learning to play piano vol.4

8/13/2019 Learning to Play Piano Vol.4

http://slidepdf.com/reader/full/learning-to-play-piano-vol4 1/66

p



Nancy Bachus, Associate Editor

earning to Play Piano Book 4, is a logical continuation of the progres ·pianistic curriculum contained in the first three volumes of this series.

~ v u m too, the progression of pieces is devised not only to expan ·student s vocabulary of musical concepts within the framework of slo .

advancing technical capabilities, but also to reinforce mater ial alread.-leamed. At the sarne time, new doors are opened which lead to the

understanding, appreciation, and enjoyment of ali good music.

li pieces in this volume, unless otherwise identified, are the compositioand arrangements of Denes Agay. Jean Reynolds Davis provided valuable

editorial assistance in all four volumes of this teaching series.

Book design and layout by L VoglerIllustrations by ]anice Fried

Copyright ©1987, 1994 Yorktown Music Press, Inc.Ali Rights Reserved

Order No. YK 20519US International Standard Book Number: 0.8256.8072. 7UK International Standard Book Number: O 7119 .1017.X

Exclusive Distributors:Music Sales Corporation

257 Park Avenue South, New York, New York 10010 USA

Music Sales Limited

8/9 Frith Street, London Wl V 5TZ EnglandMusic Sales Pty Limited

120 Rothschild Street, Rosebery, Sydney, NSW 2018, Australia

Printed and bound in the United States of America byVicks Lithography and Printing Corporation

Yorktown Music Press lnc.

New York/ London/ Sydney



oNTENTS

Review of Motives and Sequences ..................... 3 Arpeggio Waltz ... ...... ......... ... ......................... . 3

Opening Fanfare (Trumpet Minuet) ................ 3 Nimble Fingers (Variations on a

Review of Fluent Note-Reading ........................ .. 4 Play Tune) .......... .......... ...... .................. ..... 3,

Lullaby of the Night Breeze ... ................ .. ..... ... 4 Seventh Chords and Their Inversions .. .. ... ..... . 3 ::

Memorial March ...................... ...................... .. 5 Sailing on Blue Waters ......... ....... ....... ...... .. .. .. 3-

Harvest Fling ........................... .... .... ..... ......... ... 6 Two Musical Styles homophonic

Frolicsome Twosome ..... .................................. 7 polyphonic ........................................ .. ... ... . 36

Tarantella Etude .................................. .... .. ....... 8 Amazing Grace homophonic ......... ........ .... .... .. 36

Transposing ......................... .... ................. ...... ..... . 9 Amazing Grace polyphonic ...................... ....... 31

German Dance 1. (Beethoven) ...................... 10 Baroque Ornaments .. ............... .. ......... ...... ......... 3

German Dance 2. (Beethoven) ..... ................. 11 Minuet .............. ........................... ...... ...... ....... 38

Mo re about Intervals major minar Gavotte (Handel) .................. ........................ . 39

and perfect .. ............................................... 12 Bourée (Handel) ............................................. 40

Hungarian Dance No. 4 (Theme) Preludium (Canon) (Kunz) ........... ................. 41

(Brahms) ....... ...... .... ..... .... ............................... 13 A Bit of Jazz ..................... ......... .......................... 42

The Figure Skater chromatic scale .......... .... ..... 14 The London Bridge" Strut ............................ 42

Fiesta (Spanish Holiday) ............................... 15 The Latin Lark syncopation grace notes .......... 43

Marking Chords by Letter-Names .................... 16 Banjo Rag (Drumheller) ragtime ..... .. ............. 44

Play Tune 1 and II ................. ... .......... ............. 17 Lonesome Tune ................................ .............. 45

Play Tune III broken chords The Whole-Tone Scale .... .................. ....... ....... ... 46

divided chords .............................. .............. 18 Breeze and Echo ......................................... .... 46

More Scale Types: The Modes ....................... .... 19 The Haunted Clock ....................... .......... ....... 47

Sea Chantey Dorian mode .......... ... ................ 19 Little Hungarian Rhapsody ................... .. ...... 48

Medieval Court Dance Phrygian mode ........... 20 Tribute to a Hero ........ .................................... 50

Little Mazurka Lydian mode ........................... 21 Country Gardens .................... .... ................... 51

Merry Villagers Mixolydian mode .................. 21 Cantabile Style of Playing ............................. 52

The Rounded Binary Form ........ .. ....... ......... .. 22 Sentimental Melody (Lachner) ..... .... ............. 52

Gypsy Dance (Haydn) ............. ...................... 22 Roses from the South (Strauss) .... .............. .. .. 53

Oh Susanna (Foster) .............. .. .... .... .... ...... .... 23 Danny Boy ternary form A-B-C ...... ... .... .......... 54

Prelude of the Bells continuous pedal ............. 24 Sonata and Sona ina ................... ...................... 55

Irish ir ( B elieve Me if All These Sonatina (First Movement)

Endearing Young Charms") ..................... 25 (Clementi) ..... ....... ......... ..... .. .. ....... ........... 56

Arpeggios (Extended Broken Chords) ............. 26 Sonatina in Classic StyleRotation Study ..... ..... ........ ...... ........... .. ....... ... 26 (First Movement) (Agay) ....... ...... .. ........ ... 58

all to the Hunt .... ............... ... .. .... ................. 27 Rondo-Toccata (Kabalevsky ··-·---·--···-·--··-· -···· 61On the Swing (Gretchaninoff) ............... ..... .. 28 Glossary ·--·--· . . ...... ..... 64

aatelle (Beethoven) ·······················-······--· - ack cover



egretto

M2 repeated

M3

S2

3

">

l - - - - - -1

- - - - - - 1 1 1

' - " . 1 1V 1 1

M4

11 -. 1 - 1,

1 1 - 1

1

1 2 3

Trumpet Minuet)81

3

s3

....._._ 1-_ - - - 1 _ - =1 1 1 1 i-

1-

1

'- 1- - 1

' '

1

82

-

81

83

- - - - - -= = = = - _ _ _ _ -

1 1 1 1

1

81

-1

i- i 1

1 - -1 -2 3

D C alFT



FLU NT NOTE READING

u llaby of the Night Breeze

. gentle rocking motion

,; • 11 1 1.. T 1 1 1 1 1 1 1 1 1, X - 1 1 1 - 1 - ....1 1 1·- - 1 - _, • • ...J - • - ....1 - ...... - - • ..... ... - •

' - ---- _

------ ____../

p cantabile

'. '/ ........ , / 1 '

/

.. - 1 - - - - - -, r - ,_- - - - - l - l - - 1

11

l l 1

5 1

~1 -

, n - . . T n. ,_ ... 1

1 1 1

- n ...-- - - - /

- •

mp r - ~- - 1 -- / - - .....

,_r

,_7M - - ,_

1 - • 1 T l 1 1 1,, - . 1 T T 1 1 1 i 1 1 1- 1 -. T - 1 - 1 '1 11 1 1 5 2

rit4G , - 2 3. 1 - 1 - 1 1

• 1 i 1 1

·- .-< •• ...J li 1

' ...J n - - ...J Uf ..t

- .....____ ___..-/ - 11 Gi

1. .___ . . . /

~1

_-- . . 1 1, . 1 1 1 1 1 1 1 1,,.

1 1 1 -1 1 1 1.. - - l 1 - 1 1 - - ...J 1

- - - • • - 4 --. 1

l T • -?

- - - - - - - - - - - - - - - ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ - - - - - - - -



,.*....

,..-.- .

...· il' ... .

_,

' •- ,.,, ·•

...-::·- ;\ :1 •

--- ,. ''

-1 - ,_1

-

~- ·- ...

/l t,j/111 -/

1

p ets

emorial arch

ow. solemn walking tempo

2

•- 1 1,.... _, _,

...J- - -

p

••- -,..

3

1 1

1 1 1 1--- rJ

· ~ r -

1

3

1 1 1 1....i- - - -

. L ~ ~...-

1

_,

-

-

5

--1

1

:I-.

1

...J

-

:I.J

J

135

--

4

1

-

.. b 'l

..... ...

' -

3

1 1 1 1 11

...J ...J ...J_,

...J

- - - - -

I ) p1

J 1

l

4.... _ .....1

- - ...J ...J

r- r- - _, - - -3

I ). ...,, ... -

3rit

- - 1 1 1 11 1 1

...J_, _,

- - - - - - -

dim

~ ~-

.1 1 1 1 1 .

...J 1 1 - 1

_, - - - ...J - - -- -

n

1

3

- - 1 1 1 1

1 1 1 •- - - - 1 - --

~...

' -

li_, -..___ _.. .

pli

'-- -1 11 1

r



e s os _ . on ones of a m.inor scale.

· or scale s it and wha t is its keynote?

Harvest ling

llegretto

5

3



egretto

5

...f ' ... - ' - 1

l - 1 1

·- 1 1

),1

I'•

::

..... • -,_-- - - -

, . .. -. 1 .,.- L

1

..~ ',.,,t . --

····-- ~ ~ . . , ). ..

·-:... o··-- _ . .

rolicsome Twosome

.

--------2 : : :

· 1 1 1 - - -1 , 1 1 - - -

.... 1 _- - - . - p dol e

.-........._ - • n 1. r • 1- - • - 1 1- ... - 1 - - •

1 - - -1 .J . . .

> > >

m

- 2 ·- ..,

1 I;

1_, .""" . -:1.,.



Tarantella tude

· 2 - - 1

f- - - - - - - ,_ - - .... - 7

',, 1 .- - - ,_ - - ... ... • ... • a.. • .... - .... .... • ....

. 1 1 1 1 1 .... - .... ...1 L 1 L 1 - •

1 - - -sj sj

li L· t •=- .:..

i- ... - . -- . - ... - • -

.. -. ,, ... -. r 1 _ .... , .... .... .. • - . - a..

- .... -. . - ,,r

._ - - '- - .

1 Ili



,,

I

il

means chan ·e following steps:

e · o e composition. In doing so keep

_:-:ain the interval between the keynotes of the original key and the

·ey to which you intend to transpose.

-=211ine the key signature of the new key.

- -:.spose every note by the requires interval.

_....._.IJl- ose the following melodies. (Write in key and time signature.)

': m C Major to D Major

J J J IJ J j IJ J J J

E Major to G Major

Ir J J Ir J J IC E ~

r j

E Minor to A Minor ( Go Down Moses )

i , - T• 1:ç _

,, 1 ..... ..... .....-- 1 - - - - - - . < 1 LL 1

·tJI -,; - -,; -,; tt•

-----

..·-

,. ~ 1 r-X • / 1 1 u

/

...... 1 1 1

·--'

-r -

-d 1 1

' '.-

1- •

••

1

1; r li

IF r J li

-·....e:;.

n -~1

1 •



Allegro2·1 >-

.. - --

- ._. .

..-

? •-- .- small hands:

1 J5

, .. • • .. .-1L

1: .•. 1

i

_;

ij• - li- ..i· r ,

? -.

~ p sl

;t J j

#' 1 ~- - - ..._

f - - .- . - .11}

m

·i

..- ..... . ..

, .li

1 § li= l IJ rf ?; - • - - . - - -

·1

, . _1

•r .., .•• '

cr s .

-1

j...... ' l t•- .. ~ .,j.

-

- - --....-

1

., .

~ -

J 14

• . --- ....1

., .? .

1 J J

3- -- - - -- _.. _1 1 1

11

-·_ ..

1 J

3- - -- ...

_J •

. ..

2

- 1

•1

1.Ludwig van Beethove

1770 - 1827)

>->- ~

....: ~ 2,.....--...

1

..2

..• --

...1 .... 1 1 1 1

... 1 1 1 11 1 1 1 1 1

1 1

p

- . -.- - . , .~ · ~ ·

J r I; j r 1 J j r =1

.. .... - . - -- - - .... - -1 1 1 1 1 1 1 - I .... .

1 1

I .. .. .. -z:::;; • ~

r f J J J 1J r : i

1 - 3- - - - - - Ã - 1

- - - - - - . - - - 1- - ... ...._- ....1 1 1 1 .. ... 1 1

1 11

1 1 1

- - ,_ ,_, . J •

, .

r r r1 1 _I 1.... - - _

1 1 I .- - - - - .>. .- - -1 .. •

:>f>- >-> > .- - - - - - - - I .- .... .- - -

1

I



(No . 1 adapted for the left hand

Allegro2

fl u 1

'.., .. 1 '.

- •• ".

'· .... ,.. . r . , . -- V r . r . . , . . J

t e . e; . e; . .._....

f

------ --- 1 1 - - . .

' ..... •• - - - r - - - ,_,' '.. -· •• .... .... - r - - - - r 1 - 1 I, T l _ 1 - - - - 1 1

,_,1 1 ....

TI - - n - • 1 1 1 1 1 1 1. - 1 ' 35 3

fl j l 1 1 2

'I -..

1 '

j r '

.... 1 1 1 1 1 1 1 1 1 I ..... - - - - .... -

1 1 . 1 1 1 ..

.' I - - - - - - -. 1

- -_

t t.._....

-------. - - - _ ...

...- V

---- --- -- 1 - ... - - - '.. .,,. 1 - - I , 1 1 - - • .

.J. - 1 1 r - .. .. - 1 r - -. .'

li 1 1 - 1

4 1 1 3 lj 122 5

4

' ,;I j ...,- - . ,- . . . - . - , . - , . - .

', - . - . - . - .

' '6•

.6

. .6

.mf

1... _,. ' - - 1 1 1 1 1 - 1 1 1 ' .- ··--- . - - - - 1 1 1 ..1 - - - - 1 1 1 - •- . r - - 1 . 1 - - 1 ,..,, - - l .... - - •

\. - _ _ _ - - 1 1 1 _ --- -- 1. L 1 1 1 1fT 3 L 1 1 1 1 1 3

5 - 2 11

2

fl _., .. - l -"

.1

• . . . - .. ."

,, - . - . - - - -.,6

.6

. .. .. ... •l > > ::>cresc

1 1 1 1

1li _ - - - - '- .. - - - - - - - ....

".. r - - - - ... .... 1 1 .... .

'1 1 1 - - - - ..1 1

1 3 3 2 - • ... - J3 2 3 1



ajor

You are already familiar with the major third and minor third.

There are three other intervals that have major and minor forms:the 2nd the 6th and the 7th.

A major interval becomes a minor interval when its span is reduced by a half-step.

Major-Minor Intervals

second third sixth seventh

~ majorminor 1 major minor 1lmajor minor 1 major minor

l j 1 llj ~ li j ij-1number o half steps: 2 4 3 9 8 10

Perfect Intervals

l

fourth fifth octave

g l j l 3 lThe intervals of 4th, Sth, and ~octave have no major and minor forms; ~ ~ ~ = = = = ~ = = = ~ ~ = = = = = = = = ~ ~ = = = . = :they are called perfect intervals: ~ - - - - - - - - -

number o half steps: 5 7

a m ajor scale all intervals are major or perfect. These are the intervals of

e C major scale:

Perfect Intervals: pnme fourth fifth

~ o

: :o o

9 e - - - -

o

Major Intervals: second third sixth seventh

To Name an Interval

egard the lower note of the interval as the keynote of a major scale and

consider the higher note as being a degree of that scale.

For instance to name this interval ~ ~ l : : ~ j = : = = =A is the keynote of the A major scale.The A major scale has three sharps: F , C , and G .

is the sixth degree in the A major scale.So, the interval of A to F is a major 6th.

12

follow this reasoning:

12

octave

o

-e-



li li f li li li

:.? \ri

e the indicated in tervals over these notes:

minor 3rd major 2nd perfect 5th major 6th perfect 4th major 3re

u l l l l#u uo

Hungarian Dance No(Them e)

l Play this piece, and then name the in tervals indicated by brackets.

Andant ino

ri 1 1 1 5 1 2 .J •• - 3

1- .... ••. V

_, - _ _ - - - l - - ••t , l 1 J 1 _J '--....

mr i r t

1L ...'

, - 1 r J - l •• • - 1,, - •• l l . . . i 1 1

'

V - 1 1 - 1 1

1

'1 1 31 l

- ,_1 1

'. - - _ _.

/

- - - - l - 1 - t_

. J ..JL--

1 - - - 1. -_ _ ,.,-_,_ . -_ _ - _.. - - - - --·- - - - - _ - _. 1 ... -

V - ,. 1 - t 1 12

l bo li

Johannes Brahm(1833-1897)

_,- - .. -1.---

-w -

--•

r . _ 1- J

l - 1



The igure kater

moothly gliding

Fine

poco rit 3

D C al Fine



count 2 3 4 5 2 3 4 5

5

Fiesta(Spanish Holiday)

5



o - .'.e ha e mar e chords b Roman n umerals indicatinge oo ones of these chords in the scale:

o Tonic, IV for Sub dominant, and V for Dominant

: is also possible to rnark chords by letter-narnes of the root tones.

C C major chord G =G major chord (and so on.)

or tr iads are marked by a small letter m after the letter name:

C minor triad Em =E minor triad

- _e seven triads built on the seven degrees of major scale,ee e m ajor triads 1, IV, and V

-ee are minor triads (II, III, and VI)

e is a diminished triad (VII)

~ Dm Em Am BdimG

H)li li

I I I III IV V VI VII 1)

·shed triadis created by lowering the top note (the fifth from the

a minor triad by a half-step.

Em Bm Bdimb dim lz

~ r r orrr iu r r 1 q 3r9F lr

- are the triads built on the seven degrees of the F major scale.

6

- er each triad write in its first and second inversion. (Use the correct·ctentals.)

~ n play each triad and its inversions.

F Gm Am

:r o i l ~ l li1 II III

B e Om

: u l li l uIV V VI

ay such triads on the piano also in the G major scale, and call out the

ames of the chords: G major, A minor, and so on.

Edim

ll ºVII

l

li



with solid-chord accornpaniment

*Write one triad in root position for each measure as indicated by the numerals.

1

1

1

1

oderato

F e1 _ . . . . . - i 1 - - . - .- • ' _, - 1 - ...

1. JT

-- 1

-- _, - I

-1 1

-'1 1

' I IV V

1

IL ...

•• .......\

V

D G e1 m1

m. - '

....... 1 1 1 1 - 1,, k . 1.. ..v - - - 11 - - - - _, - -

'1 -

VIII

V- .- ,, L..

V

~ r a n s p o s e Play Tune I into G major (one whole-step higher):

• Write in the chord numerals and letter-names.

• Transpose the melody first, and play it; then transpose thechord accompaniment and play it.

• Then play both hands together.

PlayTuneoderato

r, ••

'·1 ~

<

' . .- '·-

r, f

• -t 'J

- , • I l i

/

-_ _,1

-

11_,

-

F1

-1

11

I

F

111

I 1

1

1

1

•

1

1

1

•,I

i•• 1



-e ~ ~ . ..... _ . ~ ~ ~ .....• using or in the

• by using inversions of the triads to make the playing technically more

convenient and sound better.

A solid chord may be broken up or divided in many ways; here are a fewexamples:

Broken Chords Divided Chords

Broken Chords Divided Chords

~7 2 m= l Ê ~ E Ê l Ê

lay Tone IIIaccompanied with broken chords

- vi th an X the inverted broken triads.

l IV V I

l ----= 1 ....._,, .......

1

- " 1

- .-1

-_, _

lJ - - - - .... - - .... .1 - - _v

4 l Dm Gm e F

~ ~

---- - --- .... 1 ,,,....- ---._ _

... . / - - - 11 - _ - 1

/ .-t ... 1 - 1 1 - 1 1

1 1VI II V

:} Play this piece again using divided chords in the left hand

based on the indicated harmonies.

- - ... 1 -- 1 ... 1 ,_1 1 1 11 1 1 - 11

I

l



. onalities) were de,Telope esago by Bach, Handel and other masters of the baroque period. Before that

era, compositions were based on another system of scales called modes.

Each of the modes (or modal scales) is a step-by-step progression of eight

tones, each starting on a different keynote. For the pianist, modal scales haveeasily recognizable earmarks: They each utilize only notes played on the

white keys. The four most often used modes named after ancient Greeksound-patterns) are the:

tD to D. I t resembles the natural

Dorian D minor scale, differing only by the

raised sixth degree Bq instead of B- .

Phrygian

Lydian

r r r r1

E to E. resembles the natural Eminor scale, with the second degreelowered instead of F ).

F to F. This mode is dose to the Fmajor scale, with the fourth degreeraised (Bq instead of Bb).

Mixolydian ~ - - - - - J - - - - - . . . 1 - J - - - r - - - - - r - - l - - - - - - - r l - - - - - - - - - l G to G. Sounds like the G major

scale with the seventh tone lowered(Fqinstead of F ).

Modes are very much a part of our musical language even today. There aremany folk and popular songs based on modal scales, and modern composersoften use the modes if they want to give a work an archaic, ancientsounding flavor.

1

.. 51/ -

W - l

1 tJ

Lively, robust5

- 31 -- - - - -

What shall we do with the

1 - - - -.. - - - -

Sea hanteyDorian Mode)

2 4 ~...--- ........ 1 3.....

- - ,.. - - - - _,T - -

1 l

drunk-en sail - or Ear - ly m the

- -

,, ,_- ,

-------..._1

1

o ~morn - ing?

> >- -- - -à - -

.li...

.•..... 11

l i



gi n_

Andante grazioso

/- -...

j

/ . - 1 1

• - - - ,, - - _ ,.. ,.. - -

- V T _J - - 1 1

m.-----.. ~ n n

-· , .... - - .. 1

.. ,.,.. - - .. 1 1 1

..

,·

1 1 1 1..... - -

5

5

5 3

cresc e rit

n the Phrygian mode the tonic tri dis a minor chord E-G-B). However,i a piece in the Phrygian mode ends with a tonic triad, it is often

converted into a major triad by raising the middle tone a half-step-G -B). The sarne applies to the Dorian mode where the tonic triad

ending the piece often becomes a major triad. See page 4.)

- 11

1.... -- _.

- .____/

I .)

,_

2 5



·an ode

Allegretto

'5 1... . I = T

... . - ., - - 1 r . - - •r - • T I T r- _ ., _, - 1 • . - _J _,

, T - - . - - ....1 - r J•

tJ 1 1

11fl ben ritmo I

1 rr • e-... ... . .. .. r. - 7' , - - -...

• r.. • G • G • • •> > > > > > > > >

112·

1......-- >A -· - ----- ---- .---... .-i .... - .... - - - ..... ..... r-.. . • 1 r- • ., - - • . 1 1

r - . - 1 1 1 1_, - . .... .... 1 . 1

- T -· - / ... 1 - 1 -

tJ 1 11

3

f 11fl f

-- 1 1

L • -· - I ... • r- - ... - - - 1 I . •. ... -1 r - .1 - r. .. - . - - .>.1

\ 1 • T 1 ' '- 1 • • • • • •> > > > > .>

'2 -- • - • 3 1 1 1

I -.. •• - - r • - - - - - - - 1 r- • - 1 - ,.• - ... ... 1 r- - .... - .... ... --- - 1 .... - .- ..

1

r . 1 1 - -- - ,,, .... 1 1 -

-fi 2- .. - - .., 2-

L · ••. .... 7 .... - - . ,, .... ,, . ..,, . ,, - -·..

32 2 41 - 3 • - 3 1 2 - 3

1 / ' - r- - - 1

• . 1 l 1 1 - • - r- 1 1 1 ... - - .r . _,

T -- _1 - • -.... 1 1 1 1 ... - .... - _ .- - - 1 1 1 1 1 1 l 1 - - -

J -........___ • 1 ...... 1 -mp

cresc

f;., r-....

• - • - n - •<- . . . . - - .,.., - - JI .] J •- .. . - 1_ T ,,

• - ., . - ... ,, - .1 2 1

3 5 3



The continuous, quick change of the right pedal can help o p ·smooth flow of singing tones. Change the pedal on every new harmon

don t let two or more harmonies overlap.

s you play each new chord, let the pedal come up; then put it down again immediately.

21

2 , . . . -

---..' r / 1

......,. 1 - ••

1 ··- - 1_, - '

1 L L ....._

/ -t - _ / 1

e

-1

L . •• -·· ••- •• - - ••, - •• •• - ..LIL

Start withpedal down up down up down up down up down

Prelude of the Bells

tr Remember: Quick change of pedal on each chord.

Slow and solemn

112·

5 5

4

.

1

..



*Then dete e - ft and chords are Tonicand Dominant seventh 7 . Place the proper numera. un ·e ea eleft-hand chords.

f<Circle a chord that appears in its first inversion and another one that is in

its second inversion.

Irish irBelieve Me i f All Those Endearing Young Charms

Rather slow and tender

l u f±4 ,,,,.----

-· -- -- -=- ... ... - --r ' - - - -• - - -- - -_, -

J - - - - - -11

• • •• •• •• : •I l i • ~ u.

-. -. -· -· - -.. -· .... -. -. -. -. -· -., 11 ...

5

,_

L._

.- .-.

Arranged b:Carl Czem_,

1791 - 185 ....

2 -----..._ _

- .- ....

- 1 1,_ -· _, -1 --

- . .- . ..19' .

·•



::: ·en e or e_ '( enà into o e o t

es ion they are called an arpegg10.

- ' :. :L. 'pe<Jllios ith one hand, even within a one- octave range,-es a · y nde stretch in the hand , yet without any stiffening of the

arrn musdes

.- o facilitate the strain-free playing of broken chords and arpeggios isation of the hand wrist, and forearm as a unit. This is a rolling,

motion clockwise (to the right) or counterclockwise (to the left),:-s in the direction of play.~ ~ ~. ·~ ~ 1 li

1

otation StudyModera o

. 1 fr ~ ~ ~ ... -r · - 1 ... - -r ' ,., ..· 1

1

_ -----1 1 · ------

- ... - l - ,_. 1 l 1 1 , .- 1 - - 1

T - .1 2

* ay Rotation Study also in the keys of G and A major.

7:11· 11

r J •

1

--........ -_. - - - 3



Call to the Hunt

nimated

f i ~ 4 .. > > >----

4 - - .. / - - - - -· - ,., / .... - ,..~ .- - _ •..v .

1- -' - - .. . - ... 1 -

11

7 '11- -

l1

> > >:

- -· - .

- 11-..r J

..... - 1 .- • - ... ,,....-

...

1 1 ..:

f i 1 1 ~ > > > 1 ----------- _ . - 1 . , .Hi- -· - .J

1• - .... _ - .

'-

- - _JT7 - ~ 1 1 LI

'

- •L L_ ..._ .... - -

- .. - . -. - , , , ,_ r 1 • 1 1 :1

1 - 1 1

1, .... - ... - ,C - •

1

- > > 2 4 -

5 __ 42 5 ••• ·• ·•3 ... ..1 1

> > >

I ... . . . -1 1 1 w - . -· - - - .- ,,,,,_ _ -' . . ... - - - - '- - - - •....' - 1 - 1 ' ·

1 1

Ft T'1 ff • TI --- - 1 1 >1 - 1 1 > > .

- -· - -. - - '

L . _1 - . 1

- - -· - • .... l i

.. • - - -, ....'

... - / ... - .- -5 --=



ndantino

8



yers with small h nds m y omit the notes in parentheses.Ludwig van ee o.

1770 - 1821

o d e r a t o ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . . _........ 4 ~



ggio

:lodera to-

' ...2

3 1 32- ·• - • - 1 1

...- ' / - - - - 1 .- _,4 ' L - .. .

1 1 l, ... . IT - 1 - 1 •• - •

J - 1 1 1 • -.J 11 1 r ' ' . .

mf- --- __. ...- .e • , - , _

'.. ...... - ,_ - ....... - • •1 IT ,..

1 -

l .1 1 l5



imhle ingersVariations on a Play Tune

e theme and first two variations should be played by both hands together,left hand an octave lower. Play them also in the key of D major.

Modera o

~ ~ H í J J j J -J - ± J t ~ 1 I?rF1 F r3U: 1L.H.) 5

Let s go step by step and play a tune. We can play it morn-ing night and noon

@ JfJ J IJ J J frô l J J IJ J w=JJs: l5

Just a sim-ple, sing - a - ble re - frain: Five notes up and tive notes down a - gain .

Allegro

·.i $eÕoJfJ)IJJ]fJQIJ30BQI J. 1{3Ja;1L.H) 5

r::r1co 1êr1cr;1 J 1ÇgfJJ1JJmr.:

& WHI J l ) H n " ' J l f j J J J l ) ~ m 1 f O ~ p i l5 L.H.) 5

Allegro

• •

0

1 J1 JJ1 J J J J1 9 f ~ 1J J} e

L.H.)1: > > >

~ ~ u Jfs r f rerfJJJ1J 9° r1 1tr 2

• ::> ::> :;:::> 1

> (L.H 1j

e be ound on pages 10 and 11 of Book 2.

1



Var

llegro

Var 4

3



,....1 . 5

- - - / / ...... 1 '

L. 1 • l I - 1 • - • • • • ... • - • • . 'V li .... - ..>. - .....

'l i -

.. • • • - - . - - .--- ,, - ª • • • • .......

' ' '.. ...

tJ-..... V •

. n u

i- i-

.........___

1 o •~ L. 6ª • • • ~ ... ... - . ...

....... - - - -- >e

1 •• J - - - ..... .... ,_ - - • • - - - - •..... . ..... ..... - - - .. · -... ..... ..... - - ....

. .'3 1

....1

5 4 lI ..

''·. ' '

1 - 1 • - - - - 7- i ' r ~ • • •-... • ,

• . -. ..... - . . . ... - • • ..... 1- . .... - - ..... -, , • - - - - - • ' ' - • •tJ • TI • • • e: TI r;. · i -1 -1 v • • q-. ..... -1 ...

1 ~ ; ;.

::>- ['.:'.: rn - . 1

.... - . ...... • J • . ><'. ~ - .. li - ,_ • - O.. . ,>C - •7

1 - . ....... ..... a• ~ - .... -· - 11 :;:. I•'

~ .125

3 5

Lively

Var. 6

...



The seventh chord consists of

four tones: the root , the 3rd ,the Sth , and the 7th :

Write a seventh chord over each tone of the C major scale:

~ 0 n0

)

oI II III IV V VI

0 lVII

Seventh chords, consisting of four tones, can be used in four positions: theroot position, the first inversion , second inversion , .or third inversion ,depending on whether the root tone the 3rd, the Sth, or the 7th tone from

the root appears as the lowest tone:

Root position First inversion Second inversion Third inversionfl l l l1

Root 3rd Sth 7th

Observe that in all three inversions of the seventh chord the root and the

7th become neighbors on the staff, placed diagonally the lower note to the

left of the stem).

First inversiont h ~

~oot

in the three inversionsof the D7 chord. Write in the

accidental in each inversion.)

First

inversion

l

Second inversion Third inversion

l

Second

inversion

l

Third

inversion

Key of G Major

l

li

You are already familiar with the

Dominant seventh chord V7) in which

the Sth tone from the root s often

omitted:

D7First inversion

-e-

Is l

4

l

l



. J . . . : C . ~ ; ; ; " " - - e . ::eatures

e chor e -en or divided

·-een the two hands: the root and the fifth- e left and the 3rd and th in the

- hand except in measure 1.1).

~ a n you write in the degree numerals I through VII) in each measure?an you name the inversion in measure 11?

Sailing on Blue aters

Slowly gently moving

5



In ddition to being largely polyphonic, b r eorn mented notes. The most often used om ments aretrill especially the short trill.

The is a three-note groupconsisting of the alternation of the

m in note with its lower neighbor,marked by the symbol

The is a four-note group,starting on the upper neighbor note, =f?= == =alternating with the m in note, marked l

by the symbol

ln both orn ments the first note is played on the beat.

8

Andantino

5

]- - - -

jJ

_ )•

2

Minuet

4 -----]----

j t )•

.---]---

j )•

e

~3 ---1

ar

J __

.....--]---

5~ J J J )

.....--]---

)



n n e gr zioso George Fride · ~ ~ ~1685 - 175

D C aL _



e rusually eginning on the las

BourréeGeorge Frideric Handel

llegretto

•



The essence of jazz n not \ h t is played, but un e e r

ingredients of a theme are given a strongly rhythmic, syncopa+e : . ...... ...

sound. Jazz variations are often improvise invented on the spur of themoment without relying on a printed score.

The London Bridge StrutThroughout this piece tap the beat-units lightly with the right foot heel on the floor).

Moderately, with a marked beat



The atin ar

• T each grace note )O before the beat.

Moderately 2R H

ny

2

bird,

R H

he smgs

> >

3

and the stars_a-bove, He will bring_to you

>

5

> >

>and the boy_ you o e

girl)

>

>

don t you miss_achance, Meet the lark _ in the dark.



line ; solid chord indicates that ea: chord are to be broken , in very rapid succession, from

_ bottom up (arpeggiated chords). The top note of the chord

on the beat.

~onesome Tone

Moderately slow

fl 21 3 - 1 1- • - - - ••.... 1 - 1 1 1 rl - - 1

tJ 1 1 1

~ ~ ~ · ~ · ~.:.. "'• I -

• 1 L . - ,1 ....

1

lt 112

t l i- -

,

••

S,.-:i r

'

25

9- n ,

35

dim



e scale is a s ep j se succession of six tones progressing by whole-steps.

J J2 3 4 5 6

e may start on any of the twelve tones.

the notes of the whole-tone scale beginning on Db.

2 3 4 5

odies and chords based on this scale are of a somewhat

e mysterious character, and are frequently used in the

6

- of modern composers, such as Debussy, Ravel, and otherse so-called impressionistic s hool (about 1890 to 1910).

Breeze and EchoConmotol 1 - • - 1

. o i r •'

,.. - -.- -

1

. - ·- ....... -

'... /

_ _... /

tJ mp/ .•

- •

••l J

- .. .. ...

-... 1 - - •- ' .... - - - --

e•v• va

fro. 5

g - - - - - - - - - - - - - - - - - - - - - -

-

- 1- • h•..

- - - - -- . 1 1 - • - 1- a

..._ - - -. - - ..... 1 1 1 1 - ·- ..........,_/

,,_liiJ9

... J / 1

PP/ -

f - - - -

11 ' . 1 - - .. - 1

... -

- -- .._.

t J

.

.....

.....

'

\11

1 1

Vc; i •

- - - -

\1

Vc; i

•

- - -...,1

-

' '·/



riJ '

' 1

tJ

- .,.I

Moderate tick-tock tempo5

- - •. _ ... ,_ -

1 1 1 1 1

1 1 1_

1

l :V .

', -

-...

p11 1

1 1

- _

1 .

-

1

1 1_

--.1

V :'

8 - -

f

24

-

1

1 1 1 :I'

1 ..._.

1.1• . V:;:::: ~- - - - ..

1



2

Lively

,..,UI -· ' -... .... • . - . . - 1

1

1

f/j /ili. Ili.- -- ... - r - r-

- 1 •li/li- 1 li/li-,, h • . 1 1.

, 1 3 1

• - ,.... .... ..... • •'

. = ' '- - 't l

.> >f f >

it;;,, ... - r- 1 1

/ h 1 ..>.

...

1 2

5

5

1

-

>

>..:.r

--1

5

> --r- .

' '- - l 'C' r - 1-

1 J 1

r 1 1

,,..---

•'

- _

2

gr du lly f ster

4

--

>

•' -

i

>

5

5 --- .........,-· -

• I

- - - _ -

> 1:..- .....- •- .;;., l:-

>,,

...>.- -

i ti

> >



Solemn, moderate march tempo

,.. 1 5 4I \.i

,. 1 1- ., .. _ . 1 . .J ...J ..J - . , ..., - --- -- 'u ...m cantabile

- • - - -1

'- .... - S; - ' - ' - ' - -A - S; - "" .- "" • ' :: •. - - - .- ... - -ped símile

,..1 3 - ..... 2

.... - - . - • - .- - - .. • •• ',_ -- - ' - ..... 1 \ 1 1 1

1 ·- ...... - • - , ...u

__. r - 1 1 1

cresc

- • - - • - -. - ' • S; • ' :; - ' :: - .. - ' • S; • ' - ' - - - - - - -

,... ........J •., ' ., • - - ,, , _

" - - .·- 1 J I ... ......, -· "'"''"

,_ .\. . ' ' - ' ... , M; ...... -u · ''" t 'G

\11

.ff---1 1 111 '1

1;,,,,. .. - - r -1 1 1 - ' 1, , ., ... ., r -. r L.. . - l i ~ - 1 li TI

,.., ,, .y , . . ... ...J > .

- - ....... -- > '., -3 3

5

,... > > > > ~ ~ ~A.... - - ' - • - ' '.. = - ' ' - - .... ....

1 _ • r:::;. - ' - ' • - -tJ > .ff1

1 fcresc sempre A A

.. - 1.. J - , ,, . • - • , ,

,, ... • • , ,t -i • -t -i • >

> > > >>

50

...J ...J

-- .. 7__.

- - l:: - 'l:: - '...

1 2,,......-- •3

- •-· ,.,

...1

f• -- ' - --

-- - - ,_ - • ' - •-.

1

mf

1 ~'

,,,1

T

>

A~ Ar,O(

.... -""

G

A A

- - TT, -...,, -

""

1 2

.... l1 - -... .~

- • -- .,., - =- = - =- - -

1 4 ----......- -r ... _ -i ~ ' r- '

• -..

- •.. - ,..:..

- ,_ - '• r= -

- ~ I- r- • - 1 r-1 1

2 1

símile

- - -::>

> >

>

•- - ...

1.::

1> >

• - 11 r •....

-

..i.

'

>

•...- '

.::

>



ann up:

ountryª marks.t Observe ped 1

Repeat from th . C/s sign r J

to Fine

símile



antabiles Italian for in a singing manner, a smoo e ~ r e s · ·e eplaying that produces a beautiful singing tone on the piano.

A cantabi le touch can be enhanced by:• a certain amount of weight applied to the keys that generate the melody,

• the proper use of the right pedal. Change pedal when the harmonies

change, and do not let two or more harmonies overlap.

ln the following piece there are two pedal-changes in each measure.

Sentimental Melody- Rather slow with feeling

4

Ped simile

rit

>

5

Franz Lachner(1803-1890)

a tempo

poco rit



Roses omt

(Th eme

Moderate waltz te mpo

Sou

Jo

___ _ _ _ _ _ _____ _ _ _ _ _ _ A.__ _ _ _ _ Ped

fi 1- , ' '~ ....• • ,

• V....

-.....

- -- - - - - -'

,-...... - •1 r J • .... .- 1 L 1 1 1 1 .-,,

L- 1V

f l 1I ,

1- i.. I 1 I 1 1 I I

I . ... .... ... ...-V - - • • - - • • • • • •

---- _. . ........... -.... ,_ , . ,_

.. - - ·-- -

5fi 1 1 ...--.-._- , - . - . ... - - .... - - '-V

1. - , -. , . r . - ,...

t VI • TI 1 - cresc..----. ~ .... L ~ • h;;.

... ... - - .... . _. .- r- ....,, ....V . ·-

4V

• •.... ....

- - -• • •

----- t :) •_., . 1

Dr . - 1_

.,,

1

.1 , •1 • 1 1 •

- - - -•

---

~ - J • r-

4 5

-... - ... ...- , . -·- 1 .-

r- - -· - .--... / i , . _- ~

..... 1 1- 1 1 11 1

4

-••

1

1 1- --

•1

4I/- .-

·.- .

..... - 1 .....

1 11

1

I

.....

'-•....... ..-11

·-

a tempo

-4

• 1

• 1

-

'.. ..-

- •- •v•

,_. -

'- .---.....

1

-1

,,

li

'••

, 1-



I

\

1

'

I

'

5

Freely movinge F Irish Folk Song

A 1 1 ~ '

"

2

------

12 • • 1 ~ -

1 l . /

-•• -

-.. - 1 ' -

-...

li

- •..

1

... 1 1 ..

•1 ---..

-_ .l' f 1 1 1 1 1

- - • 1 J ...t -

Oh, Dan - ny Boy, the pipes, the pipes are call - ing From glen to

1 ~ J

-----------.. ' ' - / . .

.. ~ ... • 1 -, . ... - l

1 .... 'l

•con ped. *

e---- Am Dm G e.----

•• * •

2 __ ----- 1 2

-- •- • -· - - ... - - -...

-1 ,_ - .. ,.. '

...

·- 1 1.. 1 1 1

V ...

t

glen, and down the moun - tain - side. The sum- mer 's gone and all the ros - es

1 ~ l 1 ~ sL 1 l . ] - ' - 1 1

,_ •/ - 1 " -

• 2 1

3

F e Dm G7 e G7 ~~ _;_----... 1 2 - 1

1

.I - 1 ' - / - •• f' '( - - - 1 1,, - - - - ... ... - ,.. -. - - ... ... . - -' 1 1 l 1 l -t - l

fall - mg, It s you, it s you must go, and 1 must bide. But come ye

.... :.. -. / ". - -, - .,

e F

5j

1 1

• -· - . .J

1 "' - - . .J

V 1 -tJ 1

back when sum- mer' s in

mJ~ 6-L ... 1 - - 1 - ...,, - 1

1

/ - --..J-

e

:::-----:_1

- . .J- ....J-the mead -

-

1 /1

-

.,

1

'..-1

1

1

3

" "........__,,ow,

'- --

1 1

* Change pedal on each new harmony.

. l ~- - - .,. • - ... -- . - l -1

,... -5

G7 Am F e

:----- - -

..J -· .....--::J - - 1 - - ....J

-- l l 1 - J

l -Or when the val - ley' s hushed and white with

/

-- -- ·-- - --..



snow, It's I'll be there in sun - shine or m shad - ow,

1

3

e

3

,,---- -........1 1

l 1

r •-t -

Boy, oh,

-·.I -

l1

-J-Dan

...._

•

2

4

..

--ny

D

1

•Boy

w _

- · ~1

12

4

nt

3

11

G7 e

1 11 1

~ - ; 4love you so.~

21_•.. ..,

. - 1..15

SON T ND SON TIN

F

J-

- onata and sonatina are essentially identical musical forms. The sona ina isa little sonata usually shorter and easier to perform than the sonata.

~ sonata (from the Italian word sonare to sound ) is built on two or three

ontrasting themes presented in a continuous melodie flow in related keysith connecting transitional passages.

Th is form can be broken down into three sections:

xposition contains the main theme, a second theme in a relatedkey (usually the dominant), and often also a closingtheme, or coda

evelopment contains one or more previously presented themes ortheme fragments developed into varied new sound patterns,moving freely through new keys and leading directly into

the recapitulationecapitulation which is a repetition of the exposition section, with allthemes in the original key

natas, and often sonatinas too, usually consist of two to four independent,lf-contained parts called movements The form described above is the first

vement form, also called the sonata-allegro form.

e second movement can be a simpler two- or three-part song form.

e last movement is usually a rondo. See page 64)

-

~... . ...

Oh.ili

e

17 ......_

_#

~ 1 7 . .21 1

-..

--



5

SonatinaOp. 36 No. 1 First Movement

Spirited

1EXPOSITION I3

Muzio Clementi Op. 36 No

1752 - 1832)

i ;econd th m 1

These measures m y be regarded either as c/osing theme ar as continu tion o he second theme.

56



RECAPITULATION



llegromoderato

leg to

dim

First o ement

J second theme J

Denes Aga_ ·

1911 .



1second theme 1

5

fl J.+ 4

- -

- - - - .. - - .

/ . -· e - - - - - ,_ ,_ - ,_- ·11 1 1 - . 1 1 r- 1 1 1 1 - - ,1 • r ° - - / 1 1 1 1

.. .. -- . ._ - 1 1

1. ; v:;

>- 1 1

cresc

1 · ::>

•1

: j, , . - - .. - - - • • • • •.,. _. - - . - - -~

>~ 111

60



1 theme I..

... - 41 2 · - u - .- "

... . - -, 1 - - _, 1 1

t .. ;. - - - - 1

t / i v p

L • .. • - 1 1 .... .1 1 -~ ... ....

1- 2

-5

i 2......._ ....._ 2- ... ... 1- 1 - 1 '

..... 1 ...1 '

1 ·- 1_ , - 1 11f.-' - 1 - '

\} -'. ...- - -- - -- - .::::: ..__• . ~ - .1 - ::;::>:

.

• • •1

L •. . . . . ... - - - - - - . . 1 .

' - - 1 1 -

---1 1

_____,j

1___,.j

- - -

5l n

-· - - . . - - ... . - - . 1 •1

l l r ,.\ - - - '"

, _,

..; " " 1 1

1t. . .- . - . - .

L ' . - . .,._ - - -- - -. - - . .- .... -- _.. . 1 .. - 1 - - 1

1___J

1___,.,j

1L..... j

1 -

62

3

5:.... -.- . a .

.... - ' - 1 _ , 1

1 ":" 1

..:..-... . . .... .- - - 1 .- -__,.j

1 1- -

-3 1 1. - . .- - - - ....._.

1 1 . - - 1 1 1 . . -

• .:... . . _. .- - - - . 1 1- 1 - 1 1

1............

1 1...........

- -

4 3 -- ....1 1 ... L 1 1 .. L

'- ... - ...> tt' ' ft' '

. .:. . . ..:.. .-- - - -- -.... .... - ..... .- -

____...

1............

-

r

.-

-

A> .. -

1

.- - -3

1

L 1

.--

.--

.-..

.-..

'

.-

.- 1

__J

.- 1

.- 1

1 _____,j

1 1 1

1 li 1 -'

_1 . . . . ~

1 • 1: fl • .

. •. _ .-- - -

----

1

1



ltheme 1

4 4i 5 2. ....... _ 2

....... -..J - - . .

-· - - . . - .. a ..IL .'

_, ..'

_,"

. - - .- . ,_ - . r - - ~ - ... _. - 1. _j 1 1, - ,_

- ' - - li t- - _,,

' - ...-, 1 1 1 1,1

t t 1 1 : ' 1 1 - . . - .

. .. • •- . . . . . i

1

,_ . .. . . ,_ . . - - - - ... . - - -- - - . .. - . .. . .' - ' - - ' - - - .

:.:..::;;,;i1

,____,,.1

L........I1 -

:::;;./

l.-J. ---- l - -........ 2 1 - :--- 15

.. 5 - . - 4 ..l . 1 T

- - . . - - .-·

.. . - . . '

5

" . - - .. - - . 1j

_,19 - - - _,

- - --- . - - - 1 - - . J 7 1 1

l1 1 1 1 1"

,, 1 . . .. - 1 1 ~ ~ · ''; 1 1t t

1 .1 f

..:.. . - .• .

. . . - .L ... . . . - . . - . . ,_ . ... _

.. -.... _ - -.. - - - - - - - - -- t-

'.. 1

,_, . . . . 1 . 1 .

' - - - - - 1 -1

1------i1 - 11 - 1

____, j

- -- -1 1 1,

f\ 3 i 1 •4 . 5

. . 1 -. - - • 1 1 .. l 1 1 .... 1 1 • - . ;

.>. .... •1 1 11 ... - • •r • 1 ' ' ·- _, ,m.

--- . J 1 ,_ _. ,,, - 1111 ... . "t ~ ~ l -:::>=

i

. . . . .:.. . •... ,... _

r - - ,,,._ ,_ - 1 -- ' . -1 I

: li

,_ 1 .... t- 1 -... t-..-

1 I . ......

1 T 1 1. 1 .T . - .- - ...

121:::::: : ;; ol

l--L......il 2

5 - --- 1 ,-



Allemande German DanceAnimato animated; with life and spiritArpeggiated Chord see page 45Arpeggio harp-like (see page 26)Bagatelle a short, light piece, usually written for the piano

Binary Form also called Two-Part Song Form, consists of two sections(sentences), A and B, both of which are usually repeatedCadenza a freely performed ornamental passage, inserted between two

sections or just before the end of a pieceChord-Names in addition to Roman numerals (I, V, etc.), chords can be

identified by the letter-names of the root tones (C, D, etc.).Minor chords are marked by a small m after the letter (Cm= Cminor).

Cantabile in a singing mannerClassic Style the musical style of the eighteenth century as exemplified by

the works of Haydn, Mozart, and Beethoven: simple, clearforms; homophonic textures; emotional restraint; anda certainnobility of spirit

Continuous pedal see page 24Dorian Mode see page 19Etude an instrumental piece designed to develop the player's technicalabilityGavotte a graceful, old French dance in moderate á time, usually beginning

on the third beat of the measureGrace Note see page 43H01nophonic Style melody with accompaniment (see page 36Jazz strongly accented, richly syncopated American musical idiom (ragtime,

blues, swing, and bebop can all be classified as belonging in the jazzcategory)

Lydian Mode see page 19Mazurka Polish dance in moderate time, with frequent dotted rhythms

and accents on the second and third beatsModes the most frequently used modes are the Dorian Phrygian Lydian and

Mixolydian (see page 19)Minuet a graceful and stately French dance in moderately slow timeMixolydian Mode see page 19Mordent ( '') see page 38

Phrygian Mode see page 19Polyphonic Style see page 3 7Preludium (Prelude) an introductory pieceRondo a musical form in which a main theme or section alternates with one

or more secondary themes, called episodes. ln its simplest form therondo is very dose to the ternary form of a A-B-A pattern. More oftenthe rondo consists of a main theme and two episodes (pattern A-B-A

C-A).Rotation see page 26Rounded Binary Form see page 22

Seventh Chord see page 34Short Trill (' ') see page 38

Sonata see page 55Sonatina see page 55Ternary Form three-part form, pattern A-B-A or A-B-C (see page 54)Toccata a rapid, brilliant keyboard piece; from the Italian toccare to touch

Touch the way a key is depressed to produce a toneWalzer the German term for waltzWhole-Tone Scale see page 46



Thename of Denes Agay is synonymou with quality wrote one :reviewe:r:

and this high praise has been echoed by countless teachers and pianists for

the past three decades.

Denes Agay, composer/editor/pedagogue, is one of the best known and most

respected names in contemporary educational piano music.

DEllS ll6IY'S llBESllllY S

WRNll T PLAY PIANO

DEIESA AfS

WRNINGTO PlAY PIANO· - ~ ~ . b , ; " " WRNINGTO PLAY

llOOll B 1114A = = ~ =

This new, multivolume piano course presents not only a fresh, unhurried,and sound approach to piano study, but also offers a veritable treasure of

delightfully melodie, inventive repertory to illustrate and correlate all

aspects of curriculum: technique , theory, musicianship.

Selected Denes Agay publications for the beginning and early grades ...The J oy Series ...

'The Joy of First-Year Piano ,

'The Joy of First Classics ,'The J oy of Sona inas ,

'The Joy of Recital Time ,

'The J oy of the Music of Denes Agay ,

The Recital Notebooks ...

'The First Duets ,

'The First Recital ,

'The Modem Miniatures',

'Little Rhapsodies on Folk Themes',

A Program of Classics .

Of interest to the teacher ...

'Teaching Piano', a comprehensive guide and reference book for the

instructor. Consisting of two massive volumes, this is the most complete,

authoritative, and constantly in-demand guide for piano teachers at

every level.

learning to play piano vol.4

Documents