Keyboard Skills for the Practical Musician [1 ed.] 2021039905, 2021039906, 9780367517472, 9780367517465, 9781003055044

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Keyboard Skills for the Practical Musician

Keyboard Skills for the Practical Musician provides undergraduate music majors in class piano courses with the techniques and fundamentals they need to flourish into independent, versatile musicians who play with confidence and sensitivity. Organized by skill (rather than level), the topics sequenced in this textbook offer endless flexibility for instructors while guiding students in a step-by-step approach through the development of essential keyboard skills – such as reading, harmonization, improvisation, and accompaniment – supporting concepts learned in music theory, ear training, private lessons, methods classes, and ensemble courses. One can draw from many sections of the book in any given class or semester, covering a wide range of piano skills that foster abilities frequently used in a myriad of musical professions. Features: • • • • •

Over 400 sightreading, transposition, and score reading examples, along with 125 harmonization melodies Project assignments that promote independent learning, expose students to new musical styles, and encourage collaboration A concluding Repertoire section with lists of solo and duet music, 10 ensemble arrangements, 6 duets, and additional pieces from the Baroque, Classical, Romantic, and Post-Romantic eras Music examples include numerous works by composers from marginalized backgrounds and from global folk music No prior piano background knowledge needed

Explaining the core elements of keyboard learning in an accessible and responsive format while accentuating the importance of learning how to learn, Keyboard Skills for the Practical Musician offers an essential resource for all class piano students and instructors. Cole Burger is associate teaching professor of class piano and piano pedagogy in the College of Musical Arts at Bowling Green State University.

Keyboard Skills for the Practical Musician

Cole Burger

Cover image: © Shutterstock First published 2022 by Routledge 605 Third Avenue, New York, NY 10158 and by Routledge 4 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2022 Taylor & Francis The right of Cole Burger to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Names: Burger, Cole, author. Title: Keyboard skills for the practical musician / Cole Burger. Description: New York : Routledge, 2022. | Includes bibliographical references and index. Identifers: LCCN 2021039905 (print) | LCCN 2021039906 (ebook) | ISBN 9780367517472 (hardback) | ISBN 9780367517465 (paperback) | ISBN 9781003055044 (ebook) Subjects: LCSH: Piano—Instruction and study. Classifcation: LCC MT220. B97 2022 (print) | LCC MT220 (ebook) | DDC 786.2071—dc23 LC record available at https://lccn.loc.gov/2021039905 LC ebook record available at https://lccn.loc.gov/2021039906 ISBN: 978-0-367-51747-2 (hbk) ISBN: 978-0-367-51746-5 (pbk) ISBN: 978-1-003-05504-4 (ebk) DOI: 10.4324/9781003055044 Typeset in Sabon by Apex CoVantage, LLC

Contents

Detailed Contents Preface Introduction

vii xiii 1

PART I

Skills 1 Keyboard Theory

5 7

2 More Keyboard Theory

26

3 Sightreading and Transposition

37

4 Harmonization

87

5 Improvisation

150

6 Blues Improvisation

166

7 Chorales

178

8 Score Reading

212

9 Accompaniment

257

PART II

Repertoire

305

10 Solo Repertoire

307

11 Duet Repertoire

340

12 Ensemble Repertoire

366

Appendix: Musical Examples Bibliography Index

386 393 396

Detailed Contents

Preface Introduction

xiii 1

Keyboard Skills 1 Effective Practicing 2 Fundamentals 2 What Are Some Ways to Practice? 2 If There Is a Mistake 3 If There Does Not Seem to Be a Mistake 3 Why So Many Repetitions? 3 Projects 3 PART I

Skills 1 Keyboard Theory Grand Staff Piano Map and Finger Numbers 8 Note Identification and Octave Placement 9 Intervals 9 Scales 9 Major and Minor 5-Finger Patterns 10 Triads 10 Roman Numerals – Major Keys 11 Names for Common Chords 11 Roman Numerals – Minor Keys 11 Playing Chords 12 Model for Learning Tonic, Dominant, and Subdominant Chords 12 Triad Terminology and Inversions 13 Fingerings for Triads and Inversions 14 Model for Spelling and Playing Keyboard Style Triads and Inversions 14 Dominant Seventh (V7) Chords 15 Omit the 5th of the V7 15 Fingerings for Dominant Seventh Chords (V7) and Their Inversions 16 Model for Spelling and Playing Dominant Seventh Chords and Their Inversions 16 Introduction to Chord Progressions With Closest Position Chords 17 Chords With 1 Note in Common: I to V7 17 Chords With 1 Note in Common: I to IV 18 Suggestions for Learning Chord Progressions 18

5 7

viii

Detailed Contents Primary Chord Progressions 19 Model for Spelling and Playing Closest Position Chord Progressions 19 Introduction to Diatonic Chord Progressions 20 Chords With 2 Notes in Common 20 Chords With 0 Notes in Common 20 Minor Minor Seventh Chords 21 Introduction to Chord Progressions With Inversions 21 Doublings 21 When NOT to Omit the 5th 22 Avoiding Voice Leading Errors 22 Diatonic Chord Progressions 23 Introduction to Chromatic Harmony 24 Chromatic Chord Progressions 25

2 More Keyboard Theory

26

D♭ Major (2 Octaves) 27 G♭ Major (2 Octaves) 27 C, D, E, G, A Majors and Minors (2 Octaves) 27 Scale With Ostinato 28 Scale Fingerings 29 Broken Chords and Arpeggios 32 Broken Chords 32 Arpeggios 33 Choral Warmups 34 3 Sightreading and Transposition

37

Lines 1: RH 5-Finger Pattern With LH I, IV, and V Pitches 39 Sightreading Preparatory Exercises 41 5-Finger Sightreading Exercises 42 Lines 2: RH 5-Finger Pattern With LH I, IV, and V Pitches With Key Signatures 43 Chords 1: RH 5-Finger Pattern With LH Root Position I and V Chords 47 Chords 2: RH 5-Finger Pattern With LH Root Position I, IV, and V Chords 50 Chords 3: RH 5-Finger Pattern With LH Closest Position I and V7 Chords 53 Chords 4: RH 5-Finger Pattern With LH Closest Position Primary Chords 55 Chords 5: RH Scale With LH Closest Position Primary Chords 59 Chords 6: RH Scale With LH Closest Position Diatonic Chords 64 Lines 3: BH Playing Different Melodies Beyond 5-Finger Patterns 69 Lines 4: Vocal Tenor Clef Plus Treble or Bass Clef 78 4 Harmonization 1-Handed Accompaniment 88 Sample 1-Handed Accompaniment Patterns 90 2-Handed Accompaniment 91 Sample 2-Handed Accompaniment Patterns 93 Primary Harmonization Preparation 94 Primary Harmonization Primer 95 Primary Harmonization 96 Primary Harmonization at Sight Primer 106 Primary Harmonization at Sight 107 Major Diatonic Harmonization Preparation 112 Major Diatonic Harmonization Primer 113 Minor Diatonic Harmonization Preparation 114

87

Detailed Contents

ix

Minor Diatonic Harmonization Primer 115 Diatonic Harmonization 116 Diatonic Harmonization at Sight Primer 126 Diatonic Harmonization at Sight 127 Chromatic Harmonization Preparation 132 Chromatic Harmonization Primer 133 Chromatic Harmonization 134 Chromatic Harmonization at Sight Primer 144 Chromatic Harmonization at Sight 145 5 Improvisation

150

Melody/Accompaniment Improvisation 151 Imitation of Musical Characteristics 151 Motifs, Phrases, and 4-Bar Phrase Structure 151 Harmony 152 Accompaniment Patterns 153 Moods 154 Root Position Chord Progressions 155 Closest Position Primary Chord Progressions 157 Diatonic Major Chord Progressions 159 Diatonic Minor Chord Progressions 160 “In the Style of” Improvisation 161 General/Classroom Music Improvisation 164 6 Blues Improvisation

166

Blues Scale 167 Blues Melody 168 Blues Harmony 169 Blues Progression 170 Improvisation Review 170 Sample Blues 170 Blues 1 172 Blues Walking Bass 173 Blues Progression Review 173 1-Bar Walking Bass Line Exercises 174 2-Bar Walking Bass Line Exercises 174 Blues 2 175 More Blues Harmony 176 Blues 3 177 7 Chorales 1 Hand Dyads, 1 Hand Repeated Note (Chorale 1) 180 1 Hand 5-Finger Pattern Dyads With 1 Note Moving (Chorale 1A) 180 1 Hand 5-Finger Pattern Dyads With Both Notes Moving (Chorale 1B) 181 1 Hand Beyond 5-Finger Pattern Dyads With Both Notes Moving (Chorale 1C) 182 Chorale 1C-Style Examples From Literature (Chorale 1D) 184 1 Hand Dyads, 1 Hand Moving Notes (Chorale 2) 186 1 Hand 5-Finger Pattern Dyads With 1 Note Moving (Chorale 2A) 186 1 Hand 5-Finger Pattern Dyads With Both Notes Moving (Chorale 2B) 187 1 Hand Beyond 5-Finger Pattern Dyads With Both Notes Moving (Chorale 2C) 188 Chorale 2C-Style Examples From Literature (Chorale 2D) 192

178

x

Detailed Contents Chorale Preparatory Exercises and Sample Soprano, Alto, Bass Reductions (Chorale 3) 196 Chorale Preparatory Exercises and Sample Melody/Chord Reductions (Chorale 4) 197 Chorale Excerpts 198 Full Chorale With Introduction, Reductions, and Notes 202 Creating Introductions and Reductions for Full Chorales 203 Full Chorales 204

8 Score Reading

212

Movable Clef Information 214 Alto Clef Reading 215 Tenor Clef Reading 217 Instrument Transposition Information 219 B♭ Instrument Reading 220 F Instrument Reading 222 Score Reading Information 224 Woodwind Trio – Finale, From Nonet, Op. 38 – Louise Farrenc 225 Woodwind Quartet – Concertino for Flute, Op. 107 – Cécile Chaminade 225 Woodwind Quartet – Prelude No. 5 – Amanda Röntgen-Maier 226 Woodwind Quartet – Jupiter, the Bringer of Jollity – Holst 227 Brass Quartet – Hail Columbia – Phile 228 Brass Quartet – Hino do Ceará – Alberto Nepomuceno 229 Full Band Score, Reduction, and Notes – Marcia No. 7 – Ponchielli 230 Full Band Score – America the Beautiful – Ward 234 High Voice Trio – November – Jessie Gaynor 237 High Voice Trio – March of the Women – Ethel Smyth 238 High Voice Trio – Fjárlin och Rosen, Op. 31, No. 1 – Laura Netzel 238 Low Voice Trio – A Knight’s Farewell – Johanna Kinkel 239 Low Voice Trio – Trinklied im Mai, D. 427 – Schubert 240 Full Choral Anthem, Reduction, and Notes – Now Is the Month of Maying – Morley 241 Full Choral Anthem – Boston – Billings 244 String Trio – Violin Concerto in D Minor – Amanda Röntgen-Maier 246 String Trio – String Quartet No. 3, SN5.7 – Alberto Nepomuceno 246 String Trio – Divertimento No. 4, K. 439b – Mozart 247 String Trio – Prométhée, Op. 21 – Leopoldo Miguez 248 String Trio – Waldnacht, Op. 23, No. 3 – Julius Eichberg 249 Full String Ensemble Score, Reduction, and Notes – Suite for Strings (III) – Janáček 250 Full String Ensemble Score – Pomp and Circumstance, Op. 39, No. 1 – Elgar 253 Additional Score Reading Resources 255 Band 255 Choral 255 Strings 255 General 256 9 Accompaniment Additional Accompaniment Repertoire 259 Maid of the Mist Original – Herbert L. Clarke 263 Maid of the Mist Reduced 264 Reduction Explanation and B♭ Instrument Part 265 Minuet (Dance of the Blessed Spirits) – Gluck 266 Minuet (Dance of the Blessed Spirits) Reduced and Explanation 268 C Instrument Part 270

257

Detailed Contents

xi

An Die Musik, D. 547 Original – Schubert 271 An Die Musik, D. 547 Reduced 272 Reduction Explanation, C Instrument Part, and Viola Part 273 El Sueño Importuno Original – Juan Pedro Esnaola 274 El Sueño Importuno Reduced and Explanation 278 Sonata No. 1 in F Major, Op. 2, No. 1, 4th Movement, Original – Marcello 282 Sonata No. 1 in F Major, Op. 2, No. 1, 4th Movement, Reduced 284 Marcello Reduction Explanation and Le Beau C Instrument Part 286 Marcello C Instrument Part 287 Elegie, Op. 44 – Luise Adolpha Le Beau 288 Reduction Suggestions 289 Ride, ride, Ranke, Op. 52, No. 2 – Agathe Backer Grøndahl 290 Grøndahl and Browne C Instrument Parts 291 The Reply of the Messenger Bird – Augusta Browne 292 Chanson, From 6 Nouvelles Mélodies – Clémence de Grandval 294 C Instrument and Viola Parts 297 Arioso From Cantata, BWV 156 – J. S. Bach 298 Bass Clef C Instrument Part 301 B♭ Instrument Part 302 F Instrument Part 303 E♭ Instrument Part 304 PART II

Repertoire

305

10 Solo Repertoire

307

Additional Solo Repertoire 307 Easier Solo Repertoire List 307 Minuet, From Suite in D Minor – Élisabeth Jacquet de la Guerre 309 Tambourin, Op. 2, No. 7 – Elisabetta de Gambarini 310 Allegro Tranquillo From Sonatina No. 1 (I) – Hedwige Chrétien 311 Rondo From Sonata, Op. 2, No. 4 – Jane Savage 312 Étude, Op. 50, No. 1 – Louise Farrenc 314 Manhas e Reproches, No. 5 From 12 Peças Características, Op. Post. – Leopoldo Miguez 316 A Joyous Moment, From Tableaux Pour Enfants, Op. 37, No. 4 – Rebikov 318 Slovakian Boys’ Dance, From 10 Easy Pieces, Sz. 39, No. 3 – Bartók 320 More Difficult Solo Repertoire List 322 Prelude in C Minor, BWV 999 – J. S. Bach 324 La Joyeuse, From Suite in D Major, WCT 3 – Rameau 326 Sonatina No. 3 in A Minor – Benda 328 Rondo, From Sonatina in G Major, Op. 151, No. 1 – Diabelli 330 Marche Russe, Op. 123, No. 12 – Cécile Chaminade 332 Étude No. 19 – Hélène Montgeroult 334 A Little Slow Waltz, Op. 11, No. 3 – Carl Nielsen 336 Berceuse, From Pezzi Infantili, Op. 35, No. 10 – Casella 338 11 Duet Repertoire Additional Duet Repertoire 340 Berceuse, Op. 14, No. 2 – Hannah Smith 342

340

xii

Detailed Contents Mysterious Story, Op. 57, No. 2 – Kirchner 344 Twilight, From Summer Dreams, Op. 47, No. 3 – Amy Beach 346 The Swing, From Pieces at Twilight – Foote 348 Allegro, From Duettino in C Major, WO 24 – Clementi 352 Valse Espagnole – Mel Bonis 360

12 Ensemble Repertoire

366

La Morisque and Bergrette From Danseyre – Susato 366 La Cucaracha – Mexican Folk Song 368 God Rest Ye Merry Gentlemen – English Melody 370 Aloha ‘Oe – Queen Liliʻuokalani 372 Dance of the Sugar Plum Fairy, From The Nutcracker, Op. 71 – Tchaikovsky 374 Kumbaya – Spiritual 376 The Teddy Bears’ Picnic – Bratton 378 Peacherine Rag – Scott Joplin 380 Prelude, Op. 15, No. 4 – Marion Bauer 382 Spring (I), From the Four Seasons, RV 269 – Vivaldi 383 Appendix: Musical Examples Bibliography Index

386 393 396

Preface

This book strives to build thoughtful, independent, and versatile musicians who enjoy using the piano confidently and sensitively in most situations they will encounter. The primary intended audience is nonpiano music majors in undergraduate class piano courses, though piano teachers will find the material valuable in other situations as well. Though no prior piano background is required, the book assumes some prior musical training. Some familiarity with the following concepts is helpful: • • • •

Pitch identification in treble and bass clefs Rhythmic values and time signatures Major and minor keys, key signatures, and the circle of fifths Interval and triad qualities

Students with prior piano training will also beneft from developing the skills in this book. This book features: •

•

• • •

Introductions to each section featuring “whys,” “whats,” and “hows.” The “whys” explain the values of each section. The “whats” include section objectives and a brief overview of the material itself. The “hows” outline specific teaching and practicing tips. Flexibility for teachers and fewer distractions for students through its organization. Rather than progressing in sequential chapters, the book contains sections devoted to specific keyboard skills, each of which generally increase in difficulty. Additionally, much of the pedagogical text is separate from the musical material. This allows teachers to use the music in multiple ways, and creates fewer distractions on the page, helping students better focus on the music. Extensive instruction in the chorale, score reading, and accompaniment sections in developing students’ ability to “fake;” that is, to reduce difficult music into something more manageable. More than 400 sightreading, transposition, and score reading examples and 125 harmonization melodies composed, arranged, and organized by the author. A wide range of music not seen in similar textbooks.

Acknowledgements • • • •

To my graduate assistants and adjunct instructors, for their willingness to ask questions, share thoughts, and impressive, quick pedagogical growth. To my students, for their feedback, energy, and substantial musical and personal growth. To my wife, for her faithful empathy, patience, and wisdom. To Martha Hilley – hugs!

Introduction

Keyboard Skills Why develop keyboard skills? • • • • • • • • • •

•

Provides additional experiences listening to, speaking about, and making music. Builds unique, meaningful musical communities centered around shared growth. Supports concepts learned in music theory, ear training, private lessons, methods classes, and ensemble courses. Fosters abilities frequently used in a wide range of music-related professions. Encourages routines of regular attendance and practice vital to improvement. Cultivates healthy performance mindset through frequent assignments. Presents occasions to connect with influential teachers, mentors, and musicians. Creates opportunities to empathize with beginning students of any instrument. Provides a foundation for future piano and other secondary instrument learning. Highlights the importance of a wide range of piano skills. This is especially important for those who already have significant piano background since prior training may not have included work with these skills. Accentuates the importance of learning how to learn.

What are the materials included in this book to develop keyboard skills? •

Introductions that include: • • • •

• • • • •

Rationales for the material Objectives for each section Suggestions for expansions of the material Teaching and learning strategies for the material

Musical building blocks, such as scales and chords. Application of these materials in sightreading, transposing, harmonizing, and improvising activities. Band, choir, and orchestral scores and reductions. Original and reduced accompaniments for a wide range of instruments and voice types. Solo, duet, and ensemble repertoire.

How can you effectively learn keyboard skills? • • • • • •

Build and maintain a positive attitude toward skills, progress, and classmates. Play the piano only while the teacher or other students are not speaking. Use good posture by sitting tall and toward the front of the piano bench. Keep your feet on the ground, to prepare for using the pedal. Participate fully in individual work, small groups, and entire class activities. Write down helpful information immediately, such as assignment specifics. DOI: 10.4324/9781003055044-1

2

Introduction •

Verbally count off 2 measures before starting assignments and full class exercises, except for repertoire, accompaniments. This routine: • • •

Provides additional time to settle nerves before beginning to play. Connects the internal tempo with the actual performed tempo. Offers practice starting an ensemble together.

Effective Practicing Fundamentals • • • • • • •

Commit to consistent, thoughtful time each week. Keep a neat and organized area around the piano. Sit tall with the feet on the ground and the body an appropriate distance from the piano. Use a good instrument and bench. Prepare all necessary equipment before starting, such as music, a writing utensil, and a metronome. Live healthy by eating well, resting sufficiently, and engaging in activities that support good mental health. Warm up physically and mentally before beginning.

What Are Some Ways to Practice? • • •

Listen to recordings of the music. Repeat a short section many times, resting and reflecting briefly after each repetition. Repeat a short section and reduce the difficulties: • • • •

•

Repeat a short section and address the tempo: • •

•

Play staccato, legato, or somewhere in between. Experiment with 2-note slurs.

Repeat a short section and solidify it: • •

• • • • • • •

Play louder or softer overall. Add a crescendo or decrescendo. Use or omit the pedal.

Repeat a short section and vary the articulation: • •

•

Go slower or faster. Practice with and without the metronome.

Repeat a short section and listen to the sound: • • •

•

If there are broken chords, block them. Clap or tap complicated rhythms. If there are lots of notes, play them correctly, without worrying about the tempo. As much as possible, practice both hands together.

Play short passages forward (left to right) and backward (right to left). Play short passages with eyes away from the hands.

Repeat a difficult section or transition, rather than always starting from the beginning. Sing or speak the solfège before playing. Write in helpful information, such as fingerings, Roman numerals, or lead sheet symbols. Talk through practice techniques before doing them or reflect on repetitions after completing them. Make recordings, then listen to them. Ask someone nearby to listen. Consistently vary both what to practice and how to practice, to stay focused, find effective practice techniques, and build long-term retention.

Introduction

3

If There Is a Mistake • • • •

Unless working on sightreading or transposition, stop! Name the mistake – wrong note, wrong rhythm, or something else. Work on the mistake. If there are multiple problems, work on 1 problem at once.

If There Does Not Seem to Be a Mistake • •

Great! The work has just begun. Practice making the passage better – clearer dynamics, faster tempo, greater comfort, etc.

Why So Many Repetitions? • • •

Improves ability to play under pressure. Improves ability to play similar and more difficult items. Reinforces good playing.

Projects Why complete projects? • •

Allows for a more individualized and varied curriculum. Promotes opportunities for: • • • •

Independent learning Exposure to new musical styles Deeper appreciation for musical styles Collaborating with others

What are project assignments? •

Many sections of this book feature ideas for projects. Some of them are extensions of the material already in the book. Other suggestions involve finding music outside of the book. Feel free to vary or add to the directions.

How can you best learn projects? •

Create a proposal. • • •

• •

It may be helpful to contact a mentor, such as a former or current conductor or private teacher, for guidance on what might be beneficial or interesting. Work with the teacher to set deadlines for completion of tasks, checkpoints to ensure progress, a grading rubric, and other logistics as needed. Depending on need and interest, do projects individually, in groups, as a class, or amongst multiple sections of the same class.

Demonstrate regular preparation throughout the timeframe of the assignment through practice videos, check-in meetings, or written reflections. Complete the project as discussed and, if arranged in advance, write a reflection on the performance and the process.

Part I

Skills

1

Keyboard Theory

Why study keyboard theory? • • • •

Increases understanding of concepts such as intervals, triads, keys, chords, and chord progressions. These principles are important building blocks for a great deal of music. Introduces common terminology for keyboard theory concepts. Emphasizes the importance of understanding the structure of music before playing it. One way to do this is to verbally spell the notes of chords before playing them. Helps perform, sightread, transpose, harmonize, and improvise music more easily.

What are the objectives of this section? •

• •

Introduce and review core musical concepts, including note identification, octave placement, piano fingering, intervals, scales, the circle of fifths, triads, seventh chords, inversions, musical textures, Roman numerals, closest position chords, and voice leading. Spell and play primary, diatonic, and chromatic chord progressions, using standard voice leading principles. Learn about and play musically scales, broken chords, and arpeggios. See the introductions to these sections for more specific information.

How can you begin to effectively learn keyboard theory? •

Develop speed in identifying the core musical concepts early in this section, such as note identification, intervals, scales, chords, and Roman numerals. • •

•

Practice spelling the notes of scales in various major and minor keys. Practice spelling major, minor, and seventh chords in root position away from a piano.

Ask questions when things are unclear or different than expected. This is true throughout the book, but especially here, since terms and ideas introduced in this section may vary among teachers, students, and textbooks.

DOI: 10.4324/9781003055044-3

8

Skills

Grand Staff Piano Map and Finger Numbers

Keyboard Theory 9 Note Identification and Octave Placement The previous page shows the notes on the staff and their location on the piano. It also displays the way to name the same note in different octaves. For example, Middle C is C4 and the next C higher is C5. When verbally identifying individual notes, name both the pitch and the appropriate octave for accuracy and clarity. A note is incorrect if it is in the incorrect octave. Intervals An interval is the distance between 2 notes. One way to find the size of an interval is to count letters. For example, C to F is a 4th. C# to F# is also a 4th. C D E F ↕ ↕ ↕ ↕ 1

2

3 4

An interval can be major, minor, perfect, augmented, or diminished. For example, C up to E♭ is a 3rd. More accurately, it is a minor 3rd. Example 1: C to E♭: minor 3rd interval

Another way to name major and minor 2nds is whole steps and half steps, respectively. Scales A scale is a sequence of whole steps and half steps. Scales start on all twelve pitches. The circle of fifths shows all of the major and minor keys. Starting on C and going clockwise adds 1 sharp. Starting on C and going counterclockwise adds 1 flat.

10

Skills

Major and Minor 5-Finger Patterns Five-finger patterns are a common way to demonstrate familiarity with half steps and whole steps and more deeply learn the first 5 notes of major and minor keys. Create major 5-finger patterns by starting on any note, then playing up a whole step, up another whole step, up a half step, then up a whole step, as shown below. In the C major 5-finger pattern, “1” is a whole step and “½” is a half step.

Create minor 5-fnger patterns by starting on any note, then playing up a whole step, up a half step, then up a whole step, then up another whole step, as shown below.

There are 5-fnger pattern exercises in the sightreading section of this book. Triads A triad is a 3-note chord. Instead of the 2nds used in 5-finger patterns, triads use 3rds. There is 1 3rd from the lowest note to the middle note, and 1 from the middle note to the highest note. For example, the notes G, B, and D are a triad. More specifically, G, B, and D are a G major triad and G, B♭, and D are a G minor triad. Different kinds of triads have different types of 3rd intervals between each note.

Keyboard Theory

11

Roman Numerals – Major Keys Build chords in major keys by stacking 3rds on top of each note of the scale. The name of each chord comes from where its lowest note is in the scale. Example 2: C major scale, numbered and with solfège syllables

Roman numerals are a common way to label chords. Example 3 shows that major triads use uppercase Roman numerals. Minor triads use lowercase Roman numerals. Diminished triads use lowercase Roman numerals and the symbol ˚. Example 3: Chords in C major

Names for Common Chords The 3 most common harmonies in this book are I, IV, and V. Another name for the I chord is tonic, another name for the IV chord is subdominant, and another name for the V chord is dominant. Roman Numerals – Minor Keys Most of the time in this book, the I chord in minor keys is minor, the iv chord is minor, but the V chord is major. The pitches for these chords come from the notes of the harmonic minor scale. If helpful, review the information about harmonic minor scales later in this book. Example 4: Key of A minor, harmonic minor scale

Example 5: Chords in A minor

12

Skills

Playing Chords There are 2 common ways to play chords in this book (Table 1.1). In Keyboard Style, the right hand (RH) plays the chord, and the left hand (LH) plays a bass note. The second way is Melody with Accompaniment, which is the reverse of Keyboard Style. Play examples 6 and 7, using fingers 1, 3, and 5 for the triads. Table 1.1 Two Ways to Play Chords

Example 6: Keyboard Style (3 RH + 1 LH)

Example 7: Melody with Accompaniment (1 + 3)

Model for Learning Tonic, Dominant, and Subdominant Chords

Keyboard Theory

13

Triad Terminology and Inversions Inversions occur when the notes of a chord are rearranged in different orders. Listen to the chords in Examples 9–11 while learning about them. Root position triads occur when the root of the chord is the lowest note. There are no numbers added to the Roman numeral when labelling it. For example, in a C major triad, C is the root of the chord, E is the 3rd of the chord, and G is the 5th of the chord. When C is the lowest note, then the chord is in root position. Example 9: Root position C major

First inversion triads occur when the 3rd of the chord is the lowest note. Use a superscript 6 when labelling them, as 6 is the distance from the bass to the root of the triad. Example 10: 1st inversion C major

Second inversion triads occur when the 5th of the chord is the lowest note. Label them with superscript 6 and 4. These intervals are the distance from the bass to the other notes in the triad. Example 11: 2nd inversion C major

14

Skills

Fingerings for Triads and Inversions After understanding the theory and hearing the sounds of inversions, practice playing them, hands separately, using the fingerings below. As a reminder, root position triads use fingers 1, 3, and 5 in both hands. Example 12: C major 1st inversion triads, keyboard and staff views

Example 13: C major 2nd inversion triads, keyboard and staff views

Certain triads and inversions look and feel the same on the piano. For example, the root position triads of both D major and G minor have black keys in the middle. Visualizing and/or writing down the white and black key patterns for each chord can help with playing Example 14. Model for Spelling and Playing Keyboard Style Triads and Inversions Using the model in Example 14, spell the I chord in root position, then play it in all keyboard style combinations. Start very slowly and build to a goal tempo. Example 14: Model for spelling and playing keyboard style triad and inversions

Keyboard Theory

15

7

Dominant Seventh (V ) Chords Dominant seventh chords are very common in tonal music. V7 is more frequently observed in classical music than regular V because the extra note makes the chord sound even more strongly like it is going to the I chord. Dominant seventh chords consist of a V chord plus an additional note on top. The additional note is a 7th above the root of the chord. Because of this interval of a 7th, label them V7, not just V. To find the notes of a dominant seventh chord, begin by walking up from the key note to the dominant or fifth note of the scale. This is the root of the V7 chord. Then, stack intervals of a 3rd to create a 4-note chord. Another way to find the notes of a dominant seventh or V7 chord is to use solfège syllables. The solfège syllables for the V7 chord are sol, ti, re, and fa. See Example 15. Example 15: Solfège syllables and pitches for the V7 chord in C major

Like triads, there are inversions of dominant seventh chords. Superscript numbers indicate intervals from the bass note to other notes in the chord. In Example 16, the superscript 65 (called “six-fve”) indicates the intervals from B to G (6th) and B to F (5th). The superscript 43 (called “four-three”) indicates the intervals from D to G (4th) and D to F (3rd). The superscript 42 (called “four-two”) indicates the intervals from F to B (4th) and F to G (2nd). Example 16: C major dominant seventh chord and inversions

Omit the 5th of the V 7 When playing V7 in this book, omit the 5th of the chord. In other words, play only the root, 3rd, and 7th of the chord, or sol, ti, and fa. Leaving out the 5th makes the chord easier to play. Even though it has only 3 notes now, spell all 4 notes of the V7 in chord progressions.

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Fingerings for Dominant Seventh Chords (V7) and Their Inversions Example 17: Root position V7, keyboard and staff views

Example 18: 1st inversion V7, keyboard and staff views

Example 19: 3rd inversion V7, keyboard and staff views

Model for Spelling and Playing Dominant Seventh Chords and Their Inversions Using the model in Example 20, spell all four notes of the V7 chord, then play it in all keyboard style combinations. Start very slowly and build to a goal tempo. Example 20: Model for spelling and playing dominant seventh chords and their inversions

Keyboard Theory 17 Introduction to Chord Progressions With Closest Position Chords I and V7 are the 2 most common chords in tonal music. The previous sections explained how to learn these chords individually. This part will describe how to practice them in chord progressions. The chord progressions in this book are in keyboard style, meaning the RH plays chords and the LH plays single notes. The RH can start in 1 of 3 different shapes, as shown in Example 21. Example 21: C major I chord in keyboard style, all 3 starting shapes.

After the initial chord, play the rest of the RH chords in closest position. Closest position means keeping the notes that stay the same in the same position from 1 chord to the next. In other words, closest position means moving only the notes that change from 1 chord to the next. There are 2 big reasons for playing closest position chords. First, they are common in piano music. Second, they are physically easier to play than jumping between chords. Chords With 1 Note in Common: I to V 7 Under most circumstances, if there is 1 note in common between 2 chords, that note will stay in the same place. If it is the top note in the first chord, it will remain the top note in the next chord. See Example 22. Example 22: Notice that the G stays the same on the top of both chords.

If it is the middle note in the frst chord, it remains the middle note in the next chord. See Example 23. Example 23: Notice that the G stays the same in the middle of both chords.

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If it is the bottom note in the frst chord, it remains the bottom note in the next chord. See Example 24. Example 24: Notice that the G stays the same on the bottom of both chords.

Chords With 1 Note in Common: I to IV Apply the information above by writing out I to IV in closest position. Then, practice these examples in a wide range of major and minor keys. Example 25: RH starts with C major, root position

Example 26: RH starts with C major, 1st inversion

Example 27: RH starts with C major, 2nd inversion

Suggestions for Learning Chord Progressions • • • • • •

Verbalize the number of notes that 2 chords have in common. Describe how the RH moves between 2 chords in a progression. Start at the end of the chord progression and work backwards. Arpeggiate chords to hear chord qualities more clearly and develop the ability to play the top note of the RH louder than the other notes. Sing each note of a chord to acquire stronger vocal intonation and audiation skills. Omit the spelling of each chord to focus on playing the chords more easily. Start with 4 beats per chord, then gradually speed up.

Keyboard Theory 19

Primary Chord Progressions Spell and play the following chord progressions in different keys, using the model. Spell all chords in root position, regardless of where the RH starts. Model for Spelling and Playing Closest Position Chord Progressions Example 28: Primary chord progression 1 (Table 1.2), C major, RH starting with root position.

This staff paper is for practice.

Table 1.2 Primary Chord Progressions Major Progressions 1. 2. 3. 4. 5.

I V7 I I IV I IV V7 I IV I V7 I I IV V7 I

Minor Progressions 1M. 2M. 3M. 4M. 5M.

i V7 i i iv i iv V7 i iv i V7 i i iv V7 i

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Introduction to Diatonic Chord Progressions Diatonic chord progressions use all of the triads and seventh chords from the major or minor scale, such as I, ii, iii, IV, V, vi, and vii˚, as well as their inversions. The following information introduces how to learn progressions using these chords. Chords With 2 Notes in Common Under most circumstances, where there are 2 notes in common, they remain in the same place between the 2 chords. For example, if the 2 notes in common are the bottom 2 notes in the first chord, they remain the bottom 2 notes in the next chord. Example 29: Notice that the C and E remain the bottom 2 notes in both chords.

Practice this concept using Progressions 1–6, 1M, and 6M of Diatonic Chord Progressions. Since progressions 7, 8, and 8M are common in popular music, play these chords in whatever way is most comfortable or sounds the best in context. Chords With 0 Notes in Common Under most circumstances, if there are 0 notes in common, all notes in the second chord move. As a result, the second chord will have a different shape than the first chord. In most cases, this means that the second chord moves in the opposite direction of the bass. Example 30: Notice the LH bass moves higher, and the RH notes all move lower. Also, the first RH chord is in root position, and the second chord is not.

Practice this concept using Progression 9 of Diatonic Chord Progressions.

Keyboard Theory

21

Minor Minor Seventh Chords Minor minor seventh chords consist of a minor triad plus an additional note. The additional note is a 7th above the root of the chord, staying within the original key. Example 31: Minor minor seventh chords in C major

The solfège syllables for ii7 are re, fa, la, and do. The superscript numbers for inversions of the ii7 are exactly the same as those for V7. Practice minor minor seventh chords using Progression 10 of Diatonic Chord Progressions. Introduction to Chord Progressions With Inversions One way to understand chord progressions is to think of each note as a voice – soprano, alto, tenor, and bass. Notice how each voice moves, or leads, to the next chord. In general, each voice moves as small of an interval as possible. In Example 32, between the first and second measures, the bass moves up a 5th, the tenor moves down a half step, the alto moves up a half step, and the soprano stays the same. Example 32: Voices moving

Some notes, called tendency tones, are more likely to go to specifc notes. For example, in most cases ti goes up to do and fa goes down to mi, as they do in Example 32 above. Doublings In each of the chords depicted in Example 32, 1 note appears twice. For example, in the first chord, there are 4 notes – a G in the soprano, an E in the alto, then 2 C’s. This means the C is doubled. C is the root of the chord, so in other words, the root is doubled.

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When NOT to Omit the 5th Earlier, the book discussed omitting the 5th of the V7 chord. This makes the chord easier to play and simplifies correct voice leading. There are 2 exceptions. • •

Do not omit the 5th of the V7 chord when the chord is inverted. In other words, play all 4 notes when playing an inverted V7 chord. This simplifies the voice leading. Do not omit the 5th from any minor minor 7th chords in this book, regardless of the inversion. This preserves the unique sound of these chords and simplifies voice leading. See Example 33.

Example 33: 4-note chords in C major

Practice these concepts using Progressions 11–13, 2M-5M, and 11M-13M of Diatonic Chord Progressions. Avoiding Voice Leading Errors Thinking of each note of a chord in a progression as a voice can help better identify errors learned in music theory classes, such as parallel 5ths and octaves. One reason to avoid these errors is because it makes those voices harder to sing in tune. Voice leading problems are more likely to occur when doubling a note other than the root of the chord. Example 34: Play the following 2 examples of parallel octaves (Table 1.3), then play correct versions. Table 1.3 Examples of Parallel Octaves

Here are 3 more approaches to help prevent voice leading errors: • • •

Play the chords where problems may exist, listening for potential issues. Change the RH inversion or LH bass to see if this creates a better situation. Play or write chords intentionally incorrect to see if there are any mistakes.

Keyboard Theory 23

Diatonic Chord Progressions Spell and play the following chord progressions in different keys (Table 1.4). Use the staff paper for practice.

Table 1.4 Diatonic Chord Progressions Major Progressions Introduction to Diatonic Harmonies Chords with 2 common tones 1. 2. 3. 4. 5. 6.

I vi IV V7 I I IV ii V7 I I vi ii V7 I I vi IV ii V7 I I vi IV ii V V7 I I iii vi ii V7 I

Minor Progressions iio is not typically seen in root position in minor keys, hence the adjustment below 1M. i VI iv V7 i 2M. i IV iio6 V7 i 3M. i VI iio6 V7 i 4M. i VI iv iio6 V7 i 5M. i VI iv iio6 V V7 i 6M. i III VI iv V7 i

Progressions common in popular music 7. I V vi IV 8. vi IV I V

8M. i VI III VII

Chords with 0 common tones 9. I ii V7 I Introduction to minor minor seventh chords 10. I vi IV ii7 V7 I Introduction to inversions 6

6

11. V5 I

11M. V5 i 6

12. I V 43 I6 IV I4 V7 I 6

6

12M. i V 43 i6 iv I4 V7 i Ø6 5

13. I ii5 V7 I

13M. i ii

V7 i

Canon in D 6 14. I V vi iii IV I ii5 V7 I

minor Canon in D Ø6 14M. i V VI III iv I ii 5 V7 i

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Introduction to Chromatic Harmony Chromatic chords contain notes outside of the major and minor scales. The next chromatic chords all function as predominants, meaning that they lead toward dominant harmonies. The following information introduces how to understand these chords and play them in progressions. Secondary Dominants are dominant seventh chords “borrowed” from closely related keys. Their labels start with V7, then a slash (/), then the Roman numeral of the borrowed key. For example, consider V7/ii. It is both a V7 chord if the ii chord was the i chord instead, or a V7 chord starting a perfect 5th higher than the root of the ii chord. Practice these chords using Progressions 4–11 of Chromatic Chord Progressions. Mode Mixture occurs when chords typically found in a major or minor key are present in the parallel minor or major key. For example, mode mixture chords in C major have notes from C minor in them, primarily flat 6 (A♭, or solfège syllable le) and flat 3 (E♭, or solfège syllable me). Neapolitan chords are a special kind of mode mixture built on the lowered second scale degree. They are typically major chords in first inversion. In C major, the root of this chord is D♭, or solfège syllable ra. Practice these chords using Progressions 12–17 of Chromatic Chord Progressions. This book encourages thinking of Augmented Sixth Chords using solfège syllables. •

Italian Augmented Sixth Chord (It.+6): Le Do, Fi •

• •

French Augmented Sixth Chord (Fr. +6): Le, Do, Re, Fi German Augmented Sixth Chord (Ger.+6): Le, Do, Ri/Me, Fi •

•

When playing the French and German Augmented Sixth Chords, include all 4 pitches.

In all 3 chords: • • •

•

When playing this chord, double the do. This ensures that there are 3 pitches in the RH and helps avoid potential voice leading errors.

Le goes down to sol and fi goes up to sol in the next chord. The bass note is in the LH. The arrangement of the other notes depends on the voice leading.

When spelling these chords, begin with the bass note.

Practice these chords using Progressions 18–19 of Chromatic Chord Progressions. When practicing the chord following progressions: • • •

Spend significant time spelling the chords. Review the information on voice leading earlier in this section. Write out portions of following chord progressions to look for voice leading issues.

Keyboard Theory 25

Chromatic Chord Progressions Spell and play the following chord progressions in different keys (Table 1.5). Use the staff paper for practice.

Table 1.5 Chromatic Chord Progressions Major Progressions

Minor Progressions

Diatonic Chord Progressions Review 1. I vi IV V7 I 2. I IV ii V7 I 3. I vi ii V7 I

1M. i VI iv V7 i 2M. i iv iio6 V7 i 3M. i VI iio6 V7 i

Secondary Dominants 4. 5. 6. 7. 8. 9. 10.

I V7/V V7 I I V7/IV IV V7 I 6 I V7/vi vi IV I4 V7 I 7 7 I vi V /ii ii V I I vi V7/V V7 I I vi ii V7/V V7 I 6 I V5/ii ii V7 I

4M. i V7/V V7 i 5M. i V7/iv iv V7 i 6 6M. i V7/VI VI iv i4 V7 i 9M. i VI V7/V V7 i 6

6

6

6

11. I V 43 / vi vi V 43 / IV IV V5 / V I4 V7 I

11M. i V 43 / VI VI V 43 / iv iv V5 / V i4 V7 i

Modal Mixture and Neapolitan Chords

Example 14M shows alternative notation for N6

7

12. I iv V I Ø6 13. I ii 5 V7 I 14M. i ♭II6 V7 i

14. I N6 V7 I 15. I ♭VI iv V7 I Ø6 16. I ♭VI iv ii 5 V7 I 17. I ♭VI iv N6 V7 I Augmented Sixth Chords 6

6

18. I aug6 I4 V7 I 19. I V 42 / IV IV6 aug6

18M. i aug6 i4 V7 i 6 I4

V7 I

6

19M. i V 42 / iv iv6 aug6 i4 V7 i

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More Keyboard Theory

Why learn scales? • • • •

Develops the important pianistic gestures of shifting the thumb under and rolling fingers over the thumb. Provides practice for similar passages later in this book. Promotes a valuable teaching tool for working with students on non-piano instruments. Introduces a skill that appears on some graduate entrance exams.

What are the objectives for this section, and what are some suggestions for related projects? •

Objectives: •

Comfort with 1 hand playing major and minor scales while the other hand plays an ostinato. •

•

Scales played with: • • •

•

An ostinato is a repeating musical pattern. There are examples later in this section.

Clear dynamics, articulation, and appropriate balance between the hands A healthy physical approach Correct notes, fingering, and steady tempo

Suggestions for related projects: • •

Create and write out a new ostinato, then share with the class if desired. Learn to play modal, whole-tone, and octatonic scales.

How can you effectively learn scales? •

Understand correct notes: •

To avoid trial and error, verbally identify the key signature, specific black keys, or solfège for each scale before beginning. • • • •

•

Major scales consist of whole step (W) and half step (H) intervals in the following pattern: WWH W WWH. Natural minor scales use the same pitches as their relative major, starting on the sixth scale degree. Harmonic minor scales use the same pitches as natural minor, except for the seventh scale degree, which is raised 1 half step. Melodic minor scales use the same pitches as natural minor, except for the sixth and seventh degrees, which are raised 1 half step on the way up. Melodic minor is identical to natural minor when descending.

Understand correct fingerings: • •

Traditional scale fingerings do not use thumbs on black keys. The fingerings in the following examples are for 2-octave scales. It may be helpful to briefly try a 1-octave scale but move to 2 octaves as soon as possible. Playing 2 octaves promotes deeper learning of the objectives listed previously.

DOI: 10.4324/9781003055044-4

More Keyboard Theory •

Learn fingerings in groupings. • •

•

27

One way to learn the fingering for D♭, G♭, and B major scales is play 2-black-key groups using a sign language “V” and 3-black-key groups using a sign language “W.” The spaces between finger numbers below show groupings of fingers.

Remove the notation to learn the fingerings. Read the following fingerings left to right when ascending and right to left for descending.

D♭ Major (2 Octaves) RH - 23 1 234 1 23 1 234 1 2 LH - 32 1 432 1 32 1 432 1 2

G♭ Major (2 Octaves) RH - 234 1 23 1 234 1 23 1 2 LH - 432 1 32 1 432 1 32 1 2

C, D, E, G, A Majors and Minors (2 Octaves) RH - 123 1234 123 12345 LH - 54321 321 4321 321 •

Use effective and varied practice techniques: • • • • • • •

• • • • • • •

Play do up to fa or do down to sol, then pause to check for correct fingering. Play do up to ti or do down to re, then pause to check for correct fingering. Practice just 1 direction of the scale – up or down. Say the note names or finger numbers while playing. Sing the solfège of each note while playing. Practice with a metronome or a fun percussion beat at a variety of tempi. Practice with the eyes up, not looking at the hands, or with eyes closed. This activity promotes feeling the physical distance between notes, a skill helpful when sightreading examples involving scales. Practice starting at the top of the scale, going down, then coming back up. Select a volume level before playing, or crescendo 1 direction and decrescendo the other direction of the scale. Vary the ostinato. Examples 3 and 4 provide 2 possibilities. Vary the articulation by playing the staccato or with 2-note slurs. Vary the rhythm. Two good ways to do this are to play the scale in dotted rhythms or in groupings. Examples 5 and 6 provide 2 possibilities. Vary the notes. Two good ways to do this are to repeat each note twice or to move 1 or both of the hands higher or lower by 1 octave. Practice scales in potential real-world contexts, such as: • Standing up, to simulate leading a classroom. • Playing the scale in 1 hand while conducting or using Curwen hand signs in the other.

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Scale With Ostinato

More Keyboard Theory

Scale Fingerings

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More Keyboard Theory

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Broken Chords and Arpeggios Why learn broken chords and arpeggios? •

• •

Provides context to learn movements common in piano music, such as playing 3rds and 4ths, using fingers on non-consecutive notes, shifting the thumb under the other fingers, and rolling fingers over the thumb with larger intervals. Promotes a valuable teaching tool for working with students on non-piano instruments. Introduces a skill that appears on some graduate entrance exams.

What are the objectives for this section? •

Comfort playing major and minor broken chords and arpeggios with: • • •

Clear dynamics and appropriate balance between the hands. A healthy physical approach. Correct notes, fingering, and steady tempo.

How can you effectively learn broken chords and arpeggios? •

Use varied practice techniques similar to those used with scales: • • • •

• •

Practice just 1 direction – up or down. Practice starting at the top, going down, then coming back up. Practice with a metronome or a fun percussion beat at a variety of tempi. Practice with the eyes up, not looking at the hands, or with eyes closed. This activity promotes feeling the physical distance between notes, a skill helpful when sightreading examples involving broken chords. Select a volume level before playing, or crescendo 1 direction and decrescendo the other direction of the scale. Vary the rhythm. One good way to do this is to use dotted rhythms.

Broken Chords

More Keyboard Theory

Arpeggios C major (Same fingerings for D, E, F, G, and A majors/minors, as well as C, B, and E♭ minors)

B major (Same fngerings for F# major)

D♭ major (Same fngerings for E♭ major, C# minor, F# minor, A♭ major, and A♭ minor)

B♭ major (Same fngerings for B♭ minor)

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Choral Warmups Why learn choral warmups? • • •

Improves keyboard geography, including getting used to thumbs on black keys and learning to play correctly in all keys. Underlines the importance of a rounded hand shape to comfortably play on both white and black keys. Develops a skill many choir directors and voice instructors utilize for all ages and levels of vocal pedagogy.

What are the objectives for this section? • •

Comfortably play choral warmups in all keys, at an appropriate tempo, with the same musical intent as the vocalists singing them. Discover ways to provide harmonic and rhythmic support instead of playing every single sung pitch when necessary.

How can you effectively learn choral warmups? •

General practice tips: • • • • •

•

Before starting, verbally review scale intervals and chord common tones to reduce the number of pitch errors. Focus on the keys that need the most work, such as black keys and B major. Repeat keys multiple times to develop comfort with the hand position and location of black keys. Start with a slow tempo and build to an appropriate singing tempo for each exercise. Start from any key and go up or down from that point.

Tips for developing the ability to play warmups with more musical intent: •

Sing examples before or while playing them. • •

• • • • • • •

Use full breaths and sing with as much confidence and beauty as possible. Adjust the octave of the singing to avoid vocal strain.

Vary articulations to keep the practice interesting and to match the lengths the vocalists will use. Use a full sound, since developing singers may need to sing out and choir rooms can be loud places. This will likely mean using pedal on longer note values. Change the volume to reflect the way vocalists would sing. To prepare for using warmups with larger groups or more active students, practice playing these examples while standing up.

Some warmups are not easy to play on the piano. See examples 7 and 8 later in this section for ideas on how to reduce the number of notes to play. Create new warmups or play other effective examples. Play the warmups confidently.

More Keyboard Theory

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3

Sightreading and Transposition

Why learn to sightread and transpose? • • • • • •

Creates opportunities to visually identify fundamental musical concepts. Connects the concepts of intervals, keys, and chords to piano music and vice versa. Develops ability to execute melodies in both hands (BH) or melody in the RH and chords in the LH. Underlines the importance of playing consistently without stopping, correcting, or slowing down, regardless of the potential presence of missed notes. Highlights the concept of approximating music, rather than always mastering every note. Transposition: • • •

•

Reinforces the principle of reading intervals and chords instead of single pitches. Increases physical, in addition to visual, sense of key at the piano. Provides experiences similar to those of instrumentalists who transpose music for their primary instrument.

Encourages lifelong music learning by minimizing the gap between readable and performable music.

What are the objectives, materials, and suggestions for related projects in this section? •

Objectives: •

Identify and verbalize: • • •

• • •

Melodic intervals and harmonies in a variety of octaves, keys, and clefs. Challenging rhythms. Potential physical coordination challenges.

Become proficient at the preparatory exercises explained later in this section and internalize the connection between the exercises and the examples. Sightread the music with correct notes, accurate rhythms, and consistent tempo.

Materials: • • • • • • • • • • •

Lines 1: RH 5-finger patterns and LH I, IV, and V pitches Introduction to Sightreading Preparatory Exercises Lines 2: RH 5-finger patterns and LH I, IV, and V pitches with key signatures Chords 1: RH 5-finger patterns and LH root position I and V chords Chords 2: RH 5-finger patterns and LH root position I, IV, and V chords Chords 3: RH 5-finger patterns and LH closest position I and V7 chords Chords 4: RH 5-finger patterns and LH closest position I, IV, and V7 chords Chords 5: RH scale and LH closest position I, IV, and V7 chords Chords 6: RH scale and LH closest position diatonic chords Lines 3: BH playing different melodies beyond 5-finger patterns Lines 4: Lines 3 with Vocal Tenor Clef

DOI: 10.4324/9781003055044-5

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Suggestions for related projects: • •

•

Transpose examples to various church modes. Write out new examples, then share if desired.

Additional public domain resources similar to Lines 1 and 2, primarily using treble clef: • • • • • • • • •

Berens – 50 Piano Pieces for First Beginners, op. 70 Beyer – Vorschule im Klavierspiel, op. 101 Czerny – Practical Exercises for Beginners, op. 599 and The Little Pianist, op. 823 Köhler – Die allerleichtesten Übungsstücke, op. 190 and Practical Method for the Pianoforte, op. 249 Moszkowski – Le maître et l’élève, op. 96 Mathews – Standard Graded Course of Studies for the Pianoforte Reinagle – 24 Short and Easy Pieces for Keyboard, op. 1 Ruthardt – Lehrer and Schüler Granville Dean Wilson – Material for Early Piano Instruction, Book 1

How can you learn to effectively sightread and transpose? •

Preparation before playing examples: •

Verbally identify and/or discuss: • • • • • • •

•

Other activities: • • • • • •

•

Play sightreading preparatory exercises. See the Introduction to Sightreading Preparatory Exercises for more information. Speak the intervals between notes in an individual line. Clap, tap, or speak difficult rhythms. Sing portions of an example on solfège. Reinforce challenging leaps and sections that move away from the tonic triad. Write in the beats or other helpful hints. Transpose examples to other keys. Specify whether to transpose pitches up or down before starting so that the hands stay the same distance apart.

Execution of examples: • • • • • •

•

Starting notes and octave placement Any 5-finger pattern or scales present Possible fingerings and rationales for their use Common tones between chords Appropriate tempo How to count off when there are pickup measures More difficult sections and how to manage them

Play 1 hand as written while the other plays its rhythm using only 1 note, such as solfège do. Then switch the hands if helpful. Sing 1 hand while playing the other, then switch if helpful. Play only the downbeats in both hands. Sightread with a metronome or fun beat going at the same time. Transpose the same example to multiple keys to get used to patterns. Play examples just once, after appropriate preparation. If necessary, go back to them after time passes, so that they are fresh again, or to see improvements.

Research the piece and composer, where applicable.

Sightreading and Transposition

Lines 1: RH 5-Finger Pattern With LH I, IV, and V Pitches

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Sightreading and Transposition

Sightreading Preparatory Exercises Why learn sightreading preparatory exercises? • • • •

Function as an excellent overall warmup activity. Provide a place to work on proper hand position. Develop greater feel for the sightreading examples that follow. Learning exercises by ear improves skill in figuring out melodies and chords at the piano and provides contrast with the activities done with music.

What are these exercises and what are their objectives? •

•

Each exercise generalizes what each hand does in the sightreading examples for that section. There is a different exercise for Lines 2 and each of the 6 Chords sections. The music for the Lines 2 exercises is on the next page. Learn the examples for Chords 1–6 by rote, using the steps in the How section. Objectives: • Musically complete the exercises in a range of major and minor keys. • Play these exercises on the spot before sightreading or transposing each example.

How can you play a preparatory exercise well? •

Learn the exercise. • • • •

•

Practice it so that it is comfortable and musical. • • • • • • •

•

Listen while the teacher plays part or all of the exercise. Identify facts about the notes in each hand before playing. Sing the solfège of the RH. Take written notes on the exercise as needed.

Start slowly and build tempo. Crescendo as the scale goes up, decrescendo as it goes down. Sing the solfège of the RH while playing the exercise. Play the exercise with eyes on the music rack, instead of on the hands. Vary the articulation for more variety. Play the RH louder than the LH. Create new exercises by changing the order of notes in the RH, the rhythms in either hand, creating an accompaniment pattern for the LH, or by moving the scale to the LH and the chords to the RH.

Make physical and mental connections between the exercises and the sightreading examples.

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5-Finger Sightreading Exercises

Sightreading and Transposition

Lines 2: RH 5-Finger Pattern With LH I, IV, and V Pitches With Key Signatures

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Sightreading and Transposition

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Sightreading and Transposition

Chords 1: RH 5-Finger Pattern With LH Root Position I and V Chords

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Sightreading and Transposition

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Chords 2: RH 5-Finger Pattern With LH Root Position I, IV, and V Chords

Sightreading and Transposition

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Sightreading and Transposition

Chords 3: RH 5-Finger Pattern With LH Closest Position I and V Chords 7

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Sightreading and Transposition

Chords 4: RH 5-Finger Pattern With LH Closest Position Primary Chords

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Sightreading and Transposition

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Sightreading and Transposition

Chords 5: RH Scale With LH Closest Position Primary Chords

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Sightreading and Transposition

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Sightreading and Transposition

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Chords 6: RH Scale With LH Closest Position Diatonic Chords

Sightreading and Transposition

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Sightreading and Transposition

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Sightreading and Transposition

Lines 3: BH Playing Different Melodies Beyond 5-Finger Patterns

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Sightreading and Transposition

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Sightreading and Transposition

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Sightreading and Transposition

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Sightreading and Transposition

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Lines 4: Vocal Tenor Clef Plus Treble or Bass Clef

Sightreading and Transposition

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Sightreading and Transposition

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Harmonization

Why study harmonization? • • • • •

Improves ability to play melody and accompaniment together. Improves ability to play keyboard style or “boom-chuck” accompaniments. Creates opportunities to choose accompaniment patterns. Provides environment to apply knowledge of chord progressions, voice leading, and non-chord tones in a different musical context to select chords. Harmonizing at sight increases the ability to play accompaniment patterns quickly.

What are the objectives, materials, and suggestions for related projects in this section? •

Objectives: • • •

•

Accompany melodies in 2 different styles described later in this section. Accompany melodies both prepared and at sight. Accompany melodies in a wide range of keys, meters, lengths, and musical styles.

Materials: • • • • •

Introduction to 1-handed accompaniment with Roman numerals Introduction to 2-handed accompaniment with lead sheet notation Sample 1-handed and 2-handed accompaniment patterns Preparation for the Primer Harmonizations Primer Harmonizations to prepare for the challenges of each section: • • •

• • • •

The Primary Harmonization Primer features melodies that fit within 5-finger patterns. The Major Diatonic and Minor Diatonic Harmonization Primers provide practice with selecting chords in each mode. Each example in the Chromatic Harmonization Primer uses a different secondary dominant.

Primary, Diatonic, and Chromatic harmonization melodies Primary, Diatonic, and Chromatic Primers for harmonizing melodies at sight Primary, Diatonic, and Chromatic melodies with lead sheet symbols to harmonize at sight

Suggestions for related projects: • • • • •

Harmonize and perform a melody by ear, without any notation. Transpose a melody to a different key, mode, or pitch collection, then harmonize. Record a harmonized melody and accompaniment over a backing track. Compose a new melody and then harmonize it. Harmonize a melody not in the public domain, including those in non-classical styles, such as musical theatre, film or video game music, hip hop, rock, country, bluegrass, reggae, funk, disco, EDM, gospel, or others according to interest.

How can you learn to effectively harmonize melodies? •

Please see the various Introductions and Primers throughout this section for specific information. DOI: 10.4324/9781003055044-6

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1-Handed Accompaniment In 1-handed accompaniments, the RH plays the melody and the LH plays an accompaniment. This term comes from the fact that only 1 hand accompanies. The other hand plays the melody. The next steps describe how to harmonize melodies in this way. Here is an example melody:

Step 1. Write in chords beneath the melody using Roman numerals. There are more instructions for how to choose chords later in this section. Here is 1 possible way to harmonize this melody:

Write out the notes for the I, IV, and V chords in the space provided. These are the notes the LH will play at the spots marked.

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Step 2. Play the RH melody with LH blocked chords. Use ideas from the Introduction to Effective Practicing to learn both hands well. For example, start by practicing measures 3 and 4, hands together, many times in various ways.

Step 3. Spice up the LH with an accompaniment pattern. Again, start by practicing measures 3 and 4, hands together, in various ways.

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Sample 1-Handed Accompaniment Patterns

Step 4. The goal when harmonizing a melody is to reflect the mood through tempo, articulation, pedaling, register, and volume. A musical performance of Jingle Bells has a bright tempo, light articulation, in the upper middle portion of the piano, and is louder at the end.

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2-Handed Accompaniment In 2-handed accompaniments, the LH plays bass notes and the RH plays chords. Neither hand plays the melody. Another name for it is a “boom-chuck” accompaniment. The following steps describe how to harmonize melodies in this style. Step 1. Write in chords above the melody using lead sheet notation. Lead sheet notation is a common alternative to Roman numerals for labelling chords. General music textbooks, conductor’s scores, and jazz music frequently use this notation. To write major chords in lead sheet notation, use a capital letter, as shown in the next example. There are more instructions for how to write chords later in this section. Here is 1 possible way to harmonize this melody:

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Step 2. Figure out the notes that each hand plays for each chord. For example, “D” means D major, which is D, F#, and A. D is the root of the chord. Play just the note D in the LH. The RH plays all 3 notes of the D major chord. Alternate the hands, as shown in the following example. Repeat this process for the “G” and “A” chords. Reduce the amount of time in the measures of rest. In other words, learn the notes of the “boom” and the “chuck,” then practice coordinating them in a “boom-chuck” pattern.

Step 3. Convert the blocked harmonies into an accompaniment pattern that supports the character, tempo, phrase structure, and meter of the melody. Use ideas from the Introduction to Effective Practicing to learn both hands well. For example, start by practicing measures 3 and 4, hands together, many times in various ways.

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Sample 2-Handed Accompaniment Patterns

Step 4. The goal when harmonizing a melody is to reflect the mood through tempo, articulation, pedaling, register, and volume. A musical performance of Jingle Bells has a bright tempo, light articulation, uses notes mostly underneath the melody, and a full sound that does not cover up the melody.

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Primary Harmonization Preparation Step 1. Select and write in chords. • •

Write Roman numerals below the melody for 1-handed accompaniments Write lead sheet notation above the melody for 2-handed accompaniments. Here is more information about lead sheet notation: • • • •

•

Major chords use a capital letter or a capital letter with “maj.” Minor chords use a capital letter and lower case “m,” “min,” or “ – .” Dominant Seventh chords use a capital letter and the number 7. Do not use “maj” when writing this chord. Use root position harmonies, so that the lowest note in the LH is the root of the chord. This helps avoid voice leading errors and usually sounds better.

In general: • • • • • •

Use tonic, dominant, and subdominant harmonies in all melodies in this section. Match the notes in chords with notes in the melody. Avoid staying on one harmony for too long. Place chords on strong beats. Write in chords exactly under the beat. Follow the progression below. Notice that dominant does not go to subdominant. Tonic ←→ Subdominant → Dominant ←→ Tonic

Step 2. Practice simplified versions of the 1 and 2-handed accompaniments. • •

If necessary, ask for help with the fingering for the RH in 1-handed accompaniments. Use practice techniques from the Introduction to Effective Practicing. • •

For example, in 1-handed accompaniments, practice moving from one chord to the next in the LH while playing the RH melody. For 2-handed accompaniments, practice the “boom” and the “chuck” together, alternating slowly between two chords.

Step 3. Spice up the accompaniment pattern. • •

Use a sample accompaniment pattern or create a new one. Use practice techniques from the Introduction to Effective Practicing. • •

For example, in 1-handed accompaniments, practice 1-2 measures with the new pattern, both hands together, at a slowtempo. For 2-handed accompaniments, get used to the new accompaniment pattern by starting at the end and gradually adding one chord change at a time.

Step 4. Listen to a recording of the melody. Learn more about the music and the composer. Review the steps above with this in mind, or start with these ideas. Practice artistically with tempo, articulation, pedaling, register, and volume that reflect the mood of the melody. “Overprepare” so this is ready in performance.

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Primary Harmonization at Sight Primer Practice the 3 F major exercises below, then transpose them to other major and minor keys.

Experiment with different accompaniment patterns when practicing the following examples. The letter after the slash indicates the bass note played in the LH. Example 1:

Example 2:

Example 3:

Preparation tips for harmonizing melodies at sight: • • •

Determine the number of common tones between RH chords. Discover if there are phrases that repeat. Find the starting location for each hand. The octave placement of the accompaniment is usually best when it is below the melody, but not too low.

Execution tips: • • •

Create an accompaniment pattern that reflects the character of the melody using 1 or 2 chords. Practice harmonic rhythm changes on 2 chords, gradually building tempo. Play through portions of the accompaniment, in tempo, on the piano lid.

Play each example while someone else plays or sings the melody at the indicated tempo.

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Major Diatonic Harmonization Preparation Step 1. Select and write in chords. •

Write Roman numerals and appropriate inversions below the melody for 1-handed accompaniments. • •

•

Write lead sheet notation above the melody for 2-handed accompaniments. •

•

Include I, V7, IV, vi, ii, and in some cases, iii. Make sure written Roman numeral chord choices use correct inversions. For example, moving from i to V7 will result in parallel fifths.

Use root position harmonies, so that the lowest note in the LH is the root of the chord. This helps avoid voice leading errors and usually sounds better.

Use the progression below:

Step 2. Practice simplified versions of the 1 and 2-handed accompaniments. • •

If necessary, ask for help with the fingering for the RH in 1-handed accompaniments. Use practice techniques from the Introduction to Effective Practicing. • •

For example, in 1-handed accompaniments, practice moving from one chord to the next in the LH while playing the RH melody. For 2-handed accompaniments, practice the “boom” and the “chuck” together, alternating between two chords, gradually building tempo.

Step 3. Spice up the accompaniment pattern. • •

Use a sample accompaniment pattern or create a new one. Use practice techniques from the Introduction to Effective Practicing. • •

For example, in 1-handed accompaniments, practice 1-2 measures with the new pattern, both hands together, at a slow tempo. For 2-handed accompaniment, get used to the new accompaniment pattern by starting at the end and gradually add one chord change at a time.

Step 4. Listen to a recording of the melody. Learn more about the music and the composer. Review the steps above with this in mind, or start with these ideas. Practice artistically with tempo, articulation, pedaling, register, and volume that reflect the mood of the melody. “Overprepare” so this is ready in performance.

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Minor Diatonic Harmonization Preparation Step 1. Select and write in chords. •

Write Roman numerals and inversions below the melody for 1-handed accompaniment. • •

•

Write lead sheet notation above the melody for 2-handed accompaniment. •

•

Include i, iv, V7, and at least one of the following: VI, III, VII. Make sure written Roman numeral chord choices use correct inversions. For example, moving from i to V7 will result in parallel fifths.

Use only root position major, minor, and dominant seventh lead sheet symbols.

See the diagram below for the progression of chords in this section:

Step 2. Practice simplified versions of both the 1-handed and 2-handed harmonizations. Step 3. Practice the harmonizations with spiced up accompaniment patterns. Step 4. Listen to a recording of the melody. Learn more about the music and the composer. Review the steps above with this in mind, or start with these ideas. Practice artistically with tempo, articulation, pedaling, register, and volume that reflect the mood of the melody. “Overprepare” so this is ready in performance.

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Diatonic Harmonization at Sight Primer Practice the 3 F major exercises below, then transpose them to other major and minor keys.

Experiment with different accompaniment patterns when practicing the following examples. The letter after the slash indicates the bass note played in the LH. Example 1:

Example 2:

Example 3:

Preparation tips for harmonizing melodies at sight: • • •

Determine the number of common tones between RH chords. Discover if there are phrases that repeat. Find the starting location for each hand. The octave placement of the accompaniment is usually best when it is below the melody, but not too low.

Execution tips: • • •

Create an accompaniment pattern that reflects the character of the melody using 1 or 2 chords. Practice harmonic rhythm changes on 2 chords, gradually building tempo. Play through portions of the accompaniment, in tempo, on the piano lid.

Play each example while someone else plays or sings the melody at the indicated tempo.

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Chromatic Harmonization Preparation Step 1. Select and write in chords. • • •

Review the instructions from earlier preparatory sections. Secondary dominants resolve immediately. For example, V7/V goes straight to V. Use only root position major, minor, and dominant seventh lead sheet symbols. When writing the lead sheet for secondary dominants, use the same notation ideas as regular dominant seventh chords.

Step 2. Use the following exercise as an introduction to closest position secondary dominants.

Step 3. Practice the 1-handed and 2-handed accompaniments. Step 4. Sing the melody while playing the 2-handed accompaniment. Use either the original lyrics, a neutral syllable such as “la,” or solfège syllables. Step 5. Listen to a recording of the melody. Learn more about the music and the composer. Review the previous steps with this in mind or start with these ideas. Practice artistically with tempo, articulation, pedaling, register, and volume that reflect the mood of the melody. “Overprepare” so this is ready in performance. Step 6. Sometimes others might want to sing along. Prepare them by starting with an appropriate introduction. The last phrase of the melody is usually an effective introduction. After the introduction, begin singing and playing a 2-handed accompaniment.

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Chromatic Harmonization at Sight Primer Practice the exercise below using the indicated model, then transpose to other keys.

Before practicing the following examples, identify the chromatic chords and spell their pitches. Then experiment with different accompaniment patterns. Example 1:

Example 2:

Example 3:

Example 4:

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5

Improvisation

Why study improvisation? • • • • • • •

“Students must acquire a rudimentary capacity to create original or derivative music.” – Handbook for the National Association of Schools of Music (NASM) Encourages imagination and freedom. Provides a chance to make music without the challenge of specific correct notes. Promotes the value of imitation in the learning process. Connects sounds to moods and gestures at the piano. Improves awareness of common phrase structures. Develops ability to create and alter musical ideas in a wide range of styles and contexts.

What are the objectives, materials, and suggestions for related projects in this section? •

Objectives: • • •

•

Improvise unique melodies with clear motives and phrase structures and coordinate them with accompaniments in different moods and chord progressions. Understand traits of different styles of music and copy them. Create new music useful for general music settings.

Materials: • •

Melody/Accompaniment Improvisation instructions and mood list Chord Progressions: • • •

• •

•

Root position primary chords in major and minor keys Closest position primary chords in major and minor keys Closest position diatonic chords in major and minor keys

“In the Style of” Improvisation instructions, styles list, and melody list General/Classroom Music Improvisation instructions and list of emotions, actions, and events

Suggestions for related projects: • • • • •

Improvise in a given form, such as ABA. Improvise a descant while someone else plays a melody. Improvise using modes, the whole tone scale, or other pitch collections. Improvise over a recorded background or at the same time as visual aids, such as a silent film. Convert improvisations into compositions.

How can you learn to improvise? • •

“Imitate, assimilate, and innovate.” – Clark Terry Follow the instructions for each type of improv in this section.

DOI: 10.4324/9781003055044-7

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Melody/Accompaniment Improvisation Imitation of Musical Characteristics One way to begin improvising is to imitate music. The first music to imitate in this book demonstrates musical characteristics such as volume, tempo, meter, register, and articulation. Close the book, then listen. Repeat the excerpt. Do this activity many times, copying each example. The LH plays just the tonic pitch for now. Example 1: Improvisations with musical characteristics

Next, imitate variations of these excerpts. Each one may change the key, rhythm, or notes, and may also use the pedal. Follow the same ideas with the following excerpts. Example 2: Improvisations where BH start at different times, plus concepts from Example 1.

Now create original 2-measure examples, based on the concepts above. Repeat them for extra practice. Practice with a metronome or rhythmic background to improve continuity and for more fun. Feel free to change the notes, key, and meter. The LH now plays a tonic chord. Motifs, Phrases, and 4-Bar Phrase Structure The next step is to create musical motifs with these musical characteristics. A motif is a short, repeating, and important musical idea. Motifs can arise from rhythmic ideas, melodic ideas, or both. Discuss the motifs in Examples 1 and 2. Also, listen to clear motifs from classical, pop, and film music, such as Brahms’s Waltz, op. 39, no. 15, Antônio Carlos Jobim’s One Note Samba, and themes from John Williams’s Star Wars.

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A phrase is a complete musical thought. Like motifs, phrases have rhythm, melody, and harmony (Table 5.1). They also have beginnings, middles, and endings. Cadences are the endings of phrases, places for the music to breathe. Most phrases in this book are 4 bars in length and finish with a half cadence or an authentic cadence. Study the summaries below of common phrase structures: Table 5.1 Phrase Structure Measure 1

Measure 2

Measure 3

Measure 4

Motif Motif 2-measure motif

Motif repeated Motif repeated

Motif varied Finish the phrase Cadential or closing pattern based on motif Cadential or closing pattern based on motif

The 4-bar phrases in Example 3 contain motifs with clear dynamics and articulation. Listen to these sample improvisations, then repeat them. Example 3: 4-bar phrases with clear motifs

Now listen to variations of Example 3 and repeat those. These new improvisations may involve changes to the key, rhythm, notes, and/or pedal. Then create original 4-measure examples. Repeat them for extra practice. Use a metronome or rhythmic background to improve continuity and heighten style. Feel free to change the notes, key, and meter, but keep just the tonic chord in the LH at this time. Harmony Now begin to add more harmonies. The music in Example 4 uses the first 4 bars of Progression 1 of the Root Position Primary Major Chord Progressions. Notice how measure 4 of the first one avoids exact repetition and how measure 2 of the second one creates a sequence. Both examples also breathe at the end of the phrase by ending on a strong beat with silence afterward.

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Example 4: 4-bar phrases with I and V

Next, listen to variations of these and repeat them. The changes may involve the key, the rhythm, the notes, and/or the pedal. Then create original 4-measure examples, using the progressions later in this section. Repeat them for extra practice. Feel free to change the notes, key, and meter, but keep improvising for 4 bars at this time. It is common for chord changes to move more quickly near a cadence. To practice this, create 2-measure improvisations using the last 2 measures of Progression 1 of the Root Position Primary Chord Progressions. Accompaniment Patterns So far, the LH has played only blocked chords on downbeats. The music in Example 5 features LH accompaniment patterns over the first 4 bars of Progression 2 of the Root Position Primary Major Chord Progressions. There are more LH accompaniment patterns in the introduction to 1-handed accompaniment in the harmonization section earlier in the book. Example 5: 4-bar phrases with LH accompaniment patterns

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Next, listen to variations of these and repeat those. Then create 2- or 4-measure examples, using the progressions later in this section. Repeat them for extra practice. Feel free to change the notes, key, and meter. Moods Follow the steps in Table 5.2 to put everything together. Step 1. Choose a mood, key, and chord progression from later in this section. Table 5.2 Moods Major Key Moods Exuberant Perky Velvety Galloping Heavenly Delicate Graceful Powerful Lilting Spiky

Minor Key Moods Briskly, in a hurry Jumpy Energetic Foggy Heroic Contemplative Bold Serene Romantic Hushed

Mournful Serious Gloomy Galloping Graceful Ponderous Delicate Powerful Lilting Spiky

Briskly, in a hurry Jumpy Energetic Foggy Heroic Contemplative Bold Turbulent Bouncy Hushed

Step 2. With the help of the following list, discuss how to effectively depict this mood. • • • • • • •

Volume: Loud, soft, getting louder, getting softer Register: High or low on the piano; close or wide separation between the hands Articulation: Staccato, legato, accented, gentle, use of the pedal Tempo: Fast or slow, speeding up or slowing down Rhythmic characteristics of motifs: short notes, long notes, syncopations, and pickups Melodic characteristics of motifs: stepwise motion, triadic motion, non-chord tones, leaps Overall: Are there other pieces of music, images, or actions to imitate or keep in mind?

Step 3. Practice the following concepts in 2-, 4-, or 8-bar units: • • • • •

Musical Characteristics: volume, register, articulation, RH starting beat, and use of pedal RH motif clarity and creativity, both melodic and rhythmic Phrase structure – places for the music to breathe Coordinating the RH melody with LH blocked chords or accompaniment pattern 2-measure excerpts that contain faster chord changes

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“In the Style of” Improvisation This section describes how to creatively improvise a new version of a simple melody. The chart below lists a few example “styles” and melodies to use. Table 5.3 Styles and Melodies “Styles”

Melodies

• • • • • • •

• • • • • • •

Baroque Classical Romantic Minimalistic Gospel Rock Hip Hop

Ode to Joy Au Clair de la Lune O When the Saints Go Marching In Jingle Bells Twinkle, Twinkle, Little Star For He’s A Jolly Good Fellow The Wheels on the Bus

Follow the steps below to improvise on Ode to Joy in a Baroque style. Step 1: Learn to play Ode to Joy by playing along with a recording or writing out the notes. Play it using both hands in parallel motion or melody with simple blocked chords.

Step 2: Practice varying the rhythm and pitches of the melody. Here is one possible version:

In the variation above, identify the use of non-chord tones, syncopation, and broken chords. Also, look for places that correspond most closely, or least closely, with the original melody. Next, improvise on the 8 remaining bars of the original Ode to Joy in a similar manner.

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Step 3: To get a sense of the Baroque style, listen to recordings of the following pieces: • •

J. S. Bach – Invention No. 1 in C major, BWV 772 Petzold – Minuet in G, BWV Anh. 114

Discuss the musical and pianistic characteristics of this music: •

For both pieces, observe the: •

Diaphonic texture, meaning: • •

• • •

Use of little or no pedal. Phrases that end with clear half or full cadences.

For the Invention No. 1, observe: • • •

•

Almost no chords. 1 line in each hand.

How both hands start at different times and not on a strong beat. The repetition and transposition of the opening short motif. The imitation between the hands.

For the Minuet in G, observe: • •

The ornamentation, such as the appoggiatura in m. 8. The emphasis on the first beat characteristic of many Baroque Minuets.

Step 4: Listen to the following examples. Identify the musical characteristics from Step 3. The first one is similar to the Invention, and the second one is similar to the Minuet.

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Step 5: Experiment with the examples above to create a new “Baroque” Ode to Joy. Use the list of musical characteristics below for additional help. • • • • • • • • • • •

Overall tempo, as well as tempo changes and fluctuations Meter Dynamic contrast Sounds to use: for example, try the harpsichord sound for Baroque improvisations Register LH accompaniment or melodic patterns LH harmonies: simple, complex, frequent, or minimal changes RH embellishments Alterations to the original melody Phrase structure Extra music, such as introductions, cadenzas, and codas

Rearrange or focus on specifc steps as needed.

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General/Classroom Music Improvisation This section describes how to improvise for young students in general music classes. Here is a list of emotions, actions, and events (Table 5.4): Table 5.4 Sample Emotions, Actions, and Events • • • • • • • •

Dreamy Happy Sad Surprised Jumpy Marching Tiptoeing Skipping

• • • •

Dancing gracefully Playing basketball A gentle breeze at night over a lake A thunderstorm, with lightning, thunder, and lots of rain • A baby bird greeting the morning sun • A big, roaring lion, protecting younger lions from harm

Follow these steps to improvise dreamily in F major. Step 1: Listen to the sample provided on the next page. Close the book and focus on the sound. Step 2: Identify musical characteristics that help make this music sound dreamy: • • • • • • • •

Register: higher part of the piano Tempo: moderate, with fluctuations Articulation: gentle, neither overly long nor short Lots of pedal Volume: very soft, with occasional decrescendos Rhythm of motifs: very simple, with frequent long notes and rests for sound to sustain Melodic characteristics of motifs: rising throughout, with occasional light dissonance Clear 4-bar phrases, with an extension at the end

Step 3: Determine a specific key and emotion, action, or event to practice. Use the following list of musical characteristics to develop an improvisation that clearly reflects the mood. • • • • • • • • • • • •

Register: high or low on the piano, close or wide separation between the hands Tempo: Fast or slow, speeding up or slowing down Articulation: staccato, legato, accented, gentle Use of pedal Volume: loud, soft, getting louder, getting softer Rhythm of motifs: short notes, long notes, syncopations, and pickups Melodic characteristics of motifs: stepwise motion, triadic motion, non-chord tones, leaps Clear 4-bar phrases, with no more than 1 extension or compression per 16 bars Special sounds, such as electric piano or harpsichord Extra music, such as introductions, cadenzas, and codas Overall: Are there pieces of music with this mood to imitate? Are there images or actions to envision that might help spark creativity to better convey this mood? Sometimes it is more helpful to think about how to play than what to play. Is there a way to create the mood from a purely physical standpoint?

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6

Blues Improvisation

Why study blues improvisation? • • •

Develops experience with an original American art form. Reinforces concepts from earlier in this section, such as motivic clarity and development, phrase structure, and creativity. “[The] blues is a tonic for whatever ails you.” – B. B. King

What are the objectives and materials in this section? •

Objectives: • • •

•

Raise appreciation for all music, regardless of style or level of familiarity with it. Understand blues melodies, harmonies, and bass lines. Develop comfort and perform the blues with others.

Materials: •

Listening lists that demonstrate: • • •

•

Various styles, instruments, and tempi Clear motives Groovy bass lines

Instructions and exercises for: • • •

Understanding the blues scale Improvising melodies Creating harmonies, using: • •

• • •

Playing these harmonies in a common blues progression Accompanying the blues using chord roots Improvising walking bass lines •

•

I, IV, and V tritones Chord extensions in rootless voicing

For more information on this topic, see The Jazz Bass Line Book by Mike Downes

Combining melody, harmony, and bass

How can you learn to play the blues? •

Work through the instructions on the following pages.

DOI: 10.4324/9781003055044-8

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This section describes how to play melody, harmony, and bass lines for the 12-bar blues. One of the best ways to get more comfortable with the blues is to listen to it. In the following examples, listen to the structure and mood of the solo lines, the harmonies and when they change, the motion of the bass line, and the overall use of repetition. • • • • •

Bessie Smith/W.C. Handy/Louis Armstrong – St. Louis Blues Papa John Creach – Papa John’s Down Home Blues Elvis Presley – Hound Dog Tracy Chapman – Give Me One Reason Norah Jones with the Peter Malick Group – All Your Love

Blues Scale The pitches of the blues scale are 1, ♭3, 4, #4/♭5, 5, and ♭7. Blues melodies primarily use these notes. Rather than learn it as a scale, use the following exercises. They create comfort with how the notes feel physically and how they sound in bluesy combinations. Listen to an excerpt below, then imitate it on the repeat. Especially at first, play along with an appropriate backing track to make sure the music swings.

Here are some ideas related to these exercises: •

•

On almost every other instrument besides the piano, playing higher requires different skills. Repeating an idea 1 octave higher, as shown in 1 of the previous examples, is an easy way to add variety and get comfortable using more of the piano. Grace notes are common in blues piano music. They simulate “bending” the pitch. Change their speed and overlap them with the principal note for additional variety.

Improvise similar 1-measure ideas to get comfortable with the pitches and fngering.

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Blues Melody Improvising blues melodies involves using the blues scale pitches with simple motives and clear phrase structure. Listen to the following examples that demonstrate these ideas. • • •

Bo Diddley – Before You Accuse Me Elmore James – Dust My Broom Chuck Berry – Roll Over Beethoven

Call and response is common in blues melodies. In the following examples, listen to the frst measure, then play the second measure as written. After a few repetitions, be ready for variations. Make sure the responses to the variations have a clear connection to the originals without copying them exactly.

The next examples do not have exact pitches written out for the response. As before, make sure the responses have a clear connection to the original call rhythmically and melodically. Then listen and respond to different calls.

Now switch roles – play the call and listen to the response. The goal is to play something easy to imitate clearly.

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The next examples are full 4-bar phrases. Notice that each one begins a motive and an exact repetition of it and ends with 2 measures that relate to the beginning. After listening to one, improvise something similar on the repeat.

Here are some follow-up activities to the 4-bar calls and responses: • • • •

Play the first 2 bars of an example above, then change the notes and rhythms in the last 2 measures. Improvise the first 2 bars of a phrase similar to the ones above, then let someone else finish the phrase. Improvise a full 4-bar phrase similar to the ones above, then let someone else improvise a similar phrase. Repeat 1, 4-bar phrase with exactly the same notes. • •

•

Focus on playing with the eyes away from the piano. Play with contrasting dynamics and articulation.

Work through the previous steps with different keys and tempi.

Blues Harmony Here is 1 way to create blues harmonies, using the key of F major:

As a result, A and E♭ are the notes of the I tritone in F major. Use these notes wherever there is a I in the blues progression.

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The same ideas apply to the IV tritone, shown below:

The V tritone is shown below:

Using the same concepts, write out the I, IV, and V tritones in the keys of C and B♭. If it is helpful, write out the fngerings to play them in each hand as well.

Blues Progression The 12-bar blues progression features 3 4-bar phrases played with an AAB form.

Improvisation Review After learning the harmonies and progression, repeat the activities in the Blues Melody section with the LH playing tritones.

Sample Blues There are 3 parts of a blues ensemble – the melody, the harmony, and the bass. At this point, the bass consists of the roots of the I, IV, and V harmonies. The following steps bring these parts together. •

Start by practicing the bottom 2 lines (tritones and bass) together. •

•

Rather than play all 12 bars at once, begin by focusing on 4 measures at a slow tempo.

The second time through, play the top 2 lines (melody and tritones) together. •

The last 4 measures of the melody are intentionally left blank. Improvise a contrasting but related idea to the melody of the first 8 bars.

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Here are some important ideas to consider at this point: • • •

Focus significant practice time on the last phrase and turnaround. Experiment with different tempi. This will help demonstrate the versatility of the blues and expand the range of motives in your melodies. Keep listening to classic examples of the blues. Here are 3 slow examples: • • •

•

Here are 3 examples of up-tempo blues: • • •

•

Otis Spann – Good Morning Mr. Blues Sonny Boy Williamson – I’m a Lonely Man BB King – 3 O’Clock Blues

Meade Lux Lewis – Honky Tonk Train Blues Fletcher Henderson – Sugar Foot Stump Little Richard – Tutti Frutti

Use the pedal to boost the sound level and sustain the sound.

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Blues 1

Here are some ideas to observe in Blues 1: • •

•

The range of the melody gradually expands upward. Just like non-blues improv, notes in the melody mostly match notes in the harmony, especially on strong beats. For example, in F major, measures with the I tritone should mostly have F, A/A♭, C, and E♭. In measure 12, notice how the melody, tritone, and bass all finish on the downbeat to allow time to transition into the next chorus.

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Blues Walking Bass Up to this point, the bass has been single notes. This section introduces walking bass lines. In general, walking bass lines are melodies that connect the harmonies of the blues progression together. They present an opportunity to improvise in the LH and approximate what bass players do in blues ensembles. Here are a few tunes that demonstrate the importance and creativity of blues bass lines: • • • • • • •

Howlin’ Wolf – Killing Floor Stevie Ray Vaughan – Pride and Joy Buddy Guy – My Time After A While Jaco Pastorius – Fannie Mae Coco Montoya – Gotta Mind to Travel Cream – Crossroads Ray Brown – Blues’d Out

Here are some guiding principles for walking bass lines: •

Range: • •

•

Pitches: • •

•

Stay in the “bass” range of the piano (approximately F1 to C4). Adjust the range of the tritones to make sure there is room for the bass line, either by moving the bottom note of the tritone to the top or by moving the entire tritone up an octave. In general, the tritones should stay in the middle range of the piano (approximately C3 to C5, depending on where the melody is).

Use root notes on the downbeats of most measures. While the blues scale will make up most of the pitches, especially on strong beats, feel free to use other notes that sound good.

To help the bass line “walk”: • • • • •

Use mostly quarter notes and small intervals (2nds and 3rds), walking up or down. Walk 1 direction long enough to prevent sounding like you are “wandering.” Avoid “walking in place” by limiting the number of repeated notes. Ensure variety by limiting the number of measures with exact repetitions. An occasional larger interval helps get back to a root note on a downbeat. One way to reduce this jump is to insert an eighth note right before the downbeat.

Blues Progression Review

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1-Bar Walking Bass Line Exercises The following examples demonstrate walking from I to IV. Here is more information about them: • • • • • •

Use these concepts wherever the harmonies change more quickly. Improvise with a recorded or live background. Start at a slow tempo. Close the book to focus on the sounds. Listen to each example once, then imitate. The RH harmonies support the style with rhythmic interest. Feel free to vary the rhythms from those written. In general, though, keep it simple to let the melody shine. Later on, repeat similar ideas and practice other similar parts of the progression.

2-Bar Walking Bass Line Exercises Use the examples below to practice walking in measures 3–4, where the harmony remains the same for 2 bars. Notice that the excerpts lack the root note on the downbeat in the second bar.

Use this staff paper to write out a full 12-bar bass line.

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Here are some ideas to observe about Blues 2: • • •

The melody uses a clear rhythmic motive, gradually adding pitches upward. The tritones generally stay out of the way of the rest of the parts. The bass line starts 2 octaves below the tritones, uses a combination of 1- and 2-bar ideas, and finishes each chorus solidly on the downbeat.

Blues 2

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More Blues Harmony This section introduces 3-note harmonies. As a reminder, the tritones consist of the 3rd and 7th of each harmony. The new chords add 1 additional note. • • • •

The I chord adds the 13th of the chord (or in other words, the 6th of the chord). The IV chord adds the 9th of the chord (or in other words, the 2nd of the chord). The V chord adds the 9th of the chord. Notice that the I chord and V chord share a common top note.

When learning these chords, use the following preparatory steps: • •

Determine a key to practice, then write down the pitches for the I, IV, and V chords. Practice alternating between I and IV, I and V, and V and IV chords in 1 hand. • •

The LH uses fingers 1, 2, and 5 for all 3 chords. The RH fingerings vary depending on the chord and individual preferences. •

• • • • • • •

Smaller hands may need to roll these chords for physical comfort.

Observe the physical feel of each chord and how it transitions to the next chord. Also, because they may seem “dissonant,” listen to the sound of each chord, so that the ear can help the hands.

Combine LH blocked chords with the RH playing only a single note melody. Block RH chords with single bass notes in the LH. In other words, play the new chords in the RH with a non-walking bass line. Start without tempo, then build speed. Gradually add complexity and tempo to each of these combinations. Keep the sound of the harmony and bass line softer than the melody. Keep the rhythm of the harmony simple, so it does not outshine the melody.

Observe how this all comes together in Blues 3.

Blues Improvisation

Blues 3

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7

Chorales

Why learn to play chorales? •

Introduces a common type of piano writing. •

•

Music in chorale style features 2 notes in each hand.

Provides processes for sightreading piano music of all difficulty levels by learning to reduce and rearrange music into more comfortable configurations.

What are the objectives and materials in this section? •

Objectives: • • •

•

Learn to sightread another type of piano writing. Develop an ability to rearrange notes at sight at a steady, moderate tempo. Create appropriate introductions and sightread full chorales with pedal.

Progression of materials: •

Chorale 1: 1 hand dyads, other hand repeated note • • • •

•

Chorale 2: 1 hand dyads, other hand moves • • • •

• • • • • •

Chorale 2A: 1 hand 5-finger pattern dyads with 1 note moving, other hand moves Chorale 2B: 1 hand 5-finger pattern with both notes moving, other hand moves Chorale 2C: 1 hand beyond 5-finger pattern dyads with both notes moving, other hand moves Chorale 2D: Chorale 2C-style examples from literature

Chorale 3: Chorale Preparatory Exercises and Sample Soprano, Alto, Bass Reductions Chorale 4: Introduction and Sample Melody/Accompaniment Reductions Chorale Excerpts Notes for Creating Introductions and Reductions for Full Chorales Full Chorales The examples in Chorale 1D, 2D, Chorale Excerpts, and Full Chorales come from: • • •

•

Chorale 1A: 1 hand 5-finger pattern dyads with 1 note moving, 1 hand repeated note Chorale 1B: 1 hand 5-finger pattern dyads with both notes moving, 1 hand repeated note Chorale 1C: 1 hand beyond 5-finger pattern dyads with both notes moving, 1 hand repeated note Chorale 1D: Chorale 1C-style examples from literature

Sacred chorales Classical chorales from solo piano music and accompaniments to vocal and instrumental music Secular chorales from glee clubs, barbershop quartets, and other sources

Additional Resource: •

Patterson, Donald L. 50 Hymn Tunes Without Words for Sightreading: With 20 Supplementary Bach Chorales. Champaign, Ill: Stipes Publishing, 2006.

DOI: 10.4324/9781003055044-9

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How can you learn to play chorales? •

Preparation before playing examples: • • • •

Learn about the composer, piece, and context of the music. Sing the melody alone on solfège. Repeat challenging leaps multiple times and spend extra time on sections that move away from the tonic triad. Sing the name of the chord on each melody pitch, using either Roman numerals or the name of the chord (e.g., C major, G7, etc.). Verbally discuss technical challenges, such as the: •

Location of easier spots in an example, such as places where: • • •

• •

Fingerings for difficult sections. Places where the notes are too far apart to reach comfortably. If this is the case, plan to either: • • •

•

• •

One of the notes of the dyad does not change Dyads stay close to each other There are parallel intervals

Omit a note. Move a note up an octave. Play the bottom note and then quickly move to play the top note. In other words, roll the chord.

Challenges that may come up because of tempo. Since chorales are usually sung, the tempo needs to be fast enough for someone to sing along. Usually, this is no less than quarter note equals approximately 76.

Write in Roman numerals, either underneath each note or less frequently.

Execution of examples: • • • •

Sing the melody while playing only the LH and using the pedal. Try out potentially awkward spots on the piano lid first. To get used to coordinating both hands when sightreading, play the RH as written and reduce the LH to a repeated note or chord. If it seems like there are too many notes: • •

Play only downbeats with BH. Play every other beat or every other measure with BH. Imagine the other notes and keep the tempo moving forward.

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1 Hand Dyads, 1 Hand Repeated Note (Chorale 1) 1 Hand 5-Finger Pattern Dyads With 1 Note Moving (Chorale 1A)

Chorales 181 1 Hand 5-Finger Pattern Dyads With Both Notes Moving (Chorale 1B)

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1 Hand Beyond 5-Finger Pattern Dyads With Both Notes Moving (Chorale 1C)

Chorales

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Skills

Chorale 1C-Style Examples From Literature (Chorale 1D)

Chorales

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1 Hand Dyads, 1 Hand Moving Notes (Chorale 2) 1 Hand 5-Finger Pattern Dyads With 1 Note Moving (Chorale 2A)

Chorales 187 1 Hand 5-Finger Pattern Dyads With Both Notes Moving (Chorale 2B)

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1 Hand Beyond 5-Finger Pattern Dyads With Both Notes Moving (Chorale 2C)

Chorales

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Skills

Chorales

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Skills

Chorale 2C-Style Examples From Literature (Chorale 2D)

Chorales

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Skills

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Skills

Chorale Preparatory Exercises and Sample Soprano, Alto, Bass Reductions (Chorale 3) To sightread chorales by reducing the number of parts, begin by practicing the following exercises in various keys.

The following reductions combine the ideas from the previous exercises and Chorales 1 and 2.

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Chorale Preparatory Exercises and Sample Melody/Chord Reductions (Chorale 4) To sightread chorales using a melody/accompaniment texture, use the following instructions: • • • •

Review the sightreading preparatory exercises used earlier in this book. Rearrange the notes of the chorale to play just the melody in the RH and blocked harmonies in the LH. Strike a balance between reducing the LH to simpler chords and accurately capturing the written harmonies. When reducing: • •

Make sure the LH uses the principles from the Keyboard Theory section of this book. For example, avoid going from dominant directly to subdominant. The LH harmonies should support the rhythm of the melody. The frequency and location of these chords depend on the meter and mood of the chorale.

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Chorale Excerpts

Chorales

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200

Skills

Chorales

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Skills

Full Chorale With Introduction, Reductions, and Notes

Chorales

203

Creating Introductions and Reductions for Full Chorales In general: • • • • • •

Play enough music to set a clear meter, tempo, and mood. 4 measures are usually a good amount for these purposes. Repeat the last phrase of the chorale or use a distinctive rhythm from the chorale as the introduction. If phrases in the chorale begin with a pickup, the introduction likely will too. Pedal each harmony cleanly and play with a full sound appropriate for leading a group of vocalists. Breathe before the first note of the chorale, as if singing it. Make sure the last note of the introduction is precisely the proper length so that the chorale begins at the same time as the vocalists.

To create a reduction similar to Reduction 1: •

Leave out non-melody notes in the RH occasionally, especially on weak beats. •

•

Use parallel thirds and sixths. • •

•

Sometimes these intervals will differ from the notes in the original chorale. Use the exercises in Chorale 3 to develop the ability to do this when sightreading.

Repeat or arpeggiate bass notes at the ends of phrases • • •

•

Leaving a note out at these points allows time to prepare future RH notes.

See measures 11–12 and 19–20 for examples. These changes help keep a steady pulse for the vocalists. Feel free to use a different pattern.

Rearrange and reduce the bass line. •

See measures 6, 8, 13, and 14 for examples.

To create a reduction similar to Reduction 2: • •

Quickly analyze the harmonies and cadences. Figure out an appropriate chord for the LH to play on each downbeat. •

•

Sometimes the LH will repeat a harmony, like it does in measures 12 and 20 in this reduction. This keeps the music flowing regularly forward.

Figure out the chords the LH will play on other beats. The frequency will depend on the meter and harmonic complexity of the chorale. Especially when the chorale is in 4/4 or 6/8, the LH will need to play at least every half measure. •

Reduction 2 is a balance between chords every 3 beats and more frequent changes.

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Full Chorales

Chorales

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Skills

Chorales

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Skills

Chorales

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Skills

Chorales

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8

Score Reading

Why study score reading? • • • • •

Extends skills and ideas from the Sightreading and Transposition section, such as steady pulse and sense of key signature. Builds familiarity with movable clefs and instrument transpositions. Creates opportunities to analyze intervals, chords, and phrases across multiple staves. Introduces ways to understand middle and high school ensemble literature more deeply. Serves as preparation for leading wind, choral, and string music in rehearsals.

What are the objectives, materials, and suggestions for related projects in this section? •

Objectives: •

While tapping the pulse, singing the line, or counting out loud: • •

• • •

Sightread 2 lines of treble/bass clef music within a larger score, similar to sightreading from Lines 3 and 4. Create and perform reductions of full ensemble scores.

Materials: • • • • • •

•

Sightread in alto or tenor clef, both within and outside of a larger score. Sightread instrument transpositions, both within and outside of a larger score.

Logistics for Movable Clefs and Instrument Transpositions Music in alto and tenor clefs outside of full scores Music for B♭ and F transposing instruments outside of full scores Logistics for Score Reading Band, Choral, and String Scores and reductions Lists of Additional Resources

Suggestions for related projects: •

After learning the music at the piano: • •

Conduct an ensemble playing 1 of the pieces. Play 1 or more parts while an ensemble plays or sings them.

How can you learn to effectively score read? •

Follow the instructions included throughout this section of the book.

DOI: 10.4324/9781003055044-10

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Movable Clef Information • •

Most instruments use these clefs to minimize ledger line reading (Tables 8.1 and 8.2). Middle C is always on the line in the middle of the “3-looking” figure, as shown below.

Table 8.1 Alto Clef Information Alto Clef

Information about This Note

Treble Clef Equivalent

C4 C major Solfège Do

Table 8.2 Tenor Clef Information Tenor Clef

Information about This Note

Treble Clef Equivalent

C4 C major Solfège Do

•

Pedagogical tips for sightreading movable clef lines: •

Before starting, identify: • • •

• • • • •

Read the direction and the interval size between each note. For example, “up a 4th,” “down a 3rd,” etc. Discuss the key signature by identifying the number of black keys in a given measure. Discuss fingerings for broken chords, scale fragments, and other hand position changes. To prepare for playing steadily, say the fingerings in rhythm. Sing individual lines. In general: • • •

•

Starting pitch with correct octave placement Key Starting solfège syllable

Anything that is challenging to sing will be challenging to play. Larger intervals and music without do and sol are more challenging than smaller intervals. Isolate difficult parts of an example.

Point along in the score while someone else plays, sings, or taps the melody.

Score Reading

Alto Clef Reading

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Skills

Score Reading

Tenor Clef Reading

217

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Skills

Score Reading

219

Instrument Transposition Information • • •

The note name of the instrument is the note that sounds when the instrument plays a C in their music. This is generally the instrument’s fundamental, or open, pitch. Most transposing instruments move down the interval from C to their instrument’s name. Make sure to play these parts in the correct octave. Study the E♭ Instrument guide below to prepare for scores later in this section.

Table 8.3 B♭ Instrument Information What a “regular” B♭ Instrument Sees

Information about this note

How to Transpose

C5 C major Solfège Do

DOWN ↓ M2

Sounding Pitch

Information about this note B♭4 B♭ major Solfège Do

Table 8.4 F Instrument Information What an F Instrument Sees Information about How to Transpose Sounding Pitch this note C5 C major Solfège Do

DOWN ↓ P5

Information about this note F4 F major Solfège Do

Table 8.5 E♭ Instrument Information What a “regular” E♭ Instrument Sees

•

Information about this note

How to Transpose

C5 C major Solfège Do

DOWN ↓ M6

Sounding Pitch

Information about this note E♭4 E♭ major Solfège Do

Pedagogical tips for sightreading instrument transposition lines: • • • • • •

Before starting, identify the key, starting solfège syllable, and starting pitch with correct octave placement. Read the direction and the interval size between each note. For example, “up a 4th,” “down a 3rd,” etc. Discuss the key signature by identifying the number of black keys in a given measure. Discuss fingerings for broken chords, scale fragments, and other hand position changes. To prepare for playing steadily, say the fingerings in rhythm. Sing individual lines. In general: • •

•

Larger intervals and music without do and sol are more challenging than smaller intervals. Isolate difficult parts of an example.

Point along in the score while someone else plays, sings, or taps the melody.

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B♭ Instrument Reading

Score Reading

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Skills

F Instrument Reading

Score Reading

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Skills

Score Reading Information Here is a list of examples on the following pages: Band: 1. 3- and 4-part Woodwind and Brass Scores 2. Full Score with Piano Reduction and Explanation 3. Full Score without Reduction or Explanation Choral: 1. High Voice Trios (SSA) and Low Voice Trios (TTB) 2. Full Score with Piano Reduction and Explanation 3. Full Score without Reduction or Explanation Strings: 1. String Trios 2. Full Score with Piano Reduction and Explanation 3. Full Score without Reduction or Explanation For each of the #1s: • •

Sightread 1 part while tapping the pulse, counting out loud, or singing the line. Use the pedagogical tips in the Movable Clef and Instrument Transposition Information sections. Sightread 2 non-transposing parts. Here are some pedagogical tips for this: • • •

Sing 1 line and play another. Play the LH as written and reduce the RH to a repeated note in the written rhythm. Then reverse the hands. Play only downbeats with BH.

For each of the #2s: • •

Repeat the steps for #1s. Study the written notes on the piano reduction, then learn to play it.

For each of the #3s: • •

Repeat the steps for #1s. Create a reduction. Here are some pedagogical tips for this: • • • • • • •

Listen to a recording of the piece. Later on, play along with the recording. Write in Roman numerals or lead sheet notation or write out a reduction using staff paper or music notation software. Look for doublings. Sometimes different instruments play the same notes. Omit doubled parts and other notes impossible to reach. Rearrange notes for easier playing, moving a part up or down an octave if necessary. Start slowly to build the ability to play the reduction at the indicated tempo. Practice short, difficult 1–2 measure sections, using ideas from the Introduction to Effective Practicing.

Score Reading

Woodwind Trio – Finale, From Nonet, Op. 38 – Louise Farrenc

Woodwind Quartet – Concertino for Flute, Op. 107 – Cécile Chaminade

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Skills

Woodwind Quartet – Prelude No. 5 – Amanda Röntgen-Maier

Score Reading

Woodwind Quartet – Jupiter, the Bringer of Jollity – Holst

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Skills

Brass Quartet – Hail Columbia – Phile

Score Reading

Brass Quartet – Hino do Ceará – Alberto Nepomuceno

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Skills

Full Band Score, Reduction, and Notes – Marcia No. 7 – Ponchielli

Score Reading

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Skills

Score Reading

233

Notes Here is some information about the reduction above. It also helps prepare similar reductions. • • •

Compare the way that the LH is written to imitate the original score. For example, the LH plays blocked chords in measures 1–3 and broken chords in measure 4 and onward. Observe how the RH is primarily the melody found in the upper wind and Cornet 1 parts. Play the alto line whenever it sounds good and is possible to do so. Notice that the RH is higher in measures 1–4, matching the flute part and highlighting the introduction. It is lower afterward to follow the cornet part. The LH downbeats follow the bassoon, rather than the tuba, to make it easier to play.

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Skills

Full Band Score – America the Beautiful – Ward

Score Reading

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Skills

Score Reading

High Voice Trio – November – Jessie Gaynor

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Skills

High Voice Trio – March of the Women – Ethel Smyth

High Voice Trio – Fjárlin och Rosen, Op. 31, No. 1 – Laura Netzel

Score Reading

Low Voice Trio – A Knight’s Farewell – Johanna Kinkel

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Skills

Low Voice Trio – Trinklied im Mai, D. 427 – Schubert

Score Reading

Full Choral Anthem, Reduction, and Notes – Now Is the Month of Maying – Morley

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Skills

Score Reading

243

Notes Here is some information about the reduction above. It also helps prepare similar reductions. • • • •

Observe that the reduction covers all of the accidentals, helping the vocalists find the most difficult pitches. Compare the original and the LH of the reduction in measure 4. The LH picks up the F natural from the alto part, keeping the LH manageable. Notice that in measure 13, the RH in the reduction plays the Tenor 1 and Tenor 2 parts, 1 octave higher. This change maintains correct voice leading and keeps many of the notes from the original. Study the LH in measure 6 and BH in measures 14–15. The reduction does some creative rewriting to keep the rhythm of the original while keeping BH relatively straightforward. Other reductions could capture the moving notes more fully.

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Skills

Full Choral Anthem – Boston – Billings

Score Reading

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Skills

String Trio – Violin Concerto in D Minor – Amanda Röntgen-Maier

String Trio – String Quartet No. 3, SN5.7 – Alberto Nepomuceno

Score Reading

String Trio – Divertimento No. 4, K. 439b – Mozart

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Skills

String Trio – Prométhée, Op. 21 – Leopoldo Miguez

Score Reading

String Trio – Waldnacht, Op. 23, No. 3 – Julius Eichberg

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Skills

Full String Ensemble Score, Reduction, and Notes – Suite for Strings (III) – Janáček

Score Reading

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Skills

Notes Here is some information about the reduction above. It also helps prepare similar reductions. •

The LH includes some notes and omits others from the original. • •

• •

In measure 5, the LH changes to a broken chord to capture both the harmony of the inner parts and the moving line of the cello part. In measure 7, the Violin II part appears 1 octave lower than the original on the downbeat. However, on the third eighth note of the same measure, the reduction omits the Violin II and Cello parts.

Observe that in measures 13–14 and 21–22, the LH breaks the rules of traditional harmony with parallel fifths. This matches the movement of the bass parts in the original score. Experiment with other possibilities. For example, play the parallel thirds in the violin parts that start in the pickup to measure 9.

Score Reading

Full String Ensemble Score – Pomp and Circumstance, Op. 39, No. 1 – Elgar

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Skills

Score Reading

255

Additional Score Reading Resources Band •

The following is a brief, alphabetized list of band sources currently available through University Libraries in Ohio: • • • • • • • • • • •

Daehn – Summer Was Just Beginning Del Borgo – Shaker Variants Frank Erickson – Toccata for Band Holsinger – A Childhood Hymn Margolis – Two Minute Symphony McGinty – Clouds, Sea Song Trilogy, and The Red Balloon Pierre La Plante – Prospect Reed – Russian Christmas Music Sheldon – Pevensey Castle Strommen – Cumberland Cross Stuart – Three Ayres from Gloucester

Choral •

The following is a brief, alphabetized list of choral scores currently available online: • • • • • • • • • • • • • • • • •

Anonymous – Tourdion Bennet – Weep O Mine Eyes Brahms – Der Fiedler Brahms – Erlaube mir Byrd – Ave verum corpus Farrant – Lord, For Thy Tender Mercies’ Sake Hassler – Cantate Domino Holst – Turn Back, O Man Josquin – El Grillo Lasso – O occhi, manza mia Mendelssohn – Frühlingsahnung Mendelssohn – Die Primel Mozart – Ave Verum Corpus Pitoni – Cantate Domino Praetorious – Anima Mea Rachmaninoff – Bogoroditse Devo Schubert – Der Tanz

Strings •

The following is a brief, alphabetized list of string scores currently available online: • • • • • •

• •

Album of Classical Themes for the Junior String Orchestra Arensky – Variations on a Theme by Tchaikovsky, op. 35a William Boyce – Symphony No. 1 Gluck – Overture to Orfeo y Euridice Haydn – Baryton Trio No. 8 in A major Mozart – Divertimento No. 2, K. 131

Other online sources for string ensemble music include music for string quartet gigs. The following is a brief, alphabetized list of string sources currently available through University Libraries in Ohio: • •

Charles Budesheim – Strings Around the World (3 short movements, 2 volumes) Gerald Jaffe – Short Suite (4 movements)

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Skills • • • • • •

Tchaikowsky, arr. Caponegro – Waltz from “The Sleeping Beauty” Richard Meyer – At the Grasshopper Ball Mark Williams – Crystal City March and Mississippi Cakewalk Edmund J. Siennicki – Frog in a Tree Dorothy A. Straub – Summer Stomp Some of these scores have piano reductions, accompaniment parts, or 3rd Violin parts that duplicate the viola parts.

General •

• •

Please consult the publications of the National Band Association, American Choral Directors Association (ACDA), American String Teachers Association (ASTA), or similar organizations for additional repertoire lists. Literature from current large ensemble or other music courses is also an excellent possibility. The following is a brief, alphabetized list of print resources for practicing score reading for all types of ensembles: • • •

Creuzburg, Heinrich. Partiturspiel: ein Übungsbuch in vier Bänden = La réduction au piano: recueil d’exercices en quatre volumes = Score playing: a book of exercises in four volumes. 2015. Gregorich, Shellie, and Benjamin Moritz. Keyboard Skills for Music Educators: Score Reading. New York: Routledge, 2012. Morris, R. O., and Howard Ferguson. Preparatory Exercises in Score Reading = Vorbereitende Übungen Im Partiturlesen. London: Oxford University Press, 2001.

9

Accompaniment

Why learn accompaniments? •

Provides a venue for learning about collaborative piano skills, such as: • •

•

Preparing for and leading rehearsals. Playing with a soloist in a performance.

Presents opportunities to gain experience: • • •

Listening and responding to others playing at the same time. Adjusting to unexpected challenges. Using and watching non-verbal cues.

What are the objectives, materials, and suggestions for related projects in this section? •

Objectives: • •

•

Materials: • A list of pieces for specific solo instruments and piano. • • • •

•

Artistically perform with a soloist, either as written or reduced. Develop familiarity with literature for solo instruments and piano.

Music for solo instrument and piano with the original accompaniment, a reduction, and a written explanation of the reduction. Music for solo instrument and piano with the original version and a written explanation for how to create a reduction. Music for solo instrument and piano with just the original version. Solo parts for a variety of instruments for each accompaniment.

Suggestions for related projects: • • •

Learn music for multiple other instruments and piano. Accompany a precollege student on a live or recorded performance. Compose and perform a piece for solo instrument and piano.

How can you effectively learn accompaniments? •

General preparation tips: • • • • • • •

Research the piece and composer. When possible, listen to recordings of the piece. Use the fingerings provided or come up with better ones. Start with the most difficult passages, both hands together, slowly. Practice starting from places other than the beginning, especially transitions and places with tempo changes. Set goals for learning portions of the accompaniment by certain dates. Run the entire accompaniment well in advance of the performance. Understand what is happening in the solo part. DOI: 10.4324/9781003055044-11

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Skills •

Practice using the pedal while playing. •

•

Work on the pulse and continuity of your accompaniment: • • •

• •

Write in lead sheet symbols and/or Roman numerals. Simplify some harmonies by removing added notes or 7ths of chords. Change broken chord patterns to blocked chord patterns. Omit octave doublings and/or notes in places such as weak beats. Rearrange the music so that it is in keyboard style or melody with accompaniment. Alter the part so that the hands alternate, rather than play at the same time.

Rehearsal logistics: • • • • • • • •

•

Adjust the octave of the solo part as necessary. Play the solo parts on a primary instrument, secondary instrument, or as part of a methods or techniques course.

Reduction tips: • • • • • •

•

Use a metronome. Practice only downbeats in both hands. Play the accompaniment while someone else plays the melody line. Be ready for something to go wrong, to build the ability to adjust.

Plan out page turns. For the soloist: • •

•

Factors that affect pedal usage include the style of the piece, the volume of the soloist, and the markings in the score.

Show up early to be ready to start rehearsing on time. If necessary, help the soloist tune before starting. Discuss the performance tempo and any repeats. If necessary, practice with the soloist under tempo. Practice the beginning, the ending, cueing, and any tempo changes. Work on watching the soloist, especially at important points in the piece. Prepare the logistics for a professional performance with bowing at the end. Record a run-through or ask someone to listen for balance and other factors, such as the pedal.

Make sure the soloist is ready before starting.

Accompaniment

259

Additional Accompaniment Repertoire The following pieces in this book feature the original accompaniment, a reduced version, and a written explanation of the reduction: • • • • •

Maid of the Mist – H. L. Clarke Minuet (Dance of the Blessed Spirits) – Gluck An Die Musik – Schubert El Sueño Importuno – Juan Pedro Esnaola Allegro from Sonata in F major – Marcello

The following piece in this book features the original accompaniment and a written explanation for how to create a reduced version: •

Elegie – Louise Adolpha Le Beau

The following pieces in this book feature just the original accompaniment: • • • •

Ride, ride, Ranke – Agnes Backer Grøndahl The Reply of the Messenger Bird – Augusta Browne Chanson – Clémence de Grandval Arioso – J. S. Bach

The list below organizes music for solo instrument and piano by instrument. Voice •

Book: • • • • •

•

Online: • • • • • • • • •

•

An Die Musik, D. 547 – Schubert El Sueño Importuno – Juan Pedro Esnaola Ride, ride, Ranke, op. 52, no. 2 – Agathe Backer Grøndahl The Reply of the Messenger Bird – Augusta Browne Chanson, from 6 Nouvelles Mélodies – Clémence de Grandval

Hope, from 12 Songs; A Smile and a Tear; The Friend of My Heart – Harriett Abrams Selected Modinhas – José de Souza AragãoorGabriel Fernandes da Trindade Oh Were My Love yon Lilac Fair, op. 43, no. 3 – Amy Beach The Willow Song – Samuel Coleridge-Taylor Folk Songs, op. 43, nos. 1 and 4 – Agathe Backer Grøndahl Nerina, Maga Estrella – Elias Álvares Lobo Malgré-moi!, op. 43, no. 2 – Laura Netzel Poursuite (#3) from Six Melodies – Pauline Viardot Canzonetta de Concert (based on a theme by Haydn) – Pauline Viardot

Other Source: •

Folk Songs for Solo Singers –Althouse and Sally Albrecht

260

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Overall Instrumental Resources: • • •

Standards of Excellence – Pearson Concert and Contest Collections – Voxman Resources for exam systems such as the Royal Conservatory Program and the Associated Boards of the Royal Schools of Music (ABRSM)

Flute •

Book: • •

•

Online: • •

•

Minuet (Dance of the Blessed Spirits) from Orpheus and Eurydice –Gluck Elegie, op. 44 – Luise Adolpha Le Beau

Andante from Fantasie, Op. 79 – Fauré Pan (Pastorale) – Donjon

Other Source: •

40 Little Pieces in Progressive Order – Moyse

Oboe •

Book: •

•

Online: •

•

Arioso from Cantata, BWV 156 – J. S. Bach

Concerto in C major, Hob. VIIg:C1 (II) – attributed to Haydn

Other Sources: • • •

Oboe Solos, Level One Elementary – Edlefsen Time Pieces for Oboe – Denley Concert and Contest Collection for Oboe, especially the Grétry Ariette – Voxman

Clarinet •

Book: • •

•

Online: • • •

•

Arioso from Cantata, BWV 156 – J. S. Bach Maid of the Mist – H. L. Clarke

Divertimento in D major, K. 334 – Mozart Fantasiestücke for Clarinet and Piano, op. 43, no. 1 – Gade Canzonnetta, op. 19 – Pierné

Other Source: •

First Solos for the Clarinet Player – Simon

Bassoon •

Book: •

•

Online: •

•

Arioso from Cantata, BWV 156 – J. S. Bach

Selections from 6 Bassoon Sonatas – Galliard

Other Source: •

The First Six and Five More Bassoon Solos – Weait

Accompaniment Saxophone •

Book: •

•

Online: • •

•

Arioso from Cantata, BWV 156 – J. S. Bach

Violin Sonata in G minor – attributed to Eccles Fantaisie Pastorale, op. 56 – Singelée

Other Sources: • •

Solos for the Alto Saxophone Player with Piano Accompaniment – Teal Aria – Bozza

Trumpet •

Book: • •

•

Online: •

•

Maid of the Mist – H. L. Clarke Arioso from Cantata, BWV 156 – J. S. Bach

Trumpet Concerto (II) – Haydn

Other Source: •

Solos for the Trumpet Player, edited by Beeler

Horn •

Book: •

•

Online: •

•

Arioso from Cantata, BWV 156 – J. S. Bach

Romance, op. 36 – Saint-Saëns

Other Source: •

Solos for the Horn Player with Piano Accompaniment, edited by M. Jones

Trombone/Euphonium/Tuba •

Book: • •

•

Online: •

•

Allegro (IV) from Sonata No. 1 in F major, op. 2, no. 1 – Marcello Arioso from Cantata, BWV 156 – J. S. Bach

Etudes – Rochut (also known as Arias by Bordgoni)

Other Source: •

First Solos for the Trombone Player – transcribed by H. C. Smith

Violin •

Book: • •

Elegie, op. 44 – Luise Adolpha Le Beau Minuet (Dance of the Blessed Spirits) from Orpheus and Eurydice – Gluck

261

262 •

Skills Online: • • •

•

Rondeau in D minor (also known as Gavotte by Lully) – Marais Czardas – Monti Movements from Violin Concerti – Seitz

Other Sources: • •

Solos for Young Violinists – Barbara Barber Accompanying the Violin – Katherine D. Johnson

Viola •

Book: • • •

•

Online: • •

•

Elegie, op. 44 – Luise Adolpha Le Beau An Die Musik, D. 547 – Schubert Chanson, from 6 Nouvelles Mélodies – Clémence de Grandval

Concertino in D major, op. 11 (I) – Küchler Czardas – Monti

Other Sources: • •

First Solos for the Viola Player – Doktor Solos for Young Violists – Barbara Barber

Cello/Bass •

Book: • •

•

Online: • • • •

•

Allegro (IV) from Sonata No. 1 in F major, op. 2, no. 1 – Marcello The Reply of the Messenger Bird – Augusta Browne

La Cinquantaine – Jean Gabriel-Marie Rondeau in D minor (also known as Gavotte by Lully) – Marais Sonata in C major, op. 43, no. 2 – Romberg Romance, op. 36 – Saint-Saëns

Other Source: • Piece by Piece – Sheila M. Nelson

Classical Acoustic Guitar •

Book: • • • •

•

An Die Musik, D. 547 – Schubert Ride, ride, Ranke, op. 52, no. 2 – Agathe Backer Grøndahl The Reply of the Messenger Bird – Augusta Browne Chanson, from 6 Nouvelles Mélodies – Clémence de Grandval

Online: •

Différentes pieces très faciles pour guitare et pianoforte – Diabelli •

•

Book II, No. 16; Book III, No. 22; Book IV, No. 27

Variations for Guitar and Piano – Gardana

Accompaniment

Maid of the Mist Original – Herbert L. Clarke

263

264

Skills

Maid of the Mist Reduced

Accompaniment

265

Reduction Explanation and B♭ Instrument Part Here is some information about the reduction on the previous page: • •

•

•

•

The RH rearranges the line in measure 2 into a broken chord pattern, while keeping most of the original notes. The LH no longer plays the broken octave in measure 3, but it still plays on beats 1 and 3, like the original. In measure 15, the LH in the reduction plays F2 instead of F3 to better highlight the ending of the solo part. The RH has rests on beat 1 of measures 5 and 6, creating time to prepare for the next chords. The original accompaniment has the same notes and rhythm as the solo part in these measures. Sometimes it is hard to play the same notes at the same time as the soloist. The RH maintains 2 eighth notes on beat 3 of measure 14, but they are different than the original. The new version makes it easier to move smoothly into the downbeat, allowing the accompanist to better listen for the soloist. The LH simplifies the “boom chuck” idea from the original in measure 17. The rest on beat 3 allows time for the LH to prepare for the next measure.

266

Skills

Minuet (Dance of the Blessed Spirits) – Gluck

Accompaniment

267

268

Skills

Minuet (Dance of the Blessed Spirits) Reduced and Explanation

Accompaniment

269

270

Skills

C Instrument Part Here is some information about this reduction: • • • •

The unusual RH fingering in measure 1 helps ensure it is in a good position to play in measure 2. The RH rearranges the notes in measure 2 to more closely resemble keyboard style, while maintaining the rhythm of the original accompaniment. The RH keeps the melody line in measure 9 but eases the difficulty by limiting it to 1 note. The LH has a chord on the downbeat of measure 11. This chord has some of the notes omitted from the RH. Playing a chord instead of a single note also helps the soloist hear the downbeat more clearly. See measure 17 for a similar example.

Accompaniment

An Die Musik, D. 547 Original – Schubert

271

272

Skills

An Die Musik, D. 547 Reduced

Accompaniment

273

Reduction Explanation, C Instrument Part, and Viola Part Here is some information about the reduction on the previous page: • • • •

The RH has eighth rests not in the original to prepare for subsequent chords. These rests also allow the LH to focus on playing musically. The RH chords all span less than an octave and now are similar to other chords in this book. The LH omits octave leaps. In measures 10–13, this requires rewriting the original bass line. The RH occasionally uses voice leading that is incorrect in other contexts but is acceptable here since it makes the section easier to play. See measures 7–9 for an example.

274

Skills

El Sueño Importuno Original – Juan Pedro Esnaola

Accompaniment

275

276

Skills

Accompaniment

277

278

Skills

El Sueño Importuno Reduced and Explanation

Accompaniment

279

280

Skills

Accompaniment

281

Here is some information about this reduction: •

• •

The RH adds rests to prepare for subsequent chords. See measures 6–11 for examples. These rests allow the RH to play chords similar to other sections of this book. Since the LH does not play on the second beat of measure 7, the RH keeps the pulse for the soloist here. The LH removes the arpeggio in measure 8 but retains the rhythm from the original version. The LH arpeggio in measure 28 moves the music forward and helps segue to the G# in measure 29.

282

Skills

Sonata No. 1 in F Major, Op. 2, No. 1, 4th Movement, Original – Marcello

Accompaniment

283

284

Skills

Sonata No. 1 in F Major, Op. 2, No. 1, 4th Movement, Reduced

Accompaniment

285

286

Skills

Marcello Reduction Explanation and Le Beau C Instrument Part Here is some information about the Marcello reduction: •

•

• •

Most likely, Marcello originally wrote only the melody, bass line, and figured bass symbols. The keyboard player would have improvised the RH. As a result, reduction of pieces like this one should preserve as much of the original LH as possible. The RH occasionally uses voice leading that is incorrect in other contexts, but is acceptable in this instance since it makes the section easier to play. See measure 3 beat 2 and measure 4 beat 1 for examples. Even though the LH omits the sixteenth notes in measure 37, the RH still plays a musical pattern similar to the original. The RH uses quite a few blocked chords. Feel free to arpeggiate some of them for a more harpsichordlike sound.

Accompaniment Marcello C Instrument Part

287

288

Skills

Elegie, Op. 44 – Luise Adolpha Le Beau

Accompaniment

289

Reduction Suggestions Here is some information to consider when preparing a reduction of this piece: •

•

• • •

An Elegie is a serious poem about death. Any notes omitted or rearranged should maintain the somber character of this work. For example, the reduction should keep the sighing 2-note slurs in the RH on beats 2 and 3. When performing them, listen for a clear sound distinction between the 2 notes. Near the beginning, the RH has a number of chords that have the range of an octave. Rearranging these into smaller chords should make them easier to play; however, do this carefully. If you rearrange the RH to start with a root position G minor chord, it will create some difficult chord changes in measures 4–6. Try starting with a first inversion G minor instead. Not every portion of the piece needs it, but measures 18, 27, and similar places will benefit from rearranging. Analyze the harmonies and remove notes that duplicate the solo line. Because the LH is on the downbeat and has an important countermelody in this spot, turn the page with the RH, omitting as few notes as possible while staying in time. After writing out a reduction, write in fingerings as needed.

290

Skills

Ride, ride, Ranke, Op. 52, No. 2 – Agathe Backer Grøndahl

Accompaniment Grøndahl and Browne C Instrument Parts

291

292

Skills

The Reply of the Messenger Bird – Augusta Browne

Accompaniment

293

294

Skills

Chanson, From 6 Nouvelles Mélodies – Clémence de Grandval

Accompaniment

295

296

Skills

Accompaniment C Instrument and Viola Parts

297

298

Skills

Arioso From Cantata, BWV 156 – J. S. Bach

Accompaniment

299

300

Skills

Accompaniment Bass Clef C Instrument Part

301

302

Skills

B♭ Instrument Part

Accompaniment F Instrument Part

303

304

Skills

E♭ Instrument Part

Part II

Repertoire

Why study solo, duet, and ensemble repertoire? • • •

Offers opportunities to appreciate beautiful piano music in solo and collaborative contexts. Highlights the importance of regular, efficient learning for more artistic performances. Develops habit of continuous playing in performance, especially in duets and ensembles.

What are the objectives, materials, and suggestions for related projects in this section? •

Objectives: • • •

•

Learn and perform early intermediate solo piano repertoire from the Baroque, Classical, Romantic, and early Post-Romantic periods in a stylistically appropriate way. Learn and perform duet music musically. Improve listening, reading, and continuity skills while reading ensemble pieces.

Materials: • •

•

Introductory Solo and Duet Repertoire Lists 2 sets of solo repertoires, the second of which is slightly more difficult than the first. Both sets contain 2 pieces from the Baroque, Classical, Romantic, and early Post-Romantic periods. 6 duets, the last 2 of which are longer than the first 4. •

•

Both the solo and duet repertoire contain light editorial markings, such as tempo markings and fingerings.

10 ensemble pieces, gradually increasing in difficulty. •

Suggestions for related projects: • • • • • •

Perform music from outside the book, either from the lists later in this section or elsewhere. Perform outside the classroom. Research the composer and piece, then give a spoken introduction. As a class, learn a piece currently studied in a band, choir, or orchestra. Create piano “bands” that arrange covers of popular songs. Compose or arrange a solo, duet, or ensemble piece: • • • • •

Write a creative version of a pre-existing melody, such as a holiday tune. Compose a piece based on a form, such as ABA, Theme and Variations, Rondo, or Sonatina. Find a poem and write a piece of music inspired by it. Select a person, place, thing, or idea and use it as inspiration for a piece. Keep the following ideas in mind: • •

Determine logistics for the piece, such as instrumentation, approximate length, form, key, meter, tempo, and title. Decide a deadline to “complete” the writing, to allow time to prepare the piece for performance. DOI: 10.4324/9781003055044-12

306

Repertoire • • • • • •

Listen to music for the same instrumentation for inspiration. Put a double bar on the piece, even if it does not feel “done.” Revise, revise, revise! Include articulation, volume, and character/mood indications. Limit the number of musical ideas to an amount appropriate for the length of the piece.

Consult the following resources for other ideas: • •

•

Olson, Kevin R., and Wynn-Anne Rossi. Music by Me. A Composition Workbook Books 1–3. Ft. Lauderdale, Florida: FJH Music, 2005. Rossi, Wynn-Anne. Creative Composition Toolbox: A Step-by-Step Guide for Learning to Compose. Van Nuys, California: Alfred Music Publishing Co., 2011. Kinney, Akiko, and Forrest Kinney. Pattern Play: Inspiring Creativity at the Piano. Mississauga, Ontario: Frederick Harris Music Co., 2010.

How can you best learn repertoire? • •

Research the composer and piece. Listen to recordings of the pieces. Duets: • • • •

• • • • • • •

Practice at the same piano, in the correct octave. Figure out which person will pedal. Usually, the person playing the secondo part does the pedaling. Practice adjusting when there are mistakes. Work on starting and finishing at the same time with physical and visual cueing.

Use the fingerings provided or come up with other ones. Discuss ways to make the music sound stylistically appropriate. Define all terms in the score. Set goals for learning certain portions of the piece by certain dates. Record performances at various points in the learning process. Learn the entire piece well in advance of the performance. Play confidently and from the heart.

10 Solo Repertoire

Additional Solo Repertoire The following lists contain alphabetized selections of public domain music available online. Easier Solo Repertoire List Baroque J. S. Bach: • • • • • •

Bourée in E minor, BWV 996 Minuet in D minor, BWV Anh. 132 Musette in D major, BWV Anh. 126 Minuet in G major, BWV Anh. 114 or 116 Minuet in G minor, BWV Anh. 115 Prelude in C major, BWV 939

Couperin – Le Petit Rien Elisabetta Gambarini – Siciliana from Sonata I Classical Beethoven – Sonatina in F major, Anh. 5, No. 2 (either movement) Benda – Sonatina No. 10 in F major Clementi – Sonatina in C major, op. 36, no. 1 (third movement only) Mozart – Allegro, K. 3 Spindler – Sonatina, op. 157, no. 1 (first movement) or op. 157, no. 4 (second movement only) Romantic Mel Bonis – Cache-Cache (no. 2) or Valse Lente (no. 4) from Scènes Enfantines, op. 92 Burgmüller – Études, op. 100, nos. 5, 6, 7, or 15 Cécile Chaminade: • •

op. 123, nos. 3, 4, 5, 6, 7, or 8 op. 126, nos. 3, 4, 5, 6, 10, 11, or 12

Louise Farrenc – Étude, op. 50, no. 2 Franck – The Doll’s Lament Gurlitt: • • •

op. 101, nos. 13 or 14 op. 117, no. 34 op. 140, nos. 4, 11, or 13

Kullak – The Clock (no. 2) from Kinderleben, op. 62 Reinecke – Serenade No. 1 Praeludium from op. 183 R. Schumann – Sicilienne (no. 11) or Reaper’s Song (no. 18) from Album for the Young, op. 68 Streabbog – op. 63, nos. 7 or 10 DOI: 10.4324/9781003055044-13

308

Repertoire

Post-Romantic Bartók: • •

10 Easy Pieces #2, 7, or 8 For Children Volume 1 #8 or Volume 2 #18

Bloch – Joyous Party (no. 2), Melody (no. 6), or Pastorale (no. 7), from Enfantines Casella – op. 35, no. 6 Ornstein – no. 4 or no. 6 from Memories of Childhood Rebikov: • •

La Promenade des Gnomes (no. 6), from Tableaux pour enfants, op. 37 Dance, op. 51, no. 4

Solo Repertoire Minuet, From Suite in D Minor – Élisabeth Jacquet de la Guerre

309

310

Repertoire

Tambourin, Op. 2, No. 7 – Elisabetta de Gambarini

Solo Repertoire Allegro Tranquillo From Sonatina No. 1 (I) – Hedwige Chrétien

311

312

Repertoire

Rondo From Sonata, Op. 2, No. 4 – Jane Savage

Solo Repertoire

313

314

Repertoire

Étude, Op. 50, No. 1 – Louise Farrenc

Solo Repertoire

315

316

Repertoire

Manhas e Reproches, No. 5 From 12 Peças Características, Op. Post. – Leopoldo Miguez

Solo Repertoire

317

318

Repertoire

A Joyous Moment, From Tableaux Pour Enfants, Op. 37, No. 4 – Rebikov

Solo Repertoire

319

320

Repertoire

Slovakian Boys’ Dance, From 10 Easy Pieces, Sz. 39, No. 3 – Bartók

Solo Repertoire

321

322

Repertoire

More Difficult Solo Repertoire List Baroque J. S. Bach – Short Preludes, BWV 924 and 927 Elisabetta Gambarini – Grazioso from Sonata II Graupner – Intrada Pescetti – Presto (last movement) from Harpsichord Sonata in C minor Purcell – Allemande or Courant from Suite No. 1 in G major, Z. 660 Rameau – Tambourin in E minor Classical A. André – Sonatina in C, op. 34 C.P.E. Bach – Solfeggietto Beethoven – Minuet in C major, WoO 10, no. 1 Clementi – Sonatina in G major, op. 36, no. 2 (first movement only) Diabelli – Sonatina in G major, op. 151, no. 1 (first movement only) Kuhlau – Sonatina in C major, op. 55, no. 1 (first movement only) Romantic Amy Beach: • •

Children’s Carnival, op. 25, nos. 2, 3, or 6 Children’s Album op. 36, nos. 1, 2, 3, or 5 (bass clef instrumentalists only)

Burgmüller – Études, op. 100, nos. 18 or 21 Chopin: • •

Prelude in B minor, op. 28, no. 6 Waltz in A minor, op. 70, no. 2

Ellmenreich – Spinning Song, op. 14, no. 4 Louise Farrenc – Études, op. 50, nos. 11, 17, 20, or 24 Granados – Dedication (no. 1) from Stories of the Young, op. 1 Grieg – op. 68, no. 1 Agathe Backer Grøndahl: • • • •

Baadn-Laat (no. 4) and Brudeslaat (no. 7) from op. 30 Laat i Fjellet (no. 3) from op. 33 Springdans (no. 12) from op. 55 Gjemme sig (no. 2) from op. 66

Gretchaninoff: • •

A Frightening Experience (no. 11) from Children’s Book, op. 98 My First Dance (no. 8) or In the Fields (no. 10) from Glass Beads, op. 123

Gurlitt: • • •

op. 101, no. 10 op. 140, no. 14 or 20 op. 141, no. 14

Heller – Avalanche (no. 2) from Melodious Studies, op. 45 MacDowell – To A Wild Rose (no. 1) from Woodland Sketches, op. 51 Reinhold – op. 39, nos. 1, 9, 13, or 24 R. Schumann – Hunting Song (no. 7), from Album for the Young, op. 68 Tchaikovsky – op. 39, nos. 10, 15, or 16

Solo Repertoire Post-Romantic Bartók: • •

10 Easy Pieces #5 For Children Volume 2 #35

Casella – Preludio (no. 1), Canone (no. 3), or Bolero (no. 4) from 11 Pieces for Children, op. 35 Rebikov – op. 47, nos. 2 or 3; op. 50, nos. 2 or 3

323

324

Repertoire

Prelude in C Minor, BWV 999 – J. S. Bach

Solo Repertoire

325

326

Repertoire

La Joyeuse, From Suite in D Major, WCT 3 – Rameau

Solo Repertoire

327

328

Repertoire

Sonatina No. 3 in A Minor – Benda

Solo Repertoire

329

330

Repertoire

Rondo, From Sonatina in G Major, Op. 151, No. 1 – Diabelli

Solo Repertoire

331

332

Repertoire

Marche Russe, Op. 123, No. 12 – Cécile Chaminade

Solo Repertoire

333

334

Repertoire

Étude No. 19 – Hélène Montgeroult

Solo Repertoire

335

336

Repertoire

A Little Slow Waltz, Op. 11, No. 3 – Carl Nielsen

Solo Repertoire

337

338

Repertoire

Berceuse, From Pezzi Infantili, Op. 35, No. 10 – Casella

Solo Repertoire

339

11 Duet Repertoire

Additional Duet Repertoire The following list contains alphabetized selections of public domain music available online. The following is in alphabetical, not difficulty, order. •

Album for Piano Four Hands, edited by William Scharfenberg: • • • • •

• •

Bruckner – 3 Pieces, nos. 2 or 3 Bertini: • •

•

8 Short, Melodious Pieces for Pianoforte Duet, op. 13 10 Piano Pieces for 4 Hands, op. 74

Loeschhorn – Tonbuilder, op. 51 Reinecke: • •

• • • •

Suite Moderne No. 1, op. 38 (Allegro moderato, Scherzo, or Introduzione and Finale) Sonatina No. 3 for Piano 4-hands (either movement)

Gurlitt – Polonaise, op. 147, no. 6 Jongen – Pages Intimes, op. 55, nos. 1 or 3 Kiel: • •

• •

Five Pieces, op. 4 Sehr leichte Stücke, op. 28

Goldner: • •

• • •

Duettino in C major, WO 24 (third movement) Duettino in G major, WO 25 (first movement)

Foote – Pieces at Twilight Fuchs: • •

•

Études musicales, op. 97, nos. 13, 15–19, 21, 22, 24 25 Études très faciles, op. 149, nos. 3, 4, 10, 17–24

Clementi: • •

• •

Hiller – Christmas Eve, op. 51, no. 5 Reinecke – Tarantella, op. 54, no. 12 Volkmann – On the Lake, op. 11, no. 4 Terschak – Polka, from Le Bal d’enfants Additionally, there are a number of more difficult pieces after page 48.

12 Canonic Studies, op. 130, nos. 4–8, 10, or 11 10 Little Fantasias, op. 181

Respighi – Six Small Pieces for Piano 4 Hands Schmitt – 4 Sonatinas, op. 209, either the first or last movement of any of these Smith, Hannah – 4 Little Hands, op. 20, no. 1 (Cradle Song) or no. 3 (Boat Song) Wekerlin – Les Cigognes No. 1 (Mouvement de Valse Lente)

DOI: 10.4324/9781003055044-14

342

Repertoire

Berceuse, Op. 14, No. 2 – Hannah Smith

Duet Repertoire

343

344

Repertoire

Mysterious Story, Op. 57, No. 2 – Kirchner

Duet Repertoire

345

346

Repertoire

Twilight, From Summer Dreams, Op. 47, No. 3 – Amy Beach

Duet Repertoire

347

348

Repertoire

The Swing, From Pieces at Twilight – Foote

Duet Repertoire

349

350

Repertoire

352

Repertoire

Allegro, From Duettino in C Major, WO 24 – Clementi

Duet Repertoire

353

354

Repertoire

Duet Repertoire

355

356

Repertoire

Duet Repertoire

357

358

Repertoire

Duet Repertoire

359

360

Repertoire

Valse Espagnole – Mel Bonis

Duet Repertoire

361

362

Repertoire

Duet Repertoire

363

364

Repertoire

Duet Repertoire

365

12 Ensemble Repertoire La Morisque and Bergrette From Danseyre – Susato

DOI: 10.4324/9781003055044-15

Ensemble Repertoire

367

368

Repertoire

La Cucaracha – Mexican Folk Song

Ensemble Repertoire

369

370

Repertoire

God Rest Ye Merry Gentlemen – English Melody

Ensemble Repertoire

371

372

Repertoire

Aloha ‘Oe – Queen Lili‘uokalani

Ensemble Repertoire

373

374

Repertoire

Dance of the Sugar Plum Fairy, From The Nutcracker, Op. 71 – Tchaikovsky

Ensemble Repertoire

375

376

Repertoire

Kumbaya – Spiritual

Ensemble Repertoire

377

378

Repertoire

The Teddy Bears’ Picnic – Bratton

Ensemble Repertoire

379

380

Repertoire

Peacherine Rag – Scott Joplin

Ensemble Repertoire

381

382

Repertoire

Prelude, Op. 15, No. 4 – Marion Bauer

Ensemble Repertoire

Spring (I), From the Four Seasons, RV 269 – Vivaldi

383

384

Repertoire

Ensemble Repertoire

385

Appendix Musical Examples

Lines 3 Sightreading Examples Composer

Title

Page

18th C. French Bach Bach Bach Bauer, Marion Beach, Amy Beach, Amy Berbiguier Casulana, Madalena Coleridge-Taylor, Samuel d’Arrest, Magdalena de Grandval, Clémence Dett, Nathaniel Elgar Hintze Holmès, Augusta Mozart Mozart Mozart Offenbach Offenbach Pleyel Spiritual von Paradis, Maria Theresia von Paradis, Maria Theresia von Schellendorf, Ingeborg Bronsart Walter

Iste Confessor Ermuntre dich, mein schwacher Geist, BWV 43 Von Himmel Hoch, BWV 248, Part 2 Was Gott tut, das ist wohlgetan, BWV 144 Fair Daffodils Anthem, op. 7 Sanctus from Mass, op. 5 Flute Duet, op. 72, no. 29 Io felice pastore, from 2nd Book of Madrigals Viking Song Ik vrijden een meijsje teer, from Klavierboekje La Ronde des Songes (III) Listen to the Lambs The Shower, op. 71, no. 1 Salzburg Soleil des âmes, from La Montagne Noire, Scène II Song, K. 346, No. 1 Song, K. 346, No. 2 Song, K. 346, No. 3 Duo for 2 Cellos, op. 50, no. 3 (I) Duo for 2 Cellos, op. 50, no. 3 (II) Romance (II) from Duet for 2 Violins, op. 8, no. 4 Keep Your Lamps #2 from 12 Songs #9 from 12 Songs Kennst du die rothe Rose? Allein auf Gottes Wort

73 69 69 69 72 76 72 70 74 75 69 71 74 72 73 77 75 76 77 75 76 69 73 71 74 69 77

Lines 4 Sightreading Examples Composer

Title

Page

Bach Bach Bach Billings d’Arrest, Magdalena Délibes Dett, Nathaniel Garcia, José Mauricio Nunes Grøndahl, Agathe Backer

Gott des Himmels und der Erden, BWV 248 O Ewigkeit, du Donnerwort, BWV 20 Valet will ich dir geben, BWV 245 Africa Menuet from Klavierboekje Avril O Holy Lord Gloria Patri, from Matinas do Apóstolo Sao Pedro Ved Sundet, op. 67, no. 6

86 86 86 82 79 83 86 82 84

(Continued)

Appendix

387

(Continued) Composer

Title

Page

Grøndahl, Agathe Backer Grøndahl, Agnes Backer Haydn Hensel, Fanny Holmès, Augusta Irish melody Jancourt Kinkel, Johanna Knapp, Phoebe Palmer Korean folk song Leon, Meyer Mazas Schubert Smyth, Ethel Spiritual Spiritual Strothotte, Maurice Arnold Vanderhagen Walker, W. White Wiggins, Thomas “Blind Tom”

Liden Kirsten, op. 67, no. 9 Der ligger et land, op. 67, no. 11 Psalm 31 Abendlich schon rauscht der Wald, op. 3, no. 5 Gloire à vous, from Part 3 of Lutèce St. Columba Exercice mélodique pour le basson, op. 98, no. 16, alt. Choral from Hymnus in Coena Domini, op. 14, no. 1 Assurance Blue Bird Leoni Violin Method, op. 34 Todtengräberlied, D. 38 Zieg’dich, Jehovah, from Act 1 of The Wreckers Let us Break Bread Somebody’s Knockin’ at Your Door Oh! Weep for Those Allegro Moderato, from Nouvelle méthode de clarinette Wondrous Love Elementary Method for the Trombone, Duet No. 1 Water in the Moonlight

84 84 83 85 80 80 79 82 80 85 81 83 78 85 81 86 86 78 81 78 79

Harmonization Examples Composer

Title

Page

Primary Harmonization Primer American Arthur Foote Chilean South African

This Old Hammer Merry Go Round, from 12 Duets on Five Notes Mi Cabello Blanco Singabahambayo

Primary Harmonization

 

Bahamaian Brahms Caribbean Carulli French Gabriel German Ghanaian Gonzaga, Chiquinha Gruber Havergal, Frances Ridley Hispanic Hispanic Indigenous Canadian Ivanovici Jewish Jewish Mexican Mozart Nigerian Offenbach Pai, Princess Te Rangi (Maori)

‘Round the Bay of Mexico Symphony No. 1 (IV), op. 68 Deep Blue Sea École de guitare, op. 241, no. 20 Patapan Sparrow Alle Vögel sind schon da (May Song from Suzuki Violin Book 1) Sansa Kroma A Sertaneja Silent Night Eirene Bajó un angel del cielo Tanto Vestido Blanco Land of the Silver Birch Waves of the Danube Raisins and Almonds Sevivon Cielito Lindo Trio (Sleigh Ride) from German Dance No. 3, K. 605 Everybody Loves Saturday Night U. S. Marine Song (from Geneviève de Brabant) Hine e Hine

95 95 95 95 99 103 96 100 104 102 97 100 99 96 104 104 97 102 99 100 103 103 105 101 101 98

(Continued)

388 Appendix (Continued) Composer

Title

Page

Spiritual Spiritual Tschaikowsky

Down by the Riverside Go Down, Moses Caprricio Italien, op. 45

105 97 98

Farandole En Avan’ Grènadié Wedding Tarantella Ning Wendete Chan mali chan Pregúntale a las estrellas Rigaudon Loch Lomond Dust, Dust, and Ashes Every Time I feel the Spirit

109 108 107 108 107 110 108 110 109 107

Bolivian Holst Korean Liberian Pieczonka Spiritual

La Mariposa In the Bleak Midwinter Arirang Take Time in Life Tarantella, alt. Sometimes I Feel Like a Motherless Child

115 113 113 113 115 115

Diatonic Harmonization

 

American American Argentinian Austrian Beethoven Chinese Eccles (attributed to) Folk Folk/Shmuel Cohen French German/Brahms J. J. Woods Jamaican Japanese Kirkpatrick Mexican Native American (Dakota) Offenbach Pierpont Russian Jewish Schubert Scottish South African South American Tabourot, Jehan

Riding Down from Bangor Shenandoah Argentinian Santo Still, Still, Still Symphony No. 6 (V), op. 68 Jasmine Flower Adagio from Violin Sonata in G minor I Love the Mountains Israeli National Anthem Viva L’amour Sankt Raphael, WoO 34, no. 7 New Zealand National Anthem All Me Rock Sakura Away in a Manger Mi Sueño Lacquiparle O mon cher amant from La Périchole Jolly Old St. Nicholas Tum Balalaika Frühlingstraum, D. 911, no. 11 The Water is Wide Thula Baba Thula Sana Arrorro, mi niño Branle de L’officiel (Ding Dong Merrily on High)

Diatonic Harmonization at Sight

 

Brazilian Chinese Creole Hopkins Malaccan Malaysian Mozart

Samba Lelê Fenyang Flower Drum Song Aurore Pradère We Three Kings Jingli nona Di Tanjung Katong String Quartet (III), K. 80

Primary Harmonization at Sight Bizet Creole Italian Kenyan Malaysian Mexican Rameau Scottish Spiritual Spiritual Diatonic Harmonization Primers

 

116 121 123 124 116 117 119 119 118 122 123 121 120 125 123 120 116 121 117 122 125 124 118 124 119 129 130 129 127 128 127 128

(Continued)

Appendix

389

(Continued) Composer

Title

Page

Scottish Gaelic Smetana Spanish

Morning Has Broken The Moldau (from My Homeland) De Colores

128 129 130

Burung Kakak Tua Tengo una Muñeca My Lord, What a Morning Tutira mai

133 133 133 133

Columbia, Gem of the Ocean She’ll Be Comin’ Round the Mountain St. Anthony Chorale Gavotte (also found in Suzuki Violin Book 3) Etude No. 10 Cantad al Señor Ballade, op. 100, no. 15 John B. Sails Fado das Tricanas de Coimbra Under the Bamboo Tree Daisy Bell (Bicycle Built for Two) South African National Anthem excerpt Pastores A Belén Symphony No. 8 (I), D.759 My Bonnie Lies Over the Ocean Deep River Nobody Knows the Trouble I’ve Seen Battle Hymn of the Republic Emperor Waltz, op. 437 Loy Krathong Amazing Grace Auld Lang Syne Turkish National Anthem Memories It Came Upon a Midnight Clear

134 134 141 138 135 140 143 136 142 138 136 135 139 140 139 141 134 137 137 143 138 143 137 140 142

Scherzino for flute, op. 55, no. 6 Greensleeves A Strip of Bunting Soleram Please Say You Will Rasa sayang eh Guatemala National Anthem W Żłobie Leży Go Tell it on the Mountain I’m Called Little Buttercup

147 147 148 146 148 146 146 145 145 149

Chromatic Harmonization Primer Malay folk song Mexican Spiritual Wiremu Te Tau Huata

 

Chromatic Harmonization A’Becket, Thomas American Anonymous Becker Bordogni/Rochut Brazilian Bürgmuller Caribbean Chiquinha Gonzaga Cole, Robert Dacre Enoch Mankayi Sontonga Puerto Rican Schubert Scottish Spiritual Spiritual Steffe Strauss II, J. Thai Traditional Traditional Üngör, Osman Zeki Van Alstyne Willis Chromatic Harmonization at Sight Andersen English Gaynor, Jessie Indonesian Joplin, Scott Malaysian Ovalle, R.A. Polish Spiritual Sullivan

Chorale Examples Composer

Title

Page

Anonymous Anonymous Anonymous Barnard, Charlotte Alington

Gaudeamus Igitor La Folia Maoz Tzur Brocklesby

206 204 206 209

(Continued)

390 Appendix (Continued) Composer

Title

Page

Barnard, Charlotte Alington Beethoven Bilbro, Mathilde Bishop, H. Bourgeois Browne, Harriet Bruckner Cabrero y Martínez, Paulina Caldara Certon Chaminade, Cécile Coleridge-Taylor, Samuel Crawford, Jane Romney Croft Cui da Silva, Francisco Manuel Dare, E. K. (attributed to) Douglas, Sallie Hume Garcia, José Mauricio Nunes Gaynor, Jessie Gomes, Antônio Carlos Gurlitt Havergal, Frances Ridley Haydn Irish Irish Irvine, Jessie Knapp, Phoebe Palmer Knapp, Phoebe Palmer Köhler, L. le Beau, Luise Adolpha Lehmann, Liza Lemmel, Helen Lvov Macfarren, G. Maori Medieval North American Park, Maria Hester Rebeikov Rebeikov Röntgen-Maier, Amanda Ropartz Rounsefell, Carrie E. Schop Schumann, R. Schytte Scott, Clara Scott, Clara Scottish Scottish Sibelius Silesian Spiritual Spiritual Spiritual Spiritual

Pilgrimage Equal No. 3 for 4 Trombones, WoO 30 The Twins’ Story from Ghost Tales Home Sweet Home Old 124th Austrian Evening Hymn Trombone Chorale from Finale of Symphony No. 8 in C minor, WAB 108 La Noche Buena (Villancico #3) Come raggio di sol La, la, la, Je n’ose le dire Immortalité A Rush to Seaward, from Meg Blane, op. 48 Father in Heav’n St. Anne Little Chorus, op. 77, no. 1 Verso, from Beatam me dicent (Responsorio No. 7) Morning Song Follow the Gleam Gloria Patri, from Matinas do Apóstolo Sao Paolo Evening Hymn, from A Book of Ballads Viva el re, from Act II of Maria Tudor Morning Prayer, op. 101, no. 2 Hermas Austria Believe Me, If All Those Endearing Young Charms Last Rose of Summer Crimond Albertson Behold Me Standing at the Door Melody, op. 218, no. 19 Sounds of Wailing, from Scene I of Ruth, op. 27 How Doth the Little Crocodile, from Nonsense Songs Turn Your Eyes Upon Jesus Russian Hymn Orpheus, with his Lute Pokarekare Ana (quasi barbershop) L’homme armé Red River Valley Dirge in Cymbeline Children’s Song #12 Children’s Song #20 Prelude No. 1 Andante and Allegro for Trumpet It May Not Be on the Mountain Height Werde Munter Choral, op. 68, no. 4 Choral in E minor The Day is Breaking Open My Eyes Ye Banks and Braes Barbara Allen Finlandia Crusaders’ Hymn Down in the River to Pray Give Me Jesus I Shall Not Be Moved Jacob’s Ladder

196 184 192 198 196 185 201 194 184 198 192 199 209 204 192 194 192 198 194 200 186 185 201 194 211 186 205 204 199 192 201 200 208 210 199 193 186 205 193 193 194 184 200 210 199 207 206 201 207 199 205 211 198 193 198 200 184

(Continued)

Appendix

391

(Continued) Composer

Title

Page

Spiritual Spiritual Spiritual Spiritual Tallis Tallis Taylor, Tell Tindley, Charles Albert Tindley, Charles Albert Traditional Barbershop Tschaikovsky Webbe Welsh Wilhelm, Carl Wilson, Hugh Zumsteeg, Emile

Michael, Row the Boat Ashore Peace Like a River Steal Away Were You There If Ye Love Me Tallis’ Canon Down by the Old Mill Stream By and By Nothing Between Shine on Me In Church, op. 39, no. 24 Glorious Apollo Men of Harlech Die Wacht am Rhein Martyrdom An meine Zeiter, op. 4, no. 4

184 200 193 208 193 209 200 185 199 194 198 192 201 201 202 184

Score Reading Examples Composer

Title

Page

Abdon, Bonifacio Alzedo, José Bernardo Bądarzewska-Baranowska, Tekla Beethoven Billings Bologne de Saint-Georges, Joseph Brahms Chaminade, Cécile Chaminade, Cécile Chaminade, Cécile Coleridge-Taylor, Samuel Cook, Will Marion da Silva, Francisco Manuel de La Guerre, Élisabeth Jacquet Dvořák Eichberg, Julius Elgar Farrenc, Louise Filipino Gaynor, Jessie Gutiérrez, Manuel María Hensel, Fanny Holst Hopekirk, Helen Janáček Johnson, Francis Johnson, John Rosamund Kinkel, Johanna Maxime-Alphonse Mendelssohn Migeuz, Leopoldo Monton, Michel Mauléart Motoori, Nagayo Morley

Kundiman Benedicta L’Espérance Trio (III), op. 70, no. 1 Boston Minuet from Flute/Harp Sonata Symphony No. 2, op. 73 (I) Aubade, op. 126, no. 2 Concertino for Flute, op. 107 Eglogue, op. 126, no. 4, alt. The Lord is My Strength Julep Song Per singulos dies, from Te Deum Rigadoun Adagio from String Quartet No. 9, op. 34, alt. Waldnacht, op. 23, no. 3 Pomp and Circumstance, op. 39, no. 1 Finale, from Nonet, op. 38 Paruparong Bukid November Costa Rican National Anthem Im Wald, op. 3, no. 6 Jupiter, the Bringer of Jollity Romance Suite for Strings (III) Francis, from First Set of Cotillions Lift Every Voice A Knight’s Farewell Étude for Horn, Book 2, No. 20 Notturno from A Midsummer Night’s Dream, op. 61, Horn 1 Prométhée, op. 21 Choucoune Wakareshi Yoi (The Evening of Parting) Now is the Month of Maying

222 215 217 218 244 220 216 222 225 220 222 221 217 215 216 249 253 225 223 237 220 217 227 220 250 215 215 239 223 223 248 216 215 241

(Continued)

392 Appendix (Continued) Composer

Title

Page

Mozart Nazareth, Ernesto Nepomuceno, Alberto Nepomuceno, Alberto Netzel, Laura Phile Ponchielli Rimsky-Korsakov Rimsky-Korsakov Romberg, B. Röntgen-Maier, Amanda Röntgen-Maier, Amanda Rosas, Juventino Rossini Saint-Saëns Sancho, Ignatius Schubert Schubert Schubert Smyth, Ethel Sor Sor Szymanowska, Maria Szymanowska, Marie Telemann von Paradis, Maria Theresia Ward Wurm, Wilhelm

Divertimento No. 4, K. 439b Gemendo, Rindo e Pulando, alt. Hino do Estado do Ceará String Quartet No. 3, SN5.7 Fjárlin och Rosen, op. 31, no. 1 Hail Columbia Marcia No. 7 Clarinet Concerto Scheherazade, op. 35, III, Clarinet 1 Cello Sonata in E minor, op. 38, no. 1, I, alt. Prelude No. 5 Violin Concerto in D minor Over the Waves Overture to Semiramide, Horn 1 Bassoon Sonata (II), op. 168 Bushy Park from 12 Country Dances Der Musensohn, D.764 Du bist die Ruh, D.776, alt. Trinklied im Mai, D. 427 March of the Women Étude for Guitar, op. 31, no. 11 Étude for Guitar, op. 31, no. 3 6 Marches, No. 1, alt. Cotillon Viola Concerto, TWV 51:G9, I #10 from 12 Songs America the Beautiful Etude No. 29 for Trumpet

247 218 229 246 238 228 230 221 221 218 226 246 222 223 218 217 223 221 240 238 216 218 220 222 216 217 234 221

Bibliography

Adzenyah, Abraham Kobena, Maraire Dumisani, and Judith Cook Tucker. Let Your Voice Be Heard: Songs from Ghana and Zimbabwe, 10th Anniversary Edition. Danbury: World Music Press, 1997. (Sansa Kroma) Agay, Denes, arr. The Joy of Folk Songs. New York: Consolidated Music Sales, 1965. (Tum Balalaika) Akbar, Aisha. Thirty-Six Best Loved Songs of Malaysia and Singapore. London: University of London Press, 1966. (Di Tanjung Katong, Chan Mali Chan, Rasa Sayang Eh) Allen, Michael, John Higgins, Robert Gillespie, and Pamela Tellejohn Hayes. Essential Elements 2000 for Strings: A Comprehensive String Method. Milwaukee, WI: Hal Leonard, 2002. (Jingli Nona) Associated Board of the Royal Schools of Music (Great Britain). The ABRSM Songbook Plus, 2017. (Pokarekare) Barreiro, Elias. Mel Bay Presents Lullabies of the Americas: For Classic Guitar Solo. Pacific, MO: Mel Bay Publications, 2002. (Arroro mi Niño) Block, Leon. Folksongs and Other Famous Melodies: Arranged for Guitar. New York: G. Schirmer, 1961. (Sambalele) Bober, Melody. Grand Favorites for Piano, Book 6. Van Nuys, CA: Alfred Music, 2019. (Choucounne) Bristow, M. J. National Anthems of the World. London: Weidenfeld & Nicolson, 2006. (National Anthems of Dominican Republic, Brazil, Guatemala, Israel, New Zealand, Turkey) Campbell, Patricia Shehan. Tunes and Grooves for Music Education. Upper Saddle River, NJ: Pearson, 2008. (Sambalele, Loy Krathong, Sansa Kroma, Singabahambayo, De Colores) Cass-Beggs, Barbara, and Michael. Folk Lullabies. New York: Oak Publication, 1969. (Arroro mi Niño, Raisins and Almonds) Choi, Robert Sang-Ung, and Samee Back. Korean Folk Songs: Stars in the Sky and Dreams in Our Hearts, 2014. (Blue Birds) Chroman, Elanor, ed. Songs That Children Sing. New York: Oak Publications, 1970. (Raisins and Almonds, Soleram, La Muñeca) Commins, Dorothy Berliner. Lullabies of the World. New York: Random House, 1967. (All Me Rock, Arroro mi Niño) Cooperative Recreation Service (Delaware, Ohio), Antioch College, and African Folk Music Work Shop. African Songs. Delaware, OH: Cooperative Recreation Service, 1958. (Take Time in Life, Ning Wendete) Dietz, Betty Warner, and Thomas Choonbai Park. Folk Songs of China, Japan, Korea. New York: John Day, 1964. (Blue Birds) East, Helen, and Mary Currie. The Singing Sack: 28 Songs from around the World. London: A. & C. Black, 2000. (Sambalele) Eisman, Lawrence Warren, Elizabeth Jones, and Raymond J. Malone. Making Music Your Own, Volume 7. Morristown, NJ: Silver Burdett, 1968. (I Love the Mountains) Ellis, Martin, Henry H. Leck, and Judith Herrington. Paruparong Bukid = the Butterfly Field: Traditional Filipino Folk Song: for 3-Part Treble and Piano. Milwaukee, WI: Hal Leonard, 2004. (Paruparong Bukid) Ellis, Martin, Henry H. Leck, and Judith Herrington. Tutira Mai = We Stand as One: Traditional Maori Folk Song. Milwaukee, WI: Hal Leonard, 2006. (Tutira Mai) Evangelical Lutheran Church in America, and Evangelical Lutheran Church in Canada. Evangelical Lutheran Worship: Accompaniment Edition; Service Music and Hymns. Minneapolis: Augsburg Fortress, 2006. (Santo, Cantad al Señor) Freedman, Sam. Solid Gold Maori Songs: 12 Best Sellers: Traditional and Contemporary Maori Music. Wellington, NZ: Seven Seas Publishing, 1978. (Hine e Hine) Gilpin, Greg. Let the Men Sing! Shawnee Press, 2017. (Ning Wendete) Gritton, Peter. Folksongs from the Far East, Selected and Arranged for Voices and Keyboard. London: Faber Music, 1991. (Rasa Sayang Eh, Chan mali Chan, Jingli nona, Di Tanjung Katong) Haag, John L. The Italian/American Songbook. Ojai, CA: Professional Music Institute, 2006. (Italian Tarantella) Hague, Eleanor, and Edward Kilenyi. Folk Songs from Mexico and South America. New York: Gray, 1914. (Mi sueño) Hajian, Chris, and Ronald Romm. Hanukah Trilogy. Canada: Canadian Brass Publications, 1997. (Sevivon)

394

Bibliography

Hal Leonard Publishing Corporation (COR). World Music Songbook: More Than 100 Folk Songs from Countries across the Globe. Hal Leonard Corp, 2011. (Choucounne, Mi Caballo Blanco, Paruparong Bukid, Rasa Sayang Eh, Singabahambayo, Tutira Mai) https://babel.hathitrust.org/cgi/pt?id=loc.ark:/13960/t6f207q4d&view=1up&seq=7. (Link to Dakota odowan for Lacquiparle) https://hymnary.org/. (Cantad al Señor, Morning Has Broken, Down by the Riverside, Joshua Fought the Battle, Lac qui parle, Ding Dong Merrily on High, My Lord, What a Morning, Swing Low) https://imslp.org/wiki/Main_Page. (National Anthem of Dominican Republic, Brazil, Guatamala, Israel, Turkey, Ding Dong Merrily on High, and anything written by a composer not listed elsewhere) Indonesian Bamboo Music (CD). Jakarta, Indonesia: Gema Nada Pertiwi, 1990. (Soleram) Kekkonen, Reijo, Steve McCurry, Eve Arnold, and Sven Cichowicz. Lullabies of the World: With Singalong CD. Stuttgart: Carus-Verlag, 2013. (Thula Baba) Kern, Alice M. Harmonization-Transposition at the Keyboard. Evanston: Summy-Birchard, 1968. King’s, Singers. Postcards. Milwaukee, WI: Exclusively Distributed by Hal Leonard® Corporation, 2016. (Pokarekare) Kleeb, Jean. El cóndor pasa: 16 Arrangements aus Kolumbien, Peru, Bolivien und Brasilien für variable Besetzung. Kassel [u.a.]: Bärenreiter, 2005. (La Mariposa) Knowles, Faith, Peter Thompson, Tom Van Buskirk, and Lydia Langford. Vamos a Cantar: 230 Latino and Hispanic Folk Songs to Sing, Read, and Play. Columbus, OH: Kodaly Institute at Capital University, 1990. (Arroro mi Niño, La Muñeca, Los Pollitos, Bajo un angel del Cielo) Kriske, Jeff, and Randy DeLelles. Encore!: Performance Pieces with Music for Children. Las Vegas: Kid Sounds, 2003. (Take Time in Life) Lagu-lagu dari Indonesia. Songs of Indonesia. 1973. (Burung Kakak Tua) Lozano, Edward J. ¡Aprende ya!: acordes para guitarra. New York: Amsco, 2004. (Bajo Un Angel Del Cielo, De Colores) Luboff, Norman, Win Stracke, and Paul Freeman. Songs of Man: The International Book of Folk Songs, 1969. (Mi Caballo Blanco, Soleram) Mai, Ding. Chinese Folk Songs: An Anthology of 25 Favorites with Piano Accompaniment. Beijing, China: New World Press, 1984. (Fenyang Flower Drum Song, Jasmine Flower) Mainous, Frank D. Melodies to Harmonize with. Englewood Cliffs, NJ: Prentice-Hall, 1978. Miles, Richard, ed. Teaching Music through Performance in Band, Volume 7. Chicago: GIA Publications, 2009. (Di Tanjung Katong) Music Educators National Conference (U.S.). Get America Singing: Again!, Volume 2. Milwaukee, WI: H. Leonard, 2000. (I Love the Mountains) National Anthems from around the World: The Official National Anthems, Flags, and Anthem Histories from 56 Countries. Milwaukee, WI: Hal Leonard, 1996. (National Anthems of Dominican Republic, Brazil, Guatemala, Israel, and New Zealand) Orozco, José-Luis. De Colores and Other Latin-American Folk Songs for Children. New York: Puffin Books, 1994. (De Colores, Los Pollitos) Ottman, Robert W. Music for Sight Singing, 4th Edition. Upper Saddle River, NJ: Prentice Hall, 1996. (Italian Tarantella) Pan American Union. The Latin-American Song Book: A Varied and Comprehensive Collection of Latin-American Songs . . . Complete with Piano Accompaniment. Boston: Ginn and Co, 1942. (Tanto Vestido Blanco) Paz, Elena. Favorite Spanish Folksongs: Traditional Songs from Spain and Latin America. New York: Oak Publications, 1965. (Mi Caballo blanco) Philpott, Heather, Mark Leehy, and Kevin O’Mara. Moondrops: A First Book of Lullabies from Around the World. Stamford, CT: Longmeadow Press, 1995. (Hine e Hine) Pont, Kenneth. The Lantern Song Book: Ten Chinese Songs. London: Oxford University Press, 1978. (Fenyang Flower Drum Song) Putumayo World Music. World Playground. New York: Putumayo World Music, 1999. (La Mariposa) Ryden, William. An American Christmas: For Three Flutes. Boca Raton, FL: Masters Music Publications, 1997. (Pastores a Belén) Siagian, Charmaine. Malay folk songs collection: 24 traditional folk songs for intermediate level piano. 2019. (Burung Kakak Tua) Silverman, Jerry. Folk Songs for Schools and Camps. Pacific: Mel Bay, 1991. (John B. Sails, ‘Round the Bay of Mexico, Deep Blue Sea) Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America. Just Plain Barbershop: A Compilation of Traditional Songs Arranged in Barbershop Harmony for Male Quartets and Choruses. Kenosha, WI: S.P.E.B.S.Q.S.A., 1986. (Shine on Me) Spaeth, Sigmund. More Barber Shop Harmony: A Collection of New and Old Favorites for Male Quartets. Van Nuys, CA: Alfred, 2000. (Shine on Me) Sparke, Philip. Postcard from Singapore: Suite of Singaporean Folk Songs. London: Anglo Music Press, 2004. (Di Tanjung Katong)

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United Church of Canada. Voices United: The Hymn and Worship Book of the United Church of Canada. Etobicoke, Ont., Canada: United Church Pub. House, 1996. (Santo) Walters, Richard, ed. Favorite Spanish Art Songs, High Voice. Milwaukee: Hal Leonard, 2003. (Mi sueño) Williamson, John Poage, and Alfred L. Riggs. Dakota Odowan = Dakota Hymns. Freeman, SD: Pine Hill Press, 1994. (Lacquiparle) www.bethsnotesplus.com/2015/09/copyright-laws-how-much-do-you-know.html. (Raisins and Almonds, Land of the Silver Birch, Loch Lomond, Mi Caballo Blanco, Tum Balalaika, All Me Rock, Thula Baba, Sambalele, Soleram, Arirang, Singabahambayo, National Anthems, Fenyang Flower Drum Song, Sevivon) www.lds.org/bc/content/shared/content/english/pdf/create/public-domain-hymns-hymnbook.pdf?lang=eng . (Father in Heaven) www.nationalanthems.info/. (All National Anthems)

Index

Boom-Chuck 87, 91, 92, 94, 112, 265

Keyboard Style 12, 14, 16, 17, 87, 258

Cadence 152, 153 Chorale 178, 179, 180, 181, 182, 184, 186, 187, 188, 192, 196, 197, 198, 202, 203, 204 Closest Position 7, 17, 18, 19, 37, 53, 55, 59, 64, 132, 150, 157

Lead Sheet Notation 87, 91, 94, 112, 114, 224

Diatonic 7, 20, 21, 22, 23, 25, 37, 64, 87, 112, 113, 114, 115, 116, 126, 127, 150, 159, 160 Dominant 11, 12, 15, 16, 24, 87, 94, 114, 132, 197 Dominant 7th 15, 16 5-Finger Pattern 10, 37, 38, 39, 43, 47, 50, 53, 55, 69, 87, 178, 180, 181, 182, 186, 187, 188 1-Handed Harmonization 87, 88, 90, 94, 112, 114, 132, 153 2-Handed Harmonization 87, 91, 93, 94, 112, 114, 132 Instrument Transposition 219, 224 Interval 9, 15, 21, 173, 214, 219 1st Inversion 13, 14, 15, 16, 18, 24, 289 2nd Inversion 13, 14, 15, 16, 18

Motif 151, 152, 154, 162 Movable Clef 214, 224 Octave Placement 7, 9, 38, 106, 126, 214, 219 Ostinato 26, 27, 28 Root Position 13, 14, 16, 18, 19, 20, 23, 37, 47, 50, 94, 112, 114, 132, 150, 152, 153, 155, 289 Scale 9, 10, 11, 15, 20, 24, 26, 27, 28, 29, 32, 34, 37, 41, 59, 64, 150, 166, 167, 168, 173, 214, 219 Sightreading Preparatory Exercise 37, 38, 41, 197 Subdominant 11, 12, 94, 197 Tonic 11, 12, 38, 94, 112, 114, 151, 152, 179 Triad 10, 13, 14, 21, 38, 179 Tritone 169, 170, 172, 173, 175, 176 Voice Leading 7, 22, 24, 87, 94, 112, 114, 243, 273, 286