learning to play piano vol.4.pdf

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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 .

adv

ancing 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

compositio

and

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 Vogler

Illustrations by ]anice Fried

Copyright ©1987, 1994 Yorktown Music Press, Inc.

Ali Rights Reserved

Order No.

YK

20519

US International

Standard Book Number: 0.8256.8072. 7

UK 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 England

Music Sales Pty Limited

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

Printed

and

bound

in the

United

States

of

America by

Vicks 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

Mo

re

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

Li

ttle 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

A

rpeggios

(Ext

ended

Broken Chords)

.............

26 Sonatina

in

Classic Style

Rotati

on

Study ..... ..... ........ ...... ...........

..

....... ... 26

(First Movement) (Agay) ....... ...... .. ........ ... 58

all to the Hunt .... ............... ... .. .... ................. 27

Rondo-Toccata (Kabalevsky ··-·---·--···-·--··-· -···· 61

On the

Swing (

Gretchaninoff)

............... .....

..

28

Glossary ·--·--· . . ...... ..... 64

aatelle (Beethoven) ·······················-······--· -

ac

k cover



egretto

M2 repeated

M3

S2

3

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>

l

-

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1

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1 1

V

1

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1

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2

3

Trumpet

Minuet

)

81

3

s

3

....._._

1

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2

3

D C alFT



FLU NT NOTE READING

u llaby of

the

Night Breeze

. gentle rocking motion

,; •

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1

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p ets

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ow. solemn walking

tempo

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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 '

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rolicsome Twosome

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Tarantella tude

·

2

-

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1

f

-

-

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....

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7

'

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1

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a..

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-

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r

._

-

-

'-

-

.

1

Ili



,,

I

il

means

chan

·

e following steps:

e · o e

comp

osition.

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 M

ajor

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

•



Allegro

2

·1

>-

..

-

-

-

-

.

_

.

.

..

-

? •

-

- .- small hands:

1

J

5

,

..

• •

.. .

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1:

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1

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li

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~ p s

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cr

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.....

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,

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2

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1.

Ludwig van Beetho

ve

1770

-

1827)

>-

>-

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....

:

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

1

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2

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p

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,

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~ ·

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r

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j

r

1

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j

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(No . 1 adapted for

the

left hand

Allegro

2

fl u

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3

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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

~ major

minor

1 major

minor

1lmajor

minor

1 major

minor

l

j

1

llj

~

li j

ij

-1

number o half

steps:

2

4

3

9 8

10

Perfect Intervals

l

fourth

fifth

octave

g

l

j

l

3

l

The 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

con

sider

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.

Th

e 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

indi

c

at

ed

in t

erva

ls

ov

er these

no

te

s:

minor 3rd

major 2nd

perfect

5t

h

major 6th

perfect

4th

major 3re

u

l

l

l

l

#u

u

o

Hungarian Dance

No

(Them e)

l

Play

this

piece,

and

then

name the

in t

ervals

indicated by

brackets.

And

a

nt i

no

ri

1

1 1

5

1 2 .

J

••

-

3

1

-

....

••

.

V

_,

-

_

_

-

-

-

l

-

-

••

t , l

1

J

1

_J

'--....

m

r i

r t

1

L ...

'

,

-

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

..J

L--

1

-

-

-

1. -_ _

,.,-_,_

. -_ _

-

_

..

-

-

-

- -

-·-

-

-

-

-

_

-

_.

1

...

-

V

-

,

.

1

-

t

1

1

2

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

um

erals indicating

e

oo ones of

these chords in

the

scale:

o

Toni

c, IV

for

Sub dominant,

an

d 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 i

ads are mark

ed by

a small letter

m

after

the

letter name:

C min

or

tr

iad

Em

=

E minor

triad

-

_e

sev

en

triads

built

on

the

seven degrees of

major

scale,

ee

e m ajor triads 1, IV, and V

-ee are

min

or tri

ads

(II, III,

and

VI)

e is a diminished triad (VII)

~

Dm

Em

Am

Bdim

G

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

Bdim

b

dim

lz

~

r r

o

r

rr

iu

r r 1

q 3

r

9

F

l

r

- are

th

e 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 pl

ay each triad and its inversions.

F

Gm Am

:r

o

i l

~

l li

1 II

III

B

e

Om

:

u

l

li

l

u

IV

V VI

ay such triads on

the

piano also

in the

G

major

scale, and call out

the

am

es of

the

chords: G major, A minor, and so on.

Edim

ll º

VII

l

li



with solid-chord accornpaniment

*

Write

one

triad

in root

position for each measure as indicated by

the

numerals.

1

1

1

1

odera

to

F

e

1

_ . . . . . - i

1

-

-

.

-

.

-

• '

_,

-

1

-

...

1

. JT

-

-

1

-

-

_,

-

I

-

1

1

-

'

1

1

' I

IV

V

1

IL

...

••

..

.....

\

V

D

G

e

1

m

1

m

.

-

'

.......

1 1 1

1

-

1

,,

k

.

1

..

..v

-

-

-

11

-

-

-

-

_,

-

-

'

1

-

VI

II

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

le

tter

-names.

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

chord

accompaniment

and play it.

• Then play

both

hands together.

PlayTune

oderato

r

,

••

'·

1 ~

<

' . .

-

'·

-

r

,

f

•

-

t 'J

-

, •

I l i

/

-

_

_,

1

-

1

1

_,

-

F

1

-

1

11

I

F

1

1

1

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 few

examples:

Broken Chords

Divided Chords

Broken Chords Divided Chords

~

7

2

m=

l Ê

~

E

Ê

l

Ê

lay Tone

III

accompanied 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 ,,,....-

---._ _

...

. /

-

- -

1

1

-

_

-

1

/ .-t ... 1

-

1

1

-

1 1

1

1

VI

II V

:} Play this piece again using divided

chords

in the left hand

based on

the

indicated harmonies.

-

-

... 1

-

-

1

...

1

,_

1 1 1 1

1 1 1

-

1

1

I

l



. onalities) were de,Telope es

ago 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 have

easily recognizable earmarks: They each utilize only notes played on the

white keys. The four

most

often used modes named after

ancient

Greek

sound

-patterns) are the:

t

D

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

r

1

E

to

E.

resembles

the natural E

minor

scale,

with

the second degree

lowered

instead

of

F ).

F to

F.

This mode is dose to

the

F

major

scale,

with the fourth

degree

raised

(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 are

many folk and

popular

songs based on

modal

scales,

and

modern composers

often use the modes if they

want

to give a work an archaic, ancient

sounding

flavor.

1

..

51

/

-

W

-

l

1

tJ

Lively,

robust

5

-

31

-

-

- -

-

-

What shall we do

with the

1

-

-

-

-

..

-

-

-

-

Sea hantey

Dorian

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 th

e 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.)

-

1

1

1

....

--

_.

- .____/

I .)

,_

2

5



·

an

od

e

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

r

r • e-.

.. ... .

.

.

..

r.

-

7'

,

-

-

-

...

•

r..

•

G

•

G

•

•

•

>

>

>

>

>

> > > >

11

2

·

1......--

>

A

-·

-

-----

----

.---... .

-

i

....

- ....

-

-

-

..... .....

r-

..

.

•

1 r-

•

., -

-

•

.

1

1

r -

.

-

1

1 1

1

_,

-

.

....

....

1

.

1

-

T

-·

-

/ ... 1

-

1

-

tJ

1

1

1

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

-

-

f

i

2-

..

-

-

..,

2-

L ·

••

.

....

7

..

..

-

-

. ,,

....

,, .

..

,,

.

,,

-

-·

..

3

2

2

4

1

-

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



You already knm tha the binary form n ·o-part

son

;o

sections,

A

and B, bo th of which are usually repeated.

When the second section of the binary form concludes with a restatemen o

the

first section, in whole or

in

part, we call it a Rounded Binary Form.

Gypsy ance

~ M a r k

with

an

X

the

measure

in the

second section where

the

restatement

begins.

Allegro

2

. . ~1

.

~

a- a

-

-

-

-

....

-

.... ....

-

-l

1...

1

- ....

i

-

l

1 1 1 1 1

..

1 1 1 1 1 1

i

-

I

1 1 1

.

,,

•

1

t J

-

r

-

1

.

. . . .

.

- ...

-

- - - -

•

.

,

-

- -

- -

-

r

-

-

-

- - -

-

"

,, ;,

1:

1

L • a ~ ;

.;..

1:. -

/

.

~

1 1 1 1 1 1

.

,,

. -

.

- -

- -

.

••

"

.

r \

....

...

,

I

r

1

r

1

f

•

.

.

·

•

.

•

·

a

... li•

•

-

-

- -

.

"·

.

-

-

-

-

,

-

.

-

-

V

-

.. ._ -

i

1

1

' I

1 1

-

-

-

-

Joseph Haydn

(1732 - 1809)

-

--

--

.

1 1

.

1 1 1

-

'

-

.

-

.

.. 1

. _ .a f ;,,

.

a

.

1 1 1 1 1

•

i

- -

-



l

J

•

'

-

.

-

V

t

Oh,

>

1

1

..

..

-

..

,...

-

,_

V

_

2

ively

Lou -

so hot

-

•

Su

-

...

,_

,...

3

Oh Susanna

s1 - a - na my true luve for to

I

froze to death, Su- san - na don t you

see.

5

l

-

.

•

-

-

. .

•

---

>

- san

-

na,

don t you

cry

for

>

>

-

-

-·

-

-

-

1

-_

,_.

1

.-.

,...

1 1

li

1

;;---

4

la -

my

on my

_

cry. -

1 ,,--.._.

...

-

..

-

-

me,

l _

-

-

.

.

- -

.,

.

'

; J

knee.



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.

2

1

2

, . . . -

---..

'

r

/ 1

...

...,.

1

-

••

1

··-

-

1

_,

-

'

1 L L

....

._

/

-

t

-

_ /

1

e

-

1

L

.

••

-

··

••

-

••

-

-

••

,

-

••

••

-

..

LIL

Start with

pedal

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

11

2

·

5

5

4

.

1

.

.



*Then dete e - ft and chords are Tonic

and Dominant

seventh

7

. Place the proper

numera.

un

·e

ea e

left-hand chords.

f<Circle a chord that appears

in

its first inversion

and

another one that is in

its second inversion.

Irish ir

Believe 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 - 1

85 ....

2

-----..._ _

-

.

-

....

-

1 1

,_

-·

_,

-

1

-

-

-

.

.

- .

..

19'

.

·•



::: ·en e or e_ '( enà into o e o t

es ion

they

are called an

arpegg10.

- ' :. :L. 'pe<Jllio

s ith one h

an

d, even wi

thin

a one- octave range,

-es a · y

n

de

stretch

in the hand

, y

et without any

stiffening

of the

arrn musdes

.- o facilitate t

he

strain-free playing of broken chords and arpeggios is

ation

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 Study

Modera 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

-

1

1

7

'

1

1

-

-

l

1

>

>

>

:

-

-·

-

.

-

11

-

..

r J

.....

-

1 .-

•

-

...

,,....

-

...

1

1 ..:

f i

1

1

~

>

>

>

1

-----------

_

. - 1

.

,

.

Hi

-

-·

-

.J

1

•

-

.... _

-

.

'

-

- -

_J

T7

-

~

1

1

LI

'

-

•L

L_

...

_ ....

-

-

-

..

-

.

-.

-

, ,

, ,_

r 1 •

1

1

:1

1

-

1

1

1

,

....

-

...

-

,

C -

•

1

-

> >

2

4

-

5 __ 4

2

5

•••

·•

·•

3

...

..

1

1

>

>

>

I

...

. .

. -1

1

1 w

-

.

-·

-

-

-

.

-

,,,,,_

_

-' . . ...

-

-

-

-

'

-

-

-

-

•

....

'

-

1

-

1

' ·

1

1

F

t

T'1

ff

•

TI

-

--

-

1

1

>

1

-

1

1

>

>

.

-

-·

-

-

.

-

-

'

L

.

_

1

-

. 1

-

-

-·

-

•

....

l i

..

•

-

-

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--=



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 ~ ~ ~ ~ ~ ~ ~ ~

~ ~ ~

. . _

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~



ggio

:lo

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5



imhle ingers

Variations on a

Play

Tune

e th

eme 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

?r

F1 F

r3U:

1

L.H.) 5

Let s go step by step and play a tune.

We

can play it morn-ing night and noon

@ Jf

J

J IJ J J frô

l

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Just

a sim-ple, sing - a - ble

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on

pages 10

and

11

of Book 2.

1



Var

llegro

Var 4

3



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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

n

0

)

o

I

II

III

IV V VI

0

l

VII

Seventh chords, consisting of four tones,

can be

used in four positions:

the

root

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 inversion

f

l

l

l

l

1

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 inversion

t h ~

~

oot

in the three inversions

of 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:

D7

First 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

y

ou

name the

inversion

in

measure 11?

Sailing on Blue

aters

Slowly gently moving

5



Homophonic ( unified sounds

in

Greek) consists of melody

and

accompaniment. The melody line stands out , supported by chords,

arpeggios,

and

other kinds of accompaniment patterns.

Polyphonic

( many sounds in Greek) consists of two or more independent

melodie lines brought together to produce a harmonious sound.

Polyphonic style (also called

contrapuntal

style) was

predominant until the end of the baroque period,

about

1750,

when homophonic style,

the

earmark of the classical period,

became

the

major

mode

of musical expression. However,

contrapuntal

textures have never

been

entirely displaced, and

even today composers often employ polyphonic writing to

infuse variety

and

calor

into

their works. Even jazz is often

quite polyphonic.

See

page 42)

Slowly

Amazing

Grace

Homophonic

Version)

0 7

e G

Folk Hym::

Em

3

sweet

the

sound, That saved

a

A7

- :.:._

1

'

1

\

36

..-

1

1

wretch

~

-

•• J tf

-

~ • T I

l

G

1

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nl 1

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1

t

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found,

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/

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1

1

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like

1

Was

O

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1

1

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0 7

1

1

me,

11

_

·-

·-

, -

·-

-

-

.

...

-

E

m

-

j

19

-

1

1

blind,

but

J

.

,

•

.

,

1

1

1

-

I

•

-

A7

I

-

1

1

now

G

1

1

once

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1

was

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-



ec

C: fiOCtv line

·

e

oins

the theme in the

righ n

:.

- e

~ e r of n org n prelude Ask you teacher to play

the option l

bass no tes .

Slowly

Teacher:

f I

u

.....

-

1

-

-

-

-

tJ

1

2

... 1 1

1

1 1

I L. • _

...

11- ......

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r·

mazing

Grace

Polyphonic Version)

·

1

..-----

.

-·1

_

-

1

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----=

1 1

1

1

1

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r

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rit

Folk

-

-

J

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•

•



In

ddition

to

being

largely polyphonic, b r e

orn mented notes. The

most often

used om ments are

trill especially the short trill.

The is a three-note group

consisting 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

]- - - -

j

J

_

)

•

2

Minuet

4

-----]----

j

t )

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.---]---

j )

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e

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3 ---1

ar

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5

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)



n

n

e gr zioso

George Fride · ~ ~ ~

1685 - 175

D C aL

_



e

r

usually

eginning

on

the

las

Bourrée

George Frideric Handel

llegretto

•



Modera o

reludium

Canon)

rit

The

Konrad _ .

1 l _-



The essence of jazz n not \ h t is played,

but

un e

e r

ingredie

nts

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

sound. Jazz variations are often improvise inv

ented

on the spur of the

moment without

relying on a printed score.

The

London

Bridge

Strut

Throughout

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

2

R 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.



anjo

ag

Moderately lively very rhythmical

Charles Drumheller



line ; solid chord

in

dicates that e

a: ch

ord are

to

be brok

en

,

in

very rapid succession, from

_ bo

tto

m 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 r

l

-

-

1

tJ

1

1

1

~ ~

~ ·

~ · ~

.:.. "'•

I

-

• 1 L

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-

,

1

....

1

lt

112

t l i-

-

,

••

S,.-:i r

'

2

5

9-

n

,

3

5

dim



e scale is a s ep j se succession of six

tones

progressing by

who

le-steps.

J

J

2

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

odi

es

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

others

e so-call

ed impressionistic

s hool

(about 1890 to 1910).

Breeze

and Echo

Conmoto

l

1

-

•

-

1

.

o

i

r •

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-

-.- -

1

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--

e•v• v

a

fro. 5

g - -

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-

- -

- -

- -

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1

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1

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•

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1

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ri

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I

Moderate tick-tock tempo

5

-

-

•

. _

...

,_

-

1

1 1 1 1

1 1 1

_

1

l :

V .

'

,

-

-

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1

1 1

1 1

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1

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1

1 1

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1

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8

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f

2

4

-

1

1 1 1

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1

...

_.

1.1•

.

V:;::::

~

- - - - ..

1



The is a e ee -

and

'entie -cen m -

free , fantasy-Íike construction,

wit

loosely connectéd, conrrastin

and sections.

A cadenza is a freely performed ornamental passage, inserted between two

sections or just before

the

end of a composition.

Little Hungarian

Rhapsody

Slówly freely

R H

rit.

crescendo

..;,) cadenza

Moderato

gradually faster

d•

,

2

2

1

••

•

... -

.

l 1

1

'

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•

-

.

1

1 1

1

,

.....

1 1

i 1 .....

r

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/

-

V

-----

1

gradual crescen

do

,

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~

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r-

1

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r

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1

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1 1

1

1

4

simile

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1

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1

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1

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li .-1•

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1

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1

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ann up:

ountry

ª marks.

t

Observe ped 1

Repeat from th

. C/

s sign

r J

to Fine

símile



antabile

s Italian for

in

a

singing

manner

,

a

smoo

e ~ r e s · ·e e

playing

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

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(1803-1890)

a tempo

poco rit



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5

SON T ND SON TIN

F

J

-

- o

nata and sonatina

are essentially identical musical forms. The sona

ina

is

a 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 keys

ith

connecting

transitional passages.

Th

is form can

be broken

down into

three

sections:

xposition

contains

the main

theme

, a second theme in a related

key (usually the

dominant),

and often also a closing

theme

, or coda

evelopment

contains

one or more previously presented

themes

or

theme fragments developed

into

varied

new sound

patterns,

moving

freely

through new

keys and leading directly into

the

recapitulation

ecapitulation which is a repetition of the exposition section, with all

themes 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

thr

ee-part

son

g form.

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

-

~

... . ...

Oh.ili

e

17 ..

...._

_#

~ 1 7 . .

21

1

-

..

--



5

Sonatina

Op.

36

No. 1 First Movement

Spirited

1

EXPOSITION I

3

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



llegro

moderato

leg

to

dim

First o ement

J second theme J

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1911 .



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Rondo - Toccata

Op. 60 No. 4

Allegro

scherzando

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Allemande German Dance

Animato animated; with life and spirit

Arpeggiated Chord see page 45

Arpeggio 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 repeated

Cadenza a freely performed ornamental passage, inserted between two

sections or just before the end of a piece

Chord-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=

C

minor).

Cantabile

in a singing manner

Classic Style the musical style of the eighteenth century as exemplified

by

the works

of

Haydn, Mozart,

and

Beethoven: simple, clear

forms; homophonic textures; emotional restraint; anda certain

nobility of spirit

Continuous pedal

see page

24

Dorian Mode see page 19

Etude an

instrumental

piece designed to develop the player's technical

ability

Gavotte a graceful, old French dance

in

moderate

á

time, usually

beginning

on

the third beat of the measure

Grace Note see page 43

H01nophonic Style melody with accompaniment (see page 36

Jazz strongly accented, richly syncopated American musical

idiom

(ragtime,

blues, swing, and

bebop can

all be classified as belonging in the jazz

category)

Lydian

Mode see page

19

Mazurka Polish dance

in

moderate time, with frequent

dotted

rhythms

and

accents

on

the

second

and third

beats

Modes

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

time

Mixolydian Mode see page 19

Mordent ( '') see page 38

Phrygian Mode

see page

19

Polyphonic

Style see page

3 7

Preludium (Prelude) an introductory piece

Rondo a musical form in which a main theme or section alternates with one

or more secondary themes, called episodes.

ln

its simplest form the

rondo is very

dose

to the ternary form of a A-B-A pattern. More often

the rondo consists of a main theme and two episodes (pattern

A-B-A

C-A).

Rotation

see page 26

Rounded Binary Form see page 22

Seventh

Chord see page 34

Short Trill (' ') see page 38

Sonata see page 55

Sonatina see page 55

Ternary 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 tone

Walzer the German

term

for waltz

Whole-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

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Denes

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This

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learning to play piano vol.4.pdf

Documents