cobbway piano syncopation lesson 2 of 8

8/3/2019 Cobbway Piano Syncopation Lesson 2 of 8

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T H E

T O B E T T E RP I A N O S Y N C O P A T I D N -

L ESSO N 2PUBLISHED BY

THE HAROLD C088 SCHOOL OF PIANO SYNCOPATION

CHANCERY LANE, 91 ST. GEORGE 'S STREET, CAPE TOWN



L esso n 2

LESSON 2.

1. Examples 9, 10, II and 12 (see Lesson I), with syncopated basses and right hand octaves.

2. How to play two harmonies in bar, in fox 'trot time.

3, How to play waltz basses; how to play two harmonies in a bar, ill waltz time,

4. Simplified charts of a fox trot and waltz which you must build up, using syncopated basses

and right hand octaves (Chart 2),

EXAMPLES 9, 10, 11 AND 12, WITH SYNCOPATED BASSES AND RIGHT HANDOCTAVES.

Example'} :

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J: 1 = =1 = 1 : -I:· -11.

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Example 10:

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Example 11:

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i i -~ . .~ _ . J _ i i = i = i. . . . -

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Page I



Example 12:

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I. Play the examples many times, and strive for an even touch and tone, and a rhythmic left hand.

HOW TO PLAY TWO HARMONIES IN A BAR. IN FOX TROT TIME.

Example 13:

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? Example 13 is similar to the examples given in Lesson I. but there is one difference: In bars

3 and 4 there are two harmonies in each bar.

Example 14:

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C C D M G 7 D M G7~ =# =J J " -!_. I • . . . I

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~~ - 1 1 1- -;-. . . . . ~ -. .

:J . Example I-t is the built up version of Example 13. Notice that where there are two harmonies

ill a bar, as in bar 3, the tenth and after-beat of D minor chord is played on the 1st and 2nd beats;

OIlId the tenth anel after-beat of r.7th is played 011 the 3rd and 4th beats. Bar 4 is the same. Play

Example 14 several time!'. verv slowly but in strict tempo. Listen carefelly to the effect of your playing.

Page 2 L ess on



Example 15:

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./ h JI

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4. Example 15 gives more examples of two harmonies occurring in one bar. Work it out care-

fully without referring to Example 16. When you have finished, compare your work with Example ]6

Correct any mistake you may have made.

Example 16'8 A.

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v

HOW TO PLAY WALTZ BASS.

5. To convert fox trot basses (4/4 time) into waltz basses (3/4 time) simply play the after-beat

twice instead of once, as in Example 17.

Example 17. Waltz Basses.

C D @

6. Notice that you play the tenth and two after-beats in the first bar; when the foIlowing bar is in

the same harmony as it is here, play the single note on the first beat, followed again by two after-beats.

Example 18:

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L es so n 2

7. In example ]8, for instance, the first two bars have the same harmony (C major). Play the

Tenth on the first beat and the two after-beats on the 2nd and 3rd beats. As the.2nd bar is in the same

harmony, play the 5th degree on the first beat and two after-beats OJ l the 2nd and 3rd beats.

The 3rd bar is in DM harmony, so play DM and its after-beats for three heats. Similarly, in the

4th bar, where G7th is the harmony, play G7th and its after-beats.

P age 3



Page 4L esso n 2

Example 19:

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Example 19 is Example 18 built up with waltz basses according to the instructions in Paragraph7. Play the right hand in- octaves, as written. -

8. Pedalling : In waltz basses, depress the pedal on the 1st beat and raise it just after the :Jrdheat.Example 20:

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9. Example 20 is another example of waltz basses. Work it out carefully and then compareand correct your work with Example 21.

Example 21 :

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• ~. . . .

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In Example 21, waltz basses are shown for Example 20.

10. Notice that where chords of a different harmony follow each other, as in bars 5, Rand 7 ofExercise 21, you playa tenth on the 1st beat of each bar,

HOW TO PLAY TWO HARMONIES IN A BAR, IN WALTZ TIME,

11. As in fox trot time, there are sometimes two harmonies in a bar in waltz time. The change

of harmony usually falls on the 3rd beat of the bar. When this happens, playa tenth and an after-

heat of one chord on the Ist and 2nd beats; follow these with an after-beat of the new harmony onthe :ird beat.

Work out Example 22 in this way and then play and compare your work with Example 23.



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e J r r r r # f f r = r - . T - f rAR(lv. D I " I G7 ch d. C

Ic,. ·I' . .~./ A ~. _

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Example 22:

Example 23:

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)2. Pedalling : In a waltz, when the harmony changes on the 3rd beat of the' bar (as in bar 3,

Example 23) raise the pedal on the 2nd beat, depress it again on the 3rd beat and raise it again justafter the 3rd beat-ready to be depressed once more on the 1st beat of the next bar.

If, instead, you hold down the pedal for the full three beats the first chord will naturally continue

to sound when the second is played. The result will be a harsh jumble of sound.

To avoid this, use the pedal as explained, so that you pedal anew for e~h new harmony. Always

take great care to pedal correctly where there is a change of harmony.

C D ®

Example 24:

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" . 11: -. J - J- . . . . t-"./ h A . . . . - -'". - - .

13. Work out Example 24 before you refer to Example 25. Notice that there are two harmonies

in bars 1 and 2. Be careful, therefore, to use the sustaining pedal correctly and to listen to the effect

of your playing. Check your work with Example 25.

L esso n 2 Page 5



Example 25:

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1

14. Chart 2 contains a fox trot and a waltz, both written in the style which is usual in sheet music.For your next lesson work out syncopated basses for this chart and play octaves in the right hand.

Don't forget that you can always play the right hand an octave higher if it interferes with the left

hand (see bars 2 and 3, Example 25).

15. Lesson 3 will show the fox trot and waltz (Chart 2) written out according to the instructions

in this lesson. Itwill also show you how to fill in right hand chords.

16. Study again your notes on "How to Practise '" (Lesson 1).

P age 6 L es so



CHART 2 FOX TROTI .I I I

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CHART 2, 0

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P ag e 8 L es so n

cobbway piano syncopation lesson 2 of 8

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