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grow in the arts and music. Thanks for always being there.
To Betty Kestenbaum:
Book 1 Credits | 1
Lesson 2.
I I I I I I
All Cs Page 18 All Ds Page 19 All Es Page 20 Introducing the Quarter and the Half Notes Page 21 Playing with Your Fingers Page 22 Exercise: C, D, E Notes Playing a Real Song Page 24 Exercise: Mary Had a Little Lamb
Lesson 3.
I I I I I
All Fs Page 27 All Gs Page 28 Introducing the Whole Note Page 29 Playing a Classic Page 30 Exercise: Jingle Bells Playing Another Classic Page 32 Exercise: Lightly Row
Lesson 4.
I I I I I
All As Page 35 All Bs Page 36 Introducing the 4/4 Time Signature Page 37 Down on the Farm Page 38 Exercise: Old Macdonald At the Track Page 40 Exercise: Camptown Races
Section 1. Contents
7 Notes, 7 Colors Page 9 Creating Your ColorKeys Keyboard (Applying Stickers) Page 10 If Youre Sitting Comfortably(Proper Piano Posture) Page 12 Then Well Begin (Fingering) Page 13 The Grand Staff Page 14 Starting in the Middle Page 16
Lesson 8.
I
Lesson 2.
I
Song 3. ~ Brother John Page 55 Grand Staff Playing with Both Hands Rests Octaves Mezzo Forte Song 4. ~ Twinkle,Twinkle, Little Star Page 58 Review of Concepts Introducing the Dotted Half Note Page 62 Introducing the 3/4 Time Signature Page 63 Exercise:Three Blind Mice Page 64 Exercise: Beautiful Brown Eyes Page 66 Your Pre-Rowing Stretch Page 69 Stretching Fingers Exercise: Row Your Boat Page 71 Stretching Fingers Song 5. ~ Row Your Boat Page 72 Stretching Fingers Tied Notes Melody Alternates Between Hands Song 6. ~ POP! Goes the Weasel Page 76 Accents Intervals Song 7. ~ Chiapanecas Page 80 Playing Different Notes in Each Hand at the Same Time Introducing the 2/4 Time Signature Page 85 Song 8. ~ Sea Chantey Page 86 Octaves Cross-Over Finger Slides Same-Note Finger Changes Repeat Signs Introducing the Half Step and Sharps Page 92 Song 9. ~ Bingo Page 94 F# Played in Both Hands Octaves Same-Note Finger Change Introducing the Eighth Note Page 99 Song 10. ~ Ten Little Indians Page 100 Eighth Notes Counting Rhythm with Eighth Notes in 2/4 Time
Song 13. ~ London Bridge Page 111 Mastering Rhythm Dotted Quarter Notes Song 14. ~ Good Night, Ladies Page 114 Putting It All Together
Lesson 9.
I I I
Lesson 3.
I I I I I
Introducing Flats Page 118 Introducing F for Accompaniment Page 120 Song 15. ~ Aura Lee Page 121 Flat Slurs Mezzo Piano Song 16. ~ Camptown Races Page 124 Melody Splits Between Right Hand and Left Hand Introducing E for Accompaniment Page 128 Song 17. ~ Ta-Ra-Ra Boom-De-Ay Page 129 Musical Phrases Accompaniment F# D# Rhythm: Something New Introducing D for Accompaniment Page 132 Song 18. ~ Good Morning to You Page 133 Musical Introduction Before the Melody Starts Fermata
Lesson 10.
I I
Lesson 4.
I I I
I I
Lesson 11.
I
Lesson 5.
I I
Song 19. ~ This Old Man Page 137 Intervals as Accompaniment C Position Song 20. ~ Shell Be Comin Round the Mountain Page 140 Pickup Bar More Challenging Accompaniment D in the Bass Clef Song 21. ~ Theme by Mozart Page 145 G Position Intervals as Accompaniment Italian Tempo Markings Song 22. ~ Four Seasons: Spring Page 148 Allegro New Type of Accompaniment Song 23. ~ Minuet in G Page 151 Beamed Eighth Notes G Notes in Every Octave Andante
Lesson 12.
I
Lesson 6.
I I
Lesson 7.
I I
Section 2. Contents
Song 1. ~ Ode to Joy Page 47 Dynamic Signs Forte Boxed Measure Numbers Some Fingering Numbers Removed Song 2. ~ Jingle Bells Page 50 Tempo Markings Brightly Lyrics
Song 11. ~ Skip to My Lou Page 102 Eighth Notes in 4/4 Time Accompaniment Held-Note Accompaniment Writing a Lower B Note for the Right Hand Song 12. ~ Mary Ann Page 106 Tied Notes of Different Durations Echoing Accompaniment
Introduction
Introduction
Hi! Im Sarah and this is my piano book. I know, I know: Youre probably thinking, every kid on the block has a piano book these days. That may be true, but no one has a book like mine. No one! See, I love music. I mean I REALLY love music. But I never learned how to play an instrument. So I decided to teach myself to play. First, I bought myself a keyboard and a piano book. I got through the first few lessons and then crash landing! I lost interest. Playing the piano just wasnt much fun anymore. I still loved music, but all those black notes and squiggles and lines? What a headache! But my love of music won the day. With no other option available, I persevered. With a great deal of time and tremendous effort, I learned piano the old-fashioned way. Not only that, but I also began reading every piano book available on the market. Why? I decided I had to try and figure out why so many people struggle with learning how to play. I became an expert in analyzing the difficulties faced by new piano players. Soon I realized that most people who try to learn piano find that learning to read sheet music is like learning a new language. And unless you know that language fluently, playing piano is next to impossible. I knew there had to be a better way to learn to read sheet music. I worked hard to develop a solution to the problem. Finally, I struck the right note: I invented The ColorKeys Method. The ColorKeys Method makes learning to play music both easy and fun. If youre interested in learning how to play popular music on the piano, let me walk you through the steps. The ColorKeys Method will get you playing familiar songs almost immediately. You wont have to worry about a page full of hard-to-read black notes. And youll find that every lesson is both challenging and fun, so youll want to keep going. By the time youre done, youll be able to play piano for the rest of your life. While most music-instruction books focus on teaching you everything there is to know about music, my book is more selective. In The ColorKeys Method, you will still get accurate, complete information. But you will learn only those concepts and techniques that are absolutely essential to get you playing quickly at each specific level. I know how frustrating it can be to be bogged down by text. Page after page of jargon, theory and history can really take the fun out of music. And so, to keep it funand to keep you moving quickly Ive kept the tone light and created summary boxes to highlight the information you need to know. Are you ready to begin the ColorKeys adventure? Just take a seat at your piano and keep on reading.
Book 1 Introduction | 4
The ColorKeys Method is simple to use. The first book is broken up into two sections with practical, get-you-playing-quick lessons in each section. Each lesson begins with a Lesson Contents page that gives you a preview of what the lesson is all about. In the first section, you will learn about The ColorKeys Advantage, the seven standard notes and other important piano basics. Mastering those introductory concepts wont take long and will get you ready to move on. At the end of the first sectionand interspersed throughout the second sectionare ruled pages where you can write notes and ideas. These pages are a great place to chart your progress.
Section 2 is designed to get you playing real songs quickly. Each lesson includes a real song and the materials that you will need to know in order to play it. In most other books, boring, tedious exercises are the norm, followed by a song thrown in as a reward. But in The ColorKeys Method, the songs themselves are the vehicles for teaching new ideas. As you continue to play more advanced and exciting pieces, you wont even realize that you are learning new skills at the same time. You will always be able to read the text for a full understanding of the key concepts in each lesson. But you can also scan the summary boxes for a quick review whenever you like. Heres a list of all the summary boxes and CD track icons that youll find in this book:
This icon tells you that something on the page is being spoken about in a track on the CD.
This icon tells you which CD track taps out the rhythm of the exercise or piece.
This icon tells you which CD track to listen to for a perfect performance of the piece.
Know This
The Know This box is amber. It either provides an overview of the primary concepts on each page or it conveys essential information that cant be missed. Always read the Know This boxes!
Do This
The Do This box is bright green. It contains instructions on how to play an exercise or song.Think of it as a private tutor giving you step-by-step instructions as he sits next to you at the piano. Following the Do This instructions will allow you to play the music more quickly and easily.
Learn This
The Learn This box is bright pink. In it you will find simple definitions of any new concepts and terms taught in the lesson. If you read nothing but the Know This boxes and the Learn This boxes, you should still be able to understand the lessons and play through the book. Always read the Learn This boxes!
Practice This
The Practice This box is light green. It gives you an opportunity to practice challenging, new techniques before encountering them in the actual song.
Remember This
The Remember This box is light pink. It provides a quick reminder and review of information from previous lessons.
Section 1. Contents
Lesson 1.
I I I I I I
Lesson 2.
I I I I I I
All Cs Page 18 All Ds Page 19 All Es Page 20 Introducing the Quarter and the Half Notes Page 21 Playing with Your Fingers Page 22 Exercise: C, D, E Notes Playing a Real Song Page 24 Exercise: Mary Had a Little Lamb
Lesson 3.
I I I I I
All Fs Page 27 All Gs Page 28 Introducing the Whole Note Page 29 Playing a Classic Page 30 Exercise: Jingle Bells Playing Another Classic Page 32 Exercise: Lightly Row
Lesson 4.
I I I I I
All As Page 35 All Bs Page 36 Introducing the 4/4 Time Signature Page 37 Down on the Farm Page 38 Exercise: Old Macdonald At the Track Page 40 Exercise: Camptown Races
Section 1. Contents
7 Notes, 7 Colors Page 9 Creating Your ColorKeys Keyboard (Applying Stickers) Page 10 If Youre Sitting Comfortably(Proper Piano Posture) Page 12 Then Well Begin (Fingering) Page 13 The Grand Staff Page 14 Starting in the Middle Page 16
Lesson 1.
Lesson 1. Contents
The ColorKeys Method is the quick and easy way to learn how to read music and play piano. All you have to do is learn the seven colors associated with the seven notes.
Do This
Turn on the lights! Playing in good light will help improve color contrast and reduce eye strain.
AB C D E F G
In The ColorKeys Method, each note has its own unique color:
AB C D E F G
Lesson 1.
Lesson 1.
Or
Do your first seven white keys and five black keys look like Keyboard Type 2? If so, place a C sticker as shown and then place the remaining six stickers on the white keys in this order:
Lesson 1.
Lesson 1.
Learn This
Fingering: Fingering refers to the fingers used to play specific keys. If you follow the fingering instructions, you will reduce the need to look at the keys while you play.
Practice This
Tap each finger of your right hand on a table while calling out its number. Do the same for your left hand.
Lesson 1.
Lesson 1.
Learn This
Treble Clef: The treble clef is used for writing and playing higher notes, usually with the right hand. Bass Clef: The bass clef is used for writing and playing lower notes, usually with the left hand. Grand Staff: The grand staff is the combination of the treble clef and bass clef staffs. Brace: The brace connects the treble and bass clef staffs and shows you that both hands play together. Time Signature: The time signature provides information on how to play the music rhythmically. Bar Lines: A bar line divides the music into measures, making it easier to read. Measure: A measure is simply a section of music.
Lesson 1.
Lesson 1.
Learn This
w w
A ledger line is a short line that is used to extend the range of the staff.
Know This
1. Regardless of the model or type of keyboard, there can be only one middle C key. 2. Regardless of the model or type of keyboard, middle C is always the C key closest to the middle of the keyboard. 3. Whether middle C is written in the treble or the bass clef, it is always the same key on the keyboard.
All Ds Page 19
All Es Page 20
Lesson 2. Contents
Lesson 2.
Lesson 2. All Cs
In The ColorKeys Method, C notes are BLACK. Learning the location of middle C is important. But learning the location of the rest of the C notes is just as important. The C key is always to the left of each set of two black keys. Ive marked the diagram below with all the Cs used in this book and their corresponding positions on the keyboard.
Lesson 2.
Know This
There are 2 ways to find C on the keyboard: 1. Color: All C notes are BLACK. 2. Position: C is always to the immediate left of each set of two black keys.
Do This
1. Starting at the very left C of your keyboard, use finger 5 of your left hand to play all the Cs up to and including middle C. These are the Cs of the bass clef. Notice that middle C can be part of the bass clef. 2. Now, starting with middle C, use finger 1 of your right hand to play all the Cs to the right of middle C. These are the Cs of the treble clef. Notice that middle C can be part of the treble clef.
All Ds
In The ColorKeys Method, D notes are PURPLE. The illustration below shows you the grand staff with all the D notes used in this book and their corresponding positions on the keyboard. The D note is always purple. The D key is the white key that is always to the right of C.
Know This
There are 3 ways to find D on the keyboard: 1. Color: All D notes are PURPLE. 2. Position: D is always in between each set of two black keys. 3. Relationship: D is always the white key just to the right of C.
Do This
1. Starting at the very left D of your keyboard, use finger 4 of your left hand to play all the Ds up to middle C. These are the Ds of the bass clef. 2. Now, with finger 2 of your right hand, play all the Ds to the right of middle C. These are the Ds of the treble clef. 3. Finally, using your left hand, start at the far left of your keyboard and play each C-D note pattern up to middle C. Use finger 5 for C and finger 4 for D. Next, continuing up the keyboard, use your right hand to play each C-D note pattern, starting with middle C. Use finger 1 (your thumb) for C and finger 2 for D.
Lesson 2.
All Es
In The ColorKeys Method, E notes are GREEN. The illustration below shows you the grand staff with all the E notes used in this book and their corresponding positions on the keyboard. The E note is always green. The E key is the white key that is always to the right of D.
Lesson 2.
Know This
There are 3 ways to find E on the keyboard: 1. Color: All E notes are GREEN. 2. Position: E is always just to the right of each set of two black keys. 3. Relationship: E is always the white key just to the right of D.
Do This
1. Starting at the very left E of your keyboard, use finger 3 of your left hand to play all the Es up to middle C. These are the Es of the bass clef. 2. Now, with finger 3 of your right hand, play all the Es to the right of middle C. These are the Es of the treble clef. 3. Finally, using your left hand, start at the far left of your keyboard and play each C-D-E note pattern up to middle C. Use finger 5 for C, finger 4 for D and finger 3 for E. Next, use your right hand to play each C-D-E note pattern, starting with middle C and moving to the right. Use finger 1 (your thumb) for C, finger 2 for D and finger 3 for E.
1,2,3
Quarter Note
Half Note
A quarter note is played for a single count. Think of the quarter-note symbol as the picture of a short sound. Count ONE while clapping once. Now, keeping an even pace, tap any finger four times while counting: one, two three, four. Each of these four taps is a quarter note.
A half note is played for twice as long as a quarter note. Think of a half-note symbol as the picture of a long sound. The count is twice as long as it is for the quarter note. Count ONE-TWO but clap just once. Now, keeping an even pace, tap your finger two times but hold each tap down for twice as long as you did for the quarter-note exercise, and count one-two, three-four. Each of these two taps is a half note.
Practice This
1. Tap and count each of the following measures out loud. Make sure that each measure adds up to four counts. Dividing the music into measures makes it easier to tell when to start counting at ONE again. 2. When you count each measure out loud, place the emphasis on the ONE; for example, ONE, two, three, four . . . ONE, two, three, four. Each count must be the same length.
Lesson 2.
Lesson 2.
Do This
1. First, read each note of the next exercise out loud. Ill start you off with the first measure: C, C, C, C. I know, I know. It feels awkward to talk to yourself. But in order to learn the notes quickly, its important for you to hear yourself repeat them out loud. So make sure no ones around and then go ahead and read the rest of the notes out loud. 2. Learning note durations is the next step. Make sure you can tap out the count for the entire piece. Listen to audio track 5 of the ColorKeys CD to hear me count and tap out this exercise. I also recommend that you listen to track 6 to hear what the pulse of this music will sound like. In fact, you can even listen to track 6 in the background while you play.
3. Now, use the fingering diagram to set up your hands properly. The circled fingering number at the start of each hand also draws your attention to the correct starting position for each song. Play each note with the proper finger according to the fingering across the top of each note. 4. Keeping both hands on the keyboard for the entire piece, play the exercise. It is important to get used to playing with both hands on the keyboard. Keeping both hands on the keyboard will also help you switch from one hand to the other more smoothly. So play both lines of the treble clef staff with your right hand and then play both lines of the bass clef staff with your left hand without breaking between the two. 5. Practice the exercise until you can play it without hesitation.
Lesson 2.
Lesson 2.
Do This
1. Make sure you can identify the notes in this song, just as you did in the last exercise. Start by reading each note out loud. Ill get you started with the first measure: E, D, C, D. 2. Next, you need to practice the count for each measure. But Ive added a little twist this time. Ive left spaces under some of the notes, and its up to you to fill in the appropriate count. Go ahead and do that now. 3. Once youve filled in the blanks, you can
tap out the count. Check yourself against track 7 on the ColorKeys audio CD. 4. Use the illustration to set up your hands properly. And dont forget the fingering! Ive included the proper fingering across the top of each note. 5. Now youre ready to play. Keeping both hands on the keyboard, play the song. Play both lines of the treble clef staff with your right hand, and then play both lines of the bass clef staff with your left hand. 6. Practice the song until you can play it as easily as you can sing it.
Lesson 2.
All Gs Page 28
Lesson 3. Contents
Lesson 3.
Lesson 3. All Fs
In The ColorKeys Method, F notes are ORANGE. The illustration below shows you the grand staff with all the Fs used in this book and their corresponding positions on the keyboard. The F note is always orange. The F key is the white key that is always to the right of E. It is always to the left of each set of three black keys.
Know This
There are 3 ways to find F on the keyboard: 1. Color: All F notes are ORANGE. 2. Position: F is always just to the left of each set of three black keys. 3. Relationship: F is always the white key just to the right of E.
Do This
1. Starting at the very left F of your keyboard, use finger 2 of your left hand to play all the Fs up to middle C. These are the Fs of the bass clef. 2. Now, with finger 4 of your right hand, play all the Fs to the right of middle C. These are the Fs of the treble clef. 3. Finally, using your left hand, start at the far left of your keyboard and play each C-D-E-F note pattern up to middle C. Use finger 5 for C, finger 4 for D, finger 3 for E and finger 2 for F. Next, continuing up the keyboard, use your right hand to play each C-D-E-F note pattern, starting with middle C. Use finger 1 for C, finger 2 for D, finger 3 for E and finger 4 for F.
Lesson 3.
All Gs
In The ColorKeys Method, G notes are BLUE. The illustration below shows you the grand staff with all the Gs used in this book and their corresponding positions on the keyboard. The G note is always blue. The G key is the white key that is always to the right of F.
Lesson 3.
Know This
There are 3 ways to find G on the keyboard: 1. Color: All G notes are BLUE. 2. Position: G is always in between the first two black keys of each set of three black keys. 3. Relationship: G is always the white key just to the right of F.
Do This
1. Starting at the very left G of your keyboard, use finger 1 of your left hand to play all the Gs up to middle C. These are the Gs of the bass clef. 2. Now, with finger 5 of your right hand, play all the Gs to the right of middle C. These are the Gs of the treble clef. 3. Finally, using your left hand, start at the far left of your keyboard and play each C-D-E-F-G note pattern up to middle C. Use finger 5 for C, finger 4 for D, finger 3 for E, finger 2 for F and finger 1 for G. Next, continuing up the keyboard, use your right hand to play each C-D-E-F-G note pattern, starting with middle C. Use finger 1 for C, finger 2 for D, finger 3 for E, finger 4 for F and finger 5 for G.
9,10
11
q = one h = one-two
A whole note is played four times as long as a quarter note and twice as long as a half note. You can recognize the whole note quickly because it is the only note without a stem. The whole note gets four counts: One-Two-Three-Four. Think of the whole-note symbol as the picture of a very long sound. Tap your finger once, but hold it down four times as long as you did for the quarter note, and count 1-2-3-4. This one tap is a whole note.
Practice This
1. Tap and count each of the following measures out loud. Make sure that each measure adds up to four counts. 2. When you count each measure out loud, place the emphasis on the ONE; for example, ONE, two, three, four . . . ONE, two, three, four. Each count must be the same length.
Lesson 3.
So far, youve played quarter notes and half notes. But you have yet to try the Whole Note. So here it is:
Playing a Classic
Heres a winter classic that everyone knows. There are more notes in this one, so watch out. In fact, this is the first time youll be using all your fingers to play a song. But youre ready for it. Here we go.
Lesson 3.
Do This
1. Start by reading each note out loud. Ill get you going with the first measure: E, E, E. 2. Next, fill in the space under each note with the appropriate count. Keep an eye out for the whole note. 3. Tap out the count so that it sounds like audio track 12 on the ColorKeys CD. Now, youre ready to go. Remember to hold that whole note for 4 counts.
4. Use the illustration to set up your hands properly. Watch the fingering. This is the first time youll be playing notes that are not next to each other. So use those fingering numbers across the top of the notes. 5. Now lets play Jingle Bells. Keeping both hands on the keyboard for the entire piece, play both lines of the treble clef staff with your right hand. Then, without moving your hands, play both lines of the bass clef staff with your left hand. 6. Practice this piece until all your bells jingle, not jangle.
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13
Lesson 3.
Lesson 3.
Do This
1. Begin by reading each note out loud. The first measure is G, E, E. 2. Then, fill in the space under each note with the appropriate count. 3. Now, tap out the count so that it sounds like audio track 14 on the ColorKeys CD. Remember that the whole note is held for 4 counts. 4. Use the illustration to set up your hands properly. Keep an eye on that fingering, too.
Once again, youll be playing notes that are not next to each other, so take advantage of those fingering numbers.
5. With both hands on the keyboard for the duration of the piece, play the song. Use your right hand to play both lines of the treble clef staff. Then use your left hand to play both lines of the bass clef staff. 6. Keep practicing this piece until you can row with ease.
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15
Lesson 3.
All Bs Page 36
Lesson 4. Contents
Lesson 4.
Lesson 4. All As
In The ColorKeys Method, A notes are RED. The illustration below shows you the grand staff with all the As used in this book and their corresponding positions on the keyboard. The A note is always red. The A key is the white key that is always to the right of G.
Know This
There are 3 ways to find A on the keyboard: 1. Color: All A notes are RED. 2. Position: A is always in between the last two black keys of each set of three black keys. 3. Relationship: A is always the white key just to the right of G.
Do This
1. Starting at the very left A of your keyboard, use finger 3 of your left hand to play all the As up to middle C. These are the As of the bass clef. 2. Now, with finger 3* of your right hand, play all the As to the right of middle C. These are the As of the treble clef.
* You will get to do fancy fingerwork later. For now, use finger 3.
Lesson 4.
All Bs
In The ColorKeys Method, B notes are BROWN. The illustration below shows you the grand staff with all the Bs used in this book and their corresponding positions on the piano keyboard. The B note is always brown. The B key is the white key that is always to the right of A. It is also always to the left of C.
Lesson 4.
Know This
There are 3 ways to find B on the keyboard: 1. Color: All B notes are BROWN. 2. Position: B is always just to the right of each set of three black keys. 3. Relationship: B is always the white key just to the right of A.
Do This
1. Starting at the very left B of your keyboard, use finger 3 of your left hand to play all the Bs up to middle C. These are the Bs of the bass clef. 2. Now, with finger 3* of your right hand, play all the Bs to the right of middle C. These are the Bs of the treble clef.
* No, its not a mistake. Use finger 3 again..
Remember This
In 4/4 time, every measure adds up to 4 beats using a combination of these notes:
q quarter note gets one beat h half note gets two beats w whole note gets four beats
When you count in 4/4 time, put the emphasis on the first beat so that you are saying, ONE, two, three, four . . . ONE, two, three, four.
Learn This
Rhythm: Rhythm is the pattern formed by a group of notes and the emphasis placed on them. For example, in 4/4 time, the rhythm places the emphasis on the first beat of each measure. Beat: A beat is one unit of time assigned to a note.The note that gets one beat is indicated by the time signature. The number of beats in a measure is also indicated by the time signature. Until now, weve used the term counts instead of beats.
The four illustrations below show you how four different rhythmic combinations add up to four beats.
Do This
1. First, lets review all the notes by reading each measure out loud. The first measure is G, G, G, D. Its still important to read these notes out loud. This is a key concept in The ColorKeys Method, and if you keep practicing you will be sight reading in no time. 2. Next, check the time signature to make sure you know how many beats are in each measure and which notes get 1 beat. Fill in the spaces provided with the appropriate beats. 3. When youre ready, tap out the count. Its important to keep tapping out the count in each exercise because this helps you learn the rhythm. It will also help you identify the quarter, half and whole notes more quickly.You can hear the count tapped out on track 16 of the ColorKeys audio CD. 4. Now that youve got the basics, go ahead and
Lesson 4.
put your hands on the keyboard. But wait! Ive taken away the fingering diagram. Do you feel as though Ive just taken the training wheels off your first bike? Not to worry. Take a moment to read the Song Range illustration box below. From now on, this illustration will replace the fingering diagram in our exercises. I've circled the fingering number for the first note of each hand so that you'll know which finger to use. Ill also circle the fingering numbers each time you have to move your hands; for example, in measure 3. Lets give it a whirl!
5. Put both hands on the keyboard and play the piece. Use the fingering above each note and remember to move your hands when you see a fingering number circled. Play both lines of the treble clef staff with your right hand. Then play both lines of the bass clef staff with your left hand. 6. Always practice each piece until you can play it comfortably, without hesitation.
Song Range
This song range illustration shows you all the notes from lower C to upper C even notes that are not used in this song. The arrows show you which notes are used in this song.
LH indicates which notes are played with the Left Hand. All the notes for LH are between lower and middle C.
RH indicates which notes are played with the Right Hand. All the notes for RH are between middle and upper C.
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17
Lesson 4.
At the Track
Congratulations! Youve made it to the final exercise in Section 1. Youve already learned a lot of new skills. Heres one more song for you to practice before moving on to new challenges in the second section. Off to the races we go!
Do This
1. Start by reading each measure out loud. You should be comfortable with the notes by now, but Ill start you off with the first measure: G, G, E, G. 2. Now, check the time signature so that you can fill in the appropriate beats in the spaces provided. 3. Once youve filled in the blanks, youre ready to tap out the count. Listen to track 18 on the ColorKeys audio CD so that you know youve got it. 4. Check the fingering. Ive circled the last note
in each clef to show you when you have to move your finger over from a D to a C.
5. Just before you start to play, check the Song Range illustration box below. It will show you which keys you will be using and which hand will be playing the notes. 6. All right, go ahead and show me your stuff. Play the piece using your right hand for the treble clef and your left hand for the bass clef. Remember to keep both hands on the keyboard for the duration of the song. 7. Practice each piece until you can play it comfortably, without hesitation.
Lesson 4.
Song Range
This song range illustration shows you all the notes from lower C to upper C even notes that are not used in this song. The arrows show you which notes are used in this song.
LH indicates which notes are played with the Left Hand. All the notes for LH are between lower and middle C.
RH indicates which notes are played with the Right Hand. All the notes for RH are between middle and upper C.
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Lesson 4.
Questions
Hand Position and Fingering
1. Write the correct number over each finger.
Seven Music Notes: Music is made up of notes that are named after the first seven letters of the alphabet: A, B, C, D, E, F and G. Specialized ColorKeys Colors: In The ColorKeys Method, each note has a specialized color. The notes are colored as follows:
ABCDEFG
Keyboard Patterns: Your keyboard has two patternsone for the white keys and one for the black keys. The white keys appear in groups of 3 and 4, forming a repeating pattern of 7 keys. The black keys repeat in groups of 2 and 3. Two black keys are always surrounded by three white keys. Three black keys are always surrounded by four white keys. The Staffs: Music notes are written on a group of five lines and four spaces called a staff. At the beginning of the staff (on the left) there is a clef. The treble clef indicates that the staff is for writing and playing higher notes. Notes written in the treble clef are usually played with the right hand. The bass clef indicates that the staff is for writing and playing lower notes. Notes written in the bass clef are usually played with the left hand. When the staffs of the treble clef and bass clef are combined, they make the grand staff.
Answers
2. It tells you the number of beats in a measure. 3. It tells you what kind of note gets one beat. 4. 4 5. The quarter note. 6. 1 beat. 7. 2 beats. 8. The first beat of each measure.
Notes
Section 2. Contents
Lesson 1.
I I
Lesson 8.
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Lesson 2.
I
Song 3. ~ Brother John Page 55 Grand Staff Playing with Both Hands Rests Octaves Mezzo Forte Song 4. ~ Twinkle,Twinkle, Little Star Page 58 Review of Concepts Introducing the Dotted Half Note Page 62 Introducing the 3/4 Time Signature Page 63 Exercise:Three Blind Mice Page 64 Exercise: Beautiful Brown Eyes Page 66 Your Pre-Rowing Stretch Page 69 Stretching Fingers Exercise: Row Your Boat Page 71 Stretching Fingers Song 5. ~ Row Your Boat Page 72 Stretching Fingers Tied Notes Melody Alternates Between Hands Song 6. ~ POP! Goes the Weasel Page 76 Accents Intervals Song 7. ~ Chiapanecas Page 80 Playing Different Notes in Each Hand at the Same Time Introducing the 2/4 Time Signature Page 85 Song 8. ~ Sea Chantey Page 86 Octaves Cross-Over Finger Slides Same-Note Finger Changes Repeat Signs Introducing the Half Step and Sharps Page 92 Song 9. ~ Bingo Page 94 F# Played in Both Hands Octaves Same-Note Finger Change Introducing the Eighth Note Page 99 Song 10. ~ Ten Little Indians Page 100 Eighth Notes Counting Rhythm with Eighth Notes in 2/4 Time
Song 13. ~ London Bridge Page 111 Mastering Rhythm Dotted Quarter Notes Song 14. ~ Good Night, Ladies Page 114 Putting It All Together
Lesson 9.
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Lesson 3.
I I I I I
Introducing Flats Page 118 Introducing F for Accompaniment Page 120 Song 15. ~ Aura Lee Page 121 Flat Slurs Mezzo Piano Song 16. ~ Camptown Races Page 124 Melody Splits Between Right Hand and Left Hand Introducing E for Accompaniment Page 128 Song 17. ~ Ta-Ra-Ra Boom-De-Ay Page 129 Musical Phrases Accompaniment F# D# Rhythm: Something New Introducing D for Accompaniment Page 132 Song 18. ~ Good Morning to You Page 133 Musical Introduction Before the Melody Starts Fermata
Lesson 10.
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Lesson 4.
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Lesson 11.
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Lesson 5.
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Song 19. ~ This Old Man Page 137 Intervals as Accompaniment C Position Song 20. ~ Shell Be Comin Round the Mountain Page 140 Pickup Bar More Challenging Accompaniment D in the Bass Clef Song 21. ~ Theme by Mozart Page 145 G Position Intervals as Accompaniment Italian Tempo Markings Song 22. ~ Four Seasons: Spring Page 148 Allegro New Type of Accompaniment Song 23. ~ Minuet in G Page 151 Beamed Eighth Notes G Notes in Every Octave Andante
Lesson 12.
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Lesson 6.
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Lesson 7.
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Section 2. Contents
Song 1. ~ Ode to Joy Page 47 Dynamic Signs Forte Boxed Measure Numbers Some Fingering Numbers Removed Song 2. ~ Jingle Bells Page 50 Tempo Markings Brightly Lyrics
Song 11. ~ Skip to My Lou Page 102 Eighth Notes in 4/4 Time Accompaniment Held-Note Accompaniment Writing a Lower B Note for the Right Hand Song 12. ~ Mary Ann Page 106 Tied Notes of Different Durations Echoing Accompaniment
Lesson 1.
Lesson 1. Contents
Know This
Signs and Markings: Dynamic Signs Signs and Markings: Forte Signs and Markings: Boxed Measure Numbers Technique: Some Fingering Numbers Removed
Youll also notice numbers in boxes at the start of each line in this song. These are Measure Numbers. They will help you find each measure more easily when there is something important to point out.
Learn This 3.
Boxed Measure Numbers: The boxed number at the start of each line tells you the number of the first measure of that line. In this song there are a total of 16 measures.
When you listen to your favorite music, do you like it loud or soft? It probably depends on the song. Some songs wouldnt sound right if they were played too loudlythink of Limp Bizkit playing a lullaby. Others like this oneare better when played a little louder. The way to tell how loudly or softly to play a piece of music is by looking at its Dynamic Sign.
Learn This 1.
Dynamic Signs: These signs show you how loudly or softly to play the music. Play according to the dynamic sign until the end of the piece or until a new dynamic sign is encountered.
And the first dynamic sign to master is fforte. Forte means loudly. So when you play Ode to Joy, do it with a little more force on the keys than usual. You only need to change the loudness of a song when you encounter a new dynamic sign. So if there is only one sign, the song is played the same way all the way through. Youll find the first dynamic sign underneath the time signature at the beginning of the first measure.
Now that youve seen the new stuff, lets make sure you still remember the basics. So just as you did with the previous exercises, practice your note recognition and rhythm by reading the notes and tapping the count out loud. If youre having trouble with the notes, you can refer to the Song Range illustration. And if youre unsure about the count, check page 24 for a quick review. One last thing: Youll also notice that Ive included the Fingering Numbers for you as I did in the previous section. The difference is that this time I dont repeat the fingering number for the same note in the same measure. Take a look at measure 1 to see what I mean. The second E note has no fingering number because its fingering hasnt changed. Also, the first fingering number of each clef is always circled. Circling a fingering number draws your attention to an important finger change or starting position. Now youre ready to go. Follow the Do This instructions on the next page and start playing. When your performance sounds like mine (track 21 on the CD), youre ready to move on.
Learn This 2.
f (Forte): This italian word
means Loud. When you see this dynamic sign, play with more force on the keys.
Lesson 1.
Lesson 1.
Do This
1. Notes: Read the notes of each measure out loud. 2. Rhythm: Check the time signature. Then tap and count the rhythm out loud. Listen to audio track 20 on the CD to hear this song tapped and counted properly. 3. Fingering: Use the Song Range illustration to place your hands properly. Remember to use the fingering above each note as you play. For notes that do not have a fingering number, use the last fingering number indicated for that note.
4. Signs and Markings: New Concept: Dynamic Signs: Check the dynamic sign at the beginning of the music. Dynamic signs are described in the Learn This 1 box on the previous page. 5. Clef: Play the measures in the treble clef with your right hand and the measures in the bass clef with your left. But keep both hands on the keyboard regardless of which clef youre playing. 6. Practice: Keep practicing until you can play the entire piece without hesitation. Listen to track 21 for a perfect rendition of the song.
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Lesson 1.
Lesson 1.
Just as the last song sounded better when played a little louder, so will this one. But it wont sound very good played slowly. Tempo Markings tell you how fast or how slowly to play a song and with what mood. Since you can count beats very slowly or very quickly, its important to use the tempo markings as a guide when you play.
Learn This 2.
Brightly: This tempo marking tells you to play with enthusiasm.
Learn This 1.
Tempo Markings: At the top left corner of the music, youll find tempo markings. They tell you how fast and with what mood to play the piece.You have considerable freedom as to how you interpret a tempo marking.
Singing along will not only help you learn the rhythm, but it will also help you recognize when youve mastered it. Ive included the Lyrics this time, so you can sing while you play. If you can play it as well as you can sing it, youve got it. So go ahead and sing along (I wont tell anyone). While youre singing along, dont forget to keep your eyes on the music and not on your fingers.
Lesson 1.
Lesson 1.
Do This
1. Notes: Read the notes of each measure out loud. 2. Rhythm: Check the time signature and then tap and count the rhythm out loud. Check audio track 22 on the CD to hear this song tapped and counted properly. Singing along will help you learn the rhythm more quickly. 3. Fingering: Use the Song Range illustration to place your hands properly. Remember to use the fingering above each note as you play. Some fingering numbers have been removed. 4. Dynamic Signs: Find the dynamic signs to see how loudly or softly to play the piece.
5.Tempo Markings (New Concept): Look for the tempo markings at the top of the music to find out how fast or slowly to play the song. The tempo marking for this song is Brightly, telling you to play with enthusiasm. 6. Clef: Play the piece, first with the right hand for the treble clef and then with the left hand for the bass clef until you can play without hesitation. Keep both hands on the keyboard for the duration of the song. 7. Practice: Practice until you can play the song as well as you sing it.
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Lesson 1.
Lesson 2.
Lesson 2. Contents
Measure 7
Youre going to do something new in this song. Actually, youre going to do a few new things. For the first time, Im going to combine the treble clef and bass clef into the grand staff. If you remember the Grand Staff from page 15 of the first section, youll remember that its used to indicate that higher and lower notes are played together. Whenever you see it, you will have to read and Play Both Hands Together. In this song, that only happens in four measures (measures 7, 8, 15 and 16). But what, you may wonder, do you do with your hands when theyre not playing together? Why, youre going to rest them, of course. A Rest is like a pause button. You pause playing for the length of the rest and then resume playing. For every note that you have learned so far (quarter, half, whole note), there is an equivalent rest. See the Learn This 1 box. Rests serve a practical purpose for singers and wind instrument players: They give the musician time to breathe. For pianists, rests tell you when not to play.
Playing this way may seem a little confusing at first, but thats only because you havent done it before. If you practice this song a few times, youll have no problem. But before you get to practicing, let me tell you about one more thing: octaves. An Octave is simply the distance from one note to the next note of the same letter. But guess what? You already played a whole series of octaves in the first exercises, when you were learning each note color. When you played each C note in sequence, for example, you were playing octaves. In this song, the octaves are in the last two measures. Notice that you are going from lower C to middle C and back to lower C.
Learn This 1.
Rests: A rest tells the pianist when not to play a note. For every note duration you have learned so far, there is an equivalent rest as shown in the following illustration.
Lesson 2.
Do This
1. Notes: Read the notes of each measure out loud. 2. Rhythm: Check the time signature and then tap and count the rhythm out loud. Even though the melody is split between both hands, read it as if it were written in only one staff. In other words, dont count each staff separately. Check audio track 24 on the CD to hear this song tapped and counted properly. Singing along is not only fun, but will also help you learn the rhythm. 3. Fingering: Use the Song Range illustration from the last song to place your hands properly. Most fingering numbers have been removed. The circled fingering numbers (like those in measure 7) indicate where you need to pay extra attention. 4. Signs and Markings: Check the dynamic signs and tempo markings to see how to play the piece. 5. Clef: Since this song is written on the grand staff (treble clef and bass clef staffs written together), you will need to read and play both hands together. 6. Practice: Keep practicing until you can play without hesitation.
Lesson 2.
Also notice the new tempo marking: mezzo forte. Mezzo Forte is written mf and means moderately loud. Play with more strength on the keys but not as much as when you played forte.
Learn This 3.
mf (Mezzo Forte): This means
moderately loud. Play with more strength on the keys but not as loudly as forte.
So when you start to play this song, remember the four important new concepts: playing with both hands, rests, octaves and mezzo forte. You may need to take some extra time to practice this pieceespecially reading and playing both hands together. But try to keep your eyes on the music and not on your fingers. If you get stuck, just take a deep breath and listen to track 25 on the audio CD for a perfect performance of the piece.
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Lesson 2.
Do This Checklist:
1. Notes: Read the notes of each measure out loud. 2. Rhythm: Check the time signature and then tap and count the rhythm out loud. Check the track symbol at the top of each song to see which track on the audio CD has a perfect tap and count of the rhythm. 3. Fingering: Use the Song Range illustration to place your hands properly. Watch the fingering numbers above the notes. Pay extra attention to circled fingering numbers. 4. Signs and Markings: Check the dynamic signs and tempo markings to see how to play the piece. 5. Clef: Play with both hands when the music is written on the grand staff. Play the treble clef with your right hand and the bass clef with your left. Always keep both hands on the keyboard for the duration of the piece. 6. Practice: Keep your eyes on the music and not on your fingers. Keep practicing until you can play comfortably, without hesitation. If there are lyrics, singing along will help you learn the rhythm more quickly. When you can play the song as well as you sing it, youve got it.
One of the most important aspects of learning anything new is practice. And learning to play piano is no different. Practice means repeating things until you know them instinctively. For many people, this repetition can be boring. But its still necessary if you really want to learn how to play. Some people call this a necessary evil. But what if I took out the evil part of it? Learning to read sheet music is like learning a new language. And so, even if you practice, you may forget something now and then. Perfect examples are the half and whole rests. It is really easy to get them confused because they look so similar. The only difference is that the half rest sits on the line and the whole rest hangs from the line. To me the half rest looks like a hat and the whole rest points down, like a hole. Take a look at the Remember This box to see the difference. From this point forward, Im going to simplify my standard instructions for each song in an easy-to-use checklist. Instead of repeating the full instructions each time, I will simply use keywords to remind you of what you need to do. It will be up to you to follow them. If there is any new information related to one of these standard elements, Ill tell you about it in the Do This box for that song.
Remember This
Its easy to confuse the half and whole rests. Remember that the half rest looks like a hat. And the whole rest points down like a hole.
Do This
1. Notes: You will be playing an A note with your right hand. Middle C is played with your left hand. 2. Rhythm: In measures 1, 4, 9 and 12, the melody is split between both hands. 3. Fingering 4. Signs and Markings 5. Clef 6. Practice
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Lesson 2.
Book 1 Section 2 Getting To Play Real Songs | 60
Lesson 3. Contents
Book 1 Section 2 Getting To Play Real Songs | 61
Lesson 3.
28,29
30
This one tap is a dotted half note. As with the half note, the stem can point up or down.
Lesson 3.
A dotted half note is played for three times as long as a quarter note. Adding a dot to a note increases its duration by half the value of the original note. In this case, a half note is two beats and the dot adds one beat (half of a half note). Therefore the dotted half note is played for three beats. Tap your finger once, but hold it down three times as long as you did for the quarter note, and count ONE-TWO-THREE.
Practice This
1. Tap and count each of the following measures out loud. Make sure that each measure adds up to three beats. Dividing the music into measures makes it easier to tell when to start counting at ONE again. 2. When you count each measure out loud, place the emphasis on the ONE; for example, ONE, two, three . . . ONE, two, three. Each beat must be the same length.
q quarter note gets one beat h half note gets two beats h. dotted half note gets
three beats
When you count in 3/4 time, put the emphasis on the first beat so that you are saying, ONE, two, three ONE, two, three.
The four illustrations below show you how four different rhythmic combinations add up to three beats.
Lesson 3.
Lesson 3.
Song Range
Do This
1. Notes 2. Rhythm: Remember to check the time signature. Its a new one for this exercise. 3. Fingering 4. Signs and Markings: There are none for this exercise, so you can play it however you like fast or slow, loud or soft. 5. Clef 6. Practice
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Lesson 3.
Song Range
Lesson 3.
Do This
1. Notes 2. Rhythm: Remember to check the time signature. Find the three different rhythmic patterns in this exercise. 3. Fingering 4. Signs and Markings: There are none for this exercise, so you can play it however you like fast or slow, loud or soft. 5. Clef 6. Practice
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Lesson 3.
Song 5. ~ Row Your Boat Page 72 Stretching Fingers Tied Notes Melody Alternates Between Hands
Song 7. ~ Chiapanecas Page 80 Playing Different Notes in Each Hand at the Same Time
Lesson 4. Contents
Lesson 4.
If youre comfortable with the new 3/4 time signature, then its time to introduce you to Stretching. I dont mean the thing you do when you get up in the morning. I mean the technique that will allow you to play piano better.
Lesson 4.
Lesson 4.
Do This
1. Notes 2. Rhythm: This exercise is in 3/4 time. 3. Fingering: Really extend your fingers whenever you see the word S-T-R-E-T-C-H in the music. 4. Signs and Markings 5. Clef 6. Practice
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Lesson 4.
Learn This
Tie: A tie is a curved line that connects two same-color notes in the same octave. The tie extends the duration of the first note by the length of the second note. For example, two tied dotted half notes are played for six beats. When playing tied notes, keep your finger on the key for the entire tied duration.
Lesson 4.
First, play the melody with your right hand. Then repeat it with your left hand. Then switch back to your right hand and continue the melody before switching back to your left hand again. Think of it as two singersone with a higher voice and one with a lower voicealternating back and forth. In this song, your right hand plays the higher part and your left hand plays the lower part. Finally, this is the first song that contains all three Cslower C (measure 24), middle C (measure 1) and upper C (measure 17). It has the widest range on the keyboard of any song youve played so far.
Do This
1. Notes 2. Rhythm: Check the time signature. 3. Fingering: Remember to really reach with your fingers when you see those S-T-R-E-T-C-H signs in measures 17 to 24. 4. Signs and Markings: Hold the tied notes in measures 11 to 12, 15 to 16 and 27 to 28 for their combined duration (3 beats + 3 beats). 5. Clef 6. Practice
Lesson 4.
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Lesson 4.
Book 1 Section 2 Getting To Play Real Songs | 74
Lesson 4.
Lesson 4.
Book 1 Section 2 Getting To Play Real Songs | 76
Learn This 2.
Interval: An interval is two notes played together at the same time. It is named according to the number of notes involved. The top fingering number refers to the higher note. See Learn This 1 for an example of a G-A interval.
Learn This 1.
(Accent): An accent shows you which note receives greater emphasis.You accent a note by playing it louder than the notes that surround it. In the next song, the accent is on the interval to accentuate the POP! See the illustration for an example of an accented interval. The top fingering number refers to the higher note.
Interval
Practice This
Aside from being accented, the POP in the next song is also an interval. Whats an interval? An Interval is simply two notes played at the same time. Take a look at measure 13. Notice how the two note heads are on one stem? This shows you that the two notes need to be played together. The top fingering number refers to the higher note; the bottom, to the lower note. In the following song, the notes of the interval G and A in measure 13 are played together. This is an interval of a 2nd. Now play any intervals of a 2nd on your keyboard now. Some examples of intervals of a 2nd are: C-D, G-A, E-F, etc.
Lesson 4.
When you hear the word accent, I bet it reminds you of someone speaking strangely. Foreigners place the emphasis on different vowels and consonants, and the result is that they sometimes sound funny. Accents in music are not that different. A musical Accent is a way of marking a note that gets a different emphasis from the other notes around it. You play an accent by playing the note a little louder than normal. In the next song, for instance, the POP is accented so that youll know to play it a little louder.
It is important to know that intervals can be made up of notes that are close together or very far apart. The way to tell how far apart the two notes are, other than by looking at the music, is by the name of the interval. An interval can be called by two names: It can be called by its letter-names; or by the number of notes that separate the two letter-names of the interval. For example, in this song the interval notes are G and A. This is an interval of a 2nd, because there are two notes to count; G and A. If the interval notes are C and E, it is an interval of a 3rd because there are three notes to count: C, D, and E. A C-G interval is called an interval of a 5th because there are five notes to count: C, D, E, F and G.
Remember This
(Whole Rest): A whole rest indicates a rest for the entire measure regardless of the time signature.
Lesson 4.
Song Range
The notes in this illustration are the only notes in the song.
Do This
1. Notes 2. Rhythm: Count the rests as part of the rhythm, but dont play them. 3. Fingering: In measure 13, play both interval notes at the same time. The top fingering number is for the higher note. The bottom fingering number is for the lower note.
4. Signs and Markings: Play the accented notes louder than the other notes. The dynamic sign changes from mf to f in measure 13. 5. Clef 6. Practice
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Lesson 4.
Song 7. ~ Chiapanecas
Lesson 4.
Book 1 Section 2 Getting To Play Real Songs | 80
Song 7. ~ Chiapanecas
Know This
Technique: Playing Different Notes in Each Hand at the Same Time
a look at the Practice This box for an example. There is a note in the treble clef for your right hand and a different note for your left hand in the bass clef, played at the same time. This is the first time Youre Playing Different Notes in Each Hand at the Same Time. To make it easier, Ive kept the note in the bass line the same so that you can focus on the changing notes in the treble clef. Id say thats worthy of some clapping!
Remember This
mf (Mezzo Forte): This dynamic
sign means moderately loud.
Of course, there is something a little different about those loud, accented notes at the end of each line. Take
Lesson 4.
This song was originally a Mexican favorite, but now youre more likely to hear it at hockey games. If you take a look at the music, youll notice how the last two notes of every line are accented. Youll have to play them louder than the other notes. But also pay attention to the changing dynamic signs in this song. Every line starts as mfmezzo forte. But the last two notes are always fforte. Towards the end of each line the song gets louder and the notes get accented. So play the last two notes of each line loudly, like a clap.
Practice This
Practice the left hand by itself. Play the accented note with more emphasis. When you can play the left hand without hesitation, add in the right-hand notes.
Song 7. ~ Chiapanecas
Song Range
The notes in this illustration are the only notes in the song.
Lesson 4.
Do This
1. Notes: Notice the B note in the left hand for the first time. 2. Rhythm: Tap and count the rhythm out loud as if it were written in only one staff. In other words, dont count each staff separately. 3. Fingering 4. Signs and Markings: Play the accented notes louder than the other notes like a clap. 5. Clef: Play both hands together. This will be the first time that you play different notes in each hand at the same time. 6. Practice
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Lesson 4.
Lesson 5. Contents
Song 8. ~ Sea Chantey Page 86 Octaves Cross-Over Same-Note Finger Change Move Hand Repeat Signs
Lesson 5.
43, 44
45
In 2/4 time, every measure adds up to two beats using a combination of quarter notes and half notes.
Remember This
q (Quarter Note): A quarter note is played for a single beat ONE. h (Half Note): A half note is played for two beats, twice as long as
Practice This
1. Tap and count each measure out loud. Make sure that each measure adds up to two beats. 2. When you count each measure out loud, place the emphasis on the first beat. For example,ONE, two . . . ONE, two. This time signature indicates that each measure adds up to two quarter notes.
Lesson 5.
As you can see from the Know This box above, this song will teach new things in each categorya concept, a sign and three new techniques. Lets start with something youre already familiar with: octaves. As you know, an Octave is the distance between a note and the closest note of the same name. For example, lower C to middle C is an octave. In Brother John, you played octaves one note at a time. In Sea Chantey, youll be playing both octave notes at the same timeone with each hand. If you listen carefully, you will hear how the same note in two different places reinforces the sound of both. This is an important concept to be aware of: Playing octaves makes the sound of the notes stronger. When sheet music was black and white, it was difficult to read octaves. But with The ColorKeys Method, octaves are quick and easy to find. Take a look at measures 5, 6, 9 and 10 and see how quick and easy it is to identify the octaves. Read the Practice This 1 box.
Lesson 5.
Practice This 1.
Octave Exercise: Heres a quick little exercise to help you become more familiar with octaves. Start on lower C and middle C and move up. Use finger 3 of each hand to play the notes and keep those fingers curved.
your fingering. Use finger 1 of your left hand to play the G note in measure 6. The reason for this switch is to get your hand into a more comfortable position to play the C note in measure 7. Shifting the position of your hand earlier makes it easier to reach for the next note. Shifting from finger 2 to finger 1 is pretty easy. And by doing so, you dont have to stretch as much to play the C note with finger 5. See the Practice This 2 box.
Now, it may sound like a lot, but if youre comfortable with the new concept and the new techniques, lets repeat. No, not the lesson; I mean the repeat sign. A Repeat Sign appears at the end of a piece of music. It tells you to play the whole song again from the beginning one more time.
Learn This 2.
Repeat Sign: A repeat sign tells you to repeat the piece once from the beginning. Its located at the end of the last measure.
Practice This 2.
Same-Note Finger Change: Measures 5 and 6 mark the first time that you make a same-note finger change. Practice this technique a few times. It comes up often. Changing fingers on the same note helps to keep you anchored.
So there you go: Four new elements, covering a little bit of everything. Two final reminders before you start: Notice the accents on the Way! Hey! and count the rhythm as if you were playing the melody in only one staff. Now off you go, sailor!
Lesson 5.
Lesson 5.
Do This
1. Notes: Notice the new A note in the left hand.Youve now covered the entire octave from lower C to middle C in the left hand. 2. Rhythm: The time signature is 2/4. 3. Fingering: There are tricky challenges here with the cross-over from measures 8 to 9, the same-note finger change from measures 5 to 6 and the move hand in measure 13. Keep practicing these techniques until youre comfortable. 4. Signs and Markings: Notice the repeat sign at the end of the song. 5. Clef 6. Practice
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Lesson 5.
Lesson 6.
Book 1 Section 2 Getting To Play Real Songs | 90
Lesson 6. Contents
Book 1 Section 2 Getting To Play Real Songs | 91
Song 9. ~ BINGO Page 94 F# Played in Both Hands Octaves Same-Note Finger Change
Lesson 6.
Practice This 1.
Pick any octave and find all the half steps. How many are there? Play all the half steps shown in the illustration.
Learn This 2.
Lesson 6.
the note a half step higher by using the next key to the right whether its black or white. The sharp symbol appears to the left of a note on the staff. The following diagram depicts an F# in both clefs.
The black keys do not have their own names. When a black key is used to play a sharp, it borrows its name from the key to the left of it. In Bingo on the following page, all Fs are played sharpso dont use the white key marked F. Instead, use the black key between F and G which is the F# key. A little trick I use to help me remember how to find a sharp note is: A sha(r)p is always to the (right) of the named key. (Sharp = r = right.)
Practice This 2.
Starting from middle C and going up (right), play all the keys, white and black, of one octave while saying their names out loud.
Lesson 6.
Song 9. ~ Bingo
Know This
Signs and Markings: F# Played in Both Hands Concept: Octaves Technique: Same-Note Finger Change
pivot your wrist forward to reach the black keys. You will also notice some Octaves in this song. Between measures 9 and 16, you play octaves of A, B and C. Finally, you will have another Same-Note Finger Change. This time its a little more challenging. In order to play all the notes more comfortably, you will need to move your hands farther across the keyboard. Ive made a same-note finger change between measures 17 and 18, where there isnt much going on, so that your hands will be in position for the hard-to-reach notes coming up in measure 21. By the way, with the addition of the upper C and B notes in the right hand of this song, you have now covered the whole octave from middle C to upper C in the right hand and from lower C to middle C in the left hand. Congratulations!
Now that youve learned all about sharp notes, Im sure youre excited to try playing them. Heres your chance. Take a look at the Song Range illustration. Youll notice that the orange F Notes Have the Sharp Symbol next to them. This tells you to play all orange F notes as sharp. So instead of playing F, play the black key to the right of F. This is the F# key. Remember to
Practice This
Practice the octave exercise below as you did in the previous song (Sea Chantey). Start with middle C in the right hand and lower C in the left hand. Use finger 3 of each hand.
Lesson 6.
Book 1 Section 2 Getting To Play Real Songs | 94
Song 9. ~ Bingo
Song Range
The notes in this illustration are the only notes in the song.
Do This
1. Notes: There is a new B note in the right hand and F# notes in both hands (measures 21, 22, 25 and 26).
3. Fingering: Same-note finger change from measures 17 to 18 and the wrist pivot for the F# notes in measures 21, 22, 25 and 26. 4. Signs and Markings 5. Clef 6. Practice
Lesson 6.
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Lesson 6.
Book 1 Section 2 Getting To Play Real Songs | 96
Lesson 6.
Song 10. ~ Ten Little Indians Page 100 Eighth Notes Counting Rhythm with Eighth Notes in 2/4 Time
Song 11. ~ Skip to My Lou Page 102 Eighth Notes in 4/4 Time Accompaniment Held-Note Accompaniment Writing a Lower B Note for the Right Hand Song 12. ~ Mary Ann Page 106 Tied Notes of Different Durations Echoing Accompaniment
Lesson 7. Contents
Lesson 7.
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Two eighth notes are played in the time of one quarter note.
Practice This
1. Tap and count each measure out loud. Whenever a song contains eighth notes, every measure must be counted with ands. 2. When you count each measure out loud, place the emphasis on the first beat. For example,ONE, and, two, and . . . ONE, and, two, and.
Lesson 7.
Now you know about Eighth Notes. Youve come pretty far since the first song in this section. I hope youre comfortable with everything youve learned until now, because with the introduction of eighth notes, a whole new range of challenges opens up for you. When counting with eighth notes, you need to Count with Ands. In other words, instead of counting the first beat of the measure as one, count it as one and. So, a measure in 2/4 time, for instance, would be counted one and two and. A measure in 4/4 time
Song Range
The notes in this illustration are the only notes in the song.
Lesson 7.
Do This
1. Notes 2. Rhythm: Count the rhythm with ands since there are eighth notes. 3. Fingering
4. Signs and Markings 5. Clef 6. Practice: Once youve mastered playing this song, it will be worthwhile to tap and count the rhythm out loud again.
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Lesson 7.
Learn This 1.
Having Eighth Notes in 4/4 Time means that you still need to count with ands as you did in the last song. The difference is that each measure will add up to four beats instead of two (one and two and three and four and). Check the Practice This 1 box for an example of the rhythmic combinations used in this song.
Accompaniment: In this book, accompaniment is a catch-all phrase that refers to anything other than the melody that is played with the left hand.
Remember This
The illustration below shows you how three different rhythmic combinations add up to four beats.
Lesson 7.
Practice This 1.
Tap and count the rhythm out loud for each of the following measures. Make sure that you count the ands in each example.
Practice This 2.
Before you play the song, practice the left-hand transition from C (finger 5) to G (finger 1). See the illustration below. Hold each note for two beats, alternating back and forth between them. Practice the transition until you can do it without looking. This exercise will help you focus more attention on the right-hand melody when both hands are played together. When you play the left-hand accompaniment, play it softer than the melody.
Learn This 2.
In Ten Little Indians you played this B in the left hand. In Skip To My Lou the same B is played in the right hand.
Lesson 7.
Do This
1. Notes: B note below lower C for the first time. B note below middle C is played with your RIGHT hand in this song. 2. Rhythm: Return to 4/4 time. Be sure to count every and in every measure when you tap and count the rhythm out loud. 3. Fingering
Lesson 7.
4. Signs and Markings: Hold the tied notes for their entire tied duration. 5. Clef 6. Practice
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Lesson 7.
Lesson 7.
Book 1 Section 2 Getting To Play Real Songs | 106
In the last two songs, you learned all about eighth notes and how to play them. But for this song, well put some new twists on a couple of familiar concepts without worrying about any eighth notes. Back in Row Your Boat, you learned that a tied note extends the duration of the first note by the length of the second. Until now, any time youve encountered tied notes, they have been two notes of the same duration. Two whole notes tied together, for instance, would be held for eight beats. In this song, you will notice something new about tied notes: They can be Tied Notes of Different Durations. Take a look at the Practice This diagram. You will notice that the first measure ends with a half note that is tied to a whole
Practice This
Practice counting and coordinating your hands.
Lesson 7.
Do This
1. Notes: The new B note below middle C is played with your right hand in measures 6 and 14. 2. Rhythm 3. Fingering: There is a big stretch between measures 5 and 6 and measures 13 and 14. 4. Signs and Markings: Notice the tied notes of different durations in the last two measures of each line.
Lesson 7.
5. Clef: When you play the left-hand accompaniment, play it softer than the melody. 6. Practice
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Lesson 7.
Song 14. ~ Good Night, Ladies Page 114 Putting It All Together
Lesson 8. Contents
Lesson 8.
Just about everyone is familiar with this famous childrens song. It dates back several centuries and has outlived several London bridges. One of the first things youll notice is that the version I have for you here is very short. Its only eight measures long. But they are tricky measures, so dont be fooled. The reason Ive left the piece so short is that I really want you to focus on Mastering Rhythm. This song really challenges you to use all of the concepts youve learned so far. Youll need to practice extra hard to keep the song from falling down. So why is it so tricky? Well, in this song, Im going to introduce you to Dotted Quarter Notes. You may remember that adding a dot to a half note extends its duration by half, as shown in the Remember This box.
Remember This
In the case of the dotted half note, we add a half note and a quarter note together to make three beats. When you start to practice this song, you will probably find it easier to start with the melody line. Once youve mastered that, you can practice the accompaniment line. And when youre comfortable with both, you can put them together to play the whole song. One final point thats worth repeating is that there is a repeat sign at the end of the piece. But before you do any of that, do the Practice This boxes first.
Lesson 8.
59
Practice This 2.
The following four measures demonstrate four different ways to count four beats with ands. Play and count the following measures. In 4/4 and 3/4 time, dotted quarter notes are almost always followed by an eighth note.
Song Range
The notes in this illustration are the only notes in the song.
Lesson 8.
Book 1 Section 2 Getting To Play Real Songs | 112
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Do This
1. Notes 2. Rhythm: Pay extra attention when you tap and count the rhythm out loud in this piece. Remember to count with ands for the whole song. 3. Fingering 4. Signs and Markings: Notice the repeat sign and dotted quarter notes.
6. Practice: Practice the melody line. Then practice the accompaniment line. When you can play both without hesitation, put them together.
Lesson 8.
5. Clef
Ready to Put It All Together? All right then. Youre not going to work on anything new in this song. But
Song Range
The notes in this illustration are the only notes in the song.
Lesson 8.
Book 1 Section 2 Getting To Play Real Songs | 114
4. Signs and Markings: Check the dynamic signs, tempo markings and any other signs and markings, so that you will know how to play the piece. 5. Clef: Always check the two clefs ahead of time so that you will get an idea of what each hand will have to play. If you do this for Good Night, Ladies, for instance, you will notice that the melody is split between both hands in the first half of the song. In the second half, however, you will be playing single-note accompaniment in the left hand while the right hand plays the melody. Always practice each hand separately until you are comfortable, and then put both hands together. 6. Practice: Keep your eyes on the music and not on your fingers. Keep practicing until you can play comfortably, without hesitation. If there are lyrics, singing along will help you learn the rhythm more quickly. When you can play the song as well as you sing it, youve got it.
Lesson 8.
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Lesson 8.
Book 1 Section 2 Getting To Play Real Songs | 116
Song 15. ~ Aura Lee Page 121 Flat Slur Mezzo Piano
Song 16. ~ Camptown Races Page 124 Melody Splits Between Right Hand and Left Hand
Lesson 9. Contents
Book 1 Section 2 Getting To Play Real Songs | 117
Lesson 9.
Practice This 1.
Starting at any C, play all the half steps shown in the illustration.
Learn This 1.
The black keys do not have their own names. When a black key is used to play a flat, it borrows its name from the key to the right. In Aura Lee on the following page, all Bs are played flat, so dont use the white key marked B. Instead, use the black key between A and B, which is the Bb key. A little trick I use to help me remember how to find a flat note is: A f(l)at is always to the (l)eft of the named key. (Flat = l = left)
Remember This 2.
Since the black keys are shorter than the white keys, you will need to move your hand forward on the keyboard to reach them comfortably. When you go from playing a white key to a black key, roll your hand forward, pivoting from the wrist. Dont stretch. When you have played the black key, move your hand back to the original position.
Lesson 9.
Book 1 Section 2 Getting To Play Real Songs | 118
Introducing Flats
Practice This 2.
Starting from middle C and going down (left), play all the keys of one octave while saying their names out loud. Remember that there are 12 keys in an entire octave when you include the black ones.
Learn This 2.
Enharmonic Notes: This refers to any notes that can be called by two names. For example, C# is the same as Db.
Lesson 9.
64
Practice This
Practice transitioning between these three bass clef notes. It will familiarize you with the progression of notes used in the next song.
Lesson 9.
Book 1 Section 2 Getting To Play Real Songs | 120
Learn This 2.
mp (Mezzo Piano): This sign
tells you to play moderately softly. Play the piece with less force on the keys.
Just as you did when you learned about sharps in Bingo, youll get a chance to practice a Flat in this song. Take a look at the Song Range illustration. You will notice that the B note above middle C has a flat symbol next to it. This tells you to play that B note flat. So instead of playing B, play the black key to the left of B. This is the Bb key. Remember to pivot your wrist forward to reach the black keys. You will notice something else thats new in this song: a long line crossing over several notes. This is called a Phrasing Mark or a Slur. Notes connected by a slur are played in a flowing manner. In other words, hold each note until you start playing the next note. This will make the notes sound smoother. Except for the octaves in measures 9 and 10, the entire song is played in slurs. See the Learn This 1 box for more information.
Finally, you will have to watch out for the circled fingering number in measure 9 of the melody. If you look at measure 8, you will notice that you use finger 4 to play the F key. In measure 9, you will have to use finger 4 to play the A key. To get from F to A, you will have to move your finger up the keyboard.
Learn This 1.
Slur: The slur indicates a sentence of music the most that can be sung in one breath. Play the slurred notes in a flowing manner by holding each note until you begin the next one. At the end of the slur, lift your hand off the keyboard to take a breath. A slur is also called a Phrasing Mark.
Lesson 9.
Do This
1. Notes: Watch out for the Bb note in measure 13. This is the first time you will be playing a flat. 2. Rhythm: There are no eighth notes, so dont count with ands. 3. Fingering: Move your finger up the keyboard from measure 8 to measure 9 of the Melody. 4. Signs and Markings: Play the slurs in a flowing manner. Also, notice how the song changes from mp at the beginning to mf later on in the song. 5. Clef 6. Practice
Lesson 9.
Book 1 Section 2 Getting To Play Real Songs | 122
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Lesson 9.
Do you remember playing Jingle Bells in the first part of this book and then again in the second? Now youll get a chance to do the same with Camptown Races. The second version of Camptown Races is longer and has more depth than the first. If you follow the Do This instructions and examine the notes, youll notice immediately that the Melody is Split Between the Right Hand and the Left Hand.
Remember This
Lesson 9.
Book 1 Section 2 Getting To Play Real Songs | 124
Do This
1. Notes: Bb and A in bass clef as accompaniment. 2. Rhythm: When tapping and counting the rhythm out loud, read the melody as if it were written in only one staff. 3. Fingering 4. Signs and Markings 5. Clef 6. Practice
Lesson 9.
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Lesson 9.
Book 1 Section 2 Getting To Play Real Songs | 126
Song 17. ~ Ta-Ra-Ra Boom-De-Ay Page 129 Musical Phrases Accompaniment F#, D# Rhythm: Something New
Song 18. ~ Good Morning to You Page 133 Musical Introduction Before the Melody Starts Fermata
Lesson 10.
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You have already done exercises with C, G and F as accompaniment. Now you will learn to use E. This practice exercise is useful for three reasons: First, it will give you practice playing accompaniment with your left hand. Second, it will help you recognize the bass clef notes and their positions on the keyboard for your left hand. Finally, it will get you familiar with the notes used in the next song. Practicing this now will get you playing the next song faster.
Practice This
Practice transitioning between these four bass clef notes. It will familiarize you with the progression of notes used in the next song.
Lesson 10.
Book 1 Section 2 Getting To Play Real Songs | 128
Rhythmeither you have it or you dont. Fortunately, even if you dont, you can learn it. There are so many things that can be done with rhythm, and Ta-Ra-Ra Boom-De-Ay is the perfect song to teach you something new. Before I tell you about the new twist on rhythm, though, let me tell you about musical phrases. When we speak, we speak in sentences. When we play, we play in Musical Phrases. In this song, each musical phrase is two measures long. Just as Ta-Ra-Ra Boom-De-Ay is spoken like a sentence in English, its also played like a sentence in music. Youll notice that it takes two measures to say it (musically). If you examine the song two measures at a time, youll probably notice some other interesting patterns. First of all, there is some kind of accompaniment in the second measure of each phrase. This Accompaniment highlights the boom of boom-de-ay. For the first two lines, there is a single held-note accompaniment
Lesson 10.
Do This
1. Notes: Pay Attention: Both F and D are sometimes sharp in this song. 2. Rhythm: Count with ands, as there are eighth notes in this song. 3. Fingering: You will need to move your left hand in the bass clef between measures 10 and 12. Keep your eyes on the music and not on your fingers. 4. Signs and Markings: There is a switch from mf to f in measure 9. 5. Clef 6. Practice: Singing along will help you learn the rhythm.
Lesson 10.
Book 1 Section 2 Getting To Play Real Songs | 130
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Lesson 10.
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Practice This
Practice transitioning between these four bass clef notes. It will familiarize you with the progression of notes used in the next song.
Lesson 10.
Book 1 Section 2 Getting To Play Real Songs | 132
Learn This
Fermata: When a fermata appears over a note, it means that you should ignore the duration of the note. Hold the note for however long you feel is appropriate. If you were playing in an orchestra, you would hold the note until the conductor indicated that it was time to release it. In this song, the fermata is in both hands in measure 13.
By the way, the note with the fermata in the bass clef of measure 14 is also sharp. So make sure you pivot your wrist to get to the black key. And just to make things a little more interesting for you, there is a finger cross-over in the treble clef from measures 13 to 14. You will have to cross finger 2 of your right hand over your thumb to play the notes properly. Even though this song may seem like a simple childrens song, it has a very wide range of notes more than any other so far. One look at the Song Range illustration and youll quickly see that the notes cover the range from lower C to the G above upper C. Pretty impressive!
Lesson 10.
Do This
1. Notes: There are several F notes in this song but only the one in measure 13 is sharp. 2. Rhythm: Tap and count the fermata quarter note in measure 13 as a regular quarter note but play it as long as you like. 3. Fingering: There is a cross-over between measures 13 and 14. 4. Signs and Markings 5. Clef 6. Practice
Lesson 10.
Book 1 Section 2 Getting To Play Real Songs | 134
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Lesson 10.
Song 20. ~ Shell Be Comin Round the Mountain Page 140 Pickup Bar More Challenging Accompaniment D in the Bass Clef
Lesson 11.
There is nothing new in this song, but youll find some familiar things done differently. For example, youve played intervals before. Intervals, as you may remember, are two notes played together. In this song, youre going to play intervals again. But this time, youre going to play them as accompaniment. Take a look at the first two measures. For the first time, you will be playing two notes together as accompaniment. In this song, we combine the C and G notesan interval of a 5th (see Interval diagram)to make a C-G interval for accompaniment. Try it now.
Interval Diagram
The harmony sounds pretty good, doesnt it? And it wasnt too tough either.
Measures 11 and 12 of this song require both of your hands to be in C position. The first three songs of this section were all played in C position. As you play each note of the C position in measures 11 and 12, you will also notice that you are playing octaves. Neat, isnt it? And definitely easy.
Lesson 11.
Practice This 1.
Song Range
The range in this song goes from lower C to Upper C.
Lesson 11.
Do This
1. Notes: There are eighth notes in this song. Remember to count with ands. 2. Rhythm: This song is in 2/4 time. 3. Fingering: The top number of an interval fingering refers to the higher note of the interval.The
4. Signs and Markings: Hold both notes of the tied intervals for the entire tied duration (2 beats + 2 beats). Notice the repeat sign at the end of the last measure. 5. Clef 6. Practice
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Lesson 11.
comin round the mountain when she comes. The word coming is the first beat of the first full measure, while the words shell be are part of the pickup bar. Using the pickup bar allows you to shift the emphasis of the rhythm to match the musical phrase. Also, be aware that the musical phrase doesnt always have to contain lyrics. A pickup bar can also be used in a song without words. Youll see what I mean in Four Seasons: Spring. The missing beats from the pickup bar appear at the end of the music. Take a look at the first and last measures of this song. If you add them both up, youll have one full measure of 4/4 time. The first full measure after a pickup bar is considered the first measure of the song. One thing that often confuses people is how to count the rhythm for a pickup bar. The easiest thing to do is to start counting as you normally would. Count the pickup bar from one, as if there were rests before the notes. For example, there are two quarter notes in the pickup bar for Shell Be Comin Round the Mountain, yet the time signature tells us that there need to be four beats in each measure. So count one, two, three, four, but only start playing on the third beat. Assume that there are two quarter rests to start the measure.
Learn This 1.
Pickup Bar: A pickup bar usually appears at the beginning of a piece of music and has fewer beats in it than the time signature indicates. Pickup bars are used to shift the emphasis of the rhythm to match the musical phrase. The missing beats from the pickup bar can be found at the end of the music. Pickup bars are also called Incomplete Measures or Upbeats.
Lesson 11.
Book 1 Section 2 Getting To Play Real Songs | 140
Measures 3 & 4
Learn This 2.
You have already played B and C in both hands. Here is D.
Lesson 11.
Do This
1. Notes: All Fs are sharp for both hands. C and C# of the middle C octave are written for and played by the left hand. D of the middle C octave is written for and played by both hands. 2. Rhythm: When you count a pickup bar, count it as a full measure according to the time signature. Assume the missing beats are at the start of the measure and that they are rests. There are no eighth notes in this song, so dont count with ands. 3. Fingering: There is a move hand between measures 10 and 11. There is a cross-over between measures 11 and 12. 4. Signs and Markings: Play the accompaniment mp. Play the melody mf. 5. Clef 6. Practice: Singing along will help you learn the rhythm.
Lesson 11.
Book 1 Section 2 Getting To Play Real Songs | 142
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Lesson 11.
Allegro: lively
Song 22. ~ Four Seasons: Spring Page 148 Allegro New Type of Accompaniment
Song 23. ~ Minuet in G Page 151 Beamed Eighth Notes G Notes in Every Octave Andante
Lesson 12.
Interval Diagram
Learn This
Italian Tempo Markings: Traditionally, tempo markings are written in Italian. Until now I have given you the English translation. On traditionally written scores, however,moderatelyis written as moderato.
Playing Intervals as Accompaniment is the second similarity between this song and This Old Man. In Theme by Mozart, you will be playing intervals of a 4th (G and D in measures 3 and 11) and intervals of a
Remember This
Ties: Ties connect two of the same notes to extend their duration. Hold the tied notes for the entire tied duration. Slurs: Slurs indicate that a group of different notes are to be played smoothly. Play the slured notes in a flowing manner.
Lesson 12.
Now, before you get going on this song, notice the change in Tempo Markings. Traditionally, tempo markings are written in Italian. Until now I have simplified them by giving you the English translation. On traditionally written scores, however, moderately is written as moderato. From this point forward, I will give you the Italian words as they would normally appear on a piece of traditional sheet music.
Song Range
The notes in this illustration are the only notes in the song.
Lesson 12.
Do This
1. Notes: D above middle C is played with the left hand. 2. Rhythm: 3/4 time signature. 3. Fingering 4. Signs and Markings: Make sure to differentiate between slurs and ties. 5. Clef 6. Practice
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Lesson 12.
There arent any new concepts to teach in this beautiful song by Vivaldi but there is a new type of accompaniment and a new type of tempo marking: Allegro. First, lets define Allegro. Allegro is Italian for lively. So play this song a little faster than moderato. Pretty simple.
Learn This
Allegro: Allegro is Italian for lively. Play the song a little faster than moderato.
And what about the new type of accompaniment? So far, you have learned four types of accompaniment. I hope youre comfortable with them, because youll be playing them all in this song. You have:
Lesson 12.
single held-note accompaniment (measure 9) accompaniment that echoes the melody (measure 5) intervals as accompaniment (measure 1) octaves (measure 6)
Practice This
Practice these three measures to get your fingers used to moving together at the same time.
Song Range
Do This
1. Notes 2. Rhythm: Tap and count the rhythm out loud for each hand separately. Dont forget the ands. 3. Fingering: Watch for the circled fingering numbers and a cross-over in measure 12. 4. Signs and Markings: Play the piece allegro. Notice the phrasing marks in the melody. 5. Clef 6. Practice: Practice each hand separately before playing with both hands together.
Lesson 12.
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Lesson 12.
Book 1 Section 2 Getting To Play Real Songs | 150
Learn This
Andante: This tempo marking is Italian for walking pace. Play the song a little slower than moderato (moderate pace).
Lesson 12.
The next thing you may notice is that there are notes at all ends of the grand staff. There are very high notes and very low notes. In fact, if you look at the Song Range illustration, you will see just how wide the range of notes is in this song. This song has G Notes in Each Octavelower C, middle C and upper C.
Do This
1. Notes: All the Fs are sharp. 2. Rhythm: Count with ands,as there are eighth notes in this song.
Lesson 12.
3. Fingering: There are two cross-overs in this song. Watch out for the big jumps in measures 4 and 12 (and optionally in measure 16). 4. Signs and Markings: Play the piece andante. Make sure that you change from mf to mp where indicated. 5. Clef 6. Practice
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Lesson 12.
Notes
Lesson 12.
Book 1 Section 2 Getting To Play Real Songs | 154
Bravo! Youve now worked your way through twenty-three piano pieces. I hope you found the experience challenging and rewarding. In this book weve concentrated on learning to read sheet music and having fun at the same time. But reading sheet music is only the first step; I want you to really play piano. The next step is to put together more exciting accompaniments. In Book 2 well do that by using chords. Ill also show you how to play in different melodic keys. You dont want to trip over the new challenges, so if youve had difficulty coordinating the melody and the accompaniment, its worth the extra effort to go back and work on the pieces in this book again. Review the material and strengthen the skills that require more practice. Dont move on to the next book without being able to play each piece here with confidence. Now that you are familiar with how ColorKeys works, youll recall that Book 1 led you from song to song in a laddered progression. Well, dont worry! Book 2 works the same way: Each new song builds on what youve already learned and adds a new, exciting challenge. I cant wait to hear your encore. See you in Book 2.
Conclusion
Conclusion
Glossary
Glossary
2/4 Time
Please Note: Words in boldface type appear as separate items in the glossary.
A time signature indicating that each measure in the piano piece contains two beats. The quarter note gets one beat. Music written in 2/4 time has a march-like rhythm (ONE, two; ONE, two . . .). A time signature indicating that each measure in the piano piece contains three beats. The quarter note gets one beat. Music written in 3/4 time has a waltz-like rhythm (ONE, two, three; ONE, two, three . . .). A time signature indicating that each measure in the piano piece contains four beats. The quarter note gets one beat. Music written in 4/4 time has a march-like rhythm (ONE, two, three, four; ONE, two, three, four . . .). A symbol indicating that a given note should receive greater emphasis than the notes surrounding it. An accented note is played louder. A musical background added to the melody.
3/4 Time
4/4 Time
Accent
Accompaniment
Allegro
A tempo marking that tells you to play in a lively manner. Play a little faster than moderato. A tempo marking that tells you to play at a walking pace. Play a little slower than moderato. Vertical lines that divide the music into measures according to the number of beats indicated in the time signature. A symbol used for writing and playing lower notes, usually with the left hand. It is found in the bass clef staff. Eighth notes are joined with a beam to make them easier to read. Many eighth notes can be beamed together. One unit of time assigned to each note.
Andante
Bar Lines
Bass Clef
Beat
Brace
A symbol used to connect the treble clef staff and the bass clef staff. It indicates that both hands play together. A tempo marking that tells you to play with enthusiasm and cheerfulness. A symbol used to indicate the range of notes written on the staff.
Brightly
Clef
Dotted Note
A dot is added to a note to indicate that it should be played for an additional half of its normal value. A note played for one and a half beats the equivalent of a quarter note and an eighth note together. Indicates the end of a piece of music.
Double Bar
Glossary
Dynamic Sign A symbol that indicates how loudly or softly the music is to be played. A note that receives half of one beat.
Eighth Note
Enharmonic Notes
Any notes that can be called by two names; for example, C# is the same as Db. A symbol that tells you to ignore the duration of the note and hold it for as long as you feel is appropriate. The specific finger used to play a particular note.
Fermata
Fingering
Flat
A symbol that tell you to play the note a half-step lower by using the next key to the leftwhether its black or white. The flat symbol appears to the left of a note on the staff. A dynamic sign that tells you to play loudly; i.e., with more force on the keys. The combination of the treble clef staff and the bass clef staff.
Forte
Grand Staff
Half Note
Half Rest
A symbol that sits on line 3 of the staff and indicates a pause of 2 beats. The distance from a key to the very next keyright or left, black or white. Describes the placement of the whole hand on the keyboard; for example, C Position. The hand position is chosen to provide the easiest and most efficient fingering. Two notes played together at the same time.
Half Step
Hand Position
Interval
Keyboard
Keys on a piano that actuate the hammers that hit the strings. Or an electronic device designed to mimic the sound of an acoustic piano or other instrument. A group of sharps or flats that appears between the clef and the time signature.
Key Signature
Ledger Line
A short line that is used to extend the range of the staff. It may appear above or below a staffor both above and below it. The space between two bar lines.
Measure
Measure Numbers
A small number placed at the beginning of a line of music to indicate how many measures there are up to and including that measure.
Glossary
Glossary
Glossary
Melody A songs tune. The sequence of notes that makes up a piece's musical phrases. A dynamic sign that tells you to play moderately loud. Play with more force on the keys, but not as loudly as forte. A dynamic sign that tells you to play moderately soft. Play with less force on the keys. The C note directly between the treble clef staff and the bass clef staff. Also, the C closest to the middle of the keyboard. A tempo marking that tells you to play at a moderate pace.
Mezzo Forte
Mezzo Piano
Middle C
Moderato
Octave
The distance from one note to the next note of the same letter name. The term stems for the Latin word for eight. A large acoustic string instrument played using hammers that are levered and actuated by keys. A measure with fewer beats than the time signature indicates. It is used to shift the emphasis of the rhythm. It is also called an incomplete measure or upbeat. A note that receives one beat.
Piano (instrument)
Pickup Bar
Quarter Note
Quarter Rest
Repeat Sign
A symbol that tells you to go back to the beginning of the song and play the piece a second time. A symbol that indicates a pause.
Rest
Rhythm
The pattern formed by a group of notes and the emphasis played on them. A symbol that tells you to play the note a half-step higher by using the next key to the rightwhether its black or white. The sharp symbol appears to the left of a note on the staff. A curved line that indicates a sentence of music; the most that can be played in one breath. A slur is also called a phrasing mark. A set of five horizontal lines that, when placed together, produce nine positions (five lines and four spaces) for writing notes. There are two staffs: the bass clef staff and the treble clef staff. A word (or words) at the top left of a piece of music that indicate(s) how fast and with what mood to play the piece. You have considerable freedom as to how you interpret a tempo marking. A curved line that connects two same-color notes in the same octave. The tie extends the duration of the first note by the length of the second note.
Sharp
Slur
Staff
Tempo Marking
Tie
Glossary
Time Signature A set of numbers placed after the clef that tells you how many beats are in each measure and which notes get one beat. A symbol used for writing and playing higher notes, usually with the right hand. It is found in the treble clef staff. A note that receives four beats.
Treble Clef
Whole Note
Whole Rest
A symbol that hangs from line 4 of the staff and indicates a pause lasting the entire measure in any time signature.
Glossary