Alfred's Group Piano Book 2
April 22, 2017 | Author: Guilherme Bortot | Category: N/A
Short Description
Alfred's Group Piano Book 2...
Description
Book 2
Group Piano Alfred’s
for
Second edition
A d u lt s
An Innovative Method Enhanced with Audio and MIDI Files for Practice and Performance*
E. L. Lancaster • Kenon D. Renfrow *The MIDI accompaniments were created using the sound set from the Yamaha Clavinova CVP 407. These files were then converted to audio using the USB Audio Recorder function on the CVP 407.
Second Edition Copyright © MMVIII by Alfred Publishing Co., Inc. All rights reserved. Printed in USA. Alfred Publishing Co., Inc. 16320 Roscoe Blvd., Suite 100 P. O. Box 10003 Van Nuys, CA 91410-0003 alfred.com Lancaster, E. L. Alfred’s group piano for adults : an innovative method enhanced with audio and MIDI files for practice and performance / E. L. Lancaster, Kenon D. Renfrow. v. of music. Includes index. ISBN-10: 0-7390-4925-9 ISBN-13: 978-0-7390-4925-9 1. Piano—Methods—Group instruction. I. Renfrow, Kenon D. II. Title. Library of Congress Control Number: 94-43951 Cover art: Composition rythme. 1955. Sonia Delaunay © L&M Services B. V. Amsterdam 20040102
foreword Alfred’s Group Piano for Adults, Book 2, is designed for non-keyboard music majors who have successfully completed the first year of group piano study or have previously attained the level of proficiency developed in Alfred’s Group Piano for Adults, Book 1. It also may serve as a resource for piano majors to further develop functional skills at the keyboard and for independent piano teachers who want to assist adult students with functional skills. Importance of Piano Study: Most music educators agree that the piano is indispensable for all musicians. Piano study helps students gain a better understanding of music theory as theoretical concepts are applied to the keyboard. Many music majors who have had no previous piano experience find the first piano classes challenging. However, with the proper approach and consistent practice, anyone can grasp the skills necessary to function and perform at the keyboard. General Features: The text is easy to use. It contains 26 units, each designed to be covered in one week, thus filling two semesters or three quarters of study. Schools that have longer semesters or quarters can use additional weeks for reinforcement, review and testing. Theory, technique, sight reading, repertoire, harmonization, improvisation, score reading, accompanying and ensemble activities are taught thoroughly and consistently throughout the text. Descriptions of other general features follow: • Each unit contains a balance of new information and materials that reinforce concepts presented in previous units. • The title page of each unit contains the objectives for the unit and a space to record assignments for the week. • Measures are numbered in all examples (repertoire, reading, harmonization, improvisation, accompaniments, instrumental and vocal scores) to promote ease of use in the classroom. • Written review worksheets, designed to be submitted to the teacher for feedback, appear periodically throughout the text.
Reading: Reading exercises are designed to promote movement over the entire keyboard while maintaining the advantages of playing in familiar positions. Reading examples are a mixture of standard repertoire, newly composed pieces and four-part chorales. Technical Approach: Technique is developed in a systematic way throughout the entire book. Technique examples that reinforce theoretical concepts are included, as well as scales, arpeggios and Hanon exercises. Repertoire, harmonization melodies, technical exercises and sight-reading examples are carefully fingered to aid the student in developing good technique. Repertoire: Each unit has at least one repertoire piece that may be used for performance or study. A section of supplementary repertoire is contained in the back of the book for those students who need additional music or for teachers who like a wider choice of music for students. The supplementary repertoire was chosen to represent a variety of levels and styles, and can be used throughout the book. Harmonization: Harmonization skills are developed using single tones, full chords and various accompaniment styles. Harmonization examples use a mixture of Roman numerals, letter symbols and melodies with no symbols given. Accompaniments and Score Reading: Scorereading exercises are presented in a systematic manner, gradually increasing the number of lines and transposing instruments in the scores. Two-hand accompaniments and multiple-line ensembles further aid in developing skills in accompanying and score reading. Since accompaniments (vocal and instrumental) and score-reading examples are not fingered, students are required to apply fingering principles to these exercises. Included are choral scores, string quartets, instrumental scores and examples with transposing instruments. Ensembles: Duets and ensembles for multiple pianos are included throughout. In addition, ensembles are created from chord symbols. Band scores, string quartets and choral scores can be used to provide additional practice in ensemble playing. Foreword ■
Improvisation: Students are asked to demonstrate their knowledge of concepts by improvising melodies over chord symbols (including modal examples), completing pieces in the style of composers from the four style periods, and improvising over twelve-bar blues progressions. Features of the Second Edition: The authors wish to thank the numerous individuals who offered suggestions for the second edition. Due to recommendations by these people, the following changes were made: • Easier reading examples were added to most units. • The units were reduced from 30 to 26 to allow more time for review and testing. • Some new repertoire was chosen to more carefully reinforce chapter concepts. • The study of scales and arpeggios was spread systematically throughout the units with periodic review in groups that use similar fingerings. • Many improvisation exercises include optional suggestions for rhythm. • More harmonization and score reading examples were included. • More vocal and instrumental accompaniments were included. CD-ROM: Included with each textbook is a CD-ROM that contains both audio and MIDI file accompaniments for 584 examples in the book. Accompaniments range from simple rhythm patterns to full orchestrations. These accompaniments add musical interest and motivate students to complete assignments both in the classroom and in the practice room. Anyone who has purchased the book has permission to download the audio files to an MP3 player or burn a CD for personal use. Likewise, MIDI files can be downloaded to play back using a computer or digital keyboard. The files may not be posted online or distributed over the Internet without written consent from the publisher. Each audio file and MIDI file on the CD-ROM is identified in the book by an icon and two numbers, such as 1-1, 1-2, etc. The first number denotes the unit from which the example was taken; the second number is the order of the example within the unit. 1-1 Order of example within the unit Unit
■ Foreword
The MIDI accompaniments were created using the sound set from the Yamaha Clavinova CVP 407. These files were then converted to audio files using the USB Audio Recorder function on the CVP 407. Teacher’s Handbook: A Teacher’s Handbook for the text can be found at www.grouppiano.com. The handbook serves as an aid in curriculum development and daily lesson planning. The handbook contains suggested daily lesson plans for the entire year, suggested assignments following each lesson plan and teaching tips for each unit. Upon completion of this book, students will have a strong grasp of keyboard skills, technique and musical styles. The authors wish you continued success in your piano study.
table of Contents Unit 1 Review of Keyboard Basics . . . . . . . . . . . . . . . . . .8
Unit 7 Seventh Chords . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Triads (Chords) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Relative Minor Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Tetrachords and the Major Scale . . . . . . . . . . . . . . . . . . . . . . . 12 Minor Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Playing Scales and Arpeggios (C Major and C Minor) . . . . . . . 14 Playing Triads of the Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Gypsy EarrinGs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Seventh Chord Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Playing Scales and Arpeggios (B Major and B Minor) . . . . . . . 95 sEvEnth strEEt bLuEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Transposing Instrument: E b Alto Saxophone . . . . . . . . . . . . . 102 Choral Score Reading (TB) . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Unit 2 Triads and Inversions . . . . . . . . . . . . . . . . . . . . . 25 Triads: First Inversion and Second Inversion . . . . . . . . . . . . . . 26 Triads: In All Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Playing Scales and Arpeggios (G Major and G Minor) . . . . . . . 29 sonG without words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Score Reading and Transposing Instruments . . . . . . . . . . . . . . 36 i LovE a piano (Ensemble) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Unit 3 Sonata Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Sonata Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 sonatina in C Major, op. 39, no. 1 (First MovEMEnt) . . . . . . . 42 Playing Scales and Arpeggios (D Major and D Minor) . . . . . . . 44 aura LEE (Instrumental Accompaniment) . . . . . . . . . . . . . . . . 49 Choral Score Reading (2-Part) . . . . . . . . . . . . . . . . . . . . . . . . 50 Unit 4 Primary Chords . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Tonic, Dominant and Subdominant . . . . . . . . . . . . . . . . . . . . . 52 The V7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Inversions of Dominant Seventh Chords . . . . . . . . . . . . . . . . . 53 Playing Scales and Arpeggios (A Major and A Minor) . . . . . . . 56 a pLEasant MorninG, op. 63, no. 1 . . . . . . . . . . . . . . . . . . . . 58 Score Reading and Transposing Instruments . . . . . . . . . . . . . . 64 Choral Score Reading (ST) . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Unit 5 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Playing Scales and Arpeggios (E Major and E Minor) . . . . . . . 69 study, op. 108, no. 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Unit 8 The V7/V and V7/IV Chords . . . . . . . . . . . . . . . 104 Secondary Dominants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Playing Scales and Arpeggios (Gb Major and F# Minor) . . . . . 107 prELudE in C Major, bwv 939 (Twelve liTTle Preludes) . . . . . 108 Transposing Instrument: B b Clarinet . . . . . . . . . . . . . . . . . . . 114 Score Reading and Transposing Instruments . . . . . . . . . . . . . 114 Choral Score Reading (SSA) . . . . . . . . . . . . . . . . . . . . . . . . . 115
Unit 9 The V7/ii, V7/iii and V7/vi Chords . . . . . . . . . . 116 Secondary Dominants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Playing Scales and Arpeggios (Db Major and C# Minor) . . . . . 119 MinuEt in G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Score Reading and Transposing Instruments . . . . . . . . . . . . . 126 oLd joE CLarK (Ensemble) . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Choral Score Reading (SAB) . . . . . . . . . . . . . . . . . . . . . . . . . 132
Unit 10 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Playing Scales and Arpeggios (A b Major and G# Minor) . . . . . 136 MinuEt in G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Unit 11 Musical Style Periods . . . . . . . . . . . . . . . . . . . 145 Musical Style Periods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Playing Scales and Arpeggios (E b Major and E b Minor) . . . . . 150 ovEr thE rainbow (from The wizard of oz) . . . . . . . . . . . . . . . 152 Transposing Instrument: F Horn . . . . . . . . . . . . . . . . . . . . . . 156 Choral Score Reading (SSB) . . . . . . . . . . . . . . . . . . . . . . . . . 157
Unit 6 Secondary Chords . . . . . . . . . . . . . . . . . . . . . . . . 77 Supertonic, Mediant and Submediant . . . . . . . . . . . . . . . . . . . 77 The ii Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 The iii Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 The vi Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Playing Scales and Arpeggios (F Major and F Minor) . . . . . . . 81 MinuEt in C Major, K. 73b; L. 217 . . . . . . . . . . . . . . . . . . . . . 84 Transposing Instrument: E b Alto Saxophone . . . . . . . . . . . . . . 85 it’s autuMn, aLL riGht (Vocal Accompaniment) . . . . . . . . . . . 86 Choral Score Reading (ST and TB) . . . . . . . . . . . . . . . . . . . . . 87 battLE hyMn oF thE rEpubLiC (Ensemble) . . . . . . . . . . . . . . . . . 88
Unit 12 Theme and Variations . . . . . . . . . . . . . . . . . . 158 Theme and Variation Form . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Playing Scales and Arpeggios (B b Major and B b Minor) . . . . . 159 thEME and variations (Based on J. s. Bach’s MenueT in G Major) . 162 Transposing Instrument: F Horn . . . . . . . . . . . . . . . . . . . . . . 167 Score Reading and Transposing Instruments . . . . . . . . . . . . . 167 Choral Score Reading (3-Part) . . . . . . . . . . . . . . . . . . . . . . . 168 hEidEnrösLEin, d. 257; op. 3, no. 3 (Vocal Accompaniment) . . 169 wE GathEr toGEthEr (Ensemble) . . . . . . . . . . . . . . . . . . . . . . 170 Table of Contents ■
Unit 13 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Major Scale Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Harmonic Minor Scale Review . . . . . . . . . . . . . . . . . . . . . . . 173 GiGa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Mozart sErEnadE and danCE (Band Score) . . . . . . . . . . . . . . . 178 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Unit 18 Modulation to the Relative Major and Relative Minor . . . . . . . . . . . . . . . . . . . . . 227 sChErzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Practicing Harmonic Minor Scales (Group 2 Keys) . . . . . . . . . 233 Practicing Minor Arpeggios (Group 2 Keys) . . . . . . . . . . . . . 233 Choral Score Reading (STB) . . . . . . . . . . . . . . . . . . . . . . . . . 240 aLExandEr’s raGtiME band (Ensemble) . . . . . . . . . . . . . . . . . 241 Three-Part String Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Unit 14 Modulation to Dominant . . . . . . . . . . . . . . . 183 Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Practicing Major Scales (Group 1 Keys) . . . . . . . . . . . . . . . . . 184 Practicing Major Arpeggios (Group 1 Keys) . . . . . . . . . . . . . 185 baGatELLE, op. 125, no. 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Choral Score Reading (SAT) . . . . . . . . . . . . . . . . . . . . . . . . . 191 Viola and Alto Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Score Reading and Transposing Instruments . . . . . . . . . . . . . 193
Unit 19 Rondo Form . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Rondo Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 rondo CapriCCio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Practicing Harmonic Minor Scales (Group 3 Keys) . . . . . . . . . 250 Practicing Minor Arpeggios (Group 3 Keys) . . . . . . . . . . . . . 250 String Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 sEhnsuCht naC nEM FrühLinGE, K. 596 (Vocal Accompaniment) . 254 Choral Score Reading (SATB) . . . . . . . . . . . . . . . . . . . . . . . . 255
Vocal Warm-Ups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Unit 20 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Unit 15 Modulation to Subdominant . . . . . . . . . . . . 194
Practicing Major Scales (Group 1 Keys) . . . . . . . . . . . . . . . . . 260
thE pionEEr spirit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Practicing Major Arpeggios (Group 1 Keys) . . . . . . . . . . . . . 260
Practicing Major Scales (Group 2 Keys) . . . . . . . . . . . . . . . . . 198 Practicing Major Arpeggios (Group 2 Keys) . . . . . . . . . . . . . 198
sEasCapE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Choral Score Reading (SAT) . . . . . . . . . . . . . . . . . . . . . . . . . 202 Viola and Alto Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 in thE Good oLd suMMEr tiME (Ensemble) . . . . . . . . . . . . . . . 204
Unit 21 The German Sixth Chord and the Italian Sixth Chord . . . . . . . . . . . . . 267 Augmented Sixth Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Unit 16 Three-Part Form . . . . . . . . . . . . . . . . . . . . . . . 206 Practicing Major Scales (Group 3 Keys) . . . . . . . . . . . . . . . . . 206 Practicing Major Arpeggios (Group 3 Keys) . . . . . . . . . . . . . 207 Three-Part Form (Ternary) . . . . . . . . . . . . . . . . . . . . . . . . . . 208 MinuEt in d Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 aLLEGro in E Minor, op. 149, no. 28 (Duet) . . . . . . . . . . . . . . 212
The German Sixth Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 The Italian Sixth Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Practicing Major Scales (Group 2 Keys) . . . . . . . . . . . . . . . . . 273 Practicing Major Arpeggios (Group 2 Keys) . . . . . . . . . . . . . 273 soLFEGGio in C Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Choral Score Reading (SATB) . . . . . . . . . . . . . . . . . . . . . . . . 278 String Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 by thE LiGht oF thE siLvEry Moon (Ensemble) . . . . . . . . . . . . 280
Two-Part String Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 dawn oF a nEw day (Instrumental Accompaniment) . . . . . . . 216 Choral Score Reading (ATB) . . . . . . . . . . . . . . . . . . . . . . . . . 218
Unit 22 The French Sixth Chord and the Neapolitan Sixth Chord . . . . . . . . . 282 Practicing Major Scales (Group 3 Keys) . . . . . . . . . . . . . . . . . 283
Unit 17 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Practicing Harmonic Minor Scales (Group 1 Keys) . . . . . . . . . 219 Practicing Minor Arpeggios (Group 1 Keys) . . . . . . . . . . . . . 220
Practicing Major Arpeggios (Group 3 Keys) . . . . . . . . . . . . . 283 The French Sixth Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 The Neapolitan Sixth Chord . . . . . . . . . . . . . . . . . . . . . . . . . 286 baGatELLE in a Minor, op. 119, no. 9 . . . . . . . . . . . . . . . . . . . 288
GiGuE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Choral Score Reading (SATB) . . . . . . . . . . . . . . . . . . . . . . . . 291
Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
MarCh in G (Instrumental Accompaniment) . . . . . . . . . . . . . 292
■ Table of Contents
Unit 23 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Supplementary Solo Repertoire . . . . . . . . . . . . . . . . . 345
Practicing Harmonic Minor Scales (Group 1 Keys) . . . . . . . . . 295
MinuEt in a Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Practicing Minor Arpeggios (Group 1 Keys) . . . . . . . . . . . . . 295 prELudE in G Minor, op. 37, no. 6 . . . . . . . . . . . . . . . . . . . . . 298 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
thE FiFErs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 FanFarE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 MusEttE in d Major (noTebook for anna MaGdelena) . . . . . . . . 348 prELudE in C Major (The well-TeMPered Clavier, book 1) . . . . . . 350 sonatina in C Major, op. 36, no. 1 (First MovEMEnt) . . . . . . . . 354 sonatina in G Major (First MovEMEnt) . . . . . . . . . . . . . . . . . . 356
Unit 24 The ii–V7–I Chord Progression . . . . . . . . . . . 303 The ii–V7–I Chord Progression . . . . . . . . . . . . . . . . . . . . . . . 304
spinninG sonG, op. 14, no. 4 . . . . . . . . . . . . . . . . . . . . . . . . . 358 russian poLKa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 arabEsquE, op. 100, no. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Practicing Harmonic Minor Scales (Group 2 Keys) . . . . . . . . . 305
sonG (for Children, voluMe 1) . . . . . . . . . . . . . . . . . . . . . . . . 364
Practicing Minor Arpeggios (Group 2 Keys) . . . . . . . . . . . . . 305
MinuEt (The firsT TerM aT The Piano) . . . . . . . . . . . . . . . . . . . . . 365
MEnuEt in G Major (noTebook for anna MaGdalena) . . . . . . . . 306
snEaKy businEss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
String Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Choral Score Reading (SATB) . . . . . . . . . . . . . . . . . . . . . . . . 313 GivE My rEGards to broadway (Ensemble) . . . . . . . . . . . . . 314
Unit 25 Modes Related to Major and Minor . . . . . . 317 Ionian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Aeolian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Lydian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Lydian noCturnE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
rEMEMbEr whEn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 thE GrEat sMoKy Mountains . . . . . . . . . . . . . . . . . . . . . . . . . 370 a sonG For you . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 MapLE LEaF raG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Supplementary Instrumental and Vocal Accompaniments . . . . . . . . . . . . . . . . . . 378 to a wiLd rosE (woodland skeTChes) (Clarinet) . . . . . . . . . . . 378 whEn johnny CoMEs MarChinG hoME (Horn) . . . . . . . . . . . . 380 a touCh oF bLuE (Alto Saxophone) . . . . . . . . . . . . . . . . . . . . 382 ListEn and sinG no. 4 (Vocal) . . . . . . . . . . . . . . . . . . . . . . . . 383
Mixolydian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
turn around (Vocal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Dorian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
daiLy voCaL ExErCisE, op. 11, no. 2 (Vocal) . . . . . . . . . . . . . . 386
dorian tarantELLa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
voCaL LEsson, op. 9, no. 2 (Vocal) . . . . . . . . . . . . . . . . . . . . . 387
Phrygian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
woodLand ovErturE (Band Score) . . . . . . . . . . . . . . . . . . . . 388
iCh GroLLE niCht, op. 48, no. 7 (Vocal Accompaniment) . . . . 330 Choral Score Reading (SATB) . . . . . . . . . . . . . . . . . . . . . . . . 332
Appendix A: Scale and Arpeggio Fingering Charts . . 390
String Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Appendix B: Dominant and Diminished Seventh Arpeggio Fingering Charts . . . . . . . . . . . . . . . . . . . . 392 Unit 26 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Appendix C: Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . 393
toCCatina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Band Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 Practicing Harmonic Minor Scales (Group 3 Keys) . . . . . . . . . 340 Practicing Minor Arpeggios (Group 3 Keys) . . . . . . . . . . . . . 340 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Appendix D: List of Compositions (by Composer) . . 396 Appendix E: List of Compositions (by Title) . . . . . . . 400 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
Table of Contents ■
Unit 1
Objectives
Review of Keyboard Basics Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play major, minor, augmented and diminished chords beginning on any key. 2. Identify key signatures of major and minor keys. 3. Play major scales and three forms of minor scales in tetrachord position. 4. Play major and parallel harmonic minor scales and arpeggios beginning on C, using traditional fingerings. 5. Play triads of the key in major and harmonic minor keys. 6. Play perfect, major, minor, augmented and diminished intervals beginning on any key. 7. Perform solo repertoire that uses various intervals and chord qualities. 8. Sight-read music that uses intervals, broken chords and 4-part chorale style texture. 9. Harmonize melodies with roots of chords.
Unit 1 ■ Review of Keyboard Basics
Triads (Chords)
A triad is a three-note chord. The three notes of a triad are the root (1), the third (3), and the fifth (5). The root is the note from which the triad gets its name. The root of a C triad is C. Triads in root position (with the root at the bottom) always look like this:
VV V
LINE LINE LINE
Triad Fingering
5th 3rd ROOT
SPACE SPACE SPACE
VV V
5th 3rd ROOT
LH chords are fingered 5 3 1. RH chords are fingered 1 3 5.
LH
Triad Types
or
VV V
RH
5 3 1
VV V
1 3 5
There are four types of triads. Major
Augmented (Fifth raised a half step from major)
VVV
Minor (Third lowered a half step from major)
VVV
Diminished (Fifth lowered a half step from minor)
B B VV V
B VVV
Each example in the text identified by the following icon is fully supported by an audio file and MIDI file on the CD-ROM included with this book. Anyone who has purchased the book has permission to download the audio files to an MP3 player or burn a CD for personal use. Likewise, MIDI files can be downloaded to play back in a computer or digital keyboard. The first number after the icon denotes the unit; the second number is the order of the example within the unit. 1-1 Order of example within the unit Unit
The MIDI accompaniments were created using the sound set from the Yamaha Clavinova CVP 407. These files were then converted to audio files using the USB Audio Recorder function on the CVP 407. Review of Keyboard Basics ■ Unit 1
Playing Major, Augmented, Minor and Diminished Chords
Play the following exercises that use major (M), augmented (A), minor (m) and diminished (d) chords.
1-1
Moderato
1.
5
G
C M
A
1 LH 3 5
1 3 5
M B
B B ¸¸¸
M M
B ¸¸ ¸
M
m
1 3 5
D
LH
9
E
M M
F
M
5 3 1
M
A
¬
M M
B ¸¸ ¸
¬
B M
¸¸¸
¬
M
m
A
RH
C M
¬
5 3 1
¬
RH
LH
5 3 1
B B ¸¸¸
RH
¬
¸¸¸
5 RH 3 1
M B
1 3 5
B ¸¸ ¸
LH
13
¬
d
d
¸¸¸
¬
1-2
G@
Moderato C@ M
A
1 LH 3 5
1 3 5
B B B M B {
2.
5
D@
M
m
1 3 5
B B M B B
LH
9
E@
B B M B B LH
13
M B
F
LH
10 Unit 1 ■ Review of Keyboard Basics
¬
d
{ B{ ¸¸¸ 1 3 5
B B{ ¸¸¸
¬
B B{ ¸¸¸
¬
B B ¸¸¸
5 3 1
M
A
5 3 1
B BB M B { M
@
BBA M B B
RH
RH
RH
¬
5 RH 3 1
B@
M B B M B
C
m
5 3 1
{ B{ ¸¸¸
¬
d
B B{ ¸¸¸
¬
B BB ¸¸¸
¬
B B ¸¸¸
¬
Key Signatures
Sharps appear in the following order in the key signature:
The name of a sharp major key can be determined by moving up a half step from the last sharp.
Flats appear in the following order in the key signature: The order of flats is reversed from the order of sharps in key signatures.
The name of a flat major key can be determined by the name of the next-to-last flat.
Sharps or flats that follow the clef signs are called the key signature. The key signature indicates the notes that are to be sharped or flatted throughout the piece and aids in identifying the key in which the piece is written.
# # # # # # # & F#
C#
G#
D#
A#
E#
B#
? # # # # # # # #### # & ? #### #
This is the key signature for the key of B major. A half step up from A is B.
b b b b & b b b ?
Bb
Eb
Db
Gb
Cb
Fb
b b b b b b b
b & b bb ?
Ab
bbbb
This is the key signature for the key of A major. The next-to-last flat is A .
Two major key signatures cannot be determined using the above rules: • C major—no sharps or flats • F major—one flat (B )
Review of Keyboard Basics ■ Unit 1 11
Relative Minor Keys
Every major key has a relative minor key that shares the same key signature. The name of the relative minor can be found by moving down (left) three half steps from the name of the major key. Always skip two keys and one alphabet letter. 3 Half Steps M I D D L E
Tetrachords and the Major Scale
A
C
Relative Minor Key
Major Key
A tetrachord is a series of four notes having a pattern of whole step, whole step, half step.
? œ
œ
LH 5
WHOLE STEP
&
2
3
4
WHOLE STEP
œ
œ
RH 2
œ
HALF STEP
3
WHOLE STEP
œ
4
5
œ
œ WHOLE STEP
HALF STEP
The major scale is made of two tetrachords joined by a whole step. Each scale begins and ends on a note of the same name as the scale, called the key note. Any major scale can be formed by following this sequence of whole and half steps: W W H W W W H.
KEY NOTE
&
œ
œ
œ
œ
WHOLE STEP
1st TETRACHORD
œ
œ
œ
œ
KEY NOTE
2nd TETRACHORD
Practice the following scale using tetrachord position. Transpose to D, B , A and E major.
& 44
œ
LH 5
œ 4
œ 3
œ
RH 2
œ
2
12 Unit 1 ■ Review of Keyboard Basics
3
œ
œ 4
œ 5
œ 5
œ 4
œ 3
œ 2
œ
LH 2
œ 3
œ 4
œ 5
Minor Scales
Every major key has a relative minor key that has the same key signature. The relative minor begins on the 6th tone of the major scale.
C MAJOR SCALE 1st 2nd
&
3rd
5th
œ
œ
œ
œ
œ
4th
A MINOR SCALE
6th
œ
& œ
1st
The Key of A Minor (Relative to C Major)
7th
œ
œ
8th
œ
œ
œ
2nd
3rd
4th
œ
œ
œ
œ
5th
6th
7th
8th
There are three kinds of minor scales: the natural, the harmonic and the melodic. The harmonic minor is the most frequently used of the three. Practice each of the following scales using tetrachord position. Transpose to E, D, B and G minor.
1. The Natural Minor Scale
& 44 œ LH
5
œ 4
œ 3
œ
This scale uses only the tones of the relative major scale. 2
RH
œ
LH
5
œ 4
œ 3
LH
5
œ 4
œ
3
œ
œ
5
œ
5
4
œ
œ 3
2
œ
œ
œ 3
œ
4
œ
5
The 7th tone (G) is raised one half step, ascending and descending.
2
RH
œ
4
œ #œ 3
œ
5
œ #œ 5
4
œ 3
2
œ
œ
2 LH
2
œ
œ
2 LH
3. The Melodic Minor Scale
4 &4 œ
4
2
2. The Harmonic Minor Scale
& 44 œ
œ
3
œ 3
œ
4
œ
5
In the ascending scale, the 6th (F) and 7th (G) tones are raised one half step. The descending scale is the same as the natural minor.
RH
4
œ #œ #œ 2
3
2
œ
5
œ nœ nœ 5
4
3
2
œ
œ
LH 2
œ 3
œ
4
œ
5
7th raised Review of Keyboard Basics ■ Unit 1 13
Playing Scales and Arpeggios 1-3
C Major
¸ ¸ 1 2
5
3 1
2 4 3
2
1 3 2
2 4 3
1
1
2
3
1
3
12312345 14321321
¸ ¸ 5 4
1
3 2
2 3
RH: 1 2 3 LH: 5 4 2 5
¸
1
1
1
1 3 2 1
4
3 2 1
1
2
3
2
3
4
1 2
3
2
1
3
4
5
1235 1421
5
2
4
2 1
¸
3
2
1
2
4
5
1
3
5 3 4
1 2
2 3 4 1
1-4
RH: 1 2 3 1 2 3 4 LH: 5 4 3 2 1 3 2
¸
¸
3
2
2
1
3
1
4
2
2
1
4
5
Note: A dot (•) above a fingering indicates a black key.
C Harmonic Minor 1-5
B B B
B B B
• • RH: 1 2 3 1 2 3 4 • • LH: 5 4 3 2 1 3 2
M ¸ M M M ¸ M M 1
2
3 1
5
4
3 2
2
1 3
1-6
B B B B B B 1
5
2
4
3 4
3
2
2
1
1
2 3
4
3
1 2
3
4 5
5
1
3
2 1
1
2
1
2
3
1
14 Unit 1 ■ Review of Keyboard Basics
4
2
¸ 5
¸ 1
4
2
• • 12312345 • • 14321321
M ¸ M ¸ 3
2
1 3
3
1
2
3
2 1
4
3
2 1
1
2
3
1
4
2
3
2
1
3
4
5
• • RH: 1 2 3 1 2 3 5 • • LH: 5 4 2 1 4 2 1
5
3
2
1
2
4
1
3
2
1
2
4
1
¸ ¸ 5
Playing Triads of the Key
Major Keys
Triads may be built on any note of any scale. The sharps or flats in the key signature must be used when playing these triads. Triads of the key are identified by Roman numerals. These triads built on each scale degree are called diatonic.
Play triads of the key in C major. Note the quality of each chord.
1-7
4 &4
RH
1.
1-7
?4 4
LH
2.
5 3 1
5 3 1
5 3 1
etc.
ww w
ww w
ww w
ww w
ww w I
www ii
iii
IV
Major Tonic
Minor Supertonic
Minor Mediant
Major Subdominant
Major Dominant
www
www
ww w
ww w
ww w 1 3 5
1 3 5
1 3 5
V
vi
www
ww w
vii o
I
Minor Diminished Submediant Leading tone
www
ww w
etc.
Transpose
Harmonic Minor Keys
Major Tonic
ww w
to G, D and B major.
Play triads of the key in A harmonic minor. Note the quality of each chord.
1-8
3.
4 &4
? 44
1-8
4.
5 3 1
5 3 1
ww w i
ww w
Minor Tonic
Diminished Supertonic
ww w 1 3 5
ii o
www 1 3 5
5 3 1
# ww w
etc.
ˆ
III
www
iv
Augmented Minor Mediant Subdominant
# ww w 1 3 5
ww w
ww w
# www V
VI
Major Dominant
# www
w # ww vii o
Major Diminished Submediant Leading tone
ww w
# www
ww w i Minor Tonic
www
etc.
Transpose
to E, B and G harmonic minor.
Review of Keyboard Basics ■ Unit 1 15
Intervals
The intervals that occur between the tonic and each scale degree of a major scale are shown below. Play the interval exercise:
1-9
& 44 œ œ ˙˙ 1
1.
2
M2
? 44 œ œ ˙˙ 1-9
2.
5
4
M2
1
3
œ œ ˙˙
M3
œ œ ˙˙ 5
3
M3
1
1
œ œ ˙˙
P5
œ œ ˙˙
5
P4
5
œ ˙ œ ˙
5
œ œ ˙˙
4
1
M6
œ ˙ œ ˙
œ œ ˙˙
2
P4
5
1
5
P5
1
M6
œ ˙ œ ˙
œ ˙ œ ˙ 1
5
1
M7
P8
œ ˙ œ ˙
œ ˙ œ ˙ 5
5
1
5
M7
1
P8
Major intervals become minor when the distance between the two tones is decreased by a half step. Both perfect and minor intervals become diminished when the distance between the two tones is decreased by a half step. Both perfect and major intervals become augmented when the distance between the two tones is increased by a half step.
Altered Intervals
Play the following interval exercises that use chromatically altered intervals:
1-10
¸¸
¸¸
A2
¸¸
M2
B ¸¸
m2
VV
¸¸
¸¸
¸¸
B ¸¸
VV
M2
m2
M2
2 1
3.
2 1
M2
1-10
4.
4 5
4 5
M2
A2
M2
1-11
¸¸
¸¸
¸¸
{ ¸¸
B ¸¸
VV
¸¸
M3
B ¸¸
¸¸
¸¸
B ¸¸
{ ¸¸
B ¸¸
VV
3 1
5.
M3
1-11
6.
3 5
M3
3 1
A3
3 5
A3
16 Unit 1 ■ Review of Keyboard Basics
M3
m3
m3
d3
d3
m3
m3
M3
M3
1-12
7.
¸¸
4 1
4 1
¸¸
P4
A4
¸¸
¸¸
P4
A4
1-12
8.
2 5
1-13
9.
¸ ¸
5 1
¸ ¸
P5
A5
¸¸
¸¸
1-13
10.
1 5
¸¸ 1-14
11.
5 1
M6
¸¸
1-14
12.
1 5
M6
¸¸ 1-15
13.
5 1
M7
¸¸
1-15
14.
1 5
M7 1-16
15.
¸¸ 5 1
¸ ¸
P8
1-16
16.
1 5
P8
A5 5 1
¸ ¸
d4
P4
P4
d4
P4
¸¸
P5
B¸ ¸
d5
VV
P5
P5
d5
P5
¸¸
1 5
P5
P4
B ¸¸
¸¸
2 5
5 1
¸¸
B ¸¸
M6
B¸ ¸
m6
{¸ ¸
A6
M6
m6
5 1
¸ ¸
¸ ¸
M7
B¸ ¸
m7
{¸ ¸
A7
M7
m7
¸ ¸
¸ ¸
1 5
¸ ¸
A7
¸ ¸
1 5
¸ ¸ 5 1
¸ ¸
A8
1 5
A8
B¸ ¸
B¸ ¸
VV
VV
B ¸¸
¸ ¸
A6
VV
{¸ ¸
d6
B¸ ¸
m6
B¸ ¸
M6
d6
m6
M6
{¸ ¸
V V V V V V
d7
B¸ ¸
m7
B¸ ¸
M7
d7
m7
M7
V V
¸ ¸
P8
B¸ ¸
d8
B¸ ¸
P8
P8
d8
P8
¸ ¸
V V V V
Review of Keyboard Basics ■ Unit 1 17
Before playing:
S olo Repertoire
•Map the piece using D.C. al Coda and Coda. •Find places where each hand plays an octave higher or lower than written. •Name the chords in measures 1 through 6. While playing: •Observe the crescendo and diminuendo signs to shape the music line. •Bring out the LH in measures 17 through 22.
Gypsy EarrinGs
1-17
¸ ¸¸ ¸ ¸
With spirit
E
RH
1
5
5
1
5
5
9
RH
¸¸¸ ¸¸
RH
¸ ¸¸ ¸ ¸
5
5
¸¸¸ ¸¸
13
1
¸¸¸ ¸¸
RH
¸¸¸ ¸¸
VVV ¸¸
¸
¸ ¸¸ ¸ ¸
© 1969 (Renewed) BELWIN-MILLS PUBLISHING CORP. All Rights Controlled and Administered by ALFRED PUBLISHING CO, INC. All Rights Reserved
1 Unit 1 ■ Review of Keyboard Basics
1
¸¸
RH
1
¸ ¸¸
1
RH
Bret Adams (1925–1988)
3 1
VV ¸¸ 1 3
®
2nd time to Coda
¸
5
0 & ¸ ¸ 17
5
1
21
¸ 5
¸
¸ 5
29
V
¸ dim.
1
®
¸
¸ 1
2
25
¸ 2
¸
V
0
¸
¸
V
rit.
¸ V
1
¾ 5
5
* Finger Substitution: While holding finger 5 down on the A, quietly substitute finger 1 in its place.
LH
V
8va
D.C. al Coda
¸¸¸
5
¸
¸
V
5 –1*
¾
RH 1
1
2
Coda
¸
8va
2 LH
8va
Review of Keyboard Basics ■ Unit 1 1
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises. Use the following practice directions:
Reading
1. 2. 3. 4.
ModErato
1-18
C
Moderato
1.
Tap RH and count aloud; then LH. Play hands separately and count aloud. Tap hands together and count aloud. Play hands together and count aloud.
C
& 3 1
5
V
VV
V
4 2
Ferdinand Beyer (1803–1863) Op. 101, No. 70
VV
5
VV
¸¸
¸
5
5
4
VV V
andantE (ExcErpt)
Johann Christian Bach (1735–1782)
1-19
Andante
2.
1
O
3
5
1
3
5
1
2
5
1
2
5
1
5 :
&
2
1
1
3
5
1
¢ I ¢ 5
20 Unit 1 ■ Review of Keyboard Basics
1-20
Andante 3 1
3.
B C & BC 1 5
5 :
3 1
B B 1 5
2 1
5 2
¸¸ ¸¸
Relaxed N.C. (no chord)
B$ & B$ C7
F
V
B
11
BB
B V B
4 1
2 1
¸¸ ¸¸
1 3
VV VV
2 5
¸¸ ¸ ¸
i’M F
1
B
1 3
3 1
VV VV
2 5
1 3
Harmonize each melody using the root of the indicated triads.
1-21
6
¸¸ ¸¸
2 5
Harmonization
1.
¸¸ ¸ ¸
¸¸ ¸
5 2
5
My Way
United States
C7
F7
1
1
Gm
V
F
3
3
V
C7
F
¸
V
2
V
on
V Transpose
b
to B major.
Review of Keyboard Basics ■ Unit 1 21
Harmonization (continued)
1-22
0 Andante 1
2.
I
5 :
1
3
I
¢ ¢
ii
2
vi
ii
I
V
I
3
1
¢
I
1
¢
¸
V
I Transpose
¢ ¢
to C major.
1-23
Allegretto Gm
F
B B ¸ E B B
3.
5 :
B
B
BB
¸
1
Gm
Cm
¸
E@
¸
D
D
¸
Gm
¸
Transpose
22 Unit 1 ■ Review of Keyboard Basics
to C minor.
Review Worksheet
Unit 1
Date _____________________
Name ________________________
1. Identify the quality of the following triads by writing M for major, m for minor, A for augmented or d for diminished on the line below each example.
b www
# ww w
&
b b b www
b www
b www
# www
# ww w
b b www
2. Identify each major key by writing its name on the line above the staff. Identify each relative minor key by writing its name on the line below the staff.
&
##
bb
? ##
#
b
#
bbb
bbbb bbbb
###
####
bb
###
bbbbbbb
#
bb
####
#
bbbbbbb
b
#### # #
bbbbbb
3. Using whole notes on the staff, write the triad indicated by the Roman numeral for each major key.
? IV
bb
# vii o
iii
bbbb
V
###
ii
bb
I
vi
ii
Review of Keyboard Basics ■ Unit 1 23
4. Write the notes for each ascending and descending scale on the staff using whole notes. Write the necessary sharps, flats or natural signs in front of the appropriate notes.
E major
&
F natural minor
&
C harmonic minor
?
G melodic minor
?
5. Identify each of the following intervals by writing P for perfect, M for major, m for minor, A for augmented or d for diminished along with its number on the line below each example.
B VV
m3
V V
V V
VV
VV
BV V
VV
VV
A5
24 Unit 1 ■ Review of Keyboard Basics
VV BV V
V V
V V
VV
VV
Unit 2
Objectives
Triads and Inversions Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play triads in root position, first inversion and second inversion. 2. Play triads of the key and inversions in major and harmonic minor keys. 3. Play major and parallel harmonic minor scales and arpeggios beginning on G, using traditional fingerings. 4. Perform solo repertoire that uses triads and inversions. 5. Sight-read music that uses triads and inversions. 6. Harmonize melodies with triads and inversions. 7. Improvise melodies over triads and inversions. 8. Create a two-hand accompaniment from letter symbols. 9. Play a two-part choral score. 10. Transpose melodies for B clarinet and B trumpet to concert pitch. 11. Perform a three-part ensemble with partners.
Triads and Inversions ■ Unit 2
25
Triads: First Inversion and Second Inversion
When the root of the chord is moved to the top and the third becomes the lowest note of the triad, it is said to be in the first inversion. Any first-inversion triad may be inverted again by moving the lowest note to the top. All letter names are the same, but the root is in the middle and the fifth is the lowest note of the triad. This is called the second inversion.
Triads: In All Positions
ROOT POSITION
&
Root
FIRST INVERSION
SECOND INVERSION
ww w Root
ww Root w
www Root
ww w
ROOT POSITION
Play the following: 2-1
1.
5 3 1
5 2 1
¸¸ ¸
¸¸ ¸
¸¸ ¸
2-1
¸¸ ¸
¸¸ ¸
RH:
¸¸¸
LH:
2.
1 3 5
1 3 5
Naming Triads and Inversions
5 3 1
¸¸ ¸
5 3 1
¸¸ ¸
1 2 5
¸¸¸
¸¸ ¸ 1 2 5
1 3 5
¸¸ ¸
VV V
¸¸ ¸
VV V 1 3 5
1 3 5
Transpose to G major, G minor and C minor.
Roman numerals identify the scale degrees on which triads are built within a key. Numbers to the right of the Roman numerals indicate the intervals between the lowest note and each of the other notes of the chord. In the first inversion, the number 3 is usually omitted.
Letter names:
&
Roman numerals:
Unit 2 ■ Triads and Inversions
5 3 1
Transpose to G major, G minor and C minor.
ROOT POSITION
26
5 2 1
5 3 1
C
ww w I
FIRST INVERSION
www
C/E
6th
I6
(3)
SECOND INVERSION
3rd
ww w
C/G
(C chord with E bottom note)
6th
I6 4
(C chord with G bottom note)
4th
Playing Triads and Inversions in Major Keys
Play these diatonic triads and inversions in the key of C major with the RH. Then play one octave lower with the LH.
2-2
RH
LH
9
RH
LH
1
3
5
3
1
C
¸¸ ¸
5
5
1
3
5
3
I
Dm
¸¸ ¸
1
ii
¸¸ ¸
¸¸ ¸
C/E
Dm/F
1
2
5
5
3
1
2
1
5
5
3
1
I6
ii6
Continue upward diatonically until... 17
RH
LH
Bo
¸¸¸
1
5
3
5
3
1
viio
1
2
5
3
5
1
¸¸ ¸
Bo/D
viio6
1
3
5
5
2
1
¸¸ ¸
C/G
5
1
3
I6
5
3
¸¸ ¸
1
4
1
5
3
5
2
1
Dm/A
ii 6
1
3
5
3
5
1
4
1
5
3
5
2
1
¸¸ ¸
Bo/F
viio6
1
5
3
3
5
1
4
¸¸ ¸
C
I
¸¸ ¸
Dm
ii
¸¸ ¸
Bo
viio
Transpose to D and B
Playing Triads and Inversions in Harmonic Minor Keys
major.
Play these diatonic triads and inversions in the key of A harmonic minor with the RH. Then play one octave lower with the LH.
2-3
RH
LH
1
3
5
5
3
1
LH
¸¸¸ i
Bo
9 RH
Am
1
3
5
5
3
1
¸¸ ¸ o
ii
5
2
3
¸¸¸ 1
LH
5
3
3
5
1
o
vii
1
1
5
2
3
Continue upward diatonically until... Go 17 RH
5
1
5
1
Am/C
¸¸ ¸
5
i6
¸¸ ¸
5
2
3
5
5
o
6
G o/B
1
1
Am/E
¸¸ ¸
1
5
i6
3
3
5
1
6
3
2
5
1
Bo /F
¸¸ ¸
1
5
o
ii 6
G o/D
¸¸ ¸ 1
3
2
5
3
5
3
1
o
vii 6 4
¸¸¸
Bo
iio
G¸ ¸¸ 1
5
1
¸¸¸
Am
i
4
5
o
vii
2
5
1
¸¸ ¸ 1
3
4
Bo /D
ii
1
3
3
5
o
1
viio
Transpose to E and G harmonic minor. Triads and Inversions ■ Unit 2
27
Technique 2-4
Moderato
& 1
1.
3
5
1
3
5
1
3
5
1
3
5
5
2
1
5
2
1
2
5
3
1
4
1
2
5
3
1
5
1
3
5
1
Continue upward on white keys until…
1
3
5
5
2
1
4
2
3
2
5
2-4
2. Repeat #1 one octave lower with the LH, using the fingering below the staff.
2-5
Andante
B B B E 1
3.
5
7
13
3
5
3
1
5
1
3
5
3
1
5
2
1
5
M
B B B M B BB
2
1
x
1
5
2-5
1
3
5
5
3
1
x
x
5
5
M
M 1
1
Transpose to G harmonic minor.
4. Repeat #3 two octaves higher with the RH, using the fingering above the staff.
2-6
¸¸¸ 5. & Moderato 1
5
3
5
1
2
5
3
1
5
3
1
1
5
3
5
1
3
2
1
5
3
5
1
¸¸¸ Transpose to C minor and D major.
2-6
6. Repeat #5 one octave lower with the LH, using the fingering below the staff. 28
Unit 2 ■ Triads and Inversions
Playing Scales and Arpeggios
G Major
Note: A dot (•) above a fingering indicates a black key. • • RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 • • LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
œœ˙ œ œ œ œœ œ œ œ œ œœœ ? # 44 œœ˙ œ œ œ œœ œ œ œ œ œœœ #4 & 4 2-7
1
2
2 3
4
1
1 3
2
1
2
3
4
5
3 1
2
4
3
1
3
2
2
5 3 4
1
3 2
1
œœœœ œœœœ œœœœ œœ˙ œœœœ œ œœœ œœ œœ œœ˙ 5 4
3
2
1 2
3
1
1
3
2 3
2
1
4
3
2
1
3 2
4
1
2
3
1
2
3
1
4 5
RH: 1 2 3 1 2 3 5 LH: 5 4 2 1 4 2 1
#3 & 4 2-8
? # 43
1
2
œ œ œ 5
2
4
1
2
œ œ œ
5
3
5
˙.
œ œ œ
œ œ œ 4
˙.
œ œ œ 1
3
1
œ œ œ
2
œ œ œ
1
2
3
1
G Harmonic Minor
2
1
˙.
œ œ œ
4
2
3
1
2
˙.
4
5
• •• • •• RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 • •• • •• LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
œ #œ ˙ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ # œ œ œ œœ œœ œ œœœ ˙ ? b4 œ #œ ˙ œ #œ œ œ œ œ œ œ œ b 4 œ œ #œ œ #œ œ œ œ œ œœ œœ˙ œ œœœ 2-9
b & b 44
b3 b & 4
1
2
3
1
2
3 4
1
2
3
1
3 2
3
2
5
1
4
2
1
4 3
2-10
? b b 43
1
œ œ 5
2
œ œ
4
3
œ œ 2
œ
1
œ 1
œ
2
œ
4
œ
3
œ
2
2
3 4
5
5
4 3
1
3 2
1
1
2
˙. 5
3
2
1
1
3 2
1
4
3 2
2
3
1
2
3
4
1
1
3
2
1
2
3
4
5
• • RH: 1 2 3 1 2 3 5 • • LH: 5 4 2 1 4 2 1
œ
5
˙.
œ
1
1
œ
3
œ
2
œ
2
œ 4
œ
1
œ 1
3
œ œ 2
2
œ œ
4
1
˙. ˙. 5
Triads and Inversions ■ Unit 2
29
S olo Repertoire
Before playing: •Block the LH chords. While playing: •Play the RH a little louder than the LH. •Listen for clear pedal changes.
Song
wordS
without
2-11
Louis Köhler (1820–1886)
Andantino
¸ ¸ ¸ ¸ B ¸ ¸ ¸ & B 3
5
legato
9
B ¸ 0 B 1
17
B ¸ 0 B 3
5
25
B ¸ O B 3
5
30
¸
¸
cresc.
¸
¸
5
¸
¸ B
¸
¸
5
5
5
¸
4
4
2
M¸ 1
&
¸ ¸
Unit 2 ■ Triads and Inversions
5
5
¸
5
2
5
2
¸
4
5
¸ 2
3
1
¸
5
¸
¸
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
thE chASE (ExcErpt)
2-12
Grazioso
1.
5
& ¢ 1
5
1
2
1
5
1
3
EtudE 2-13
Andantino
2.
O 5 :
I*
4
1 2 4
1 2
5
1
2
5 2 1
1 3 5
1 3 5
in
5 3 1
* *
¢
¢
I I
¢
¢
4 2 1
5 2 1
*
A Minor
(ExcErpt)
3
2
5
5 3 1
& *
¢
x
5
* *
x
0 ¢ 5
1
2
1
¢
3
5
5
5 3 1
Cornelius Gurlitt (1820–1901)
1 2 5
1 3 5
5
Henri-Jérôme Bertini (1798–1876) Op. 137, No. 81
1
1 3 5
z
2
*Play the grace note just before the beat. Triads and Inversions ■ Unit 2
31
Reading (continued)
chorAlE 2-14
Adagio 5 3 1
3.
&
5 3 1
5
5
5
4 2 1
¸¸ ¸
¸¸ ¸
¸
¸
5
4 2 1
¸¸ ¸
¸
¸
¸¸¸
5 3 1
5 3 1
4 2 1
¸¸¸
¸¸¸
¸
Joachim Neander (1650–1680)
¸
5 2 1
VV V
VV V
¸
V
¸
5
Harmonize each melody that follows in two ways:
Harmonization
•Using the bottom note of each triad and inversion. •Using the indicated triads and inversions.
2-15
Allegretto
B 0 B 1
1.
i
iv6 4
5
B B
VI
iv6
V6
i
V
i Transpose to C minor.
32
Unit 2 ■ Triads and Inversions
2-16
Moderato G
&
2
2.
5
¸
G
5
Em/G
¸
Bm/F
1
Am
¸
*
Am/C
¸
D
D/F 1
2
1
¸
¸
G
*
4
Transpose to F major.
SonAtA (ExcErpt
in
froM
A MAjor
firSt MovEMEnt)
2-17
Andante grazioso A
&
*
3
3.
5
A
*
E 7/G
E 7/G
*
*
F m
A
Wolfgang Amadeus Mozart (1756–1791) K. 331 E 7/G
I
*
*
*
E 7/G
A
E 7/G
*
A
*
Triads and Inversions ■ Unit 2
33
Improvise a RH melody for each of the chord progressions below while the LH plays the bottom note of the indicated chords. Begin and end each phrase with the given notes. You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.
Improvisation from Chord Symbols
2-18
Key of F Major
1.
I B &I B
I
IV
I
I6
5
V
IV
V
I6 4
I
Improvise a RH melody for the chord progression below while the LH plays the indicated triads and their inversions. Begin and end each phrase with the given notes. Notate your favorite improvisation. 2-19
Key of E Harmonic Minor Em
2. & Em 5
34
I
Unit 2 ■ Triads and Inversions
C /E
Am /E
¸
B/D
¸
B/D
Em
¸
¸
Em
V
V
Using the indicated chords, create a two-hand accompaniment for the following melody by continuing the pattern given in the first three measures.
Harmonization with Two-Hand Accompaniment
BlAck iS
2-20
United States
Andante Em
&
Em 1
¢ * 0 V 1
5 3
2
5 :
Am
¸
9 :
¸ 3
¢*
¢ I
¸
¸
1
2
¸
¸
¢*
5 3
1
V
D
1
2
Em 1
Am
Em/G
3
1
5 3
¸ Am
Em
4
C
¢ * 1
Bm
1
color
thE
Em
I ¸
5
Em
G/D C
1
¢ I 5 3 1
5 3 1
¸
Bm
Em 1
Em
4
rit.
1
rit.
V
¢ * ¬ ¸
¸
8va
Triads and Inversions ■ Unit 2
35
Score Reading and Transposing Instruments
The process of reading instrumental and choral scores must be developed systematically. The musician should learn to hear the score and transfer it to the keyboard. Difficulties include reading from several staffs and clefs simultaneously. In addition, instrumental scores often include music for transposing instruments that sound in a different key or octave from the notation. To develop this skill, one begins with simple exercises and gradually acquires the ability to play more complex scores.
Choral Score Reading for 2-Part Voices
Practice the choral score in the following ways: •Part 1 (RH) alone. •Part 2 (RH) alone. •Parts 1 and 2 (RH) together.
A child
of
Song
(AdAptEd ExcErpt) 2-21
& B
Derryl Herring and Andy Beck
Jazz waltz
1
2
&If B
there
If
there
is
mu
is
mu
-
sic
-
¸
a
sic
a
¸
-
round
me,
-
¸
¸
round
me,
5
1
B I
2
B I
will
be
danc
will
be
danc
-
ing
-
ing
all
¸
day,
¸
¸
¸
all
day,
for
for
9
1
2
B I
am
I
¸
B
a
am
a
child
child
of
¸
song.
¸
¸
¸
of
song.
“A Child of Song” by Derryl Herring and Andy Beck from ALFRED CHORAL DESIGNS Copyright © MMV by Alfred Publishing Co., Inc.
36
Unit 2 ■ Triads and Inversions
The B clarinet and B trumpet sound a major second below the written note.
Transposing Instruments: B Clarinet and B Trumpet
When these intruments play
B B
they sound the concert pitch
¸
¸
Transpose the melodies for B clarinet and B trumpet to concert pitch. 1. B Clarinet
MErry widow wAltz
2-22
Franz Lehár (1870–1948) Arr. John Kinyon and John O’Reilly
I I * * 0 12 * * * Moderato
23
2. B Trumpet
* I * *
thEME
froM
* * *
* *
I ¢¢
hAydn’S truMpEt concErto Franz Joseph Haydn (1732–1809) Arr. John Kinyon and John O’Reilly
2-23
Andante
*
I ¸ ¸ ¸ O legato
I 9
* = Breath mark
I I O &
3
¸
“Merry Widow Waltz” from YAMAHA CLARINET STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc. “Theme from Haydn’s Trumpet Concerto” from YAMAHA TRUMPET STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc.
Triads and Inversions ■ Unit 2
37
nsemble Repertoire E
i lovE
2-24
A
piAno
Allegro moderato 3 1
Part 1
C 0
Part 3
1
M I
3
E E
9 :
1
I love a
I M
3
3
38
I love to
I M
pian - o,
2
pian - o,
5 3 1
B
Unit 2 ■ Triads and Inversions
It simp- ly
B
5 3 1
x
¬
I
play
car - ries
up- on a
¸
I ¢
¬
B
5 4 1
I 1
me a
B
¸
3
5
hear some - bod- y
M
4
4
A grand pi - an - o,
2
M
3
3
B
1
3
3
x
3
pian - o,
2
5 4 1
I M
3
¢ I I love E a ¬
4
5
5 :
5 1
4 2
M
¸¸
2
Play one octave higher than written throughout
C 0 C ¬ 0 C 3
Part 2
5 1
Irving Berlin (1888–1989)
-
VV
way.
¬
2
B
:
4 1
13
1
I
2 1
¬
21 :
3
M I
3
2
I love to
3 1
run
my
4 1
fin - gers
M
o’er
-
way,
¬
5 4 1
5
2 1
3 1
I the i - vor - ies, And with the 3
the keys,
M
Not on- ly
Stein
3
¬
¸
4
5
1
5
x
a
¸¸
5 4 1
3
I
¸
¸
I¢
¬
M
med - dle.
treat
B 4 1
¸¸
4
¬
5 1
to
I M
3
way
3
ped- al
2
to
4
1
love
5 3 1
3
1
I
2
4 1
¸¸
fine
M
17 :
1
a
¸ ¸
3
5 4 1
3
know
4
2
5 1
mu - sic
5
from Broad - way,
I’m so de -
B 5 4 1
Triads and Inversions ■ Unit 2
39
25 :
1
I M
I M 3
3
light - ed,
If I’m in -
3
2
3
29 :
1
keep
5 2
5 1
M
B
your
fid - dle
3
5 4 1
¬
3
3
right
3
40
Unit 2 ■ Triads and Inversions
and your bow, Give me a
M 5
¸
Up - right,
¸¸
play.
5 1
high - toned
4 2
O,
oh,
M B M 4 2
¬ 1
1
I 4 2
Ba - by
3
2
oh, I love to 3
M
3
3 1
3 1
3
I M B ¢
4 2
M 3
¬
-
x 1
So you can
4 2
M B
M
B
3 1
4 2
5 3
2
Or a
3 1
P - I - A - N
4 2
5 3
B 2
B
¢ M I M B 2 1
M be - side an
I
B
step
3
5 3
1
long - haired gen - ius
B
33 :
2
To hear a
1
vit- ed
I ¢
3
2
M 4
3
4
5 1
V V
Grand.
¸ x ¸
Unit 3
Objectives
Sonata Form Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Perform solo repertoire in sonata form. 2. Play major and parallel harmonic minor scales and arpeggios beginning on D, using traditional fingerings. 3. Sight-read music from easy standard piano repertoire. 4. Harmonize melodies with triads and inversions. 5. Accompany a B b trumpet solo. 6. Play a two-part choral score.
Sonata Form
The word sonata was first used as the title of a piece to be “sounded” (played on a music instrument). A short sonata is called a sonatina. By the late 1700s, the sonata had become a formal composition, usually containing three or four contrasting movements. The first movement is usually in sonata form (sometimes called sonata-allegro form) which consists of three parts: Part 1: In the exposition, the themes of the movement are stated. The first theme is in the tonic key and the second theme is usually in the dominant key. The section often ends with a coda or codetta. Part 2: In the development, the themes are altered. Part 3: In the recapitulation, the themes are restated. Both the first and second themes appear in the tonic key. The movement may close with a coda or codetta. The Clementi Sonatina in C Major on pages 354–355 is an example of a sonatina movement in sonata form. Sonata Form ■ Unit 3
41
S olo Repertoire
Before playing: •Block the RH triads and inversions in measures 1–2 and 5–6. •Tap the rhythm hands together. While playing: •Listen for a steady tempo throughout. •Listen carefully for slurs and staccato notes.
Sonatina
in
C Major
(FirSt MoveMent)
3-1
Allegro
Frank Lynes (1858–1913) Op. 39, No. 1
Exposition 1st theme
O ¸ ¸ 3
5
3
2
5
1
5
1
3
2
1
1
1
¸
¸
5
: 5
3
5
3
1
3
5
1
¸
¸
10 : M 3
3
42
*
Unit 3 ■ Sonata Form
1
* ¢ & I 2nd theme
¸ 3
1
¸
3
¢ *
3
I
3
2
M ¢ *
* ¢
M * ¢
14 :
1
5
2
3
*
*
M ¢ * dim. * 3
2
1
O cresc. ¸ ¸ ¸
Development 3
2
1
3
1
3
Recapitulation
:
M O ¸ ¸ 1
18
22 :
2
2
1
¸
&
5
3
I
1
¸
¢ M ¢ * *
3
3
*
3
*
*
dim.
1
2
Coda 1
3
1
2
3
1
1
1
3
5
36 : 1 3 1 2
¸
¸
2
M M * ¢ * ¢ * ¢ I
1
1
¸
¸
3
2
5
¸
M * ¢ O & *
32 :
5
: 3 2nd theme
5
3
3
2
27
1st theme
I ¢ ¢ * 3
5 2 1
I I ¢ ¢
¸¸ ¸
2
1
3
O
1
Sonata Form ■ Unit 3
43
Playing Scales and Arpeggios
• • • • RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 • • • • LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1
D Major
¸ ¸ 3-2
1
2 3
4
3 2
1 3
2
1 2
3
4
5
3
2
2
1
4 3
2 1
3 2
B B
2
1
3 2
3
1
2
3
1
4
5
3
1
4 3 2
1
3 2 1
2
2
3 4 5
3
1
2
1
1
2
3
1
D Harmonic Minor 3-4
3
• • RH: 1 2 3 1 2 3 5 • • LH: 5 3 2 1 3 2 1
¸
2
3
1 2
5
1
5 4
1
¸
3
2
1
2
3
5
3
1
¸ ¸
5 3 4
2
3-3
1
1
2
1
¸
3
1
•• RH: 1 2 3 1 2 3 4 •• LH: 5 4 3 2 1 3 2
2
¸
3
5
•• 12312345 •• 14321321
¸ ¸ ¸ ¸ 1
2
3
1
2
5
4
3
2
1
3 4
3
2
1
2
3
1
4
3
1
2
3 4
5
2
1
3 2
1
5
1
4
2
3
2
1
3
2
1
3
1
2
3
4
1
4
3
2
1
3
2
1
2
3
1
2
3
4
5
RH: 1 2 3 1 2 3 5 3-5
B B
1
5
44
2
4
3
2
Unit 3 ■ Sonata Form
1
1
2
4
3
2
¸ 5
LH: 5 4 2 1 4 2 1
5
¸
1
1
3
2
2
4
1
1
3
2
2
4
1
¸ ¸ 5
Technique 3-6
V &
V
Allegretto
1.
5 1
1 5
7
V
¬
¸ V ¸ Continue upward on V
¸¸ ¬
V
V
white keys until…
V
5 1
1 5
V
¸¸ ¬
3-6
2. Repeat #1 two octaves lower with the LH, using the fingering below the staff.
3-7
5 2 1
¢ & ¢ Moderato
3.
5
5
I6
3
1
¢ ¢
vi6
¢
5
IV
3
1
4.
5
5
i6
3
1
¢ ¢
VI6
¢
¢ ¢
5
¢
vii o6
ii
V6
5 2 1
¢ & ¢
3-8
Moderato
5 3 1
5
¢ iv
3
1
¢ ¢
ii o
1
¢
¢ ¢
5 3 1
¢
3
5 2 1
5
iii
1
3
¢
¢
3
1
¢
¢ I
5 2 1
¢ ¢
VII 6
¢
Transpose to B
5
5 3 1
major and D major. 5 3 1
5
¢
¢ ¢
III
3
1
¢
¢
v6 i Transpose to B natural minor and G natural minor. Sonata Form ■ Unit 3
45
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
DanCe
(exCerpt
FroM
For Children)
3-9
Poco allegretto
& dolce 5
1.
1 3 5
5
0
Béla Bartók (1881–1945)
5
5
etuDe (exCerpt)
Louis Köhler (1820–1886) Op. 190, No. 31
3-10
¸ & Allegro 1
2.
1
1
3
5
5
5 :
¸
46
Unit 3 ■ Sonata Form
3-11
Andante moderato
¸¸ & ¸ ¸
3 1
3 1
3.
M ¸¸ ¸¸
1 5
5
¸¸
¸¸
¸¸
¸¸
¸¸
M
5 3
¸¸
5 3
5 3
¸¸
V V
¸
¸
Harmonize each melody below in two ways:
Harmonization
•Using the bottom note of each triad and inversion. •Using the indicated triads and inversions.
3-12
Switzerland
B & B Allegretto 1
1.
B
2
ii6
ii6
I ¸
2
V7
5
I
5
I
B
4 2
¸
¸
4 2
5 3
I 2
V7
1
I
I Transpose to G major.
Sonata Form ■ Unit 3
47
Harmonization (continued) 3-13
D 7/F
Lively G
0 3
2.
5
3
3
3
1
1
D 7/F
¸
1
G
¸
1
¸
D7
G
¸
G
¸
Transpose to F major.
Sweet BetSy
3-14
Vivace
B & B
F
1
3.
Dm
B 6
5
B
11
BB
B B
48
C 7/E
Unit 3 ■ Sonata Form
C 7/E
F
¸
1
¸
FroM
pike United States
F
Dm
C 7/E
¸
F
2
1
A m/C
4
B B/F
3
1
2
F
¸
Transpose to D major.
1. Transpose the line for B trumpet to concert pitch.
Instrumental Accompaniment
2. Work out appropriate fingerings for the accompaniment. 3. Play the accompaniment while the teacher or other class member plays the B trumpet line transposed to concert pitch.
aura Lee
3-15
B@ Trpt.
Piano
5 :
B
9 :
¸ B ¸ ¸
&
B ¸ & B
¸ ¸ ¸
¸ ¸ ¸
¸ *
O B ¸ O B ¸ ¸
13 :
I
Andante O B O¸ B ¸ ¸
Traditional Arr. John Kinyon and John O’Reilly
¸
I
¸ *
MV V
¸
¸ ¸ ¸
V
¸ ¸ ¸
I
V
¸
¸
V
¸ ¸
I 3 V
B¸ ¸ ¸
3
¸
3
¸
“Aura Lee” from YAMAHA TRUMPET STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc. Sonata Form ■ Unit 3
49
Practice the choral score in the following ways:
Choral Score Reading for 2-Part Voices
•Part 1 (RH) alone. •Part 2 (RH) alone. •Parts 1 and 2 (RH) together.
uBi CaritaS
et
aMor
(aDapteD exCerpt)
3-16
&
Sally K. Albrecht
Gently
1
U
2
¾
-
&
bi
-
ca
U
ri
-
tas
-
bi
et
ca
3
1
u - bi
2
ca - ri - tas
u - bi
ca - ri - tas
6
1
2
U
-
bi
et
a
et
a
-
mor.
-
¸
-
ri
mor,
-
tas
et
U
mor.
¸
-
a
¸
-
bi
Unit 3 ■ Sonata Form
a - mor,
ca - ri - tas
¾
-
¸
mor.
¾
¸
ca - ri - tas
et
et
a
a
-
mor.
“Ubi Caritas et Amor” by Sally Albrecht from ALFRED CHORAL DESIGNS Copyright © MCMXCIII by Alfred Publishing Co., Inc. Copyright © MMVII by Alfred Publishing Co., Inc.
50
Unit 4
Objectives
Primary Chords Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play I–IV–I–V7–I chord progressions in all major keys. 2. Play i–iv–i–V7–i chord progressions in all harmonic minor keys. 3. Play major and parallel harmonic minor scales and arpeggios beginning on A, using traditional fingerings. 4. Improvise melodies using the blues scale over a 12bar blues accompaniment. 5. Perform solo repertoire that uses tonic, dominant and subdominant harmonies. 6. Sight-read and transpose music that uses tonic, dominant and subdominant chords. 7. Harmonize and transpose music with tonic, dominant and subdominant chords. 8. Improvise melodies over tonic, dominant and subdominant chords. 9. Play a two-part instrumental score for B clarinet and bassoon. 10. Play a two-part choral score (ST).
Primary Chords ■ Unit 4
51
Tonic, Dominant and Subdominant
The primary triads in a key are I, IV and V. In the key of C major, the I chord (tonic) is the C triad. The V chord (dominant) is the G triad. The IV chord (subdominant) is the F triad.
? www
1 I Tonic
w 2
ww w
w
w
w
4 5 6 IV V Subdominant Dominant
7
8
w
w ww
3
In the key of A harmonic minor, the i chord (tonic) is the A minor triad. The V chord (dominant) is the E triad. The iv chord (subdominant) is the D minor triad.
? ww w
1 i Tonic
The V7 Chord
w 2
# www
w
#w
w
4 5 6 iv V Subdominant Dominant
7
8
w 3
w ww
In many pieces a V7 chord is used instead of a V triad. To make a V7 chord, a note an interval of a minor 7th above the root is added to the V triad.
V7 built on the 5th note of the C SCALE:
V
V
V
V
7th 5th 3rd root
52
Unit 4 ■ Primary Chords
V
V
TRIAD
V7 Dominant seventh
V7 built on the 5th note of the A HARMONIC MINOR SCALE:
V
VVV V
V
7th 5th 3rd root
VVVV
TRIAD
V7 Dominant seventh
Inversions of Dominant Seventh Chords
Four-note dominant seventh chords may be played in the following positions. All note names are the same in each position, but in a different order! Numbers to the right of the Roman numerals indicate the intervals between the lowest note and each of the other notes of the chord. Numbers in parentheses are usually omitted.
ROOT FIRST SECOND THIRD POSITION INVERSION INVERSION INVERSION Key of C MAJOR: G7
VVV ROOT V G7/B
VVV ROOT V
V7
V6
5 (3)
ROOT FIRST SECOND THIRD POSITION INVERSION INVERSION INVERSION
G7/F
Key of A HARMONIC MINOR: E7
V(6)
V7
VV VV ROOT
VVVV ROOT G7/D
V(6)
E7/B
E7/D
V6
V(6)
V(6)
V VV ROOT VVVV ROOT VVV ROOT V V
VVV ROOT V
4 2
4 3
E7/G
5 (3)
4 2
4 3
The first, second and third inversions are easily recognized by the interval of a 2nd in each chord. The top note of the 2nd is always the root!
Play the I–IV–I–V7–I chord progression exercise.
Playing the I–IV–I–V7–I Chord Progression in Major Keys 4-1
Key of C Major
¸¸¸ ¸¸¸ 5 3 1
1 3 5
I
5 3 1
1 2 5
¸¸ ¸ ¸¸ ¸
¸¸¸ ¸¸¸
IV6 4
I
5 4 1
¸¸¸ ¸¸¸
¸¸¸ ¸¸¸
V6
I
1 2 5
5
¬ ¬
Key of D@ Major 5 3 1
B¸ B B ¸¸¸ B ¸¸ B¸ B B ¸¸¸ B ¸¸ 1 3 5
5 3 1
1 2 5
5 4 1
B B ¸¸¸ B ¸¸¸ B B ¸¸¸ B ¸¸¸ 1 2 5
I
IV6
I
¸¸¸ ¸¸ ¸
¸¸ ¸ ¸¸ ¸
¸¸¸ ¸¸ ¸
¸¸ ¸ ¸¸¸
¸¸¸ ¸¸ ¸
I
IV6
I
V6
I
4
Key of C Major
Continue upward by half steps until…
4
¬
B B ¸¸¸ B B ¸¸¸
V6
¬
I
5
5
¬ ¬
Play the chord progression above with only roots of the chords in the LH.
? 44 ˙
5
˙
˙
˙
˙
Ó
etc.
Primary Chords ■ Unit 4
53
Playing the I–IV–I–V 7–I Chord Progression in Major Keys (continued)
Play the I–IV–I–V7–I chord progression exercise. The LH plays only the root of each chord.
4-2
Key of C Major 5 2 1
5 3 1
¸
¸
¸¸¸
¸¸ ¸
5
I
¸¸ ¸
7
¸
¸¸ ¸ 5 3 1
¸
5
2
I
IV
4 2 1
¸¸ ¸
2
¸
IV
I
Key of G Major 5 2 1
Key of F Major
¸¸ ¸
1
¸ 5
V7
I
¸
¸¸ ¸¸ ¸ ¸ 4 2 1
¸
¸¸¸
¸
¸¸ ¸
¸
1
I
V7
¸¸ ¸ 5 2 1
¬
¸
¬
¸ B ¸¸
¸¸ ¸¸ ¸ B¸ ¸ ¸
5 3 1
B¸
5
2
I
IV
¸¸ ¸
4 2 1
¸
1
5
V7
I
Unit 4 ■ Primary Chords
¬
I
Key of C Major
¬ ¬
¸¸ ¸
¸¸ ¸
¸¸ ¸
¸¸¸
¸¸ ¸
I
IV
I
V7
I
¸
I
¸
¸
¸
¸
Practice the above exercise in the following major keys:
54
¬
4-3
1.
D
G
A
D
4-4
2.
E
A
B
E
4-5
3.
D
G
A
D
4-6
4.
E
A
B
E
¬ ¬
Play the i–iv–i–V7–i chord progression exercise.
Playing the i–iv–i–V7–i Chord Progression in Harmonic Minor Keys 4-7
Key of B@ Harmonic Minor
Key of A Harmonic Minor
¸¸ ¸ ¸¸ ¸ 5 3 1
5 3 1
1 3 5
1 2 5
i
¸¸ ¸ ¸¸ ¸
5 4 1
¸¸¸ ¸¸¸
iv6
1 2 5
i
4
¬
¸¸¸ ¸¸¸
¸ ¸ ¸ ¸ ¸¸ V6
¸¸¸ B B ¸¸¸ B B B ¸¸ ¸ B B ¸ B¸ ¸
¬
1 3 5
i
5
5 3 1
5 3 1
5 4 1
B ¸¸¸
¸ B B ¸¸
B B ¸¸¸
1 2 5
1 2 5
i
B ¸¸¸
B B ¸¸¸
i
iv6
¸¸¸ ¸¸¸
¸¸ ¸ ¸¸ ¸
¸¸¸ ¸¸ ¸ ¸¸¸ ¸¸ ¸
¸¸¸ ¸¸¸
i
iv6
i
i
4
V6
Continue upward by half steps until…
4
¬
i
5
Key of A Harmonic Minor
¬
¸ B B ¸¸
V6 5
¬ ¬
Play the chord progression above with only roots of the chords in the LH.
? 44
5
˙
˙
Ó
˙
etc.
Play the i–iv–i–V7–i chord progression exercise. Notice that the LH plays only the root of each chord.
4-8
Key of A Harmonic Minor 5 2 1
5 3 1
5
¸
i
iv
¸¸ ¸ ¸
˙
˙
¸¸ ¸ 2
4 2 1
¸¸ ¸
¸¸¸
i
1 V7
¸
¸
¸¸ ¸ ¸ i
¬ ¬
Key of B @ Harmonic Minor 5 3 1
5 3 1
B¸ ¸ B ¸¸ B B ¸¸ B¸
B¸
¸¸ ¸
¸¸¸
5
i
2
iv
4 2 1
B¸ B ¸¸ B ¸¸¸ ¸ B¸
B¸ B ¸¸ B¸
¬
¸¸ ¸¸¸ ¸ ¸ ¸
¸¸ ¸
¬
V7
i
i
1 V7
Key of A Harmonic Minor
Continue upward by half steps until…
¸ i
¸ iv
i
¸
¬
i
¬
Primary Chords ■ Unit 4 7
55
Playing Scales and Arpeggios
### 4 œœ œ & 4 œ œ œ œœœœ ? # # # 44 œ œ œ œ œ œ œœœœ 4-9
1 2
3 1
3 2 5 4
5 3 4
5 4 3 2
1 3 2
2 1 1 3
4
3 2
1 2 3 1
2
5
3
1
2
˙.
œ œ œ 1
3
2
1
3
1
• RH: 1 2 3 • LH: 5 3 2 5
˙.
¸ ¸ 5
2 4 3
2 3
4
1
2 3 1
1 3
2
1
4 3
2
2
3
4 5
1
3
2 1
2
1
2 3 1 2
3
4
5
3
2
3
2
1
˙.
œ œ œ 1
2
˙.
3
5
• 12312345 • 14321321
• LH: 5 4 3 2 1 3 2
2 3 1
3
œ œ œ
•
1
1
1
2
A Harmonic Minor RH: 1 2 3 1 2 3 4 4-11
4 3 2
• 1235 • 1321
3
1
1
4 1
œ œ œ
1
2
3
œ œ œ
5
3
œ œ œ
2
3
˙ œœœœ œœ œœ œœœœ œœœœ œœ ˙ ˙ œœœœ œœ œœ œœœœ œœœœ œœ ˙
2 3 1 2
### 3 & 4 œ œ œ ? # # # 43 œ œ œ 2
• •• 12312345 • •• 14321321
1 2 3 4
4-10
1
• •• RH: 1 2 3 1 2 3 4 • •• LH: 5 4 3 2 1 3 2
A Major
¸ ¸ 5
4
3 2
1
2
3
1
4
3 2
3 4 1
2
3
1 3 2
1
2
1
3
2
1
1 2
3
4
5
RH: 1 2 3 1 2 3 5
¸
4-12
1
5
56
2
4
1
3
2
Unit 4 ■ Primary Chords
1
2
4
3
2
LH: 5 4 2 1 4 2 1
¸
1
1
5
5
3
2
2
4
1
1
3
2
1
¸
¸
2
4
5
The blues accompaniment follows a strict 12-bar pattern. Using block chords, play the 12-bar blues pattern with the left hand.
12-Bar Blues Improvisation
4 4
Letter name
D I
D I
D I
D I
G IV
G IV
D I
D I
A V
G IV
D I
D I
Roman numeral
Transpose
The blues scale may be used to improvise melodies over the blues pattern.
M 1
4-13
3
B
3
M B M M & ¬ 2
1
B M M M B ¬ 2
1
1
2
3 4
1 5
B M M ¸ ¸
9 :
1
2
1 2 3 3
3
1 5
V
4
5
4
3
2
B
1
M 2
1
¸
M B M 5
4
3
2
1
2
I I 1
1 5
* * M 5
1 5
IV
M 5
5
1 5
5 :
5
* * M
3 4
I
4
Using the 12-bar blues progression, continue the RH melodic sequence, alternating ascending and descending blues scale patterns while the LH plays the interval sequence.
I Relaxed ( = ) 2
¸
M M
2
1
2
1
to A major and E major.
1 5
1 5
M B M 5 4
¸¸ 1 5
IV
3
3 2 1
3
2
I
B 1
I
* * 1 5
Primary Chords ■ Unit 4
57
S olo Repertoire
Before playing: •Practice the RH alone, being aware of the cross-overs and cross-unders in the fingering. •Find the I, IV and V chords. While playing: •Play the RH a little louder than the LH. •Listen for even eighth notes throughout.
A PleAsAnt Morning Jean Louis Streabbog (1835–1886) Op. 63, No. 1
4-14
Allegro moderato
O C VVV
C
1
3
¸
1
¸
1 3 5
VVV 1
1 2 5
10 :
¸ ¸¸ ¸
3
¸¸ ¸
1 2
¸ 2
1 2 5
58
¸
1 3 5
3
Unit 4 ■ Primary Chords
¸ ¸¸ 1 3 5
1 3 5
VV
1
3
1 2
E ¸¸ ¸¸ ¸ ¸
7 :
1
3
1
3
VV V
1 2 4
1
1 3 5
4 :
1
¸
¸¸ ¸
¸ O¸ ¸¸ 3
1 2 5
¸ &¸¸ ¸ 3
14
œ œ œ œ & ˙ 3
˙˙ .. ? ˙. 17
œ œ œ œ œ œ œ œ f ww w 1
3
œœ œ
& œ œ œ œ œ œ œ œ p ? www 1
3
˙
1
&
˙
? Œ
œœœ 1 3 5
œ œœœ
œ œ œ œ & f ˙˙ ? ˙
23
1 2 5
26
ww w 1 3 5
Œ œœœ
www
ww
1
1
3
1
3
1 2
œ œ œ œ ˙˙ ˙ 1 3 5
3
1
œ œ œ œ œ œ œ œ
? œ œ œ œ œ œ œ œ 1
3
œ œ œ œ œ œ œ œ
5 2 1
5
3
œ œ œ œ œ œ œ œ
Œ
1 2 4
1
& www
1
1
Œ œœœ œœœ œœœ
1 3 5
20
œ
œ œ œ œ œ œ œ œ œœ œ Œ Ó 2
3
˙ 3
˙˙ ˙
œ œœ 1 2
˙˙˙ ...
œœœ
œ œ œ œ œ œ 5
4 2 1
Œ
www
Œ
œ œ œ œ œ œ œ œ 5
1
3
˙˙ ˙
œœ œ
œœ œ
œœ œ
Œ
Ó
1
œ
œ
œ
Œ
Ó
˙
Primary Chords ■ Unit 4
59
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
4-15
* & Allegretto
1.
5
1
3
*
5
3
5 :
1
5
1
2
¸
2
Transpose
to G major.
etude (excerPt)
4-16
Allegretto
¢ & I ¢ 5 3 1
2.
5
¢ O I ¢
5 :
¢ ¢ * ¢
5 3 1
¢
1 2 5
¢ ¢ * ¢
¢
¢ 5 3 1
¢ I ¢ ¢ * 5 2 1
¢ ¢
1 3 5
¢
¢ I ¢ ¢ *
¢ ¢
¢
¢ I ¢ ¢ * ¢ ¢ ¢ 5 3
5 3
I ¢ *
¢ * *
Henry Lemoine (1786–1854)
¢
5 1
¢
4 1
3 1
I ¢ *
Unit 4 ■ Primary Chords
1 2 5
5
I ¢ ¢ & * ¢ ¢ 3 1
1 3
Transpose
60
2 1
to D major.
4-17
Allegro moderato
B & B 1
3.
5
B 1
1
3
B
¸
1
3
3
5
¸
¸
1
5
2
3
1
5
¸
1
2
2
1
¸
¸¸
Transpose
Using tonic (I), dominant (V7 or V6) and subdominant (IV or IV6) 5 4 chords, harmonize the following melodies with the indicated accompaniment style. Write the Roman numeral name of each chord on the line below the staff.
Harmonization
? b 4 ˙˙˙ b 4
1. Block Chord Accompaniment
Andante
B B 0 N.C. 1
10 :
BB
B
B
˙˙˙
KuMbAyA
4-18
5 :
to E minor.
2
I ¸
¸
5
Spiritual
I ¸
4
¸ V
¸
V
¸ 1
¸
V 3
¸
¸ 2
N.C.
N.C.
4
2
3
1
I ¸
2
V Transpose
¸ to C major.
Primary Chords ■ Unit 4
61
Harmonization
2. Broken Chord Accompaniment
(continued)
shAll We gAther
At the
? ## 4 ˙ 4
˙˙
river?
4-19
Moderato
& 3
Robert Lowry (1826–1899)
¸
¸
¸
9 :
¸
13 :
¸
5 :
1
2
¸
¸ V
I ¸
3
1
2
3
3. Block Chord Accompaniment
¸ V
Transpose to E major.
¸¸¸
¸¸ ¸
4-20
& Moderato 1
5 :
5
2
2
Israel
¸ ¸
¸
¸
1
1
4
4
62
Unit 4 ■ Primary Chords
Transpose to D minor.
Using the chord progressions below, improvise RH melodies while the LH plays the suggested accompaniment style. (First play the LH chord progression using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.
Improvisation from Chord Symbols
Rules for improvisation: 1. When the tonic chord is used, play mostly scale tones 1, 3 and 5 in the melody. 2. When the subdominant chord is used, play mostly scale tones 1, 4 and 6 in the melody. 3. When the dominant chord is used, play mostly scale tones 2, 4, 5 and 7 in the melody. 4. Most improvisations begin and end on tonic. 5. The ear should always be the final guide in determining which melody notes to play.
? 3 œ œœ œœ b4
1. Waltz Style Accompaniment
4-21
Key of F Major
B
B
I
5 :
V6
I
V6
IV6 4
4-22
Key of E Harmonic Minor
Am/E 5 :
Em
I
5
2. Broken Chord Accompaniment
Am/E
¸
V6
5
Em
¸
I
5
I I
B/D
?#6 œ œ œ œ œ œ 8
B/D
Em
I
Em
¸
Primary Chords ■ Unit 4
63
Score Reading and Transposing Instruments
1. Transpose the line for B clarinet to concert pitch.
2. Play the line for B clarinet in concert pitch with the line for bassoon, which is notated in concert pitch.
the erie cAnAl
Bsn.
B@ Cl. Bsn.
¸
B@ Cl.
B ¸ & M B¸ ¸ B BB & Moderato
5 :
B BB
B
O O
¸
¸
¸ ¸
¸
United States Arr. John Kinyon and John O’Reilly
¸ ¸
¸ ¸
4-23
¸
Fine
Fine
D. C. al Fine
¸
M¸
D. C. al Fine
“The Erie Canal” adapted from YAMAHA CLARINET STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc.
Playing by Ear
64
Unit 4 ■ Primary Chords
Play the following melodies. If you are unfamiliar with a melody, learn it by listening to the audio file or MIDI file. Then harmonize the melodies using I, IV and V7 chords in block style. 4-24
When the Saints Go Marching In (Key of D, start on D)
4-25
Marine’s Hymn (Key of C, start on C)
The tenor voice sounds one octave lower than written. Practice the choral score in the following ways:
Choral Score Reading for Soprano and Tenor (ST)
1. Soprano (RH) alone. 2. Tenor (LH) alone (one octave lower than written). 3. Soprano (RH) and tenor (LH) together.
AutuMn
(excerPt
froM
The SeaSonS)
4-26
Adagio
S
T
5 :
E E
* *
S
T
9 :
S
¸
T
¸
*
I I *
x
x
B¸
B¸
* * * * * *
I * *
*
Franz Joseph Haydn (1732–1809)
¸
B¸
B¸
B
I B
Primary Chords ■ Unit 4
65
Unit 5
Objectives
Review Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play major, minor, augmented and diminished chords beginning on any key. 2. Play triads in root position, first inversion and second inversion. 3. Play major and parallel harmonic minor scales and arpeggios beginning on E, using traditional fingerings. 4. Perform solo repertoire that uses tonic, dominant and subdominant harmonies. 5. Sight-read and transpose music that uses tonic, dominant and subdominant harmonies. 6. Harmonize and transpose music with tonic, dominant and subdominant chords. 7. Create a two-hand accompaniment from letter symbols.
66 Unit 5 ■ Review
Playing Major, Augmented, Minor and Diminished Chords
Play the following exercise that uses major (M), augmented (A), minor (m) and diminished (d) chords.
5-1
M B M A M m M B 5 3 1
B B ¸¸¸ ¬ M M ¸¸¸ ¬ 5 3 1
B B ¸¸¸ d
1 3 5
1 3 5
1 3 5
1 3 5
1 3 5
5 3 1
5 3 1
5 3 1
Playing Triads of the Key and Inversions
¬
M M ¸¸¸
M B
Continue downward by M A M m half steps until…
M B
¬
5 2 1
œœ 4 œ Œ & 4 œœœ œœ œ ? 44 w 5
I
5 3 1
˙˙˙ Ó 5 3 1
˙ Ó
¸¸¸ ¬
M
Play the following exercise that uses triads of the key and inversions.
5-2 5 3 1
¸¸ ¬ ¸
5 2 1
Œ œœ œœœ œœœ œ 5 3 1
w 4
5 3 1
˙˙˙ Ó 5 3 1
˙ Ó
Continue upward diatonically until…
ii
œœ œ œ œ œ Œ œœ œ w 1
˙˙˙ ˙
Ó Ó
I
Practice the above exercise in the following keys: 5-3
1. G major
5-4
2. A natural minor
5-5
3. E natural minor
Review ■ Unit 5 67
Technique
ExErcisE No. 1 (The VirTuoso PianisT)
Charles-Louis Hanon (1819–1900)
5-6
& 24
œœœœ œœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœ œœ œ œ œ œœœ ? 24 œ œ œ œ œœ œœ œ œœœœ œœœœœœœ œœœœ œœœ œœœ œ œ œ œ œ 6
Ascending
1 2 3 4 5
1 2 3 4 5
1 2
1 2
1 2
5 4 3 2 1
5 4 3 2 1
5 4
5 4
5 4
œœœœœœ œœœœœœœœ ? œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœœ œœœœœœœ œ œ œ œ œ œœœœ œœœœœœœœ œ œ œ œ
œœœœ œ œ œ œ œ œœœœ œœœ
œ œœœœ œœœ œ œœœœ œœœ
5 4
5 4
œœœœ œœœœœœœœ œ œ œ &œ œœœœ œœœœœœœœ œ œ œ ?œ
œœœœ œœœœ œœœ œ œ œ œ œ œ œ œœœœ œœœ œœœœœœœ
œœœœ œœœ œ œœœœ œœœ œ
œœœœ œœœ œ œœœœ œœœ œ
1 2 3 4 5
1 2
&
12
18
1 2
1 2
5 4
5 4
1 2
1 2
5 4
5 4
5 4
œœœ
5 4
1 2
1 2
& œœœœœ œœœœœœœœ œœœ œœœœœ œœœœœœœœ ?
1 2
1 2
5 4
5 4
Descending
1 2
5 4 3 2 1
5 4
1 2 3 4 5
5 4
œœœœ œœœ œ œœœ œœœœœ 1 2
5 4
œœœœ œœœ œ œœœœ œœœ œ 1 2
1 2
5 4 3 2 1
5 4
œœœœ œœœ œ œœœœ œœœ œ 1 2
24
&
5 4
œœœœ œœœ ? œœœ œ œœ œœœ 1 2
68 Unit 5 ■ Review
5 4
œœœ œœ œ œ œ œœ œ œœ œ œ œ 1 2
5 4
œœœ œœ œœœœœœœœ œœœ 1 2
5 4
œœœ œœ œ œ œ œœ œ œœ œ œ œ 1 2
5 4
œœœ œœ œœœœœœœœ œœœ 1 2
1 2
5 4
5 4
œœœ
œœ œ œ œ œœœ œœœœœ 1 2
.. 5 4
œœœœ œœœ . ˙ œœœ œ œœ . œœœ ˙ 1 2
Playing Major Scales and Arpeggios
•• •• RH: 1 2 3 1 2 3 4 •• •• LH: 5 4 3 2 1 3 2
E Major
•• •• 12312345 •• •• 14321321
¸ ¸ ¸ ¸ 5-7
1 1 2 3
5 4
3 2
2 3 4 1
1 2 2 3
1 3
4 3 2
2 1
2
3
5
¸
3
• RH: 1 2 3 • LH: 5 3 2
2 3 4
5
3
1
¸ ¸ 1
2
3
1
5
4
3
2
2
3
1
3
4
1
2
2
1
4
3
3
2
3
1
3
4
2
5
1
5
1
4
2
3
2 1
3 1 2
3
4 5
2
2
3
1
¸
3
2
1
•
¸
3
5
• • 12312345 • • 14321321
• • LH: 5 4 3 2 1 3 2
2
2
1
•
1
1
3 2
2
1
4
• 1235 • 1321
E Harmonic Minor RH: 1 2 3 1 2 3 4 5-9
1
¸
2
1 3 2 1
1 2 3 1
5
1
5 4 3 2
3 2 1
3
2
1
2
3
1
5-8
1
5 3 4
¸ ¸ 3
3
2
1
3
2
1
4
1
2
3
4
1
2
3
2
1
3
2
1
3
1
2
3
4
5
RH: 1 2 3 1 2 3 5 5-10
1
5
2
4
3
2
1
1
2
4
3
2
¸ 5
LH: 5 4 2 1 4 2 1
5
¸
1
1
3
2
2
4
1
1
3
2
2
4
1
¸ ¸ 5
Review ■ Unit 5 69
S olo Repertoire
Before playing: •Find the I, IV and V chords in the RH. While playing: •Play the LH a little louder than the RH. •Clearly define the LH phrase structure in your performance.
study 5-11
Moderato
O & 5 3 1
5 :
9 :
1
13 :
1
*
5
¸
¸
2
M
2
*
4
5 4 1
5 4 1
*
70 Unit 5 ■ Review
*
1
5 3 1
Ludvig Schytte (1848–1909) Op. 108, No. 12
*
rit.
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
soNg
without
(ExcErpt)
words
5-12
Moderato
1.
O cantabile 5
5
3
5
1
3
Fritz Spindler (1817–1905)
1
2
1
¢
¢
Transpose to G minor.
scalE study (ExcErpt)
5-13
Cornelius Gurlitt (1820–1901) Op. 117, No. 19
Con moto
2.
¢ O
1
¢
M 1
5
5
¢
1
¢
1
3
¢
B
1
¢
¢
M
&
¢ ¢
Transpose to D major. Review ■ Unit 5 71
Reading (continued)
russiaN Folk soNg (ExcErpt)
5-14
Ludwig van Beethoven (1770–1827)
Moderato
& 24 œœ pœ ?2 œ 4 3 1
3.
œœ œœ
œœ œœ
œ˙ ˙˙
œœ œœ
œ
œ
œ
1 3
5
& œœ ? œœ
2 1
œœ œœ
# œœ œœ
œœ œœ
# œœ . œ œœ ..
œœ œœ
œ
œœ œœJ œ J
1 2
œœ œœ
œœ œœ
œœ . œ œœ ..
œœ œœ
œ
œœ J œœ J
# œœ
œ œ 2 5
œ œ œ œ
1 2 5
4 2
œ œ œ œ
5 2 1
Œ
œœ œ
œœ œ œ
Œ
œ 5
Harmonize with an Alberti bass accompaniment.
Harmonization
?4 œ œ œ œ 4
1. Alberti Bass Accompaniment
hE’s got
thE
wholE world
iN
his haNds
5-15
Spiritual
Moderately and rhythmically
4 j &4 œ œ œ F 4
4
j œ œ
j œ œ.
˙
4
1
I
j j & œ œ œ œ œ œ œ ˙ 4
I
j œ œ. 1
j œ œ œ œ œ
3
˙
V6 5
j j j œ œ œ œ œ œ œ œ œ œ œ. 4
2
5
V6 5
j œ œ. 2
1
˙
I
j œ
Transpose to D major.
72 Unit 5 ■ Review
Using tonic (I), dominant (V7 or V65) and subdominant (IV or IV64) chords, harmonize the following melodies with the indicated accompaniment style. Write the Roman numeral name of each chord on the line below the staff.
2. Block Chord Accompaniment
BurlEskE 5-16
& Allegro 1
4
¸
4
N.C.
¸ O 4
4
1
N.C.
Leopold Mozart (1719–1787)
4
¸ 4
4
Transpose to F major.
3. Broken Chord Accompaniment
¸ B B
¸¸
5-17
B B E Allegro 1
B B 5
3
1
3
4
1
Russia
5
Transpose to A minor. Review ■ Unit 5 73
Using the indicated chords, create a two-hand accompaniment for the following melody by continuing the pattern given in the first two measures.
Harmonization with Two-Hand Accompaniment
o solE Mio! 5-18
Moderately slow
* E ¢ 5
¢ 5 :
I 1
3
I
G
E RH 1
LH
5
5 3
5 4
RH 1
2 LH
1
LH 5
¸
D7
1
I ¸
2 LH
Eduardo di Capua
B
¢ * B ¸ 2
G
Cm
11 :
2
5
G
¸
D7
G
LH
74 Unit 5 ■ Review
I
¸
RH
LH
¢ I
Review Worksheet
Unit 5
Date _____________________
Name ________________________
1. Identify the quality of each chord by writing M for major, A for augmented, m for minor or d for diminished on the lines below the staff.
# www
? # # www
b b ∫ www
# www
b www
www
b # www
# # www
2. Using whole notes, write the indicated chord in root position, first inversion and second inversion.
B@ Major
Root
1st
E Minor
2nd
Root
1st
F Diminished
2nd
Root
1st
2nd
D Augmented
A@ Major
Root
Root
1st
2nd
1st
2nd
3. Using whole notes, write the appropriate inversion of each dominant seventh chord in the indicated major key.
?# V2
bb
V7
###
V4 3
bbbb
V6 5
Review ■ Unit 5 75
4. Identify each major key by writing its name on the line above the staff. Using whole notes on the staff, write the triad indicated by each Roman numeral.
B B
ii
B
IV
iii
BBBBB
vii o
V
I
vi
iii
5. Identify each harmonic minor key by writing its name on the line above the staff. Using whole notes on the staff, write the triad indicated by each Roman numeral.
BB
iv
III+
B VI
ii o
vii o
V
BBBB III+
ii o
6. Transpose the following melody for B trumpet to concert pitch and write it on the staff below with the appropriate key signature.
bb 3 j b & 4 œ. œ œ & 76 Unit 5 ■ Review
œ œ œ
˙ œ
˙ œ
œ. œ œ J
œ œ œ
œ œ œ
˙.
Unit 6
Objectives
Secondary Chords Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Sight-read and transpose music that uses secondary chords. 2. Harmonize and transpose music with secondary chords. 3. Play major and parallel harmonic minor scales and arpeggios beginning on F, using traditional fingerings. 4. Play I–ii6–I64–V7–I chord progressions in all major and minor keys. 5. Play I–vi–IV–ii6–I64–V7–I chord progressions in all major and minor keys. 6. Play solo repertoire that uses secondary harmonies. 7. Transpose melodies for E alto saxophone to concert pitch. 8. Accompany a vocal solo. 9. Play two-part choral scores (ST and TB). 10. Perform a three-part ensemble with partners. 11. Improvise melodies from chord symbols.
Supertonic, Mediant and Submediant
The secondary triads in a key are ii, iii and vi. In the key of C major, the ii chord (supertonic) is the D minor triad, the ii chord (mediant) is the E minor triad, and the vi chord (submediant) is the A minor triad.
V 1
VV V
VVV
V
2 3 4 ii iii Supertonic Mediant
V 5
VVV
V
V
6 7 vi Submediant
8
In the key of A harmonic minor, the ii o chord (supertonic) is the B diminished triad, the III+ chord (mediant) is the C augmented triad, and the VI chord (submediant) is the F major triad.
V 1
VV VVV V
2 3 ii o III+ Supertonic Mediant
V 4
V 5
VVV V
6 7 VI Submediant
V 8
Secondary Chords ■ Unit 6
77
The ii Chord Key of C Major:
The ii chord (supertonic) is often substituted for the IV chord since the chords have two notes in common. It is frequently used in the first inversion (ii6).
VVV
VV V
F
Dm/F
IV
ii6
Key of A Harmonic Minor:
Dance
6-1
Allegretto
3
(excerpt)
*
*
5
*
E
O
B o/D
iv
iio6
VV V
VVV
Identify the key of the example. Use the indicated tempo, dynamics and articulation as you play the exercise.
Reading
5 :
Dm
2
5
3
1
ii6
*
3
5
cresc.
1
*
*
Carl Czerny (1791–1857) Op. 777, No. 8
¢
O
dim.
1
2
5
5
3
¢
1
Transpose
to A major.
Using I, V7 and ii chords, harmonize with a waltz style accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.
Harmonization
Waltz Style Accompaniment
? # # 34 œ œœ œœ
When Love Is KInD
6-2
¸ &
Ireland
Allegretto 1
9
78
5
5
4
Unit 6 ■ Secondary Chords
5
5
4
4
5
4
4
Transpose
¸
to C major.
The iii Chord Key of C Major:
The iii chord (mediant) is sometimes substituted for the V chord since the chords have two notes in common.
www
Em
G
iii
V
www
&
Grazioso
5
1
1 3
I¢ ¢ * ¢ ¢
In
5
¢ ¢ * * ¢ ¢
5
2
1
2
¸
1
¸
2 5
I¢ ¢
3
¢
¢ ¢ *
¢
1 3
iii
B B
6-4
B B 0
* ¢ ¢ * ¢ ¢
Using I, V7, IV and iii chords, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff. Broken Chord Accompaniment
Allegretto
Ludwig Schytte (1848–1909) Op. 160, No. 14
1 5
Harmonization
B B ¸
V
c Major
I¢ ¢ ¢ ¢ * ¢ ¢ *
5
1 3
9
# www
& # www
(excerpt)
¢ ¢ * * ¢ ¢
* ¢ ¢ O * ¢ ¢ 1
E
III+
etuDe
6-3 1
C+
Identify the key of the example. Use the indicated tempo, dynamics and articulation as you play the exercise.
Reading
5
Key of A Harmonic Minor:
¸
¸ ¸
1
2
1
1
3
1
¸¸
¸
England
¸
2
¸
¸
Secondary Chords ■ Unit 6
79
The vi Chord Key of C Major:
&
The vi chord (submediant) is often substituted for the I chord since the chords have two notes in common.
ww w
ww w
Am
C
vi
I
Key of A Harmonic Minor:
ww w
www
&
F
Am
VI
i
Identify the key of the example. Use the indicated tempo, dynamics and articulation as you play the exercise.
Reading 6-5
Andante
B 0 B ¸ 5 2 1
5
5 :
B B ¸ 5 3 1
1
4 2 1
¸ 5 2 1
5
¸
¸
5 3 1
4 2 1
¸
¸
1
2
5 2 1
¸¸ ¸ ¸
Transpose
Harmonization
Harmonize with a block chord accompaniment. Block Chord Accompaniment
6-6
Moderato E
bb 2 b & 4 œ œ œ œ f 2
b &b b œ œ œ œ Cm 2
A /E
œœœœœ
Fm/C
œn œ œ œ œ
? b 2 œœœ bb4
B 7/D
œ œ œ œ
B 7
œ œ œ œ
Unit 6 ■ Secondary Chords
to G major.
œœœ
E
Russia
œœœœœ
E
œœœœœ
Transpose
80
1
vi
5
5 3 1
to F major.
Playing Major Scales and Arpeggios F Major
¸ B ¸ B 6-7
1
2
3 4
1
5
4
3
1
2
2
3
1
3
2
1
B 1
3
4
4 3
2
1
3 2
4
1
B B BB BBBB
3
1
2
5
1
1 2 3 4
1
2
4 3 2
1
3 2
5
6-10
BB B B 1
2
3
B B B B 5
4
2
3 1
1
1
1
4 3 2
1
1
2
3
1
4
2
2
3
3 4
2 1
¸ 5
¸ 1
1
3
4
1
3
2
2
3
2
1
3 2
1 4
3 2 1
3 4
1
2
1 2
3 4 5
4
1
2
1
• RH: 1 2 3 • LH: 5 4 2
1
¸
4
2
1
¸
4
5
•• • 12341234 •• • 14321321
4 3 2
1
3 2 1 4
3
2
1
2 3 4
1
2
1 2
3
4
5
3
2
2
3
• 1235 • 1421
1
2
3
M ¸ M ¸
3 2 1
2 3 1
5
3
1235 1421
•• • RH: 1 2 3 4 1 2 3 •• • LH: 5 4 3 2 1 3 2
M ¸ M M M ¸ M M 4 2 3
2
F Harmonic Minor 6-9
4
¸
2
• 12341234 • 14321321
¸ ¸
RH: 1 2 3 LH: 5 4 2
5
2
1
¸
3
2
1
B 5
3
4 2 3
1
6-8 2
2
4
• RH: 1 2 3 4 1 2 3 • LH: 5 4 3 2 1 3 2
4
1
3
2
1
2
4
1
¸ ¸ 5
Secondary Chords ■ Unit 6
81
Playing the I–ii6–I64 –V7–I Chord Progression
Play the I–ii6–I6 –V7–I chord progression exercise: 4
6-11
Key of F Major
Key of C Major
5 2 1
¸ 5
¸¸ ¸ ¸
¸¸ ¸ ¸
ii6
I6 4
¸¸ ¸ ¸
5 2 1
I
¸¸ ¸
V7
I
1
ii6
I6
¸¸ ¸ ¸
¬
1
ii6
I6 4
Key of C Major
¬
¸
¸¸ B ¸¸¸ ¸ ¸ ¸
¬
V7
I
¸¸ ¸ ¸
¸¸ ¸ ¸
¸¸¸ ¸
¸¸ ¸
I
ii6
I6
V7
I
4
¬
¸
¸¸ ¸ ¸
I
¸¸ ¸
4 2 1
2
5
I
¸¸ ¸
V7
4
¸¸ B¸ B¸ 5 2 1
5 2 1
¬
¸
4 2 1
2
5
¸¸¸ ¸
¸¸ ¸¸ ¸ ¸ ¸ ¸
Key of G Major 5 2 1
4 2 1
1
2
I
¸¸ ¸ ¸
7
¸¸ ¸
5 2 1
¬ ¬
¬
¸
Practice the above exercise in the following keys: 6-12
1. D
G
A
D
major
6-16
5. A
D
6-13
2. E
A
B
E
major
6-17
6. B
E
6-18
7. C
F
3. D
6-14
4. E
6-15
G A
A D major B
E major
8. B
6-19
9. C
6-20
E
F
E
F
A
harmonic minor
B
harmonic minor
C
F
B
harmonic minor
G
harmonic minor
G C harmonic minor
Technique 6-21
5 2 1
¢ & ¢ Moderato
5
5
3
¢
1
82
¢ ¢
5
3
1
5 3 1
¢ ¢
¢
¢
5
3
1
5 2 1
¢
¢ ¢ Transpose
Unit 6 ■ Secondary Chords
¢
5 3 1
¢
¢
¢
5
3
1
to B major and D major.
Playing the I–vi–IV–ii6 –I 64 –V7–I Chord Progression
Play the I–vi–IV–ii6–I6 –V7–I chord progression exercise: 4
6-22
Key of C Major 5 2 1
5 3 1
¸¸¸ ¸¸¸ ¸ ¸ 1
Key of G Major
¸¸ ¸ ¸
9
¸¸ ¸ ¸
5 2 1
5 3 1
1
3
I
¸ ¸
¸¸ ¸¸ ¸ ¸ ¸ ¸
¸¸ ¬ ¸
IV
I6
1
5
5
vi
vi
Key of F Major
4 2 1
5 2 1
¸¸ ¸¸ ¸ ¸
3
I
5 2 1
5 3 1
2
ii6
¸¸ ¸¸ ¸ ¸ 5 2 1
¸ ¬
V7
4
¸ ¸
¸¸ ¸ ¬
5
1
5
5 2 1
2
IV
ii6
4 2 1
I6
¸ ¬
V7
4
I
¸ B ¸¸¸ ¸¸
¸¸ ¸ ¸ 5 3 1
1
I
¸¸ ¸¸ ¸ ¸ ¸ ¸
5 3 1
¸¸ ¸ ¸
5 2 1
5
vi
2
IV
¸¸ B ¸¸¸ ¸ ¸ ¸
¸¸ ¬ ¸
1
5
5 2 1
B¸ ¸
3
I
5 2 1
5 3 1
ii6
I6 4
Key of C Major
4 2 1
¸ ¬
V7
I
¸¸ ¸ ¸
¸¸ ¸ ¸
¸¸ ¸¸ ¸ ¸ ¸ ¸
¸¸ ¸¸ ¸ ¸ ¸ ¸
¸¸ ¸
I
vi
IV
I6
I
ii6
¬
¸
V7
4
¬
Practice the above exercise in the following keys: 6-23
1. D
G A
D
major
6-27
5. A
D E
6-24
2. E
A B
E
major
6-28
6. B
E
6-29
7. C
F
6-25 6-26
3. D G A D major 4. E A B E major
A
harmonic minor
F B
harmonic minor
G
8. B E F
6-30
C
harmonic minor
B harmonic minor
9. C F G C harmonic minor
6-31
Technique 6-32
5 2 1
Moderato
¢ & ¢ 5
5
3
¢ ¢
1
¢ ¢
5 3 1
5
3
¢ ¢
1
¢ ¢
5 2 1
5
3
¢
1
¢
Transpose
5 3 1
¢ ¢ 5
3
1
¢
¢
to B natural minor and G natural minor. Secondary Chords ■ Unit 6
83
S olo Repertoire
Before playing: •Find the RH measures that have broken chords. •Block and name these chords. While playing: •Listen for an even sound on the RH sixteenth notes.
MInuet
6-33
& * Moderato
4
6 :
*
1
12 :
E
5
I 3
B 1
*
4
3
I cresc.
3
5
1
1
3
3
L
3
Unit 6 ■ Secondary Chords
* 1
2
3
1
3
5
2
& *
1
1
4
84
1
2
1
1
2
2
1
3
:
23 :
*
1
*
B & O & I * M B * * 2
1
18
*
2
Domenico Scarlatti (1685–1757) K. 73b; L. 217
1
1
I 1
c Major
* 1
1
In
B B *
O * 5
1
2
cresc.
I
4
2
1
1
*
1
1
5
* 1
E 1
2
3
2
The E alto saxophone sounds a major sixth below the written note.
Transposing Instrument: E Alto Saxophone
When these instruments play
they sound the concert pitch
&
44 œ œ œ œ ˙
b & b b 44 œ œ œ œ ˙
Transpose the melodies for E alto saxophone to concert pitch.
LuLLaby
6-34
1. 0 Andante
9 :
John Kinyon and John O’Reilly
“Lullaby” from YAMAHA SAXOPHONE STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc.
poMp 6-35
C ¸ 2. E
Andante
6
¸ E
¸
¸
¸
1.
anD
¸ V * *
cIrcuMstance
¸
2.
¸
Edward Elgar (1857–1934) Arr. John O’Reilly and Mark Williams
V
¸ &
I ¸¸ *
div.
* * I ´
“Pomp and Circumstance” from ACCENT ON ACHIEVEMENT E Alto Saxophone Book 1 by John O’Reilly and Mark Williams Copyright © MCMXCVII by Alfred Publishing Co., Inc.
Secondary Chords ■ Unit 6
85
1. Play the vocal line.
Vocal Accompaniment
2. Play the accompaniment while the teacher or other class member sings or plays the vocal line.
It’s autuMn, aLL rIght (excerpt)
6-36
Marti Lunn and Lois Brownsey
Gently
x
C
¸
O
chill
(There’s a chill)
C
¸ ¸
¸
9 :
¸
green
¸ ¸ 86
(Fields of green)
¸
in
the
Dm
¸¸
¸
¸
air.
(in the air.)
But - ton
¸¸
¸
turn to
gold
up
(turn
to
gold)
¸
and
¸
and take
(But - ton up)
care.
Fields of
(and take care.)
¸
¸¸
I the sto - ry’s
told.
G
I ¸
C
¸
¸
so
¸
V
“It’s Autumn, All Right” from THE BIG YELLOW SCHOOL BUS by Marti Lunn and Lois Brownsey Copyright © MCMXCI by Alfred Publishing Co., Inc.
Unit 6 ■ Secondary Chords
C
Dm
¸¸
¸¸
¸¸
C
G
¸ ¸
Dm
G
¸
¸
¬
There’s a
¸ ¸ 0 ¸ 5 :
x
x
0
¸
Practice the choral score in the following ways:
Choral Score Reading for Soprano and Tenor (ST)
1. Soprano (RH) alone. 2. Tenor (LH) alone (one octave lower than written). 3. Soprano (RH) and tenor (LH) together.
song
Majestically, in two
S
T
$ ¸ & $ &
¸
T
¸
5 :
S
¸
¸
¸
& ¸ B
Yo
¸
¸
¬ ¬
1. Tenor (RH) alone (one octave lower than written). 2. Baritone (LH) alone. 3. Tenor (RH) and Baritone (LH) together.
¸
Yo - ho - ho!
¸
¸
Yo - ho!
Yo
-
ho!
I
Mary Donnelly and George L. O. Strid
I
-
py as
can
be.
Hap
-
py as
can
be.
¸
Hap
¸
excerpt)
¸
Yo - ho - ho!
ho!
¸
¸
-
5
B
Practice the choral score in the following ways:
Yo - ho - ho!
B
V
(aDapteD
& B
B
¸
the pIrate’s LIfe
Spirited
T
Jay Althouse
¸
“Song of Joy” by Jay Althouse from ALFRED CHORAL DESIGNS Copyright © MCMXCIII by Alfred Publishing Co., Inc.
6-38
B
¸
¸
V
Choral Score Reading for Tenor and Baritone (TB)
T
of joy
(excerpt)
6-37
¸
V
Yo - ho - ho!
The
pi - rate’s
life
for
me.
Yo
The
pi - rate’s
life
for
me.
¸
-
ho!
V
“The Pirate’s Life” by Mary Donnelly and George L. O. Strid from ALFRED CHORAL DESIGNS Copyright © MMVII by Alfred Publishing Co., Inc. Secondary Chords ■ Unit 6
87
nsemble Repertoire E
Play the three-part ensemble using the indicated chords to complete part 3. Part 1: Part 2: Part 3:
battLe hyMn
Melody Countermelody Two-hand accompaniment
of the
repubLIc
6-39
United States
Slow march tempo
b œ . œœ . œ œ œ . œ . . œ œ . œ œ . & b 44 œ œ . œœ . œ œ . œ œ . œ œ œ . œœ . œœ œ . œ œ œœ F 3
Part 1
1
23
Play one octave higher than written throughout
b4 & b 4 Œ œ . œœ œ œ ˙ F 1
Part 2
œ œ Œ œ
2
3
B
b & b 44 Œ Œ œœ Fœ ? b b 44 Œ œ Œ
Part 3
5 3 1
5
5
1
2
3
&
bb
b &b
œ. œ œ. œ œ. ˙ œ. œ œ œ œ 3
b &b ? bb 88
Unit 6 ■ Secondary Chords
œ . œœ œ œ ˙ 5 3 1
Œ œ œœ œ Œ
Ó
œœ œœ œ œ
œ
œ
œ œ
B
Ó
2
. œ œ. œ œ. œ œ œ œ œ
1
3
œœœ œœœ
2 3
œ Œ œ œ
1
E
3
˙.
œ œ œ œ
Π(5) 2 1
œ œ œ œ œ œ ˙ . œœ œœ Œ Œ 5
1
3
Cm/E
B /F F 7 5 3 1
œœœ œœœ œœ œœ œ œ œ œ œ œ
5 3 1
5 4 1
B
Œ œ œ Œ œœ œœ œ Œ Ó
9
1
2
3
& œ . œj œ . œ œ . œ ˙ f &
2
3
bb
&b
b
? bb
13
1
bb
&
bb
b &b &b
b
? bb
3
˙ f
œ. œ œ œ œ ˙
˙
j œ. . œ œ œ. œ ˙ œ
˙
2 3
3
1
˙
3
˙
˙ œ. œ œ œ œ
˙
1
3
E
B
f
˙ . œ . œj œ . œ œ œ 3
˙
œ œ
2 3
˙
œ. œ œ œ œ œ œ 3
˙.
œ œ œ œ rit.
œ œ œ œ œ œ ˙Œ . œœ œœ rit. 1
3
Cm/E
B /F F 7
rit.
B
˙˙˙ ...
œ œ œ
Secondary Chords ■ Unit 6
89
Using the chord progressions below, improvise RH melodies while the LH plays the suggested accompaniment style. (First play the LH chord progression using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.
Improvisation from Chord Symbols
Rules for improvisation: 1. When the tonic chord is used, play mostly scale tones 1, 3 and 5 in the melody. 2. When the dominant chord is used, play mostly scale tones 2, 4, 5 and 7 in the melody. 3. When the subdominant chord is used, play mostly scale tones 1, 4 and 6 in the melody. 4. When the supertonic chord is used, play mostly scale tones 2, 4 and 6 in the melody. 5. When the submediant chord is used, play mostly scale tones 1, 3 and 6 in the melody. 6. When the mediant chord is used, play mostly scale tones 3, 5 and 7 in the melody. 7. Most improvisations begin and end on tonic. 8. The ear should always be the final guide in determining which melody notes to play.
? b 43 œ œ œ
1. Broken Chord Accompaniment
6-40
Key of D Harmonic Minor
B
B
¸
III+
i
¸
5
¸
iv
ii o6
iv
I
V7
2. Alberti Bass Accompaniment
6-41
¸ V
¸ i
œ œ œ ? # 44 œ
Key of G Major
5
90
G
C/G
¸
Unit 6 ■ Secondary Chords
Am/C
G
¸
¸
D7
D7/F
G
G
V
¸
Unit 7
Objectives
Seventh Chords Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play five types of seventh chords and inversions. 2. Play diatonic seventh chords in major and natural minor keys. 3. Play major and parallel harmonic minor scales and arpeggios beginning on B, using traditional fingerings. 4. Perform solo repertoire that uses seventh chords. 5. Sight-read music that uses seventh chords. 6. Harmonize melodies with seventh chords. 7. Improvise melodies from chord symbols. 8. Transpose melodies for E alto saxophone to concert pitch. 9. Play two-part choral scores.
Seventh Chords ■ Unit 7
91
Seventh Chord Review
A seventh chord may be formed by adding to the root position triad a note that is a seventh above the root. Seventh chords in root position look like this:
www w
LINE LINE LINE LINE
7th 5th 3rd ROOT
www w
SPACE SPACE SPACE SPACE
OR
7th 5th 3rd ROOT
There are five types of seventh chords: Major Seventh
Dominant Seventh
? wwww
? b wwww
Cmaj7
Minor Seventh
Half-Diminished Seventh
Diminished Seventh
? bb wwww
? bbb wwww
Cdim7 or Co7
Major Triad Major Seventh
Minor Triad Minor Seventh
Major Triad Minor Seventh
Playing Five Types of Seventh Chords
Cm7( 5)
Cm7
C7
? b b∫ wwww
Diminished Triad Minor Seventh
Diminished Triad Diminished Seventh
Play the following seventh chord exercise hands separately. Use fingers 1 2 3 5 for the RH and fingers 5 3 2 1 for the LH. Then, play this exercise starting on other keys.
7-1
Cmaj7
1
5
7
Cm7(@5)
2
3
3
¸¸ ¸¸ ¸¸ ¸¸
5
2
1
B B B B B B 1
5
92
2
3
3
2
Unit 7 ■ Seventh Chords
5
1
¬ ¬
B BB ¸¸¸¸ B BB ¸¸¸ ¸
C7
B B ¸¸¸ ¸ B B ¸¸¸ ¸ 1
5
2
3
¬ ¬
3
2
Cm7
B BB ¸¸¸ B ¸ B BB ¸¸¸ B ¸
¬
5
1
¬
1
5
Co7
{ B B B { B 1
5
2
3
3
2
5
1
2
3
3
2
5
1
B B{ ¸¸¸¸
B B{ ¸¸¸ ¸
¬ ¬
¬ ¬
Playing Seventh Chords and Inversions
Play these seventh chords with the RH. Then play one octave lower with the LH.
7-2
1.
F maj 7
¸¸ ¬ ¸¸
RH
1
5
LH
2
3
3
2
5
1
7-3
2. RH
1
5
LH
2
3
3
5
2
1
7-4
¸¸¸ ¬ ¸
Dm 7
¸¸¸¸ ¬
RH
3.
G7
1
5
LH
2
3
5
3
2
1
7-5
Bm7( @ 5)
¸¸ ¸¸ ¬ 4. RH
1
5
LH
2
3
3
2
5
1
7-6
1
5
2
3
4
5
2
1
F maj7/A
¸¸¸ ¬ ¸
G 7/B
¸ ¸¸¸ ¬ 1
5
2
4
5
3
2
1
1
2
4
5
5
3
2
1
1
2
5
3
4
5
2
1
Dm 7/F
¸¸¸¸ ¬
Bm7( @ 5)/D
¸¸¸ ¸ ¬
¸ ¸¸¸ ¬
¸¸¸ ¸ ¬
G /F ¸ ¸¸¸ ¬
1
5
2
3
3
2
1
2
3
5
3
2
5
F maj7/C
1
5
G7/D
1
Dm 7/A
¸ ¸¸¸ ¬ 1
2
3
5
5
3
2
1
Bm7( @ 5)/F
¸ ¸¸¸ 1
5
2
3
3
2
5
1
¬
E o 7/B @
1
2
5
4
1
2
5
4
3
2
3
2
5
1
5
¸¸ ¸¸ ¬
F maj7/E
7
1
Dm 7/C
¸¸¸ ¸ ¬ 1
2
3
5
4
2
5
1
1
2
5
4
3
2
5
Bm7( @ 5)/A
¸¸ ¸¸
1
¬
E o 7/D @
B B ¸¸¸ ¸ ¸ ¸ B BB¸¸ ¬ B B B B¸¸ ¬ B B B B¸¸ ¬ B B¸ ¬ B 5. ¸ ¸ ¸ RH
LH
Eo7
1
2
5
3
3
2
E o 7/G
5
1
1
5
2
3
4
5
2
1
1
5
2
3
3
2
5
1
1
2
5
4
3
2
5
1
Seventh Chords ■ Unit 7
93
Playing Diatonic Seventh Chords of the Key
Seventh chords may be built on any note of any scale. The sharps or flats in the key signature must be used when playing these chords. Play diatonic seventh chords of the key in C major.
7-7 5 3 2 1
1.
VVV V
C maj7 I7
5 3 2 1
VV VV
Dm7 ii7
5 3 2 1
VV VV
2.
1 2 3 5
VV VV 1 2 3 5
VVV V
VV VV
VVV V
VVV V
Em7 iii7
F maj7 IV7
G7 V7
Am7 vi7
Bm7( @5) vii o7
C maj7 I7
VV VV
VV VV
VV VV
VVV V
VVV V
VV VV
7-7
VV VV
VV VV
etc.
etc.
1 2 3 5
Transpose to F major and G major.
Play diatonic seventh chords of the key in A natural minor. 7-8 5 3 2 1
1.
VVV V
Am7 i7
7-8
2.
VVV V 1 2 3 5
5 3 2 1
5 3 2 1
etc.
Bm7( @5) ii o7
C maj7 III7
Dm7 iv7
Em7 v7
VVV V
VV VV
VVV V
VVV V
VV VV
1 2 3 5
VV VV
1 2 3 5
VV VV
etc.
VV VV
VVV V
VV VV
F maj7 VI7
G7 VII7
Am7 i7
VVV V
VVV V
VVV V
VVV V
Transpose to D natural minor and E natural minor.
94
Unit 7 ■ Seventh Chords
Playing Scales and Arpeggios
•• ••• RH: 1 2 3 1 2 3 4 •• ••• LH: 4 3 2 1 4 3 2
B Major
•• ••• 12312345 •• ••• 13214321
¸ ¸ ¸ ¸
7-9
1 2
3 1
1
2 4 3
2 3 4 1
2
4 3 2
3
7-10
1
2
5 4 3 2
2
1
4
3 2 1
1 2 3
¸
3
1
1
4
1 2
2 1
4
3 1
2 3 4 1
5
¸
2
3
1 3
3 2 1
3 2 1
2 3 4
•• •• RH: 1 2 3 1 2 3 5 •• •• LH: 5 3 2 1 3 2 1
5
3
2
2
3
5
1
5 3 4
3 1 2
3
2
1
1
1
2
•
2
1
¸
1
3
•
3
•
2
¸
3
5
• • • 12312345 • • • 13214321
B Harmonic Minor RH: 1 2 3 1 2 3 4 • • • LH: 4 3 2 1 4 3 2
¸ ¸ ¸ ¸
7-11
1
2 3
1
2 3 4
1
2
2
1
2
1
3
3
4
4
3
7-12
1
5
2
4
3
2
1
1
2
4
3
1
2
3 4
5
5
4
3
2
1
3
2
1
4
3
2
1
3
2
1
2
1
4
3 2
1
1
2
3
4
1 2
3
1
2
3
4
1
2
3
4
3
2
¸ 5
• RH: 1 2 3 • LH: 5 4 2
5
¸
1
1
3
2
• 1235 • 1421
2
4
1
1
3
2
2
4
1
¸ ¸ 5
Seventh Chords ■ Unit 7
95
Before playing:
S olo Repertoire
•Name the seventh chords in the first three measures. While playing: •Listen for clear pedal changes. •Play the RH a little louder than the LH.
Seventh Street BlueS 7-13
Martha Mier Slowly, wistfully (B = 88) (even eighths)
3 1
3 1
1 3
1 3
a tempo
3
¸¸
9
3
1 3
¸ ¸
3 1
V 0 B VV
B
V
¸¸
¸¸
V
1 3
¸
B ¸¸
¸¸
B ¸¸
¸¸
B
B ¸¸
¸¸
B B ¸¸
&V VV
B VVV
2 3
2
5
VV
13 3
V S poco rit. V3V
1 3
¸
1 5
B
1
¸ VV V
Unit 7 ■ Seventh Chords
1
¸¸
O ¸ B ¸
3
“Seventh Street Blues” from JAZZ, RAGS & BLUES, Book 1, by Martha Mier Copyright © MCMXCIII by Alfred Publishing Co., Inc.
96
3
3 1
¸¸ ¸¸
1 5
1 5
3 1
¸¸ ¸¸
¸¸ ¸¸
¸¸ O ¸¸
5
3 1
¸ B ¸¸ B B ¸¸ ¸ B¸
17
0V VV
21
a tempo
3
& ¸¸
1 5
25
3
¸¸
29
1
¸ ¸
5
B B VVV
¸
B ¸¸
¸¸
¸ B¸
¸ ¸
¸ ¸
¸ ¸
1
¸
1
¸ VVV
5 2
¸¸ rit. ¸¸ ¸¸ ¸ 2 4
¸
B
B ¸¸
¸¸
V
¸¸
¸¸
V
5
B B ¸¸
2
B¸ B¸
B
B
VV
¸
rit.
¸¸
B B ¸¸
¸¸
¸¸
¸¸
3
¸¸ O 3¸ ¸ 3 1
1 3
Seventh Chords ■ Unit 7
97
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
7-14
Moderato
& ¸¸ ¸¸ 2
1
1.
3
5
3
¸
¸
1
* 1
4
1
5
1
¸¸¸ ¸
1 2 3 5
¸¸¸ ¸ 2
1
1
4
¸¸¸ ¸
1 2 3 5
5 :
*
5
2
¸¸ ¸¸
¸¸¸ ¸
Chorale (exCerpt)
7-15
Ludvig Schytte (1848–1909)
Lento
¸ ¸ 0 ¸¸ 3 1
2.
2 4
5 :
5 3
¸¸
¸ ¸ 1 5
98
Unit 7 ■ Seventh Chords
3 1
¸¸ ¸¸
3 1
2 1
¸¸ ¸¸
4 1
¸¸ ¸ ¸
1 5
¸ ¸ ¸¸
¸¸
¸¸ ¸ ¸
¸¸
VV VV
V VV 2 4
7-16
Moderately slow
C O¸ C ¸¸ 5
3.
¸
1 3 5
5 :
¸¸ ¸
¸
5
1 3 5
¸¸ ¸
¸¸ ¸
¸¸ ¸
¸
¸
5
5
1 3 5
5
¸¸ ¸
rit.
5
¸ ¸¸
¸
V ¸ ¸¸
¸
œ œ œ œ ? # 24 œœ œœ œœ œœ
1. Harmonize with a block chord accompaniment.
Harmonization
Block Chord Accompaniment
rondo
a
CapriCCio
Rage OveR a LOst Penny (adapted exCerpt)
7-17
Allegro vivace G
E 1
2
4
D 7/F
D 7/F
* ¢ 5
Ludwig van Beethoven (1770–1827) Op. 129 G
* ¢
4
2
1
B 7/D
*¢ *¢ & Em A D G 13 : E
7 :
G
Em 5
3 1
7
5
19 :
D 7/F
M 5
3
5
1
1
G
1
2
4
1
D 7/F
2
4
5
G
Transpose to F major. Seventh Chords ■ Unit 7
99
Harmonize each melody below in two ways:
Harmonization
• Using the bottom note of each indicated seventh chord or inversion.
(continued)
•Using the indicated seventh chords or inversions. 7-18
Jazz waltz
Cdim7
C m7
B B ¸ 0 BB
2.
: 5
¸
1
C m7
BB
1
¸
¸
¸
1
G7/B
¸
B @maj7
F7/C
2
BB
B @maj7
1
¸
¸
7-19
Lilting
G maj7
& 4
3.
5 :
100
*
G maj7
E m7 1
I
E m7
Unit 7 ■ Seventh Chords
A m7/C
A m7/C
*
D7
D7
G maj7
I
Using the chord progressions below, improvise RH melodies while the LH plays the suggested accompaniment style. (First play the LH chord progressions using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.
Improvisation from Chord Symbols
œ ? ## 6 œ œ œ œ œ 8
1. Broken Chord Accompaniment 7-20
Key of D Major D maj 7
5 :
D maj 7
I
F m7
I
Em7
Em7
A 7/C
A 7/C
D maj7
¸
œ œ œ ? b 4 œœœ œœœ œœœ b 4
2. Block Chord Accompaniment
œœœ œ
7-21
Key of B@ Major
B B 5 :
B
B
E @maj7
D @ dim 7
E @m 7
I
Cm 7
¸
¸
Dm7
F 7/C
I
D m 7 ( @ 5)
¸
¸
B @maj 7
V
Seventh Chords ■ Unit 7
101
The E alto saxophone sounds a major sixth below the written note (see page 85).
Transposing Instrument: E Alto Saxophone
Transpose the melodies for E alto saxophone to concert pitch.
MarCh 7-22
Moderato
1. C 5
E
&
´ * E 9
of the
toreadorS
¸
Georges Bizet (1838–1875) Arr. John O’Reilly and Mark Williams
¸
¸
V
´ *
¸ ´ *
¸
¸
haBa~ nera (froM CaRmen)
Georges Bizet (1838–1875) Arr. John O’Reilly and Mark Williams
7-23
B 0 Moderato
2.
I 5
I I M I M
I B *
¸ O
B
I ´
“March of the Toreadors” and “Haba~ nera” from ACCENT ON ACHIEVEMENT E Alto Saxophone Book 2 by John O’Reilly and Mark Williams Copyright © MCMXCVIII by Alfred Publishing Co., Inc.
102
Unit 7 ■ Seventh Chords
The tenor voice sounds one octave lower than written.
Choral Score Reading for Tenor and Bass (TB)
T
B
1. Tenor (RH) alone (one octave lower than written). 2. Bass (LH) alone. 3. Tenor (RH) and bass (LH) together.
Sieh,
7-24
1.
Practice the choral scores in the following ways:
O¸ B B B O¸ BBB Grazioso
froM
¸
B B ¸ ¸ ¸ B ¸ M¸ B¸ B BB
B
2. T
0 B B B B ¢ *
4
T
(adapted
I’m goin’ to heav - en, want to
BBBB
B
x
BBBB
dressed in
¸
¸
¸
¸
¸
¸ M
¸
WitneSS?
I
it
¸
¸
exCerpt)
I
do
a
¸
¸
¸
¸
right.
x
Traditional Spiritual arr. Donald Moore
x
0 B ¢ *
I’m goin’ to heav - en, I’ll be
E ¢ ¢ * * Who’ll be there to meet me? Who’ll be there to greet me? EWho cresc. ¸ M¸ B¸ M ¢ *
x
B B BB *
B¸
¸ B
With a driving beat
B
¸
Who Will Be
7-25
Johannes Brahms (1833–1897) Op. 52, No. 14
¸ B B¸
¸
9 :
T
LiebesLiedeR WaLtzes)
¸
¸
Welle Klar
Wie iSt die
(exCerpt
cresc.
*
white.
Who?
Who
7
T
B B BB B B BB will
B
will
be
be
a
a
wit
wit
-
-
¸
¸
V
ness,
O
my
Lord?
ness,
¸
¸
Lord?
O
“Who Will Be a Witness?” by Donald Moore from ALFRED CHORAL DESIGNS Copyright © MMVII by Alfred Publishing Co., Inc.
my
V
Seventh Chords ■ Unit 7
103
Unit 8
Objectives
The V7/V and V7/IV Chords Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play and resolve V7/IV and V7/V chords. 2. Play I–V7/IV–IV–V7–I chord progressions in selected major keys. 3. Play I–V7/V–IV–V7–I chord progressions in selected major keys. 4. Play C7, F7 and G7 arpeggios. 5. Play major and parallel harmonic minor scales and arpeggios beginning on G (F ), using traditional fingerings. 6. Perform solo repertoire that uses the V7/IV and V7/V chords. 7. Sight-read and transpose music that uses the V7/IV and V7/V chords. 8. Harmonize and transpose melodies with V7/IV and V7/V chords. 9. Create a two-hand accompaniment from letter symbols. 10. Improvise melodies from chord symbols. 11. Transpose a melody for B clarinet to concert pitch. 12. Play a two-part instrumental score for flute and E alto saxophone. 13. Play a three-part choral score (SSA). 104 Unit 8 ■ The V7/V and V7/IV Chords
Secondary Dominants
A dominant seventh chord (major triad with a minor seventh) built on a scale degree other than the fifth (dominant) is called a secondary dominant. It resolves to the triad a perfect fourth higher or a perfect fifth lower. Play the following exercises that use secondary dominants.
Key of C Major
B ¸¸¸¸
8-1
V7
1.
C7
of IV
1 2 3 5
8-2
¸¸¸¸
D7
V7 of V
1 2 3 5
2.
V7/IV
V7/V
¬
1 3 5
¬
¸¸¸ ¸
1 3 5
IV
¸¸ ¸
¬
V
¸¸¸
B ¸¸ ¸
¸¸¸
C 7/E
F
1 2 5
IV
F
V6 /IV
IV
D 7/F 5
¸¸ ¸
G
1 2 5
V
¸¸ ¸
¸¸ ¸
G
V6 /V
V
5
¬ ¬
Play the I–V7/IV–IV–V7–I chord progression.
C
5 2 1
¬
G
Playing the I–V7/IV–IV–V7–I Chord Progression 8-3
¸¸¸
F
C7
5 4 1
F
B ¸¸¸
5 3 1
¸
5
I
V7 /IV
¸¸¸ ¸
G7
4 2 1
IV
M ¸¸¸ ¸
C 5 2 1
VV V V
V7
I
Practice the above progression in the following keys:
¸¸¸ ¸ C
5 2 1
5
I
1. G major
8-6
8-5
2. D major
8-7
3. B major 4. E major
Play the I–IV–V7/V–V7–I chord progression.
Playing the I–IV–V7/V–V7–I Chord Progression 8-8
8-4
F 5 3 1
¸¸¸ ¸
D7
5 3 1
¸¸¸ ¸
IV
V7/V
G7
4 2 1
M ¸¸¸ ¸ V7
C 5 2 1
VV V V I
Practice the above progression in the following keys: 8-9
1. G major
8-11
8-10
2. D major
8-12
3. B major 4. E major
The V7/V and V7/IV Chords ■ Unit 8 105
Playing Dominant Seventh Arpeggios
bœ œ œ œ
8-13
& 44 œ œ œ b œ ?4 4 bœ œ œ œ
C7
1.
1
3
2
4
1
1
bœ 4 œ œ &4 œ
2.
2
1
? 44
3
1
4
4
3
2
3
1
2
8-15
& 44
G7
3.
? 44
1
5
3
2
3
4
3
2
3
1
2
4
3
w
4
5
w
4
3
1
w
1
2
3
5
w
4
3
1
4
1
œ bœ œ œ 1
w
œ œ œ œ
5
5
w
2
3
4
3
1
2
3
1
w
2
3
w
4
5
4
3
2
1
w
œ bœ œ œ
4
1
2
1
4
3
w
4
5
œ œ œ œ
2
œ œ œ œ
1
2
œ bœ œ œ
2
1
3
4
œ bœ œ œ
œ bœ œ œ
5
2
œ bœ œ œ
2
œ bœ œ œ
1
2
4
œ bœ œ œ
5
2
œ œ œ œ
œ œ œ œ 3
4
œ œ œ œ 1
4
œ œ œ œ 4
4
bœ œ œ œ
bœ œ œ œ 5
3
bœ œ œ œ
8-14
F7
2
bœ œ œ œ
2
3
4
5
Practice the dominant seventh arpeggios hands separately.
3
2
1
w
œ œ œ œ
4
1
2
3
w
4
5
Technique 8-16
Lively
0 9 : 1
1.
1
5
3
5
3
4
1
1
5
4
5
1
3
5
1
4
5
B
Transpose
8-16
to A harmonic minor.
B 2. & 9 : Lively
5
5
3
5
1
3
1
5
1
2
2
5
3
1
5
2
1
1
106 Unit 8 ■ The V7/V and V7/IV Chords
Transpose
to A harmonic minor.
G Major (enharmonic to F Major)
Playing Scales and Arpeggios
••• •• RH: 2 3 4 1 2 3 1 ••• •• LH: 4 3 2 1 3 2 1
8-17
••• •• • 23412312 ••• •• • 43213214
œœ˙ œœœœ œœ œ œ œ œœ œœ œœ œ œ œ œœ œœ˙ œ œœœ ? bb b b 4 œœ˙ œœœœ œœ œ œ œ 4 œœ œœœ bb œœ œ œ œ œ œ œœ˙ œœœ bbb4 b & bb 4
2 3 4 1
2 1 4 3
2 3 1 2
3 4 1 2
2 3 1
2 1 3 2
1 4 3 2
1 4 3 2
3 2 1
2 1 4
4 1 2 3
1 2 3 4
3
••• RH: 1 2 3 ••• LH: 5 3 2
8-18
b & b b b b b 43 ? bbb3 bbb 4
1
2
œ œ œ 5
2
˙.
3
1
2
2
œ œ œ 3
2
œ œ œ
1
1
3
2
F Harmonic Minor
•• • RH: 3 4 1 2 3 1 2 •• • LH: 4 3 2 1 3 2 1
### 4 & 4 ? ### 4 4 8-19
4
3
2
1 2 3 1
2
3
4
•• •• 1235 •• •• 1321
5
5
3
œ œ œ
œ œ œ 3
˙.
œ œ œ 1
3
1 3 2 1
1
œ œ œ 3
2
œ œ œ 1
2
3
1
˙. ˙. 5
•• • • 34123123 •• • • 43213214
#œ ˙ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œœ # œ œ œ œœ œœ˙ œœœœ #œ ˙ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ # œ œ œœœ œ œ œ˙ œœœœ 1 3 4 2
3
4 3 2 1
3
### 3 & 4 œ œ œ ? # # # 43 œ œ œ 8-20
4
2
1
1
2
4
3
1
2
2
1 4
3 1 2
4
3 2
1
3
œ œ œ 4
1
2
œ œ œ
2
1
4
1
2
2
1
˙. 4
˙. 2
3
4
3
2
4
1
1
2
• • RH: 4 1 2 • • LH: 2 1 4
3
2 1 4 3
1 2 3 4
3
2
1
œ œ œ 2
1 4 3
1 2 3 1
2 3 4
• •• 4124 • •• 2142
œ œ œ 4
2 1 3 2
4
1
œ œ œ 4
2
1
œ œ œ
2
4
1
4
˙. ˙. 2
The V7/V and V7/IV Chords ■ Unit 8 107
Before playing:
S olo Repertoire
•Determine which hand should be prominent in each measure. •Practice the LH ornaments in measures 9–11. While playing: •Keep the tempo the same (without slowing down) in measure 14. •Clearly define the phrase structure in your performance.
Prelude
in
C Major
(Twelve liTTle Preludes)
Johann Sebastian Bach (1685–1750) BWV 939
8-21
Moderato
4 2 1
5 3 1
¸¸ I C B ¢ ¸ E & I C V ¢ V V V V V 1
3
5
2
3
2
1
2
3
5
4 2
4
V7/IV
4 3 1
5 :
¸¸¸
3
4 2 1
5 2
* ¸
1
5
3
* ¸
2
2
¸
5 3 1
V7/V
3
4
2
M ¸¸¸ cresc. E -( - - - ( ( M
9 :
1
2
2
3
2
3
2
etc.
4
2
4
1
B
13 :
1
2
3
2
5
4
1 4
V 4
3–1
108 Unit 8 ■ The V7/V and V7/IV Chords
3
1
5 2
¸¸
4 1
V V
5–2
V
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
8-22
Moderato
¸ &
¸
2
1.
5
5 :
¸
5
1 3
¸
¸
¸
1
5
5
5
¸
1 3
¸
V
V7/V
2
¸
4
1
5
1 2
1 3
5
V
¸¸
5
Transpose
to F major.
jingle Bells (exCerPt)
8-23
B B E B B
Merrily 3
2.
5
6 :
1
James Pierpont (1822–1893)
¸
3
B B BB
5
1.
M 5
V7/V
2
5
1
2
2.
1
¸
2
Transpose
to C major.
The V7/V and V7/IV Chords ■ Unit 8 109
Reading (continued) 8-24
Andante
I
B B B &¸ ¸¸ B BB 3
3.
¸¸ ¸
B ¸¸ ¸ 1 3 5
1 3 5
¸
¸ ¸¸ ¸
1 2 5
5
V7/IV 5 :
BB B ¸¸¸ B BB 4
4
1
¸¸ ¸
1
2
1
¸ ¸¸¸
¸ ¸¸¸
1 2 5
Transpose
to D major.
1. Using I, V7 and V7/V chords, harmonize with a broken chord accompaniment. Write the Roman numeral name of each chord on the line below the staff.
Harmonization
Broken Chord Accompaniment
? # 44 ˙
˙˙
8-25
Vivace
&
3
1
5 :
3
1
1
2
England
5
3
I 2
1
I
2
¸
¸
Transpose
110 Unit 8 ■ The V7/V and V7/IV Chords
1
to A major.
2. Harmonize with a broken chord accompaniment.
? # 34 œ œ œ
Broken Chord Accompaniment 8-26
Lively
& 1
5 :
I
I
9 :
V/V7
¸
V6
V7
¸
I
¸
I
I
4
V7 /IV
¸ ¸
I
¸
3
2
¸
4
I
1
IV6
13 :
I
5
4
1
I
Mexico
¸
Transpose
to E major.
3. Using I, V7, IV and V7/IV chords, harmonize with a block chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.
? b c ˙˙ ˙ b
Block Chord Accompaniment
red river valley
8-27
Allegro
B B C E 1
5 :
B B
˙˙ ˙
3
¸
¸
5
5
¸
1
2
B
1
United States
1
2
¸
Transpose
to C major.
The V7/V and V7/IV Chords ■ Unit 8 111
Using the indicated chords, create a two-hand accompaniment for the following melody by continuing the pattern given in the first measure.
Harmonization with Two-Hand Accompaniment 8-28
Andante
B & B
F
1
: 5
B
D m7
4
¢* ¢* & 1
5 3
5
Dm
G m7
I 2
I 1
B
F
auld lang syne
3
C7
C7
9 :
B
I
1
I 2
Dm
4
Gm
C7
I
F
5
B@
Scotland
¸
I 8va ¢
B@
C7
: 13
B
Dm
I 2
3
1
G m7
A7
¸
5
I 8va ¢
F7
I
I
4
B B
112 Unit 8 ■ The V7/V and V7/IV Chords
Dm
B@
I 2
F
B
LH
LH
¸
I 8va ¢
C7
B@
B F
I 2
B D m7
F7
B F
F
I
I
4
1
Gm
LH
F
¸
I 8va ¢
LH
Using the chord progressions below, improvise RH melodies while the LH plays the suggested accompaniment style. (First play the LH chord progressions using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.
Improvisation from Chord Symbols
? b 2 ˙˙˙ b 4
1. Block Chord Accompaniment 8-29
Key of B @ Major B@
B B 5 :
B
E @/B @
B
F 7/A
Cm/E @
B@
B @/F
2. Waltz Style Accompaniment
B @7
B@
F7
¸
œ œ ? # 34 œ œ œ
8-30
Key of G Major
5 :
I
vi
V
vi
¸
V6 /V
V
5
V6 5
¸
¸ I
The V7/V and V7/IV Chords ■ Unit 8 113
Transposing Instrument: B Clarinet
The B clarinet sounds a major second below the written note (see page 37). Transpose the melody for B clarinet to concert pitch.
Colonel Bogey
8-31
Kenneth Alford (1881–1945) Arr. John O’Reilly and Mark Williams
¸to Coda® ´ *
´ ¸ * E Allegro
* ¸ ´ * ´ * ´ * ´ 5
D.C. al Coda
®
¸ * ´ ´ * ´ * ´ * Coda
“Colonel Bogey” from ACCENT ON ACHIEVEMENT B Clarinet Book 2 by John O’Reilly and Mark Williams Copyright © MCMXCVIII by Alfred Publishing Co., Inc.
Score Reading and Transposing Instruments
A. Sx.
Fl. E@ A. Sx.
the
day is over
B ¸ ¸ B C O C O 5 : ¸ ¸ B * B & * & Andante
E@
2. Play the line for E alto saxophone in concert pitch with the line for flute, which is notated in concert pitch.
now
8-32
Fl.
1. Transpose the line for E alto saxophone to concert pitch.
Spiritual Arr. John Kinyon and John O’Reilly
¸
¸
¸
¸
*
*
3V
O 3 V O
“Now the Day Is Over” adapted from YAMAHA SAXOPHONE STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc.
114 Unit 8 ■ The V7/V and V7/IV Chords
Choral Score Reading for Soprano 1, Soprano 2 and Alto (SSA)
Practice the choral score in the following ways: 1. 2. 3. 4. 5. 6. 7.
Soprano 1 (RH) alone. Soprano 2 (RH) alone. Soprano 1 (RH) and soprano 2 (RH) together. Alto (LH) alone. Soprano 1 (RH) and alto (LH) together. Soprano 2 (RH) and alto (LH) together. Soprano 1 (RH), soprano 2 (RH) and alto (LH) together.
danny Boy (exCerPt)
Old Irish Air Arr. Julie Knowles
8-33
0 & I * 0 & I * 0 & I I Expressively
S1
S2
A
5 :
S1
S2
A
*
I
I
rit.
rit.
* ¸
* I
¸
rit.
¸
¸
I
¸
I
¸
I
“Danny Boy” arranged by Julie Knowles from ALFRED CHORAL DESIGNS Copyright © MCMLXXXIX by Alfred Publishing Co., Inc.
The V7/V and V7/IV Chords ■ Unit 8 115
Unit 9
Objectives
The V7/ii, V7/iii and V7/vi Chords Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play and resolve V7/ii, V7/iii and V7/vi chords. 2. Play I–V7/vi–vi–V7/IV–IV– V7/ii–ii–ii o6–I64 –V7–I chord progressions in selected major keys. 3. Play I–V7/ii–ii–V7–I chord progressions in selected major keys. 4. Play I–V7/iii–iii–V7–I chord progressions in selected major keys. 5. Play I–V7/vi–vi–V7–I chord progressions in selected major keys. 6. Play major and parallel harmonic minor scales and arpeggios beginning on D (C #), using traditional fingerings. 7. Play D7, A7, E7 and B7 arpeggios. 8. Perform solo repertoire that uses a V7/ii chord. 9. Sight-read and transpose music that uses the V7/ii, V7/iii and V7/vi chords. 10. Harmonize and transpose music that uses the V7/ii, V7/iii and V7/vi chords. 11. Improvise melodies from chord symbols. 12. Play a three-part instrumental score for B clarinet, E alto saxophone and trombone. 13. Perform a four-part ensemble with partners. 14. Play a three-part choral score (SSA).
116 Unit 9 ■ The V7/ii, V7/iii and V7/vi Chords
Secondary Dominants
Play the following exercise that uses secondary dominants.
Key of C Major 9-1
V7
of vi 1 2 3 5
1.
¸¸¸¸
E7
9-2
¬
V7/vi
¸¸¸¸
A7
V7 of ii 1 2 3 5
2.
1 3 5
V7 of iii
3.
¬
¸¸ ¸
1 3 5
¸¸¸¸
1 3 5
V7/iii
vi
V6 /vi
vi
A 7/C
Dm
V6 /ii
ii
¸¸ ¸
¬
¸¸ ¸
¸¸ ¸
5
1 2 5
¸¸¸
iii
1 2 5
iii
¬
¸¸ ¸
5
Em
¬
¸¸¸
Am
1 2 5
ii
Em
¬
E 7/G ¸ ¸ ¸
Dm
ii
B7
1 2 3 5
vi
¸¸¸
Am
¬
Dm
V7/ii
9-3
¸¸¸
Am
7 ¸B¸/D ¸
¬
¸¸ ¸
Em
¬
iii
V6 /iii 5
Play the I–V7/vi–vi–V7/IV–IV–V7/ii–ii–ii o6–I6 –V7–I chord progression.
Playing the I–V7/vi–vi– V7/IV–IV–V7/ii–ii–ii o6–I6 – 4 V7–I Chord Progression
4
9-4
C
˙ & 44 ˙˙ ˙ ?4 4 5 3 1
1
I
E7
˙ # ˙˙
5 2 1
˙ 5
V7/vi
Am 5 3 1
C7 5 2 1
F
A7
5 3 1
5 2 1
˙
1
˙˙ ˙ ˙
b˙ ˙˙
1
5
vi
˙˙ ˙ ˙
V7/IV
IV
˙ # ˙˙ ˙
5 V7/ii
D o/F
C/G
G7
C
˙˙ ˙ ˙
˙ b ˙˙ ˙
5 3 1
˙˙ ( ˙) ˙
5 2 1
˙ ˙˙
5 3 1
2
1
ii
ii o6
I6
Dm 5 3 1
3
5 3 1
4
˙ 5
V7
ww w w 2
I
Practice the above progression in the following keys: 9-5
1. G major
9-8
9-6
2. D major
9-9
9-7
3. A major
9-10
4. F major 5. B major 6. E major
The V7/ii, V7/iii and V7/vi Chords ■ Unit 9 117
Playing the I–V7/ii–ii–V7–I Chord Progression 9-11
C
& 44 ˙˙˙ ?4 ˙ 4 5 2 1
Play the I–V7/ii–ii–V7–I chord progression.
A7
4 2 1
Dm
# ˙˙˙
˙˙ ˙
5 2 1
˙
5
1
˙
I
V7/ii
ii
G7 4 2 1
4
˙˙˙ ˙
C 5 2 1
ww w
1
w
V7
I
Practice the above progression in the following keys:
Playing the I–V7/iii–iii–V7–I Chord Progression 9-16
C
& 44 ˙˙˙ ?4 ˙ 4
1. G major
9-14
9-13
2. F major
9-15
Em
˙ # ˙˙
˙˙˙
5 3 1
5 4 1
4
G7
˙˙˙ ˙
4 2 1
˙
˙
I
3. D major
4. E major
Play the I–V7/iii–iii–V7–I chord progression.
B7
5 2 1
9-12
2
V7/iii
iii
C 5 2 1
ww w
1
w
V7
I
5
Practice the above progression in the following keys:
Playing the I–V7/vi–vi–V7–I Chord Progression
9-17
1. G major
9-19
9-18
2. F major
9-20
3. D major
4. E major
Play the I–V7/vi–vi–V7–I chord progression.
9-21
C
¸¸¸ ¸ 5 2 1
5
I
E7
5 2 1
Am
¸ ¸¸
C
¸¸ ¸ ¸
M ¸¸¸
1
2
V
vi
V7
I
5 3 1
¸
V7/vi
G7
4 2 1
¸
5 2 1
VV V 5
Practice the above progression in the following keys:
118 Unit 9 ■ The V7/ii, V7/iii and V7/vi Chords
9-22
1. G major
9-24
9-23
2. F major
9-25
3. D major
4. E major
D Major (enharmonic to C # Major)
Playing Scales and Arpeggios 9-26
bb 4 b & b b4 ? bb b 4 b b4
•• • •• RH: 2 3 1 2 3 4 1 •• ••• LH: 3 2 1 4 3 2 1
œ˙ œœœœ œ œ œ œ œœœ œ œ œœ œ œ œœœ œ œ œ œ œ œ˙ œ œ˙ œœœœ œ œ œ œ œœœ œœ œ œœ œ œ œ œœ œœ˙ œœœœ 2 3 1 2
3 4 1 2
2 3 3 1
1 4 3 2
3 2 1
2 1 4 3
9-27
bb 3 b & bb4 œ œ œ ? bb 3 bbb4 œ œ œ 4
1
2
4
1
2
3
2 4 1
2 1 4 3
2 1 3
3 1 2
• • RH: 4 1 2 • • LH: 2 1 4
4
2
1
4
˙.
œ œ œ 4
2
1
3
2
4 1 2 3
1 2 3 4
1
2
3
1
œ œ œ 2
2
4
•• •• RH: 3 4 1 2 3 1 2 •• •• LH: 3 2 1 4 3 2 1
#### 4 4 & ? #### 4 4
1 4 3 2
œ œ œ
4
2
2 1 3 2
• •• 4124 • •• 2142
˙.
œ œ œ 1
3
C # Harmonic Minor
9-28
•• • •• • 23123412 •• ••• • 32143213
1
œ œ œ 4
2
1
4
˙.
œ œ œ 2
4
˙.
1
2
•• •• • 34123123 •• •• • 32143213
#œ ˙ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ # œ œ œœœ œ œ œ˙ œœœœ #œ ˙ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œœ # œ œ œœœ œœ œ œ œ œ œ ˙ 3 4 1 2
1 4 3 2
3 1 2 3
3 4 1 2
1
2 3
3
3 2
4 3 2 1
2
1 3
3
#### 3 4 & œ œ œ ? # # # # 43 œ œ œ 9-29
4
2
1
1
2
4
1 3
œ œ œ 4
1
2
œ œ œ 2
1
4
2 1 3
1 2 3
• • RH: 4 1 2 • • LH: 2 1 4
˙. 4
˙. 2
2 1 4 3
2 1 3 2
1
4
3
3
1 2 3 4
1
2
3
4 1 2
• •• 4124 • •• 2142
œ œ œ 4
2
1
œ œ œ 2
4
1
œ œ œ 4
2
1
œ œ œ 2
4
1
4
˙. ˙. 2
The V7/ii, V7/iii and V7/vi Chords ■ Unit 9 119
Playing Dominant Seventh Arpeggios 9-30
& 44 œ # œ œ œ ?4 4 #œ œ œ œ
D7
1.
1
5
2
4
3
3
4
2
9-31
& 44
A7
2.
?4 4
4
œ œ # œ œ 1
2
3
œ œ # œ œ 5
4
3
2
9-32
& 44 œ # œ œ œ ?4 4 œ #œ œ œ
E7
3.
1
5
2
4
3
3
4
2
9-33
4 &4
B7
4.
?4 4
4
#œ œ # œ œ 1
2
3
#œ œ # œ œ 5
4
3
2
Practice the dominant seventh arpeggios hands separately.
œ œ # œ œ 1
2
3
4
œ œ # œ œ 1
4
3
2
œ œ # œ œ 1
2
3
4
œ œ # œ œ 1
4
3
2
œ œ # œ œ 1
2
3
4
œ œ # œ œ 1
4
3
2
#œ œ # œ œ 1
2
3
4
#œ œ # œ œ 1
4
3
120 Unit 9 ■ The V7/ii, V7/iii and V7/vi Chords
2
w 5
w 1
w 5
w 1
w 5
w
œ œ œ #œ 5
4
3
2
œ œ œ #œ 1
2
3
4
œ œ œ #œ 5
4
3
2
œ œ œ #œ 1
2
3
4
œ œ œ #œ 5
4
3
2
œ œ œ #œ
1
1
w
œ œ #œ #œ
5
w 1
5
2
4
3
3
4
2
œ œ #œ #œ 1
2
3
4
œ œ œ #œ 1
4
3
2
œ œ œ #œ 1
1
2
3
4
œ œ œ #œ 4
3
2
œ œ œ #œ 1
2
3
4
œ œ œ #œ 1
4
3
2
œ œ œ #œ 1
2
3
4
œ œ #œ #œ 1
4
3
2
œ œ #œ #œ 1
2
3
4
1
w w 5
1
w w 5
1
w w 5
1
w w 5
Before playing:
S olo Repertoire
•Tap the rhythm hands together. •Practice hands separately, observing the contractions and expansions in the fingering. While playing: •Play the RH a little louder than the LH. •Listen carefully for slurs and staccato notes.
Minuet
in
G Major Franz Joseph Haydn (1732–1809)
9-34
Andante moderato
3
1
&
4 :
2
0
9 :
1
13 :
3
cresc.
1
3
2
O
3
2
3
2
2
1
1
1
3
5
3
1
5 3
4 2
3
E (rit. 2nd time) 3
1
5 3
3
1
V7/ii
2
5
1
1
5
4
2
2
3
1
2
¸ ¸
The V7/ii, V7/iii and V7/vi Chords ■ Unit 9 121
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
9-35
Allegro
BB ¸ B & BB B 5
1.
5
B BB ¸
BB B
5
3
1
5
1
¸ 3
M
5
¸
2
4
1
¸
1
2
V7/ii
¸
1
3
V
V
V
5
Transpose
to D major.
9-36
Moderato
B &¸ ¸¸ B 1
2.
I
1 3 5
5 :
B ¸ M ¸¸¸ B 1
1 3 5
I
¸¸¸
*
¸
¸¸ ¸ 1 2 5
V7/iii
122 Unit 9 ■ The V7/ii, V7/iii and V7/vi Chords
¸¸ ¸
1 2 5
5
¸¸¸ 1 2 4
¸¸¸
¸
¸ ¸¸¸
1 2 5
Transpose
to G major.
9-37
Andante
E
3.
3
5
1 2
V7/vi
1 3
5
1
5
5 :
3
5
1 2
4
¸
1 2
4
1
4
¸
1 3 5
1 3 5
1 2
1
2
¸¸ Transpose
Harmonization
to C major.
1. Harmonize with a block chord accompaniment.
Block Chord Accompaniment
? # # # 12 œœ .. œœ .. œœ .. œœ .. 8 œ. œ. œ. œ.
9-38
Vivace A
E 1
E 7/G
I I ¸
A
Virgin Islands
* * * 3
4
E 7/G B m / F A F 7 Bm /F E 7/G A 5 : 4 2 1 4 2 I I ¢ * * * * * * * *
V7/ii
Transpose
to G major.
The V7/ii, V7/iii and V7/vi Chords ■ Unit 9 123
2. Harmonize with a waltz style accompaniment.
Harmonization
œ œ ? b 43 œ œ œ
(continued)
Waltz Style Accompaniment
tell Me Why
9-39
Andante
B 0 I
1
2
5 :
B
2
vi
3
1
B
I
13 :
V7/ii
V7/V
IV
¸
¸
IV
V7
United States
I
V7
¸
¸
2
V7/V
I
4
1
¸
I
1
3
I
9 :
B
1
I
1
V7/vi
¸ I
Transpose
to G major.
3. Using i, V7, VI, III and V7/III, harmonize with a block chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.
? # C ˙˙˙
Block Chord Accompaniment
ShaloM, Chaverin
9-40
Slowly
$ 5 :
3
1
&
˙˙˙
3
1
4
1
5
3
2
4
¸
¸
¸
¸
¸
Transpose
124 Unit 9 ■ The V7/ii, V7/iii and V7/vi Chords
Israel
to C minor.
Using the chord progressions below, improvise RH melodies while the LH plays the suggested accompaniment style. (First play the LH chord progressions using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.
Improvisation from Chord Symbols
? # # 3 œœœ ... 8
1. Block Chord Accompaniment 9-41
Key of D Major D
Em 5 :
A/C
Em/G
D
I
D/A
A7
2. Broken Chord Accompaniment
B 7/D
I
D
? b 6 œœœœœœ b b8
9-42
Key of E B Major
BB B 5 :
B B B
vi
I
IV6
* I
4
I
I
ii 6 4
I
V6 /vi 5
¸
V7
I
The V7/ii, V7/iii and V7/vi Chords ■ Unit 9 125
1. Transpose the line for B clarinet to concert pitch.
Score Reading and Transposing Instruments
2. Transpose the line for E alto saxophone to concert pitch. 3. Play the score using the following combinations: a. B clarinet and trombone (notated in concert pitch). b. E alto saxophone and trombone. c. B clarinet and E alto saxophone. d. All three parts.
Waltz Germany Arr. John O’Reilly and John Kinyon
9-43
B@ Cl. E@ A. Sx.
E@ A. Sx.
Trb.
&
&
I
BB ¸ &
Trb.
B@ Cl.
Moderato
5 :
I
BB ¸
126 Unit 9 ■ The V7/ii, V7/iii and V7/vi Chords
¸
¸
¸
¸
¸
¸
¸
B@ Cl. E@ A. Sx.
9 :
E@ A. Sx.
Trb.
¸ B B
Trb.
B@ Cl.
13 :
BB ¸
¸
¸
I
¸
¸
¸
¢ *
M
¸
¢ *
¸
I ¢
“German Waltz” adapted from YAmAHA BAND ENSEmBLES, Book 1 by John o’Reilly and John kinyon Copyright © mCmXC by Alfred Publishing Co., Inc.
The V7/ii, V7/iii and V7/vi Chords ■ Unit 9 127
nsemble Repertoire E old joe Clark 9-44
Boisterously
Part 1
Part 2
Part 3
$
3
E
$ E
¸ $ E $ ¸ E
Part 4
2
6 :
1
2
3
4
¸
American Folk Song Arr. Robert D. Vandall
V
x
¸
¸
¸
B ¸
¸
1
5
V
x ¸
legato
2
0
0
¸
¸
¸
¸ ¸
¸
¸ ¸
¸
¸
¸
“old Joe Clark” arr. by Robert D. Vandall Copyright © mCmLXXIX by myklas music Press Copyright © assigned mmIV to Alfred Publishing Co., Inc.
128 Unit 9 ■ The V7/ii, V7/iii and V7/vi Chords
¸
¸
¸ ¸
¸
¸
¸
¸ ¸
¸ 0 ¸
legato
¸ ¸
3
¸
¸
¸
¸ ¸
&
¸
11 :
1
V
2
¸
¸
¸
3
4
16 :
1
2
3
4
V
¸ ¸ ¸
¸
3
0
0
&
4
&
1
¸
¸
¸
¸
0
3
B
¸
¸
¸¸
¸
V
5
¸
1
3 1
V
8va 21 :
1
x
marcato
2
3
4
¸ E
¸
&
¸
& 1
x
x ¸ ¸
¸
x
¸
¸
V
¸
marcato
E
¸
¸
¸
1
The V7/ii, V7/iii and V7/vi Chords ■ Unit 9 129
1
2
26 : ¸
3
4
1
2
31 : B¸
3
1
2
3
4
¸
¸
¸
V
¸
¸
¸
¸
¸
4
B¸
¸
&
0
¸ 0 legato
¸
¸
¸
5
0
B¸
¸
¸
V
1
¸
¸
¸
V
¸
1
¸
¸
V
¸
¸
4
B¸
¸
36 : V
¬
V
¬
V
¸
¸
¸
marcato
¸
¸
¸
marcato
E
E marcato ¸ E marcato
E
¸
130 Unit 9 ■ The V7/ii, V7/iii and V7/vi Chords
¸
B¸
¸
¸
¸
¸
¸
V V
¸ ¸ ¸
41 :
1
¬
2
¬
3
4
1
2
3
4
¸
¸
¸
¸
¸
51 :
¸
¸
4
¸
¸
¸
¸
V V
¸ ¸
5
E
E
¸
¸
¸
¸
¸
4
2
¸
46 : ¸
3
1
E
E
1
V
V
5
¸
&
B 0
¸
¸ 0
E ¸ &
¸ &
¸ &
1
5
¸
¬
¸
¬
¸
¬
1
¸
¸
¸
¸ 0
¸
¸
¸
¸
¸ ¸ ¸ 1
The V7/ii, V7/iii and V7/vi Chords ■ Unit 9 131
Practice the choral score in the following ways:
Choral Score Reading for Soprano, Alto and Bass (SAB)
1. 2. 3. 4. 5. 6. 7.
Soprano (RH) alone. Alto (RH) alone. Soprano (RH) and alto (RH) together. Bass (LH) alone. Soprano (RH) and bass (LH) together. Alto (RH) and bass (LH) together. Soprano (RH), alto (RH) and bass (LH) together.
Ein KlEinEr, HübscHEr VogEl (ExcErpt
9-45
Grazioso
S
A
B
S
A
B
¢ I I I O ¢ * * * O
¢ * * *
¢ * * *
¢ * * *
I ¢ * * O
5 :
from
132 Unit 9 ■ The V7/ii, V7/iii and V7/vi Chords
LiebesLieder WaLtzes)
Johannes Brahms (1833–1897) Op. 52, No. 6
¸
¸
¸
¸
¸
¸
¸
¸
¸
Unit 10
Objectives
Review Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play exercises that use major scales and diatonic seventh chords of the key. 2. Play five types of seventh chords. 3. Play major and parallel harmonic minor scales and arpeggios beginning on A (G), using traditional fingerings. 4. Perform solo repertoire that uses the V7/ii chord. 5. Sight-read music that uses seventh chords. 6. Harmonize and transpose music that uses the V7/V, V7/IV and other seventh chords.
Review ■ Unit 10
133
Playing Major Scales and Diatonic Seventh Chords of the Key
Play the following exercises that use major scales and diatonic seventh chords.
10-1
Moderato C maj7
1.
¸
5
I 1
2
3
5
5 :
I
G7
¸
D m7
¸ A m7
¸
5
I 1
2
3
I
E m7
¸ Bm7( @ 5)
¸
I
*
F maj7
¸ C maj7
¸
I
*
3
1
10-2
Moderato
Both hands 8va higher throughout C maj 7 Bm7( @ 5)
¸ 5
2.
I 5
3
2
1
5 F maj 7 :
¸
134
I 5
3
2
1
E m7
1
¸
A m7
3
I
Unit 10 ■ Review
¸
I
¸
G7
I
¸
I
D m7
C maj 7
¸
¸
I
I
Playing Five Types of Seventh Chords
Play the following seventh chord exercise hands separately. Use fingers 1 2 3 5 for the RH and fingers 5 3 2 1 for the LH. Then, play this exercise starting on other keys.
10-3
1.
C maj 7
¸¸ ¸¸ ¸¸¸ ¸
5 3 2 1
C7
1 2 3 5
5 3 2 1 1 2 3 5
C m7
B ¸¸ ¸¸ B ¸¸¸ ¸
5 3 2 1 1 2 3 5
BB ¸¸¸¸ BB ¸¸¸¸
10-4
¸¸¸ ¸ ¸¸¸ ¸
B maj 7
2.
B7
M ¸¸¸ ¸ M ¸¸¸ ¸
5 3 2 1
1 2 3 5
Cm7( @ 5) 5 3 2 1
1 2 3 5
B ¸¸¸¸
5 3 2 1
B ¸¸¸¸
B m7
Bm7( @ 5)
¸¸¸¸
M ¸¸¸¸
¸¸¸¸
Co7
1 2 3 5
B B{ ¸¸¸¸ B B{ ¸¸¸¸
B o7
M ¸¸¸¸
¬ ¬
B ¸¸¸ ¸ B ¸¸¸ ¸
¬ ¬
Technique 10-5
Allegro
4 w 1. & 4 Œ œ ˙ F 5
1
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
w Œ œ ˙
5
1
5
1
5
1
10-5
w ? 4 œ ˙ 2. 4 Œ F Allegro
1
5
1
5
1
5
1
5
Review ■ Unit 10
135
A Major
Playing Scales and Arpeggios
•• •• RH: 3 4 1 2 3 1 2 •• •• LH: 3 2 1 4 3 2 1
•• •• • 34123123 •• •• • 32143213
¸ ¸ ¸ B B BB ¸
BB B B 10-6
3 4 1 2
3 2
1 4
3 1 2 3
4 1 2
1 3 3 2
2 1
BBBB
3 2 1 3
2 1 4
4 3
2 1 3
3 1 2 3
4
3
2 1 3 2
1 2 3
1 2 3 4
1
4
3
1 2
3
• • • •• RH: 4 1 2 4 1 2 4 • • • •• LH: 2 1 4 2 1 4 2
10-7
B B B B
3 1 2
3
4
1
2
1
4
2
¸
2
4
1
¸
4
2
1
4
2
1
2
2
4
4
1
4
2
1
2
4
1
4
¸ ¸ 2
G Harmonic Minor (enharmonic with A Minor)
#### 4 & #4
•• •• RH: 3 4 1 2 3 1 2 •• •• LH: 3 2 1 4 3 2 1
•• •• • 34123123 •• •• • 32143213
œ ‹œ ˙ œ ‹œ œ œ œ œ œ œ œ œ œ ‹œ œ ‹œ œ œ œ œ œœ œœ˙ œ œœœ ‹œ ˙ œ ‹œ œ œ œ œ ? #### 4 œ œ œ œ 4 # œ œ ‹œ œ œ ‹œ œ œ œ œ œ œ œœ˙ œœœ 10-8
3 4 1 2
1 4 3 2
#### 3 & #4
3 1
3 2
10-9
? # # # # 43 #
4
2
œ œ œ œ œ œ 2
136
1
Unit 10 ■ Review
1
4
2 3
4 1 2 3
1
2 3
3
2 1 3
2 1 4 3
1 3
2 1 4
2
1 3
3
1 2 3
4 1 2 3
3
œ œ œ 4
1
2
œ œ œ 2
1
4
• • RH: 4 1 2 • • LH: 2 1 4
˙. 4
˙. 2
2 1 3 2
1
4
3
1 2 3 4
1
2
3
• •• 4124 • •• 2142
œ œ œ 4
2
1
œ œ œ
2
4
1
œ œ œ 4
2
1
œ œ œ 2
4
1
4
˙. ˙. 2
Before playing:
S olo Repertoire
•Practice hands separately, observing the contractions and expansions in the fingering. •Map the piece using first endings, second endings and repeat signs. While playing: •Play the LH quarter notes slightly detached unless otherwise indicated. •Observe the dynamic changes between forte and piano.
Minuet
in
G Major
10-10
Moderato
I E
4
2
3
5 :
Wilhelm Friedemann Bach (1710–1784)
2
I E 1
1.
1
3
1– 5
2
3
2.
3
3
4
I O
1
1
3
5
1
2
1
I I M * O
10 :
3
4
3
1
1
3
3
1
1
V7 /ii
15 :
1
3
1
I E 1
1
2
3
1
3
1
4
3
4
1
1
5
1
1
3
1.
¸
3
2.
¸
¸ 3
1
4
Review ■ Unit 10
137
Technique
exercise no. 2 (The VirTuoso PianisT)
Charles-Louis Hanon (1819–1900)
10-11
ascending 1
2
5
4
3
4
3
2
1
2
5
4
3
4
3
2
5
3
1
2
3
2
3
4
5
3
1
2
3
2
3
4
1
2
5
3
4 :
1
2
3
5
7 :
1
5
2
3
1
5
2
3
1
2
1
2
1
2
1
2
5
3
5
3
5
3
5
3
11 :
1
5
138
2
3
Unit 10 ■ Review
1
2
1
2
1
2
5
3
5
3
5
3
descending
15 œ5 œ2 1 œ2 œ3 œ2 œ3 œ4 œ &
18
3
5
4
3
4
3
œ œ œ œ œ œ œ œ
1
1
5
œ œ œ œ œ œ œ œ ? 1
œ œ œ œ œ œ œ œ 2
1
2
3
2
3
4
œ œ œ œ œ œ œ œ
2
3
5
4
3
4
3
2
5
2
œ œ œ œ œ œ œ œ 3
5
2
5
2
5
2
5
2
1
3
1
3
1
3
1
3
5
2
5
& œœœœœœœœ œœœœœœœœ œœœœœœœœ œœ œœœœœ œ œ ? œœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
22
& œœ œœœœœ œœ œ 2
œ œœœœœœœœ œœ œœœœœ œ œ œ œ œ œ ? œœœœœœœ œœ œœœœœ œœ œœœ œ œœ œ œ œ œ œ œ œ œœ œ 1
3
1
3
5
2
5
2
1
3
1
3
26
&
? œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5
2
1
3
œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ 5
2
1
3
.. œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ . ˙ œ ˙ 5
2
1
3
Review ■ Unit 10
139
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading 10-12
Relaxed
& b 44 1.
1 2 3 5
œœ p ? b 44 ˙ 3
œœœ 3
œœœ
&b ?b
œœ œœœ œ œ œ œ œ œ œ œ œœœ œ œœœœœ œœœœœ œ œœ œœœ œ œ bœ œ ˙
˙
5
5
œœœ
1 2 3 5
1 2 3 5
1 2 3 5
1 2 3 5
˙
˙
˙
2
b˙
1
˙
5
bœ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ œ œ œœ œ˙ b˙
1 2
˙
2
b˙
3
3 5
1 2 3 5
1 2 3 5
˙
˙
œ
1
w
œ
2
5
MorninG GreetinG (excerpt)
Cornelius Gurlitt (1820–1901) Op. 130, No. 1
10-13
I I O ¢ ¢ ¢ ¢ Moderato 3
2.
1 3
2 4
5 :
3
2 4
140
Unit 10 ■ Review
3
1 3
1
1 5
2
1
1 5
¢
¢
¢
1 5
1 5
I I ¢ ¢ ¢ ¢
4
3
4
5 2
* 1 5
3
2 4
¢
chorale (excerpt)
Henri-Jérôme Bertini (1798–1876)
10-14
Lento
#c & ˙˙ P ? # c ˙˙ 4 1
3.
1 3
5
#
3 2 1
dim.
˙
5 3 1
˙˙ ˙
˙˙ ˙
2
1
˙
˙
just
10-15
¸
9 :
5
¸
C7 5
V7/IV
13 :
C/G
¸
w w P ww
a
¸
œœ
closer Walk
Spiritual
MV
G7
? 4 œ ˙˙ 4
G 7/B
5 1
˙
Moderato
5 :
˙
˙
1
Broken Chord Accompaniment
3
˙˙ ˙
1. Harmonize with a broken chord accompaniment.
Harmonization
¸ 0
˙˙ ˙
˙
4 2 1
˙˙ ˙
˙˙˙
˙
C
4 2 1
simile
˙˙ ˙
2
5 2 1
˙˙ ˙
˙˙˙ ˙˙
˙˙ ˙˙
2 5
˙˙˙ F ?# ˙ &
˙˙ cresc. ˙˙
˙˙ ˙˙
4 2 1
3 1
C
¸ ¸
F
V
C
¸
¸
¸
5
¸
Transpose
to B major.
Review ■ Unit 10
141
2. Using I, V7 and V7/V, harmonize with a broken chord accompaniment. Write the Roman numeral name of each chord on the line below the staff.
Harmonization (continued)
? bbC bb ˙
Broken Chord Accompaniment
˙˙
the Muffin Man 10-16
Moderato
England
j bbb C j j . œ j b œ œ œ œ œ . œ œ . œ & œ œ . œ œ œ œ œ œ J F 1
5
&
bbbb
2
3
3
œ
œ
œ
œ J
œ.
œ
j œ œ
œ.
œ
2
œ
1
œ
1
‰
˙.
Transpose
to G major.
3. Harmonize the melody below in two ways: • Using the bottom note of each indicated seventh chord or inversion. • Using the indicated seventh chords or inversions. 10-17
Presto
## 4 & 4 œ f &
142
##
G maj7 1
œ
3
2
1
5
œ
œ
G maj7
œ 2
Unit 10 ■ Review
œ 3
œ 5
œ 5
F m 7
œ 4
F m 7
œ 4
œ 2
œ 2
1
œ 1
œ
Em7 2
œ
1
œ Em7
2
œ
1
œ
2
œ œ 5
œ 3
A 7/C
œ 2
œ
D maj7
˙
5
œ
D
w
˙
Review Worksheet
Unit 10
Date _____________________
Name ________________________
1. Identify each seventh chord by writing its letter name on the line below the staff followed by maj7 for a major seventh, 7 for a dominant seventh, m7 for a minor seventh, m7( 5) for a half-diminished seventh, or dim7 for a diminished seventh.
VVV B BV
VV VV
V VVV
B VVVV
B BB VVVV
B B {B VVVV
BB VVVV
B B VVVV
2. Using whole notes, write each seventh chord on the staff in root position.
&
Dm7( 5)
A 7
Gm7
Am7( 5)
E dim7
B maj7
Cdim7
Bm7
D 7
3. Transpose the following melody for E alto saxophone to concert pitch and write it on the staff below with the appropriate key signature.
### 2 & 4 œ œ
œ œ
œ œ œ œ ˙
œ œ
œ œ
œ œ œ œ ˙
& Review ■ Unit 10
143
4. Draw a line to connect the secondary dominant chord on the right with its key and Roman numeral analysis on the left.
144
Key of D Major: V7/V
•
•
A7
Key of B Harmonic Minor: V7/iv
•
•
D7
Key of E Major: V7/ii
•
•
F7
Key of B Major: V7/iii
•
•
E7
Key of A Major: V7/vi
•
•
D 7
Key of C Harmonic Minor: V7/V
•
•
B7
Key of F Harmonic Minor: V7/iv
•
•
G7
Key of F Major: V7/V
•
•
C7
Key of B Harmonic Minor: V7/VI
•
•
C7
Unit 10 ■ Review
Unit 11
Objectives
Musical Style Periods Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Identify characteristics of Baroque, Classical, Romantic and Contemporary style periods. 2. Sight-read and transpose music from the four style periods. 3. Play major and parallel harmonic minor scales and arpeggios beginning on E b, using traditional fingerings. 4. Play Db7, Ab7 and Eb7 arpeggios. 5. Perform solo repertoire in an American popular style. 6. Harmonize and transpose music that uses the III and V7/ii chords. 7. Create a two-hand accompaniment from chord symbols. 8. Transpose melodies for F Horn to concert pitch. 9. Play a three-part choral score (SSB).
Musical Style Periods ■ Unit 11
145
Musical Style Periods
The manner in which one performs keyboard music varies according to the musical style period. A basic knowledge of the characteristics of the four major style periods aids in stylistic performance. A brief summary of the characteristics of each period follows.
• The dance suite, prelude, fugue, toccata, and theme and variations were the prevalent musical forms. • Two or more lines are played simultaneously to create counterpoint. • The harpsichord, clavichord and organ were the keyboard instruments of the period. • Strong beats, upbeats and fast changing rhythmic motion are emphasized. • Composers did not use phrase, dynamic or articulation marks. Slower notes are often played detached while faster notes are played legato. Ornamentation is used freely for expressive performance. • Well-known composers are Johann Sebastian Bach, Domenico Scarlatti, Jean-Philippe Rameau and Antonio Vivaldi.
The Baroque Period (1600–1750)
Identify the key of the example. Use the indicated tempo, dynamics and articulation as you play the exercise.
Reading
Arioso (excerpt)
Daniel Gottlob Türk (1756–1813)
11-1
Adagio
B E ¸ B 2
¸
¸
2
5 :
B B
4
1
x
3
I
¢
¢
*
1
¸
Transpose
146
Unit 11 ■ Musical Style Periods
to G major.
The Classical Period (1750–1820)
• Sonata-allegro, minuet and trio, rondo, and theme and variations were the prevalent musical forms. • Single line melodies with accompaniment are common. Music makes use of slow harmonic rhythm and clearly defined cadences. • The fortepiano, harpsichord and organ were the keyboard instruments of the period. • Composers began notating dynamic contrasts, phrasing and precise articulation. • Well-known composers were Franz Joseph Haydn, Wolfgang Amadeus Mozart, Muzio Clementi and Ludwig van Beethoven.
Identify the key of the example. Use the indicated tempo, dynamics and articulation as you play the exercise.
Reading
GermAn DAnce (excerpt)
Ludwig van Beethoven (1770–1827)
11-2
Vivo
E 5 :
1
5
¸ 1 3
3
3
5
1 2 4
3
¸
1 2
5
3
1
5
1 3
1 2
1 3
Transpose
to D major.
Musical Style Periods ■ Unit 11
147
The Romantic Period (1820–1900)
• Etudes, concertos, character pieces, dances and variations were the prevalent musical forms. • Harmony is more complex with the use of accidentals, chromaticism, diminished and dominant seventh chords and modulations to unrelated keys. • The pianoforte (piano) was the principal keyboard instrument of the Romantic period. • Romantic music makes use of complex rhythmic patterns featuring hemiola and syncopation. • Expression is achieved at the piano by use of the damper pedal, cantabile melodic lines, various accompaniment patterns, asymmetrical phrases, and numerous tempi and dynamic shadings. • Well-known composers are Frédéric Chopin, Johannes Brahms, Robert Schumann and Franz Liszt.
Identify the key of the example. Use the indicated tempo, dynamics and articulation as you play the exercise.
Reading
sonG (excerpt)
11-3
Moderato
O VV 1
Anton Diabelli (1781–1858)
5
&
¸
VV
¸
VV
3 5
5 :
¸
¸
¸ 5
¸ ¸ 2
Transpose
148
Unit 11 ■ Musical Style Periods
¸
VV
VV
¬ ¬ to D major.
The Contemporary Period (1900–present)
• Traditional serious music continues to develop based on the innovations of Claude Debussy and Maurice Ravel. Their compositions, primarily impressionistic, moved away from traditional styles and techniques and laid the foundation for further advances in 20thcentury music. • Dissonance, prepared instruments and 20th-century notation combine to create a variety of new sounds. • Much of the music from this period has no real feeling of tonal center, and employs modal, pentatonic and 12-tone scales. Dissonance is created through the use of intervals such as 2nds, 7ths, 9ths and 11ths. • Multiple meters, polyrhythms and minimalistic techniques are used. • Character pieces, dances, preludes, toccatas, variations and aleatoric music are the prevalent musical forms in the 20th century. • The piano continues to be the principal instrument for serious musical styles. • Jazz, ragtime and other popular musical styles have emerged as truly American idioms. (See Over the Rainbow, pages 152–153.) • Electronic keyboards, digital pianos and synthesizers are used in popular styles. • Well-known composers are Béla Bartók, John Cage, Aaron Copland, Sergei Prokofiev, Dmitri Kabalevsky, Scott Joplin and George Gershwin.
Identify the key of the example. Use the indicated tempo, dynamics and articulation as you play the exercise.
Reading
scherzo (excerpt)
11-4
O scherzando Allegretto 3
1 5
5 :
¢ ¢ ¢ ¢ ¢
¢ ¢
¢
¢ M ¢
Béla Bartók (1881–1945) Sz. 52:82
I¢ ¢
M 2
1
2
I¢ ¢ * * ¢ ¢ © Transpose
to F major.
Musical Style Periods ■ Unit 11
149
E b Major
Playing Scales and Arpeggios
11-5
B B B B B B
• •• RH: 3 1 2 3 4 1 2 • •• LH: 3 2 1 4 3 2 1
• •• • 31234123 • •• • 32143213
¸ ¸ ¸ ¸ 3 1 2 3
4
1 4 3 2
3 2
3 4 1 2
1 2 3
2 1 4 3
1 3
3 1 2
2 1 3
3 2 1 4
3
3 1 2 3
4 1 2 3
2 1 3
3
2 1
3
2 3 4
1 2
3
2 1 4
1
• • • •• RH: 4 1 2 4 1 2 4 • • • •• LH: 2 1 4 2 1 4 2
B B B 1
4
2
2
11-7
b b b4 b & bb4 ? bb b b4 bb4
4
2
1
4
2
2
4
1
2
1
4
2
1
E b Harmonic Minor (enharmonic with D# Minor) • ••• RH: 3 1 2 3 4 1 2 • ••• LH: 2 1 4 3 2 1 3
4
¸ ¸ 2
• ••• • 31234123 • ••• • 21432132
œ nœ ˙ œ nœ œ œ œ œ œ œ œ œ œ nœ œ nœ œ œ œ œ œœ œœ œ œœœ ˙ ˙ œ nœ œ œ n œ œ œ œ œœœœ œ œ œ n œ nœ œ œ œ œ œ œ œ œœ˙ œ œ 3 1 2 3
4 1 2 3
3 4 1 2
4 3 2 1
2 1
1 4 3 2
11-8
bbb3 b & bb 4 œ œ œ ? bbb3 bbb 4 œ œ œ 1
5
150
1
2
4
¸
4
4
2
1
4
BBB 1
¸
11-6
2
3
3
2
Unit 11 ■ Musical Style Periods
3 2
œ œ œ 1
2
3
œ œ œ
1
3
2
1
1
2 3
3 2
3
2 3 1 2
••• RH: 1 2 3 ••• LH: 5 3 2
˙. 5
˙. 1
2 1 4
3 2 1 3
2 1 4 3
2
1
3
3 4 1 2
3
1 2 3
4
1
2
••• • 1235 ••• • 1321
œ œ œ 5
3
2
œ œ œ 1
2
3
œ œ œ 1
3
2
œ œ œ 1
2
3
1
˙. ˙. 5
Technique 11-9
Allegro
$ V 0 5
1.
1
1
5
1
5
1
5
11-9
V 5
1
5
1
5
1
Continue upward on white keys until…
5
V ¸
V
2. Repeat #1 two octaves lower with the LH, using the fingering below the staff. 11-10
V $ 0
Allegro 5
3.
1
1
1
1
5
5
5
11-10
V 5
1
1
1
1
5
5
5
Continue downward on white keys until…
V
V ¸
4. Repeat #3 two octaves higher with the RH, using the fingering above the staff.
Playing Dominant Seventh Arpeggios 11-11
bœ b œ œ & 44 b œ œ b œ b œ b œ bœ b œ ?4 œ bœ bœ 4 b œ œ bœ
Db7
1.
4
2
Ab7
2.
1
1
2
4
3
3
4
2
1
1
2
4
3
3
11-12
bœ b œ 4 œ &4 bœ bœ bœ œ bœ bœ ?4 b œ œ 4 bœ bœ b œ œ bœ 4
2
1
1
2
4
3
3
4
2
1
1
2
4
3
3
bœ bœ œ 4 bœ bœ b œ & 4 bœ œ bœ b œ œ ?4 4 bœ œ bœ bœ bœ
Eb7
3.
Practice the dominant seventh arpeggios hands separately.
11-13
4
2
1
1
2
4
3
3
4
2
1
1
2
4
3
3
bw 4
bw 2
bw 4
bw 2
bw 4
bw 2
bœ bœ bœ œ bœ bœ bœ œ bœ bœ bœ œ bœ bœ bœ œ 4
2
3
3
2
4
1
1
4
2
3
3
2
4
1
1
bœ bœ bœ œ bœ bœ bœ œ bœ bœ bœ œ bœ bœ bœ œ 4
2
3
3
2
4
1
1
4
2
3
3
2
4
1
1
bœ bœ bœ œ bœ bœ bœ œ bœ bœ bœ œ bœ bœ bœ œ 4
2
3
3
2
4
1
1
4
3
2
3
2
1
4
1
4
bw bw 2
4
bw bw 2
4
bw bw 2
Musical Style Periods ■ Unit 11
151
S olo Repertoire
Before playing: •Practice hands separately, observing the moves and the contractions and expansions in the fingering. While playing: •Listen for clear pedal changes. •Play the RH a little louder than the LH.
over
the
rAinbow
(from The Wizard of oz)
11-14
Music by Harold Arlen Lyric by E. Y. Harburg Arr. E. L. Lancaster
Moderately, with expression
¸ ¸ ¸ 0 Some - where 5 1
1
5
2
2
o - ver the rain - bow B ¸
¸ ¸ ¸ way up
VV
1
3
5
B
high,
1
5
4 2 1
5 3
1
¸¸
¸
B
there’s
a
2
5
9
1
2
B land that I heard of ¸ ¸ 1
¸ ¸
o - ver the rain - bow ¸ B
5 1
¸ Some & 1
-
where
1
2
5
B once in a lul - la ¸¸ M
2
5
4 2 1
4 1
3 1
1 2
-
3
2
1
B
blue,
1
¸¸
¸
and
152
B the
5
2
1
2
B B dreams that you dare to dream real - ly do come ¸ ¸¸ M ¸ 1
1 2
2
5
4 2 1
5
2
1 2
VV
5
13
by.
¸ ¸ ¸ skies are 3
¬
¸¸¸
1
5
2
5
5
4 2 1
¸¸¸ true.
¢ I 0 Some 4
5
2
1
2
© 1938 (Renewed) METRO-GOLDWYN-MAYER INC. © 1939 (Renewed) EMI FEIST CATALOG INC. All Rights Controlled by EMI FEIST CATALOG INC. (Publishing) and ALFRED PUBLISHING CO., INC. (Print) This Arrangement © 2008 METRO-GOLDWYN-MAYER INC. and EMI FEIST CATALOG INC. All Rights Reserved Unit 11 ■ Musical Style Periods
17
¸
day I’ll wish up
on
wake up where the clouds are far be ¸
a
star and
5
5 2
¸¸
- hind
2
¸¸ me,
1
2
20
¸
¸
1
23
where trou - bles melt like lem - on drops, a - way a - bove the chim-ney tops, that’s & ¸ ¸ B
2
¸¸
where
26
-
5 4 1
you’ll
B
¸ o
5
¸¸
5 3
B
ver the rain - bow
5
¸ ¸ M¸
find
1
¸
blue
-
3
1
B
5
¸ ¸
birds
o - ver the rain - bow,
¸ 1
¸
why
¸¸
1 2
¸ ESome
5
5
then, oh why
can’t
M 5
2
-
where
VV
B
fly,
2
4 2 1
VVV I? 0
5
2
1
2
¸ birds &
2
5
2
1
5
rit. B
¸ ¸
5 1
1
2
a tempo
¸¸ me. rit.
30
2
3
¸¸
B fly
5
¸¸¸ O
2
1
2
¸ ¸
V
Musical Style Periods ■ Unit 11
153
1. Harmonize with a waltz style accompaniment.
Harmonization
œ œ ? # # # 3 œ œœ œœ 4
Waltz Style Accompaniment
preluDe
in
A mAjor Frédéric Chopin (1810–1849) Op. 28, No. 7 E7
11-15
Andantino
O
E7
1
6 : ¸5
3
4
A
1
F 7
A
4 11 : 1 2
¸
5
V7/ii
4
1
2
3
A
¸
2
2
1
5
5
2
E7
¸
4
1
3
4
4
¸ 1
2
A 2
1
2
3
3
4
Bm 1
¸
4
E7
¸
4
˙˙˙ Œ
¸
2. Using i, V7 and III, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.
?2 4 œ
Broken Chord Accompaniment
œœ
11-16
Russia
Allegro
2 & 4 œ. F
j œ œ œ #œ œ œ 5
1
2
8
3
154
Unit 11 ■ Musical Style Periods
& œ
Œ
œ. 3
j œ œ. 1
1
œ j œ œ.
3
œ
5
œ
œ.
j œ œ œ #œ œ œ
j œ œ œ œ #œ œ #œ œ œ 1
3
œ ˙
Harmonization with Two-Hand Accompaniment
Using the indicated chords, create a two-hand accompaniment for the following melody by continuing the pattern given in the first two measures.
11-17
Lively C
¸ & &
5
1
9 :
C/G
G7
G 7/D
2
to the
1
5 2 1
tAke me out
A7
¸ 5
25 :
C
Dm/A
¸
¸ 5
¸
1
¸
¸
D7
¸ 2
¸
G7
1
3
V7 /V
C/G
G 7/D
5
¸
C/G
5
¸
V7 /ii 17 :
C
Albert von Tilzer (1878–1956) G 7/D G7
Dm
5
bAll GAme
1
F
C
¸
C7
¸
F
¸
1
3
5
o
¸ 4
¸
5
G7
C/G
A7 1
2
1
V7 /ii
D7
G7
¸
¸
V7 /V
C
5 3 1
¸
1
¸ ¸¸ ¸ ¸
Musical Style Periods ■ Unit 11
155
The F horn sounds a perfect fifth below the written note.
Transposing Instrument: F Horn
When these instruments play
they sound the concert pitch
œ œ ˙ œ 4 œ & 4 & b 44 œ œ œ œ ˙
Transpose the melodies for F horn to concert pitch.
theme
from
mArch slAv
11-18
Maestoso
1.
C ¸ E
I¸
Peter Ilyich Tchaikovsky (1840–1893) Arr. John O’Reilly and Mark Williams
¸
¸ ¸
9 :
M ¸ I * ¸ M ¸
¸
I
¸ ¸
V
¸ ¸ I V
“Theme from March Slav” adapted from YAMAHA TRUMPET STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc.
theme
from
unfinisheD symphony
11-19
B B 0
Moderato
2.
6
B B M
*
*
M *
M *
Franz Schubert (1797–1828) Arr. John O’Reilly and Mark Williams
¸
*
¸ O
“Theme from Unfinished Symphony” from ACCENT ON ACHIEVEMENT Horn in F Book 2 by John O’Reilly and Mark Williams Copyright © MCMXCVIII by Alfred Publishing Co., Inc.
156
Unit 11 ■ Musical Style Periods
Practice the choral score in the following ways:
Choral Score Reading for Soprano 1, Soprano 2 and Bass (SSB)
1. 2. 3. 4. 5. 6. 7.
Soprano 1 (RH) alone. Soprano 2 (RH) alone. Soprano 1 (RH) and soprano 2 (RH) together. Bass (LH) alone. Soprano 1 (RH) and bass (LH) together. Soprano 2 (RH) and bass (LH) together. Soprano 1 (RH), soprano 2 (RH) and bass (LH) together.
hArk, DAmon, hArk (excerpt)
11-20
Moderato
S1
S2
E
4 :
S2
B
7 :
S1
S2
B
B
S1
x I
E
E
M
¸
M
rit.
rit.
rit.
x
x
George Frideric Handel (1685–1759)
I
¸
¸
*
¸
Musical Style Periods ■ Unit 11
157
Unit 12
Objectives
Theme and Variations Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play major and parallel harmonic minor scales and arpeggios beginning on B , using traditional fingerings. 2. Play F7 and B 7 arpeggios. 3. Perform solo repertoire in theme and variation form. 4. Sight-read music from easy piano repertoire. 5. Harmonize and transpose music that uses the ii and V7/IV chords. 6. Transpose a melody for F horn to concert pitch. 7. Play a two-part instrumental score for F horn and oboe. 8. Play a three-part choral score. 9. Accompany a vocal solo. 10. Perform a three-part ensemble with partners.
Theme and Variation Form
158 Unit 12 ■ Theme and Variations
In theme and variation form, a theme is followed by a series of pieces that have a similar structure. Some elements of the theme remain the same in each variation while others change. The elements that frequently vary include melody, harmony, meter, rhythm and texture. The changes in the variations depend on style period considerations and whether the theme and variations is a separate piece or a part of a multi-movement work such as a sonata.
B Major
Playing Major Scales and Arpeggios
• • RH: 4 1 2 3 1 2 3 • • LH: 3 2 1 4 3 2 1
• • • 41231234 • • • 32143213
œœ˙ œœœœ œœ œ œ b œ 4 œœ œœœ œœ œ &b 4 œ œ œ œ œœ˙ œœœ œœ˙ œœœœ œœ ? bb 4 œ œ œ œœ œœ œ œ 4 œ œ œ œœ œœ œ œœœ ˙ 12-1
b & b 43 12-2
? b3 b 4
4
1 2
3
3
4 2 1
4
1
1 2 3 4
1 2 3 1
3 2 1 3
2
4
œ œ œ 3
3
1
3 2 1
3 2 1 4
3 2 1
4 1 2 3
1 2
œ œ œ 2
3
1
• •• • RH: 4 1 2 3 1 2 3 • •• • LH: 2 1 3 2 1 4 3
œnœ ˙ œ œ œ œ
b 4 & b bbb 4 œ œ œ œ nœ œ œœ nœ ˙ œ œ ? bb b 4 œ b b 4 œ œ œ œ nœ œ œ œ œœ 4
1 2 3
3 2 2 1
12-4
bb b & bb ? bb bbb
1 2
1 4
43 œ œ œ 3 4 œ œ œ 2
3
3
2
1
1
3 4
1 2 3 1
3 2
1
3 2
1
œ œ œ 2
3
1
œ œ œ 3
2
1
4 2 3
4 3 2
œ nœ œ œ 4
œ nœ œ œ 2 3 4 1
•• RH: 2 3 1 •• LH: 3 2 1
˙. 2
˙. 3
3 2 1
2
4
1 4
3 4
1
2 3
1
œ œ œ 3
2
B Harmonic Minor 12-3
2
œ œ œ
1
œ œ œ
3
3
• • 4124 • • 3213 4
˙.
1
2
3 1 2 3
4
œ œ œ
œ œ œ
2 1 3
˙.
2
1
4
• RH: 4 1 2 • LH: 3 2 1
œ œ œ
2
2
3 1 4
4 2 3
1
2
4
˙. ˙. 3
• •• • • 41231234 • •• • • 21321432
œœœœ 3 2 1 4
œœœœ
2 3
1 2
nœ œ œ œ
3 2 1 3
2
1
4
œœ˙
nœ œ œ œ œ œ˙ 3 4 1 2
3
1
2
•• • 2312 •• • 3213
œ œ œ 2
1
3
œ œ œ
3
1
2
œ œ œ 2
1
3
œ œ œ 3
1
2
2
˙. ˙. 3
Theme and Variations ■ Unit 12 159
Playing Dominant Seventh Arpeggios F7
1.
12-5
#w
#œ œ # œ #œ œ #œ # œ #œ ? 44 #œ œ # œ œ #œ # œ # œ #œ & 44
2
3
3
4
B7
2.
Practice the dominant seventh arpeggios hands separately.
4
2
1
2
4
1
3
3
4
2
2
1
#w 4
1
12-6
bw
bœ œ œ 4 bœ b œ &4 œ bœ œ bœ ? 44 œ œ bœ b œ œ bœ œ 4
1
2
3
2
1
3
4
4
3
1
2
2
1
4
3
bw
4
3
#œ œ #œ #œ #œ œ #œ #œ #w #œ œ #œ #œ #œ œ #œ #œ #w 2
1
4
3
4
1
2
3
2
1
4
1
4
2
3
3
bœ bœ œ œ bœ bœ œ œ bœ bœ œ œ bœ bœ œ œ 4
3
3
4
2
1
1
2
4
3
3
4
2
1
1
2
2
4
4
bw bw 3
Technique
12-7
Allegro
& 44 Œw œ ˙ F 1
1.
5
Œ œ ˙ w 1
5
Œ œ ˙ w 1
5
Œ œ ˙ w 1
5
Œ œ ˙ w
Œ œ ˙ w
Œ œ ˙ w
Transpose
Œ œ ˙ w
to E major and F major.
12-7
Allegro
Œ œ ˙ ? 4 2. 4 w F 5
1
Œ œ ˙ w 5
1
160 Unit 12 ■ Theme and Variations
Œ œ ˙ w 5
1
Œ œ ˙ w 5
1
Œ œ ˙ w
Œ œ ˙ w
Œ œ ˙ w
Transpose
to G major and A major.
Œ œ ˙ w
12-8
$ V 0
V
$ 0V
V
Allegro 1
3.
5
5
5
1
12-8
Allegro
4.
1
1
1
5
5
12-9
$ V 0 Allegro
5
5.
5
5
1
$ V 0
Allegro
6.
5
1
1
1
1
5
1
Continue upward on white keys until…
V
¸ V
Continue upward on white keys until…
V
¸ V
V
¸ V
V
¸ V
5
1
V
Continue downward on white keys until…
V
Continue downward on white keys until…
1
12-9
5
5
5
1
5
1
5
1
12-10
Moderato
¸¸ ¸ E 5 3 1
7.
1 3 5
¸¸¸
5 3 1
1 3 5
Continue upward on white keys until…
5
5
Moderato 5 3 1
8.
1 3 5
Transpose
12-11
¸¸¸
¸¸ ¸
5 3 1
5
¸¸¸ 1 3 5
5
Continue downward on white keys until…
¸¸ ¸
to A natural minor.
Transpose
¸¸¸
¸¸ ¸
to A natural minor.
Theme and Variations ■ Unit 12 161
Before playing:
S olo Repertoire
•Observe the similarities and differences in articulation among the melodies of the variations. •Tap the rhythm of Variation 4 hands together, being aware of the syncopation in the RH. While playing: •Play each variation in a distinctly different style. •Keep the quarter-note pulse steady as the meter changes in Variation 3.
Theme
(Based
12-12
Theme
Allegro moderato
& ¸¸¸
5
and
VariaTions
J. s. Bach’s Menuet in G Major)
on
¸
3
¸
E. L. Lancaster Kenon D. Renfrow
¸
1 3 5
5 :
4
¸
2
¸
2
1
3
2
1
¸ 1
¸ 1
Variation 1: Classical Style
¸ ¸ ¸ ¸ & 0
9 :
Allegro
3
5
5
1
3
5
13 :
1
2
M M ¸ rit. ¸ 4
2
2
4
5
1
162 Unit 12 ■ Theme and Variations
5
1
3
1
4
Variation 2: Romantic Style
Largo ¸ O cresc.
17 :
5
1 3 5
21 :
¸ & B 4
1 3 5
1 3 5
1 3 5
¸
¸ dim.
1 3 5
Allegro
5
1 3 5
1 3 5
O¸ subito ¸ ¸
29 :
M ¸¸¸
4
¸
3
Variation 3: Contemporary Style
E¸¸ ¸
: 25
¸
1 2 4 5
1 2 5
¸ ¸ rit. O¸ ¸ ¸¸ ¸ 5
1 2 5
¸
1 2
1 3 5
BB
¸¸ ¸ 3
1 2 5
2
M
¸ M ¸¸
cresc.
¸ E ¸¸¸ 1
Variation 4: Ragtime Style
¸ ¸ M &
: 33
Not too fast
2
5
3
1 2
1
5
5
3
5
5
¸ M M ¸ ¸
37 :
1
2
3
5
3
5
2
4
5
1 3
5
1 3
1
2
1 2
1
5 1
Theme and Variations ■ Unit 12 163
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
a LiTTLe BLues 12-13
Gayle Kowalchyk E. L. Lancaster
Slowly
¸ O 2
1.
¸ 0 2
1 5
9 :
B
1 5
1 5
1 5
5 :
¸
3
1 5
¸
B 1 5
¸ &
¸ O 2
¸
2
1 5
13 :
¸
1 5
B
¸
¸
B
¸
¸ B
¸ 0 B
¸
2
1 5
rit.
B
V ¸ ¸
¸
8va “A Little Blues” from BOOGIE ’N’ BLUES, Book 2, by Gayle Kowalchyk and E. L. Lancaster Copyright © MCMXCIII by Alfred Publishing Co., Inc.
164 Unit 12 ■ Theme and Variations
choraLe (excerpT)
Cornelius Gurlitt (1820-–1901)
12-14
Andante
0 5 3 1
2.
5 3 1
5
9
5 3 1
M O
5
13
5 3 1
5
5 3 1
¸¸¸ ¸
5
5
4 2 1
2
1
¸¸¸ ¸
5
M
2
1
¸
5 2 1
¸¸ ¸ ¸
¸¸¸ ¸
¸¸¸
5
M
5 3 1
4 2 1
4 2 1
4 2 1
2
3
¸¸ ¸
3
¸
Theme and Variations ■ Unit 12 165
1. Using I, V7, IV and ii, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.
Harmonization
?6 œ œ œ œ œ œ 8
Broken Chord Accompaniment 12-15
Lento
6 j &8 œ f
œ. œ œ œ œ œ
4
5
& œ. œ œ œ. œ œ 1
j œ œ. œ œ œ œ œ
œ.
Œ œj
j œ œ. œ œ œ œ œ
œ.
œ
œ. œ œ œ 5
2
œ œ œ œ
2
Holland 2
Transpose
to B major.
2. Using I, V7, IV and V7/IV, harmonize with a waltz style accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.
? # # 34 œ œœ œœ
Waltz Style Accompaniment
my home’s
12-16
Allegretto
## 3 & 4 œ F 5
5
&
9
&
13
&
## ## ##
œ 2
œ. œ. 2
j œ œ
œ. 4
œ
œ j œ œ j œ œ 4
œ
œ
œ
5
œ œ
j œ œ
œ. œ
3
œ
œ
œ
5
œ
˙ œ
œ
œ ˙
Transpose
166 Unit 12 ■ Theme and Variations
œ
œ
œ j œ
œ.
1
1
United States
j œ œ
œ.
œ
1
œ
œ
œ
monTana 5
œ
œ
œ
in
to E major.
Transposing Instrument: F Horn
aria
The F horn sounds a perfect fifth below the written note (see page 56). Transpose the melody for F horn to concert pitch.
from
The marriage
of
figaro
Wolfgang Amadeus Mozart (1756–1791) Arr. John O’Reilly and Mark Williams
12-17
Allegretto
B C 0 5
1.
2.
B ¸ E 0
¸
I ¢
“Aria from The Marriage of Figaro” from ACCENT ON ACHIEVEMENT Horn in F Book 2 by John O’Reilly and Mark Williams Copyright © MCMXCVIII by Alfred Publishing Co., Inc.
1. Transpose the line for F horn to concert pitch. 2. Play the line for F horn in concert pitch with the line for oboe which is notated in concert pitch.
Score Reading and Transposing Instruments
Lonesome road BLues 12-18
Ob.
F Hn.
# Andante & c œ F ## c Œ & 5
Ob.
F Hn.
& &
# ##
˙. Œ
˙. œ
John Kinyon and John O’Reilly
œ F œ
œ
œ
˙.
œ
œ
œ n˙
Œ
˙
œ
˙.
œ
œ
œ
œ
œ
˙.
rit.
œ nœ
rit.
˙
˙
œ b˙
œ
˙
˙
bœ
˙
œ
œ
œ
œ œ œ
œ bœ
œ
œ
œ
“Lonesome Road Blues” adapted from YAMAHA TRUMPET STUdENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc. Theme and Variations ■ Unit 12 167
Choral Score Reading for 3-Part Mixed Voices
Practice the choral score in the following ways: 1. Part 1 (RH) alone. 2. Part 2 (RH) alone. 3. Parts 1 (RH) and 2 (RH) together. 4. Part 3 (LH) alone. 5. Parts 1 (RH) and 3 (LH) together. 6. Parts 2 (RH) and 3 (LH) together. 7. Parts 1 (RH), 2 (RH) and 3 (LH) together.
gLoria TiBi (excerpT)
12-19
Mary Donnelly and George L. O. Strid
0
Moderato
1
O,
2
0 O,
3
5 :
1
Let
2
Let
3
Let
¸
lift
up
¸
lift
0
up
Lift
up
the val
-
leys and the
the val
-
leys and the
the val
-
leys and the
I
¸
I
¸
your
your
*
your
voic - es!
voic - es!
¸
¸
¸
¸
moun - tain - tops
¸
moun - tain - tops
I
¸
Sing
out
loud
and
strong.
¸
I
¸
Sing
out
voic - es!
moun - tain - tops
Sing
loud
and
*
loud
and
ech - o
ech - o
ech - o
with
with
with
your
your
your
strong.
¸
strong.
¸
song.
¸
song.
song.
“Gloria Tibi” by Mary donnelly and George L. O. Strid from ALFREd CHORAL dESIGNS Copyright © MMVII by Alfred Publishing Co., Inc.
168 Unit 12 ■ Theme and Variations
*
1. Play the vocal line.
Vocal Accompaniment
2. Play the accompaniment while the teacher or other class member sings or plays the vocal line.
heidenrösLein
Franz Schubert (1797–1828) D. 257; Op. 3, No. 3
12-20
Lieblich (lovely, melodious)
Voice
* * * *
Sah ein Knab’ ein Kna- be sprach: ich Und der wil - de
Piano
Rös - lein bre - che Kna - be
I I ¢ ¢ ¢ z ¢ ¢ * * *
6 :
mor - gen- schön, ste - che dich, sich und stach,
steh’n, dich, brach’s
Rös- lein auf der Rös- lein auf der Rös- lein auf der
lief er schnell, es nah zu seh’n, daß du e - wig denkst an mich, half ihr doch kein Weh und Ach,
I rit.I M 3 * * *
Rös- lein,Rös- lein, Rös- lein rot, Rös- lein,Rös- lein, Rös- lein rot, Rös- lein,Rös- lein, Rös- lein rot,
Hei Hei Hei -
den, den. den;
* * * *
war so jung und Rös- lein sprach: ich Rös- lein wehr - te
3
* * * *®
11 :
* ¢
I I I I I I I ¢ ¢ ¢ ¢ ¢ ¢ ¢ I ¢ * ¢ * ¢ I ¢ I ¢ I ¢ * ¢ * ¢
I I ¢ ¢ ¢ * ¢ * ¢ ¢ ¢ ¢ * * * *
sah’s mit und ich mußt’ es
vie - len will’s nicht e - ben
I I ¢ ¢ ¢ ¢ * * cresc. * ¢ * ¢ * ¢ * ¢
* * * *
a tempo
Rös- lein auf der Rös- lein auf der Rös- lein auf der
I ¢ I I 3I I I ¢ ¢ ¢ ¢ ¢ a tempo z rit. I¢ ¢ ¢ M I ¢ I ¢ 3 * *
I I * *
Hei - den. Hei - den. Hei - den.
x
¹ I
Freu - den. lei - den. lei - den.
I 3I ¢ ¢ ¢ 3¢ * * x
Theme and Variations ■ Unit 12 169
nsemble Repertoire E
Play the three-part ensemble using the indicated chords to complete parts 2 and 3. Part 1: Melody Part 2: Ascending five-finger patterns Part 3: Two-hand accompaniment repeating the rhythm of measures 1–4 in each four-measure group that follows.
We gaTher TogeTher 12-21
Flowing
## 3 & 4 œ F 4
Part 1
Part 2
Part 3
## 3 & 4 Œ ## 3 & 4 Œ ? # # 34 Œ
&
##
&
##
&
##
5
1
2
3
œ. 1
œ œ J
œ.
œ œ œ œ œ
D
1
F D
‰ j œœ œ F œ Œ 1
œ
Œ
2
œ œ J
œ.
A
Bm
A/C
Bm7
? ##
170 Unit 12 ■ Theme and Variations
œ œ
œ Bm
Bm7
œ.
j œ œ
˙
œ
3
5 3 2
‰ j œœ œ œ œ 1
œ
œ J œ
Œ Œ
Em
Œ ˙
#œ 2
E7
œœ œ
œ
œ œ œ œ D
Œ
œœœ œ
œ
4
1
A 7/C
5 2 1
j œ œ
œ.
Netherlands
˙.
˙ 5 2 1
˙˙ ˙
˙ œ A
˙
œ P
9 :
1
2
3
13 :
1
2
3
*
A
1
D
0
4
*
¸
¸
3
D/F
A 7/G
1
2
A 7/C
2
1
&
D
0
I
¸
3
3
& G/D
&
I 2
rit.
¸
A 7/C
B 7/D
4
rit.
I
0 A 7/C
Em rit.
¸ 0
D
0
Theme and Variations ■ Unit 12 171
Unit 13
Objectives
Review Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Perform solo repertoire in Baroque style. 2. Sight-read and transpose music from easy standard piano repertoire. 3. Play various combinations of instrumental parts from a band score and perform it as a multiple piano ensemble. 4. Harmonize and transpose music that uses secondary chords and the V7/V chord.
172 Unit 13 ■ Review
Major Scale Review
Practice two-octave major scales in all 12 keys. One of the challenges in playing scales is remembering the starting finger for each scale. Study the keyboard charts below to help you remember the starting finger for each scale. LH Major Scale Starting Finger
3 5
3 5
4 5
5
RH Major Scale Starting Finger
3 5
3 5
2 4
1
3 1
2 1
1
3 1
4 1
1
Answer the following questions: 1. The RH starting finger for all major scales beginning on a white key is _____ . 2. The LH starting finger for major scales beginning on a white keyMexcept B is _____ . I D D L E
3. The LH starting finger for the B major scale is _____ .
C
4. The LH starting finger for all major scales beginning on a black key except G b (F#) is _____ . 5. The LH starting finger for the G b (F#) major scale is _____ .
6. Name the starting finger for the RH major scales built on the notes in the groups of two black keys. Starting finger for D b _____ Starting finger for E b _____
7. Name the starting finger for the RH major scales built on the notes in the groups of three black keys. Starting finger for G b (F #) _____ Starting finger for A b _____ Starting finger for B b _____
Harmonic Minor Scale Review
Practice two-octave harmonic minor scales in all 12 keys. Study the keyboard charts below to help you remember the starting finger for each scale. LH Harmonic Minor Scale Starting Finger
3 5
2 5
4 5
5
3 5
RH Harmonic Minor Scale Starting Finger
2 5
3 4
1
3 1
3 1
1
3 1
4 1
1
Answer the following questions: 1. The RH starting finger for all harmonic minor scales beginning on a white key is _____ . 2. The LH starting finger for harmonic minor scales beginning on aMwhite key except B is _____ . 3. The LH starting finger for the B harmonic minor scale is _____ .
I D D L E
C
4. The RH starting finger for all harmonic minor scales beginning on a black key except B b (A#) is _____ . 5. The RH starting finger for the B b (A#) major scale is _____ .
6. Name the starting finger for the RH harmonic minor scales built on the notes in the groups of two black keys. Starting finger for C # _____ Starting finger for D # (E b) _____
7. Name the starting finger for the RH harmonic minor scales built on the notes in the groups of three black keys. Starting finger for F # _____ Starting finger for G # (A b) _____ Starting finger for B b (A#) _____
Review ■ Unit 13 173
Before playing:
S olo Repertoire
•Tap the rhythm first hands separately, then hands together. •Name the chords in measures 17–18. While playing: •Observe the mordent and the fermata in the last measure the second time only. •Listen for even eighth notes throughout.
GiGa George Peter Tingley
13-1
Vivace JBM L
B * 0 B ¢
5
B
2
* 5
1
B
8
B
B
I O ¢ 2
2
4
2
M * & * 4
1
3
2
I 3
3
I
*
*
*
“Giga” from miNiATuRE FRENCH SuiTE iN F mAjOR by George Peter Tingley Copyright © mmV by Alfred Publishing Co., inc.
174 Unit 13 ■ Review
1
I
* I 0 ¢
11
B
1
3
2
B
2
I & ¢
B 0 B 1
3
2
4
2
2
3
18
B
1
4
2
B 5
22
B
5
B
2
2
E
2
*
2
M *
*
1
2
& 2
14
2
5
rit. 2nd time only
1
2
*
I
4
1
5
*
5
1
5
5
3
3
3 2
2
B
Review ■ Unit 13 175
identify the key of each example. use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
the Chase (exCerpt)
13-2
E
Allegro vivace 5
1.
5 : 5
2 5
O
1 4
1 3
1 2
2 5
¸¸<
1
2
2
1 4
1 2
2 5
Johann Burgmüller (1806–1874) Op. 100, No. 9
¢
¢
5
1 4
1 3
BaGatelle Daniel Gottlob Türk (1756–1813)
13-3
Moderato
&bc œ œ œ œ œ œ F ?b c ˙ Ó 3
2.
2
5
&b œ F ? ˙ b 3
3
œ
œ œ œ œ ˙
œ
œ
˙
˙ Ó
œ œ œ œ œ œ P ˙ Ó 1
œ
œ
˙
œ
œ
œ
˙
œ
5
1
œ œ 3
œ
1
œ
˙ ˙
Transpose
176 Unit 13 ■ Review
˙
Ó
˙
œ œ œ œ
œ
œ
3
Ó ˙ to G major.
the shepherd pipes 13-4
Tat’iana Salutrinskaya
Gently
¸ O VV 5
3.
1
VV 9 :
3
z VV
1
2
2
¸
VV
1 5
5 :
2
B
3
rit.
VV
3
¸
¸
VV
2
1
3
VV
1
VV
VV
2
¸
VV V ¸¸
¸¸
3V
V
3
V V
Review ■ Unit 13 177
Play the band score in the following ways:
Band Score
1. Each single line transposing the B b clarinet, E b alto saxophone, B b cornet and F horn to concert pitch. 2
Combinations of two parts as follows: a. Flute/oboe and B b clarinet. b. Flute/oboe and E b alto saxophone. c. B b cornet and low brass & woodwinds. d. F horn and low brass & woodwinds.
3. Combinations of three parts as follows: a. Flute/oboe, B b clarinet and E b alto saxophone. b. B b cornet, F horn and low brass & woodwinds. 4. The piano accompaniment.
5. As a multiple piano ensemble with class members playing one, two or three parts each.
Mozart serenade (exCerpt)
and
Wolfgang Amadeus Mozart (1756–1791) Arr. John O’Reilly
13-5 Andante
Flute Oboe
B@ Clarinet
E@ Alto Saxophone
B@ Cornet
F Horn
Low Brass & Woodwinds
Snare Drum Bass Drum
B B ¸ 0 ¸ 0 ¸ 0 ¸ 0 B ¸ 0 BB ¸ 0¸
@
B B ¸ 0¸ B B ¸ B
Piano Accompaniment
danCe
¸
¸
I ¸ I ¸
I ¢ ¸
¸ * ¢
I ¸
¢ ¸ *
¸ ¸
¸ ¸
¸
¸
¸ ¸
¸ ¸
¸ x
¸¸ ¸
¸
¸¸ ¸
x
¸ ¸
¸
¸ ¸
F7
¸
V V
x
Cm
B
@
V
¸ *
I ¸ x I ¸¸
¸ * ¢ I ¢ ¸ ¸ I ¢ ¸¸ ¸ * ¢
Gm
“mozart Serenade and Dance” from ALFRED’S YAmAHA BAND SERiES arranged by john O’Reilly Copyright © mCmXCi by Alfred Publishing Co., inc.
178 Unit 13 ■ Review
¸ * ¢
x
F
I ¢ ¸
I ¢ ¸
I ¸ I ¸
I ¸ I ¸
6 : B * ¢ ¸ Fl. B Ob. Cl.
A. Sax.
Cor.
Hn.
¢ ¸ *
¢ ¸ * I B B ¢ ¸¸
B
Low Br. & W. W.
S. D. B. D.
12 : B Fl. B Ob. Cl.
A. Sax.
Cor.
Hn.
Pno. Accomp.
B
BB
x
Dm
¸ *
x
Cm
B
¸
¸
¸
¸ ¸
¸
¸
¸
¸ ¸
¸ ¸
¸ ¸
B
¸
¸¸ ¸
¸
x
@
¸¸ ¸
¸ ¸
¸ ¸ x
Cm 7
¸
F7
¸
V
¸
V
¸
V
¸ ¸
¸ ¸
V V
I ¸
¸ ¸ ¸
¸ ¸
x
¸
¸ ¸ Cm
¸
x
¸
¸
B
@
¸ ¸
F7
x
¸
¸
x
¸¸ ¸
I ¸¸
V B B
@
B
¸
¸
I ¸¸
V
¸
¸
x
F
¸
x
@
I ¸
V V
I ¸ I ¸
V BB V
Low Br. & W. W.
S. D. B. D.
B I B ¢ ¸¸ B B * ¢ ¸ E
Pno. Accomp.
@
¸ *
V
V
B
@
x
V V V
Review ■ Unit 13 179
? 3 œ œœ œœ b4
1. Harmonize with a waltz style accompaniment.
Harmonization
Waltz Style Accompaniment
Waltz
13-6
Moderate waltz
B &
5 :
B@
B
9 :
B 1
13 :
F
1
F
5
F
B
C 7/E
C 7/E
4
3
5
in
F Major
3
C 7/E
F
Gm
1
1
Franz Schubert (1797–1828) Op. 77, No. 10 Dm
C 7/E 4
5
F
¸
4
Dm
4
¸
1
F
Transpose
to G major.
2. using I, V7, IV, ii and V7/V, harmonize with a broken chord accompaniment. use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff. Broken Chord Accompaniment
My Bonnie
13-7
Lilting
b3 b & 4 œ F
œ.
5
b . &b œ
9
&
13
5
b &b œ
œ œ J
œ
180 Unit 13 ■ Review
œ œ
œ
2
œ
˙
˙. 1
œ œ
H. J. Fuller 1
œ
œ
5
œ
œ
5
œ
3
œ
œ
3
œ œ J
5
bb œ .
œ œ J
5
1
œ œ
? b3 œ œ œ b 4
œ œ
Œ
2
˙
œ ˙.
Œ
Œ
1
œ 1
œ 1
œ
˙ Transpose
to C major.
Unit 13
Review Worksheet Date _____________________
Name ________________________
1. Label each statement with the musical style period that it describes best. Write B for Baroque, CL for Classical, R for Romantic or CO for Contemporary.
a. ______ Composers began notating dynamic contrasts, phrasing and precise articulation.
g. ______ Sonata-allegro, sonatina, minuet and trio, rondo, and theme and variations were the prevalent musical forms.
b. ______ Dissonance, prepared instruments and new notation combine to create a variety of new sounds.
h. ______ Two or more lines are played simultaneously to create counterpoint.
c. ______ Strong beats, upbeats and fast changing rhythmic motion are emphasized.
i. ______ Well-known composers are Frédéric Chopin, johannes Brahms, Robert Schumann and Franz Liszt.
d. ______ Etudes, concertos, character pieces, dances and variations were the prevalent musical forms.
j. ______ much of the music from this period has no real feeling of tonal center, and employs modal, pentatonic and 12-tone scales.
e. ______ Well-known composers are johann Sebastian Bach, Domenico Scarlatti, jean-Philippe Rameau and Antonio Vivaldi.
k. ______ Well-known composers are Franz joseph Haydn, Wolfgang Amadeus mozart, muzio Clementi and Ludwig van Beethoven.
f. ______ multiple meters, polyrhythms and minimalistic techniques are used.
l. ______ Harmony is more complex with the use of accidentals, chromaticism, diminished and dominant seventh chords, and modulations to unrelated keys.
2. Transpose the following melody for F horn to concert pitch and write it on the staff below with the appropriate key signature.
#3 œ œ œ & 8
œ
œ J
œ œ œ
œ.
œ œ œ
œ œ œ
œ œ œ
œ.
&
Review ■ Unit 13 181
3. identify each major and harmonic minor scale below by writing its name on the indicated line. Write the correct RH fingering on the lines above the staff and the correct LH fingering on the line below the staff. Major Scale
Major Scale
BB B
Harmonic Minor Scale
Harmonic Minor Scale
BB
4. identify each dominant seventh arpeggio below by writing its name on the indicated line. Write the correct RH fingering on the lines above the staff and the correct LH fingering on the lines below the staff. Dominant Seventh Arpeggio
B
B B B
B
Dominant Seventh Arpeggio
B
B B B
182 Unit 13 ■ Review
Unit 14
Objectives
Modulation to Dominant Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play a chord progression that modulates to the dominant in selected major keys. 2. Play major scales and arpeggios in Group 1 keys, using traditional fingerings. 3. Perform solo repertoire that modulates to the dominant. 4. Sight-read and transpose music that modulates to the dominant. 5. Improvise a melody in Baroque style over a bass line. 6. Harmonize and transpose music that uses the V7/III chord and modulates to the dominant. 7. Play a three-part choral score (SAT). 8. Play a melody for viola written in alto clef. 9. Play a three-part instrumental score for B trumpet, F horn and trombone. 10. Play a vocal warm-up that modulates upward by half steps.
Modulation to Dominant ■ Unit 14
183
Modulation
Modulation is the process of changing from one key to another in a logical manner so that a new tonal center is established. From a musical standpoint, modulation adds momentum to music and facilitates many formal structures, such as sonata form, that are dependent upon it. The two most prevalent types of modulation are common chord (pivot) modulation and direct (phrase) modulation. Common chord modulation uses a chord found in both keys to move to the new tonal center either diatonically, chromatically or enharmonically. Direct modulation occurs when a phrase ends in one key and the next phrase immediately begins in the new key.
Playing a Chord Progression That Modulates to the Dominant
Play the chord progression that modulates to the dominant.
14-1
C
G7
C
5 2 1
4 2 1
5 2 1
5 3 1
5 3 1
5
˙ 2
˙
˙
V7
I
vi6
& 44 ˙˙˙ ? 44 ˙ 2
Key of C:
I
˙˙˙ ˙
Am/C
˙˙ ˙
˙˙ ˙ 2
Key of G: ii6
G/D
˙˙ ˙ 1
I6 4
D7
G
5 3 1
5 2 1
# ˙˙˙
ww w
˙ 1
w
V7
I
5
Practice the above progression in the following keys:
Practicing Major Scales (Group 1 Keys): C, G, D, A and E
14-2
1. G major
14-4
3. D major
14-3
2. F major
14-5
4. B major
Play two-octave major scales in Group 1 keys. See pages 14, 29, 44, 56, and 69. The following principles will help you remember the fingering for the Group 1 major scales: 1. All five scales use the same fingering. RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2. The fourth finger plays only once per octave in each scale. 3. Thumbs play on the tonic of each scale. (Note: Thumb must be substituted for finger 5 at the beginning and end of the scale.) 4. When playing hands together, finger 3 in each hand plays at the same time.
184
Unit 14 ■ Modulation to Dominant
Practicing Major Arpeggios (Group 1 Keys): C, G, D, A and E
Play two-octave major arpeggios in Group 1 keys. See pages 14, 29, 44, 56, and 69. The following principles will help you remember the fingering for the Group 1 major arpeggios: 1. All five arpeggios use the same fingering in the RH. RH: 1 2 3 1 2 3 5 2. When playing the LH arpeggio, use finger 4 when there is one white key between the root and third of the broken chord. Use finger 3 when there are two white keys between the root and third of the broken chord. LH (C, G): 5 4 2 1 4 2 1 LH (D, A, E): 5 3 2 1 3 2 1
Technique 14-6
Allegretto
& 44 œ œ œ œ œ œ œ œ œ œ œ Œ F 1
1.
&
1
2
Continue upward on white keys until…
œ Œ œ œ œ œ œ œ œ œ œ œ 1
1
2
œ œ œ Œ
œ œ œ œ œ œ œ œ
14-7
Allegretto
2.
& 1
1
2
1
1
2
Continue downward on white keys until… 14-8
Moderato
¸¸¸ E ¸¸¸ 5 3 1
3.
1 3 5
¸¸ ¸
¸¸
¸
VV V
8va
VVV
5 3 1
¸¸¸ ¸¸¸ 1 3 5
¸¸¸ ¸¸
¸
VVV
8va
VVV
¸¸¸
5 3 1
¸¸¸ ¸¸ ¸ 1 3 5
Transpose
¸¸ ¸
VVV
8va
VV V
to B major and D major.
Modulation to Dominant ■ Unit 14
185
Before playing:
S olo Repertoire
•Notice that both hands begin in the treble clef. •Circle the clef changes. While playing: •Play grace notes quickly before the beat. •Listen carefully for slurs and staccato notes.
Bagatelle 14-9
O Allegretto 3
5 : 3
3 5
3 5
9 : 3
3 5
O
3 5
186
3 5
Unit 14 ■ Modulation to Dominant
3 5
1 5
4
E
1 2
1 5
2
I 4 M
5
1 5
3 5
Anton Diabelli (1781–1858) Op. 125, No. 10
1 5
2 5
1 5
¢
I ¢ *
¢
1 5
1 5
2 5
2
*
4 2
I 4 M
5
I ¢
1 5
¢ *
2
1 5
3
I ¢ 2
13 : 3
3 5
E 3 5
21 :
O
3 5
29 : 3
3 5
1 2
1 5
3
1 5
* ¢
2 5
4
E 1 3 5
1 5
1 2 5
5
1 5
¢
I ¢ 3
I 4 M
5
3
1 3
3
1
3 5
2
1
1 5
*
3 5
2
3 5
O
3 25 :
E
5
4 2
4
1
1
5
17 :
*
2
1 5
I ¢ 2
¢ * I ¢ 5 1
1 3
¢
5
Modulation to Dominant ■ Unit 14
187
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
14-10
Allegretto
bb 3 b & 8 œ F ? b b 38 œ b
j œ
1
1.
1
3
5
bb œ b & ? bb
œ
œ œ
1
3
5
2
œ J œ
œ
œ.
œ œ
œ
œ œ
œ
œ
nœ 3
5
œ
œ.
1
1 2
œ
œœ ..
Sonatina
in
œ
œ
œ
1
2
5
œ J œ
œ
œ
b
œ
œ
œ
œ J œ
5
œ
œ
5
œ
Transpose to F major.
C Major
(exCerpt)
William Duncombe (18th century)
14-11
Moderato
œ œ œ
& 24 œ f˙ ?2 4 1
2.
3
œ ˙
œ œ œ 3
œ œ œ œ
4
œ œ œ œ
1
˙
œ 1
1
5
& œ 3
? œ
œ
œ œ œ
œ
œ œ œ
œ
œ
œ
œ
œ
1
3
3
œ 1
œ 3
œ 5
œ
˙ ˙ 2
Transpose
188
Unit 14 ■ Modulation to Dominant
to D major.
danCe (exCerpt)
14-12
Moderato
& 34 œœ F ? 34 œ 5 1
3.
œœ & 2 1
cresc.
? œ
œ œ
œ
5
5
œ œ
˙ œ ˙ œ œ #œ œ œ œ
œœ
œœ
5
œ
2
œœ
œ
1
Improvisation in Baroque Style
4 2
œœ
œœ œ
œ
œ
˙˙ œœ œ œ œ œ œ
5
œœ
˙˙
œ
œ
3 1
4 1
œ
Ignaz J. Pleyel (1757–1831)
œœ
œœ
4 2
f œ
œ
œ
œœ
˙˙
2 1
œœ
4 2
# œ
œ #œ œ œ œ
Following the given bass line, complete the melody for the Bourrée by continuing in a similar manner.
Bourrée
(adapted
exCerpt)
Georg Philipp Telemann (1681–1767)
14-13
Allegro
$ & $ 3
¸
1
¸
5
¸
¸
2
¸
¸
1
5 :
¸
¸
2
1
cresc.
¸
¸ 5
¸ 2
Modulation to Dominant ■ Unit 14
189
1. Harmonize with a broken chord accompaniment.
Harmonization
Broken Chord Accompaniment
? 2 œ b4
œœ
14-14
Moderato F
& b 24 œ F 3
G 7/F
œ #œ œ œ œ
œ
C7
6
& b œ #œ œ œ œ G 7/B
12
&b
2
œ
5
œ œ nœ œ 2
œ
œ œ œ œ
2
5
C Fine
˙
œ œ œ
3
2
F 2
œ #œ œ nœ F
1
C
1
C 7/E
œ D 7/C
œ
1
œ #œ œ œ œ
œ 1
œ #œ œ œ œ
C7 1
2
2
3
œ #œ œ nœ
G 7/B
œ
œ
1
2
œ œ nœ œ
D. C. al Fine
bœ
œ
Transpose
to G major.
2. Using i, V7, iv, III and V7/III, harmonize with a block chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff. Block Chord Accompaniment
? # 38 œœœ ...
We three KingS (exCerpt)
John Henry Hopkins (1820–1891)
14-15
Moderato
#3 œ & 8 P 5
9
&
#
1
œ
j œ œ
j œ œ œ œ
j œ
j œ
œ
œ
œ J
œ.
œ
œ œ œ
j œ œ
j œ œ œ œ
œ œ œ
1
œ
j œ 2
Transpose
190
Unit 14 ■ Modulation to Dominant
œ
‰
1
œ. to D minor.
Practice the choral score in the following ways:
Choral Score Reading for Soprano, Alto and Tenor (SAT)
1. 2. 3. 4. 5. 6. 7.
Soprano (RH) alone. Alto (RH) alone. Soprano (RH) and alto (RH) together. Tenor (LH) alone (one octave lower than written). Soprano (RH) and tenor (LH) together. Alto (RH) and tenor (LH) together. Soprano (RH), alto (RH) and tenor (LH) together.
glory
(exCerpt
to
froM
god
The Messiah)
14-16
# # cPœ &
Allegro
S
A
T
# # cP œ & # # cPœ &
## f j œ œ Œ œ œ . J & # # f j ˚j Œ & œ œ. œ œ # # fœ œ . œ & J J œ Œ
5
S
A
T
œ. œ J J œ j œ œ. J œ œ. œ J J œ
Œ
œ
Œ
œ
Œ
œ
œ . Jœ œ J j œ . Jœ œ j ˚j œ œ. œ
œ œ . œJ œ Œ J j œ˚j œ Œ œ œ. j ˚ œ œ . œj œ Œ
œ œ J J
George Frideric Handel (1685–1759)
w
˙
j j w œ œ
Ó
˙
Ó
œ œ J J
w
œ œ. œ œ J J j ˚j œ œ. œœ œ œ. œ œ J J
˙
œ œ J J
Ó
˙
j j œ œ ˙ œ œ J J
˙
˙ ˙ ˙
Modulation to Dominant ■ Unit 14
191
Viola parts are usually written in alto clef. Middle C in alto clef is located on the third line of the staff.
Viola and Alto Clef
When these instruments play
they sound
B 44 œ œ œ œ ˙ 4 &4 œ œ œ œ ˙
Play the viola part.
pilgriM’S ChoruS (froM Tannhäuser)
14-17
r #
Andante maestoso
6 :
# ¸
11 :
¸
Richard Wagner (1813–1883) Arr. Jacquelyn Dillon, James Kjelland and John O’Reilly
r 3
#
¸
¸ r
3
¸
simile
3
¸
¸
r ¸ * o
“Pilgrim’s Chorus” adapted from STRICTLy STRINGS, Book 2 by Jacquelyn Dillon, James kjelland and John o’Reilly Copyright © MCMXCIII by Highland/Etling Publishing, a division of Alfred Publishing Co., Inc.
192
Unit 14 ■ Modulation to Dominant
1. Transpose the line for B trumpet to concert pitch. 2. Transpose the line for F horn to concert pitch. 3. Play the score using the following combination: a. B trumpet and trombone. c. B trumpet and F horn. b. F horn and trombone. d. All three parts.
Score Reading and Transposing Instruments
the Carnival
14-18
O B O B B O
B@ Trpt F Hn. Trb.
B@ Trpt
Allegro
9 :
¸
¸
¸
¸
BB ¸
¸
¸
¸
¸
¸
B
Trb.
¸
¸
F Hn.
¸
¸ ¸
¸ ¸ ¸
of
veniCe Arr. John O’Reilly and John Kinyon
¸
¸
¸
¸
¸
¸
¸ ¸ ¸
¸
¸
¸
¸
¸
¸
¸
¸
¸
¸
¸
¸
“The Carnival of Venice” adapted from yAMAHA BAND ENSEMBLES, Book 1 by John o’Reilly and John kinyon Copyright © MCMXC by Alfred Publishing Co., Inc.
Vocal Warm-Ups
The pattern that follows is often used as a vocal warm-up. It modulates upward by half steps using a common tone in the bass. Practice the exercise continuing upward by half steps until you have played it in all 12 major keys.
14-19
V & ¸¸ B B ¸¸ ¸¸¸ ¸¸¸ ¸ ¸
1
1
1 3 5
5
1 2 5
1 2 5
¸¸¸ ¸¸¸
V ¸¸¸ B B ¸¸¸
BBBBB V ¸¸¸ M M ¸¸ ¸¸ BB BB ¸¸¸ ¸ ¸ B
Moderato
1 3 5
BBB
BBB
V MMM
Continue upward until…
MMM ¸ ¸¸
¸¸ ¸
V VV
Modulation to Dominant ■ Unit 14
193
Unit 15
Objectives
Modulation to Subdominant Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play a chord progression that modulates to the subdominant in selected major keys. 2. Improvise a melody in Classical style over a chord progression. 3. Perform solo repertoire that modulates to the subdominant. 4. Play major scales and arpeggios in Group 2 keys, using traditional fingerings. 5. Sight-read easy piano repertoire and music that modulates to the subdominant. 6. Harmonize and transpose music that modulates to the subdominant. 7. Play a three-part choral score (SAT). 8. Play melodies for viola written in alto clef. 9. Perform a four-part ensemble with partners.
194 Unit 15 ■ Modulation to Subdominant
Playing a Chord Progression That Modulates to the Subdominant 15-1
Play the chord progression that modulates to the subdominant.
C
G7
C
C7
& 44 ˙˙˙
˙˙˙
˙˙ ˙
b ˙˙ ˙
5 2 1
4 2 1
?4 ˙ 4
˙
1
5 2 1
˙
V7
F
C
F
˙˙ ˙
˙˙˙
ww w w
5 3 1
˙
1
4
Key of C: I
5 2 1
5
˙
I
V
˙
1
I Key of F: V
5 3 1
V7
5 2 1
2
1
I
Practice the above progression in the following keys: 15-2
1. G major
15-4
15-3
2. F major
15-5
3. D major
4. B major
Using the suggested harmonies, complete the Sonatina in G Major by continuing in a similar style.
Improvisation in Classical Style
Sonatina
in
G Major
(excerpt)
15-6
Anton Diabelli (1781–1858) Op. 151, No. 1
Andantino cantabile
#3 œ œ ‰ œ œ & 4 œ. œ œ J P œœœœœœœ œœ œœ œœ œ œ ? # 34 Œ œ œ œ 1
3
3
3
&
sempre legato I
#
3
3
5 3
4 2
5
3
V6
V6
I
Œ
œ
?# I6
˙
IV
œ
ii6
˙
I6 4
œ
V7
œ œ œ œ ‰ J I
3
Modulation to Subdominant ■ Unit 15 195
Before playing:
S olo Repertoire
•In measures 1–16, identify the harmonic intervals in the RH and the melodic intervals in the lH. •Tap the rhythm hands together. While playing: •lift hands for rests. •listen carefully for slurs and staccato notes.
the pioneer Spirit 15-7
Randall Hartsell
Lively
E 5 1
1
5
5 :
9 :
5
13 :
5 1
3 1
1
5 1
5 2
“The Pioneer Spirit” from SomeTHInG SPeCIAl, Book 2 by Randall Hartsell Copyright © mCmXC by Alfred Publishing Co., Inc.
196 Unit 15 ■ Modulation to Subdominant
¸ ¸ ¸
¸¸ ¸
¸¸ ¸
¸¸ ¸
17
& Œ #œ F ? w 4
œ œ œ
1
21
& Π?
œ
25
œ œ œ
& Œ #œ F ? w 4
Œ œ
& Œ œ œ f ? œ œ
33
& Œ f ? œ
œ œ œ
˙
Œ
œœ œ
œ
œ œ œ
#œ
Œ
Œ
1
29
#œ
œœ œ
œ Œ œ
˙
œ œœ œ
Œ œ
œ
œ
œœ œ
Œ
œ
œ
œœ œ
Œ
˙
Œ
Œ œ
˙ Œ
œœ œ
œ
œ
œ
˙
œœ œ
œ
œ
˙˙ ˙
œ œ œ
œ
œ
œ
œ
Œ
Œ
Œ
œœ œ
Œ
œœ œ
p œ
œœ œ
Œ
œ
Œ œ w
œœ œ
œ
œ œ œ
œ œ œ
œ
œ
˙
œ
w
œœ œ
œ
œœ œ
Œ
œ
œ œ œ
w w
più
œ œ
œ
f
Œ
œœ œ
˙
œ
œ œ
8va
Œ
˙
œ w w ww
Modulation to Subdominant ■ Unit 15 197
Practicing Major Scales (Group 2 Keys): F, B, G (F ) and D
Play two-octave major scales in Group 2 keys. See pages 81, 95, 107, and 119. The following principles will help you remember the fingering for the Group 2 major scales: 1. Fingers 2 and 3 play the two-black-key groups (or white-key equivalents). • In the key of F major, fingers 2 and 3 play D and e. • In the keys of G-flat and D-flat major, fingers 2 and 3 play D and e . • In the keys of B and F-sharp major, fingers 2 and 3 play C and D . 2. Fingers 2, 3 and 4 play the three-black-key groups (or whitekey equivalents). • In the key of F major, fingers 2, 3 and 4 play G, A and B . • In the keys of G-flat and D-flat major, fingers 2, 3 and 4 play Gb, Ab and Bb. • In the keys of B and F-sharp major, fingers 2, 3 and 4 play F , G and A . 3. When playing scales hands together, thumbs play at the same time on white keys (except on the first and last notes of F and B).
Practicing Major Arpeggios (Group 2 Keys): F, B, G (F ) and D
Play two-octave major arpeggios in Group 2 keys. See pages 81, 95, 107, and 119. The following principles will help you remember the fingering for the Group 2 major arpeggios: 1. Arpeggios in the keys of F, B and G-flat major use the same fingering in the right hand. RH: 1 2 3 1 2 3 5 When playing the lH arpeggios, use finger 4 when there is one white key between the root and third of the broken chord. Use finger 3 when there are two white keys between the root and third of the broken chord. lH: (F) 5 4 2 1 4 2 1 lH: (B, G ) 5 3 2 1 3 2 1
2. For the D major arpeggio: • Thumbs play the white keys. In addition to the thumbs, only fingers 2 and 4 are used. • In the right hand, the fourth finger plays the root. RH: 4 1 2 4 1 2 4 • In the left hand, the second finger plays the root. lH: 2 1 4 2 1 4 2
198 Unit 15 ■ Modulation to Subdominant
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading
15-8
Flowing
& 24 œ . P ?2 œ œ 4
œ J
3
1.
5
j œ 3
& œ. ?
œ
1
2
5
5
œ
œ
1
œ
œ
œ
œ
1
2
5
œ
œ
œ
œ
2
˙
œ
1
œ
˙
œ
bœ
œ
œ
œ
2
5
œ
1
œ bœ œ
bœ
œ
œ
œ
œ
œ
2
˙ ˙˙
œ 3
2 4
Minuet (excerpt)
Georg Philipp Telemann (1681–1767)
15-9
Allegretto
& ¸ 2
2.
¸
1
5
¸
¸
1
¸
4
1
¸
¸
¸
¸
1
2
¸
1
4
3
1
1
2
1
Modulation to Subdominant ■ Unit 15 199
Reading (continued)
prelude (excerpt)
15-10
Allegro
E ¸¸¸
3.
2
1
1 3 5
5 :
¸¸ ¸
1 3 5
2
1
¸¸ ¸
¸ ¸¸
1
2
Harmonization
3
¸¸ ¸
1 3 5
2
¸¸ ¸
1
2
¸¸
1
1 2 5
1
1
1 3 5
Samuel Maykapar (1867–1938)
1 2
2
¸ ¸ ¸
1 3
1. Harmonize with a waltz style accompaniment.
? b 43 œ œœ œœ
Waltz Style Accompaniment
eMperor Waltz 15-11
Allegro
¸ B &I 3
9 :
B
¸ 3
¸
ii6
¸
ii6
¸
¸
¸ 1
Johann Strauss (1825–1899)
2
V7
¸
I
¸ * * 5
1
V7/vi
vi
5
V7
Transpose
200 Unit 15 ■ Modulation to Subdominant
¸
¸ I
to G major.
2. Harmonize with a broken chord accompaniment. Broken Chord Accompaniment
? bb3 œ œ bb 8 œ
15-12
Moderato A@
B B B B 0 5
E @7/G
A@
A @7
D@
I B I
A @7/C
D@
I
I
Transpose
to D major.
3. Using I, V7, IV and V7/IV, harmonize with a waltz style accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.
? # # 3 œ œœ œœ 4
Waltz Style Accompaniment
15-13
0
Lively
3
1
5 :
9 :
13 :
4
2
5
1
2
M
*
¸ 1
*
M
¸
¸
1
2
England
¸
3
Transpose
to e major.
Modulation to Subdominant ■ Unit 15 201
Practice the choral score in the following ways:
Choral Score Reading for Soprano, Alto and Tenor (SAT)
1. 2. 3. 4. 5. 6. 7.
Soprano (RH) alone. Alto (RH and lH) alone. Soprano (RH) and alto (RH and lH) together. Tenor (lH) alone (one octave lower than written). Soprano (RH) and tenor (lH) together. Alto (RH and lH) and tenor (lH) together. Soprano (RH), alto (RH and lH) and tenor (lH) together.
dieS irae
(adapted
excerpt froM
Requiem)
15-14
Allegro assai
S
f b 4 &b b 4 ˙ f b 4 &b b 4 ˙ RH
A
T
f b & b b 44 ˙
˙
Wolfgang Amadeus Mozart (1756–1791)
œ
A
T
&
˙
˙
œ
œ
Œ
œ œ
œ
œ
Ó
˙
˙
œ
œ
Œ
œ œ
˙
œ
œ
Ó
n˙
˙
œ
œ
Œ
œ œ
œ nœ
Ó
œ
œ
Ó
œ
œ
b & b b nœ œ Œ œ œ bbb
Ó
˙
5
S
œ
œ œ Œ œ œ
œ œ œ.
œ J
œ œ Œ œ œ
b œ œ Œ œ œ nœ œ Œ œ bœ &b b
202 Unit 15 ■ Modulation to Subdominant
œ œ œ œ LH
RH
œ œ nœ œ œ œ œ œ
Ó
Viola and Alto Clef
middle C in alto clef is located on the third line of the staff. (See page 192.) Play the viola parts.
rondeau 15-15
s s B 1. # B sempre E Allegro
2
s # BB 5
Jean-Joseph Mouret (1682–1738) Arr. Jacquelyn Dillon, James Kjelland and John O’Reilly
r r
3 s 2.
rit.
r 1.
4
“Rondeau” from STRInG eXPloReR, Viola Book 2, by Andrew Dabczynski, Richard meyer and Bob Phillips Copyright © mmIII by Alfred Publishing Co., Inc.
over
the
river (and throuGh
15-16
the
American Folk Song Arr. Jacquelyn Dillon, James Kjelland and John O’Reilly
s * * * 2. # E Allegretto
4
4
# * * 6
WoodS)
4
r r * *
( )
s * * 4
r
s * * * # * * * * ¢
11
“over the River (and Through the Woods)” from STRICTly STRInGS, Viola Book 2, by Jacquelyn Dillon, James kjelland and John o’Reilly Copyright © mCmXCIII by Highland/etling Publishing, a division of Alfred Publishing Co., Inc. Modulation to Subdominant ■ Unit 15 203
Ensemble Repertoire in
the
Good old SuMMer tiMe
15-17
George Evans (1870–1915)
Moderate waltz tempo
¸ &In the good old ¸ & ¸ & play & 2
Part 1
Part 2
1
3
2
Part 3
5 3 1
Part 4
5
9
¸ 1
1
¸ 2
3
Stroll - ing through
2
3
4
1
¸
¸
¸
¸
4
the
¸ In the good old
¸ ¸
¸
¸ 1
¸
¸
1
sum - mer time,
¸
5
¸
¸
¸
5
5
sum - mer time,
¸
5
3
one octave lower than written throughout
1
2
5 3 1
RH
¸ shad
¸ -
¸
y
¸
¸
lanes
with
your
4
¸
¸
¸
3
¸
¸
ba
¸ -
by
¸
mine;
You
¸
3
¸
2
M¸
M ¸
¸
2
2
4
5 4 1
5 3 1
¸¸ ¸
204 Unit 15 ■ Modulation to Subdominant
¸ 4
1
2
17
¸ 1
1
hold
2
3
1
¸
¸
¸
¸ 2
3
her
hand
and
¸
holds yours,
And thatʼs
3
she
¸
¸ 1
4
¸
¸
a
ver - y good
¸
¸
¸
2
1
5
2
3
¸
¸
2
¸
sign
That
2
3
¸
5
3
1
2
4
1
5
25
¸ 1
1
sheʼs
2
3
4
¸
¸
2
your
3
toot
¸
-
sey
¸ woot -
¸
¸
sey
In
3
¸
¸
3
¸
the
good old
¸
¸
2
¸
¸
1
5 3 1
¸ sum -
¸
mer
time.
¸
M
¸
¸
M
¸
2
5 4 1
Modulation to Subdominant ■ Unit 15 205
Unit 16
Objectives
Three-Part Form Assignments
Week of __________
Write your assignments for the week in the space below.
Upon completion of this unit the student will be able to: 1. Play major scales and arpeggios in Group 3 keys, using traditional fingerings. 2. Play Cdim7, Gdim7 and Ddim7 arpeggios. 3. Perform solo repertoire in three-part form. 4. Sight-read music from easy piano repertoire and music that uses the diminished seventh chord. 5. Harmonize and transpose melodies with secondary dominants and the iio chord. 6. Perform duet repertoire with a partner. 7. Improvise melodies from chord symbols. 8. Play a two-part instrumental score for violin and viola. 9. Accompany an F horn solo. 10. Play a three-part choral score (SAT).
Practicing Major Scales (Group 3 Keys): B , E and A
206 Unit 16 ■ Three-Part Form
Play two-octave major scales in Group 3 keys. See pages 136, 150, and 159. The following principles will help you remember the fingering for the Group 3 major scales: 1. All three scales use the same LH fingering. LH: 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 2. The fourth finger in the RH always plays B.
Practicing Major Arpeggios (Group 3 Keys): B , E and A
Play two-octave major arpeggios in Group 3 keys. See pages 136, 150, and 159. The following principles will help you remember the fingering for the Group 3 major arpeggios:
1. For the E and A major arpeggios (same as D from Group 2): • Thumbs play the white keys. In addition to the thumbs, only fingers 2 and 4 are used. • In the right hand, the fourth finger plays the root. RH: 4 1 2 4 1 2 4 • In the left hand, the second finger plays the root. LH: 2 1 4 2 1 4 2
2. For the B major arpeggios: • The right hand fingering is the same as D , A and E . RH: 4 1 2 4 1 2 4 • The left hand has its own unique fingering. LH: 3 2 1 3 2 1 3 Practice the diminished seventh arpeggios hands separately.
Playing Diminished Seventh Arpeggios 16-1
& 44 œ b œ b œ ∫ œ
Cdim7
1.
? 44
2
3
4
1
∫œ b œ b œ œ 5
4
3
2
∫œ b œ b œ œ 2
3
4
1
∫œ b œ b œ œ 1
4
3
2
w 2
w 1
œ ∫œ bœ bœ 2
1
4
3
œ ∫œ bœ bœ 1
2
3
4
œ ∫œ bœ bœ 2
1
4
3
œ ∫œ bœ bœ 1
2
3
4
2
w w 5
16-2
Gdim7
2.
& 44 ?4 4
2
3
4
1
bœ bœ b œ œ bœ b œ b œ œ 5
4
3
2
16-3
Ddim7
3.
4 & 4 œ œ bœ bœ ?4 4
2
3
4
1
bœ b œ œ œ 2
1
4
3
bœ b œ b œ œ 2
3
4
1
bœ bœ b œ œ 1
4
3
2
bœ b œ œ œ 2
3
4
1
bœ b œ œ œ 2
1
4
3
w 2
w 1
w 2
w 2
œ bœ bœ bœ 2
1
4
3
œ bœ bœ bœ 1
2
3
4
œ bœ bœ œ 2
1
4
3
œ bœ bœ œ 2
3
4
1
2
œ bœ bœ bœ 1
4
3
œ bœ bœ bœ 1
2
3
4
œ bœ bœ œ 2
1
4
3
œ bœ bœ œ 2
3
4
1
2
w w 5
2
w w 2
Three-Part Form ■ Unit 16 207
Three-Part Form (Ternary)
Three-part form is divided into three sections symbolized by the letters ABA. The first section is called A; the second section is called B. The second section contrasts with the first section while the third section is usually an exact or similar repeat of the first section. This form is often used in the second movements of sonatinas as well as in minuets and scherzos that have contrasting trio sections. Before playing:
S olo Repertoire
•Map the piece using the D.C. al Fine and Fine. •Name the chords in the LH of measures 1–2 and 13–14. While playing: •Play the quarter notes slightly detached unless otherwise indicated. •Observe the terraced-dynamic changes between forte and piano.
Minuet
16-4
Andante moderato
B O ¸¸¸ ¸¸ ¸ B 2
1 3 5
1 3 5
B O x B
6 :
4
B
11 :
1
4
B 3
x
¸¸ ¸
1
16 :
B B 1
2
Fine
E ¸ ¸¸
208 Unit 16 ■ Three-Part Form
2
¸ ¸
x
2
¸ ¸
2
3
O
E B
x
4
1
1 3 5
2
x
¸¸¸
E
2
1
M O¸ ¸¸ 1 3 5
x
2
O
Leopold Mozart (1719–1789)
3
E 5 2 1
D Minor
in
D. C. al Fine
M 1
¸ ¸
4
1
1
3
1
2
Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.
Reading 16-5
Walking
& b 44 ˙˙ P ? b 44 w w 3 1
1.
2 1
œ
nœ
˙˙ cresc. bw bw
2 1
&b ˙ ˙ F ? b ww
w w
œ
˙ ˙ dim. ww
1 5
œ
ww w w
œ
w w P ww
1 5
4 1
œ
3
œ
˙˙
1 5
1 5
5
œ
nœ
5
œ
2 1
œ
œ
˙˙ ww
1 4
Dance
(excerpt
froM
For Children)
Béla Bartók (1881–1945)
16-6
Poco allegretto
& 24 œ F ? 24 Œ 2
2.
œ œœ
˙ ? ˙˙ 1 2 4
œ p Œ
˙˙
1 3
6
& œ
˙
œ
œ
œ p
œ
œ ∑
œ
œ œœ
œ
4
œ œ F
˙ ˙˙
œ ∑
2 5
œ ˙˙ ˙
1 2 5
œ
4 2
œœ œ
œœ
poco ritard.
1
œ 5
œ
˙ ˙˙ ˙ 1 2 3
Three-Part Form ■ Unit 16 209
Reading (continued)
chorale (excerpt)
16-7
Moderato
3.
Robert Schumann (1810–1856) Op. 68, No. 4
3 1
$ ¸¸ O $ ¸¸
¸¸
4 1
¸
¸¸
4 1
¸¸
¸¸
¸
Harmonization
5 (1)
¸ ¸
¸¸
¸
¸¸
16-8
Moderate waltz tempo 3
9 :
17 :
25 :
1
3
¸
¸ M
¸
I
V6 /vi
1
1
5
¸ I
3
¸
in
1
¸
1
¸
¸¸
S
3
V V
3 V
V
œœ
?3 œ 4
œœ
St. louiS, louiS Kerry Mills (1869–1948)
¸
¸
1. Harmonize with a waltz style accompaniment.
Meet Me
¸ &I
4 1
2
¸¸
Waltz Style Accompaniment
1
¸¸ ¸ ¸
¸ ¸
4 1
5 2
¸ ¸
¸¸
3
¸¸ ¸¸
3
3 2
4 1
ped. simile
¸¸
¸ ¸
¸ ¸
¸
1 3
1 2
5 :
¸ ¸
¸ ¸
5 2
¸ ¸ 5
vi
¸
¸ 3
¸
¸
¸ 5
N.C.
V6 /V
¸
¸
3
V7/V 1
¸
IV6 1
¸
4
3
2
1
3
5
2
V7/V
¸
V6 /V
I
¸
V6 5
2
V
5
¸
¸
V7
¸
¸
V
¸ I
N.C.
¸
4
N.C.
Transpose
210 Unit 16 ■ Three-Part Form
to B major.
2. Harmonize with a block chord accompaniment.
˙ ? # c ˙˙
Block Chord Accompaniment
˙ ˙˙
careleSS love 16-9
United States
Moderato G
D7
C &
I
5
G
G7
5 :
*
1
G
V7/IV
* 4
C/G
5
2
V
*
G
I 4
1
D 7/F
D7
I
V
G
V
Transpose
to A major.
o
3. Using i, V7 and ii , harmonize with a waltz style accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.
? b 43 œ œœ œœ
Waltz Style Accompaniment
tuM Balalaika 16-10
Fast
3 œ œ . œj œ œ . œj œ b & 4 œ œ f 5
9
&b
3
œ œ œ 2
˙ œ 5
3
œ œ œ
˙. 1
3
˙ œ
Israel
j j . . œ œ œ œ œ œ œ œ œ
˙ œ
œ œ œ
˙
1
2
˙ œ
œ œ œ Transpose
Œ
to C minor.
Three-Part Form ■ Unit 16 211
uet Repertoire D
allegro
in
e Minor
(Melodious PieCes) SeconDo
16-11
Allegro
C O C 5 3 1
¬
2
4 :
: 7
5
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