Place your LEFT HAND in the position shown below. Play five notes UP the scale, starting on F. FIRST ti do fa sol 1 Bc FG up THE SCALE SECOND sol fa G oF Left Hand DOWN THE SCALE—5 Play the five notes DOWN and UP the scale, starting on MIDDLE C. THIRD Left HandRHYTHMIC PATTERN FOR “SONG OF THE CELLO” ame eae eee Clap hands for each note and count aloud. Clap out the rhythm of the entire piece in the above manner. Tht following piece “Song of the Cello” is composed of the five notes in the LEFT HAND which you have just learned. Study these notes carefully, so that you will recognize their names and positions on the staff, the next time you see them. Song of the Cello Left Hand 1100610 Place BOTH HANDS in the position shown below. Now play “Alpine Melody” at the bottom of the page, which is composed of notes in both the TREBLE and BASS staffs. ‘Treble Clef Right Hand FGaAB Left Hand Bass Clef Alpine MelodyRHYTHMIC PATTERN FOR “INTERMEZZO’ tid ddjdd jldddie I Count1 28 4 [a 3451234 12394 Clap bands for each note and count aloud. Clap ous she rhythm of the entire piece in the above manner. ScauneRr's great melodic gift is evidenced in this beautiful melody from “Rosamond.” Play with expression and strive for a good singing tone. Intermezzo (from “Rosamond”) | eH IT q 4 q $IRHYTHMIC PATTERN FOR “HOW CAN I LEAVE THEE?” tld ddd J jd ddjddd | lap hands for each note and count aloud. Clap out the rhythm of the entire piece in the above manner. How Can IJ Leave Thee? THURINGIAN FOLK SONG ModeratoRESTS RESTS are PERIODS of SILENCE. Here are various rests and their time values. Whole Half uarter Rest Rest 4 Rest Comtt 2 3 4 12 3 4 4 2 NEW POSITIONS OF THE LEFT HAND So far, we have always played MIDDLE C of the bass staff with the thumb of the left hand. Now we are going to change hand positions, thus: Thumb on“MiddieC” Thumb on B Thumb on A Thumb on G Middle C1 B45 ie 2 2 4 Progress 1100614 HAND POSITION FOR “LULLABY” (Introducing 3rd SPACE C in the BASS POSITION of the LEFT HAND) ‘Treble Clef Right Hand ( Left ] Hand Bass Clef O BrOOHE, LEFT HAND RIGHT HAND Notice the new position of the left hand. The fifth finger of the left hand is placed on 3rd SPACE C which is the first C to the left of MIDDLE C on the keyboard. Think of this C as the third space from the top of the Bass staff (counting downwards)15 NOTE VALUES QUARTER NOTE “| ee icone RHYTHMIC PATTERN FOR “LULLABY” 3 eee Bid jd fd de Count?) Sad 12 841 2 971-3 3) : Clap hands for each note and count aloud. DOTTED HALE NOTE als — 3 cnn Clap out the rhythm of the entire piece in the above manner. ‘The SLUR—~1s a mark of legato and means that all notes under it are to be played in a ‘smooth and connected manner. Lullaby Moderato (Not too fast) Plsoftly) 5, Count 1 2 3 1 0203 1 2 3 1 2003 Y «TIED NOTES *When two notes of the SAME PITCH are joined by a SLUR d: d- pay mest NOTE ONLY and hold for a combined value of both. These ate called TIED NOTES.The Three C’s 0 woes] Qereog Obes 3td SPACE C MIDDLE C -@ RIGHT HAND MIDDLE _C @ LEFT HAND 3% SPACE C Counting dows) Do Mi Sol The C Major Scale Play stems up with right hand. Play stems down with left hand. RIGHT HAND 2 3) 4 RIGHT HAND sol 1 4) Me 3? : mol yyy EET HAND fe LEET HAND RIGHT HAND 4 4 ri : z Se a ie te sor Th ff | =r uzerzaxp, |¢ 7 J! fami > sop oe 7 LEFT HANDCO-ORDINATION OF THE HANDS (Playing hands together) You will notice that whenever the hands play together, the same fingers of each hand ate used. Around and Around Allegretto 4, 11006EXPRESSION MARKS Word Abbreviation Meaning Tite words of this piece are the guide to its expression. PIANO: p means play softly When you sing “Soft, soft” etc., play softly. When you ‘ : : sing. FORTE f means play loud “Loud, loud” etc. play loudly. Soft, Soft, Music Is Stealing Arranged by Moderato MICHAEL AARON mu - sic — lin - gers TF rosa, loud now it is peal ing, yes, |Wak-ingthe Jech-oes a19 CONTRARY means in an opposite direction. When the notes of the RIGHT HAND move downwards, the notes of the LEFT HAND move upwards and vice versa. FOR EXAMPLE SSS Contrary Motion (Study in Co-ordination of the Hands) 11006G POSITION Treble Clef Right Hand cg AB Left Hand Bass Clef LEFT RIGHT HAND HAND In this new position of the hands, the thumb of the right hand is placed ‘on the first G to the RIGHT of MIDDLE C, while the fifth finger of the left hand is placed on the first G to the LEFT of MIDDLE C.a EIGHTH NOTES RHYTHMIC PATTERN > EIGHTH NOTES Quarter ote d= db) d)=two cighth notes — Usually written tus fd - eae ne Clap bands for each note and count aloud. Clap out she rhythm of the entire piece in the above manner. In counting pronounce the syllable “a” lightly in the following manner: ONE-UH, TWO-UH, THREE-UH. Allegretto ee ee ee 5 = SS + Counti a 2 a 8a/1a2a 3a ee oe fa 2asa am ef 2 p EE —te ¥ 1a 2a 3al/ita2a3a a2asa ae le 11006RHYTHMIC PATTERN FOR “HUNTING SONG” Jd Ws si 342. ,0m. Cou 4a ta2a3a4a lazadada ta2adatsa ta2ada Clap bands for each note and cound aloud. Clap out the rhythm of the entire piece in the above manner. In “Hunting song” the first measure begins on the FOURTH BEAT and the last measure ends on the THIRD BEAT. These two measures, although incomplete in themselves, equal one complete measure. Hunting Song Allegro (Fast) ———~ heed of,23 DOUBLE NOTE STUDY (For Left Hand) Sound both tones exactly together in measures 2,4,6 and 8, In order to do this, you must keep the fingers firm at first joints. DOUBLE NOTE STUDY (Intervals) (For Right Hand)24 SIGHT READING In order to become a good SIGHT READER, one should develop the habit of reading notes in GROUPS, rather than singly. FOR EXAMPLE s Middle C ‘The above group of notes is composed of LINE NOTES and SPACE NOTES in succession. DO NOT READ CDE-FG DO READ Five notes moving UP the keyboard (to your right) starting at C. LINE NOTES EXAMPLE E - skip-skip-skip- skip ‘The above group is composed of five LINE NOTES in succession. ‘This means you will have to skip four spaces. DO NOT READ EG-BDF DO READ Five notes moving UP the keyboard, starting on E with four skips. SPACE NOTES F - skip-skip - skip The above group is composed of four SPACE NOTES in succession This means you must skip three lines. DO NOT READ F-A-CE DO READ Four notes moving UP the keyboard, starting on F with three skips.25 Apply this same method when reading the BASS NOTES— LINE NOTES ‘SPACE NOTES A - skip - skip - skip - skip G - skip- skip - skip The above notes are all moving DOWN the keyboard (to your left). UP AND DOWN GROUPS (Line Notes) aa ob26 UP AND DOWN GROUPS (Space Notes) MIXED GROUPS (Line and Space Notes) aS}TIME SIGNATURE RHYTHMIC PATTERNS IN SIX-EIGHT RHYTHM Upper 6 means count six to each measure Sle. Lower 8 means ) Coe Count i 2 3 4 5 6 fas ysel EIGHTH NOTE @ QUARTER NOTE @ = 2 counts S| ITI ITI Ie DOTTED QUARTER NOTE #+= 3 counts alli disae ld ete Clap hands for each note and count aloud. Clap ous the shythm of the entire piece in the above manne. Three Blind Mice Allegretto Count1 2 3 4 5 6 123456 1 238 4 5 6 123456 | Count1 2 3 4 5 6 123456 12 34 5 6 128456 Couti 284 5 6 123 456 123456 12 38 456 Conti 23 4 5 6 12 345 6 1234 56 128456THE HALF STEP (Sharps and Flats) A HALF STEP or HALF TONE is the smallest difference in pitch (high or low) between two tones on the piano. SHARPS A SHARP (f) placed before a note RAISES it a half step. *E Sharp is played on the same white key as F. *B Sharp is played on the same white key 25 C. FLATS AFLAT (5) placed before a note LOWERS it a half step. EP EN EPL *C Flat is played on the same white key as B. ‘*F Flat is played on the same white key as E.NATURAL A NATURAL (&) before a note cancels any previous sharp or flat. EXAMPLE see Rete p50 LONE OM Pia, To E F Fsharp Fnatural THE WHOLE STEP A WHOLE STEP or WHOLE TONE is the same distance as TWO HALF STEPS. For example: Co AC is a half step; #C to D is a half step. 4C to D isa half step; D to #D isa half step. Therefore C to D is a whole step. Therefore $C to #D is a whole step. a l WHOLE fe | ‘STEP WHOLE STEP MAJOR SCALE PATTERN Every MAJOR SCALE is composed of WHOLE STEPS and HALF STEPS. Here is the order: WHOLE “WHOLE mur -WHOLE-WHOLE-WHOLE* war STEP - STEP > sve “STEP STEP- STEP- sw LS eed ; SS = —SSS== 5)30 LEGER LINES AND SPACES Extta lines and spaces are used to show notes above and below the staves. These are called LEGER LINES and SPACES. These Treble and Bass notes are played on the Jame keys of the piano. High C og ABS = is ggesee* ; 6 p E F A BC 22 st ef F LowC 4 * FED? Thoughts At Twilight (lntroducting Sharps and Flats) MICHAEL AARON Moderato e cantando 4 a ee ‘When the ev-’ning | shad-ows fall, Mem-‘ries dear do I re - call, P 4 b: a = ® soy pt ae oe ; =z toe = ---~ ets SS ‘Thoughts of you come | back to me, Prec-ious days that use to be i¢ ¢ ¢ bo if 46 # [it 25 = lone, There's no time to | weep or moan, if &: i 1100631 *FINGER DRILLS ‘The importance of FINGER DRILLS for the beginner cannot be overemphasized. However, lengthy sustained ‘exercises at the outset can be more harmful than beneficial. Therefore, in order to avoid any tightening of the muscles, these exercises have been written in short groups, with rest periods following each group. Practice hands alone at first, then together. L234 5 543 2 4 5 “These FINGER DRILLS should be practiced daily throughout this book. 1100632 SCALE AND KEY OF G MAJOR ‘We learned the MAJOR SCALE PATTERN on Page 29. The following chart will show you why the F's are SHARPED in the Scale or Key of G MAJOR. G MAJOR SCALE PATTERN ‘WHOLE WHOLE are WHOLE WHOLE WHOLE wary STEP STEP step STEP STEP STEP stip an en a ol RHEL G MAJOR SCALE Practice hands separately THUMB ‘THIRD FINGER UNDER - OVER ona 4 4 ‘THIRD FINGER OVER ENDER33 He’s A Jolly Good Fellow (Key of G Major) Allegretto .—<—== -~. "f He's a jol-ly good| fel - tow, He's a jol-ly good | fel - low, ip : te: @ : 7 gs jol-ly good| fel - tow, That] no-bod-y eS : Ao reo one can de -| ny a jol- ly good | fel - low, jol-ly good | fel - tow, * . te. He's a jol-ly good |fel - tow, That} no-bod-y can de -| ny. 1p. . : : 1 5 te 1100634 FINGER DRILL Practice this FINGER DRILL daify throughout this book. Play hands separately at fist, then together. 4 5, fa53 4 t e ‘ eo 38 535 THE DAMPER PEDAL Look at the strings of your piano and you will notice the FELT BLOCKS (DAMPERS) lying against them. Now strike 1 key on the piano Release the key and you will ee Look at the PEDALS of your snd observe how its DAMPER is the DAMPER fall back into place piano, The one on the RIGHT is the DAMPERS ised. This permits the string $© — gainat the string, therby stopping called the DAMPER PEDAL Press fall back into their proper places vibrate and the tone to continue the sound, this pedal down with your foot. against the stings. sounding [Notice how thir acion #ses ALL ‘the DAMPERS off the strings. Press the DAMPER PEDAL down and play the following notes. Lz. Press . edal Marl a Dow Deere ee eee la Hold the pedal down and you will hear this chord. This blending of tones enriches your piano playing. ‘The DAMPER PEDAL may also be used to connect tones as in the follo & oe g, ay & 5 L 5) & 2 al — S| gL iP s Cont 12 8 4 1 °2 8 4 1s 4 1 8 4 Press the damper pedal DOWN on the numeral 2 and UP on numeral 1. Pedaling after the key has been steuck is known as SYNCOPATED PEDALING and is used to give clarity to your playing and to avoid a sloppy effect of overlapping tones.36 AFTER learning this piece thoroughly, practice using pedal as marked. Notice how the pedal enriches your playing and brings out the harmonies. Drink To Me Only With Thine Eyes Axranged by ‘ ‘MICHAEL -AARON Moderato cantabile pledge Or leave athirst ___ that from the doth rise, 3138 SCALE OF F MAJOR Notice the Bb's in this scale. pee When the Bb is written in the Key Signature, all the B's must be flatted even though they are not marked. Bh ee genes gees Bo Carnival Time (Key of F Major) Allegretto MICHAEL AARON bd ee eee 2 5 mP e legato es39 TRIADS A triad is a chord composed of three tones formed in the following manner: 1. Play a succession of five tones in the scale, thus: tet 2nd ard 4th Sth 2, Omit 2nd and 4th tones, thus: tet rd Sth 3. Strike the three tones together on the piano, thus: = FootTRIADS OF THE MAJOR SCALE Form a triad on each note of the scale Play hands separately at first. THE THREE MAJOR TRIADS TONIC SUB-DOMINANT do) a) 1 DOMINANT (sol)aL ONLY three chords are used to harmonize this piece. They are Tonic, Sub-Dominant and Dominant triads, which you have just leamed on the pre- ceding page. Song Of Happiness Allegretto 5 >? —_— ™f When you're feel-ing | sad and blue, | Just can't think of | what to do, 1 4 TONIC SUB-DOMINANT DOMINANT (dod (fay (sol) Gloom and cares will |melt to - day, If you sing your |blues a - way. Can't you see, |Gloom and I just |don't a - gree Bo, 4 t 2, 3 Ha! Ha! Ha! [Can't you see, © |Hap- pi- ness for | you and me. 1100642 INVERSIONS OF TRIADS The word INVERSION means a contrary change of order or position. © MAJOR TRIAD On page 39 we studied the first or ROOT POSITION C the ROOT, at BOTTOM Now C the ROOT of the wd Pisce on top. and'you have FIRST. INVERSION C the ROOT, on TOP Place E the 3rd of the chord on t oe ean you have SECOND INVERSION C the ROOT, in the MIDDLE Here are the three positions of the Tonic, Sub-Dominant and Dominant triads in the Key of C Major. C MAJOR TONIC TRIAD SUB-DOMINANT DOMINANT TRIAD Roct First Second Root First Second Root First Second position Invers. Invers. pos. Invers. Invers. pos. Invers. Invers. CHORD STUDY IN INVERSIONS Root Position First Inversion Practice the Sub-Dominant and Dominant triads in the same manner as the above example.“a "THe word “FANFARE” means a flourish of trumpets. This piece is composed of TRIADS and INVERSIONS of TRIADS. See if you can identify the different positions of the chords. Fanfare Moderato Chord Study (For Left Hard) 11006THE DOMINANT-—SEVENTH CHORD Next to the TONIC CHORD (I) the DOMINANT-SEVENTH (V2) is the most important chord in harmoniz- jing music. ‘The three chords, TONIC, SUB-DOMINANT and DOMINANT-SEVENTH harmonize or form the ac- companiment to many well known melodies and songs. See “Cradle Song” on the next page. HOW TO FORM A DOMINANT-SEVENTH . <—— — —added 7th ese. SE Doainns ns EGE Saas oe te of scale from lowest note G. v v7 thus: GABCDEF oe Here are the four positions of the DOMINANT-SEVENTH Here is the First Inversion of the Root First Second Third DOMINANT-SEVENTH with the D omitted. position Inversion Inversion Inversion SSS a CHORD STUDY IN C MAJOR (Introducing Dominant-Seventh Chord) SUB-DOMINANT TONIC CHORD 5,_ Seeond Inversion) DOMINANT-SEVENTH (First Inversion)45 DOTTED QUARTERS A Dotted Quarter d= 7 ieee Eighth) RHYTHMIC PATTERN FOR “CRADLE SONG” Rid dd id TL Lo Count$a fa2a 3a ta2a8a ta2a3a taza Clap bands for each note and count aloud. Clap out the rhythm of the entire piece in the above manner, Cradle Song BRAHMS Arranged by Michael Aaron iaseeng aa ModeratoSCALE OF B FLAT MAJOR Notice the Bb's and Ep’s in this scale 28 ‘When the two flats, Bb and Eb are written in the key signature, Signature jh pp all the B's and E's must be flatted even though not marked. 42 4 6 3 2 Key Romance RUBINSTEIN Arranged by Michael Aaron Andante con moto rere Pe tegatoa7 CHORD STUDIES The Rose of Tralee GLOVER The | cool shades of | evo-ning their | man - tle were |spread-ing, And 4 4 all |smil - ing was | list’- ning to 1 1 moon through the | val - ley her {pale rays was | shed - ding, When 4 11006PRACTICE this LEFT HAND study several times before playing “Alouette.” Notice the harmony which is composed of the following chords, Alouette FRENCH CANADIAN FOLK SONG Allegretto - Arranged by Michael Aaron —— poi fA - lou-et - te, | gen-tile A-lou-et \te, A - lou-et - te, Je te plu-mer-ai. | Je te plu-mer-ai la tete, | Je te plu-mer-ai la tete, 2 —_ -_# Et te tete, Et le fete, | Et le tete, 4 4 4 _——7— 2—_——— gen-tile A- lou - ot \te - Iou- et - te, Je te plu-mer-ai. 2PLay this piece with steongly marked rhythm and accent 1st and 4th beats of each measure. Marche Slave TSCHAIKOWSKY Arranged by Michael Aaron 5 — S marcato 57. 4 4 é > t agcel, “e _ feke ee Pipe >| = SE =e riEPars 1100630 Home On The Range Arranged by Moderato espressivo MICHAEL AARON 7 A _—_—_——— 7 Won | give me a |home,Where tne |buf - fa-1o | roam, Whore the 1 1 sel- dom is |heard A dis -[cour- ag - ing | word, 1 111006 CHORUS I ep - te - lope | play. 51 the A dis [cour - ag-ing | word And the32 SCALE OF D MAJOR Notice the F#’s and Cj sin tis scale rear] Key ‘When the two sharps Fg and C# are written in the Key Signature, Signature F¥cy all F's and C’s must be shacped even though they are not marked. a4 8 6 6 6 3 4 3 is a3 ae 5 A Hundred Pipers (Key of D Major) ‘Arcanged by Allegretto MICHAEL AARON 2 a Param nf33 Sweet and Low BARNBY Moderato e espressivo : Arranged by Michael Aaron 5 —~ z Sweet and “low, ‘Sweet and low, ‘ind of the west-ern | sea; P a Blow, "blow, Breathe and blow, ‘Wind of the west-ern | sea; the roll Come from the dy - and blow, | Blow him a - ppWhile my it~ tle one,| While my pret-ty one | sleeps34 STACCATO ‘The dot above or below a note fd means that note is to be played in a short and sharp manner. Just imagine you are plucking the strings of a banjo. Release the piano key at the instant of sound. Practice the following exercise. LEGATO (connec) STACCATO (shore and sharp) sc Zt = a : afr Strumming On The Old Banjo MICHAEL AARON Allegretto 5 wt .35 SCALE OF E FLAT MAJOR Notice the Bp’s, Ep’s and Ab's in this scale. Gena ‘When the three flats Bb, Eb and Ab are written in the Key Signature, all the B's, Fs and A’s must be fated even though they are not marked ee Down On The Delta Andante con espressivo MICHAEL AARON ‘park ost melody —/\ Tras + little te @ tempo cor} + 1100656 Pay this Mexican folk song with a well marked sense of thythm. Be sure to observe all marks of legato and staccato. They add interest and character to the piece. La Cucaracha MEXICAN FOLK SONG Allegretto Arranged by Michael Aaron so 5 a $ Sy a4 wv |a ta guitar pe staccato 11006 3738 "Tiuits beautiful metody by Franz Liszt should be played wih a good SING- ING TONE Be sure to shade the accompaniment as well as the melody. Liebestraitime (Dream of Love) LISZT Cantando e poco allegro ‘Arranged by Michael Aaron P e|legato T sr re § Pers 5 2 Con Ped.‘poco agitate ——oo ALTHOUGH this piece was written many years ago, itis still a favorite of music lovers. Play with expression. Waves Of The Danube IVANOVICI Arranged by Michael Aaron Moderato ged a >>> S24 a aN sS—= 4 Con eapressione ‘ Pp ¢ legato 1 laiss [aid |b11006 — a = 4 y=62 Major Major Major Major Major Major THE MAJOR SCALES AND CHORDSMajor Bb Major Eb Major Major Db Major Major 63 THE MAJOR SCALES AND CHORDS 11006DICTIONARY OF MUSICAL TERMS ‘MUSICAL TERM ABBREVIATION ‘MEANING or SIGN ‘Mertily (fairly rapid) Fast Slowly « Ina singing or vocal style With spirit ‘Sound note longer than its actual value To be played by the left hand « Play with emphasis + Moderately loud » Moderately soft +n a mysterious manner - Moderate ae of speed (not to fas) » Soft ‘To be played with the right hand Gradually slower In a playful manner Always Very strong accent «Same as indicated previously Sustain + Detached, short + Rate of speed -Teneramente . » With tender emotion ‘Tranguillo + Quiet, calm - Vieace.. Fast and lively