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    55 views158 pages

    Open 530473794-Alfred-s-Piano-101

    Uploaded by

    thehumblepotato17.4

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    © All Rights Reserved
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    of 158
    Table of Contents UNIT 1; Playing on Back Keys Did You Know? The Power of Music How to'St atthe Keyboard Basic Note Values ‘The Keyboard Dynamic Signs To by Tiree UNIT 2: Piaying on White Keys Did You Know? History of the Plano Naming White Keys Octave New Signs ‘Summer Night Rests: Simple Eiegance Review Worksheet UNIT 3: Expiring Postions on the Keyboard Dd You Know? Music Theory Playing in Right Hana Slade C Postion Paying in Left Hana Midhe € Poston, Fist Wale Paying in C Postion | Playing in G Postion Positons Using All White Keys Moving Up Posions Using All White Keys Moving Down UNIT 4 The Sait Did You Know? Musical Syle Periods ‘The Saf The Treble Cet Sign The Bass Cle Sign ‘The Grana Saft Middle C onthe Grand Sal ‘New Dynamic Signs ‘New Time Signatre Fciow Mile © Gabove Middle C 5 Important Neves Fight Hand Poston andl gh ian Mie Psion ten Hand Midele€ Postion Sur W Legato Playing Review Worksheet UNIT 5: Intervals Dd You Know? The Baroque Period (at Hand ¢ Postion Treats Tempo Marks 2nds Transposon tds: New Dynamic Sign Incompite Mase When he Sains Co Marching ta Review Worksheet UNIT 6: Other Keyboard Bases id You Kaow? Johann Sebasin Bach ‘The Sharp Sign: Money Cant Buy Evi the Fat Sm Bight io Boe rah Ligh Fight ape € Postion an Octave Wigher New Time Signore New Tempo Naik Duet yi Bee LUNIT 7: Postion id You Know? Church Music Glrosin ov te Sat; cet Sgn dig Shadows Feta Fosiion an Octave Higher Tetenalsn G rstion New Dynamic Sigs ni Wie Review Worksheet UNIT 8: Major Fie-Finge Paterns Did You Know? The Classica Period Fale Steps; The Chromatic Scale Whe Sep Major Five Eiger Patieins Eighth Notes: Paying Majer Fve-Fnger Patterns Pajor ads (Chord: Paying Hlajor Five Finger aterm and chovas ensemble: Fory-Pinger Ensemble Unt 95 Ke of CM ad (new? Wollgang Amadeus Marae ‘The C Major Seale: Tetrahords and the Maj cae 6 70 a Playing the C Major Seale - 20 Char and GY Chords in he Lf Hand; Mary Ann «81 ‘ne F Major Choed i 2 Praying end G7 Chords in the ight Hand 3 Binary Ferm (AB; Morning Cassie ae LUNI 20; Key of G Major Did You Know? Movies and Music 25 ‘The C Major Scale: Paying the G Major Scale 86 Bowed Quarter Notes a ‘Ternary Form (ABA Dance 28 Gj and D7 Chords nthe belt Hard ‘Duc lest mir Herzen 89 [ANew Poston of the © Major Choe in the Lat Hand Pying 6, Cand D7 Chor nthe Right Hand =» 90 ‘Te Damper Peal 31 um Bo Yant 32 Review Worksheet eee sa LUNIT-11 Minor Fve-inger Patterns id You Know? The Romani Period... 95 Major and Minor Five-Finger Pater Plying Major and Minor Five-Finger Pats... 96 Minor Chores: Paying Minor Five Finger Patterns ‘nd Chords 2 Moser nd 100 UNIT 12: Triads and Arpeggios ‘Did You Know? Frecerc Francois Chopin 101 Pie Co 102 Paying Triads of he Ke Paying Major Chords Hand-over Hand) 103 Paral Moves 108 Playing Hand-ove-Hand Arpegaios 103 ‘Ae Day 108 tend Set: ode Hear 109 [UNIT 13: hs, hs ana ahs (Octave) ‘Did You Know? Tne Pano Concerto n10 Sth a Wang in Sos 112 “ns and x ose on Summer Memories ns end Sheet ee i in St Louis Louis ny Review Worksheet ne Unit 24: Key of F Major ‘Did You Know? The Contemporary Period 19 Four Fs 120 ‘The F Major Scale: Playing the Naor Sea a2 Playing Fe and C7 Chords nthe tt Hand 122 ‘lng FB and C7 Chord in he Rg Hand 138 teat shee: ona Nobis Face 137 Ensemble: Barcorote 338 UNIT 15: 12.03 Blues Did You Know? George Gershwin ax 12:Bar Blues in ees SB ew Tie Sgnatre Tc 13 Review Worksneet Be SUPPLEMENTARY SOLO REPERTOIRE ‘he My Rega Broavay sage Youre Grand Ou Fog : 13 Ainacing Grace a2 March No; March 3 103 Canon aa Fire 1“ dine Bets rH ‘aeration Boogie 130 Saco Ladder 132 [APPENDIX A: Teachers Examples (Training 153, [APPENDIX B: Glossary 156, APPENDIX C: Lis of Compostions| 157 1Noex 190 ‘Table of Comtens mS Playing on Black Keys Objectives fo sates Assignments Gn m Paying on Black Keys ‘Upon completion of this unit the student will be able to: 1. Use correct posture and hand position at the Keyboard. 2. Identity fingers by number. 3. Apply basic rhythmic concepts to performance at the keyboard 4. Perform melodies on two- and three-black-key groups. Week of Write your assignments for the week in the space below. How to Sit at the Keyboard Sit tall! Leaning slightly forward, let your arms hang loosely from the shoulders with your elbows slightly higher than the keys. The bench must face the piano squarely. Position your knees slightly under the keyboard, with your feet flat on the floor, The right foot may be slightly forward. Hand Position Curve your fingers when you play, as though you have a (7, bubble in your hand \ 4 Curved fingers bring the thumb ino ponerse postin — ff pes tn pone an ah tale SA i bum os under fingers or the fingers to cross over the thumb. Finger Numbers ‘The fingers of the left hand (LH) and the right hand (RH) are numbered as shown. The thumb Is the first finger of each hand. fy iE Paying on Back Keys w Unk 1S “Basic N ote Values cuaternte d= 1cot Half note. d = 2 counts Dot tainted. = 3 cous Whole note © = 4 counts eee lap (or tap) the following rhythm, Clap once for each note, counting aloud. Notice how the bar lines divide the music into measures of equal duration, Bibi APS Hands separately: M4) 1-2 (44) Frges way cownt 4 40) 1-3 (45) 12 2. rw d d "See page 2. see © Gn Playing on Black Keys oi) 4-1 (43) Pa me oun sar in ime) <— measure —> |< measure > |< measune—>| TT diddfiid |2 cour; 1 144 4 4 42 4238 1234 ‘Tap the following rhythms on a desk or tabletop, with the indicated. hands and finger numbers. ee +e r= ee ee ae = ele oe e- we we we we we we ew oe = oi) 1-4 (46) vetttt te ¢ Megel ft 40) 4-5 (47) ett _— a. > we — > -—— woe se oa 2 2 Hands together: 41) 1-6 (48) 1 smd dk ddd). “cock cheek I rot ker ke cle I (te xeyooar is made up of white keys and black keys, The black ‘The Keybonrl myecetpeumct ween tome co tetcgeent aooeints the left, and up is to the right. As you move left, the tones sound lower, As you move right, the tones sound higher. 2BLACKS 3BLACKS 2BLACKS 3BLACKS 2BLACKS 3 BLACKS emt airaTTr eT Low sounps HIGH souNos Paying on Back Keys w Unt 1 7 41) 1-8 0) 1-961) “Cet 2 FG w Playing on Back Keys LH 1. Using LH 2 3, begin at the middle and play all the 2-black-key groups going down the keyboard (both keys at once). RH 2. Using RH 2 3, begin at the middle and play all the 2-black-key groups going up the keyboard (both keys at once), 3. With RH 2 3, begin at the middle and play all the 2-black-key groups going up the keyboard, using the indicated rhythm and finger numbers (one key at a time). we we oe 4, With LH 2 3, begin at the middle and play all the 2-black-key ‘groups going down the keyboard, using the indicated rhythm and finger numbers (one key at a time). wi | wed ed ed ed ll il ld al ol ld ed ll a ae p Black Key Groups uy 1. Using LH 23 4, begin at the middle and play all the 3-black-key groups going down the keyboard (all 3 keys at once). RH 2. Using RH 2 3.4, begin at the middle and play all the 3-black-key groups going up the woo keyboard (all 3 keys at once). 3. With RH 2 3.4, begin at the middle and play all the 3-black-key groups going up the keyboard, using the indicated rhythm and finger numbers (one Key at a time}. 4) 1-10 (52) 2 6 4. With LH 2.34, begin at the middle and play all the 3-black-key groups going down the keyboard, using the indicated rhythm and finger numbers (one key at a time). i) 1-11 (53) e lon, Cree Paying on Back Keys m Un TD tell how loudly or softly to play. name signs Include ‘mf (mezzo forte] = moderately loud Dynamic Signs POSITION Tree tivne0 Tivo by Tharew. SOLO REPERTOIRE wd) , j 5 , Kenon D, Renfrow v4 | “trleee | wld 73 | ttleee ‘TEACHER ACCOMPANIMENT* Lively d= 10) ‘Note: All accompaniments are for a second plano unless otherwise noted. TO Oni tm Playing on Black Keys jee eee nner erred = en ae Playing on White Keys |, OY Objectives ew Assignments Dict You Root? Upon completion of this unit the student will be able to: Name, find and play all white keys on the keyboard. Perform simple melodies on white keys. Identify rests and apply them to performance at the keyboard, ‘Tap two-part rhythm patterns, Aurally distinguish low from high sounds, sounds that move up or down and simple rhythm patterns. Week of Write your assignments for the week in the space below. History of the Piano Although the piano was invented in 1709 by Bartolommeo Cristofori In Florence, Italy, plano music and the plano as we know tt today did ‘not really come into its own until much later in the 18th century. Before this ttme, the harpsichord and clavichord were the instruments of choice. Cristofor'’s instrument, called the pianoforte, allowed the performer to play both soft and loud depending on touch. This allowed [or a greater degree of expression. The pianoforte was the direct fore- runner of the acoustic piano that we know today. Playing on White Keys Unt 2414 we Naming White Keys 4) 1-13 (55) Play all the A's ‘on your piano. A Play all the B's. Play allthe C's. B c alphabet. Piano keys are named for the first seven letters of the | The lowest ‘The key names are A BC D E F G, used over and over! key on the piano is A. The C nearest the middle of the piano is called middle C. The highest key on the piano is C. Going up the keyboard, the notes sound higher and higher. While most acoustic pianos have 88 keys, some digital keyboards may have fewer. Middle C Beginning at the low end and moving up the keyboard, play and name every white key beginning with the bottom A, using the indl- cated rhythm, Use LH 3 for keys below the middle of the keyboard. Use RH 3 for keys above the middle of the keyboard. Beginning at the low end and moving up the keyboard, play every A, using JJ on each key. Say the name of each key aloud as you play. Use LH 3 for keys below middle C on the keyboard. Use RH 3 for middle C and keys above middle C on the keyboard. Repeat this exercise for B, C, D, E, F and G. Play allthe D's. Playallthe ’s. Pay all the Fs Play all the G's ae oy FX Unit 2m Paying on White Keys pel al al ll il dd ek ok ek od od ed od od ed wd ed wd and finger numbers. oP | . Pee ep lr ple | F-G-A-B Groups > RH: 1234 1234 pbsnone With RH 12 3 4, begin on the F above middle € and play all of the F.G-A-B groups going up the keyboard using the indicated rhythm and finger numbers 4) 1-16 (58) yaaa? 4, 242]4 lc With LH 1 234, begin on the B below middle C and play all of the B-A-G-F groups going down the keyboard using the indicated Maar coon rhythm and finger numbers. ree "~ 3 Dynamic signs New Signs ‘P (piano) = soft F fforte) = oud First ending | 1}: lay first time only. Second ending ( [x }: play second time only. Repeat sign (|: repeat from the beginning. Ta Unk? & Playing on White Keys Ce he bb etal et ene } SOLO REPERTOIRE connortine — MUTT Kenan D. Renfrow rade iddd |gadéday lade? +41) 1-18 (60) odd lysed. [Pedal opr ‘Summer Night with the LH beginning with finger 4 Playing on White Keys Be Unt 215 Rests SOLO REPERTOIRE wom Sele Elgmner wom Moderate “pre lol pk trerlere | * trlert els lod (ett ddd RHYTHM,READING. Tap the following rhythm pattems using RH for notes with stems “DB going up and LH for notes with stems going down. Tap hands separately first, and then hands together, always counting aloud, ¥4i) 1-20 (62) 1. 4 J - 24 J > i 40) 1-21 (63) 2p p44 4 44, o4i) 1-22 64) 3 ot? 1? ree | 40) 1-23 (65) AE RLAA EAR TRAINING. 1. Your teacher will play LOW or HIGH sounds. + Cirele LOW if you hear LOW sounds. + Circle HIGH if you hear HIGH sounds, Your teacher will play sounds that go UP or DOWN. + Circle the arrow pointing up if the sounds go UP. + Circle the arrow pointing down ifthe sounds go DOWN, Your teacher wil clap a rhythm patter, Circle the pattern that you hear. Mi) 1-24 (66) i) 1-25 (67) | HIGH Lf. \ LOV 4) 1-26 (68) i) 1-27 (69) 3a. / 3b. fos sisae WC. vie aad [esd toss Of fs ate od Teacher: See page 153, Playing on White Keys Unt 2 17 Review Worksheet ——— UNIT TWO ‘Name 1. Write the letter name on each key marked X. 2. Write the numbers from column A in the appropriate blanks {in column B to match each item with its best description. Column A Column B , | © Quarter note ¢ Mi Moderately loud 2° Halfnote J © _ note receiving 4 counts Dotted half note 4. a soft Note receiving 1 count Whole note © Piano p Quack ceil? Mezzo forte mf ode bor [I Forte 0. Note receiving 3 counts Quarter rest —d_— Note receiving 2 counts Half rest second ending (play second time only) Whole rest antish |<——> | <—> i— uihde et = =— First ending (play first time only) Go Repeat sign halls = Measures and barnes | © — Loud = Q 2 gz SSS A aay e 8 Unt? w Playing on While Keys al ial lal eh oh eh oh ee Exploring Positions on the Keyboard EY Upon completion of this unit the student will be able to: Objectives 1. dently and {time signatures and apply them to performance at the keyboard. 2. Play melodies in Middle C Position, C Position, G Position and, other white key positions. Co Week of Assignments Write your assignments for the week in the space below. isploing Positions on the Keyboard @ Unit 319 CS awe Playing in Time Signature Right Hand jf ste Music has numbers at the beginning called a time signature. Middle C Position Ins numbers at the beginning called tls = Af, means 4 beats to each measure Af means a QuartEn NOTE @ gets + beat MIDDLE € POSITION TMT Al Thereughe the Nalet READING 4) 1-28 (70) RH Middle C Position ‘Traditional Repeat Sign: Gentle lay again. ; 4 di: : J o Pp OPTIONAL: Ply Al rrough the mgt ith e Le Begin wah toge TEACHER ACCOMPANIMENT Gentle d=98) 20” Unt w Exploring Postons on the Keyboard + ltt dd r Ce —— [a Playing in Time Signature Left Hand Middle C Position a ‘means 3 beats to each measure. aera SOLO.REPERTOIRE.. First Wiltz 401.297) EL Lancaster LH Middle C Position Lo ee) Moderately fast To ip lr de dp dep Te | nf pelt ilerelere irre ie i OPTIONAL: Play First Waltz with the RH beginning with finger 5. TEACHER ACCOMPANIMENT Moderately fast d= 190 La Exploring Postions on the Keyboard m Unt 324 Play God Is So Good with the RH using the fingering above the Playing in notes. (The RH uses the same position as Middle C Position.) C Position 2. Play God Is So Good with the LH using the fingering below the notes. POSITION READING Ht _ Ly Postion Gott [e 20 Goo Flowing RH 1 fl jd. Traditional I 5 Jlijo | Jsefe sedi a OPTIONAL: Play God Is So Good hands together. TEACHER ACCOMPANIMENT Flowing (J=96) mf wih pedal a ‘B2_Unk3 Exploring Postions on the Keyboard fJf¢ed dd ddd ddd df of rp aa af — 1. Play Ode to Joy with the RH using the fingering above the notes. Playing in 2. Play Ode fo Joy with the LH using the fingering below the notes G Position G POSITION READING 404-3173) GLa y ssa Sf bis sfJs sys sidag OPTIONAL: Play Ode to Joy hands together. TEACHER ACCOMPANIMENT Joyful ‘iploing Posltons on the Keyboard mr Unt 323 Positions Using All White Keys Moving Up starting key: RH ending key: RH 5 2 1 4 t t starting key: EH ending key: LH TECHNIQUE 1. Play LH alone. i) 1-32 (74) 2. Play RH alone. Moderate a 5 | Continue upward beginning on white keys Dssays OPTIONAL: Play hands together. TEACHER ACCOMPANIMENT Moderate d= 164 Eau g 24 Unit Exploring Posvons onthe Keyboard eee eee eee ef ea Positions Using All White Keys Moving Down ending key: RH key: RH starting key: RH 7 T ending key: LH starting key: LH Jd dy - TECHNIQUE. 1. Play RH alone. 4) 1-33 (75) 2. Play LH alone. Moderate " uta | nf Continue downward beginning on white keys until... TEACHER ACCOMPANIMENT Moderate d= 16: Pedi, | OPTIONAL: Play hands together. Exploting Postions on the Keyboard Unk 325 ith ener Ueceierriteerit =| Preciterritrecit - | rrecitreniterls | OPTIONAL: Play hands together. 3 Exploring Posllons on the Keyboard (ett eee Play RH alone two times, Use fingers 1, 2, 3 the first time, Use fingers 2, 3, 4 the second time. ending key: RH starting key: RH 40) 4-35 (77) ith energy RH1 2 3 Rss elh- Jee ddddlgsdsyy- Continue upward beginning on white keys until did dfeddiisesi. OPTIONAL: Play hands together. ixplosing Postions on the Keyboard Unt 327 The Staff ROMNEY Objectives A. 3B Una w Thesiall Assignments Upon completion of this unit the student will be able to: 1. Perform solo repertoire from Grand Staff notation. 2. Apply additional musical concepts (crescendo, diminuendo, ‘common time, slurs, legato, phrase) to performance at the keyboard. 3. Identify steps and skips on the staff and perform them on the keyboard. Week of Write your assignments for the week in the space below. fee ee ee eee The Staff —_—__. The Treble Clef Sign é The Bass Clef Sign 9: The F line passes between Ee the two dots of the F clef sig Music is written on a staff of 5 lines and 4 spaces. Some notes are written on lines and some are written in spaces. —— tints ——— —— races —, — Une NoTES (— SPACENOTES SS - S= The treble clef sign locates the G above the middle of the keyboard. This sign came from the etter GQ) By moving up or down from this G, you can name any note on the treble staff ‘The bass clef sign locates the F below the middle of the keyboard, This sign came from the letter FG By moving up or down from this F, you can name any note on the bass staf. Theda @ Unto 25 ce 10 The bass staff and the treble staff are joined together by a bra The Grand Staff make the grand staff. A leger line is used between the two staves for middle C. Leger lines are also used above and below the gran staff to extend its range. ‘The notes with arrows are landmarks or guideposts. Learn to identify and find them quickly on the keyboard, as they assist {in reading the notes surrounding them. Middle C appears on <—————LH_ RH» Middle C on a leger line between the Grand Staff Re weble det and ass clef. It can be played with either | . RH or LH, New Dynamic —— —_— Signs crescendo (cresc.) diminuendo (dim.) or decrescendo (decresc.) (gradually louder (gradually softer) 30 Unita w Thesal ffi ttt dd dd yl aeneeins New Time e Signature ‘common time or 4 4 4) 1-36 (7a) Cried C (repeated notes np ) (repeated notes) peal ° "Notice the fingering changes on the repeated notes. These changes ‘can aid with the crescendo and diminuendo. TEACHER ACCOMPANIMENT Steady (d= 168) with pedal These wont a 31 F Below Middle C ti READING 9 1-37 79) F. Bolo ‘With energy dd epee wi ei a) a ‘The teble clef sign locates the G Above G above mide € by creling Middle C line two, | 2 —== READING. ED 4) 1-38 (80) 6 4bow Moderate mf 2 TEACHER ACCOMPANIMENT Moderate d= 172) mf Thesat = unt s 33 ty note on the line below the staf 3 Important = mies — Middie_ Middle — _ READING 401.39 en) Fille Jit Lively d= 192) ddveddeded dd edd a a a Right Hand C Position and Right Hand Middle C Position READING ¥40) 1-40 (82) Moderate nf. & ‘The RH C Position consists of Middle C, three new notes D E F and the G above Middle C. ASTEP the distance fom any tinenote Pf tote very next space note above of below itor from ary space ete to the ——— very nes lin note above or below i ee Circle the repeated notes in One Step at a Time. All other notes move in steps, Otte Step tat Tine ‘TEACHER ACCOMPANIMENT Moderate = 146) mf’ The Sait w Unt + 35 Left Hand Middle C Position READING 40) 1-41 (83) Relaxed ‘The LH Middle C Position consists of Middle C, three new notes G A B and the F below Middle C. a 2=———— A SKIP isthe distance from any space note to the very next space note above or below it—or from ary line note to the very next line note, sus sxrsup own SAPS oe ep Circle seven skips in Skip Around. Skip Around TEACHER ACCOMPANIMENT Relaxed d= 12) 36 Unta w The Salt fee ee ee eed ff 4 4 of WS A slur isa curved line over of under notes on diferent lines or Slur & spaces, Slurs mean play legato (smoothly connected). Legato Playing slurs often divide the music into phrases. A phrase is a musical thought or sentence. aS READINGosry () 1-42 (84) Woke iy Lor te Moderate TEACHER ACCOMPANIMENT Moderate (= 172) Review Worksheet Ly UNIT FOUR , y patel(Q/3/{9 __ Name [J 1. Print the letter names for both the left hand and right hand C POSITION on the keyboard. Print the letter names for both the left hand and right hand MIDDLE C POSITION on the keyboard, Print the letter names for both the left hand and right hand G POSITION on the keyboard. tH RH s Write the name of each note in the square below it—then play and say the note names. OF 88 Ob Oo =) rs) = =) &) AAA OO AR AG a 38 Una w Thesah fete tee Md Intervals Objectives Assignments Upon completion of this unit the student will be able to: 1. Identify melodic and harmonic intervals of 2nds, 3rds, 4ths and ‘ths in C Position on the staff and perform them on the keyboard. 2. Identify ttalian tempo marks (allegro, moderato, andante) and. apply them to performance at the keyboard. 3. Apply additional musical concepts {incomplete measure, tied notes) to performance at the keyboard. 4, Tap two-part rhythm patterns 5. Aurally distinguish intervals of 2nds, 3rds, 4ths and Sths in € Position, Week of Write your assignments for the week in the space below. ‘The Baroque Period St The Baroque period in music history usually refers to the time period {rom 1600 t0 1750. During this time, the dance suite, prelude, fugue, toccata, and theme and variations were the prevalent musical forms Much Baroque keyboard music Is characterized by two or more lines being played simultaneously to create counterpoint. The harpsichord, clavichord and organ were the primary keyboard instruments of the period. Well-known composers from this period are Johann Sebastian Bach, Domenico Scarlat, Jean-Philippe Rameau and Antonio Vivaldi. interval Units 39 The left hand C Position has Left Hand three new notes: CD E, C Position READING Circle the skip in Gliding Alone. All other notes move in steps. 4) 2-1 (a9) Gliding Alone Moderate ‘TEACHER ACCOMPANIMENT Moderate d= 172) of WO Unk w intewas fe el lS eee (of oe ” _—————~s=====sswssss Distances between tones are measured in intervals, called 2nds, Intervals rds, 4ths, Sths, etc. “The distance from any white key to the next white key, up or down, is called a 2nd. ‘When you skip a white key, the interval is a 3rd. When you skip two white keys, the interval is a 4th, sWhen you skip three white keys, the interval is a Sth. Melodic Intervals Notes played separately make a melody. The intervals between these notes are called melodic intervals. 41) 2-2 (40) Listen to the sound of each interval as you play these melodic 2nds, 3rds, 4ths and Sths. Moderate 12 \ Sond Zane Sah | ng 2 at eu panda ada | ath 5th ‘4 Harmonic Intervals Notes played together make harmony. The intervals between these notes are called harmonic intervals. 40 2-3 (41) Listen tothe sound ofeach interval as you pay these harmonic nds, 3rds, 4ths and Sths. ‘Moderate 2 i 5 e er | 4 4 4 1 Tempo is an Italian word that means “rate of speed.” Words ind- Tempo Marks cating the tempo used in playing music are called tempo marks. ‘Some of the most important tempo marks are: Allegro = Quickly, happily Moderato = Moderately Andante Moving along (The word actually means “walking.”) Slowly Adagio 7 Resisance from any wht ey to the next white Key, 2nds up or down, is called a 2nd. glad] 2s op tom netosoce Bese B= ‘0 from space to tine: GS Line to space Space tone READING Notice the melodic 2nds in measures 1 and 5 of Ode to Joy. Place brackets over the 2nds in the remainder of the piece. 40) 2-4 (42) (Theme from 9th Symphony) Ludwig van Beethoven Allegro 204, (1770-1827) f Bnd Gnd ‘TEACHER ACCOMPANIMENT Allegro # Ode to Joy was played in the G Position on page 23. Transposition Here itis played in the € Position. Playing music in a different key from the original Is call transposition. fee ee ee ee ed dd dee BD Umes w eras - When you skip a white key, the interval Is a 3rd. 3rds Gg See Une tone Space to space (or from space to space: aL rds go from line to line SS New Dynamic ‘mp (mezzo piano) = moderately soft Sign READING Notice the melodic 3rds in measures 1 and 5 of Love Somebody. Place brackets over the 3rds in the remainder of the piece. 40) 2-5 (43) rt Andante Traditional aul rd 3d Sd TEACHER ACCOMPANIMENT Andante neva w Units 43 4ths READING 40) 2-6 (4a) Moderato = mp TEACHER ACCOMPANIMENT Moderato [When you skp 2 white kes, he interval isa 4th fe Notice the melodic 4ths in measures 1 and 5 of Aura Lee. 4ths go from line to space or from space to line: Line to space space to line Place brackets over the 4ths in the remainder of the piece. Aura ler Traditional ee ee ee ri rr ie When you skip 3 white keys, the interval is a Sth. 5ths SS Wg Sths go from fatale ineincerton GaSe SEH space to space: “ep Une toline Space to space When notes on the same line or space are joined by a curved line, Tied Notes wwe call them tied notes (J_4). ‘The key is held down for the com- bined values of both notes. Reap ING 99 Notice the melodic and harmonic 5ths in the frst line of Fifth Wheel. Identify the Sths in the remainder of the piece. 40) 2-7 (45) Filth Whed Adagio 5th TEACHER ACCOMPANIMENT ‘Adaglo ‘Some pieces begin with an incomplete measure. The first measure Incomplete of Interval Study has only three counts. It begins on beat 2. The Measure ‘one missing count is found in the last measure, READING On the lines below the staff, write the name (2nd, 3rd, 4th or 5th) of each harmonic interval in the left hand. Leterval Stuily M4) 2-8 (46) Moderato of ‘TEACHER ACCOMPANIMENT Moderato 46 Unit 5 intervals reer eee ee SOLO REPERTOIRE, jgenty ie narmonic intervals in the LH of When the Sains Go Marching In. Where the Snints bo Mardeing lr Traditional sear) ar. L. Lancaster & Kenon D. Renfrow March time S- On.wten te | sans po march-ing Onwhenhe|sains go frmach-ing | in be in ha ‘TEACHER ACCOMPANIMENT March time St imerak w Uns 47 RHYTHM.READING.. Tap the following rhythm patterns using RH for notes with stems ‘going up and LH for notes with stems going down. Tap hands separately frst, and then hands together, always counting aloud. M4) 2-10 (48) 1203 4 hey Count) 123 roithtm na 4) 2-11 (49) stp pity pays O20 oy pp ty 40) 2-13 (51) ot 1. Your teacher will play intervals of a 2nd or 4th. Circle the interval that you hear. 2. Your teacher will play intervals of a 3rd or Sth. Circle the interval that you hear. M4) 2-14 (52) 4) 2-15 (53) 4a. 1b. 40) 2-16 (54) M40) 2-17 (55) 2b. 2a. Teacher: See page 153. WB Unis winters aa) \ dl eee edt Review Worksheet uNIT Pre Name Date 1. Write a half note below the given note to ‘Tum all the stems in the bass clef DOWN. make the indicated melodic interval. Write the name of each note in the square Tum all the stems in the treble clef UP. below it, 3rd 5th 4th 2nd 4th 3rd 2nd oonogooonoo0nc oa 2nd 4th 3rd sth 4th 3rd 2nd es en on 9 ee 2. Write a whole note above the given note to Write the name of the lower note in the make the indicated harmonic interval. lower square; the name of the higher note in, Write the names of the notes in the squares. the higher square. 5th 3rd 2nd ath 3rd 2nd 4th o = 4th 2nd 3rd 5th 4th 2nd 3rd interes Other Keyboard Basics Objectives Assignments BO Unt 6 w Other Keyboard Basis Upon completion of this unit the student will be able to: 1. dent addtional musical concepts (sharp signs, at signs, Staccato marks, 4 time signatut,rtardando, adagio, D.C. al Fine) ancl apply them to performance atthe keyboard. 2. Expand the eading range by playing in C Position an octave higher inthe ight han. 2. Perform duet repertoire witha partner. Week of ___ Write your assignments for the week in the space below. Mmmm Tm RRR RRR m The sharp sign before a note The Sharp Sign means play the next ey to the F right, whether black or white. H When a sharp appears before a note, it applies to that note for the rest of the measure. =O SOLO. REPERTOIRE Mote Can't Buy Ev ry thing oi) 2-18 (56) Willard A. Palmer, Morton Manus Lo ‘and Amanda Vick Lethco F ston «ey cart ty vty = thing! bring suc ~ cess; tuy | hap = pi - nest B P, But of one thing Money Can't Buy Ev'nting! by Wilard A. Palme ‘Copyright © MCMXCV by Alfred Publishing Co Ine Other Keyboard Bass w Unt 54 means play the next key to the left, whether black or white. When a flat appears before a note, it applies to that note for the rest of the measure. The flat sign before a note The Flat Sign L READING Flat Top ¥4() 2-19 (57) Allegro ‘TEACHER ACCOMPANIMENT Allegro eet el BD Unk w Other Keyboard Bass Anote after a natural sign is always a white key. The Natural Sign b ‘The natural sign cancels a sharp or flat. Natur 4 4 32 2 4) 2-20 (58) Moderato 5 nf ‘TEACHER ACCOMPANIMENT Moderato ‘ther Keyboard ass ws Unit 6 53 SOLO REPERTOIRE 4) 2-21 (59) Brij lee Lilie Boog Gayle Kowalchyk E.L, Lancaster With energy fF (\sttime mf, 2nd time] f) we Hover TEACHER ACCOMPANIMENT (Student plays 1 octave higher) ‘with energy wl mp-nf 1 w TP Ue pp tt we “lp gs an tom BOOGE BLUES. BOOK by Ca Nowak aE 1. Lancaser {Spyrne Nena by Ate Pann ne BA Unite & Other Keyboard Bases ‘The RH C Position can be vy vide played an octave higher (new notes € D E F and 6) ne tne LULL LLL) an Octave Higher teh od hey ‘Crew notes READING... 40) 2-22 (60) Renenver Allegro ops RH move a ki move Lit over ‘TEACHER ACCOMPANIMENT Allegre ‘Other Keybowrd Bass Une 55 “— ~ 5 The dot over or under the notes indicates the staccato Staccato | f touch. Make these notes very short! READING Sort Diw 4) 2-23 61) Allegro . Ri move ‘TEACHER ACCOMPANIMENT Allegro f 5G Unt 6 w Other Keyboard tasks nae © means 2 beats teach mene Rew arora New Tempo Allegretto = moderately fast. Mark READIN Goa 40) 2-24 (62) Allegretto Ji ‘TEACHER ACCOMPANIMENT Allegretto St ‘Other Keyboard Bass w Unt 57 Duet: Seconpo Teacher Ly Ve DP “ from The Children's Musical Friend o4\) 2-25 (63) Heinrich Wohifahrt (1797-1883) ‘Op. 87, No. 27 a Saar eta(otiesicecal aS Dal Fine 5B Unk w Other Keyboard Bases el de Duet: Primo from The Children's Musical Friend 4) 2-25 (63) Heinrich Woblfahrt (1797-1883) Adagio (Op. 87, No. 27 (Both hands two octaves higher than writen throughout) it tardando) [3] ‘advaly slowing od (ri last time) a —— DC.al Fine Other Keybourd Basis m Unt 5D G Position Objectives ew Assignments Unt? w G Postion Upon completion of this unit the student will be able to: 1, Expand the reading range by playing in G Position and in G Position an octave higher in the left hand. 2. Identify additional musical concepts (accent sign, pianissimo) and apply them to performance at the keyboard. 3. Identify melodic and harmonic intervals of 2nds, 3rds, 4ths and ths on the staff, and perform them on the keyboard. 4, Tap two-part rhythm patterns, 5. Aurally distinguish intervals of 2nds, 3rds, 4ths and Sths in G Position. Week of Write your assignments for the week in the space below. of singing during religious services‘ ‘can be temples. Portions of the Book of. before Crist, refer specficly to wl a od ed ed de G Position on the Staff Add ald New notes are G A B in vhdsd eddy bass clef; A B in treble clef, —= = é — . > An accent sign over or under a note means Accent Sign Wieser SOLO REPERTOIRE. 4226 69 Mitlhtiylit Shadows EL Lancaster Mysteriousty dim. to end Um? mG Peston 6T eo The LH G Postion can Left Hand be played an octave an Octave Higher G D| G Vioovad ra +4 oe a ae Sanner Fue i) 2-27 (65) gre mf eee | ttmove a ow ‘TEACHER ACCOMPANIMENT Allegro af @® Unn7 w@ G Postion eee ee Intervals in Melodic Intervals G Position Listen to the sound of each interval as you play these melodic 2nds, 3rds, 4ths and Sths. 4()2-28 (66) Moderato, © np 2nd Catht sth 4 if a aa 2nd, pad | 4th 5th 4() 2-28 (66) Moderato, 2.2)" mp band Gath Ustht | panda pad | pathy Sth, Listen to the sound of each interval as you play these harmonic 14))2-29 (67) 2nds, 3rds, 4ths and Sths. Moderato o 3.)|° mana 40)2-29 (67) 4 New Dynamic Pp (ptanissimo) = very soft Sign SOLO. REPERTOIRE Miniature Woktz ume ozo tee) Kenon D. Renfrow Moderato G4 Gai 7 G Postion weld dd RHYTHMREADING) tap ine following shythm pattems using RH for notes with stems going up and LH for notes with stems going down. Tap hands separately first, and then hands together, always counting aloud. mi) 2-31 (69) ousuadasausaans yew rit ite i) 2-33 (71) He SE tH mi) 2-34 (72) a 4g: a t+ a é J ‘ ; tod r rt EAR. TRAINING, 1. Your teacher will play intervals of a 2nd or 4th. Circle the interval that you hear, 2. Your teacher will play intervals of a 3rd or Sth. Circle the interval that you hear, i) 2-36 (74) 4b. oi) 2-37 (75) 4i) 2-38 (76) 2a. 2b. Review Worksheet ey UNIT SEVEN Name ‘You have now learned all the notes on the Grand Staff. Write the name of each treble clef ‘TREBLE CLEF ———— line note in the square below tt. LINE NOTES — oo oo o0on nooo 000 Write the name of each treble clef ‘TREBLE CLEF space note in the square below it. SPACE NOTES on once oon 00000 Write the name of each bass clef BASS CLEF line note in the square below it. LINE NOTES goooo0n oo 00000 Write the name of each bass clef BASS CLEF space note In the square below tt. ‘SPACE NOTES SS * gpoo00 0008 08000 GE Wan? @ Poston ered eee Major Five-Finger Patterns Se ACS YD Objectives $$ Assignments Upon completion of this unit the student will be able to: 1. Identify and play whole steps, half steps and the chromatic scale on the keyboard. 2. Play major five-finger patterns and triads beginning on any white key. 3, Identify additional musical concepts (eighth notes) and apply them to performance at the keyboard. 4, Perform ensemble repertoire with partners. Tap two-part rhythm patterns. Week of Write your assignments for the week in the space below. ‘The Classical Period During the Classical period, from 1750 to 1820, sonata-alegro, ‘minuet and trio, rondo, and theme and variations were the prevalent music forms. Much of the keyboard music from this period is charac- terized by a single line melody in the right hand while the left hand lays a chordal accompaniment, The fortepiano, harpsichord and ‘organ were the keyboard instruments of the period. Well-known ‘composers from this period are Franz Joseph Haydn, Wolfgang ‘Amadeus Mozart, Muzio Clementi and Ludwig van Beethoven. Major Five Finger Paes A half step isthe distance from any key tothe very next Key above Half Steps or below it (black or white}there Is no key between RAL HALES Hae Ser Stee” Stee - The chromatic scale is made up entirely of half steps. It goes The Chromatic up and down, using every key, black and white. It may begin Scale on any key. ‘The fingering rules are: + Use 3 on each black key. + Use 1 on each white key, except when two white keys are together [no black key between}, then use 1 2 or 2 1. r LH fingering Lor RH fingering: 1 Playing the Chromatic Scale 1. Looking at the keyboard above, play the chromatic scale with the LH. Begin on middle C and go down for two octaves and then go up again. 2. Looking at the keyboard above, play the chromatic scale with the RH. Begin on E above middle C and go up for two octaves and then go down again. 3. By combining steps 1 and 2 above, play the chromatic scale hhands together. Notice that each hand plays the same finger at the same time. GB_Unk@ w Major Five Finger Patterns deere ee = Awhole step is equal 10 two half steps Whole Steps ‘Skip one key (black or white). WHOLE WHOLE WHOLE WHOLE WHOLE WHOLE WHOLE WHOLE WHOLE ‘Sl. 'SIeP. STEP. 'SIeP STEP. STP. STEP. STED. STEP. WHOLE WHOLE WHOLE WHOLE WHOLE WHOLE WHOLE WHOLE WHOLE ster. sige “sep. step. “step. ‘srep. step. step. STEP. Building Patterns of Whole Steps Begin on the given key and build an ascending pattern using only whole steps. Write the names of the keys in the blanks. Do not skip or repeat any letters. _ oye AD nee 2D __ 1. Bho 3 BE no Db a FO 2m Eb 5 Go __ aw. FR 6 AL ol 7 Bo ws. Ch 8, Gh ‘Major Five Finger Pater mt Unt ® 63 SF ‘A major five-finger patter is a series of five notes having the Major pattern: whole step, whole step, half step, whole step. Five-Finger note WHOLE Hair WHOLE Patterns Pinion aia LH five-finger patterns are fingered 5 43 2 1. RH five-finger patterns are fingered 123 45. == Viv Viv ey? WRITTEN..EXERCISE. Write letter names on the correct keys to form each major five-finger pattern. Example: Major D Major G Major c]olelFlc E Major AMajor F Major 8 Major 70 Unk w Major Five Finger Pater eee et ‘Two eighth notes are played in the time of one quarter note Eighth Notes Bah nee my peda pare cont 1 & or: 2 8ths When a piece contains eighth notes, count: 1-& or 2- 8ths for each pair of eighth notes; 1-8 for each quarter note; 1-8-2-6 foreach half note. Clap (or tap) these notes, counting aloud. 43-1 (30) 4) 3-2 (31) ttl id 2b et DOND ss Count 1&2&3448 18283848 41) 3-3 (32) wi) 3-4 (33) ELI LIAN 1 ann inn | 1. Play the following exercise that uses major five-finger patterns. Playing Major 2. (optionay Play the exercise beginning on Db. Continue upward Five-Finger beginning on black keys until the next Db is reached. Patterns 43-5 (34) Moderato v= Continue ‘upward beginning (on white keys. until, Major Five Fager Patterns mi Unt ® 71 Major Triads (Chords) Playing Major Five-Finger Patterns and Chords 43-6 (35) Moderato { Continue ‘upward beginning © Major five-fi sm |— Broken Block, ‘on white | ‘Mf — phajor five-finger patter Broken Chord }— Block, fe kas FZ Grim Major Five Finger Patterns A triad is a three-note chord. The three notes of a triad are the root (1), the third (3), and the fifth (5). The root is the note from which the triad gets its name. The root of a C triad is C. Triads in root position (with the root at the bottom) always look like this: Line sth or SPACE sh LINE Be SPACE 3d UNE Root SPACE Root LH triads are fingered 5 3 1. RH triads are fingered 1 3 5. 8 1. Play the following exercise that uses major five-finger patterns and chords. 2. (Optional) Play the exercise beginning on Db. Continue upward beginning on black Keys until the next Db is reached. wit dt dt te eee ee eee READING-- all Wie bathor ut the Riewr (D Major Five-Finger Pattern) Robert Lowry *4))3-7 (6) (1826-1899) Moderato mf TEACHER ACCOMPANIMENT Moderato ee ee ee with pedal ‘Major Five Finger Patens Unt 73 ENSEMBLE REPERTOIRE Fortiy-Finger Exsenble (A Major Five-Finger Pattern) 403-8 37) Part 1 ig 403-8 @7) part Lively “sr E.L. Lancaster a E.L. Lancaster dod ed ddd oes Part 3 (i) 3-8 (37) Lively Both hands one octave higher than writen throughout 1 = E.L. Lancaster f Part 4 41)3-8 (37) od E.L Lancaster ‘Both hands two octaves lower than writen throughout Sf ‘ajc Five Finger Patoms Uns 7B RHYTHM READING __ Tap the following rhythm patterns using RH for notes with stems going up and LH for notes with stems going down. Tap hands separately first, and then hands together, always counting aloud. 4) 3-9 (38) ppt Ly Ly de treed Coutts 1&2&3848 14243448 14283848 1E2K3H4E 14)3-10 (39) EEE ett Otro} 4) 3-12 (41) ste py = TECHNIQUE ed ld ded ed 40) 3-13 (42) Andante 1 (one octave higher) fon ihe mp > Transpose to D major and € major. wi) 3-14 (43) Andante (one octave tower) > Transpose to G major and A major. 76 Gait w Major Fve Finger Patterns Key of C Major Objectives WS : Assignments Upon completion of this unit the student will be able to: 1. Build major scales beginning on C, Gand F. Play the C major scale using traditional fingerings. Build and play the C major, G7 and F major chords in close position in the key of C major. 4. Identify and perform repertoire in binary form (AB). Week of Write your assignments for the week in the space below. > Wolfgang Amadeus Mozart Wottgang Amadeus Mozart (1756-1791) is considered to be one of the ‘most creative musical geniuses the world has ever known. The son of | 4 talented musician and teacher, Mozart showed signs of extraordinary | ‘musical ability early in life. He began composing music when he was flve, and performed for the Austrian empress when he was slx. His father recognized Wolfgang's talents and spent much of his time educating the young boy and parading him throughout Europe for concert tours. ‘Mozart thrilled many audiences with his quick wit, his, Incredible performing ability and his outstanding compositions. Mozart particularly enjoyed playing duets with his sister, Nannerl. Even though he died in poverty at the age of 35, his legacy 10 the world Includes more than 600 compositions. Key of Major w Unt 77 “The C Major Five-Finger Pattern plus two added notes (A and B) The C Major and the € an octave higher form the C major scale. Scale see ie ite rag ate ‘on sc citer sagetatem = SS SS SSS Any major scale can be built from two tetrachords. Tetrachords A tetrachord is a series of four notes having a pattern of and the whole step, whole step, half step. Major Scale LH tetrachords are fingered 5 4 3 2. RH tetrachords are fingered 2.34 5. m2 3 4 8 ee Mee ‘The major scale is made of two tetrachords joined by a whole step. Each scale begins and ends on a note of the same name as the scale, called the key note. Any major scale can be formed by fol- lowing this sequence of whole and half steps: W W H W W WH. vevyore woe ker nore

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