Basic Keyboard Skills
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BASIC KEYBOARD SKILLS
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KEYBOARD SKILLS
AN INTRODUCTION TO ACCOMPANIMENT IMPROVISATION, TRANSPOSITION AND MODULATION, WITH AN APPENDIX ON SIGHT READING
WILLIAM PELZ Butler University
ALLYN AND BACON, INC Boston, 1963
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TO ROWENA
MUSIC LIBRARY
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© Copyright, 1963, by ALLYN AND BACON, INC., Tremont Street, Boston. All rights reserved. No book may be reproduced in any form, by mimeograph or any other means, without permission 150
part of this
in writing
from the
publishers. Printed in the
United Card
States of America. Library of Congress Catalog
Number: 63-18658
INTRODUCTION Basic
Keyboard
Skills is
a book for those
who
desire to develop
the ability to improvise accompaniments, transpose, modulate and sightread. It assumes that the reader has
completed
study and has done (and will continue to do use of this book)
work
in basic theory
a
so,
year or
two of piano
concurrently with the
and harmony.
It is
concerned with
the application of fundamental ideas in music theory to the following practical ends:
The teaching of rote songs at the piano; The playing of accompaniments for singing games and folk dancing; The accompanying of instrumental and vocal soloists and ensembles studio, rehearsal room and concert hall; The accompanying of group singing on social occasions, and Church
in the
service playing.
The
concepts and problems involved in these disciplines are pre-
sented briefly and directly.
Each concept
is
illustrated
by means of musical
examples. Exercise materials at the end of each chapter embrace
commonly-used
keys, meters and tempi, and appear in
all
the
problem forms
directly applicable to the practical situations listed above.
While accompaniment
improvisation, transposition, modulation and
sight reading are indispensable skills for the ticular, there are in addition
many
keyboard performer
instances in
in par-
which they can be of
valuable assistance to the conductor, the critic and the music history student.
William Pelz
——
~~~—
CONTENTS
PART ONE: ACCOMPANIMENT IMPROVISATION ONE: ACCOMPANIMENTS USING THE PRINCIPAL CHORDS OF
I
MAJOR
KEYS IN BLOCK STYLE
3
ASSIGNMENT NO.
8
1
TWO: ACCOMPANIMENTS USING SIMPLE FIGURATIONS OF THE PRINCIPAL CHORDS IN
MAJOR KEYS
ASSIGNMENT NO.
2
I
3
16
THREE: ACCOMPANIMENTS USING BLOCK CHORDS AND SIMPLE FIGURATIONS IN MINOR KEYS
ASSIGNMENT NO. FOUR: THE
3
19
23
ASSIGNMENT NO. 4
25
THE V7 OF IV IN BLOCK CHORD AND FIGURED
FIVE:
ACCOMPANIMENTS
29
ASSIGNMENT NO.
5
31
INTRODUCTIONS
35
ASSIGNMENT NO. 6
38
SEVEN:
HYMN-STYLE ACCOMPANIMENTS
ASSIGNMENT NO. EIGHT:
7
41
42
ACCOMPANIMENTS WITH MORE SONORITY AND STRONGER
RHYTHMIC MOVEMENT ASSIGNMENT NO. NINE: DEVELOPED
47 8
ACCOMPANIMENTS
ASSIGNMENT NO. 9 VI
7
W OF V IN BLOCK CHORD AND FIGURED
ACCOMPANIMENTS
SIX:
!
49 53
58
1
PART TWO: TRANSPOSITION
67
TEN: TRANSPOSITION UP A HALF STEP TO A KEY
LETTER
WITH THE SAME
NAME
69
ASSIGNMENT NO. 10 ELEVEN: TRANSPOSITION
72
DOWN A HALF
STEP TO A KEY WITH
THE SAME LETTER NAME ASSIGNMENT NO.
77
11
79
TWELVE: TRANSPOSITION UP A WHOLE STEP
ASSIGNMENT NO.
12
THIRTEEN: TRANSPOSITION
ASSIGNMENT NO.
83
86
DOWN A WHOLE
STEP
ASSIGNMENT NO. 14
PART THREE: MODULATION DOMINANT MODULATION
ASSIGNMENT NO. SIXTEEN: PIVOT
15
MODULATION
ASSIGNMENT NO. 16 SEVENTEEN: CHROMATIC MODULATION
ASSIGNMENT NO.
97
13
FOURTEEN: TRANSPOSITION TO OTHER INTERVALS
FIFTEEN:
91
17
EIGHTEEN: ENHARMONIC MODULATION
ASSIGNMENT NO. 18 NINETEEN: MODULATIONS INVOLVING MINOR KEYS
ASSIGNMENT NO. 19
APPENDIX: SIGHT READING graded list of sight-reading materials
103
104
1
1
I
I
3
119 127 131 I
35
138 143
146 149 159
165 i
66
additional collections of pieces for sight reading
(more advanced) easy
hymns for
INDEX
CONTENTS
sight reading
169 i
69
171
vii
BASIC KEYBOARD SKILLS
PART ONE
ACCOMPANIMENT IMPROVISATION
CHAPTER ONE
Accompaniments Using the Principal Chords
Major Keys
of
in Block Style
Keyboard accompaniments to children's simple dance music should provide
port and rhythmic movement.
melody
is
most
useful.
The
songs, folk songs
two musical elements
An
accompaniment
and
—harmonic sup-
that also carries the
playing of accompaniments, in
common
with
other types of instrumental performance, requires the ability to play accurately, musically and in tempo.
performance of accompaniments
is
Competence
in the contriving
and
thus a complex resolving into three
constituents:
(a) the determination of the harmony appropriate to a given melody; (b) the selection of a suitable rhythmic background; (c) drill in the performance of selected accompaniment patterns in all the
practical keys.
Many
simple melodies strongly suggest the harmonies appropriate
from the
for their accompaniments. This results
fact that such tunes are
constructed almost exclusively from notes belonging to the principal
chords of a key
IV,
(I,
folkish tune, they are
EXAMPLE
few and can be
tones are present in a
easily recognized.
ENGLISH FOLK SONG IN THE KEY OF G MAJOR.
1.
J
j
W). When non-harmonic
Option 1-G Option 2- G Option 3-G
j
J
i
n
r
i
r
I
^m
r
1
I
rv
I
1
I
A comparison
r
r
i
principal chords of the
V7
r
V7
I
IV
I
v7 v7
I
v7
I
ir
IV IV IV
of the English Folk
^
r
V7
IV IV IV
IV
V?
r
i
I
Traditional
i
r
v7 v7
Melody
in
r
I
v7 v7
I
IV
I
I
I
v7
Example
1
I
with the
G major:
key of
^ G:
IV
I
reveals that considerable variety in harmonization
limited
framework of the three
member
of one or
instances
where
more of
a note
is
principal chords.
is
Every melody note
the principal chords in the a
member
of
possible within the
key of
more than one of
factors in (a)
chord choice
Example
1.
The two
a
G major. In
the principal
chords, alternate harmonizations of that note are possible, as the three optional harmonizations in
is
shown by
determining
are:
strong tonal progression
The progressions among the three key feeling
principal chords of a
key that reinforce
are as follows:
I-V7
I-IV V7-I IV-I
IV-V7
ACCOMPANIMENT IMPROVISATION
.
W-IV is not a strong tonal
.
progression, and should not be used in music
D
of the type being treated here. For example, the note
member of be harmonized with V7 since the
Example
1,
although a
harmonized with IV, and the
the
W chord
in measure
4 of
key of G, cannot
in the
following melody note (E) must be
would be the weak
result
tonal progression
Vz-IV.
(b) traditional cadence structure
Folk music, popular songs, dance music and children's music are usually constructed in four-measure or eight-measure phrases, and each phrase
ends with a cadence.
The
final
may
(V7-I). Intermediate cadences
On
cadences (I-V7; IV-V7).
cadence
is
almost invariably authentic
be authentic, but also
may
be half-
rare occasions the plagal cadence (IV-I)
will be used either as an intermediate cadence or as a final cadence.
English Folk Song of Example phrases; there
is
1
is
constructed of
tionship holds for
For the
all
Note
keyboard, the
I,
and an
that this cadence rela-
three optional harmonizations given in
practical purpose of keeping the
from which
positions
two eight-measure
a half -cadence at the close of the first phrase
authentic cadence closing the final phrase.
it is
easy to progress
IV and V7
The
Example
accompaniment chords
from one
chords are played
as
to another
1
in
on the
follows in the key of
G major: EXAMPLE
2.
THE PRINCIPAL CHORDS OF G MAJOR
IN PRACTICAL PLAYING POSITIONS.
Left hand
G:
Note
I
IV (6)
v ? (6)
that in the practical playing position of the
V7 chord shown
above, the fifth of the chord (the second degree of the scale) has been
omitted in order to maintain consistently three parts in the accompani-
ment.
It
should be remembered, however, that the
V7 chord
and appropriate for harmonizing the second degree of the
is
scale
available
when
it
appears as a note in a melody. (See the penultimate melody note of Ex-
ample
3
below, and note
its
harmonization with V7)
ACCOMPANIMENT IMPROVISATION
5
EXAMPLE
3.
ENGLISH FOLK TUNE HARMONIZED WITH BLOCK CHORD ACCOMPANIMENT,
USING PRACTICAL PLAYING POSITIONS OF THE CHORDS
U*i
J
j
J
I
m^ G:
J I
SHOWN
IN OPTION
I
I
1.
m V
IV
I
OF EXAMPLE
^^
"WPg
i 1
I
1
7
.'
half-cadence
m
a
j
j
I
I
nrr ^p
j i
Mi
Si N
I
i
i rv
i
I
-sP
authentic cadence
(Note that
in measures
(D) of the left-hand chord
and 9 of the above example, the top note
1 is
omitted, since
it
playing of the melody, which includes the note
EXAMPLE
4.
$m
J
J
I
r
I
r
I
r
yq# I
interfere with the
D in both these measures.)
ENGLISH FOLK TUNE HARMONIZED WITH BLOCK CHORD ACCOMPANIMENT,
USING PRACTICAL PLAYING POSITIONS OF THE CHORDS
G:
would
m
SHOWN
IN OPTION
3
OF EXAMPLE
1.
(1)
^P PP
I V,
I
I
I
IV half-cadence
^m
P^N
^p
mm
g^ I
IV
IV
l_
authentic cadence
In this harmonization, the note
harmonic tone (in
On
B
in measure 7
this instance a passing tone)
the second beats of measures
1
is
and
considered a non-
is
not harmonized.
and 9 of the above example, the
ACCOMPANIMENT IMPROVISATION
top note of the left-hand
V7 chord
the playing of the melody,
When
melody on an accented
would
it
which includes the note
V7
the third of
omitted since
is
interfere with
D in both these places.
(the leading tone of the key) appears in the
melody
beat, or precedes the tonic note in the
a cadence, the following
form of
W
is
used in the
acoustically undesirable doubled third in the
V7
left
hand
at
to avoid the
chord, and to avoid a
progression in parallel octaves between the melody and the bass:
m V
4)
7V (
EXAMPLE 4(a). THE USE OF V7 WITH THE LEADING TONE (ACCENTED) MELODY. God Give Ye Merry
IN
THE
Christmastide
Old English Carol (l)
J.
ELU m Mr Lc inl ini §=m
s G:
(1)
|
IV
I
Third of
V
I
r
r
(l)
IV
(leading tone of key) in
7
melody
at cadence.
EXAMPLE 4(b). THE USE OF V7 WITH THE LEADING TONE (UNACCENTED)
IN
THE
*
MELODY.
Carry
Me Back
to
Old Virginny
James A. Bland
r r
?>lG:
(1)
u n r
f
f
tnni
J
J
'
J r
li
£m£
IV
I
Third of
the leading tone
:
i=g±Tri
is
V
n
j j j
M^= v
7
V?
(leading tone of key) progressing to tonic note in cadence. (In 7 preceded by an accented passing note or appoggiatura by step.)
ACCOMPANIMENT IMPROVISATION
I
this case,
— ASSIGNMENT NO.
1
Harmonize the following tunes with block chords in the style illustrated in Examples 3 and 4. Use only I, IV and W. Non-harmonic tones (passing notes, neighboring or auxiliary tones, suspensions, appoggiaturas,
echappees) and up-beats are marked (*) and should not be harmonized.
Use only the strong
tonal progressions listed in Chapter
melody descends low enough
1.
When
to double a tone in the left-hand
the
accom-
paniment, omit that tone from the accompaniment.
Note: The melodies
in this assignment are suitable for use
accompaniment chords given
in the registers
with the
shown immediately preced-
ing each tune. In later chapters, and elsewhere, the student will occa-
—
sionally encounter melodies
whose low range
A
particularly in the keys of Bf>, A\) and
will necessitate playing the
accompaniment chords an
octave lower than given in the exercise section of this chapter, to avoid interference with the right-hand melody.
C
Principal chords of
y
fl
f
=
P VV
IV
1.
VV
7
7
Brightly
Austrian Folk
G
Principal chords of
r
Tune
major:
r v7
IV
2.
major:
v7
Humpty Dumpty
Gaily
Nursery Tune
ii
J
G:
I
I
J r
I
t
mm f
IV
8
IV
r
l
)
[_r_J V
r
Lf !
7
^
t
g fci V
J
7
ACCOMPANIMENT IMPROVISATION
F major:
Principal chords of
i ^^
i
i
major:
IV
5.
Away
Tenderly
in a
Manger
Martin Luther
m
r
i
r'gr
i
r-p
*
*
\
u
i
J
i
j
r
r
*
r'nr
i
f
i
.
i
j
i
imu *
rnn mr
p
ju
*
i
r
r
j r
(i)
r
I IV
W Added 6th to the IV chord. The (2nd degree of the scale)
is
^
J
J i
interval of the 6th above the root of the often harmonized with IV.
ACCOMPANIMENT IMPROVISATION
j
v.,
IV chord
Principal chords of
^
4
major:
If
v7
IV
I
6.
A
7
Moderato
f y=
Lavender's Blue Old English
J
u
n
rnr /^iJ r
r
n
ru rnr
Principal chords of
Cow
cj^ir
v
v7
7
Hickory Dickory Dock Nursery Tune
spirito
H>H
J
J
±
ft
j
^
j
Eb major:
iv
7.
v
j>
*
^
J._.M
^
I
J
p
-t^ttt r
Principal chords of
'):
J'
l
ip
4 f?
E
J
j»l
^J
J>^
J-
J
l
j.
II
major:
rt
jlf
IV
8.
Moderato
Miss Muffet Nursery Tune
Little
ACCOMPANIMENT IMPROVISATION
r
Principal chords of
§
9.
^
$
Ab
major:
^ P Mary Had
Allegretto
a Little
Lamb
Nursery Tune *
fW
*
[j^
i
L/r
i
c_r
i
irr
\
u^uis un
ACCOMPANIMENT IMPROVISATION
\
CHAPTER TWO
Accompaniments Using Simple Figurations of the Principal
Chords in Major Keys The block chord accompaniments hibit adequate
two
ment
many
possibilities for
in each of the four
The
following figurations show
achieving a degree of rhythmic move-
common
meters
( |,
applied to the principal chords in the key of
EXAMPLE
Ex-
textural interest can be imparted to the accompani-
figuring the left-hand chords.
of the
1
harmonic support and a modicum of rhythmic movement.
Added rhythmic and ment by
presented in Chapter
5(a). LEFT-HAND FIGURATION FOR
*
|,
f,
|)
.
Each
figuration
is
C major.
METER.
13
EXAMPLE
5(B). LEFT-HAND FIGURATION FOR
\
METER.
4
EXAMPLE
6(A). LEFT-HAND FIGURATION FOR
\
METER.
EXAMPLE
6(b). LEFT-HAND FIGURATION FOR
\
METER.
EXAMPLE
7(A). LEFT-HAND FIGURATION FOR
|
METER.
m
*r~i
i
r
'
I
EXAMPLE
*r~i
*o
i
r
r
IV
V.
7(b). LEFT-HAND FIGURATION FOR
\
i
r~±
METER.
^m iv
EXAMPLE
v.,
8(A). LEFT-HAND FIGURATION FOR
i±J ijJ iSJ i
iJ. *
i
|>
METER.
iSJ
oJ uU '
l^
iv
EXAMPLE
8(b). LEFT-HAND FIGURATION FOR
ngj
14
m
METER.
OJ OJ
i
H-J
l^
IV
ACCOMPANIMENT IMPROVISATION
Note: adapted to
The |
\
figurations
meter
shown
in
Examples 6(a) and 6(b) can be
as follows:
^m
s
When
final
=S-
using a figured accompaniment, do not continue the figura-
tion through the last measure of the song.
movement
¥=
The
relaxation of rhythmic
typical of the closing cadence requires a block chord
on the
I.
EXAMPLE 9. THE LAST FOUR MEASURES OF EXAMPLE 1, USING THE FIGURATION GIVEN IN EXAMPLE 7(A), AND CLOSING WITH A BLOCK CHORD ON THE FINAL I.
ppm
J.
I
W^f G:
im
i
m >
s
j.
IV
EXAMPLE 10. THE LAST FOUR MEASURES OF EXAMPLE 1, USING THE FIGURATION GIVEN IN EXAMPLE 7(b), AND CLOSING WITH A BLOCK CHORD ON THE FINAL I.
mm PQ^ G:
I'
r
i
w^m
m
IV
In places within a phrase where the harmonic rhythm does not
permit a
full
measure of the figuration pattern, employ either block
chords or a modified (shortened) version of the figuration.
ACCOMPANIMENT IMPROVISATION
15
EXAMPLE 11. FIGURED ACCOMPANIMENT USING BLOCK CHORDS IN MEASURES WHERE THE HARMONIC RHYTHM DOES NOT PERMIT A FULL MEASURE OF THE FIGURATION PATTERN. Hickory Dickory Dock Nursery Tune
ifo-J— fr
*=£ 3=£
P^i
s
T
u
BE
IV
IV
^ »
J 1
EXAMPLE 12. FIGURED ACCOMPANIMENT USING MODIFIED (SHORTENED) VERSION OF THE FIGURATION WHERE THE HARMONIC RHYTHM DOES NOT PERMIT A FULL MEASURE OF THE FIGURATION PATTERN.
j^l
^P
??
1
_Z l»" l
.
J
J
J'
*
SI
~s
Ek
J-
J>
?^£
I
J
n
LU
J
^£ IV
^
J-
ti-> I
^^ ^ wm «
d
IV
ASSIGNMENT NO. Harmonize again the melodies
in
2
Assignment No.
using the left-hand figuration patterns given in Examples
16
l
I
WiFr
Chapter
Ji
1,
5, 6,
Chapter
1,
7 and 8 of
2.
ACCOMPANIMENT IMPROVISATION
CHAPTER THREE
Accompaniments Using Block Chords and
Simple Figurations in
Minor Keys
A PARTICULAR KEY SIGNATURE MAY INDICATE EITHER A MAJOR OR A minor key. In final
children's music, simple dance music and folk music the
melody note
key of Eb major
is
will
almost invariably the keynote. Thus, a tune in the
end on the note
Efj,
A major minor keys. A
and one in the key of
will close
on the note A. The same
melody
D minor will end on the note D; one in C minor, on the note C.
The
in
is
true of melodies in
following table shows the key signatures and closing notes of the
major and minor keys in which simple song and dance music are most often written.
17
.
EXAMPLE 13. TABLE OF KEY SIGNATURES AND CLOSING NOTES OF THE COMMONLYUSED MAJOR AND MINOR KEYS. Key Signature
If
Closing Note
Key
Is
Is
C major
f
*£=k
If
Closing Note
gnn
G major
*=4
D major
fe^
Is
Key
Is
A minor
E minor
B minor (rare)
f
m
t^
*£
#
t=j=
Me^e
E major
«
minor
Cjt
minor
(rare)
f D minor
F major
.fe^
i
Bl>
major
PlU
G minor
f
P
BE
Eb major
f^
fefeE ^5
14.
V
7
iBteEE±f
^
^g
Ab major
C minor
F minor
THE PRINCIPAL CHORDS OF THE COMMONLY-USED MINOR KEYS (NOTE CHORD IS THE SAME AS FOR MAJOR KEYS WITH THE SAME LETTER NAME)
A
minor
i
J rv
18
F)t
(rare)
4m
EXAMPLE THAT THE
*£
A major
E
minor
D
minor
I
?
[»
j
A v7
»f
^ v7
jj
ACCOMPANIMENT IMPROVISATION
G
minor
i
T
>
t
%
it
IV
C
=j^
minor
1
1IV
I
I
F minor
i
V,
J^ft
dl
\U b
j
T
y
r
f
IV
ASSIGNMENT NO.
3
Harmonize the following melodies, using
procedure:
this
Referring to Example 13, determine the major or minor key in which the tune is written; (b) Using the principal chords of the determined key, harmonize in both block style and figured style. Chords for minor keys are given in Example 14; major key chords are given in the exercise section of Chapter 1. (a)
1.
Spanish Folk Song
Andante *
feE '
JH
j
j
j
2.
*
r
i
f
,]
rr
'
-
J i
rrrr
J
J
J
r
AH
)
J. |
J'Jj J iJ
v
i
*
m
t'iUi
r
rl
pr
'
r
>i
2)
The added The added
Rollicking
r
i
npfir
r
r
i
(2)
>Vrrrir»rTr'r
'
J
U
(i)
•
*
(1)
^
Traditional Russian *
J.' i
J
'
Moderato *
3.
^fe^ i
"
J J
|
J
-
IJ
J,J
J
V7
6th is frequently used as melody note with the 6th to the IV chord (also quite frequent).
We
I
'
'
r-
ir
(
^
F
chord.
Won't Go
Home until Morning College Song
ACCOMPANIMENT IMPROVISATION
19
1
Go Down, Moses
Andante
4.
Negro 0)0)
m >'~
j
(1)U)
jj
jirr
|
i
J
rr
r'
ii
r
i
"
"
j-
Spiritual
i
j j
m
r
»
J
J-
J
j-
r
j
i
g
i
JJ
rr
i
-Hj-
|
^j-
\
J
rr
'j Vv
V
V
7
j»j
j
i
p 7
V
7
7
"> Added 6th to the IV chord.
5.
Tempo
m *
6.
Cow
My
di valse
Nellie's Blue Eyes American Folk Song
j
j
j
i
u
j
j
j
.i
i
i
J
r
i
r
r
i
r
r
i
i
r
iL
J
i
J
\
i
^
j
i
J
-LU
i
j
'
'
»
Hungarian Dance Johannes Brahms
wzoto
&\
i
r
r
r
f
lfM
r i
r
'
'
"f
r"
f
rr
r i I
C_r r r
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1
j^> f 7.
n~n
i
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Allegretto
$\\
8.
i
Italian
J
With
pLcr spirit
i
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pLq
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Folk Dance
jU>/-/
Polly
ii
Wolly Doodle Traditional
20
ACCOMPANIMENT IMPROVISATION
9.
Russian Folk Song
Slowly
*=
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ACCOMPANIMENT IMPROVISATION
21
.
CHAPTER FOUR
The X
V
of
in Block
Chord and Figured
Accompaniments It
is
often possible and musically desirable to precede the
dominant chord
V
V7 of
at either the half
(the dominant of the dominant).
injects a degree of
mony
The
characteristic of simple music, adding a
commonly used
keys.
Note
EXAMPLE MINOR)
15.
may
follow either
V7
cadence with the
use of this progression
I
chord name.
letter
or
IV
welcome touch of
V chords
of
that this
and minor keys bearing the same the key, and
final
chromaticism into the predominantly diatonic har-
Following, in Example 15, are the the
cadence or the
is
(symbolized
It
always precedes
C
of
W
of
of the key.
THE V7/V CHORDS OF THE COMMONLY USED KEYS (MAJOR AND
|f:
HO
V7/V)
the same for both major
—\—T^
vi Eg
color.
1
G
F
D
A
Bl>
E
Eb
u
Ab
In practical playing positions:
-Iw£
,
left
__e
,
Aa
,-fct
V? /V(V4/V)
23
V7
of
V
chords are subject to the same figurations shown for the
principal chords in Chapter
V7/V
is
Note
2.
that, as in
V7
of the key, the fifth of
omitted in practical playing position. Remember, however, that
the fifth of this chord (the sixth degree of the scale)
is
frequently har-
monized with V7/V.
EXAMPLE
THE
16.
V
7
OF
V
PRECEDING
V
7
OF THE KEY AT THE HALF CADENCE.
My
Bonnie
Traditional
iA
W
,
,
,__
mnnM
9f^
rr
F:
1
i
sa ££ £ mnrr # rri^ m*
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IV
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/fir*
£ if
f
etc
r
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V./V
I
(2)
(1)
The added
6th to the
IV
chord.
(2)
Note modification of the accompaniment melody into the accompaniment range.
EXAMPLE
THE
17.
V
7
OF
V PRECEDING V
7
figuration necessitated
by the descent of
the
OF THE KEY AT THE FINAL CADENCE.
Melody from The Viceroy Victor Herbert (i)
fo
J
nm C:
uL
N
J iJ
(2).
rj
r
IV
J
|
(2)
,
J
J
I
J
J
J
J
|
J
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p
(3)
#
mm mm
^m
W^W
^m mm
IV
____^ J
s:
m mm mm mm m •
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v /v
m
?
(i)
24
Added
6th to
IV
chord.
<
2>
Added
6th to
I
chord.
«) Added 9th
to
V
7
of V.
ACCOMPANIMENT IMPROVISATION
ASSIGNMENT NO. Harmonize the following melodies using
4
this
procedure:
Determine the modality (major or minor) of the melody (see Example 13). (2) Select the chords appropriate to the determined key. See Assignment No. 1, Chapter 1, for major key chords; see Example 14 for minor key
(1)
W/V
chords. Example 15 for harmonize with an appropriate figuration in the the meter and (3) accompaniment. See Examples 5, 6,1 and 8 for figurations of the prin-
chords; see
Note
cipal chords (also applicable to
W/V chords).
(4) Beginning with this assignment, the identification of upbeats, nonharmonic tones, added 6ths and alternate positions of V7 will be the responsibility of the student.
(5)
As
in preceding exercises, the
harmonic rhythm of particular tunes will
occasionally necessitate the modification of the figuration patterns given in
1.
Examples
8.
Slumber Song Franz Schubert
iJ-nr
r
rr-W
l
V
V
J
r
f
I
I
J-
V7
wm ^N-' nr
i
rr
jjg
j.j.j
i
i
j
J
j
I
T7II
J
J r
u.JJ -uj i
i
r
r
j,
jj j
jj^^w-^-rtJ. jjijjj jjj i
j
i
v7
v_/v
i
j
1
1
Russian Folk Song
Con moto
g
i
Cowboy's Lament American Folk Song
Moderato
m
3.
and
Molto moderato
U 2.
5, 6, 7
r
i
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r
g
I
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/
i
r
r
r
rf^
ACCOMPANIMENT IMPROVISATION
25
Home
on the Range American Folk Song
Moderato
4.
a
j
j
j
j
\
j
j
j
i
§
j-j
J
j
5.
j
j
i
r
jj
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if
r
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I
m
rMf
r
1
55 i
r
-
1
nj-
J
J
c/
r
|
J
I
m
u-
J
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1
j
1
J.
1
j-jij
-i i
J
j
^i
-
j
j
j
j-_lj
1
,
J
I
j
g^
-J,
J
j
J
J
Slumber Song Robert Schumann
Andante
P
H,fi
r'
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r*
1
rby r T r r Iby
J
#•
J.
1
J.
I
J.
I
I
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I
r-d-m
1
v /v 7
v 7 /v
6.
v
7
v7
Swanee River Stephen Collins Foster
Con moto
(1)
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M it
(3)
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Mjt *
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V7
26
=
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1
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e I
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V
The
«'V7
1
*
I
v,
of V. 9th of 7 of (block chord). (block chord).
V
ACCOMPANIMENT IMPROVISATION
—
r
7.
—
]
Old French Song
Allegretto
Peter Ilyitch Tschaikowsky
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8.
Allegretto
9.
Moderato
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7
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Melody from
I
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Zta//e£ Egyptienne Alexandre Luigini
Gavotte Ethelbert Nevin
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(i)
10.
Added
6th to
V7
.
Chiapanecas
Allegretto
Mexican Folk Song
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ACCOMPANIMENT IMPROVISATION
i
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a
La Zingara
Scherzando
11.
Carl
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Duchess
Waltz from
d
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15.
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Italian
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Fatt
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II
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Charles
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Allegro
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De Koven
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Little
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Fragment from The
Moderato
13.
a j.
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Bohm
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Folk Melody
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ACCOMPANIMENT IMPROVISATION
—
—
—
CHAPTER FIVE
The X
IV in Block
of
Chord and Figured
Accompaniments Another chromatic chord useful for adding color to the harmonization of simple music is the V? of IV (dominant of the subdominant) This chord usually follows .
IV
of the key, and always precedes
I
of the key. Occasionally within a phrase (but not at the beginning or
end) the V? of key.
As
IV may
in the case of
substitute for I of the key, following
V? of V, the V?
of
IV
tions used for the principal chords of a key,
and minor keys bearing the same example
18.
the
v
7
of
letter
is
V?
of the
subject to the same figura-
and
is
name.
the same for both major
symbolized V7/IV.
It is
iv chords of the commonly used keys (major and
minor).
ri—d 'ft
— — — w— — —nfl
i
i
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s r
1—
1
i
"
'
'd
'
r-ri
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ntt
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— «—r^ i
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Ek
Ak
In practical playing positions (block style)
_k-
1
b ,
»
f
,
d
ir
!
^b3
in ff
^
a.
^a
t
^bi
29
EXAMPLE 19. THE V7 OF IV FOLLOWING I OF THE KEY AND PRECEDING IV (THE FOLLOWING MELODY IS #1 OF ASSIGNMENT #1, WHICH HAS BEEN HARMONIZED PREVIOUSLY USING ONLY THE COMMON CHORDS [I, IV, V 7 ]. NOTE HOW THE USE OF V 7 OF IV ADDS TO THE HARMONIC INTEREST OF THE ACCOMPANIMENT).
Austrian Folk
Tune
EXAMPLE 20. THE V7 OF IV SUBSTITUTING FOR I OF THE KEY, FOLLOWING V7 OF THE KEY AND PRECEDING IV. NOTE AGAIN HOW THE USE OF V7 OF IV ADDS TO THE HARMONIC INTEREST.
Humpty Dumpty Traditional
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30
uS
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m
r
p
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mm /$k
v7
v7 /iv
ACCOMPANIMENT IMPROVISATION
ASSIGNMENT NO.
5
Harmonize the following melodies, using the procedure prescribed in
Assignment No.
shown
are in
in
4. Practical
Example 18 of
playing positions of the
The
this chapter.
V7
of
IV
chords
melodies given below are
both major and minor keys. Each melody offers opportunities for using
either
V7
of
V or V? of IV
(in
most
cases,
common
both), as well as the
chords of the key.
Yankee Doodle
Lively
1.
Traditional
^•in^Prun'^n jur^ ^.Qmjj i
*
Accented passing note.
My
Andante
2.
j>
J i
Old Kentucky
Home
Stephen Collins Foster
1
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1
J
J
j-J
j
jjjn
i
i
-H^t
n Lfr
i
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[:
Hi
1
1<
niJjj:ni!>i Theme from Mazurka
Andantino
3.
p\i.
jij
Frederic Francois Chopin
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r
tf
4.
Allegro
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p
1—a
===
J~.
f v t
-}
—
J
j
bJT^-—
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^-*
)t*
Oh, Susannah Stephen Collins Foster
ACCOMPANIMENT IMPROVISATION
31
Dixie
Lively
5.
Emmett
Daniel D.
*
Added
9th to
r
ff
V7
chord.
j
i
m
jut
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w
Theme from Romance
Cantabile
6.
j
Peter Ilyitch Tschaikowsky
7.
Carry
Espressive
Me
Back
Old Virginny
to
James A. Bland
"'"i-
ur
tr
J p
n
44 r
8.
c/r
i
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1
^M
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^
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lt
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cj -1
^
^rmir^ 1 m
j
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c_r
Jingle Bells
G^'/y
J.
P j»
32
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r?
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Pierpont
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ACCOMPANIMENT IMPROVISATION
.
For He's a
Briskly
9.
Good
Jolly
Fellow
Traditional
p
^11
^ 10.
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j
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j
j
J
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J.
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f
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)
E^g?
J
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r
Good Night, Ladies Traditional College Song
Slowly
^m 11.
\
nt
ft]
i
r
i
r
'
cfp
f
i
^irprr
irrr
f
God Give Ye Merry
Moderato
i
r
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Christmastide
Old English Carol
j'm
'
12.
j
j
j'
j
j
J
i
I
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N ir
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p
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P'
1
Expectation
w/*e
Traditional Russian
qJv\
te 14.
Cow
j
i
Rio Grande Sea Chanty
WVrfe spirit
\
13.
j'
j
i
~'J^~~ L~
~~j~ r
r
r
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=== —f—f—
^
*=--f-r--= ==^=±=^=
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f
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j_j
ji'^p-'ji'i
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Lj [J
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ACCOMPANIMENT IMPROVISATION
U"
mi
rp
Israeli
£n'o
j
Waltz
U
Folk Song
I
g
33
»
15.
Co?i
moto
I
1
16.
Israeli
f
j
r
j
j
r
r
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j
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J
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rrr,
p
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Allegro
:
J
J
Jl
J
34
''
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§^ r
^^
Israeli
r
g
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p
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p
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'
i
Folk Song
r
Folk Song
'
f
r
i
ACCOMPANIMENT IMPROVISATION
CHAPTER SIX
Introductions A there
SINGING GROUP WILL
is
agreement on tempo
on the
attack
first
note.
The
MAKE A GOOD at the
INITIAL IMPRESSION
ONLY
IF
beginning of the song, and a confident
accompanist,
by providing the proper kind
of introduction, holds a major responsibility for a good beginning, for he
must adequately indicate to the singers both the tempo and the beginning note.
A
common
practice
singing of hymns,
is
accompanying the
hymn through once before Not only does this acquaint
first stanza.
with what might possibly be an unfamiliar tune;
both the tempo of the its
organists, in
to play the entire
congregation begins the singers
among church
hymn
it
the the
also establishes
and, through the context of the tonality,
beginning note. In situations involving the singing of familiar tunes
to indicate the tempo, since this
is
known through
it is
not necessary
tradition.
Thus, for
songs such as America the Beautiful and Silent Night, the only require-
ment
is
to indicate the beginning note. This can be
with a single chord whose top note
is
done
satisfactorily
the beginning note for the singers.
35
— EXAMPLE 21 (A). A SINGLE CHORD USED AS AN INTRODUCTION, WITH THE FIRST MELODY NOTE IN THE TOP PART.
America the Beautiful Samuel A. Ward
Katherine Lee Bates
EXAMPLE 21(b). A SINGLE CHORD, WITH THE USED AS AN INTRODUCTION.
Joseph
FIRST
MELODY NOTE
Silent Night Franz Gruber
*
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E^ ^^s^==^^ 1
i
1 1
lx^
cIj
1
lX-*
^
-'
ff-n^ p r
i
accompanist (unless a song leader or conductor
J
ft
p
it is
1
-
'
U-'
1
necessary for the
directing) to indicate
is
nod or some other gesture the exact point
If ;
uj\'LtJ
'eJj
After an introduction of the single chord type
a
THE TOP PART,
Mohr
1d flHa TO H
by
IN
at
which singing
is
to
begin.
In the singing of a
new song
(in
which
case the single chord intro-
duction would not suffice) or in a program situation where the playing ,
of the complete song as an introduction would unduly retard the pace of the performance, the most useful type of introduction consists of a
phrase or passage
two taken from
may
the song to be performed.
consist of the first
one or two, or the
first
and
Such an introductory
one or two phrases of the song, the
last phrases,
last
depending on which arrangement
most effectively indicates the beginning note.
36
ACCOMPANIMENT IMPROVISATION
EXAMPLE
22.
THE FIRST PHRASE USED AS AN INTRODUCTION. Careless
Plaintively
Love
Southern Mountain Song
^
^
Introduction
>c
J.
J
J
J
I
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mm
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pi
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1
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n
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EXAMPLE Con
FN^
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23.
S p^
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THE LAST PHRASE USED AS AN INTRODUCTION. Turkey in the Straw American Square Dance Tune
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m n ts^ i
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Hnifp f
Introduction
||Ju
rW
i^i H^f ^ M§ es
g^s
brio
y>
f###
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f
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Hii
Hit
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i^g P§^ ft ^NE M=z gi£
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— —F
X
^
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ACCOMPANIMENT IMPROVISATION
l '
'
37
J
EXAMPLE
THE FIRST AND LAST PHRASES USED AS AN INTRODUCTION.
24.
M oder at o
Red River
Valley
Western Folk Song Introduction jL.
^h-f3
im
j
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r
q-
f=H^ Vi/
ffepg fe^
JJ,
yg^ £=M=
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ff""
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f=M=£
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;3
Mn
u
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f
[jr
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f
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f
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f
phrase-type introductions illustrated in Examples 22, 23 and 24
are usually the
most
suitable for
music used in dancing and other types of
action.
ASSIGNMENT NO.
6
Play, with varied figured accompaniments, the exercises of Assign-
ment No.
Chapter
5,
5.
Precede each exercise with the type(s) of intro-
duction indicated below: (1) (2) (3) (4)
Yankee Doodle: (a) single chord; (b) last phrase. Old Kentucky Home: (a) single chord; (b) first and Theme from Mazurka: last two phrases. Oh, Susannah: last phrase.
My
last phrase.
(5) Dixie: last phrase. (6)
Theme from Romance:
(7)
Carry
Me
Back
to
first two phrases (entire excerpt). Old Virginny: (a) single chord; (b) first and
last
phrases.
38
ACCOMPANIMENT IMPROVISATION
(8) Jingle Bells: (a) single chord; (b) last (9)
(10) (11)
For He's
a Jolly
Good Fellow:
Good Night, Ladies: God Give Ye Merry
(12) Rio Grande:
first
last
two
two
phrases.
phrases.
(a) single chord; (b) last
Christmastide:
first
and
two
phrases.
last phrases.
phrase.
ACCOMPANIMENT IMPROVISATION
39
CHAPTER SEVEN
Hymn
Style
Accompaniments Hymns, most
patriotic songs and some folk songs are of such
a musical nature that they are not
presented in Chapter
companiments
is
2.
The
amenable to the types of figuration
strongly rhythmic character of figured ac-
too frivolous for the serious content of the texts; and
the harmonic rhythm, frequently requiring a change of chord for almost
every melody note, does not lend
itself
to figuration.
Tunes of
this
numer-
constitute a significant part of our musical heritage, and there are
ous occasions are
many
parts
—
ground
when
the accompanist
collections of such songs
available for the accompanist
in piano technique.
is
called
on
—arranged who
type
to play them.
There
in the traditional four
has had a considerable back-
For the musician whose background
in piano
study has been limited, the following three-part arrangements of some of the most familiar songs of the type under discussion will prove useful.
41
ASSIGNMENT NO. Play the following songs (preferably from in a
tempo and manner
suitable for the
7
memory)
accurately and
accompaniment of group
singing.
Precede each song with an appropriate introduction in three-part chordal style.
Old Hundredth
Louis Bourgeois
Arranged by William Pelz
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I
III'
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42
Night
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^ Franz Gruber Arranged by William Pelz
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Joseph
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ACCOMPANIMENT IMPROVISATION
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Samuel A. Ward Arranged by William Pelz
America the Beautiful
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Katherine Lee Bates
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Henry Carey Arranged by William Pelz
America
Samuel Francis Smith
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ACCOMPANIMENT IMPROVISATION
43
5.
Key
Francis Scott
The Star-Spangled Banner
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John Stafford Smith Arranged by William Pelz
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American Folk Song Arranged by William Pelz
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45
CHAPTER EIGHT
Accompaniments with More Sonority
and Stronger Rhythmic Movement The accompanist will sometimes encounter problems for which the
close-position, tightly-figured
keyboard patterns of the preced-
ing chapters are not the best solution. In
ums of
vast dimensions,
accompaniments with are indicated. is as
One
halls,
auditoriums and gymnasi-
and when large groups of singers are performing,
a higher degree of resonance
of the most effective
and rhythmic
ways of providing
vitality
these elements
follows:
The
left hand plays the chord root in octaves in the lower register of the keyboard, on the first beat of the measure. (b) The left hand then continues with the full chord, close position, on each of the subsidiary beats of the measure. These afterbeat chords may be in the practical playing positions used before, or in either of the other two close positions possible for each chord. The afterbeat chords should fall within the octave immediately below middle C on the keyboard (occa-
(a)
47
may fall somewhat above above the melody being played by
sionally the top note[s] of afterbeat chords
middle C, but not so high the right hand), (c)
I
as to cross
The right hand plays the melody in octaves, which may be filled in with one or two notes of the prevailing chord on strong beats, and wherever else it is practical to do so.
The above practice is most useful in j, and t the movement is often too rapid to
I
and slow
\
meters. In fast
be practical from the stand-
point of the technical demands
on the accompanist.
EXAMPLE 25(A). ORIGINAL MELODY
IN
METER.
|
Molto moderato
Viennese Refrain Traditional
b
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EXAMPLE 25(b). OPEN STYLE ACCOMPANIMENT TO EXAMPLE 25(a).
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Accompaniment
2.
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II
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II
Tr
V-/II
F:
in the style of
V7
I
Example
28:
V? /V
VI
Melody from Martha
Cantabile
Friedrich von Flotow
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ACCOMPANIMENT IMPROVISATION
59
Accompaniment
3.
C:
Example
in the style of
V
IV
I
29:
V
III
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V /V
/III
?
7
Melody from Mignon Ambroise Thomas
Cantando
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Example
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V, V 7
V-/V
in the style of
F minor
-
IV
III
Accompaniment
—
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v.
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4
I X
31:
l
IV
Air Alessandro Scarlatti
Moderato
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F minor:
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60
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