Learning to Play Piano Vol.4.pdf

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Nancy Bachus, Associate Editor earning to Play Piano, Book 4, is a logical continuation of the progres · pianistic curriculum contained in the first three volumes of this series. ~volume too, the progression of pieces is devised not only to expan · student's vocabulary of musical concepts within the framework of slo .- .advancing technical capabilities, but also to reinforce material alread. leamed. At the sarne time, new doors are opened which lead to the understanding, appreciation, and enjoyment of ali good music. Ali pieces in this volume, unless otherwise identified, are the compositio

and arrangements of Denes Agay. Jean Reynolds Davis provided valuable editorial assistance in all four volumes of this teaching series.

Book design and layout by L. Vogler Illustrations by ]anice Fried Copyright ©1987, 1994 Yorktown Music Press, Inc. Ali Rights Reserved Order No. YK 20519 US International Standard Book Number: 0.8256.8072. 7 UK International Standard Book Number: O. 7119 .1017.X Exclusive Distributors: Music Sales Corporation 257 Park Avenue South, New York, New York 10010 USA Music Sales Limited 8/9 Frith Street, London Wl V 5TZ England Music Sales Pty. Limited 120 Rothschild Street, Rosebery, Sydney, NSW 2018, Australia Printed and bound in the United States of America by Vicks Lithography and Printing Corporation

Yorktown Music Press lnc. New York/ London/ Sydney

CoNTENTS Review of Motives and Sequences ..................... 3 Opening Fanfare (Trumpet Minuet) ............. ... 3 Review of Fluent Note-Reading ........................ .. 4 Lullaby of the Night Breeze ... ................ ....... ... 4 Memorial March ...................... ...................... .. 5 Harvest Fling ........................... .... .... ..... ......... ... 6 Frolicsome Twosome ..... .................................. 7 Tarantella Etude .................................. .... .. ....... 8 Transposing ......................... .... ................. ...... ..... . 9 German Dance 1. (Beethoven) ... ................... 10 German Dance 2. (Beethoven) ..... ... .............. 11 More about Intervals major, minar, and perfect ................................................. 12 Hungarian Dance No. 4 (Theme) (Brahms) ....... ...... .... ..... .... .............. ................. 13 The Figure Skater chromatic scale ................... 14 Fiesta! (Spanish Holiday) ............................... 15 Marking Chords by Letter-Names .................... 16 Play Tune 1 and II ................. ... .......... ............. 17 Play Tune III broken chords, divided chords ............................................ 18 More Scale Types: The Modes .............. ... ...... .... 19 Sea Chantey Dorian mode ............................. 19 Medieval Court Dance Phrygian mode ........... 20 Little Mazurka Lydian mode ........................... 21 Merry Villagers Mixolydian mode .................. 21 The "Rounded" Binary Form ........ .. ....... ......... .. 22 Gypsy Dance (Haydn) ............. ............ .......... 22 Oh! Susanna (Foster) .............. .. .... .... .... ...... .... 23 Prelude of the Bells continuous pedal ............. 24 Irish Air ("Believe Me if All These Endearing Young Charms") ........... .......... 25 Arpeggios (Extended Broken Chords) ............. 26 Rotation Study ..... ..... ........ ...... ........... .. ....... ... 26 Call to the Hunt .... ............... ... .. .... ........... ...... 27 On the Swing (Gretchaninoff) ............... ..... .. 28 aatelle (Beethoven) ·······················-······--· -

Arpeggio Waltz ... ...... ......... ... ... ...................... . 3 Nimble Fingers (Variations on a Play Tune) .......... .......... ...... .................. ..... 3, Seventh Chords and Their Inversions .. .. ... ..... . 3-:: Sailing on Blue Waters ......... ....... ....... ...... .. .. .. 3Two Musical Styles homophonic, polyphonic ................................................. 36 Amazing Grace homophonic ........................... 36 Amazing Grace polyphonic ............................. 31 Baroque Ornaments .. .......... ..... .. ......... ...... ... .... .. 3 Minuet .............. ...... ..................... ...... .... .. ....... 38 Gavotte (Handel) .......... ........ .... .................... . 39 Bourée (Handel) ............................................. 40 Preludium (Canon) (Kunz) ........... ................. 41 A Bit of Jazz ............. ........ ... ...... ... ....................... 42 The "London Bridge" Strut ....... ........... .......... 42 The Latin Lark syncopation, grace notes .......... 43 Banjo Rag (Drumheller) ragtime .................... 44 Lonesome Tune ................................ ..... ......... 45 The Whole-Tone Scale .... .................. ....... ... .... ... 46 Breeze and Echo ......................................... .... 46 The Haunted Clock ....................... ... ....... ....... 47 Little Hungarian Rhapsody ... ................ .. ...... 48 Tribute to a Hero ........ .................................... 50 Country Gardens .................... .... ................... 51 "Cantabile" Style of Playing ............................. 52 Sentimental Melody (Lachner) ..... .... ............. 52 Roses from the South (Strauss) .... .............. .. .. 53 Danny Boy ternary form A-B-C ............. .......... 54 Sonata and Sona tina ................... .......... ... ......... 55 Sonatina (First Movement) (Clementi) ..... ....... ......... ..... .. .. ....... ... ........ 56 Sonatina in Classic Style (First Movement) (Agay) ....... ...... .. ........ ... 58 Rondo-Toccata (Kabalevsky ··-·---·--···-·--··-· -···· 61 Glossary ·--·--· . . ...... ..... 64

ack cover

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FLUENT NOTE-READING

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ajor, You are already familiar with the major third and minor third. There are three other intervals that have major and minor forms: the 2nd, the 6th, and the 7th. A major interval becomes a minor interval when its span is reduced by a half-step. Major-Minor Intervals second

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Perfect Intervals fifth

fourth

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The intervals of 4th, Sth, and octave have no major and minor forms; they are called perfect intervals:

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number of half-steps:

5

12

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a m ajor scale, all intervals are major or perfect. These are the intervals of e C major scale: Perfect Intervals: pnme fourth fifth

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Major Intervals:

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second

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third

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To Name an Interval egard the lower note of the interval as the keynote of a major scale and consider the higher note as being a degree of that scale.

For instance, to name this interval

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A is the keynote of the A major scale. The A major scale has three sharps: F#, C#, and G#. F~ is the sixth degree in the A major scale. So, the interval of A to F# is a major 6th.

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follow this reasoning:

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perfect 4th

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Hungarian Dance No. 4 (Them e) Cl Play this piece, and then name the intervals indicated by brackets.

Johannes Brahm (1833-1897)

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Fiesta! (Spanish Holiday)

5

5

o - .'.e ha e mar e chords b Roman n umerals indicating e oo ones of these chords in the scale: o Tonic, IV for Sub dominant, and V for Dominant : is also possible to rnark chords by letter-narnes of the root tones.

C = C major chord

G = G major chord (and so on.)

or triads are m arked by a small letter m after the letter name: = C minor triad Em = E minor triad - _e seven triads built on the seven degrees of major scale, -ee e m ajor triads (1, IV, and V) -ee are minor triads (II, III, and VI) e is a diminished triad (VII)

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II

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H

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Am

G

VI

V

IV

VII

(H) (1)

·shed triadis created by lowering the top note (the fifth from the a minor triad by a half-step.

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Em

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Bm

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are the triads built on the seven degrees of the F major scale. - er each triad write in its first and second inversion. (Use the correct ~ ·ctentals.) ~en play each triad and its inversions. F

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ay such triads on the piano also in the G major scale, and call out the ames of the chords: G major, A minor, and so on.

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II

B

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Am

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llbº VII

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with solid-chord accornpaniment

* Write one triad in root position for each measure as indicated by the numerals. Moderato '1

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sonata (from the Italian word sonare, "to sound") is built on two or three ontrasting themes presented in a continuous melodie flow in related keys ith connecting transitional passages.

This form can be broken down into three sections: x position

contains the main theme, a second theme in a related key (usually the dominant), and often also a closing theme, or coda evelopment contains one or more previously presented themes or theme fragments "developed" into varied new sound patterns, moving freely through new keys and leading directly into the recapitulation ecapitulation which is a repetition of the exposition section, with all themes in the original key natas, and often sonatinas too, usually consist of two to four independent, lf-contained parts called movements. The form described above is the first vement form, also called the sonata-allegro form. e second movement can be a simpler two- or three-part song form. e last movement is usually a rondo. (See page 64)

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Allemande German Dance Animato animated; with life and spirit Arpeggiated Chord see page 45 Arpeggio "harp-like" (see page 26) Bagatelle a short, light piece, usually written for the piano Binary Form also called "Two-Part Song Form," consists of two sections (sentences), A and B, both of which are usually repeated Cadenza a freely performed ornamental passage, inserted between two sections or just before the end of a piece Chord-Names in addition to Roman numerals (I, V, etc.), chords can be identified by the letter-names of the root tones (C, D, etc.). Minor chords are marked by a small m after the letter (Cm= C minor). Cantabile in a singing manner Classic Style the musical style of the eighteenth century as exemplified by the works of Haydn, Mozart, and Beethoven: simple, clear forms; homophonic textures; emotional restraint; anda certain nobility of spirit Continuous pedal see page 24 Dorian Mode see page 19 Etude an instrumental piece designed to develop the player's technical ability Gavotte a graceful, old French dance in moderate á time, usually beginning on the third beat of the measure Grace Note see page 43 H01nophonic Style melody with accompaniment (see page 36) Jazz strongly accented, richly syncopated American musical idiom (ragtime, blues, swing, and bebop can all be classified as belonging in the jazz category) Lydian Mode see page 19 Mazurka Polish dance in moderate ~ time, with frequent dotted rhythms and accents on the second and third beats Modes the most frequently used modes are the Dorian, Phrygian, Lydian, and Mixolydian (see page 19) Minuet a graceful and stately French dance in moderately slow ~ time Mixolydian Mode see page 19 Mordent ("'') see page 38 Phrygian Mode see page 19 Polyphonic Style see page 3 7 Preludium (Prelude) an introductory piece Rondo a musical form in which a main theme or section alternates with one or more secondary themes, called episodes. ln its simplest form the rondo is very dose to the ternary form of a A-B-A pattern. More often the rondo consists of a main theme and two episodes (pattern A-B-AC-A). Rotation see page 26 "Rounded" Binary Form see page 22 Seventh Chord see page 34 Short Trill ('"') see page 38 Sonata see page 55 Sonatina see page 55 Ternary Form three-part form, pattern A-B-A or A-B-C (see page 54) Toccata a rapid, brilliant keyboard piece; from the Italian toccare, "to touch" Touch the way a key is depressed to produce a tone Walzer the German term for waltz Whole-Tone Scale see page 46

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