A Modern Method Keyboard Study Volume One A COMPREHENSIVE PROGRAMMED KEYBOARD METHOD IN FOUR VOLUMES James ProgrisForeword The Berklee Keyboard Program provides controlled, progressive instruction in the fundamentals of keyboard technique. All musical examples are original. They have been composed to achieve specific goals: 1, the ability to read at sight 2, the development of technical facility 3. an awareness of musical structure 4, a knowledge of the principles of harmonic motion, effective chord voicing, and patterns of contemporary chord progression. ‘The Music Education Supplement. available with each book of this series, Wnelides -WaaMonal stdTes Te Transposition, accompaniment. technique,” the reading of open score, and the mastery of standard public school repertory. The harmonic materials of the Music Education Supplement are in accordance with the predominately triadi¢“textires-o? traditions? Baroque and Early Classical styles. The following classifications are used to control the sight-reading materials in Book I of this Program: GROUP I MATERIALS GROUP Il MATERIALS 1. Time Signatures in} only 1. Time signatures in : a a 2, No key signatures ~ all 2. Key signatures used accidentals interpolated 3. Varied metronome setting as 3, No change in metronome setting sight-reading stimulus 4, Emphasis on variations of 4, No variations used original example 5. All examples concentrate on 5. Combined keyboard areas one keyboard area are usedLESSON I LESSON I LESSON I LESSON IV LESSON V Table Of Contents Rudimentary pitch and rhythmic notation; posture and hand position; exericses concentrating on white keys within one key~ board area; introduction to modern chord studies Technical studies limited to white keys; sight-reading in two parts, alternating hands; modern chord studies Introduction to black keys hands separately; white keys hands together; sight-reading hands together in simultaneity; intro- duction to eighth note rhythm; II V I chord studies Introduction to velocity exercises; use of black keys hands to- gether; interval studies with variations, and melodies two octaves apart; sight-reading in two and three parts; introduction to dotted quarter rhythm; melodization of chord patterns; V7 of V chord studies Velocity exercises and preparatory thumb exercises for scale study; interval studies utilizing black keys and change of key~ board area; sight-reading in two, three, and four parts; har- monization of melodized chord patterns; V7 of Il chord studies Page 12 a1 36 53LESSON VI LESSON VII ‘LESSON VIII LESSON IX Use of pedal; C major scale, hands separately, through two octaves; preparation for G major scale; sight-reading in two, three, and four parts; reading of four-part chorale variations with pedaling; accidental alterations of key signature; chord inversion drills Velocity exercises in the chromatic scale; C major scale, hands together, through two octaves; G major scale, hands separately, and preparation for F major; sight-reading of four-part chorale with variations, and combination of different keyboard areas; interpolation of IIm7into V7 of V progressions Broken interval studies with chromatic alterations; G major scale, hands together and F major scale, hands separately; sight-reading in four parts with emphasis on contemporary devices; sixteenth note rhythms; harmonization of chord tone melodies--half notes only--using all inversions Broken interval studies in different keyboard areas; F major scale, hands together; combination of dotted eighth and sixteenth note rhythm; continued sight-reading of four-part chorales in various keys; harmonization of chord tone melodies using half notes and quarter notes Page 18 98 125 151LESSON | FUNDAMENTALS THE STAFF The Grand Staff is composed of two staves and a line between them. o Middle C Each stave consists of five parallel horizontal lines and four spaces. THE CLEF At the beginning of each stave a sign is written which is called a Clef. This sign fixes the position of one tone. i t fixed t fixed G (Treble) CLEF F (Bass) CLEF fgabede gab All remaining lines and spaces are named by adding the musical alpha- bet (ABCDEFG) above or below the fixed tones,LEDGER LINES Lines may be added above or below either staff when higher of lower tones are desired. These lines are called ledger lines. The ledger line on which Middle C is written may be used below the Treble Staff or above the Bass Staff. = iaate c v < KEYBOARD RELATED TO GRAND STAFF Each Octave of the Keyboard from C to C is identical. Study the example shown below. . ic CH De Fa GH Ag Dby Eby Gby Aby Bb Middl ‘ed le V ~22 | TTT sonetnann IDENTICALTIME SIGNATURES The time signature indicates the number of beats in a measure and which unit will receive one beat. Four beats in a measure A quarter note( J) receives one beat Three beats in a measure A quarter note( J) receives one beat ‘Two beats in a measure A quarter note( J) receives one beat Five beats in a measure An eighth note (2) receives one beat an Bo ke he [ om a § and 4 will be used in Book I. ] TIME DURATIONS (NOTES and RESTS) ‘The written symbol for the time - duration of a tone is called a NOTE, ‘The written symbol for the time - duration during which there is silence is called a REST.NOTE DURATIONS REST DURATIONS NUMBER OF COUNTS IN 444 Vv whole note half note quarter note eighth note sixteenth note Fes ‘The time - duration of a note or rest followed by a dot is increased by one-half. NUMBER OF “tc COUNTS gai eaeiraten 3 x et = —S = = FPOSTURE Good posture is important. . DO NOT SLUMP! Always sit in an upright position, Try to remain relaxed. Keep your feet flat on the floor (side by side, or left foot slightly to rear). When pedaling, the heel of the foot should always remain on the floor. NEVER SIT WITH YOUR LEGS CROSSED! ‘Arms should never be outstretched or cramped. CORRECT (NATURAL ) INCORRECT ( UNNATURAL ) Sit slightly to the left of Middle C. HAND POSITION - FINGERING ‘The fingers should be rounded. Pretend you are holding an average size orange in your hand. Keep the thumb level with the keyboard. Play on the ball of the finger. GOOD (BALL ) POOR (TIP ) Play close to the black keys. Numbers will be used to designate which fingers should be used. ‘The numbers are written above the notes for the right hand and below for the left hand. La,SIGHT READING 1, Before playing a new piece of music, quickly look it over. As you do so, observe the following: a, the time signature. b, the key signature. ¢. accidentals that are not in the key signature. d. any rhythms which may create a problem. Often, simply observing these rhythms and thinking about them for a split-second is sufficient to eliminate any problem they may create. 2, Have a definite tempo in mind before you begin playing. 3. Once you begin playing do not stop. Choose a tempo which will enable you to read ahead. Speed is not essential. 4. KEEP YOUR EYES ON THE MUSIC!!!! It is impossible to develop a good feel- ing for the keyboard when the eyes are always watching the fingers. In addition, it is time consuming to be constantly looking up and down. As a result of this habit, many students, when sight-reading, cannot maintain a steady tempo. 5. Practice sight-reading daily. NOTE: DO NOT PRACTICE THE READING MATERIAL IN THIS BOOK HANDS ALONE UNLESS IT IS ABSOLUTELY NECESSARY, Vertical as well as horizontal vision is necessary in order to sight-read two staves at once. If the given M, M, setting causes great difficulty, play the music at half the indicated tempo. For example; if J = 100 and difficulty occurs at this tempo, feel free to try d = 9 All examples in this book must eventually be learned at the given tempos.PRACTICE ROUTINE Each practice session should include some work on the technical studies, reading material, and chord studies, At least one hour should be devoted to these sessions. Do not skip lessons, or leave any lesson until it is comfortably mastered, Do not repeat any one of the reading examples in a given lesson until all of the examples have been sight-read. You may then start over and read straight through as many times as necessary.MODERN CHORD STUDIES (FOUR-PART) By practicing the exercises in this section the student will: 1. become familiar with all the basic four-part structures used in common practice contemporary harmony. 2. learn the characteristic principles of harmonic motion acquire a practical keyboard technique for the use of these structures and progressions. s A chart of all basic chord structures used throughout the program is included at the end of this section. In the chart, each chord has been written in root position, but it is essential tobe able to play each of the basic chord structures in every inversion and in close position EX. 1 CHORD: C6 CHORD FUNCTION —_» 4 i 3 5 IN MELODY CHORD: C7 b7 1 3 5 CHORD FUNCTION ga IN MELODYIn traditional, triadic harmony chords are often added above a given bass. EX. 2 GIVEN BASS: C3 Vv v 1 In modern four-part chord progression the procedure is often reversed. The student is given a melody note and must add three chord tones below it. Chord symbols, written above the melody, are always included. EX. 3 ce AT D7 G7 co CHORD SYMBOLS 5% A7 D7 G7 MELODY NOTES ROOTS Always add the three closest chord tones below the given melody note. EX. 4 CHORD SYMBOL————? E7 E7 E7 ET NOTE IN MELODY ————? 7 ROOT CORRECT INCORRECT 9CHART OF BASIC CHORD STRUCTURES FOR REFERENCE PURPOSES * es CHORD. 6 6 7 b7 b7 b7 b7 tee FORMULA " T T CHORD TYPE MAJ. | MIN. MAI DOM. | AUG. | MIN. | MIN. 7th{DIM. { > 6th | 6th 7th 7th 7th 7th | Lowered! CHORD ae SYMBOL cé c-6 CMAJ? C-7(b5) C87 G-7(b5)_G°7 Bé B-6 BMAJ7 B? Bt? B-7_B-7(b5)__B°7 F#-7(b5)_ FHTck cH-6 —c#mag7 #7 CAH CRT CH-7(b5)_ CHT * Verbally: one, lowered three, five, and six ** Verbally: one, three, raised five, and lowered seven. *#* Enharmonic spelling may be used on diminished seventh chords. Fv FHT F-7 F-7(b5) F°7 Fo F-6 FMAJ7 Bb6 Bb-6 B>MAJ7 Bb7 Bbt7 Bb-7 — Bb-7(b5) Bb °7 E>6 Eb-6 EbMAJ7 Eb7 Eb+7 Eb-7 Eb-7(b5) Bb °7 Abé Ab-6 AbMAJ7 Ab7 Ab+7 Ab-7— Ab-7(b5) Ab?7 Gbe Gb-6 GbMAJ7 = Gb7 Gb+7 Gb-7 Gb-7(b5) Gbe7 che Cb-6 CbMAJ7 —Cb7 Cb+7 Cb-7 Cb-7(b5) —_Cb°7 DO NOT PROCEED TO LESSON II UNTIL THE MATERIALS OF THIS LESSON ARE UNDERSTOOD.LESSON II TECHNICAL STUDIES PRACTICE PROCEDURE 1. Rest the five fingers lightly on C, D, FE. F, G SSS 2. Slowly lift finger indicated by the number, The other fingers should continue to rest on the keys. (NOTE: You must lift the fifth finger when using the fourth. ) 3. Attack key quickly. 4. Release the key immediately. 5. Pause - finger resis lightly on the key. EX, 1 To Be Practiced Three Times, Use Metronome Setting d =40, 4-50, d =72 R.H. (a) ae 55 5 6 L.H. bE tye ney eset 12RH. L.H. (a) 5 5 5 saan asa3 2222 Go 04 NOTE: Pay attention to the individual finger action as learned above. 2 4 ve LH. (b) oe 1314READING MATERIAL GROUP | KEYBOARD AREA EX. 2J=02 J = 108 RH. (a), 7 5 2 1EX. 4 J= 100 J= 120 R. H. (a) LH. (b) 16 oeEX. 5 = 100 J * 120 EX. 6 Je 120 J = 192 LH. (b) on 17EX. 7 J=72 J= 100 RH (LH continues to silently cover keys)| Ex, 8d * 100 J = 120 8 (RH continues to ‘ilently cover keys EX. 9 J= 100 J = 20[lum MODERN CHORD STUDIES [razz fl) (sman "m", as in m7 is synonymous with the dash, as in D-7) When playing four part chords in the right hand follow these general principles. ‘The thumb is always used on the lowest note of the chord, ‘The fifth finger is almost always used on the highest note of the chord. ‘The usual fingering from the lowest to the highest note is 123 5. When the top two notes of the chord form an interval of a second 1 2 3 4 is generally used. When the highest chord tone moves from a white key to a black key, 4 is usually used on the black key. 19-7 El ae eee Bb-7 AbMAJ7 E>-7 DbMAJ7 Ab-7 GbMAJ7 -7 BMAI7 7 EMAJ7 B-7 A MAJ7 E-7 DMAJ7 A-7 GMAJ7 D#-7__C#MAI7 G&7 FRMAIJT Db-7 ChMAJ7 20LESSON Ill ACCIDENTALS Accidentals are symbols used to raise or lower the pitch of a tone. 2. The three accidentals used most often are the SHARP, FLAT, and NATURAL. a. A sharp raises the pitch of a tone by a half-step. ( #) b. A flat lowers the pitch of a tone by a half-step. (b ) c. A natural is used to cancel a sharp or flat. (h) On the piano a half-step is the distance from one key to the next. 3. Except for the accidentals in the key signature, an accidental affects only the notes in the measure in which it appears. 4, The bar line cancels all accidentals which appear in the previous measure. 5. When the same tone is notated two different ways, the two notes are said to be ENHARMONIC with each other. At the keyboard, enharmonic tones are played with the same key (See TECHNICAL STUDIES, Ex. 1, in this lesson). ‘The bar-line cancels both cancels accidentals Enharmonic F F# B Bb 8 Bh rich———]_ PRG FR Gb 216, Other accidentals less frequently used are the Double Sharp (#) and Double Flat (bb ). These accidentals alter the pitch of a tone by a whole-step. 7. When a tone is altered chromatically use the same finger on the altered tone as you would use on the unaltered tone. This principle will be adhered to throughout the book. 22TECHNICAL STUDIES FRG Cc De FRG Boe Laps tt Ht ex.1 J£40 J=s0 Jer Independent finger action, as in Lesson 2. ac) pe E FR GEX, 2 #240 ¢= 60 #2 72 RH 5 5 5 5 saan goad poo 6 traa F Eb Db La. G c saan gs 5s tai 2222 BO eo G F Eb Db Cc Pap Ret Doe Gt? DRE BR ab Bee EX. 3 d=40 d=50 J=72 R.H. THT LEE FULL Fi PEL L.H, Do Eb Gb Ab Bb 33393 55 6 6 444s TH STE MATTE fll Bd Gb Ab Bb Db Eb 24 onRis LH. Gi etostauianieeiiete Sle se oi on 26too = 120 | = 10228 onREADING MATERIAL GROUP I KEYBOARD AREA EX. 1 seo | = 100 MODEL (var.a) (war.b)ex. 25580 J #100 MODEL (var. a) (var. b) ex. 3 = 80 J = 100EX. 4J=12 J= 02 3 EX. 5/272 J= 02 EX.7 Jere J =02 Ex, g 4780 J = 100KEYBOARD AREA ex. 9) tee |= 100 CC 5 Exe ied ata Jpaos 1 32 enGROUP I (RH continues to silently cover keys). EX, 24 = 100 a 33EX. 34 = 92 EX, 4d = 92 34MODERN CHORD STUDIES [Jum vi IMaj? | PROGRESSION (Arrow indicates dominant function) dz 60 (Minimum tempo to be mastered) D-7 G7 CMAJ7 Cé G-7 C7 FMAJ7 Fé C-7 F7 BbMAJ7 Bb6 F-7 Bb? EbMAJ7Eb6 Bb? Eb7 AbMAJ7 Abo Eb-7 Ab7 DbMAJ7 Db6 Ab-7 Db? GbMAJ7Gb6 C#-7 FR? BMAJ7 Bo B7 EMAJ7 E6 B-? E? AMAJ7A6 E-? AT DMAJ7 D6 A-7 D7 GMAJ7 G6 Ge-7 C87 F#MAI7 FB6 D#-7 G#7 CRMAJ7 CB Db-7 Gb7 CbMAJ7 Cb6LESSON IV TECHNICAL STUDIES EX.1 J=s0 J=72 (var.) (var.) 36 ns(var.) L.H. () g 5 (var.) oe 37EX, 2 38a 39Ex. 3 d= 12 d= 02 d= 104 a2 a a ceed ve = LH (b) 1645 8525 a 4 2 a RH. (c) siet stat a 4 L.H. (a) a 2 4 oO NOTE: Play each measure at least 8 times. 40 onREADING MATERIAL GROUP! EX. 1 Je a0 J+ 100 (a) : 5 EX. 2J=80 J = 100 a) a 3 EX. 34272 12 02EX. 4 J= 00 J+ 100 ‘ ex, 5 d=60 J=72 J=o4 BX. 6 d= 004272 d= 04 1 = 06 5 42 aaEx. 7 dees J= 00 EX. 8.J=84 J= 06 a i EX.9 d= 84 J= 06 43KEYBOARD AREA Ex. 10/284 J: 06 MODEL 15 4 (var.)Ex, 11d +84 J= 08 MODEL a2 a (var.) EX. 12d= 74 J2 04 J= 008 EX, 13.0 = 72 aGROUP II EX. 1 dee 46 anEX. 2 d= ea EX,3 502 oy 47MODERN CHORD STUDIES ~_ oa Wvz | v7 [v7] 16 lf PRocRession In the first three examples (C, F, and G major) the complete harmonization has been included. In the remaining exercises you must fill in the other three chord tones. Try to do this at the keyboard. If necessary write in the remaining chord tones. (This procedure will be used throughout the Book). 4:60 (Minimum tempo to be mastered) ET AT D7 G7 ce © MAJOR F MAJOR G MAJOR D7 G7 c7 FT Bbe Bb MAJORG7 c7 F7 Bb7 Eb6 Eb MAJOR c7 FT Bb7 EbT Abb Ab MAJOR F7 Bo7 Eb7 Ab7 Db6 Db MAJOR Bo7 Eb7 Ab7 Db7 be Gb MAJOR oo 49Eb7 Ab7 c#7 Fa7 Bo B MAJOR AbT ca7 Fe BT E6 E MAJOR A MAJOR D MAJOR, 50MELODIC VARIATION on|fame vif Basi 16 ] PROGRESSION D-7 a7 C MAJ’ C6 G-7 c7 F MAJ" F6 298 8o2, 08 * C7 F7 BbMAJ? Bb6 F-7 Bb7 EbMAJ’ — Eb6 Bb-7 Eb7 AbMAJ™ = Ab6 Eb-7 Ab7 DbMAJ™ Db6 coy 51Ab-7 Db7 GbMAJ? ~—- Gb cB-7 BMAJ7 BE FR7 B7 EMAJ’ E6 B-7 E7 AMAS*? —A6 E7 AT DMAJ™ Dé A-7 Db? GMAJ’ G6 52 onLESSON V TECHNICAL STUDIES ‘These Exercises Should Be Practiced Two Ways 1. diatonically 2, using accidentals written in parentheses EX. 1 J=12 J= ea J= 06 RH. 53R.H. (c) 54 oe55EX.2 d=12 J=o2 J= 104 RH. (a) A p> LH 1545 85265 a (b) a i RH. sizt cist 2 4 (ec) om NOTE: Play each measure at least 8 times. 56EX. 3 J*s0 J=100 J= 120 R.H. (a) 2384 s4a2 1 at58ex.a dsr dees deo a. When passing the thumb under the other fingers, it should be bent and tucked under the hand as soon as the second finger strikes. Allow wrist to precede hand. RH. L.H. (oy 2 3 4 1 4 a 2 aA a on 59READING MATERIAL GROUP! KEYBOARD AREA EX.1 Jseo Jer2 J= os MODEL 3 4 2 1 s (var. a) (var.b), 60 on(var.c) (var. d) (var. e) (var. f) 6162EX. d=as J+ 08 (a) 63EX. 6 Jem J=ss j= 00 8 a 2 1 EX.7 Jeeo Jere J= os 1 8 EX.8 d= ea J=o8 j= 104 a 4 flGROUP II EX. 1 J ie EX, 2EX. 3 d= 108 EX. 4 eo ooEX. 5 Keyboard Area Shift a T 8 43EX. 7 d= 66 68 .MODERN CHORD STUDIES 7™~ rm l| Iim7 V7 [mmr vi | 16 | PROGRESSION c MAJOR F MAJOR G MAJOR D-7 G7 Coie Ee Bb6 Bb MAJOR™G7? c7 F-7 Bb? Eb6 Eb MAJOR c-7 F7 Bb-7 Eb? Abe Ab MAJOR F-7 Bb7 Eb-7 — Ab7 Db6 Db MAJOR, Bb-7— Eb7 Ab-7— Db7 G6 Gb MAJOR 70 heB MAJOR E MAJOR A MAJOR D MAJOR D&-7 Ge7 1 CBT Fa-7 FR BT B6 E6AAT MELODIC VARIATION ovr vr |v vi| 16 ll PROGRESSION E7 Ay bv G7 ce zat Mee 1 28 N82, 204 8 c MAJOR F MAJOR D7 G7 c7 FT Bb6 Bb MAJOR a7 c7 FT Bo7 Eb6 E> MAJOR 72 oec7 F7 Bb7 Eb7 Abe Ab N.AJOR, F7 Bb7 Eb7 Ab? Db6 D> MAJOR Bb7 Eb7 Ab7 Db? Gbe Gb MAJOR Eb7 AbT7 c#7 #7 Bé B MAJORAb7 Db7 FR? BT E6 E MAJOR cH? re B? E7 Ab A MAJOR Fa? B7 Ev AT Dé D MAJOR G MAJOR 74 anLESSON VI THE PEDALS ‘The grand piano has three pedals. 7 t \ SOFT PEDAL SOSTENUTO PEDAL DAMPER PEDAL Many uprights and spinets have only two pedals. SOFT PEDAL ————> —— pamper PEDAL Each pedal has a specific function: THE DAMPER PEDAL The most frequently used pedal is the Damper Pedal. It is always depressed with the right foot. Mechanically, it's function is to raise the dampers away from the strings. The strings will then continue to vibrate until the pedal is released. ‘The tone does not become louder when this pedal is used. THE SOFT PEDAL The Soft Pedal is used when a softer tone quality is desired. It is always depressed with the left foot. Normally the hammers of the piano strike two or three strings depending on the keyboard register. When the Soft Pedal is depressed the hammers strike one string less than the usual number. THE SOSTENUTO PEDAL Used only in advanced piano playing. This pedal is used to sustain individual tones.MARKINGS PERTAINING TO THE DAMPER PEDAL ‘The three most common methods for indicating how the Damper Pedal is to be used are shown below. PRESS RAISE 1, Ped. * ——— ee) 2. 3. AW 2 +h *h *h eh # i KA AAD In this program another method will be employed. PRESS RAISE P R P=Press R= Raise P ——RP— RP—RP—RP-R Only the Damper Pedal will be used in this book. 16USE OF THE DAMPER PEDAL To sustain tones within the same harmony. To connect harmonies or melody notes together smoothly when this cannot be accomplished through finger technique alone. ‘The pedal can be depressed on the beat or immediately after the beat. When playing a succession of harmonies, the second method is usually used. The pedal is raised when a new harmony is sounded. It is then immediately lowered. NEVER SUSTAIN THE PEDAL THROUGH A CHANGE OF HARMONY. ‘The heel of the foot should always remain on the floor. The pedal should be raised and depressed quickly in order to obtain maximum clarity. 17TECHNICAL STUDIES These Exercises Should Be Practiced Two Ways 1. diatonically 2, using accidentals in parentheses BX. 1 #72 J+ 84 J= 96 R.H. (a) 78rgd dad dw) gd dd" ” 120 = 192 80EX.3 Jem jee j= R. He (a) —, ge Lind fggheettiial tert Goa = (b) : et te 5 ee a oF eS SS ee) L.H. (c) A a te Sete ees ee Oe tee aa iiey a (@) ay + + — epee ExX.4 j= Jess J*o2 RH.LH. (a)READING MATERIAL GROUP | EX. 1 KEYBOARD AREA MODEL de00 Jer2 jeos 5s 40 2 £ era ee ee eee (var.a) (var.b) (var. c) 84 oe(var. d) (var.e) (var. 1) EX, 2 Jia Js 00EX. 3 deo jr as 86 eeEX. 5 dros Jeo 87FOUR PART CHORALE WITH VARIATIONS MODEL dte0 J=72 CHORDS G D G (ol G a i ad PEDALING: P- ae (var.a) 7 5 : (var.b) ted tdddst lili P—RP-RP-RP—— RP-RP—RP-RP ——RP-RP-RP_RP- RP (var.c) P- RP. RP RP. RP——RP RP. R R 88 ae(var. g) d (var.h) P R P R P. RP R CHORDS Gm D Gm cm = Gm 7 Gm oo at r—) eet at = = dd 44 ed * zz | —_—— P R P. RP RGROUP II EX. 1 ruiz EX. 2 J = 100 90 ee(ob) J = a2 92Keyboard Area EX. 6 j= oa oe 8 bias 2 ra 4 * 1 5 — Keyboard Area Shift EX.7 J=o2EX.8 j* 7 MODERN CHORD STUDIES In order to harmonize melodies it is necessary that you be able to play a chord in all four inversions. The three most frequently used chords in modern progression are the MINOR SEVENTH, DOMINANT SEVENTH, and MAJOR SIXTH. In the excercises that follow, every inversion of each of these chords is used. 94 onMAJOR SIXTH CHORD DRILL - ALL INVERSIONS >. mem a OFOlOmM mG cHorp Function —P' * 1 % f pou eee ge CHORD SYMBOL ma maa Oa OTS CHORD FUNCTION > e 6 3 6 a 3 6 s CHORD SYMBOL C6 F6 Bb6 Eb Ab6 Db6 Gd6 Bé E6 A6 D6 G6 Cb = = TS] or FeSO Oe cuorp runcrion>®, 1 bk eG : : ae CHORD SYMBOL = = SS cuorpruncrion>* 9 § 9 @ @ @ 3 8S PCe Fe Bb6 Ebb Abé Db6 Gb6 BE E6 Ab D6 G6 Cb — Ts io me = 5 C6 F6 Bb6Eb6 AbODb6Gb6 BE E6 A6 D6 G6 Cb = é bo CHORD SYMBOL -»C®& F6 Bb Eb6 Abé Db6 Gb6 B6 E6 Ab D6 G6 CO ——— — SSS SSS 95DOMINANT SEVENTH CHORD DRILL - ALL INVERSIONS —J oo oo CHORDFUNCTION’ 5 14 58 1 6 { 5 ££ 58 4 56 1 CHORD SYMBOL | C7 F7_Bb7 Eb7 Ab7 Db7 Gb7_B7_E7_A7 D7 G7_C7 ryommsS CHORD FUNCTION 7 8 + 8 1 8&8 4 & TFT 8 T 8 CHORD SYMBOL, C7 | F7 Bb7 Eb? Ab7 Db7 Gb7 B7 E7_A7 D7? G7 C7 SS ee cHorprunctionS” i 56 i 6 @ 6 @ & ¢ & ft 5 CHORD SYMBOL C7 F7 Bb7 Eb7 Ab7 Db7 Gb7 B7 E7 A? D7 G7 C7 — CHORD FUNCTION? @ 7 CHORD SYMBOL ,C7 7 Bb7 Eb7 Ab? Db7 Gb? B7 ET A7 D7 G7 C7 96MINOR SEVENTH CHORD DRILL - ALL INVERSIONS CHORD FUNCTION “7 as Oo CHORDSyMBoL ! §& 14 &§ 14 6 f 68 ft 68 ft 6 1 C-7_F-7 Bb-7Eb-7 Ab-7 Db-7 Gb-7B-7 E-7 A-7 D-7 G-7 C-7 CHORD FUNCTION o 7 a oT tee a af 1 8 T 8 — CHORD FUNCTIONs 1 5 {i 58 14 6&8 1 8 4 8 2 5 CHORD SYMBOL C-? F-7 Bb-7Eb-7Ab-7Db-7Gb-7B-7 E-7 A-7 D-7 G-7 C-7 SS —-? CHORD FUNCTION? 8 7 @ #f 8 F 3 Fa F 1 CHORD SYMBOL (C-?. F-7 Bb-7Eb-7 Ab-7Db-7Gb-7 B-7 E-7 A-7 D-7 G-7 C-7LESSON VII EX. 1 J=r2 Je or J= 104 RH LH. (b) 15 4s 4 5 8 8 a5 25 25165 NOTE: Play each exercise at least 8 times. 98 aEX. 3 J=72 j= ea J= oe R.H, (a) —oS < =r h——E™rr—CLCrL foal —— | gave in 3s (b) > on = | pee ee eyEX. 4 dere J=ea J=o2 RH. 100 oeREADING MATERIAL GROUP | KEYBOARD AREA EX. 1 Jeo J=72 j= 4 MODEL (var.a) (var.b) (var.c)(var. d) (var.e) (var. f) (var. g) (var.h) 102Ex. 2 des J=00 EX. 3. = 80 J = 100 a 103EX. 4 j= oz J= 112 3 A i 104 maFOUR PART CHORALE WITH VARIATIONS MODEL = J =00 J = 72 F c7 F Bb F Bb c7 F 5 i P RP. RP. RP: RP——RE-RR RP. R 2 5 3 USE SAME PEDALING IN VARIATIONS a, b, and c. (var. a) (var. b) (var. c)(var. d) 1, P-RP-RP-RP——RP-RP-RP-RP — RP-RP-RP -RP ——RP R 2. P RP RP——RP RP. RP RP R (var. e) Fm c7 Fm Bbm Fm Bbm C7 Fm P. RP RP RP RP ——RP-RP RP R EX.1 J 7 12 GROUP II 106 euEx.2 J EX.3 J = 100 107EX.4 5 J 108 2 EX.5 J* 108 easEX.7 COMBINED KEYBOARD AREAS IN C MAJOR (a) (b) 4 re i (b)J = 104EX.8 COMBINED KEYBOARD AREAS IN F MAJOR (a) (b) 12 4 2 9 4 5 110EX.9 COMBINED KEYBOARD AREAS IN G MAJOR (a) (b) eee eee ge ies oe ae (a) J 100 (b) JueEX.10 COMBINED KEYBOARD AREAS - MODAL AND SYNTHETIC SCALES (a) J = 96 2a 4 8 r (p) J = 120(c) d= toa 8 (ay J = 112 1 4sCHORD STUDIES d =60 (vinimum tempo to be mastered) 7 Ao Je" VT [m= vi | 16 I A-7 D7 D-7 G7 co | © MAJOR 5 F MAJOR G MAJOR G7 C7 C-7 ET Bb6 Bb MAJOR 114 ooEb MAJOR Ab MAJOR Db MAJOR Gb MAJOR Bb-7 Eb-7 Bb? Eb7 Ab7 115 Bb-7 Eb-7 Ab-7 Bb7 Eb7 Ab7 Dbz. Eb6 Ab Db6 GbeB MAJOR ch7 FRT FR7 0 BT E6 E MAJOR F#-7 0 -B? B-7 Ev Ab A MAJOR D MAJOR 116 onFOUR CHORD PATTERNS #1 #2 #3 16 Vim? Um7v7 |f6 bie? um7v7 ff 6 #7 lim7V7 Cc MAJOR C6 A-7 D-7G7 C6 Eb? D-7G7 9 C6 CH? D-7G7 F MAJOR F6 D-7 G-7C7 F6Ab7 G-7C7 Fe FR? G-7C7 on uyG MAJOR G6 E-7 A-7D7 G6Bb°7 A-7D7 G6 GH7 A-7D7 Bb MAJOR Bb6G-7 C-7F7 Bb6Db°7 C-7 F7 Bb6 BT C-7 FT Eb MAJOR Eb6C-7— F-7 Bb? Eb6Gb°7 F-7 Bb7 Eb6 E°7 F-7 Bb7 118 aAb MAJOR Abe F-7 Bb-7 Eb7 Ab6 B°7 Bb-7 Eb7 Abo AC? Bb-7 Eb7 Db MAJOR Db6 Bb-7 Eb-7 Ab7 Db6 E°7 Eb-7 AbT Db6 D°7 Eb-7 AbT Gb MAJOR Gb6 Eb-7 Ab-7 Db7 Gb6 Ac? Ab-7 Db? Gb6 G7 Ab-7 Db7 a 119B MAJOR Bo G#-7 C87 FR7 Bo D7 C#7 FR7 Be C7 CRT F#7 E MAJOR E6 CH7 = F#7 B7 E6 G7 E6 Fe? F#-7 B? A MAJOR A6é F#-7 B-7 ET Ab C7 B-7 ET A6é A®7T B-7 E7 120 onD MAJOR Doe Be Eat Ad, DG} Bet Bd Ar, Dé D7 E-7 A7 F# MAJOR #60 D8-7 «GE-7 CA? FR6 Ac7 7 Ce 6 G7) GBT C87 c# mMasor Ce AB7 «DE-7 GI ce E°7) ~DB-7 G#?7 Cc#6 D7? Ds7 G87 oe 121cb MAJOR Cb6 Ab-7 Db-7 Gb7 Cbé DP? Db-7 Gb7 Che C7 Db-7 Gd7 #4 | 1s v7 / Iv6 Ive Ivm6 | cé C7 Fe F-6 Fo F7 Bb6 Bb-6 C, MAJOR Ir MAORI 122 eaG6 G7 cé C-6 Bb6 BT Eb6 Eb-6 G MAJOR Eb6 Eb7 Ab6 Ab-6 Ab6 Ab? Db6 Db-6 Eb MAJOR Gb6 Gb7 Cb6 Cb-6 Db6 Db7 Gb6 Gb-6 D> MAJOI aa 123E6 ET A6 A-6 B6 B77 E6 E-6 B MAJOR D6 Di GG G-6 AG] Ave) D6) 0-6) A MAJO} Fe? B6e B-6 CH C87 FR F#-6 F# MAJOR 124 aaLESSON VIII TECHNICAL STUDIES EX. 1 Jere Joz jstoa f= 110 NOTE: Play Each Exercise At Least 8 Times. as 12521 EX, 2 { a J = 104 RH. J = 16 (a) NOTE: Play Each Exercise At Least 8 Times. Xe a (a) fF 4 yuee velos exprptttiters 2 = = Hi = 126(b) ——a= > = SS sae —— +41 5 eet Et oe a Speer ee = tt ——o EX.4 Jim Jses J=o2 = piga Te et Tesatai G ects eit ee A dese - HS ) 6k = =a ee SS = dee i S = Li fe) pette a Poesy set beth SEG ygaen S (a) psp Ste B 8 (pee an 127READING MATERIAL GROUP |! KEYBOARD AREA EX. 1 MODEL jim jte Joe fee 4 a2 (var.a) (var.b) 128 ~(var.e) (var. d) var. (e) var. (f) var. (g)var. (h) 130 ouEX. 3 J=60 J=72 Joe P RP-RP R P R P. RP ~ RP 2 5 RP RP-RP R P RP RP-RP RP R pe pieliceelte teeta RP- RP RP- RP e__ thee, |te pete fa tetecte ee, tepenetne — RP— RP- RP RP RP RP—RP RP—REX. 5 Each of these exercises must be played nine times, Fingering for each playing is as follows: Ist 2nd 3rd 4th«=— Sth) 6th«=—s 7th) 8th_~— Oth time time time time time time time time time (b) ds42d cas J =00 NOTE: DO NOT PROCEED TO THE NEXT EXERCISE UNTIL THE ABOVE IS MASTERED. EX. 6 d= 48 4 60 d= 72 MODEL 132 a(var.a) (var.b) (var.c) (var. 4) ew 133GROUP II EX. 1 J=0 EX. 2 Jee 134 onEX. 3 J* 100 on 135EX. 5 JF 108 136 onEX. 7 COMBINED KEYBOARD AREAS a JF 108 4 (b) = 100(ec) J = 100 138 eate) 139Pp RE RP RP— RP. RP—R P—RP-R 140 aFOUR PART CHORALES J=eo Jer EX.1EX. 3 Gm D7 Gm cm Gm Cm D7 Gm 142 nacm cm G7 143 Fm cm cm EX.5MODERN CHORD STUDIES CHORD TONE MELODIES USING ALL INVERSIONS J -6o (Minimum tempo to be mastered) EX. 1 ce Al D-7 G7 ce G7 ¢7 144 oeBb7 F-7 F6 Fé Ge 145 D7 Bb-6 G7 EX. Bb6 EX. Ge Eb6EX. 4 Bb6 G7 c-7 F7 Bb6 Db°7 C-7 FT Bb6 BY? c-7 FT Bb6 EX. 5 Eb6 c7 F-7 Bb7 Eb6 Ab-7 Db7 Gb F-7 Bb7 Eb6 146EX. 6 Abe B-7 E7 A-7 D7 G7 C7 Fé F7 Bb-7 Eb? Ab6 EXE Db6 Eb-7 — Ab7 Db6 E-7 AT D6 Bb7 Eb-7 Ab? Db6 oe 147BAL 8 Ab-7 Db7 Gb6 Eb7 Ab-7 Db7 Gbe Bb-7 Eb7 Ab-7— Db7 Gbe FR7 B6 D7 ca-7 FR? BE o7 148 na149 EX. 10 EX.11EX. 12 150 oeTECHNICAL STUDIES EX. 1 d= 02 j= 10 J= 116 NOTE: Play Each Exercise At Least 4 Times.dso d= J +e 2 EX. ) fa Ilo jaaREADING MATERIAL GROUP! EX. 1 Each of these exercises must be played nine times. Fingering for each playing is as follows: Ist 2nd 3rd 4th_«= Sth) 6th) 7th) 8th «~—9th time time time time time time time time time RH—+> 1 2 3 2 4 3 5 1 3 LH 1 2 3 4 2 5 3 3 1 (2) J+00 J =120 {fA AiAY A AIA Pir Sj oI 2 eae) a 1 #00 Different notation FRR OR ee ee ee eee ee eee ee {atalino PAAR oe ee aaa eae aaa aaa Different notation oa 153NOTE: DO NOT PROCEED TO THE NEXT EXERCISE UNTIL THE ABOVE IS MASTERED. EX. 2 d MODEL so J=00 J=72 (var.b) 154 oyEX. 3 deoo J=r dees 25 EX. 4 p47 Jem demGROUP II EX. 1 156 ond= 100 157158 aeEX. 7 d= 100 159Ex. 9 JF szEX. 11 EX. 12 J = 100 161EX, 13 COMBINED KEYBOARD AREAS 162 aa@ J 120 123 4 5 a oe 163() d= 104 123 45 7 7 RP—————RP_ ————— (h) an 165FOUR PART CHORALES EX.2 166 oeEX.3 on 167MODERN CHORD STUDIES CHORD TONE MELODIES USING ALL INVERSIONS d= 00 (Minimum tempo to be mastered) EX. 1 FR7 B7 E-7 AT D-7 G7 co EX. 2 Fé D7 G-7 C7 F6 Bb-7 Eb7 Abe Gate er F6 168 enFR-7 B7 F-7 Bb7 Db7 Ab-7 Bb6 Bb6 Eb7 169 FT Bb-7 c-7 Eb-6 G7 G6 Eb6 EX. EX.EX. 5 Eb6 Eb-7 Ab7 Db6 Db-7 — Gb7 che F-7 Bb7 Eb6 EX. 6 170 aEX. 7 Db6 Bb7 Eb-7 — Ab7 Db6 G7 cz EX. 8 be G7 Ab-7 Db? Gabe AT Ab-7 Db7 Gabe Eb-7 Ab-7—-Db7 Gb6 171co EX. 10 FR-7 Ge-7 BT c#7 ce-7 E6 F 37 ca? 172 BO E6 E6EX. 11 EX, 12 a 173