\ { | i A New Approach to i Py Keylboardl | Ieonenmanay | W *W Norton and Company + Inc * New York: 4. sacra eget “ony tase THEO oem“ uy pig ea at Y a wpe ND agp Ke poe BY comay pe mins pa a0 POL, ‘gar por isa i pt & ae YN Set vada mem SLE MBHContents | Introduction vii ‘Acknowledgments vii One Introductory Exercises | Two Chord Progressions | Three Examples of Chord Usages 25 Melodies to Harmonize 40 I Five Sequences 32 Six Modulation 58 | Seven Figured Bass n Further Exploration { 107 Nine Improvisation 116 { Ten Score Reading 131 Eleven _ A Short Keyboard | “Anthology 168 ‘Appendix Seale Fingerings 180 ete cscs sera aur vectaernceaeerne geese eedeeEnEn EERE REC EE 2 Perseaogt 891 tel out Lol Lk 8s. ws ov 4 sSugua8uny 27025 (Bojouuy pavogkey u0ys ¥ Buypooy 21025 uoypstsosdu wuspopouosy fo uoyosoydey saying ssog painity uononpow soauanbas. azuoUMuDEY OF SIO} sa80s7) puoya fo sayduoxy suoissa1B01q P4OYD sasjosaxg Cooronpossuy squswSpajnownjoy uoponponuy squajuod xipuaddy, wanolsl uy, SuIN eed wanog xis 2a smog samy, om 2u0 i : i ese nee Gm wx oF a WE PT OM BAY GK eeeIntroduction A New Approach o Keyboard Harmony grew out of « body of exercises developed ‘over many years by members ofthe musi Faculty of Queens College. Our deste for ‘a substantial body of graded keyboard material led us to write dis of several di ferent types, In order to meet our students’ needs we created exercises based on ‘chord progressions, sequences, and modulations; we included workin realizing fa- ured and unfigured basses invented special exercises eocedes from the litera inroduetory exer 1s importance of spplying theoretical concepts atthe key vou i appar cent to the teacher, it may not always be so tothe student. In particular, 2 young ician who isnot a pianist may be under the misapprehension thatthe theory teacher is trying 19 make a pianist out of every stent Its important to pon out that the tru purpose of studying Keyboard harmony iso train the mind and the ear, pot the fingers, The purposes of Keyboard harmony study are twofold one, to help the student len to think atthe keyboard and two, to use the Keyboard 0 Jearn 10 ‘more than one part. the second point ‘melody instrument or in singing must less keyboard sh few Rute players can [A stadent whose basie musical ex- ine that he o no single ype of exercise th ir goal. We have a al sie ea eee ee ee ae aeRi € hi lhe ttitrtrintit rage CHAPTER One Introductory Exercises developing in body of exercises which comprise this book, tervals, and triads. Nonpi tudes, The shils to be developed ofthe subsequent chapters Before rize the picture of each sale the start each ime you need fe major and minor scales up and do pe Appendix, page 180. Play slow wun one octave, All scale iy but tend. Increase ructure and tonal function may be developed by “They are easy to play, but require considerablyScale and Interval Studies a oFee INTRODUCTORY EXERCISES right, is desirable. The following Mustrations:PEE =e ee en iact stoy sofoyy wwonsas yoeo Sunes an9joq Koy 2) auruo.ag “pemmuo ase sosmeuBis Soy yp ut sHOd Supuns Buywoloy 8 asm ‘eur nok “ysye NOX 3 "SBIOU wan Sue youn pads 99 Seu BEIDADND HHT, ‘Suspeaosap pur Seipuansekgoq “eoe9 Seg ‘jou Tey Jo suopersadowUE Was2}Hp aay Ito] 18 pUtg “OU IO 00H. stonsu snp Sei {9101 p01 p Se wouy dn peo S>I0u YeUA £24001 upon p 58 9 wy waop pea SiON HAY Ef KO UN UE pO TD HEE ‘00 2099 0) SEER Supuooee 20 SASS Suprmosp 4a motto “s0feus ut 4g BD '2)0U BURIE INOK se g ayer “ax 04 "ur nos se Spider veg “aor a 0 “uso 40 dn soup ‘vou weyp wos asiadaxs Surcrd hq aos aupars\duioo ua, 250049 ‘nok yey) 225 a9 Jo 99185p Sue ou Ip e “WHod Bun Be a0U Ku Seg Ff aspuoxg INTRODUCTORY EXERCISES31309 HY i TaD ‘809 sou ge wouy ‘Buymoyoy og wr pg poystrap om ua pug sofew oxp amdino> “asym ay sour 25 pue Jofews 3 ‘sanieuoy annaodss2 som 4Jo pron oun ut pseay uous oxy fe punos ou op Kaul ‘oueld am Jo sky umes 2349 wo pokeyd ame—«ay pogsiuimp e pue pug soleus s—syearqut om} 9009 YEH, 1 eee19 peindete UL Woy y oN aming “peg asjeanb sruous Ansogumts 3s, 24He penos sean some spearonuy oruoueyug, Sm Kes ye 2 se anouBno (> 2 vod Zunms ipo wos oY mur sD op Buys 5 ousod oar ur proys 2tuon 349 sossantxo rrasoiuy ue uo aouspe> #0 ‘siou-suESe-2)u ‘S9o10n osu ut sasdoNd pu pou ue Uo wes mou nok xp 1430X9 “p. 251.0" wt se aus aan st ac0y unpavoxd ay S- 1 asiosoxg NTRODUCTORY EXERCISESSsiaarere mes aeece me aeeregmeeesaerecmee CaaaecomeeeCsaec areca sages eeesaaaeeSPea see Exercise 1-6 », Major 6th es Diminished 7 GS Minor 6, ‘Augmented 5th = “d. Micor Th = ‘Augmented 6h ee » ae Dinintes a Gee fe majoe 1 GS Dininihed ve GEES Triads “the four types of triad are constructed i ={rinor 3A} giminished St ioral SastowAXg AWOLINGONINE7 ‘ets a Jo 20012 ‘ou 24, ‘puey ya] aus Dou tpn w Buyppe“asistoxa snotnosd 9 . Bf asoi8Ry SSS SS uy se pmnse worse gum ams peu, pags | uy pa@se worse qin amit peu, powomitny ayy se pu se Yoouse qm bes peu sou sy se pase worse yum ms peu stew woos Gem marayp 20041 ut sodA pets anoy ay Jo ype> Aig Le[ 281o00xy oot a4p DAOgE HIS DOU 24, YSIS UD 2.0U aL INTRODUCTORY EXERCISESExercise 19 Chang he poston fh en he names eh The eh hd cei 1 “The change in the location ofthe soprano these positions soprano has root—position ofthe ro0t foprano has third—pos third Exercise 1-10 With either hand, play ¢ tried on each successive degree ofthe major ‘one octave, sce wn below. Concentra o recognize the di ofthe seale Foawvyuwt Exercise I-11 Pay a iad on each suecessive degree of the sale, ascend “When the right hand plays the thumb has the thir, and whe ‘ith fing has the third. This is identified by the figure Mlustration ie 1 ve vt vat oF gaSig¥aXa ANOLINGONLNTeed EBEs Saree Etna iste th acune st stharREeee or 7 = ‘ayy Jo vonssod omesdog punt Jo uonysod ouesdog 1001 Jo uonssod oursdog op » digs jodeuesdog 100s jo vonisod oussdog pie 0 das. ‘ayy J0 womsod ourados pap uo! -2uyieyd st puey ya] a UN SoroU 219 2 STOO ssOUN SpE un sKefd prety ts au“ / 25I2E oF “SOU digs "UE YA! SUP EAN PIL 9800Kq paw tin gn apeos Bepuodsaso ai pue pusy yo] 240 a pen axe Aid ‘ane}90 940 20} 22s Huypuodsar een sour o stele Keg . 09 am eid puey Eh 1 asrouaxy pedo fan Sa Sar don fo be beds ba $a fab bbe SSS == SSS oe poe ee ra oneasnt 4q payuapr st poe Hoy xg sou 295uy any 8 “yom gunouy st pro ano sonsod sr Sep usu pun ayy 4 ed PE se oes a Jo 2190p 93008 G2 UO pe ef * osouaeg - INTRODUCTORY EXERCISES2 | (a eee =F = sass ap Jo Hpe> tap sued pugs aun 30 Howe Ard PAT tf2 astouaxy 4 suroneg souapen 215ee, : -sosinok sug op “sotonox2 sre UL “550q ue ovexdos aip Kiva 0 oh moxs SuosI98 USIP ‘suoHSsasfoxd 315 amp sorfoud ye ss0dsuesy, sosdut pue ou 5589 a2 2 wot) “oumados ap UF YooE Ip HHI LES ayy oan wa ao s0 UU) sorssoiSoud quis powautBne poe XI ti sprou euor-Suipest pe swetmop (Cseptoo25) (oneuzon) spuoys aouape> 21 ala poe (oworep) spiowp 2ou2pe0 2101 suotssooud popueda sussued saunpeo o1see, ty suoyssaifoud ous any waIp Aejd Wes NOK y5e9 22a suossasBoxd 8 Jo sonsesd ow yoomy, suoissalsodd P4OyD OA, wa1avHoCombine each right-hand ptt with each of the basses ee ce ao ©” io — sonny w z 3) TL — oe = att 3 ssog eo (pn A peng Be HGH EACAPL “9% 984257 1 sowopen ae Jo 2569 ou AUS 2D SE ELBHE LETT ve any Jo worguc> HOH sss ep woes AL TI re aS Saar seosng 2 JADED py smd py a SHEP SL seassng au) Jo wpe ann Sud puegenyBs own JO HPO AML Att :€-¢ 9510xF CHORD PROGRESSIONS