THE COMPLETE PIANO PLAYER OMNIBUS EDITION
BOOK 2 This is the second book in The Complete Piano Player course. Carefully follow the lessons, and by the end of the book you will find that you have made excellent progress in reading music and in technique and have built up a fine repertoire. In all this, you are helped by the easy to follow text combined with the clear diagrams, of special value if you are working on your own. Play regularly every day. Little and often is an excellent way of making rapid progress towards becoming the complete piano player.
FLATS
4
A flat: |? against a note means play the nearest available key (black or white) to the left of that note. The flat continues through the bar but
is cancelled automatically at the next bar. A 'natural': tj may also be used to cancel a flat. The most commonly used flat is:
F P (E (F
IGIAIB CJ
Bb
i left hand
right hand
EXAMPLES OF OTHER FLATS
Db
Gb
E 6 P ..\ r.\
Cb(B) Eb
Ab
F
\
*
Written:
^
Db
left hand
Notice that Cb and B are exactly the same note. Sometimes it is more convenient to call B 'Cj?'
64
•right hand
Bb
H
LET HIM GO, LET HIM TARRY Traditional
Watch out for 'flat' notes in this and the following piece. Remember to return to 'natural' notes.
c < LEFT HANDX
F7 Flowing J = 128 «
1^
Let
him
~5T / (*,
431
S*
«
2
let
him
go,
let
him
tar - ry,
_
£-££i
SiS
'
or
—dK— iS
n 3« ^
care
for
b
&
^— ^f
He
does - n't
2ats•^v 1.
—
^
H
—i 1 W- •*-
J
me,
I
and
j5
him
swim.
o
f
*
?i—^s~
i J *
—•
X^ \
don't care
B flat
S'
/ He
a
h
V
-J-
V
and
get
an
B flat
•V /• 7
\
J
*' _
-
_J 43B
J *
oth - er
that
p /O O •^
~
can
m—bj* x lI A
Bflat
f /K
^^^—
/
^ him.
for
, TOMr ?^ A'
-
A
go
let
s -&-
C7
-#
sffl tj iW-I
I W
Bflat
Gm
Z
j.
bp — A1
4»
1
•
sink
Bflat
tT
J *
-*--+-
,
mp 3
h^
1
/
>
Bb
- I
^*~"* -f —
eJ
RIGHT HAND
F
^H*"*^
V- 1 J
Bb
*'
q —1 5*
I
hope
J f
he
\>p
|^
1 1
1
will
en
•«L-
-*L
- joy.
For
cresc. 2
C-z
2
AJ
Bflat
Gm
C7
JE
J
39 ^
^ ^
5 5 jv
•
fj
I'm
7r>«
4"\-/• 1r V 4
, —^
R flat
going
T»-
«
r
E
to
mar - ry
a A
™
^C
^ ^\
rj
I
A
N. k
r
1»
"''•
1
T~^
3u_
2*
I
Bflat
over briefly by the left hand. © Copyright 1984 Dorsev Brothers Music Ltd., London Wl. All rights reserved. International copyright secured.
boy.
a!?« A Tl _ , _ _ , _
R flat Here the melody is taken
f2
m
./ nic - er
far
f^&S
1
53R
_u,
Bb
Bb
THE WINNER TAKES IT ALL Words & Music: Benny Andersson & Bjorn Ulvaeus < LEFT HANDX
With a precise rhythm J
I
don't wan-na
mp
RIGHT HAND
>
= 92
talk
a - bout things we've
3O^
r
Bflat
Gm
B flat
B flat
B flat
and
f\ f/TV "-K
fJ
1 J done
/ J-
_
r
no -thing mo re to
TOO,
')• f—1
1> 1
—U-l— Bflat
66
,
54 o9
•csf^ £V
Gm >
r 5
1—
J ^ 2*
J 5 0
I
J
fl 0
W
sav.
J
_J
1 Bflat
^ W no mnre are To
~~a
9
that's what you've
1+-\>m
U
m
*
i*
4^^ B flat
'
Bflat
C7 —
HE^
4^=?^d=
/^
3—k~sl>J J
bo"""^
>
r '
z
> ^?
-5*—J
f
«
^~
The lo s-er stand-ing
all
m
^^
I—I—"^
^
The win-ner takes it
play.
£V 1*
A7
1
"T^l •[*• l"f"
5*
1r
3, J
T ^I..'.. 1
i
** \£ .-J—
B flat
Bflat
Dm
B flat 07
Dm
friend,.
ST*
A big thing or
1»
\ Gm
a
small.
B flat
the win-ner takes it
^ F sharp flat
© Copyright 1980 Union Songs AB, Stockholm, Sweden for the world, Bocu Music Ltd., 1 Wyndham Yard, Wyndham Place, London Wl for Great Britain and Eire. All rights reserved. International copyright secured.
NEW NOTES
5
You are now going to learn a famous song by The Beatles. But before you tackle it, here are two new notes: D
D for right hand D for left hand
-€*-
Both these notes-which are shown above-occur in your new piece, so make sure you know them.
Bb
Ft*
Bb
Eb
Db
A HARD DAY'S NIGHT Words & Music: John Lennon and Paul McCartney •(
With energy J
X
I
RIGHT HAND
= 96
e/. w ^ ^ % —T* v^— *r - 4n "^ I -^ It's
LEFT HAND
been
a
«,
Hard
1
Day's
^-
*—
i
4trv) a
4| --ib?
Night,
y* and
*
^ j1—
*
I've been
mf 4V • I. /•
y L^
.
«
2X
/
431
/ r
/ r
0
>\
^
•
Cm IUJ
^
5 K y-
work -
•^j* fr 68
3^
ing
like 2tJ2jtf
'
rf
W
J
a
dog
fAi
J
flr
j•
•^ 7
1^1
K
Tr' 5 been
A
'>
4A
*m
\ A
^
a
H^rd
Day's
U^
~^V / A
1 A
i*
A >.
""
Bb
(—y—i 3fci= v-y x
1
i i —i -^ j m -** m
Night,
I should be
^^ S\HS
—
^^
1 CJ sleep - ine
i> f^
W
1
FA 5
*
_
^v
J
•
lik z ?
4V * }• ./
—T—4iE—F—F—
—
Ing
BUT when I /^^4>- •/_
r*
1
r
a
L
4.
{
^
:0
/
r
r1
f-
\
D flat
F7
C7 •
•
«)
' 1 1 1 get home to you,
•
Di*—v-f —m [_ [ —
IT—
/
I find the things that you do 2
•3 ^~»
£\r* * f 1. 5 °
J
J —— —
-4lJ—^TtJ ^
f
feel
will make me
f?
all
r
A ^Jf 2
1
•—
r'
1.
—J
~ 2 l_ ^m
*
right. 2 \« J* -^
43K 1 ^^
|
When
I'm
.0 ^1 f*
A
^* 1 ^^"^
home
*»J
ev' - ry - thing 1*2
h(fv
r
r
v
i* « U J
m «
f«
seems to
be
**_J
^
r
r
Em
Am
-1 when
right
home
I'm
3i
D7
g 4 ^ 1 — JT — d -^- p C p f — feel - ing you
Dm p—1 « —Pp «t=_? 1
hold - ing me
G7
~"^<
U"0-
tight,
* D.S. al Fine (end)
_O^J
__
_3^!
7
Yeah!
1
i— —Ji It's been
a
m
4V H (O / • f t •^
^^ •*"
1 / T1
^N ^|J ^^
*Dal Segno al Fine. 'From the sign to the end'. Go back to the sign % and
V
.« ™
fu
f
^i
continue playing until 'Fine' (the end of the piece).
© Copyright 1964 Northern Songs Ltd., 19 Upper Brook Street, London Wl. All rights reserved. International copyright secured.
SCALE OF C, KEY OF C, PASSING NOTES A 'Scale' is a succession of adjoining notes ascending or descending.
6
The 'Scale of C (Major)' requires no black notes: Scale of C y
f\_
fik
SS 9)
1 V
C
J
J •
J
J •
^
J
P
P \
D
E
F
G
A
B
C
1 *
When the notes used in a piece of music are all taken from the Scale of C, the piece is said to be in the 'Key of C'. PASSING NOTES However, a piece of music in C could use notes which are not in the Scale of C. If these notes are brief they are called 'passing notes'. Passing notes are of a temporary nature only and do not affect the overall key. In the following piece, He 'II Have To Go, look out for 'passing notes' in both hands.
AbBb/AJJ Dtf
HE'LL HAVE TO GO
G#Bb
Words & Music: Joe Allison & Audrey Allison
<
Andante (at a walking pace) J = 100
^"^
(foE J 2*Jtt* Put your
RIGHT HAND
change finger
passing note VO ~~rr—n
LEFT HAND
N ,n / ^ —i
sweet
i
lips
i
a
r-'-i
lit - tie
j jj
i i i n =Fi ^^
-4m
9«
clo - ser
*
to
~~~^ 1n—^—^n
*—
the
>
phone
P 1
4V "I
s/• v't
t
?•t
rj.
s
/ 1
^f-
-, . *
~x
s>
s/
Dm ffLfn J
m
*i'
J •
*'
\i /
G i
V
that we're to - geth
tend
er
j all
J
G7
new hand position
1^!.
a
I'll
jone
f.ll
th"
~~N
y^f
~-
J.—£
£
r—*
—*
1
h» ^ 4
> *
^ *
passing note
F passing note
man
to
Fm
thumb under 2nd finger
turn the
juke
-
low, mf
box way down
cresc.
and
you
can
mp
passing note
passing note passing note new hand position (FINE)
your friend there
tell.
with
you he'll have to
\
£
-379-
passing notes
say.
You can't
go-
the words I
want to hear
while you're
with.
inq note
C7
an - oth - er
man.
If
you
2k passing note
G7
D.S. a/ F/A/E
2*
want, cresc.
me
an - swer
'yes' or
'no',
© Copyright 1959,1960 Central Songs Incorporated, USA. Campbell Connelly & Company Limited, 8/9 Frith Street, London Wl. All Rights Reserved. International Copyright Secured.
dar-ling
I. /
will un - der - stand.
Put your P
COMMON TIME AND CUT COMMON TIME (ALLA BREVE)
7
The sign C stands for | time, that is, the bar. £ time is also known as 'Cut fa there are four crotchets (or quarter Common Time', or Alia Breve. notes) to the bar. 4 is also known as Pieces written in Cut Common Time 'Common Time'. have a distinct feel of two in a bar, and they tend to be faster than those written The sign 0 stands for g time, that is, in Common Time. there are two minims (or half notes) to
THOSE LAZY, HAZY, CRAZY DAYS OF SUMMER
FJtGtf
DbEb
Words: Charles Tobias. Music: Hans Carste Allegretto (moderately fast) J = 104 D7
G7
stretch
V .u — &M^
iy , S)• I* \y
count: 1
*
4-fiJ
*
n*
zy, zy,
era era
1
out
Roll
f*
^
§r
2
la la
those
^ ^-i
2?
p
Jj
zy zy
days days
K r i i 1r r
J
H^
•
i^
\ 5 c>
-
zy, zy,
ha ha
J
\
-
-
\
J
\
J
^J of of
J
<>
it
1.
D7
A
2 f/L ^ t>Y
^ cross over•
_
I * Ii P/-J
J
^v, i
i , - ,—
r 5fJ
sum sum fe^ 4ff O f.
change finger -
mer, mer,
J
J
J
j
Jo
3
G7
:
m W
H
those dust
days off
of the
j
J
j
1
ij
^
so
-
and
da,
1 ij _4°
*•
j
2 (etc.)
D7
G7
out
those
i cross over
pret
zels,
t
J
and
t
beer.
Roll
J squeeze together
72
new hand position (FINE) J / - ^ p a s s i n g note" m A.4 *
/L f(T\
A
?
£
fl
*
1-0-
of
cheer.
J
sun
*
6): 4 o
and
moon,
and
sing
song
Just
*
-\ m
J> _|
fill
your
mp
> j
1.
a
H «
*
i
J
—o
J
> f > r r * 3~i
;
E7
*
v
_
passing note
bas - ket
full
sand - wich - es,
of
ween
and
"1"1
-
Then
ics.
lock
the
r?
3S
Am
IQ J
1—i
-^
now
up,
you're
ft **
•^5— ft V? ./ ^-^
J,
-T
1-0^
J
2|J
iJ
set.
And
on
the
i i
—
ST:
pt=^=^== house
new hand position passing note
\
'
^^
i.
. . . ^Pr
j- . .
r.
f
i"
passing note
j^_ f/n fflZ 3J
J
I
1*
beach you'll
i
.
1
i
5J
I
*
*
jf-J
T*:
^J
LJ 2\>*
girls
in
their
bi
1
2^V
1*
see
the
L
new hand position
*
Ir
M
&1 nis,
ki
J
« *
2 r
as
cute
as
4"•
cresc. 1
O
-O-
ti<" IE
-^
% D.S. fw/f/7 Repeat) al FINE new hand position D7 G7
G7
rr~o^ (m :—'^—r—r—«=
"»y
i
e
ver,
'
m
i
but
they
nev
L n ^ ^~^ r•— —ri— — —^
1—d'
s>
-
-
er
get
'em
wet! f
Roll
out
those
J
1
0-
0-
y rf J
~T tt ^
"
I
^
~
_
i
'
-M--
Hp
© Copyright Edition Primus Rolf Budde, Germany. Copyright 1963 Comet Music Corporation, USA. Chelsea Music Publishing Company Limited, 70 Gloucester Place, London W1H 4AJ. All Rights Reserved. International Copyright Secured.
"
SCALE OF F, KEY OF F, KEY SIGNATURE
8
Read lesson 6 again to refresh your memory about Scales, Keys, and Passing Notes. The Key of F (Major) comes from the Scale of F (Major), which has one black note: B flat. Scale of F
r±_ VM/
tJ
M
w
F
G
m
I
C3 V*
A
(it)
Pieces which are written in the Key of F (major) use the notes from the scale of the same name, although the piece may also include some passing notes. When a piece is written in the key of F (major), it is necessary to indicate the B flats at the beginning of the piece, like this: Key of F major
This is called the 'Key Signature'. It tells you that whenever you see the note B, you play it as B flat.
m r
c
m D
E
F
Under The Bridges Of Paris, which you are going to play now, is in the Key of F major, as you can see from the key signature. Remember: you play all B's as B flats wherever they fall on the keyboard. A REMINDER ABOUT NATURALS
A 'natural' sign: \ cancels a sharp or flat. The natural continues through the bar, but at the next bar everything reverts to normal.
Bb
Db
Bb
UNDER THE BRIDGES OF PARIS (SOUS LES FONTS DE PARIS) Music: Vincent Scotto. English lyric: Dorcas Cochran. French lyric: J. Rodor.
[DiElFlGlAlBliiDlEiFlGiAl Id <
' -'
LEFT HAND
>^
RIGHT HAND
>
Gaily J = 138
F
~$r^ ITO 4 — \ cJ iV rnf
b F*
—=^
*»
A
\ *J—
zjraE
How would fO 5^ "
you
-573
—
;
(
2* -
like
^^^"
to
•
a——i 1 J- -?-•)
he
"U •
_.
1
*
down
by
the
ib o ^
74
~f
U_
Gm7
f\ h
na
EJ
"K e)
fy
"• me?
with
^~~~ --\P*
L
A
,
f
l
^TV*
G7
-. ^^ i' j « 1 9
rv »
yI*
r
=; ^
r
F X"
I
^r * /5_ r> rM
f
i «I
J
*t
a
^
^F
mo - ment or
'
•—^..^^ '
"^ m j
j *
0
bridg - es
of
?^\P' "
V
1
4 dl
E)ar - ling, I'd
he)ld
you
r
R/-
, J
''* with
r
you.
(feU A
>1
1
J»
Bflat (Situation back to normal)
F X*^
—- *• i
4& •^
7K
IL
^
i
f
\r"i
fj *
•
i
* 2tiV Pa - ris
A!
^-75^ J 9»
—
5 -2.
B natural (A temporary cancellation)
0
_
•j^
give for
=t
un - der the cresc.
two, r,
P
IT a?
2/5.
r^ •
O
i I*
cross 2nd finger over thumb
"^ i
v'
J *
Bflat
cross 3rd finger overthumb
0
J K
0 ™ — *-
Oh, what I'd
1/2 • 4 p' —
3 +1 S3^ *
1
2• p-^"
oo ^» ex •
3^
Seine
C7
I
' ^fj •
»•
1 -»Jt ar
tight
\ 2m
:J
from the
?° T^ ji
i ^ji
^^
eyes
of
f
±
—/ -
t "
•
i*3 BF *
Gm7 f\ b fm Vp
• /i> fc
^
r>
)*
1 f3
A In ^•
r
f\_ V.
\f\ "
"P *)
^^V* •*
/
"^
-
~. • £*
n
J
—
C
3
you,
I 'd
J •
bridg— es
p n. • 525 f-
J
m r 1|
•
^
Un - der the cresc.
fj'
n^
_ L —. %
-±&±-
C7
nj ght f\*
f~i t • ^
\>O'
—&-*
of
Pa
ris
with
n> *
J m
« *
make your
1 Zz
dreams 1st
1
J
come
rr* i
t
r
^J •
t
r
true
K» j W
'
9
'
^ * r
i
T ^
i
f ?•
© Copyright 1914 H. Delormel, © Copyright renewed 1948 Vincent Scotto assigned to H. Delormel. © Copyright 1952 Editions Fortin. © Copyright 1953 Hill 8c Range Songs Inc., Liber-Southern Ltd., 8 Denmark Street, London WC2 for the British Commonwealth (exc.Canada) and the Republic of South Africa. All rights reserved. International copyright secured.
NEW NOTES A
You start this book by learning these new notes:
B
C
A, B, C right hand E left hand
G A B C
6V
/• J •^
€9
HOW TO FINGER THE NEW NOTES
The new notes illustrated above are beyond the range of your original five-fingered hand positions: new notes
new note
T
TV
MID
B
D 5 4 3 2 1 original hand position
1 2 3 4 5 original hand position
R.H. (Right Hand) 51
When a single new note is required, extend your hand to play it, then return to your original five finger hand position:
Ml E
S
Left hand extends to play note E
Left hand returns to original five-finger position.
When several new notes are to be played consecutively take up a new five-finger position covering the new notes:
MID
Original right hand position
MID
MID
Right hand extends
I have indicated examples of both the above situations in the three pieces which follow: Sailing, My Own True Love, and Wooden Heart, 52
Right hand takes up new five finger position
Note: From now on letter names will appear alongside new notes only.
I
Bt> C#
LIEBESTRAUME By: Franz Liszt
FGAB
<
B^emember: This solo is in F major, Play all B's as B flats, unless iiistructed otherwise.
LEFT HAND
RtGJJBb
MID
•PE F|G|A|B X
RIGHT HAND
CJJ
D ffl >
Con espressionefwith expression) J = 96
F
_y0 frt •*~iJ r\
fift^
VSJJ
i.'X*
\J
\>
!•
J
A
jffr ^-""""—i f
§
4
J
A 5
~~•^-^ \^
S i^ •
f^* «
^
f!v " -*"—
^
I '
~~-<^
s«
ip
t
:
P O
v
O ^-> •
«-J ft •^*
^
*
r
/r** •
^^1 •
r
c
change to 4th finger on A
^
_y i
^^
G7
JD7
^ 1
l»
ffK ^ ^ U j j j
I
c
*
Tl •
3
nJ
T 5C ffi-
O
_x^
-x-
t c\')• z
D l> b
1
1a
9
i
Vx / 1
J
J h 2
'
a-
r
-^
/ /*.
>^Fi
^^**~i«
/
^v-
^~—^
[> 2([>)pv
I
1
•? uh^psi
-*
i
/ 1
, 4
1
* ^\» J
^^
c ^ 5 ^ —
~
"
,
.-^
-^
iV
T /*•
^—
D7
A-5
3
IF g
3
2
€
£
since this is a new phrase the finger may jump
C7 -5-rrS
3
§
i
M £
Fine
zr h ™\J
fV
3?
)•
rj
1,
• ^^^.^
3^ ^•
5^ W
r
r •^*^
_,
^ .
{^
[
•
•* & r
i i
0
1
i a
^
^ o
^
E£s
3*25
cresc.
n^
change to 3rd finger on A
P' I
"^
"*"^
D.S. al Fine
* In Time i.e. pick up the original speed
Copyright 1984 Dorsey Brothers Music Ltd., London Wl. All rights reserved. International copyright secured.
"
Bb
G#Bb
BRIGHT EYES Words & Music: Mike Batt <
LEFT HAND
X
RIGHT HAND
Remember: All B's are to be played as B flats, unless instructed otherwise. Gently J = 92
V pih f* 1 ^_ Ms VJLJ L> 2 » eT tfV
1,
J
^—
Gm r-fy-^-
!•
1
^"]
"V*
j"
"^
/v f
r i
5
'
2
J * T^ r r
i
Z*V«
^vf -j
Y
r J
4
r-\ ,—J—r~] J—*—J* =i
no - bo - dy
b
m
/^^f-
°
r —
3p
1-0-
*Lr ^
P
1
the riv - er of ev - er knows
»
1~ i\y
^Am
^Dm •i m
m
r
r
j
22
Gm
k *-j-x-
.
I ^
f
r
i J
1
L.&
^
r
•"
Oh is And where
^
r
L_J
\1
ta
V^ 1.7
^ "s^
r
it a do you
v
9!a3
f
S!
]1 £-«
?x^
^7 ^
22
*
dream? /»
There's a
rj
mf
Oh,
is
j ^ ^
/ P
"&-
°
it
a 1 •*•
s
'
*Repeat Marking. Since there is no matching Repeat Sign to go back to, repeat from the beginning of the piece.
/^
F
^N
TW 2^/0 "
T
r
'^
Oh,
^^^^^ I I •* ^ ^^ ^^ j -j J
illy
0)
start.
.
JC-
^
. ^-^
°-
i i
B
2A 1 fy
i^
\ i
r- ^^
*
C7
death down -stream when you go
/ -
^^V* I* _j*
jT-..
4Pr
Fol - low - ing
!•
V f\
on the the
J m
P7
—^^^
tide air
t
Float - ing out Cold sound in
1•
--2-J
O. / -
J *
**
9
~. x**1 r \ * •
-^
'•"•^ dream it a kind of a a - long 1 he hor - i - zon,
/r> n r5 & C
-—~~^
1
iczar™Ji
Is fog
-^
r\m um^
r*i ^EI^F
^
CJ
-^—_
^^^—"
dream
~"^"-~iV
-p-^ ^^ 1
L^ ^^^
Am
/L «p \> J— **—fP— E« It
i i -j r-^f
T**
Bright ...
' •)
eyes
• ' ^ • ^
burn - ing
like
fire
mf f\
£>
h
i
i*
^
-=
-
1
=-*
'
:
rn ( 1 (m ^
Gm7
J
r
3-J Bright
!>
J-2-J
3^3
eyes
how
^ -^
1 r<
M-
11
3
'
r-
*
r
A_^
t
1
1
^^' —^f —_—_
*
can you close
r
'
J
—&—
and
fail?
^-i iJ
How can the
light
that
r |
F
\*w^-r-
—w
burned
bright — ly
^
r
r
1 burn &
m r
"^
so
pale?
ii &-^
*-~, \~
r^1
C7 ""~-——^
so
F i '—"~ JT
_^
W
v^
i
^*~~*^»^
J • .
i ^-
Bright
i
f :r
f
eyes.
:
R'$—
C_l
3"
—^—
?
- - 5~O =
*Section Lines. End of one Section of the piece and the beginning of another.
1
1* \^ p
-
-
C
*
»
n
1——1 1 sud-den-ly ^
<1r
^"* i-'
^"^^^.—
J
1
_£^
P
Gm7 i
l*f
A l^"1
-•{ ry1
^
5
jD cresc.
!> 1 fP
-~~ ^
fi
*
::4»
^ ~° ^T\* 1"
J—J-
9f
B l^1
1*
49
Copyright 1978 April Music Ltd./Watership Productions, 37 Soho Square, London Wl for the world. All rights reserved. International copyright secured.
^
NEW NOTES
9
Before tackling the next two pieces, here are some new notes for you to learn. Make sure that you can recognise them as soon as you see them, by practising them a few times:
E, F for right hand C for left hand
/
/C /,D E F
t
\
i \
Bb
Ctf
PLAISIR D'AMOUR Words & Music: Giovanni Paolo Martini
Mil
F|G|AiB|c|D|EiF| <
>
Con espressione 0
f\
(
h O
^ <4
«)
r* />
b !•
'
«J
^
r
r*
_^-
•
•
fj>
^-—• 3^ *
f>r 1
X
RIGHT HAND
>
=100
|
23
LEFT HAND
2 f^'
5ta • nC
^ -^x^ ^) * ~^* "•
22
j—
- mj
K
1
\
1
^
R ^»>
•j
1 0
—•j—
r r
T^ 1
new phrase so
.
y t fj55
Gm7
i -—
3
t^"i *
Qy
^^^r* "
fj
C7
F
;
•
3*
"1 «i
£V I* ./
-~v
^r
•ih «• "
p
i s
l
2ibLs
3 4*
I
I
~~~^
_| 4 5i"
mf
cresc.
r,
F i
i
a * -
2»
2.CJ'
iJ-
Gm
I
* r
^r
«Z
! V
tuck thumb under 2nd finger
I
ig.
p-
™ ^
f
I
A
'
tuck 2nd finger in Fine
III
:4s
p
P
i^
£5
E
i G7
C7
i cresc.
O.S. al Fine
tuck thumb under 3rd finger
rL b fm SH r]
1?2
K'
r *
G7 ~
a
[
|
i
<
A 1
jnd n ^n
C7 I r :
b& • 1 <^" •
Z2
3 ^^
mf k ••
J
^y •
3
n >
• I
P
F
^
|
J I"*" P
> ^
> J-
,^> •
r. o' *
1p /
o*
A
2 5
© Copyright 1984 Dorsey Brothers Music Ltd., London Wl. All rights reserved. International copyright secured.
81
TAKE ME HOME, COUNTRY ROADS Words & Music: Bill Danoff; Taffy Nivert and John Denver
<
Brightly J = 96
y r\ 2\ fj(5\ VS L/ v"
^ •
j
a
V
RIGHT HAND
>
^
G
w 4. *M
—
*j.
West Vir - gin - ia
ii i;
•• 2 i ^^ | •**^ Vr ^^
\ m
^
221
heav - en
A l - most
X
_^—•___^
Am
"~-~^ ~ G?
LEFT HAND
4 i
"br-
I
> >
^ w m
Blue Ridge
t ~\
.- ^^
iS
J ^-^
1 3 5
F
—•»•• ^
i?v
^s*2
DOS
/•
-,^_ 2M.
*~
C jr
_
v
Moun - tains ^
I
Shen - an - do - ah
—^^^».
—
•
Riv - er
Life
1
is
t> c> C5
§
3_ 'i o
o
^"^
"^^
C5
1
<^» -i—*->
** f^
X ^ 4 fj »— -
^^
r
**-N
2 5
'" «-^ ^.
^•— V\ ^^
OSS V> ly
i^1/
old jCSs JI*
82
^J
'-^
there,
Am
L^: 3 J
2jEi
r
m
old - er than
5 = f= 1 the
1
' 9
•3
trees 3
1 ^-»
^ i l^^ r
13; h> r L>
L >
—c>
r I
Young -er 1 <-> i c> h
9
r I
than the /
--~-^
P I
moun - tains, <~> <•>
nJ \^f\.1m ^ K
(J
m
'Am
r
r
grow - in' like
rr
w
breeze. Coun-try
a
i 3 £? rP
{->
tfV j- o JI* Co
Rnflfk 1
—
.52
r1 -r
^-fc ^-^
T^~
w p- •
take
' home
me
ip
1
_
-4t? 1 ^J £~^
»K W
Co
A Zi
CJ
1 2 5
f\_
—
fm "V «j
J
f
e-
* the
to £\* r
i
I 1*
i
\J
i
y
*
rj
be
«r
*
^_
eiii — ia
^-.
5
I J »
!£
u
— 1 222
0
m oun -tain
S
1a I
1
f
^
i home
Coun - try
J
ar
long
-
^• ^ 1 »^ —, mom— m a
O M
-^i^j - rj
3 ^2
a]
West Vir -
—• • -—
—•
—1 TP
—
O C ">
I
place — =^_
a.
o ^ —-
"m
9
~75_
rx» 1*
Dm
C(on G)
Am
(f)
^_
(^
—.j
r
-n 3 ^[
^
j
|
ilr V
Take
me
P ^y
1-O-
Roads.
ff
r/r.
1 5
Copyright 1971 by Cherry Lane Music Co., New York, USA. Cherry Lane Music Ltd., 62 Campden Street, London W8. All rights reserved, 'r.ic-mational copyright secured. •'
DOTTED CROTCHET (DOTTED QUARTER NOTE)
10
A dot after a note increases its value by one half When you apply this principle to a crotchet (quarter note) you get: J
crotchet (quarter note) = 1 beat
J.
dotted crotchet (dotted quarter note) = 11/2 beats
A dotted crotchet (IVa beats) is almost always accompanied by a single quaver (V2 beat), making two full crotchet beats in all: J. J) 11/2 beats + 1/2 beat Total: 2 beats or: h J_
1
/2 beat + 11/2 beats Total: 2 beats
The first of these dotted crotchet/quaver combinations: J. J) appears frequently in the piece that follows. It is counted like this: SILENT NIGHT
BAR 2
BAR1
count:1
2 and 3
1
(etc)
3
Pick a suitable speed for your basic crotchet beat and be sure to maintain the same speed throughout the piece.
84
BAR1 Play 'G' on beat 1 and let the sound continue as you count beat 2. Play A' on the 'and' between beats 2 and 3. Hay 'G' on beat 3. BAR 2 Hay 'E' on beat 1 and let the sound continue through beats 2 and 3. Continue similarly through the piece. LEFT HAND MELODY
Notice that during Bars 9-16 of Silent Night the Left Hand plays the melody Increase the volume of the Left Hand at this point so that the melody can be heard clearly.
SILENT NIGHT Words & Music: Joseph Mohr and Franz Gruber <
RIGHT HAND
LEFT HAND
">
Peacefully J = 84
__
c SL «7
J'
r(T\ A 3 * 1 '
-
, f *
• ^ ^ ^~
* *
Si C\> "~l )• *J ' /
Dm
lent
night
«-—
Ho
> ^
rp
x- «
All
is
bright.
/J.
ly
/ 1
f *
T A
^
S ^V
••* rl* '
H
1
1
k—
2
i r^
calm,
4»
••
r
TP
0
Bar 9
?•f
2^V
'Round
m 1K n)
is
All
> f-
yon
rv gin
1
1*"'
3G A T E
^J•*•
/
Vir
?^/* (Melody) £~\ •
*~\ •
K 1
J^^
I
r
•
night
**
F
2CZ4Z2 r(T\ UlJ
°r
.f-
^
-
5
L
j; * — /
P •urn
1
—
? ^ i nd
f&
O [O
1 her
4 K*
P
child.
1PW 1 |^P r 1
s ^^ •
—i—• Hf_
'
cross 3rd finger over thumb
Bar 16 J^
f/K VM 7
f
~ 'J r^
r
1
A
r /
r
r
£2~
i"
—, ?>•
2
«
F (Melody)
-j ^^
r
1
Q7
1
li~"
r
1^—
r
J
r
mf
]io 3 ~iY~ }• /
- ly
in -
fant so
1*"'
nL-'i* k
1 ^^
1
ten -
mild.
der and ..
Sleep
in
1 p-
2i
i-j (^7 •
'
Hea - ven- ly
G7
f Sleep
peace-
in
Hea - ven-ly
dim.
5Z
peace. PP
r/f. -3i»-
:5±2
^^ Copyright 1984 Dorscv Brothers M u s i c Lid., London W l . All rights rcsen'cd. International copyright secured.
85
DOTTED CROTCHET (DOTTED QUARTER NOTE)-2 The next song features the second of our dotted crotchet/quaver combinations. This time the quaver is played first: j)J. 1/2beat+11/2 beats Total: 2beats Count this figure like this: GUANTANAMERA BAR 1
BAR 3
(etc)
r Lr v r Count:
1
2 and
3 and 4
1
Maintain a regular crotchet (quarter note) beat throughout. It helps to tap your foot on the main beat. BAR 1 Play 'D' and 'F' together on beat 1. Play the same on beat 2. Play the same on the 'and' between beats 2 and 3. Play the same on beat 3. Play the same on the 'and' between beats 3 and 4. Let the sound continue through beat 4.
2
3 and 4
and
1
2 and
3 and 4
BAR 3 Play 'C on beat 1. Play 'D' on beat 2. Play 'A on the 'and' between beats 2
and 3. Play 'C on beat 3. Play 'C' on the 'and' between beats 3
and 4. Let the sound continue through beat 4. Continue like this through the piece.
Bb
Bb
GUANTANAMERA Words by: Jose Marti. Music adaptation by: Hector Angulo and Pete Seeger. <
LEFT HAND
X
RIGHT HAND
>
With a gentle rhythm J = 92
Bb
C7
C7
•MmaJMMMMW
Guan - ta - na - me - ra 1O_
P
- ra
£
Guan - ta - na - me -ra
£
TEACHERS: * The flat has been put here for the moment because the pupil has not been taught the lower 'B' note. The normal F major key signature appears in Book 3 page 102. 86
cross 3rd finger overthumb
F
OL
C
yC i /i. r>
f/K
V^P
^db=3 o J A 1* r ^ 2- * P
f^ I
J
tf
^ Guan - ta - na - me
f\' _^Z)'
\>
"\M
*m 10
\m r J.F +— .11
^~^1
rj
K 5^ '
ra
a
1J
gua-ji - ra
1
f
T*~
I hJ ^
^~ir^ r^^^r
iI
3r
1
•"•'*'
~~~^ ^^ *£
V
1
1 iS
|
O
r
•") ^f
2^ra!
Guan - ta - na-me
f
FINE "\
1
* m *
> r-.
,
cross 2nd finger over t h u m b
f
*r-j
\
~^r~
Jf~
Yo soy un
P —
cross 2nd finger over thumb
Gm
Gm7
hom - bre sin - ce - ro J>
De don-de
ere - ce
De don-de
ere
Yo soy un
la pal-ma
1£> -2-0-
Gm7
horn - bre sin-ce-ro
\> 1 o
ce
pal - ma.
Yan-tes de
.1-g-
*D.C. a/f/ne
2C S__43i UTN ^ r SP r?
itiza!
r I i
rV
l
-^'
/
ro,
mo - rir - me quie
wzp ^V. /
K
"? A 0 »
^ »
^ F
«<
2
JW
oa ""'
E - char mis
1
1»-
1 1 ^
2
m
J h*
fJ-i
1 331
* J ,
ver - sos del n^
1 (S*
al
r(3 i
X.
/
£
O jQ,*
ma fi f^/ «
c A
*Da Capo al Fine 'From the beginning to the end'. Go back to the beginning of the piece and continue playing until 'Fine' (the end of the piece). © Copyright 196S and 1965 by Fall River Music Inc., New York, USA. All rights for the British Commonwealth of Nations (exc. Canada and Australasia) and the Republic of Eire controlled by Harmony Music Ltd., 19/20 Poland Street, London WIV 3DD. All rights reserved. International copyright secured.
The next piece makes use of both the J. J)and J) J. dotted crotchet/quaver combinations. Eb
Eb
F#
Bb
BY THE TIME I GET TO PHOENIX Words & Music: Jim Webb <
With expression J = 80
C7
Gm7 fL
(fo
pr>
3
<*
I
\>
*L-J
By the time r, £V
)• J
I get
1 f-
f*
s
\) \ mm
find
the note
I
' J \ 1-* —y.—!—Ez
-
She'll
i-e»-
-«-
4n and2
3
4
and
m
left hang-in'
J +
nn her
1
4
^ 1-9
*
l^_ 5^-
V
ri - sin
P
^-^
1
and2
4 and
3
tuck thumb under 3rd finger
py
Fmaj7
m\) *•\
m—m
9..\
*-\ jfl
she'll be
C7
Gm7 «•
m
5_sj ! Count: 1
/\ b PffS
—m~
2O
rf—V
4 ^-^
cross 2nd finger over thumb
s
Phoe-ni X
* L
f
^
to
>
Fmaj7
) ' ^
*
RIGHT HAND
LEFT HAND
j iW *I *J r,•
•jhW 3*T^ m M * M iv^
door.
She'll
f
p ' I*
2 r>
o
*-r V-?
J
t
Bbmaj7
~~t ^T^1 — "—-2-pf
O' ZJ*
laugh
p
1 ^" d. <™\
O
»
^— ^
Gm ^ &— •5-0 •1/9
when she reads the
1o
Piirt
^
^•~1—^ *—— — f —J •! ^ that says I'm
oi
i
that girl
so
-"-xj
leav
-
^
1
~~*rj., "j
"4?v ^ rj('~~^ •^-&— —1-&—
Eb
^EE^
5
Am7
2 0 m
'cause I've
in'
2 ^-k
Gm
left
*- ^
4^
*T V_J
^^
[^ |^^ ; n
^v <*•
C7
^t man - y
times
be
the
fore
3fe
^
i
new bar, so "E" natural
Gm7
*
J-
C7
JO
JJ
time
Gm7
C7
Fmaj7
1 turn
47;
and call my name out
soft - ly_
She'll
low.
_2£*_
^^
o —"—"
X
flk \yj
I — 5-& t»—2-K
*[
cry
6V ZJ*
r,
«
*
F
F
just
to
1
1 »•
time 4"\«
b
X"
1
"l—^j i
! ^J
I'd real - ly
leave
r
1
—"
0 ^J
4 W
and time I've
^"^ •-E —
—TT-d
, fi.
Fmaj7
A* 4* 1i ^ ^
J *
W
^
I*
r
n^ 3O^
tried
to
tell
her
SO
-e4 t>
Rr^
1
33} m
~~* iJ
She jus t T? F
2
AT
K
did -n't
P jjH
/
Em7-5
^Z
tho'
K 51^' K
C7 4> 9 * 9
"
her
0>
Gm7 \>\)
—0
th ink
1jQ
/!_ b 4 JTfT\ Vim
•n—
jy
' ^'G
change finger
I
© Copyright 1966 Johnny Rivers Music. All rights assigned to the Emp Company, New York, USA. Carlin Music Corp., 14 New Burlington St., London Wl for the UK, British Commonwealth (ex.c. Canada and Australasia) and Eire. All rights reserved. International copyright secured.
SAILING
|E|F|G|A|BHD|E|F|G|A| TTWWl
Words & Music: Gavin Sutherland
<
LEFT HAND X
RIGHT HAND >
Remember: watch out for changes of hand positions in this and the next two pieces.
Moderate (at a moderate speed)
fj
XL (*—£4— UT) ^ —
_
-
new hand position i 5
•>
H
p
__,
,^p 4*
(B*,
, ^ ,
h^~ -J"—•3= -A-t —^
-J
^ m 'cross the
1
^
tl
P 6Y .4 ^ <
4
home a - gain —
£
I am 1 .51. •
"f I
^
— 3 v—^ —
sea.
•
T* ^x f*
f~ P
sail - ing,
I am
sail - ing,
I am
—^ ^
..J <"
eresc.
I
I
original hand position
sail - ing
wa - ters,
stor - my
To be
near
you,
7/Z/
a
3: :4JEi
free.
To be
I
i^
•4 -e-
am
P
new hand position
original hand position
1 m J J
| ] 3' W
new hand position
5
/]_ fff\VMJ 4vJ' /
At
-, J4*1
r1 j
y\1 ii
fly - ing,
I am
nf
I '
r
r
i .'
i
J « W
f^s
- in g,
* —\. x fj
like a
bird
5 c E
'rrnss tbf 1
^
P
2?> L
I 1 ^-
^Z
'
sea.
am
cresc.
>£, 4 <• 'r
T^
*
" • '
>^.
extend the hand original hand position
:
__
1
Z^^_
^^x—3—~!— ^1 3
\
J*
2.
i
*
pass -ing
fly - ing, £ A*
^»
_^, 5[
J -J-
4
^^~ /
J t^
high clouds.
>.
52
r1
2 r*
To be
9 m
m
r* J
p^i r^-H -tsL4-
^"•^^
'*" ~^
n 1
^^~
VSta_^
near
you,
H
to be ^^ ^
new hand position
© Copyright 1972 by Island Music Ltd., 22 St Peter's Square, London VV6. All rights reserved. International copyright secured.
free. CI fj \
,
1
WRIST STACCATO
Hand in position to strike
Up stroke
Down stroke
Learning the following piece will give you practice in wrist staccato. After each note let your hand spring up from your wrist without moving your arm.
Keep your wrist flexible and you will always feel comfortable when using this technique.
Bb
WILLIAM TELL OVERTURE (THEME FROM) By: Gioacchino Rossini LEFT HAND ~~X
Briskly J = 100
C7
F
m 90
RIGHT HAND
C17
F
J- JU
~tP
•» iV • 1. IZ
3* ?« 5P
Dm J
vfo
4V)•
^ r
1,
J
i
1A nm ^m RP
—i J JP •
7
•
—K;
_^_— ^-— .—^^^_
_
i"
*
2J »
2
J
5 rr'
)
2 \ "
A *
r
R -^
J
m
^
m
f^/
A
1
m
•
2
tJ-
N=^ 3—• J 3 - •
a
K
tf
B P
.^^
m/
^_
ji ji—
i~~1
I
7
0_ | J^ 3*
^--
• P
/j^, *
>
•
y0 iU X
"H
2
E
3 a E—+
F
( *
« p r
/ 1 r
1
i P
J V •
^ B
?f-w
B P-
2
h
A *
r ^Br ^C P
^—i J J [Z33C3i
i 3"JI
J 1« oW
V
{
K
K
/
P
i /
i
' r
1*
^ » •
i ^
G7
C7 AL t>—
I
VM/
k
^« r
5c; B
i^\*
-^/J*
—r-n—i— I
L
f^
I
« B
.P
t
p™"]
i
f^
K 4 TJ —i1-^* —j rr — n J ^^ ''^ 1 1—rr j -^ V V -J-^ -*-•*• 3j«
4F
m P
^
v -if
B
«
i f^f
^
B
L
P
^f
S
P
2p
i
c 5
.
?>f
p
L IP
t ^f,
C. P 1
t f?>
C7 frn "P
3
.-•idr
J
V W V- V -f-
*
«
1 «"
w
'"•
m~-jf— i—j
1«
a •
HZ m
^--
r •• «• * ^/ —jr. p
^
l> M V* •• '
3 i f~ O
™
J. r
*
jl
K ^
/ ^
K P
c
7 '
> ?
b
' Copyright 1984 Dorsey Brothers Music Ltd., London W l . All rights reser\'ed. International copyright secured.
?^_
3« 5 cd
—p » I
m
P
r n
TWO TUNES WITH ONE HAND Often in a piece of piano music there is a second tune accompanying the main tune. There may even be more than one secondary tune. These secondary tunes can be complete 'counter' melodies, or just short, melodic fragments put in to enhance the main melody. This is similar to choral music, where the singers are singing different tunes (or 'parts'), the whole blending together to create the 'harmony'.
13
On the piano, these secondary 'parts' tend to occur below, that is lower than, the main melody. Two parts are often played by one hand. Look at bars 6 and 7 and bars 22, 23 and 24 of the following song. You will see examples of two different tunes, or parts, played by the right hand. Hold all lower notes for their full value and finger 'legato' in order to bring out the lower parts. Gb Bb Db D*f Fjt AbBb Db Eb
Db Eb ft
WHAT KIND OF FOOL AM I
T
Words & Music: Leslie Bricusse & Anthony Newley
C|D|E|F|G|A|B LEFT HAND
X
RIGHT HAND
>
Tempo Rubato (rhythm not strict)
Fmaj7 X_
f/k v• ;
U (*
K
r^
J M tsai * 1 *m l-^-
fj
What kind of
_^1L
^r m
IS
)
4_-p i> ™
2 St
foo I
am
-5-e
L —^
t
1 O
fell
in
J
• _ J
J
*^ 9W
2^
*
1 -*-
it
love
J
— &—
£
Bar 7
-' ^ * 1
tuck 5th finger round 3rd
D7 I J K
I
S -i U
2
(^
^ 5
1 ^~~ T J1 ._ J * i J sac I
-
/y
Hi '
T
1 on - ly
I'm the
seems that
-
F
n^
4V !»
X
j; ey ^>" ^
4 ^.
2|
—r—^
Am7 t>
3^
Wh LO ne v - er
I?
.j—•*"
A"
1 v -j^
Bar 6
| 4 *
C7
F6
one
3o
1 O
that
^ ^
-\ \ 1 ?
U/ x \—
"i S
OJ
have been think - ing o F
I
1 I
Wh;it kind
^i»
70
p
d^
^
of
77Z^ 9 r
/
2
/
H
^
G7
Dm7 f\ U (m S22
|>
2
92
B
-•
J ^ m
cJ ^^
man
is
this?
'
-
^m J
J Jm an
—" « *
J •
emP - ty
gho^1 — 4JR L 1
T"
-
r
ir, - ' -5j ^n
shell
a
1' o
\
•
->-
r
3*
ym
r
J
mf J >
— —r^ «
lone -
-
—-
H*
Iv
Dm
1 — F-^L-s
H
X U— fcr^ (fo b ^ eel 1
•V /)•
1,
in
which
-trd
1
fe~n
2J
e mp - ty
an
C7
Gm7
• r
F
heart must
3 2
Ci 4l i
-2*
E^=3^
dwell
. What
-
r
r
kind
of
P
^ . ft 2*
1 p
Z2
..
/f- —I
i
^-s.
"^N. X^ .(--__
t i
m
slide 2nd finger from black note to white
t
l
ib
hi J '
2 vj
lips
,}> -^
— r
m
" /I -•
i \j ^ i •^ ^J ' 34 • 1 F i_^ .
1
fJ
are
that
these
*—
^M W A Irf^N[7 2
go
f^
flr ^_
&
b
^^
J
r
T
W
^
*
love that
kiss?
^
AW 4
^
1 . J-
4^
2
left
J^l^-— 5JZ«_22
1 'D r '
^F ^\m I
Lj
me a - lone
^
-U UV vnF iD
»
*
Why can't
like this
I
i- ,»—».
J)
2o
J *.• 1 ° fall
G7
i r
)
^ ' ^J *
1 l>o
5
fm 2H ^
then
b
2 *~* ^ r-» b O
J *
like
an - y
i1 *
J F
/
-S-
-3T 'rF
Tl '
J m And
1 bA
1
^ ^-J 4 ^r
'r
«-^
oth - er man?
2
?0
rb*-» <~»
J F-
J 2m
in love
Gm7
23* /)•
(F7)
^ o ^
f-
rL f2J3 m b' «J
/\
+
That whis - ppred cresc.
Bt>
4V • 1. /
•) m
1-J-
U
e,
3o
2 im
I
Bar 24
rf~\
words of
' '*
I
D7sus4 J
d*
Hi
x x^"^
—L
i j j _n
,
-1 /y
emp - ty £~\' /1*
|
^^
- 'ry
Bar 23
Am?
I
-U 2tl ( S>
ev
Am |
'
^ )qJx
r T
with
r *
— PF
60^
-^ 1
I
J
1 £>
lied
Bar 22
rt jX i
;— I
^
1
J m
m
may - be
•
Bl>m
^) W » *
J F
I'll know what
F
kind i o
b rf~^ I/ ^J
>F
of
-
J
^
F
fool
I
"\
^ 4. > •"" 1 <>
1O
j F
^^H
am. /
Tit. 2 i (^
5bb?
r^5»j
^^ F F
tuck thumb under 2nd finger
© Copyright 1961 and 1974 by Tro Essex Music Ltd., 8,5 Go\ver Street, London WC1 . A l l riglus reserved. International copyright secured.
93
LAST WORD Congratulations on reaching the end of Book 2 of The Complete Piano Player!
Discovering new left hand styles and rhythms Developing your piano technique
In Book Three you will be: • Learning new notes • Haying in different keys
Till then your last song in this book is:
LET IT BE Words & Music: John Lennon & Paul McCartney <
Slowly, with feeling J =60
When
I
LEFT HAND
RIGHT HAND
Dm
f
find
X
my - self
speak-ing words of wis - dom, let
in
times of trou - ble,
C
>
Bl>
Moth-er Ma - ry comes to
me,
it
let it cresc.
A jump
j | J^5 -sp-,,M —rf7rf;.r rnr^•
1*1,
be,
let
it
be
let
it
—f
T be
« ., ?i ff
^r
i*
i*
j
^J
T
T let
it
whis- per words of wis- dom, let
be
it
m/p
mf
b J* -^A
C
Dm
\ \
w
\
p
\
P \
u
Bb
mf
dim.
n't.
2m—3 tuck thumb under 3rd finger 1
Copyright 1970 for the world by Northern Songs Ltd., 19 Upper Brook Street, London Wl. All rights reserved. International copyright secured.
94
P
MY OWN TRUE LOVE (TARA'S THEHE) Words: Mack David. Music: Max Steiner. <
RIGHT HAND
LEFT HAND
Always change hand positions smoothly
new hand position Slowly
/\ /»
/- x -
f/H VI i j I ,
f< // 5 °*
-f-
-tr
\ \
T J
i I
O
)• /• / I.
4 V
•
ft i
—
i*
f r
\
J •P
-olove.
my own true
mp £V
*
{
love,
My own true
i
c—
H
4
i Ci* F
^
1V At
2 •
I
ta
2
last
I've
cresc.
gg
original hand position
ffl\ ftJ
2
•
A ^*-
found
you,
™/
\ \
-1
, *^
r
1 / /
(^
^\ O
^ di
^,9
>Jo
Invp
my own true diminuendo or dim. (getting softer)
1ns-
y
z // o,- 0_
d. .v
2j* \* ,1*
L*3 5E
_
lips
but
yours,
m/> 4 m
M
'
original hand position
new hand position 4
/T_
f>K "P
«J
^x* /I*
—
/ /
/
x-
<^m
I
J
» no arms but
v
^.\
f> 7
yours
x/
^i U ^
&
H— r
1 J-
will
ev - er
r I
lead
A^
•
"2.
/ ^ ' through Hea - ven's
me
cresc.
^
•
1 1
-j
2 •
r
U ^7
I I
. J
4 1»
new hand position
X- 5
rjh doors. Q €V J*
z
\
/ I T=I V
I 7/2/7 1 f
-^
r» — .
rAo
roamed the
T^^H
earth
In 1 1* Op cfc
_ B
-
-/- B * A *
^
search
2i* rC
z<•,
of
-
I
new hand position IOSM
new hand position
y ^
•
(in—o
/ M*--^ J I -/—A
I—f j 1
r
tJ
know
knew I'd
i/ ¥ —H— —
^ s
^
I
this,
A~ M-C.^ know
you,
you
/
i*
by
your
cresc.
£_ L
^Z
—t
-3+— 1 ^
I
1
t
1 5 A new hand position
original hand position
original hand position
^H
/
jjjZj
i
f rTS A r>
tj
f
c ^
f And
»J ^-
/
kiss.
X
by
*
O
your
kiss
mp £ p A*
••
M
X
9 10 i- n ^^
5
,
-^
4
V
^
V.
2j
/
/
1 V
/
XT \
-o-
You've shown true 3 ^^ -*
« 1
love, ? /^
,•
n
^
^
new hand position
t
/
v
t>•
"5 ^s^^^— f^ Z
2_ . X /
1V I'm cresc.
§V f ,/ I
yours
4 R—
DP
for -
original hand position
'
-^^ t S
p ev
A ^J -
^J_ ^^^^
™
/ /
im
my
own
^
"
I
/ />>
f~J
.
J
*
true
love.
-*
mp
dim.
1 T^
rj
1
'
!
er, 7TC/
"*^
MB *
ff^1
E°
new hand position
© Cop\right 194 I l>\ Rcniick Music Corp., USA. © Copyright 1954 l>v Rcinicl Music Corp., USA. Warner Bros Music Ltd., 17 Bcmc-rs Street, London W l . AH righis roscrvod. liuenuiuina) copvriglit sr< utccl.
1
r»
—,
WOODEN HEART Words & Music by Fred Wise, Ben Weisman, Kay Twomey and Berthold Kaempfert. < LEFT HAND X
RIGHT HAND
>
Change hand positions smoothly
new hand position
Rhythmically
rJ?
^^i
1
please don't Then I
mf
£~\« *)• (*
r-^
£
1
you, I love say "Good - bye",
see you
Can't you
i—t5"!
1
break my heart in know that I would 1-e-
two. cry. 4 €.-»
•
play these bars on thefirsttime through only
(£\)
4^
g•
~m A Jt
,
—-^
J
Gr-&
ft] That's not May - be
hard to I would
do, die,
-0-
—^ r
9
'cause 'cause
3d
I I
don't don't
have have
&f
a a
4 -5
heart.
wood - en
1-©-
0
c-»
r
\
I
~^ V
-^L
oriqinal hand position
T£~ —=—
~r^"—i—~'
W
P'aV thts^tyar'OTntre'SBceQd^time through and carry on extenrflrKkhand (original hand position)
f^
~~
" 1p
1
^--
J J •] And
• y« _^z
2
.
_ ,
wood - en
if
I —1
_
4.'
A
repeat from the matching sign: ||:
heart.
5
There's no
y
Eo
\t
t
*
Textend th? «and
m
1
-)
|
strings
up -
P
—
5 &*
1
—
A
(olginal hand position)
^0 < x\ r^^ N> \)
^
•
fj
~JIL
love
of
^~
this
mine,
It
"~-^-
3" —:—~^^
was
al
-
ways
cresc.
r1
p
A
_ •I
°^
&
V
on CE /)•
•
j-
"
4
'
\f
new hand position
J? -
~~~—
5
•^T
,
new hand position
original hand position
]_
i
T
55"
—0—
you
from
'
start.
the
J
1
-3&—
- 2-J—
Treat
me
nice,
treat
me
mf ^^
E°
1
original hand position
-/L
-
un
good,
•
j
A
A'
treat
me
t
A*
4-^
like
di
J
^
you
^
real - ly
^
z.~\*
•
"^
A
A*
J-V—'
n f\
A -^ 4*
-H
should,
'cause
I'm
cresc.
-o-
4. t ">
If
^ *
not
made
4'
of
7
extend the hand
ZT (M
s^
'\ fa
wood. ^ A*
B*
/
C*
And
I
don't
\
"JU
have
N
a
wood
-
en 4 />
1 -0-^__ heart.
E
{~*
^•~"
__
^ ~" •
—.22
5 extend the hand
© Copyright 1960 by Gladys Music Inc., New York, USA. Carfin Music Corp., 14 New Burlington Street for the territory of United Kingdom of Great Britain and Northern Ireland, Eire, Israel and the British Dominions, Colonies, Overseas Territories and Dependencies (exc. Canada, Australia and New Zealand). All rights reserved, International copyright secured.
"
From now on I leave it to you to watch out for hand extensions and changes of hand position. Follow the printed fingering carefully and you can't go wrong.
DANNY BOY Words: Fred E. Weatherly. Music: Traditional Irish Melody <
LEFT HAND X
RIGHT HAND
>
With expression
J
-^—
/
SB
Oh,
P
tz
\
t* /'J^t£
"f\_/* f/K E
J
1- •
VJ
Dan - ny
Boy,
the
n
J
A* D1C F'r es,
1
44
3^
*
art i
pip es
the
1
3/H —1
'
ir,
£
getting softer (same as diminuendo)
iJ-
ek n
from
glen
to
. v^ N
^ ^
and
O^M
0
1-*L
down
the
0
J
"
moun - tain
siide
~
.N _ K O
J 9
,
J
A3K
•
4
ip
i^
•—-^_
1 ^*~^ A
3
- 2. 1
-=—T E==|
f-
i '^^^—-——
S
z ~v • * 1*
inp
A
p
>
\
call
getting louder (same as crescendo)
0 GnS V- ly
•&-•
WMBBS
1 ~W~
7 4»
4V ,84 T
j(j/
1 "VN XL
T
1
^
•
A
1 T^ 5 ^^,
3 rj
E-^ _t1
1
5
~~^^^ j^_ \\V\
^ F
1
v-
—
^ ^
1
—
—^~
r± -»H-
tJ•
- mer's
gone,
and
^-r— -J— all
^-\
—|
d
A* the
A0
—
! 1
^
X
IB
3-* —
ros - es
fall
ing
f
S»»"
£ ^r'1 fj* *
5
f»r i
1
1^ i
r
2U
4
2
jjH
t /
5
•
n .—
' 1 *
r I
It's
you,
it's
ou
must
go
and
I
must
bide.
^^^
A. Ms "'
' r"
9,^
A J A * R oW *
CH2
N
R H *
W W
r
*
A J ** *
^
^
§
A' _
t)
But come you
back
when
sum - mer's
in
the
mea
dow
mf 23. • '/)•
^
_
"«
„ j bj A* B*
Or
i"\- ^P 2)• 1
I
•
/^
when
B 1?
c J
^
^•
t)
0 I
|M
_
Z
^^
f-
-/5_ /1 Ms J
f\ \J A f/H
2
H
the
val
ley's
. 1
A*
hushed and
"N^
Tm
\ 1 O.
2^
wh ite with
^
snow
cresc.
^/^
1 •&•
4 rj
—
tA
I J
1r's
_ K
^x1^
_^-—•
I'll
be
0
V
'
-
1
r
\'-'1 J&
J jr
here
in
.
* •*sun - shine
c J
£*\* ™ i» A' [PR 4 V
^^—i—
' —
^ r
r-i 1
H
*Pause (Fermata). Hold the note(s) longer than written (at the discretion of the player). Copyright 1984 Dorsey Brothers Music Ltd., London Wl. All rights reserved. International copyright secured.
• 11
i~ ^F ^ O
^
or
in
*
T»-
shq
-
dow 2 |fl>
_
^
e
1
SHARPS AND NATURALS
2
This sign is called a sharp: ft Whenever you see a sharp written against a note, it means that you must play the nearest available key to the right of that note. This key may be black or white.
automatically cancelled at the next bar. Another way of cancelling a sharp is by writing a 'natural' sign against the note. The natural sign is written like this:tj For an example of the use of a natural sign, see bar 15 of Puff The Magic Dragon.
You continue to play the sharp throughout the bar, but it is
The most commonly used sharp is:
C / D / E FIG A B
Written:
left hand
right hand
EXAMPLES OF OTHER SHARPS Dtt
C#
E#(F)
Atf
C/D/E/F/G A B
Written:
left hand
Notice that E $ and F are exactly the same note. Sometimes it is more convenient toeallF'E#'
60
right hand
I
PUFF (THE MAGIC DRAGON) Words & Music by: Peter Yarrow and Leonard Lipton < LEFT HANDX~RIGHT HAND >
Watch out for 'sharp' notes in this piece. Remember to return to 'natural' notes. Gaily
f(V
F sharp"1
/^-""~"
T
I
f»
^ ^
|
U ttZZ
Puff
the
mag - ic
drag
& lived
& on
-
Tnp 4V •J)• l^ /»
M
m
by
the
I
,
~~t~ —*
"T~3 ~ ^K *^
^ J J J ^1 frol - icked
in
the\
sharp
A F sharp
au ytumn mist in
a
land called Ho - nah
fe --f-
4
Lit - tie
mf. )
.—
WP
s?
Jack - ie
Pa
^^ —
-
& per
•
C natural (new bar, so sharp is cancelled)
^
loved
that
^
9
ras - cal
Puff,
-e
\p 1
2
i
c
Lee,
Csharp
^f ^
1—
4^
1
-3t
ns 5 ^
LJ-J ||J ^Trd
^ —J
>~/_
cresc.
J* 7
£f
.
^_
-Jt± X
CSs
0 and
P* . . . .
gg
F sharp
\ -
'
-0-
•
^
'
K
and
(?•
,
f
r
1
Bar 15
o .-^rrr— jg fm Sy
t)
V -W-
-^.1
brought him strings ano\ cresc.
ffV 5 ' Tf~» J1" "T ^
^
f
A
F sharp
~^---
r
1^ seal •/ ing
F sharp
.^
1*
M
wax
and
"""—~-^^^
T i ^r-
^
oth - er
\ / A'
C sharp
^^
.\
«
TIn* fan - cy
1 \k&I I
30
I
stuff. 90
X
TC natural
© Copyright 1962 by Pepaniar Music Corp., Warner Bros Music Ltd., 17 Berners Street, London Wl for British Commonwealth of Nations (exc. Canada and Australasia) and Eire. All rights reserved. International copyright secured.
METRONOME MARKS
3
electronic metronome
clockwork metronome
A metronome is an instrument which indicates the speed of a piece of music. The metronome mark: J = 176 at the beginning of the next piece means that there are to be 176 Crotchets (quarter notes) a minute (rather fast). Set the pendulum to 176 and the instrument will "tick" at the correct speed. Don't leave the metronome running during
your piece. Once you have the "feel" of the correct speed, switch off CHORD SYMBOLS
From now on chord symbols will be included in all pieces. These symbols are intended for other instrumentalists, such as guitarists, who may wish to accompany you.
E
LAUGHING SAMBA Words: Benny Meroff& Anne Spear. Music: Vincent Rizzo & George Johnson.
<
Brightly J = 176
c
/\ /»
fm *^ "V
e)
f\'
1M
V
Fun - ny Ev' - ry mf '4 1* •
/* J)• \;
62
I
pp
t-
i -fi-
lit - tie one can i' w
•
•
i
^
J
f
r^
"Song .- a", do it, 22
r
11
^
LEFT HAND X
i V-
RIGHT HAND
Dm
j..
i
-fL
some -thing like a there is noth - ing
?>
/
i*
m r
>
tr
m r
4/v v,^
Con to
i^ r
J
t
*r
*
- ga, it, rm
t
l
1
-J-
^ j *
0
Sam through
It's the Laugh - ing Laugh your way right m
6V
f
-0—
mf
/r
•5-P—
Ha! Ha!
ba it A
P —
^
r
G7^— •"[
1« I
V
™
•
X
c —-^ •>v
(
*
*
J
-O-
Ha! Ha!
Ha! Ha!
Ha! Ha!
Ha! Ha!
9
r*
m W
i^
* •
2
G7 ^_
\ff\
-^
n
•*.
BO
NJi ^-»
jJU
t)
Ha!
Ha!
/
\-s-
4v Ar?
r
• 1. 4(&"
./
r
-^—
tS5
55
VMy
—-^
Ha!
Ha! VgL
6V
A S3
yr rr
'
R/^
r
,
J F • Ha! 1
\f
1
—-^IP
+
w
G
•ffl
I
1
D7
F sharp "T - -^S* U rt • Ha!
** 1
^ ,hp'
if-
*^S
|
c
F JP ^T^
p
£ | 5/7
'
Ha!
Ha!
m T H,i!
1*'
f" '
/
J
m
0M 9
Ha!
Ha!
-f-
* 1
i
01 9
0M &
0M 5_
\
Hee! He e!Hee! JJ F 1
4. •
i* 1
?, J-
£
Dm /\ irt>
1
^ 3^
.i
-*-
Goo - fy /• f\; 3j m
•
V
y
lit - tie
,i F
^
-
J-
Sort - a
*
v
?/
r
f
J
/ Tr
^ ^^ • num - ba, ^ v fj * P
r•
j. Jlike
the
('
rm
IX
rJ ^-' ^ Rhum - ba, /•--N
*
*
/
t
G7
y /L ffr> sp «J
J • •
It's 6^' /I*
*
J ^
] J
»
the Laugh - ing
^
•
^
^ ™
f.
J Z3 \^
9J
> f r
Sam - ba, -*
.• r
^**s^
HE ! i fr
1*
«
«»
Ila!
Ha! Iiii! 9
. s«. p
.
m
i>>1
•,
tX
9
Ha! .
~
w_
5jB
\
ff ././ <
>
WH-JH
^^
© Copyright 1945 Mills Music Inc., USA. Lawrence Wright Music Co. Ltd., 19 Upper Brook Street, London Wl for the British Commonwealth (exc. Canada and Australasia All rights reserved. International copyright secured.
63
