With Ease. BETTY WAGNER Associate Trinity College London, Associate Music Australia READING LEDGER LINE NOTES

READING LEDGER LINE NOTES With Ease f G f o o BETTY WAGNER Associate Trinity College London, Associate Msic Astralia READING LEDGER LINE NOTES A Nova WITH EASE Book Company Page Pblication http://www.msic-with-ease.com

READING LEDGER LINE NOTES WITH EASE by Betty Wagner ATCL, A Ms A Edited and Illstrated by Anne Dollin Msic Clips by John Wagner For Alex and James Pblished in 2004 by NOVA BOOK COMPANY PO Box 746, Potts Point NSW 5, Astralia Additional copies may be prchased from: Copyright 2004 Betty Dawn Wagner All rights reserved. Apart from any fair dealing for the prposes of private stdy, research, criticism or review as permitted nder the Copyright Act, no part of this pblication may be reprodced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, withot the written permission of the pblisher. READING LEDGER LINE NOTES WITH EASE Page 2

Msic Clips in this Booklet Msic clips have been embedded throghot this booklet to illstrate the material covered. To hear these msic clips yo need to view this pdf with Adobe Reader 6 or 7. These programs are available as free downloads from http://www.adobe.com System Reqirements for Adobe Reader 6.0.: Windows Intel Pentim processor or compatible Microsoft Windows 98 Second Edition, Windows Millennim Edition, Windows NT 4.0 with Service Pack 6, Windows 2000 with Service Pack 2, Windows XP Professional or Home Edition, Windows XP Tablet PC Edition 2MB of RAM (64MB recommended) 60MB of available hard-disk space Internet Explorer 5.0, 5.5, 6.0, or 6. Macintosh PowerPC G processor Mac OS X v.0.2.2-0. 2MB of RAM with virtal memory on (64MB recommended) 70MB of available hard-disk space System Reqirements for Adobe Reader 7.0: Windows Intel Pentim processor or compatible Microsoft Windows 2000 with Service Pack 2, Windows XP Professional or Home Edition, or Windows XP Tablet PC Edition 28MB of RAM Up to 90MB of available hard-disk space Microsoft Internet Explorer 5.5 or higher Macintosh PowerPC G processor Mac OS X v.0.2.8 or 0. Up to 5MB of RAM Up to 25MB of available hard-disk space A QickTime player mst also be added to Windows systems in order to play the embedded QickTime msic clips. QickTime players are available as free downloads from http://www.apple.com For frther tips abot installing Adobe Reader and QickTime on yor compter, please visit: /mweebooks-faq.html If yo have Acrobat Reader 5, yo will still be able to read and print ot this pdf booklet. However, yo will not be able to play the embedded msic clips. The following icon shows the location of a msic clip: To play a msic clip, simply click on the icon with yor mose. READING LEDGER LINE NOTES WITH EASE Page

CONTENTS Chapter What are Ledger Lines... 5 Chapter 2 A Simple Shortct for Common Ledger Line Notes... 7 Chapter The Fll Techniqe... 0 Chapter 4 Ledger Lines Notes Going UP... Chapter 5 Ledger Lines Notes Going DOWN... 4 Chapter 6 Reading Any Ledger Line Note on the Piano... 8 Chapter 7 The 8va Symbol... 9 Chapter 8 The Middle Ledger Line Notes... 20 Chapter 9 The Special Symmetry of the C Notes... 2 READING LEDGER LINE NOTES WITH EASE Page 4

Chapter WHAT ARE LEDGER LINES? To nderstand the origins of ledger lines we need to go back more than a thosand years! Msicians first began writing msic on a staff in abot the ninth centry AD. Originally the staff was jst a single, colored, horizontal line, bt as the centries passed, msicians tried staffs with three lines, for lines or even p to eight lines. It was not ntil the seventeenth centry that the five line staff, which we se today, became commonly sed. A brilliant Benedictine monk, Gido d Arezzo, laid the grondwork for modern msical notation in abot 000 AD. Read this fascinating story in yor bons article, Who Invented or System of Writing Down Msic? The Great Staff, that is sed for most msic today, consists of a five line bass staff and a five line treble staff, linked by a bracket or brace. Twenty one different notes can be written on this Great Staff. For a fn and easy way to learn to read all the notes on the Great Staff, obtain yor copy of the booklet, Reading Msic Notes With Ease, available from the Msic With Ease website. However, very often we wish to play notes which wold go: above the treble or the bass staffs; or below the treble or the bass staffs. To write these notes we se short lines called ledger lines. Centries ago these notes were written on staffs with more than five lines. The short ledger lines are remnants of these extra lines on the staff. & High Ledger Notes A C E G G B D F & MIDDLE C Middle Ledger Notes C A F D B G MIDDLE C > Middle Ledger Notes C E G B D F > Low Ledger Notes E C A F F D B G READING LEDGER LINE NOTES WITH EASE Page 5

Let s face it. All those little ledger lines look pretty confsing! Bt there s a really easy way to start reading ledger line notes! To find ot more, trn the page READING LEDGER LINE NOTES WITH EASE Page 6

Chapter 2 A SIMPLE SHORTCUT FOR COMMON LEDGER LINE NOTES First, let s take a close look at the eight most common ledger line notes. They are: the first for notes below the bass staff, C D E F; and the first for notes above the treble staff, G A B C. A B C G & These for treble note positions are mirror reverses of those in the bass. And notice the special similarity of the two C notes! > F E D C These notes start two ledger lines below the bass staff, on a C, and they end two ledger lines above the treble staff, on a C! READING LEDGER LINE NOTES WITH EASE Page 7

The Arc of Eight Notes To remember these eight common ledger line notes, jst say: Christmas Day s Exciting For Good And Bad Chimpanzees! (They are ALL hoping that they will receive some nice presents!) & G A B C The Arc of Eight Notes A B C G > F E D F E D C READING LEDGER LINE NOTES WITH EASE Page 8 C

Bt what abot all the other ledger line notes? The Arc of Eight Notes is a great shortct for reading the most common ledger line notes that yo will find in yor msic. However, there are many other ledger line notes higher p above the treble staff, lower down below the bass staff, and in between the treble staff and the bass staff. Some msic books offer for little poems to help stdents remember the order of the notes, one each for: the treble lines; the treble spaces; the bass lines; and the bass spaces The stdent can se these poems to work ot the ledger line notes that go p. Bt to work ot the ledger lines that go down, the poor stdent mst say the poems backwards! Here is an easier way! In the following Msic with Ease techniqe, yo only need to learn one simple poem for ledger lines going p, and another one for ledger lines going down. These poems can be sed to read ledger line notes on both lines and spaces, and on both the bass and the treble staff! With these two simple poems yo will be able to read all the ledger line notes covering every note on the fll piano keyboard, with ease! So, let s have a look at the fll Msic With Ease Ledger Line Techniqe READING LEDGER LINE NOTES WITH EASE Page 9

THE FULL TECHNIQUE First we need to be able to recognise qickly the top and bottom two notes on both the bass and the treble staffs. In the previos booklet in this series, Reading Msic Notes With Ease, we introdced seven characters called the Gang of Seven. Simple little memory prompts linked these seven characters to their positions on the bass and treble staffs, enabling the stdent to easily remember all 2 notes on the bass and treble staffs. Amongst the Gang of Seven characters were: Evie and her boyfriend, Fritz; and Goody and his brother Andy. TREBLE STAFF Chapter Evie and Fritz (E and F) are both the first two notes and the last two notes on the treble staff. E is the last space F is the last line & E F E F Evie Fritz E is the first line F is the first space BASS STAFF Goody and Andy (G and A) are both the first two notes and the last two notes on the bass staff. G is the last space A is the last line > G A G A Goody Andy G is the first line A is the first space These are the starting points we need to remember so that we can se or poems to read the ledger line notes. READING LEDGER LINE NOTES WITH EASE Page 0

Chapter 4 LEDGER LINE NOTES GOING UP This first little poem will help yo read any ledger line note ABOVE the bass or treble staffs: Every Good Boy Deserves Frit And Cake. Yo say this little poem, one word per line or space, while yo cont p throgh the ledger lines from the top of the staff towards the note yo wish to read. If yo rn ot of words in the poem yo simply start at the beginning of the poem again. So yo need to learn the poem off by heart, and be able to say it starting from any word in the poem. & G Good And Cake. Every Frit NOTE: If yo have read or previos book, Reading Msic Notes With Ease, yo will find this poem especially easy to learn. Each word in this poem echoes the name of the corresponding Gang of Seven character described in that book. For example, Every is similar to the character, Evie, Good is similar to the character, Goody, Frit is similar to the character, Fritz, and so on. READING LEDGER LINE NOTES WITH EASE Page

How to Use the Poem for Ledger Line Notes Going Up (A) For a ledger line note on a LINE above the TREBLE staff: () Remember that the last note on a line on the treble staff is F. (2) Say the little ledger line poem, STARTING ON THE WORD FRUIT (which stands for F) and go p the lines. () Keep saying the poem, one word for each ledger line, ntil yo reach the ledger line note yo are looking for. If yo reach the end of the poem, simply start from the beginning of the poem again. For Example: F is the last line in the treble & Frit And Cake. Every So the ledger line note is E! (B) For a ledger line note in a SPACE above the TREBLE staff: () Remember that the last note in a space on the treble staff is E. (2) Say the little ledger line poem, STARTING ON THE WORD EVERY (which stands for E) and go p the spaces. () Keep saying the poem, one word for each space, ntil yo reach the ledger line note yo are looking for. If yo reach the end of the poem, simply start from the beginning of the poem again. For Example: E is the last space in the treble & Every Good Boy Deserves Frit And So the ledger line note is A! IMPORTANT: Go p either LINES ONLY or SPACES ONLY! READING LEDGER LINE NOTES WITH EASE Page 2

(C) For a ledger line note on a LINE above the BASS staff: () Remember that the last note on a line on the bass staff is A. (2) Say the little ledger line poem, STARTING ON THE WORD AND (which stands for A) and go p the lines. () Keep saying the poem, one word for each ledger line, ntil yo reach the ledger line note yo are looking for. If yo reach the end of the poem, simply start from the beginning of the poem again. For Example: A is the last line in the bass > And Cake. Every So the ledger line note is E! (D) For a ledger line note in a SPACE above the BASS staff: () Remember that the last note in a space on the bass staff is G. (2) Say the little ledger line poem, STARTING ON THE WORD GOOD (which stands for G) and go p the spaces. () Keep saying the poem, one word for each space, ntil yo reach the ledger line note yo are looking for. If yo reach the end of the poem, simply start from the beginning of the poem again. For Example: G is the last space in the bass > Good Boy Deserves Frit So the ledger line note is F! IMPORTANT: Go p either LINES ONLY or SPACES ONLY! READING LEDGER LINE NOTES WITH EASE Page

Chapter 5 LEDGER LINE NOTES GOING DOWN Here is the second little poem to help yo read any ledger line note BELOW the bass or treble staffs: Every Christmas Angels Fly Down Bringing Gladness. This little poem is sed in the same way as the previos poem except that yo cont down throgh the ledger lines or spaces from the bottom of the staff towards the note yo wish to read. So yo need to learn this poem off by heart too, and be able to say it starting from any word in the poem. A Tip: To learn these poems, remember that they both start with the word Every. > A Gladness. Every Christmas Angels READING LEDGER LINE NOTES WITH EASE Page 4

How to Use the Poem for Ledger Line Notes Going Down (A) For a ledger line note on a LINE below the TREBLE staff: () Remember that the first note on a line on the treble staff is E. (2) Say the little ledger line poem, STARTING ON THE WORD EVERY (which stands for E) and go down the lines. () Keep saying the poem, one word for each ledger line, ntil yo reach the ledger line note yo are looking for. If yo reach the end of the poem, simply start from the beginning of the poem again. For Example: E is the first line in the treble & Every Christmas Angels Fly So the ledger line note is F! (B) For a ledger line note in a SPACE below the TREBLE staff: () Remember that the first note in a space on the treble staff is F. (2) Say the little ledger line poem, STARTING ON THE WORD FLY (which stands for F) and go down the spaces. () Keep saying the poem, one word for each space, ntil yo reach the ledger line note yo are looking for. If yo reach the end of the poem, simply start from the beginning of the poem again. For Example: F is the first space in the treble & Fly Down Bringing Gladness So the ledger line note is G! IMPORTANT: Go down either LINES ONLY or SPACES ONLY! READING LEDGER LINE NOTES WITH EASE Page 5

(C) For a ledger line note on a LINE below the BASS staff: () Remember that the first note on a line on the bass staff is G. (2) Say the little ledger line poem, STARTING ON THE WORD GLADNESS (which stands for G) and go down the lines. () Keep saying the poem, one word for each ledger line, ntil yo reach the ledger line note yo are looking for. If yo reach the end of the poem, simply start from the beginning of the poem again. For Example: G is the first line in the bass > Gladness. Every Christmas So the ledger line note is C! (D) For a ledger line note in a SPACE below the BASS staff: () Remember that the first note in a space on the bass staff is A. (2) Say the little ledger line poem, STARTING ON THE WORD ANGELS (which stands for A) and go down the spaces. () Keep saying the poem, one word for each space, ntil yo reach the ledger line note yo are looking for. If yo reach the end of the poem, simply start from the beginning of the poem again. For Example: A is the first space in the bass > Angels Fly Down Bringing So the ledger line note is B! IMPORTANT: Go down either LINES ONLY or SPACES ONLY! READING LEDGER LINE NOTES WITH EASE Page 6

SUMMARY CHART REMEMBER: Only two poems need to be learned: One going UP; and One going DOWN. SAME POEM GOING UP: Every Good Boy Deserves Frit and Cake. & E E F F Every Good Boy Frit And Cake Fly Down Bringing Every Christmas Angels Both poems go arond and arond and may be started on any note. > Every Cake. G And A G Good Boy Deserves A Angels Fly Down SAME POEM GOING DOWN: Every Christmas Angels Fly Down Bringing Gladness. Gladness. Every Christmas READING LEDGER LINE NOTES WITH EASE Page 7

READING ANY LEDGER LINE NOTE ON THE PIANO! A fll sized piano keyboard has 52 white notes, covering over seven octaves. With the help of the two little poems, yo can read the ledger line notes that represent any note on the whole keyboard! Start on Frit (last line on the treble staff), then say: And Cake. Every Good Boy Deserves Frit And Cake All the Notes on the Ledger Lines: Chapter 6 Start on F & > Start on Gladness (first line on the bass staff), then say: Every Christmas Angels Fly Down Bringing ò Start on G A C E G B E C Highest note on the piano A C D F A F D B Start on Every (last space on the treble staff), then say: Good Boy Deserves Frit And Cake. Every Good Boy G B D F A All the Notes in the Ledger Line Spaces: Start on E F D B G Start on Angels (first space on the bass staff), then say: E Fly Down Bringing Gladness. Every Christmas Angels ò Start on A & > C E G B C A Lowest note on the piano READING LEDGER LINE NOTES WITH EASE Page 8

Chapter 7 THE 8va SYMBOL A special symbol, 8va, is sed to make it easier to read the very highest and lowest notes, which wold otherwise need many ledger lines. For the high notes, the note is written one octave lower and the sign 8va is written above the note. For example, this very high ledger line C: 8va & is written as: & For the low notes, the note is written one octave higher and the sign 8va is written below the note. For example, this very low ledger line C: > is written as: > 8va READING LEDGER LINE NOTES WITH EASE Page 9

Chapter 8 THE MIDDLE LEDGER LINE NOTES The Middle Ledger Line Notes are particlarly interesting. These are the ledger line notes that fall between the treble and the bass staffs. Each of these notes can be written in two different ways as shown on the diagram below: ò & > F G A B MIDDLE C D E F G The Middle Ledger Line Notes, as shown in this diagram in red, can also be written on the bass or treble staffs, as shown in ble. Middle C is a special case: It is written as a ledger line note in two different positions between the staffs. READING LEDGER LINE NOTES WITH EASE Page 20

Chapter 9 THE SPECIAL SYMMETRY OF THE C NOTES Here is a final ledger line note tip! All the C notes on the Great Staff, and above and below it, are easy to find becase they fall in special matching positions. ò & > First ledger line below the treble staff MIDDLE C MIDDLE C The same note Second last space on the treble staff C C Two ledger lines above the treble staff C C Sixth (ledger line) space above the treble staff C C One octave higher than written C 8va Third lowest note on the piano Highest note on the piano First ledger line above the bass staff Second space on the bass staff Two ledger lines below the bass staff Sixth (ledger line) space below the bass staff READING LEDGER LINE NOTES WITH EASE Page 2

Using jst two short poems yo now can read any ledger line note on the entire piano keyboard! We hope yo have enjoyed learning to read ledger line notes with ease sing or niqe system! Now, discover how yo can easily play a vast range of poplar msic sing a variety of simple chords! The step-by-step techniqe is described in: Playing Poplar Msic With Ease. This booklet and many other niqe msic resorces are available from the Msic With Ease website: READING LEDGER LINE NOTES WITH EASE Page 22

PLAYING MUSIC SCALES With Ease BETTY WAGNER Associate Trinity College London, Associate Msic Astralia PLAYING MUSIC SCALES WITH EASE A Nova Book Company Page Pblication http://www.msic-with-ease.com

PLAYING MUSIC SCALES WITH EASE by Betty Wagner ATCL, A Ms A Edited and Illstrated by Anne Dollin Msic Clips by John Wagner For Alex and James Pblished in 2004 by NOVA BOOK COMPANY PO Box 746, Potts Point NSW 5, Astralia Additional copies may be prchased from: Copyright 2004 Betty Dawn Wagner All rights reserved. Apart from any fair dealing for the prposes of private stdy, research, criticism or review as permitted nder the Copyright Act, no part of this pblication may be reprodced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, withot the written permission of the pblisher. PLAYING MUSIC SCALES WITH EASE Page 2

Msic Clips in this Booklet Msic clips have been embedded throghot this booklet to illstrate the material covered. To hear these msic clips yo need to view this pdf with Adobe Reader 6 or 7. These programs are available as free downloads from http://www.adobe.com System Reqirements for Adobe Reader 6.0.: Windows Intel Pentim processor or compatible Microsoft Windows 98 Second Edition, Windows Millennim Edition, Windows NT 4.0 with Service Pack 6, Windows 2000 with Service Pack 2, Windows XP Professional or Home Edition, Windows XP Tablet PC Edition 2MB of RAM (64MB recommended) 60MB of available hard-disk space Internet Explorer 5.0, 5.5, 6.0, or 6. Macintosh PowerPC G processor Mac OS X v.0.2.2-0. 2MB of RAM with virtal memory on (64MB recommended) 70MB of available hard-disk space System Reqirements for Adobe Reader 7.0: Windows Intel Pentim processor or compatible Microsoft Windows 2000 with Service Pack 2, Windows XP Professional or Home Edition, or Windows XP Tablet PC Edition 28MB of RAM Up to 90MB of available hard-disk space Microsoft Internet Explorer 5.5 or higher Macintosh PowerPC G processor Mac OS X v.0.2.8 or 0. Up to 5MB of RAM Up to 25MB of available hard-disk space A QickTime player mst also be added to Windows systems in order to play the embedded QickTime msic clips. QickTime players are available as free downloads from http://www.apple.com For frther tips abot installing Adobe Reader and QickTime on yor compter, please visit: /mweebooks-faq.html If yo have Acrobat Reader 5, yo will still be able to read and print ot this pdf booklet. However, yo will not be able to play the embedded msic clips. The following icon shows the location of a msic clip: To play a msic clip, simply click on the icon with yor mose. PLAYING MUSIC SCALES WITH EASE Page

CONTENTS Preface An Easier Way... 5 Chapter A Close Up Look at Scales... 6 Smmary Chart Major and Harmonic Minor Scales... 4 Chapter 2 How to Play Scales in the Msic With Ease Way... 5 Chapter Fingering Tips for the Scales... 6 Chapter 4 Unlock the Secrets of Scales... 2 Msic With Ease Scale Charts Major Scales... 26 Harmonic Minor Scales... 28 Melodic Minor Scales... 0 Major Contrary Motion Scales... 2 Harmonic Minor Contrary Motion Scales... 5 Chromatic Scale on C... 8 PLAYING MUSIC SCALES WITH EASE Page 4

PREFACE Learning to play scales can be a chore! Many books of scales are filled with hndreds of little black notes, stretching into the distance Bt there is an easier way! In this booklet or scales are written in an easy-to-follow way that makes playing scales a breeze. Even small children enjoy playing scales with the Msic With Ease method! Knowing yor scales helps yo to nderstand the key signatres of the tremendos array of msic that yo can play on the piano. Yo can also se a special Msic With Ease techniqe to play beatifl accompaniments for any sort of poplar msic, simply and easily, if yo know yor major scales. This techniqe is described in the Msic With Ease booklet, Playing Poplar Msic With Ease, available from the Msic with Ease website. Playing scales can be an enjoyable and rewarding msical experience with the Msic With Ease system. Before we start, thogh, let s take a look at the fascinating backgrond of the scales we se on or pianos today. PLAYING MUSIC SCALES WITH EASE Page 5

Chapter A CLOSE UP LOOK AT SCALES What Are Scales? The word scale comes from the Latin word scala which means ladder. A scale is simply a series of notes played p or down the keyboard from a given note to its octave. Many different types of scales have been developed worldwide, inclding the Arabian 7-tone scale and the Pentatonic (five-note) Scale. The Pentatonic Scale can be played on or piano by sing only the black notes. Swing Low Sweet Chariot, Ald Lang Syne, Old MacDonald Had a Farm and Mary had a Little Lamb are examples of tnes that can be played on the Pentatonic Scale. (Click on these links to hear the tnes. Try to play along with the clips on the black notes of yor keyboard!) In or conventional Western msic we have two classes of scales:. Diatonic Scales consisting of tones and semitones. There are Major and Minor diatonic scales; and 2. Chromatic Scales consisting of semitones only. How were these scales constrcted? The 2 Different Notes on the Modern Piano Keyboard If yo look at the piano keyboard yo will see there are seven different white notes and five different black notes in each octave. C D E F G A B It took centries of experimentation to select the actal pitches of these 2 different notes. Eventally msicians agreed on a tning system called Eqal Temperament in which these 2 notes were tned to be exactly eqal distances apart in pitch. The system of Eqal Temperament was a compromise, bt a piano tned in this way cold play beatifl, complex msic in many different keys. This fascinating story is told in yor bons article, Who Chose the Notes that Or Instrments Play? PLAYING MUSIC SCALES WITH EASE Page 6

Semitones, Sharps and Flats on the Keyboard Each of the steps between the 2 different notes on the keyboard is called a semitone (or in American terminology, a half step). A semitone is the distance from one note to the very next note on the keyboard, which may be either black or white. If the note G is raised one semitone, it becomes G Sharp (G # ). If the note G is raised two semitones, it becomes G Doble Sharp (G X ). If the note G is lowered one semitone, it becomes G Flat (G _ ). If the note G is lowered two semitones, it becomes G Doble Flat (G ). Each of the twelve different notes on the keyboard has two or three alternative names which show the relationships between the different notes. There are seven Sharps, seven Flats and seven Natrals. In addition there are five Doble Sharps and five Doble Flats. Note that each of the five black notes is a Sharp and also a Flat. Note also that each of the seven white notes has three alternative names. White notes are all Natrals bt they can also be Sharps, Doble sharps, Flats and/or Doble Flats. Yo will need to nderstand all of these note names as yo proceed with msic so we inclde a diagram of them all here. B H C H D g D gg E gg D H E g F g E H F H G H G g A g G gg A gg B gg A H B g C g C X D X F X G X A X C D E F G A B SHARPS FLATS DOUBLE SHARPS DOUBLE FLATS NATURALS The 2 different notes in the octave and all their alternative names PLAYING MUSIC SCALES WITH EASE Page 7

What is a Major Scale? The first scale we learn to play on the piano is C Major. This is a very simple eightnote scale played only on the white notes: C D E F G A B C If yo look at the piano keyboard yo will see that for of the neighboring white notes in the C Major scale (E / F and B /C) are directly adjoining with no black note in between them. These notes are one semitone apart (or in American terminology, one half step ). Other neighboring white notes in this scale have black notes in between them (e.g. C/D and G / A). These notes are two semitones or one tone apart (or in America, one step ). C D E F G A B C One TONE apart One SEMITONE apart One TONE apart One SEMITONE apart If we look at the C Major scale in this way we will see that it is bilt in the following pattern: C Tone D E F G A B C Tone Semitone Tone Tone Tone Semitone The twelve Major scales that we play on the piano are all bilt to this same pattern. So they all sond similar to C Major bt they simply start on different notes and differ in pitch. There is one scale for each of the twelve semitones fond in an octave. Bt how did this constrction come abot? PLAYING MUSIC SCALES WITH EASE Page 8

The Family of Major Scales To nderstand the constrction of the Major scale family we have to go back thosands of years! In the sixth centry BC a Greek mathematician, Pythagoras, fond that there were special harmonios relationships between some notes. He discovered this by hanging hammers from varios lengths of string and plcking the strings! Pythagoras One of the most special relationships Pythagoras discovered was between the notes C and G. (Note: G is the fifth note of the C Major scale. So we say that G is an interval of a perfect fifth above C.) If we start bilding a scale on G we get: G Tone A Tone B Semitone C Tone D Tone E... However, to fit the pattern for a Major scale, the next step shold be a Tone (two semitones) higher than E. So we have to se F H instead of F as the next note: G T A T B S C T D T E T F H S G This is the G Major scale (with one sharp F). It matches C Major exactly in its pattern bt it is an interval of a perfect fifth above the C Major scale. The next scale is constrcted on D (the fifth note of the G Major scale). Once again the second last note has to be raised one semitone to C H, to make it match the pattern of the Major scales. D T E T F H S G T A T B T C H S D Again, this D Major scale (with two sharps, F and C) matches C Major and G Major exactly in its pattern. This time it is an interval of a perfect fifth above the second scale, G Major. (Note: In practice, all scales are played starting on notes near Middle C, and D Major is always played starting on the D jst above Middle C.) PLAYING MUSIC SCALES WITH EASE Page 9

Using this method, all twelve Major scales that we play today (see chart on page 4) were finally bilt. Each scceeding scale is an interval of a perfect fifth above the previos scale bt they all share the same pattern: st Note 2nd Note rd Note 4th Note 5th Note 6th Note 7th Note 8th Note Tone Semitone Tone Tone Tone Tone Semitone MEMORY TIP! REMEMBER FOR THE MAJOR SCALES: The semitones occr between the rd and 4th notes, and between the 7th and 8th notes. The Family of Minor Scales Another family of scales was bilt on a scale starting with the note A. These are called the Minor Scales. The Major scales are poplarly known as the happy scales becase of their cheerfl tone. However, the Minor scales are known as the sad scales becase they have a mornfl, hanting qality. (Click on these links to hear examples!) If yo play a scale, sing white notes only, beginning with A yo get this pattern: A B C D E F G A Tone Semitone Tone Tone Semitone Tone Tone This is called a Natral Minor Scale. A whole series of 2 Minor scales with different nmbers of sharps and flats is bilt on this scale in the same way that the Major scale family is bilt. They all share the same pattern bt each scceeding scale is an interval of a perfect fifth above the previos scale. PLAYING MUSIC SCALES WITH EASE Page 0

Harmonic Minor Scales Msicians decided, however, that it wold sond better if the seventh note in a Minor scale (or the Leading Note) was only one semitone from the last note. So they created the Harmonic Minor Scale family (see chart on page 4) in which the leading note in every scale is raised one semitone. For example, this scale is A Harmonic Minor: H A T B S C T D T E S F T+S G S A Leading note, G, has been raised one semitone to G # This scale of A Harmonic Minor is still regarded as having no sharps or flats. The G sharp is added becase of the raised seventh note (the leading note). In Minor key tnes, every leading note is written in its raised form throghot the tne. For example, in an A Minor tne, every G note is written as G H. So the pattern for the Harmonic Minor family of scales is: st Note 2nd Note rd Note 4th Note 5th Note 6th Note 7th Note Tone Semitone Tone Tone Semitone Tone Semitone & Semitone 8th Note MEMORY TIP! REMEMBER FOR THE HARMONIC MINOR SCALES: The semitones occr between the 2nd and rd notes, the 5th and 6th notes, and the 7th and 8th notes. PLAYING MUSIC SCALES WITH EASE Page

Melodic Minor Scales Another related family of scales is the Melodic Minor Scale Family. In these scales the sixth and seventh notes of each scale are each raised one semitone ascending, and they are lowered one semitone again descending (see pages 0 ). These scales were developed by composers in the eighteenth centry who fond that the melody was more satisfactory if it was played in this way. For example, this scale is A Melodic Minor: H H A B C D E F G A G l F l E D C B A T S T T T T S T T S T T S T MEMORY TIP! REMEMBER FOR THE MELODIC MINOR SCALES: The semitones occr between the 2nd and rd notes, and the 7th and 8th notes. The semitones occr between the 2nd and rd notes, and the 5th and 6th notes. Contrary Motion Scales In these scales the right hand ascends from the starting note to its octave and then descends. At the same time the left hand descends from the same starting note to its octave and then ascends. There are twelve Major Contrary Motion scales and twelve Minor Contrary Motion scales (see pages 2 7). These scales all have the same pattern of sharps and flats as their corresponding Major and Minor scales. C D B Right Hand E F A G Left Hand G A B C B A G F E D F E D C D E F G A B C PLAYING MUSIC SCALES WITH EASE Page 2

Chromatic Scales The Chromatic scale, in which all the notes, both black and white, are played in sccession, is now the fondation of western msic! For example, if we play all the notes from Middle C to the C an octave higher (High C), we get a scale of twelve semitones. This is the Chromatic Scale on C (see page 8). Chromatic scales can be bilt from any note, both pwards and downwards, by moving from semitone to semitone. In writing chromatic scales the sal practice is to sharpen the notes going p and flatten the notes coming down. [Sorce: Otto Karolyi, Introdcing Msic, Pengin Books 965] Let s Get Started! On the following page we present a smmary chart of all the Major and Harmonic Minor Scales, showing the pattern of their sharps and flats. In Chapters 2 and yo will find tips and hints on playing scales the easy way. Then in Chapter 4, explore the inner strctre of scales with helpfl hints and memory aids. (This chapter wold be particlarly helpfl to serios scales stdents wanting to master the theory of scales.) Finally on pages 26 8 yo will find all the scales written ot in fll with the easy-to-play Msic With Ease Fingering Gide. With Msic With Ease Playing Scales is a BREEZE! PLAYING MUSIC SCALES WITH EASE Page

Read DOWN for the Order of the Sharps Read UP for the Order of the Flats THE MAJOR AND HARMONIC MINOR SCALES 2 MAJOR SCALES 2 HARMONIC MINOR SCALES C G D A E B F H C H (or C g : 7 g ) (or G g : 6 g ) (or D g : 5 g ) A E g B g F No H or g H F 2 H F C H F C G 4 H F C G D 5 H F C G D A 6 H F C G D A E 7 H F C G D A E B 4 g B E A D g B E A 2 g B E g B A E B F H C H A g E g B g (or G H : 5 H ) (or D H : 6 H ) (or A H : 7 H ) F C G D No H or g H F 2 H F C H F C G 4 H F C G D 7 g B E A D G C F 6 g B E A D G C 5 g B E A D G 4 g B E A D g B E A 2 g B E g B Leading Note * G H D H A H E H B H G l D l A l E l B l F H C H * Leading Note: This is the seventh note which is raised one semitone in a Harmonic Minor Scale. Althogh the leading note is not part of the key signatre, it qite often affects one of the notes in it. e.g. in A _ Harmonic Minor, G _ becomes G l. HERE IS AN EASY WAY TO REMEMBER THE ORDER OF THE SHARPS AND FLATS IN THESE SCALES! Notes: Memory Aid for the SHARPS: Father Charles Goes Down And Ends Battle Memory Aid for the FLATS: Batman Eats And Drinks Great Canned Frit Father sonds like Sharp, and Batman sonds like Flat! The order of the sharps is the exact opposite of the order of the flats. These aids can be sed for the order of the major and minor scale names, too! (see page 2) PLAYING MUSIC SCALES WITH EASE Page 4

Chapter 2 HOW TO PLAY SCALES IN THE MUSIC WITH EASE WAY Yo will find all the Major, Harmonic Minor, Melodic Minor, Contrary Motion and Chromatic Scales, written in the Msic With Ease way, on pages 26 to 8. (A) The notes to be played, inclding any sharps or flats, are shown in the middle line(s) of each scale. The notes are so mch easier to read in this way than in the traditional method of writing the notes on the staff! (B) In each scale, the top line of black nmbers gives the fingering for the right hand. The bottom line of black nmbers gives the fingering for the left hand, played one octave lower than the right hand. (C) If the same finger is sed in both hands, this is marked with a large red oval. (D) When a note is played with the first finger (thmb) on either hand, this is indicated with a red sqare. (E) To play a one octave scale, se only the fingering shown in black. (F) EXAMPLE Leading Note RH 2 2 4 5 C D E F G A B C LH 5 4 2 2 Ble nmbers with a ble circle arond them give alternative fingering for when contining for more than one octave, as follows: ()... Play the first octave of the scale ascending. Use any alternative fingering in ble written at the end of this octave. (2)... Then retrn to the SECOND NOTE of the scale to begin the second octave. Use any alternative nmbers where shown as yo play this octave. ()... Contine in this manner ntil yo reach the highest octave yo wish to play. For this octave, start as sal on the second note bt play this final ascending octave sing the fingering shown in black. (Exception: in all A g Major and F H, C H and A g Minor scales, contine to se any alternative fingering given for the second note in the final right hand ascending octave.) (4)... Descend throgh the octaves of the scale as yo ascended, retrning each time to the second note of the descending scale. For the final octave se only the fingering shown in black. PLAYING MUSIC SCALES WITH EASE Page 5 (A) (F) (C) (D) (B)

Chapter FINGERING TIPS FOR THE SCALES What Do the Fingering Nmbers Mean? The drawing below shows the way that yor fingers are nmbered for piano msic, 5 4 2 2 4 5 Remember: ONE is the THUMB! Scales with Identical Fingering Altogether there are 6 Major, Harmonic Minor and Melodic Minor Scales. Fifteen of these scales are particlarly easy to learn becase they all have the following fingering pattern: RH 2 2 4 5 LH 5 4 2 2 The fifteen scales with identical fingering are the Major, Harmonic Minor and Melodic Minor scales of C, G, D, A and E. An easy way to remember this is to se part of the Memory Aid for Sharps given on page 4:...Charles Goes Down And Ends... PLAYING MUSIC SCALES WITH EASE Page 6

Of the remaining 2 scales, some other grops also share identical fingering patterns. These grops are: F Major, F Harmonic Minor & F Melodic Minor A_ Major, A_ Harmonic Minor & C # Harmonic Minor _ FAB + C # E_ Major (Right Hand Only), E_ Harmonic Minor & E_ Melodic Minor B_ Major (Right Hand Only), B_ Harmonic Minor & B_ Melodic Minor EB s flat B Major, B Harmonic Minor & B Melodic Minor To remember these grops, say: _ It s FAB at EB s flat + C# So altogether 0 of the 6 Major, Harmonic Minor and Melodic Minor Scales have fingering patterns shared with other scales! Other Scales with Similar Fingering The left hand fingering of the B_, E _, A _ and D_ Major Scales is the same. To remember this, se the beginning of the Memory Aid for Flats given on page 4: Batman Eats And Drinks... The right hand fingering of the F #, C # and G # Harmonic Minor Scales is the same. To remember this, se the beginning of the Memory Aid for Sharps given on page 4: Father Charles Goes... PLAYING MUSIC SCALES WITH EASE Page 7

Fingering Tips for the Contrary Motion Scales () Five of the twelve Contrary Motion Major Scales and five of the twelve Contrary Motion Harmonic Minor Scales also have identical fingering patterns, and they have the same fingering in the right and the left hands too: RH 2 2 4 5 LH 2 2 4 5 These ten scales are the Contrary Motion Major and the Contrary Motion Harmonic Minor Scales of C, G, D, A and E. Once again, to help remember this, se part of the Memory Aid for Sharps given on page 4:...Charles Goes Down And Ends... (2) The contrary motion scale of E g Major has the same fingering in the right and the left hands: RH 2 2 4 2 LH 2 2 4 2 () The following pairs of contrary motion scales have identical fingering patterns: F Major and F Harmonic Minor A g Major and A g Harmonic Minor B Major and B Harmonic Minor _ It s FAB! PLAYING MUSIC SCALES WITH EASE Page 8

A General Fingering Tip for Major, Minor and Contrary Motion Scales Where there are TWO BLACK NOTES, se the two fingers nearest the thmb. Where there are THREE BLACK NOTES, se the three middle fingers. For example, take a look at B Major (Similar Motion): RH 2 2 4 5 B C # D # E F # G # A # B LH 4 2 4 2 Use two fingers nearest the thmb on C # and D # Use three middle fingers on F #, G # and A # Sometimes in the Harmonic and Melodic Minor Scales, some of the three black note positions and some of the two black note positions are not black notes. However, the rle still works with these scales! For example, take a look at B Harmonic Minor : RH 2 2 4 5 B C # D E F # G A # B LH 4 2 4 2 D and G are both white notes in black note positions bt the same fingering rle still applies Here are all the scales that follow this fingering rle: B, F H and CH Major B, E g and B g Harmonic Minor B, E g and B g Melodic Minor { Inclding the contrary motion versions of these scales PLAYING MUSIC SCALES WITH EASE Page 9

Fingering Tips for the Chromatic Scales For all black notes, se the rd finger. For the two pairs of white notes, se the st and 2nd fingers. For the remaining white notes, se the st fingers only. Keeping these points in mind, here is the method... 5 4 2 2 4 5 GOING UP Look at yor hands, ready to play. Play the two pairs of white notes in the direction that yor fingers go: Left Hand: 2nd then st finger Right Hand: st then 2nd finger All the chromatic scales have identical fingering. That s easy, isn t it! GOING DOWN Look at yor hands, ready to play. Play the two pairs of white notes in the direction that yor fingers go: Right Hand: 2nd then st finger Left Hand: st then 2nd finger PLAYING MUSIC SCALES WITH EASE Page 20

Chapter 4 UNLOCK THE SECRETS OF SCALES The Order of the Names of the Major and Minor Scales The chart on page 4 shows all the major and harmonic minor scales with their sharps and flats. Here is a qick way to remember the order of these scales: Major Scales with SHARPS: G D A E B FH CH Minor Scales with SHARPS: E B FH CH GH DH AH To remember the order of these scales se the Memory aid from page 4: Father Charles Goes Down And Ends Battle Major Scales with FLATS: F B_ E _ A _ D _ G _ C _ Minor Scales with FLATS: D G C F B_ E _ A _ To remember the order of these scales se the Memory aid from page 4: Batman Eats And Drinks Great Canned Frit Notes: Father sonds like Sharp, and Batman sonds like Flat! The order of the sharps is the exact opposite of the order of the flats. C Major and A Minor are not inclded in these lists becase they have no sharps or flats. The Order of Sharps or Flats in a Key Signatre The key signatre at the beginning of a piece of msic can contain p to seven sharps or seven flats: & # # # # # # # & _ F C G D A E B Father Charles Goes Down And Ends Battle B E A D G C F Batman Eats and Drinks Great Canned Frit There is an easy way to remember the correct order in which these sharps or flats shold be written! Use the same two memory aids as are given above for remembering the order of the scale names. PLAYING MUSIC SCALES WITH EASE Page 2

How to Work Ot the Nmber of Sharps or Flats in a Particlar Major or Minor Scale SCALES WITH SHARPS Remember: the order of the sharps in these scales is F C G D A E B (see page 4). To work ot the final sharp in a key signatre: Major Sharp Scales Minor Sharp Scales Go DOWN ONE note name e.g. for D Major the final sharp wold be C so the sharps are F and C Go UP ONE note name e.g. for D H Minor the final sharp wold be E so the sharps are F C G D A and E Go UP note names F G A B C D E F G A B Go DOWN note names Father Charles goes down one and p one again MEMORY AID SCALES WITH FLATS Remember: the order of the flats in these scales is B E A D G C F (see page 4). To work ot the final flat in a key signatre: Major Flat Scales Minor Flat Scales Go UP THREE note names e.g. for E g Major the final flat wold be A so the flats are B E and A Go DOWN TWO note names e.g. for A g Minor the final flat wold be F so the flats are B E A D G C and F Batman sends p three cheers and downs two cans! MEMORY AID PLAYING MUSIC SCALES WITH EASE Page 22

The Nmber of Sharps or Flats in Some Special Scales Here are some hints for remembering the nmber of sharps and flats in some special scales: C Major Scale has no sharps or flats, BUT C# Major has seven sharps the largest nmber of sharps in the major scales. C_ Major has seven flats the largest nmber of flats in the major scales. (Don t forget: C_ Major is sally called B Major - 5 # FCGDA) A Minor Scale has no sharps or flats, BUT A # Minor has seven sharps the largest nmber of sharps in the minor scales. A_ Minor has seven flats the largest nmber of flats in the minor scales. Major and Minor Scales with only ONE sharp or flat G Major is the Major Scale with only one sharp: F# F Major is the Major Scale with only one flat: B_ E Minor is the Minor Scale with only one sharp: F # D Minor is the Minor Scale with only one flat: B_ MEMORY AID for remembering these for scales: Say the white note names of the piano keyboard backwards! G F E D C B A Three Hints abot Scale Names F H Major and C H Major are the only two major scales containing sharps that have a sharp in their scale names. E Minor and B Minor are the only two Minor Scales containing sharps that do not have a sharp in their scale names. F Major is the only Major Scale containing flats that does not have a flat in its scale name. PLAYING MUSIC SCALES WITH EASE Page 2

Relative Major and Minor Scales Relative Major and Minor Scales have the same nmber of sharps or flats. For example: E Major and C# Minor both have for sharps, F#, C #, G # and D# To find the Relative Minor of a Major Scale: Go DOWN two note names BUT only three semitones For example: B_ Major and G Minor both have two flats, B_ and E_ To find the Relative Major of a Minor Scale: Go UP two note names BUT only three semitones For example: F Minor and A_ Major both have for flats, B_, E _, A _ and D _ MEMORY AID: MAJOR goes down to (two) MINOR, and MINOR goes p to (two) MAJOR! Tonic Major and Minor Scales Tonic Major and Minor Scales both start on the same note. For example: C Major (no # or _ ) and C Minor ( _ B E A) If yo lower the rd and 6th notes of a Major Scale, yo have its Tonic (Harmonic) Minor Scale. C Major: C D E F G A B C Note: The Leading Note C Minor (Harmonic): C D E_ F G A_ Bl C is raised one semitone (B_ to Bl ) Melodic Minor Scales The Melodic Minor Scale has the same notes as its Tonic Major Scale (except the third note is lowered one semitone), and it has the same notes as its Relative Major Scale MEMORY AID: TONIC MAJOR except for lowered rd note Mel has Tons of Relatives Ascending and Descending (Melodic Minor) (Tonic Major) RELATIVE MAJOR For example: The scale A Melodic Minor (see page 0) has the same notes as A Major (ascending), except for the rd note; and as C Major (descending). (Relative Major) PLAYING MUSIC SCALES WITH EASE Page 24

An Alternative Method of Practising Scales When yo are becoming well practised with the scales and know them in increasing order of sharps and flats, it is an interesting alternative to play the scales in the order of the Chromatic Scale. Start on C, and gradally go p the 2-semitone way. It is a good test of yor skill! This idea may also be sed for the Arpeggios, the Dominant Sevenths and the Diminished Sevenths. And Finally Jst For Fn! Here is a little Msical Poem Don t & # P Don t & _ P Always & l P Translation at bottom of page! Now Let s Take a Look at all the Scales Written in the Easy-to-Read Style of Msic With Ease! Translation of Poem: Don t Be Sharp, Don t Be Flat, Always Be Natral! PLAYING MUSIC SCALES WITH EASE Page 25

Major Scales - Similar Motion... part C Major No # or _ Start on Middle C Play one octave lower Leading Note RH 2 2 4 5 C D E F G A B C LH 5 4 2 2 G Major # F RH 2 2 4 A B C D E F # 5 G G LH 5 4 2 2 D Major 2 # F C RH 2 E F # 2 4 G A B C # 5 D D LH 5 4 2 2 A Major # F C G RH 2 B C # 2 D E F # 4 G # 5 A A LH 5 4 2 2 E Major 4 # F C G D RH 2 2 4 5 F # A B C # D # E E G # LH 5 4 2 2 B Major 5 # F C G D A (or C _ Major 7 _ B E A D G C F) RH 2 C # D # 2 E F # G # 4 A # 5 B B LH 4 2 4 2 PLAYING MUSIC SCALES WITH EASE Page 26

Major Scales - Similar Motion... part 2 F # Major 6 # F C G D A E (or G _ Major 6 _ B E A D G C ) Leading Note F # G # A # B C # D # E # F # RH 2 4 2 2 LH 4 2 2 2 4 C # Major 7 # F C G D A E B (or D _ Major 5 _ B E A D G) C # D # E # F # G # A # B # C # RH 2 2 4 2 LH 2 4 2 2 A _ Major 4 _ B E AD 4 RH 2 2 2 A _ B _ C D _ E _ F G A _ LH 2 4 2 2 E _ Major _ B E A RH 2 2 4 2 F G A _ B _ C D E _ LH 2 4 2 2 E _ B _ Major 2 _ B E 4 RH 2 2 2 4 B _ C D E _ F G A B _ LH 2 4 2 2 F Major _ B RH 2 4 2 4 F G A B _ C D E F LH 5 4 2 2 PLAYING MUSIC SCALES WITH EASE Page 27

Harmonic Minor Scales... part A Minor No # or _ E Minor # F B Minor 2 # F C F # Minor # F C G C # Minor 4 # F C G D A _ Minor 7 _ B E A D G C F (or G # Minor 5 # F C G D A) Leading Note RH 2 2 4 5 A B C D E F G # A LH 5 4 2 2 RH 2 4 5 F # 2 E G A B C D # E LH 5 4 2 2 RH 2 4 5 B C # 2 D E F # G A # B LH 4 2 4 2 4 F # G # A B C # D E # F # RH 2 2 2 LH 4 2 2 2 4 4 C # D # E F # G # A B # C # RH 2 2 2 LH 2 4 2 2 4 A _ B _ C _ D _ E _ F _ G l A _ RH 2 2 2 LH 2 4 2 2 PLAYING MUSIC SCALES WITH EASE Page 28

Harmonic Minor Scales... part 2 E _ Minor 6 _ B E A D G C (or D # Minor 6 # F C G D A E) B _ Minor 5 _ B E A D G (or A # Minor 7 # F C G D A E B) F Minor 4 _ B E AD C Minor _ B E A G Minor 2 _ B E D Minor _ B Leading Note RH 2 2 2 E _ F G _ A _ 4 B _ C _ D l E _ LH 2 4 2 2 4 RH 2 2 2 4 B _ C D _ E _ F G _ A l B _ LH 2 2 4 2 RH 2 4 2 4 G A _ B _ F C D _ E l F LH 5 4 2 2 RH 2 4 5 D E _ 2 C F G A _ B l C LH 5 4 2 2 RH 2 4 5 A B _ 2 G C D E _ F # G LH 5 4 2 2 RH 2 2 4 5 D E F G A B _ C # D LH 5 4 2 2 PLAYING MUSIC SCALES WITH EASE Page 29

Melodic Minor Scales... part A Minor No # or _ RH 2 2 B C D E F # 4 G # 5 A A LH 5 4 2 2 E Minor # F RH 2 F # 2 G A B C # 4 D # 5 E E LH 5 4 2 2 B Minor 2 # F C RH 2 C # 2 D E F # G # 4 A # 5 B B LH 4 2 4 2 F # Minor # F C G F # G # A B C # D # E # F # RH 2 2 4 LH 4 2 2 2 2 4 C # Minor 4 # F C G D RH 2 2 4 D # F # G # A # B # C # C # E LH 2 4 2 2 2 A _ Minor 7 _ B E A D G C F (or G # Minor 5 # F C G D A) 4 A _ B _ C _ D _ E _ F l G l A _ RH 2 2 2 LH 2 4 2 2 G l F l E D 4 2 2 2 2 C B A 4 5 D l C l B A 4 2 2 2 2 G F # E 4 5 A l G l F # E 4 2 2 4 2 D C # B 2 4 E l D l C # B 2 2 2 4 A G # F # 2 2 4 B l A l G # F # 2 2 4 E D # 2 C # 2 4 2 G _ F _ E _ D _ 2 2 4 C _ B _ A _ 2 2 4 2 Note: Use alternative fingering in this scale for all descending octaves except first octave. PLAYING MUSIC SCALES WITH EASE Page 0

Melodic Minor Scales... part 2 E _ Minor 6 _ B E A D G C (or D # Minor 6 # F C G D A E) RH 2 E _ 2 F G _ A _ 4 B _ C l 2 D l E _ LH 2 4 2 2 2 D _ C _ 4 B _ A _ 2 2 G _ F E _ 2 4 2 B _ Minor 5 _ B E A D G (or A # Minor 7 # F C G D A E B) A _ G _ C F G l A l B _ D _ E _ B _ F E _ D _ C B _ RH 2 2 2 4 2 2 2 LH 2 2 4 2 4 2 2 4 F Minor 4 _ B E AD RH 2 A _ 4 G B _ 2 C D l E l 4 F F LH 5 4 2 2 E _ 2 D _ 4 B _ C A _ 2 G F 2 2 4 5 C Minor _ B E A RH 2 E _ 2 D F G A l 4 B l 5 C C LH 5 4 2 2 4 B _ A _ 2 G F E _ 2 D C 2 2 4 5 G Minor 2 _ B E RH 2 4 F l E _ 2 B _ 2 B _ 2 E l 4 F # 5 G A C D G D C A G LH 5 4 2 2 2 2 4 5 D Minor _ B RH 2 2 4 C l B _ 2 2 B l 4 C # 5 D E F G A D A G F E D LH 5 4 2 2 2 2 4 5 PLAYING MUSIC SCALES WITH EASE Page

Contrary Motion Scales (Major)... part C Major No # or _ G Major # F RH 2 2 4 5 C D E F G A B C C B A G F E D C LH 2 2 4 5 Scale starts and ends on same note in both hands RH 2 2 4 G A B C D E F # 5 G G F # E D C B A G LH 2 2 4 5 D Major 2 # F C RH 2 E F # 2 4 D G A B C # 5 D D C # B A G F # E D LH 2 2 4 5 A Major # F C G RH 2 B C # 2 A D E F # 4 G # 5 A A G # F # E D C # B A LH 2 2 4 5 PLAYING MUSIC SCALES WITH EASE Page 2

Contrary Motion Scales (Major)... part 2 E Major 4 # F C G D RH 2 F # E G # 2 A B C # 4 D # 5 E E D # C # B A G # F # E LH 2 2 4 5 B Major 5 # F C G D A (or C _ Major 7 _ B E A D G C F ) RH 2 C # D # 2 B E F # G # 4 A # 5 B B A # G # F # E D # C # B LH 2 4 2 4 F # Major 6 # F C G D A E (or G _ Major 6 _ B E A D G C ) RH 2 4 2 2 F # G # A # B C # D # E # F # F # E # D # C # B A # G # F # LH 2 2 2 4 4 C # Major 7 # F C G D A E B (or D _ Major 5 _ B E A D G ) C # D # E # F # G # A # B # C # RH 2 2 4 2 C # B # A # G # F # E # D # C # LH 2 2 4 2 PLAYING MUSIC SCALES WITH EASE Page

Contrary Motion Scales (Major)... part A _ Major 4 _ B E AD 4 RH 2 2 2 A _ B _ C D _ E _ F G A _ A _ G F E _ D _ C B _ A _ LH 2 2 4 2 E _ Major _ B E A RH 2 2 4 2 E _ F G A _ B _ C D E _ E _ D C B _ A _ G F E _ LH 2 2 4 2 B _ Major 2 _ B E 4 RH 2 2 2 4 B _ C D E _ F G A B _ B _ A G F E _ D C B _ LH 2 2 4 2 F Major _ B RH 2 4 2 4 F G A B _ C D E F F E D C B _ A G F LH 2 2 4 5 PLAYING MUSIC SCALES WITH EASE Page 4

Contrary Motion Scales (Harmonic Minor)... part A Minor No # or _ E Minor # F RH 2 2 4 5 A B C D E F G # A A G # F E D C B A LH 2 2 4 5 Scale starts and ends on same note in both hands RH 2 4 5 F # 2 E G A B C D # E E D # C B A G F # E LH 2 2 4 5 B Minor 2 # F C RH 2 4 5 B C # 2 D E F # G A # B B A # G F # E D C # B LH 2 4 2 4 F # Minor # F C G 4 RH 2 2 2 F # G # A B C # D E # F # F # E # D C # B A G # F # LH 2 2 2 4 4 PLAYING MUSIC SCALES WITH EASE Page 5

Contrary Motion Scales (Harmonic Minor)... part 2 C # Minor 4 # F C G D 4 RH 2 2 2 C # D # E F # G # A B # C # C # B # A G # F # E D # C # LH 2 2 4 2 A _ Minor 7 _ B E A D G C F (or G # Minor 5 # F C G D A ) 4 A _ B _ C _ D _ E _ F _ G l A _ RH 2 2 2 A _ G l F _ E _ D _ C _ B _ A _ LH 2 2 4 2 E _ Minor 6 _ B E A D G C (or D # Minor 6 # F C G D A E ) RH 2 2 2 E _ F G _ A _ 4 B _ C _ D l E _ E _ D l C _ B _ A _ G _ F E _ LH 2 2 4 2 B _ Minor 5 _ B E A D G (or A # Minor 7 # F C G D A E B ) 4 RH 2 2 2 4 B _ C D _ E _ F G _ A l B _ B _ A l G _ F E _ D _ C B _ LH 2 4 2 2 PLAYING MUSIC SCALES WITH EASE Page 6

Contrary Motion Scales (Harmonic Minor)... part F Minor 4 _ B E AD RH 2 4 2 4 G A _ B _ F C D _ E l F F E l D _ C B _ A _ G F LH 2 2 4 5 C Minor _ B E A RH 2 4 5 D E _ 2 C F G A _ B l C C B l A _ G F E _ D C LH 2 2 4 5 G Minor 2 _ B E RH 2 4 5 A B _ 2 G C D E _ F # G G F # E _ D C B _ A G LH 2 2 4 5 D Minor _ B RH 2 2 4 5 D E F G A B _ C # D D C # B _ A G F E D LH 2 2 4 5 PLAYING MUSIC SCALES WITH EASE Page 7

An Example of a Chromatic Scale Chromatic Scale on C 2 RH G # A # 2 D # 2 F # C C # D E F G A B C LH 2 2 C D _ D E _ E F G _ G A _ A B _ B C Correct Written Notation for the Descending Scale NOTES The above fingering can be sed for chromatic scales beginning on any note. The green ovals indicate the white notes in this scale The black notes are all played with the rd finger. PLAYING MUSIC SCALES WITH EASE Page 8

We hope the niqe Msic With Ease Scale Tips and Charts have helped yo to play these complex piano scales With Ease! Now How Abot a Bit of Fn Using jst the major scales, yo can learn to play poplar msic with ease! This step-by-step techniqe is described in the booklet: Playing Poplar Msic With Ease Available from the Msic With Ease website: PLAYING MUSIC SCALES WITH EASE Page 9

Who Invented Or System of Writing Down Msic? By Gest Athor, Anne Dollin, PhD VERY little is known abot the msic that was played by people in ancient times becase few written records have been fond of their msic. The Greeks and the Romans both sed letters to symbolise msical notes. However, it was not ntil abot 000 AD that a detailed system for writing down msic was developed. In the seventh centry AD Pope Gregory the Great wanted to standardise all the chants that were being sed in the chrch in Erope. Whilst the words of the chants had been written down, no system existed for writing down the tnes. So the monks had been memorising all the tnes of the chrch chants. This was no mean feat as there were at that time thosands of different Introits, Allelias, Offertories, Commnions, Responsories, Antiphons and other chants. It has been estimated that the entire collection of chants wold make abot 80 hors of continos msic! The only aids the monks had in learning their chants was the system of nemes. These were little sqiggles or accents written above the chant words. They helped the singers remember the lengths of the notes and where the tne stepped p or down. However, the nemes did not show the starting note or key of the tne so the singers sally had to follow a leader who knew the tnes. Then in abot 000 AD an Italian Benedictine monk, Gido d Arezzo, made some great breakthroghs that revoltionised Western msic. Firstly he invented the sol-fa system to help his choir boys learn tnes. Gido made p a short Latin hymn which he taght his boys to sing, each line one note higher than the previos line: Ut qeant laxis Resonare fibris Translation: That yor servants may with relaxed Mira gestorm throats sing the wonders of yor deeds; take away Famli thorm sin from their nclean lips, O Saint John. Solve pollti Labii reatm, Sancte Johannes. A MUSIC WITH EASE BONUS ARTICLE: WHO INVENTED OUR SYSTEM OF WRITING DOWN MUSIC? Page

Gido sed the first syllable of each line as a memory prompt, Ut, Re, Mi, Fa, So, La, giving his boys an easy way to learn the notes of a new tne. Centries later a nearly identical version of this system was made famos by Jlie Andrews Doh a Deer song in The Sond of Msic. Gido s second breakthrogh was the development of a prototype clef. He sed a red line to represent the pitch F a note at the middle of a man s singing range. The small f he wrote at the start of each red line later became the bass clef sign we know today. F notes were written as nemes on the red line whilst higher An old fashioned f notes were written above the red line and lower notes below it. He also added a later became the Bass Clef yellow line to represent Middle C. This later became or alto clef. With Gido s red and yellow lines tnes cold finally be written down fairly accrately. These lines were the beginning of the five line staff systems that we se today. Slowly over the following centries special note shapes were developed to indicate note lengths. Then time signatres and key signatres were added as well as bar lines and expression signs, prodcing the system of writing down msic that we have today. This system of writing down msic is now sed throghot the world and is one of the most widely sed international langages ever developed! The invention of a system for writing down msic allowed composers to create long and complex compositions that wold not have been possible when all tnes had to be learned by memory. Or modern msic with its intricate harmonies owes mch to Gido d Arezzo s discovery. The simple writing system invented by this Benedictine monk was a revoltionary breakthrogh in msic. For more information on this sbject and other fascinating aspects of msic history, we recommend the following book which was a major sorce for this article: Big Bangs - The Story of Five Discoveries that Changed Msical History Looking back a thosand years, composer and broadcaster Howard Goodall gides s throgh five seismic developments in the history of Western msic: the invention of notation, of opera, of eqal temperament (the vital gaps between notes), of the piano, and of recorded sond. Expand yor knowledge with this entertaining, well written book! Available from: /big-bangs-goodall.html Copyright 2004 Anne Elizabeth Dollin All rights reserved. Apart from any fair dealing for the prposes of private stdy, research, criticism or review as permitted nder the Copyright Act, no part of this pblication may be reprodced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, withot the written permission of the pblisher. A MUSIC WITH EASE BONUS ARTICLE: WHO INVENTED OUR SYSTEM OF WRITING DOWN MUSIC? Page 2

Who Chose the Notes That Or Instrments Play? By Gest Athor, Anne Dollin, PhD DID yo ever wonder who chose the seven different white notes and the five different black notes on or keyboards? And who chose the actal notes that or gitars, fltes and recorders can play? In Western msic the selection of these particlar notes took over 2000 years of debate and experimentation! The fascinating story begins in Greece back in the sixth centry BC. One day, according to legend, the Greek mathematician Pythagoras walked past a blacksmith s shop and was srprised how harmonios the hammers sonded as they hit the anvils. He took for of the blacksmith s hammers home and measred their weights. He fond that one hammer was half the weight of the heaviest one, another was /4 of its weight and the other was 2/ of its weight. He hng the for hammers on strings and discovered that the strings made harmonios notes when he plcked them. The string with the heaviest hammer made a note an octave different from the string with the lightest Natrally-related Notes hammer and the other The notes that Pythagoras discovered with his blacksmith s hammers notes were in between. came from the natral properties of sonds. All natral sonds have a fndamental tone and a complex blend of higher overtones. Every Contining these msical instrment and hman voice has its experiments, own characteristic pattern of overtones. This Pythagoras developed allows yo to tell the difference between the a mathematical theory sond of a piano, a violin and a flte, for of msic and discovered a whole scale of example, and allows yo to recognise yor friends voices on the telephone. natrally-related notes that is the basis By experimentation Pythagoras chose a fndamental tone and a series of the notes we play of simple natrally-occrring overtones and made them into his scale. today. A MUSIC WITH EASE BONUS ARTICLE: WHO CHOSE THE NOTES THAT OUR INSTRUMENTS PLAY? Page

Many centries later msicians began to want to combine notes together in simple harmonies. Unfortnately many of the notes in the Pythagoras scale did not blend well if played together. In abot 400 AD an English composer, John Dnstaple, with the help of a grop of singers, fond that more pleasant harmonies cold be achieved if he slightly altered the pitch of some of the notes in the Pythagoras scale. Msicians then wanted instrments that cold play these new adjsted scales too. The process of tning an instrment so that it cold play a particlar scale was called tempering. As the centries passed, master instrment tners developed many different temperaments or tning systems to sit different styles of msic. Unfortnately each temperament only sited msic written in a limited range of keys (sch as C major or A minor). Different Temperaments Master tners developed a wide variety of different temperaments or tning systems: A common early temperament, Meantone, adjsted the 2 notes of the Pythagoras natral scale to make third and sixth intervals sond sweeter. Unfortnately this made some of the forth and fifth intervals sond harsh. Organ bilder Andreas Werkmeister (645-706) developed a whole series of other temperaments. One of these may have been sed by Bach when he wrote the famos preldes and fges in The Well-Tempered Clavier in 722. Still more temperaments were developed by Johann Philipp Kirnberger in the 700s. In each temperament, some intervals and keys sonded particlarly attractive, whilst other intervals and keys sonded rather harsh. A MUSIC WITH EASE BONUS ARTICLE: WHO CHOSE THE NOTES THAT OUR INSTRUMENTS PLAY? Page 2

Finally a system called Eqal Temperament was developed in which the 2 notes on the Pythagoras scale were adjsted so that they were all exactly evenly spaced apart. It wold be possible to play msic from any key on an instrment tned to Eqal Temperament. Unfortnately it was not ntil the development of precision metal lathes in 800 that it was possible to manfactre instrments with sch exact tning. Eqal Temperament In the Eqal Temperament tning system, the notes of the Pythagoras scale were all adjsted so that they were at exactly eqal distances apart. Before 600 AD the Dtch mathematician, Simon Stevin, had calclated that each note needed to be.05946094 times the freqency of the note below it! However, it was not ntil the 800s that manfactring skills had become sfficiently advanced to bild an instrment to these specifications. Since that time, thogh, mass prodced Eqal Temperament instrments have spread throghot the world. The system is a compromise as all the notes in the scale are slightly ot of tne, bt msic in any key can be played on an instrment tned to Eqal Temperament. Mch of today s most beatifl msic, with freqent changes of key, wold not have been possible withot the development of Eqal Temperament. Today the vast majority of msical instrments are tned to Eqal Temperament. The twelve different notes on or keyboards and other instrments are now so familiar that few people realise how many centries of experimentation went into the selection of those particlar notes. For more information on this sbject and other fascinating aspects of msic history, we recommend the following book which was a major sorce for this article: Big Bangs - The Story of Five Discoveries that Changed Msical History Looking back a thosand years, composer and broadcaster Howard Goodall gides s throgh five seismic developments in the history of Western msic: the invention of notation, of opera, of eqal temperament (the vital gaps between notes), of the piano, and of recorded sond. Expand yor knowledge with this entertaining, well written book! Available from: /big-bangs-goodall.html Copyright 2004 Anne Elizabeth Dollin All rights reserved. Apart from any fair dealing for the prposes of private stdy, research, criticism or review as permitted nder the Copyright Act, no part of this pblication may be reprodced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, withot the written permission of the pblisher. A MUSIC WITH EASE BONUS ARTICLE: WHO CHOSE THE NOTES THAT OUR INSTRUMENTS PLAY? Page

A Glossary of Msical Symbols, Terms and Ornaments By Gest Athor, Anne Dollin, PhD MUSICAL SYMBOLS Staff or stave... A set of five lines on which the msical notes are written. Bar line... Tnes are divided into short sections called bars (or measres). A bar line separates the bars. ò Doble bar line... Indicates the end of the piece of msic. Brace and bar line... Connects the treble and bass staffs. & > # # & & 4 ` B Treble clef... The staff marked with the treble clef is sed for the higher notes. Bass clef... The staff marked with the bass clef is sed for the lower notes. Key signatre... A set of sharps or flats indicating the key in which the msic is written (e.g. D major: two sharps; F major: one flat). Time signatre... Two nmbers indicating the beat of the msic. Common time... Another symbol for the the bar). Ct time... Another symbol for the the bar). 4 4 2 2 time signatre (for crotchet beats in time signatre (two minim beats in x Repeat... Go back to the beginning and play again. x # x Repeat section... Repeat everything between the doble bar lines. Sharp... Raises the note by one semitone. _ l Flat... Lowers the note by one semitone. Natral... Cancels a sharp or a flat. A MUSIC WITH EASE BONUS ARTICLE: A GLOSSARY OF MUSICAL SYMBOLS, TERMS AND ORNAMENTS Page

e e» T P. P P- P\ P= MUSICAL SYMBOLS (contined) Doble sharp... Raises the note by two semitones. Doble flat... Lowers the note by two semitones. Pase... Hold the note for longer than its normal vale. Staccato... Play abrptly with distinct breaks between the notes. Tento... Hold the note for its fll vale and slightly accentate. Sforzando... Play with force or emphasis. Accent... Play the note loder. Arpeggio... A broken chord - play the notes ascending qickly in sccession. G 8va ooo ) G ) L.H. R.H. P ) P P P D.C. al Coda D.C. al Fine D.S. al Fine. 2. Ottava (8va)... Play one octave (8 notes) higher or lower than written. Triplet... Three notes of eqal vale, played in the time of two notes of the same vale. Tie... A crved line joining two notes of the same pitch: play only the first note and hold it for the total length of the two notes. Phrase... A crved line (or slr) joining two or more notes which may be of different pitches: play the notes smoothly. A msical sentence. Left hand... Play with the left hand. Right hand... Play with the right hand. Da Capo al Coda... Retrn to the beginning and play ntil yo reach the first Coda sign @. Then jmp forward to the next Coda sign. Da Capo al Fine... Retrn to the beginning and play ntil yo reach the word Fine. Dal Segno al Fine... Retrn to the Segno sign? and play ntil yo reach the word Fine. st / 2nd time... Play the section marked. on the first time throgh the msic, then play the section marked 2. on the second time throgh. Pedal sign... Depress pedal here release pedal here. A MUSIC WITH EASE BONUS ARTICLE: A GLOSSARY OF MUSICAL SYMBOLS, TERMS AND ORNAMENTS Page 2

MUSICAL TERMS Yo will sometimes see msical terms written in Italian or other langages on pblished msic scores. These terms tell yo in detail how qickly and how lodly the msic shold be played. The list below gives the most common msical terms that yo might see. Other less common terms are explained on page 4. COMMON MUSICAL TERMS Abbreviation Term Meaning accel. Accelerando... Become faster gradally. Adagio... Slowly, in a leisrely style. Allegro... Brisk and lively. Andante... At a moderately slow or easy walking pace. A tempo... Resme the original speed of the piece. cres. < Crescendo... Become loder gradally. decres. > Decrescendo... Become softer gradally. dim. > Diminendo... Become softer gradally. cc Fortissimo... Very lod. c Forte... Lod. cn Forte piano... Lod, then soft immediately. Legato... In a smoothly gliding, connected manner. E Mezzo forte... Moderately lod. O Mezzo piano... Moderately soft. Moderato... At a moderate speed. nn Pianissimo... Very soft. n Piano... Soft. Presto... Fast. rall. Rallentando... Become slower gradally. ritard. rit. Ritardando... Become slower gradally. riten. rit. Ritento... Become slower immediately, holding back. A MUSIC WITH EASE BONUS ARTICLE: A GLOSSARY OF MUSICAL SYMBOLS, TERMS AND ORNAMENTS Page

LESS COMMON MUSICAL TERMS Alla marcia... Like a march. Allargando... Gradally slower and more powerflly. Allegretto... Rather qick. Andantino... Rather slow. Animato... Spirited, with energy. Cantabile... In a singing style. Con anima... With animation, spirit. Con brio... With brilliance, vigor. Con foco... With fire. Con moto... With motion, energetically. Dolce... Sweetly, gently. Expressivo... With feeling. Giocoso... Hmorosly, joyflly. Gisto... Strict. Grave... At the slowest possible speed. Grazioso... Graceflly. Largo... Very slow and stately. Leggiero... Lightly, nimbly. Lento... Slowly. Loco... Play the notes as written (e.g. after an 8va passage). Maestoso... Majestically. Ma non troppo... Bt not too mch. Marcato... Accented, emphatic. Meno... Less. Molto... Mch. Morendo... Gradally dying away. Pi... More. Poco... A little. Prestissimo... At the fastest possible speed. Scherzando... Playflly. Semplice... Simply. Sempre... Always. Senza... Withot. Sforzando... With a strong accent. Simile... Similarly. Smorzando... Dying away. Sostento... Sstained. Sbito... Sddenly. Veloce... Rapidly. Vivace... Lively, brightly. Vivo... Lively. MUSICAL ORNAMENTS Written Played Term Written Played Term ^kk & P & PPPPPPPP Trill or Shake & Pk & P P P. Upper Mordent ; & P P P. & Acciaccatra & PL & P P P. Lower Mordent & ; P ) & P P ) Appoggiatra & PS & P P P P P Trn Copyright 2004 Anne Elizabeth Dollin All rights reserved. Apart from any fair dealing for the prposes of private stdy, research, criticism or review as permitted nder the Copyright Act, no part of this pblication may be reprodced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, withot the written permission of the pblisher. A MUSIC WITH EASE BONUS ARTICLE: A GLOSSARY OF MUSICAL SYMBOLS, TERMS AND ORNAMENTS Page 4

Navigation Tips for Msic With Ease Ebooks How to Jmp to a Particlar Booklet or Bons Each booklet and bons in yor PDF package is listed as a Bookmark in the left hand panel (A) which appears when yo first open this ebook. Simply click on the booklet or bons of yor choice and the first page of this docment will appear on the screen. The width of the Bookmark panel may be adjsted by dragging the dividing line (B). C A B If the Bookmark list disappears at any stage, reopen it by clicking on the Bookmarks tab (C) How to Jmp to a Specific Page of the Ebook Where another specific page or topic in this ebook is discssed, it may be written in ble and nderlined. For example:... see page 4. Finally on pages 26-28,...... is given in Appendix. If yo click on the words written in ble, that page of the ebook will open on the screen. D How to Jmp Back to the Previos Page Beside the page navigation arrows, yo will see another navigation icon (D) called Previos View. In Adobe Reader 6 and 7 it is at the bottom of the screen and looks like this: In Acrobat Reader 5 it is a black arrow located in the top toolbar. Click on this icon and the previos page that yo were viewing of the ebook will be shown on the screen. How to Rotate the View of a Page on the Screen A few pages of the Msic With Ease ebooks have been written in landscape format. Of corse, if yo print ot these pages, yo can easily trn them to read them in the correct orientation. However, there is also a way in which yo can rotate these pages for easier viewing on the screen. From the View men in yor Reader program, select Rotate View and then choose Clockwise. Simply repeat this process, bt this time choosing Conterclockwise, to retrn the screen view to the original orientation. Landscape format

Tips for Viewing Msic With Ease Ebooks With Adobe Reader 8 All the Msic With Ease ebooks are flly fnctional with Adobe Reader 8. The sond clips, links, bookmarks, printing and all other featres can be sed jst as they were in previos versions of Adobe Reader. Adobe Reader 8 does differ from previos versions, thogh, in the following ways: New Interface A few of the common featres sed with the Msic With Ease ebooks are in different positions in the new Adobe Reader 8 interface. These are shown in the following diagram: A Bookmarks B Movable Dividing Line C Bookmarks Tab D Navigation Icons D C A B ʻPrevios Viewʼ Navigation Btton is Missing from Toolbar The new interface of Adobe Reader 8 also lacks an important navigation btton that is extremely sefl when viewing a Msic With Ease ebook: Previos View. However, this important navigation btton can be easily added back into the Adobe Reader 8 toolbar. This is how to do it: Instrctions for PC Users On a PC, right-click with yor mose on one of the two navigation arrows in the top toolbar. From the men that pops p, click on the ʻPrevios Viewʼ tool. The ʻPrevios Viewʼ tool shold now appear in the top toolbar as shown in the illstration on the next page. Right-Click Here to See Men

Instrctions for Mac Users. From the Adobe Reader 8 ʻToolsʼ men at the top of the screen, select the ʻCstomize Toolbars...ʼ option. A window called ʻMore Toolsʼ will open p. 2. Scroll throgh the long list of additional tools in the ʻMore Toolsʼ window ntil yo find the set of tools nder the heading ʻPage Navigation Toolbarʼ.. Click on the check box beside the ʻPrevios Viewʼ tool, making an arrow appear in this check box. 4. Click the ʻOKʼ btton to confirm the changes and close the window. The ʻPrevios Viewʼ tool shold now appear in the top toolbar as shown below. Added ʻPrevios Viewʼ Tool

CONTINUE YOUR MUSIC LEARNING THE MUSIC WITH EASE WAY! Why not contine yor own msic learning or teach yor child msic with the aid of the other niqe ebooks in the Msic With Ease series? Reading Msic Notes With Ease For the Earliest Beginner Most stdents are excited when they start learning to play the piano or keyboard, bt many then qit becase they find reading msic notes too difficlt. The ebook, Reading Msic Notes With Ease Makes reading msic notes fn -- instead of a chore Featres brightly colored comical characters with hilarios voices that yor child can play by clicking on the embedded sond clips Actally shows children how to read, simply and easily, all the notes on the keyboard and on the bass staff and the treble staff. Reading Msic Notes With Ease for the Earliest Beginner comes with three great bonses: Msic With Ease Flashcards, 22 colorfl printable flashcards featring the same comic character stories taght in the ebook. With these flashcards, yor child will enjoy practicing their notes ntil they can recognize them all instantly. Rhythm in Msic, explaining everything yor child needs to nderstand abot notes, rests and time signatres. Msic Games and Pzzles, a collection of matching, tracking and coloring games that yor child will love, for practising their note recognition skills. What people are saying abot Reading Msic Notes With Ease for the Earliest Beginner: My daghter LOVES this program. She cold not wait to do it each day. In one week she learned all of her notes on the key board and is well on her way to knowing them on the staff. THANKS Msic With Ease, for making learning fn!! -- Valli Sharma, Greenwood, MS For more information visit: /read-msic-notes-beginners.html Reading Msic Notes With Ease For the Adlt Beginner Many adlts, too, find reading msic notes is a real barrier to their msic enjoyment. This version of or poplar Playing Msic Notes With Ease ebook is especially designed for adlt beginners: Teaches all the keyboard and staff notes sing the same hilarios characters Adds extra fascinating facts and information for adlt learners Incldes the bons Msic With Ease Flashcards to help yo practise yor notes and the Rhythm in Msic article on notes, rests and time signatres. What people are saying abot Playing Msic Scales With Ease for the Adlt Beginner: After thirty mintes of reading throgh yor book, Reading Msic Notes with Ease for the Adlt Beginner, I saw it all so clearly and cold remember it so mch better. It works! Thanks! Yor system has taken me to the next level. -- Pastor Gary Ritner, Cottage Grove, MN For more information visit: /read-msic-notes-adlts.html And... Playing Poplar Msic With Ease See Next Page OTHER EBOOKS IN THE MUSIC WITH EASE SERIES

And Last Bt Not Least... Playing Poplar Msic With Ease Once yo have learned to read yor msic notes and ledger lines with ease, why not lanch into playing poplar msic with ease? Or latest and largest ebook, Playing Poplar Msic With Ease, will show yo how to do it! This invalable ebook will teach yo all the chords yo have to play with yor left hand to make yor msic sond fantastic: We start yo off with jst single note accompaniments in the left hand and step-by-step we bild it p ntil yo can play qite proficiently with the correct chords and impress yor friends... Learn to play happy chords for happy msic; and sad chords for sad msic. Donʼt jst play chords that yo think are OK. The reslt will not sond at all good. Instead stdy this ebook, and learn how to play beatifl poplar msic, the Msic With Ease way! Playing Poplar Msic With Ease: Teaches easy-to-learn accompaniments. Progress at yor own pace throgh a series of graded levels right p to advanced accompaniments. Explains all the chords - With this comprehensive ebook, learn how to play all the common types of chords yo will find in poplar msic books: * Major Chords * Minor Chords * Seventh and Minor Seventh Chords * Sixth and Minor Sixth Chords * Diminished and Diminished Seventh Chords * Agmented Chords * Sspended Chords * Add Chords * Higher Order Chords; and * Slash Chords. Makes learning easy - Read every msic example easily with the help of note names written beside the notes on the bass or treble staff. Incldes msic clips so yo can HEAR the chords and embellishments - Play embedded msic clips that give clear illstrations for every chord type and embellishment techniqe. Playing Poplar Msic With Ease also incldes two great new bonses: How to Use the Pedal in Piano Playing. Correct pedalling can make or mar yor msic. Learn how to se the sstain pedal correctly with this Msic With Ease article. All techniqes are illstrated with embedded sond clips. Rhythm in Msic. This free bons article explains everything yo need to nderstand abot notes, rests and time signatres. What people are saying abot Playing Poplar Msic With Ease: A great ebook... I by a lot of sheet msic for songs I hear on the radio and like, bt I always had troble playing them. Now I can play them ʻwith easeʼ! Itʼs great! -- Jessica Meyer, Lime Springs, IA Thank yo for Playing Poplar Msic With Ease. Yor ebooks are really wonderfl for beginners, yong and old, fn and easy for the little ones, and terribly encoraging for the old ones as well. -- Jennifer Simons, Kranenbrg, Germany For more information visit: /play-poplar-msic.html OTHER EBOOKS IN THE MUSIC WITH EASE SERIES