Notes and Fingerings (summarised from p. 2= 5) = Crmd © oom O° m “= Lettie pany Finttnow \ Tan con er 3 ° *S ome mm O 8 8 8 Right Heng cane | | | 0 ° ° ° : © ° ° ° Third fi SS. ° ° ° Exercise 1 Exercise 2 Exercise 3 Exercise 4 NT NOTICE eens b aMpUolcation Megs!Exercise 5 Musicianship \Wnen vou practise the instrument oles, unit have bean marked with Brackets, notice how the notes form patens slmost Breathe are normally taken at he ends of 2 they were words ina rhyme In music phrase: ational Breaths canbe ake, ‘ese note pattern are caled pate to. But these mutt be dices ae not to. hel to identity thn, phrases inthis rst dstur the natural flow ofthe phe, ‘SAINT MARGARITA’S LULLABY ‘Ata moderate speed oe = ier tional CHANSON DE NUIT sty dow te Ee A traditional French tune Hawkes Mule Publishers Li conn 199 Dosey &eee eeeceeeeeeeeennnes The Pause Sign Rests When 8 ase sg pices oer ano, he The length ot ine in which noes re not ea sto and he note i played fora pried played i shown by various ens, eh note time longer than its printed value. Ouring having an eaunlent rest. The exemole Sows ‘he int wetion of hs Book the pause willbe the minim est wo best tne an ne ed mani Ye ere. ideitying__ erate et one eat fn, long as some Exercise 1 Exercise 2 Exercise 3 ~ — = o = =‘Adapted from a minuet Faisty fast MINUETTO ied rom eS HSE 6S t= L = Ss SS =o SS Ss (One ofthe best ways to develop 2 full tone is 3, Listen closely 19 the sound, aming fora. Check the amount of mouthovece that is ely individual long notes, In the exercise inside the mouth, uwvally the top teeth rest tat follows carry out the flowing dil, 2 rite eck section about sx millenetrex 1 the 4 Chack thatthe diaphragm is giving 2 ight te good tone production, support tothe ai steam. a a LET'S BEGUINE In the style of a beguine (A duet for pupil and teacher) eter West & © onynght 1979 by Boosey & Hawkes Mas Pobinners Lid -eConcert pitch chord symbols for Keyboard accompanimentUNITS , New Notes Dotted Minims Repeat Signs Adot ater «nots Winona section ha 1 be plavad twice,» ple Jetted minim will dot piacad atthe bapning ofthe section ‘be equ to# minim (2 beats) plus hala minim and another at the enc. Used inthis ey (1 bent), making total of thvaeertchet bests. dots acts butfrs, bouncing you Back the bravicus tof dots. When thereon one Set, the open is mac ack to the begining ofthe pace, ° — ° %e e ° ° 000 000 —— ee Exercise 1 Exercise 24 from a theme A MARCH OF JOY “Sys Beethoven Musicianship “The grade aural ters nsued by the Associated Board ofthe Royal Schools of Music wil halo ‘memory development ond should be incor ‘memory. ty enna fo remotieone Seat ne on a sos INTEGER VITAE = . MINUETTO Faioly Lely ted from a minu ‘by James HoaUNIT4 Semibreve Rests Ties A sembreve rest used 10 show any complete Ati is cured line plead over oF under twe bor of ret. egarciess ofthe number of beaten nots ofthe sme pitch, Thee joins the notes ‘he bar. When it occurs you must examine the together making one cntinuovt note. In ord Limesignatureto find the numer of beats 0 Yo pradies ona continuous note, the sand be countes. Compare ihe three exams. nate must nt be tongues Exercise 1 Exercise 2 Exercise 3 oOMARCH Adapted from a melody na bright march tempo Gite en | O©copynan 1973 by Boosey & Hawkes Music Polishers Ld Tone development 1. Play the exercise with the facil muscles tum and the corner ofthe ps tucked 13. Check the potion ofthe bottom ip, L felng ora contac point tat lows the inwards ‘wed vibe ats morinumtficnoy q 2. Um te dam to maintain an even sit MEXICAN MADNESS Lively ie Publishers Lt copyright 1979 by Boosey & Hawes Music Publish00 | a-o90 0 UNITS New Notes le eee eee on feeExercise 4 Finger technique Pray the fist note of each enercise with 2. Onseturning to the fest nate, ensure {he finger muscles firm andthe left writ ‘at te thumb and fingers touen down, 4, Flapeat exerci [al using the notes shown inexerciee 0) (land (8) . ALITTLE PIECE ee |UNIT 6 Staccato Marks, Quavers Incicetes hat he nate to sound detache, ‘Toschieve thi, the note i played shorter than ' printe value. often producing lipped 'sprinted with tal on the end of testo, ‘sully hae thee tls joined together ‘ec rather ike saying the word TAP, Exercise 1 Exercise 2 a Exercise 3RIGAUDON Abegreto Aids to music reading When you play quovers ea them ikea twos possible stage of muse rad Toneip tis sylable wos. For exarpe, when you read development, ech time quaers occur, make the word Doctor. you dort rexd"Doe Sconsciour efert to red both note atthe then "or you tend -Doetor. Tha "block’ ame ime reading stil nou be developed at the ealiast ‘CORUMBA Lively (in the style of a bossa-nova) 8b dim, iy copyright 1979 by Boosey & Hawkes Music Publshers Led mp cane Henry Purcell (CAME, UNIPESSOAL LOA, ‘AGERENCIA Peter WastallNew Notes Flat Signs Accent Signs 2 Every note in music canbe raed or lowered An accent sign paced over or under note hat atone, The sgn for lowering note helt means thatthe note must be Sven asrong 8 tone isthe Ht sign shown in he example attack withthe tongue. Often tha stiong) dove. Compare the sound ot ow Bhwith the attack combined with aie punch Hom rato used munis 3-6 the ioshragm Exercise | a eee Exercise 2 Exercise 37 _— Allegretto. ‘A MELODY IN PHRYGIAN MODE No. 28 from “Mikrokosmos” Vol 1 cae tres ‘©copyright 1940 by Hawkes & Son (London) Led Finger technique 1. When moving to Bb use the side ofthe first 2. finger for key 9 and the edge ofthe hum {or ey 12.50 that together they produce 1 type of pinching setion. = ~— tee fh, ensure that the thume 3. Repeat exercise (a) using holes compietey apen and the thu in exercises (b) (c) (a ane fing razed if necessary sightiy bend the 4. On returning to the first note of exercises knuckle ofthe thumb, (01 e) (ol) and (a, listen forthe thumb and fingers) touching down together a) o a o a ee ELLACOMBE = aUNIT 8 N ‘ew Notes Keys and Key Accidentals = ae . E ~ aaa = > seacus of te Keysgnatre both these "Bacau of he ade Both thse note tes mun bo payed Br mut played Oh = °° Jot When to sare i uid tat is ot ine they erecaeg a taysigratre Each kaysette nace. An Tate london ove ie or cera end the ent erie. ed . . Incetng ht eey pote wth ha treet thi tlc ony bean 2 1 guraletebepitd It etietwereohihatome ich in bor ° e tonite coe, The twotey tat we the . . . yaoi outaton F ° e 3 F Major = Exercise 1 Exercise 2 Exercise 3 FyScales and arpeggios F Manor 10 be played trom memery Musicianship ‘Arneulation (tonguing and slurring used in ‘mind music) plays an impo" ‘equivalent of elocution, The tongue must be Andante — cexnresive, varying both the syllable formed and the strength of touch, Ia this unit Using the pronuneiaion to give adeitiona CANTILENA ‘Adapted from a melody by Johann Gabrielsky oe ee uo Adapted trom “St. Pteburg” Dmitry BortnianskyCONCERT PIECES FOR UNITS 1-8 GRANITE With a solid rock beat KEITH RAMON COLE| \ Andante mf Not fast CHORUS from “Paris and Helen” cw, Cie CK @cotreiht 1979 by Roose & Hawkes Moc Publishers Ld HUMMING SONG for the young” op. 66 from “Album arr PETER WASTaL, ROBERT SCHUMANN (1810-1856) ar, PETER WASTALL —— _ a a oe err 9 Ro att a —a SS ———_ —— > SS 5 — = 2 SS Il === —_—_—_—_—_— 5 os ps FSUNIT 9 To eeeeeeeeSSSSSSSSSSSSSSFa Keys and Key-signatures Dotted Crotchets - = TMS Revs that have no flats (or sharp in Since a dot ater note lengthens that note by Pr Rev sanatures are: C Major and A Minor. halt tvlue the valve ofa dotted cotchet ‘The music inthis unit iustates C Major. will be one and ‘ator he tesimlaiy of bare 2 ang 3 nthe fst —_—_— C Major Exercise 1 aA Exercise 2 a Exercise 3 2‘THE EMPEROR OF GERMANY'S MARCH a 28 key 12 ao | =| Ieo 000 eee fit @ Pz coe eed oy ms fo ‘| eon oO | a ae pS tate at =P ftp titre = fS3- Ses5, Rept oxereise (a ving the nates shown imenercises (ll (and poston abe, an a ee one FFIGYSBREN ; I , E i B U 2 . ® © ewSharp Signs A New Key-signature *Becouse of he key signature both these ‘notes must be played os FH ‘The sign for rising noteby has tones The two keys that use the key-signature with called» sharp sign. Like the ft sign, tan bene sharp are: G Major and € Minor. The placed immacatly before te nate atfects, music in tha uni ilutatesG Male, ot ean be pace at he begining af each Stat to forms keysignatue G Major Exercise 1 Exercise 2 a —F- ExerciseScales and arpeggios | eee a | Finger technique 1 Wen moving trom the upper reper to 2 r 3 When playing lower register FH the riht han moving from the ueberagiter to cose ey 9. ‘her oF G, Keep te righthand fingers Rand fingers must be ‘ou, ARIETTE,«UNIT 12 Natural Signs aaa: posea eee eee eee Sea aes eee eee ee eee eee acesMusicianship, Bertin crating enoression but need earful sa Andante resur wil make a note go sharp. nd 9 diminuendo (oraduced by redvcing the ir pressure} will make a note go fa. ‘To stabilise the tuning, increaea the bottom ip support during diminvendo, and decreas itduring a crescendo, DUETTO No.1 (@nd Move) Johann Gabrielsky D.C. al Fine | a J| UNIT 13 | New Noe Quaver Rests best tet vest beat bt == A Minor Exercise 1 tech cmp ao Exercise 2 Scales and arpeggios sa Minor harmon form) tobe played rom 4 xFA 1,4 4 ‘Scales and arpeggios | | I C Mayer 20 be payed from memory | | Finger technique 1 Pay bth exerci with he fit gee ‘ruc esol im ad the eft wre someahat lead, 2. Whan moving to GH, usa pivoting ation similar te that develops fr paying the to. destroy th basi hand peton ote A 3, Throughout both exerci be caret et D.S. al FineUNIT 14 Compound Time Compound Time signatures Exercise 1 o Exercise 2 a o i id o Exercise 3 a aes= — a Lan Beethoven oy = : ; notes which are thirds of» beat, each group they were threesylable words Asan example ofthis, ry the fist exercise ‘thinking the word TENTATIVE as you play playing the pices, apply lero all mhytnmie groups Duo Frédéric BereUNIT 15 lew Notes 2 gr” §& = EEE a -— Ei!Scales and arpeggios © Major. t0.be played from memory Finger technique Upper segster Clean be fingered with key 2. When upper repster Cf occurs ina 2 key 2a, and in many pieces the? ‘chromatic passage (2. Ch foowed by CH! tingering is posible. However is ova! Key 2a must be used. To identity pasages {Take The ght Mand fingering when the where ths left hand fingering s reed it note accuts a an aceidenta (Brahrns! 'S customary to mark the note with the Walt? bar 7), a art ofa pssage in letter (Uh D Maorlenercse 11 ALITTLE PIECE WALTZ ” yy by . + — = — +5 EG agaugugn ’ y ' wo w w TetUNIT 16 Tenuto Signs 1st and 2nd time bars 7 F ma : Se Petey —_. Exercise 1 mf o Exercise 2 f Exercise 3 ™/pA chorale is EIN’ FESTE BURG adapted by tate a Frederic Bert ee ee ee ee eiCONCERT PIECES FOR UNITS 9-16 Scarpa Duyn reseanen the bigcs a start canbe mace om ‘he grace 2 aural tests. AN OLD TALE from “24 Easy Pieces for Violin and Piano” Moderato, in the style of a recitative ISTVAN SZELENYI (1904-1972) re ee 9 fo 7 = eect I mf Scuiee = -——_—* — ©1958 by Baio Musica, Budapest P GERMAN DANCE 1 from “12 German Dances’” JOSEPH HAYDN 1808) : net Animate arr PUTER WASTALL hed ee ee : ©copysieht 1979 by Boosey & Hawkes Music Publishers Ld ,MIDNIGHT IN TOBAGO Tempo di tango 27 ™P — PETER WASTALL = ‘©copyright 1979 by Boosey & Hawkes Music Publishers Ltd. ooNew Notes Double Names for Notes ‘The intel between and B i on whole Tone. Since star raeers nate by halla tone, ang fat Towers 9 note by half #098, [Rtolona that Af and B are dierent names forthe sre net. Double names ean be B C Eb Allegretto 000 000 STUDY No.1 ene ees by Gluseppe Gariboldi af P—_ 2 eed me ae!i oe pe 1 SSS SS o a wo MINUET Allegretto ~fie? AN OLD HUNGARIAN DANCE Pal Kérolyi i from “Clarinet Music for Beginner (b. 1934) . + 1972 by Eas Musica, Budapest Aids to music reading — _ Francois Garnieroad Dotted Quavers [Adtted quae. squalene. lt for A New Key-signature 'e treecuruefscoxer ben, Unay i Combi ih asingesemeuavrance th In fit ay, te nm of he jr ky canbe ck ‘compte he best. our eter names down trom tft. Th ayaa oF S.by ° Nez" by Gato hv and Cae ° Cheam ol be malty mt eB Mr ° ‘Andante STUDY No2 ‘Adapted from a study me by Giuseppe Gariboldi le le 1ecto SOLDIER'S MARCH Robert Schumann ; t= I oot ert =e a a Se Se ee a Aids to music reading ‘The reading tachnigue for singe semauaver 's 0 rou the emauaer with herons think TODAY. teehnique canbe used wey tine a dotted Moderato => poco Fit. eres. tempoee eeegretto MUSETTE | l Allegrett 3.8. Beg crese fo 7 ee D.C. al Fine Gert notce wesey we re interpreting the muscin a sono svn, Comoae 4 yg wth ‘CAME, UNIPESSOAL LDA theroce demonat thet many of the aoe 7 Frédéric Bereow «| lle e 0°e eee (el al a lemme —AYLESFORD'S PIECE ‘Animato Finger technique 1. When loner rpttr Bf occur ina 2. When upper reper 8b it followed o ‘chromatic paige (Aylesford Plee, bart proceed by notes using the righthand, "and 21 the tinting sown intuit tearing shown nh uit register this chromate fingering wil apply letter (x) canbe found in "Hunting Song to FB unit 22. by Senumann, HUNTING SONG 51UNIT 22 nih ae Changes of Time-signature An accaecatura is small grace note with Sometime a timesignatureischange during $roke throught stem. It shouldbe played. thacoute a pice. ne this oecurs the ‘on the Beat ar ar short pose Seed ofthe beat scaly resins the sme it Seago Exercise 1 ‘Adapted from a study Allegretto by Wilhelm Popp — —= Snore Scales and arpeggios acne {8b Major. tobe layed fom memory {Minor harmanie fom, tbe played from memory Bb Mar e000 iHYMN TO NATURE o for Violin & Piano” Istvan Sze from "24 Easy Pieces f nrc ee poco a poco dim. ae fa ee is F Z ©1958 by Esto Musica, Budapest Finger technique 1 when toner reiatr A occurs a an 12 Wan upper reieer 8 occurs san fecioccature (0G. the tll ingering tor A gecgceatre to, the til fingering fr 8 (ey del iroten used, Anenampie occurs (Aplut key 11] should be used. An example {nar 2 ol the sudy by Wilwim Popp. ‘evar in bar 4 of the stady by Winelm Pop. MINUET oe W, A. Mozart mpUNIT 23 New Notes Three-two Time STUDY Nos dated roma study &y Sheps CaratHORNPIPE == = a Finger technique 1 Key 7a isan alternative fingering for lower 2 fegster Of. The most Important use of thi fingering during chromatic run; an Wen lower register FH occurs during 2 Comat rn, the fingring given inthis hits the one that ie normaly sed, An “Andante” by Oibel ANDANTE : Andante cantabile ee . Perresive,, 55i alll] i Ft = lUmUmUmUmUmmCmC—C~—~—~C~C~C~C—C~C~C”COCOCOCOCONCOCOCCKXCSCS;s;szsSsCCaésCUCsMusicianship ot pieces inthis wit have performing try tocreste thee moods, an in particular for expresive tent playing: the important ‘directions relating to their mood: the Handel use the shapes Of the phrases for playing__thing to remembers that performing directions "Arias marked doles exprenivo, and the contra over the dynamics, In thers", area stating point for creating yout own Mozart "Minuet prasore. Ae you practve, he ropsted notes create goad oppartunias expression. MINUET 7CONCERT PIECES FOR UNITS 17-24 MINUET AND TRIO L. van BEETHOVEN from “12 German Dances” (1770-1827) ar, PETER WASTALL Allegretto somal memes omen) —" ©onysh 1979 by Booty & Heke Mane Poli Ld Da Capo al Fine LARGO from “Sonatina No. 3” — & > TELEMANN (1681-1767) sr PETER WASTALL and DEREK HYDE Ree UO ssseee = yeee? cresc© copynghe 1978 by Boosey Hawkes Music Pubishers Lid AIR from “Der Freischutz” | CARL MARIA von WEBER (1786-1825) ieee ar, PETER WASTALL ferato po ee P dolce 3s —— mp dole © copy 1979 by Boosey & Hawes Msi Publier Ld 9 et HaSUBURBAN SUNDAY Very slow blues scape KEITH RAMON COLE lemme cog el SS zs ee Fie ee ee eee nf 22 More movement 2g Animato ee (sere pec ae Ee ——_ r =—— » freely recitative ye 34 Poco rit, ewe <2 te = At jsTempo 1, ©Copyright 1979 by Boosey & Hawkes Music Publishers Li -— eeez. z baie pected ‘CAME, UNIPESSOAL LDA -AGERENCA CAROL Srom'Five Bagatelles GERALD Fn (3195 Andantino semplice poole 7 itard. a tempo - ————— 7 arte mmf cantabile dim. al fine (©conysen 1943 by Hawes & Son (London) Ltd ae oo- BASIC FINGERING CHART eee 00 +] eeac0 900 aero’ 00 000 Emu c00 000 Ib Beco c00 e@00 080 waco r FX eed 000 ~*~ e + GS eee 000 ) Geese coo Sl"Keys 1a, 2a and 3 re duplicate of keys 1,2 0nd 3 - (ine units 15 and 1 for deed techie) 6TIME SIGNATURES femalinad edad Look up the time signature 2. Look in the left hand fing the number of column to beats in each bar. 3. Look in the top row above the lume signature to find the type of ~ ote that equals one beat. Simple time Compound tne - Value teach best type ot note) J a d. 2 anes Pere Uren ay See 2 beats in each bar 3 Z 3 § & - 2 eatsin each bar Ses gs 8 ‘eas in each bar 2 eB ITALIAN TERMS eS ‘tempo Resume tne normal soeed E,Ed And Piano (p) sot. eaterando Bxcomn sassy tee, Espresivo (espress.) win expesion, Pismo Mors moveren ever Adagio Siow, tesurey with fein. Poco a poco Live by lite (radu) ey ABitato Agitared Forte (f) Lous Pomposo Pomocusiy, Alla marcia in he style of s march Fortissimo ( f°) very tous. Presto very quick Broasning ot Grane Greetuy Quasi simon Allepeto Signy iar ina Alero. Gioeoso Humorout Ralletando (rll) exsomin duty sioner Lively rennabiy fast Largo Stow aa sty, bro Ritenut (rt) Hoa bac inoane nec Andante i. waking) At » moderate pace, Larghetto Less siow than Largo, Rubato Fiesiviy oA anante. Legato smeciny Semplice Sinpe ale th Sempre Arways. Animato Arimates Legsiero ign Cantabile in a singing ste Lento Siowiy Sforeando( sf, 96 ) Forcing. ccenay on wit, Maesto0 asic Soke ss Crescendo (cresc,) Becoming louder Meno mosso Loss movement, }ONOFE Sonovous. ull toned. Da Capo (D.C) al Fine Back to ne Mezzo forte (mf) Mocerteiy loud ee ee Detinning and finish atthe word Fine Mezzo piano (mp) Moderaiey soft Selita Sots soy Dal Segno (D. $.) From the sign Moderato. Moderate tine Tempo ewe eo es Dect. ly Molto tucn ia Diminvendo (dim) secoming sadly Mote Moar Tengo ow sot, Jon troppo Not toe much i Dolee sweety, Pianissimo (Pp) Very sott Vivace vey te by Nelsen & Co Lid. Amersham, Bucks England a