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ClassPiano

Resource

MaterialsLevel Preparatory

Fifth Edition

Compiled and Edited by

W. Daniel Landes

Smith Creek Music



Class PianoResource Materials

Preparatory Level

(Fifth Edition)

Compiled and edited byW. Daniel Landes

© 2006, 2011 by Smith Creek MusicPO Box 140449, Nashville, TN 37214

www.smithcreekmusic.com



Class Piano Resource Materials

Preparatory Level(Fifth Edition)

© 2006, 2011 by Smith Creek MusicPO Box 140446

Nashville, TN 37214

www.smithcreekmusic.comE-mail: [email protected]

All rights reserved.

ISBN: 978-0-9835362-0-8

Except as otherwise stated, all rights on all material are reserved by Smith Creek Music. No part of this collection may be reproduced or transmittedin any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, except as

may be expressly permitted by the 1976 Copyright Act or in writing from the publisher.

Other Class Piano Resource Materials are available from Smith Creek Music, PO Box 140446, Nashville, TN 37214Please e-mail us at [email protected] or visit our WEB site at www.smithcreekmusic.com for ordering information.



Introduction

iii

These Class Piano Resource Materials were compiled for use in the secondary piano program at BelmontUniversity, Nashville, TN. Consequently, the content has been shaped to a large extent by the various degree

programs at that school and in particular, the Piano Prociency Examination. Every school/department of musichas some type of piano prociency evaluation that music majors must past in order to complete their degree

requirements. The various parts of the prociency examination are the basic piano skills: repertory, scales andarpeggios, chords, harmonizing melodies, improvisation, transposition, etc. Consequently, the Class Piano Resource Materials are designed to prepare the student to pass a piano prociency examination. Althoughintended for use in college classes, the materials are broad enough to be used in any class piano setting wherethere is a need for a graded series of books with a broad range of musical styles.

SCOPE OF THE MATERIALS The Class Piano Resource Materials are arranged in ve books by level of difculty: Preparatory Level (no

prior keyboard experience is assumed), Level One, Level Two, Level Three, and Level Four. Each level isorganized according to specic goals that are spelled out clearly at the beginning of the book. Theory skillsare not addressed in great detail because it is assumed that secondary piano classes are required in conjunctionwith the various theory classes such as Fundamentals of Music, Diatonic Harmony, etc. Detailed pedagogical

information is outside the scope of these Resource Materials because it is believed that the instructor will givethe necessary explanation of keyboard technique, theory, etc. Nevertheless, all the books in the various levelsare organized in a more or less increasing level of difculty if the instructor chooses to use them in that way.In addition, a suggested assignment schedule based on a 15-week semester is included in each level to aid theinstructor in preparing weekly lesson plans.

DESCRIPTION OF THE MATERIALS

In selecting the materials, specic composers and periods of music were a strong factor. Each level containsrepresentative repertory by classical composers such as Bach and Beethoven. Twentieth century classical musiccomposers such as Bartók, Persichetti and Schoenberg are included as well as representative pieces in variousstyles composed specically for these books by the author and colleagues. Each level includes music in a popular

style. These are not arrangements of popular tunes but are original compositions which appear here for the rsttime. It is hoped that the choice of repertory and other material will give the student a well-rounded musicalexperience and help develop keyboard and musicianship skills necessary for the professional musician.

INTEGRATION OF TECHNOLOGY

Each level (book) has an accompanying interactive computer application that been designed as an additionalresource, including links to a WEB site. The application runs on Apple Macintosh computers using system OSX10.2 and higher. Versions for Windows computers, IPads, etc. may be available in the future. Detailed informa-tion regarding the implementation of the computer software is available on the website:


COPYRIGHTS Every effort was made to contact the owners of copyrights for permission to make settings or use pieces. Ifmistakes have occurred, they will be corrected as soon as possible. Please email us at:

[email protected].

The author is grateful to the owners of copyrighted material who have granted permission to use their works.Where copyrighted material is used, a copyright notice appears at the bottom of the page.



Page

Introduction iii General Goals for Preparatory Level vi Class Notes vii Keyboard and Hand Orientation Chart 8 Notes on the Staff 9 Key Signatures and Scales 9 Note Spelling 1 10 Note Spelling 2 11 Rhythmic Equivalents 1 12 Rhythmic Equivalents 2 13 Meter and Time Signatures 14 Musical Terms 15 Add Bar Lines 1 16 Add Bar Lines 2 17 Add Bar Lines 3 18 Add Bar Lines 4 19 Key Signatures and Scales 1 20 Key Signatures and Scales 2 21

Getting Started 22

REPERTORY

Square One 23 Étudette No. 1: G Major 24 Étudette No. 2: F Major 25 Étudette No. 3: Staccato 26 Étudette No. 4: Contrary Motion 27 Étudette No. 5: Drop/Lift 28 Lightly Row 29 Little Dance 30

Ode to Joy 31 St. Flavian 32 My Lord, What a Morning 33 Imitation 34 Fughetta 35 Little Étude 36 Round Dance 37

Table of Contents

iv



v

Page

Romance (Secondo) 38 Romance (Primo) 39

Triads and Syncopations 40 Uncle Willie Gets Eccentric 41` Tex 42 Debbie's First Date Ends in Disaster 43

Primary Triads 44 Block-Chord Cadences 45 Procedures for Harmonizing Melodies 46 Melodies for Harmonization 48 Improvisation 52

Sight Reading 55

SCALES & EXERCISES

Explanation of Scale Groups and Characteristics 58 Group I Major Scales in Notation 59 Group I Minor Scales in Notation 60 Group I Major Scales (keyboard diagram) 61 Group I Minor Scales (keyboard diagram) 62 Scale, Triad and Exercise Practice Log 63

Arpeggios 64 Technique: Exercises 66

APPENDIXES

Appendix 1: Triads in a Scale; Inversions of Triads 72 Appendix 2: Melodic Phrases 77 Appendix 3: Melodic Cadences 78 Appendix 4: Non-Chord Tones 80

Weekly Assignment Schedule 82

Class Notes 85 Level Preparatory Assignment Chart 87

For more resources, please visit the WEB SITE at:




1. Become oriented to the keyboard:

-- demonstrate an understanding of proper sitting position and hand position -- play in the correct octave -- demonstrate an understanding of 5-nger hand positions

2. Play major and natural minor scales in Group I (those scales in which the thumbs play together) in a steady tempo and with correct ngering.

3. Play assigned repertory pieces with acceptable prociency. All repertory pieces in Preparatory Level consist mainly of ve-nger hand positions.

4. Play root position primary triads in the following keys:

-- Major: C F G -- Minor: am dm em

5. Play block-style cadences in the following keys:

-- Major: C F G -- Minor: am dm em

6. Harmonize simple melodies consisting mainly of 5-nger hand positions using block-style cadence chords.

7. Begin to develop concepts of improvisation by improvising simple melodies consisting of chordtones over chord progressions consisting of primary chords in major and minor keys through one

accidental.

8. Transpose simple pieces to various 5-nger hand positions.

9. Sight read simple pieces constructed in 5-nger hand positions.

10. Play simple 5-nger exercises.

11. Begin to develop concepts of style and musicianship and demonstrate these in the performance of assigned repertory:

-- expression -- articulation -- dynamics -- tempo

General Goals(Preparatory Level)

vi



Class Notes

vii



8

&

?

b

b

c

cF

œ5 œ ˙

œ1 œ ˙

œ œ ˙

œ œ ˙

œ œ œ œ

œ œ œ œ

œ œ ˙

œ œ ˙

Keyboard and Hand Orientation

BASIC FINGERING CONCEPTS.

1 1

2

3

4

5

2

3

4

5

C D E F G A B C D E G G A B C

C# D

# F

# G

# A

# C

# D

# F

# G

# A

#Db E

b G

b A

b B

b D

b E

b G

b A

b B

b

Another important concept in ngering is the 5-FINGER HAND POSITION. If you place your right hand

thumb on MIDDLE C and then have a nger for every note C - G, that's a "C 5-nger hand position." If you place your left hand little nger on G and have a nger for every note G - D then that's a "G 5-nger hand position." Any group of 5 adjacent diatonic notes is a "5-nger hand position" with the lowest note giving thehand position its name.

Almost without exception, all pieces in this Preparatory Level Book are in 5-nger hand positions. If you donot understand this concept, ask your instructor for a demonstration.

3

4

2

3 24

1 2 3 4

5

5 4 3 21

Piano music often has the ngering printed above or below individual notes, as in the following example:



9

&

?

b

b

#

#œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œœ œ œ œ

œ œ œ œ

œ œ œ œ


œ œ œ œ

œ œ œ œ

œ œ œ œ

&

?

b b

b b

# #

# #

b b b

b b b

œ œ œ œ

œ œ œ œ

œ œ œ œ


œ œ œ œ

œ œ œ œ


œ œ œ œ

œ œ œ œ

œ œ œ œ

&?

# # ## # #

b b b bb b b b

# # # ## # # #


œ œ œ œœ œ œ œ œ œ œ œ

œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ

œ œ œ œœ œ œ œœ œ œ œ

Notes on the Staff

Key Signatures and Scales

A-at major or F minor

C major or A minor F major or D minor G major or E minor

B-at major or G minor D major or B minor E-at major or C minor

A major or F-sharp minor E major or C-sharp minor

Notes on the staff (from bottom to top):

&?

wwwww

wwwww

wwwww

ww

wwww

b df a c e g



10

Write the letter name under each note:

Note Spelling 1

& w w w w w w w w w w w w


? w

w w w

w w

w w w w w w

? w w w w w w w w w w w w


& w w ww w w w w w w w w

? w w w w w w w ww w

w w





11

? w w w w w

w w w w w

w w? w w w w w w w w w w w w

& w

w w

w w

w w w

w w w

w& w w w w w w w w w w w w

? w w w w w w w w ww w w





Write the letter name under each note:

Note Spelling 2



12

x x x x

q q q qe e e e e e x x x x x x x x x x x x

Rhythmic Equivalents 1

e

1/1 = 16/16 1/1 = 8/8 1/1 = 4/4 1/1 = 2/2

1/2 = 8/16 1/2 = 4/8 1/2 = 2/4 1/1 = 2/2

1/4 = 4/16 1/4 = 2/8

1/8 = 2/16

Whole Note

Half Noteh hQuarter Note

Eighth Note

Sixteenth Note

Identify these note values:

qw

x e

How many eighth notes in the following:

q w hHow many sixteenth notes in the following:

q w e

e

w



13

Rhythmic Equivalents 2

How many q in the following examples:

h h q q wq q q w h

w h q q w h h w wq q q h h h

w w w w

q q e e h w

q e q e h h

h q q h wq q h w

e e q h w

w h q e q

How many e in the following examples:

How many x in the following examples:

h q e e h w

x x q e e h wx x e e h w

q q e e h q

q e e e h qq q e e h w



14

Meter and Time Signatures

If the bottom number of the time signature is a "4" then a quarter (1/4) note gets ONE beat.

If the bottom number of the time signature is a "2" then a half (1/2) note gets ONE beat.

If the bottom number of the time signature is an "8" then an eight (1/8) note gets ONE beat.

˙ œ œ œ œ œ œ œ œ œ œ24 1 2 1 2 1 2 1 2

˙

jœ œ . œ œ œ œ œ œ œ œ œ œ œ58

1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

24

2 beats in each measure

q gets one beat

44


q gets one beat

58


e gets one beat

24


q gets one beat68


e gets one beat 22


h gets one beat

e = eighth (1/8) note q = quarter (1/4) note h = half (1/2) note

4 Top number = how many beats in each measure

4 Bottom number = what kind of note gets one (1) beat

44

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

w ˙ ˙ ˙ œ œ œ œ œ œ ˙



15

A TIE is a curved line that connects two notes of the same pitch. "Connect" means that the tie joins the tworhythmic values together into one rhythmic value. For example:

A curved line that connects two or more notes of different pitches is called a SLUR . A slur over or under agroup of notes does not change the rhythmic value but merely means to play smoothly (legato).

Ties and Slurs

Dynamics

Any dotted note is the rhythmic equivalentof 3 of the next lower note value:

pp pianissimo = very soft

p piano = soft

P mezzo piano = medium softF mezzo forte = medium loud

f forte = loud

ƒ fortissimo = very loud

See www.classpiano.org/dynamics

Dotted Notes

Symbols for playing at various degrees of loudnesshave been derived from Italian terms:

˙

˙

The 2nd E is not played again (articulated) but held through the duration of the note.

q q qh h h

e e e x x x

wh

qe x

.

.

.

=

=

=

=

= x K

x K

x K

Musical Terms

˙

˙

.

.



16

Add bar lines and counting to the following examples. All examples start on 1:

Add Bar Lines 1

& 44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙

& œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙


& b 43 ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ œ œ œ ˙ . ˙ œ

& b ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ . ˙ .

& # 86 œ . œ . œ œ œ œ œ œ œ . œ . œ œ œ œ œ œ& # œ . œ . œ œ œ œ œ œ œ œ œ œ œ œ ˙ .

& # # 22 ˙ ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ œ ˙

& # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

& # # ˙ ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ œ ˙



17


Add Bar Lines 2

& b b 44 œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ& b b œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙

&

# # 4

2œ œ œ œ œ œ œ œ œ

˙

œ œ œ œ œ œ œ œ œ ˙

& # # œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙

& # # # 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

& # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .˙

& # # # # 22 ˙ ˙ .˙ œ œ œ œ œ w œ œ œ œ œ œ œ œ& # # # # œ œ œ œ œ œ œ œ ˙ ˙ w œ œ œ œ w



18


Add Bar Lines 3

& # 42 œ œ œ œ œ œ œ œ œ œ œ œ

& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& # œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ

& # # 43 œ œ œ ˙ œ œ œ œ .˙ œ œ œ œ œ œ

& # # œ œ œ œ œ œ œ œ œ .˙ œ œ œ œ .˙

& # 86 œ œ œ œ œ œ œ œ œ œ Jœ œ œ œ œ œ œ œ œ œ œ ‰

& 44 .œ jœ œ œ œ œ œ ˙ .œ jœ œ œ ˙ ˙

& œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙

& .œ j

œ œ œ

œ œ

œ ˙

.œ

j

œ œ œ ˙ ˙



20

Key Signatures and Scales 1

& ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

&

&

&

&

&

&

&

D Major

G Major

F Major

B-at Major

D-at Major

G-at Major

B Major

A Major

Add the key signatures for each of the following examples and then write out the scales using quarter notesascending and descending for one octave. The rst one has been done for you:



21

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

&

&

&

&

&

&

&

Add the key signatures for each of the following examples and then write out the scales using quarter notesascending and descending for one octave. The rst one has been done for you:

Key Signatures and Scales 2

D Minor

E Minor

BMinor

B-at Minor

E-at Minor

F Minor

C Minor

F# Minor



22

Left hand notes

Right hand notes:

4 beats in each measureQ = 1 beat

C D E F G A B C D E F G A B C

C D E F G A B C D E F G A B C

Getting Started

&?

4444

˙ œ œ∑

˙ œ œ∑

˙˙

∑

w∑

&?

∑

˙ œ œ

∑

˙ œ œ∑

˙˙

∑

w

44



23

Slow, count out loud WDL

Square One

Music © 2001 by Smith Creek Music, Nashville, TN 37214. All rights reserved. www.smithcreekmusic.com

&

?

44

44 f1

w w ˙ ˙ w

5

w w

&?

7

˙ ˙ w5œ œ œ œ ˙ ˙ w w

&?

13

1œ œ œ œ ˙ ˙ w w1

˙ ˙ ˙ ˙

&

?

19

5

˙ ˙ ˙ ˙

5

˙ ˙

1

˙ ˙

˙ ˙

˙ ˙

˙

˙

˙˙

ww



24

&

?

#

#

43

43

œf

1

œ œ

∑

˙ œ

∑

œ ˙

∑

.˙

∑

∑

œf5 œ œ

&

?

#

#

6

∑

˙ œ

∑

œ ˙

∑

.˙

œ

π

5 œ œ

œ5 œ œ

˙ œ˙ œ

&

?

#

#

11 œ œ œ

œ œ œ

.˙

.˙

∑

œcresc.

4

œ œ

œ2

œ œ

∑

∑

œ3

œ œ

&

?

#

#

16 œ3 œ œ

∑

œf

5 œ œœ1 œ œ

˙ œ

˙ œ.˙

.˙

WDL Moderato

Étudette No. 1: G Major


This piece is written in which hand position? _______ Are both hands in the same position? _____

Étude means: _____________________________________________________________________

Moderato means: ______________________ What is a good Moderato tempo: ______________

cresc. is an abbreviation for ___________________ and means ____________________________f is an abbreviation for __________________ and means _______________________________

π is an abbreviation for __________________ and means ______________________________



25

&

?

b

b

43

43 f

.˙1

.˙5

˙4 œ .˙

.˙5.˙1

&

?

b

b

7

˙2 œ .˙ p

œ4 œ œ ˙ œ .˙ .˙

&

?

b

b

13

œ2

œ œ ˙ œ .˙ .˙

f.˙

.˙

˙ œ

˙ œ

&

?

b

b

19 .˙

.˙

˙ œ

˙ œœ œ œœ

œ œ

œ œ œœ œ

œ

ƒ.˙

.˙

.˙

.˙

Andante WDL

Étudette No. 2: F Major



Andante means: _________________________What is a good Andante tempo: ______________

Draw the symbol which means get louder:ƒ is an abbreviation for __________________ and means ______________________________p is an abbreviation for __________________ and means _______________________________



26

Fast WDL

Étudette No. 3: Staccato


&

?

# #

# #

22

22

œ.f

5

œ. œ. œ.

∑

œ. œ. œ. œ.

∑

œ.

œ.

œ.

œ.

∑

˙ ˙

∑

&

?

# #

# #

5

∑

œ.1

f œ. œ. œ.

∑

œ. œ. œ. œ.

∑

œ. œ. œ. œ.

∑

˙ ˙

&

?

# #

# #

9 œ..p5

œ.. œ.. œ..

œ..1

œ.. œ.. œ..

œ.. œ.. œ.. œ..

œ.. œ.. œ.. œ..

œ.. œ.. œ.. œ..

œ.. œ.. œ.. œ..

. .

˙. ˙.

&

?

# #

# #

13 œ. œ. œ. œ.œ. œ.

œ.

œ.

œ. œ. œ. œ.œ. œ.

œ.

œ.

œ. œ. œ. œ.˙ ˙

˙

f˙

˙ ˙


A "dot" under or over a note is called __________________ and means to play the note _________

What key is this piece in? ___________________

How many beats in each measure? _______ What kind of note will get one beat? _____________

Try to think of a reason why a piece would be in 2/2 time instead of 4/4 time.



27

Étudette No. 4: Contrary Motion Allegro

WDL


What does "contrary motion" mean? _________________________________________________What is the opposite of contrary motion: _______________________________________________

What does a dot after a note mean? ___________________________________________________

A curved line under or over a group of notes is called a ________________ and means play the

group of notes _________________________

What key is this piece in? ________ What does this symbol mean: U _____________________

Try to think of how you would describe the difference in sound of MAJOR keys and MINOR keys.

&?

b

b44

44f œ1. œ. .œ

j

œ∑

œ œ œ œ œ œ œ∑

∑

œ1. œ. .œ Jœ

∑

œ œ œ œ œ œ œ

&

?

b

bp

5

œ. œ. .œ jœ

œ. œ. .œ Jœ


œ œ œ œ œ œ œf

œ. œ. .œ jœ

œ. œ. .œ Jœ



&

?

b

b

p

9

œ3

œ œ œ œ œ œ

∑

f∑

œ1 œ œ œ œ pœ3

œ œ œ œ œ œ

∑

f∑

œ5 œ œ œ œ

&

?

b

bp

13

˙ ˙

˙ ˙

œ. œ. œ. œ.

œ. œ. œ. œ. f rit.

œ œ .˙

U

.œ Jœ œ œ œ#ww U



28

You decide! WDL

Étudette No. 5: Drop-Lift

drop lift drop lift drop lift drop lift drop (get ready ..... ) lift!

drop lift drop lift drop lift drop lift drop (get ready ..... ) lift!

What hand position is this piece in ? ___________ Why? _________________________________

Does 'stacatto' mean "play as short as possible?" __________ If not, what exactly does it mean ?

________________________________________________________________________________

The "Drop-Lift" movement is one of the most important expressive gesture in playing the piano.

There are similar gestures in other instruments such as the violin (changing the direction of the bow)

and singing (taking a breath).

When you LIFT, what part of the arm begins the lift: (nger, hand, forearm, elbow: ____________.

Try starting the second line π and then make a BIG crescendo so that you end ƒ.Try playing the piece in MINOR.

Try transposing the piece to G major and then F major.

What would it sound like if you played the right hand in one key and left hand in another key? Go

ahead and try that out -- just for fun!


&

?

c

c œ œ

œ œ

œ œ œ œ

œ œ

˙

œ œ ˙œ œ œ

œ œ œ

˙ ˙wœ œ œ œ

&

?

5 œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ˙

œ. Œ

œ œ œ. Œ



29

Allegro Folk Songarr. WDL

Lightly Row

In this étude you will bring together everything from the previous 4 pieces: F major, staccato, drop/

lift, and contrary motion. Be sure to play the slurred groups like you learned in the previous piece

(Étude: Drop-Lift) and remember, before you DROP, you have to LIFT. Are repeated notes usually

played legato or staccato? _________________________ Why?


&?

b

b

c

cF

œ5 œ ˙

œ1 œ ˙

œ œ

˙

œ œ ˙ œ œ œ œ

œ œ œ œ

œ œ ˙

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wBe careful, these last 2 measures are different.



30

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Béla Bartók, 1925 Allegro

Little Dance

To play this piece successfully, you have to use the drop-lift technique you've been practicing.

What is the 'dash' character called in measure 4: _______________

What does it mean? ________________________________________________________________

What key is this piece in? ________ Does the key that the piece SOUNDS like it is in, match the

actual key signature?

Do some research on Béla Bartók. For example, what were his "dates" (when was he born, and when

did he die)? What country was he originally from? Is he considered to have been a 'great' classical

music composer? Why?

From First Term at the Piano, No. 8. Long and Short. Budapest, 1913



31

AllegrettoL. van Beethoven, 1824

arr. WDL

Ode to Joy


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Is Beethoven considered to have been a "great" composer? _______ Why do think that is?

Do some research to discover Beethoven's dates and where he lived most of his life.

The rhythmic ACCENT at the end of line 3 is called a _________________________. What is that

exactly?_________________________________________________________________________



33

SlowAfro-American Spiritual

arr. WDL

My Lord, What a Morning


A "spiritual" is a folk song. This piece is based on the structure of the CADENCE Chords for the keyof F major. Please see the Cadence section toward the end of this book.

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34

Béla Bartók, 1925q = 96

Imitation

This piece by Bartók is called "Imitation" because the left hand IMITATES the right hand. It's not anEXACT imitation, but the motion (direction) of the left hand is SIMILAR to the right hand.

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From First Term at the Piano, No. 4. Conversation. Budapest, 1913



35

Not too fast Anonymous

arr. WDL

Fughetta


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A "fughetta" is a small fugue. A "fugue" is an imitative composition similar to the Bartók piece onthe previous page -- just much longer and with many different sections. One of the most famouscomposers of fugues was J. S. Bach (1685-1750). The two volumes of his "Well-Tempered Clavier"

is one of the most important collections in classical music and contains many fugues.



36

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Béla Bartók, 1925 Andante

Little Étude

There are several occasions to use "drop-lift" in this piece. Can you nd them?

An interesting rhythmic gure is used at the end of the 3rd line and into the last line, What is it?

From First Term at the Piano, No. 10. Folk Melody. Budapest, 1913



37

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Fast WDL

Round Dance


(drop-lift) (drop-lift)(drop-lift)

(drop-lift)

"Changing meter" is a common technique in classical music of the 20th century. To get the piece to"ow" smoothly, you have to keep the eighth note constant, so it helps to practice counting the pieceall the way through without playing or clapping. Then, try counting and clapping the right hand andleft hand parts separately.



40

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Triads and Syncopations


Hold the 'd' and 'g' downwhen you play the last chord.



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WDL Fast

Uncle Willie Gets Eccentric


Play any chord you wish with both handsand then hold it until the sound dies away.

This piece has a little of everything! Notice that the right hand and left hand have different keysignatures. This may seem really weird, but Bartók wrote a piece for piano in 1908 that had differentkey signatures for each hand ( Fourteen Bagatelles). Other composers throughout the 20th centuryalso experimented with this idea.

In this piece, the RIGHT HAND plays on all BLACK NOTES, and the LEFT HAND plays on allWHITE NOTES. Also the hands move in contrary motion, so it should feel easier than it looks.

For the last measure, you can play ANY CHORD YOU WISH as long as it is π-- and you can holdit until you hear the sound die away. Is there SYNCOPATION in this piece? If so, where is it?



43

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Debbie's First Date Ends in Disaster




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a minor

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Primary Triads

*The V chord in a minor key is often MAJOR, particularly in classical music. This results from the use of the HARMONIC minor scalewhich has a raised 7th degree.

Right hand ngering: 1 3 5

Left hand ngering: 5 3 1 Use this ngering on all root position triads.

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Block-Chord Cadences"Block-chord" means all chords are voiced with 3 notes in each hand and each chord is identied by itsRoman Numeral, not by its inversion. The following are "block-chord" style cadences. Here, "cadence" means

a succession of chords (such as I-IV-I-V7-I) and does not refer to what happens at the end of a phrase asdescribed in Appendix II.

* The V7 chord in a minor key will have an accidental, implying a harmonic minor scale in which the 7th scale degree is raised a half

I V I V7 I i iv i V7* i

a minor

G Major

F Major d minor

e minor

C Major





46

Procedures for Harmonizing Melodies

In the above melody segment, make the following observations:

- The HARMONIC RHYTHM is a half note (see below).

- The rst measure outlines the I chord. Also, it's a good idea to always start with the I chord.

- The rst two beats of the second measure outlines part of the IV chord.

- The "G" on beat three is not in the IV chord but IS in the I chord or the V7 chord . If you use the I chordyou can go to either I or V7 for the next chord (beat 1, measure 3). However, if you use the V7 chord,you HAVE to also use the V7 chord for the 1st beat of measure 3 (see rule # 3 above). Probably it's best

to use the I chord.

- The rst two notes of measure three are both contained in the V7 chord, so that is a logical choice.However, the "f" on beat one is also in the IV chord so that would work too. If you use the IV chord on

beat 1 then the "G" on the "and" of beat 2 becomes an "escape" tone and THAT'S OK even though it'snot in the IV chord. See: Appendix IV: Non-Chord Tones.

1. Memorize the appropriate cadence and be able to play it in the key of the melody.

2. For now, always harmonize the second degree of the scale (major or minor key) with a V7 chord.

3. In most cases, the rst and last chord of the melody will always be a I (i) chord.

4. If possible, avoid V7 - IV. This is not ALWAYS possible, but generally try to avoid it. 5. Ask yourself these questions:

a. Is the melody note I'm trying to harmonize in the chord I'm trying to use? If it isn't then it probablywon't work. (See: Appendix IV: Non-Chord Tones.)

b. Does the shape of the melody suggest a specic chord? If the melody outlines a specic triad or

seventh chord then that is a good indication for the chord that should be used.

6. Write in the symbols for the chords you intend to play. For now, only use the chord voicings of thecadences you practiced on the previous page.

I IV I or V

7

IV or V

7

I V

7

II

Indicates HARMONIC RHYTHM

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47

- The rst beat of measure four is the second degree of the scale. Therefore, it is automaticallyharmonized by the V7 chord (rule #2 above). The last note of measure four is in the I chord and it'sgenerally a good idea to harmonize the nal note of a melody with the I chord.

IN GENERAL:

- You may harmonize each melody note one at a time, or . . . - You may harmonize the melody using a strict "harmonic rhythm." See the above example.

HARMONIC RHYTHM means:

"A rhythmically strict progression of chords." In the above example the harmonic rhythm is a halfnote (one chord every two beats). The harmonic rhythm may be anything that sounds good. However,the best harmonic rhythm depends upon such factors as tempo, style, e tc. A typical harmonic rhythmwould be either one or two chords per measure. Also, tempo affects decisions regarding the harmonic

rhythm. Generally, if the tempo is fast then use a slower harmonic rhythm. If the tempo is slow thenuse a faster harmonic rhythm.

Here's a harmonized version of the melody on the previous page written out as you might play it using thecadence chords:

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44.

œ

jœ œ œ˙˙˙

˙˙˙

œ œ œ ˙

˙˙˙

˙˙˙

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˙˙

˙˙˙

˙ ˙

˙˙

˙

˙˙˙

. . . or,

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˙ ˙

œ œ œ ˙

˙ ˙

.œ jœ œ œ˙˙˙

˙

˙ ˙

˙˙˙

˙

The only difference between the two harmonizations is the choice of chords for measure three. Either version is OK.



48

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Melodies for HarmonizationTWINKLEFolk Song

WDL

FOLK SONG

ABERYSTWYTHJoseph Perry, 1879

THIS OLD MANAmerican Folk Song

1

2

3

4

5

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h

q

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Indicates

HARMONIC RHYTHM



49

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WDL

LIGHTLY ROWFolk Song

LOW DUTCHBay Psalm Book, 1698 edition

HAMBURGLowell Mason, 1824

WDL

10

6

8

9

7

h

Harmonize each melody note.

h

Harmonize each melody note.

h.



51

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'ROUND THE MOUNTAIN

REAPER'S SONGRobert Schumann

AMAZING GRACE

BLUE SKY

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Be creative.



52

ImprovisationThe goal for improvisational skills in Secondary Piano is to improvise simple melodies over a given chord

progression. At the Preparatory Level the materials consist of:

1. Primary chords in major and minor keys through one accidental. 2. Improvised melodies should consist entirely of chord tones. 3. Improvised melodies should make use of a RHYTHMIC MOTIVE. 4. The chord progression will be a consistent HARMONIC RHYTHM (for example, 1 or 2 chords

per measure).

Improvisation involves spontaneously making up a melody over a given chord progression. The chord voicingsrequired in Preparatory Level piano will be the same as those found in the bock-chord cadences earlier in this

book. Before you can begin to improvise, it is necessary to understand the difference between melodic chordtones and non-chord tones. CHORD TONES are melody notes which also appear in the accompanying chord.

NON-CHORD TONES (sometimes called NON-HARMONIC TONES) are melody notes which do not appear inthe accompanying chord. See Appendix IV for a detailed explanation of non-chord tones. All the improvisation

examples in the Preparatory Level will involve improvising melodies consisting of CHORD TONES only.

Consider the following example:

In the above example all melody notes are contained in the chords which harmonize them (they are "chord-tones"). The "G's" in measure 4 and measure 7 may seem to be non-chord tones because they do not appear inthe accompanying chord. However, actually they do. The V7 chord in the key of F major is spelled C-E-G-Bb.Sometimes the 5th of a 7th chord is omitted and that is the case for the V7 voicing used in all the block-chordcadences. If you have not covered that concept in your theory class yet, you may want to ask your theoryinstructor about it.

Notice how the rhythm for the melody is the same in each measure except for the whole notes in measures 4and 8. This repetitive rhythm is called a "rhythm motive." A MOTIVE is a short melodic and/or rhythmic ideaused as a constructional element to build up a larger section or an entire composition. [Consider a brick wall.A single brick is a "motive" and the wall is constructed by using the "brick motive" over and over again untilan entire wall is built.]

The short example above is a complete melody which consists of TWO musical PHRASES. The PHRASESare set apart by the whole notes in measures 4 and 8 and these POINTS OF REST within the melody are calledCADENCES. It is often easy to nd the CADENCE POINTS in any melody -- just look for the longest notevalues, particularly if they occur in groups of 4 or 8 measures. FOUR-MEASURE PHRASES are common in

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53

Play the following example using the rhythmic motive in measure 1. Be sure to play a "long note" (whole note)

in measures 4 and 8, and be sure to end on the tonic note in measure 8.

When you feel comfortable playing the example above in the written key of F major, try playing it in the keysof C major and G major.

all styles of western music and often the cadence point will have the LONGEST NOTE of the phrase. [For moreon PHRASES and CADENCES, see: APPENDIX 2: MELODIC PHRASES and Appendix 3: Cadences.]You can make your improvised melodies sound like REAL MELODIES if you structure them like REALMELODIES:

1. Use a simple rhythmic motive. 2. Use LONG NOTES (whole notes, dotted half notes, etc.) at the cadence points. 3. Always end with the tonic note (1st degree of the scale). The majority of successful melodies in Western music end on the tonic note. "Successful melodies" are those melodies which have

been IN USE for a long period of time, for example, 50 years, 100 years, etc. Look through the melodies in the Harmonized Melodies section of this book and you will discover that they

ALL end on the tonic note.

The goal for Preparatory Level Piano is to be able to improvise chord tones melodies over a given chord progression. Improvise a melody consisting only of chord tomes for the following melody. The rst measurehas been done for you and you should use this MOTIVE in each measure throughout the example except at thecadence points where you see the whole notes. Please use these procedures:

1. Begin by "patting" the rhythmic MOTIVE of the 1st measure with the right hand while you play the written chords with the left. 2. When you feel comfortable with the coordination of doing this, then try actually playing chord tones with the right hand instead of just patting the rhythm. BUT, keep the rhythmic motive constant. 3. Only use chord tones (the notes you play in the right hand should always be contained in the chord

you are playing in the left hand). You might try just outlining the chords, as in the 1st measure. 4. Keep the overall range of your improvisation within an octave or less. 5. Notice how the last note for this example is an "F" -- the TONIC note. It's always a good idea to end your improvisation on the TONIC note

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Improvise the following example using the rhythmic motive in measure 1. Be sure to use a "long note" (wholenote) at the cadence points. Repeat in the keys of D minor and E minor.

Improvise the following example using the rhythmic motive in measure 1. Be sure to use a "long note" (wholenote) at the cadence points. Repeat in the keys of E minor and A minor.

Improvise a melody over the following chord progression in C Major, F Major and G Major. Use the voicingsfrom the block-chord cadences. Give each chord 2 beats and use long notes at the cadence points. This is a2-PHRASE chord progression. Try it again giving each chord 3 beats.

I I IV IV I I V7 V7 (this is the 1st phrase)

I I IV IV I V7 I I (this is the 2nd phrase)

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i i iv iv i i V7 V7 (this is the 1st phrase)i i iv iv i V7 i i (this is the 2nd phrase)

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All scale ngerings can be divided into 3 groups according to their ngering patterns. Each group has its ownspecial characteristics and it is helpful to know the characteristics of a scale group before you try to play them.

Only Group I Scales are covered here -- the other groups will be presented in later volumes of this series.

Here are some general statements about all scale ngerings:

1. In any scale (major or minor), the 4th nger in each hand only plays ONCE per octave.Consequently, the 4th nger always plays the SAME note. One way to think about

scale ngerings is simply to memorize the 4th nger note of each scale. Then everything else is just 1-2-3, 1-2-3, etc.

2. Fingering in scales is CONSECUTIVE, that is -- don't skip ngers. This is a commonmistake, particularly skipping the 2nd nger after playing the thumb.

Here are the specic characteristic for Group I scales:

Group I Scales: Those scales in which the thumbs always play together. Sometimes called the "black-key-scales" because in most of the scales, all the black keys are played most of the time.

MAJOR KEYS (thumb notes) MINOR KEYS (thumb notes)

D-Flat F & C b-at C & F G-Flat C-at & F e-at F & C-at B B & E b B & E F F & C f F & C

Here are the characteristics of this scale group which may help to play these scales learningthe correct ngering:

1. The thumbs of each hand always play together. In addition, each scale in this grouphas 2 thumb notes (see the above chart). The thumbs always play on the white

notes — never on black notes.

2. For all the scales in this group, the 2nd and 3rd ngers of each hand play on OR NEAR the group of 2 black notes. The 2nd, 3rd, & 4th ngers of each hand play on OR NEAR the group of 3 black notes.

A common ngering mistake in Group I scales: always crossing over with the 4th nger. In Group I scales,the 4TH FINGER plays ON or NEAR a group of THREE BLACK KEYS and does not play on the group of2 black keys.

For this level, scales are presented both in traditional notation and graphic representation.

Scales



61

D b Major Thumb notes: C & F

F Major Thumb notes: C & F

B Major Thumb notes: B & E

All scales should be played from memory, 2 octaves ascending and descending in a steady tempo and with correct

ngering. Here is a GRAPHIC MAP of the shape of the scales. It will be helpful to see how the thumb notes(white notes) look in relation to the black notes. You can also see the scales written in traditional NOTATIONin the preceding pages.

G b Major Thumb notes: C b & F

Group I Major Scales



62

B b

Minor Thumb notes: C & F

B Minor Thumb notes: B & E

F Minor Thumb notes: C & F

E b Minor Thumb notes: C b & F

Group I Minor Scales



63

SCALES

D-flat

G-flat

B

F

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e-flat min

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f min

Exercise #1

Exercise #2

TRIADS

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EXERCISES

Exercise #3

Group I Scales:

Major Minor Thumb Notes

D-at b-at F & CG-at e-at C-at & FB b B & E

F f F & C

Scale, Triad and ExercisePractice Log

Week:

1 2 3 4 5 6 7 8 9 10 11 14 1512 13 16 17 18 19 20



64

G Major

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You should use the ngering your instructor recommends. However, below is outlined a commonly used setof arpeggio ngering.

As with scales, arpeggios can be grouped according to specic ngering patterns. However, the groups of scalesand arpeggios are not the same event thought there are coincidently three groups of arpeggio ngering.

GROUP I (ngered like C Major): Right hand: 1 2 3 1 2 3 5 Left hand: 5 4 2 1 4 2 1

* Be sure to use the 4th nger in the left hand.



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E hand position F hand position

G hand position A hand position

B hand position C hand position

D hand positionC hand position

Exercise #3 Ascending



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F hand position

C hand position B hand position

A hand position

C hand positionD hand position

E hand position

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Inversions of primary triads: C Major

R 1st 2nd 3rd R 1st 2nd 3rd R 1st 2nd 3rd R 1st 2nd 3rd

Inversions of primary triads: A minor

Appendix 1: Triads in a Scale; Inversions of Triads

i iv i V

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I iiº III+ iv V VI viiº I


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Root position triads: F Major

Appendix 1: Triads/inversions cont'd

Inversions of primary triads: F Major

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Root position triads: G Major


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Inversions of primary triads: E minor





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Inversions of primary triads: B minor





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77

* Denition based on Douglass Green's, Form in Tonal Music, 3rd edition, Harcourt Brace Jovanovich College Publisher, 1979.

Appendix 2: Melodic Phrases

Here is a common denition of PHRASE:

A phrase is the SHORTest passage of music expressing a COMPLETE MUSICAL THOUGHT and ending ina CADENCE.*

There are three key points to this denition: (1) short, (2) complete musical thought, and (3) cadence. Hopefully,"short" will not need extensive elaboration. However, a common error in determining a phrase is getting itTOO short. More on this later.

COMPLETE MUSICAL THOUGHT means an instance of tension / relaxation. This duality is the basis of

"complete musical thought" and is related to the same kind of duality present in classical poetic meters. In theabove example, each phrase can easily be divided into its respective tension / relaxation (i.e., each phrase = 4meas.; tension = 2 meas., relaxation = 2 meas.; half notes indicate points of division). Not all melodies arethis obvious. However, a great number of successful melodies do consist of combinations of 4 or 8 measure

phrases. With this explanation of "complete musical thought" in mind, examine the above melody again. Itis easy to understand why some might make the mistake of dening the phrases in this melody as consistingof 2 measures instead of 4 measures. However, after playing or singing this example the tension / relaxationscenario should become apparent. This particular melody has three phrases and in that regard is not as commonas many melodies which have 2 or 4 phrases.

In the above denition, "cadence" does not mean what it meant in an earlier section of this book -- a simple progression of block chords. Instead, CADENCE here means a point of relaxation of the tension at the end ofthe phrase. There are specic kinds of cadences and all phrases end with one of these specic cadences (see

Appendix 3).Analyze the melodies in the Melodies for Harmonization section of this book to determine their phraseconstruction. In addition to nding tension / relaxation, you might look for these often obvious characteristicsof phrase construction:

•. Sometimes the CADENCE POINT is the longest note value of the phrase. See examples #7, p. 40;#37, p. 47.

• Often phrases consist of 4 or 8 measures (depending on the tempo), as in the example above.

Melodies are comprised of PHRASES. For example, the following melody consists of three phrases:

The material presented here is intended to supplement the harmonized melody and improvisation examples."Melodic phrase" refers to the phrase construction found in simple common melodies such as popular music,folk tunes, hymn tunes and chorales. Although this material may apply to phrase construction found in largerclassical music literature, generally the melodic phrase construction of art music is more complex and is beyond

the scope of these materials.

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78

Appendix 3: Melodic CadencesAs mentioned in Appendix 2, melodic phrases end with a cadence. In this sense, "cadence" refers to what happens at theend of a phrase and has nothing to do with the "block-chord" cadences (chord progressions) that you are required to learn

in order to harmonize melodies and improvise. Here, CADENCE is a "point of rest" at the end of a phrase.

There are only TWO categories of cadences: (1) conclusive, and (2) inconclusive. All types of cadences fall into these twocategories. A CONCLUSIVE CADENCE is a cadence on the I chord and an INCONCLUSIVE CADENCE is a cadenceon a chord other than the I chord, for example the V chord.

Regarding CONCLUSIVE CADENCES, there are 2 types: (a) authentic, and (b) plagal. An AUTHENTIC CADENCEconsists of 2 chords where the PENULTIMATE (next-to-last) chord contains a leading tone. Consequently, the mosttypical kind of AUTHENTIC CADENCE is V or V7 moving to I. In a PLAGAL CADENCE, the penultimate chord doesnot have a leading tone. The most typical kind of PLAGAL CADENCE is IV moving to the I chord. In an AUTHENTICCADENCE, if the I chord is in root position and the tonic is in the melody (top most voice), then it is known as a "perfectauthentic cadence."

INCONCLUSIVE CADENCES are not divided into types like conclusive cadences. There is only one type of inconclusivecadence -- those that cadence on a chord other than the I chord, for example the V chord. Another name for the inconclusivecadence is HALF CADENCE. It is important to know that a cadence on V is not the denition of "half cadence" but merelyan EXAMPLE of a half cadence. Other half cadences could be cadences on IV ("Auld Lang Syne"), cadences on III ("I'vebeen working on the rail road"), and cadences on vi (deceptive cadence). There is no such thing as a "perfect half cadence."PERFECT when applied to a cadence only refers to an authentic cadence.

To successfully harmonize a melody, it is important to have a step-by-step procedure rather than just willy-nilly stickingin chords. Here is a practical procedure for harmonizing a melody. If you use this you will have consistent success:

1. Identify the phrases. Often phrases can be identied by counting 4 or 8 measures (the majority of common melodiesin the western tradition have phrases constructed of 4 or 8 measures), looking for the longest note value (often the cadencepoint at the end of a phrase is the longest note value of the phrase), or by looking for some aspect of tension and relaxation(question/answer). See the melody below for reference.

2. Harmonize the CADENCE POINTS frst. The cadence point is the 2nd chord of the two-chord progression of thecadence, for example V7 - I. The V7 chord is the "penultimate chord" and the I chord is the "cadence point." Generally,there are only two possibilities to harmonize the cadence point: I or V. Remember (from above), there are ONLY TWOcategories of cadences: conclusive and non conclusive. So, once you identify the cadence points at the ends of the variousphrases it should be relatively easy to determine if the cadence points are I or V. If the cadence point is a V, then it is betterto cadence on V rather than V7 (although for Level I piano, the V chord voicing is not presented so it is OK to cadence onV7 rather than V).

3. Next, harmonize the PENULTIMATE CHORD -- that is, the chord right before the cadence point. If the cadencepoint is the I chord, then you have two possibilities: (a) V7 - I, or (b) IV - I. In the rst case that would be an authenticcadence and in the second case it would be a plagal cadence. It most cases it simply doesn't matter which possibility youuse. If the cadence point is not a I chord (it's going to be an inconclusive cadence), then your 1st choice should be the Vchord since BY FAR this is the most common inconclusive (half) cadence. Yes, there are rare example where a IV chordor a III chord would work, but your BEST CHOICE would simply be to use the V chord. Do not cadence on a ii chord. Ifyou feel the chord HAS to be the ii chord, then chances are you are trying to harmonize the "tension" part of the phrase(as in, tension/relaxation) and you have not really found the true cadence point of the phrase.

4. Harmonize the rest of the melody. Now that you have the cadences at the ends of the phrases harmonized, goahead and harmonize the rest of the melody using the suggested harmonic rhythm. From here on out, the harmonizationprocedure will be relative straight forward: if the melody note is in the chord you are trying to use, then IT WILL WORK.There are some simple guidelines to use: (a) often the melody notes will outline specic chords and this will be a good



79

& # 43 œ œ œ œ ˙ œ œ œ . Jœ œ ˙ œ œ œ . jœ œ œ œ œ ˙ .

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clue as to what chord to use, (b) it's OK to use the same chord consecutively -- you don't have to change chords on everyinstances of the harmonic rhythm, (c) V7-I used within the phrase works best when the I chord is on a strong beat and theV7 chord is on a weak beat. This is not a hard and fast rule, but it generally works well.

Here is an example:

Find the phrases, identify and then harmonize the cadence points. How many phrases does this tune have?

-- The answer is TWO PHRASES. Count 8 measure phrases and look for the LONGEST note values. -- The longest note values ARE the CADENCE POINTS, and you should be able to see that there are 2 phrases. -- There is an aspect of TENSION from the beginning through the 2nd beat of meas. 4. This is followed by a

RELAXATION from the 3rd beat of meas. 4 through the cadence point of meas. 8 and 9. A similar structurecan be found from the 3rd beat of meas. 9 through the 2nd cadence point at the end of the tune.

-- The rst cadence point should be harmonized by the V chord (or V7, if Level Preparatory or Level I). -- The second cadence point should be harmonized by the I chord.

-- The 1st cadence is an inconclusive cadence (half cadence}; the second cadence is a conclusive (authentic)cadence.

Continue harmonizing the rest of the tune. Keep it SIMPLE. It's OK to use the same chord consecutively, especiallyif the melody outlines specic chords. Keep in mind the HARMONIC RHYTHM, in this case -- one dotted half note foreach measure. Notice how the rst phrase cadences on a V chord and then moves to a V7 chord. This creates a strongercadence than just cadencing on the V7 chord. Although, for Preparatory and Level I piano this will not be an option.

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80

Appendix 4: Non-Chord TonesA NON-CHORD TONE is a note in a melody which is not part of the chord or harmony which is

being used for harmonization at the point where the NON-CHORD TONE appears. Generally, there

are two types of NON-CHORD TONES:

1. Unaccented (occurs on a weak beat or a weak part of a beat) 2. Accented (occurs on a strong beat)

The terms "accented" and "unaccented" are subjective because the "feel" of accented/unaccented depends onsuch factors as tempo and harmonic rhythm.

Here are some examples of NON-CHORD TONES . The numbers indicate different NON-CHORD TONESwhich are explained below:

1. PASSING TONE. One of the most common non-chord tones, the PASSING TONE "passes" betweentwo adjacent chord tones. "Adjacent" means the next chord tone, either up or down. In the chord, C-E-G, "E"and "G" are adjacent but "C" and "G" are nonadjacent. So the PASSING TONE between C-E would be "D".The PASSING TONE between E-G would be F.

2. NEIGHBOR TONE. Also one of the most common-chord tones, the NEIGHBOR TONE is a diatonic stepUP or DOWN from any chord tone. If the NEIGHBOR TONE is above the chord-tone then it's an "UPPER NEIGHBOR TONE." And if it's below, its called a LOWER NEIGHBOR TONE. The example above (#2) isa LOWER NEIGHBOR TONE.

3. ACCENTED PASSING TONE. If a passing tone occurs on a strong beat then it's called an ACCENTEDPASSING TONE. Notice that the note before and after are chord-tones.

4. ANTICIPATION. An ANTICIPATION, "anticipates" the upcoming chord. So, this implies that at leastTWO chords and 3 melody notes are involved. The 1st note is a chord tone associated with the 1st chord andthe 2nd note (which is the actual ANTICIPATION) is a non-chord tone associated with the 2nd chord. In theexample above (#4), the "E" is a chord-tone and is associated with the C major triad on beat 1. The "F" on

beat 2 is not part of the C major triad but is a part of the F major triad on beat 3. An ANTICIPATION alwaysoccurs on a weak beat.

5. SUSPENSION. A SUSPENSION is the similar to an ANTICIPATION except that it always occurs on aSTRONG beat. It must have TWO chords involved and THREE melody notes. The 1st melody note is associ-ated with the 1st chord and occurs on a WEAK beat. The 2nd melody note is THE SAME as the 1st melodynote but is associated with the second chord and occurs on a strong beat. This 2nd melody note is the actualSUSPENSION and it's a NON-CHORD TONE (not part of the 2nd chord). The 3rd melody note "resolves" toa chord tone in the 2nd chord.

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6. APPOGGIATURA. An APPOGGIATURA is a type of ACCENTED non-chord tone and is verysimilar to a SUSPENSION: it must have TWO chords involved and THREE melody notes. Here's thedifference: the 2nd melody note is DIFFERENT from the 1st melody note and it SKIPS to a non-chordtone associated with the 2nd chord and then "resolves" BY STEP in the OPPOSITE DIRECTION fromthe skip. If this seems complex, then just study the example. Some music theorists consider all ACCENTED

non-chord tones to be APPOGGIATURAS. See "appoggiatura" in Harvard's Dictionary of Music.

7. ESCAPE TONE. An ESCAPE TONE occurs on a WEAK beat and consists of a step (either up or down)followed by a skip in the opposite direction to a CHORD TONE in either the same chord or a different chord.

There are other NON-CHORD TONES but they will not be discussed here. You will no doubt cover them inyour theory courses.

A question that is often asked by beginning theory students is, "Good grief! Why does all this matter?" Here'sa simple answer:

Music theory is the SCIENCE of music. In any scientic eld, one endeavors is to CLASSIFY all possible phe-

nomena. For example, in the eld of geology, one endeavors to classify all rocks and all phenomena concerningrocks. The same is true in ornithology, entomology, astronomy, physics, etc. The study of music is no different.To UNDERSTAND music at a deep level, one has to classify and NAME all possible musical phenomena.Although this may seem tedious and unimportant to the novice, it is invaluable to the professional musician.



82

Week 1 - Week 2:

Become oriented to the keyboard: posture, hand position, how far back to sit from the keyboard. Fundamentals of music basics: - Learn notes on the staff - Learn notes on the keyboard - Review all the Fundamentals of Music materials in the textbook, pp. 8 - 21 - Explore the Sequencer Controls Software for Preparatory Level Piano.

- 1st repertory piece: Square One, p. 23

Week 3: Repertory; Scales; Exercise - Étudette No. 1, p. 24 - Étudette No. 2, p. 25 - D-at major scale. See pp. 58-62. - Exercise #1, p. 66 up one octave

Week 4: Repertory; Scales; Triads; Exercises - Étudette No. 3, p. 26

- Étudette No. 4, p. 27 - G-at major scale. See pp. 58-62. - Primary Triads in C Major: I IV V, p. 44 - Exercise #1, p. 66 up one octave

Week 5: Repertory; Scales; Triads; Exercises - Étudette No. 5, p. 28 - Lightly Row, p. 29 - Review D-at and G-at scales. See pp. 58-62 - Primary Triads in G Major: I IV V, p. 44 - Exercise #1, p. 66 up one octave

Week 6: Repertory; Scales; Triads; Exercises - Little Dance, p. 30 - Ode to Joy, p. 31 - B-at minor scale See pp. 58-62 - Primary Triads in F Major: I IV V p. 44 - Exercise #1, p. 66 up one octave

Week 7: Repertory; Scales; Triads; Cadences; Harmonize a melody; Exercises - St. Flavian, p. 32 - E-at minor scale. See pp. 58-62 - Review Primary Triads in C, F, G Major p. 44 - Cadence in C Major, p. 45

- Study Rules for Harmonization, p. 46 - 47 - Harmonize Melody #1, p. 48 (C Major) - Exercise #1, p. 66 up one octave

Week 8: Repertory; Scales; Triads; Cadences; Harmonize a melody; Sight Read; Exercises - My Lord, What a Morning , p. 33 - Review both B-at and E-at minor scales - Review Primary Triads in C, F, G Major p. 44 - Cadence in F Major, p. 45 - Review Rules for Harmonization, p. 46 - 47 - Harmonize Melody #5, p. 48 (F Major)

Weekly Assignment Schedule



83

- Read Improvisation Introduction, p. 52 - 53 - Practice sight reading, p. 55 - 57 - Exercise #1, p. 66 up AND DOWN one octave

Week 9: Repertory; Scales; Triads; Cadences; Harmonize a melody; Sight Read; Exercises - Little Etude, p. 36 - B Major Scale. See pp. 58-62.

- Primary Triads in A minor: i iv V, p. 44 - Cadence A minor, p. 45 - Harmonize Melody #4, p. 48 (A minor) - Do Improvisation Example #1 & #2, p. 53 - Practice sight reading, p. 55 - 57 - Exercise #1, p. 66 up AND DOWN one octave

Week 10: Repertory; Scales; Triads; Cadences; Harmonize a melody; Sight Read; Exercises - Round Dance, p. 37 - B Minor Scale. See pp. 58-62. - Primary Triads in D minor: i iv V, p. 44 - Cadence D minor, p. 45

- Harmonize Melody #2, p. 48 (D minor) - Do Improvisation Example #6, p. 54 - Practice sight reading, p. 55 - 57 - Exercise #1, p. 66 up AND DOWN one octave; Exercise #2 up one octave

Week 11: Repertory; Scales; Triads; Cadences; Harmonize a melody; Improvise; Sight Read; Exercises - Romance, p. 39 (This is a duet and you will be playing the Primo part. Ultimately, you should be able to play your part along with the Secondo part as it plays on your Sequencer Controls.) - F Major scale. See pp. 58-62. - Cadence E minor, p. 45 - Primary Triads in E minor: i iv V, p. 44

- Harmonize Melody #6, p. 49 (E minor) - Do Improvisation Example #4 p. 54- Practice sight reading, p. 55 - 57

- Exercise #1, p. 66 up AND DOWN one octave; Exercise #2 up one octave

Week 12: Repertory; Scales; Triads; Cadences; Improvise a melody; Sight Read; Exercises - Triads, etc., p. 40 - Uncle Willie, p. 41; use the SUSTAIN PEDAL - F minor scale. See pp. 58-62. - Review all minor Cadences: A minor, D minor, E minor, p. 45 - Review all minor Triads: A minor, D minor, E minor, p. 44 - Do Improvisation Example #5, p. 54

- Practice sight reading, p. 55 - 57 - Exercise #1, p. 66 up AND DOWN one octave; Exercise #2 up and down one octave

Please READ THIS: A memorized repertory piece will be required for your nal exam.Choose any ONE of the pieces that have been studied in class since Week #9 and prepare

it from memory to play on a nal exam. This will be in addition to any other repertory pieces you are currently studying.

Week 13: Repertory; Scales; Triads; Cadences; Harmonize a melody; Sight Read; Exercises



84

- Debbie’s First Date, p. 43; use the SUSTAIN PEDAL. - Tex, p. 42 -- just get started on it: play the RH by itself; play the LH by itself. - All Cadences, p. 45 - All Triads, p. 44 - All Scales. See pp. 58-62. - Harmonize melody # 6, p. 49

- Practice sight reading, p. 55 - 57 - Continue working on your memorized repertory piece. - Exercise #1, p. 66 up AND DOWN one octave; Exercise #2 up and down one octave.

Week 14: Repertory; Scales; Triads; Cadences; Improvise; Sight Read; Exercises - Tex, p. 42 - All Cadences, p. 45 - All Triads, p. 44 - All Scales. See pp. 58-62. - Improvisation Example # 7, p. 54 - Practice sight reading, p. 55 - 57 - Continue working on your memorized repertory piece.

- Exercise #1, p. 66 up AND DOWN one octave; Exercise #2 up and down one octave.

Week 15: Repertory; Scales; Cadences; Harmonize a melody; Improvise; Sight Read; Triads; Exercises - Your MEMORIZED repertory piece - All Cadences, p. 45 - All Triads, p. 44 - All Scales. See pp. 58-62. - Harmonize melody # 8, p. 49 and melody #12, p. 50 - Improvisation Example #6 & #7, p. 54 - Practice sight reading, p. 55 - 57 - Exercise #1, p. 66 up AND DOWN one octave; Exercise #2 up and down one octave. - Continue working on your memorized repertory piece and be prepared to play it on you

your nal exam.Further requirements regarding assignments:

All technical material should be played from memory when you are playing for a grade. This includes:

-- Scales -- Triads -- Cadences -- Exercises (if your instructor requires you to play these for a grade)

If you do not play this material from memory, you may not receive full credit.



85

Class Notes



86

Class Notes



87

WK.# SCALES SIGHT READ CADENCES HARM. MEL IMPROV TRIADS EXERCISES

1

3

2

4

5

6

7

8

9*

10

11

12

13

15

14

See Week 1-2 on p. 82 for details of assignments.

REPERTORY

Db pp. 58-62

p. 24 Étudette No. 1 p. 25 Étudette No. 2

A piece of your choicefrom memory *

#1 p. 66up 1 octave

C Maj. p. 44

See Week 1-2 on p. 82 for details of assignments.

p. 32 St. Flavian

p.36 Little Etude

p.39 RomanceSee detail, p. 83

p. 37 Round Dance

p.43 Debbie’s 1st Date

p. 26 Étudette No. 3 p. 27 Étudette No. 4G

b pp. 58-62

#1 p. 66up 1 octave

p. 28 Étudette No. 5 p. 29 Lightly Row

Review Db

& Gb

pp. 58-62

G Maj. p. 44

#1 p. 66up 1 octave

p. 30 Little Dance p. 31 Ode to Joy bb minor pp. 58-62

F Maj. p. 44

#1 p. 66up 1 octave

eb

minor pp. 58-62

Review C, F, G p. 44

C Maj. p. 45

StudyProcedures p. 46-47

#1 p. 48

p. 33 My Lord, What..Review bb

& eb

pp. 58-62


F Maj. p. 45

#5 p. 48Sight read

p. 55

a minor. p. 44

#1 p. 66-67up & down

#1 p. 66up 1 octave

#3 p. 48

a minor p. 45

Sight read p. 56

#1 p. 66#2 p. 68

#4 p. 48

d minor p. 45

Sight read p. 57

d minor. p. 44

F Major pp. 58-62

#1 p. 66#2 p. 68

#1 p. 66#2 p. 68

#1 p. 66#2 p. 68

#1 p. 66#2 p. 68

#1 p. 66#2 p. 68

All triads p. 44

Review a, d, e p. 44

e minor. p. 44

#2 p. 48

e minor p. 45

Sight read p. 55-57

G Maj. p. 45


Intro p. 52-53

#1 p. 53#2 p. 53

#6 p. 49

#7 p. 54

All Majors p. 45

All Cadences p. 45

#6 p. 54C, F, G

#6 & #7 p. 54

All minors p. 45

#5 p. 54

#4 p. 54


Review pp. 55-57

Sight read p. 55-57

Play examplesfor instructor

Sight read p. 55-57

#8 p. 49#12 p. 50

p. 40 Triads p. 41 Uncle Willie

f minor pp. 58-62

All majors pp. 58-62

All minors pp. 58-62

All scales pp. 58-62

p.42 Tex (start it)

p. 42 Tex (nish it)

Prepatory Level: Weekly Assignment Schedule

b minor pp. 58-62

All minors pp. 58-62

#1 p. 66up 1 octave

Here are the weekly assignments for this level of Class Piano in graphic form. Each weekly assignment is supplementedin text form on pages 82-84. Consult those pages for details about each assignment.

#1 p. 66-67up & down

preparation level 1- text book

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