Keyboard, Theory DL Summy-Birchard Inc. Secaucus, New JerseyKeyboard Theory BOOK TWO DAVID KRAEHENBUEHL with Frances Clark and Louise Goss © 1965 by Summy-Birchard Music ‘a division of Summy-Birchard Inc. Secaucus, New Jersey, U.S.A All rights reserved” Printod in USA. ISBN 0-87487-116-6 3579 1 13 15 6 14 12 10864 Summy-Birchard Inc. exclusively distributed by Warner Bros. Publications Inc 265 Secaucus Road Secaucus, New Jersey 07096-2037Preface ‘The six books in the KEYBOARD THEORY series offer an imaginative new approach to theory designed to help piano students learn the fundamentals of music and traditional harmonic practice quickly, easily, musie- ally. A carefully planned program of keyboard activities develops the student's skill in transposing, improvising accompaniments, harmonizing melodies in three and four parts, and composing in the smaller forms. Musical materials — folk tunes, themes from classical litera- ture, original contemporary compositions — give the student experience with a variety of styles and idioms, The goal of these books is understanding music; the keyboard is the means, Each new musical element Notes on Book Two MAJOR KEYS When a student finishes Book One, he can name the notes and write the scale of any major key. In Book Two, he works entirely with the major keys of C, G, D, F and Bb in a variety of keyboard activities that insure complete “at homeness” with the keyboard pat- tern of each of these five keys. RELATIVE MINOR KEYS (HARMONIC FORM) ‘The student learns the minor keys of A, E, B, D and G, the relative minor for each of the major keys he knows, and sees that the only difference on the key- board between a major key and its relative minor (harmonic form) is the leading tone (shown in the music by an accidental). USING |, V AND VII TO ACCOMPANY MELODII ‘The accompaniment techniques learned in Book One are applied to melodies in minor keys and to more elaborate melodies in major keys. ‘SRDS AND 6THS While developing complete keyboard security with each interval, the student also learns to transpose pieces made of 3rds or 6ths, to double melodies in 3rds or 6ths, to accompany melodies by doubling in 10ths, and to create three-part harmonic settings by doubling a melody in 3rds or 6ths with the right hand and accompanying them with I and V in the left hand. INCOMPLETE TRIADS ‘The student learns to accompany 3rds by doubling the lower note, 6ths by doubling the upper note. Using this simple device, he can accompany a succession of 3rds and 6ths (blocked, broken or melodically embellished), The result is a succession of incomplete triads which he can manipulate easily at the keyboard, even in modulatory passages. 2 is presented at the keyboard, explained in terms of the Keyboard, then used extensively in keyboard activities. In this way, the student’s understanding of music develops in his hands and in his ear. In using these books, the teacher will find that some students may complete several numbered sec- tions a week, while others may require more time, What- ever the pace, the only reasonable guide to weekly assignments is the student's keyboard mastery of the material. Frances Clark Princeton, New Jersey COMPLETE TRIADS The keyboard facility with 3rds, 4ths, Sths and 6ths, developed in Books One and Two, enables the student to use complete triads (root positions and first inver- sions) freely and expressively to create his own 2-part, and 3-part settings of folk tunes and classical melodies. He learns to make a bass line by playing the note a 3rd below the lower note of a 3rd or 4th, a 3rd below the upper note of a 5th or 6th. This creates complete triads in traditional 3-part harmony. RHYTHM ‘There is specific instruction and drill in rhythmic pat- tems involving sixteenth notes: 3, ATI, I. We gratefully acknowledge permission to reprint melodies on the following pages: Polish, 7; from JovFUL SiNciNo. Copyright © by Cooperative Recreation Service, American, 16; from PROMENADE ALL, copyright © 1947 by Janet E. Tobitt. Brazilian, 7; Traditional, 11; Chilean, 21; French, 40; from HARMONIZATION AT THE PIANO, copyright © 1962 by Arthur Frackenpobl. Mexican, 38; from LOUISIANA FRENCH FoLx SoNos by Irene ‘T. Whitfield. Copyright © 1939 by Louisiana State University Press. Polish, 6; French, 7; Swedish, Welsh, Scandinavian, 9; Italian, 14; Russian, British, 16; Welsh, Brazilian, 23; British, 29; Dutch, 31; Eybler, 48; from HanMontzation-TRANSPOSITION av THE Kevgoanp by Alice M. Kern. Copyright © 1963 by ‘Summy-Birchard Company. ‘Traditional, 9; Argentinian, 11; Neapolitan, Chilean, 12; French, North Celebesian, 14; Traditional, British, Dutch, 31; English, 32; American, 43; English, British, Danish, 47; from Binciano Mustc Senues. Copyright © 1962 by Summy-Birchard ‘Company. American, 11; Folk Tune, 47; from A SINoING ScHooL. Copy- right © 1947 by Summy-Birchard Company.Explanatory Note on Counting For teachers who are unfamiliar with the approach to counting in the elementary Look AND LisTEN books, a word of explanation may prove helpful in understanding the rhythm pages of the KEYBOARD Tueory series. In Loox aNp LISTEN, in order to relate the rhythm he sees to the pulse he feels, the student counts each note or rest for its own value rather than for its place in the measure. For example, the student would count this pattern: qd |i instead of: ee In Keysoarp THEORY, this approach to counting continues. Each sign, in both simple and compound meters, is counted for its own value, no matter where it occurs. In $ say: Divided pulses, too, are counted for their own value, regardless of their position in the measure. Our way of counting divided pulses is based on verbalized breakdowns of the word “one” (since all such note values are a division of one pulse). Our choices are the ones we have found easiest for students to count aloud. For example: 4 JSD S770 | JT il Ann! | 1 ena Ie-na-nal lenana Ina-na = 2001 Vem acl 1 Inaena 1+ nana 1-2 wd.Jddd. ah Oe le doe, Bi tear 1-2 (1 tear dela la TeMajor Keys, continued A major key is a set of tones related to a keynote in a special way. In any key, three important tones are: TONIC (1) — the keynote DOMINANT (V) — the P5 above or the P4 below tonic LEADING TONE (LT) — the half step below tonic The notes of a major key are divided into two parts: The P5 from | up to V These notes form a major 5-finger pattern. The half step is just above degree The PA from V up to \ The half step is just below degree _. Complete each of the major keys listed below. 1. Mark each keyboard with: V on the dominant above and the dominant below tonic, ur on the leading tone, x on the other keys. 2. Under KEY SIGNATURE, write the names of the black keys. KEY SIGNATURE G MAJOR zlx| lilxlxtxlz FH D MAJOR F MAJOR Bb MAJOROn these keyboards, mark the black keys used in each key. if G MAJOR | w mace FF af Circle answers In the groups of two and three black keys: sharp keys use the TOP BOTTOM keys; D MAJOR flat keys use the TOP BOTTOM keys. Each measure of Toccata is in a different major key. Play Toccata; then write the keynote for each measure. The black keys will show you which major key it is! TOCCATA 1. >2 Tonic-Triad and Non-Tonic Tones, continued The triad built on the tonic tone is called the tonic triad. Find the tonic triad for each of these major keys. MasoR KEY TONES OF THE TONIC TRIAD t uw Vv C Major Cc EF G&G G Major —_— D Major — F Major — Le Bb Major — All the other tones in a key are called non-tonic tones. Using Tonic and Dominant as Accompaniments, continued To accompany melodies in any major key, use: tonic () for measures or parts of measures made mostly of tonic-triad tones, dominant (V) or leading tone (1) for measures or parts of measures made mostly of non-tonic tones. Remember, when the leading tone occurs in the melody it is not used in the accompaniment. For example: Gaily Polish 1 f T In measure 3, the melody does not use the leading tone, so your LH could play either V or tt. We chose___. In measure 7, the melody does use the leading tone, so your tH must play__.When you can play each melody easily, make a LM accompaniment for it. 1. Mark v under parts made mostly of non-tonic tones. Circle the V under parts that use the leading tone. 2. Put your tH in the octave below your RH: thumb on tonic, finger 2 on Ut, finger 4 on dominant. 3. Accompany the melody with: dominant where you circled v, dominant or iT where V is not circled (let your ear decide), tonic everywhere else. Boldly 3 Polish f TO rf 1 r r f r P f f P f Lively 4 Brazilian St f f f f 4 4 f c f r “Where the accompaniment tone changes within the measure, the tH rhythm is written in small notes under the melody.* 4 The Rhythmic Patterns ifs and IT) Two sixteenth notes da last as long sh ‘one eighth note. ej To learn these new rhythmic patterns: 1. Point to the notes and count, 2. Tap and count. pO cB: | + nana 1 - 1 na 1+ na Oni & In ins | Tna-na I na-na 1+ na Lnasna Here is a piece using these new rhythmic patterns. Before playing, tap and count. MARCH Stoadily LF. Olson t : : ; : : a i . ° . . . . DC. 5 The C¢# in the second line is not in the key signature, so it is written in the music. It is called an “accidental.” ‘An accidental is any sharp, flat or natural written in the music which is not shown by the key "See Explanatory Note (page 3) for explanation of counting,fT) 5 Accompanying Melodies That Use P| 2 e and Before playing each melody, tap and count. ‘When you can play each melody easily and securely, make a LH accompaniment for it (follow the instructions on page 7). Gail "% ~,o- 5 Traditional nf Solidly 4 Sf 4 fea | a Welsh ‘Scandinavian 12a Fl fl6 Thirds in Major Keys ‘A 3rd in any key skips one note of that key. Etude in Thirds is in the key of major. The RH plays a 3rd on every note in the key. ETUDE IN THIRDS Solaly 22 ee Study the RH Finger 2 begins on tonic (1) then begins on tonic and plays down stepwise to__. and plays up stepwise to___; Finger 4 plays a 3rd above each note. Study the WM ‘The only notes used are dominant (vi and tonic (1) Play Etude in Thirds in C major. Then transpose it to each of the major keys listed below. 1. Mark the black key(s) your RH will play in each key. 2. Then play the piece, transposed to each key. Remember, 1H plays just V and 1. HL Lil Lolo bee | 107 Doubling a Melody in 3rds You can “double a melody in 3rds” by playing a 3rd under each note of the melody. For example: Solidly , 4 4 4 ; $23 4 Traditional f o This melody is in major. Tonic is . Circle the only melody note not doubled with a 3rd. It is the tonic used at the end. A tonic used at the end is called cadence toni Parts of a piece sound more “finished” if the cadence tonic is not doubled with the 3rd below. Here are some melodies to double in 3rds. 1. Study the key signature; decide what black keys to play. 2. Play the melody with RH finger 4. Play the 3rd below each melody note with finger 2. Remember not to double the cadence tonic! Lively American t Slowly Argentinian aAndante Neapolitan Quickly Chilean r r f r 8 Accompanying Melodies Doubled in 3rds When you can play each of the melodies on pages 11-12 easily, doubled in 3rds, add a LH accompaniment. 1, Study the doubled melody and mark v under parts made mostly of non-tonic tones. 2. Put your iH in the octave below your RH: thumb on tonic, finger 4 on dominant. 3. Accompany the doubled melody with: dominant where you marked v, tonic everywhere else. (Where there is an upbeat, begin your accompaniment on the first full measure.) As an example, here is the first melody on page 11, with the accompaniment written out. Solidly 4 a4 4 222 3 Traditional * f 2 “When a measure has an equal number of tonic-triad and non-tonic tones: use 1 if the tonic-triad tones last longer, V if the non-tonic tones last longer. Or, better yet, where there is a question, let your ear decide! 129 Doubling in 3rds with the Left Hand You can also double a melody in 3rds with the LH, like this: Brightly Brazilian 4 f This melody is in Notice that the cadence tonic is not doubled with a 3rd. major. Tonic is When you double in 3rds with the tH, your hands are uncomfortably close together. It’s easier to play the tH notes an octave lower, like this: Brightly Brazilian Or even two octaves lower, like this: Brightly Brazilian 4 St > = Ma In all these examples, we still say that the melody is doubled in 3rds. The only note not doubled with a 3rd is the cadence tonic.Play each of these melodies, doubled in 3rds, two ways: with your LH in the same octave, then with your LH one or two octaves lower. Play tonic under cadence tonics! Expressively tralian 2 (LH begins with 4) nf French Flowing North Celebesian Le —-. 2 mf (U5) oe ee 1410 Sixths in Major Keys A 6th in any key is one step wider than a Sth. Etude in Sixths is in the key of major. The RH plays a 6th on every note in the key. Broadly ETUDE IN SIXTHS 5 IS Study the RH Finger 5 begins on tonic then begins on tonic and plays up stepwise to___. Thumb plays a 6th below each note. and plays down stepwise to__; Study the i The only notes used are tonic (1) and dominant (v)___. Play Etude in Sixths in C major. Then transpose it to each of the major keys listed below. 1. Mark the black key(s) your RH will play in each key. 2. Then play the piece, transposed to each key. Remember, LH plays just | and v. Hi G MAJOR F MAJOR Bb MAJOR1 1 Doubling a Melody in 6ths ‘You can “double a melody in 6ths” by playing a 6th under each note of the melody. For example: Broadly Russion f When you double a melody in 6ths, every note, even the cadence tonic, can be doubled. Here are some melodies to double in 6ths. 1. Study the key signature; decide what black keys to play. 2. Play the melody with RH finger 5. Play the 6th below each melody note with the thumb. Gently British r r r r Brightly ‘American Lively AmericanWaltz time ‘Schubert Gently ‘Schubert nf Tempo di minvetto 5-@2y 2 5 - -7 Schubert nf 12 Accompanying Melodies Doubled in 6ths When you can play each of the melodies on pages 16-17 easily, doubled in 6ths, add a tH accompaniment (follow the instructions on page 12). ‘As an example, here is the first melody on page 16, with the accompaniment written out. Broadly Russian13 Relative Minor Keys Toccatina is in Bb major and its relative minor, G minor. TOCCATINA With energy 2 tf > > T 2 T a 5 ‘The first line is in Bb major, the second line is in G minor. Yet they have the same key signature! — Every key signature can show two related keys: a major key and its relative minor key. The first line ends on the major tonic. The second line ends on tonic of the relative minor. . Tonic for a relative minor key is 3 half steps lower than major. a Since relative keys have the same key signature, they use the same notes, with one exception! ‘The second line of Toccatina is in minor. The accidental throughout is____, a half step below tonic. In relative minor, the leading tone is the one note different from major. The minor leading tone is easy to see because it is an accidental. 18EXPERIMENT 7 The chart below shows the key signature for each key you have studied. To complete the chart: 1. Study the key signature to find the major key it shows; then write its name under MAJOR TONIC. 2. Play down 3 half steps to find the relative minor; then write its name under MINOR TONIC. 3. In the relative minor key, find: dominant (P4 below minor tonic) and write its name; leading tone (a half step below minor tonic) and write its name. key MAJOR = MINOR MINOR MINOR SIGNATURE TONIC TONIC DOMINANT —LEADING TONE c A E Gt TF | | TF |14 Doubling Minor Melodies in 3rds a GYPSY DANCE Fiery St The key signature of Gypsy Dance shows the major key of = the relative minor key of But we know it is in D minor because: the melody ends on the keynote the leading tone (a half step below tonic) is the accidental . Doubling a minor melody in 3rds is exactly like doubling a major melody — play a 3rd under each note of the melody. To double a minor melody, use all the notes shown by the key signature except for the leading tone. The minor leading tone (a half step below tonic) requires an accidental, not shown by the key signature. Here is Gypsy Dance, doubled in 3rds with the RH: ory 4 4 4 Fiory 32 22 foo” ERE > > Notice that the cadence tonic is not doubled with a 3rd. Here is Gypsy Dance again, this time doubled in 3rds with LH an octave lower. Fiery 3 t 5 T Why does the iM play Ce instead of C4? 20Here are some minor melodies to play, doubled in 3rds. 1. Above each key signature write: minor tonic (3 half steps below major tonic), minor leading tone (a half step below minor tonic). Remember, in minor the i requires an accidental. 2. Play each melody doubled in 3rds two ways: with LH in the same octave, then with LH one or two octaves lower. Play tonic under cadence tonics! Minor Tonic uv __ Ceilyg ‘ Chileon inf (LH 2) (LH 2y a 5. aH) (uH 2) EXCITEMENT Minor Tonic ur Accented 1 25 Fuss» a2} Minor Tonic, a ANGER Energeticall woe 2 13 aan 13 fos tte Sie ee Minor Tonic uw GLOOM ‘Adagio 415 Tonic-Triad and Non-Tonic Tones in Minor In minor, as in major, the triad built on the tonic tone is called the tonic triad. To find the tonic triad for each of the minor keys listed below: 1. Put your rH on the major S-finger pattern beginning on each keynote listed. 2. Move finger 3 down a half step to make the pattern minor. 3. Fingers 1, 3, 5 are now on the minor tonic triad. MINOR KEY TONES OF THE MINOR TONIC TRIAD \ u v A Minor A Cc E E Minor — — B Minor — D Minor — —_— G Minor — —_ All the other tones are called non-tonic tones. 16 Accompanying Minor Melodies To accompany a minor melody, use: 1 under parts made mostly of tonic-triad tones, Vor tt under parts made mostly of non-tonic tones. Remember, when the leading tone occurs in the melody, it is not used in the accompaniment. RUSSIAN DANCEWhen you can play each minor melody easily, make a iM accompaniment for it. 1. Mark V under parts made mostly of non-tonic tones; then circle the V under parts that use LT. 2. Put your iH in the octave below your RH: thumb on tonic, finger 2 on Lt (a half step below tonic), finger 4 on dominant. 3. Accompany the melody with: dominant where you circled v, dominant or it where V is not circled (let your ear decide!), tonic everywhere else. Vivace ie gs. sel Slowly 2 24 Brazilian 1 3 nf17 * The Rhythmic Pattern Id The rhythmic pattern is usually written ad In this rhythm, the dot stands for the tied sixteenth note. To learn this new rhythmic pattern: 1. Point to the notes and count. 2. Tap and count. eerberierteriereeri ere nana 1 - t= nana 1- nana P>nana D=nana 1 = nana TATRA | {= nana 1-nana 1 nana 1- nana 1-+nana 1- nana 1 - nana 1 Here are three pieces using this new rhythmic figure. Before playing each piece, tap and count. Briskly 5 TATTOO LF. Olson f 24 See Explanatory Note (page 3) for explanation of counting.; YODEL With eneray Le Ze! tf TAPS Press down silently and hold throughout the piece 2518 Structural 3rds ‘The RH of Theme is made entirely of 3rds. The key is major. The black key used is ___. THEME z "These 3rds can serve as the structure for a set of variations. For example, each structural 3rd can be played as a broken 3rd, like this: VARIATION 1 4 1 HIGHER In Variation 1, the LOWER tone of each 3rd comes first. Complete the variation with the same broken-3rd figure. Here are some other ways to decorate the structural 3rds. VARIATION 2 a 1 + 4 ete. In Variation 2, a note of the key is added between the notes of each structural 3rd. a Notes added to a structural interval are called embellishing tones. Notes added 9 eye Se Mark + over cach embellishing tone in Variation 2. ‘Then complete the variation with the same embellishing figure. 26VARIATION 3 ete. HALF STEP WHOLE STEP In Variation 3, the embellishing tone is always a below the upper note of the structural 3rd. Mark + over each embellishing tone. Then complete the variation with the same embellishing figure. VARIATION 4 1 1+ Z Se ete, In Variation 4, each structural 3rd is embellished with two notes: HALF STEP WHOLE STEP the second is a note of the key between the notes of the 3rd. the first is a below each structural 3rd; Mark + over each embellishing tone. Then complete the variation with the same embellishing figure. Variation 5 uses the new rhythmic pattern Jd Study the embellishing figure and mark + over each embellishing tone. Tap and count the rhythmic pattern. Then complete the variation with the same embellishing figure. VARIATION 5 1 etc, Now play the entire piece — the theme and all five variations. 219 Roots of 3rds In any interval, one tone is more important than the other. This tone is called the “root.” The root of a 3rd (marked ~) —— is the lower tone. In each measure of March: the RH plays broken or embellished 3rds; the 1H plays the root of each 3rd, one or two octaves lower. This is called “doubling the root.” Doubling the root means playing the root with the LH, one or two octaves lower. MARCH Briskly sou : st Here is the harmonic structure of March, blocked, to help you see: in RH — the structural 3rds with the roots marked, in uH — the root doubled, one or two octaves lower.On the staff below: 1. Mark the root of each 3rd (the lower note). 2. With RH, play each 3rd; with LH, double the root, one or two octaves lower. 3. Write the name of the note your uH played. Ab FH Ss Here is a melody made entirely of broken or embellished 3rds. Before playing, mark ++ over the embellishing tones. ty 4 oa Beh tf 7 a — \ —-* Le The 3rds on the staff above are the “structural intervals” of the melody. 1. Mark the root of each structural 3rd (the lower note). 2. Play the structural 3rds in the same tempo as you played the melody. When you play in tempo this way, you hear the “harmonic rhythm.” The harmonic rhythm is the rhythm in which the structural intervals or chords of a piece change. 3. Now play the melody as written; with LH, double the root of each 3rd, like this: Lively 7 —— ————_ British a \e 9 @_ S| Ce 2920 Accompanying 3rds At the bottom of page 29, you accompanied a melody by doubling the root of each structural 3rd with your LH. Each measure of Cantabile is made of an embellished 3rd, so it can be accompanied the same way. We have begun the accompaniment. To complete it: 1, Play the structural 3rd in each measure, like this: ete, In the melody, circle the root of each 3rd. 2. Play the structural 3rds again, in tempo; with LH, double the root of each 3rd, one or two octaves lower. 3, Play the melody as written, with your accompaniment. CANTABILE Slowly oo —— =» 3 2.5 ‘MP espressivoHere are more melodies made of embellished and broken 3rds. When you can play each melody easily, make a tM accompaniment for it (follow the instructions on page 30). Remember, at cadence tonics, the LM should play tonic! Golly | Dutch fia -—— ~~" ——— Solidly 2 5 Traditional SF wan * Energetically 5 Ve 7 * Fine tf — Waltz time Dutch ‘Sometimes the accompaniment sounds better with a note that is not the doubled root. In these cases, the name of the 4M note is written under the melody. 31Lightly 3 mph 1) rf Andante e L Mozart 322 1 Roots of 6ths As you know, the root of a 3rd is the /ower note. When a 3rd is inverted, the new interval is a 6th. But the root remains the same. So, the root of a 6th is the upper note. In Frolic, the RH plays broken or embellished 6ths; the LH doubles the root of each 6th, one or two octaves lower. Coretree FROLIC Ne h Here is the harmonic structure of Frolic, blocked, to help you see: in RH — the structural 6ths with the roots marked, in LH — the root doubled, one or two octaves lower. 1 1 On the staff below: 1. Mark the root of each 6th (the upper note). 2. With RH, play each 6th; with LH, double the root, one or two octaves lower. 3. Write the name of the note your uM played. he Fe to 3322 Accompanying 6ths Each measure in these two melodies is made of a 6th or an embellished 6th. When you can play each melody easily, make a LH accompaniment for it. 1. Mark the root of each 6th (the upper note). 2. Play the structural 6ths in tempo; with LH, double the root of each 6th, one or two octaves lower. 3. Then play the melody as written, with your accompaniment. CLOWN DANCE Heavily tf = = > VV ‘SERENADE Exprossively 3423 Bass Lines for Progressions of 3rds and 6ths The RH of Madrigal is a progression of 3rds and 6ths. Mark the root of each RH interval (the lower note of a 3rd, the upper note of a 6th). MADRIGAL 4 4 8 2 2 Joyously, 5 re 2 f ‘A LH accompaniment for a progression of intervals is called a bass Does the bass line of Madrigal double each root? YES NO Roots of 3rds are played by LH finger ; roots of 6ths, by___. ‘The RH of Fanfare is also a progression of 3rds and 6ths. 1. Mark the root of each RH interval. 2. Then complete the bass line by doubling each root: use finger 1 for roots of 3rds, finger 5 for roots of 6ths. (This fingering makes it easy to move from one root to another.) FANFARE 4 45 2 Solidly ql 4Song Without Words is made entirely of 3rds and 6ths. The first half of each measure is a broken __. The second half of each measure is a broken or embellished. . SONG WITHOUT WORDS Fy wWAm Gently § 5 —_ 7 4s mp mf? espressivo To make a bass line for Song Without Words: 1, Play the structural 3rds and 6ths, blocked, like this: 1 1 | Circle the root of each interval in the melody. 2. With RH, play the structural intervals in tempo. With 1H, double the root of each interval: use finger 1 for roots of 3rds, use finger 5 for roots of 6ths. Listen to the harmonic rhythm! 3. Play the melody as written, accompanying it with your bass line. 36Barcarolle is made entirely of broken 3rds and 6ths. To make a bass line for it, follow the instructions on page 36. BARCAROLLE Gently f P f P iit. of ‘tempo Mazurka is made entirely of blocked 3rds and 6ths. Make a bass line for it by doubling the root of each interval. MAZURKA Tempo giusto : _— pit ff dim.24 Bass Lines Using the 3rd below the Root You have already learned to accompany a melody made of 3rds by doubling the root of each 3rd, one or two octaves lower. It is also possible to accompany 3rds by playing the note a 3rd below the root. Here is a melody to accompany this new way. Lively 2 T 2. 14 British > cs f D> To make a bass line for this melody: E 1. Play just the structural 3rds. Circle the root of each 3rd. Under each root, write the name of the note a 3rd below. 2. Play the structural 3rds again, in tempo; with LH, play the 3rd below each root. 3. Then play the melody as written, accompanying it with the 3rd below. Use only notes in the key. When you can play each of these melodies easily, make a bass line for it the same way. Remember to play tonic under cadence tonics! boldly RIO GRANDE 2 1 1 ft Goily 2 Mexican Play tonie under cadence tonics, even in the middle of a piece. 38Usually the best bass line is a mixture of doubled roots and 3rds below the root. To make a bass line for this melody: 1. Under each structural 3rd write: the name of the root, the name of the note a 3rd below the root. 2. Then play the melody several times, experimenting with various bass lines made of the notes you wrote. 3. Circle the note names for the bass line you prefer. Lively 2 oT ts British ‘Ee 8 Here is the bass line we chose. Livel ue British t 4 Was your bass line the same as ours? (It doesn’t have to be!) Here are some other melodies to accompany this new way. When you can play each melody easily, make a bass line for it (follow the instructions at the top of the page). Gail tl i Dutch Solidh raditional ty, 5 ag Traslional i = ; 5 5 39L. Mozart Waltz time Dutch 2 2 nf We know this English melody is in the key of A minor because: it ends on the tonic the LT is the accidental . Lightly 4 English 3 1 We know this French melody is in the key of D minor because: it ends on the tonic ; the ut is the accidental Sweetly 3 FrenchUsually the best bass line for a progression of 3rds and 6ths is a mixture of doubled roots and 3rds below the root. For example, to make a bass line for this progression of 3rds and 6ths: 1, Under each structural interval write: the name of the root, the name of the note a 3rd below each root. 2. Play the progression through several times, experimenting with various bass lines made of the notes you wrote. 3. Circle the note names for the bass line you prefer. A LA BEETHOVEN zERe cree f Here is the bass line we chose. Boldly 5 5 i Was your bass line the same as ours? (It doesn’t have to be!) ‘Now make a bass line for Caprice the same way. Lightly a CAPRICE 5 fo 7 Se , Fine > D.C. P *Notice the change of key signature in the second line. We know the second line is in D minor because: it ends on the tonic ; the i is the accidental ___. 4125 Bass Lines for 4ths For a 4th in any key, the note 3RD ABOVE a 3rd above the top note Both notes or are FR ‘SRD BELOW a 3rd below the bottom note is the same! This note is the 3rd “outside” the interval. In a bass line, the outside 3rd is usvally used to accompany a 4th. For example: DECK DANCE like © jig 2, 52 5 28 14 2 ft Is the outside 3rd used to accompany each 4th? YES NO Under each of the 4ths on the staff below: 1. Play the outside 3rd, one or two octaves lower. 2. Then write the name of each outside 3rd. Watch the signatures — use only notes in the key! Fe Bb The melodies on page 43 are made of 4ths and 3rds. When you can play each melody easily, make a bass line for it. 1. With RH play just the structural intervals in tempo. With us under each 3rd, play the root; under each 4th, play the outside 3rd. Use only notes in the key! 2. Play the melody as written, accompanying it with your bass line. 42Andante American Solidly HERALD 4 CIRCLE DANCE lively 5 ORIENTAL INTERLUDE26 Bass Lines for 5ths For a Sth in any key, the note a 3rd below the top note Ge ED TERLOW os ‘3RD ABOVE a 3rd above the bottom note is the same! This note is the 3rd “inside” the interval. In a bass line, the inside 3rd is usually used to accompany a Sth. For example: SALUTE Solidly 5 t 2 z Is the inside 3rd used to accompany each 5th? Yes NO Under each of the Sths on the staff below: 1. Play the inside 3rd, one or two octaves lower. 2. Then write the name of each inside 3rd. Watch the signatures — use only notes in the key! FH Bb = Etude is made entirely of Sths. Brskly ETUDE FEF EC When you can play Etude easily, make a bass line for it. 1. Play just the structural Sths. 2. Under each Sth, write the name of the inside 3rd. 3. Play the melody as written, accompanying it with your bass line. 44Here are some melodies made of 5ths and 4ths. When you can play each melody easily, make a bass line for it: 1. With RH play just the structural intervals in tempo. With tH: under each Sth, play the inside 3rd; under each 4th, play the outside 3rd. 2. Play the melody as written, accompanying it with your bass line. Steadhly DRIPPING TAP =. 13 82 Tort tw BERCEUSE ro PoP ae. nf TRUMPET FLOURISH Broadly, f — 4527 Bass Lines -- A Summary Here are ten melodies for you to accompany, using everything you have learned about bass lines. 1. Play the melody as written; then play the structural intervals in tempo. v Under each structural interval in the melody, write the name(s) of the note(s) you can use to accompany it (use only notes in the key): under: under: under: 3rds or 6ths 4ths Sths write: write: write: root outside 3rd inside 3rd. 3rd below root 3. Then play the melody several times, experimenting with various bass lines made of the notes you wrote. 4. Circle the note names for the bass line you prefer. To get you started, we have worked out a bass line for the first melody. Allegretto MELODY 3 Kullok uf & ® Bb A A ® F @ ® STRUCTURAL INTERVALS Here is the bass line we chose: Allegretto ee 1,2 Kullak nf 3 When there is an embellished single tone (or a single tone), you can accompany it by doubling the single tone or playing the note a 3rd below. 46With vigor 3 English t Goily Lively —Brightly ler 4 Eybl of Allegretto, ‘Schumann, Allegretto Beethoven 2 . 3 + 2 nf We know this melody by Purcell is in D minor because: it ends on the tonic ; the iT is the accidental Moderato at s+ 3 + Purcell