Willard A.

Palmer + Morton Manus +A manda Vick Lethco

 TARANTELLAS are always in quick g
or ~ time. There are many popular piano pieces and songs that
use this title. There are two stories about the origin of the tarantella. One is that this kind of music
was played far a dance that originated in Taranta, ltaly. Another is that the dance got its name from a
very large spider, the tarantula, the bite of which was supposed to cause frenzied dancing. There was a
superstition that dancing the tarantella was a cure far the poison of the tarantula. Tarantellas are
always very tuneful, and are exciting to play.

=­

ar ntel
--='=
::;..­=
­­
=

Allegro
3 3

1 1 1
3 2 2
5 5 5

. ­­
2 ­ '\
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1 1
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D.C. al~. titen CODA*

r.ooA accelerando - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

1
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Eighth Note Triplets
When three notes are grouped together with a figure '1J'' above or below the notes,
the group is called a TRIPLET.

The THREE NOTES of an

EIGHTH NOTE TRIPLET GROUP = ONE QUARTER NOTE. m 3

When a piece contains triplets, count "TRIP·A·LET"

or "ONE & THEN"
or any way suggested by your teacher.

Practice these warrn-ups befare playing the next piece.

[]

\~~~~­­­+­­­..­..­+­~~=
2

t~r::::::::t:::::·~~· ~~· ~· ~
1
3 5

~ mf

J. . QB;L. J. . HI
4

a n ed House

Andante moderato ~ 5
4
1 1

•
3rd time gva segue"

*SEGUE means continuing (to the end, or until further instructions appear).

You are now ready to begin OUET and TECHNIC BOOKS Level 4.
 5
5
3
1

.­­­­­­­­­­. ,..­.­­­­­­­­­.1.­­­­­­­­­­­­.
'1. 1 12. T ,
, o next strain
113. fine

• PP

1
3
TRIA he 1 st lnversion
ANY ROOT POSITION TRIAD MAY BE INVERTED BY MOVING THE ROOT TO THE TOP.

Boot

~ROOT~­/ C E G becomes E G C
ALL LETTER NAMES ARE THE SAME, BUT THE ROOT IS ON TOP.
This is callad the FIRST INVERSION.

1st INVERSION TRIADS IN e

Play with R.H. Use 1 2 5 on each triad.

ti
11
Play the above with L.H. ONE OCTAVE LOWER. Use 5 3 1 on each triad.

In the 1st inversion, the ROOT

is always the TOP note
of the INTERVAL OF A 4th!
Boot 3 3
-
Th1s rnterval is a 4th.
This interval is a 3rd.

Draw an arrow to the ROOT of each of the following triads.

lf there is an interval of a 4th in the triad, the TOP note of the 4th is the ROOT.
lf there is no 4th, the LOWEST note is the ROOT.
Play with R.H. 6 AU.
­
Sn
~-R--23 S
3H
So
fH 53H
­­1::1­­
So
21!1
L
~ª_u
S S2S
1"'"'=­­
­_­_­_­ 1:1:
~ 13 1 1" 1

T e Hokey-Po ey
Slow rock tempo
s
2 Traditional
2~

All of the chords in this piece are 1st inversion triads except three.
Find those three and name them before you play.
 ­
5

-
2
3...~­
­ ­. ­.­ -
f'J ~ 1 3

, -..­ -.­ -.­ ...~

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..............
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l' .. ­ ­ -- ­
1 1

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L. H. stecceto
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-,¡

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sva - - - >J
 ARPEGGIATEO CHORDS
When a wavy line appears beside a chord, the ~
chord is ARPEGGIA TED (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.

P elude in A Minar
Andante moderato
Both hands
gva 2nd time - - - - - - - - - - - - - - - - - - - - _. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - l
/":'. /";'.

loco (as wntten) both times

·-­
'1
I

•­ 5 ,
-
5,
2 :; r
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,... ­--
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1

1 ~ 1~ ~ 1 ­
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'

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1 ,_ 1 9- ~ ~,, ~ ~
,
3 ",J ",J
3 ,, ,J
- ;

, :~ 5
5
I
vr-

1\ /\ 1\ /\ /\ /\
/":'.
5
.
•

3
ritardando L.H,

.
•

., ,..... z:. +eans in me same manner. In this case, continue playing triplets (even though the 3's do not appear
over or under the three-note groups).
 V

poco ritardando - - - - - - - - - - a tempo

poco ritardando - - - - - - - - - - - a tempo

__J\...._ A...._ __,/\......._ _,A~---------'/\..._ __

~....._ _,A~----------A~--------A-----------~A- __,A..._ _

1)

3
LH

5 2 1
___/\..._ A A~----------'A __,A...._ __,

12. "ay 3 times 1. Both hands BVB.

2. As written, SLOWER.
3. Both hands 8V8 lower, MUCH SLOWEA.

..
3
L H.

5 3 1
TRIADS: The 2nd lnversion
ANY tst INVERSION TRIAD MAY BE INVERTED AGAIN
BY MOVING THE LOWEST NOTE TO THE TOP:

E becomes G C E

ALL LETTER NAMES ARE THE SAME, BUT THE ROOT IS IN THE MIDDLE.
This is called the SECOND INVERSION.

2nd INVERSION TRIADS IN C

Play with L.H. Use 5 2 1 on each triad.

u
11
Play the above with R.H. ONE OCTAVE HIGHER. Use 1 3 5 on each triad.

In the 2nd inversion, the ROOT

is always the TOP note eoor
~ :J:J This interval is a 3rd.
This interval is a 4th.
of the 1 NTERV AL OF A 4th !

Draw an arrow to the ROOT of each of the following triads.

lf there is an interval of a 4th in the triad, the TOP note of the 4th is the ROOT.
lf there is no 4th, the LOWEST note is the ROOT.

Play with R.H.

5 11 311 3u
5e
tH
33
1 11 3§
5Q
ti ~!
~~! ti 1e 11

l
1 1

E MBER: lf the root is on the bottom, the triad is in ROOT POSITION.

lf the root is on the top, the triad is in the 1st INVERSION.
lf the root is in the middle, the triad is in the 2nd INVERSION.

Play the last line of music above with the R.H., saying
"'ROOT POSITION, 1st INVERSION, 2nd INVERSION," etc., as you play.
A
 1 1

s ace S u tle 1 e

Play the L.H. alone first, naming the root of each triad.
Every l.H. chord is a 2nd inversion triad, so the root is always the MIDDLE note!

Moderate blues tempo

5

- .­
­ -­­ ­­.._,.. .
'1 1 2 3 1 2 1­ 1 2 3 2
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I

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t)
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.... 1
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1 d 1
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' ­ ..
1~­

mf 3 ) 3

­­­ -­..­ -­- ­- ­--

'
)
l'm gon - na buildrnv-selt a shut -tle; l'm gon -na take off to the
, '•
­
1

-
T. _J

~
LI
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I
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1 1
2 2
5 5
5

-- - ­- ­ -- .
f¡
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1 4
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1
I ~ ,. ­
• r- l""'

-
r
T
y,,, ~ _. '
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1
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t) ~ i.-- ­ 1
1

3 1
<) moon! l 'm gon - na build my-self a shut­tle:

1
L

I
­..
...
....
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•
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­
,., ­ -­­ b........­ -• --•
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2 2
5 5

"' -­ .. -4
1
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2 1 2 ., 1 2 3 4
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1 l""' ,e
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1 ­ r.

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" J 1 'r ­ 1 1 r- ~ LJl

t) J v 1

­­­ l'm gon ­na take off to the moon! 1 don't know how l'm gon-na

I .. -­- -­ ...­
build it,>

­... '•
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_,
1

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I
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,

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4 5

.... •
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>
- .. 1 on · ly know l '11 build · it soon!

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p
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.......
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I
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-- -
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~ ~
• - ~ : : -:; ::;' eighth notes a bit uneventy o.,;;­sro•.
-= -~- ·-~ · --= s gnan.•e c1a~f~~ ::·:­=­=E<:­·: ­
 ­<:>­
~~

Olympic Procession -=,

-=
=
---=:-
~4
Each L.H. chord in this piece, and every R.H. 3-note chord, is a 2nd inversion triad!

Slow march tempo

, __
2 3
~
* ~
­ - .
1 1 1
_.
-
­ -
1
o 1 _,
­
I 1 1
,. , ,
j '
• ,

tJ :::> :::>
p
. ­• .
•-- ­••- ­-.­ ­­••­
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• •

­•
• •
•-
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•
­ .. ,_• • •­ --
lt- •
-
lt- ~
­ -
- -
L .... -
~-
,_
-
,_
1
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-
10
I
• r-
\
1 1 1
2 2 2 si mil e
5 5 5

__
~3
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~
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1
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:::> :::>

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-
1

-
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r , •
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­ .... rs •
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e­ 1

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1 '" V l 1

1 tJ J­.J '

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1
L ....
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•
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1

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L.-

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:::> 2,

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1 : T L 1 1 1

1 tJ
1

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~"-~-+--l,;._~~. • • • ':
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1
1 1 1

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tJ 1

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1
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... ... ­
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...
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\ , 1
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:¡ :::¡ :::¡
1 1 1 l 1 1

"Th0 urne s onature (' indicates CGMMON TIME, which is the same as
•
4 TIME.
!;
 13

-­ ­ .. _ ...- ­­·­ ·~ . _1 .. ,..­ ..

3 3

­­ ­ -­ -- ­
1
ri
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:::> :::> :::> 2 1, 1
I
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r-'
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.·-­ • •- ­­­ •­ ..­

1 1
3 1 T 1 -3 1

­ .
1 ~ ~ ~

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~

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-
1
1

,,~
­ .. L "'• ,•
_
....
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•
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....
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I

-
=4

ritardando - - - - - - - - - - - - - - - - - - - - - - - - - -
5
3
5 :::> 1
• 1 •

Maestoso

...­
ri
5
1
:::>
.. :::>
•­ :::>
.
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•
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,
,
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t.)

=: ­
­ ­­-
~:=;. tt=;
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:::> :::> :::>
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:::>
- .. • • :::>

, ...
T '•

Ir

.... 1
-
­
4 -
­
,_
-
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­ ­ -­ ­

:::> :¡ :::>
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3
:::> 1 4 :::::>

-­ -
:::>
ri •,_ 1 &
-
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&
... ,.
._ ... •­ _
t r»
1 ...
....
1 '" "~1

t.) 1
ritardando - - - - - - - - - - - - - - - ~ - - - - ­­­­­­­­­­­­­­­­­­­­­­­­­­­ -­
'
:~ ­ ~:;­,
- •-
:::> :::>

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1
1
4
:::> :::> &
___/\....___ _,l\_~~~"~~~--'I\~------'/\.~-----------------:::>------'
I '+

Triads in All Positions

ROOT POSITION 1ST INVERSION 2ND INVERSION ROOT POSITION

:R: ~ ?'

ROOT~­_.7

PLAY THE FOLLOWING:

C MAJOR TRIAD

if 1~f i~ 1~f if
LH: "if

~:¡ i~ ~n =11

'RH:j ~j
mf
?~ I'~ ?~ I'~ ?~ ~!
1
=11

G MAJOR TRIAD

t>=t 1
LH: mj
5 i~ i~r if 1~r iF 1g
5
=11

,r~; m}
~j 1,i ?~ l~i
1 ~a ~B
1
=11

The same, beginning one octave higher:

~~~~~===?­­J­­1'­t­f­­­~­­+f­­­+(­ =­ ~ : :f~===:::=~­­1­­­=­11
f....__­­~:
mf

IMPORTANT!
Repeat all of the above, using ARPEGGIATED CHORDS: ETC.
 15

revvell to hee (Aloha Oe)

"Aloha Oe" is used in the Hawaiian lslands as a greetíng or farewell. This well·known song, which is
played and sung for tourists arriving and leaving the lslands, was composed by the last queen of the
Hawaiian lslands, Lydia Kamekaha Liliuokalani, who reigned in 1891-93.

Adagio
2nd time play both hands Bva throuqhout. Queen L. K. Liliuokalani

e s s s 5
r. G 5 5 5 5

.­- ­-
3 2 3 3 2 3 3
- 1 1 1 '
....-­
1 1

f.
~ ~ 1 1
I -
. ,..
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,.
,,..• r
, ' .._ ~'
' . • }

-
,
,..... ,,..,
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r ,. ''
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~ ' " -
r -

¡i
~1
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t.J ~~ 1
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»r-» ->: .>: ,,,­....
.. - ..,. -
t r-,
n.
1

\ ­
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,.. ~
~-
,/

r
r,

1
- ­
,_
1
,/ r,

1
1
1

's '4
1
2 •4
1
1
1
2
1
2

5
5 5 3 5
07 4 G 5 2 1 5 2
3 3

'
1 1 1
I

•
'1 ~
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.
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,..... '
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t

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1
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3 r 1 3 1 2 4 115

e G
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1
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'4 2
1
4 1 2 2

5 5
5 5 5
07 4 e 2 3 3
2
1

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ri , ,;, 1
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 Black Forest Polka

Moderato 5
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 17

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Da Seqno means from tne s1gn D.S. Si; al Fine *
 cales in Parallel Motion
When the hands move in the same direction, ascending or descending, it is called PARALLEL MOTION
In the C, G & D MAJOR scales in parallel motion, L.H. & R.H. 3's always play together;
4's always play next to the KEY note.
Play hands separately, then together. Play slowly at first, then gradually increase speed.

CIRCLED FINGER NUMBERS ARE THE SAME IN BOTH HANDS!

C MAJOR
(3) (3) 4 5 5 4 (3)
f'i... 1 2 1 2 2 1 @
- - ­ ­
2 1

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r: 111\JOR

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In the F MAJOR scale the THUMBS of the R.H. and L.H. play together (except on the 1st and last
notes of the scale). R.H. 4 plays BD. R.H. 5 NEVER PLAYS!

MAJOR

..

5 4 3 2 CD 3 2 1 2 3 CD 2 3 4 5
 19

Notes played between the main beats of a measure and

held across the beat are called SYNCOPATED NOTES.

In the following rhythm, the flrst quarter note is SYNCOPATED: i }J )J

COUNT: 1 & 2 & 3 & 4 &
See how many syncopated notes you can find in this piece!

Calypso Holiday!
Moderato
2nd time sva segue
3 5 1 1 3 5 1 3 1 2 3 1

•
1 1 3 •
5 5 2

Fine

• •

2 3
simile

5 5
1 1

3 2 5 432132
 Two-Part Writing
In sorne music, one hand must play two melodies that have notes of different time values,
at the same time.

1st or principal part (the melody). Play with R.H.

2nd part (counter-melody). Play with R.H.

1

1 J 1 J
When both parts are written on ONE staff, the note-stems of the UPPER melody are turned UP,
and the note-stems of the LOWER melody are turned DOWN. This is called TWO-PART WRITING.
Play with R.H.
[I]
3 2

In the 6th measure, the upper (tst) part begins with the eighth note B. The lower (2nd) part has the same
B, but it is a half note. Play the B only once, and hold it for the value of the half note while the upper
melody continuas.

In the 7th and 8th measures, both parts are the same. In this case the note is given two stems,
but it is played only once.

Processional f rom
Pomp and Circumstance No. 1
This is one of the most famous of all melodies. lt is often played for royal coronation
celebrations and graduation ceremonies.

Molto maestoso* Sir Edward Elgar

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*Molto means "very.'' Molto maestoso means "very majestically."
 21

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__J\....._~~~~~~~~l\-~~--1\~~~~~l\~~~---Jl\~~~~~~I\~~~-
• e
 THE
COMPLETE
eevenm enero Hev1ew
"7TH CHORO VOCABULARY"
Play each of the following 7th chords.
A SEVENTH CHORO MA Y BE FORM ED
Stems up = R.H. Stems down = L.H. BY ADDING TO THE ROOT POSITION TRIAD
Say the note names as you play. A NOTE THAT IS A SEVENTH ABOVE THE ROOT.

3
THE FOUR NOTES OF A SEVENTH CHORO ARE:

A CE G !Li~ ROOT THIRD FIFTH

1SEV~NTH1
1 3 5

w.=ih
,_

~ 7th
Sth
BOFA ­~­~F 3rd
ROOT

~~L
SEVENTH CHORDS IN ROOT POSITION
(WITH ROOT AT TH E BOTTOM)
CEGB

~=:~~* ~:~
LOOK LIKE THIS:
­­5~

~1
3 LINE*7th
LINE Sth OR
LINE 3rd SPACE 3rd
DFAC LINE ROOT SPACE ROOT

o ~iP
3
The 5th is often omitted from the ?th chord.
This makes it simple to play with one hand.
EG 8 PLAY WITH L.H.

1...,__
9:
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FACE ~~- 1
3
5
~
3
5
1
3
5
etc.

1 The 3rd is sometimes omitted.

,
3­­ PLAY WITH L.H.
GBDF 5­+­­

WITH THIS
"VOCABULARY"
YOU CAN PLAY
9:
~
1
2
~
2
~
1
2 etc.
e ~ f
7TH CHOROS IN ANY KEY, fi 5 5
SIMPL Y BY USING
THE KEY SIGNATURE. All 7th chores on this page are in ROOT POSITION!
MEMORIZE THE
COMPLETE
REMEMBE·R: When the interval from the lowest note
"7TH CHORO
of the chord to the highest is a 7th, ·
VOCABULARY."
the BOTTOM NOTE is the ROOT!
 23
Swinging Sevenths
Every L.H. chord In this piece is a 7th chord in root position ! Play the L.H. alone at first.
Notice which 7th chords have the 5th omitted and which have the 3rd omitted.
Moderately slow, with a "swing feeling"
3 1

- - - ­.... ­ ..• - - - ­...."""·-

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D. C. al ­$; then CODA

4
5
24

lnversionsof Seventh Chords

Four-note seventh chords may be played in the following posltlons.
All note-names are the same in each position, but in a different order!

')= 1 r ~ Bl1PI ~ BQOT /'SJt RJ!QT

ROOT 1ST 2ND 3RD

POSITION INVERSION INVERSION INVERSION

The 1st, 2nd & 3rd lnverslons are easily recognlzed by the lnterval of a
2nd in each chord. THE TOP NOTE OF THE 2nd IS ALWAYS THE ROOT!

Here are sorne 7th chords with omitted 5ths or 3rds. Play the L.H. as written,
then the R.H. one octave higher.

1. The G7 chord is the V7 chord in the key of e MAJOR. lts notes are G eO F.
5th (O) omitted: 3rd (8) omitted:
4 5
5 5 5 4 2
2 4 2 3 3 1

j;
R.H. 1 1 R.H. 1

~: ~

L.H. 1
3
1
1=
2
1
~;
1
3
11
~: ~

L.H.
~:
1
2
1 ~=
1
2
~;
1
4
11

·5 5 4 5 4 5

2. The 07 chord is the V? chord in the key of G MAJOR. lts notes are D F# A C.

5th (A) omitted: 3rd (F#) omitted: 5

i;
4 4 2
5 5 2 5 1

I;
2 4 1 3 3
1

Í: ~=· ~ f
R.H. 1 R.H. 1

~: 19 1 ~: ~:
1 11 1 1 11
L.H. 1 1 1 L.H. 1 1 1
3 2 3 2 2 4
5 5 4 5 4 5

3. The c1 chord is the V7 chord in the key of F MAJOR. lts notes are e E G e~.
5th (G} omitted: 3rd (E) omitted:
4 5

i;
5 5 2 5 4 2

i:
2 4 1 3 3 1

fi'.
R.H. 1 1 R.H. 1 1

~h ~ ~; 1 11 ~:~ ~ ~: 1
~: 11
L.H. 1 1 1 L.H. 1 1 1
3 2 3 2 2 4
5 5 4 5 4 5
 25

America, the Beauti ul

--- ----
Samuel A. Ward
Andante
4 _

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5
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2nd time molto maestoso
4
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=
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5 5 5
4 3 2
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1 12. a argando
­ ­•­ ~..
5 19­.
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~ 2~ 5,,._._ _,_S ­­­35

­ , ..
2 ,,

, . ­ ...- . s:
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5. • "
..... ...- • 5_.._5_._5,!::JL3 ,_ 2.. ,._
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1 '­3 F.1 ....
• 2 ­ • 2:i'"' '­2'ct'­1
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=
1 .:::> , . .... 1
t) > 1 ~ )
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'
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molto ritard.

- - - ­
'
f.'.,
..
)

­. _,
.. ·- .
1 1
L.. ...
­ ., .......,_ 1
._
.
I I r

•5 •3
\
> 11 > '2 3
2 1 1 2 :~
4j\~----
Draw an arrow to the root of each 7th chord.
 The Key of E Minar (Relative of G Major)
E MINOR is the relative of G MAJOR.
Both keys have the same key signature (1 sharp, F#).
REMEMBER: The RELATIVE MINOR begins on the 6th tone of the MAJOR SCALE.

G MAJOR SCALE

E MINOR SCALE

Practice each of the following scales, first with the R.H., as written,
then with the L.H., 2 octaves lower than written.

1 THE NATURAL MINOR SCALE. Use the same tones as the relative major scale.

2 3 2 3 4 5 5 4 3 2 1 3 2 1

I~
~-R.H. 1

~
L.H.
~
5
~
4
~
3
~
2
1
r, ~
3
~
2
~
1
1 ~
1
E2 ~ ~ 2
~
3
~
4
~
5
11

? THE HARMONIC MINOR SCALE 7th (O) raised one half step ASCENDING & DESCENDING.
2 3 2 3 4 5 5 4 3 2 1 3 2 1
~. R.H.
i ~
1
~
4
~
3
~
2
1
r, ~
3
IE
2
~
1
1 ~
1
IE 2 ~ F, 1 ~
2
~
3
~
4
~ 11
L.H. 5 5

3 THE MELODIC MINOR SCALE. 6th (C) and 7th (O) raised one half step ASCENDING;
descends like natural minor.
2 3 2 3 4 5 5 4 3 2 1 3 2 1
~- R.H.
i ~
1
~ ~ ~
1 ~~ IE ~ ~
;E q~ r, 1
~ ~ ~ 11
R
1 ~
L.H. 5 4 3 2 3 2 1 1 2 3 2 3 4 5

The E Harmonic Minor Scale in Contrary Motion

Play severa! times daily!

- ­ -. ­ - ­ ..- ....4­ -3
'1 1 2 3 1 2 3 4 5 5 2 1 3 2 1
.w.

­ ....­
- .•
­ -
J
~'
- ­
,, .... ....
- ­
,_.
•
1 '"
t)
J .... -
,_.
­ _,

~
»r
- .. - ......,. ~
­ ..... - ­
1

­ .......-. - ­ ..
- -
L 'tll• ~
_,
....
­....
1 "'­­

­ - .... _.5 _,
-3
I
.....
\
1 2 3
- •4 •4 1 3 2 1
2 3 5 2
The E NATURAL MINOR and MELODIC MINOR scales may also be played in contrary motion.
 27

T e H use of the

KEY OF E MINO.J
Key signature:
1 sharp (F#)

Andante moderato

­­­
2nd time both hands gva segue
3­1
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-
­-
4
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r s
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1 t.) ..,¡
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­
legato

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-
1
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r-

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1
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1
5 3 15 2 1
5 3 1

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1
1
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r- ­.
r-

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1

\,,
­ ,.
,
I
.. -- - - ~
1
- _,
­ ­ - ­
,..... ­ ­
,..... r-'
­
J
• ~

1 1
5 3 5 2 1 1
5 3 1 4 2 1
Ped. simile

4
I

t
­ ..
r
'-V

t.)
'1 ~--.......
. ...­­.­'.....
l 1
­
,_
5 ....­­­­­­­;
/

---.
_,

--- -
.....
1
,..
- ­­
_,
r
­ _,
- LJ
J
---- ­_,

- ­
#~
.. -
1
• - • -
1
,,_ -
1

I
.. •

.
"'
,_ ­
5
•

2 1
1
1
5
1
1
1

3
1
r-

1
­
5 2
J

1
u.
u. ­
1'

5
­
1
­

5
. -
~ .i.--.......
..
!";\
• '
·­ 1 ~ 5
'\. •I

­_,
­_,
­
_, _, ~ 1 ­
­ "­r­ j ....:::

­­­­­­­
'
" e::
,.....
.­·,,. .
­ ­
' -
r-
_,
- ­ - RH
­ .. - ­
r-: - r-:

1
~
.­
~I
r .J •

- -
.r:
r: ..
[
5 3 5 2 1
fs
1
1 1
1
4 2
__/\--~~~~~~~--
 The Primary Chords in E Minor
Reviewing the E MINOR SCALE, l.H. ascending.

KEY OF E MJNOR
Key sígnature:
1 sharp (F#J

f}# o e
'' ! #B ~.Q
e

1 iv V7
E MINOR A MINOR 87

~=­ H~ 1~F
1
The following positions are often used,
for smooth progressions:
~H 1
11
iv V7
E MINOR A MINOR 87

E MINOR PROGRESSION with broken l, iv, & V7 chords. Play severa! times with l.H.

~=­ ~ ~
~
1
3
~ 1
~
i
1
2
~
1
~
~
1
3
~ 1­ ~
5
i1
2
~ =11
IV V7

iv y1

Moderate waltz tempo

5 4 4
2 3 2
~ ~
-. 1 1
..-. --
1
..... -- --­-
j
I

1
'
~
e' ..
/T.
L&
,., ,..,
.
iti
­ •
'­

1
r
r
,.., ,­
,
.. -
~-t •
L.A

1
I
"•
I
"• ,, -
,.,.
­
p
¡
­.. - ­..
'
­.
:::::-~
------ ­
,.
1

\"
-· - • .J

­ ~
,/

~.
""' .- _,
.. ­
- r-
,_ - .. ­
r-
- .... ....
-
•
1
5 3
1
1
 29
5
5 5 3
3 5 2 1

•- ·s-
3

­- ­
1

.
"l ~ ... •- 1

-­­ - • ­-... .,.­. 1

.
-....
, - ,.., ,.., ,.., . ._
,.., ,,.., ..­.
­ ­
I ,_

-..
1.-. 1.-. •
,. ,..•
• "'

­ ----
' J

t)
'
- - -r: -n
i..--
~· :. .. - ~

­
J ,,.,./
- ..
~ ­ r).
l ,. -
,_ - 1
\ ,_ I

1
2
1 1 1 1

'1. To next strain 112. Fine 1

­­ .. •- ­
1
­-.
2 3 4 ­

­
fl ~ {.\
,,.-.
­, ­¡..­ •­•­ - .
'
­
­
5
­
-
,.., ,.., ,.., ...
-. .
I
,_ IK i i
_, 2 ""'
-
1.-.
,....
•' .., _,
•1
.A

• 1
•
1

-.
~ ~-t •
-
­
-------
'

1
\
­ .. -
­
L.,. -
I
­
,_
- .....- . ·-,_ ...­ ........
r, • -
{.\

1
1 -4 Fine1
1 1 1 1 1

4 3 3 4

­ ­ ­- -­ -­ ­- .
,.­ ­
..
- ­ ­-
2 ~1 ­2..........._ 1 2
. - - - --
I~ ~

-
­ ­..,,
I
...
L
...:
'•-
' .J 1 1 1 1 1 11

­ .
r

' _,
1 l
~
1 1 1
1 1 1
~ f
-4f'- __._
mf ..,,_
-
1 __._ ..¡i..
1
- ..
L

, I
'-•
-
-
r-
1
­ 1 1 ,...­
1
1 1
-il ·1­
­
,....
~

5 1 5 1
2 3

3
2 3

.­ - ­ -­ - ..
,....­1, 4.
-­ ..
fl ..­­...._1,

­- ~-
.lt

-
I . ,, ' 1

.
_, _,
' "
' n
"n
-
-
""' ~ ~
- -
' ..,.. ..
~ 1 1 1 1

'J
..... ., - - ..
- ·1­
p
­ - ­•
_ .. _. _,,.,.
- --
~ ~
­
, ,.....
...... ~~ ­ -
,
1
~
I

l
5
2
'
 Sixteenth Notes
When one sixteenth note is written alone, it looks like this:

Sixteenth notes are usually in pairs

or groups of tour, written like this: OR JJj j

Four sixteenth notes are played in the time of one quarter note.

Jjjj J
COUNT: 1 ­ a ­ &-a
or Four six­teenth notes

There can be 16 sixteenth notes in one measure of COMMON ( ~) TIME!

Play several times: first ADAGIO, then ANDANTE, then ALLEGRO MODERATO.

Two sixteenth notes are played in the time of one eighth note.

Play several times: first ADAGIO, then ANDANTE, then ALLEGRO MODERATO.

.­
') ~ 3

­
­
1
­­­­ ­­­
­ - ­ - ­.
.... ~"
­ - ­_, - -- - - - . ­-. .•
-

'
­
I'. _. _. _. ...... _, _,
.,..
' " ­
_,
­
_.
-
L.&

u ........_ ...... ­'

.­/. ........_ .­/. ­ ........_
•
_/

­· -
,
~
. • ­
,,.
,
,,
. . •.
mf

t ­­­­.. - - - - ­­. • - ­ -
•
. •
•
1
•
­. •­ •.
.
­ ­ -
••
,
. ••
­. -
••
••
- 1
-
­ T

5
3
 31

Gypsy Dance

KEY OF E MINOR
Key signat,yre:
1 sharp (F'{I)

Andante moderato
Last time beqtn SLOWL Y and play gradual/y tester and faster to trie FINE.
4 5
! ::t

5 1 5 1
3 2

Fine

1
2
5

5 1 5 1 1 a r
3 2 2¡:;
 Anna Magdalena Bach's notebook may be the most famous musical collection in the world. lt was
probably presented by Johann Sebastian Bach, one of the greatest musicians of ali time, to his wife.
Anna Magdalena, as a birthday present. lt must have been a delight to the eye when it was new. The
initials "A.M.B." and the date "1725" were stamped on the cover in gold. The book was green with gold
borders, two locks anda red satin ribbon. In this book the members of the Bach family were to write
many of their favorite pieces. No one knows who actually composed this famous MUSETIE. lt is in U1e
handwriting of Anna Magdalena. In the original manuscript there are no indications of tempo, dynamics,
fingering, phrasing, staccato, etc. These have ali been added by the editor. This MUSETIE
has been recorded by many celebrated keyboard artists.

Musette

1
I
­ -.
•
...
1'l
J
,¡¡
,
Moderato

.., ",,,
'­&
..
5
r=>:­ ­ ~
1 e­
.
From ANNA MAGDALENA BACH'S NOTEBOOK

• .,..- ~
- ­
r-

1 t.)
~ p
1 ­ - -
" .....
. .
L '-• - _,
1
-·· , .
l/IL.l L ,. -­'• - ­­' ­•
\ 'l'T -

""il ""il ""il ""il

• • •
5

~ ~
­ ~ • - -<, - 3

­
­
.•
­ -. ­.
I
• ,. 1 1
r-
1 1 e­

1
1
~
~
,,, "
­ .....
....__...,, J
.....
-• -.
.... •
•
~ mf
.... ­.... -
­- ­ ­• -•
-
~!. •

. - .•
- •
.
r- r-

­
L 'lll.e -
1
\
I
Tl
­• ­ -' r- r-
r-

1
""il 3 Fme
 33

~·
­­ - --­ - ­ ­
f'j ~ 2.,...­..... -ya
I

•- •LL
IL
•• r-­ ,
,..... ... -
1
-fJ -fJ
...
1 '-

tJ
V

­ -

--.
»
­.
~
...­• -­• ...­
l •
l ­ .. -
•
.• . ­­
.
-­ -- ­­. ­­ . . .....

­- ­­ -- -- - ­-
L ••
.W 1L
, •
'
-
\
1 1 1 1 1
~

,
I~
­,,
~
T
4,.,....­
r-
­
­ -...........
- - '.....­.
,.....
4
­ ­
5>~
.. - ,.....
3
.... -
.­11!""""'1
_,
·-r­
-
2
•
~ n•
.

­­ ­.
•' ­' _. L

tJ ;

.. .. .
,.. --
• --.
­
m.t
-.
-
___.,
-.
__..
­ .
­­­.
­
'­
­ "'
­
­­
I
Tl

1 ~ ~ ~ ~ ~
•

cresc - - - - - - - - - - - - - - - - - - -

­ ~·-
. .~;
4
... ­• - -.
rl 1 3~. 1 3
.
2

.........­.
4
.­ '
"'.
TI
­­ ,.....
-- ,
-
,..... ­.
.•
••
' .J L ­' 1
tJ -....:...J :¡¡.
- ­ - - - ­ ­ - - ­ ­ .. - - - ­ ­­­­­­­­­ f
.. - -
­
I
ll•

~
­_.
­. ­
•
3
­.
2
_.
­ -• ­.
_.
­ ­
1
, -
~
1
•
•
­ •
•
2 ' r
 The Dotted Eighth Note
A DOTTED EIGHTH NOTE has the same value as an eighth note tied to a sixteenth note

). ) ) __
Count aloud and play:

COUNT: 1 a & a etc.

The following line should sound exactly the same as the above line.
The only difference is the way it is written.

COUNT: 1 a & a etc.

The Battle Hyrnn

of the Republic

Slow march tempo Steffe-Howe

/
-
•
'"
'1
V
,.
•
4

­-
1
. .
......
-
.... ­ ...
_,

­ ­ ­ - . . .. -
......
~.
.....
3 2 1 3
­
...,
- r-
­ - ......_­ . ...- ­ . -
­ ­ . - ­ - . ...­ -·--·- 4
_.

----=
......,.;¡
t ~ 1

~ mf
t
­ .. •.. ­, -- -­ --­ -­- -- -- -­ -- ...- ­~­ ...­ -..
-- ­ ­­ -­
L ...
1

\ - I

1 1
3 2
5 5
5

...­ - . ­ ­ . ­ -
2

­
4 3 3 4 1
-. ­..... .
1 1 2 1 3
.
~

­ ­ - ­.... -
. - ..... .... . --
­. . . ­­
I

-- ­ - ...
..:> 1 1
.....1
1 •
'" U'
_.
- - -
_.
..... .....
-
... ~
"'
1 ~
1

>
~

.. ­­ -­ ­-­ ­ ­­ -­ - - - •­ ­ •­
1
• >
-
l 1

­ - - - ,, .,
L. ...
1 - T
n -

­
I
\
l 1 1
3 2
5 5
 35
5 5 4 4
2 2 2 4 4 3
• 1 1 1 3
­ ­­ ....
--
3 2 1

,
I

"
t)
.J -
-
>
­

>
­ >
-..
~
>
-
­ • 1
"'
>
_,
­ ­..... ­
_,
- ­_, ,_
·- ­~ ~ -~~
- •
'--
­ 1 1

~ ritardando - - ­ ­ ­ ­­­­­­­­­­­­­­­­­­­
1
... ­
> >
.... -
­.
>
'-
­ ~
. ­_,4 .
' r- 1 1
..
• 1

­..... ­3 •
r-
\,, _, '")
2 1 - >
­­'

2 5
~'~~~~__,/\~~~~~~-/\~~~~--'"---~~~~
Maestoso
5
3
f"J 1
I
­ ­ .,,­ ­ - - ­ .....- ­­ ..."'­ •- ..."'­ ...­
... ...-"' ~-
• ~ ...­ ...­ .,,
... ..."' ..."'
.,,- ­ ... .,,- ­ .- .,,
• "'
... ... ..."'
'-'V ll ll

) t)
f~ ~ -1 -1 ~ ~ ~ -41 ~ ~ ~

-- -
'

- '"'º .. ~
.. ...
... ­ ­
. •
L
r
i ,_
......
­­­
\•-
I
_, ' ......
1 r _, •
­...___ •
1
­ I" '1
ff 3 1 2

5
3
1

­ - ..-­ ­ .­ -­ .- ­ ..
~J

-• ­ ­• - - ...,.- ...- .....­ ..- ­- ­ ...-

...-"'
• &/
•'­V
tJ -4 -4 -4 -4 -4 -4 -4 -4
• - 1

~"' ... ... 1111 ...

~ -i
­
1111

-i
"' ll

.. . .
­-- ­
1 1
­ '"'º
-. ­
'' •
- ­" ­ .
L
11
.....
­
I
,_ _.
::::::,..._..­' -(J..

1
' •
'.
'
t)
~

~
ff
-·
4

+,
»>:
­.....
-
.. '
-
­'
1
.....
-
...
1
3
-

'
,_
1.1
1
- r . ­­­­ -­ .. '

­ >-
-­­ •
•
'

­­ - ­ ­- ­- -- -­ ­ ­
•- •-
­ .. ­- ­ - - -
• •­ • •­ •
1 il • ~ ........-.1, ~
­.
iL .... 1
2 - ­ ­ ­ ­
1
.. 3 IL - r- r­ ,...,4, -
1
5 -
r­e­
­ ­
,_ !.- '­­
~ r­e­ ..1
5" ­

f
5 5

- ­- ­ - ­­
5

­­
4

­
2 2 2 2

­­ . . 1 1,
...
1 1
- ...
.... -- ­­ ­­ ­­­ -­
~ > 1 ~
•
~ 'L

­ • -
--
•
­­ •••
...
_,
-i-

"'­ - ­•
­ -­
­ ­- "'
"'- ­ ..
-
­- ­­ ­- ...- >--
r-r-
,,
"
t) >- > > > > > >-

­ ~­­ ~, 35 ::­ ­""..­ ­-­

­­­­­­­­­­­­­­­­­
I - .­·.. , 1 a/largando ----- - r.'\
3 I" - ~ ·~
­­ ­ - . -·
1

5 !" .,,..
i- , •
_, _,
1
­ ­ ­ ::> >- s~· 2 .... ...,¡
5 >:;::::.. =6 t.

~'--~--J\.-~~~-1\~~~--'I\~~~~-
 "º
The B~ Major Scale
REMEMBER! The MAJOR SCALE Is made of TWO TETRACHORDS joined by a WHOLE STEP
The pattern of each tetrachord rs: WHOLE STEP-WHOLE STEP-HALF STEP.

KEY-NOTE KEY-NOTE

J ~w 1 J J b~

1st TETRACHORD WHOLE 2nd TETRACHORD

STEP

Beginning with L.H. 3, the scale is fingered in groups of 3 2 1 - 4 3 2 1. End on 3.

3
J
2
r r r e r r r r r r
1 4
1
3 2 1 3
1
3 1 2 3
1 r.
4
r
1
J
2
w
3
=11

After beginning with R.H. 4, the fingering groups then fall 1 2 3 - 1 2 3 4. End on 4.

1 2 3 1 2 4 4 2 1 3 2 1 4

J J j 1 J F 1 F J 1 j J J J =11
Notice that L.H. 4 plays Eb, R.H. 4 plays sb. The 5th finger is not used in either hand!

Proceed to the following only after you have mastered the above!

HANDS TOGETHER IN PARALLEL MOTION:

2 3 4 4 3 2
..-fl ... , 4 1 2 3 1 1 3 2 1 4
..
- ­ ­ ­ ­
1

..
-
I ,..,.
_, _,
j • "... 1

­ - -
1
'­V

~
• ...,¡. •
1
-
­' ­ _,
- • •
1

mf
­ -
'1
- .. . .
- ­ ­
-
• • - - ..
,. 1 1
,....­
l
­ -
'º r-

.-
r-
"...
­~ -
L

\ ,
I .... 1
­
-' r-' 1
~l
­
3 2 4 3 2 3 3 2 3 4 1 2 3

HANDS TOGETHER IN CONTRARY MOTION:

3 2 3 4 2 3 3 2 4 3 2 1 3
 37

The Magic Piper

KEY OF B~ MAJOR
Key sígnature:
2 flats (Bb & Eb)

Allegromoderato
2nd time sva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1
4 3 4 3
>- >-
.
•

>- >-
•
•

gva - - - - - - - - - - - - - - - - - - - - - - - - - 1
'l r
.
.• - ­- ­ -·
- ­ -­
3_ 2 1_,­....
­ ­ 1~..:.
-
3
­­
2_
­
•
- - -.
1~.
-
-
- ­....­.
, ,
.'­
r:

-·- ­ ­
/ / r-
• .­ ,....
" r­ e­
_, ~ r-'
••
-
r r-
V
' "
t)
mf mf
.. ­ , . ­· .
L. ....

.... . -- .. -- ..
r- r-
-
- .. ­ . -­ .. .
­- .
r- ­- .. .•
­
r-
I r- r-
" r- r-'
1 1 1 1 1
1 1 1
2

2nd time gva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1

.­ ­ - - ,_­ ­­-
4 3

- -
4
fi
... . ­- - ~
- ­
3/ ~ >
-­ . ­.
>-
.•
­­ --
1 ~
- .­­ ­
•-
J 11' ~ ~ ' / r- ' '
1 1 1 1 1 r­

­­
r- r-' r- 1
'\. .r
V
• r- r- r-

1 tJ
1

~ f-p
1
1
.. , .. - ..
,_ -
­ . ..
.._

I
~
,_
­.
.­
. -.
,_
.__
.. -.
>-
r-
>-
~.­· .
,....
" ~ ,_ r-

1 1 1

­. . -. 1. 4. .
•

­
• 3 2 1
,., -f'- • 1 3 2 > > > >
- ­ ­_,• . ­_,
~ ~

­ ­
,....
,. ., ,
.. .,
­-• ­. ­... .,
-
r- 1
-
. •• ....•
r r- r-
'
-
1
)' t) •
f .
-. ­.
1
1
•, •­
.­·.. - - - -­
> ::::> ::::>
. - -
1

1
, r
r-
,.... _,
l; , ~ r r-
&I

L.. 1
~ 1 ') 'l ::::>
 1 l lt: r 1111 ICll y vi IUI u~ 111 D V IVICIJUI

Reviewing the B~ MAJOR SCALE, L.H. ascending.

KEY OF MAJOR sb
Key signature:
2 flats (Bb & Eb)

o ,, º
"
1 IV V7

The following positions are often used,

for smooth progressions:
9:
;
L&
fjll 351u
...,.!!
_,,U....___­­+­5
251
e
~--f--f---
~!:: .
11
1 IV V7

Play with R.H. as written, then with L.H. one octave lower.
4 5 4 4 4 4 4
2 3 2 3 2 3 2
1 1 1 1 1 1
' R.H. 1
11
L.H. 3 2 3 3 3
2
5 1 5 IV 5 I
2
5 V7 ( omitted)
Sth
5 4 V7 ( omitted)
3rd
5

He's Got the Whole

World in His Hands
4 5 4 Spiritual
Moderately and rhythmically 2 3 2

..­ 4
.' * 1 1 1 1 2

........
~ 2 2
1
,
.~ ...
- ­ .. .·~·. ­ ­ .
.
.,
. .. .,
t)
r
CJ

~
' -
1 ­¡
. '
­.... -
­
-*-2 ~·
'
mf-pp ~

-
L. ...

I
.. ...
r
11
.
•• .. '
,....r
- ­
,....
,.... ­­­­­­
r-'

,....
,.... ,....
­
,....
-
,.... --­­­­
,....
r­
r-' r-' ­ ­ ­ ­­ - ­
-­5 2 ­-
~ r-: ,....

5 2
1
­ -
1
-
1 1 ~ 1 .........

4 5 4
3 3 3
~ 1 1 1 1 4
-
- ­ ­
.,
. .
. ~­.. -1 -¡..­
rI
~ '.

­­ ­
., ' ' ~ '.
....•..:=;•-
• '
..
r,
•
1
•
'- V

~ -i -1 ­..._...
~

­ "'º
L

-
I
.. ... ,~
-
1
­ -
-
-
r­

1
,....

1
- -
,.... -
r­

-
1
...­ - ...­
­ ­
­ ­ -
,....
1
,.... ,....
­
,....
1
­ ,.... - ...­
-
~
_. . ~
,

*Play pairs of eighth notes a bit unevenly, long-short.

 39

5 5
4 4 2 3 3 2 3
') 1 1 1 2 1 1 2 1 1
..
­. ­
.. ,
1

.• ....
_,. .. -,­ ­
I n l

'
'
t)
1/

--4
­­ - ­­ ­
--4
1

:1:
l
'
' -"'
~
c.
~
­
,....r

.
1 ::1 ~
~ > =t -4
f
>¡
.. ... ­
1

--.... ­-
~
... .... _.1
­ ­ ,. - - -
-
L. ....
­
1

,,_
11
.... T -'
...
= ~...­­
-
-
I
_, •
•5 • >
2
>
1
>
1
1

5 1 4
'
3
2 1
ti
5
3 3

4 5 4 4 4 5 4
2 3 2 2 3 3 3 3
r, 1 1 1 2 1 1 1 1 1 2
­ ­...
1

...... '.
-· ­­ ­­­- ­ ­- ­
r• ~,
. ..
- -
I
,
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-y
• " _, ' 1

• ' ...
·-··
1 '- •\I , ""'
1 ~ i -¡ ..JI ""' ~ - -
.... ~ ~~~
> > >-
'
1
> ::::> ::::>

1
­ . -.
L
-
••
•• 1 ~

­~ ~1
­­
"
_,11
•
al
I ,,.., ­ - ,. -
_,
~ ~1
- ­ . .., I ,...."

•5
\ 111­
::::>
1 4 ,,. 3 2 1 ::¡ g___.,.•
5

4 3 5 5 5
2 2 2 3 2
..
.• ...
f"J 1 1 3 1 4 5 1 ... 1 1"

­ . -­ •. ..•­­
r•
­ ,.
. ""' .,
--•
J
--­
­-
'
_, ,....• " ,. '
­ • ~
-
I

>• ::::>
' 1/
'
~ •
1 t) 9 i·i i~i -1 -1 ~--1
>
>> >

-..... •
1

... ,..
­­­ ­....
1 1
_,1 1

'

­. 11

...-
,.... -
­
_.
-
"
..... ""' ,•
'
~
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\

5 4
• > •1 .... '
~
l

:J'~
'
- +'"
-r
> >
D.C. al • then CODA

CODA 3 5 Very slowly

2 2 I";\ I";\
..
f"J 1 4 5 1 ritardando
.- .­
1
""
....­ - ....- ­•­
­,,
J
-
­
1

, ­ ~
­ ,
"' ­ ­ •
1 '­ 1/

1 ) ~ ~ ~ ~
" 1

p
­­·
(A - men!)
I";\ I";\
 The Key of G Minor (Relative of Bt7 Majar)
G MINOR 1~ , he rt: a11ve of 8.? iJIAJOR.
Both keys have the same key signature (2 flats, Bb & Eb).
REMEMBER: The RELATIVE MINOR begins on the 6th tone of the MAJOR SCALE.

Be> MAJOR SCALE

G MINOR SCALE

Practice each of the following scales, first with the R.H., as written,
then with the L.H., 2 octaves lower than written.

1. THE NATURAL MINOR SCALE Use the same tones as the relative major scale.
5 5 4
~ b R.H. 2 3 2 3 4 3 2 1 3 1
i ~
1
p ~
~ IE ~ E ~
1
~ E ~ E 1 ~ ~ 11
L.H. 5 4 ~ 2 1 3 2 1 1 2 3 1 ~ ~ 4 5

2. THE HARMONIC MINOR SCALE 7th (F) raised one half step ASCENDING & DESCENDING.
5 5
~ b R.H. 1 3 1 2 3 3 2 1 3 1

p i ~ ~
~ IE ~
-4
E ~
1
~
-4
E ~ E 1 ~
~ ~ 11
L.H. 5 4 ~ 2 3 2 1 1 2 3 1 2 ~ 4 5

3 THE MELODIC MINOR SCALE. 6th (EP) and 7th (F) raised one half step (to Eq and F#) ASCENQING;
descends like the natural minor.
5 5
~ b R.H. 1
2 3 1 2
g3 -4 ~ 4 3 2 1 3 1

j ~ ~ E E ~ E lz ~
E1 (
e
~ 1 ~ ~
~ 1 ~ 1 ~ 11
L.H. 5 4 2 1 3 2 1 1 2 3 ~ 4 5

The G Harmonic Minor Scale in Contrary Motion

Play several times daily!

..
1 2 3 1

-
3
­ •5
4
..
5 4
-
-
3 2 1

­
2 3 2
.
- ­.
~ '... , '
­ - - ­
1 ~ ~

,
1
I ..
..
1 1
.
.. r­ ,,,,, r­
.....
­
......
-
1 1 r­
~ ~1 •
r-

j ,, V ,. ­
'
tJ
' mf
1
1
\
,
­ ~·
­.. ­ ....·,,,~
V
11 ,
­ .. - ­ . ,... -
r­
-
­
......
- ­ 1
......
1
......
­ J
......
- ­ J -
~ ­ "'- ,... - ..
1
­ 1

2 3 ­ 2 3 4
­
5
-
5 4 3 2 1 3 2
The G NATURAL MINOR and MELODIC MINOR scales may also be played in contrary motion.
 41
Spinning W eel
J
KEY OF G MINOR
Key signature:
2 flats (Bb & Eh)

Allegro moderato
2nd time gva
2 3 2 1 4 5

•
•

••

. . .
4 3 4
'l. 2 1 1
.
,
1

. .... ., .,
... ...
I • .,
., ...,
...­.
l
., .,
....
... ­
l
.... ll I ­' I

t.J 1t ....=. -=
mp
--­-
• •

--
~ • • • •

---
•
t .­­­­
.­· - ­ - ....­
-
1
,
1
',_
••
.....
1 I r-

1
......... 1
....-
' ­ 1
....
-
­....

­...."
f1 1
1 2 1

. .
4 3 4
"1 1 2 1
. 1
.
2 1
.'
.- ~ .... ., ., .,
...
., .,

...-.
.,
•• ....­•
-
....
....• ., I
.....
.
' TI -

t.J I 11­41
• • •
p

- ---
f
­
\
-
­
­
­­· .­ ,..
­- ­ ­ ­ ­ -..... .,
< -·
I 1
,..
......
-
1
1
1
1
D C al +. 1he11 CODA
~"',....A 2nd time sva - - - - - - -1 5
1
~
..... 2 r: ~ •
­.... ­....
1

. .
""..)
, ,.
.• ~ . • •
-­ -­ ­
.....
1 '
t.J <;.: •• - l/CJ
1
pp
» _..., .
­. ­-•
• ,........, ri!.,!!..dando __..
­.. .- ,, ­ - ­ -
r.-..
­ ­· ..... - .. ....­
­
....­ •
. --
r:

~-
1 ,.•
.....
­
­
1 1
­ 1
­
-;
• ....
~ ~
- L

~ ­
..... L

~ - ..... L

"-J -
42

The Primary Chords in G Minor

Reviewing the G MINOR SCALE, L.H. ascendíng.

KEY OF G MINOR
Key signature:
2 flats (Bb & Eb)

11
~

,, e 11 11 fe ''
i iv V7
G MINOR C MINOR 07

The following positions are often used, for smooth progressions:

;;#. ~ª íi ~~;-: -- . . . ~ ;~# r:

-¡.¡-;--t--a---+J---1--+---l­3+­­­­­­ll~~:
s:t!::t=·==::::;:::¡~~:
1:
s­­·­­­is~~·
:: =
The same, one octave higher.

: = ~,:
: = ==:::::1: 1
i iv V7 1 IV V7
G MINOR C MINOR 07 G MINOR C MINOR 07

G MINOR PROGRESSION with broken i, iv & V7 chords. Play several times.

~:~fi ~ ~
5
i t
1
1 ~
5
i
1
~
11E5 t t
1
1 ~
5
~
1
~
=11
3 IV 2 V7 2 3

INVERSIONS OF V7 (07) CHOROS

with Sth (A) omitted. Play several times. The same, broken. Play several times.

1 1 5 1 5 1 4 1
2 3 3 2 3
5 4
 43

The 3rd line of this piece is in sb MAJOR, the relative of G minor. The primary chords are reviewed with
the same positions in R.H. and L.H. The 4th line returns to G minor, with the primary chords of that key
also in the same positions in R.H. and L.H.

Waltz in G Minar
KEY OF G MINOR
Key signature:
2 flats (Bb & Eb)

Waltz tempo

5 1 5 1 5 1
3 2 L.1.J
5 l 1. 112.
2 1 . 5
1
.
5

­- ­ - - . ­ ­ ­ ­ ­3 ­­............
1 3,.........­

- ­ ·-
1 /""":. • 1~. ~ 1 r:
­ '­
5
­ ,.
1

­ -
~
"" -
• . ­
,
J I

• ...
,_
,...
'­ .._ ..... 1 • r- 3 ,_
'--
•"u ..... .... ~
­
• r­ ­ .....
- 1 ,_
1-.

. ...
T' r
~ - lp
,. ,.
1

• • • • ,.. 1
3 l~
- - -
1
L "'•
­ ,•• . r•
...-
- ­ -
~
.....
,. • ­ .,
,.,
...

'' ­
~ I

• r-
- r-r-

1
'5 1 '5 1
2 5 1
3 1
5 Fine

­
5
­ ­- ..
5~
f)
. ~- ­ - 4 ­~1
. . ..." - - ~­ ,...­
.. 3 •
,
­ - -
1
r- r-r-
!""' 1
- ~

....
r-
1 ' 1
1
1 tJ
mf
1
3: ,...it. -l 1:
• ~
- - -
•
1
• ­...­
~
­
..
- ,, ...
e: ....

~
n
r-

5 1 5 1 5 1
3 2 2

poco ritard.
4

5 1 5 1 5 1
2 3 2
Harmonic Minar Scáles in Parallel Motion
In the scales on this page L.H. & R.H. 3's play together, 4's play next to the KEY note!

Play hands separately, then together. Play slowly at first, then gradually increase speed.

1 CIRCLED FINGER NUMBERS ARE THE SAME IN BOTH HANDS!

A MINOR THE RELATIVE OF C MAJOR

1 2@ 1 2 ® 4 4 @ 2 1 @ 2 1

5 4 2 1 @ 2 1 1 2 @ 1 2 4 5

E MINOA TH E RELATIVE OF G MAJOR

1 2 @ 1 @ 4 1 @ 2 1

.
•

5 4 @ 2 1 @ 2 2 @ 1 2 @ 4 5

O MINOR THE RELATIVE OFF MAJOR

@ 2 @ 2 1@
..

..
5 4 ® 2 1 @ 2 1 1 2 @ 1 2 @ 4 5

G MINOR THE RELATIVE OF B~ MAJOR

1 2 @ 1 2 @ 4 5 5 4 @ 2 @ 2
..

5 4 2 @ 2 1 1 2 @ 2 4 5
The NATURAL & MELODIC MINOR SCALES may also be practiced in parallel motion.
The fingering is the same.
 45

Blow, Winds;Blow!
(A Pirate Song)

Allegromoderato
Boldly and rhythmically
5 5 5

, .. -
l1 1.. 1 1 1 5 1 2 3 2
.' ~ -. ..
.......

­­
I

, •
/

1
- -
••
1
e) ?; -6
>
?; • - ­ .~-,¡~-,¡·~ o• ••
f> > ""l~""I
ff p
­ ..
.. . ­­ ­ .
~

- .-
I
ni
..
••
1 ::::
..- ­
1 (
,....
1 ... •
- . ,_..­
•
-
·­ ­t­t
....1
....
,_
'
,_ ­•
~
\
5=
> >
5::::
> 1 ­....._,,,,­
5
­­'•~­­::

4 3- 2 1 1

1 3
~'~~-A~~~__,A-~~~-
5
....-~~~~~---,-~~-2.~~~
4 4 5 5 11. 5 1 12. 2 1
last time ritard 2 > >
- •­ .
1
.
­
1
2 1
­• 1

­•
•
­­
,..
­
I~ 1
I
lO ~. - ,,., ~
-­
,..,
­
­
,.., ,.., - ,,.• 5· ;2
5
1- ,, .
~ • ,
.
­ ­ • -
i-
r

' "'
• • 1 ; IL ,.
"

' ......... ­ . ­
~ • T1

ff ­ ff
1
.- - 1 1 , ­
..-. ­­
- - ,,., ,.., -- , -­ ­, -
•
­ ­
1

­• . ...-•
>.
...­ -.
-
- r• •
,,. ...
I
'l ­5: r­
• ­
\•-

'1 • '1 '1 >

Lsva last time
Fine

5
2
3 2 1 3 2 3 4 3 2 1 1

D C al Fine
4t:i

Repeated Note Warm-ups

Master these two warm-ups thoroughly befare proceeding to COMEDIANS' DANCE.

Practice very slowly at first.

As each warm-up is mastered, it may be played faster.
[!J

'b~ 1m
3 2 1 3 2 1

c.r r
3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 3 2 1

Jj J 1 F!j

m
3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 3 2 1
3 2 1 3 2 1
6Jj 61 r El r 1 1 fj] JO J =11

[gJ

'b~
3 3

m
>2 1

ttr et r
>2 1 ;. 2 1 3 2 1 3 2 1 3 2 1
~2 1 3 2 1
F![ El r
>

1 1
blJ >
JjJ
>
jjJ
>
:11

Cornedians' Dance
Allegro
gva segue
Kabalevsky
>3 2 1•

5 1
3
 3 2 1
> •

­ ­- ­­­ ­­
(stil/ 8VO)

-- ­ ­ ­­ ­ ­ ­ - -­ ­­
fl
4
1 -
--..... ­......­ -­.. . -- 4 4 4 4
_
'\.

tJ
...
•- ., - ­
- >­ >­
>-
.....
J
.­_,
..,

>
1

>
1

>-
.
'
-
>
' ., .....
_. _,
_,
.....
_,
_.
- -.....
.....
.....

f>- > >

pp
- ­ ­
­ - ­ -- -- -­ -­ ....­
>
....- •
>
­ .. .
> >
• •
L

- ~I
... r-

-
r-

,.
., r- r-

I
aJ
-' ., 1 1

1 2
4

Dt .LFin«