Sách tự học piano hay nhất cho người lớn Tập 2

'" , CONTENTS REVIEW SECTION Review- The Key of C Major DOWN IN THE VALLEY Review- The Key of A Minor TUMBALALAIKA Technique Builder: Crossing Under LIGHT AND BLUE 10 Technique Builder: Crossing Under ROMAN HOLIDAY 12 Review- The Key of F Major MORNING HAS BROKEN 14 A New Time Signature (6/8 time) LA RASPA 16 Review- The Key of D Minor SCHERZO 18 INTRODUCTION AND DANCE 20 Review- The Key of G Major LA CUCARACHA 22 THE KEY OF E MINOR The E Harmonic Minor Scale 23 THE HOUSE OF THE RISING SUN .\ 24 26 The Primary Chords in E Minor SAKURA (Cherry Blossoms) WAVES OF THE DANUBE 28 30 32 33 THE KEY OF D MAJOR The D Major Scale ROCK-A MY SOUL The Primary Chords in D Major YOU'RE IN MY HEART BRAHMS' LULLABYE LONESOME ROAD 34 35 THE CHROMATIC SCALE The Chromatic Scale Chromatic Warm-ups VILLAGE DANCE 36 IN VERSlONS OF TRIADS The 1st Inversion THE HOKEY-POKEY 38 NIGHT SONG 40 , : The 2nd Inversion 41 A New Time Signature (2/4 time) SPACE SHUTTLE BLUES 42 43 Triads in AII Positions FAREWELL TO THEE (ALOHA OE) 44 TWO.PART WRITING Two-Part Writing POMP AND CIRCUMSTANCE (Elgar) SEVENTH CHORD REVIEW 46 The Complete "7th Chord Vocabulary." 47 SWINGING SEVENTHS '" Review- The Key of C Major Primary chords in C Major: Block chords C ~ F ~~i~~~1 1: 5 IV F ~);~ ~ ~ ~ I Broken chords C G7 G7 I~ ~ C F I~~~II~ ~ , y7 ~ ~ G7 I~ ~ ~ I~~~II Do WN IN TUE V ALLEY American Folk Song I Moderato 1, ~~ C POown in tJ ~ I I the : - val lev, Val - lev so I ~ ~~::::==::==::: G7 I , I ~ rEXTENDED POSITION~ 1, 23 ~ ~ tJ ~ I low, Late in the eve - You are now ready to begin ADULT ALL- TIME FAVORITES BOOK 2, ADULT CHRISTMAS BOOK 2, ADULT POP SONG BOOK 2, ADULT SACRED BOOK and ADULT THEORY BOOK :~ ~ I tJ t :: - f') C ning, Hear the : wind blow - I I I - J t =::::::- I tJ I < I I Hear I the ' wind blow, love, , - I -;;;:=:::;~ I tJ I ( blow, I t- I , the I p2 - I Late in I POSITION-, the """ f') - eve f') ning, , : C ~ /tJ wind I 13 rEXTENDED ~ ~~G7 Hear Hear F the wind C blow =:::::::: 1';'\ 1;"\ I rEXTENDED POSIJIO~8l I 521 542 I '- - -"~ I Review- The Key of A Minor REMEMBER! The keys of C MAJOR and A MINOR are called RELATIVES, because they have the same key signature: no sharps, no flats Primary chords in A minor: Block chords Broken chords Dm E7 Dm REMEMBER: E7 5 :=f:=f 11 ~ # I ~ IV ~ ~ ~ y7 y7 ~! I : ~ ;' I iv ~ i Am ~~~~i~ : Am ~ Small Roman numerals (i & iv) are used to indicate minor chords TUMBALALAIKA AII egro mo d era t Traditional Am E7 I I J\' J\ ~3 Am 1- ~ : Dm 5 F POSITION-;:l rEXTENDED I I -~ -,- ~ - 1\ 1\ J\ ,=~~ I ooc l Dm E7 Am A 1\ 1\ 1\ >- I E7 I 1\ I Am > I r EXTENDED 1~2 /\ POSITIONFl Dm 5-9 I 1\ Dm Am 5~" ""' -;~ ""; 1\ :-_':_~ ~~ "" /\ E7 'îc-, I Am 1':'\ I":" A /\ 1\ - 1\ I ~ Technique Builder: Crossing In It is important to develop the ability to cross under and under with a relaxed wrist, and with no "twisting" motion ot the hand The next tour pages ot this bock will help you improve this technique Play the exercises slowly at tirst, then taster ~ ross under ~ RH: ~ ~-}~~ I ~~ ~~~~ I I~~g~ III mf LH: mf Cross under LIGHT AND BLUE M d I erate C ~ 2 F 1- C , :;-:-1 ,-4- =- ,/ P I Willard A Palmer ues tempo ~~ ~ * tJ bi ~ I : ~1-2 - I I I I 8va4 - - - - - - - - - - -, tJ ~ ~ - : - ::::0- F 1_~, I L-III- 2 _4 I ~ - I - 2-1 , ~ - I - - I , 8va - - - - - - - - - - - - - - ~ ) I t.J I : C ~ G7 ~2 ï:-2 2~~ - - ::::0- ' I ' I The eighth notes may be played a bit unevenly: J long l short J long " l short, etc - 1~ ~ F I , l I - tJ C 12 ~ '"""" G7 12 ~ - ~ ~ :! - ::>::> : 21~ -====:= ~ 4/ ' -2 C tJ ~ F 2 I ol - C ~ - -.- 1 == 2~ - mf , : L- 8va ::>/,::: " F I/""4 2-' -'- J 2-12 -1 ~ - tJ I -1- , i I 8va C ~-1-2 , ~ - fJ L oL - ~ G7 ~ -L-.;;;; ~ -L- ~ ~.L -= ~ = - - ;:; ::> I F oL I ' I C 11 G7 112 ,~ ~ fJ ~ -=~ : = " oL ' .:!- - - ~ ==== ~ = ~ r '" -= 1':'1 C -St ::>::> I , = - 1':'1 ~ =6 I':" TEACHER'S NOTE: The LH may be played staccato, except where slurred The repeat may be played Bva,with notes marked Bva played as writter:1 The final chord may be played with tremolo: I':" I-:' "":._,,", I L 10 Technique Builder: Crossing Un REMEMBER: Keepthe wrist loose and relaxed Avoid any "twisting" of the wrist as goes under Move the thumb under the hand as soon as it plays, to have it ready for its next note Play slowly at first, then gradually increase speed Cross under RH" mf ~ ':) 1~- t ~~~ ~mf ~ ~\ -~~~~~~~~~i ~3 -~~~~~~~~ ~~ ~ LH: I ~ 11 ~ [~ ~11 ~ ~ r~~~~~~~i~ ~~ ~ I ri~~~~ ~~jJ "} , ~~i~~~~~Ii §F j I~~~~~~~~~ ~j~ ~] 91 ROMAN HOLIDAY Allegro moderato C I -3 ~ tJ G7 1:~-; 12 : I * mf 1 - I I *Play the eighth notes EVENLY! -I '1 ~ -I 83 f THEME FROM A FESTIVE RONDEAU This piece is part of a larger composition tor wind instruments, strings and drums It is typical of the festive music played in the French courts in the early 1700's It has recently become a familiar favorite because of its use as the theme tor Alistair Cooke's popular television series, Masterpiece Theatre Jean Joseph Mouret (1682-1753) \ Andante ~ TENUTO* MARK ~ ~ - I - 1, ! : : -: :-'"""'::i3 :: - Transcribed by P.M.L ~ ~ , ., :- I ~ f < I t : - - - -.- - , - ,,' 1 !2 fJ I ~ ~ ~~ ;-~ J- ~ - -1 ; - ; - ~~~~f~ Ir - ~ t.J ,: < - ",,1 11 t (I t / :;-:;,~- tr~ Ir : ~ , ,::- ~ 1/2 ~.m~ ~ "' -2-~4 'I ~ i ritardando ::- I 'I' ~ *The short line over or under the note or chord is a tenuto mark Tenuto is an Italian word meaning "held." Play the note or chord with a slight stress and,hold it tor its full value ~ 84 PREPARATION FOR THE FOLLOWING PIECE AII the variations in the RH are based on this chord progression Play it several times before beginning the piece Also play the LH of the piece several times ~ RH: '~?~5 ~ ~ ~ 1 VARlATIONS ~~~~~~~~5 1 5~ 2::i::~ 1 ON THE THEME FROM THE ' D CELEBRA TED CANON IN Pachelbel's CANON IN D was used as background in the film "Ordinary People," and has been heard in many different settings, in supermarkets, movies, radio and television productions Everywhere! Pachelbel arr P.M.L Andante moderato ~~ ; pp molto legato - 11 I tJ~ I 3 "2 J\ J\ J\ J\ I r- I t.J 5-d '3 J\ J\ J\ -'2 I' J I' I I ( t -.: -: - '" I I -I '3 5-d J\ J\ 4- -4 ~ ~ 21 -I I 2~ , '.,1 ~ ~ ~ A } ~ 3 '1 t.J J\ I', '2 -I : 'rI '1 Pedo simile I -1 -d.:3 ~ 'I '-' 85 À 5 3 /\ /\ /\ 5 Ped simile I LA ~ 41 \ 51 ~ ~ t.J L -L 31 Cj 11 I ~ I I I I i J -3- L c.; I r 5, 5j r' I r::Lr L -rJ i 11 3121 J 86 5 fJ~ I 1~ ~ L 8.1- 8.1 tJ 8.1 I ~ 12 13 - '-"" '-'" ~ 12 -'- ,13 ~-' ~ -'-""" ~ t -.: -: I ~ 11 I 5 J\ 13 12 '-"" "'-'" 5 J\ J\ >- 5 12 J\ r.J 13 _I -d- c.; 121 13 ~ J\ J\ 5 >- 5 J\ À f Pedsimile >- >- 1 >- >- 1 87 j I Slower 5 , Still slower 1':L~ \ r::~""""~ 4 Maestoso , 5 1/4=-~ 1/3=~~\ 1/4:=~\ 1,3;:,~ P 3:>: '5 \ ~ ~J 31 ~ ::>~ 52 ~ ~C==-""", ~~~~~~~~ ~~ ~ tr I f; ::> molto ::> allargando 1":"1 A /\ /\ /\ /\ '/\ U A l 88 REFERENCE SECTION The Circle of Sths-Major Keys The CIRCLE OF FIFTHS is a useful tooi for memorizing the order or sharp or flat keys, as weil as the order in which the sharps or flats occur within the key signatures The circle is easy to memorize Starting with F (the first sharp that occurs in any key signature containing sharps) and moving CLOCKWISE, the keys on the circle can be learned by saying "Fat Cats Go Down Alleys, Eating Bread." The keys COUNTERCLOCKWISE beginning with B (the first flat that occurs in any key signature containing flats) are easily learned by spelling "B E AD," then finishing with "G CF." There are TWELVE different MAJOR keys, but three of them have different names Notice the bottom keys of the circle Db Major mayalso be cal led C# Major Gb may be called F#, and cb may be called B (These keys also have names on the keyboard.) Keys that have names are called ENHARMONIC KEYS Beginning with the key of C MAJOR at the top of the circle, and moving CLOCKWISE, each new key has one more sharp than the one before Moving COUNTERCLOCKWISE, each key has one more flat than the one before No b'5-C-No - #'5 ~ "'-;, 2b'5-8~ 2#'5 b'5-E~ A-3 #'5 b'5- #'5 5b'5-D~ 7b'5-C~ C#-7 #'5 8-5 #'5 b'5-G~ F#-6 #'5 - -"" ""'" 89 The Circle of 5ths-Minor Keys There are also TWELVE different MINOR keys, of which have different names The nam es of the keys around the circle are in the same order as those for the MAJOR keys, except we find "a" located at the top of the circle (Smallletters are used to indicate the names of the minor keys.) Each MINOR key is the relative of the MAJOR key found in the same position around the circle on the previous page No ~'5-a-No ~'5 ~'5 #'5 f ~-3 #'5 ~'5-C .t1 ~'5-f -4 ~'5-b ~ a~-7~'5 6~'5-e~ d~-6 #'5 ~'5-a ~ g~-5~'5 #'5 Major Scales and Primary Chords 90 C Major & Sharp Keys C MAJOR (No #'8, no ~'8) RH (8VO) -I; zi ~ ; ~ ~ ~ -,: ~H ~2 T~1 ~~: I 1~"'1 F C G7 ~ ~ 1 I IY I y7 I ~:f3::E:i: ~ ~ ~ ; ~ C I1 11 F#) G MAJOR (One sharp: RH (8VO) : LH ~;' ~ ~~i aJ~ ~'W; ~-~~ I 1 3 I1 : ~;;.# 5 3 3 I1 I C G D7 G 1 5 5 IY LH 1 1 LH I W .i: 3 5 ~W ~~ ~~; ~~~ 3 1 3 I I' 123123455432 I D 5 y7 A 1 I A A ~ 1 ~ 21 When playing popular sheet music, you may occasionally tind chord symbols dit terent trom those you've already learned It any chord symbol contains a 6, cross out the Example: tor C6, use simply C major It a chord symbol has a number (continued on next page) E 87 1 I ~ E I y7 ~ I E F#7 1111 2' 4 ~ I ~ I ~ y7 ~ I ~ 'IV 11 I ~ IV I y7 ! i I1 I 11 I E7 1 IY 4E I B MAJOR (Five sharps: F#, C#, G#, 0# & A#> RH '8VO) ~ I ~~Jlil! I Î F#, C#, G# & 0#) RH (8VO) : IY A ~W D ~ ~ ~ ~ F#, C# & G#> 2 y7 A7 11 I D E MAJOR (Four sharp8: ~,~.## ~ I ~ I D G 5 3 RH (8VO) ~);'##iJ~ I 5 I A MAJOR (Three sharps: I G I ~j~ ~~ ~~~~~ i LH 'i ~1 ~1 ~1 ~1 D MAJOR (Two sharps: F# & C#) RH (8VO) C 11 91 Major Scales and Primary Chords Flat Keys F MAJOR (One RH : F B~) (8VO) ~~~ ~ LH ~;;~~ B~ flat: MAJOR (Two RH flats: B~ & E~) I~: 1 1-~~ 4 3 L Er1 MAJOR (Three RH : L Br1, flats: L Er1 & (8VO) 3 ~)'bPp~'~~~ ~~ A~ LH MAJOR (Four flats: B~, E~, 3 1 1 ~ & 5 I y7 I Bb Eb Bb 4 3 3 5 5 I IV I y7 ~,; LH D~ ( Five MAJOR RH : flats: B~ Bb7 Eb 4 ~ ~ E~ , , A~ , ~ ~ ~ D~ & ~ G~ , '\ :~ I ~m ~ MAJOR (Six flats: B~, E~, A~, D~, G~, & C~) 3 5 5 I IV I V7 I Ab Db A' I: greater than diminished take care a 7, substitute or augmented ot most ot a chord, the situations Example: use the you tor C9, C11, augmented are likely or C13, or diminished to encounter use C7 triad 1 Î ~ I 11 1 3 5 5 I IV I V7 I Db G, Db Ab7 Db ~t 1 ~ ~ ~ ~ 3 5 5 I IV I V7 I Ob7 Gb A' 4 (8VO) LH E,7 cb Gb RH 11 Gb G~ ~ I1 ) i ~ 11III ~~J ~1i-i: 1 (8VO) ~p p LH ~ ~ ,,~~ 'I Eb ~ ! r~ ~~ i ~~~~ Bb (8VO) F7 Ab RH 11 11 D~) I ~ IV ~~ i~ ~ ~ I f ~ ~ ~~~ I A~ ~ ~ Eb F L Ar1) C7 ~ F II~ (8VO) Bb I 11 4 1 1 1 1 3 For any 5' 5 5 This will I IV I V7 I l Harmonic Minor Scalesand Primary Chords 92 A Minor & Sharp Keys Am A MINOR, Relative of C Major, (No ~'s, no ~'s) f~ RH (8VO) ~)!~ LH [jjj 3 E~J~ I 1 ~~ LH 3 1 3 iv i y7 i Er; ~m 2 ~ 2'~ 1 1 5 5 y7 F#7 i Bm i iv i Em Bm 5 5 i iv i 1111 4 f C~ MINOR, Relative of E Major, (Four sharps: F~, c#, G~ & D~) -I; ,J.#3 2i: ~ ~ ~#~ t ~:c:~';1 LH 3;; ~A;-~" 3 1 ~~~ 11 2 ~ ~ ~ ~ ~ 3 ~ f 5 i iv i F~, C~, G~, D~ & A~) RH (8VO) : LH 3 3 3 f ~ I1 ~ ~ ~1 C#m ~ ~ I &,' , 3 5 i iv i y7 i G#m 4 1 1 3' _i iv i y7 i 11 i I1 1 i F#m ~ y7 G#m C#m G#m 0#7 G~ MINOR, Relative of B Major, (Five sharps: ~ I 2 4 ~1 ~~ ~1 ~t1 ~ C, ~3 f C#m F#m C#m G#7 , \ E4m y7 F#m Bm F#m C#7 b 4 RH (8VO) ~m ~7 Bm 234554321321 11 i rW ~ ~: ~~ i RH (8VO) LH I F~ MINOR, Relative of A Major, (Three sharps: F~, C~ & G~) : 1 f ~,!.## 1 RH (8VO) 123 1 BMINOR, Relative of D Major, (Two sharps: F~ & C~) Am If III ~ E MINOR, Relative of G Major, (One sharp: F~) RH (8VO) ,4 5 : Om Am E7 5 1 I- Harmonic Minor Scalesand Primary Chords 93 Fla t Keys D MINOR, Relative of F Major, (One flat: Bb) RH (8VO) : LH 3 Dm Gm 5 1 L G MINOR, Relative of Bt1 Major, (Two flats: 3 L L Bt1 & Et1) LH 1 1 i iv i y7 i Gm Cm Gm D7 Gm f ~ f~' 1 3 i iv i Cm Fm Cm G7 4 1 5 5 i iv i y7 i Fm Bbm 5 C MINOR, Relative of Eb Major, (Three flats: Bb, Eb, & Ab) RH (8VO) 3 5 1 3 ~ I: & P'b~ _#: ~ ~ L L L L Bt1, Et1, At1 & Ot1) f ~ ~ ~I~ ~ I ~ ~~ ~ 4~~~; , " " - ~ ~ ~ ~ ~ ~ ~ ~ ~H ~ 1 3 I1 Bb MINOR, Relative of ob Major, (Five flats: Bb, Eb,~, ob & Gb) & -#: ~'-t.~~ ~H ~ ~ ~ ~ ~ ~ I ~ ~ ~ ~ ~~~::~~ ~ ~ ~ ~ ~ '2 I J'or (Six flats: " Eb MINOR, Relative of Gb Ma RH (8VO) : Cm LH ;~ I, ~ § T ~ 2 3 ~ f 11 "I 5 iv 1- 1 i 11 y7 i Bbm 4 3 ~ ~ ~ 5 5 i iv i y7 i 11 11 Bb Eb, Ab, ob, Gb& cb) Fm Bbm Ebm Bbm F7 RH (8VO) I: i " 11 i " ~ y7 Fm C7 4 ~ =i~; f 453232 L F MINOR, Relative of At1 Major, (Four flats: RH (8VO) ~; - LH Dm RH (8VO) : Dm A7 4 I1 ~ I Ebm A~m Ebm Bb7 4 ~ E~m 1 1 i iv 323 5 i y7 i I 94 Use these charts ta farm chards in any key! Chord Chart Major Scale Chart ANY KEY ROOT 2nd MAJOR ROOT 3rd 5th 6th 7th 8th Bp C OP Ep F G Ap A B C~ E F# G~ A Ep F G A Bp 5th MINOR B 3rd 5th lowered V2 step DIMINISHED ROOT 4th Ap Bp C ROOT 3rd - 3rd 5th lowered lowered V2 step V2 step C~ 0# E F# G# A# B CP Dp Ep Fp Gp Ap C D E F GAB C~ D# E~ F# G~ A~ Dp E~ F B# G~ A~ B~ C C# Dp C~ D E~ F G Ap B~ C D 5th E F~ ~ G~ ~ A raised F GAB DOMINANT 7th F~ G# A# (3rd or 5th may be omitted) G~ A~ B~ C~ O~ E~ F ROOT 3rd E C F~ GAB AUGMENTED D Bp C~ ~ ~ ~ E~ B C~ ~ # E C D E F C# D# E# F# V2 step ROOT 3rd 5th 7th lowered 1/2 step ~\., GAB B C E G~ F# G HOW TO USE THE CHARTS AII chords are formed by combining certain tones of the major scale according to definite rules For example, any MAJOR CHORD is formed by combining the ROOT, 3rd & 5th tones of the MAJOR SCALE of the same name The chord may, of course, be inverted by moving the root to the top: 3rd, 5th, ROOT, and again by moving the 3rd to the top: 5th, ROOT, 3rd The construction of some chords involves lowering or raising one or more tones V2 step For example, to form the C DIMINISHED CHORD, look up DIMINISHED in the CHORD CHART on the left, above Note that the diminished chord consists of a ROOT, a 3rd lowered V2 step, and a 5th lowered V2 step Look up the C MAJOR SCALE in the chart on the right, above Note that the ROOT is C, the 3rd is E, and the 5th is G Since the 3rd and 5th must be lowered, make each of these FLAT (play the next key to the left, black or white); th us the C DIMINISHED CHORD is C EP GP The chord may be inverted, of course - - 95 Dictionary Accelerando Accent gradually sign Adagio play (» of Musical Terms increasing with in special speed emphasis slow Allargando becoming Allegro slower quickly, and happily, Andante moving along A tempo resume original Cantabile insingingstyle Coda anaddedending broader tast (walking speed) speed Codasign (-I(f)r) indicationto proceedto CODA Common time Contrary motion (C) Da al same as hands 4/4 time moving in Crescendo ( =:=) gradually louder Capo Fine Repeat Decrescendo Dal trom gradually Segno al Diminuendo Fine (::=-) trom gradually (~) Double sharp Espressivo the to as sign ~ the word "Fine" "diminuendo") to the word "Fine" - lowers (x) (same softer sweetly flat directions beginning softer Repeat Dolce Double the opposite a flatted raises a note sharped V2 step, note V2 or step, a natural or a natural note note one one whole whole step step expressively Fermata (1':'\) hold the note or notes under the sign longer Fine the end Forte(f) loud Fortissimo (ff) very Grazioso gracefully Interval the Largo distance very Legato from one note to the next slow smoothly Loco connected aswritten(not8va) Maestoso majestically Mezzo Forte Mezzo Piano Moderato Molto Morendo Octave sign (8va) , moderately loud moderately soft a moderate speed much,very dyingaway play scale ton es (one octave) higher when the sign is above the notes; scale tones lower whep the sign is below the notes Pianissimo (pp) verysoft Piano(p) soft Piu loud mosso Poco Poco taster little, a poco Prestissimo Presto Repeat small little by very tast little tast sign Risoluto (~) repeat trom the beginning, or from ~ resolutely Ritardando slowing Scherzo a musical Segue continue Sforzando joke forcing; Simile suddenly continue Staccato Tempo Tenuto , short, (-) in the loud same detached rateofspeed hold tor full on one note or chord manner notes value; emphasize slightly Tetrachord toneshavinga patternof wholestep-whole step-half step l 96 II Certifica te of A 'Ward ~ ~ Th f II ~ ~ h IS IS to ce rtl y t at ~ ~ has completed ~ A,1 I F RED' BASIC ADULT PIANO = Ii COURSE LESSON BOOK ~ ~ ~ S LEVEL TWO ~ ~ ~ = I II ~ ~ DATE:' TEACH:~: ~ ~ ~ ~ ~ a a , ~~,~~~~~I ~~ C'- " \ ~ ~ Giáo Viên tốt nghiệp Nhạc Viện Thành Phố Hồ Chí Minh nhận dạy : + Piano,Organ,Guitar,Violin,Pan Flute,Thanh Nhạc,Nhạc Lý Âm Nhạc, Phần mềm Encore + Nhận dạy lứa tuổi trình độ + Giáo viên nhiều năm kinh nghiệm dạy tận tâm + Học viên học nhiều giáo trình hay tiếng giới Việt nam + Học viên chọn học mà Mình yêu thích để học kèm giáo trình Sau im lặng âm nhạc cách tốt để diễn đạt điều nói ( Aldous Huxley ) Hãy Liên hệ ngay: ÑinhTröôøng Thoâng _ 0932114848 dinhtruongthong@yahoo.com Có âm nhạc sống tươi đẹp [...]... Traditional V7 2 2 3 * 1 5 1 5 1 5 1 5 : ); ~ 2 5 ~ ~ ~ I ~ 1 [~~ 11 L: Ë I ~ 1 ~ Bva) :, I- IV I V7 IV 2 5 3 5 ~ not 5 3 3 (F#J sharp 1 1 ~ written, (as loco 4'-';; :21 2 3 POSITION 1 ~ 3 , moderato MAJOR G OF ~ 12 I 1 ~ r-EXTENOEO 3 2 G Signature: : I I l' '2 2 1 the G 1 5 2nd time 8va segue of 3 1 07 Allegro KEY 1 1 D7 C G 07 C G chords Broken chords Block MAJOR: G in chords Primary , side 2 3 ... long - short 29 - }~ 3 ~ I t.J I TI' 8 -I ~ ~~ - I TI' ~ '-"'" 5 1 11 Ta next strain 1 12 1 Fine I >- f >- 4 2 2 Fine 5 5 3 3 4 2 3 > >- 2 1 3 >-5 5 3 5 >- 4 > 5 D C al Fine I 30 Primary Chords in D Major Reviewing the D MAJOR SCALE, LH ASCENDING ~~!i~~~~ '2' -; - (#> AcE 45 1 I 2 6 IV ~ ~~~~~~ 21 3 5 G 5 I ~ Z 8 ~ 1 ~ A7 2 5 IV V7 D MAJOR Chord Progression with I, IV, V7 Chords Play... ~ -L 1L 1 2 11 ~ 1 L-=- 51 A7 ! I .- fJ D 5 -:.-: 5 1 ~ I - - - I1 I 2 -L I ** D- -ol: - ,,' I " 32 BRAHMS' LULLABY Johannes Brahms Andante ) ~ D 1~ 2 - 4 2 I t.J p 15 mp espressivo * - legato 3 - - r-' - I 1 I - 1 I -"'- - I A7 ~ 5 tJ t I I ( , , - r ~ 1 I -, 2 - v""' -.I I I 5 2 1 D 5 2 G 53 1 == D 4 2 1 2 mf 1 2 5 I A7 I '- tJ I - ~ 3 D 4 1r I I : - I 11.D ) ~~::=3 -2 1 2~ Q I :... 1 4 2 -I I I I ~ - 0 t 1 °The wavy line means that the chord is ARPEGGIATED (broken or rolled) Play the lowest note first, and quickly add the next higher notes one at a time until the chord is complete The first note is played on the beat 11 27 11 B7 ~~ Em ft ft - tJ 2 To next strain1 12 1 2 1 2 3 """'"': 51:'\ .~: -== - Fine I - 2 1 p 1:'\ J.- -.st- I I I Fine 07 4 G 2 3 " 5 1 2 1 5 07 3 -2 ... major: F in chords Key Block chords Broken chords 1 IV Bb y7 5 1 3 5 B 1 2 5 IV ~ 11 ~ ~ 1 2 y7 ROKEN (B},) C7 Bb F 3 ae IC F0 Ik Song ' G Bb 5-~ 2 1 8va 2nd time rE-xt;~d;~-~-;;sitio~1 I flat 1 MAJOR F OAS Signature: OF G ~ Moderato Key KEY RNIN ~ I ~ Ë ~ I ~ ~ ,' I Mo C7 F 2 5.' 2 1 5 3 5 C7 1 ~ Bb ~I~~~~~ ~ F ~ Prlmary Review-The mp I 3 1\ 51 2 substitution." 2 51 1\ "finger BOOK led 2 cal DUET... Primary , side 2 3 Key Review-The the ; -2 2 5 f-p with together 43 3 11 : ~ h~h~B D tJ I LA and I ~ C the Play * 20 Key of G Major - CUCARACHA ~ r-E:XTENOEO POSITION~ 21 G 1 3 5 1 5 1 4 f 5 1 ',' I I I :~;~f:' D7 1 3 3' 1 5 v., [ ~ I 1 G 4~3 2 -; 2 1 3 1 5 51 I I 4 D7 I 1 2 1 I 1 3/, [ r:; 4 ;; -2 1 2 ' I 5 2 "? f ::> I I I I 5 ~ 51 1 - 22 - - _ 'III~ - The Key of E Minor (Relative... I )~ tJ , 2 " A7 f mf 15 1 3 I - IrI ~ - 'f - 5 1 2 31 ~~ t.J I 1 i - -L : D ~ L L L 1 l - ~ -I l~ ~ J l t.J - , I A7 2 : - - I I L - - ~ - ~ I ~ D ~~ 1 =:::= 2 2 - 't.J 1 - - - l 1 21 "-.-' L I G !l~ 3 t.J - D A7 4 2 1.l ~ ~ I I 12 = 2 I ~ ~ - - 1 2 *Play both keys with the~side ot the thumb **Slide the thumb trom C~ to D ~ 1 4 1 -=- I !- 51 1\ D 2 - I -L-L ~... 3 -2 1 3 G 4 2 1 3 ~ B7 ~~ Em 4, '" 5~ 1 1 - I tJ 15 1 I 15 1 2 tJ I : 3 B7 1, 2 I 3 - , 1 1 2 == Em 1 15 /-===:: 3 Am ~ j P I I' I V P D.G al Fine 28 The D Major Scale Remember that the MAJOR SCALE is made up of two tetrachords joined by a whole step The 2nd TETRACHORD of the D MAJOR SCALE begins on A ~ KEY N~'C IOTE ~ WHOLE ~"1~ STEP~ #~ F ~ KEY NfC NOTE ~ There are 2 sharps (F# &... 1":"1 ' < ~ I - I 1 3 5 1 Gm 2 A7 ~ 8J 5 1 1":"1 ~~ : 1 3 5 1":"1 4 1 = 1":"11":"11":"1 8J 1 2 5 I:::' 5 , 19 Allegro ' D Dm 5 ~ I f) 4 1 - 1 5 - - - 1 f Gm - - TI 4 3 2 11 I I r- 15 1 1 I 1 1 - - - I 1 1 3 I I 2 I C7 F Gm 3 3 1 2 5 1 2 ", Dm I '- v t.J ( I I 1 I 2, :-~ - ==f ; -: 1_- I 1 5 I 3 11'Dm - f) ~ ~ 3 I ~ 1 2 - A7 J - - ~ I , -5 1 ~ = I I I - - A7 1 12 - - 1":"'\ 1":"'\ 1':"1... the chord names and numerals aloud: Primary Chords in D MAJOR D ;= -& 0 3 The following positions are of ten used, for smooth progressions: : f ~ ~_! i~~~i~~~' D G D 1 : 3: 5 V7(5th omitted) 1 2 5 I : 3 5 IV : A7 1 2 5 I ' V7 The same, with chords braken 2 different ways Play several times, saying the chord names and numerals aloud D G D A7 D I IV I V7 I Y OU'RE IN M Y HEAR 3 G D A7 IV 2 I 3 V7 2