al Leonard Student Piano Library Reto rates) Adult Piano Method Lessons, Solos, Technique & Theory Fred Kern : Phillip Keveren - Barbara Kreader - Mona Rejino feial Preparation to Play Sitting at the Piano * Sit tall and lean slightly forward, balancing your body weight on the front half of the piano bench * Keep your feet flat on the floor. * Adjust the bench height so that your forearm is parallel to the floor and your fingertips are touching the surface of the keys. Hand Position Let your arms hang relaxed Keep your hands relaxed When you are playing the at your sides. Notice how and curved as you raise piano, keep your fingers in your hands stay gently them to the piano keyboard. this relaxed, curved position. curved. Finger Numbers Place your hands together with fingertips touching. Tap fingers 1 (thumbs) Tap fingers 2 Tap fingers 3 Tap fingers 4 4 f\ /) / ie Tap fingers 5 Tap this finger exercise on the closed lid of the keyboard. ( TRH, 1-13-30 11-55 43-21 5-5-5-5 | 2LH. 55-33 441-1 23-45 1-1-1-5 Finger NumbersPiano Keyboard — Two Black Keys The black keys are divided into groups of twos and threes. be Nt Ry wa a Pay aw aw AA 1S1= Higt Using your left hand, start in the middle of the keyboard and play the groups of two black keys with fingers 2-3 going down the keyboard to the left. Using your right hand, start in the middle of the keyboard and play the groups of two black keys with fingers 2-3 going up the keyboard to the right. Technique Tip [EC Mamm curd Use weight from your whole arm as you play each key. Let your arm follow your fingers. ETT An improvisation Improvise your own melody. With your right and left hands, choose any groups of two black keys in the upper part of the piano. Listen and feel the pulse as your teacher plays the accompaniment below. When you are ready, play along, making up your own melody. ‘Accompaniment TRACK TRACK swing = 105 GETS" agThe Beat Goes On Pulse —- The Heartbeat of Music Like your body’s heartbeat, music has a pulse. The beat can move at fast, medium, or slow speeds. Tap your foot with the beat as your teacher plays the musical examples below at three different speeds. em gu Rock (# = 120) (8 See ack ppg mace Classical Dance (J = 160) er 8” 10 @ cSThree Black Keys Re Isa HiIT Higt Using your left hand, start in the middle of the keyboard and play the groups of three black keys with fingers 2-3-4 going down the keyboard. Using your right hand, start in the middle of the keyboard and play the groups of three black keys with fingers 2-3-4 going up the keyboard IX E[S) ==) An Improvisation Combining Two and Three Black Keys As your teacher plays the accompaniment, improvise your own melody using the positions on the keyboard below. rLHa -RH= Accompaniment ame pm Dreamily (J = 92) ‘An Improvisation Using Three Black Keys ing your right or left hand, choose any group of three black keys in the upper part of the piano. Listen and feel the pulse as your teacher plays the accompaniment below, then improvise your own black-key melody and play along. Accompaniment TRACK ‘TRACK With a bounce (J = 120) a a" eeezs Pentauma NOTES QUARTER NOTE J ree Jel 1 ‘A Quarter Note lasts for one Rests are symbols for silence Notes are symbols for sounds. pulse (beat). ‘A Quarter Rest lasts for one They indicate how long sounds | pulse. , last | Lid Ljde Stems up = Right Hand (RLH.) AA AA A AAA Stems down = Left Hand (L.H.) ‘Count: tothe clap ek anna r clap ip lap ap dlap clap clip rex Saale lsauie| Attention to Rests During each rest, release your arm weight, keeping your fingers on the surface of the keys. | cLH.s eR.Ha ; 1 I nM Straight Ahead Clap the rhythm of this piece before you play it. Play the first line with your right hang, followed by the second line with your left hand. Steady (4 = 120) “dd da dd 123 i 2 LH. 4 Repeat the pic With accompaniment, student starts here: & steady d= 120) oppo bade d stadt rag gad ° aaa AO aaa aA TD wit Port of aus anc Pus 7 ddd, a al(inn, peut, MEASURES HALF NOTE WHOLE NOTE deg oot d Pirin ald jee J? f A Half Note fills the time of A Whole Note fills the time A two quarter notes, of four quarter notes. Bartines group bets ino ; atu did dds Measures. a2 é ne ° seats Count: “1 2" A_A_A__A clap old count] 238 clap = Rol old - old cLHo LLL Opening Night Folk Melody Upbeat tempo (¢ = 120) we 3 a 3 | 22 2 ;) / 2 2 | J | 2 yas 1 ijjdif reetle c |eeeels oo ly ol ® % sole 8 4 LH. Double Bar Line means the end of the piece. With accompaniment, student starts here: eS ays gee ceetalas tempoW I Water Lily Delicately (J = 96) a 4 4) >) caw) d |? a LAs a an,] , > With Delicately d= 96) 2JJqi aly aie 2 wp betes : faiiie ig 4a Phillip Kevererhe Music Alphabet ying on the White Keys your thumb behind the first joint our third finger. Play and say the sic alphabet using this rhythm. C/D/E, loating (« = 80) Play each note with the third finger.» ny : A rid TRACKS Lm TRACK. ith accompaniment, student starts here: ZS= j= 1318 10 Floating (J = 80) A-B-C-D-E-F-G ‘Music uses the first seven letters of the alphabet. These letters are used over and over to name the white keys. Fred Kern aerelMe afalte Sie] When using your thumb, let it rest naturally on its outside tip. DETOEETTITSETTTE = Pa ITVS Low a) a 23. 1 fs do) With your right hand, start at the low end of the keyboard and play the C-D-E groups with individual fingers 1-2-3 going up the keyboard. Now explore the keyboard, playing the C-D-E groups with your left hand, using fingers an 21. Ad Lib An Improvisation 12 Accompaniment Bouncy (= - 126) Using your right or left hand, choose any C-D-E group in the upper part of the piano. Listen and feel the pulse as your teacher plays the accompaniment below. Join in and play C-D-E. Next play E-D-C and experiment by mixing the letters in any order to create your own melody.Wixctisle (caus Playing Forte f Press the key to the bottom of the keybed with full arm weight. | Hae 1 H= FORTE Party Cat f le 23 means play loudly Rockin’ (d = 108) Philip Keveren With accompaniment, student starts here: ce == ue mage Rockin’ (J = 108) opt ¥ folie sss lkd'e2| Vamp for Party Cat ‘A Vamp is a short musical pattern repeated over and over. Repeat the first two measures of the Quick-Lick, then play Party Cat. When you finish the piece, add this optional ending. Quick-Lick Vamp mice pag mace Endit Intro D ne: my yd ssrmen |? uff cr LH? “A "lick is a musical cliché often used in popular music. 3elise A Sample of a Musical Style Introducing Aloft Impressionism: A/oft is written in an Impressionistic musical style. This music of the late-19th and early-20th centuries originated in France and used melodies and subtle shifts in harmony to hint at, rather than state, mood, place, or natural events. For further enjoyment, listen to recordings of music by the French composers Claude Debussy (Clair de Lune) and Maurice Ravel (Le tombeau de Couperin). Listen as your teacher plays the Style Clip below. op mace Impressionism Adagio = 56) &P "te an SSS = —— _| “ie = <> akdnlaleatiex Playing Piano p Press the key to the bottom of the keybed with less arm weight. wT PIANO Aloft P means play softly Phillip Kevere Soaring (« = 104) Hold down the right pedal (damper pedal) throughout. ae ; Lo? a J ° are ree LH. * ey] 2)) | f ° LH? 3 f 3 4 » TRACKS Ly TRACK Soaring (J= 104) QP “ana 15 bo hands 5a 6 S== SE Meee ted Teeth te E NL !_S_— “4_G-A-B Groups otf j LF, CbBLE EL: G|A|B ff Ada _\_\E\G\A\B “ ELAN a [ 1 a 321 w High With your left hand, start at the low end of the keyboard and play the F-G-A-B groups with individual fingers 4-3-2-1 going up the keyboard. Now explore the keyboard, playing the F-G-A-B groups with your right hand, using fingers 1-2-3-4. ib An Improvisation Using F-G-A-B Using your left or right hand, choose any F-G-A-B group in the upper part of the piano. Listen and feel the pulse as your teacher plays the accompaniment below. Join in and play F-G-A-B, then experiment by mixing the letters in any pattern to improvise your own melody. Accompaniment au Leis Rock beat (J = 126) Taine e Ad Lib An Improvisation Using F-G-A-B and Two Black Keys Using the positions below, make up your own melody as you play along with the teacher accompaniment. LH RH, Mil 4324 ‘Accompaniment GP "y* fgg Turk Gently (= 88) dad iic Theol Music theory provides an understanding of the structure of music and its building blocks. Music Reading Notes move in only three ways: higher, lower, or repeated (staying the same). step Movement from one key to the very next key (up or down). h Skip Movement that begins on one key, skips a key, and plays the next key (up or down). Repeat Movement that continues on the same key (neither higher nor lower). 2. Rhythm in reading involves pulse, time, and note values such as quarter notes, half notes, and whole notes. Ear Training 1. Your teacher will play each of the four musical examples in any order. Listen carefully to the rhythm of the notes and observe the steps, skips, or repeats. 2. Write the numbers of the examples in the order in which they are played. Example 1 Example 2 uff ff Example 3 Example 4 “ddd |ddd Reading 1. Read and play each example above. 2. Experiment by playing the examples in different orders. To create your own piece, choose the order that sounds best to you. 7STACCATO | es ‘A dot over of under a note means to play the note Staceato, or detached, idaieite (eeuiie)| Playing Staccato To play staccato, release the key as soon as you play it, letting your wrist bounce lightly. Notice how your finger naturally rebounds and comes to rest on the key. LH ¢RHa : Popcorn FIGA |CDE eae Bouncy (/ = 112) ul pp p fl jecdeyd go ydte uf pp? pf With accompaniment, student starts here: a ser Gl“ Bouncy = 112) BE eiiniite +LEGATO SLUR PHRASE. Legato indicates smooth and J | J J A Phrase is a musical clause connected playing with no break e or sentence, Slurs often divide in the sound. the music into phrases. Slur means to play legato and is indicated by a curved line over or under several notes. ayaa least To play legato, pass the sound smoothly from one finger to the next. LH. RH. "a 'l Star to Star |_lalpico} 32112 Smoothly (¢ = 76) 7 J TN / a \ / J © eerf Poler JoT™~ WY Withascompaninent student stars hee: SZe—=a—= GR TRE i THRE Smoothly (d= 76)& TIME SIGNATURE a | 4, (A) = four beats fill every measure JdddlJId 16 | = quarter note gets one beat eee are ae or 23 4 1 2 bla 1a sale a Til Bermuda Bound 4321123 Lively (J = 120) poe Jef | af | aee/tl | 4 wld = gyms py With aeompanimen, sent stats he: SS GR MOS UE Lively (= 120) ppb ted pod te babe nhs tutty ve ee re rt ee SinsLH RHA TIM Star Quest 43211234— Phillip Keveren Heroic march (« = 120) 4 wu) J ‘ | i @ af | ae S's tod yy dd : | af .By the River's Edge 1 Carol Klose Quietly flowing along (¢ = 120) Play legato throughout. When playing without accompaniment, this piece may be played with damper pedal held down throughout wd?) dey) yde f if f wl de jd? J al r if @® 3 ae = s 2 ; am rac ‘With accompaniment, student starshere: === GHA THEwjd?| jie] ys? ® | ait] lit) : ay :Lines and Spaces Notes are writen oninesandin spaces. gy Line Note Space Note Music is written on a STAFF of 5 lines and 4 spaces S lines 4 spaces > FeO oe —_ Ls Tine Noves Space Notes Reading Music on the Staff Repeated Notes Steps to = ets * ame Space ” oe oe Line Same Sp: ‘Stepping Down Stepping Up You already know how to play Straight Ahead, Now read it on the staff. LHa t Straight Ahead FIGIA] C 432 SS Ee ee o—- oe ?-* t x —s fy Se] —— same same ‘same same same Same ‘om wt lown down 24Reading Notes in the BASS CLEF (The F Clef) 9: ‘The F line passes between the two dots of the Bass Clef sign. This is the F line You will usually play the notes written on the Bass Staff with your left hand. Laid Back Smoothly ( OEE The note F is the reading guide for the Bass Clef. You can name any note on the Bass Staff by moving up or down from the F line. epee LHS P Sprightly (J = 120) 7 a -0 oe 2S ere : =] Pa tf Accompaniment (Student plays one octave higher than written.) JP TRAES onl Sprightly (= 120) 25Reading Notes in the TREBLE CLEF (The G Clef) This is the G line ‘The G line passes through the curl of the Treble Clef You will usually play the notes written ‘The note G is the reading guide on the Treble Staff with your right hand. for the Treble Clef. You can name any note on the Treble Staff by moving up or down from the G line. Twilight Smoothly (2 = 96) Ri : 4 = J Z Accompaniment (Student plays one octave higher than written.) Pt TENS Uns 96) v= Private Eye Mysteriously A P 120) Accompaniment (Student plays one octave higher than written.) GPS TRACKS fgg TRACK Mysteriously d= 120) . j —— pg) ps. —,! ot ot *g rEg ames 3 s , be = Pe es SS SS 26he Grand Staff 2 og Uh Bass Staff and the Treble Staff together make the Grand Staff. H i Middle C uses the short line i ° (ledger line) between the ‘ Bass Staff and Treble Staff. Folk MelodyUteplalteSaiey) Playing a Two-Note Slur When playing a two-note slur, use a drop/lift motion. Downward Upward motion of motion of the arm. the wrist, Prepare to “shift gears” between slurs and staccatos by mastering the different motions in each hand. rLH--R.H> big Clear Skies Folk Melo Jauntily (J = 116) Accompaniment (Student plays one octave higher than written.) fe TRANS va Jauntily (= 116) | 3 7 1 ts a, d z = 7 et SS wt coal aaINTERVAL ‘aS An Interval is the distance from one ' Tambourine Tune tote toanother On the panos nd BIC moves from one key to the next. On 21123 the staff, a 2nd moves from a line to Ge ‘a space or a space to a line. Lom Folk Melody ; Aecompaniment(Student plays one octave higher than writen) QE TRAE gl Tae With spirit (= 152)MEZZO PIANO. MEZZO FORTE mp mf means medium soft means medium loud Wishful Thinking ‘Mona Rejin i ‘Accompaniment Student plays one octave higher than written.) QP "Syen° lel "sr" smoothly («= 104)Phillip Keveren | An Improvisation to Barefoot on the Beach ‘To improvise a contrasting section to Barefoot on the Beach: * keep your hands in the A-B-C-D-E position. improvise as your teacher plays the accompaniment below. * return to the main melody (the “head,” in jazz slang). ame gu 52153 2 jaan) (Student improvisation) Accompaniment (Student plays one octave higher than written.) Relaxed (¢ = 120)LHS RH. TT Long, Long Ago 432112 Thomas Haynes Bailey Peacefully (J = 120) | c= Accompaniment Student plays two octaves higher than writen.) QS TMBKS gy THER Peacetully (J = 120) ~~ Wit petSKIPS (rds) Line to Line Space to Space Skip up Skip down (3rd) (Grd) On the piano, a 3rd = skips a key ~ skips a finger Fi Lf — skips a letter On the staff, a 3rd skips a letter from either = line to line or ~ space to space rLH. RH UE asf io - - 4 Joseph Haydn (1732-1809)Let Me Fly! lala} G 32112345 Spiritual Smoothly (4 = 120) ‘Arranged by Fred Kern 1 3 nf z 1 z a 3 ee ei z ) 3 2 — ——_ 2 2 Accompaniment (Student plays one octave higher than written.) Je TRACKS ey TRAEK ‘Smoothly (= 120) ; TO a : — (EN aes " pry PF a weit? Tilt pire PE Tt Fr 71. Long, Long Ago Reading Intervals 1. Step Notes that move from a line to the very next space, or from a space to the very next line, up or down 2. Skip Notes that move from line-to-line or space-to-space, up or down 3. Repeat Notes that stay on the same line or space Look carefully at the excerpts below. Observe how the notes move by Step, Skip, or Repeat. Circle the appropriate description below each example, then play the excerpts on the piano. 2. Surprise Symphony Step, Skip, or Repeat Step, Skip, or Repeat 3. Let Me Fly 4. Wishful Thinking Step, Ski or Repeat Step, Skip, or Repeat; wy The Wild Rest 321123465 = Bill Boyd Moderately (4 = 138) 5, ve fq 5 Accompaniment (Student plays one octave higher than writen.) QP age’ gl MASK Moderately (J= 138) (JJ-4 2)clHa oR TM | Happy Heart Sonn Wekoes with sout (J = 116) Accompaniment (Student plays one octave higher than written.) QP Tigger" with soul d=116 0 Lah aeag ie fda gs wes Le : Hed 4 ette [ane ri Terie rere :DOTTED HALF NOTE A Dotted Half Note fills the time of three quarter notes. ee eee Count as 5p ~ hold - hold ton ia foetal! i Camptown Races cid eee Stephen Foster Lively (d = 160) (1826 - 1864) dpa tats Tech gan, cael] z ayes wll3 TIME SIGNATURE three beats fill every measure ‘= quarter note gets one beat rLHa RH. fl Scottish Air GlalB|C|D[E|F/G 327112345 Folk Melody With spirit (J = 144) 1 Repeat from measure 5. Accompaniment (Student plays one octave higher than written.) GPS TRACKS ag TRack With spirit (= 144)BIS lie a) A Sample of a Musical Style Introducing The Emperor Waltz The waltz originated in Austria in the late 18th century and became popular in Vienna asa flirtatious dance. The prolific waltz composer, Johann Strauss, |r. (1825-1899), composed over 500 waltzes, taking this dance form to orchestral heights by introducing it into his operettas. For further enjoyment, listen to Viennese waltzes by Johann Strauss, Jr. (On the Beautiful Blue Danube) and Franz Lehar (The Merry Widow Waltz). Listen as your teacher plays the Style Clip below. Viennese Waltz “o k"s" Philip Kevere sg Moderate waltz (6 = 138-144)cLHA RH tl I The Emperor Waltz G|A|B|C|D|E|FIG\A 432112345 Johann Strauss, Jr. (1825-1899) Arranged by Phillip Keveren Waltz tempo, smoothly (¢ = 144) 2 ‘Taack a Accompaniment (Student plays one octave higher than written.) Pe TRAGKS Waltz tempo, smoothly (J = 144)TIE two notes = one sound A Tie is a curved line that HI Ocean Breezes connects two notes of the san FIG) A/BIC/DIE|F: pitch. Hold one sound for the 43211234 combined value of both notes LH -RHA Mona Rejin Gently flowing ( = 126) Play both hands one octave higher. 1 mp a 4 Hold down damper pedal throughout, (Solo) 2 Accompaniment (Student plays one octave higher than written.) GPS "MEAS eg TRACE Gently flowing (J = 126)LH RH Jazz Jig 4321123465 Phillip Kever With driving energy (d = 184) 1 = eZ St 2 1 — @ i ‘ 7 Accompaniment (Student plays one octave higher than written.) Ps TRACKS fay THACK With driving energy (= 184) ai 4 14 By eo tf FE FE FE Fr TF RFRLHS RH r Russian Dance u “Trepak” ELRIGIAIBICPIEL=IG from the ballet THE NUTCRACKER 5432112345 Pyotr Ilyich Tchaikovsky (1840-1893) Lively (d = 168) ‘Arranged by Fred Kern 5 tc t : Accompaniment (Student plays one octave higher than written.) pe T#AR aa Lively (J= 168)WHOLE REST DYNAMIC SHADING ~ crescendo decrescendo Whole Rest means to rest for —= os an entire measure. sradually louder gradually softer Dynamic Shading is created by gradually changing from soft to loud or loud to soft. ASM MELE 8)| To play crescendo or decrescendo, press the key to the bottom of the keybed with i increasing or decreasing arm weight. LH.— Il Ta Fla 54321 12345 Rope Bridge Accompaniment (Student plays one octave higher than written.) @s "ai _ i Smoothly (J = 120)C Major Pattern (ee C-D-E-F-G Sea Zen] Aie (Us LL)2J] Play the following warm-up. Balance the weight of your arm over each finger as you move smoothly from key to key. Let your arm follow your fingers as you play. Smoothly (= 120) TMS ag TER 1 ~ + + + + - nf 8 ri LSS a ; é ; as oT 1, Place both hands on C-D-E-F-G, Listen and feel the pulse as your teacher plays the accompaniment below. 2. Experiment by playing C-D-E-F-G, first with your right hand, then with your left hand. 3. Improvise with each hand. ‘Accompaniment Track ‘aac Moco dniay SAS 31 ¥Song of the Orca Phillip Kevere: ‘Singing, with mystery (J = 126) 1 of 1 1 Accompaniment (Student plays two octaves higher than written,) 2s TACKS fy TRACK Singing, with mystery (= 126) eeMELODIC and HARMONIC INTERVALS Melodie Intervals — Notes played consecutively make a melody. Harmonic Intervals — Notes played together make harmony. Melodic 2nds Harmonic nds Melodic 3eds_—_—_Harmonie 3d = ete Interval Etude Lively (d = 132) Accompaniment (Student plays two octaves higher than written.) 2p TAKS pp TmACK Lively (= 132) ah DE pW TN NDLa Cha-Cha Phillip Kever Spirited (¢ = 176) @ 5 f } of | | | | Accompaniment (Student plays one octave higher than writen.) Qs "yews fay ™* Spirited (= 176)D.C. (Da Capo) al Fine INTERVAL of a 4th D.C. (Da Capo) al Fine means to retum to the beginning and play to the Fine sign, 2 — The form of this piece is A-1 = On the piano, a 4th On the staff, a 4th ~ skips two keys ~ skips two notes — skips two fingers from either a line — skips two letters to a space or a FORTISSIMO IF means play very loudly space to a line. Hoedown Janet Medley Toe Tappin’ (4 = 152) t Fine Accompaniment (Student plays one octave higher than written.) m™os fey mace 128 Toe Tappin’ (= 152) D.C.al FinePIANISSIMO PP Sunlight Through the Trees ‘means play very softly | Phillip Kevere Flowing (J= 120) @\ Tek ppg Tnx lay one octave higher than written and hold down damper pedal throughout be f ie wIn My Dreams Jennifer Linn *Andante (d = 108) 2 | “Andante means a calm, walking tempo. c Accompaniment (Student plays one octave higher than written.) Qs TMAENS py TmACK Andante (« = 108) tatrcrtg tate) é 4 — to ste pd : eS re aA BEE wu =aStart on F 3rd = 2nd nd Start on C 3rd 2nd th Start on G 3rd 2nd th Start on F 2nd 3rd 2nd Directional Reading and Writing 1. Play each series of intervals below. 2. Write the name of the last note in the box. 3. Draw the notes for each exercise on the staff. Interval Reading and Ear Training Study each three-note example below. 1. Do the notes move by 2nds, 3rds, or 4ths? Circle the correct answer. 2. Listen as your teacher plays one pattern from each box. Circle the pattern that was played. 2nds, 3rds 2. 2nds 3rds_dths 2nds 3rds 4ths 2nds 3rds ths ae a S = 2nds 3rds ths 2nds rds 4ths.Slow blues (¢ = 100) 2 Accompaniment (Student plays one octave higher than written.) TRACK Sow blues (= 100) (JD-J 3 be FLAT b A Flat sign before a note means to play the next key to the left, whether black or white. ‘When a flat appears before a note, it remains flat for the entire measure. Too Cool! Phillip Keveren ‘TRacKs TRACK 10 rr TTre feteACCENT > A Little Latin ‘An Accent over or under a note ‘means to play that note louder. Moderately fast (c= 168) Qe "MES py Tacx Bill BoydAn Improvisation Let your hands talk to each other! 1. One way to create an improvised melody is to trade phrases between the hands. 2. As your teacher plays the accompaniment, make up your own melody using the notes shown on the keyboard below. — LH RH c WW amen famcera ‘Accompaniment au wma™ Moderately fast (J = 84) rrr RF FP Tat ine8va--4 I5ma~~> When the sign 8va-~> appears Play two octaves higher than over a note or a group of notes, written, play the note or notes one octave (cight notes) higher than written. Little Star Traditional French macs ‘TRACK 4 Arranged by Phillip Keveren in With wonder (d = 76) an Both hands 8va~~~~9 Both hands 15ma-~~7 Both hands 8.4 continuously 4 4 4 ‘mp (like a music box) 1 Hold down damper pedal throughout @ ) PP 6 Both hands 15ma~ = Let it ring. | | | |LH RH ole jajal ple} jala 12345 54321 Andantino Ft Ft ‘andantino J=132) @eTMaS aE 1 “Andantino is a slightly faster tempo than Andante. SHARP # A Sharp sign before a note means to play the next key to the right, whether black or white. Louis Kéhler (1820-1886) Adapted by Fred KernShifting Winds Phillip Kevere Soaring (e = 116) 3 ee A sharp before a note lasts for only one measure, 4 t | ~:———_ BP rracas Track Accompaniment (Student plays two octaves higher than written.) @ "ings 15 Soaring (= 116) ees QAAAs Shon as IE — a weit, AS, spo -— r= = aT? —= nd —— vcfade TD yd fa a TE we =a) aQuiet Thoughts J.H. Berens, Op. 62 (1826-1880) Peacefully (# = 100) ‘Adapted by Fred Kern af | \ 2 Accompaniment (Student plays one octave higher than written.) i TRACKS pay TRACK. Peacefully (= 100)Star Quest Heroic march: d = 120) Prilip Kevere 4 2 5 a Accompaniment (Student plays one octave higher than written.) By TRACKS oe Heroic march (J = 120)NATURAL. FERMATA 4 fm A Natural sign cancels a sharp A Fermata means to hold a or flat, Play the natural (white) note longer than its rhythmic key. value. Bayou Blues Phillip Keveren Slow and bluesy (= 108) @s TRACKS fy TRace 1 4 te Hold down Release damper pedatINTERVAL of a Sth \33385 On the piano, a Sth On the staff, a Sth ~ skips three keys — skips three notes — skips three fingers from either a line — skips three letters toa line ora space to a space. Changing Positions When moving from one position to another, use your thumb or fifth finger as a guide. Look ahead. Plan your move to the new position. Canyon Echoes no Phillip Keveren S 35036 Slowly and spaciously (J = 112) L 5 Hold down damper pedal throughout. e| A alt g wi Prepare 10 move left hand. a sf 8 NG) | ® | |RITARD Ritard or rit, means to slow the tempo gradually. Gentle Rain Phillip Keveren Slowly and steadily (J = 76) Tacs py mack Both hands 8va throughout 2 3 4 8 at ft i oF Pp delicately Hold down damper pedal throughout. ©EIGHTH NOTES 9 Clap and count these patterns: ‘Two Eighth Notes fill the Jedd time of one quarter note oe ore Wiis fd Td nse pean Little River Flowing Folk Melody ‘Smoothly (J = 100) 1 ee NSAI TL 7 3 , . rc Accompaniment (Student plays one octave higher than written.) "ano 2 Smoothiy = 100) <= I~ OF Te fre v1 if Tt Facento SEuiley| Playing Legato from Hand to Hand ‘When playing legato from hand to hand, strive for a smooth follow-through from one hand to the other. Play each phrase legato, beginning with a downward motion of the arm and ending with an upward motion of the wrist. scsiaisiasal Watercolors Taxs mack Phillip Keveren Delicately (# = 60) Play both hands 8va throughoutShooting Hoops TRACKS yy Taack Phillip Keveren With energy (@= 192) @> “tye is 1 tfUPBEAT (Pick-up) A note that comes before the first full measure is called an Upbeat. JidJJd Come “4 4“ Spring from THE FOUR SEASONS, Allegro (# = 152) ‘ae A Antonio Vivaldi (1678-1741) Arranged by Fred KernG Major Pattern (ost G-A-B-C-D TET an improvisation Place both hands on G-A-B-C-D. As your teacher plays the accompaniment below, improvise a melody using one hand or the other. a ma" Tendery (= 92) peg iv oF 6 a Pr —=f = te r—LH— RH You already know how to play Shooting Hoops in the C Major pattern. i Now play the piece in the G Major pattern. ajp|clo| | |ejale|c|o 54321 423465 Shooting Hoops Phillip Keveren ete.G MAJOR WARM-UP i 3 G Major pattern Alouette French Folk Melody Arranged by Phillip Keveren Gently (J = 152) Accompaniment (Student plays one octave higher than written,) Gs MACKS egy Thacx Gently (J = 152) Ls @ Tie TT ia POUT POUT PF ee PAllegro Anton Diabelli ame en (1781-1858) Adapted by Fred Kern “Allegro (# = 168) coma a eer | | | | “Allegro is a quick, lively tempo.KelésTalte(W{=¥al} 03] When you play several notes at once, drop your arm weight into each key equally, so that all the notes sound exactly at the same time. Press each key to the bottom of the keybed, using full arm weight for jf’ and less arm weight for p. Handbells Fred Kern Ringing (/ = 112) s Ss Accompaniment (Student plays as written.) a Tacs egy ™uCK Ringing (= 112) | d BI Ply bots had va troupe 14 df —— eae rege alar DOTTED-QUARTER | EIGHTH NOTE aed J J \ 1&@2e&IR4E ° Jali A Dotted-Quarter/Eighth Note Pattern fills the same eras ae eee four eighth notes. 4 dt Ode to Joy ‘aac rack Ludwig van Beethover 54/55 29 (1770-1827 Majestically (4 = 112) Arranged by Phillip KeveretRsiExeliiyea| Boogie-Woogie Style for Boogie Baby The boogie-woogie style of piano playing features up-tempo rhythms and a repeated pattern in the bass. The right hand improvises melodic variations over blues harmony. Listen as your teacher plays the Style Clip below. Boogie-Woogie Style Clip Peas ~ Ow wy Boogie-Woogie Patterns Parallel harmonic patterns such as these are often used in boogie-woogie style music. Play the left-hand patterns below as preparation for Boogie Baby (page 78). anon 1 Lively (= 132) DE Feit mf Play one octave lower than written throughout i >, I gINTERVAL of a 6th 8va-- 4 8vb.-J When the sign va — or Svb-—) appears under a note or a group of notes, play the no or notes one octave lower than written, Loco means to play th notes where they are written, On the piano, a 6th On the staff, a 6th ~ skips four keys — skips four notes skips four letters from either a line toa space or a space to a line. Boogie Baby ‘TRACKS TRACK Folk Song ively (J = 132) 2 hes ‘2 ‘Arranged by Mona RejinoLavender Mood Folk Melody Arranged by Phillip Keveren Sweetly (J = 100) 1s 1s Accompaniment (Student plays two octaves higher than written.) > "fags AK sweetly (J= 100)Trumpet Tune Henry Purcell (1659-1695) 4 ‘Arranged by Mona Rejino Majestically, in ‘two' (J = 72) QR TRACKS pag TRACK ged by ji 5 $ 3 i a fAll Through the Night on hes Traditional Welsh Melody ewes = Serenely (J = 76) Arranged by Fred Kern ama (cross 2 over I) amp atempo* q \ 5 t * A tempo means to return to the original speed.Viva La Rhumba! Allegro (d = 108) 1 Accompaniment (Student plays one octave higher than written,) Qe TRAEAS fay Tuan ‘Alegro ( = 108) ii ji fy r roy Carol KloseLeap Frog Qs pee Carol Klose Allegro (4 = 160) LH. over RH. 2 Ln. I. LH.Mirror Image Cs - A Shortcut to Reading Ledger Low C Notice how the high Cs and the low Cs in the treble and bass clefs mirror each other. Play all the Cs with your third finger. A-C-E Groups Notice the following A-C-E groups on the grand staff. Ledger lines are for notes above or below the staff. Locate and play each of the groups on the keyboard.DAMPER PEDAL ‘The Damper Pedal releases the dampers from the strings, causing the sound to vibrate longer. Press the pedal down with your right foot, keeping your heel on the floor. The symbol below tells you when to use the pedal. pedal L___] pedal a Tele owe 5 In Concert “TRACKS: ‘TRACK Fred Kern and Grandiose (d. = 63) at A" Phillip Keveren i a so Fi ‘ a ineD.C al FineTriads (Chords) 1. Atriad is a three-note chord that is written on three consecutive lines or three consecutive spaces. The letter name of the chord is the same as the bottom note, the root. Write the letter name of each root in the blank under the chord. =a FS Play each chord in the correct place on the keyboard. Use fingers 1-3-5 in the right hand or 5-3-1 in the left hand, 2. The three notes of a triad (root-third-fifth) are tones 1, 3, and 5 of its five-finger pattern, Name each triad on the keyboard by writing its chord symbol (letter name) in the box. {49 Parallel chord patterns such as these are often used in popular music. Play the following Quick-Lick using fingers 1-3-5 for each chord in the right hand. Bp rac rack Steady (J = 144) TA":Mystic Mood Slowly (J = 88) 5 Accompaniment (Student plays one octave higher than written.) Qs Slowly (= 88) ‘Taacks ‘TaACK 73174 0 adda pid oee Fred Kern and Brenda DillonHectic (d = 100) 5 3 i Rush Hour TRACKS mack. 75016 a 3 ] Phillip KeverenTheme from “The New World” Symphony Second Movement Theme (Largo) Antonin Dvorak (1841-1904) Arranged by Mona Rejino Slowly (d = 80) Accompaniment (Student plays one octave higher than written.) Qs THARS ggg Tacx Slowiy (= 80) ay r na ped : au te ff eeeassoeesAus pd.Why adult and older beginner students will love Tse utes CE laela Combines lessons, solos, technique and theory Well-paced IMNexeonel vail armmccgted Cer cud Hands-on ftesMie tomatic merce contin Caere comune inehettasutinat a Easy-to-grasp Material is well-planned and free of Reenaiteiaeiecint Encourages creativity enters eur ticcatcette is ful eet Creates a sense of accomplishment TM Decree ime (Ota lae AeA vog orchestrated CD and GM accompaniment disks provide a rewarding musical experience US. $16.99 7 ISBN O-b34-Obb2b-4 eee AU