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    Alfred S Basic Piano Library The Complete Book of Scales Chords Arpeggios Cadences

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    THE CompLeTE BOOK OF SCALES, CHORDS, ARPEGGIOS & CADENCES Includes all the Major, Minor (Natural, Harmonic, Melodic) « Chromatic Scales — plus additional instructions on music fundamentals WILLARD A. PALMER + MORTON MANUS “AMANDA VICK LETHCO oe oe i t \ Tit LL VAAN Around the Circle of 5ths Boginning with © and moving clockwise around the Circle of Sths, the order of keys is: CGDAEB F CG o i Beginning with C and moving countr-clockwis, the order of orsine i ee cree aoa c ‘The order in which SHARPS occur in key signatures is: FY ech Gt Dt At Et Bi ‘The order in which FLATS occur in key signatures is Bb eB a DG G Fb MAJOR KEY | INO eey | SIGNATURE | SHARPS OR FLATS IN KEY SIGNATURE © Major AMinor | No#'s,nol's Major E Minor 14 Fe D Major 2 Minor zis a | | A Major Fi Minor ats nH | ct | o E Major Ct Minor 4¥s | ct | at | oF B Major Gi Minor Sis FA | ct | Gt | Dt | at FE Major Dé Minor sis Ao | o | | a |e Ct Major AE Minor THe rfl o | a || a |e | oF F Major D Minor 1b Bb 8b Major Minor 2bs a |e Major Minor abs »|elea A> Major F Minor abs ale) a | o D> Major 8» Minor sis Be |e) a | | @ @ Major © Minor 6h elelalole|la Major | AbMinor 7s afelalolal[al pr Alfred’s Basic Piano Library THE COMPLETE BOOK OF SCALES, CHORDS, ARPEGGIOS & CADENCES Includes all the Major, Minor (Natural, Harmonic, Melodic) & Chromatic Scales — plus additional instructions on music fundamentals WILLARD A. PALMER » MORTON MANUS + AMANDA VICK LETHCO. How This Book Is Organized Pore An explanation that leads to the understanding of the fundamentals of major and minor scales, chords, arpeggios and cadences is discussed in some detail. Also included is a clear explanation of scale degrees and a two-page guide to fingering the scales and arpexgios. Pages 4-17 Pow? “The Major Scales: The key of C plus the sharp keys in key signature sequence. Pages 15-33 Part 3 The Major Scales: The flat keys in key signature sequence. Pais 0-47 Parca ‘The Minor Seales: The key of A minor plus the sharp keys in key signature sequence. Pages 6-83 Powe 5 “The Minor Seales: The flat keys in key signature sequence. Pages 64-77 Part 6 ‘The Chromatic Scales: Pages 75-79 Part 7 Enrichment Options: These added options are designed to further develop musicianship, They suggest a number of additional ways the scales and chords in parts 2-5 may be played. Some of the options should be practiced in every key being studied. Pages 60-89 Copyright © MCMV by Aled Publishing Co, le Allnghs reserved Printed in USA. “don't like to practice, never have. But when Ido get started at the piano, for the frst 10 minutes I play scales, slowly. Ive done this all my lite. Lister to tne sounds you Make. The sound of éach tone will ‘generate a response in you. It wil give you energy.” Van Cliburn “Do you ask me how good 2 player you may become? Then tell me how much you practice the scales.” Carl Czerny "consider the practice of scales important not ony forthe tngers, but also for the aiscipine ofthe ear with regard to the feeling of tonality (key), understanding of intervals, and the comprehension of the total compass of the plano. sJoset Hofmann “Give special study to passing the thump under the hand and passing the hand over the thumb. This makes the practice of scales and arpeggios indispensable. Jan Paderewski ‘Scales should never be dre I you are Not interested in them, work with them until you do become interested in them.” ‘Adie Fubinstsin “I believe this matter of insisting upon a thoreugh technical knowledge, particularly scale playing, is a very vital one. The mere abilly to play a few pieces does not constitute musical proficiency. ‘Sergei Rachmaninott You must digently practice all scales.” Robert Schumann The importance of scales and arpeggios. particularly with regard to the pianists ably to perform, cannot be over- estimated. To trace the development ofthe major and minor scales through the history of music would requite many pages, but we do know that these scales had their origins in the system of modes that was developed in ancient Greok music and music ofthe Church In ancient Greece, certain musical tribes used a lyre, a four-stringed harp called the fetrachoraon (tetra meaning four). The four tones encompassed by this instrument constituted a perfect 4th, and were called a tetrachord. This, ‘was the building block thet was fo become the basis for our modern scales, On the keyboard, a tetrachord consists of a whole step, a whole step and hat step. ff we play a tetrachord ‘beginning on C, we have the notes C, D, and F. ifwe begin a second tetrachord on G, we have the notes G, A, Band C. The last C ofthis tetrachord is exactly one octave higher than the low C of the first tetrachord, These two tetrachords, played in succession, make an eigh-note scale in the lonian mode, which we now know as a major scale. If we use the same tones beginning on the 6th note of the combined two tetrachords, we get the notes A, B, C.0,E,F.GandA. These notes constitute the Aeolian mode, which is also known as our natural minor scale. The Greek philosopher Pythagorus (around 500 BO) is credited with the discovery of the numerical ratios corre- sponding to the principal intervals of the musical scate, With an instrument known as a monochord, consisting of ‘one string stretched over a iong sounding-board, Pythagorus found that by dividing the string into 2 equal part, ‘one part, when vibrated, would give a tone exactly one octave above the natural tone of the whole string. By sounding 213 of the length ofthe string, the interval of a Sth above the natural tone would be produced, By sound ing 3/4 of the length of the string, the interval of a 4th would be produced, In similar manner, the ratios of al the notes of the scale were discovered With the ongoing evolution of stringed and keyboard instruments, our modern major and minor scales were devel ‘oped, and the various temperaments associated with all ofthe ancient and modern tunings were ultimately derived, Part 1 Tetrachords: Building Major Scales Triads ‘Triads: The 2nd Inversion . ‘The Primary Triads in Major Keys, ‘The V7 Chord Scale Degrees Atpeggios Building Minor Scales More About 3rds, Sth and Triads. ‘The Primary Triads in Minor Keys. The Diminished 7th Chord, Guide to Fingering Part 2 Major Scales—Sharp Keys Koy of C Major Key of G Major. Key of D Major Key of A Major Key of € Major Key of 8 Major Key of FF Major Key of Of Major Part 3 Major Scales—Flat Keys Key of F Major Koy of B> Major Koy of Eb Major Key of A: Major. Koy of D> Major Key of Major Koy of C> Major 34 & 38 40 “4 46 try CFT i Part 4 Minor Scales—Sharp Keys Key of A Minar Koy of E Minor Key of B Minor Key of F# Minor. Key of Cé Minor Key of Gt Minor Key of D# Minor Key of At Minor. Part s Minor Scales—Flat Keys Key of D Minor Key of G Minor Key of C Minor Key of F Minor Key of B Minor Key of Minor . Key of & Minor Part $ Chromatic Scales Part7 Enrichment Options Harmonizing the Scales, Blocked Scales, Accelerating Scales Expanding Scales No. 1, No.2 . ‘Scales in Double Thirds, Double Sixths, ‘and Octaves: Scales—The Grand Form Broken Triads ‘Triad Chain, Cadences ‘Triads (Block and Broken) Major Scale and Arpeggio Fingering Chart Harmonic Minor Scale and Aspeggio Fingering Chart tt 80 81 82 8 8a 35 88 87 89 Vat Hj i A Ce An ‘The word tetra means four. A TETRACHORD is a series of FOUR NOTES having a pattern of AHALF STEP is the distance from any key to the very next key up or down, black or white, with NO KEY BETWEEN. € Tetrachord SHA | | WHOLE STEP, WHOLE STEP, HALF STEP AWHOLE STEP is equ: to 2 HALF STEPS with ONE KEY BETWEED ANS NS The notes of a tetrachord ‘must be in alphabetical ordes! WHOL aXe +— They must also have this pattern! G Tetrachord 1% HALE A Tetrachard E Tetrachord WHOLE WHOLE HALE B Tetrachord eS = NN 0 NNN ‘The MAJOR SCALE is made of TWO TETRACHORDS: joined by a WHOLE STEP. The C Major Scale KEY NOTE WHOLE KEYNOTE 7 + c wn" 1st Tetrachord 2na Tenachord Each scale begins and ends on the note of the same name as that of the scale, called the KEY NOTE, ea = r i There is NO tor b % SS 5 OD She ‘The G Major Scale | nc ERSONE | intheG MAJOR SCALE. | 1st Tetrachord 2nd Tetrachora The D Major Scale WHOLE A STEP eee ee eee 65 +> te — Mire DuAlOn Sea By eee seer ec cee eae Tat Tewachors 2nd Tetrachord The A Major Scale ‘There are THREE#'s (Ft, Ct, Gf) | ifoaumaonsoae | ~ nae ee wmPoRTaNT: ‘The 2nd tetrachord of C is the 1st tetrachord of G, The 2nd tetrachord of Gis the 1st tetrachord of D. The 2nd tetrachord of D is the 1st tetrachord of A, ‘The 2nd tetrachord of A is the tst tetrachord of E. This overlapping pattern will continue eraund the Circle of Sths! A TRIAD IS A 3-NOTE CHORD. ‘THE THREE NOTES OF A TRIAD ARE: sth sth 3rd OR THIS: ard ROOT ROOT ‘The ROOT is the note from which the trad gets ts name, The ROOT ofa C triad is C. TRIADS MAY BE BUILT ON ANY NOTE OF ANY SCALE Root position triads in C Play with RH 5 5 5 3 3 3 i i i ee. z 8 # Z oe Triads: The 1st Inversion ANY ROOT POSITION TRIAD MAY BE INVERTED BY MOVING THE ROOT TO THE TOP. ROO ‘ROOT CEG becomes EGC ALL LETTER NAMES ARE THE SAME, BUT THE ROOT IS ON TOP. ‘This Is called the FIRST INVERSION. 1ST INVERSION TRIADS IN C Play with RH. Use 1 2 5 on each triad —n-——9 9 8B 3 = $ Qs Play the above with LH ONE OCTAVE LOWER. Use 5 3 1 on each triad, ANY 1st INVERSION TRIAD MAY BE INVERTED AGAIN BY MOVING THE LOWEST NOTE TO THE TOP. EGC becomes GCE ALL LETTER NAMES ARE THE SAME, BUT THE ROOT IS IN THE MIDDLE. This is called the SECOND INVERSION. 2ND INVERSION TRIADS IN C. Piay with RH. Use 1 3 5 on each triad, Zz S Et —s = 3 —— 2 cos ° g o ° S Play the above with LH ONE OCTAVE LOWER. Use § 2 1 on each triad Triads in All Positions ROOT POSITION 1st INVERSION 2nd INVERSION ROOT POSITION AOOT OO: ROOT @ PLAY THE FOLLOWING: C MAJOR TRIAD ae REMEMBER: #f the root is on the bottom, the triad is in ROOT POSITION. i It the root is on the top, the triad is in 1st INVERSION. It the root is in the middle, the triad is in 2nd INVERSION, The three most important triads in any key are those built on the Yst, 4th and Sth notes of the scale, Those are called the PRIMARY TRIADS of the key. ‘The chords are identified by the Roman numerals, 1, 1V and V (1, 4 and 5). Inthe key of C MAJOR, the CHORD (1 chord) isthe © TRIAD. WW CHORD (4 chord) isthe F TRIAD. VCHORD (Schord)is the @ TRIAD The Primary THads in C Major i . 8 BE = SSS 5 t W v 1 wv 1 v 1 Chord Progressions When we change trom one chord to another, we call this a “CHORD PROGRESSION.” When all chords are in root position, the hand must leap from one chord to the next when playing the primary triads. ‘To make the chord progressions easier to play and sound better, the IV and V chords may be played in other positions by moving one or more of the higher chord tones down an octave. The top note of the IV chord The 2 top notes of the V chord are Gown an octave ‘moved down an octave F G 1 v v When a triad is notin oat position, the ROOT is ALWAYS the upper note of the interval ofa ath! haa 1, 1V and V triads in C MAJOR. The follow. C Major Chord Progression with I, IV and V Chords, ing positions are often used for smooth This chord progression is also called a cadence. progressions. DE FO c oF Cie ateec: € =x wv In many pieces a V7 CHORD is used instead of a V TRIAD. ‘To make a V7 chord, a note an interval of a 7th above the root is added to the V triad, V7 built on the 5th nate of the © SCALE. ‘To have a smoother and easier progression with the I and IV triads: + The Sth (D) is omitted. + The 3rd (8) and 7th (F) are moved down an octave. ma vi | When a 7th chord is not in root position, the ROOT. | is ALWAYS the upper note of the interval of a 2nd! The Primary Chords in C Major The three PRIMARY CHORDS are now I, IV and V7. 1 WV v7 |. 1V and V7 chords in © MAJOR. The fol- Major Chord Progression with I, IV and V7 Chords. lowing positions are often used for smoother This chord progression is also called a cadence. progressions. c F a7 c oF c a7 c vr row 1oW 1 10 The tones of a scale are also called the degrees (ar steps) ofthe scale. Each scale degree has a name. ‘THE 3 MOST IMPORTANT SCALE DEGREES: TONIC, DOMINANT and SUBDOMINANT. ‘The key-note (the tone of the same name as the scale) is called the TONIC. Its the lowest and highest tone ‘of the scale. ‘The tone a 5th ABOVE the tonics called the DOMINANT. ‘The tone a Sth BELOW the tonic is called the SUBDOMINANT. |'SUB means ‘below” or “under (SUBmarine, SUBWay) | EACH SCALE DEGREE IS ALSO NUMBERED WITH A ROMAN NUMERAL WHICH IS DETERMINED BY ITS. POSITION IN THE SCALE: TONIC = |, DOMINANT = V, SUBDOMINANT = IV. Important! The subdominant is numbered IV because ofits position in the scale. tis called “subdominant because itis the same distance BELOW the tonic as the dorninant is ABOVE the tonic! It is NOT called "subdominant because itis just below the dominant. See bottom music staff. MORE SCALE DEGREES: MEDIANT and SUBMEDIANT The tone a 3rd degree ABOVE the tonic (midway between the tonic and the dominant) is called the MEDIANT. ‘Since the mediantis the 3rd degree ofthe scale. itis given the Roman numeral Il The tone a 3rd degree BELOW the toni (midway between the tonic and the subdorninant| is called the SUBMEDIANT. Since the submodiant is the 6h degree of the scale, ts given the Roman numeral VI Mediant is a Latin word meaning “in the midale, WAL. SOE OEGREES. SUPERTONIC and LEADING TONE The tone a 2nd degree ABOVE the tonics called the SUPERTONIC. Since the supertonic is the 2nd degree of the scale, tis gven the Roman numeral I The tone a 2nd degree BELOW the tonics called the LEADING TONE. The leading tone is sometimes called the SUBTONIC. Leading tone is most often used since the note has a strong tendency to “ead to the TONIC, as it does in an ascending scale. Since the leading tane Is the 7th degree o the scale, itis given the Roman numeral Vl Note: The SUPERTONIC 's always a WHOLE STEP above the tonic. ‘The LEADING TONE is always a HALF STEP blow the tonic. You now know the names of all the scale degrees. Arranged in order the names are: MEDIANT] [SUBDOMINANT] [DOMINANT] [SUBMEDIANT] [LEADING TONE | [TONIC i J | i i | | | oe zs o ° - n Mm Ww v v vn I Be sure to remomber that the degree names were derived fram the following arrangement, in which the TONIC Is taken as the center tone: SUBDOMNANT SUSMENIANT. LEADINGTONE. TONG, ——_SUPERTONG] © MEDIANT, DOMINANT i | 1 | ’ t at ' ' si a eS oo Ww vl vi 1 1 uw V The word ARPEGGIO comes from the Htalian arpeggiare, which means “to play upon a harp.” This refers to playing the notes of a chord in a broken fashion, one after another, as one does when playing a harp. ‘Arpegaios may be made from any chord. They may appear as simple broken chords or be in extended form, covering two or mere actaves. However, only four kinds of chords are customarily studied as arpeggios: major and minor triads (in 3 positions) and the dominant 7th and diminished 7th chords (in 4 positions) For more information on arpeggio fingering, see page 17. Ree eS : a Mf tegato 3 2 2 F vegan * ‘ Two-Octave Arpeggio ee ‘- mt i. Mf? tegato Hands together mf egaro 12 Every MAJOR KEY has a RELATIVE MINOR KEY that has the same KEY SIGNATURE, The RELATIVE MINOR begins on the 6th TONE of the MAJOR SCALE. 6 SS eas ve e+ ~ e 7 Atmore ba => Because the keys of C MAJOR and A MINOR have the same KEY SIGNATURE: (no's, no's), they are relative. The Key of A Minor (Relative of C Major) THERE ARE THREE KINDS OF MINOR SCALES: the NATURAL, the HARMONIC and the MELODIC. Play each of the following scales, first with the RH as written, then with the LH, 2 o:taves lower than written, 1, The Natural Minor Scale This scale uses only the tones of the relative minor scale. RH eS iin gti SSS tne , a 2, The Harmonic Minor Scale. ‘The 7th tone (G) is raised one half step, ASCENDING and DESCENDING. Heit ss eo LHS a. The Melodic Minor Scale In the ASCENDING SCALE, the 6th (F) and 7th (G) are raised one half step. The DESCENDING scale is the same as the natural minor. ih & 7 raised Same asin NATURAL MR SOE RH eH BHE DE ét f PP ke bp tie SS ‘The HARMONIC minor is the most frequently used of the 3 minor scales, To form a minor scale from any major scale of the same name, lower the following scale degrees % step. ‘Ascending Descending Natural minor 3,6,7 3,6,7 Harmonic niinor 3, 6 3,6 Melodic minor 3 3,6,7 ea” }—+ $1} +} 4 Some 3rds are MAJOR 3rds, and some are MINOR (smaller) 3rds. MAJOR MINOR 3rd 3rd reece irsamasal Major _ 4 Half Minor _ 3 Half 3rd” sSteps 3rd ~~ «Steps ANY MAJOR 3rd MAY BE CHANGED TOA MINOR 3rd BY LOWERING THE UPPER NOTE % STEP! OL pie Wa Pe eee | Major Minor etc. aid rd PERFECT 5th ——— More About Sths Avery important interval is Perfect ot Half @ PERFECT Sth. 5th Steps SSS ———— — SS SS Perfect Sth ote. More About Triads MAJOR TRIADS consist of a MINOR TRIADS consist of a ROOT, MAJOR 3rd and PERFECT Sth ROOT, MINOR 3rd and PERFECT Sth MAJOR PERFECT MINOR PERFECT Root "Sd 5th Root "3d 5th _— — Major Minor Triad ~ Triad ANY MAJOR TRIAD MAY BE CHANGED TO A MINOR TRIAD BY LOWERING THE ard) STEP! GE pg ig ood et 14 et To find the primary triads in a MINOR KEY, the HARMONIC MINOR SCALE is used In the A HARMONIC MINOR SCALE, the 7th note (G) is made SHARP. as an ACCIDENTAL, ‘Small lower case Roman numerals are used for the minor triads (i), large upper case Roman numerals for major triads (V). 2S SS et 7 8 1 2 3 i iw v AMINOR DMINOR &MAJOR Notice that the i and iv chords are MINOR TRIADS. The V chord is a MAJOR TRIAD. THIS IS TRUE IN ALL MINOR KEYS! ‘To make the chord progressions easier to play and sound better, the iv and V chords may be played in other positions by roving one or more of the higher chord tones down an octave, ‘The i chordis played in The top note of the ‘The 2 top notes of the ROOT POSITION iv chord is moved down V chord are moved an octave: down an octave: i iv v Wher a triad is not in root position, the ROOT is ALWAYS the upper note of the interval of a 4th! The Primary Triads in A Minor AMinor Chord Progression with i, iv and V Chords. The i, iv and V triads in A minor This chord progression is also called a cadence. go = 4 i iv v i Using V7 instead of V—_ To play the chord so it makes a The V7 CHORD is made by Soother progression, omit the Sth, and adding a 7th to the VTRIAD, ‘Tove the Srd and 7th down an octave. When a 7th chord is not in a i root position, the ROOT is eit pete ALWAYS the upper note pHi 1} ofthe interval ofa 2nd! © v7 v7 The 3 PRIMARY CHORDS are now vand V7. A Minor Chord Progressions with i, iv and ¥7 Chords. ‘The following positions are often used for ‘This chord progressiar is also called a cadence. smooth progressions, Be i iv vr AMINOR — OMINOR &7 Remember: The DOMINANT SEVENTH CHORD may be formed by adding one note to the major triad, a minor 3rd abave the Sth. The DIMINISHED SEVENTH CHORD may be formed by lowering each note of the DOMINANT SEVENTH chord (V7) 1 half step, except for the root, which remains the same. © DOMINANT 71h (c7) CC DIMINISHED 7th (Cdim7) HH Listed below are dominant 7th and diminished 7th chords for you to compare. Notice that when lowering the notes of the dominant 7th chord to form the diminished 7th chord, the note name remains the same. The & becomes B» (8 double-flat), not A. DOMINANT 7ths DIMINISHED 7ths se D Fe A c D F Ab qo |[epfilole co [B/D cle{a|s c [eB | @ Fla[c|es Fla|o » Bb D F w& B D> A ay E> G B D B @ Bh | De aA lc &|G@ A | oO | & | & ‘DIMINISHED SEVENTH CHORD may also be formed on any given root by skipping the interval of a MINOR &rd (3 HALF STEPS) between each note. Play the following DOMINANT 7th and DIMINISHED 7th chords. ma be hath be ta 16 HEA While itis probably easier to intemalize scale and arpeggio fingerings through repetition than to memorize alist of rules, the following may be of some value to certain pianists. Fingering is a very personal afait. The span of your hand, the stretch between your fingers and your own personal preference will determine how best to finger each passage, Nevertheless, the folowing fingering has been generally decided to be the most comfortable for most pianist. Major and Harmonic Minor Scales 1. Onthis page and the scale pages that follow, fingering in () is optional and should be used when continuing upward or downward for 2 or more octaves, 2. Fingering for All Major Scales ‘A. Beginning on White Keys With two exceptions, the ascending RH fingering and the descending LH fingering for all major scales beginning on a ‘white Key is: 123 1-23.45. When playing seales for more than one octave, use RH 1 on the octave note, The Sth ‘inger is used only to end a scale in the RH, or begin a scale inthe LH. ‘The two exceptions are F major for the RH: 123.4 ~1234 (ascending). Brmajor forthe LH: 1234-1234 (descending) B._ Beginning on Black Keys for the RH The starting RH finger forall major scales beginning on a black key is 2. You may also begin these scales with the finger that ends the scale. This ending finger is the beginning finger for the next octave when playing for two or more octaves~2 and 3 on the 2-biack key group, 2, and 4 on the 3-biack key group. CHD: 2312-3412 Begin with 2 FUG: 2341-2312, Begin wih, E: 2123-4123. May begin with S A: 2312-3123, May begin with 3 Br 2123-1234. May begin with 4 ©. Beginning on Black Keys for the LH With one exception, the stating LH finger forall major scales beginning on a black key is 3—the exception is Fi/G> ‘which starts with a 4. The ending finger is generally , but you may also end these scales wit the finger that begins the scale. This ending finger isthe beginning finger for the next octave when playing for two or more octaves. The fingering in ascending order is C#Oh:3214-3212. May end with. Fig: 4321-3212. May ond with 4 ©3214-3212 Mayendwih 3” &.3214-3212. Mayendwith 3 3214-3212 May endwith 3 “Only the descending LH in the E+ major scale is fingered the same way as the ascending RH — in all other scales beginning fa black key, the fingerings are diferent 3. With just a few exceptions, the major scale and its parallel harmonic minor are fingered the same {€ major C harmonic minor; G major - G harmonic minor, ec.) ‘The fingering in which the harmonic minors oftferent than és paralel major is FH in Fé and Ct minors: 23 12-3 1 23 (may begin with 34). LHin ad minor: 21932-1432 LH in E> minor: 2143-2132 4. The 4th finger is usually used aniy once in an octave. The 4th finger is important because i you know the pos!- tion of the dth finger, you can figure out the positon o the other fingers. Because ofthis, the th finger of each hhand and the degree ofthe scale t fas on is shown at the top ofthe scale pages that follow for each major and minor scale. When there is an exception it is s0 noted just above the musi. The following quide gives the position of the Ath finger in all major scales and their parallel harmonic minors Group A. The C scale plus all major scales with up to 4 sharps: The keys of C.G, D, A. E (and F. LH only). RH: th finger on the 7th degree LH: ath finger on the 2nd degree (includes F scales). Group B. All major scales with up to 4 flats: ‘The keys of F (RH only), Bi, BA RH: th finger on 8». in the 1st octave, however, £8 major may use 2 (or 4) on the frst &, 4 thereatter. ‘As major may use 3 (of 4) on the fst B, 4 thereatter. LH: Ath finger onthe 4th degree except or ine F scales —- sae Group A, above, and the BB & B harmonic minors ~ 4th finger on Ge Group C. All major scales using 5 black keys: The keys of BIC, F#G:, CHD. RH: ath finger on ABD, In the 1st octave, however, C# minor uses 3 (or 4) on the first Df. 4 thoreatter. F£ minor uses 3 (or 4) on the frst Gf, 4 thereattor. Gt minor uses 3 (or 4) on the first Af, 4 thereatter LH: at inger on Ft (} In the ist octave, however, B major also uses 4 onthe frst B, 1 thereater. Arpeggios The clits in fingering iad arpeggios successfully (major, minor, & al inversions) are sight when compared to scale playing. The chief concer isthe proper use ofthe 3rd and 4th fingers when playing arpeggios containing only White keys. There are two fingerings for each hand to choose from: LH5-4-2-105-3-2—1 andRH1-2-3-5or1-2-4-5, The general rule is ‘when the distance between the 2 lower notes in the LH and the 2 higher notes in the RH is a ath (5 haitsteps), Use the 3rd finger (LH 5 ~ 3, RH 3 —5) when the distance is a 3rd (3 or 4 hall-steps), use the ath finger (LH 5 ~ 4," RH 4 — 5). Major Key Arpeggios ROOT POSITION RH fingering for most keys: 1-231 and ending with Excoptions are the keys of By, E, Al, CHD: 2 (4) —1-2-4."* LH fingering inthe keys of C, G, F:5— 4-2-1." in the keys of O, A, E, BIC», FIG: 5-3-2 in the keys of &, A, CRD. 2~ 1-4-2. inthe key of B:3-2-1-3. Minor Key Arpeggios ROOT POSITION RH fingering for most keys: 1 -2-3~ 1 and ending with 5, Exceptions are the keys of Ft, C4, GHA: 2(4)—1-2~4,"" ‘and ABBY: 2-3-1—2 LH fingering for most keys: 54 ~2—1." Exceptions are the keys of Ff, Cb, GAN: 2~ 1-4-2, ‘end ABB 3-2-13. "Though the above LH fingering isthe one used by most pianists, there are those who prefer the fingeting 53-21. The preference seems to be determined by the pianist's span between the Sth, th and 3rd fingers and the larger stretch forthe ih finger crossing over the thumb inthe two octave apeggio. Fingering in ()is optional and shouldbe used when continuing upward or downward for 2 or more octaves. Chromatic Scales The fingering for the chromatic scale is much simpler than that for ether the major or the minor scales. Because of the elevated position of the hand required to perform this scale and the shor distance covered in passing the thumb under, it may be played with great smoothness and speed with oniy sight dificulty. The fist fingering listed below is, the most widely used 1. RH:1 on all white keys except C (2) and F (2). You may begin with 1 on C, if you preter. LH: 1 on all white keys except B (2) and E (2). You may Begin with 4 on C, if you prefer. Both hands: 3 on all black keys. 2. Same as above, except that H: 1, 2,3, 4 fallin succession on G, Gt, A, At (ascending), LH: 4, 3,2, 1 fallin suocession on Ft, G, GF, A (ascending). Key of C Major Major Scales LH: th finger on D (2nd degree of scale). RH: 4th finger on 8 (7th degree of scale).” Parallel motion in octaves ; 1 a Z Z « Contrary motion starting on the same note. ot 5 1 an a} bs ia is Parallel! motion in sixths. oe wm aa “For the importance of knowing the position of the ath finger. see page 16, par. 4 19 C Major Triads Root position — Primary Chorals — com bm oF G Am Baim c oF Gog og roi i IV V i [ez = : tonic supertonie median subdominant dominant suomedant leading tone tonic © Major Cadences Three Positions C Major Arpegg 2nd z eet fa — Toone For mara information on arpeggio fingering. see page 17 20 Key of G Major Major Scales [ LH: 4th finger on A (2nd degree). RH: 4th finger on FF (7th degree). Parallel motion in octaves. Parallel! motion in sixths. at G Major Triads Root position - Primary Chords G Am Bac D Em Fim Gg c Do oF Tonle superionic medlant subdominant dominsnt submediant feading fone tani G Major Cadences Three Positions we 22 Key of D Major Major Scales LH: 4th finger on E (2nd degree). RH: 4th finger on Ct (7th degree). Parallel mation in octaves. a on i Contrary motion starting on the same note, 23 D Major Triads Root position r= Primary Chords — DEM Fim 6 A Bm Chim 0 DG Aa AT fone supertonic modlant subdominant dominant submediant foading tone. tonic D Major Cadences Three Positions 5 : iG #8) 4 D Major Arpeggios Two-octave arpeggios 5 2 Dominant Seventh Arpeggios Two-octave arpeggios ° tet tae 54a 2 version 3 ® « Mtge pe 2 , rs? 2a ‘version \@ Te Trot sas . 24 Key of A Major Major Scales LH: 4th finger on B (2nd degree). RH: 4th finger on G# (7th degree). Parallel motion in octaves. 5 Contrary motion starting on the same note. Paralle! motion in sixths. 25 Primary Chords DE oe? AMajor Triads Root position A Bm cin O & Fim Gam ———=— forie supertonle mediant subdominant dominant submediant deaaig tone tonic AMajor Cadences Three Positions €) AMajor Arpeggios Two-octave arpeggios o 26 Key of E Major Major Scales Parallel motion in octaves. 7 E Major Triads Roo! postion Primary chords = — Fim jm A 8 Gim —ofam EA Borg? a tonic supertonic meciant subdominant dominant submediar’ ‘easing fone tonic E Major Cadences Three Positions rs i Dominant Seventh Arpeggios Two aa 28 Key of B Major* Major Scales LH: 4th finger on B and F# (1st and Sth degrees)."* RH: 4th finger on Ag (7th degr Parallel motion in actaves : Contrary moticn starting on the same note, “Enharmonic with C* major. See page 46. In the tst octave LH d is uses on B—LH 1 thereafter. 29 B Major Triads. Root position (Primary Chords = 8 Cin fm FE fm Afdim 8 BE bor FET ‘one Soenoxe eden doit mina sumed leang oe te B Major Cadences Three Positions 3 Re Low 1 {vow} 1 vorv7} 1 $4 a3 3 35 a3 3 B Major Aspeggios Two-octave arpeggios 53 1 ats on ated “po Dominant Seventh Arpeggios Two-octave arpeggios postion 2 sa4tagatz 2a44 2igazaa 318 a 30 Key of F: Major* Major Scales. LH: 4th finger on F# (1st degree). RH: 4th finger on Af (3rd degree). Parallel motion in octaves. Contrary motion starting on the same note recich sy cee het Parallel motion in sixths, “Enharmonic with G» major. See page 44. 3 + Major Triads oct positon = Primary Chords FE Gim Atm 8 ch fm faim Fe FE 8 Chor ofr wl LIV Vorv7 g g fone superionic median’ subdominant dominant sutmediant teading tone tonic F: Major Cadences Three Positions ae \@ fv fan Vor" | be ibd 10 Fs Major Arpeggios Two-octave arpeggios 5a re s Dominant Seventh Arpeggios Two-octave arpeggios : ere O23 432m 123 Z] pane ate 49 tite) iasas 32 Key of Ci Major* Major Scales [ LH: 4th finger on F$ (4th degree). RH: 4th finger on Af(6th degree). Parallel motion in octaves. : : 3 3 ut 1 pene 1 aan leaded . Per eer eee Crp Parallel motion in sixths fT {Lb ombeeegrtia es “Enharmonic with O» major. See page 42. Major Triads Root position Dim tonie supertonic median! subdominant dominant submecant wading tone tonic Cz Major Cadences Three Positions iti . ican Tw 1] vov7|i re Pe AES BS a ©: Major Arpeggios Two-ocave arpeog —_-_— > 34 Ea Key of F Major Major Scales LH: 4th finger on G (2nd degree of scale). RH: 4th fir on Bb (4th degree of scale).* Parallel motion in octaves. Parallel motion in thirds or tenths. pain) ow Pentmcto ae onan ps F Major Triads Root position — Primary Chords 35 F Gm am 6b © opm egim & F Bh Co cr tow vow + g 2 24 ‘onic syportonic median! subdominant dominant submediant Jeading tone tone F Major Cadences Three Positions _ a8 ee Aerie ia Wi lai i tip tet a $3 +} tt (aaver| vey taut |taavice navel Blt Satis 3/2 = : sf 2 F Major Arpeggios Two-octave arpeggios Dominant Seventh Arpeggios Two-octave arpeggios o 12 ot poston 36 Key of B) Major Major Scales i LH: 4th finger on E> (4th degree). RH: 4th finger on B> (1st degree) Parallel motion in octaves, ® i Contrary motion starting on the same note. ® 4 ue fe } == Parallel motion in thirds or tenths. 7 z 3 on _ gesagt eet E oe : as 1% pS = F a Sete se —————————— meet a ee === Se “Inthe 1st octave, RH 2.01 4 may be used on B—RH 4 thereatter 8 Major Triads Foot position f— Prmary Chor 8 om Dm eb Fo Gm Agim Bb eb cb Fo FT {onic syperonic median subdominant dominant submedant leading fone tonic B: Major Cadences Three Positions B/ Major Arpeggios Two-octave arpeggios Dominant Seventh Arpeggios Two-octave arpeggios Saaziaaad tobe ea Te 8 ag tao hed » ery 38 Key of E> Major Major Scales LH: 4th finger on Ab (4th degree). RH: 4th finger on Bb (5th degree). Hf Parallel motion in octaves. 1 si : a ol Im sect tee 8, Contrary motion starting on the same note : tbete 3 ‘ ® @ 3 Parallel motion insiths. ys fall ; ® totes TT atta HEE \GaL Te ie LS Ipsergett i = 39 Major Triads Root position 5 Primary Choras eb Fm cm Ab sb Gm aime bab eb or br tonie supertonic medlant subdominant dominant submediant leading tone tonic E> Major Cadences Three Positions eal Dominant Seventh Arpeggios Two-ottave arpeggios os 40 Key of A’ Major Major Scales [ LH: 4th finger on D> (ath degree). RH: 4th finger on Bb (2nd degree).” i Parallel motion in octaves. aw erazeeah i TREES —— = ote pou e rs pense Contrary motion starting on the same note. ow & ee : Parallel motion in thirds or tenths. er eee he + —, Bs == = SS Parallel motion in sixth, gm 4a ‘Av Major Triads Root position r Primary Chords Ab bm cm Db eb Fm Gaim Ab Ay D> Eb or Eb? tonic sypertonic madlant subsominant dominant submediant leading fone tonic Ay Major Cadences Three Positions 3 Ay Major Arpeggios Two-octave arpeggios poston gg BE version Dominant Seventh Arpeggios Two-octave arpeggios poster hs as a aa ena 42 Key of D> Major* Major Scales E LH: 4th finger on G (4th degree). RH: 4th finger on B» (6th degree). Paraliel motion in octaves. rid 4 Ie pe “Enharmonic with C# major. See pat 43 D. Major Triads Root position rm Primary Chords > ebm Fm Gb ab ebm = dim Db 0b Gb Aborabr fonle supertonic meciant subdominant dominant submedlant leading tone tonic D Major Cadences Three Positions D» Major Arpeggios Two-octave arpeggios ean positon 16 ae |opcceer @ 2 & & Dominant Seventh Arpeggios Two-octave arpeggios ‘20 rae vst Laat he 42% 12384 44 Key of G Major* Major Scales LH: sth finger on Gb (1st degree). RI ith finger on B> (3rd degree). Parallel motion in octaves. 20 Parallel motion in thirds or tenths. ® Parallel motion in sixths, Enharmonic with F# major. See page 30. 45 G? Major Triads Root position = Primary Chords bab bm ch pb ebm Fim Gb > cb Db or Db7 ‘onic supertonicmediant subdominant dominant submedlant leading fone fone G Major Cadences Three Positions 31s) 2 = G Major Arpeggios Two-octave arpeggios Pebion 32 inversion 1 Dominant Seventh Arpeggios Two-octave arpeggios 12342 1st Ponto teeta Hee are eee P23 ay} 48 Key of C» Major* Major Scales Paralle! motion in octaves. 5 LH: 4th finger on Cb and G (1st and 5th degrees)."* RH: 4th finger on B> (7th degree). Contrary motion starting on the same note. Los ee + Ge fn e geoes= a Be] Parallel motion in thirds or tenths, ot \@ |» “Enharmonic with 8 major. See page 28. “in the 1st octave, LH 4 is used on C-—LH thereatter. 47 Major Triads Roo! position - Primary Chords — ch obm ebm Fb Gb abm. Bbaim > ch Fb Ghorabr G © 4 S 1 W TV Vav7 —_——— cae > fone super: mediant subdominant dominant submedlant leading tone tonic ‘© Major Cadences Three Positions ©) Major Arpeggios Two-octave arpeggios 7 coat See et ar24 2Ta Pare Dominant Seventh Arpeggios Two-octave arpeggios 001 24 12 oa ow ot | £aTFs ce 5 wri rere ‘ » Key of A Minor Relative Minor of C Major LH: 4th finger on B (2nd degree of scale). RH: 4th finger on G or GE (7th degree of scale). —_| Natural minor scale, paralle! motion in octaves. oo — “For the importance of knowing the position of the 4th finger, see page 16, par. 4 49 AMinor Triads Root position [— Primary Chords Am adm = Caug Om e F Gfaim Am ‘Am Dm E of 7 $e i vy Vorv7 forie superionic mediant subdominant dominant submediant leading tone tonic AMinor Cadences Three positions 0 Le Diminished Seventh Arpeggios Two-octave arpeggios, four positions 300 2nd 50 Key of E Minor Relative Minor of G Major : 4th finger on Fé (2nd degree). RH: 4th finger on D or Di (7th degree) | u Natural minor scale, parallel motion in octaves. Harmonic minor scale, parallel motion in octaves, Harmonic minor scale, contrary motion. Melodic minor scale, parallel motion in octaves. RH 4th finger on 3 ed TS - nding, Dédescending 51 ro Primary Chords — Dgdim Em Em Am 8 or B7 E Minor Triads Root position Em Fidim = Gag Am 8 j = s (rs Lael =o TE fonle sypenonic mediant subdominant oominam submadiant leading fone tonic E Minar Cadences Three positions 4a e yo tiv i} Vorv7}i iv il vorv7a i iy ‘ee positions 52 Key of B Minor Relative Minor of D Major LH: 4th finger on B and Ff (1st and Sth degrees).”_ RH: 4th finger on A or Ag (7th degree). Natural minor scale, parallel motion in octaves. Harmonic minor scale, parallel motion in octaves. re hd oe Harmonic minor scale, contrary motion. ello “In the tst octave, LH 4 is used on B—LH 1 thereatter. 53 B Minor Triads Foot position (— Primary Chords — 8m Chim bag Em Fos Adcim Bm Bm Em FEOF? fonle superfonic medlant subdominant dominant —submeclant feading tone tonic B Minor Cadences Three positions te ct wit Fie B Minor Arpeggios Two-octave arpeggios, three positions : an root a he ast 7 2 posit 41), e ) l A: Diminished Seventh Arpeggios Two-octave arpeggios, four positions tt ater 7 12 2a, meron 4 1208 ww, wite Osa [hls ‘ 29 2 199 Pag s 54 Key of F: Minor Relative Minor of A Major LH: 4th finger on Fé (1st degree), RH: 4th fit Natural minor scale, parallel motion in octaves. \ aan / : Harmonic minor scale, parallel motion ih octaves. Pe Harmonic minor scale, contrary motion. ae, fete az a Tes tee a4 tt 7 aT at T Ta i Ts Te a a Melodic minor scale, parallel motion in octaves. RH 4th finger on O* ascending, G+ descending a “In the 1st actave, AH 3 or 4 may be used on Gi—RH 4 thereafter 55 E:Minor Triads Root position (— Primary Chords > Fim Gtain Aap Bm Ca Khan eho Fim Bm Oforcs7 a ee tig Toni sypertonic mectant sundominant dominant submediant Teading tone tone F: Minor Cadences Three positions ieee et per Fs Minor Arpeggios Two-octave arpegaios, three positions om — 44 a Phe version 2 tat pase Py 243 ae 7 1es se ‘Both hands Bea. — pos ps s2 wise —_ 56 Key of Ci Minor Relative Minor of E Major LH: 4th finger on Fé (4th degree). RH: 4th finger on Dé (2nd degree.” Natural minor scale, parallel motion in octaves, ow a 129 Harmonic minor scale. contrary motion. eo, as 4 é Sten ree eee é Melodic minor scale, parallel motion in octaves. RH 4th finger on At ascending, Dé descending, eg, ote al Se ve “In the tst octave, RH 3 or 4 may be used on Dt-—AH 4 thereatter. 57 Cz Minor Triads. Root position = Primary Chords ofm Dfcim Eau Fim GER foi Chm Ohm Fm GE ork iW VorV7 fonle sypertonic maalant subdominant dominant submediant leading tone ‘onic Ci Minor Cadences Three positions iminished Seventh Arpeggios Two-octave arpeggios, four positions 1234 S439 s aid 58 Key of Gi Minor* Relative Minor of B Major LH: 4th finger on C# (4th degree). RH: 4th finger on Aé (2nd degree).** | Natural minor scale, parallel motion in octaves. LH 4th finger on F (7th degree) Ts “Tiss the only scale where the LH fingering in the ralural mir ers rom fe harmamerninar Harmonic minor scale. parallel motion in octaves. Harmonic minor scale, contrary mation Qo, 3 4 Pe 3 ‘Enharmonic with A> minor, See page 76, “in the 1st octave, RH 3 or 4 may be used on ARH 4 thereafter 59 G: Minor Triads Root position (— Primary Chords Gin Atim Bag Cfm =f exam Gm ‘Gk Ohm. Df orD $7 60 Key of D? Minor* Relative Minor of F# Major LH: Ath finger on Fé (3rd degree). RH: 4th finger on A (Sth degree). Natural minor scale, parallel motion in octaves, Harmonic minor scale, parallel motion in octaves. ° 7 2 Harmonie minor scale, contrary motion eee iauete bf : ® “Enharmonic with E> minor. See page 74. 6 Dz Minor Triads Roo! position Primary Chords— Dim Edin FH Gm = AEB xi Dm «gm Gm AB orA$7 Aittes =H wr Sept aoe a aeree|ivaaas g—lte6 8 é é gb E tonic supertenle mediant subdominant dominant eubmediant leading ane ‘onic D: Minor Cadences Three positions et ©: Diminished Seventh Arpeggios Two-octave arpeggios, four positions 62 Key of At Minor* Relative Minor of Cz Major LH: 4th finger on Fé or F (6th degree). RH: 4th finger on At (1st degree).** | Natural minor scale, parallel motion in octaves. an 1a » a4 a 9 itn Tae == Harmonic minor scale, contrary motion 2 4 tt 4 21a T9 “Enharmonic with Br minor. See page 72. “in the Ist octave, RH 2 or 4 may be used on the Ar-RH 4 thereatter 63 Az Minor Triads Root postion [- Paimary Chords, ‘Atm Belin Oka fm = ER FE «Gaim Nim Am Dm Egoregr \2 3 lst ‘onic supertonic medlant subdominant dominant submedlant ieading tone tonic Az Minor Cadences Three positions, Vorv7li Minh fe See G*Diminished Seventh Arpeggios Two-octave arpeggios, four positions reo ‘st ALecrey positon Inversion 1 28 on 1294 123 deS tae tage 1 129d 321 64 Ea Key of D Minor Relative Minor of F Major |___LH: 4th finger on (2nd degree of scale). RH: 4th finger on C or C (7th degree of scale)." | Natural minor scale. parallel motion in octaves. Harmonic minor scale, contrary motion, 1st fan a beet Melodic minor scale, parallel motion in octaves. RH 4th finger on Ct ascending, C# descending. od *For the importance of knowing the position of the 4th finger, see page 16. par. 4 65 D Minor Triads Root positon 7 Primary Chords On Edm tag Gm Ah Chm pm om Gm Aor A? & = AG G18 # eH ue iv vow vii? iv VorW7 lig ¢ te le 8 z | Si be toric suportone median subdominant dominant submediant leading one tone D Minor Cadences Three positions gees fhe \@ PaaS bow afvete |: aE pte be LG D Minor Arpeggios Two-octave arpeggios, three positions Play LH Std ie Seis Sere = Cz Diminished Seventh Arpeggios Two-octave arpeggios, four positions a 123 ‘han ae penton mpl on J ®, 23 te 4aa,m , 234 ate fte, eet ie 2 ag [aes : yoasen @ ee pee ee ee rope oo CC — = ‘cu [ - 1s ——_— 66 Key of G Minor Relative Minor of 8 Major LH: 4th finger on A (2nd degree). RH: 4th finger on F or F4 (7th degree). ‘| Natural minor scale, parallel motion in octaves. Harmonic minor scale, contrary motion. The ™ acte sh one 67 GMinar Triads Root position [— Primary Chords — Gm Adim — Bhag Cm ° eb Fed Gm = Gm Cm 0 of O7 ‘onic supertonic_megant subdominant dominant submeotart leading tone tonic G Minor Cadences Three positions ae Ey G Minor Arpeggios Two-octave aipeggios. three positions ‘oot ‘st 1a a postion vas phe revwon bs end 522 pata F: Diminished Seventh Arpeggias Two-octave arpeggios. four positions i rst 54 ® sr2syhg2r tye 2 1 pgs Tiaras 54s sa 5 412 Ws 68 Key of C Minor Relative Minor of Es Major : 4th finger on D (2nd degree). RH: 4th finger on B or B» (7th degree). Natural minor scale, parallel motion in octaves. ai La 69 C Minor Triads Root position Ir Primary Chorals cm Ddim bag Fm 6 Ab Baim = Cm cm Fm GorG7 L i SSS Ss e ur iv [Ts vow ‘et ———— lose fonle supertonle medlantsubxominant dominant submeclant leading tone tonic (C Minor Cadences Three positions ee ae i eee ror 234 Stiga ts vast ath Key of F Minor Relative Minor of A> Major LH: Ath finger on G (2nd degree). RH: 4th finger on B> (4th degree). Natural minor scale, parallel motion in octaves. Harmonic minor scale, parallel! motion in octaves. Harmonic minor scale, contrary motion ‘ ae eas 4 Melodic minor scale, parallel motion in octaves ” F Minor Triads Root position [= Primary Chords — Fm Goim — Abaug bm c Db Edim Fm Fm Bbm © or C7 2 6 ‘onic superionic meolant. subdominant dominant submediant leading tone fone F Minor Cadences Three positions 5 a : F Minor Arpeggios Two-octave arpeggios, three positions sot 's Dean poston ate version s Ssaziaz eng a Fhe Tories TaTaat ~, | 7 E Diminished Seventh Arpeggios Two-octave arpeggios, four positions | a4 5459 1234 eae root pes 130 Th Poston sg Ta inversion Ta « 1ii2s ST Treat saa a Taats 3 ea4beu 72 Key of B> Minor* Relative Minor of D? Major LH: 4th finger on G or Gb (6th degree). RH: 4th finger on B» (1st degree)."* Natural minor scale, parallel motion in octaves, w ia 7 ” 6 . . ia, w Enharmonic with At minor. See page 62. “In the 1st octave, RH 2 ar 4 may be used on B-RH 4 thereatter. 73 B» Minor Triads Root position (— Primary Chords — Bbm Caim — Dbaug —Ebm F ob ‘Adim Bm Bbm bm For F7 eee See I" 0 fonie superionic mediant subcominant dominant submedlant leading tone tonic B» Minor Gadences Three positions Z B» Minor Arpeggios Two-octave arpeggios, three positions Z He 2: ote : r = ae A Diminished Seventh Arpeggios Two-octave arpeggios, four positions boston \é e hes 74 Key of E> Minor* Relative Minor of G> Major | LH: 4th finger on Gb (3rd degree). RH: 4th finger on 8» (Sth degree). Natural minor scale, paralie! mation in octaves. Harmonic minor scale, contrary motion, To “Enharmonic with D# minor. See page 60. 78 E) Minor Triads Root position [= Primary Chords ebm Faim — Ghaug bm abm Bb orBb7 aon wb ob Daim ebm ‘onic supertonic mediant subdominant dominant submedant leading fone tore ie E+ Minor Cadences Three positions rs E:Minor Arpeggios Two-octave arpeggios. three positions 76 Key of A> Minor* Relative Minor of C» Major LH: Ath finger on D> (4th degree). RH: 4th finger on Bb (2nd degree)."* Natural minor scale, parallel motion in octaves. LH 4th finger on G (7th degree) nw 4 we 8 — Ta — Tis isthe only scale where the LH fering in the natural minor difers rom the harmonic ino. Harmonic minar scale, parallel motion in octaves. aw ; 4 we Harmonic minor scale, contrary motion. ew : a 4, wg 284 si? Melodic minor scale, parallel moticn in octaves, LH 4th finger on D» ascending, Gr descending sear ayia ci we Bes 132 “Enharmonic with Gz minor. See page 58. “in the 1st octave, RH 3 or 4 may be used on B—RH 4 thereafter. 7 A’ Minor Triads Root position (— Primary Chords ‘Ahm Bhdim —Chaug bm > Fhaug Gadi m Alm bm Eb or Eb7 tonic. supertonic mediant subdominant dominant submediant leading tone tonic A» Minor Cadences Three positions 12 A’ Minor Arpeggios Two-octave arpeggios, three positions ran G Diminished Seventh Arpeggios Two-octave arpeggios. four positions a rae 5 inversion 78 Part 6 Chromatic Scales’ Parallel Motion Paraliel motion in octaves. Paralle! mation in minor thirds or tenths, ; cee \ tea ep att C= Spare ters ooo Parallel mation in major turd oF tenths rr “For more information on chromatic scale fingering. see page Chromatic Scales Contrary Motion Contrary motion beginning in unison @ Contrary motion beginning at minor third or tenth es eee —— Contrary motion at major third or tenth Contrary motion beginning at minor sixth @ 21 ot to @ Contrary motion beginning at major sixth ° 80 Enrichment Options The following enrichment options are designed to expand upon and extend the benefits of the technical exer: Cises included in this book. They can be used with every key and are easy enough in concept so that they can be learned with lite effort. The benefits af adding them, however, are invaluable in allowing the student to become proficient in ai keys. Harmonizing the Scales Any of the following options may be used with the major and minor keys. Chords in bass 2 Chords in treble 5 5 i i, 7 81 There are many well-known ways a play scales using various rhythms. Pianists also often create their awn personal favorites. The following pages include scale patterns that are less well known and offer unique approaches to scale playing Blocked Scales aa I i i Accelerating Scales Play LH one or two octaves lower than RI. ouarers —p RH 3 1 + LI 4 1 a i? SSS a a Eghins : i figucsitiet sue ae 33 erte 23: a ——__ SS SS eS : : 7 Tepes : Heat si php ettees by ps = ee 6 Pi eS ee Sateontns : : < SS ; =z 82 Expanding Scales No. 1 Play LH one or two octaves fower than RH. degree RH: 2 oe yo 2: 1 * & ® &@ 5s 1 2 § “Circied fingering represents the hghest degree played in each expansion Expanding Scales No. 2 Begin with the finger that starts the second octave when playing two or more octaves. 2a dower Sasa 4m dogres ain dogro0 @ oo *Circled fingering represents the highest and lowest degree played in each expansion. 83 Scales in Double Thirds, Double Sixths and Octaves. C major in double thirds—staccato only 3k keys in both hands. : = 84 Scales—The Grand Form The following SCALE ROUTINE is used by many piano conservatories and master piano teachers throughout the world, It may be used with all the major and minor scales. 85 Broken Triads Root postion triads on every degree of the major seate, 86 Triad Chain sroken and block Major Minor Diminished (>) Cadences Root in bass Root in treble i pa SoHE Hote ‘Two octaves — ascending. Dot (+) aver a finger number indicates 1o play a black key. Major Scale Fingering Chart 88 2 Pee pnsetee a hscceenar Neeaeestiany Dine cen aga ewe tema as Fi Pita tteiaeesene Ber dceaeiiin aia an 2 eae oee wee eier Fine 7 ieee eeeriettterts ic Shale eaw even iitice Tre gnn€ Gua “Gan Gea ose Ze EX £E zz EE o=E ££ 2H EE zz #5 #5 #5 #5 #5 #5 #5 #5 #5 #5 2 < eased. Haastenlan got G6 #@ a u o ieseieeed eae Seay £

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