your foot in contact with the surface of the pedal. Listen to the sound! Thunder for L.H. — aa i Li Fingers 23 ono lackey grop Damper pedal 1. Begin and end in the MIDDLE of the keyboard, Use L.H. fingers 2 and 3 together. Play the 2-black-key groups going DOWN, then back UP the keys (lower, then higher) 2. Play forte. Drop with the weight of your arm for a deep, rich tone. 3. Now play and depress the damper pedal (right foot pedal) throughout. Listen to the sound! Repeat Raindrops and Thunder usi ig fingers 2-3-4 on the 3-black-key groups. Introduction to Playing 11(ETM Cee 1B Numbers below the words indicate LH. fingers. Hond Placement Numbers above the words indicate R.H. fingers. rity it ‘M@ Extended lines in the lyrics show held tones. | J | I Hl 5 & The dots show quickly moving tones. Let your familiarity with the melody help guide you. Amazing Grace a is by John Newton Early American Melody Slowly arranged 3 3 RH.1 1 24 A-maz - ing... grace, how sweet_____ the sound__ LA. 3 LH.2 3 ca 5 RH. 1 2 that saved like me! LH. 3 12 Unit: tntoduction wo Paying Qpiretrneson/eitJohn Newton, an 18th-century British seaman who served on slave-trading ships, wrote the lyrics to Amazing Grace after experiencing a violent storm at sea. The sailor who replaced him on deck was swept overboard. Newton realized he was saved only by the grace of God. The Iyrics are based on words of King David found in 1 Chronicles 1716-17. ‘The actual composer is unknown, but the melody may be Scottish or Irish in origin. It is a simple pentatonic (five-note) tune. The hymn was popular on both sides during the American Civil War. 5 5 RA. 3 3, aire I once was... lost, but now. am... found. LH.3 2 23 3 3 RH.1 1 a4 Was blind, but... now. I see. LH. 3 Hand Placement Shift your hands and play Amazing Grace on the white keys. Remember to follow the fingering, direction of the notes, and use your ear to help. rl -—k— Unit 1: Introduction to Playing 13Rhythm Note values indicate the duration of the sound. These durations are counted with a steady beat, creating RHYTHM. ‘You may wish to use a metronome for the Rhythm Chart below. ‘A metronome is a rhythmic device that provides a steady beat. Adjustable settings allow a faster or slower beat. Tap (or clap) the Rhythm Chart from top to bottom, counting aloud. Feel a steady beat (J = 100). Each click represents a quarter note. Choose any white key and play the notes in the Rhythm Chart from top to bottom, then bottom to top. Use finger 3. TER quarter note count: “1” stem notehead — dotted half note =2-2" 14 Unit 1: Introduction to PlayingIH Tap the rhythm of this piece on the closed keyboard Hand Plaernent cover with the correct hand. Teel SOO LH.=stem down RH. = stem up LL i Og IH Playing in the middle of the piano, say or sing: Q. finger numbers b. counts _¢. words Camptown Races Stephen Foster Cheerfully (1826-1864, US.) 3 arranged RA.2 2 2 J 2 sea ded Camp-town la-dies sing this song, doo-dah, (3-4) doo- dah; (3-4) cl Ete ¢e Double bar line ‘means the end of the piece Camp-town race track five miles long, oh, © doo-dah day. (2-3-4) ee Fette Teacher Duet: (Student plays higher on the keyboard) hea bebe dy ty iereiis ee ° t ——— cfr r rere D rianoadventres.com/odh Unit 1: Introduction to Playing 15,White Key Names Each white key has a letter name from the music alphabet: A B C D E F G Middle C (The C in the middle of the keyboard) 14/8 \¢/0|e|F]e]4/0\c|o)e\r|o|a]p/c}o|e\r|a)a\e\clole r\a|aelc|ole|r|alalolc | Play and name aloud the white keys from lowest to highest. Use L.H. finger 3 for lower notes. Use R.H. finger 3 at Middle C and higher. Find an “A” in the middle of the keyboard. (Look for the three-black-key group. The A key is between black keys two and three.) © Play and sing the music alphabet up and down. Use R.H. finger 3 A Music Alphabet Melody [Repeat ign Return bepaning ele cote wjddde ay ‘Teacher Duet: (Student plays higher on the keyboard) wots i Ty 4 SS SS OR pear A a A A A a 16 Unit 1: Introduction to PlayingUse the 2-black-key group to locate C-D-E. I ] Think: D is in the middle of the 2-black-keys. “Hey diddle-diddle, D’s in the middle.” CDE R.H. on C-D-E Keys Begin in the MIDDLE and play piano (p). Using R.H. fingers 2-3-4, play all the C-D-E’s together going up, then down the keyboard. & Nove UP to the next sets 3 higher COE 8o sree hese “| Bo — RH $ mes Bo am 2 » Se L.H. on C-D-E Keys Begin in the MIDDLE and play forte (f}). Using L.H. fingers 4-3-2, play all the C-D-E’s Roe 68 3 4 <—|_How REVERSE ond go bck UP Unit 1: Introduction to PlayingInterval An interval is the distance between two keys, including I i the first and last key. Interval of a 3d (or “skip") Ex. From C up to E is the interval of a third (3rd). c| |E ‘The interval of a third spans three letter names. Bene Blocked or Broken An interval can be played broken (separately) d d or blocked (together). R.H. Interval Warm-up Begin in the MIDDLE. Use R.H. fingers 1-3. Depress the damper pedal and play C and E broken, then blocked. Go higher and higher up the keyboard. Play forte (f'). MH Repeat with R.H. fingers 2-4 on C and E. 3 Move ure | 2 i siMeArEly Hoe is the next =)" the next bigher CE L.H. Teteryel arm -up Begin in the MIDDLE with L.H. fingers 3-! Depress the damper pedal and play C and E broken, then blocked. Go lower and lower down the keyboard. Play piano (p). MH Repeat with L.H. fingers 4-2 on C and E. Unit 1: Introduction to PlayingHand Placement ®& Tap (or clap) the rhythm, counting aloud. (ual rei I Playing in she middle of the piano, say or sing: Il il Il @. finger numbers. letter names ¢. counts cle ciple (Say the higher finger numberof leer name forthe blocked 3rd) 3\21 4.23 Merrily We Roll Along Traditional Lively (repeated notes) adja ddd Usd dig Pp aft tt CAP cette (repeated notes) Hand Placement ‘Try playing this song on the 3 black keys. cus ces ‘Teacher Duet: (Student plays higher on the keyboard) ie 1 ee | oe 1 f RN D pinoadventres com/aduh Unit 1: Introduction to Playing 19.20 en nee Use the 3-black-key group to locate F-G-A-B. F-G-A-B on the Keys 1. Begin in the MIDDLE. Play piano (p). Using L.H. fingers 5-4-3-2, play all the F-G-A-B’s together going down, then up the keyboard. 3. Begin in the MIDDLE of the keyboard. Use L-H. fingers 3 and 1. Depress the damper pedal and play F and A broken, then blocked going lower and lower down the keyboard. Play forte (f). Repeat using L.H. fingers 4 and 2 on PandA FIG A\B coast} R = —s . Begin in the MIDDLE. Play forte ('). Using R.H. fingers 2-3-4-5, play all the F-G-A-B’s together going up, then down the keyboard |. Begin in the MIDDLE. Use R.H. fingers 1 and 3 on F and A. Depress the damper pedal and play F and A broken, then blocked going higher and higher up the keyboard. Play forte (f). © Repeat using R.H. fingers 2 and 4 on Fand A. Transposing Playing the same piece using different keys is called transposing. On page 19, you played Merrily We Roll Along using keys C-D-E, On the next page, Merrily We Roll Along is transposed to keys F-G-A. Unit 1: Introduction to PlayingThe Measure A measure i a group of beats. Measures within the same piece usuallly have the same number of beats. Bar lines divide the music into measures. Keep the rhythm flowing smoothly over the bar lines, Study the musical example below. boa borne bar lne 2 alae lesa (Att measure I (4a ensure How many measures are in Merrily We Roll Along? How many beats are in each measure? Tap (or clap) the rhythm, counting aloud. Hond Placement rn te Playing in the middle of the piano, say or sing: eal = T Q. finger numbers b. letter names ¢. counts il MN ] Stender betel) | etal af Merrily We Roll Along | Traditional measure number recite lretele D pianoadventres.com/odl Unit 1; Introduction to Playing 2122 Seconds (2nds) Remember, an interval is the distance between two keys. ‘The interval of a 2nd moves up or down to the: nextKEY — next LETTER NAME - next FINGER: 2 Srample Sap) A 1 xX NS Scale The word seale comes from the Latin scala, meaning “ladder.” The notes of a scale move up or down by 2nds (steps). Penta is Latin for “five.” A pentascale is a 5-note scale. ® Place your R.H. fingers on the keys of the C Pentaseale. Play up, then down, singing C-D- -F-E-D-C. CPentascale Hond Placement ® Playing in the middle of the piano, say or sing: Coe 7 Q.finger numbers b. letter names ¢. counts Il I ] lil Keep the quarter notes steady. E cE E/G) | |ciplE F/G) & Transpose to higher and lower C Pentascales. 5 |4|3/2) 12/3) 4/5) C Pentascale Warm-up Moderately Unit 1: Introduction to Playing QD pianoadvenures.com/odultThirds (3rds) The interval of a 3rd: skipsaKEY - skipsaLETTERNAME - skips a FINGER a fromple C-E a 1 x 7 IB First tap (or clap) the rhythm while Penasco Hond Placement u— -— kt, eh counting aloud, “1 11-2”, etc. r Playing in the middle of the piano, say or sing: I l ] Q. finger numbers b. letter names ¢. counts él [sl ff 5 Keep the quarter notes steady. Sq eoe=a] ‘Transpose to higher and lower C Pentascales daily. I This piece uses broken 3rds within the C Pentascale, Depress the damper pedal throughout. Warm-up with 3rds Moderately slow Depress the damper pedal and play any combination of 3rds (blocked and broken) high on the keyboard. Listen to the sound of 3rds. rae ® pionoodventues.com/edul 234 Musical Form The overall structure or plan of a piece is called musical form. In Ode 10 Joy: Section A — Measures 1-4 can be labeled A. Section A! — Measures 5-8 can be labeled A" because in measure 8 it is changed slightly from A. Section B — Measures 9-12 present a new musical idea and can be labeled B. Section A! — Measures 13-16 return to the same musical idea as measures 5-8. ‘The form of Ode to Joy is A A' B At. CPentascale Hond Placement © Circle all the repeated notes. US > ® Playing in the middle of the piano, say or sing: I ] ] ] i | I I ] ] 4. finger numbers _. letter names e epe Fic | \clolelria| ® Label each section of the musical form in the SE aes) 8) boxes below. Ode to Joy mphony) Ludwig van Beethoven (1770-1827, Germany) arranged Ijdde|da fret Clee ieeet lee9 my dyjl/y) vere od, growing louder oa ede Dag yddidy cree itt celeret ieee ‘Transpose Ode to Joy to the G Pentascale. i jake gpa nee Remember to follow the fingering, direction of the Ee A icice) exxlusospoan canto leip yon ( ares, lll WW TT U ~ "Ta Phy eee “Tf DE. Fine ey Unit 1: Introduction to Playing 25Dynamic Marks Remember p is soft, fis loud. (See p. 10) ‘These are called dynamic marks. mezzo forte (mp) means moderately loud (pronounced MET-tsoh FOR-tay) Musical Pattern ‘A musical pattern (a short set of notes) that is repeated higher or lower on the keyboard is called a sequence. ‘Technique Hint: Play with a rounded hand position on firm fingertips for each musical pattern, BH For each exercise, start in the middle of the piano. Study in 2nds and 3rds for R.H. Moderately musical pattern — sequence ry sequence 7 "® toE etc. move = oD Jd |b |de |d \Jdd |é Continue playing sequences up the white keys on F, G, A, B, and C. Study in 2nds and 3rds for L.H. Moderately r musical pattern — sequence sequence 1 afte 8 \tte ® ieee ie | move down to B move 10 A Continue playing sequences down the white keys on G, F, E, D, and C. (2) D pianoadventuescom/odut Unit 1: Introduction to Play1. Review of 2nds and 3rds Review 2nds and 3rds by naming the keys marked with an X. 2nds going tl 3rds going HIGHER 1 ii il Mt [x[x}x x ! oe oe Bes 3rds going LOWER 3rds going HIGHER bx be) a pc Hl x! |x} |x} it A FE 2. Rhythm Tap © Tap this two-handed rhythm on the closed keyboard cover while counting aloud. Your RH. taps the top line while your LH. taps the bottom line. (Your teacher will demonstrate.) ano iddiddddio =< (Cr tao Pre 3. Black-Key Improvisation To improvise is to create “on the spot.” IB Find a friend or ask your teacher to play the duet part below. First, listen and feel the beat, IB When you are ready, improvise a piece using only black keys. Use either hand (or both). ‘There are no right or wrong notes, only music! ‘Teacher Duet: (Student improvises higher on the same keyboard) | osstesthe- == Repeat over and over D sinoodventures om/adut Unit 1: Introduction to Playing 2728 The Staff Music is written on a five-line staff. + Notes are written on lines (line notes) or in spaces (space notes). 5 Line Notes 4 Space Notes 5 70°12 +622 To Identify each note as a line note or space note on the following pages: 33 and 38. The Grand Staff Piano music uses two staves (staffs) which are [ connected by a brace and beginning bar line. | ‘The R.H. plays the notes in the upper staff. ‘Together we call them the GRAND STAFF. Left ‘The LH. plays the notes in the lower staff Unit 2: Orientation to the StaffBass Clef and Treble Clef This is a Bass Clef sign. This is a Treble Clef sign. Bass refers to low sounds. Treble refers to high sounds. The bass clef shows notes below Middle C. The treble clef shows notes above Middle C. Bass Clef Orientation Treble Clef Orientation With LH. finger 2, play Middle C and all ‘Ml With R.H. finger 2, play Middle C and all the keys below while naming them aloud. the keys above while naming them aloud. ‘These are in the bass clef range. These are in the treble clef range. Note: Middle C is written on a ledger line (short line) between the treble and bass staves. The Alphabet on the Staff As notes on the staff move from a space How many times to the next line to the next space, written on the grand staff? Begin at the move by 2nds (steps) on the keyboard. bottom and count up. (See page 34.) fess rnge 1 Tle rege e T — bo > — ledger ine Middle Unit 2: Orientation to the Staff 29 beeThe 4 Time Signature The time signature is written at the beginning of a piece of music. 4 beats in each measure (“1 3-8") §® The sop number indicates the number of 4 The quarter note receives one beat beats per measure. The bottom number represents the kind of note receiving one beat. Warm-up Tap (or clap), counting aloud, “1-2-3-4” in each ‘Then choose any key on the piano and play, measure, Notice this is a new way to count. counting aloud. Use R.H. finger 3. Alidiid J le o elo o- elo Count:1 2 3 4 oo) ed ae te Baath ot 123 4 4-Beat Alphabet uses only finger 3. First play, saying the letter names, (Begin two A’s below Middle C.) ME Then play, counting aloud, “1-2-3-4.” Accent (play louder) beat | of each measure. 4-Beat Alphabet Moderately Use R.H. finger 3 for these notes. Count. = Accent Mark means to emphasize the note by playing it Jour than the notes around it = ao Use L.H. finger 3 for these notes, 30 Unit 2: Orientation to the StaffWarm-up ‘Tap (or clap), counting aloud, 1-2-3” in Then choose any key on the piano and play, each measure. counting aloud. Use R.H. finger 3. Coun:1 2 3 b=2-8 t=3 2 r-28-8 Counts 1 - 2 3 ’ 2 8 T2Ba g a Gee ‘Now play feeling 3 beats per measure. ‘Count aloud, “1-2-3.” Accent beat | of each measure. 3-Beat Alphabet Moderately Use R.H. finger 3 for these notes. = Use L.H. finger 3 for these notes. Unit 2: Orientation to the Staff 31Play these familiar melodies which use 4 and } time signatures. The letter names inside the notes will guide you. I Determine the time signature for each melody. ea Feces (Thee aes a Write it at the beginning of each piece after the treble and bass clefs. l ] l ] ] ] I | Tap (or clap) the rhythm, counting aloud. MATa eaBiele 41|2/3/4 MW Playing in the middle of the piano, say or sing: oz Q. finger numbers. letter names ¢. counts Yankee Doodle ‘Traditional Cheerfully AF Yan-kee Doo-dle | went to town oe e eae ;e © feath - er in his cap and |called it | mac-a ro - ni! ‘Teacher Duet: (Student plays I octave higher) i a ay ‘P 32 Unit 2: Orientation to the Staff Dpicnoadvenurescom/adsltRow, Row, Row Your Boat ively t 1 Teton £ 3 3 2 1 1 2 1 Can you finish the melody to Row, Row, Row, Your Boat? Pedal Mark Tan ll Pedal DOWN holdirdown Pedal UP Clock Tower Bells Moderately Traditional + 3 1 2 2 3 ap Hond Placement ia ui © FGA 31 | [12/3] Transpose Clock Tower Bells using these keys and finger numbers. QD sianoadventrescom/atuh Unit 2: Orientation to the Staff 33,Reading 2nds (Steps) on the Staff On the staff, the interval of a 2nd (step) is from: a LINE to the next SPACE a SPACE to the next LI (See p. 29) on eee ee line - space space - line Learn and memorize these four notes: B, C, D, and E. Remember, Middle C is written on a ledger line between the treble and bass staves. (See p. 29) Phyandsy:B CDE eee nc Warm-up with 2nds Name each note in the blanks below. Moderately d 1 2 SP onrepeat note names: 34 Unit 2: Orientation to the Staff Dpicnoadvenurescom/odlt= DE = sas The tie is a curved line connecting two repeated notes on the same line or space. a The note is played once, but held for the Catch a Falling Star length of both notes combined. Words and Music by aul Vance and Lee Packriss Cheerfully lon = mg Catch @ fall-ing | star and it in your | pock - et, 2on_? a fall - ing it in your | pock - et, Transpose this piece using this set of keys. Teacher Duet: (Student plays J ocfave higher, without pedal) EF GIA 2iijij2 He) Oe) —— E E Ll ‘Copyright © 1957 (Renewed) Emily Manic Corporation nd Mai Slex Corporation This aragerent © 2001 Emily Music Corporation and Musi Sales Corporton Intematonal Cops Seared All Right Renerved 1 Rept by Rrmuon QD sianosrentrescom/otul Unit 2: Orientation to the Staff 35Bass Clef Note - A This A is the top line of the bass staff. Itis a 2nd below B ABCDE line-space-line-space-line LH. Warm-up Moderately blocked 3rd pie play Htogether Repeat beginning with L.H. finger 2 on C. HE Tap (or clap) the rhythm. Count aloud, “1-2-3-4.” Look through the piece, noting the form: AA BB At ®@ Play, observing the ,f", p, and = marks. Russian Folk Song With spirit ‘Traditional Russian , ae I ae ‘Son 36 Unit 2: Orientation to the Staff Dbicnoadvenurescom/adlt4) | A | (Measures 1-3 are repeated.) 10) | B | (Measures 7-9 are repeated.) 13]| A! (Measures 1-3 return, altered for the ending.) ‘Teacher Duet: (Student plays I octave higher) an i Unit 2: Orientation to the Staff 7Treble Clef Note - F This F is the first space of the treble staff. LL ahaae Itis a 2nd above E. | Play and say: C D E F line-space-line-space Legato Legato means smooth and connected, with no break in the sound. To play legaio, one finger goes down as the previous finger releases. A slur is a curved line over or under a group of notes. It indicates legato. slur I Play this example. Listen for a smooth, connected sound. - La. JES leer = 1 Tap (or clap) the rhythm. Count aloud, “1-2-3.” © Repeat, tapping only on beat | of each measure. Midnight Ride Fast, urgent os > 38 Unit 2: Orientation to the Staff Dpicnoadvenurescom/adltCan you play this piece counting aloud, “1-2-3” for each measure? Which beat is the strongest? beat 1 beat2 beat 3 (circle one) ‘Teacher Duet: (Student plays I octave higher) GQ» 144 G an Ty Eh. | rit(2nd time) Unit 2: Orientation to the Staff 39Octave Sign (8 - Ottava) When 8 is written above the staff, play one octave (8 notes) higher than written. When 8" is written below the staff, play one octave lower than written. 15" means 2 octaves higher (or lower). Technique Hints Tap the rhythm for each exercise with the correct hand. Count aloud, “1-2-3.” © Then play using a rounded hand shape. Balance on a firm fingertip as you play each key. Note: A circled finger number alerts you to a change of hand placement. R.H. Fingerwork Moderately fast in L.H. Fingerwork Moderately fast oe mre iif mf Fe F mf @ An Sas ea Re SR oe 4 More Technique: Repeat this exercise starting on L.H. finger 2. 40 Unit 2: Orientation to the Staff Dpicnoadvenurescom/adsltSightreading Sightreading means playing straight through 3. Focus your eyes on the noteheads (the a piece without stopping for corrections round part). or adjustments. . 4. Play rather slowly, always moving your 1. Determine the starting keys and fingers. eyes ahead. 2. Set a steady beat by counting one measure before you play. Ex. “1-2-3-4" 1. Sightread this musical example in 4. Does it begin with a blocked or broken 3rd? Rather slowly 3on_? lon? 4 mf 2. Sightread this musical example in ¥. Listen for an echo effect in the melody. Set a steady beat by counting one measure before you play. Ex. “1-2-3” Rather slowly mf. Your teacher (or a friend) will play one of these short musical exampk Circle whether it is in { or { time. Hint: Listen for the accented notes. Do the accents occur every 3 or every 4 beats? aod bof chord dtord For Teacher Use Only (The examples may be played in any onder) Rather slowly March tempo ve Waltz tempo March tempo * S Unit 2: Orientation fo the Staff 41Reading Reinforcement Treble Clef Note - G Find the first G above Middle C. The treble clef is also called the G clef because it This is called Treble Clef G. circles around the G line on the staff. The treble clef came from the old letter G shown below. Hand Shape Warm-up oe © With RH. fingers I and 5, play back and forth between Middle C and Treble Clef G. (This is the interval of a Sth.) 1 A monk singing this piece would take a breath at the end of each slur, BE As you play this piece, let the music “breathe” by lifting your wrist at the end of each slur. Chant of the Monk Rather slowly, floating 1 lift 2 4 lft Al - le FP on repeat This piece uses notes of the C pentaseale moving by 2nds. (See p. 22) Transpose to the G pentascale. (See pp. 25 or 176) SP on repeat 42 Unit 3: Reading Reinforcement © pamaienescn/oatC Pentascale Hond Placement IB First play each hand separately. The L.H. will play ia aE) the same melody using a lower C Pentascale. 1 Listen for a smooth, legato sound. I Now play hands together. Let your R.H. “teach” ga55%| | |f2 your L.H. Notice the letter names stay the same, but the finger numbers are different. Chant of the Monks Rather slowly, flowing, 1 ‘Transpose Chant of the Monks to the G pentascale. Then create a short “Alleluia Chant” of your own, Use the G pentascale and , play up or down by 2nds (steps). Play R.H. alone, L.H. alone, or hands together. ‘Teacher Duet: See bottom of page 42 QD rionoadrentres com/oduh Unit 3: Reading Reinforcement 4344 Bass Clef Note - G This G in the bass clef is a 2nd (step) below A. tis located on the top space of the bass staff. Playandsa:G A BCDEFG space-line-space-line-space-line-space-line IB Before playing, scan the music and observe the musical form. Moving gently Shining Stars A St Zon 3 Damper pedal down. ‘Teacher Duet: (Student plays / octave higher, without pedal) He a so Ri a, dd \ Fae ir 2 ae Te ; == f mfp on repeat ® Ti Unit 3: Reading Reinforcement D dianoadvenures.com/odultplay } together ¥ play 3 together 7 |(ending section) BOTH HANDS BOTH HANDS Jift__8ro~ lift 15 (2 octaves higher)~ ~~ > 2 Play both hands together. P _.| as softas possible lift Pedal up. Point out a broken 2nd, blocked 2nd, then a blocked 3rd. (Find a broken 3rd in measure 1. Look between treble and bass notes.) Unit 3: Reading Reinforcement 45Bass Clef Note - F Find the first F below Middle C. ‘The bass clef is also called the F elef. The two This is called Bass Clef F. dots point out the F line on the staff. The bass clef came from the old letter F shown below. i" i eer c cogs | | Hand Shape Warm-up SS as is F —<@————— ___ mt With LH fingers 1 and 5, play back and forth between Middle C and Bass Clef F. (This is the interval of a Sth.) ‘Musical Form Check ‘The form of this piece is AA B At Label each section in your music. Roman Trumpets Proudly 4on_? 46 Unit 3: Reading Reinorcement Qpiretneson/ebitslowing down Find the following: accent mark, interval of a 5th, octave sign. ‘Teacher Duet: (Student plays as writfen, without pedal) Nee be Sf Unit 3: Reading Reinforcement. 4748 Tempo The tempo is the speed of the music. I Practice these exerci: Play with firm finge at a slow, medium, then faster tempo. Study in 2nds (for R.H. alone) Steady moderate tempo 1 ae 2 ve LOE aera! Repeat 8°*higher =a a aE a eS Study in 2nds Steady moderate tempo (for L.H. alone) rr a ne ae 1 mf Repeat 8lower oe Unit 3: Reading Reinforcement ® pionoaivenurescom/odslt1. For each musical example, circle the correct description: 3 mf P f repeat, 2nd 4, 2nd ¥ repeat, 2nd 4, Ind 4 2nd 4, 2nd ¥, repeat repeat, 2nd ¥, 2nd ¥ 2nd 4, repeat, 2nd + 2nd 4, repeat, 2nd + 2nd +, 2nd +, repeat 2nd 4, repeat, 2nd 4 2nd +, 2nd 4, repeat 5, P mf fF 2nd 4, repeat, 2nd # repeat, 2nd ¥, 2nd # 2nd ¥, 2nd ¥, repeat repeat, 2nd 4, repeat 2nd ¥, repeat, 2nd + repeat, 2nd ¥, repeat 2nd 4, 2nd ¥, repeat 2nd ¥, repeat, 2nd 4 2nd 4, 2nd #, repeat i 3 i mp f P 2nd ¥, repeat, 2nd 4 repeat, 2nd 4, 2nd 4 2nd ¥, 2nd 4, Ind + 2nd +, 2nd t, 2nd + 2nd 4, 2nd 4, repeat 2nd , 2nd #, 2nd # 2nd ¥, 2nd ¥, repeat 2nd 4, repeat, 2nd 4 2nd ¢, repeat, 2nd + 2. Play each example above. Notice the fingering. 3. CPentascale Improvisation Aska friend or your teacher to play MH When you are ready, improvise a melody the duet part below. First, listen and using the C pentaseale notes (C-D-E-F-G) feel the beat. in any order. For rhythmic variety, use longer and shorter notes. ‘Teacher Duet: (Student improvises higher on the keyboard) Repeat over and over: [Ending QD tincadrentsres.com edt Unit 3: Reading Reinforcement 49.50 e About Staff Reading 3rds (Skips) on the Staff © On the staff, the interval of a 3rd (skip) is from: a LINE to the next LINE or a SPACE to the next SPACE 3rdup 3rd down 3rdup 3rd down Warm-up with 3rds Play this line-to-line 3rd with R.H. fingers 1-3. Notice the dynamic marks. 3 io) i RH. f— —— SS broken blocked ™f m Repeat using R.H. fingers 2-4, then 3-5. Play this space-to-space 3rd with LH. fingers 1-3. Notice the dynamic marks, broken. blocked a Eee LH. Ti ff au 2 Repeat using L.H. fingers 2-4, then 3-5. ‘Teacher Duet for Camptown Races, page 51: (Student plays I octave higher) oo fey RH. a 2s Sal | Unit 4: More About Staff Reading (5 pooodvenescon/oduleee eee Oe ea ieee Camptown Races Stephen Foster (1826-1864, US.) Cheerfully arranged lon _? doo-dah; (3 - 4) ea Ton _? Camp-town racetrack | five miles long, Going to run all night. (2-3 - 4) | Going to run all ae my money on(the)| bob - tail nag, somebody bet on the) | bay. (2 - 3 - 4) ny ‘ (QVERY The form of this piece is A A' B A!, Label each section in your music. QD rianoodrentrescom/atuh Unit 4: More About Staff Reading SI32 Eine Kleine Nachtmusik (A Little Night Music) Wolfgang Amadeus Mozart (1756-1791, Austria) arranged With energy Jon? lift FE Count: 1 2 ‘Teacher Duet: (Student plays / octave higher) RM i mf wy a Unit 4: More About Staff Reading [Epionoadentrescom/odaltCreate two measures of {rhythm and write them below. Include a quarter rest. Then tap (or clap) your rhythm. j wel | oT Unit 4: More About Staff Reading $3Melody and Harmony BE melody — the tune ‘1B harmony — notes played with the melody to give a rich, fuller sound. The interval of a Sth (C up to G) is used to harmonize the melody in this piece. Seeds wera Gata ae New, World “The New World” refers to America inthe late 100s, Symphony Theme (1841-1904, Bohemia) arranged Moderately flowing 3on lift lift pedal down pedal up &] Fine H (prepare LH. for measure 17) ‘Teacher Duet: (Student plays / octave higher without pedal) = oe eee ic IE 2 es as a ae 2 o_o _o_# A A A B A iK ® pionoaivenuescom/odslt 54 Unit 4: More About Staff Reading7 2 2 DC. al Fine* (prepare L.H. for measure I) Da Capo al Fine “D.C. al Fine means return to the beginning and play to Fine. Da Capo (abbreviated D.C.) means from the beginning, Fine (pronounced FEE-nay) means the end. Unit 4: More About Staff Reading 5556 Playing a Chord ‘The word chord is derived from the Old French word acorde, meaning “to agree.” Three or more tones played together form a chord. The C chord is made of 3 tones built in 3rds above C. ‘A 3-note chord built in 3rds is also called a triad. C Chord Warm-up (for L.H. alone) 1 On the closed keyboard cover, “silently” play C Chord Warm-up. & On the piano, find the Bass C Chord shown on the keyboard to the right: Practice C Chord Warm-up with your L-H. until itis secure. Rather slowly Ke 1 LH. f f 53 5 C chord (or triad) Bass C Chord Hond Placement ru E 3 I c G c 5 1 8 | Now play C Chord Warm-up with your R.H. higher on the keyboard. Use fingers 1-5. The C Chord (C-E- G) on the Bass Staff Notice that on the bass staff the top 3 spaces spell the Bass C chord, (bottom to top: C-E-G) Note: Though these bass notes will be introduced. formally on page 62, you may now use L.H. C chords with many of your early pieces. Boss C chord Hand Placement Unit 4: More About Staff ReadingSlowly Warm-up for Jingle Bells ® In this piece, the interval of a Sth and a C chord are used to harmonize the melody. Jingle Bells ‘Words and Music by Brightly J. Pierpont 3on_? ot in - gle bells, jin - gle bells, = Pedal optional Prod ride in(a) | one=horse 0 - pen Fin - ge tes, | in - gle Sob iat QD tincadrentsres.com edt Unit 4; More About Staff Reading. 37Rhythm Warm-up 1B Tap the rhythm below, counting aloud. Ri Velo iw) Le So I Com:1 234 1234 12 IH Identify each rest in measures I-8as a half rest or whole rest Royal Procession Majestically ig men $33 ane 58 Unit4: More About Staff Reading QD pianoadvntrescom/odalt‘The form of this piece is A B A’. Look for the section that is different. Mark it B. ‘When section A returns at measure 17, compare it to measures 1-8 to discover the difference in measures 23-24. Unit 4: More About Staff Reading $9Technique Hints Play the thumb on the side tip, & Keep your wrist flexible; however, do not let it sag as you play. Study in Broken 3rd. Steady broken 3nd pattern —— ‘move to D move to E 13 5 34 @3 53 14 O27 1 etc. R.H. we ee a Cou] 29 4 «1234 Continue these sequences up the white keys beginning on F, G, A, B, and C. Steady ee LH. ipsn saan at Os 2 @?>53 7 mf groken 3rd — move 10 B move 10 A pattern Continue these sequences down the white keys beginning on G, F, E, D, and C. Rhythm Study With energy one move to D 1313 a @ 3 ere RH. ee ee Continue these sequences up the white keys beginning on E, F, G, A, B, and C. With energy ae 2 % 3—~, e * ° = eet. e ene ot Ln. DF : : a 3 ny wh pattern ®. woB Continue these sequences down the white keys beginning on A, G, F, E, D, and C, 60 Uric 4: More About ta Reading [5] @ pretendReece On the staff, the interval of a 3rd (skip) is from: aLINE tothe next LINE ora SPACE to the next SPACE, EN 1. Draw a 3rd up or down from each note below. Use whole notes. ‘Then name both notes in the blanks. up a 3rd up a 3rd down a 3rd down a 3rd oo? 6. 6s down a 3rd up a 3rd —— ae 2. Write the counts /-2-3-4 under this rhythm. Then clap or tap, counting aloud. el ol I = IE Ae 3. Write the counts /-2-3 for this rhythm. Then clap or tap, counting aloud. ge ele le le | Your teacher (or a friend) will play example a or b. Circle the musical example you hear. “oa det Tt ee or 3b. Unit 4: More About Staff Reading 662 IM Bass C Pentascale Review: A pentascale is a five-note scale New: Familiarize yourself with these notes ‘NEW NEW NEW ee oa Se renee! *Playandsay:BassC DE oF G ‘pce = fine space = ine = space SEs Notice the stem on Bass C goes up. The stems on Bass D, E, F, and G go down. Notes below the middle line Notes on or above line 3 (line 3) have UP stems. have DOWN stems. oo” =e = 7 Bass Clef Melodies IB First tap (or clap) each melody. Count aloud. IB Play cach melody s-I-o-w-I-y, then at a moderate tempo. B® Notice each melody begins on a different note of the Bass C Pentascale. Give My Regards to Broadway George M. Cohan Lively Give my re + gards to Broad = way. Re - mp 5 mem ber me to Her - ald Square. Unit 5: More Bass Clef Note Reading (£5 ponoadvenues.com/odslt‘ise and Shine Traditional spiritual Cheerfully Rise and shine and_—sgive. God the __ glo - ry, glo - ry. ee eae f 4m Ode to Joy Ludwig van Beethoven Moderately All Through the Night Traditional lullaby Gently Sleep, my peace at - tend thee, all through the night. tly Row Traditional Brightly Unit 5: More Bass Clef Note Reading 63Staccato Staccato sounds are crisp and detached. To play staccato, quickly bring the finger off the key. The staccato mark is a small dot placed above or below the note. Warm-ups Moderately T RH. mfp on repeat Moderately LH. nn mfp on repeat The Octave From Middle C to Bass C is the distance of 8 white keys and spans 8 letter names: C-B-A-G-F-E-D-C, TEE ee This is the interval of an octave. “S he = spice ne = apace Learn and play this piece by: reading 2nds, 3rds, and repeated notes | recognizing note names, Treble C D EF G I practicing slowly, as you count aloud. May Dance Cheerfully a te | . —— Count: 1 and 2 and 3 and| 1 and 2 and 3 and | 1 and 2 and 3 and | ete mf , E ‘Teacher Duet: (Student plays ! octave higher) as DFE Se . | ] 7 -mp-pp on repeat 90 Unit 8: Treble € Pentascale ® pionoaivenurescom/odsltWhen the Saints Go Marching In Lively i ‘Traditional in, (go march - ing that | num - ber, (yes, do) when the saints go a 2 > ‘Teacher Duet: (Student plays / octave higher) ont =a 4 f Q piaroadrenuescom/odul Unit 8: Treble C Pentascale 9192 Review of rit. - ritardando (see poge 66) ‘This means a gradual slowing of the music. Ritardando is often shortened to ritard. or rit. B® Notice that in measure 25 the R.H. shifts African Celebration higher to Treble C. Traditional Affican melody Quickly, with energy ton_? a tf mp Son_? 2 ‘Thin double bar lines indicate the end of a section of music. Unit 8: Treble € Pentascale Dpicnoatvenurescom/odlt5 Bas ® Unit & Treble C Pentascale 93Imitative Study Imitation Imitation is the immediate repetition of | Notice that the R.H. imitates ‘a musical idea played by the other each L.H. musical pattern. hand. (Turn back to p. 91 and find the Play on firm fingertips, keeping imitation in that piece.) the eighth notes very steady. ‘Moderately ? if (prepare RH.) Repeat playing piano. (prepare RH.) 94 Unit 8: Treble C Pentascale [E) D pianoadrenrescom/adalt1. Draw the notes of three C Pentascales in different locations on the grand staff. Use whole notes. Write the note names in the blanks. Begin on Bass C Begin on Middle C Begin on Treble C & oe 2 we — oe ee ia E o BassC __ pau 2. Circle 2nd or 3rd for each measure. Then name each note in the blanks below, 2nd or 3rd 2nd or 3rd 2nd or 3rd 2nd or 3rd 3. Sightread these two lines of music. Watch for slurs and ties. (Remember to set a steady beat of one full measure before beginning to play.) 1 ® @ ® as oo ® Listen as your teacher (or a friend) plays intervals of a 2nd or 3rd broken, then blocked, Circle 2nd or 3rd below. a. 2nd b. 2nd © 2nd d 2nd @ 2nd 3rd, 3rd. 3rd, 3rd. 3rd. Unit 8: Treble C Pentascale 95G Pentaseales in 3 Locations Playing G-A-B-CD on the Grand Staff ‘The 5 notes of the G pentascale are G A B C D. | Find and play these G pentascales on the piano. Say the letter names aloud. SS — SS ; . i 8 5 e 3 B 8 t t E E G|A|B\c|D G|A|B\c|/D G|JA|B/c|D 2 = 1» o = me ‘Tebif eer G oe TH 6 2s 2S Asmat Lhe Bass clef G Peeve) From G up or down to the next G is an octave (8 notes). BE Practice Octave Warm-up to help you memorize the location of these 3 G’s on the piano. Octave Warm-up 5 3 1 = With energy 96 Unit 9: Pemascales in 3 Locations (5) panes n/aG Pentascale Warm-ups ‘Treble Clef G Warm-up Steady 1 RH. mf Bass Clef G Warm-up Steady —— LH. =F 5 5 q mf Low G Warm-up Steady QD rionoadventures com/odah Unit 9: G Pentascales in 3 Locations 7Italian Tempo Marks Remember, fempo means the speed of the music (fast, slow, ete.). The tempo mark is located at the beginning of a piece, just above the time signature. Italian words are commonly used as tempo marks. <—— sLower FASTER ——> Andante Moderato Allegro, (ahn-DAHN-tay) (mod-eh-RAH-toh) (ah-LEH-groh) “walking speed” moderately fast and lively A muselte isa lively piece imitating the bagpipe. Musette composer unknown WE Name the pentascale-used below: trom the Anna Maden Bach Notebook a ‘adapted Allegro 3 a SS fe ‘Transpose Musette to the notes of the C pentascale. For additional pentascales, see page 176. 98 Unit 9: G Pentascales in 3 Locations Dpicnoadvenurescom/edltAmerican Fiddle Tune (Turkey in the Straw) IB Name the pentascale used below: Moderato a , a = = + . 2 Transpose American Fiddle Tune to the notes of the C pentascale. For additional pentascales, see page 176, QD sianoadventrescom/otuh Unit 9 G Pentascales in 3 Locations 99Theme by Mozart’ Key of G Major Wolfgang Amadeus Mozart (1756-1791, Austria) Andante es G Teacher Duet: (Student plays I octave higher) ‘*From Sonata in A Major, K. 331 100 Unit 9: G Pentascales in 3 Locations. QD picnoadventrescom/odut51 & Gsus4 3 How many beats does each whole rest receive in this piece? Unit 9G Pentascales in 3 Locations 101Tap the rhythm on the closed keyboard cover or your lap, counting aloud, “1-2-3-4, 14243444," etc. Name the pentascale used below: HH Then play, counting aloud. Finger Fanfare Moderately fast ‘Transpose Finger Fanfare to the notes of the C pentascale. 102 Unit 9G Pentascales in 3 Locations ® pionoaivenures.com/odsltSE Sightread these G major pentaseale melodies Then, add harmony by writing G or Gsus4 in the boxes. Listen and let your ears guide you. Lastly, play each melody with the chords. Be |e Gsus4 ‘Moderato 1 ate Your teacher (or friend) will play a short example that will end on the G or Gsus4 chord. Circle the correct answer for the last chord. Hint: The G chord sounds rest/ul and complete. ‘The Gsus4 chord sounds restless and incomplete. a G bh G ee dG Gsus4 Gsus4 Gsus4 Gsus4 For Teacher Use Only (The examples may be played in any onder.) M Unit 9 G Pentascales in 3 Locations 10310 Be rcenc i dete Half Step A half step is from one key to the very closest key. Play these half steps on the piano. N Find and play several more half steps. de The Sharp 4 Novato at =F Bi A sharp means to play the key that is ahalf step HIGHER. Play these keys up the keyboard while naming them aloud. Use R.H. finger 2. Warm-up with Sharps @ Play slowly with the fingering given. erossunder cross under Go Steady _crossumder cross under ross under 19OO ©2509 @ RH. Steady cross over cross over cross over cross over cross over LH. 1©@@®©@ 71060 @©O8O7 1 Tee 5) © A sharp carries through an entire measure, but not past a bar line. (See measure 14) © In anew measure, the sharp must be written again. Note: Flats are introduced on page 108. 108 Unit 10% Shas and Hats (5) panes n/aHalf-Time Band With pep Poe eso © Count: 1 2 Ov still C¢ = Name the pentascale used above: ‘Transpose Half-Time Band to the notes of the C pentascale. “This is the interval of a 4th, 4ths are presented on page 116. QD pionoadrentres com/odah Unit 10: Sharps and Flats 105Greensleeves English Folk Song arranged Gently moving ton ‘Teacher Duet: (Student plays J octave higher) pl Aa eee amet ticnsa + “ft rt : me Ne at ah fig pda faked sald So Te att as C=. — sigan = so ss Goat itty ea ye ae 106 Unit 10: Sharps and FlatsHow many beats does the whole rest receive in this song? Unit 10: Sharps and Flats 107The Flat A flat means to play the key that is Notice that Notice that a half step LOWER. ad O=B IB Play these keys down the keyboard while naming them aloud. Use R.H. finger 2. Warm-up with Flats | Play slowly with the fingering given. = "OO, "OOO: oOo o. 3 3 eclelLl oe es See eee oe 9 ©} 4 Teacher Duet for Romance, page 109: (Student plays J octave higher) 108 Unit 10: Sharps and Flatsais A flat carries through an entire measure, but not past a bar line, (See measure 3) Romance ® Inanew measure, the flat must be written again. (from A Little Night Music) Wolfgang Amadeus Mozart (1756-1791, Austria) ‘arranged Peacefully 2on_? 3on_? if ‘The 8th notes in this piece begin on: beat 1 2 3 4 (circle one) QD tiavoaévntrescom/atol Unit 10: Sharps and Flats 109Sleeping Beauty Waltz Peter Ilyich Tehaikovsky (1840-1893, Russia) Andante 4on_? ‘crreyee. 2on_? Teacher Duet: (Student plays / octave higher, without pedal) 4 sinite a 110 Unit 10: Sharps and Flats QD Pianoadrentrescom/odaltBecause of the tie, the flat does not need to be written again in the last measure. 4 I j ne i ———_ 9 Unit 10: Sharps and Flats 111Whole Steps A whole step is made of two half steps. Think of a whole step as two keys with one key in between. IB Find and play these whole steps ‘on the piano. This piece depicts rumbling mountain thunder, rain, and then emerging sunshine. IB The opening four measures are whole steps, starting with the lowest C-D on the keyboard, IB Observe all the dynamic markings for a “colorful” sound. a Summer Mountain Rain ud Moderately slow (J = 80-96) fie & ® 3 Ba (________ ped. down throughout 8 tebe | SEs Gwe Fee oo mp Rain is (prepare LH.) 12 Uni 10% Ships and Hats © pam cn/oatWm 32 a4 Tw) Cr = = > Er BSS eS Ra a ea Fas Titardando Rain is stop - ping. i ere 3 g a [a5] 320 3 3 3 Hold and let Tg 3 3 i the sound ring! t P The rainbow shimmers! Unit 10: Sharps and Flats 113eas The notes of a scale move up or down by 2nds. A 2nd may be a whole step or half step. Major pentascales (5-note scales) use this pattern: q Whole Step - Whole Step - Half Step - Whole Step i C/DIE/Fic} | © Study the keyboard diagram to the right. SESE T Notice the W W H W pattern. wwuHw bates ~ half sep Major Pentascale Study Allegro mf Begin crossing LH. over 1H )over @] Begin crossing RH. over RH.S over 1 Transpose this exercise to the G major pentaseale. 114 Unit 10: Sharps and Flats QD pianoadvenures.com/odult‘The Whole-Whole-Half-Whole pattern will help you learn the D and A major pentascales. Memorize the look and feel of these patterns. ® Practice hands alone, then hands together. D and A Major Pentascales Moderato: D Major 1 5 13 5 ll ole| [ela S-Don rept VV Wwiw Moderato SP on repeat ‘More Major Pentascales BH Transpose the warm-up above to other major pentascales. The keyboard diagrams in the Major Pentascale Appendix (pages 176-177) will guide you. Note: There are 12 major pentascales. Gradually learn and memorize each. C GDA E B FG) C#(D)) Ab Eb Bb F ‘Teacher Duet: (Student plays J octave higher) D Major JE} oie z z A Major QD pionoadrentres com/odah Unit 10: Sharps and Flats 115ll Intervals: 4ths, 5ths, 6ths Intervals are easy to measure at the keyboard, Count the number of white keys (or letter names), including the first and last key. This is the number (size) of the interval. The Interval of a 4th A Ath spans 4 letter names. 12 3 4 = 4th es On the staff, the interval of a 4th is from: a LINE toa SPACE or a SPACE toa LINE 14 i 53 3 broken blocked broken blocked 1B What other interval have you learned that is from a line to a space or a space to a line? The Interval of a 5th A Sth spans 5 letter names. 12 3 4 5 = Sth ay On the staff, the interval of a Sth is from: a LINE toa LINE or a SPACE toa SPACE as oe as T ai T 5 5 broken blocked broken blocked 1 What other interval have you learned that is from a line to a line or a space to a space? Note: 6ths are introduced on page 122. 16 Unit 1: tervals St, 6s (5) pinatneson/eitFocus on Fourths (4ths ‘To draw an interval, count the starting note and each line and space. ®@ Draw a 4th above these line notes. (® Draw a 4th below these space notes. ‘Then play each. Listen to the sound. ‘®@ Then play each. Listen to the sound. Ex 4 y 4 ‘ oi Ex. skip-a-line to a space ‘Think: space skip-a-space to a line Promenade (from Pictures at an Exhibition) Modest Mussorgsky T835- 1881, Rossi Slow march lon ‘ ae Circle all the 4ths. (There are 8.) (Remember to include the intervals between the staves.) ae mre ; SF vth peda op QD sianosrentrescom/atuh Unit 11; Intervals: 4ths, Sths, ths 117Musical Form Check Label the sections of this piece. Write A, A’, or coda in the boxes given. ae , Chinese Kites Moderato Hold the pedal down throughout the piece. Name the pentascale used above: Transpose to the G and D major pentascales. (For additional pentascales, see page 176.) 18 Uni 1: tervals hs, i te © pamenescn/oat‘IM For the ending of this piece, the top note is tied (R.H. finger 4) while fingers 1 and 2 move from D to E. Danny Boy Words by Fred B. Weatherly Irish melody Andante lon oe 1 ? 4 down the moun - tain -) side, ‘The sum-mer's | gone, and | all the ros - es 2 oe i Boy, oh, Dan-ny | Boy, I love you 30. —=_ rit: A 2 pales e How many musical phrases are in this arrangement of Danny Boy? QD rionoodrentres com/adu Unit 11 Intervals: 4ths, Sths, 6ths 119Aes 1B Draw a Sth above these line notes. Draw a Sth below these space notes. IH Then play each. Listen to the “open” sound, ll Then play each, Listen to the sound. ‘Ex. + + + t oF Ex, ‘Think: line skip-a-line to a line ‘Think: space skip-a-space to a space Before playing, name the intervals (2nd, 3rd, 4th, or Sth) in the blanks. New Age Sounds Andante Son_? a 4- 3 2 imyf—p on repeat ton? oon oot repeat Name the pentascale used above: Transpose New Age Sounds to the notes of the D major pentascale. 120° Uni: tervals hs, th te © pam cn/otat‘An aria is a vocal piece — a song. Many arias are from ‘operas — dramas in which music is an essential part. Operas feature arias, choruses, and orchestral playing. Aria (trom The Marriage of Figaro) ‘Wolfgang Amadeus Mozart (1756-1791, Austria) ‘Moderato ‘arranged Son_? e 3 4, Son Name the pentascale used above: Name the three letter names used in measures 4, 5, and 6. What major chord do these notes form? QD siavoéventrscom/atul Unit 11: Intervals: 4ths,Sths, 6ths 121The Interval of a 6th A sixth (6th) spans 6 keys and 6 letter names. On the staff, the interval of a 6th is from: a LINE to a SPACE or. a SPACE to a LINE 1 5 mf 5 T mf 5 1 Write the correct letter name that forms a 6th on each keyboard below. Cee (123 4 5 6) UP aéth UP a 6th | I L D DOWN a 6th DOWN a 6th © Now find and play the 6ths above on the piano. Play the notes broken, then blocked, using L.H., then R.H. steady 6 Sixth Sense i. £ eg @ ep ° DEF a 5 a eo + 6 2 Bes Transpose Sixth Sense with the R.H. beginning on & and LH. on 9&2 a ° 122 Uni: tervals: hs, St ts © pate cn/oatThe Lion Sleeps Tonight Words and Music by George David Weiss, IH Name the pentascale used below: Hugo Peretti, Luigi Creatore, and Solomon Linda Flowing gently 1 mf In Count: 1 - © @ I optional pedal Teacher Duet: (Student plays I octave higher, without pedal) ‘lata Spier Mas. LLC. 1 This arangenent Copyigh © 21 Nhiens Mn Ie Iirmsial Coppi Sere | A Rights Reser I Used y Pe QD sianoadventrescom/atuh Unit 11: Intervals: 4ths,Sths, 6ths 123,Nobody Knows the Trouble I’ve Seen Moderately, with feeling Spiritual 3on_? "No ~ vod ‘Teacher Duet: (Student plays J octave higher, without pedal) DG. al Fine 124 Unit 11: Intervals: 4ths, Sths, 6ths @D pianoadventrescom/adultDC.al Fine Find two places where the hands play in parallel motion. (See p. 68) Unit 11: Intervals: ths, Sths, ths 125I Play the thumb Jightly. This will help bring out the accented notes. Left-Hand Interval Study Steady > = ww) mf 2 1 3 ss 5 3 3 5 i Hands-Together Interval Study lm Play the R.H. legato—with no break in the sound. lm Lifi the L.H. slightly on each quarter rest to prepare the next interval Walking tempo 1 4 lift lift ‘Transpose each exercise on this page to the D and A major pentascales. For additional pentascales, see page 176. 126 Unit 11: Intervals: 4ths,Sths, 6ths [E) D pianoadrentrescom/odalt1. Write a whole note a 4th up or down from each note. (See p. 116.) Then name both notes. down a 4th upadth down a 4th upadth upadth - = = A = 2. Write a whole note a Sth up or down from each note. (See p. 116.) Then name both notes. up a Sth down a Sth down a Sth up a Sth down a Sth = se 3. Identify each interval as a Sth or 6th. Then play each on the piano. Play mf*. = 55 9 = 2 8 5 1 e 5 4, Sightread the two melodies below at a slow tempo. Watch for 4ths, Sths, and 6ths. 1 Your teacher (or a friend) will play example a or b. Circle the musical example you hear. Ta, Ba Mae “ aegis 1h. == 1 ae 4. Es] & gepet Unit 11: Intervals: 4ths, Sths, ths 12712 128 The C Major Scale The C Major Scale ‘The C major scale is the C pentascale plus two added notes: A and B (and the higher C, tonic). All seven letters of the music alphabet are used in a major scale. A major scale is composed of whole steps excep! for two half steps between scale degrees 3-4 and 7-8. ————— C major pentascale ————_-- two new notes os oO: a = = o ia hal sep seale degrees: 1 2 end 3 6 7 ite 8) tonic dominant leading tone tonic C Scale Warm-ups Slow, steady cross over 1 3 @ @_2 RAL thumb under — shift hand 10 ~ new position Slow, steady shift hand t0 thumb under new position cross over LH. x 3 @® 5 T @ 2 1 Key of C Roadmap Steady Ton - ic up to dom -i- nant and ead - ing tone to ct Using only RH. finger 3, play the C major scale and stop on the leading tone. RFF Do you hear how the leading tone pulls up to the tonic note C? Complete the scale by playing the tonic. Unit 12: The C Major SealeOne Octave C Major Scale B® Practice s y and listen for an even tone! I Memorize the fingering for the C major scale. Repeat thumb under crossover 8 higher 3@ 2 @ 21 RH. o F.Pon repeat Repeat 8" lower LH. 3 1 z 3 5 SP on repeat crosses over thumb under Metronome Practice Put a ¥ in the blank when you can play the C major scale hands alone at these tempi. Play ascending (going up), then descending (going down) as in the above examples. legato J =88__ legato J =112__ legato 4 = 144__ staccato J =88 __ staccato J =112__ staccato J =144__ Review of Parallel and Contrary Motion parallel motion — notes moving in the same direction. (See p. 68) contrary motion — notes moving in opposite directions. (See below.) Notice the same fingers play together in both hands. C Major Scale in Contrary Motion Steady Unit 12: The C Major Scale 129Meee A piece in the Key of C major uses the notes of the C major scale (or pentascale) for its melody and harmony. A piece in the Key of C will almost always end on Cin the bass clef. Vive la France! Cheerfully French Folk Song. pun 4 : Son_? T 3 mf’ 1 i 5 3 ‘Teacher Duet: (Student plays 2 octaves higher) : f ; a se eee Met at ene —| | Ee = =F = 4 vo - > = == f “ EE} = Sarat ae ee z paren) “8 « « 130 Unit 12: THC Maso Sate © paeescn/oatUnit 12: The © Major Seale 131132 POMC cn ae In this piece the RH, plays a melody which uses the C major scale. Eo The LH. plays the harmony (notes or chords which support the melody). The harmony should be played softer than the melody. 1 Play the L.H. intervals lightly, on the surface of the key. Notice the dynamic markings for each hand. Scale Waltz Key of € Major Gracefully 1 © mf Repeat playing the RH. 8° Unit 12: The C Major Seale [E} D pionoremrescom/odultJ. Write the RH. fingering for the C major scale. Write T (tonic), D (dominant), or LT (leading tone) below the correct notes. Mark the half steps between scale degrees 3-4 and 7-8 with a wedge (v) below the notes. fingering: mf 2. Do the above three steps for the L.H. C major scale. mf fingering] C] [ |] OO 1 OO 10 ] Improvisation with Sixths (6ths) Your teacher (or a friend) will play the duet below. First, listen and feel the beat. When you are ready, use only white keys and improvise a short piece using blocked 6ths in the mid-range of the piano. Use mostly © notes. Begin and end with this 6th:|C E Moderately Repeat over and over Close your eyes and listen. Your teacher (or a friend) will play a short example that will end on the tonic or dominant. Circle the correct answer. Note: Each example begins on the sonic. a. tonic b. tonic & tonic d. tonic dominant dominant dominant dominant For Teacher Use Only (The examples may be played in any order.) each aaa eS 7 Se z t yl Tt mf QD rionoadrentures com/odah Unit 12: The C Major Seale 133134 G7 Chord in Root Position ‘The G7 chord is a four-note chord built up in 3rds from G. When G (the root) is the Jowest note, the chord is in ROOT POSITION. 1h @ sth @ 3rd. root Inverted G7 Chord ‘Then notes of the G7 chord are often inverted (rearranged) to form a 3-note G7 chord. th eo Le ee 45 sh @ The Sth is omitted. I ® G moves up an octave. | LJ tH Ss 2a CAAT na Because G is scale degree 5 (the dominant - V) in the Key of C, the G7 chord is called the V7 (“five-seven”) or Dominant 7 chord in the Key of C. Inverted G7 (V7) for LH. Inverted G7 (V7) for R.H. ME Play a Sth in the C major seale. I Play a Sth in the C major scale HE Move finger 5 a half step lower (B). HE Move finger | a half step lower (B). (This expands the interval to a 6th.) (This expands the interval to a 6th.) HE Add LM. finger 2 (scale degree 4) ME Add R.H. finger 4 (scale degree 4). G7 Cc ,a7 € vot if wot Play a C major pentaseale up and down s-l-o-w-l-y with your R.H. Harmonize each note by playing a C (1) or G7 (V7) chord with your L.H. Listen and let your ears guide you. Unit 13: The G7 Chord [3 pionoadrentrescom/adalt‘Ml Chord letter names (C, G7, etc.) Trumpet Volunta: are above the staff. Roman numerals Key of € Major (1, V7, ete.) are below. Jeremiah Clarke (1673-1707, England) Dias ited mared arranged G7 c 5 . v7 I ‘TEC DO Stasoad plays Teena agha) 73) 3 oT a oes ; ao La. Ef veel v=o QD pionoadrentures com/odah Unit 13: The G7 Chord 135i Cases iy Fasch Sand as cat Gh Can-Can Sie re ote eee bora Key of C Major Jacques Offenbach (1819-1880, France) Allegro moderato (moderately fast) ‘arranged Ex. [¢ le7] 1 z ® Teacher Duet: (Student plays I octave higher) Pra hy 136 Unit 13: The G7 Chord QD pianoadventrescom/oduttee! Write chord symbols: C, Csus4, or G7 in the boxes above the measures. Unit 13: The G7 Chord 137een Tce Skaters” Emile Waldteufel (1837-1915, France) Gliding along arranged lon_? 3 ™P igh, tight) (light, light) (light, light) “original French title Les Patineurs 138 Unit 13: The G7 Chord QD pianoadventrescom/odut4 2 On repeat, play RH.8" higher 7 4 4 1 1 24 mal 2 a) (play light ~ ly, 2 Ls 2 8 2 1 2 Je = ——=— (play light 2 play light - ly) play light - ly) D.C. al Fine Unit 13: The G7 Chord 139Chord Warm-ups Blocked Chords Moderately c Csus4 c G7 c Can you play exercise 1a and 1b hands together? Blocked and Broken Chords Moderately Cc ‘Csus4 G7 Cc Can you play exercise 2a and 2b hands together? Broken Chords Moderately Cc Csus4 G7 Cc 1 30. 2 Moderately ss 5 P Can you play exercise 3a and 3b hands together? 140 Unit 13: The G7 Chord [3 pionoadentrescom/odalt1. Write C, Csus4, or G7 above each blocked or broken chord. 2. Write 1+ 243 +4 + below each measure, Then sightread, counting aloud, Rather slowly 3. Play hands together slowly, reading the chord letter names (without written music). 1B First play with blocked chords. (Hint: Count 3 beats for each measure.) Repeat using broken chords. Zoc | @ | c | css | e7 | 67 | cc ‘Your teacher will play a short example that will end with a I or V7 chord. Circle the chord that you hear at the end. Hint: The I chord sounds finished or complete. The V7 chord sounds “restless a, Ichord b. chord G — Ichord d. chord V7 chord V7 chord V7 chord V7 chord For Teacher Use Only (The examples may be played in any order.) March tempo a 8 _A Unit 13: The G7 Chord 14114 ER rerio) occa ne WENT The Primary Chords: L-IV-V The I, IV, and V chords are called the primary chords. They are built on scale degrees 1, 4, and 5 of the major scale. chord letter names: C ES scale degrees: 1 2 3 4 5 6 a 8) Roman numerals: I Iv bl chord names: tonic subdominant dominant The C, F, and G chords shown above are in root position. Remember, this means the letter name of the chord is the bottom note. Primary Chord Study Practice and memorize, using the root position C, F, and G chords. Andante Cc SF blocked chords mf. broken chords 142 Unit 14: Primary Chords in © Major ® pionoaivenurescom/odslt‘| F @ ® xs 15" (2 octaves higher) F blocked chords T LH. 3 Jerosses over Ow mf’ broken chords woe = | Sf Wot chords Qs over ge @ 3 § ier : ® deal Fine mf’ broken chords © ——|p Ou ‘Transpose Primary Chord Study using root position D, G, and A major chords. Unit 14; Primary Chords in © Major — 143Inverting the IV Chord To climinate the leap from the I chord to the IV chord, the notes of the IV chord can be rearranged, or inverted. root position Fehord Gy —€ moves down a ocve F (the root) is on \__ @p the bottom. = inverted F chord © © a rearrangement — eo of F-A-C Inverted IV Chord for LH. Inverted IV Chord for R.H. Play a Sth in the C major scale. | The thumb moves UP a whole step (A). LH. finger 2 plays F (scale degree 4). F Cc Play La. mf Iv I IB Play a Sth in the C major scale. I Finger 5 moves UP a whole siep (A). RH. finger 3 moves up a half step to F (scale degree 4). F i Play i Dat RL «%% ot iste is 8 mf Iv I Notice the R.H. fingering! TV Chord Warm-up in C Steady Cc F blocked I Iv 144 Unit 14: Primary Chords in © Major Play a C major pentaseale up and down s-Fo-w-l-y with your RH. Harmonize each note by playing a C (I), F (IV), or G7 (V7) chord with your LH. Use inversions for the F and G7 chords. Listen and let your ears guide you.