fingers a re placed in playing.

Transcription

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2 L E S S O N U M B E R 1 The Ke yboard, Music Al p habet, Black Ke y Grou p s, Octaves, Position at theke yboard, Music Al p habet b y Thirds, Definition of Theor y, W ords U sed in Music, Ear -Trainin The Keyboard The keyboard of apiano is the whole row of black and white keys o n which the finers a re placed in playin. Th e K ey board Th e M u si c Al p h abet The white keys are named after the first seven letters of the alphabet A, B, C, D, E, F, C. When y o u sa y the letters in this order you are namin keys from left to riht, and oin always toward hiher tones. When y ou sa y the letters backward G, F, E, D, C, B, A y ou are namin keys from riht to left, and oin toward lower tones. Because the keys to the riht ive us hi her tones, w e call oin toward the riht u p, and toward the left we call down.

3 P a e 2 Pro ressive Series Junior Course Lesson ' Black Key Grou p s we look the keyboard the we notice that the black keys lie little roups two When at of piano in a then and we should cover up all the black ke s so that we could in then so If roup, three, two, on. y not find ro ups of two and we these of three, would be able tell white from not to one (The pupil should try this So wish play some special ke y we another. find it ) when w e t o white t ke y experiment., by first seein whether it is nearer the roup of two black keys or to the roup of to and then noticin where it is located three, as the exactl y shown b y followin illustrations TW O B L ACK K E Y GR OU P TH R E E B L ACK K E Y GR OUP 0 i s th e nam e of t h e whi te k ey on th e lef t of t h e t wo black F i s t h e whi te k ey on th e t e f t of th e th ree black k eys. key s. B etween t h e two black key s i s D, and G and A are m szd e, and B on th e to th e ri h t of t h em i s E. r i h t of th e th ree. Octaves The word o c t ave comes from a Latin W u xd which means ei ht. From any ke y to the next ke y of the same either up or down countin in this last which will be the n ame, ( and ke eihth) is y a,, n oc The upper of octave is hi hest of that but we call it the lowest of a tave. k e y an th y e m a y ke y octave, to the also call the lowest of octave the hi hest of a new and W octave, o on e can ke y an y riht. ke y which would be counted to the down left. new octave,

4 P a e 3 K eyboar d and t h e Oct aves Position at the Keyboard When sittin at the piano the player should be facin middle the a little to the of the riht of Middle keyboard, is very important that always remember to sit this for as practice will I t y ou in position, y ou y ou C. e t used to reachin just f ar enouh up and down, your arm muscles will be in to uide y ou to the riht keys in any octave, without the help of your eyes. and The Music Alphabet b y Thirds Besides sayin the letters of the music alphabet rapidly either up or seven down, it is very helpful to them by This means to bein with letter and them ski ever other learn an y sa y thirds. p pin y one A or ; for D instance, A, C, E, G, B,, F, ; D D, F, A, C, E, G, B,, F. You can o down by thirds 'ust as easily A, F, D, B, G, E, C, A ; or B, G, E, C, A, F, D, B. Try pla y in b thirds at startin from white Since you skip a letter each y thepiano, of course you will skip a the stud of an y a ood ke y. of these time, ke y in. Later, y understandin thirds will be ver chords, y useful. THEORY Def i n i t i on of Th eor y one studies modelin or nin one ven man If paintin rules also the rea,, Si, 1 8 i y to and sons for these ln the study of Music also there and there follow, is much be learned are man y t o besides the rules. to move rules, one's finers the piano All this work that is w a y on not done at the piano is called the Theory of M The Theory of Music keyboard. will the meanin of words that explain new usic. y ou will meet it will tell you how music is later it will show you how to combine sounds so ; written and that the are beautiful and so that they ; will be ay or sad as you y to m hear, a y choose. Definitions of Musical Term s When a pebble is thrown into a circles in to show the They bein as tiny ones pool be, in the spot where the pebble sank then they larer and water. The air moves in the same way at ; row when some force sets it stirri this motion larer. is called the air vibrates n and vibrati on When re ul arl it,. y, makes a sound called musical Drawin a bow across a pressin a and very r a pidl y, a piano hummin with or strikin bell tone. a hammer will ive violin, us a musical with' the a key, voice, tone. If we slam a door or drop a dish, this sound is a noise, and the vibration that makes it is very irre ula r and uneven. When a piano ke y is pressed down it sounds the tone which that key represents. Some tones are hih, a nd some are low. hihness o r lowness is called pitch. This sound hiher lower than the difference between them hihness If w e two tones, o ne o r oth er, the in or lowness is called the di itc ff erence in p h.

5 or P a e 4 Pro ressive Series Junior Course Lesson ' When we have sinle musical tones followin each other in orderly the an w call a voice sin a melody a plays melody violin a played y, alone ives us melod y. One can ; bule a ; a a y make what we melody. pla s keys there on the blows any tone If o ne y here and piano, or one thinks of on a that will make a real melody not a I n there must be a bule, for tones melody. to follow each these certain wa and y other, rules for melodies will come later these in Lessons. When ones sounded toether this is called tw o o r more t are harm ony. write melody we do not usually our tones the same for this would When w e a have all be tiresome to Some lenth, tones will last a and others will be The these lon 'time w lon hear. and short arraned is time, called a y short. are rh tones, y thm. values, ' we know meanin of some most important words Here they Now the of the in and they down in ey music. will plain that are tone, shall If are set a row th be so we pitch, melody, harmony, rhythm. ys remember them alwa Tone a sound made by reular vibration o f the air. W e m ake a t one o n the piano by pressin down a key. Pitch hihness or lowness of Melod sinle the musical tones followin tones. each other in y a more tones sounded toether. pleasin order. Harm ony two or Rhythm t he arranement of lon and sh ort tones o r tim e -valu es in music. EAR - TRAI N I NG The sections on E a r - Trainin a re not i ntended to be studied at hom e i n the s am e m anner as the rest o f theles sons a re studied, because the t rainin o f t he ca r m ust be ca r ried on la r el y th rou h TESTS iven to the p u pil b y a second p erson. N evertheless, alm ost an y m em ber o f the p u pil s f amil y can m ateri all y hasten the p u pil s p r o res s b y s u pplem enti n the the wor k o f the teacher re p eatin a t hom e the va rious ea r - tests as outlined i n the tex t. -trainin is a part musical education teacher afford While time Ear of which no can to nelect. m ust b e for this work adequate made for its clear the results allowed and preparation presentation which it will both in musical understandin in actual will more, repay produce and, fa r than playin, the effort. Throuh the writin of these exercises, the pupil is made keenly alive to pitch and rhythmic values, when problems occur he masters them more the and these in the formation habit the notation playin, of impressions received throuh easily. the Moreover, requires close atten of the of m entall y seein ear and this is best possible uarant aainst careless work concentration the y at the piano. tion, Rhythm Ta ppin Ex ercises best forms early -trainin is teacher rhythmically with a pencil or the One of th e of ear for the to t ind x fin r resonant and have pupil tell a p number taps in different e e on a surface hard,, the the of the roups. t cher should first tap roups of accentin the first The ea two, ta p of each She next taps roups of thr radually increasin the tempo until the pupil is to roup. e either roupin in e able reconiz r pid t e, pupil should roups of roups keepin tappin a a The also t a p two and of three ppin., the ev accentin first e and the t n, a p o f each ro up, Pitch The te ch r sounds ton s the the pupil tells which tones are and which a e e at and are low Fr m ih C octav is best piano, play the hih from hih, C octave is. o H e the place to and Low the b st pl ce to pl y up, low The pupil s only tones, the contrasts at down, is e a a the tones. can ense more definite lt first. d sir bl alw ys hih but sometimes two three of kind should not e a e to a alternate and low or one tones, iven in keep the pupil listenin be t o succession, intently.

6 2. What PROGRESSIVE SERIES JUNIOR COURSE Recitation Questions on Lesson No. 1 What is the keyb oard? letters compose the music alphabet? direction is called up o n the keyboard, and why is this direction called up 3. Which 4. How do the black ke y roups help u s in findin an y special W hite ke y? 5. Define an octave. octaves C below Middle C Name the above Middle octave and 6., octave. 7 : (a ) Describe th e proper position at the ke yboard. (b ) Wh y is it important that we always take this position?

7 Recitation Questions on Lesson No. 1 (Continued) X / the music alphabet by thirds from up to G then from down to rite G ; G G. ns. 9. What do w e call the study of music which is not done at the piano? W. What causes a musical t one? W hat causes noise? What is p itch? l What 2. is m elod y? 1 What 3. is harm ony? 4. W hat is rh y thm? For Teacher's Record Grade ( o n Scale 1 00) New Lesson No New Exercise N o.. New Study No. NewComposition No

8 E R Z Notes, The Grand Staff, The Relation of the Staff to the Ke yboard, Ear -Trainin Notes When author writes a stor he uses the letters of the combines them into an y and When a or one who, alphabet, words. writes wishes to tell us his thou hts f he uses sins composer, music, and (or symbols called e elin s, ) notes. The note which has the lon est time-value is called a whole - note. It is a hollow oval, like played od erate speed ive each this 0 When whole - notes are at a m we one f our even co unts ; one these called. two, three f ou Often counts, r. are beats ' or because they follow each 'pulses, other in an re ular like the little pulse that beats your even, w a y in ow n, wrist. The note that comes next in time-value or lenth is the half- note. I t is a hollow oval with a like this F or this J Each note is equal to even counts or take half- true I t stem, s pulses. which we remember has four even beats or pulses. tw o half-notes to e q ual one whole-note, The next shorter note is the q uarter - note, which is a solid oval with a stem, r or J The quarter-note e uals since the lenth of every tone is measured by we use this uar q one and ter-note with its one beat beat, as our measure to tell beats, us the len th of other whether they are loner q or call note our notes, th 'unit. e quarter- shorter. As the word 'unit' means one, we four to equal a whole-note. I t takes two q uarter- notes to equal a half-not e, and So far W e have learned notes of three different time-values, and here they a re in a little table whole-note 0 half-notes 2 otes 4 q uart er - n r r r r The Grand Staff When we look at printed music for the we nd it eleven lines called the fi written on Grand S or The middle line of the piano, eleven taff Great Staff ( sixth from the bottom is printed unless. ) not w, e specially need When it is used we take only a little piece of just enou h for one Thi lon it. it, little line note. represents Middle s C. Each lineof the Grand Staff each space between the lines represents one key of the pian and o These lines and spaces are named exactly the same as the keys that by the letters of. in w a y ; the is, music When we bein low down on the staff and work we the letters of u se the music upwards, alphabet. in their re ular When we start hih on the and work we say staff order. downwards, the letters backwards. Copyrihted 1 Publication Soci United ety. St. States of Am eri c a. Great B ri tai n, and I nternational Co pyriht Union by Art Louis. Mo U. S. A. Copyriht by Soci Limi Canada Art Publication ety, ted. Rihts of Tra nslati on and al l oth er rihts reserved.

9 When P a e 2 Pro ressive Series Junior Course Lesson 2 The five upper lines are as the treble At the left hand side of this staff is a sin known st aff called the treble The word 'clef means. this treble clef si is a key to show which t clef. r e and y, n staff are Music written this staff is usually played with the riht y ou on usin. hand. Sometimes the treble clef is called the G for lon ao it was a old-style letter but clef little by little its shape was, bi, G, This is also called the G clef because it marks ver plainl the G chaned. y y on the second line of the staff. Look carefull y and y ou will see that four different times the clef si n crosses the line where we find G. The lower five lines of the Grand Staff are called the At the left hand side of this staff bass staff. is a si called the bass is also called the for it used to be an old-style letter the n clef I t F clef and., F, dots were part of the The clef marks the on the fourth line from the The bi F F dot in the sin is this letter. the little dots uard it either Music bottom. this staff is usuall on and line, on on side. pla ed with the left y y hand. the next illustration a note is placed on the short line which stands for Middle Above In on C. it, the treble staff is a note the line below the bass another note the line on and G, on on F it, staff, Si n ce we k n ow so surely that the middle line of the Grand Staff represents Middle C, we have only to our letters in their order forwards or backwards to out the names of the s a y ( ) lines and space find s above or below Middle Countin upwards we find' C. D, space above line of the treble staff. C. E, first first space of the treble F, second line of the treble staff. downwards G, from Middle staff. to our letters And C, rememberin s a y backwards, space below C. B, or top line of the bass A, fifth, fourth space of the bass staff. G, staff. F fourth line of the bass, staff. Whe we umber the lines spaces both we always number upwards from the bot n n and in tom to the The first line in the treble is E the staffs, fifth top. ; ( or line is the bass the first line top) I n and the fifth or top line There four spaces that are not numbered the space ( ) A. are above the fifth line and below the first line either They are called the space or the above' of space staff. is G, below as the case m a y be. F. In the next illustration the lines and spaces of the treble and bass staffs are numbered and named. You should study these u ntil y ou can name them ver y easil y and rapidly; you look at the or.

10 Lesson 2 Pro ressive Se ries Junior Course P a e 3 tier of the letters on either the lines or the spaces y o u will find it is thealphabet b y thirds that was iven in Lesson I and which ever y musician must know. C D E F G A B C D E F G Stud y this next illustration until y ou can see it with your eyes shut, for it takes two sets of notes, FACE and shows them in ever possible part of the Great The very lowest place GED and meet them is called, the bass the y usi both is the Staff. middle and the next w e position the treble Up at the top the n, start next, off a but staffs, so ver hi h that we position, wo 't ve ture there position. y ain, y n n yet. These two roups of FACE and take GED letter in every possible place thirds, on the two, staffs. in all of our music alphabet, so we find each hi h p osi ti on tr ebl e p ositi on. bass p OSit i OH o p o sition. The lowest roup of is all spaces the middle is lines the treble on thirds, FACE, ; position on ; and position The lowest roup of is lines the middle spaces aain on spaces. GBD thirds,, on ; position on and the treble ; position on lines. Careful stud of the above will show that if series of y illustration y ou bein an thirds a y on every other letter series will also come on a bein on a every followin letter line, in that I f line. y ou of the space, series will be on a space. I n the illustration above there are four F's l. On the bass staff, on the space below. ' 2. The fourth line of the bass first space of the treble staff. staff. 4. The fifth line of the treble staff. 3. The There are also four G ' s l. The first line of the bass staff. 2. The 3. The fourth space of the bass second line of the treble staff. staff. the treble the space On on 4. staff, above. From this we may work out a way to remember letter If an is a the octave of y on that letter will be a the letter is on a octaves. its octave will be a line, There are alwa s on lf on three space. space, line. lines y ( also three of course between letter and spaces, ) an its y octave. How the Staff and Ke y board are Related I n the next the Grand Staff is with just that part of the keyboard which it rep illustration shown The the lines are makes it ver that each note the staff tells us to pla wa y drawn y clear on y resents.

11 Pro ressive Seri es Junior Course Lesson 2 one certai n ke y on the piano, and each ke y on the piano is represented b y one certain line or space on the staff. I t will be a help to look at this picture if an y point about staff or keyboard is not per fectl y clear. EAR- TRAINING Rhythm The reco nition of tappin in roups of two and three should be reviewed. Next the pupil should draw short vertical lines in roups of two while th e teacher taps. The teacher then taps aain, and the pupil adds a liht line before the stroke which represents an accented t a p. The pupil next draws roups of three lines, and marks the roups as before. I n these tappin ex ercises it is wise to use eiht roups. This plan is useful because it conveys the idea of balanced rh y th mic form which the pupil will meet in his piano music. ln the next step t hepupil adds a head to the stroke, so that he now has the quarter -note as a work in symbol. The roupin of lines in twos and threes should be repeated now usin quarter-notes. The stems should be drawn both u p an d down, as follows : J J J l J J J I J J J I J J J I Pitch The rec nitio of hih low tones sh uld contin the teacher should play o n a nd o be ued. Next, two tones in succession and ask the pupil whether they apart or near this are f ar I n toether. smaller work, intervals such and should be contrasted with pairs of tones octave a s an or even more than an octave thirds, fourths, ln ivin fifths, these pairs of should bein with the hiher some to e and som with the apart. so that the pupil's may become tones, accustomed to judin the n e ear siz e of intervals whether lar e lower, or small no matter whether they are sounded upwards or downwards. all the Ear-Tr inin Lessons the teacher sh ould work and the pupil should ive I n a prompt briskly, a and to et a definite impression from the first hearin n swers, t r y of an exercise.

12 3. Make PROGRESSIVE SERIES JUNIOR COURSE Recitation Q uest ions on Lesson N o. 2 I. For what pur p ose are notes used in music? kind of note e q uals on e beat, an d why do w e call that note our unit '? 2. Which a a a write opposite each note the number of and whole-note, half-note, quarter-note, beats it receives. is the nam e iven to the eleven lines on which music is written? 4. What 5. What do we call the upper roup of five lines of the eleven? What the lower roup? 6. How are the lines and the spaces numbered? U T A N M OQ'S ' i fi h m M um 1 \ I f o ne le tter in a series of thirds is on a li ne, where w ill the other letters of the series come? 8. If a series of thirds be ins on a space, where will the rest of the series come?

13 Recitation Q No. uestions on Lesson 2 (Continued) 9. Tell four places where F may occur on the Grand Staff. I O. Tell four places where G may occur on the Grand Staff. Write the notes of the followin six on both the treble bass in two different and positions words, staffs, : Give a simple w a y to remember how octaves look on the staff. I 3. When we are playin from printed music, what does each note on the s taff tell us? Fo r Teacher's Record Grade ( on Scale I OO) New Lesson No New Exercise N o. New Study No. New Composition No.

14 Position of the Hand (F ive - F in e r), Notes (Continued), L E S S O N U M B E R 3 Stud y of the Piano, The Seat, The Pla y in A pp aratus, Relax ation, Ear - Trainin Stud y of the Piano The ke ed instrument we are stud the was oriinall called the Pianoforte y now short way of sayin the words y in, (soft Piano, loud The instruments y made the a Italian p iano e f orte and before piano were small and could ive only a small amount of When the piano was and with stron wires frail, tone. invented, hammers to strike could play loudly as well as softl that and one inside, them, y and, ). is wh y Cristofori, the ltalian who invented it, called it the ' soft and loud. ' The Seat The chair or stool should be placed directl y in front of the middle of the ke y board, and far enou h from the piano that when the finers are placed the with the arms han in loosely from upon keys, the the will slant little forward toward the pupil hih shoulders, u pp e r arm a A sm all needs a keyboard. er stool than a larer pupil, and ever y pupil should adjust the seat so that the elbows are neither above the level of the sain below A chair or bench is better a revolvin stool nor keyboard, than it. be cause it is Any pupil so small that his feet do touch the floor he is sittin properly not when the firmer. should rest his feet on a foot-stool or a the les han over the ede of on seat, p edal extension If stool without support for the there is pressure. after a on and and feet, nerves, muscles, blood-vessels, practicin a ver y short time, the pupil will row tired, and be unable to do ood work. The Playin A pp aratus The word means the machinery which does the playin we use as the app aratu s I n Playin Apparatus these parts of the workin work. toether the the upper the body, shoulder, arm, elbow, the lower arm or fore-arm, the wrist, the hand it self, ' the knuckles, the fin ers, and the fin er-tips. Relaxation learnin to one is told over and over to make the strokes without lettin When the body rest easily in the swim, the aain, fear, muscles are allowed to row and we stiffen the body in lf anxiety to et then water. are sure to sink at tiht, when we hold the pencil or o ur w e I n pen tihtly in bent ahead, make sm all cramped once. the writin, is poor and the hand rows and finers, motions, they seem to be made of straiht lines, instead of pleasin curves. tired. I n dancin, if we move stiffly, we appear awkward. If we use our hands and arms in this w a y The secret of doin thins with the body is to let o to make the muscles obey us with w ell rowin tiht or havin the feelin of The name for out tryin this feelin of workin easily is the word at the head of this sectio hard. we to the piano and all the n If come relaxation,. make muscles in our Playin Apparatus in this entle practice be we do a work' wa will y not tirin and, can reat amount of work without feelin that it is, hard. Copyrihted United eri t o. States o f Am ca. Great B nternational Uni by ritain and I Copyriht on Art, Publication Society. St. Louis. A4 by Soci Li mi 0 A Copyriht U. S.. Canada Art Publication Rih oth ted. ety, ts o f Translation and all er rihts r eserved.

15 tle finer is so short, it need not curve quite so much as the other finers. Pro ressive Series Junior Course P a e 2 Lesson 3 practice is it is a sure sin that we lettin some muscles row are usin If ar e and not them in the most natural tirin, way that without When we have learned stiff, to control the muscles which us we have made a bi is, start t oward effort. comfortable practice real enjoyment of hel p and music play, Until we do learn we neve rbe expert certainly will never be can and able to play work. this, players, rapidly. When we speak of we do not mean that the hand and arm are to han limply or as a dead but that all relaxation, the muscles of the Playin Apparatus to be except those which are at hold weiht, hand in ood the arm should han naturally ease, from the the' I n a nd feel absolutely position. playin, shoulder, loose and The shoulders or elbows m ust never be raised and there free., be no unnecessary movement of any part A o od way to et feelin of comple te relaxa of th e the tion is for the pupil to sit his hand body. on a book held by the teacher and at the proper and p lace heiht. The book should support the entire weiht of the and While the hand is so the teacher sudd enly arm, wrist, hand. restin, removes and the entire Playin Apparatus should fall immediately to the the pupil's book, side. lf it does not fall instantly and freely it is a sin that there is stiffness somewh ere. Positionof the Hand F ive - F in er P osition Every one who learns to play has to study cer tain ways to hold his The first of these hand positions is the Here it is ully explained and hands. it is important that five -huer position. f and explanation be read carefully so that the described, pupil will know exactl how to the and the i p ietu re studied, shape his h y and. The hand should be held so that a ruler with the end aainst the inner bend of the elbow will t uch the the upper side of the the back of the hand as far the middle knuckles o and forearm, The back of the hand is nearly wrist, and at a s knuckles the finers bend so tha of the the middle t the fleshy flat, finers. -tips rest the piano The n ails sho uld be kept short enouh that when the fin e r on finers properly the nails do keys. not touch or click aainst them are the when curved, keys, playin. When the finers on keys that they sh ould et in between are white are close not the toether, black The thumb should stand out little from the at its middle joint it should bend a a nd so that hand, keys. the of the thumb rests on the with the nail runnin in same direction as the side the the hand is in the riht upon the key, white the whole side of the thumb will be over ke the y. If position keys, key The little finer side of the hand m ust be held a little hiher than the thumb side, and since the li t ~ Hand i n Five - Finer Position G odowsk y ' s H and Study every little p oi nt i n this picture, and t r y to make yo ur h and t ake exactl y the same position.

16 and are then sometimes called cross-strokes. Lesson 3 P ro r essive Seri es J u n i o r Cou r se P a e 3 THEORY Notes (Continued) We have already learned that the note is our unit of measurement that is to it q uarter- equals beat or ; sa y, one p (Lesson ulse. There are besides notes of shorter will know them their little even You b the number this, of these hooks will show time-value. the time-value of the takes y or and I t some hooks, multiple of such as or of these two, note. notes to equal beat or They therefore 4 8 I 6 two,,, one represent onl pulse. parts of beats or units of the followin each of these notes which has y In time. table, less time-value pulse is described than one iven and A solid head with stem and one hook ei hth-note. A solid head with two hooks sixteenth-note. A solid head with three hooks thirty-second-note. A solid head with four hooks sixty-fourth- note. When several notes of one kind are put in a rou p, so that we read them their hooks m a y rapidly, as shown above, are ' oined into one or more straiht lines which cross the stems of the entire roup, When writin an y sin le note with a stem, the followin rule should be remembered the head of a note is above the third the stem will the left side of the When line, o down on note the head of a note is below the third the stem will o up on the ri ht side of When head. line, the note The note on the third line will be with the stem either up or in the the written wa y head. down, note will look best the The hooks are always the ri ht side of the in on measure. stems. EAR -TRAI NI NG Rh y thm The after that the is the u that the roups are teacher, explainin quarter-note and nit, in twos, plays the on one of the piano followin ke y : J J J J J A I She asks the pupil how the second fourth rou differ from the first When then and p s and third. he has answered this correctl he is to tell what ki nd of note represents the tone which lasts throu h the whole The pupil y should, also tap the exercise from count in roup. memory, one aloud, - two, one - two, etc. The teacher then plays the followin exercises, and the pupil is t o tell what note-valu es he hears. A U J U J U J J J J I J H J I A A l l J

17 P a e 4 P ro r essive S eri es J u n io r Co u rse L esson 3 W ritten Rhythm ic Dictation The teacher plays the followin exercises, the pupil writin them in a manuscript book. Some exercises should be played on in Middle C These will be written in first sp ce F octave. the a of the treble with st ms Other exercises should be played on G e C and written in of Low the fourth staff, space of the bass up. with stems this the pupil will octave, be r in I n w staff, a down. y, e presentin, the pitch he is really althouh his main attention is directed to the rhythmic ide The writin, pupil must understand that hearin, the exercises are Each exercise should be a. a ll in rou p s of played twice then the pupil is to write what he Four measures twos. are enou h for the memory to carry ; hears. at first. Pitch The exercises Pitch from Lesson should in 2 be be played each exercise reviewed, twice. and then the followi n exercises shduld same tone The pupil tells what he describin the s eries tones oin oin of first hears, then then as u p repeated,' ', down, u ' p fi rst, up, down. down, 9 C l 9, 6 6

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19 Recitation Questions on Lesson No. 3 (Continued) at least four points w e must observ e in the correct five - fin er position. 9. Give I O. X hich side of the hand should be and how should the thumb be held? hiher, ns. When should the stems of notes o up, and when down? I O 2. n which side of the note-heads should t he stems be placed? I 3. N ame four notes which are of shorter time-value than the quarter- note. I 4. Make note of each of these four and also two of each kind properly joined one ether with kinds, cross-strokes. Fo r Teacher's Record Grade ( o n Scale I OO) Teacher N ew Lesson No New Exercise N o. New St udy No. New Composition N o

20 L E S S O N Num berin the Finers, Leato and Staccato, To Find Ke y s b y Touch, Rests, The Tie, Ear Trainin Numberin th e Fin ers finers of each hand are numbered follows Index or pointin The as : Rin Little fin Thumb, finer, Middle 3 finer,. fin 4 er,. 5 er,. 2. How the Fi n ers are N umbered Godowsk y ' s H and Le ato a nd Staccato 0 we from piano to another so smoothly that one is up just When o one ke y ke y comin as the next is oin the tones so produced are called le This is Italian word meanin 'bound' down, ato. an When we hear playin we notice that the tones follow each other without 'connected. or le the slihtest break A ato ood siner, shows us a perfect and it is always wise to between le try to imitate on the piano a ato them. beautiful sinin For, this music is always to be played reason unless some other directions are style. Sometimes the composer, wishes to ive us a special le reminder ato to play very does printed. this by either printin the or by usin a sin He le called the which is smoothly. a curved line over or under a roup of word, notes he wishes ato, bound star The use of the, slur will be full described in Lesso toether. y n 8. ' The opposite of is This Italian word means detached or When le we hear stac ato playin ato we notice staccato. tones and are not connected separate. This c, the are at s taccato effect is produced on the keyboard by releasin each short, key once after it been all. reat at h as The played. pyrihted Uni Co Publication Soci ety. St. ted ri ational Uni by of States A m erica, Grea t B tain, and I ntern Copyrih Copyrih by Soci t on Ar M Louis. o U. S. t Canad a Art Publication ety, A. Rihts of Translation and all oth e r rihts r es erved. t Lim i ted.

21 P a e 2 P roressive Series Junior Course Lesson 4 difference between staccato and le at o notes is that a le ato note should sound throuh all its written valu e, but a note should usuall sound only about half the and staccato ( y ) time, the rest of the time sh ould be taken up by Thouh is this little ap between t co untin and there staccato all ones, silence. playin of sh ould be steady the tickin of a The sin is a staccato passaes as a f s or staccato clock. dot placed over or under n to the ote be so played. N otes wi th Staccato Dots To Keys Touch Ke Find b y Without Lookin a t the y board A ood player looks carefully first notes of his then finds the position the at th e and of piece, keys where he is to After he is to music without lookin very able continue readin that, the bein. often at When the notes tell him to some distance from the which the keyboard. o t o a ke y one o n his fin ers he stretches his finers apart with out lookin there is a roup notes If of rest, down. with small skips proper finers seem to ready of their sh ould th e between, et ow n I f one be accord. playin in with eyes he would h the o r ave t o feel for black key roups et proper t o the dark, closed, startin point after that would rem ember each key is from the other and measure ; h e h ow f ar keys, these distances instantly with his finers. playin eyes are needed mostly to watch printed we should contin I n the ou r the If piano, pae. shift them from the music the keyboard and back would keep l osin our place' uall y t o w e aain, and would never ood our finers must trained to feelin remember' become So be the readers. of different distances on the and adjust themselves in playin without continual keyboard, watchin. The exercise which follows tells u s h ow to find other keys when w e have once found a black key roup. I t also trains the hand to measure distances with n o help from the eye. E x ercise Sit facin the middle of the keybo ard. Without lookin, feel f o r the two black key ro p Middle C u of the and touch the which belon that three white D and t octave, keys, C,, E, o roup. Lift the hand from the and still without find the three black key to uch the lo and keys, okin, roup, f ur white and which belon to that Do this with the left h and as as o B keys, F, G, A, w ell, roup. usin each find two black roup and touch lihtly the hand N riht, the ext, ke y aain, separately. the white keys belonin to it. Without lookin, n ame a key in this roup, and then press it dow n this with white keys belonin to the black key try it rep Do also the three and roup, firmly. e at~ until you can find white wish with either hand without even an y ke y y o u and lancin at the ke y edl y, board. As exercis in measurin from to in a tone roup for an e th e distance ke y ke y five instance, from C G either h and over white keys lyin by side or t o : Place five side like D E C,,, F, G, with out any of firmly press Try this with many D E C,, ; name one and i t then, lookin, them, down. roups think your key and it play of five bu t be sure t o of name bef ore keys, y ou it. A, B, the from iven key for C With the riht hand To measure distance of an octave a n y instance : find C by eans black key hold it with the th With the finer reach m of th e tw o and little roup, umb. u p f or th e C one oct ave hih er, which will probabl y be as far as your h and will be able to stretch.

22 Pro ressive Series Junior Course Lesson 4 P a e 3 Play the key you reached it is the C the tone will be very much like the C your If for. y ou thumb is only holdin the wanted, finer down brin thumb up on the Still holdin, hiher. little the firmly, same key hold it down (without soundin the tone aain then let the little fin er reach up and ) f or next C Keep oin hiher in this till you reach hihest C on the Then the above. on w a th y e come reachin down with the for each lower in the little finer piano. down to thumb and take its down, place in holdin a C, brin down ke y. The left hand sh ould be drilled the same Bein at C and reach down octave in. Middle a n at a until you reach lowest C on keybo way. ard then come back to Middle time the the ; C. Althouh it is the same distance ( about inches ) from any key white or black to its ( ) octave this exercise sh ould practiced from other keys than the black keys come in different ar, be because C, ranements between the different and the which often to uches these black keys lihtly hand octaves, in stretchin the must be familiar with any arranement of octave, keys. THEORY Rests Rests are sins or characters which indicate one of the notes already lea therefore has silence. s ame duration or lenth as these r and the ned, notes. Each one corresponds in time-value to some Rests in connection with the use of the damper pedal are used for other purposes than This will be explained in later silence. Lessons. The followin is a table of the rests, with their descriptions Whole-rest or der a line. measure-rest' ( Lesson 6) a heav y block placed un Half-rest n a heavy block placed above a line. Quarter-rest Eihth-rest 7 a character standin vertically. a stem and one fl a. Sixteenth-rest? a stem and two flas. Thirty-second -rest i a stem and thre e flas. Sixty-fo urt a stem and four fl a s. Beinnin with the eihth-rest, it will be seen that each rest has as many fl as as th e note of the same time-value has hooks. The fl as of rests are never joined toether as is often done with the hooks of notes, but each stem carries its own flas Durin the time taken by a rest, the hand should be held in a relaxed condition a little above the The shorter the the nearer the hand must remain to the so that it be can keys. rest, keyboard, in playin aain precisely at the end of the time-value the of rest. The Tie A is a curved line which connects two notes which are next to each other and are both on tie th same line or The second note is sounded but the first note is held throuh the not time value of the second aain, space. For A tied is held for three note example : half-note t o counts q arter tied to a q u arter-note also. another uarter is for so The tie is always from ; a u held q tw o and on one note-head to the occur in a or counts, it connect a. note one measure with I t m a y m next. measure, a y in a note the followin in measure. EAR - TRAI NING' Rhythm The pupil should now be asked to reconiz e h alf-notes and quarter-notes when used toether in roups of three. Th e teacher taps th e followin J J J ld J J J IJ J J I

23 ro io P r essive Seri J rs es u n r Cou e Lesson 4 askin the pupil to describe each is then asked to tap four roups of three first He roup. the two roups to contain and the third and fourth roups to contain beats, a half-note three quarter notes, and a q uarter-note. He should also tap four roups of di fferent combinations, as for instance : first, three quarter-notes ; then, half- note and a quarter-note, etc. a Written Rhythm i c Dictation The teacher plays the followin exercises as su ested the upil his in Lesson 3, p writin in m an book on the first treble space and fourth bass The pupil is told that he will uscri p t as space, before. work in roups will listen attentively to the last note in each exercise in order of He have t o to hear wheth er it three. is lon a half-note short (a quarter-note the first case he will need onl ( ), or I n but in the second case he will need two y quarter-rests. ). o ne quarter-rest, Pitch The followin exercises are pla ed the pu il o ressio as y b y the in oin as in Lesson A teacher, mark of some p sort describin should be the iven p r each ns answer in o ' ' 3 f up, down, etc.,. o all is satisfaction to the and also an to the teacher determinin r the pupil's ear I t a aid in pupil, work. findin the weak points which will more and in proress, need drill.

24 PROGRESSIVE SERI ES JUNIOR COURSE Recitation Questions on Lesson No. 4 Explain how the finers are numbered, and ive the number of each finer. L fi w s 2. What is the meanin of the word le ato? JJ W N cạ z u tt o 3. When are w e to play le at o? 4. What is the meanin of the word staccato? 5. When are w e to pla y s taccato? 6. How do we make staccato effects? 7. I s it necessary to watch the keyboard while playin? 8. When we are readin from printed music, how do our fi nersfind the keys we wish to play

25 ' Recitation Q uestions on Lesson No. 4 ( Continued) 9. How would we measure the distance of an octave, with the riht hand, from D? I O. What are rests? What is thedifference in ap p earance be tween a whole-rest and a half-rest? 1 2. What kind of rest has two fla and s, time-value? ho w man y hooks will there be on a no te of the same I 3. Draw a quarter-rest. I What 4. does the hand do durin a rest? I 5. What is a ti e, and what effect does it have? For Teacher s Record Grade ( on Scale 1 00) Teacher New Lesson No. New Exercise No. New Study No. New Composition N

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27 P a e 2 Pro ressive Series Junior Course Lesson 5 reat advantae of weiht playin is that we easily et all the force needed to make the One for the arm hand weih more than enouh to make a moderately loud we do not let tone, the and. I f weiht of the Playin tone. Apparatus work for we will have to keep the arm held besides makin the effort of us, up, playin. Another advantae of weiht playin is that each time the weiht of the Playin Apparatus is put on a that key is sure to o the matter whether we use the stron all w key, a y No down. fin ers the or or the weaker fourth fifth the tone will always the and be thumb, This is second, because third, no matter on which of the five finers finers, we place the wei this weiht same. is true, al ht, ~ ways the and will ive us the same amount of we play by a stroke of the or When by same, the weaker finers cannot ive as stro finer, tone. a stroke or n press as firmly as the stron er we pressure, always used either these ones. methods stroke or pressure would be likely to et a powerful If of w e tone from the and third fin a weak perhaps tone from the and and thumb, second, uncertain fourth fifth fin ers, and ers. Many pupils sit at the piano for lon tiresome hours to make and all the finers pla with equal but it cannot tryin be y No amount of practice will make the power, fourth fifth done. finers as stron as and the usin weiht playin we do not have to attempt these B impossible thumb. y for the weiht of the Playin Apparatus does not we thins, are sure that matter on which fin er the wei ht is and no vary, used we will always et the same amount of tone. most cases the piano is played by for the present this is the touch to e In and b I weiht, t used. produces a tone of medium which is always areeable to listen to because it is neither so we hear loudness, it wei ht playin has been so well learned noisy, nor soft that cannot when that we can make as perfectly. much tone Later, as this kind of touch will ive the we be ready without any e fiort learn how to play more loudly by addin little push or n shall ' t o a m uscular effort to the wei or to ht, play more softly by keepin back or u touch will be taken up in a later Lesson. suspendin. some of the wei ht. These chanes in the weiht When two or finers are playin at one the weiht should be tho more distributed on time, s e each havin a The properl is heavy enouh to press down as many fin when finers ers, share. arm, y relaxed, as may be on the keys at one time. is hardly and in fact it is not wise to try use every p rt of the Playin Apparatus at I t t o the same possible, We may play with the finers from the knuckles a with the wrist alone k ep alone time. in the finers in position and wi th the (keepin the wrist ; and fi ers in position ( e and fi rin ) ; arm firm n ) or with some combination of these separate ; parts. E xercise in wei ht pla y i the third fin er of the ri ht hand fall on E of the ih n : ( I ) C Let placin hand the correct the wei ht carry the key down H as far oc as the in five tave, -fin er Let it will but Curve the third finer position. more the so that it alone will be rest o, do not than in on the press. Shift the weiht from the third finer to the second others, which should be waitin a ( 2) key. little above the next soundin This is done exactly as we chane ( the weiht from one foot key) to the other in or, in ymnasium Shift the weiht to first finer on ( 3) the ( 4) To the second dancin, fin er To the exercises. third finer on To the fourth finer C. To on ( 5 ) ( 6) D. the fifth er E. o n ( 7 ) F. fin on D. G. (8) To the fourth finer on F. ( 9) To the third fi n er o n E. the third finer of the left hand fall on two octaves and r pe t this xercis Let E when you able to play exercise with each hand lower, try to do e well a with e both e hands. Later, to are the alone, as ether. Be very sure that the moment you shift the weiht from one finer to a nother, the finer which lets o the ke y is raised enouh so that there is no dan er that the tone from that ke y will still sou n d. I t should be raised about as hih as the fin ers that are awaitin their turn to play.

28 These Lesson 5 P ro r e ssive Ser i es J u n io r Cou rs e P a e 3 THEORY Accent Pulsation Measure is a s ecial em hasis or stress to one particular tone or chord in a roup of tones Accent p p iven (Chords are made up of several tones sounded to 'Accents are made usin o r chords. ) b ether. y extra power, and the y make the tones or chords stand out clearly from those before and after them. Accent or stress that can tone also or be to a musical tone or a word iven spoken b instead of soundin or it more y lin erin o n speakin word, a This is altoether different kind of is called an and an loudly. o ic will be explained later accent, I t in accent. Lessons. When we find that an accent keeps comin a ain and a ai n at a certain re ular time, it is called a because it divides pulses or beats into roups called eve m easure accent even ' 'measures. or, are marked off by means of lines placed vertically across the These lines n divisions, are called measures, and the measure accent staff. always falls the actual pla in the bars immediatel, y a f ter i n measure accent alwa bar. s be brou ht out ever but pla er must alwa s y, that need not y in y the measure, y y f eel it is there. A may be enerally understood to be roup of beats between two There m easure then, a bars. is another sense which the word be but this will be discussed a later measure' in m a y in used, A4eas ure A4eas ure EAR TRAI NI NG S llable es y Nam The teacher pla s the D major or sins with the neutral s llable The pupil s the y scale i t ascendin with the, syllable he y sin too. does alread know the s llable scale, and If not descendin, loo. y Latin n ames for the the should now be y scale, y t au h t t o him. ' pronounced The teacher next sins the D major scale with syllable names, a nd the pupil repeats it. sol l a it d o, d o ti l a sol f a r e d o Pitch The pupil sits where he cannot see the The teacher plays the C above Middle C, the below Middle the pupil keyboard. which tone then G askin sounds the She pla s other C, now hiher. pairs of to raduall the difference y nes, y lessenin thus i n : pitch, an d Different pairs of tones should be co ntrasted as Lesson the pupil asked whether then in 2 and the tones of sound nearer to ether those of the tones of, are farther apart tha those of I than 4 ; i f 2 n 5, etc

29 P a e 4 Pro ressive Series Junior Course Lesson5 Rh y thm The teacher taps two rou s of p three, beat of each roup is not tapped, followed by two more roups of three in which the middle but is a silence. J J J I J J J J 3 J J i J The pupil should be asked where he hears a difference in the what that and difference roups, is. should also tell what character represents a silence durin should next tap the ex He one He beat. ercise, then play it on one key of the piano, and finally write it. The teacher now plays two roups of three followed by two more roups of three in which there is silence durin the last two beats. J J J H J J J u I n The pupil should e the silence in the last two and state throuh how many beats reconiz the silence should be told at this time that only quarter-rests roups, He ( not half-rests used when lasts. ) are dealin with roups of The exercise is to be first and finally written the then b three. tapped, played, y pupil. W ritten Rh y thm ic Dictation These exercises are pla y ed b y the teacher on one key of the piano, and written by the pupil in his manuscript The pupil is told in advance the exercise is roups of two and when when in in book. roups of three.

30 2. What PROGRESS IVE SERI ES JUN I OR COURSE Recitation Questions on Lesson No. 5 Explain how we name the black keys. other name has Cit; Eb; Gil ; E h? 3. What is a half - step? 4 ; Define a sharp; a flat ; a natural ; and draw one of each of these symbols. 5. What is meant by pla y in b y p ercu ssion? is meant b y playin by p ressure? 6. What 7. What is meant by pla y i n b y wei ht? we play b y wei ht, wh y do we as much tone with the we a k finers as with t he 8. When stron on e s?

31 Recitation Questions on Lesson No. 5 (Continued) 9 Name another advantae of playin by wei ht About h ow loud is the tone produced by weiht playin? What is an accent? 1 What 2. is a measure? A bar? 1 3. What is a m easure accent? 1 Where 4. does the measure accent come? 1 5. When the playerpurposely omits the m easure what he instead ac ally must do of t u pla it accent, y in? For Teacher s Record Grade ( on Scale 1 00) Teacher N ew Lesson N o. N ew Exercise N o.. N ew Study N o. N ew Composition N o. Class No

32 U M B E R 6 W hite Ke y s a s Shar p s or Fl ats, Tim e ~Values, Tri p lets, Du ple Measure, Measure Sinature, Measu re Rest, Ear ~ Trainin White Keys as Shar p s or Flats W e learned in Lesson 5 that a sharp ( it) stands for a key a h alf-step hiher than a iven whit e key, and a flat ( b) stands for a key a half-step lower than a iven white ke y. Up to this time the sharp have been used only n ame the black and flat t o we will find that som etimes the a half-step keys. above or below a white key is another ke However, we lo ok at and and we y shall find this is white ke lf B and E A half-step y. upward from C, is sometimes F, written but it is played true. the key we have always E Eli, on called half-step downward from is s ometimes written but it is played on the F a F Pb, ke w y e have called the same a half-step upward from is sometimes written but it is played n B Bil way,, on the key we have called C and a half step downward from C is sometimes writte but it is played on the we have called ; The illustration below sh ows four white ke n Cb, ke s as sharps y y and flats. I E. B. When the study of scales is taken you will understand the reason for ivin thes then keys their extra up, e f ou r white names. THEORY e-values Tim has been that a note be divided int other notes of differe t shorter time-val I t seen can o n an d if added will equal the value of the oriinal The table which follows sh u ws es, which, some of the ways toether, in which the time-values note. notes be divided and o of m a y arraned. Tabl e 1. Li ne 1 Li ne 2 Li ne 3 Line 4 Li ne 5 ted tai nternati Co pyrih b n i ted States of Am erica. Grea t B r i n, and I onal Uni by Copyrih blicati t on Art o S i Copyrih by i n oc et St Louis M y.., o t Canada Art Publication Society, Lim ted. A. P u on a nd al l oth er ri U. S. hts res erved. Rihts o f Tra nsla ti