Keyboard Theory Book 2

8/6/2019 Keyboard Theory Book 2

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book2

Summy-Birchard Inc.Secaucus, New Jersey


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BOOK TWO

DA VID KRAEHENBUEHL

with Frances C lark

and Louise Goss

1965 by Summy-Birchard Musica division of Summy-Birchard Inc.

Secaucus, New Jersey, U.S.A.All rights reserved Printed in U.S.A.

ISBN 0-87487-116-63 5 7 9 11 13 15 16 14 12 10 8 6 4

Summy-B ir ch ar d In c.exclusively distributed by

Warner Bros. Publications Inc.265 Secaucus Road

Secaucus, New Jersey 07096-2037


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Explanatory Note on CountingFor teachers who are unfamiliar with the approach to counting

in the elementary LOOK AND LISTEN books, a word of explanation mayprove helpful in understanding the rhythm pages of the KEYBOARDTHEORY series.

In LOOK AND LISTEN, in order to relate the rhythm he sees to thepulse he feels, the student counts each note or rest for its own valuerather than for its place in the measure.

For example, the student would count this pattern:

t J1I J j Jj_J t J I J J ~

1-2 1 1-2 1-2

I j.1 - 2 - 3

instead of:

t J4

IJ j Jj_j2-3 4 1-2

t J IJ J3 4 2 3-4

Ij.1 - 2 - 3

In KEYBOARD THEORY, this approach to counting continues. Eachsign, in both simple and compound meters, is counted for its own

value, no matter where it occurs.

J1 J .j 1

In ! ay: I - 2 12 j.n say:j.

S 1 - 2

1 - 2 - 3o1-2-3-4

0

1-2-3-4

Divided pulses, too, are counted for their own value, regardlessof their position in the measure. Our way of counting divided pulsesis based on verbalized breakdowns of the word "one" (since all suchnote values are a division of one pulse). Our choices are the ones wehave found easiest for students to count aloud.

For example:

iJJlJmJlmmJ1 I-aa l-aa-na-na 1 l-nana 1na-na 1 - 2

IJnmJlmrnj II1 I-na l-a-ta I 1na-na 1- nana 1 - 2

12 J-m J8 1 1- a-la I - 2

lJ-mJ )J-IJ)J)J 1 0 ' ~1 l v a v la l-la I l v Ia I-la 1-2 1-2-3-4

3


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Major Keys, continued

A major key is a set of tonesrelated to a keynote in a special way.

In any key, three important tones are:TONIC I I) - the keynote

LEADING TONE ILTl

- the P5 above or the P4 below tonic

- the half step below tonic

DOMINANT IV )

The notes of a major key are divided into two parts:

The P5 from I up to V P5

These notes form amajor 5-finger pattern.

The half step is justabove degree __ .

The P4 from V up to I

The half step is justbelow degree __ .

P4

Complete each of the major keys listed below.

1. Mark each keyboard with:V on the dominant above and the dominant below tonic,LTon the leading tone,x on the other keys.

2. Under KEY SIGNATURE, write the names of the black keys.

G MAJOR

KEY SIGNATURE

o MAJOR

F MAJOR

4


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On these keyboards, mark the black keys used in each key.

G MAJOR

D MAJOR

F M AJOR

Circle answersIn the groups of two and three black keys: sharp keys use the TOP BOTTOM keys;

flat keys use the TOP BOTTOM keys.

Each measure of Toccata is in a different major key.

Play Toccata; then write the keynote for each measure.The black keys will show you which major key it is!

n Lively 1 :>--- --- ""'..:., ~- - "


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Tonic- Triad and Non-Tonic Tones, continued

The triad built on the tonic toneis called the tonic triad.

Find the tonic triad for each of these major keys.MAJOR KEY TONES OF THE TONIC TRIAD

III V

C Major

G Major

D Major

F Major

Bb Major

c E

All the other tones in a keyare called non-tonic tones.

Using Tonic and Dominant as Accompaniments, continuedTo accompany melodies in any major key, use:

tonic II)for measures or parts of measures made mostly of tonic-triad tones,

dominant (V ) or leading tone (LT)for measures or parts of measures made mostly of non-tonic tones.

Remember, when the leading tone occurs in the melodyit is not used in the accompaniment.

For example:Gaily Polish

~ I 1 ..--- - _ - ?-:-. 2/

("f _ -I il '--' r - r . . . ~ I< fI r t";) LT 0 n _Q_ V r.,

I..

1

In measure 3, the melody does not use the leading tone, so your LHcould play either V or LT . We chose __ .

In measure 7, the melody does use the leading tone, so your LH must play __ .6


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When you can play each melody easily, make a LH accompaniment for it.1. Mark v under parts made mostly of non-tonic tones.

Circle the V under parts that use the leading tone.

2. Put your LH in the octave below your RH:thumb on tonic,finger 2 on L T ,finger 4 on dominant.

3. Accompany the melody with:dominant where you circled v,dominant or L T where v is not circled (let your ear decide),tonic everywhere else.

i iFrench

~

IJ J J J Ip r r

-------IF ;jr r r r

Lively 4*~~ iDDJ t J J JIJjjjJ

Polish

1 4W I]J Ii i

1 4 W JIIi i

r r

JJ J r. J IIr r

Brazilian4

10) JE ) )J IJ J J j Jf i i

4I'~~j g JJJ IJ j j j Ji i

4

I4 )Jj EDj J IJ O JJ j J IIi i*Where the accompaniment tone changes within the measure, the LH rhythm is written

in small notes under the melody.

i i

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T he R hythm ic Patterns JTwo sixteenth noteslast as long as

one eighth note.

To learn these new rhythmic patterns:

1. Point to the notes and count.

2. Tap and count.

IJ n J n In J n In J1 - nana 1 - nana I-na 1 - nana I- na

nnlm m Inm In J III-na I-na 1 na - na 1 nana I-na l nav na 1 - naHere is a piece using these new rhythmic patterns.

Before playing, tap and count.

MARCHSteadily L FOlson

/ f1 J , I .1. . . . . . . ,. . . . . . . . . , - - ........, - ,_. . . . . . ,I .. .

tJ . . . . . . . >-< fI .I ~.."- .... . "";' . -; -: r -

15

>- Fine

n J , I . 3 3 >-/ . . . .\

. . . . . . .---) ~ -. . . . . . . . .J IIiiiiii...J IIiiiiiii;..-J ~ IIiiiiiii:i. I -.. . . . . . .J-

I -

I . . . . . . . I15

D.C.

The C# in the second line is not in the key signature, so it is written in the music.It is called an "accidental."

An accidental is any sharp, flat or natural writtenin the music which is not shown by the key signature.

*See Explanatory Note (page 3) for explanation of counting.

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Accompanying Melodies That Use rn and inBefore playing each melody, tap and count.When you can play each melody easily and securely, make a LHaccompaniment for it (follow the instructions on page 7).

Gaily T di I~ I ~ . ~ . ~ . ~ . 5_ " , oW&"ico-rena r IEFFa r IEbLc&fla r1

mf

Solidly 4 Swedish

1 '##JfftrrIC r c er 1mF lr It;t4 .

I~# # f t fer Ic r E e r IF r l! Ir II

Easily 3 Welsh

I~&i j~tJ 1ffl9 10Q 1@ i6J1!J I~Imf

I~&D J1!JIJJ Ig@1!!@ I41W leji i Fine D.C.

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6 Thirds in Major KeysA 3rd in any key skips one note of that key.

Etude in Thirds is in the key of __ major.

The R H plays a 3rd on every note in the key.

Solidly 4 4 44 4

2 2

ETUDE IN THIRDS

f'j 2 2 - -I Iiiiiiii:::!I -II' ~~I

eJ ..... !..--I I . . . . . . . . , - -ii< f

I

., - ~Study the R H

Finger 2 begins on tonic (I) __ and plays up stepwise to__ ;then begins on tonic and plays down stepwise to __

Finger 4 plays a 3rd above each note.

Study the L HThe only notes used are dominant (V) and tonic (1) __

Play Etude in Thirds in C major.

Then transpose it to each of the major keys listed below.

1. Mark the black keyes) your R H will play in each key.

2. Then play the piece, transposed to each key.

Remember, L H plays just v and I.

G MAJOR F M AJOR

D MAJOR B b MAJOR

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Doubling a Melody in 3rds

You can "double a melody in 3rds" by playing a 3rd under each note of the melody.

For example:

Solidly 4 44 2 4 Traditional

l ieU :ilUIJ J Ii:2iilJ J IJUilj iii I_ I If

This melody is in __ major. Tonic is __ .

Circle the only melody note not doubled with a 3rd.It is the tonic used at the end.

A tonic used at the end is called cadence tonic.

Parts of a piece sound more "finished" if the cadence tonicis not doubled with the 3rd below.

Here are some melodies to double in 3rds.

1. Study the key signature; decide what black keys to play.

2. Play the melody with RH finger 4.Play the 3rd below each melody note with finger 2.

Remember not to double the cadence tonic!

American

I r r r r ) IJ ) J.f1& ~r r rr IE r r r '

Slowly

I !}gl j J : JF a I~Jj B J

I r r r rArgentinian

IQ JfJ IJ J j1 J :1 111


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Andante

1&~f,@ I~r

Quickly

1&i n J JJ1J 9J j rJChilean

IW J EW3 J I J J j ] ] ;01mp iii i

IL J J ] J J J I J 99911 I 1 j j j jJ J J IIiii i

Accompanying Melodies Doubled in 3rdsWhen you can play each of the melodies on pages 11-12 easily, doubled in 3rds,add a LH accompaniment.

1. Study the doubled melody and mark V under parts mademostly of non-tonic tones.

2. Put your LH in the octave below your RH:thumb on tonic,finger 4 on dominant.

3. Accompany the doubled melody with:dominant where you marked v,tonic everywhere else.

(Where there is an upbeat, begin your accompaniment on the first full measure.)

As an example, here is the first melody on page 11, with the accompaniment written out.

Solidly 4 4 4 4222 Traditional

n -l 2/I . .I 4D - - ~~ .. - . . . . .~~ - - . . . ... ~-.--e-*f

I I V

~

1 -: ~ ~4

*When a measure has an equal number of tonic-triad and non-tonic tones:use I if the tonic-triad tones last longer, V if the non-tonic tones last longer.

Or, better yet, where there is a question, let your ear decide!12


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Doubling in 3rds with the Left Hand

You can also double a melody in 3rds with the LH , like this:

Brazilian

I

2 2

This melody is in major. Tonic is __ .

Notice that the cadence tonic is not doubled with a 3rd.

When you double in 3rds with the LH, your hands are uncomfortably close together.

It's easier to play the LH notes an octave lower, like this:

Brightly Brazilian.. f'l ~ 4 4

~~ ~ r-

, t:J I

f

1 - : .' .' .. - .- -' -' - -_j'"'" _j'"'"~ ~_j'"'"\.

2 2

Or even two octaves lower, like this:

Brightly Brazilianf'l .. 4 4.- .-.,

I, . . .-t) I

fI

I ., --- .- ' - '- - - ,,-... _....2 2In all these examples, we still say that the melody is doubled in 3rds.

The only note not doubled with a 3rd is the cadence tonic.

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Play each of these melodies, doubled in 3rds, two ways:

with your LH in the same octave,then with your LH one or two octaves lower.

Play tonic under cadence tonics!

Expressively Italian

i# 2 ------ ~ ~1 6g fE r r ~ I(E ;T $ Iric C p Ic [=I & ~ I(LH begins with 4) = = = - ~

mf

I' ~fP r r ~I( rJ F) Icl c r piE Elf I- = = = = =.::::==-

Flowing North Celebesian

,I I_ _ _ _ ''''_ '" - -- -- -- - -- - - fIl - -:_1 2& 'e rr Ir ~c r Ir 'V r rio Ir r r Ir ~r r Imf (LH 5)

* ~ kfr a t r IF "~ r rPar r r Ir- ~C " ~II '~ b r ~ rt I ra rE rr[ l Ia r a t r I~ r~r r rTrII

::=::=- mf p

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Sixths in Major Keys

A 6th in any key is one step wider than a 5th.

Etude in Sixths is in the key of major.

The RH plays a 6th on every note in the key.

Broadly ETUDE IN SIXTHS

/ n5.-

~S5 ~ 5. ~ ! I f - ~:._

- ---I -I'" - - ~ --- _.ff -I .,

~~

~ ~

Study the RHFinger 5 begins on tonic __ and plays down stepwise to __ ;

then begins on tonic and plays up stepwise to __ .Thumb plays a 6th below each note.

Study the LHThe only notes used are tonic (I) __ and dominant (V) __

Play Etude in Sixths in C major.

Then transpose it to each of the major keys listed below.

1. Mark the black key(s) your R H will play in each key.

2. Then play the piece, transposed to each key.

Remember, LH plays just I and v.

G MAJOR F MAJOR

D MAJOR B b MAJOR

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Doubling a Melody in 6thsYou can "double a melody in 6ths" by playing a 6th under each note of the melody.

For example:

Russian

fWhen you double a melody in 6ths, every note, even the cadencetonic, can be doubled.

U 1 ~ : :1 1

Here are some melodies to double in 6ths.

1. Study the key signature; decide what black keys to play.

2. Play the melody with R H finger 5.Play the 6th below each melody note with the thumb.

British

;J ~ IJ j}

)1 J iJ IJ J iJ. II

Brightly

1$j i 5} 15U 5S 1 J JAmerican

I J . IILively American

1 $~ #J lP Ir p fir r 1r r p Ir ~E Er If' r1':'\

1 $j# P Ir p r r r Ir-r g Ir t L ~ 1r~ r II16


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Tempo di minuetto

I~~ :C r :lit t r Q IU F U I t t r if Ie tberl

1nf'

~~ .. ~~ .. ~~1 6 ~L r Ir r r L r It .tFG r I E r rc r I rI

1 Accompanying Melodies Doubled in 6thsWhen you can play each of the melodies on pages 16-17 easily, doubledin 6ths, add a LH accompaniment (follow the instructions on page 12).

As an example, here is the first melody on page 16, with theaccompaniment written out.

Broadly Russian

fl, . . . .

/ -- -.:;~

- ti - - --

f

--I V

II I I

I . . . " . ...1 417


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13 Relative Minor KeysToccatina is in Bb major and its relative minor, G minor.

With energyTOCCATINA

Il I 2 1 2 1 1 1 fI \

-v . . . . . . .=

:>f ~==~= =, 11" ' .1= : :=. . . . . . .=, . . . . . . .==

rl I ~. o i l

4D :> :> :> > - ~ 5 ->1 :>

~ I 2 1 2 l,jojo_ 2 ,._ 2 "..._ _jf~ ~~ tJ ~===~==. . . . - V~==~= =~===~

Il I

'\:>J :> :> :> ::> :> ~

:>

1 2 1 3 5

The first line is in Bb major, the second line is in G minor.

Yet they have the same key signature! ~

Every key signature can show two related keys:a major key and its relative minor key.

The first line ends on the major tonic __

The second line ends on tonic of the relative minor__

Tonic for a relative minor key is IID G _ I3 half steps lower than major. lJ..!lJJ

Since relative keys have the same key signature, they use the samenotes, with one exception!

The second line of Toccatina is in minor.

The accidental throughout is __ , a half step below tonic.

In relative minor, the leading tone is the one note different from major.The minor leading tone is easy to see because it is an accidental.

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EXPERIMENT 7

The chart below shows the key signature for each key you have studied.To complete the chart:

1. Study the key signature to find the major key it shows; thenwrite its name under MAJOR TONIC.

2. Play down 3 half steps to find the relative minor; then writeits name under MINOR TONIC.

3. In the relative minor key, find:dominant (P4 below minor tonic) and write its name;leading tone (a half step below minor tonic) and write its name.

KEYSIGNATURE

MAJORTONIC

MINORTONIC

MINORDOMINANT

MINORLEADING TONE

c A E

19


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Doubling Minor Melodies in 3rds

G YPSY DANCEFiery

I' ~i P.o n1 4J J 1 3J IJ InQ IS J 1 # 1J IC J If :> :>:> .:> >-:> :> >-The key signature of Gypsy Dance shows the major key of __ ,

the relative minor key of __ .

But we know it is in D minor because:

the melody ends on the keynote __ ;

the leading tone (a half step below tonic) is the accidental __

Doubling a minor melody in 3rds is exactly like doubling a majormelody - playa 3rd under each note of the melody.

To double a minor melody, use all the notes shown bythe key signature except for the leading tone.

The minor leading tone (a half step below tonic)requires an accidental, not shown by the key signature.

Here is Gypsy Dance, doubled in 3rds with the RH:

Notice that the cadence tonic is not doubled with a 3rd.

Here is Gypsy Dance again, this time doubled in 3rds with LH an octave lower.

Fiery 3

n~~

. . . . . .1 2 3 , . . . . ,

~1 2 3 2

/

~

JI . . . . .tJ

. . ": >- ~:> :;.. . . -: >- ~ ~>< f

I . . . ~ I . . r--.t I0 .~ . .-.Jo . . . .': - - 1 1 > 1 >- - . . ._. . 1 >- >- 13 3Why does the LH play C# instead of Ch?

20


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Here are some minor melodies to play, doubled in 3rds.

1. Above each key signature write:minor tonic (3 half steps below major tonic),minor leading tone (a half step below minor tonic).

Remember, in minor the LT requires an accidental.

2. Play each melody doubled in 3rds two ways:with LH in the same octave,then with LH one or two octaves lower.

Play tonic under cadence tonics!

Minor Tonic __ LT __

Gaily 4 Chileani I ... -.., 4I@ & :'Rr rr Uj la rl" Itt t 01 I~(--r

(LH 2) J

3

It(LH 3)

Minor Tonic __ LT __ EXCITEMENT

fcLH 5 3) lLH 3)

Minor Tonic LT __ ANGEREnergeticallyi. # 1 2 1 3 1 3 1 1 3

Ii ~i JJJJ iJ Iv J loa!o JIJJJjffl[flJ 1~17JIIf(LH 3) :>:> :>:> :> :>

(LH 1 3)

Minor Tonic __ LT __

I' : : a . i t iA r I wGLOOM

~ - - - - - - - - - - - - - - - - - -~141 'S}1+ =r r ~I r ~

(LH 1 4) = = = = = = = = = = = = = = = _f

1M2

r 1 5 ~1~r IFp; II(LH 3.G#)

m f - - = = = = ~ = = = = = = = = =(LH 3)

(LH 1 2) rtt,

f21


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Tonic-Triad and Non-Tonic Tones in Minor

In minor, as in major, the triad built on the tonic toneis called the tonic triad.

To find the tonic triad for each of the minor keys listed below:

1. Put your RH on the major 5-finger pattern beginning on eachkeynote listed.

2. Move finger 3 down a half step to make the pattern minor.

3. Fingers 1, 3, 5 are now on the minor tonic triad.

M INOR KEY TONES OF THE M INOR TONIC TR IAD

III V

A Minor A c EE Minor

B Minor

D Minor

G Minor

All the other tones in a minor keyare called non-tonic tones.

Accompanying Minor MelodiesTo accompany a minor melody, use:

I under parts made mostly of tonic-triad tones,V or LT under parts made mostly of non-tonic tones.

Remember, when the leading tone occurs in the melody,it is not used in the accompaniment.

Gaily3~ 3

R USSIAN D AN CE

~21 1 . 11 2 .

fJ ~ ._ . . ., ..:. 1*"-. _ . 1 .. __ . . . >-I M r_ "'" - . --- . '~ .\ .t) I I ImfV LT

tI

'L_O 'f!_ _IlIL ; , , ;_ ;.t_ 00

" I I I I I22


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When you can play each minor melody easily, make a LH accompaniment for it.1. Mark V under parts made mostly of non-tonic tones; then

circle the v under parts that use LT.

2. Put your LH in the octave below your RH:thumb on tonic,finger 2 on LT (a half step below tonic),finger 4 on dominant.

3. Accompany the melody with:dominant where you circled v,dominant or LT where V is not circled (let your ear decide!),tonic everywhere else.

t- . ~ ~ f ~ z SchubertI=-t h C ~ I J t :1 1

Moderato W I h1 ~ --- ~ es

I ' &R ) Im ~r r r Itt r I raE ~ Ir r r rmf

II

, I SJow~ 2 ~ 2 ~ ~ 2 1 3 Brozilion

[ b' i~ 2n Ir ~1B IJ . ) Ir F ir Inpj IJ . J lImf

I' b~ J n Ir ~ Iis :0 IJ ..9Ir U Ir n IJQ IJ . II23


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n *The Rhythmic Pattern

The rhythmic pattern J h


26/49

With energy2

YODEL

rl l~ l~ - - - . . .____1

--....._ 1 I/ 0

_ o0 0

0 0

I ~& J

f~~ - -= ..........,-. . . . .-"""""""i

-

/ .I ~ . .e; ~"'>- . > - - , - -t fr ("';) -."

etc.

In Variation 3, the embellishing tone is always a HA LF S TE P belowthe upper note of the structural 3rd. W HOLE S TEP

Mark + over each embellishing tone.Then complete the variation with the same embellishing figure.

VARIATION 4 + + 1n " ' " 1 2 1 ,....._/ .~=~ ... --e ; .~. . '---- . -...~

~

I fr n -."

etc.

In Variation 4, each structural 3rd is embellished with two notes:. . HALF STEPthe first IS a below each structural 3rd;

W HOLE S TEP

the second is a note of the key between the notes of the 3rd.

Mark + over each embellishing tone.Then complete the variation with the same embellishing figure.

Variation 5 uses the new rhythmic pattern .r-1Study the embellishing figure and mark + over each embellishing tone.Tap and count the rhythmic pattern.

Then complete the variation with the same embellishing figure.

VARIATION 5n . I0Io 1 1~ ............ __./ .

/ .

1..

L J ~ . . . . . . . ._...-------I fr ("';) -.

,"

+

etc.

Now play the entire piece - the theme and all five variations. 27


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Roots of 3rdsIn any interval, one tone is more important than the other.

This tone is called the "root."

The root of a 3rd (mcrked >" )is the lower tone.

In each measure of A1arch:

the R H plays broken or embellished 3rds;the LH plays the root of each 3rd, one or two octaves lower.

This is called "doubling the root."

Doubling the root means playing the root

with the LH, one or two octaves lower.

Briskly 1MARCH

/ n .. III 1..,....--. >- 1 3 ~. .

\I . . . . .e.}f --- -t I . . .- - . . . I II .. ." " -

3 1

1 5 1 5

n . . 1 3 1 ...--- I 1 3 ::---..I . .

\. .

t) . . . . . . . .. . . . . . .. I" '"

I ~ I . . . . . . I >----------I - .o r, ~

3 1

2

Here is the harmonic structure of March, blocked, to help you see:

in R H - the structural 3rds with the roots marked,in LH - the root doubled, one or two octaves lower.

/n ..

\ ~t) '-J ~ - u-I

"28


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On the staff below:1. Mark the root of each 3rd (the lower note).

2. With RH , play each 3rd;with LH, double the root, one or two octaves lower.

3. Write the name of the note your LH played.

1& " 11 ....4 II #11 /11 II~8

II II ~b8 II #8 I II8Ab F# ## #Z

Here is a melody made entirely of broken or embellished 3rds.

Before playing, mark + over the embellishing tones.. L iver + + 1. I2 . 1 4 British

1&i nWI:gw In g InJ : l l j J J3wJ :JJI~~If


31/49

Accompanying 3rds

At the bottom of page 29, you accompanied a melody by doubling theroot of each structural 3rd with your L H .

Each measure of Cantabile is made of an embellished 3rd, so it can beaccompanied the same way.

We have begun the accompaniment. To complete it:

1. Play the structural 3rd in each measure, like this:

In the melody, circle the root of each 3rd.

2. Play the structural 3rds again, in tempo;with L H , double the root of each 3rd, one or two octaves lower.

3. Play the melody as written, with your accompaniment.

CANTABILE

Slowly -----...::.1-..: 5 :__-~

3 :::------_~

~3_ ~ . . . . . . . . . 2 5- -1 _ I I I Io i i iOO:I ,_ _ _ ,- : ; ; ; a ; - ,_ -- --\ tJ

.'-.../ - 1......:1

-~ mp espressivo I~ ~:2 I

32

3 2

n . . : : - ~ 5-~ - - __ I -- - -- - ~ ----~

- --- . .- - - - . - - - __I"'". . .-J ._.. T - ~ ....- . . . . . . -f--pI ~I

l~'

." 11n -_

- --- I....

I~

. . . . . . . . . " '"

Documents

Keyboard Theory Book 2