Ale Chapter 1: Identification of Thirds on the Staff sic notation, and its the interval by which we "s on the written page always travel in a line Harmonic third Melodic third ‘o-space configuration. Harmonie thied Melodic third reading practice that many melodic reading patterns combine a variety and thiAS we are also learning in Technique 1, triads are harmonic structures that are built upon third intervals. This is what root position triads look like on the staff. They either appear as block chords located on vertical lines x44 or within vertical spaces. Ex.45 They can also appear as broken chords, or chords in which the notes are played separately. Broken thirds can move from line to line... 46 or space to space 47 58 Keyboard Reading |hapter 2: Thirds in Practice After identifying the note in the first column, play and say aloud the names of the notes of the following melodic patterns, identifying repeated notes, and ascending/descending third intervals a8 Root: cChapter 3: The Space Between the Staves In keyboard literature, the space between the treble and bass clefs can serve as a convenient gap to allow ease in reading left and right hand passages. Sometimes melodic patterns traverse between stav 9. going from the left hand to the right hand, and vice versa. These connections use ledger lines (see Unit 1 Ledger lines Often, in order to carry out difficult » recognize these intervals, sages, yOU will see this type of notation. I mportant to be abl This gap Is also used to put in special d &x 4.10 jamic directions and lyrics. To some players, this may cause some spatial confusion when playing a moving line from one hand to the her. Let's take @ closer look at this space between the staves. In the bass clef, the first ledger line above the staffis the same note (middle C) the staffin the treble clef Beall he first ledger line below Troble clef N Middle C 60. Keyboard ReadingUnit 4- Chapter Also, the distance from B below middle C (written in the bass clef) to D above middle C (written in the treble clef) is the same distance as going from B to D above middle C (all written on the treble clef), 4.12 EAU AV AUV AU AUC UP AOU AL A000 ETT ilhapter 4: Reading Pentatonic Scale Patterns In the infinite variety of scales possible in Westem music, you will routinely come a scale. This scale getsits name from the five ¢ scale is the major pentatonic scale, which utilizes the fist, second, third, fifth, and sixth degrees of the major scale. This scale is built by starting with a pitch, then going up in the following intervals: M2, M2, m3, M2. imajor second, major second, minor third, r ic scale in the key of C would be spelled: C,D, E,G, A the pentatonic inct tones the scale ernbodies. The most common pentatonic ) So a major pente Here is a pentatonic scale on the treble staff: M2 M2 m3 M2 Here ¢ re at4 4.14) is how the same scale would look on the keyboard: CDE GA iit it EUV INU AY OUT OY UOT ODO 0 TTT TET his scale s sometimes considered an”Eastern’sc styles. Another easy way to think of the pentatonic because it is more commonly found in Asian musical ale is that it's comprised of a major scale without the fourth and seventh scale degrees. art the pentato on Fé, the scale utilizes all black ke & Fo: _———S— # i . m2 M2 m3 Mz ir ir t PUD UUE UV TOT UU UML TV TTT TU CT UTE TT TT Keyboard ReadineUnit 4 Chapter 4 Pentatonic Tune in C Ex. 4,16 is piece using only notes from the C major peritatunic scale. I dlsv incorporates melodic passages that traverse between staves. Ex 4.16 6Chapter 5: Common Song Forms The construction and organization of a composition is done at multiple levels. In a simplified way, we can think of this as the small-scale and the large-scale structure in the music. The small-scale structure of a composition refers to the basic construction of the initial melodic, rhythmic and harmonic material. These ate the small events we hear and react to on a measure-to-measure basis, or on a micro level. Large-scale structure refers to the organization of the main sections of a composition, which we can think of as being the macro level of the music. As previously discussed, the labels most frequently used for these larger sections in popular music are either common names such as intro, verse, chorus, bridge, etc. or section letters, such as A,B,C, D, etc Most compositions contain numerous large parts, and the way a composer has chosen to structure these isreferred tos the form of a composition. The individual parts in a composition will usually have some type and degree of contrast between them. In a general sense, contrasts, occurring on both a small and a large scale, will help propel music forward, and the tension created between varying degrees of apposing forces is one of the primary engines of momentum in compositions. composition will usually contain one or several easily identifiable main parts. Itis common to have both variations and derivatives of the main parts, but itis also common to add shorter standalone sections that actas a bridge or connector between larger parts There are a myriad of ways to structure and create balance in compositions, but musical style and tradition has usually the largest impact on a composer's choices regarding structure. 4 classical symphony written in 1785 will be structured very differently compared toa pop song written in the 21st century, however, they both try to reach the same goal: presenting a composition that is a solid musical statement which is able to captivate the listener. Examples of common forms: ‘AA Strophic form. One single part is repeated and is musically the same, but different words are sung over the melody at each repetition. Examples of songs using strophic form include*Old McDonald Had a Farm, Mary Had a Little Lamb and Blowing In the Wind’ by Bob Dylan, [AB -Binary form/two-part form/verse-chorus form: This form is based on two contrasting parts, or statement and counterstatement. This is by far the most common song form used in most contemporary music genres, such as pop, rock, country, etc. Usually, the A section is a verse, which serves as a buildup towards the ntrasting B section, which is a chorus, Examples of songs using AB form is"Back in Black" by AC/DC, “Hotel California’ by The Eagles and“Rockin’in the Free World” by Neil Young, ABA - Ternary form/three-part formy/song form: The first and third parts are musically identical while the second part provides contrast, 1. Staternent 2, Contrast 3. Return. e.g."Twinkle, Twinkle, Little Star? ‘ABA - Ballad form/32-bar form (verse-verse-bricige-verse): A slightly longer form, where the first part is presented and repeated, then followed by a contrasting part and a last repetition of the first part. Or, we can lookat this form in this way: 1.Staterent, 2, Repetition, 3. Contrast, 4 Return. Numerous Tin Pan Alley songs and jazz standards are written using this form, but it has been used extensively in pop and rack as well. eg. “I Got Rhythm’ by George Gershwin, “Brown Sugar" by The Rolling Stones and “Whole Lotta Love" by Led Zeppelin. 64 Keyboard Reading |Unit 4 Chapter 5 ‘ABACABA - Rondo form: one recurring section with new sections between each repetition, eg, Piano Sonata No.11 in A major, K.331 (last movement, Alla Turca’) by Mozart and Far Lise by Beethoven, ‘AB - Blues Form: 12-bar form consisting of three four-bar phrases, where the first two phrases set up tension and are left unresolved while the last phrase resolves the tension and concludes the melodic statement. Most blues songs are based on this form, for example ‘Johnny B, Goode" by Chuck Berry, "Sweet Home Chicago" by Robert Johnson, “Pride and Joy” by Stevie Ray Vaughan and “The Thrill Is Gone” by Darnell/Hawkins. ABCD -Through-composed form, where there are no recurring melodies or chord progressions, for example The Erlking by Franz Schubert, “Happiness is a Warm Gun’ by The Beatles and "Bohemian Rhapsody” by Queen. 6Chapter 6: Subd Clap the rhythms of Ex. 4.17 in with proper eighth-note subdivision terminology. Exel? ng and Rhythm (Cont.) In older vocal rr ometimes you will see eighth notes with flags b, instead of beams connecting groups ofeighth notes. This makes for music that i difficult to read. See this excerpt from Schumanmis 7 Lieder Op. 104 for an example: & 418 Flags Langsam Singstimme P Mond, mei-ner See - le Lieb - ling. wie schaust du heut’_ Kam dein Ge - mahl, dic Son - ne, Viel - leicht dir Krank — Pianoforte When you beam eighth notes into groups, the rhythm is clear and easy enough for the pe Understand, This s especially helpful for session musicians who will only read the piece of music one time. Take, for example, Schubert’ Lied no. 585 Ex 419 former to 66 Keyboard Reading(One thing to keep in mind is the “invisible barline’ an unwritten rule in music that stipulates you must keep the third beat visible in every measure of written music. In 4/4 time, music that is written with the half measure mark blurred is difficult to understand for conductors, drummers and sight-readers in general. Notice how the imaginary bar lines in the right-hand examples allows the eye to easily find the middle of the measure and locate beat 3.This i the preferred way to notate music 6.4.20 Not prefered Prefered Not prefered Prefered Simple 3/4 Tune x. 421 isa song which incorporates many of the concepts we've explored so far. Before playing the piece, let’s explore some of the aspects of this chart. * Investigate the form of the chart. I's a simple AB chart with eight-bar sections. Identify the rehearsal letters and doulble har lines in the chart Identify the key signature. It's in the key of D major, meaning there are two sharps in the key signature. Identify the time signature. It's in 3/4, meaning there are three beats in each measure, Notice the melody moving from right to left hand and vice versa, Notice also the space between the staves is used to move from staff to staff Ex. 421 orunit five Chapter 1: Fourth and Fifth Intervals 4 or‘ perfect fifth’and"P5!On the staff, PAs travel Melodic P Harmonie P4 wer the next line, to the very next space Melodic P4 Harmonic P4 A perfect fourth interval consists of two and one-half steps (or five half steps). Here is an example of what a PA looks like on the piano. x53 ay nee fifth (P5) travels from space to space. Melodie PS Harmonie PS or line to line B55 Melodic PS Harmonie PS ard ReadingUnit 5 - Chapter A perfect fifth interval consists of three and one-half steps (seven half steps). Here (Ex. 5.6) is an example of vihat a P5 looks like on the piano, 56 Ped ery eon You will see a variety of fourths and fifths in piano music, especially in chordal passages, as chord inversions always contain some fourth first or second inversion) and the fifth occurs naturally in the root position (outer notes) x57 G F Pa Ps (Qnd inversion) (Root position) Melodies often begin with a P4. Some famous examples of this are“La Cucaracha' and “Aura Lee” Ex. 58 is from the ‘Bridal Chorus" from Wagner's Lohengrin, commonly known as “Here Comes the Bride" Fx 58 Melodies beginning with a PS are less common but are stil heard. Some church hymns, such as Gregorian chant, evoke the interval ofa P5. The first vocal hook from Lady Gage's"Bad Romance’is also a great example of melodic P5s. One of the most famous PS intervalsis the following opening phrase of Richard Strauss's Aso Sprach Zarathustra 59 oapter 2: Interval Exercises P4 Study: Copy this study on to staff paper. Circle all of the P4 intervals and label all other intervals underneath the staff Ex. 5.10 P4 Study Circle all of the PS intervals and label all other intervals underneath the staff on PS Study. Ex. 5.11 PS Study 70 Keyboard ReadingChapter 3: Accidentals: Sharp and Natural Signs ‘Accidentals are sharp, flat, and natural signs that occur outside of the key signature. Welll be focusing on sharps and naturals first. Below is what those two symbols look like: Fx 5.12 # harp 4 When placed directly to the left of any note, a sharp sign indicates that the note is to be played a half-step higher (just as in a key signature). In addition, that note must be played sharp for the rest of that measure. In other words, the sharp ‘carries’ through the measure. Accidentals only carry for one measure. A bar line negates all carried accidentals. Be 5.12b Sharp ar Line Natural Voy | tural Sharped notes are often used as fewer neighbors. Lower neighbors are the notes ane half-step below a naturally occurring note in a given key signature. Lower neighbors are often used 2s in Ex. 5.13: Fx 513 Note Lowerneighbor Note e Sharped notes are also often used as passing tones. This is when sharped notes are used to move from one naturally occurring note to another. Ex. 5.14 is an example of a sharped note being used as a passing tone: x54 Note Passing tone Note © Natural signs are used to cancel out sharps and flats. Natural signs can be used ane of two ways. 1. Tochange sharp notes in a key signature to natural. Be SAS 2. Tonegate accidental sharps within a measure. Fx 5.16 Ge $e be =Copy this example onto separate paper and write out the note names below the staff for the following exercises. Please note: when reading pieces with accidentals, the accidental comes before the note. When speaking about accidentals, the name comes before the accidental 5.17 5.18 x 5.19 £5.20 521 x. 5.23 72 Keyboard Reading |Unit 5 - Chapter 3 x 5.24 5.25 Fx 5.26 73Chapter 4:Introducing the Keys of G and In principle, any tune can be written without a key signature using accidentals (additional sharps and flats) to correct the sound thereby achieving tonality. For example, a piece with no key signature (C major be written in D by simply putting a sharp in front of every F and C. Without key signature, using accidentals: Fx 5.27 © With key signature, Ex.5.28 However, the purpose of akey signature is precisely to avoid this type of writing. Ostensibly, itis a headache to memorize all the keys and their respective key signatures, but in reality the more accidentals that are written, the harder itis to read the music. Trained musicians understand not just the key from seeing a key ature, but also they can infer hand positioning and fingering The exception to this is in session work, where artists are looking at a piece of music for the first and only time. If the piece is clearer without key signatures on a one-time sight read (and many times, itis) orchestrators and cops key of C and place sharps and flats in front of the appropriate notes. ists write in th ‘As we learned in Unit 3, key signatures indicate which notes are supposed to be flat or sharp throughout an entire piece or section of music. In a way, a key signature is somewhat like putting an accidental right in the beginning of the piece or section of music It can be challenging when you are frst reading music with key signatures to remember which notes are supposed to be sharp or flat, but with practice, you will have 1no trouble reading music in different keys. In the following examples, copy the example on to staff paper and write a sharp sign above all the notes that are supposed to be sharp in the given key signature. x. 5.29 ra re Fe £530 74 Keyboard Reading |Unit 5 - Chapter 533 Fx 5.36 x 537 Fx 5.38