-

DENES AGAY?S
LEARNING TO PLAY
PIANO
T h e c l a s s i c children?s i n t r o d u c t i o n t o p i a n o in a b r a n d n e w e d i t i o n !

BOOK 2
Zo MORE MUSIC BASICS!
 REVIEW OF M U S I C F U N D A M E N T A L S 4
T E C H N I Q U E R E V I E W ( T I M E 10
MORE S H I F T I N G F I V E - F I N G E R PATTERNS 14
B I N A R Y FORM (TWO-PART SONG FORM) 15
READING HARMONIC INTERVALS

( D O U B L E N O T E S ) 16
R E V I E W O F S L U R S & T I E S 17 The Nightingale 6

N E W P O S I T I O N IN C M A J O R 18 The Bagpipers 6

KEY SIGNATURES 20 Fiddler?s H o l i d a y 7

Down A Country Lane 8
KEY & K E Y N O T E 2 2
T H E D A M P E R PEDAL 23 Arabian Nights 9

N E W N O T E S FOR T H E BASS 2 4 P l a y T u n e A n d V a r i a t i o n s 10

U P B E A T ( I N C O M P L E T E BAR) 2 5 T i p t o e A n d R u n 10

NEW INTERVAL: THE MELODIC 6th 26 F o l k B a l l a d 11

EXTENDED H A N D POSITIONS 27 F r o l i c 11

T H E H A R M O N I C Gth 2 8 S t a r g a z i n g 12

T R I A D S O N A L L W H I T E KEYS 2 9 V i l l a g e M e r r i m e n t 13

A L L N O T E S ON T H E GRAND STAVE 3 0 G o o d C o m p a n i o n s 14

THE DOTTED CROTCHET 34 J o l l y S h e p h e r d s 15

TRIADS: SOLID & BROKEN 36 A S h a d e O f B l u e 15

T H E B U I L D I N G BLOCKS OF MUSIC 38 E v e n t i d e 16

MORE PHRASES & SEQUENCES 40 L i t t l e P r e l u d e 17

T O N E S & S E M I T O N E S 41 W i l l o w s In T h e B r e e z e 18

D i d You Ever S e e A D o n k e y ? 19
SCALES 4 2
T H E F I N G E R I N G OF SCALES 4 4 Swing And Sway 20

SCALES IN C , G & D MAJOR 48 S l e e p , B a b y , S l e e p 21

CHORDS: TONIC & DOMINANT (1 & V) 50 Country Waltz 22

P L A Y I N G I - V 7 - 1 P R O G R E S S I O N S 51 in The Toyshop 23

THE PRIMARY CHORDS 56

NEW SCALE FINGERING 58
FLAT KEY SIGNATURES 5 9
PLAYING FROM CHORD SYMBOLS 62

GLOSSARY 64
 REVIEW OF MUSIC F U N D A M E N T A L S
@ T h e s t a v e is a s y s t e m o f f i v e l i n e s a n d f o u r s p a c e s o n w h i c h t h e n o t e s a r e w r i t t e n .

@ T h e l i n e s a n d s p a c e s a r e n u m b e r e d f r o m t h e b o t t o m up:

Lines Spaces

T H E STAVE ??

T H E G R A N D STAVE

T w o s t a v e s j o i n e d by a b r a c e f o r m a g r a n d s t a v e , w h i c h is u s e d t o n o t a t e t h e p i a n o m u s i c .

Treble clef Time signature Barline Barline Double barline

Brace

Bass clef

@ N o t e s o n t h e u p p e r s t a v e , h e a d e d by t h e t r e b l e c l e f , a r e u s u a l l y p l a y e d b y t h e r i g h t h a n d .

© N o t e s o n t h e l o w e r s t a v e , h e a d e d by t h e b a s s c l e f , a r e u s u a l l y p l a y e d b y t h e l e f t h a n d .

@ F o r e a s i e r r e a d i n g t h e s t a v e i s d i v i d e d by b a r l i n e s i n t o b a r s ( m e a s u r e s ) .

N O T E S O N T H E G R A N D STAVE W I T H T H E I R L E T T E R N A M E S
Middle

c D
E F G A a c o E F G

7 3 o _ O ?pp OO EP
L O
- - 0 7 1 . 11. . [I .. . 4 Ff | [ I O VL

i a A 8 c ° É e G A B c D n o o n e ,

° 2 T w o b e a t s in e a c h B a r ( m e a s u r e ) . .
e
: 4 C r o t c h e t ( q u a r t e r - n o t e ) gets o n e beat. »
T I M E S I G N A T U R E S Poecccccccccece

@ T w o n u m b e r s a f t e r the clef, one placed on top of the other, f o r m a t i m e s i g n a t u r e .

@ T h e u p p e r f i g u r e i n d i c a t e s t h e n u m b e r o f b e a t s in t h e b a r ( m e a s u r e ) .

@ The l o w e r figure tells w h a t kind of note receives o n e count.

A Four b e a t s in e a c h B a r

3 T h r e e b e a t s in e a c h B a r . 4 C r o t c h e t g e t s ane b e a t

4 C r o t c h e t gets one beat.

 S S C H S H S H H S H S S S H S S H H H H S H S E S H H H E S H H S H E S H H E S H E H R H S E H E H E H S H H H O H H H H E H H E H E E E H E H H O E

TIME VALUES OF NOTES & RESTS

Semibreve Minim Dotted minim Crotchet Quaver

OT

?_
e e
Rests - ? - _ g g 4

Count 4 beats 2 beats 3 beats 1 beat V, beat

A c c i d e n t a l s a r e s i g n s t h a t raise o r l o w e r n o t e s by a s e m i t o n e .
t T h e s h a r p raises the n o t e to the very next key to the right, black or white.
b T h e f l a t l o w e r s t h e n o t e t o t h e v e r y n e x t key t o t h e left, b l a c k o r w h i t e .

4 T h e n a t u r a l c a n c e l s a s h a r p o r a flat; you play t h e o r i g i n a l w h i t e key.

T e m p o is t h e r a t e o f s p e e d .
r i t a r d a n d o r i t . = g r a d u a l l y slower. a t e m p o = r e s u m e o r i g i n a l t e m p o .

D y n a m i c s i g n s t e l l y o u h o w l o u d l y o r s o f t l y to play.
SI = f o r t e , l o u d . D ? p i a n o , soft.

m f = m e z z o f o r t e , m e d i u m loud. 7 p = m e z z o p i a n o , m e d i u m soft.

? = _ _ _ _ _ _ _ _ _ _ = e r e s c e n d o cres., g r a d u a l l y l o u d e r .

_= > d i m i n u e n d o dim., gradually softer.

A s l u r is a c u r v e d fine o v e r o r u n d e r a g r o u p o f n o t e s i n d i c a t i n g l e g a t o .

A t i e is a c u r v e d l i n e c o n n e c t i n g t w o n e i g h b o u r i n g n o t e s on t h e
s a m e l i n e o r i n t h e s a m e s p a c e ; o n l y t h e f i r s t n o t e is p?l a y e d? ? ? ? =

a n d i t is h e l d f o r t h e c o m b i n e d v a l u e o f b o t h n o t e s .

L e g a t o is a s m o o t h , c o n n e c t e d m a n n e r o f p l a y i n g , u s u a l l y i n d i c a t e d b y a slur. J J J
y e

S t a c c a t o is a s h o r t , d e t a c h e d m a n n e r of playing, i n d i c a t e d by dots. J |

A p h r a s e is a u n i t o f m e l o d y , u s u a l l y t w o t o f o u r b a r s ( m e a s u r e s ) l o n g ,

o f t e n i n d i c a t e d b ya slur.

A n i n t e r v a l is t h e d i s t a n c e b e t w e e n t w o notes. Intervals a r e m e a s u r e d and

n a m e d a c c o r d i n g t o t h e n u m b e r of keys or notes involved.

W h e n the two notes are played o n e a f t e r the other they f o r m a m e l o d i c interval.

W h e n the t w o notes are s o u n d e d t o g e t h e r they f o r m a h a r m o n i c interval.

Melodic 3rd Harmonic 3rd M e l o d i c Sth H a r m o n i c Sth

A c h o r d is m a d e u p o f t h r e e o r m o r e n o t e s s o u n d e d t o g e t h e r . +,
3rd

A t r i a d is a c h o r d c o n s i s t i n g o f t h r e e n o t e s : Root, 3rd a n d Sth. Root

T e m p o M a r k s a r e f r e q u e n t l y given in I t a l i a n .
A n d a n t e = slow, walking t e m p o
A l l e g r e t t o = lively, y e t s l o w e r t h a n a l l e g r o

A l l e g r o = quick, fast

The Nightingale
French Folk Song
Andante

song o f a [night- i n ~ gale,

sweet and so
T w i - light is graced by the n i g h t - i n - gale, sing - i n g so

TENUTO

A s m a l l d a s h at t h e n o t e h e a d f is t h e sign o f t e n u t o (te-noo-toh).

It m e a n s y o u play t h e n o t e with a slight accent, a n d hold d o w n t h e key

w i t ha little extra w e i g h t f o r t h e note?s f u l l t i m e value.

The Bagpipers
Allegretto
 A

Sa
( 3cb |
aah

É|I
LT
Pitt
[11]

©=)s ,
A)rom
Gg
i| t>
nor

aoan

U.
PT
na?

?
|©
NN

|ds 1r
I N T E R V A L REVIEW

S a c h X Indicates a s k i p p e d note.

Line X X X line or space X X X space.

= Line to n e x t s p a c e
= L i n e %% space o r s p a c e X X fine.

o r s p a c e to next line.

Line X line o r s p a c o X space.

Down A Gountry Lane

© B e t w e e n e a c h t w o s l u r r e d n o t e s o f t h e l e f t h a n d w r i t e in t h e n a m e o f t h e i n t e r v a l .

but - Then we can

STH HHSEHEHHHREEHOEHREBE HEE D E D E D E OEEEORELOSS

P N A f e r m a t a ( p a u s e sign) m e a n s t o hold t h e n o t e

or rest a little l o n g e r t h a n its usual t i m e value.

s= Saion
v 38 5E oSn

AJ
7

a&
S

zs "

) i €AI . . .
(A
QA
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2 ?
G
T E C H N I Q U E REVIEW
K
Play Tune And Variations
Shifting five-finger patterns

W h e n a t h e m e is r e p e a t e d in a s o m e w h a t m o d i f i e d f o r m i t is c a l l e d a v a r i a t i o n .

: T h e m e : Legato.
Moderately

Just a sim-ple, sing-a- ble re - F i v e notes up and} f i v e n o t e s d o w n a -

Moderately
Folk Ballad
Second Variativi: Two-note slurs; phrasing with graceful wrist action.
R a t h e r slow

©
oe
2. o. 5.

Playfully
 NEW NOTE
NEW NOTES

Stargazing
Andante Swedish Folk Song

Did you ev - er look at a star, when the day is

Cane

Spark-ling in the nú
> ca as the nigh?s de -

might come true will wish, I

It?s suc h fun pre -| tend

T h e A M a j o r T r i a d : 3rd finger on black key c # .

Left H a n d Right Hand

Village M e r r i m e n t
Allegro Hungarian Play Tune

=
M O R E S H I F T I N G FIVE- F I N G E R P A T T E R N S
@ Try to k e e p y o u r eyes on t h e m u s i c w h e n c h a n g i n g positions.

@ Observe:

c r e s c e n d o and

a d i m i n u e n d o signs.

Good Companions
Allegretto
BINARY FORM
(TWO-PART S O N G FORM)

it has t w o m a i n s e c t i o n s and[ 8 both o f w h i c h a r e usually r e p e a t e d .

Jolly S h e p h e r d s
Allegretto E n g l i s h C o u n t r y Dance

WARM-UP:
A Shade Of Blue

Slowly

w o friends moved a am feel - i n g

Now , I must make two new f r i e n d s , m a y

READING HARMONIC INTERVALS
(DOUBLE NOTES)
T h e easiest h a r m o n i c intervals to recognise are

s% S a Z e

v
so
Fc su
O.so 31:5 €
.9 250 a©%
Z g9

side by side.

Notes on two neighbouring

Eventide lines or spaces.

Lento

§ A
 REVIEW OF S L U R S & T I E S

Stur: = Legato Sign

L i t t l e P r e l u d e Tie: S E Hold t h e s e c o n d n o t e .
(Don?t strike t h e k e y again.)
S e
Andante

© N o w w r i t e a f l a t in f r o n t o f e a c h B in ?Little Prelude? a n d p l a y t h e p i e c e a g a i n .

@ O b s e r v e t h e c h a n g e o f m o o d . Which version do you like b e t t e r ?

REVIEW OF CORRECT NOTE WRITING

Notes on or a b o v e t h e third (middle) line have t h e i r

s t e m s d r a w n d o w n w a r d f r o m t h e left s i d e of t h e n o t e h e a d .

Notes b e l o w t h e third line have their s t e m s drawn = = =

u p w a r d f r o m the right side of the notehead.

17

© Draw crotchets (guarter-notes) on t h e indicated lines and spaces.

1st l i n e Sth l i n e 2nd space 3rd space 1st s p a c e 4th space 2nd line 4 t h line
N E W P O S I T I O N IN C M A J O R

x
NEW NOTES
R i g h t h a n d a n o c t a v e a b o v e M i d d l e C.

© W r i t e in the letter n a m e s under each note. NEW P O S I T I O N

© P l a y t h e n o t e s a n d call o u t t h e l e t t e r n a m e s .

Moderato
Did You Ever See A Donkey?
Lively, p l a y f u l Jewish C h i l d r e n ? s S o n g

m f Did you ev- er don - key? He"s as fun - ny

his best fea - t u r e

hears y o u , HEE -{|HAW! That?s the way he |sneers you.

but h e nev- e r

@ Write t w o s e m i b r e v e s (whole- notes) an octave a p a r t above e a c h of t h e letter names.

 KEY SIGNATURES K
O n e o r m o r e sharps o r flats a p p e a r i n g a f t e r e a c h clef is called t h e k e y s i g n a t u r e .

it s h o w s : @ T h e n o t e s to be raised o r l o w e r e d a s e m i t o n e .

@ The k e y (the family of notes) of t h a t composition.

?
F sharp
z C sharp

S fiat
Raise every F to FH
and every C to CH.

Lower every 8 to BL.

Raise every F to FE.

The first e h a ri n
p @
key signature te always PH, The first flat 1s aigitiys B . > One sharp in the
Additional sharps or flats are placed to the right, always in thesahte order.? + key signature FH
n a s : : indicates the key of
@ Circle every F that has to be raised to F# before playing the piece. : G major.

S w i n g And Sway . . / of © majer

4 W i t h a comfortable swing

oo o e r E t
o p t 9 o r o t f ee
oo
e T I I I
(8)

g L T T v
A I sf.
S > ) e < p _ \ _ )
mw
ee
TU

M O Ee E e e e e IT K
O s S S | c s , S s S e c a V i s a s me
e S

[ U H" T e e e e ae a r e e e e e e |? ) M n p ee L
F s a H E ? O I E O S H P j Sp
p o h OT TTT
* The complete order of sharps and flate will be explainadin detmi In Book 3. 4 D.C
 One flat in the key signature Bb indicates the key of F major.
9 . 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

@ Circle e v e r y B t h a t h a s to b e l o w e r e d

to B b b e f o r e p l a y i n g t h e p i e c e .

Sleep, B a b y , S l e e

Slowly, tenderly

clutch your cud - d l y . bear, And

Just

7 d

fa - v?rite

slum - ber
 © DET Tag (ew
THe FOF
KEY & KEYNOTE
© T h e w o r d k e y indicates a g r o u p of related notes f r o m which a p i e c e o f
i

m u s i c is constructed. (See also ? S c a l e so ?n page 42.)

© T h e n a m e o f t h e key is determined by t h e k e y n o t e , t h e basic t o n e o r

a n c h o r - n o t e of t h e p i e c e , w h i c h is usually p r e s e n t in t h e last b a r ( m e a s u r e )

as t h e l o w e s t bass note.
o o o o o d n c e . . . . 9 .
9909©9D09©?9O0?0009090000000000000000000090000000000

To f i n d t h e k e y n o t e f r o m a s h a r p k e y

signature, play the last sharp, then go Keynote: D

u p t o t h e n e x t n o t e (a s e m i t o n e h i g h e r ) . Key: D major

T h a t n o t e is t h e k e y n o t e .

Country Waltz
Binary Form

@ For a w a r m - u p , play repeatedly t h e first four bars (measures) o f

the left hand.

With a happy lilt

THE DAMPER PEDAL ?flouse of Togs?
Í

The damper pedal (the one on the right) raises the row of felt dampers off the strings.*
This allows the string to vibrate freely, producing a richer, more resonant and sustained sound.

Playing t h e D a m p e r Pedal X
© Press the pedal with the ball o f the right foot.

© K e e p t h e h e e l r e s t i n g o n t h e floor.

~1{[ u C ] tn T h e Toyshop
Moderately

DAMPER PEDAL

a n d s h o w t h e s t u d e n t h o w the d a m p e r m e c h a n i s m works.
* i t i s suggested that the teacher open t h e plano,
NEW NOTES FOR THE BASS "Olrva? Trish [
esonesoesesee

e x
pogenssesoere
Middie

© P l a y a n d call o u t t h e l e t t e r n a m e s o f t h e f o l l o w i n g n o t e s .

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 NEW INTERVAL : T H E M E L O D I C 6 t h

Line KX
X x X Space Space X

Little Serenade
Binary Form

@ Put an X b e t w e e n n o t e s t h a t a r e a 6 t h apart.

as4

Ra R

a
nan?
As
eh
[NSA
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b
EXTENDED HAND POSITIONS
T h e p i e c e s y o u h a v e p l a y e d until n o w h a v e b e e n m o s t l y in f i v e - f i n g e r p o s i t i o n s
(the melody in each hand moved within t h e interval of a Sth).

F r o m h e r e o n , m e l o d i e s m a y move in w i d e r intervals (6ths and 7ths) and adjacent fingers

may skip a key or two. This will require a somewhat wider reach of the five fingers.

Romantic Story
Left Hand Right Hand
 THE HARMONIC 6th
Harmonic 6ths
Melodic 6ths

Familiar Tune

L e f t H a n d Right Hand

Left Hand Right Hand noe

Pra ive M o o n

@ Practise first w i t h each hand separately.

Ambling along
 T R I A D S O N A L L W H I T E KEYS
You can b u i l d a t r i a d o n a n y n o t e (or key o n t h e keyboard).
Triads have t h e intervals o f a 3 r d and a Sth above the R o o t .

@ Write triads above t h e notes (Roots) given on t h e stave

below, and t h e n play them.

nn?
A

A Tale Of Olden Times

© Before plaving this piece, f o r m t r i a d s over e a c h o f t h e bass n o t e s .

W r i t e in t h e 3 r d a n d S t h a b o v e e a c h R o o t .

Moderately
 ALL NOTES ON THE GRAND STAVE

NEW NOTES ON THE TREBLE STAVE:

A& B B E L O W M I D D L E C
\ \ N A

Memorise the location of these notes: \ N v

@ M i d d l eC is o n t h e f i r s t l e d g e r l i n e b e l o w t h e s t a v e . A gU

@ Bi s b e l o w t h e f i r s t l e d g e r line. K ?
@ A is o n t h e s e c o n d l e d g e r l i n e b e l o w t h e s t a v e .

By n o w y o u h a v e r e a d a n d p l a y e d a l l t h e o t h e r n o t e s o f u
the grand stave, a range of m o r e than three octaves: A [NA

Middle
NEW NOTES c

a
| e e o o oo o o o ep 4 p r |
| ag $$$ eo 4 © (I | |
S r E ? ?

NM F G A D E F G
a c D E a c
F G A B ? D B F aG A B

e l e S P E O.. 0 © E T I

S I G H T - R E A D I N G G U I D E S Middle a c G

TY A

M e m o r i s e firmly the location o f a few 3

PSY c
p i l o t n o t e s w h i c h c a n s e r v e as g u i d e p o s t s t o o

help you recognise the notes around them.

o
H e r e is a n e x a m p l e o f a s e t o f p i l o t n o t e s : re) > 5
f o EF
J
Middle F
c ° F

© Write the letter n a m e s under each of these notes.

© Then play and call o u t t h e letter names o f t h e notes.

P L A V I N G A I D E D BY P I L O T N O T E S

In t h e f o l l o w i n g p i e c e e a c h p h r a s e ( m a r k e d by a s l u r ) s t a r t s w i t h a p i l o t n o t e .

Tuneful Conversation
© Play t h e p i e c e a t a m o d e r a t e t e m p o , b u t f l u e n t l y , w i t h o u t s t o p s o r h e s i t a t i o n s .

Moderato

|
Le

M
I N D E P E N D E N C E OF F I N G E R S

Be certain there Is no ?pressing? or ?pushing? on

t h e long-held notes.

The keys are held d o w n w i t h t h e natural

w e i g h t of t h e hand, allowing t h e o t h e r fingers ?>
to play freely.

Courting Song
Moderato Hungarian Folk Sune

T h e Bell Ringers
R a t h e r slow
 THE DOTTED CROTCHET
|
. .
ote?s length by one-half of its value,
Ni A dot placed after a note always increases t h e n

A d o t t e d m i n i m (half-note) equals the time value o f J = J 5 = 3 counts

a minim tied to a crotchet.

A dotted c r o t c h e t ( q u a r t e r - n o t e ) equals the time value o f J = J ) 41

a crotchet tled to an eighth-note (guavet). ? 2 Counts

A dotted crotchet (quarter-note) is played the same g )

way as a crotchat tied to a guaver (elghth-note). J

@ W r i t e t h e counts u n d e r t h e following notes.

a i i dis did Dold

@ On a t a b l e o r on the closed lid o f t h e keyboard
t a p t h e following rhythms, counting aloud

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I
 THE BUILDING BLOCKS OF MUSIC
MOTIFS-PHRASES-SEOUENCES
A piece of music, like a buliding, is constructed from smaller parts.

@ The s m a l l e s t e l e m e n t of music is a single note, o r tone.

© T h e n e x t l a r g e r u n i t i n a m u s i c a l s t r u c t u r e is c a l l e d a m o t i f , a n e a s i l y ? ? P )
recognisable sound pattern consisting of two or m o r e notes in succession.

@ Motifs a r e usually repeated to f o r m larger melodic units, called phrases. 0 .

A p h r a s e is a m e l o d y u n i t usually t w o to f o u r b a r s in length.

Phrase

Two-note m o t i f
1
f ]
The Cuckoo

C u c k - 00, cuck - 00, sing me your song.

Phrase

Three-note motif The Caissons Go Rolling Along

TE
C T O T 7

O - ver hill, o- ver dale, we have hit the dust - y trail

Phrase
T T T I T T I O ? O O ? I O O O O O U Í I Í ? I ? ? ? ?
Four-note m o t i f
F S Silent Night

W h e n a m o t i f is r e p e a t e d o n a n o t h e r s o u n d l e v e l , it is c a l l e d a s e q u e n c e .

Motif Sequence

s
prá as

Fifth Symphony, Beethoven

TERNARY F O R M ( T H R E E - P A R T S O N G FORM)

A plece w r i t t e n In t e r n a r y f o r m h a s t h r e e d i s t i n c t s e c t i o n s

The third section Is usually a repetition of the first

Observe:

@ T h e right hand repeats t h e left hand?s

Chit-Chat o n e - b a r m o t i f s a n o c t a v e higher.
First m o t i f
repeated
Allegretto Šva h i g h e r D m i t r i Kabalevsky
1904-1987

First motif

2 S e c o n d m o t i f repeated
8va higher

crescendo sempre

rap.

* K a b n i e v a k y w a s a R u a s l a n c o m p o s e r w h o w r o t e m a n y c h a r m i n g i n s t r u c t i o n a l p l e c e s f o r the p l a n o .
MORE PHRASES & SEQUENCES
ses, t h e m e s )
N o t only brief motifs, b u t also s o m e w h a t longer m e l o d y units (phra

can be r e p e a t e d sequentially.

Ski p T o M y L o u
Folk Tune
S a = oo
om =

ou, skip to my Lou > v sáfe > Lou > my [ d a r -

W e W i s h Y o u A M e r r y C h r ii s t m a s
Happily Traditional
Phrase Sequence 1

sgS > ry [Christ- mas,

Sequence 2

AS > > O5 o
@ in each m a j o r s c a l e b e l o w
w r i t e in t h e s h a r p s o r f l a t s n e c e s s a r y t o
make t h e s c a l e c o n f o r m t o t h e m a j o r - s c a l e p a t t e r n o f t o n e s a n d s e m i t o n e s .

@ Play the scales after writing them. (Left hand pla y s the first tetrachord,
right hand plays t h e second tetrachord.)

Right Hand

1st Tetrachord
2nd Tetrachord

G major T

F major

D major
Junior Band

@ H o w m a n y p h r a s e s d o y o u s e e in t h i s p i e c e ? P o i n t t h e m o u t .

W a l k i n g tempo
COMBINING T H U M B SLIDING & FINGER CROSSING

1 2 3 1 3 1 9 3 2 1 2 3 13

On A W i n d i n g Path
@ P o i n t o u t t h e p h r a s e s in b o t h t h e l e f t - h a n d and r i g h t - h a n d p a r t s

Q u i t e slow
 SCALES I N C , G & DO
MAJOR
parallel Motion
Contrary Motion

S c a l e P r e l u d e In C M a j o r
Moderately

© Can you play ?Scale Prelude" in the ke d D m a j o r ? (Fingering remains the same)
Ternary Form

D.C. al F i n e
P L A V I N G I-V7-!1 P R O G R E S S I O N S

Notice t h a t chords can be played s o l i d , b r o k e n or d i v i d e d .

@ Play t h e following c h o r d p r o g r e s s i o n s first with t h e left hand,

then with the right hand an octave higher.

Solid Chords Broken Chords Divided Chords

meet) O |

W y , ? ol . i . . .I P . I W |
U l 0 L . OIL
|
OLO.

@ P l a y ?He?s G o t T h e W h o l e W o r l d In H i s Hands? u s i n g t h e T o n i c (1)

a n d t h e i n v e r t e d D o m i n a n t 7 t h (V7).

He?s G o t T h e W h o l e W o r l d In H i s H a n d s
Andante Spiritual

He?s got the whole world__ in His hands, He?s got the

whole world > in His hands, He?s got the whole w o r l d __ 4

in His hands, He?s got the whole world in His hands.

 TA

| GN A
CHUT

prom - e - nade, Hear the flute, toot - toot, Hear the

D o w n In T h e Valley
Slowly

val
 Solid Chords

On T h e Playground vom
Fen

Allegretto

Divided Chords:
This Old Man
Moderately

This old m a n came

Nick- nack, pad-dy whack, [give a dog a bone,
Staccato Boogie
L i v e l y , even b e a t Motif repeated

second e n d i n g

A f t e r p l a y i n g t h e f i r s t e n d i n g , r e p e a t t h e piece. T h e s e c o n d t i m e

you s k i p t h e f i r s t e n d i n g a n d g o t o t h e s e c o n d e n d i n g .
x
 T H E PRIMARY CHORDS

TONIC, DOMINANT, SUBDOMINANT (I, V, IV)

You have been harmonising melodies w i t h the T o n i c (I) and D o m i n a n t (V) chords.
The o t h e r chord t h a t is c o m m o n l y used in a c c o m p a n i m e n t s is built on t h e 4 t h d e g r e e (IV)

o f t h e major scale. The tV c h o r d is called S u b d o m i n a n t .

Tonic - Ni Dominant

CHORD PROGRESSION: I-IV-I

F o r s m o o t h e r p r o g r e s s i o n , t h e S u b d o m i n a n t (IV) c h o r d a l s o f r e q u e n t l y c h a n g e s t h e
o r d e r o f i t s t o n e s . In i t s i n v e r t e d f o r m , t h e 5 t h a b o v e t h e r o o t m o v e s t o t h e b o t t o m o f

the chord.

a ET

: T o m o v e s m o o t h l y f r o m a n y T o n i c (f) t o i t s S u b d o m i n a n t (IV) c h o r d in .

: its inversion: :

$ ~ ? : T h e top note m o v e s u p a tone. :

: 3 a The middle note moves up a semitone. .

. ? ? ? ? - ? ? . . The b o t t o m note stays the same. .

. 3 2 °
e 5 5 o

@ Play t h e following chord p r o g r e s s i o n s with the left h a n d .

@ T h e n p l a y t h e m w i t h t h e r i g h t h a n d an o c t a v e h i g h e r .
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U?225

English F o l k Song

m f Lav - e n - der?s
Lav - en - der 7

You shall be queen.

heart, dil - ly,

NEW SCALE F I N G E R I N G
T h e playing o f s o m e scales requires t h e s l i d i n g o f t h e t h u m b u n d e r
t h e f o u r t h f i n g e r and t h e crossing o f t h e fourth finger over t h e t h u m b .

T h i s new t e c h n i q u e is essentially t h e same as what you have been d o i n g

w i t h t h e t h i r d finger.

@ P l a y t h r e e t i m e s : once each with the l e f t hand and right hand alone,

then with both hands together.

Dl[

Scale M e l o d y In F M a j o r
Andante
FLAT KEY S I G N A T U R E S
When the key signature has two or m o r e flats,

t h e n e x t - t o - t h e - l a s t f l a t g i v e s you t h e k e y n o t e .

?Fourth?
Andante

B - flat m a- jor as you see.

?Fourth? is cross - ing o - v e r ?one,? A n d that?s quite new for

A n o t h e r ? F o u r t h ? O v e r ?One?

© W h a t is t h e k e y o f t h i s p i e c e ?

Moderato
 NEW T I M E SIGNATURE:
[7 Siy c o u n t , ta Bar imeasure).
4+

LA M g e t , ong count. @ Tap and count these rhythms:

(In g t i m e t h e r e is u s u a l l y a n a c c e n t
on the first and fourth beats.)
p o e r c c c c c c c v e c e s c c s e c s c c c s s s s s s s s e s e e e e v e

TIME VALUES IN g TIME

in slow and moderate t e m p o
$ [ 7 1 / 7 1]
2 3 4 5 6
Notes ) ) J 4 Count 1

Rests S ? ?. ? g J D d ) |

Count ? 1beat 2beats 3beats beats

6 Count 1 2 3 4 5 6

eecccccvcccccecescesssccssosssssccsssese® 6 ] ] |

Z0NN
6

/ S |

Andantino

n,

>
r e O e VV
a n y l s
You A r e M y L o v e
( P l a i s i r d?Amour)

@ W h a t is t h e k e y o f t h i s p i e c e ? Yi

Slowly, tenderly ?

© Jean Paul M a r t i n i

In l i v e l y g t i m e , w e c o u n t o n l y t w o b e a t s p e r b a r ( m e a s u r e ) . | . ) 2 . J

Each count has the time value of three quavers (eighth-notes).

1 beat 1
beat 1 beat

© Write these counts under these bars (measures).

© T h e n play t h e m , c o u n t i n g aloud. NA

Lively

[ A 0 A
 PLAYING FROM CHORD S Y M B O L S

© Play t h e following song providing left-hand

a c c o m p a n i m e n t with the indicated chords.

v7 v

Pop! Goes The Weasel

All a-round the c a r - p e n -ter?s bench The mon - keychased the wea- s e l ,

That?s the way the mon - key goes, Pop! goes the wea - sel.

Tambourin
Lively F r e n c h F o l k Tune

Key changes to G major

pe aN
Ballet On Ice
Allegretto grazioso