Upload
shapor-bastansiar
View
234
Download
3
Embed Size (px)
Citation preview
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 1/66
p
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 2/66
Nancy Bachus, Associate Editor
earning to Play Piano Book 4, is a logical continuation of the progres ·pianistic curriculum contained in the first three volumes of this series.
~ v u m too, the progression of pieces is devised not only to expan ·student s vocabulary of musical concepts within the framework of slo .
advancing technical capabilities, but also to reinforce mater ial alread.-leamed. At the sarne time, new doors are opened which lead to the
understanding, appreciation, and enjoyment of ali good music.
li pieces in this volume, unless otherwise identified, are the compositioand arrangements of Denes Agay. Jean Reynolds Davis provided valuable
editorial assistance in all four volumes of this teaching series.
Book design and layout by L VoglerIllustrations by ]anice Fried
Copyright ©1987, 1994 Yorktown Music Press, Inc.Ali Rights Reserved
Order No. YK 20519US International Standard Book Number: 0.8256.8072. 7UK International Standard Book Number: O 7119 .1017.X
Exclusive Distributors:Music Sales Corporation
257 Park Avenue South, New York, New York 10010 USA
Music Sales Limited
8/9 Frith Street, London Wl V 5TZ EnglandMusic Sales Pty Limited
120 Rothschild Street, Rosebery, Sydney, NSW 2018, Australia
Printed and bound in the United States of America byVicks Lithography and Printing Corporation
Yorktown Music Press lnc.
New York/ London/ Sydney
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 3/66
oNTENTS
Review of Motives and Sequences ..................... 3 Arpeggio Waltz ... ...... ......... ... ......................... . 3
Opening Fanfare (Trumpet Minuet) ................ 3 Nimble Fingers (Variations on a
Review of Fluent Note-Reading ........................ .. 4 Play Tune) .......... .......... ...... .................. ..... 3,
Lullaby of the Night Breeze ... ................ .. ..... ... 4 Seventh Chords and Their Inversions .. .. ... ..... . 3 ::
Memorial March ...................... ...................... .. 5 Sailing on Blue Waters ......... ....... ....... ...... .. .. .. 3-
Harvest Fling ........................... .... .... ..... ......... ... 6 Two Musical Styles homophonic
Frolicsome Twosome ..... .................................. 7 polyphonic ........................................ .. ... ... . 36
Tarantella Etude .................................. .... .. ....... 8 Amazing Grace homophonic ......... ........ .... .... .. 36
Transposing ......................... .... ................. ...... ..... . 9 Amazing Grace polyphonic ...................... ....... 31
German Dance 1. (Beethoven) ...................... 10 Baroque Ornaments .. ............... .. ......... ...... ......... 3
German Dance 2. (Beethoven) ..... ................. 11 Minuet .............. ........................... ...... ...... ....... 38
Mo re about Intervals major minar Gavotte (Handel) .................. ........................ . 39
and perfect .. ............................................... 12 Bourée (Handel) ............................................. 40
Hungarian Dance No. 4 (Theme) Preludium (Canon) (Kunz) ........... ................. 41
(Brahms) ....... ...... .... ..... .... ............................... 13 A Bit of Jazz ..................... ......... .......................... 42
The Figure Skater chromatic scale .......... .... ..... 14 The London Bridge" Strut ............................ 42
Fiesta (Spanish Holiday) ............................... 15 The Latin Lark syncopation grace notes .......... 43
Marking Chords by Letter-Names .................... 16 Banjo Rag (Drumheller) ragtime ..... .. ............. 44
Play Tune 1 and II ................. ... .......... ............. 17 Lonesome Tune ................................ .............. 45
Play Tune III broken chords The Whole-Tone Scale .... .................. ....... ....... ... 46
divided chords .............................. .............. 18 Breeze and Echo ......................................... .... 46
More Scale Types: The Modes ....................... .... 19 The Haunted Clock ....................... .......... ....... 47
Sea Chantey Dorian mode .......... ... ................ 19 Little Hungarian Rhapsody ................... .. ...... 48
Medieval Court Dance Phrygian mode ........... 20 Tribute to a Hero ........ .................................... 50
Little Mazurka Lydian mode ........................... 21 Country Gardens .................... .... ................... 51
Merry Villagers Mixolydian mode .................. 21 Cantabile Style of Playing ............................. 52
The Rounded Binary Form ........ .. ....... ......... .. 22 Sentimental Melody (Lachner) ..... .... ............. 52
Gypsy Dance (Haydn) ............. ...................... 22 Roses from the South (Strauss) .... .............. .. .. 53
Oh Susanna (Foster) .............. .. .... .... .... ...... .... 23 Danny Boy ternary form A-B-C ...... ... .... .......... 54
Prelude of the Bells continuous pedal ............. 24 Sonata and Sona ina ................... ...................... 55
Irish ir ( B elieve Me if All These Sonatina (First Movement)
Endearing Young Charms") ..................... 25 (Clementi) ..... ....... ......... ..... .. .. ....... ........... 56
Arpeggios (Extended Broken Chords) ............. 26 Sonatina in Classic StyleRotation Study ..... ..... ........ ...... ........... .. ....... ... 26 (First Movement) (Agay) ....... ...... .. ........ ... 58
all to the Hunt .... ............... ... .. .... ................. 27 Rondo-Toccata (Kabalevsky ··-·---·--···-·--··-· -···· 61On the Swing (Gretchaninoff) ............... ..... .. 28 Glossary ·--·--· . . ...... ..... 64
aatelle (Beethoven) ·······················-······--· - ack cover
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 4/66
egretto
M2 repeated
M3
S2
3
">
l - - - - - -1
- - - - - - 1 1 1
' - " . 1 1V 1 1
M4
11 -. 1 - 1,
1 1 - 1
1
1 2 3
Trumpet Minuet)81
3
s3
....._._ 1-_ - - - 1 _ - =1 1 1 1 i-
1-
1
'- 1- - 1
' '
1
82
-
81
83
- - - - - -= = = = - _ _ _ _ -
1 1 1 1
1
81
-1
i- i 1
1 - -1 -2 3
D C alFT
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 5/66
FLU NT NOTE READING
u llaby of the Night Breeze
. gentle rocking motion
,; • 11 1 1.. T 1 1 1 1 1 1 1 1 1, X - 1 1 1 - 1 - ....1 1 1·- - 1 - _, • • ...J - • - ....1 - ...... - - • ..... ... - •
' - ---- _
------ ____../
p cantabile
'. '/ ........ , / 1 '
/
.. - 1 - - - - - -, r - ,_- - - - - l - l - - 1
11
l l 1
5 1
~1 -
, n - . . T n. ,_ ... 1
1 1 1
- n ...-- - - - /
- •
mp r - ~- - 1 -- / - - .....
,_r
,_7M - - ,_
1 - • 1 T l 1 1 1,, - . 1 T T 1 1 1 i 1 1 1- 1 -. T - 1 - 1 '1 11 1 1 5 2
rit4G , - 2 3. 1 - 1 - 1 1
• 1 i 1 1
·- .-< •• ...J li 1
' ...J n - - ...J Uf ..t
- .....____ ___..-/ - 11 Gi
1. .___ . . . /
~1
_-- . . 1 1, . 1 1 1 1 1 1 1 1,,.
1 1 1 -1 1 1 1.. - - l 1 - 1 1 - - ...J 1
- - - • • - 4 --. 1
l T • -?
- - - - - - - - - - - - - - - ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ - - - - - - - -
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 6/66
,.*....
,..-.- .
...· il' ... .
_,
' •- ,.,, ·•
...-::·- ;\ :1 •
--- ,. ''
-1 - ,_1
-
~- ·- ...
/l t,j/111 -/
1
p ets
emorial arch
ow. solemn walking tempo
2
•- 1 1,.... _, _,
...J- - -
p
••- -,..
3
1 1
1 1 1 1--- rJ
· ~ r -
1
3
1 1 1 1....i- - - -
. L ~ ~...-
1
_,
-
-
5
--1
1
:I-.
1
...J
-
:I.J
J
135
--
4
1
-
.. b 'l
..... ...
' -
3
1 1 1 1 11
...J ...J ...J_,
...J
- - - - -
I ) p1
J 1
l
4.... _ .....1
- - ...J ...J
r- r- - _, - - -3
I ). ...,, ... -
3rit
- - 1 1 1 11 1 1
...J_, _,
- - - - - - -
dim
~ ~-
.1 1 1 1 1 .
...J 1 1 - 1
_, - - - ...J - - -- -
n
1
3
- - 1 1 1 1
1 1 1 •- - - - 1 - --
~...
' -
li_, -..___ _.. .
pli
'-- -1 11 1
r
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 7/66
e s os _ . on ones of a m.inor scale.
· or scale s it and wha t is its keynote?
Harvest ling
llegretto
5
3
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 8/66
egretto
5
...f ' ... - ' - 1
l - 1 1
·- 1 1
),1
I'•
::
..... • -,_-- - - -
, . .. -. 1 .,.- L
1
..~ ',.,,t . --
····-- ~ ~ . . , ). ..
·-:... o··-- _ . .
rolicsome Twosome
.
--------2 : : :
· 1 1 1 - - -1 , 1 1 - - -
.... 1 _- - - . - p dol e
.-........._ - • n 1. r • 1- - • - 1 1- ... - 1 - - •
1 - - -1 .J . . .
> > >
m
- 2 ·- ..,
1 I;
1_, .""" . -:1.,.
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 9/66
Tarantella tude
· 2 - - 1
f- - - - - - - ,_ - - .... - 7
',, 1 .- - - ,_ - - ... ... • ... • a.. • .... - .... .... • ....
. 1 1 1 1 1 .... - .... ...1 L 1 L 1 - •
1 - - -sj sj
li L· t •=- .:..
i- ... - . -- . - ... - • -
.. -. ,, ... -. r 1 _ .... , .... .... .. • - . - a..
- .... -. . - ,,r
._ - - '- - .
1 Ili
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 10/66
,,
I
il
means chan ·e following steps:
e · o e composition. In doing so keep
_:-:ain the interval between the keynotes of the original key and the
·ey to which you intend to transpose.
-=211ine the key signature of the new key.
- -:.spose every note by the requires interval.
_....._.IJl- ose the following melodies. (Write in key and time signature.)
': m C Major to D Major
J J J IJ J j IJ J J J
E Major to G Major
Ir J J Ir J J IC E ~
r j
E Minor to A Minor ( Go Down Moses )
i , - T• 1:ç _
,, 1 ..... ..... .....-- 1 - - - - - - . < 1 LL 1
·tJI -,; - -,; -,; tt•
-----
..·-
,. ~ 1 r-X • / 1 1 u
/
...... 1 1 1
·--'
-r -
-d 1 1
' '.-
1- •
••
1
1; r li
IF r J li
-·....e:;.
n -~1
1 •
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 11/66
Allegro2·1 >-
.. - --
- ._. .
..-
? •-- .- small hands:
1 J5
, .. • • .. .-1L
1: .•. 1
i
_;
ij• - li- ..i· r ,
? -.
~ p sl
;t J j
#' 1 ~- - - ..._
f - - .- . - .11}
m
·i
..- ..... . ..
, .li
1 § li= l IJ rf ?; - • - - . - - -
·1
, . _1
•r .., .•• '
cr s .
-1
j...... ' l t•- .. ~ .,j.
-
- - --....-
1
., .
~ -
J 14
• . --- ....1
., .? .
1 J J
3- -- - - -- _.. _1 1 1
11
-·_ ..
1 J
3- - -- ...
_J •
. ..
2
- 1
•1
1.Ludwig van Beethove
1770 - 1827)
>->- ~
....: ~ 2,.....--...
1
..2
..• --
...1 .... 1 1 1 1
... 1 1 1 11 1 1 1 1 1
1 1
p
- . -.- - . , .~ · ~ ·
J r I; j r 1 J j r =1
.. .... - . - -- - - .... - -1 1 1 1 1 1 1 - I .... .
1 1
I .. .. .. -z:::;; • ~
r f J J J 1J r : i
1 - 3- - - - - - Ã - 1
- - - - - - . - - - 1- - ... ...._- ....1 1 1 1 .. ... 1 1
1 11
1 1 1
- - ,_ ,_, . J •
, .
r r r1 1 _I 1.... - - _
1 1 I .- - - - - .>. .- - -1 .. •
:>f>- >-> > .- - - - - - - - I .- .... .- - -
1
I
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 12/66
(No . 1 adapted for the left hand
Allegro2
fl u 1
'.., .. 1 '.
- •• ".
'· .... ,.. . r . , . -- V r . r . . , . . J
t e . e; . e; . .._....
f
------ --- 1 1 - - . .
' ..... •• - - - r - - - ,_,' '.. -· •• .... .... - r - - - - r 1 - 1 I, T l _ 1 - - - - 1 1
,_,1 1 ....
TI - - n - • 1 1 1 1 1 1 1. - 1 ' 35 3
fl j l 1 1 2
'I -..
1 '
j r '
.... 1 1 1 1 1 1 1 1 1 I ..... - - - - .... -
1 1 . 1 1 1 ..
.' I - - - - - - -. 1
- -_
t t.._....
-------. - - - _ ...
...- V
---- --- -- 1 - ... - - - '.. .,,. 1 - - I , 1 1 - - • .
.J. - 1 1 r - .. .. - 1 r - -. .'
li 1 1 - 1
4 1 1 3 lj 122 5
4
' ,;I j ...,- - . ,- . . . - . - , . - , . - .
', - . - . - . - .
' '6•
.6
. .6
.mf
1... _,. ' - - 1 1 1 1 1 - 1 1 1 ' .- ··--- . - - - - 1 1 1 ..1 - - - - 1 1 1 - •- . r - - 1 . 1 - - 1 ,..,, - - l .... - - •
\. - _ _ _ - - 1 1 1 _ --- -- 1. L 1 1 1 1fT 3 L 1 1 1 1 1 3
5 - 2 11
2
fl _., .. - l -"
.1
• . . . - .. ."
,, - . - . - - - -.,6
.6
. .. .. ... •l > > ::>cresc
1 1 1 1
1li _ - - - - '- .. - - - - - - - ....
".. r - - - - ... .... 1 1 .... .
'1 1 1 - - - - ..1 1
1 3 3 2 - • ... - J3 2 3 1
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 13/66
ajor
You are already familiar with the major third and minor third.
There are three other intervals that have major and minor forms:the 2nd the 6th and the 7th.
A major interval becomes a minor interval when its span is reduced by a half-step.
Major-Minor Intervals
second third sixth seventh
~ majorminor 1 major minor 1lmajor minor 1 major minor
l j 1 llj ~ li j ij-1number o half steps: 2 4 3 9 8 10
Perfect Intervals
l
fourth fifth octave
g l j l 3 lThe intervals of 4th, Sth, and ~octave have no major and minor forms; ~ ~ ~ = = = = ~ = = = ~ ~ = = = = = = = = ~ ~ = = = . = :they are called perfect intervals: ~ - - - - - - - - -
number o half steps: 5 7
a m ajor scale all intervals are major or perfect. These are the intervals of
e C major scale:
Perfect Intervals: pnme fourth fifth
~ o
: :o o
9 e - - - -
o
Major Intervals: second third sixth seventh
To Name an Interval
egard the lower note of the interval as the keynote of a major scale and
consider the higher note as being a degree of that scale.
For instance to name this interval ~ ~ l : : ~ j = : = = =A is the keynote of the A major scale.The A major scale has three sharps: F , C , and G .
is the sixth degree in the A major scale.So, the interval of A to F is a major 6th.
12
follow this reasoning:
12
octave
o
-e-
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 14/66
li li f li li li
:.? \ri
e the indicated in tervals over these notes:
minor 3rd major 2nd perfect 5th major 6th perfect 4th major 3re
u l l l l#u uo
Hungarian Dance No(Them e)
l Play this piece, and then name the in tervals indicated by brackets.
Andant ino
ri 1 1 1 5 1 2 .J •• - 3
1- .... ••. V
_, - _ _ - - - l - - ••t , l 1 J 1 _J '--....
mr i r t
1L ...'
, - 1 r J - l •• • - 1,, - •• l l . . . i 1 1
'
V - 1 1 - 1 1
1
'1 1 31 l
- ,_1 1
'. - - _ _.
/
- - - - l - 1 - t_
. J ..JL--
1 - - - 1. -_ _ ,.,-_,_ . -_ _ - _.. - - - - --·- - - - - _ - _. 1 ... -
V - ,. 1 - t 1 12
l bo li
Johannes Brahm(1833-1897)
_,- - .. -1.---
-w -
--•
r . _ 1- J
l - 1
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 15/66
The igure kater
moothly gliding
Fine
poco rit 3
D C al Fine
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 16/66
count 2 3 4 5 2 3 4 5
5
Fiesta(Spanish Holiday)
5
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 17/66
o - .'.e ha e mar e chords b Roman n umerals indicatinge oo ones of these chords in the scale:
o Tonic, IV for Sub dominant, and V for Dominant
: is also possible to rnark chords by letter-narnes of the root tones.
C C major chord G =G major chord (and so on.)
or tr iads are marked by a small letter m after the letter name:
C minor triad Em =E minor triad
- _e seven triads built on the seven degrees of major scale,ee e m ajor triads 1, IV, and V
-ee are minor triads (II, III, and VI)
e is a diminished triad (VII)
~ Dm Em Am BdimG
H)li li
I I I III IV V VI VII 1)
·shed triadis created by lowering the top note (the fifth from the
a minor triad by a half-step.
Em Bm Bdimb dim lz
~ r r orrr iu r r 1 q 3r9F lr
- are the triads built on the seven degrees of the F major scale.
6
- er each triad write in its first and second inversion. (Use the correct·ctentals.)
~ n play each triad and its inversions.
F Gm Am
:r o i l ~ l li1 II III
B e Om
: u l li l uIV V VI
ay such triads on the piano also in the G major scale, and call out the
ames of the chords: G major, A minor, and so on.
Edim
ll ºVII
l
li
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 18/66
with solid-chord accornpaniment
*Write one triad in root position for each measure as indicated by the numerals.
1
1
1
1
oderato
F e1 _ . . . . . - i 1 - - . - .- • ' _, - 1 - ...
1. JT
-- 1
-- _, - I
-1 1
-'1 1
' I IV V
1
IL ...
•• .......\
V
D G e1 m1
m. - '
....... 1 1 1 1 - 1,, k . 1.. ..v - - - 11 - - - - _, - -
'1 -
VIII
V- .- ,, L..
V
~ r a n s p o s e Play Tune I into G major (one whole-step higher):
• Write in the chord numerals and letter-names.
• Transpose the melody first, and play it; then transpose thechord accompaniment and play it.
• Then play both hands together.
PlayTuneoderato
r, ••
'·1 ~
<
' . .- '·-
r, f
• -t 'J
- , • I l i
/
-_ _,1
-
11_,
-
F1
-1
11
I
F
111
I 1
1
1
1
•
1
1
1
•,I
i•• 1
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 19/66
-e ~ ~ . ..... _ . ~ ~ ~ .....• using or in the
• by using inversions of the triads to make the playing technically more
convenient and sound better.
A solid chord may be broken up or divided in many ways; here are a fewexamples:
Broken Chords Divided Chords
Broken Chords Divided Chords
~7 2 m= l Ê ~ E Ê l Ê
lay Tone IIIaccompanied with broken chords
- vi th an X the inverted broken triads.
l IV V I
l ----= 1 ....._,, .......
1
- " 1
- .-1
-_, _
lJ - - - - .... - - .... .1 - - _v
4 l Dm Gm e F
~ ~
---- - --- .... 1 ,,,....- ---._ _
... . / - - - 11 - _ - 1
/ .-t ... 1 - 1 1 - 1 1
1 1VI II V
:} Play this piece again using divided chords in the left hand
based on the indicated harmonies.
- - ... 1 -- 1 ... 1 ,_1 1 1 11 1 1 - 11
I
l
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 20/66
. onalities) were de,Telope esago by Bach, Handel and other masters of the baroque period. Before that
era, compositions were based on another system of scales called modes.
Each of the modes (or modal scales) is a step-by-step progression of eight
tones, each starting on a different keynote. For the pianist, modal scales haveeasily recognizable earmarks: They each utilize only notes played on the
white keys. The four most often used modes named after ancient Greeksound-patterns) are the:
tD to D. I t resembles the natural
Dorian D minor scale, differing only by the
raised sixth degree Bq instead of B- .
Phrygian
Lydian
r r r r1
E to E. resembles the natural Eminor scale, with the second degreelowered instead of F ).
F to F. This mode is dose to the Fmajor scale, with the fourth degreeraised (Bq instead of Bb).
Mixolydian ~ - - - - - J - - - - - . . . 1 - J - - - r - - - - - r - - l - - - - - - - r l - - - - - - - - - l G to G. Sounds like the G major
scale with the seventh tone lowered(Fqinstead of F ).
Modes are very much a part of our musical language even today. There aremany folk and popular songs based on modal scales, and modern composersoften use the modes if they want to give a work an archaic, ancientsounding flavor.
1
.. 51/ -
W - l
1 tJ
Lively, robust5
- 31 -- - - - -
What shall we do with the
1 - - - -.. - - - -
Sea hanteyDorian Mode)
2 4 ~...--- ........ 1 3.....
- - ,.. - - - - _,T - -
1 l
drunk-en sail - or Ear - ly m the
- -
,, ,_- ,
-------..._1
1
o ~morn - ing?
> >- -- - -à - -
.li...
.•..... 11
l i
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 21/66
gi n_
Andante grazioso
/- -...
j
/ . - 1 1
• - - - ,, - - _ ,.. ,.. - -
- V T _J - - 1 1
m.-----.. ~ n n
-· , .... - - .. 1
.. ,.,.. - - .. 1 1 1
..
,·
1 1 1 1..... - -
5
5
5 3
cresc e rit
n the Phrygian mode the tonic tri dis a minor chord E-G-B). However,i a piece in the Phrygian mode ends with a tonic triad, it is often
converted into a major triad by raising the middle tone a half-step-G -B). The sarne applies to the Dorian mode where the tonic triad
ending the piece often becomes a major triad. See page 4.)
- 11
1.... -- _.
- .____/
I .)
,_
2 5
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 22/66
·an ode
Allegretto
'5 1... . I = T
... . - ., - - 1 r . - - •r - • T I T r- _ ., _, - 1 • . - _J _,
, T - - . - - ....1 - r J•
tJ 1 1
11fl ben ritmo I
1 rr • e-... ... . .. .. r. - 7' , - - -...
• r.. • G • G • • •> > > > > > > > >
112·
1......-- >A -· - ----- ---- .---... .-i .... - .... - - - ..... ..... r-.. . • 1 r- • ., - - • . 1 1
r - . - 1 1 1 1_, - . .... .... 1 . 1
- T -· - / ... 1 - 1 -
tJ 1 11
3
f 11fl f
-- 1 1
L • -· - I ... • r- - ... - - - 1 I . •. ... -1 r - .1 - r. .. - . - - .>.1
\ 1 • T 1 ' '- 1 • • • • • •> > > > > .>
'2 -- • - • 3 1 1 1
I -.. •• - - r • - - - - - - - 1 r- • - 1 - ,.• - ... ... 1 r- - .... - .... ... --- - 1 .... - .- ..
1
r . 1 1 - -- - ,,, .... 1 1 -
-fi 2- .. - - .., 2-
L · ••. .... 7 .... - - . ,, .... ,, . ..,, . ,, - -·..
32 2 41 - 3 • - 3 1 2 - 3
1 / ' - r- - - 1
• . 1 l 1 1 - • - r- 1 1 1 ... - - .r . _,
T -- _1 - • -.... 1 1 1 1 ... - .... - _ .- - - 1 1 1 1 1 1 l 1 - - -
J -........___ • 1 ...... 1 -mp
cresc
f;., r-....
• - • - n - •<- . . . . - - .,.., - - JI .] J •- .. . - 1_ T ,,
• - ., . - ... ,, - .1 2 1
3 5 3
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 23/66
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 24/66
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 25/66
The continuous, quick change of the right pedal can help o p ·smooth flow of singing tones. Change the pedal on every new harmon
don t let two or more harmonies overlap.
s you play each new chord, let the pedal come up; then put it down again immediately.
21
2 , . . . -
---..' r / 1
......,. 1 - ••
1 ··- - 1_, - '
1 L L ....._
/ -t - _ / 1
e
-1
L . •• -·· ••- •• - - ••, - •• •• - ..LIL
Start withpedal down up down up down up down up down
Prelude of the Bells
tr Remember: Quick change of pedal on each chord.
Slow and solemn
112·
5 5
4
.
1
..
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 26/66
*Then dete e - ft and chords are Tonicand Dominant seventh 7 . Place the proper numera. un ·e ea eleft-hand chords.
f<Circle a chord that appears in its first inversion and another one that is in
its second inversion.
Irish irBelieve Me i f All Those Endearing Young Charms
Rather slow and tender
l u f±4 ,,,,.----
-· -- -- -=- ... ... - --r ' - - - -• - - -- - -_, -
J - - - - - -11
• • •• •• •• : •I l i • ~ u.
-. -. -· -· - -.. -· .... -. -. -. -. -· -., 11 ...
5
,_
L._
.- .-.
Arranged b:Carl Czem_,
1791 - 185 ....
2 -----..._ _
- .- ....
- 1 1,_ -· _, -1 --
- . .- . ..19' .
·•
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 27/66
::: ·en e or e_ '( enà into o e o t
es ion they are called an arpegg10.
- ' :. :L. 'pe<Jllios ith one hand, even within a one- octave range,-es a · y nde stretch in the hand , yet without any stiffening of the
arrn musdes
.- o facilitate the strain-free playing of broken chords and arpeggios isation of the hand wrist, and forearm as a unit. This is a rolling,
motion clockwise (to the right) or counterclockwise (to the left),:-s in the direction of play.~ ~ ~. ·~ ~ 1 li
1
otation StudyModera o
. 1 fr ~ ~ ~ ... -r · - 1 ... - -r ' ,., ..· 1
1
_ -----1 1 · ------
- ... - l - ,_. 1 l 1 1 , .- 1 - - 1
T - .1 2
* ay Rotation Study also in the keys of G and A major.
7:11· 11
r J •
1
--........ -_. - - - 3
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 28/66
Call to the Hunt
nimated
f i ~ 4 .. > > >----
4 - - .. / - - - - -· - ,., / .... - ,..~ .- - _ •..v .
1- -' - - .. . - ... 1 -
11
7 '11- -
l1
> > >:
- -· - .
- 11-..r J
..... - 1 .- • - ... ,,....-
...
1 1 ..:
f i 1 1 ~ > > > 1 ----------- _ . - 1 . , .Hi- -· - .J
1• - .... _ - .
'-
- - _JT7 - ~ 1 1 LI
'
- •L L_ ..._ .... - -
- .. - . -. - , , , ,_ r 1 • 1 1 :1
1 - 1 1
1, .... - ... - ,C - •
1
- > > 2 4 -
5 __ 42 5 ••• ·• ·•3 ... ..1 1
> > >
I ... . . . -1 1 1 w - . -· - - - .- ,,,,,_ _ -' . . ... - - - - '- - - - •....' - 1 - 1 ' ·
1 1
Ft T'1 ff • TI --- - 1 1 >1 - 1 1 > > .
- -· - -. - - '
L . _1 - . 1
- - -· - • .... l i
.. • - - -, ....'
... - / ... - .- -5 --=
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 29/66
ndantino
8
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 30/66
yers with small h nds m y omit the notes in parentheses.Ludwig van ee o.
1770 - 1821
o d e r a t o ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . . _........ 4 ~
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 31/66
ggio
:lodera to-
' ...2
3 1 32- ·• - • - 1 1
...- ' / - - - - 1 .- _,4 ' L - .. .
1 1 l, ... . IT - 1 - 1 •• - •
J - 1 1 1 • -.J 11 1 r ' ' . .
mf- --- __. ...- .e • , - , _
'.. ...... - ,_ - ....... - • •1 IT ,..
1 -
l .1 1 l5
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 32/66
imhle ingersVariations on a Play Tune
e theme and first two variations should be played by both hands together,left hand an octave lower. Play them also in the key of D major.
Modera o
~ ~ H í J J j J -J - ± J t ~ 1 I?rF1 F r3U: 1L.H.) 5
Let s go step by step and play a tune. We can play it morn-ing night and noon
@ JfJ J IJ J J frô l J J IJ J w=JJs: l5
Just a sim-ple, sing - a - ble re - frain: Five notes up and tive notes down a - gain .
Allegro
·.i $eÕoJfJ)IJJ]fJQIJ30BQI J. 1{3Ja;1L.H) 5
r::r1co 1êr1cr;1 J 1ÇgfJJ1JJmr.:
& WHI J l ) H n " ' J l f j J J J l ) ~ m 1 f O ~ p i l5 L.H.) 5
Allegro
• •
0
1 J1 JJ1 J J J J1 9 f ~ 1J J} e
L.H.)1: > > >
~ ~ u Jfs r f rerfJJJ1J 9° r1 1tr 2
• ::> ::> :;:::> 1
> (L.H 1j
e be ound on pages 10 and 11 of Book 2.
1
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 33/66
Var
llegro
Var 4
3
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 34/66
,....1 . 5
- - - / / ...... 1 '
L. 1 • l I - 1 • - • • • • ... • - • • . 'V li .... - ..>. - .....
'l i -
.. • • • - - . - - .--- ,, - ª • • • • .......
' ' '.. ...
tJ-..... V •
. n u
i- i-
.........___
1 o •~ L. 6ª • • • ~ ... ... - . ...
....... - - - -- >e
1 •• J - - - ..... .... ,_ - - • • - - - - •..... . ..... ..... - - - .. · -... ..... ..... - - ....
. .'3 1
....1
5 4 lI ..
''·. ' '
1 - 1 • - - - - 7- i ' r ~ • • •-... • ,
• . -. ..... - . . . ... - • • ..... 1- . .... - - ..... -, , • - - - - - • ' ' - • •tJ • TI • • • e: TI r;. · i -1 -1 v • • q-. ..... -1 ...
1 ~ ; ;.
::>- ['.:'.: rn - . 1
.... - . ...... • J • . ><'. ~ - .. li - ,_ • - O.. . ,>C - •7
1 - . ....... ..... a• ~ - .... -· - 11 :;:. I•'
~ .125
3 5
Lively
Var. 6
...
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 35/66
The seventh chord consists of
four tones: the root , the 3rd ,the Sth , and the 7th :
Write a seventh chord over each tone of the C major scale:
~ 0 n0
)
oI II III IV V VI
0 lVII
Seventh chords, consisting of four tones, can be used in four positions: theroot position, the first inversion , second inversion , .or third inversion ,depending on whether the root tone the 3rd, the Sth, or the 7th tone from
the root appears as the lowest tone:
Root position First inversion Second inversion Third inversionfl l l l1
Root 3rd Sth 7th
Observe that in all three inversions of the seventh chord the root and the
7th become neighbors on the staff, placed diagonally the lower note to the
left of the stem).
First inversiont h ~
~oot
in the three inversionsof the D7 chord. Write in the
accidental in each inversion.)
First
inversion
l
Second inversion Third inversion
l
Second
inversion
l
Third
inversion
Key of G Major
l
li
You are already familiar with the
Dominant seventh chord V7) in which
the Sth tone from the root s often
omitted:
D7First inversion
-e-
Is l
4
l
l
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 36/66
. J . . . : C . ~ ; ; ; " " - - e . ::eatures
e chor e -en or divided
·-een the two hands: the root and the fifth- e left and the 3rd and th in the
- hand except in measure 1.1).
~ a n you write in the degree numerals I through VII) in each measure?an you name the inversion in measure 11?
Sailing on Blue aters
Slowly gently moving
5
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 37/66
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 38/66
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 39/66
In ddition to being largely polyphonic, b r eorn mented notes. The most often used om ments aretrill especially the short trill.
The is a three-note groupconsisting of the alternation of the
m in note with its lower neighbor,marked by the symbol
The is a four-note group,starting on the upper neighbor note, =f?= == =alternating with the m in note, marked l
by the symbol
ln both orn ments the first note is played on the beat.
8
Andantino
5
]- - - -
jJ
_ )•
2
Minuet
4 -----]----
j t )•
.---]---
j )•
e
~3 ---1
ar
J __
.....--]---
5~ J J J )
.....--]---
)
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 40/66
n n e gr zioso George Fride · ~ ~ ~1685 - 175
D C aL _
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 41/66
e rusually eginning on the las
BourréeGeorge Frideric Handel
llegretto
•
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 42/66
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 43/66
The essence of jazz n not \ h t is played, but un e e r
ingredients of a theme are given a strongly rhythmic, syncopa+e : . ...... ...
sound. Jazz variations are often improvise invented on the spur of themoment without relying on a printed score.
The London Bridge StrutThroughout this piece tap the beat-units lightly with the right foot heel on the floor).
Moderately, with a marked beat
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 44/66
The atin ar
• T each grace note )O before the beat.
Moderately 2R H
ny
2
bird,
R H
he smgs
> >
3
and the stars_a-bove, He will bring_to you
>
5
> >
>and the boy_ you o e
girl)
>
>
don t you miss_achance, Meet the lark _ in the dark.
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 45/66
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 46/66
line ; solid chord indicates that ea: chord are to be broken , in very rapid succession, from
_ bottom up (arpeggiated chords). The top note of the chord
on the beat.
~onesome Tone
Moderately slow
fl 21 3 - 1 1- • - - - ••.... 1 - 1 1 1 rl - - 1
tJ 1 1 1
~ ~ ~ · ~ · ~.:.. "'• I -
• 1 L . - ,1 ....
1
lt 112
t l i- -
,
••
S,.-:i r
'
25
9- n ,
35
dim
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 47/66
e scale is a s ep j se succession of six tones progressing by whole-steps.
J J2 3 4 5 6
e may start on any of the twelve tones.
the notes of the whole-tone scale beginning on Db.
2 3 4 5
odies and chords based on this scale are of a somewhat
e mysterious character, and are frequently used in the
6
- of modern composers, such as Debussy, Ravel, and otherse so-called impressionistic s hool (about 1890 to 1910).
Breeze and EchoConmotol 1 - • - 1
. o i r •'
,.. - -.- -
1
. - ·- ....... -
'... /
_ _... /
tJ mp/ .•
- •
••l J
- .. .. ...
-... 1 - - •- ' .... - - - --
e•v• va
fro. 5
g - - - - - - - - - - - - - - - - - - - - - -
-
- 1- • h•..
- - - - -- . 1 1 - • - 1- a
..._ - - -. - - ..... 1 1 1 1 - ·- ..........,_/
,,_liiJ9
... J / 1
PP/ -
f - - - -
11 ' . 1 - - .. - 1
... -
- -- .._.
t J
.
.....
.....
'
\11
1 1
Vc; i •
- - - -
\1
Vc; i
•
- - -...,1
-
' '·/
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 48/66
riJ '
' 1
tJ
- .,.I
Moderate tick-tock tempo5
- - •. _ ... ,_ -
1 1 1 1 1
1 1 1_
1
l :V .
', -
-...
p11 1
1 1
- _
1 .
-
1
1 1_
--.1
V :'
8 - -
f
24
-
1
1 1 1 :I'
1 ..._.
1.1• . V:;:::: ~- - - - ..
1
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 49/66
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 50/66
2
Lively
,..,UI -· ' -... .... • . - . . - 1
1
1
f/j /ili. Ili.- -- ... - r - r-
- 1 •li/li- 1 li/li-,, h • . 1 1.
, 1 3 1
• - ,.... .... ..... • •'
. = ' '- - 't l
.> >f f >
it;;,, ... - r- 1 1
/ h 1 ..>.
...
1 2
5
5
1
-
>
>..:.r
--1
5
> --r- .
' '- - l 'C' r - 1-
1 J 1
r 1 1
,,..---
•'
- _
2
gr du lly f ster
4
--
>
•' -
i
>
5
5 --- .........,-· -
• I
- - - _ -
> 1:..- .....- •- .;;., l:-
>,,
...>.- -
i ti
> >
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 51/66
Solemn, moderate march tempo
,.. 1 5 4I \.i
,. 1 1- ., .. _ . 1 . .J ...J ..J - . , ..., - --- -- 'u ...m cantabile
- • - - -1
'- .... - S; - ' - ' - ' - -A - S; - "" .- "" • ' :: •. - - - .- ... - -ped símile
,..1 3 - ..... 2
.... - - . - • - .- - - .. • •• ',_ -- - ' - ..... 1 \ 1 1 1
1 ·- ...... - • - , ...u
__. r - 1 1 1
cresc
- • - - • - -. - ' • S; • ' :; - ' :: - .. - ' • S; • ' - ' - - - - - - -
,... ........J •., ' ., • - - ,, , _
" - - .·- 1 J I ... ......, -· "'"''"
,_ .\. . ' ' - ' ... , M; ...... -u · ''" t 'G
\11
.ff---1 1 111 '1
1;,,,,. .. - - r -1 1 1 - ' 1, , ., ... ., r -. r L.. . - l i ~ - 1 li TI
,.., ,, .y , . . ... ...J > .
- - ....... -- > '., -3 3
5
,... > > > > ~ ~ ~A.... - - ' - • - ' '.. = - ' ' - - .... ....
1 _ • r:::;. - ' - ' • - -tJ > .ff1
1 fcresc sempre A A
.. - 1.. J - , ,, . • - • , ,
,, ... • • , ,t -i • -t -i • >
> > > >>
50
...J ...J
-- .. 7__.
- - l:: - 'l:: - '...
1 2,,......-- •3
- •-· ,.,
...1
f• -- ' - --
-- - - ,_ - • ' - •-.
1
mf
1 ~'
,,,1
T
>
A~ Ar,O(
.... -""
G
A A
- - TT, -...,, -
""
1 2
.... l1 - -... .~
- • -- .,., - =- = - =- - -
1 4 ----......- -r ... _ -i ~ ' r- '
• -..
- •.. - ,..:..
- ,_ - '• r= -
- ~ I- r- • - 1 r-1 1
2 1
símile
- - -::>
> >
>
•- - ...
1.::
1> >
• - 11 r •....
-
..i.
'
>
•...- '
.::
>
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 52/66
ann up:
ountryª marks.t Observe ped 1
Repeat from th . C/s sign r J
to Fine
símile
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 53/66
antabiles Italian for in a singing manner, a smoo e ~ r e s · ·e eplaying that produces a beautiful singing tone on the piano.
A cantabi le touch can be enhanced by:• a certain amount of weight applied to the keys that generate the melody,
• the proper use of the right pedal. Change pedal when the harmonies
change, and do not let two or more harmonies overlap.
ln the following piece there are two pedal-changes in each measure.
Sentimental Melody- Rather slow with feeling
4
Ped simile
rit
>
5
Franz Lachner(1803-1890)
a tempo
poco rit
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 54/66
Roses omt
(Th eme
Moderate waltz te mpo
Sou
Jo
___ _ _ _ _ _ _____ _ _ _ _ _ _ A.__ _ _ _ _ Ped
fi 1- , ' '~ ....• • ,
• V....
-.....
- -- - - - - -'
,-...... - •1 r J • .... .- 1 L 1 1 1 1 .-,,
L- 1V
f l 1I ,
1- i.. I 1 I 1 1 I I
I . ... .... ... ...-V - - • • - - • • • • • •
---- _. . ........... -.... ,_ , . ,_
.. - - ·-- -
5fi 1 1 ...--.-._- , - . - . ... - - .... - - '-V
1. - , -. , . r . - ,...
t VI • TI 1 - cresc..----. ~ .... L ~ • h;;.
... ... - - .... . _. .- r- ....,, ....V . ·-
4V
• •.... ....
- - -• • •
----- t :) •_., . 1
Dr . - 1_
.,,
1
.1 , •1 • 1 1 •
- - - -•
---
~ - J • r-
4 5
-... - ... ...- , . -·- 1 .-
r- - -· - .--... / i , . _- ~
..... 1 1- 1 1 11 1
4
-••
1
1 1- --
•1
4I/- .-
·.- .
..... - 1 .....
1 11
1
I
.....
'-•....... ..-11
·-
a tempo
-4
• 1
• 1
-
'.. ..-
- •- •v•
,_. -
'- .---.....
1
-1
,,
li
'••
, 1-
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 55/66
I
\
1
'
I
'
5
Freely movinge F Irish Folk Song
A 1 1 ~ '
"
2
------
12 • • 1 ~ -
1 l . /
-•• -
-.. - 1 ' -
-...
li
- •..
1
... 1 1 ..
•1 ---..
-_ .l' f 1 1 1 1 1
- - • 1 J ...t -
Oh, Dan - ny Boy, the pipes, the pipes are call - ing From glen to
1 ~ J
-----------.. ' ' - / . .
.. ~ ... • 1 -, . ... - l
1 .... 'l
•con ped. *
e---- Am Dm G e.----
•• * •
2 __ ----- 1 2
-- •- • -· - - ... - - -...
-1 ,_ - .. ,.. '
...
·- 1 1.. 1 1 1
V ...
t
glen, and down the moun - tain - side. The sum- mer 's gone and all the ros - es
1 ~ l 1 ~ sL 1 l . ] - ' - 1 1
,_ •/ - 1 " -
• 2 1
3
F e Dm G7 e G7 ~~ _;_----... 1 2 - 1
1
.I - 1 ' - / - •• f' '( - - - 1 1,, - - - - ... ... - ,.. -. - - ... ... . - -' 1 1 l 1 l -t - l
fall - mg, It s you, it s you must go, and 1 must bide. But come ye
.... :.. -. / ". - -, - .,
e F
5j
1 1
• -· - . .J
1 "' - - . .J
V 1 -tJ 1
back when sum- mer' s in
mJ~ 6-L ... 1 - - 1 - ...,, - 1
1
/ - --..J-
e
:::-----:_1
- . .J- ....J-the mead -
-
1 /1
-
.,
1
'..-1
1
1
3
" "........__,,ow,
'- --
1 1
* Change pedal on each new harmony.
. l ~- - - .,. • - ... -- . - l -1
,... -5
G7 Am F e
:----- - -
..J -· .....--::J - - 1 - - ....J
-- l l 1 - J
l -Or when the val - ley' s hushed and white with
/
-- -- ·-- - --..
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 56/66
snow, It's I'll be there in sun - shine or m shad - ow,
1
3
e
3
,,---- -........1 1
l 1
r •-t -
Boy, oh,
-·.I -
l1
-J-Dan
...._
•
2
4
..
--ny
D
1
•Boy
w _
- · ~1
12
4
nt
3
11
G7 e
1 11 1
~ - ; 4love you so.~
21_•.. ..,
. - 1..15
SON T ND SON TIN
F
J-
- onata and sonatina are essentially identical musical forms. The sona ina isa little sonata usually shorter and easier to perform than the sonata.
~ sonata (from the Italian word sonare to sound ) is built on two or three
ontrasting themes presented in a continuous melodie flow in related keysith connecting transitional passages.
Th is form can be broken down into three sections:
xposition contains the main theme, a second theme in a relatedkey (usually the dominant), and often also a closingtheme, or coda
evelopment contains one or more previously presented themes ortheme fragments developed into varied new sound patterns,moving freely through new keys and leading directly into
the recapitulationecapitulation which is a repetition of the exposition section, with allthemes in the original key
natas, and often sonatinas too, usually consist of two to four independent,lf-contained parts called movements The form described above is the first
vement form, also called the sonata-allegro form.
e second movement can be a simpler two- or three-part song form.
e last movement is usually a rondo. See page 64)
-
~... . ...
Oh.ili
e
17 ......_
_#
~ 1 7 . .21 1
-..
--
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 57/66
5
SonatinaOp. 36 No. 1 First Movement
Spirited
1EXPOSITION I3
Muzio Clementi Op. 36 No
1752 - 1832)
i ;econd th m 1
These measures m y be regarded either as c/osing theme ar as continu tion o he second theme.
56
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 58/66
RECAPITULATION
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 59/66
llegromoderato
leg to
dim
First o ement
J second theme J
Denes Aga_ ·
1911 .
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 60/66
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 61/66
1second theme 1
5
fl J.+ 4
- -
- - - - .. - - .
/ . -· e - - - - - ,_ ,_ - ,_- ·11 1 1 - . 1 1 r- 1 1 1 1 - - ,1 • r ° - - / 1 1 1 1
.. .. -- . ._ - 1 1
1. ; v:;
>- 1 1
cresc
1 · ::>
•1
: j, , . - - .. - - - • • • • •.,. _. - - . - - -~
>~ 111
60
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 62/66
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 63/66
1 theme I..
... - 41 2 · - u - .- "
... . - -, 1 - - _, 1 1
t .. ;. - - - - 1
t / i v p
L • .. • - 1 1 .... .1 1 -~ ... ....
1- 2
-5
i 2......._ ....._ 2- ... ... 1- 1 - 1 '
..... 1 ...1 '
1 ·- 1_ , - 1 11f.-' - 1 - '
\} -'. ...- - -- - -- - .::::: ..__• . ~ - .1 - ::;::>:
.
• • •1
L •. . . . . ... - - - - - - . . 1 .
' - - 1 1 -
---1 1
_____,j
1___,.j
- - -
5l n
-· - - . . - - ... . - - . 1 •1
l l r ,.\ - - - '"
, _,
..; " " 1 1
1t. . .- . - . - .
L ' . - . .,._ - - -- - -. - - . .- .... -- _.. . 1 .. - 1 - - 1
1___J
1___,.,j
1L..... j
1 -
62
3
5:.... -.- . a .
.... - ' - 1 _ , 1
1 ":" 1
..:..-... . . .... .- - - 1 .- -__,.j
1 1- -
-3 1 1. - . .- - - - ....._.
1 1 . - - 1 1 1 . . -
• .:... . . _. .- - - - . 1 1- 1 - 1 1
1............
1 1...........
- -
4 3 -- ....1 1 ... L 1 1 .. L
'- ... - ...> tt' ' ft' '
. .:. . . ..:.. .-- - - -- -.... .... - ..... .- -
____...
1............
-
r
.-
-
A> .. -
1
.- - -3
1
L 1
.--
.--
.-..
.-..
'
.-
.- 1
__J
.- 1
.- 1
1 _____,j
1 1 1
1 li 1 -'
_1 . . . . ~
1 • 1: fl • .
. •. _ .-- - -
----
1
1
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 64/66
ltheme 1
4 4i 5 2. ....... _ 2
....... -..J - - . .
-· - - . . - .. a ..IL .'
_, ..'
_,"
. - - .- . ,_ - . r - - ~ - ... _. - 1. _j 1 1, - ,_
- ' - - li t- - _,,
' - ...-, 1 1 1 1,1
t t 1 1 : ' 1 1 - . . - .
. .. • •- . . . . . i
1
,_ . .. . . ,_ . . - - - - ... . - - -- - - . .. - . .. . .' - ' - - ' - - - .
:.:..::;;,;i1
,____,,.1
L........I1 -
:::;;./
l.-J. ---- l - -........ 2 1 - :--- 15
.. 5 - . - 4 ..l . 1 T
- - . . - - .-·
.. . - . . '
5
" . - - .. - - . 1j
_,19 - - - _,
- - --- . - - - 1 - - . J 7 1 1
l1 1 1 1 1"
,, 1 . . .. - 1 1 ~ ~ · ''; 1 1t t
1 .1 f
..:.. . - .• .
. . . - .L ... . . . - . . - . . ,_ . ... _
.. -.... _ - -.. - - - - - - - - -- t-
'.. 1
,_, . . . . 1 . 1 .
' - - - - - 1 -1
1------i1 - 11 - 1
____, j
- -- -1 1 1,
f\ 3 i 1 •4 . 5
. . 1 -. - - • 1 1 .. l 1 1 .... 1 1 • - . ;
.>. .... •1 1 11 ... - • •r • 1 ' ' ·- _, ,m.
--- . J 1 ,_ _. ,,, - 1111 ... . "t ~ ~ l -:::>=
i
. . . . .:.. . •... ,... _
r - - ,,,._ ,_ - 1 -- ' . -1 I
: li
,_ 1 .... t- 1 -... t-..-
1 I . ......
1 T 1 1. 1 .T . - .- - ...
121:::::: : ;; ol
l--L......il 2
5 - --- 1 ,-
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 65/66
Allemande German DanceAnimato animated; with life and spiritArpeggiated Chord see page 45Arpeggio harp-like (see page 26)Bagatelle a short, light piece, usually written for the piano
Binary Form also called Two-Part Song Form, consists of two sections(sentences), A and B, both of which are usually repeatedCadenza a freely performed ornamental passage, inserted between two
sections or just before the end of a pieceChord-Names in addition to Roman numerals (I, V, etc.), chords can be
identified by the letter-names of the root tones (C, D, etc.).Minor chords are marked by a small m after the letter (Cm= Cminor).
Cantabile in a singing mannerClassic Style the musical style of the eighteenth century as exemplified by
the works of Haydn, Mozart, and Beethoven: simple, clearforms; homophonic textures; emotional restraint; anda certainnobility of spirit
Continuous pedal see page 24Dorian Mode see page 19Etude an instrumental piece designed to develop the player's technicalabilityGavotte a graceful, old French dance in moderate á time, usually beginning
on the third beat of the measureGrace Note see page 43H01nophonic Style melody with accompaniment (see page 36Jazz strongly accented, richly syncopated American musical idiom (ragtime,
blues, swing, and bebop can all be classified as belonging in the jazzcategory)
Lydian Mode see page 19Mazurka Polish dance in moderate time, with frequent dotted rhythms
and accents on the second and third beatsModes the most frequently used modes are the Dorian Phrygian Lydian and
Mixolydian (see page 19)Minuet a graceful and stately French dance in moderately slow timeMixolydian Mode see page 19Mordent ( '') see page 38
Phrygian Mode see page 19Polyphonic Style see page 3 7Preludium (Prelude) an introductory pieceRondo a musical form in which a main theme or section alternates with one
or more secondary themes, called episodes. ln its simplest form therondo is very dose to the ternary form of a A-B-A pattern. More oftenthe rondo consists of a main theme and two episodes (pattern A-B-A
C-A).Rotation see page 26Rounded Binary Form see page 22
Seventh Chord see page 34Short Trill (' ') see page 38
Sonata see page 55Sonatina see page 55Ternary Form three-part form, pattern A-B-A or A-B-C (see page 54)Toccata a rapid, brilliant keyboard piece; from the Italian toccare to touch
Touch the way a key is depressed to produce a toneWalzer the German term for waltzWhole-Tone Scale see page 46
8/13/2019 Learning to Play Piano Vol.4
http://slidepdf.com/reader/full/learning-to-play-piano-vol4 66/66
Thename of Denes Agay is synonymou with quality wrote one :reviewe:r:
and this high praise has been echoed by countless teachers and pianists for
the past three decades.
Denes Agay, composer/editor/pedagogue, is one of the best known and most
respected names in contemporary educational piano music.
DEllS ll6IY'S llBESllllY S
WRNll T PLAY PIANO
DEIESA AfS
WRNINGTO PlAY PIANO· - ~ ~ . b , ; " " WRNINGTO PLAY
llOOll B 1114A = = ~ =
This new, multivolume piano course presents not only a fresh, unhurried,and sound approach to piano study, but also offers a veritable treasure of
delightfully melodie, inventive repertory to illustrate and correlate all
aspects of curriculum: technique , theory, musicianship.
Selected Denes Agay publications for the beginning and early grades ...The J oy Series ...
'The Joy of First-Year Piano ,
'The Joy of First Classics ,'The J oy of Sona inas ,
'The Joy of Recital Time ,
'The J oy of the Music of Denes Agay ,
The Recital Notebooks ...
'The First Duets ,
'The First Recital ,
'The Modem Miniatures',
'Little Rhapsodies on Folk Themes',
A Program of Classics .
Of interest to the teacher ...
'Teaching Piano', a comprehensive guide and reference book for the
instructor. Consisting of two massive volumes, this is the most complete,
authoritative, and constantly in-demand guide for piano teachers at
every level.