Class Piano Resource Materials

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

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

Class Piano Resoure Materials Level One (Fifth Edition) 006, 0 y Smith Creek Musi PO Box 06 Nashville, TN 7.smithreekmusi.om E-mail: info@smithreekmusi.om All rights reserved. ISBN: 978-0-986-- 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 e-mail us at info@smithreekmusi.om or visit our WEB site at.smithreekmusi.om for ordering information.

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 majors 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 onjuntion ith the various theory lasses suh as Fundamentals of Musi, Diatoni Harmony, et. Detailed pedagogial information is outside the sope of these Resoure Materials eause it is elieved that the instrutor ill give the neessary explanation of keyoard tehnique, theory, et. Nevertheless, all the ooks in the various levels are organized in a more or less inreasing level of diffiulty if the instrutor hooses to use them in that ay. In addition, a suggested assignment shedule ased on a -eek semester is inluded in eah level to aid the instrutor in preparing eekly lesson plans. DESCRIPTION OF THE MATERIALS In seleting the materials, speifi omposers and periods of musi ere a strong fator. Eah level ontains representative repertory y lassial omposers suh as Bah and Beethoven. Tentieth entury lassial musi omposers suh as Bartók, Persihetti, and Shoenerg are inluded as ell as representative piees in various styles omposed speifially for these ooks y the author and olleagues. Eah level inludes musi in a popular style. These are not arrangements of popular tunes ut are original ompositions hih appear here for the first time. It is hoped that the hoie of repertory and other material ill give the student a ell-rounded musial experiene and help develop keyoard and musiianship skills neessary for the professional musiian. INTEGRATION OF TECHNOLOGY Eah level (ook) has an aompanying interative omputer appliation that een designed as an addition resoure, inluding links to a WEB site. The appliation runs on Apple Maintosh omputers using system OSX 0. and higher. Versions for Windos omputers, IPads, et. may e availale in the future. Detailed information regarding the implementation of the omputer softare is availale on the esite: COPYRIGHTS.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 email 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

Tale of Contents Page Introdution General Goals for Level One Class Notes iii vi vii REPERTORY Little Dane (Bartók) 8 Invention (anon., arr. Landes) 9 Romane, Seondo (Diaelli) 0 Romane, Primo (Diaelli) My Lord, What a Morning (arr. Landes Little Étude (Bartók) Round Dane (Landes) Triads, Et. (Landes) Hopak (Goedike) 6 Folk Song (Bartók) 7 Tallis' Canon (arr. Landes) 8 Minuet in F (Mozart) 9 Minuet in C (Tishner) 0 Refletion (Bartók) Ninety-Fifth (arr. Landes) Peasant Song (Bartók) Unle Willie Is Up to His Old Triks Again (Landes) Folk Song (Bartók) What Wondrous Love is This (arr. Landes) 6 German Dane (Beethoven) 7 The Revenge of Deie (Landes) 8 The Entertainer (Joplin, arr. Landes) 0 Capriio (Persihetti) Root Position Triads Blok-Chord Cadenes Aompaniment Patterns Proedures for Harmonizing Melodies 6 Melodies for Harmonization 8 Improvisation Sight Reading and Transposition I: Piano Sores 0 Sight Reading and Transposition II: Open Sores 6 iv

Page SCALES, ARPEGGIOS EXERCISES Explanation of Sale Groups and Charateristis 6 Group I Sales in Notation 6 Group I Arpeggios 68 Sale, Arpeggio and Exerise Pratie Log 7 Tehnique: Exerises 7 APPENDIXES Appendix : Triads in a Sale; Inversions of Triads 80 Appendix : Melodi Phrases 8 Appendix : Melodi Cadenes 86 Appendix : Non-Chord Tones 88 A Weekly Assignment Shedule 90 Class Notes 9 Level One Assignment Chart 9 For more resoures, please visit the WEB SITE at:.smithreekmusi.om v

General Goals (Level One). 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 major, natural minor, and harmoni minor sales in Group I (those sales in hih the thums play together) in a steady tempo and ith orret fingering.. Play assigned repertory piees ith aeptale profiieny.. Begin to demonstrate an understanding of the proper use of the sustain pedal y using it here indiated in assigned repertory.. Play major and minor triads on any note. 6. Play lok-style adenes in major and minor keys through to aidentals. 7. Harmonize simple melodies using primary hords. 8. Improvise simple melodies (hord tones, passing tones, neighor tones) over given hord progressions in major and minor keys through to aidentals. 9. Create simple improvised arrangements of familiar melodies. 0. Transpose a single line (trele or ass lef) up and don a half step and hole step.. Continue to develop onepts of sight reading:. Demonstrate the proper use of the sustain pedal.. 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

Class Notes vii

8 Little Dane Allegro f Béla Bartók, 9. J From First Term at the Piano, No. 8. Long and Short. Budapest, 9

0 Romane (Seondo) Andantino Anton Diaelli,. 80 p res. 6 f.. A p res. f 6 B >. p.. j > U. j π U

Romane (Primo) Andantino p.. J J.. ß.. Anton Diaelli,. 80 res. 6.. J J f - -.. A p. - J -. J res.. - J. - J n f n B -. J p -. J 9 - - - - - - π U U

Little Étude Andante Béla Bartók, 9 F. f J 7. F From First Term at the Piano, No. 0. Folk Melody. Budapest, 9

Round Dane Allegro 7 8 7 8 f....... 7 8 7 8. WDL... 6 8... 6 8 7 6 8 9 8 7 8 6 8 p J J J J 9 8. J 7 8 0 7 8 7 8 f.... ƒ... Musi 00 y Smith Creek Musi, Nashville, TN 7. All rights reserved..smithreekmusi.om

Triads, et. Fast j - ƒ - j - J J j - - J. J j.. J F WDL - ƒ j j - J - J j - j j.. -. J J 8 8 7 8 8 F 9. f. ^ molto rit. ^.. π U U Musi 00 y Smith Creek Musi, Nashville, TN 7. All rights reserved..smithreekmusi.om

6 Hopak Moderato f.... Alexander Goedike. >.. >... >.. > 9.. > P > > > res... f

7 Folk Song Andante Béla Bartók. 9 f.. 6.... - sempre f - - - 8.... From First Term at the Piano, No.. Bedtime. Budapest, 9

9 Minuet in F Allegretto F From Leopold Mozart's Noteook... 9. f. p F...

Refletion Andante Béla Bartók, 909 p 6 > dim. v n 8 > π smorzando From For Children, Book I, No.. Former Friends, Budapest, 909

Peasant Song Allegro moderato C Béla Bartók, 909 C 7 pi u f ^ ^ ^ ^ ^ ^ F 8 > > C C - - pi u f - - > > ^ ^ ^ ^ > > From Ten Easy Piees, No.. Peasant Song, Budapest, 909

Unle Willie Is Up to His Old Triks Again Very fast j f j WDL j J fine 8 j p j (LH over) 8 8 8 ß 8 j j j 8 Da Capo al fine (LH over) 8 Musi 00 y Smith Creek Musi, Nashville, TN 7. All rights reserved..smithreekmusi.om

Folk Song Largo * Béla Bartók, 909 p >. rit. A tempo. (RH over). - - n - ^.. -. n - π... n * Aidentals stay in effet for the entire measure. From For Children, Book II, No. 0. The Fallen Soldier. Budapest, 909

9 f.... j........ 6 j j.... deres........ 9... p.. π.

Capriio Allegro ( P nd. time only) Vinent Persihetti ( ).... F j J p res. f.. ƒ Copyright 9 y Elkan-Vogel, In., Bryn Mar, PA. Used y Permission.

Root Position Triads For Level One piano, you ill e required to play root position major and minor triads on any note. Major triads are onstruted from a Perfet th (P) and a Major rd (M); minor triads are onstruted from a Perfet (P) and a minor rd (m): Major 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 Major/minor triads on the hite keys). If there is no aidental in front of a note then it should e onsidered a natural. C Maj min D Maj min E Maj min F Maj min G Maj min A Maj min B Maj min C Maj min The next set of triads are all the Major/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 Major triad seems ompliated to you, then use its ENHARMONIC spelling, B Major. If there is no aidental in front of a note then it should e onsidered a natural. C Maj min D Maj min D Maj min E Maj min F Maj min G Maj min

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

C Major 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 happens at the end of a phrase as desried in Appendix II. a minor I IV I V 7 I i iv i V 7 i F Major d minor G Major I IV I V 7 I i iv i V 7 i 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 Major minor I IV I V 7 I i iv i V 7 i

Aompaniment Patterns One ay to harmonize a melody is to simply use the BLOCK-CHORDS from the adenes on page. 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. j. j I IV I IV I V 7 I

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

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

8 Indiates HARMONIC RHYTHM h Melodies for Harmonization TWINKLE Folk Song h... WDL h FOLK SONG q ABERYSTWYTH Joseph Perry, 879 h THIS OLD MAN Amerian Folk Song Musi 00 y Smith Creek Musi, Nashville, TN 7. All rights reserved..smithreekmusi.om

6 h.... WDL 9... V 7 7 Harmonize eah melody note. HAMBURG Loell Mason, 8 h WDL 8 9 h LIGHTLY ROW Folk Song 0 Harmonize eah melody note. LOW DUTCH Bay Psalm Book, 698 edition 0 8 0 8 Musi 00 y Smith Creek Musi, Nashville, TN 7. All rights reserved..smithreekmusi.om

0 Folk Song... WDL........ h.. NINETY-FIFTH Wyeth's, Repository of Sared Musi, Part nd, 80. j q Folk Song Be Creative.. j... WDL. J. j Musi 00 y Smith Creek Musi, Nashville, TN 7. All rights reserved..smithreekmusi.om

0 h. MINUET J. S. Bah. q HOLY MANA Kentuky Harmony, 8 h. j. j FOLK SONG j. j. Harmonize eah melaody note. AMAZING GRACE Virginia Harmony, 8.. J. j. Musi 00 y Smith Creek Musi, Nashville, TN 7. All rights reserved..smithreekmusi.om

...... q. DARK EYES Hungarian Folk Song. SHE'LL BE COMIN' ROUND THE MOUNTAIN Amerian Folk Song... 6 h...... WALTZ Folk Song..... 7 8 q. REAPER'S SONG Roert Shumann 8 6 J h = st time. nd time harmonize eah melody note. BLUE SKY Amerian Folk Song.... Musi 00 y Smith Creek Musi, Nashville, TN 7. All rights reserved..smithreekmusi.om

Improvisation The goal for improvisation skills in Seondary Piano is to improvise simple melodies over a given hord progression. In Level One the improvisation examples ill onsist of:. Primary hords in major and minor keys through to aidentals.. Improvised melodies should onsist of hord tones.. The range of the improvisation should e aout a th (for example, use sale degrees - ).. Improvised melodies should generally make use of a RHYTHMIC MOTIVE.. Use a onsistent HARMONIC RHYTHM (for example, or hords per measure). Improvisation involves spontaneously making up a melody over a given hord progression. The hord voiings required in Level piano ill e the same as those found in the ok-hord adenes earlier in this ook. If you need to revie the differenes eteen hord tones and non-hord tones, see Appendix IV for a detailed explanation. All the improvisation examples in Level piano ill involve improvising melodies onsisting of a omination of hord tones and non-hord tones. Here is a ritten-out example demonstrating asi requirements for this level: Consider the folloing example: "Long note" at the CADENCE motive motive motive motive motive motive In the aove example all melody notes are ontained in the hords hih harmonize them (they are "hordtones"). The "G's" in measure and measure 7 may seem to e non-hord tones eause they do not appear in the aompanying hord. Hoever, atually they do. The V 7 hord in the key of F major is spelled C-E-G-B. Sometimes the th of a 7th hord is omitted and that is the ase for the V 7 voiing used in all the lok-hord adenes. 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." In musi, a MOTIVE is a short melodi and/or rhythmi idea used as a onstrutional element. In other ords, a MOTIVIC IDEA is used over and over again to uild up a larger setion or an entire omposition. [Consider a rik all. A single rik is a "motive" and the all is onstruted y using the "rik motive" over and over again until an entire all is uilt.] The short example aove is a omplete melody hih onsists of TWO musial 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 -- just look for the longest note values, partiularly if they our in groups of or 8 measures. FOUR-MEASURE PHRASES are ommon in all styles of Western musi and often the adene point ill have the LONGEST NOTE of the phrase. [For more on PHRASES and CADENCES, see: APPENDIX : MELODIC PHRASES and Appendix : Cadenes.] You an make your improvised melodies sound like REAL MELODIES if you struture them like REAL MELODIES: I I IV IV I I V 7 * I I IV IV I V 7 I "Long note" at the CADENCE

. Use a simple rhythmi motive.. Use LONG NOTES (hole notes, dotted half notes, et.) at the adene points (meas. and 8).. Alays end ith the toni note (st degree of the sale). The majority of suessful melodies in Western 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 One piano is to e ale to improvise hord tones over a given hord progression. Try improvising a melody onsisting only of hord tone in the folloing example. The first measure has een done for you and you should use this MOTIVE in eah measure throughout the example exept at the adene points Improvise a melody for the folloing example using the rhythmi motive in first measure. Repeat in the keys of C and F. Use long notes (hole notes) at the adene points. Do: I I IV IV V 7 /V V 7 /V V V 7 I I IV IV I V 7 I Don't:. Use hord tones, passing tones, and neighor tones. If you need to, onsult the example on the previous page.. Generally, keep the overall range of your improvisation ithin aout a th or 6th. You may ant to start out ith a limited range of a rd and then gradually inrease the range to th or 6th.. If you have troule ith the oordination aspet, try "patting" the rhythm of the right hand hile you play the hords in the left hand. It's alays a good idea to pratie ounting outloud hile you play.. Try starting your improvisation on a sale degree other than the st sale degree (for example the rd of the th).. Don't rite out your improvisation. Make it up (improvise it) every time. When you feel omfortale playing the example aove in the ritten key of F major, try playing it in the keys of C major and G major. Improvise a melody for the folloing example using the rhythmi motive in first measure. Repeat in the keys of C and G. Use long notes (hole notes) at the adene points. n I I IV IV V 7 /V V 7 /V V V 7 I I IV IV I V 7 I

6 Improvisation, Part II: More on Rhythmi Motives As desried earlier, a MOTIVE is a short melodi and/or rhythmi idea used as a onstrutional element. Many suessful melodies use non-motivi melodi onstrution. Hoever, the efforts of novie improvisers to play non-motivi improvisations often sound "ramling" -- that is, the improvised melody ramles in an almost random ay, not having any real sense of diretion, strong adene points, or any sense of tension/relaxation or limax. A melody or improvisation ill have a greater sense of unity and diretion (inluding limax and adene) if it is onstruted motivially, espeially for someone just 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 just use one pith. To e a VIABLE rhythmi motive, your rhythmi motive must have at least TWO different rhythmi values, for example a half note and quarter notes. Consequently, quarter notes, half notes, 8 eighth notes, et. ould not e viale rhythmi motives. Your rhythmi motives ill e ONE measure long and ill e the equivalent of hords in length. For example, in // time eah hord ould get eats and there ould e hords in eah measure; in 6/ time eah hord ould get eats and there ould e hords in eah measure. Eah hord gets eats: 6 Eah hord gets eats: H H H H H H H H H. H. H. H. H. H. H. H. After you have ompleted the omposition of your rhythmi motives, improvise omplete melodies over the example hord progressions elo y making use of one of your motives. Use ONE motive for the entire improvisation. Use a LONG note (dotted hole note) at the adene points. Before you egin, analyze the hords and rite them in the musi elo the hords. DO NOT WRITE OUT YOUR IMPROVISATION IN THE MUSIC, ut you may sketh out your hosen rhythmi motive in the provided trele lef. Cadene Point

7 6 Cadene Point 6............... Improvisation: Improvised Melodies Over Chord Symols 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 just the left hand using the adene voiings.. Use one of the rhythmi motives you rote out on the previous page.. Play the hord progression ith your left hand hile you PAT the rhythmi motive ith your right.. Play LONG notes (one note that lasts for hords) at all the CADENCE POINTS. 6. Keep the range of your improvisation ithin a th or 6th (although you might start off ith a range of a rd or th). 7. Create your improvisation using hord tones, passing tones and neighor tones. 8. Generally, it is etter to use more steps than skips. 9, Alays end the improvisation on the toni note. Cadene Point 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 V 7 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 V 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.

8 Improvisation, Part III: Improvised Melodies Over Chord Symols Primary Chords Improvise melodies over the folloing hord progressions using 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: Major: 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 just 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, although you might start off ith only notes (st and nd sale degrees) and gradually ork up to a range of a th. 7. Create your improvisation using hord tones only. Non-hord tones ill e overed in later ooks. 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 I V 7 V 7 I I IV IV I V 7 I I i i iv iv i i V 7 V 7 i i iv iv i V 7 i i I IV I I IV IV V 7 V 7 I IV I I IV V 7 I I i iv i i iv iv V 7 V 7 i iv i i iv V 7 i i I V 7 I I IV IV V 7 V 7 I V 7 I I IV V 7 I I

Class Notes 9

6 Sore reading Igor Stravinsky from l'oiseau de Feu, 90 Flute > > > > > > > > sim. Ï Flute > > > > > > > > sim. Ooes > > > > > > > > sim. Ï Clarinets > > > > > > > sim. Bassoons Ï >. >.. Î> > > > > Î Trumpets > > > > > sim. B Ï > > > > > sim. > > Ï> > > > sim. > > Frenh Horns Tromone Tromones Tua Timpani Perussion Perussion. ƒ. ƒ....... 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 toujours..

Fl. Fl. O. Cl. Bsns. F. Hns. Tpts. Tr. Trs. Tua Timp. Per. Per. Vln. Vln. Viola Cello Bass (Sore reading, ont'd) ( ) B g g ( ) ( ) sempre pi u res. g g g g g sempre pi u res. g g g g g g g Molto pesante Î Î Î Î Î Î Î Î Î Î Î Î Piatti Gr.C. Î Triangle Î Î Î Î Î Î Î Î Î h» º > > > > n > n > > n > > n > > > > > > > > n n > n > n n > n > > > > > > n n > n > > n n > n > > B π π π π π π π π Ÿ π π π π suito suito suito suito suito suito suito suito mmmmmmmmmmmmmm suito suito suito suito 6 ç ç ç ç ç ç ç ç ç ç ç ç ç g ç ç

6 Sales All major 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 (major or minor), the th finger in eah hand only plays ONCE per otave. Consequently, the th finger alays plays the SAME note. One ay to think aout sale fingerings is simply to kno (memorize) the th finger note of eah sale.. Fingering in sales is CONSECUTIVE, that is -- don't skip fingers. This is a ommon mistake, partiularly skipping the nd finger. Group I Sales: Those sales in hih the thums alays play together. MAJOR KEYS (thum notes) MINOR KEYS (thum notes) D-Flat F C -flat f G-Flat C-flat F e-flat f -flat B B E e F F C f f Here are some harateristis hih may help to play these sales using the orret fingering:. The thums of eah hand alays play together. In addition, eah sale in this group has thum notes (see the aove hart). The thums alays play on the hite notes never on lak notes.. For all the sales in this group, the nd and rd fingers of eah hand play on or near the group of lak notes. The nd, rd, th fingers of eah hand play on or near the group of lak notes.

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

66 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 )

67 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

68 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 Major): Right hand: Left hand: C Major *.. * Be sure to use the th finger in the left hand. F Major.. G Major..

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

70...... Group I Arpeggios, ont'd A minor B minor E minor

Sale and Arpeggio Pratie Log 7 Sales D-flat G-flat B F B-flat minor E-flat minor B minor F minor Arpeggios C F G C minor D minor E minor F minor G minor A minor B minor E-flat minor 6 7 8 9 0 6 7 8 6 7 8 9 0 6 7 8 9 9

7 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

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

7 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

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

76 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

77 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

78 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

79 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

80 Appendix : Triads in a Sale; Inversions of Triads Root position triads: C Major I ii iii IV V vi viiº I Inversions of primary triads: C Major 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

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

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

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

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

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

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

87 lue as to hat hord to use, () it's OK to use the same hord onseutively -- you don't have to hange hords on every instanes of the harmoni rhythm, () V7-I used ithin the phrase orks est hen the I hord is on a strong eat and the V7 hord is on a eak eat. This is not a hard and fast rule, ut it generally orks ell. Here is an example: Find the phrases, identify and then harmonize the adene points. Ho many phrases does this tune have. J. j. Harmoni rhythm -- hord per measure. J. j.. J. j. -- The anser is TWO PHRASES. Count 8 measure phrases and look for the LONGEST note values. -- The longest note values ARE the CADENCE POINTS, and you should e ale to see that there are phrases. -- There is an aspet of TENSION from the eginning through the nd eat of meas.. This is folloed y a RELAXATION from the rd eat of meas. through the adene point of meas. 8 and 9. A similar struture an e found from the rd eat of meas. 9 through the nd adene point at the end of the tune. -- The first adene point should e harmonized y the V hord (or V7, if Level Preparatory or Level I). -- The seond adene point should e harmonized y the I hord. h.. J. j. -- The st adene is an inonlusive adene (half adene}; the seond adene is a onlusive (authenti) adene. Continue harmonizing the rest of the tune. Keep it SIMPLE. It's OK to use the same hord onseutively, espeially if the melody outlines speifi hords. Keep in mind the HARMONIC RHYTHM, in this ase -- one dotted half note for eah measure. Notie ho the first phrase adenes on a V hord and then moves to a V7 hord. This reates a stronger adene than just adening on the V7 hord. Although, for Preparatory and Level I piano this ill not e an option.. J. j. h. I I IV IV I I. J. j. V7 I I IV IV I V7 V7 I I I I V V V

88 Appendix : Non-Chord Tones A NON-CHORD TONE is a note in a melody hih is not part of the hord or harmony hih is eing used for harmonization at the point here the NON-CHORD TONE appears. Generally, there are to types of NON- CHORD TONES:. Unaented (ours on a eak eat or a eak part of a eat). Aented (ours on a strong eat) The terms "aented" and "unaented" are sujetive eause the "feel" of aented/unaented depends on suh fators as tempo and harmoni rhythm. Here are some examples of NON-CHORD TONES. The numers indiate different NON-CHORD TONES hih are explained elo: 6 7. PASSING TONE. One of the most ommon non-hord tones, the PASSING TONE "passes" eteen to adjaent hord tones. "Adjaent" means the next hord tone, either up or don. In the hord, C-E-G, "E" and "G" are adjaent ut "C" and "G" are nonadjaent. So the PASSING TONE eteen C-E ould e "D". The PASSING TONE eteen E-G ould e F.. NEIGHBOR TONE. Also one of the most ommon-hord tones, the NEIGHBOR TONE is a diatoni step UP or DOWN from any hord tone. If the NEIGHBOR TONE is aove the hord-tone then it's an "UPPER NEIGHBOR TONE." And if it's elo, its alled a LOWER NEIGHBOR TONE. The example aove () is a LOWER NEIGHBOR TONE.. ACCENTED PASSING TONE. If a passing tone ours on a strong eat then it's alled an ACCENTED PASSING TONE. Notie that the note efore and after are hord-tones.. ANTICIPATION. An ANTICIPATION, "antiipates" the upoming hord. So, this implies that at least TWO hords and melody notes are involved. The st note is a hord tone assoiated ith the st hord and the nd note (hih is the atual ANTICIPATION) is a non-hord tone assoiated ith the nd hord. In the example aove (), the "E" is a hordtone and is assoiated ith the C major triad on eat. The "F" on eat is not part of the C major triad ut is a part of the F major triad on eat. An ANTICIPATION alays ours on a eak eat.. SUSPENSION. A SUSPENSION is the similar to an ANTICIPATION exept that it alays ours on a STRONG eat. It must have TWO hords involved and THREE melody notes. The st melody note is assoiated ith the st hord and ours on a WEAK eat. The nd melody note is THE SAME as the st melody note ut is assoiated ith the seond hord and ours on a strong eat. This nd melody note is the atual SUSPENSION and it's a NON-CHORD TONE (not part of the nd hord). The rd melody note "resolves" to a hord tone in the nd hord.

89 6. APPOGGIATURA. An APPOGGIATURA is a type of ACCENTED non-hord tone and is very similar to a SUSPENSION: it must have TWO hords involved and THREE melody notes. Here's the differene: the nd melody note is DIFFERENT from the st melody note and it SKIPS to a non-hord tone assoiated ith the nd hord and then "resolves" BY STEP in the OPPOSITE DIRECTION from the skip. If this seems omplex, then just study the example. Some musi theorists onsider all ACCENTED non-hord tones to e APPOGGIATURAS. See "appoggiatura" in Harvard's Ditionary of Musi. 7. ESCAPE TONE. An ESCAPE TONE ours on a WEAK eat and onsists of a step (either up or don) folloed y a skip in the opposite diretion to a CHORD TONE in either the same hord or a different hord. There are other NON-CHORD TONES ut they ill not e disussed here. You ill no dout over them in your theory ourses. A question that is often asked y eginning theory students is, "Good grief! Why does all this matter" Here's a simple anser: Musi theory is the SCIENCE of musi. In any sientifi field, one endeavors is to CLASSIFY all possile phenomena. For example, in the field of geology, one endeavors to lassify all roks and all phenomena onerning roks. The same is true in ornithology, entomology, astronomy, physis, et. The study of musi is no different. To UNDERSTAND musi at a deep level, one has to lassify and NAME all possile musial phenomena. Although this may seem tedious and unimportant to the novie, it is invaluale to the professional musiian.

90 Weekly Assignment Shedule Week : Welome to lass Prepare to take a ritten quiz next lass period on Group I Sales (p. 6), ritten material only. The quiz ill over:. What sales are in this group. What are the thum notes of eah sale. What are the harateristis of the sales in this group Week : Repertory; Sales; Cadenes; Harmonized Melodies; Exerises - Hopak, p. 6 - Sales: D-flat major ; G-flat major, pp. 6-6 - Cadene in C Major, p. - Harmonized melodies: Study the Proedures for Harmonized Melodies, p. 6-7 Take a ritten quiz in the next session (Week ) on the Proedures for Harmonized Melodies, p. 6-7 - Exerise, play up one otave, p. 7 Week : Repertory; Sales; Cadenes; Harmonized Melodies; Sight Reading; Exerises - Folk Song, p. 7 - Sales: B-flat natural minor ; E-flat natural minor, pp. 6; 66 - Cadenes: all major keys, p. - Harmonized melodies: Study and pratie the Aompaniment Patterns on p.. Play any on request. - Sight Read p. 0 - Exerise, up one and don otave, pp. 7-7 Week : Repertory; Sales; Cadenes; Harmonized Melodies; Sight Reading; Exerises - Minuet in F, p. 9 - Sales: B-flat harmoni minor ; E-flat harmoni minor, pp. 6; 67 - Cadenes: revie all major keys, p. - Harmonized melodies: Harmonize melody, p. using lok hords and an aompaniment pattern (p. ) - Sight Read p. - Exerise, up one and don otave, pp. 7-7 Week : Repertory; Sales; Cadenes; Triads; Sight Reading; Exerises - Minuet in C p. 0 - Sales: B Major, pp. 6-6 - Cadenes: revie all major keys, p. - Triads: Play Major and minor triads (ithout using the musi) on eah hite note C-B, p. - Sight Read p. - Exerise, up one and don otave, pp. 7-7 Week 6: Repertory; Sales; Cadenes; Triads; Sight Reading; Exerises - Peasant Song, p. -- Not due for a grade this eek; get started on it. - Sales: B natural minor; B harmoni minor, pp. 6; 66-67 - Cadenes: revie all major keys, p. - Triads: Revie Major and minor triads on eah hite note C-B, p. (play them ithout using the musi) - Sight Read p. - Exerise, up one and don otave, pp. 7-7