Class Piano Resource Materials

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

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

4 Class Piano Resoure Materials Level Three (Fifth Edition) 006, 0 y Smith Creek Musi PO Box 06 Nashville, TN 7.smithreekmusi.om info@smithreekmusi.om 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@smithreekmusi.om or visit our WEB site at.smithreekmusi.om 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 additional 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.smithreekmusi.om 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@smithreekmusi.om. 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 Three Class Notes iii vi vii REPERTORY Allegro (Haydn) 8 Musette (Bah) 0 Little Prelude in C (Bah) The Wild Horseman (Shumann) Sonatina in G (Beethoven) Waltz in B Minor (Shuert) 6 Araesque (Burgmüller) 8 Prelude from Suite VIII (Purell) 0 The Sad Doll (Thaikovsky) Class Piano Blues (Landes) Une Petit Chanson (Rhené-Baton) 6 To Danes (Kuhlau) 8 Musette (Mozart) 0 Taleaux No. : Pleading (Reikov) FOUR-PART CHORALES, HYMNS AND PATRIOTIC SONGS Ameria: My Country, 'tis of Thee (anon.) Materna: Ameria the Beautiful (Ward) National Anthem: The Star-Spangled Banner (anon.) 6 Old 00th (tune y Bourgeois; arr. anon) 8 Niaea (Dykes) 9 Passion Chorale (Bah) 0 St. Theodulph (Teshner/Monk) Azmon (Mason) Crusader's Hymn (anon.) Hymn to oy (Beethoven/Hodges) Root Position Triads Proedures for Harmonizing Melodies 8 Blok-Chord Cadenes 0 iv

7 Page Aompaniment Patterns Melodies for Harmonization 6 Improvisation 70 Sight Reading and Transposition I: Piano Sores 78 Sight Reading and Transposition II: Open Sores 88 Sales: Written Desription 00 Sales: In Notation 0 Arpeggios Sale and Arpeggio Pratie log 7 Exerises 8 APPENDIXES Appendix : Triads in a Sale; Inversions of Triads 8 Appendix : Melodi Phrases Appendix : Melodi Cadenes Appendix : Non-Chord Tones 6 Weekly Assignment Shdeule 8 Class Notes Level Three Assignments Chart For more resoures, please visit the WEB SITE at:.smithreekmusi.om v

8 General Goals (Level Three). 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, natural minor, and harmoni minor sales in Group I, II and III (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, minor, augmented and diminished triads on any note. 6. Play lok-style adenes in maor and minor keys through to aidentals. 7. Play piees in a -part setting (horales, hymns). 8. Harmonize melodies using primary hords and seondary dominants. 9. Improvise simple melodies (hord tones, passing tones, neighor tones) over given hord progressions in maor and minor keys through to aidentals. 0. Create simple improvised arrangements of familiar melodies.. Transpose a single line (trele or ass lef) up and don a half step and hole step.. Using the Cadene progression, estalish all maor and minor keys.. Demonstrate sight reading profiieny.. 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 Allegro Allegro F F. Haydn n.. f... p 7 n n

11 p.... res p..... f p.... f

12 0 Musette Allegretto p f From the Noteook of Anna Magdalena Bah p f p res. p n res. n

13 7 f p f p f..

14 Little Prelude in C Allegro P res. S. Bah f p 8 M M res M f res poo rit. ƒ

15 The Wild Horseman Vivae Roert Shumann F S S S S Fine.. 0 S S ( ) S S Da apo al fine

16 Sonatina in G Allegretto F Ó Ludig van Beethoven Ó n - >.... f Ó Ó Ó

17 F Ó Ó >. n res.. p Ó p res. f

18 6 Waltz in B Minor Moderato p.... ped. sim. Franz Shuert... res.. F. 9 p res... F

19 f... p ped. sim... f.... p.. π res.. F.. F

20 8 Araesque Allegro Sherzando p.... leggiero.... Friedrih Burgmüller.. res >.... > > f legato... >.

21 9. dim. e poo rit. a tempo p > res risoluto f U > U

22 0 Prelude (from Suite VIII) Moderato f Henry Purell, a dim

23 P 9 f 0. rit. molto rit. res... Ÿ arpeggiate the hord sloly ƒ ~ ~ ~ ~ ----

24 The Sik Doll Lento F. - espr Peter Ilyih Thaikovsky n p f

25 n. dim F p π π.

26 Class Piano Blues A slo F Ó.. WDL

27 deres.. rit. Ó π ß Ó

28 6 Une Petit Chanson Modéré F res. Rhené-Baton f rit. p 9 a tempo F.. > > > > deres.

29 7 7 p π F res. f rit. π 9 a tempo p deres. π U u

32 0 from Leopold Mozart's Noteook Allegretto Musette F f 9 p.. f a tempo rit. al fine p res. 7

33 f poo rit. F a tempo 9 f p 9 f rit.

34 Taleaux No. : Pleading Pregando molto expressivio F.. Vladimir Reikov.. 9..

35 U poo rit.. u

36 My Country, 'Tis of Thee AMERICA Anonymous

37 Ameria, The Beautiful MATERNA Samuel Ward, n

38 6 The Star-Spangled Banner... n. NATIONAL ANTHEM Anonymous n n. n...

39 n 6 n n 0.. n...

40 8 U U U U OLD 00th tune y Louis Bourgeois, (Isorhythmi version) (Rhythmi version) Old 00th

41 9 Niaea NICAEA ohn B. Dykes, 86. n. n.....

42 0 Passion Chorale PASSION CHORALE Harmonized y.s. Bah,

43 St. Theodulph ST. THEODULPH Melhior Teshner, 6, arr. W. Monk,

44 Azmon y Loell Mason, 89 AZMON Loell Mason, 89 6 Cursaders Hymn from Shleishen Volkslieder, Leipzig, 8 CRUSADERS' HYMN German, from Shleishen Volkslieder, Leipsig, 8 8

45 Hymn to oy HYMN TO OY arr. from L. van Beethoven y E. Hodges, n n... 9 n...

46 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

47 (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

48 6 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

49 (Augmented/diminished triads ontinued) G Aug dim A Aug dim A Aug dim B Aug dim 7 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

50 8. Memorize the appropriate adene hord formula and e ale to play it in the key of the melody.. Study arefully the material in Appendix (Melodi Phrases), Appendix (Melodi Cadenes), and Appendix (Non-Chord Tones).. Look through the melody and disover speifi phrases and adene points. Usually these an e found y doing one or more of the folloing: look for the longest notes in the melody (see melody ) ount measures (see melody ) look for repeated or similar phrases (see melody ) look for learly defined TENSION/RELAXATION (see melody ) sing or play the melody and LISTEN for the points of rest. Harmonize the adene points at the ends of the phrases FIRST y WRITING IN THE CHORDS for the adene points. You should do this efore you harmonize the rest of the melody. Here are some general guidelines: Melodies ith phrases: Proedures for Harmonizing Melodies st phrase ill usually end on a half adene (usually on V, ut sometimes on IV and sometimes on an IMPERFECT AUTHENTIC CADENCE, hih Douglass Green alls a type of half adene (see Appendix ). nd phrase ill alays e a onlusive adene (adene on I). Melodies ith phrases. There are many possile ominations ut here is one possiility ased on melody 0 (Minuet in G y Bah): st phrase ends ith an IMPERFECT AUTHENTIC CADENCE. nd phrase ends ith a HALF CADENCE ON V. rd phrase (hih is melodially similar to the st phrase) ends ith an IMPERFECT AUTHENTIC CADENCE - the I hord ith a melody note other than the toni. th phrase (hih is melodially similar to the nd phrase) ends ith a CONCLUSIVE CADENCE hih is a PERFECT AUTHENTIC CADENCE. Melodies ith or phrases: You ill disover that the maority of suessful melodies (see Appendix ) have or phrases, eah ith a omination of or 8 measures. Hoever, many suessful melodies have phrases ith 6 measures (see AMERICA, p. ) and there are melodies hih have ODD numers of phrases, for example, phrases (see melody, "Tinkle, tinkle little star"); phrases (see melody, "Aupres de ma londe"). Nevertheless, you an find the speifi adene points y folloing the suggestions in aove.. Use a onsistent harmoni rhythm. HARMONIC RHYTHM is a rhythmially strit progression of hords, for example one or to hords per measure. 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.

51 9 Generally, if the tempo is fast then use a sloer harmoni rhythm. If the tempo is slo then use a faster harmoni rhythm. If you deide on a harmoni rhythm of to hords per measure, it is sometimes a good idea to use the same hord tie. YOU DON'T ALWAYS HAVE TO CHANGE CHORDS. Keep it simple. 6. Write in the hords for the rest of the melody. Rememer, KEEP IT SIMPLE. Make your hord progression "ulminate" at the adene points you already rote in. They should "make sense" musially. 7. Using SECONDARY DOMINANTS. The most ommon seondary dominant is V 7 /V and proaly the est plae to use V 7 /V is right efore the V hord at a half adene. For example:..... I I I I V V 7 I I I I I I V 7 /V V 7 /V V V 7 In this melody segment (part of melody, "Go tell it on the mountain"), the nd phrase is definately a half adene on V and the use of the V 7 /V hord in the next to last measure reates a partiularly strong adene. Some other points to notie in this harmonization: The harmoni rhythm is a half note ( hords per measure). There is muh repetition of the I hord at the eginning of oth the st and nd phrase and this is OK! You don't have to hange hords on every eat. Keep it simple. The use of a V 7 on eat of the rd measure might seem rong eause the F is not part of the V 7 hord. Hoever, this is an example of an ACCENTED LOWER NEIGHBOR TONE. In other ords, it's a NON-CHORD TONE (see Appendix ). If you use a I hord on the rd eat it sounds "eal" eause the harmoni movement: V 7 - I orks est hen it is in a "eak/strong" uxtaposition. For example, the ord "to-day" has the nd syllale aented (eak/strong). If the st syllale as aented instead, it ould sound "eird" : TO-day (STRONG/eak). The V 7 - I progression has this kind of relationship: eak to STRONG and that's hy it is etter to have the I hord of a V 7 - I progression happen on a STRONG eat, partiularly eat ONE. 8. More on seondary dominants: V 7 /V goes to V (that's hy it's alled "five-seven of FIVE". The Beatles use of V 7 /V not ithstanding, the V 7 /V does not go to I and ill e onsidered rong in these harmonizations. Generally any seondary dominant resolves to it's "ultimate hord." For example V 7 /ii resolves to ii; V 7 /iii resolves to iii, et. Hoever, any seondary dominant an also resolve to a SUBSTITUTION hord instead. For example, V 7 /ii an (and often does) resolve to V 7 /V. Consequently, this sets up a nie hord progression here the roots of the various hords resolve in a "hain" of (perfet) ths. See the last phrase of melody here there is this progression of hords: V 7 /vi -- V 7 /ii -- V 7 /V -- I.

52 0 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

53 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 n n I IV I V 7 /V V V 7 I 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

54 Cadenes, ont'd: V 7 /ii in Maor; V7/III in Minor C Maor a minor I V 7 /ii ii V 7 /V V V 7 I i V 7 /III III iv V V 7 i F Maor G Maor n n n n n n d minor e minor B Maor g minor D Maor I V 7 /ii ii V 7 /V V V 7 I i V 7 /III III iv V V 7 i I V 7 /ii ii V 7 /V V V 7 I i V 7 /III III iv V V 7 i I V 7 /ii ii V 7 /V V V 7 I V 7 /III minor V 7 i III iv V i I V 7 /ii ii V 7 /V V V 7 I i V 7 /III III iv V V 7 i

55 C Maor n n Cadenes, ont'd: V 7 /IV (iv) a minor I V 7 /IV IV V 7 /V V V 7 I i V 7 /iv iv V 7 /V V V 7 i F Maor G Maor n n n n n n n n n n n n d minor e minor B Maor g minor D Maor n n n n n n I V 7 /IV IV V 7 /V V V 7 I i V 7 /iv iv V 7 /V V V 7 i I V 7 /IV IV V 7 /V V V 7 I i V 7 /iv iv V 7 /V V V 7 i I V 7 /IV IV V 7 /V V V 7 I i V 7 /iv iv V 7 /V V V 7 i minor I V 7 /IV IV V 7 /V V V 7 I i V 7 /iv iv V 7 /V V V 7 i

56 Aompaniment Patterns One ay to harmonize a melody is to simply use the BLOCK-CHORDS from the adenes (pp. 6-9). Hoever, a more interesting aompaniment an e aomplished y superimposing patterns on the lok-hords as demonstrated elo: 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. See melody in the next setion... I IV I IV I V 7 I

57 Knon olloquially as the " um-pah" or "oom-hik" pattern, this aompaniment has een used suessfully y many omposers, partiularly in early tentieth entury popular styles (ragtime, stride, et.). Here's an exerpt from the melody of a Sott oplin Rag using a simple"um-pah" pattern aompaniment: I I IV I 6 I I V 7 /V V V 7 The aove example is not the atual aompaniment y oplin ut shos ho a asi adene voiing an e omined ith an aompaniment pattern to produe a very "respetale" arrangement. Belo IS an exerpt from an atual oplin Rag (Peaherine Rag, p. 7). Compare it to the aompaniment aove and notie ho the asi "um-pah" pattern has een expanded to "full" hords ith an alternating ass note. I I V 7 /vi vi The simple aompaniment: n n n..... eomes: I IV V 7 I I IV V 7 I n n

58 6 h Melodies for Harmonization TWINKLE Folk Song h.. WDL. h FOLK SONG q ABERYSTWYTH oseph Perry, 879 h THIS OLD MAN Amerian Folk Song

59 7 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

60 8 h Folk Song... WDL h.. NINETY-FIFTH Wyeth's, Repository of Sared Musi, Part nd, 80. q Folk Song Be Creative..... WDL..

61 9 6 h MELODY Roert Shumann 7 h = st time. nd time harmonize eah melody note. BLUE SKY Amerian Folk Song h WALTZ Franz Shuert 9 Folk Song q

62 60 0 h. MINUET. S. Bah. q HOLY MANA Kentuky Harmony, 8 h.. FOLK SONG... fine. Ó Harmonize eah melaody note. AMAZING GRACE Virginia Harmony, 8. D.C.

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

64 6 9 q n.. ST. MAGNUS eremiah Clark 0 q. from Don Giovanni W.A. Mozart 6 q n Amerian Folk Song h. WDL q Frenh Folk Song

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

66 6 8 h... FORREST GREEN English Folk Song 9 h. HOM ON THE RANGE Amerian Folk Song h.... WE SHALL OVERCOME Negro Spiritual q German Folk Song n

67 . q h Plae hords on eats and AUPRES DE MA BLONDE Frenh Folk Song h. CARPENTER English Carol THREE SHIPS English Carol MERRYDALE WDL 6

68 66 6 h. EAST SIDE WEST SIDE Lalor and Blake h YANKEE DOODLE DANDEE G. Cohan, h.. n Fernando Sor Ó h UNFINISHED SYMPHONY Franz Shuert

69 67 0 h... n. n Carassi n n..... h.... FALL 99 WDL h.. HYFRYDOL Roland H. Prihard....

70 68 h MATERNA Samuel Ward..... h h.. ST. GEORGE'S, WINDSOR Sir George. Elvey RAG Sot oplin.

71 6 h.. TELL ME WHY Amerian Folksong 69 7 h I'VE BEEN WORKIN' ON THE RAILROAD Amerian Folksong 8 h. WE WISH YOU A MERRY CHRISTMAS Traditional Carol fine. D.C. 9 h.. fine Ó Copyright 96, 966 y Tempo Musi, In., Ne York, Ne York. Used y permission. COME SUNDAY Duke Ellington. D.C.

72 70 Improvisation The goal for improvisation skills in Seondary Piano is to improvise simple melodies over a given hord progression. In Level Four the improvisation examples ill onsist of:. Primary hords and some seondary dominants: V7/V in maor and minor keys, V7/ii in maor keys, V7/IV in maor keys, V7/iv in minor keys -- all required keys are through to aidentals.. Improvised melodies should onsist of mainly of hord tones, passing tones, neighor tones. Some aented non-hord tones may e used, espeially aented passing tones and appoggiaturas... The range of the improvisation should e aout an otave.. Improvised melodies should generally make use of a RHYTHMIC MOTIVE.. Non-motivi onstrution onepts ill also e enouraged. 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 n n Cadene Point Cadene Point I I IV IV V 7 /V V 7 /V V V V 7 /ii V 7 /ii ii ii V V 7 I In the aove example the melody notes onsist of hord tones, aented passing tones, aented neighor tones and appoggiaturas. Note the use of the seondary dominants V7/V in measure and V7/ii in measure. 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). Aented non-hord tones are used in almost every measure. It is OK to use a dissonant note on an aented eat as long as it is resolved "orretly." If you do not understand this non-hord tones or annot reognize them, ask your instrutor for an explanation. Also, see Appendix IV for an explanation. 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.. Alays end ith the toni note (st degree of the sale). The maority of suessful melodies in

73 7 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. Experiment ith using some aented non-hord tones. 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 V 7 /ii ii V 7 /V I V 7 I Don't:. Use hord tones, passing tones, neighor tones, and aented non hord tones. If you need to, onsult the example on the previous page.. Generally, keep the overall range of your improvisation ithin aout an otave. You may ant to start out ith a limited range of a th or th and then gradually inrease the range to an otave.. 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 out-loud 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 n I I IV IV V V 7 /V V V 7 I V 7 /ii ii V 7 /V I V 7 I

74 7 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 rhythi values, for example a half note and quarter notes. Consequently, quarter notes, half notes, 8 eigth 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. n n Cadene Point

75 Cadene Point Improvisation: Improvised Melodies Over Chord Symols (general 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 an otave, although you might start off ith a range of a th or th and then gradually inrease it to an otave 7. Create your improvisation using hord tones, passing tones, neighor tones and appogiaturas. 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 V 7 /V` V 7 /V V V 7 I IV I I IV V 7 I I i V 7 i i V 7 /V` V 7 /V V V 7 i iv i i iv V 7 i i For all these hord progressions:. Prepare eah one TWICE: one ith eats for eah hord and one ith eats for eah hord.. Use one of the rhythmi motives you omposed on the previous page.. 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.. 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.

76 7 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 :. D.C. 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

77 7 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 n Cadene Point

78 76 Improvisation, Revie from Level II: Primary Chords and Seondary Dominants: V 7 /V Before you pratie the improvisation requirements for Level III on the next page you may have to revie the hord progressions from Level II (primary hords and one seondary dominant -- V 7 /V 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 C IV I V 7 /V V V 7 I I IV IV I C I I i i iv iv i V 7 /V V V 7 i i iv iv i C i i I IV I I IV V 7 /V V V 7 I V 7 /V V V 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 I V C V V 7 I V V V 7 /V V V 7 I I

79 77 Improvisation, Requirement for Level IV: Seondary Dominants: V 7 /V; V 7 /IV, V 7 /iv 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 an otav, although you might start off ith a range of a rd or th and then gradually inrease it to an otave. 7. Create your improvisation using hord tones, passing tones, neighor tones and appogiaturas. 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 V 7 /ii ii V 7 /V V 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 /ii ii V 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 V 7 /ii ii V 7 /V V V 7 /V V V 7 I V 7 /ii ii V 7 /V V V 7 I I

90 88 Sight Reading and Transposition II: Open Sores Ó Ó from Gloria Antonio Vivaldi V Ó Ó Ó Ó Ó Ó 7. Ó V... Ó Ó Ó V.. Anonymous. 600 Musi 00 y Smith Creek Musi, Nashville, TN 7. All rights reserved..smithreekmusi.om

96 9 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..

97 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 Gr.C. 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 9

102 00 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. MAOR 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:,,,,,,,,,,,,,,

103 0. 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. Group III Sales: All other sales. This is more than ust a "ath-all" group eause the sales in this group DO have several ommon harateristis. Here are some road statements aout the sales in this group:. There are maor sales and minor sales.. The LH fingering is THE SAME in all the sales in this group, oth MAOR and MINOR. LH:,,,,,,,,,,,,,, Notie that the LH starts on the THIRD finger and then rosses over to the FOURTH finger. To help you rememer this think: th finger plays the th sale degree. A ommon mistake is to start on the SECOND finger in order to make the thums play together. The THUMBS DO NOT play together all the time in this group.. For the MAOR sales, and for A-flat (g-sharp) minor, the RH th finger alays plays the note B-flat. 6. For the MINOR sales, the rd fingers (oth hands) alays play together. 7. Exept for F-sharp minor, the th fingers ALWAYS play on BLACK notes and not on hite notes.* MAOR MINOR B-flat -sharp E-flat f-sharp* A-flat a-flat (or g-sharp) Here is the fingering for the MINOR sales in this group: RH:,,,,,,,,,,,,,, LH:,,,,,,,,,,,,,, * The fingering desried here for F-sharp minor is an alternate fingering. Please get assistane from your instrutor if you ould like to use the traditional F-sharp minor fingering.

104 0 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 )

105 0 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 )

106 0 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

107 0 Group II Sales C Maor D Maor G Maor A Maor E Maor

108 06 C Natural Minor D Natural Minor E Natural Minor G Natural Minor A Natural Minor Group II Sales, ont'd

109 07 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

110 08 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

111 09 () () () Group III Sales B Maor E Maor A Maor C Harmoni Minor

112 0 n n n n n n Group III Sales, ont'd F Harmoni Minor A Harmoni Minor

113 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..

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

115 Group I Arpeggios, ont'd A minor B minor E minor

116 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

117 Group III Arpeggios Group III arpeggios are sometimes alled the "lak key arpeggios" eause they all start on a lak note. All the arpeggios in this group have a mixture of lak notes and hite notes, and the thums alays play together on the st hite note. () ().... () () () () * () () () () () * The fingering in parentheses for B-flat maor arpeggio is the traditional fingering. Hoever thie alternate fingering eginning ith the nd finger of the left hand is the one reommended in this series.....

118 6 Group III Arpeggios, ont'd ().. ().. ().. ()..

119 Sale and Arpeggio Pratie Log 7 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 B-flat E-flat A-flat C-sharp minor F-sharp minor A-flat 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 D-flat E-flat A-flat B-flat C-sharp minor F-sharp minor A-flat minor B-flat minor

120 8 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

121 9 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

122 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

123 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

124 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

125 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

126 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

127 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

128 6 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

129 7 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

130 8 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

Class Piano Resource Materials

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