Class Piano Resource Materials

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1 Class Piano Resoure Materials Level To Fifth Edition Compiled and Edited y W Daniel Landes Smith Creek Musi

3 Class Piano Resoure Materials Level To (Fifth Edition) Compiled and edited y W Daniel Landes 006, 0 y Smith Creek Musi PO Box 09, Nashville, TN 7 smithreekmusiom

4 Class Piano Resoure Materials Level To (Fifth Edition) 006, 0 y Smith Creek Musi PO Box 06 Nashville, TN 7 smithreekmusiom info@smithreekmusiom All rights reserved ISBN: Exept as otherise stated, all rights on all material are reserved y Smith Creek Musi No part of this olletion may e reprodued or transmitted in any form or y any means, eletroni or mehanial, inluding photoopying, reording, or y any information storage or retrieval system, exept as may e expressly permitted y the 976 Copyright At or in riting from the pulisher Other Class Piano Resoure Materials are availale from Smith Creek Musi, PO Box 06, Nashville, TN 7 Please us at info@smithreekmusiom or visit our WEB site at smithreekmusiom for ordering information

5 Introdution These Class Piano Resoure Materials ere ompiled for use in the seondary piano program at Belmont University, Nashville, TN Consequently, the ontent has een shaped to a large extent y the various degree programs at that shool and in partiular, the Piano Profiieny Examination Every shool/department of musi has some type of piano profiieny evaluation that musi maors must past in order to omplete their degree requirements The various parts of the profiieny examination are the asi piano skills: repertory, sales and arpeggios, hords, harmonizing melodies, improvisation, transposition, et Consequently, the Class Piano Resoure Materials are designed to prepare the student to pass a piano profiieny examination Although intended for use in ollege lasses, the materials are road enough to e used in any lass piano setting here there is a need for a graded series of ooks ith a road range of musial styles SCOPE OF THE MATERIALS The Class Piano Resoure Materials are arranged in five ooks y level of diffiulty: Preparatory Level (no prior keyoard experiene is assumed), Level One, Level To, Level Three, and Level Four Eah level is organized aording to speifi goals that are spelled out learly at the eginning of the ook Theory skills are not addressed in great detail eause it is assumed that seondary piano lasses are required in onuntion ith the various theory lasses suh as Fundamentals of Musi, Diatoni Harmony, et Detailed pedagogial information is outside the sope of these Resoure Materials eause it is elieved that the instrutor ill give the neessary explanation of keyoard tehnique, theory, et Nevertheless, all the ooks in the various levels are organized in a more or less inreasing level of diffiulty if the instrutor hooses to use them in that ay In addition, a suggested assignment shedule ased on a -eek semester is inluded in eah level to aid the instrutor in preparing eekly lesson plans DESCRIPTION OF THE MATERIALS In seleting the materials, speifi omposers and periods of musi ere a strong fator Eah level ontains representative repertory y lassial omposers suh as Bah and Beethoven Tentieth entury lassial musi omposers suh as Bartók, Persihetti, and Shoenerg are inluded as ell as representative piees in various styles omposed speifially for these ooks y the author and olleagues Eah level inludes musi in a popular style These are not arrangements of popular tunes ut are original ompositions hih appear here for the first time It is hoped that the hoie of repertory and other material ill give the student a ell-rounded musial experiene and help develop keyoard and musiianship skills neessary for the professional musiian INTEGRATION OF TECHNOLOGY Eah level (ook) has an aompanying interative omputer appliation that een designed as an addition resoure, inluding links to a WEB site The appliation runs on Apple Maintosh omputers using system OSX 0 and higher Versions for Windos omputers, IPads, et may e availale in the future Detailed information regarding the implementation of the omputer softare is availale on the esite: COPYRIGHTS smithreekmusiom Every effort as made to ontat the oners of opyrights for permission to make settings or use piees If mistakes have ourred, they ill e orreted as soon as possile Please us at: info@smithreekmusiom The author is grateful to the oners of opyrighted material ho have granted permission to use their orks Where opyrighted material is used, a opyright notie appears at the ottom of the page iii

6 Tale of Contents Page Introdution Goals for Level To Class Notes iii vi vii REPERTORY German Dane (Beethoven) 8 What Wondrous Love Is This (arr Landes) 9 Playing Soldiers (Reikoff) 0 Soldier's Marh (Shumann) Burlesque (Mozart) Sunrise (Bartók) Duo (Santamaria, arr Landes) Prologue (Persihetti) 6 Exhortation (Wyeth, arr Landes) 7 Minuet in G (Bah) 8 Minuet in G Minor (Bah) 0 Sonatina (Attood) Une Petit Chanson (Rhené-Baton) Little Piano Piee, No (Shoenerg) 6 Simple Gifts (Landes) 7 To Etudes, No (Gurlitt) 8 To Etudes, No (Gurlitt) 9 Country Dane (Bartók) 0 Exoti Floers (Bartók) Deie Visits a Diso (Landes) Gymnopedie I, Seondo (Satie) 6 Gymnopedie I, Primo (Satie) 7 All's Well that Ends Well (Reikov) 8 FOUR-PART CHORALES, HYMNS AND PATRIOTIC SONGS Ameria: My Country, 'tis of Thee (anon) 0 Hymn to Joy (Beethoven/Hodges) iv

7 Page Root Positions Triads Proedures for Harmonizing Melodies 6 Blok-Chord Cadenes 8 Aompaniment Patterns 0 Melodies for Harmonization Improvisation 60 Sight Reading and Transposition I: Piano Sores 68 Sight Reading and Transposition II: Open Sores 78 Class Notes 90 Sales 9 Arpeggios 99 Sale and Arpeggio Pratie log 0 Exerises 0 APPENDIXES Appendix : Triads in a Sale; Inversions of Triads Appendix : Melodi Phrases 7 Appendix : Melodi Cadenes 8 Appendix : Non-Chord Tones 0 Weekly Assignment Shdeule Class Notes Level Three Assignments Chart 7 For more resoures, please visit the WEB SITE at: smithreekmusiom v

8 General Goals (Level To) Reinfore orientation to the keyoard: -- demonstrate an understanding of proper sitting position and hand position -- play in the orret otave -- demonstrate an understanding of asi hand positions: -finger hand positions, otave hand positions Play maor and harmoni minor sales in Group I; play maor, natural, harmoni, and melodi minor sales in Group II (see explanation in the sale setion of this volume) Play assigned repertory piees ith aeptale profiieny Demonstrate an understanding of the proper use of the sustain pedal Play root position maor and minor triads on any note 6 Play lok-style adenes in maor and minor keys through to aidentals 7 Harmonize simple melodies using primary hords and some seondary dominants 8 Improvise simple melodies (hord tones, passing tones, neighor tones) over given hord progressions in maor and minor keys through to aidentals 9 Create simple improvised arrangements of familiar melodies 0 Transpose a single line (trele or ass lef) of simple piees up and don a half step and hole step Estalish maor and minor keys on the hite notes of the piano y playing the hord progression of Cadene (see explanation in the Cadene setion of this volume) Continue to develop onepts of sight reading Play simple tehnial exerises Continue to develop onepts of style and musiianship and demonstrate these in the performane of assigned repertory: -- expression -- artiulation -- dynamis -- tempo vi

9 Class Notes vii

10 German Dane Allegretto p Ó L van Beethoven Ó 9 f P res f - -

12 0 Playing Soldiers Marziale f J (LH over RH) Vladimar Reikoff 6 J F * J f 6 J F J p π J *Play the G in the LH staato so the RH G ill sound

13 Soldier's Marh Allegro J J J J J J J J J J Roert Shumann J J 6 J J P J J J J J J J J J J f J J P J J J J J f P J J J 6 J J J f J P J J J J J J J J f > J J > J J

14 Allegro From the Noteook of Leopold Mozart Burleske f p f 9 p f 6

15 Andante Béla Bartók, 909 Sunrise p dole π 6 ṗ π From For Children, Book I, No Sunrise, 909

17 p Ó a tempo 8 poo rit a tempo f molto rit U

18 6 Prologue Adagio pesante C C n ƒ n Vinent Persihetti p 9 Ó res molto > Ó > > n ƒ n Ï Copyright 9 y Elkan-Vogel, In, Bryn Mar, Pa Used y Permission

19 7 Exhortation Allegro f J From Wyeth's Repository of Sared Musi, Part nd, 80 Adapted and arr y WDL 6 P 0 Ó res f P Ó Ó res 8 f P U u Musi 00 y Smith Creek Musi, Nashville, TN 7 All rights reserved smithreekmusiom

20 8 Minuet in G Allegretto P From the Noteook of Anna Magdalena Bah 9

21 9 7-9

22 0 Minuet in G Minor Allegretto P From the Noteook of Anna Magdalena Bah 9 n n

23 7 n F n n n 9 n

24 Sonatina Allegretto F Thomas Atood Ó 8 p p

25 7 f 0 n F Ó 6 p

26 Une Petit Chanson Modéré F res Rhené-Baton f rit p 9 a tempo F J J > > > > deres

27 7 p π F res J f rit π 9 a tempo p deres π U u

28 6 Little Piano Piee, No (From Six Little Piano Piees, Op 9) Arnold Shoenerg π»au erst kurz Ó p espressivo π > g J - J gut im Takt Ó π n n J π - n n etas gedehnt n n n RH J J poo rit n J n U n n U Ó J LH over Copyright 9 y Belmont Musi Pulishers, Paifi Palasades, CA Used y Permission

30 8 Moderato p To Etudes No C Gurlitt, Op 0, no - - J 9 F J res J f dim J p J

31 9 No Moderato 8 8 f P n C Gurlitt, Op 0, no - - f n P F res n poo rit n a tempo f π - -

32 0 Country Dane Allegro f Béla Bartók, f molto marato simile S 7 F S

33 9 p v π > From For Children, Book I, No 6 Country Dane, 909

34 Exoti Floers Allegro molto f > sempre legato 7 > - - > impetuoso > > Béla Bartók, 909 > > > > > > > > > > > 7 > > poo dim > - - f > > > - - > > ^ ^ ^ ^

35 9 ^ ^ ^ - - ^ F f ^ - - F dim 9 ritard - - a tempo ç From For Children, Book I, No 0 Exoti Floers, 909

37 F J res molto J 6 ƒ 9 suito p ƒ P U π

38 6 Lent et douloureux p Gymnopedie I (Seondo) A Erik Satie Adapted and arr y WDL 8 B 6 Ó Ó Ó n C n n n n n D Da Capo

39 Lent et douloureux Gymnopedie I A legato p (Primo) Erik Satie Adapted and arr y WDL 7 8 B 6 C n n n n n D n n n n Da Capo n

40 8 Taleaux No : All's Well that Ends Well Lento F simile Vladimir Reikov J 0 Piu mosso aellerando resendo

41 ~~~~ ~~~~ ~~~ 9 7 f Lento ~~~~ 0 U ƒ n U Largo Maestoso ~~~ ~~~ ~~~ ~ ~ ~ ~~~~ ~ ~ ~ ~~~~ n n ~~~~ ~~~~~~~~~~~~~

42 0 My Country, 'Tis of Thee J AMERICA from Thesaurus Musius, 7 J J 9 J J

43 Hymn to Joy HYMN TO JOY arr from L van Beethoven y E Hodges, 86 J n n J J 9 n J J

44 Root Position Triads For Level Four piano, you ill e required to play root position maor, minor, augmented, and diminished triads on any note Triads are onstruted like this: Maor triads -- Perfet th (P) and a Maor rd (M); minor triads -- Perfet (P) and a minor rd (m); Augmented triads -- Augmented th (A) and a Maor rd (M); Diminished triads -- diminished th (d) and a minor rd (m) Maor M P Minor m P Use this fingering on all root position triads: Right hand fingering: Left hand fingering: Here is the first set of triads (all the Maor/minor triads on the hite keys) If there is no aidental in front of a note then it should e onsidered a natural C Ma min D Ma min E Ma min F Ma min G Ma min A Ma min B Ma min C Ma min The next set of triads are all the Maor/minor triads on the lak notes They are presented here in pairs, for example C /D ; D /E, et For the purposes of atually playing the triad, it doesn't matter hih version you use For example, if A Maor triad seems ompliated to you, then use its ENHARMONIC spelling, B Maor If there is no aidental in front of a note then it should e onsidered a natural C Ma min D Ma min D Ma min E Ma min F Ma min G Ma min

45 (Maor/minor triads ontinued) G Ma min A Ma min A Ma min B Ma min Here is a graphi representation of seleted triads: C Ma C min C min D Ma D min D min E Ma E min E min F Ma F min F min G Ma G min G min A Ma A min A min B Ma B min B min

46 Root Position Triads, ont'd Augmented triads are onstruted from an Augmented th (A) and a Maor rd (M); diminished triads are onstruted from a diminished th (d) and a minor rd (m): Augmented Diminished M A m d Use this fingering on all root position triads: Right hand fingering: Left hand fingering: The third set of triads are all the Augmented/diminished triads on the hite keys If there is no aidental in front of a note then it should e onsidered a natural C Aug dim D Aug dim E Aug dim F Aug dim G Aug dim A Aug dim B Aug dim C Aug dim The final set of triads are all the Augmented/diminished triads on the lak notes They are presented here in pairs, for example: C /D ; D /E, et For the purposes of atually playing the triad, it doesn't matter hih version you use For example, if A Augmented triad seems ompliated to you, then use its ENHARMONIC spelling, B Augmented If there is no aidental in front of a note then it should e onsidered a natural C Aug dim D Aug dim D Aug dim E Aug dim F Aug dim G Aug dim

47 (Augmented/diminished triads ontinued) G Aug dim A Aug dim A Aug dim B Aug dim Here is a graphi representation of seleted Augmented and diminished triads: C Aug C dim C Aug D Aug D dim D dim E Aug E dim E Aug F Aug F dim F dim G Aug G dim G dim A Aug A dim A Aug B Aug B dim B dim

48 6 Proedures for Harmonizing Melodies Memorize the appropriate adene and e ale to play it in the key of the melody For no, alays harmonize the seond degree of the sale (maor or minor key) ith a V7 hord In most ases, the st and last hord of the melody ill alasy e a I (i) hord If possile, avoid V 7 - IV This is not ALWAYS possile, ut generally try to avoid it Ask yourself these questions: a Is the melody note I'm trying to harmonize in the hord I'm trying to use If it isn't then it proaly on't ork (See: Appendix IV: Non-Chord Tones) Does the shape of the melody suggest a speifi hord If the melody outlines a speifi triad or seventh hord then that is a good indiation for the hord that should e used 6 Write in the symols for the hords you intend to play For no, only use the hord voiings of the adenes you pratied h Indiates HARMONIC RHYTHM I I IV I or V 7 IV or I V 7 I In the aove melody segment, make the folloing oservations: - The HARMONIC RHYTHM is a half note (see elo) - The first measure outlines the I hord Also, it's a good idea to alays start ith the I hord - The first to eats of the seond measure outlines part of the IV hord - The "G" on eat three is not in the IV hord ut IS in the I hord or the V 7 hord If you use the I hord you an go to either I or V 7 for the next hord (eat, measure ) Hoever, if you use the V 7 hord, you HAVE to also use the V 7 hord for the st eat of measure (see rule aove) Proaly it's est to use the I hord - The first to notes of measure three are oth ontained in the V 7 hord, so that is a logial hoie Hoever, the "f" on eat one is also in the IV hord so that ould ork too If you use the IV hord on eat then the "G" on the "and" of eat eomes an "esape" tone and THAT'S OK even though it's not in the IV hord See: Appendix IV: Non-Chord Tones

49 7 - The first eat of measure four is the seond degree of the sale Therefore, it is automatially harmonized y the V 7 hord (rule aove) The last note of measure four is in the I hord and it's generally a good idea to harmonize the final note of a melody ith the I hord IN GENERAL: - You may harmonize eah melody note one at a time, or - You may harmonize the melody using a strit "harmoni rhythm" See the aove example HARMONIC RHYTHM means: "A rhythmially strit progression of hords" In the aove example the harmoni rhythm is a half note (one hord every to eats) The harmoni rhythm may e anything that sounds good Hoever, the est harmoni rhythm depends upon suh fators as tempo, style, et A typial harmoni rhythm ould e either one or to hords per measure Also, tempo affets deisions regarding the harmoni rhythm Generally, if the tempo is fast then use a sloer harmoni rhythm If the tempo is slo then use a faster harmoni rhythm Here's a harmonized version of the melody on the previous page ritten out as you might play it using the simple adene hord voiings: I IV I IV I V 7 I Here's another version using the same hords ut implementing one of the aompaniment patterns: I IV I IV I V 7 I Try playing the aove melody using one of the other aompaniment patterns

50 8 Blok-Chord Cadenes "Blok-hord" means all hords are voied ith notes in eah hand and eah hord is identified y its Roman Numeral, not y its inversion The folloing are "lok-hord" style adenes Here, "adene" means a suession of hords (suh as I-IV-I-V7-I) and does not refer to hat happes at the end of a phrase as desried in Appendix (page 0) C Maor I IV I V 7 I a minor i iv i V 7 i F Maor d minor I IV I V 7 I i iv i V 7 i G Maor e minor I IV I V 7 I i iv i V 7 i g minor I IV I V 7 I i iv i V 7 i D Maor minor I IV I V 7 I i iv i V 7 i

51 9 Cadenes, ont'd: V 7 /V C Maor a minor I IV I V 7 /V V V 7 I i iv i V 7 /V V V 7 i F Maor n n d minor n ṅ I IV I V 7 /V V V 7 I i iv i V 7 /V V V 7 i G Maor e minor I IV I V 7 /V V V 7 I i iv i V 7 /V V V 7 i n n I IV I V 7 /V V V 7 I g minor n n i iv i V 7 /V V V 7 i D Maor I IV I V 7 /V minor V V 7 I i iv i V 7 /V V V 7 i

52 0 Aompaniment Patterns One ay to harmonize a melody is to use the BLOCK-CHORDS from the adenes on the previous pages Hoever, a more interesting aompaniment an e aomplished y superimposing patterns on the lok-hords as demonstrated elo In eah example -, the top staff shos the lok hord and the ottom staff shos ho to superimpose the aompaniment pattern I IV V 7 I I IV V 7 I I IV V 7 I I IV V 7 I Here's an atual melody ritten out using Aompaniment Pattern I IV I IV I V 7 I

53 h Melodies for Harmonization TWINKLE Folk Song h WDL h FOLK SONG q ABERYSTWYTH Joseph Perry, 879 h THIS OLD MAN Amerian Folk Song

54 6 h WDL 7 Harmonize eah melody note HAMBURG Loell Mason, 8 8 h WDL 9 h LIGHTLY ROW Folk Song 0 Harmonize eah melody note LOW DUTCH Bay Psalm Book, 698 edition

55 h Folk Song WDL h NINETY-FIFTH Wyeth's, Repository of Sared Musi, Part nd, 80 q Folk Song Be Creative WDL J

56 6 h MELODY Roert Shumann 7 h = st time nd time harmonize eah melody note BLUE SKY Amerian Folk Song 8 h J WALTZ Franz Shuert 9 q Folk Song

57 0 h MINUET J S Bah q HOLY MANA Kentuky Harmony, 8 h FOLK SONG Harmonize eah melaody note AMAZING GRACE Virginia Harmony, 8 J

58 6 DARK EYES Hungarian Folk Song q SHE'LL BE COMIN' ROUND THE MOUNTAIN Amerian Folk Song 6 h WALTZ Folk Song 7 8 q 8 6 J q REAPER'S SONG Roert Shumann FOUNDATION Union Harmony, 87

59 7 9 q n ST MAGNUS Jeremiah Clark 0 q from Don Giovanni WA Mozart 6 h J J J J J J J J Amerian Folk Song h J WDL q 8 6 J J J J Frenh Folk Song

60 8 h GO TELL IT ON THE MOUNTAIN Negro Spiritual h AURA LEE Amerian Folk Song J 6 h J J J J STREETS OF LOREDO Amerian Folk Song 7 h J J J J HAPPY FARMER Roert Shumann J J

61 8 h J FORREST GREEN English Folk Song 9 9 h HOM ON THE RANGE Amerian Folk Song J J 0 h WE SHALL OVERCOME Negro Spiritual q German Folk Song n

62 60 Improvisation The goal for improvisation skills in Seondary Piano is to improvise simple melodies over a given hord progression In Level To the improvisation examples ill onsist of: Primary hords and one seondary dominant (V7/V) in maor and minor keys through to aidentals Improvised melodies should onsist of hord tones, passing tones and neighor tones The range of the improvisation should e aout a th (for example, use sale degrees - ) Improvised melodies should generally make use of a RHYTHMIC MOTIVE Non-motivi onstrution onepts ill e introdued 6 Use a onsistent HARMONIC RHYTHM (for example, or hords per measure) Improvisation involves spontaneously making up a melody over a given hord progression The hord voiings required in Level piano ill e the same as those found in the ok-hord adenes earlier in this ook If you need to revie the differenes eteen hord tones and non-hord tones, see Appendix IV for a detailed explanation All the improvisation examples in Level piano ill involve improvising melodies onsisting of a omination of hord tones and non-hord tones Here is a ritten-out example demonstrating asi requirements for this level: n n Cadene Point In the aove example the melody notes onsist of hord tones, passing tones, and neighor tones Note the use of the seondary dominant V7/V in measure and ho it resolves At a adene, V7/V should resolve to a V hord and then the V should progress to the V7 hord Also notie ho the rhythm for the melody is the same in eah measure exept for the hole notes in measures and 8 This repetitive rhythm is alled a "rhythm motive" and the hole notes in measures and 8 are at CADENCE POINTS (see Appendix and at the end of this ook for a detailed explanation of melodi phrases and adenes) A MOTIVE is a short melodi and/ or rhythmi idea used as a onstrutional element In other ords, a MOTIVIC IDEA is used over and over again to uild up a larger setion or an entire omposition Also, notie ho the rhythmi motive is spread out (superimposed) over adaent hords The short example aove is a omplete melody and onsists of TWO PHRASES The PHRASES are set apart y the hole notes in measures and 8 and these POINTS OF REST ithin the melody are alled CADENCES It is often easy to find the CADENCE POINTS in any melody -- ust look for the longest note values, partiularly if they our in groups of or 8 measures FOUR-MEASURE PHRASES are very ommon in all styles of Western musi You an make your improvised melodies sound like "real" melodies if you struture them like REAL MELODIES: Use a simple rhythmi motive Use LONG NOTES (hole notes, dotted hole notes, et) at the adene points Superimpose your rhythmi motive of TWO onseutive hords Cadene Point I I IV IV V 7 /V V 7 /V V V 7 I I IV IV I V 7 I

63 6 Alays end ith the toni note (st degree of the sale) The maority of suessful melodies in estern musi end on the toni note "Suessful melodies" are those melodies hih have een IN USE for a long period of time, for example, 0 years, 00 years, et Look through the melodies in the Harmonized Melodies setion of this ook and you ill disover that they ALL end on the toni note The goal for Level II Piano is to e ale to improvise using hord tones, passing tones, and neighor tones over a given hord progression Try improvising a melody over the folloing hords The first measure has een done for you and you should use this rhythmi MOTIVE in eah measure throughout the example exept at the adene points here you see the hole notes Improvise a melody for the folloing example using the rhythmi motive in first measure Repeat in the keys of C and F Use long notes (hole notes) at the adene points Do: I I IV IV V 7 /V V 7 /V V V 7 I I IV IV I V 7 I Don't: Use hord tones, passing tones, and neighor tones If you need to, onsult the example on the previous page Generally, keep the overall range of your improvisation ithin aout a th or 6th You may ant to start out ith a limited range of a rd and then gradually inrease the range to th or 6th If you have troule ith the oordination aspet, try "patting" the rhythm of the right hand hile you play the hords in the left hand It's alays a good idea to pratie ounting outloud hile you play Try starting your improvisation on a sale degree other than the st sale degree (for example the rd of the th) Don't rite out your improvisation Make it up (improvise it) every time When you feel omfortale playing the example aove in the ritten key of F maor, try playing it in the keys of C maor and G maor Improvise a melody for the folloing example using the rhythmi motive in first measure Repeat in the keys of C and G Use long notes (hole notes) at the adene points n I I IV IV V 7 /V V 7 /V V V 7 I I IV IV I V 7 I

64 6 Improvisation, Part II: More on Rhythmi Motives As desried earlier, a MOTIVE is a short melodi and/or rhythmi idea used as a onstrutional element Many suessful melodies use non-motivi melodi onstrution Hoever, the efforts of novie improvisers to play non-motivi improvisations often sound "ramling" -- that is, the improvised melody ramles in an almost random ay, not having any real sense of diretion, strong adene points, or any sense of tension/relaxation or limax A melody or improvisation ill have a greater sense of unity and diretion (inluding limax and adene) if it is onstruted motivially, espeially for someone ust learning to improvise To egin to develop a good onept of rhythmi motive, rite out four () one-measure rhythmi motives for eah of the meters elo Individual melody notes are inonsequential at this point The atual melody notes ill later e determined y the given hords For no, use any pithes you ant or ust use one pith To e a VIABLE rhythmi motive, your rhythmi motive must have at least TWO different rhythmi values, for example a half note and quarter notes Consequently, quarter notes, half notes, 8 eighth notes, et ould not e viale rhythmi motives Your rhythmi motives ill e ONE measure long and ill e the equivalent of hords in length For example, in // time eah hord ould get eats and there ould e hords in eah measure; in 6/ time eah hord ould get eats and there ould e hords in eah measure Eah hord gets eats: 6 Eah hord gets eats: H H H H H H H H H H H H H H H H After you have ompleted the omposition of your rhythmi motives, improvise omplete melodies over the example hord progressions elo y making use of one of your motives Use ONE motive for the entire improvisation Use a LONG note (dotted hole note) at the adene points Before you egin, analyze the hords and rite them in the musi elo the hords DO NOT WRITE OUT YOUR IMPROVISATION IN THE MUSIC, ut you may sketh out your hosen rhythmi motive in the provided trele lef Cadene Point n

65 6 6 6 Cadene Point Improvisation: Improvised Melodies Over Chord Symols -- Revie When you improvise melodies over hord progressions the voiings of the hords you play in the left hand should e the same as the adene hords you have already learned Hoever, if your instrutor agrees you may use any voiings you ish as long as you keep the rhythm orret and the tempo steady Pratie the examples in the required keys for your adenes (through aidentals Eah example is to phrases ( lines) long The next-to-last hord in eah phrase is the "CADENCE POINT" Please follo these rules: Play the adene for the key in hih you plan to improvise Play through the hord progression ith ust the left hand using the adene voiings Use one of the rhythmi motives you rote out on the previous page Play the hord progression ith your left hand hile you PAT the rhythmi motive ith your right Play LONG notes (one note that lasts for hords) at all the CADENCE POINTS 6 Keep the range of your improvisation ithin a th or 6th (although you might start off ith a range of a rd or th) 7 Create your improvisation using hord tones, passing tones and neighor tones 8 Generally, it is etter to use more steps than skips 9, Alays end the improvisation on the toni note Cadene Point For all these hord progressions: I I IV IV I I V 7 V 7 I I IV IV I V 7 I I Prepare eah one TWICE: one ith eats for eah hord and one ith eats for eah hord i i iv iv i i V 7 V 7 previous page i i iv iv i i V 7 i i I V 7 I I IV IV V 7 V 7 I IV I I IV V 7 I I Use one of the rhythmi motives you omposed on the The CADENCE POINT for eah phrase is the next-to-last hord in eah line So, play a LONG note on that hord and don't ontinue your rhythmi motive See the example at the eginning of this setion as a model i V 7 i i iv iv V 7 V 7 i iv i i iv V 7 i i It's alays a good idea to pratie playing the hords ith the left hand hile you PAT your rhythmi motive ith the right hand

66 6 Improvisation, Part III: Non-Motivi Melodi Constrution Creating a suessful non-motivi improvisation is more hallenging than using motivi onstrution Here are a fe asi priniples hih ill help in improvising non-motivi melodies Consider the folloing examples: Copyright 96, 966 y Tempo Musi In, Ne York, Ne York Used y Permission COME SUNDAY Duke Ellington, 96 fine Ó : J DC SONG Orlando Gions, 6 The first melody, COME SUNDAY (omposed in 96 y Duke Ellington), is onstruted non-motivially The seond melody, SONG (omposed in 6 y Orlando Gions), makes use of motivi onstrution Both melodies onsist of four phrases and oth melodies use longer note values at the adene points COME SUNDAY has more rhythmi diversity and this is the key to onstruting interesting and effetive melodies hih do not make use of motivi onstrution The most interesting non-motivi melodies are those hih have rhythmi diversity, that is, different rhythmi ominations in eah measure The asolute opposite of this are melodies hih use only a single rhythmi value throughout, as in the folloing melody n ST ANNE William Croft, 708

67 6 ST ANNE has proved to e one of the most suessful melodies ever ritten despite its stati rhythm Hoever, hat it laks in rhythmi diversity it makes up in strong adene points, interesting intervals and limax The melodi interval of a th is used 8 times throughout the tune and this tends to reinfore a strong sense of adene In addition, the overall angular intervalli motion (a desending interval folloed y an asending interval) gives a unique feel to the tune hih makes it memorale Here are some general guidelines for reating tunes hih are not onstruted motivially: Strive for rhythmi diversity (different rhythms in eah measure) Have learly defined adene points The melody note at the atual adene point should e the longest note value of the phrase The melody should have a sense of limax Often this is aomplished ith the highest note of the melody ourring only one at the point of limax Points and aove also apply to motivi melodies ut are partiularly true for non-motivi melodies Otherise, there is a strong tendeny for non-motivi melodies to degenerate into ramling its of nonsense Improvise non-motivi melodies over the given hord progressions elo Before you egin, analyze the hords and rite them in the musi elo the hords DO NOT WRITE OUT YOUR IMPROVISATION IN THE MUSIC, ut you may sketh out rhythmi ideas in the provided trele lef n Cadene Point 6 6 Cadene Point

68 66 Improvisation, Part IV: More Improvised Melodies Over Chord Symols Seondary Dominants: V 7 /V Improvise melodies over the folloing hord progressions using any omination of tehniques you have learned so far The voiings you should use for the hords are the same voiings you have learned for the adenes earlier in this ook Hoever, if your instrutor agrees you may use any voiing you ish as long as you keep the rhythm orret and the tempo steady For example, give eah hord the orret numer of eats Play eah example in the folloing keys: Maor: C D F G B Minor: am m dm em gm Eah example is to phrases ( lines) long You should prepare eah improvisation tie: one giving eah hord eats, and one giving eah hord eats Please follo these proedures: Play the adene for the key in hih you plan to improvise Play through the hord progression ith ust the left hand using the adene voiings Use one of the rhythmi motives you rote out earlier in this setion Play the hord progression ith your left hand hile you PAT the rhythmi motive ith your right Play LONG notes (one note that lasts for hords) at all the CADENCE POINTS 6 Keep the range of your improvisation ithin a th or 6th (although you might start off ith a range of a rd or th) 7 Create your improvisation using hord tones, passing tones and neighor tones 8 Generally, it is etter to use more steps than skips 9, Alays end the improvisation on the toni note Cadene Point I I IV IV I V 7 /V V V 7 I I IV IV I V 7 I I i i iv iv i V 7 /V V V 7 i i iv iv i V 7 i i I IV I I IV V 7 /V V V 7 I V 7 /V V V 7 I V 7 I I i iv i i iv V 7 /V V V 7 i V 7 /V V V 7 i V 7 i i I IV V 7 I V V 7 /V V V 7 I V 7 /V V V 7 /V V V 7 I I

69 Class Notes 67

80 78 Sight Reading and Transposition II: Open Sores Ó Ó from Gloria Antonio Vivaldi V Ó Ó Ó Ó Ó Ó 7 J Ó V J Ó Ó Ó V Anonymous 600 Musi 00 y Smith Creek Musi, Nashville, TN 7 All rights reserved smithreekmusiom

86 8 Flute Flute Ooes Clarinets Bassoons Frenh Horns Trumpets Tromone Tromones B > > Ï > > > > Ï > > Ï Î> Î > > Ï > > Ï> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > sim sim sim Open Sore sim sim sim sim > > > from l'oiseau de Feu, 90 Igor Stravinsky > Tua Timpani Perussion ƒ æ ƒ æ æ æ æ æ æ æ æ æ æ æ Perussion Harp Ï g g g g g g g g g g g g g g g g g g g g g g g g g g Violin Violin Viola Cello Bass Ï Ï Ï Ï Ï Ï tirez touours

87 Fl Fl O Cl Bsns F Hns Tpts Tr Trs Tua Timp Per Per Vln Vln Viola Cello Bass ( ) B g g ( ) ( ) (Sore reading, ont'd) æ æ æ sempre pi u res æ æ g g g g g sempre pi u res g g g g g g g Molto pesante Î Î Ó Î Î Ó Î Ó Î Ó Ó Î Ó Î Ó Î Ó Î Ó Î æ Î Piatti Ó GrC Î Triangle æ Î æ Î æ Î Î æ Î æ Î æ Î æ æ Î æ Î h» º > > > > n > n > > n > > n > æ æ æ æ æ æ æ æ æ æ > > > > æ æ æ æ æ æ æ æ æ æ > æ æ æ æ æ æ æ æ æ æ > > n n > n > n n > n > > > > > > n n > n > > n n > n > > æ æ æ æ æ æ æ æ æ æ B π π π π π π π π Ÿ π π æ π æ æ æ æ æ æ æ æ æ π suito suito suito suito suito suito suito suito mmmmmmmmmmmmmm suito suito suito suito æ æ æ æ æ æ æ æ æ æ ç Ó Ó ç Ó ç Ó Ó ç Ó ç Ó ç Ó ç Ó ç Ó ç Ó Ó ç ç Ó Ó ç Ó ç g Ó ç Ó Ó Ó Ó Ó Ó Ó Ó Ó ç 8

92 90 Class Notes

93 9 Sales All maor and minor sales an e divided into groups aording to their fingering patterns Eah group has its on harateristis and these are listed elo It is reommended that the student memorize eah group of sales along ith their harateristis and fingerings Here are some general, introdutory statements aout sale fingerings In any sale (maor or minor), the th finger in eah hand only plays ONCE per otave Consequently, the th finger alays plays the SAME note One ay to think aout sale fingerings is simply to kno (memorize) the th finger note of eah sale Fingering in sales is CONSECUTIVE, that is -- don't skip fingers This is a ommon mistake, partiularly skipping the nd finger Group I Sales: Those sales in hih the thums alays play together MAJOR KEYS (thum notes) MINOR KEYS (thum notes) D-Flat F C -flat f G-Flat C-flat F e-flat f -flat B B E e F F C f f Here are some harateristis hih may help to play these sales using the orret fingering: The thums of eah hand alays play together In addition, eah sale in this group has thum notes (see the aove hart) The thums alays play on the hite notes never on lak notes For all the sales in this group, the nd and rd fingers of eah hand play on or near the group of lak notes The nd, rd, th fingers of eah hand play on or near the group of lak notes Group II Sales: Those sales hih have the same fingering as C maor Maor: C D E G A Minor: d e g a All four forms of the sales in Group have the same fingering: maor, natural minor, harmoni minor, and melodi minor Listed elo are some harateristis of Group sales hih may help you to play the sales using the orret fingering: All sales in Group have the same fingering as C Maor: RH:,,,,,,,,,,,,,, LH:,,,,,,,,,,,,,, rd fingers in eah hand play together Right hand th finger plays only the 7th degree of the sale Left hand th finger plays only the nd degree of the sale The thums play together only on the toni note

94 9 Group I Sales All sales should e played from memory, otaves asending and desending in a steady tempo ith orret fingering D Maor (Thum notes: f ) G Maor (Thum notes: f) () B Maor (Thum notes: e) F Maor (Thum notes: f )

95 9 B natural minor (Thum notes: f) () E natural minor (Thum notes: f ) () Group I Sales, ont'd G natural minor (Thum notes: e) B natural minor (Thum notes: e) F natural minor (Thum notes: f )

96 9 B harmoni minor (Thum notes: f) () () E harmoni minor (Thum notes: f ) n n n n n n n n Group I Sales, ont'd n n n n n n n n B harmoni minor (Thum notes: e) F harmoni minor (Thum notes: f ) n n n n n n n n

97 9 Group II Sales C Maor D Maor G Maor A Maor E Maor

98 96 C Natural Minor D Natural Minor E Natural Minor G Natural Minor A Natural Minor Group II Sales, ont'd

99 97 C Harmoni Minor D Harmoni Minor E Harmoni Minor n n G Harmoni Minor A Harmoni Minor n n n n Group II Sales, ont'd n n

100 98 C Melodi Minor D Melodi Minor E Melodi Minor n n n n n n Group II Sales, ont'd n n n n n n n n n n n n G Melodi Minor A Melodi Minor n n n n n n n n n n

101 99 Group I Arpeggios All arpeggios should e played from memory, otaves asending and desending in a steady tempo ith orret fingering Unlike sales, there are several sets of fingering hih different teahers use to teah arpeggios You should use the fingering your instrutor reommends Hoever, elo is outlined a ommonly used set of arpeggio fingering As ith sales, arpeggios an e grouped aording to speifi fingering patterns Hoever, the groups of sales and arpeggios are not the same event thought there are oinidently three groups of arpeggio fingering GROUP I (fingered like C Maor): Right hand: Left hand: C Maor * * Be sure to use the th finger in the left hand F Maor G Maor

102 00 C minor E minor F minor G minor D minor Group I Arpeggios, ont'd

103 0 Group I Arpeggios, ont'd A minor B minor E minor

104 0 Group II arpeggios have the same fingering as Group I, exept use of the rd finger in the left hand instead of the th D Maor E Maor A Maor B Maor G Maor * Group II Arpeggios

105 Sale and Arpeggio Pratie Log 0 Sales D-flat G-flat B F B-flat minor E-flat minor B minor F minor C D E G A C minor D minor E minor G minor A minor Arpeggios C F G C minor D minor E minor F minor G minor A minor B minor E-flat minor D E A B G-flat

106 0 Exerise Asending Exerises C hand position D hand position E hand position F hand position G hand position A hand position B hand position C hand position

107 0 Exerise Desending C hand position B hand position A hand position G hand position F hand position E hand position D hand position C hand position

108 06 Exerise Asending C hand position D hand position E hand position F hand position G hand position A hand position B hand position C hand position

109 07 Exerise Desending C hand position B hand position A hand position G hand position F hand position E hand position D hand position C hand position

110 08 Exerise Asending C hand position D hand position E hand position F hand position G hand position A hand position B hand position C hand position

111 09 Exerise Desending C hand position B hand position A hand position G hand position F hand position E hand position D hand position C hand position

112 0 Exerise Asending C hand position D hand position E hand position F hand position G hand position A hand position B hand position C hand position

113 Exerise Desending C hand position B hand position A hand position G hand position F hand position E hand position D hand position C hand position

114 Appendix : Triads in a Sale; Inversions of Triads Root position triads: C Maor I ii iii IV V vi viiº I Inversions of primary triads: C Maor IV I V I IV I V R st nd rd R st nd rd R st nd rd R st nd rd Root position triads: A minor Inversions of primary triads: A minor i iv V I iiº III+ iv V VI viiº I i iv i V R st nd rd R st nd rd R st nd rd R st nd rd

115 Appendix : Triads/inversions ont'd Root position triads: F Maor I ii iii IV V vi viiº I Inversions of primary triads: F Maor I IV V I IV I V R st nd rd R st nd rd R st nd rd R st nd rd Root position triads: D minor I iiº III+ iv V VI viiº I Inversions of primary triads: D minor i iv V i iv i V R st nd rd R st nd rd R st nd rd R st nd rd

116 Root position triads: G Maor Appendix : Triads/inversions ont'd I ii iii IV V vi viiº I Inversions of primary triads: G Maor I IV V I IV I V R st nd rd R st nd rd R st nd rd R st nd rd Root position triads: E minor I iiº III+ iv V VI viiº I Inversions of primary triads: E minor i iv V i iv i V R st nd rd R st nd rd R st nd rd R st nd rd

117 Appendix : Triads/inversions ont'd Root position triads: D Maor I ii iii IV V vi viiº I Inversions of primary triads: D Maor I IV V I IV I V R st nd rd R st nd rd R st nd rd R st nd rd Root position triads: B minor I iiº III+ iv V VI viiº I Inversions of primary triads: B minor i iv V i iv i V R st nd rd R st nd rd R st nd rd R st nd rd

118 6 Appendix : Triads/inversions ont'd I ii iii IV V vi viiº I I IV V I IV I V R st nd rd R st nd rd R st nd rd R st nd rd Root position triads: G minor I iiº III+ iv V VI viiº I Inversions of primary triads: g harmoni minor i iv i iv i V R st nd rd R st nd rd R st nd rd R st nd rd V

119 Appendix : Melodi Phrases 7 The material presented here is intended to supplement the harmonized melody and improvisation examples "Melodi phrase" refers to the phrase onstrution found in simple ommon melodies suh as popular musi, folk tunes, hymn tunes and horales Although this material may apply to phrase onstrution found in larger lassial musi literature, generally the melodi phrase onstrution of art musi is more omplex and is eyond the sope of these materials Melodies are omprised of PHRASES For example, the folloing melody onsists of three phrases: Here is a ommon definition of PHRASE: A phrase is the SHORTest passage of musi expressing a COMPLETE MUSICAL THOUGHT and ending in a CA- DENCE* There are three key points to this definition: () short, () omplete musial thought, and () adene Hopefully, "short" ill not need extensive elaoration Hoever, a ommon error in determining a phrase is getting it TOO short More on this later COMPLETE MUSICAL THOUGHT means an instane of tension / relaxation This duality is the asis of "omplete musial thought" and is related to the same kind of duality present in lassial poeti meters In the aove example, eah phrase an easily e divided into its respetive tension / relaxation (ie, eah phrase = meas; tension = meas, relaxation = meas; half notes indiate points of division) Not all melodies are this ovious Hoever, a great numer of suessful melodies do onsist of ominations of or 8 measure phrases With this explanation of "omplete musial thought" in mind, examine the aove melody again It is easy to understand hy some might make the mistake of defining the phrases in this melody as onsisting of measures instead of measures Hoever, after playing or singing this example the tension / relaxation senario should eome apparent This partiular melody has three phrases and in that regard is not as ommon as many melodies hih have or phrases In the aove definition, "adene" does not mean hat it meant in an earlier setion of this ook -- a simple progression of lok hords Instead, CADENCE here means a point of relaxation of the tension at the end of the phrase There are speifi kinds of adenes and all phrases end ith one of these speifi adenes (see Appendix ) Analyze the melodies in the Melodies for Harmonization setion of this ook to determine their phrase onstrution In addition to finding tension / relaxation, you might look for these often ovious harateristis of phrase onstrution: Sometimes the CADENCE POINT is the longest note value of the phrase See examples 7, p 0; 7, p 7 Often phrases onsist of or 8 measures (depending on the tempo), as in the example aove * Definition ased on Douglass Green's, Form in Tonal Musi, rd edition, Harourt Brae Jovanovih College Pulisher, 979

120 8 Appendix : Melodi Cadenes As mentioned in Appendix, melodi phrases end ith a adene In this sense, "adene" refers to hat happens at the end of a phrase and has nothing to do ith the "lok-hord" adenes (hord 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 ategories of adenes: () onlusive, and () inonlusive All types of adenes fall into these to ategories A CONCLUSIVE CADENCE is a adene on the I hord and an INCONCLUSIVE CADENCE is a adene on a hord other than the I hord, for example the V hord Regarding CONCLUSIVE CADENCES, there are types: (a) authenti, and () plagal An AUTHENTIC CADENCE onsists of hords here the PENULTIMATE (next-to-last) hord ontains a leading tone Consequently, the most typial kind of AUTHENTIC CADENCE is V or V7 moving to I In a PLAGAL CADENCE, the penultimate hord does not have a leading tone The most typial kind of PLAGAL CADENCE is IV moving to the I hord In an AUTHENTIC CADENCE, if the I hord is in root position and the toni is in the melody (top most voie), then it is knon as a "perfet authenti adene" INCONCLUSIVE CADENCES are not divided into types like onlusive adenes There is only one type of inonlusive adene -- those that adene on a hord other than the I hord, for example the V hord Another name for the inonlusive adene is HALF CADENCE It is important to kno that a adene on V is not the definition of "half adene" ut merely an EXAMPLE of a half adene Other half adenes ould e adenes on IV ("Auld Lang Syne"), adenes on III ("I've een orking on the rail road"), and adenes on vi (deeptive adene) There is no suh thing as a "perfet half adene" PERFECT hen applied to a adene only refers to an authenti adene To suessfully harmonize a melody, it is important to have a step-y-step proedure rather than ust illy-nilly stiking in hords Here is a pratial proedure for harmonizing a melody If you use this you ill have onsistent suess: Identify the phrases Often phrases an e identified y ounting or 8 measures (the maority of ommon melodies in the estern tradition have phrases onstruted of or 8 measures), looking for the longest note value (often the adene point at the end of a phrase is the longest note value of the phrase), or y looking for some aspet of tension and relaxation (question/anser) See the melody elo for referene Harmonize the CADENCE POINTS first The adene point is the nd hord of the to-hord progression of the adene, for example V7 - I The V7 hord is the "penultimate hord" and the I hord is the "adene point" Generally, there are only to possiilities to harmonize the adene point: I or V Rememer (from aove), there are ONLY TWO ategories of adenes: onlusive and non onlusive So, one you identify the adene points at the ends of the various phrases it should e relatively easy to determine if the adene points are I or V If the adene point is a V, then it is etter to adene on V rather than V7 (although for Level I piano, the V hord voiing is not presented so it is OK to adene on V7 rather than V) Next, harmonize the PENULTIMATE CHORD -- that is, the hord right efore the adene point If the adene point is the I hord, then you have to possiilities: (a) V7 - I, or () IV - I In the first ase that ould e an authenti adene and in the seond ase it ould e a plagal adene It most ases it simply doesn't matter hih possiility you use If the adene point is not a I hord (it's going to e an inonlusive adene), then your st hoie should e the V hord sine BY FAR this is the most ommon inonlusive (half) adene Yes, there are rare example here a IV hord or a III hord ould ork, ut your BEST CHOICE ould simply e to use the V hord Do not adene on a ii hord If you feel the hord HAS to e the ii hord, then hanes are you are trying to harmonize the "tension" part of the phrase (as in, tension/relaxation) and you have not really found the true adene point of the phrase Harmonize the rest of the melody No that you have the adenes at the ends of the phrases harmonized, go ahead and harmonize the rest of the melody using the suggested harmoni rhythm From here on out, the harmonization proedure ill e relative straight forard: if the melody note is in the hord you are trying to use, then IT WILL WORK There are some simple guidelines to use: (a) often the melody notes ill outline speifi hords and this ill e a good Material ased on Douglass Green's, Form in Tonal Musi, rd edition, Harourt Brae Jovanovih College Pulisher, 979

Class Piano Resource Materials

Class Piano Resource Materials Class Piano Resoure Materials Level One Fifth Edition Compiled and Edited y W. Daniel Landes Smith Creek Musi Class Piano Resoure Materials Level One (Fifth Edition) Compiled and edited y W. Daniel Landes