Alfred's Group Piano Book 2

Book 2

Group Piano Alfred’s

for

Second edition

A d u lt s

An Innovative Method Enhanced with Audio and MIDI Files for Practice and Performance*

E. L. Lancaster • Kenon D. Renfrow *The MIDI accompaniments were created using the sound set from the Yamaha Clavinova CVP 407. These files were then converted to audio using the USB Audio Recorder function on the CVP 407.

Second Edition Copyright © MMVIII by Alfred Publishing Co., Inc. All rights reserved. Printed in USA. Alfred Publishing Co., Inc. 16320 Roscoe Blvd., Suite 100 P. O. Box 10003 Van Nuys, CA 91410-0003 alfred.com Lancaster, E. L. Alfred’s group piano for adults : an innovative method enhanced with audio and MIDI files for practice and performance / E. L. Lancaster, Kenon D. Renfrow. v. of music. Includes index. ISBN-10: 0-7390-4925-9 ISBN-13: 978-0-7390-4925-9 1. Piano—Methods—Group instruction. I. Renfrow, Kenon D. II. Title. Library of Congress Control Number: 94-43951 Cover art: Composition rythme. 1955. Sonia Delaunay © L&M Services B. V. Amsterdam 20040102

foreword Alfred’s Group Piano for Adults, Book 2, is designed for non-keyboard music majors who have successfully completed the first year of group piano study or have previously attained the level of proficiency developed in Alfred’s Group Piano for Adults, Book 1. It also may serve as a resource for piano majors to further develop functional skills at the keyboard and for independent piano teachers who want to assist adult students with functional skills. Importance of Piano Study: Most music educators agree that the piano is indispensable for all musicians. Piano study helps students gain a better understanding of music theory as theoretical concepts are applied to the keyboard. Many music majors who have had no previous piano experience find the first piano classes challenging. However, with the proper approach and consistent practice, anyone can grasp the skills necessary to function and perform at the keyboard. General Features: The text is easy to use. It contains 26 units, each designed to be covered in one week, thus filling two semesters or three quarters of study. Schools that have longer semesters or quarters can use additional weeks for reinforcement, review and testing. Theory, technique, sight reading, repertoire, harmonization, improvisation, score reading, accompanying and ensemble activities are taught thoroughly and consistently throughout the text. Descriptions of other general features follow: • Each unit contains a balance of new information and materials that reinforce concepts presented in previous units. • The title page of each unit contains the objectives for the unit and a space to record assignments for the week. • Measures are numbered in all examples (repertoire, reading, harmonization, improvisation, accompaniments, instrumental and vocal scores) to promote ease of use in the classroom. • Written review worksheets, designed to be submitted to the teacher for feedback, appear periodically throughout the text.

Reading: Reading exercises are designed to promote movement over the entire keyboard while maintaining the advantages of playing in familiar positions. Reading examples are a mixture of standard repertoire, newly composed pieces and four-part chorales. Technical Approach: Technique is developed in a systematic way throughout the entire book. Technique examples that reinforce theoretical concepts are included, as well as scales, arpeggios and Hanon exercises. Repertoire, harmonization melodies, technical exercises and sight-reading examples are carefully fingered to aid the student in developing good technique. Repertoire: Each unit has at least one repertoire piece that may be used for performance or study. A section of supplementary repertoire is contained in the back of the book for those students who need additional music or for teachers who like a wider choice of music for students. The supplementary repertoire was chosen to represent a variety of levels and styles, and can be used throughout the book. Harmonization: Harmonization skills are developed using single tones, full chords and various accompaniment styles. Harmonization examples use a mixture of Roman numerals, letter symbols and melodies with no symbols given. Accompaniments and Score Reading: Scorereading exercises are presented in a systematic manner, gradually increasing the number of lines and transposing instruments in the scores. Two-hand accompaniments and multiple-line ensembles further aid in developing skills in accompanying and score reading. Since accompaniments (vocal and instrumental) and score-reading examples are not fingered, students are required to apply fingering principles to these exercises. Included are choral scores, string quartets, instrumental scores and examples with transposing instruments. Ensembles: Duets and ensembles for multiple pianos are included throughout. In addition, ensembles are created from chord symbols. Band scores, string quartets and choral scores can be used to provide additional practice in ensemble playing. Foreword ■

Improvisation: Students are asked to demonstrate their knowledge of concepts by improvising melodies over chord symbols (including modal examples), completing pieces in the style of composers from the four style periods, and improvising over twelve-bar blues progressions. Features of the Second Edition: The authors wish to thank the numerous individuals who offered suggestions for the second edition. Due to recommendations by these people, the following changes were made: • Easier reading examples were added to most units. • The units were reduced from 30 to 26 to allow more time for review and testing. • Some new repertoire was chosen to more carefully reinforce chapter concepts. • The study of scales and arpeggios was spread systematically throughout the units with periodic review in groups that use similar fingerings. • Many improvisation exercises include optional suggestions for rhythm. • More harmonization and score reading examples were included. • More vocal and instrumental accompaniments were included. CD-ROM: Included with each textbook is a CD-ROM that contains both audio and MIDI file accompaniments for 584 examples in the book. Accompaniments range from simple rhythm patterns to full orchestrations. These accompaniments add musical interest and motivate students to complete assignments both in the classroom and in the practice room. Anyone who has purchased the book has permission to download the audio files to an MP3 player or burn a CD for personal use. Likewise, MIDI files can be downloaded to play back using a computer or digital keyboard. The files may not be posted online or distributed over the Internet without written consent from the publisher. Each audio file and MIDI file on the CD-ROM is identified in the book by an icon and two numbers, such as 1-1, 1-2, etc. The first number denotes the unit from which the example was taken; the second number is the order of the example within the unit. 1-1 Order of example within the unit Unit

■ Foreword

The MIDI accompaniments were created using the sound set from the Yamaha Clavinova CVP 407. These files were then converted to audio files using the USB Audio Recorder function on the CVP 407. Teacher’s Handbook: A Teacher’s Handbook for the text can be found at www.grouppiano.com. The handbook serves as an aid in curriculum development and daily lesson planning. The handbook contains suggested daily lesson plans for the entire year, suggested assignments following each lesson plan and teaching tips for each unit. Upon completion of this book, students will have a strong grasp of keyboard skills, technique and musical styles. The authors wish you continued success in your piano study.

table of Contents Unit 1 Review of Keyboard Basics . . . . . . . . . . . . . . . . . .8

Unit 7 Seventh Chords . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Triads (Chords) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Relative Minor Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Tetrachords and the Major Scale . . . . . . . . . . . . . . . . . . . . . . . 12 Minor Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Playing Scales and Arpeggios (C Major and C Minor) . . . . . . . 14 Playing Triads of the Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Gypsy EarrinGs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Seventh Chord Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Playing Scales and Arpeggios (B Major and B Minor) . . . . . . . 95 sEvEnth strEEt bLuEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Transposing Instrument: E b Alto Saxophone . . . . . . . . . . . . . 102 Choral Score Reading (TB) . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Unit 2 Triads and Inversions . . . . . . . . . . . . . . . . . . . . . 25 Triads: First Inversion and Second Inversion . . . . . . . . . . . . . . 26 Triads: In All Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Playing Scales and Arpeggios (G Major and G Minor) . . . . . . . 29 sonG without words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Score Reading and Transposing Instruments . . . . . . . . . . . . . . 36 i LovE a piano (Ensemble) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Unit 3 Sonata Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Sonata Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 sonatina in C Major, op. 39, no. 1 (First MovEMEnt) . . . . . . . 42 Playing Scales and Arpeggios (D Major and D Minor) . . . . . . . 44 aura LEE (Instrumental Accompaniment) . . . . . . . . . . . . . . . . 49 Choral Score Reading (2-Part) . . . . . . . . . . . . . . . . . . . . . . . . 50 Unit 4 Primary Chords . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Tonic, Dominant and Subdominant . . . . . . . . . . . . . . . . . . . . . 52 The V7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Inversions of Dominant Seventh Chords . . . . . . . . . . . . . . . . . 53 Playing Scales and Arpeggios (A Major and A Minor) . . . . . . . 56 a pLEasant MorninG, op. 63, no. 1 . . . . . . . . . . . . . . . . . . . . 58 Score Reading and Transposing Instruments . . . . . . . . . . . . . . 64 Choral Score Reading (ST) . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Unit 5 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Playing Scales and Arpeggios (E Major and E Minor) . . . . . . . 69 study, op. 108, no. 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Unit 8 The V7/V and V7/IV Chords . . . . . . . . . . . . . . . 104 Secondary Dominants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Playing Scales and Arpeggios (Gb Major and F# Minor) . . . . . 107 prELudE in C Major, bwv 939 (Twelve liTTle Preludes) . . . . . 108 Transposing Instrument: B b Clarinet . . . . . . . . . . . . . . . . . . . 114 Score Reading and Transposing Instruments . . . . . . . . . . . . . 114 Choral Score Reading (SSA) . . . . . . . . . . . . . . . . . . . . . . . . . 115

Unit 9 The V7/ii, V7/iii and V7/vi Chords . . . . . . . . . . 116 Secondary Dominants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Playing Scales and Arpeggios (Db Major and C# Minor) . . . . . 119 MinuEt in G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Score Reading and Transposing Instruments . . . . . . . . . . . . . 126 oLd joE CLarK (Ensemble) . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Choral Score Reading (SAB) . . . . . . . . . . . . . . . . . . . . . . . . . 132

Unit 10 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Playing Scales and Arpeggios (A b Major and G# Minor) . . . . . 136 MinuEt in G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Unit 11 Musical Style Periods . . . . . . . . . . . . . . . . . . . 145 Musical Style Periods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Playing Scales and Arpeggios (E b Major and E b Minor) . . . . . 150 ovEr thE rainbow (from The wizard of oz) . . . . . . . . . . . . . . . 152 Transposing Instrument: F Horn . . . . . . . . . . . . . . . . . . . . . . 156 Choral Score Reading (SSB) . . . . . . . . . . . . . . . . . . . . . . . . . 157

Unit 6 Secondary Chords . . . . . . . . . . . . . . . . . . . . . . . . 77 Supertonic, Mediant and Submediant . . . . . . . . . . . . . . . . . . . 77 The ii Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 The iii Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 The vi Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Playing Scales and Arpeggios (F Major and F Minor) . . . . . . . 81 MinuEt in C Major, K. 73b; L. 217 . . . . . . . . . . . . . . . . . . . . . 84 Transposing Instrument: E b Alto Saxophone . . . . . . . . . . . . . . 85 it’s autuMn, aLL riGht (Vocal Accompaniment) . . . . . . . . . . . 86 Choral Score Reading (ST and TB) . . . . . . . . . . . . . . . . . . . . . 87 battLE hyMn oF thE rEpubLiC (Ensemble) . . . . . . . . . . . . . . . . . 88

Unit 12 Theme and Variations . . . . . . . . . . . . . . . . . . 158 Theme and Variation Form . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Playing Scales and Arpeggios (B b Major and B b Minor) . . . . . 159 thEME and variations (Based on J. s. Bach’s MenueT in G Major) . 162 Transposing Instrument: F Horn . . . . . . . . . . . . . . . . . . . . . . 167 Score Reading and Transposing Instruments . . . . . . . . . . . . . 167 Choral Score Reading (3-Part) . . . . . . . . . . . . . . . . . . . . . . . 168 hEidEnrösLEin, d. 257; op. 3, no. 3 (Vocal Accompaniment) . . 169 wE GathEr toGEthEr (Ensemble) . . . . . . . . . . . . . . . . . . . . . . 170 Table of Contents ■

Unit 13 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Major Scale Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Harmonic Minor Scale Review . . . . . . . . . . . . . . . . . . . . . . . 173 GiGa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Mozart sErEnadE and danCE (Band Score) . . . . . . . . . . . . . . . 178 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Unit 18 Modulation to the Relative Major and Relative Minor . . . . . . . . . . . . . . . . . . . . . 227 sChErzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Practicing Harmonic Minor Scales (Group 2 Keys) . . . . . . . . . 233 Practicing Minor Arpeggios (Group 2 Keys) . . . . . . . . . . . . . 233 Choral Score Reading (STB) . . . . . . . . . . . . . . . . . . . . . . . . . 240 aLExandEr’s raGtiME band (Ensemble) . . . . . . . . . . . . . . . . . 241 Three-Part String Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Unit 14 Modulation to Dominant . . . . . . . . . . . . . . . 183 Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Practicing Major Scales (Group 1 Keys) . . . . . . . . . . . . . . . . . 184 Practicing Major Arpeggios (Group 1 Keys) . . . . . . . . . . . . . 185 baGatELLE, op. 125, no. 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Choral Score Reading (SAT) . . . . . . . . . . . . . . . . . . . . . . . . . 191 Viola and Alto Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Score Reading and Transposing Instruments . . . . . . . . . . . . . 193

Unit 19 Rondo Form . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Rondo Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 rondo CapriCCio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Practicing Harmonic Minor Scales (Group 3 Keys) . . . . . . . . . 250 Practicing Minor Arpeggios (Group 3 Keys) . . . . . . . . . . . . . 250 String Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 sEhnsuCht naC nEM FrühLinGE, K. 596 (Vocal Accompaniment) . 254 Choral Score Reading (SATB) . . . . . . . . . . . . . . . . . . . . . . . . 255

Vocal Warm-Ups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Unit 20 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Unit 15 Modulation to Subdominant . . . . . . . . . . . . 194

Practicing Major Scales (Group 1 Keys) . . . . . . . . . . . . . . . . . 260

thE pionEEr spirit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Practicing Major Arpeggios (Group 1 Keys) . . . . . . . . . . . . . 260

Practicing Major Scales (Group 2 Keys) . . . . . . . . . . . . . . . . . 198 Practicing Major Arpeggios (Group 2 Keys) . . . . . . . . . . . . . 198

sEasCapE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Choral Score Reading (SAT) . . . . . . . . . . . . . . . . . . . . . . . . . 202 Viola and Alto Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 in thE Good oLd suMMEr tiME (Ensemble) . . . . . . . . . . . . . . . 204

Unit 21 The German Sixth Chord and the Italian Sixth Chord . . . . . . . . . . . . . 267 Augmented Sixth Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Unit 16 Three-Part Form . . . . . . . . . . . . . . . . . . . . . . . 206 Practicing Major Scales (Group 3 Keys) . . . . . . . . . . . . . . . . . 206 Practicing Major Arpeggios (Group 3 Keys) . . . . . . . . . . . . . 207 Three-Part Form (Ternary) . . . . . . . . . . . . . . . . . . . . . . . . . . 208 MinuEt in d Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 aLLEGro in E Minor, op. 149, no. 28 (Duet) . . . . . . . . . . . . . . 212

The German Sixth Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 The Italian Sixth Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Practicing Major Scales (Group 2 Keys) . . . . . . . . . . . . . . . . . 273 Practicing Major Arpeggios (Group 2 Keys) . . . . . . . . . . . . . 273 soLFEGGio in C Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Choral Score Reading (SATB) . . . . . . . . . . . . . . . . . . . . . . . . 278 String Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 by thE LiGht oF thE siLvEry Moon (Ensemble) . . . . . . . . . . . . 280

Two-Part String Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 dawn oF a nEw day (Instrumental Accompaniment) . . . . . . . 216 Choral Score Reading (ATB) . . . . . . . . . . . . . . . . . . . . . . . . . 218

Unit 22 The French Sixth Chord and the Neapolitan Sixth Chord . . . . . . . . . 282 Practicing Major Scales (Group 3 Keys) . . . . . . . . . . . . . . . . . 283

Unit 17 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Practicing Harmonic Minor Scales (Group 1 Keys) . . . . . . . . . 219 Practicing Minor Arpeggios (Group 1 Keys) . . . . . . . . . . . . . 220

Practicing Major Arpeggios (Group 3 Keys) . . . . . . . . . . . . . 283 The French Sixth Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 The Neapolitan Sixth Chord . . . . . . . . . . . . . . . . . . . . . . . . . 286 baGatELLE in a Minor, op. 119, no. 9 . . . . . . . . . . . . . . . . . . . 288

GiGuE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Choral Score Reading (SATB) . . . . . . . . . . . . . . . . . . . . . . . . 291

Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

MarCh in G (Instrumental Accompaniment) . . . . . . . . . . . . . 292

■ Table of Contents

Unit 23 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Supplementary Solo Repertoire . . . . . . . . . . . . . . . . . 345

Practicing Harmonic Minor Scales (Group 1 Keys) . . . . . . . . . 295

MinuEt in a Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Practicing Minor Arpeggios (Group 1 Keys) . . . . . . . . . . . . . 295 prELudE in G Minor, op. 37, no. 6 . . . . . . . . . . . . . . . . . . . . . 298 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

thE FiFErs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 FanFarE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 MusEttE in d Major (noTebook for anna MaGdelena) . . . . . . . . 348 prELudE in C Major (The well-TeMPered Clavier, book 1) . . . . . . 350 sonatina in C Major, op. 36, no. 1 (First MovEMEnt) . . . . . . . . 354 sonatina in G Major (First MovEMEnt) . . . . . . . . . . . . . . . . . . 356

Unit 24 The ii–V7–I Chord Progression . . . . . . . . . . . 303 The ii–V7–I Chord Progression . . . . . . . . . . . . . . . . . . . . . . . 304

spinninG sonG, op. 14, no. 4 . . . . . . . . . . . . . . . . . . . . . . . . . 358 russian poLKa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 arabEsquE, op. 100, no. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Practicing Harmonic Minor Scales (Group 2 Keys) . . . . . . . . . 305

sonG (for Children, voluMe 1) . . . . . . . . . . . . . . . . . . . . . . . . 364

Practicing Minor Arpeggios (Group 2 Keys) . . . . . . . . . . . . . 305

MinuEt (The firsT TerM aT The Piano) . . . . . . . . . . . . . . . . . . . . . 365

MEnuEt in G Major (noTebook for anna MaGdalena) . . . . . . . . 306

snEaKy businEss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

String Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Choral Score Reading (SATB) . . . . . . . . . . . . . . . . . . . . . . . . 313 GivE My rEGards to broadway (Ensemble) . . . . . . . . . . . . . 314

Unit 25 Modes Related to Major and Minor . . . . . . 317 Ionian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Aeolian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Lydian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Lydian noCturnE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

rEMEMbEr whEn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 thE GrEat sMoKy Mountains . . . . . . . . . . . . . . . . . . . . . . . . . 370 a sonG For you . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 MapLE LEaF raG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Supplementary Instrumental and Vocal Accompaniments . . . . . . . . . . . . . . . . . . 378 to a wiLd rosE (woodland skeTChes) (Clarinet) . . . . . . . . . . . 378 whEn johnny CoMEs MarChinG hoME (Horn) . . . . . . . . . . . . 380 a touCh oF bLuE (Alto Saxophone) . . . . . . . . . . . . . . . . . . . . 382 ListEn and sinG no. 4 (Vocal) . . . . . . . . . . . . . . . . . . . . . . . . 383

Mixolydian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

turn around (Vocal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Dorian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

daiLy voCaL ExErCisE, op. 11, no. 2 (Vocal) . . . . . . . . . . . . . . 386

dorian tarantELLa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

voCaL LEsson, op. 9, no. 2 (Vocal) . . . . . . . . . . . . . . . . . . . . . 387

Phrygian Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

woodLand ovErturE (Band Score) . . . . . . . . . . . . . . . . . . . . 388

iCh GroLLE niCht, op. 48, no. 7 (Vocal Accompaniment) . . . . 330 Choral Score Reading (SATB) . . . . . . . . . . . . . . . . . . . . . . . . 332

Appendix A: Scale and Arpeggio Fingering Charts . . 390

String Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Appendix B: Dominant and Diminished Seventh Arpeggio Fingering Charts . . . . . . . . . . . . . . . . . . . . 392 Unit 26 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Appendix C: Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . 393

toCCatina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Band Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 Practicing Harmonic Minor Scales (Group 3 Keys) . . . . . . . . . 340 Practicing Minor Arpeggios (Group 3 Keys) . . . . . . . . . . . . . 340 Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Appendix D: List of Compositions (by Composer) . . 396 Appendix E: List of Compositions (by Title) . . . . . . . 400 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Table of Contents ■

Unit 1

Objectives

Review of Keyboard Basics Assignments

Week of __________

Write your assignments for the week in the space below.

Upon completion of this unit the student will be able to: 1. Play major, minor, augmented and diminished chords beginning on any key. 2. Identify key signatures of major and minor keys. 3. Play major scales and three forms of minor scales in tetrachord position. 4. Play major and parallel harmonic minor scales and arpeggios beginning on C, using traditional fingerings. 5. Play triads of the key in major and harmonic minor keys. 6. Play perfect, major, minor, augmented and diminished intervals beginning on any key. 7. Perform solo repertoire that uses various intervals and chord qualities. 8. Sight-read music that uses intervals, broken chords and 4-part chorale style texture. 9. Harmonize melodies with roots of chords.

Unit 1 ■ Review of Keyboard Basics

Triads (Chords)

A triad is a three-note chord. The three notes of a triad are the root (1), the third (3), and the fifth (5). The root is the note from which the triad gets its name. The root of a C triad is C. Triads in root position (with the root at the bottom) always look like this:

VV V

LINE LINE LINE

Triad Fingering

5th 3rd ROOT

SPACE SPACE SPACE

VV V

5th 3rd ROOT

LH chords are fingered 5 3 1. RH chords are fingered 1 3 5.

LH

Triad Types

or

VV V

RH

5 3 1

VV V

1 3 5

There are four types of triads. Major

Augmented (Fifth raised a half step from major)

VVV

Minor (Third lowered a half step from major)

VVV

Diminished (Fifth lowered a half step from minor)

B B VV V

B VVV

Each example in the text identified by the following icon is fully supported by an audio file and MIDI file on the CD-ROM included with this book. Anyone who has purchased the book has permission to download the audio files to an MP3 player or burn a CD for personal use. Likewise, MIDI files can be downloaded to play back in a computer or digital keyboard. The first number after the icon denotes the unit; the second number is the order of the example within the unit. 1-1 Order of example within the unit Unit

The MIDI accompaniments were created using the sound set from the Yamaha Clavinova CVP 407. These files were then converted to audio files using the USB Audio Recorder function on the CVP 407. Review of Keyboard Basics ■ Unit 1

Playing Major, Augmented, Minor and Diminished Chords

Play the following exercises that use major (M), augmented (A), minor (m) and diminished (d) chords.

1-1

Moderato

1.

5

G

C M

A

1 LH 3 5

1 3 5

M B

B B ¸¸¸

M M

B ¸¸ ¸

M

m

1 3 5

D

LH

9

E

M M

F

M

5 3 1

M

A

¬

M M

B ¸¸ ¸

¬

B M

¸¸¸

¬

M

m

A

RH

C M

¬

5 3 1

¬

RH

LH

5 3 1

B B ¸¸¸

RH

¬

¸¸¸

5 RH 3 1

M B

1 3 5

B ¸¸ ¸

LH

13

¬

d

d

¸¸¸

¬

1-2

G@

Moderato C@ M

A

1 LH 3 5

1 3 5

B B B M B {

2.

5

D@

M

m

1 3 5

B B M B B

LH

9

E@

B B M B B LH

13

M B

F

LH

10 Unit 1 ■ Review of Keyboard Basics

¬

d

{ B{ ¸¸¸ 1 3 5

B B{ ¸¸¸

¬

B B{ ¸¸¸

¬

B B ¸¸¸

5 3 1

M

A

5 3 1

B BB M B { M

@

BBA M B B

RH

RH

RH

¬

5 RH 3 1

B@

M B B M B

C

m

5 3 1

{ B{ ¸¸¸

¬

d

B B{ ¸¸¸

¬

B BB ¸¸¸

¬

B B ¸¸¸

¬

Key Signatures

Sharps appear in the following order in the key signature:

The name of a sharp major key can be determined by moving up a half step from the last sharp.

Flats appear in the following order in the key signature: The order of flats is reversed from the order of sharps in key signatures.

The name of a flat major key can be determined by the name of the next-to-last flat.

Sharps or flats that follow the clef signs are called the key signature. The key signature indicates the notes that are to be sharped or flatted throughout the piece and aids in identifying the key in which the piece is written.

# # # # # # # & F#

C#

G#

D#

A#

E#

B#

? # # # # # # # #### # & ? #### #

This is the key signature for the key of B major. A half step up from A  is B.

b b b b & b b b ?

Bb

Eb

Db

Gb

Cb

Fb

b b b b b b b

b & b bb ?

Ab

bbbb

This is the key signature for the key of A  major. The next-to-last flat is A .

Two major key signatures cannot be determined using the above rules: • C major—no sharps or flats • F major—one flat (B )

Review of Keyboard Basics ■ Unit 1 11

Relative Minor Keys

Every major key has a relative minor key that shares the same key signature. The name of the relative minor can be found by moving down (left) three half steps from the name of the major key. Always skip two keys and one alphabet letter. 3 Half Steps M I D D L E

Tetrachords and the Major Scale

A

C

Relative Minor Key

Major Key

A tetrachord is a series of four notes having a pattern of whole step, whole step, half step.

? œ

œ

LH 5

WHOLE STEP

&

2

3

4

WHOLE STEP

œ

œ

RH 2

œ

HALF STEP

3

WHOLE STEP

œ

4

5

œ

œ WHOLE STEP

HALF STEP

The major scale is made of two tetrachords joined by a whole step. Each scale begins and ends on a note of the same name as the scale, called the key note. Any major scale can be formed by following this sequence of whole and half steps: W W H W W W H.

KEY NOTE

&

œ

œ

œ

œ

WHOLE STEP

1st TETRACHORD

œ

œ

œ

œ

KEY NOTE

2nd TETRACHORD

Practice the following scale using tetrachord position. Transpose to D, B , A and E  major.

& 44

œ

LH 5

œ 4

œ 3

œ

RH 2

œ

2


3

œ

œ 4

œ 5

œ 5

œ 4

œ 3

œ 2

œ

LH 2

œ 3

œ 4

œ 5

Minor Scales

Every major key has a relative minor key that has the same key signature. The relative minor begins on the 6th tone of the major scale.

C MAJOR SCALE 1st 2nd

&

3rd

5th

œ

œ

œ

œ

œ

4th

A MINOR SCALE

6th

œ

& œ

1st

The Key of A Minor (Relative to C Major)

7th

œ

œ

8th

œ

œ

œ

2nd

3rd

4th

œ

œ

œ

œ

5th

6th

7th

8th

There are three kinds of minor scales: the natural, the harmonic and the melodic. The harmonic minor is the most frequently used of the three. Practice each of the following scales using tetrachord position. Transpose to E, D, B and G minor.

1. The Natural Minor Scale

& 44 œ LH

5

œ 4

œ 3

œ

This scale uses only the tones of the relative major scale. 2

RH

œ

LH

5

œ 4

œ 3

LH

5

œ 4

œ

3

œ

œ

5

œ

5

4

œ

œ 3

2

œ

œ

œ 3

œ

4

œ

5

The 7th tone (G) is raised one half step, ascending and descending.

2

RH

œ

4

œ #œ 3

œ

5

œ #œ 5

4

œ 3

2

œ

œ

2 LH

2

œ

œ

2 LH

3. The Melodic Minor Scale

4 &4 œ

4

2

2. The Harmonic Minor Scale

& 44 œ

œ

3

œ 3

œ

4

œ

5

In the ascending scale, the 6th (F) and 7th (G) tones are raised one half step. The descending scale is the same as the natural minor.

RH

4

œ #œ #œ 2

3

2

œ

5

œ nœ nœ 5

4

3

2

œ

œ

LH 2

œ 3

œ

4

œ

5

7th raised Review of Keyboard Basics ■ Unit 1 13

Playing Scales and Arpeggios 1-3

C Major

¸ ¸ 1 2

5

3 1

2 4 3

2

1 3 2

2 4 3

1

1

2

3

1

3

12312345 14321321

¸ ¸ 5 4

1

3 2

2 3

RH: 1 2 3 LH: 5 4 2 5

¸

1

1

1

1 3 2 1

4

3 2 1

1

2

3

2

3

4

1 2

3

2

1

3

4

5

1235 1421

5

2

4

2 1

¸

3

2

1

2

4

5

1

3

5 3 4

1 2

2 3 4 1

1-4

RH: 1 2 3 1 2 3 4 LH: 5 4 3 2 1 3 2

¸

¸

3

2

2

1

3

1

4

2

2

1

4

5

Note: A dot (•) above a fingering indicates a black key.

C Harmonic Minor 1-5

B B B

B B B

• • RH: 1 2 3 1 2 3 4 • • LH: 5 4 3 2 1 3 2

M ¸ M M M ¸ M M 1

2

3 1

5

4

3 2

2

1 3

1-6

B B B B B B 1

5

2

4

3 4

3

2

2

1

1

2 3

4

3

1 2

3

4 5

5

1

3

2 1

1

2

1

2

3

1


4

2

¸ 5

¸ 1

4

2

• • 12312345 • • 14321321

M ¸ M ¸ 3

2

1 3

3

1

2

3

2 1

4

3

2 1

1

2

3

1

4

2

3

2

1

3

4

5

• • RH: 1 2 3 1 2 3 5 • • LH: 5 4 2 1 4 2 1

5

3

2

1

2

4

1

3

2

1

2

4

1

¸ ¸ 5

Playing Triads of the Key

Major Keys

Triads may be built on any note of any scale. The sharps or flats in the key signature must be used when playing these triads. Triads of the key are identified by Roman numerals. These triads built on each scale degree are called diatonic.

Play triads of the key in C major. Note the quality of each chord.

1-7

4 &4

RH

1.

1-7

?4 4

LH

2.

5 3 1

5 3 1

5 3 1

etc.

ww w

ww w

ww w

ww w

ww w I

www ii

iii

IV

Major Tonic

Minor Supertonic

Minor Mediant

Major Subdominant

Major Dominant

www

www

ww w

ww w

ww w 1 3 5

1 3 5

1 3 5

V

vi

www

ww w

vii o

I

Minor Diminished Submediant Leading tone

www

ww w

etc.

 Transpose

Harmonic Minor Keys

Major Tonic

ww w

to G, D and B  major.

Play triads of the key in A harmonic minor. Note the quality of each chord.

1-8

3.

4 &4

? 44

1-8

4.

5 3 1

5 3 1

ww w i

ww w

Minor Tonic

Diminished Supertonic

ww w 1 3 5

ii o

www 1 3 5

5 3 1

# ww w

etc.

ˆ

III

www

iv

Augmented Minor Mediant Subdominant

# ww w 1 3 5

ww w

ww w

# www V

VI

Major Dominant

# www

w # ww vii o

Major Diminished Submediant Leading tone

ww w

# www

ww w i Minor Tonic

www

etc.

 Transpose

to E, B and G harmonic minor.


Intervals

The intervals that occur between the tonic and each scale degree of a major scale are shown below. Play the interval exercise:

1-9

& 44 œ œ ˙˙ 1

1.

2

M2

? 44 œ œ ˙˙ 1-9

2.

5

4

M2

1

3

œ œ ˙˙

M3

œ œ ˙˙ 5

3

M3

1

1

œ œ ˙˙

P5

œ œ ˙˙

5

P4

5

œ ˙ œ ˙

5

œ œ ˙˙

4

1

M6

œ ˙ œ ˙

œ œ ˙˙

2

P4

5

1

5

P5

1

M6

œ ˙ œ ˙

œ ˙ œ ˙ 1

5

1

M7

P8

œ ˙ œ ˙

œ ˙ œ ˙ 5

5

1

5

M7

1

P8

Major intervals become minor when the distance between the two tones is decreased by a half step. Both perfect and minor intervals become diminished when the distance between the two tones is decreased by a half step. Both perfect and major intervals become augmented when the distance between the two tones is increased by a half step.

Altered Intervals

Play the following interval exercises that use chromatically altered intervals:

1-10

¸¸

¸¸

A2

¸¸

M2

B ¸¸

m2

VV

¸¸

¸¸

¸¸

B ¸¸

VV

M2

m2

M2

2 1

3.

2 1

M2

1-10

4.

4 5

4 5

M2

A2

M2

1-11

¸¸

¸¸

¸¸

{ ¸¸

B ¸¸

VV

¸¸

M3

B ¸¸

¸¸

¸¸

B ¸¸

{ ¸¸

B ¸¸

VV

3 1

5.

M3

1-11

6.

3 5

M3

3 1

A3

3 5

A3


M3

m3

m3

d3

d3

m3

m3

M3

M3

1-12

7.

¸¸

4 1

4 1

¸¸

P4

A4

¸¸

¸¸

P4

A4

1-12

8.

2 5

1-13

9.

¸ ¸

5 1

¸ ¸

P5

A5

¸¸

¸¸

1-13

10.

1 5

¸¸ 1-14

11.

5 1

M6

¸¸

1-14

12.

1 5

M6

¸¸ 1-15

13.

5 1

M7

¸¸

1-15

14.

1 5

M7 1-16

15.

¸¸ 5 1

¸ ¸

P8

1-16

16.

1 5

P8

A5 5 1

¸ ¸

d4

P4

P4

d4

P4

¸¸

P5

B¸ ¸

d5

VV

P5

P5

d5

P5

¸¸

1 5

P5

P4

B ¸¸

¸¸

2 5

5 1

¸¸

B ¸¸

M6

B¸ ¸

m6

{¸ ¸

A6

M6

m6

5 1

¸ ¸

¸ ¸

M7

B¸ ¸

m7

{¸ ¸

A7

M7

m7

¸ ¸

¸ ¸

1 5

¸ ¸

A7

¸ ¸

1 5

¸ ¸ 5 1

¸ ¸

A8

1 5

A8

B¸ ¸

B¸ ¸

VV

VV

B ¸¸

¸ ¸

A6

VV

{¸ ¸

d6

B¸ ¸

m6

B¸ ¸

M6

d6

m6

M6

{¸ ¸

V V V V V V

d7

B¸ ¸

m7

B¸ ¸

M7

d7

m7

M7

V V

¸ ¸

P8

B¸ ¸

d8

B¸ ¸

P8

P8

d8

P8

¸ ¸

V V V V


Before playing:

S olo Repertoire

•Map the piece using D.C. al Coda and Coda. •Find places where each hand plays an octave higher or lower than written. •Name the chords in measures 1 through 6. While playing: •Observe the crescendo and diminuendo signs to shape the music line. •Bring out the LH in measures 17 through 22.

Gypsy EarrinGs

1-17

¸ ¸¸ ¸ ¸

With spirit

E

RH

1

5

5

1

5

5

9

RH

¸¸¸ ¸¸

RH

¸ ¸¸ ¸ ¸

5

5

¸¸¸ ¸¸

13

1

¸¸¸ ¸¸

RH

¸¸¸ ¸¸

VVV ¸¸

¸

¸ ¸¸ ¸ ¸

© 1969 (Renewed) BELWIN-MILLS PUBLISHING CORP. All Rights Controlled and Administered by ALFRED PUBLISHING CO, INC. All Rights Reserved


1

¸¸

RH

1

¸ ¸¸

1

RH

Bret Adams (1925–1988)

3 1

VV ¸¸ 1 3

®

2nd time to Coda

¸

5

0 & ¸ ¸ 17

5

1

21

¸ 5

¸

¸ 5

29

V

¸ dim.

1

®

¸

¸ 1

2

25

¸ 2

¸

V

0

¸

¸

V

rit.

¸ V

1

¾ 5

5

* Finger Substitution: While holding finger 5 down on the A, quietly substitute finger 1 in its place.

LH

V

8va

D.C. al Coda

¸¸¸

5

¸

¸

V

5 –1*

¾

RH 1

1

2

Coda

¸

8va

2 LH

8va


Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises. Use the following practice directions:

Reading

1. 2. 3. 4.

ModErato

1-18

C

Moderato

1.

Tap RH and count aloud; then LH. Play hands separately and count aloud. Tap hands together and count aloud. Play hands together and count aloud.

C

& 3 1

5

V

VV

V

4 2

Ferdinand Beyer (1803–1863) Op. 101, No. 70

VV

5

VV

¸¸

¸

5

5

4

VV V

andantE (ExcErpt)

Johann Christian Bach (1735–1782)

1-19

Andante

2.

1

O

3

5

1

3

5

1

2

5

1

2

5

1

5 :

&

2

1

1

3

5

1

¢ I ¢ 5


1-20

Andante 3 1

3.

B C & BC 1 5

5 :

3 1

B B 1 5

2 1

5 2

¸¸ ¸¸

Relaxed N.C. (no chord)

B$ & B$ C7

F

V

B

11

BB

B V B

4 1

2 1

¸¸ ¸¸

1 3

VV VV

2 5

¸¸ ¸ ¸

i’M F

1

B

1 3

3 1

VV VV

2 5

1 3

Harmonize each melody using the root of the indicated triads.

1-21

6

¸¸ ¸¸

2 5

Harmonization

1.

¸¸ ¸ ¸

¸¸ ¸

5 2

5

My Way

United States

C7

F7

1

1

Gm

V

F

3

3

V

C7

F

¸

V

2

V

on

V  Transpose

b

to B major.


Harmonization (continued)

1-22

0 Andante 1

2.

I

5 :

1

3

I

¢ ¢

ii

2

vi

ii

I

V

I

3

1

¢

I

1

¢

¸

V

I  Transpose

¢ ¢

to C major.

1-23

Allegretto Gm

F

B B ¸ E B B

3.

5 :

B

B

BB

¸

1

Gm

Cm

¸

E@

¸

D

D

¸

Gm

¸

 Transpose


to C minor.

Review Worksheet

Unit 1

Date _____________________

Name ________________________

1. Identify the quality of the following triads by writing M for major, m for minor, A for augmented or d for diminished on the line below each example.

b www

# ww w

&

b b b www

b www

b www

# www

# ww w

b b www

2. Identify each major key by writing its name on the line above the staff. Identify each relative minor key by writing its name on the line below the staff.

&

##

bb

? ##

#

b

#

bbb

bbbb bbbb

###

####

bb

###

bbbbbbb

#

bb

####

#

bbbbbbb

b

#### # #

bbbbbb

3. Using whole notes on the staff, write the triad indicated by the Roman numeral for each major key.

? IV

bb

# vii o

iii

bbbb

V

###

ii

bb

I

vi

ii


4. Write the notes for each ascending and descending scale on the staff using whole notes. Write the necessary sharps, flats or natural signs in front of the appropriate notes.

E major

&

F natural minor

&

C harmonic minor

?

G melodic minor

?

5. Identify each of the following intervals by writing P for perfect, M for major, m for minor, A for augmented or d for diminished along with its number on the line below each example.

B VV

m3

V V

V V

VV

VV

BV V

VV

VV

A5


VV BV V

V V

V V

VV

VV

Unit 2

Objectives

Triads and Inversions Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play triads in root position, first inversion and second inversion. 2. Play triads of the key and inversions in major and harmonic minor keys. 3. Play major and parallel harmonic minor scales and arpeggios beginning on G, using traditional fingerings. 4. Perform solo repertoire that uses triads and inversions. 5. Sight-read music that uses triads and inversions. 6. Harmonize melodies with triads and inversions. 7. Improvise melodies over triads and inversions. 8. Create a two-hand accompaniment from letter symbols. 9. Play a two-part choral score. 10. Transpose melodies for B  clarinet and B  trumpet to concert pitch. 11. Perform a three-part ensemble with partners.

Triads and Inversions ■ Unit 2

25

Triads: First Inversion and Second Inversion

When the root of the chord is moved to the top and the third becomes the lowest note of the triad, it is said to be in the first inversion. Any first-inversion triad may be inverted again by moving the lowest note to the top. All letter names are the same, but the root is in the middle and the fifth is the lowest note of the triad. This is called the second inversion.

Triads: In All Positions

ROOT POSITION

&

Root

FIRST INVERSION

SECOND INVERSION

ww w Root

ww Root w

www Root

ww w

ROOT POSITION

Play the following: 2-1

1.

5 3 1

5 2 1

¸¸ ¸

¸¸ ¸

¸¸ ¸

2-1

¸¸ ¸

¸¸ ¸

RH:

¸¸¸

LH:

2.

1 3 5

1 3 5

Naming Triads and Inversions

5 3 1

¸¸ ¸

5 3 1

¸¸ ¸

1 2 5

¸¸¸

¸¸ ¸ 1 2 5

1 3 5

¸¸ ¸

VV V

¸¸ ¸

VV V 1 3 5

1 3 5

 Transpose to G major, G minor and C minor.

Roman numerals identify the scale degrees on which triads are built within a key. Numbers to the right of the Roman numerals indicate the intervals between the lowest note and each of the other notes of the chord. In the first inversion, the number 3 is usually omitted.

Letter names:

&

Roman numerals:

Unit 2 ■ Triads and Inversions

5 3 1

 Transpose to G major, G minor and C minor.

ROOT POSITION

26

5 2 1

5 3 1

C

ww w I

FIRST INVERSION

www

C/E

6th

I6

(3)

SECOND INVERSION

3rd

ww w

C/G

(C chord with E bottom note)

6th

I6 4

(C chord with G bottom note)

4th

Playing Triads and Inversions in Major Keys

Play these diatonic triads and inversions in the key of C major with the RH. Then play one octave lower with the LH.

2-2

RH

LH

9

RH

LH

1

3

5

3

1

C

¸¸ ¸

5

5

1

3

5

3

I

Dm

¸¸ ¸

1

ii

¸¸ ¸

¸¸ ¸

C/E

Dm/F

1

2

5

5

3

1

2

1

5

5

3

1

I6

ii6

Continue upward diatonically until... 17

RH

LH

Bo

¸¸¸

1

5

3

5

3

1

viio

1

2

5

3

5

1

¸¸ ¸

Bo/D

viio6

1

3

5

5

2

1

¸¸ ¸

C/G

5

1

3

I6

5

3

¸¸ ¸

1

4

1

5

3

5

2

1

Dm/A

ii 6

1

3

5

3

5

1

4

1

5

3

5

2

1

¸¸ ¸

Bo/F

viio6

1

5

3

3

5

1

4

¸¸ ¸

C

I

¸¸ ¸

Dm

ii

¸¸ ¸

Bo

viio

 Transpose to D and B

Playing Triads and Inversions in Harmonic Minor Keys

 major.

Play these diatonic triads and inversions in the key of A harmonic minor with the RH. Then play one octave lower with the LH.

2-3

RH

LH

1

3

5

5

3

1

LH

¸¸¸ i

Bo

9 RH

Am

1

3

5

5

3

1

¸¸ ¸ o

ii

5

2

3

¸¸¸ 1

LH

5

3

3

5

1

o

vii

1

1

5

2

3

Continue upward diatonically until... Go 17 RH

5

1

5

1

Am/C

¸¸ ¸

5

i6

¸¸ ¸

5

2

3

5

5

o

6

G o/B

1

1

Am/E

¸¸ ¸

1

5

i6

3

3

5

1

6

3

2

5

1

Bo /F

¸¸ ¸

1

5

o

ii 6

G o/D

¸¸ ¸ 1

3

2

5

3

5

3

1

o

vii 6 4

¸¸¸

Bo

iio

G¸ ¸¸ 1

5

1

¸¸¸

Am

i

4

5

o

vii

2

5

1

¸¸ ¸ 1

3

4

Bo /D

ii

1

3

3

5

o

1

viio

 Transpose to E and G harmonic minor. Triads and Inversions ■ Unit 2

27

Technique 2-4

Moderato

& 1

1.

3

5

1

3

5

1

3

5

1

3

5

5

2

1

5

2

1

2

5

3

1

4

1

2

5

3

1

5

1

3

5

1

Continue upward on white keys until…

1

3

5

5

2

1

4

2

3

2

5

2-4

2. Repeat #1 one octave lower with the LH, using the fingering below the staff.

2-5

Andante

B B B E 1

3.

5

7

13

3

5

3

1

5

1

3

5

3

1

5

2

1

5

M

B B B M B BB

2

1

x

1

5

2-5

1

3

5

5

3

1

x

x

5

5

M

M 1

1

 Transpose to G harmonic minor.

4. Repeat #3 two octaves higher with the RH, using the fingering above the staff.

2-6

¸¸¸ 5. & Moderato 1

5

3

5

1

2

5

3

1

5

3

1

1

5

3

5

1

3

2

1

5

3

5

1

¸¸¸  Transpose to C minor and D major.

2-6

6. Repeat #5 one octave lower with the LH, using the fingering below the staff. 28


Playing Scales and Arpeggios

G Major

Note: A dot (•) above a fingering indicates a black key. • • RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 • • LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1

œœ˙ œ œ œ œœ œ œ œ œ œœœ ? # 44 œœ˙ œ œ œ œœ œ œ œ œ œœœ #4 & 4 2-7

1

2

2 3

4

1

1 3

2

1

2

3

4

5

3 1

2

4

3

1

3

2

2

5 3 4

1

3 2

1

œœœœ œœœœ œœœœ œœ˙ œœœœ œ œœœ œœ œœ œœ˙ 5 4

3

2

1 2

3

1

1

3

2 3

2

1

4

3

2

1

3 2

4

1

2

3

1

2

3

1

4 5

RH: 1 2 3 1 2 3 5 LH: 5 4 2 1 4 2 1

#3 & 4 2-8

? # 43

1

2

œ œ œ 5

2

4

1

2

œ œ œ

5

3

5

˙.

œ œ œ

œ œ œ 4

˙.

œ œ œ 1

3

1

œ œ œ

2

œ œ œ

1

2

3

1

G Harmonic Minor

2

1

˙.

œ œ œ

4

2

3

1

2

˙.

4

5

• •• • •• RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 • •• • •• LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1

œ #œ ˙ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ # œ œ œ œœ œœ œ œœœ ˙ ? b4 œ #œ ˙ œ #œ œ œ œ œ œ œ œ b 4 œ œ #œ œ #œ œ œ œ œ œœ œœ˙ œ œœœ 2-9

b & b 44

b3 b & 4

1

2

3

1

2

3 4

1

2

3

1

3 2

3

2

5

1

4

2

1

4 3

2-10

? b b 43

1

œ œ 5

2

œ œ

4

3

œ œ 2

œ

1

œ 1

œ

2

œ

4

œ

3

œ

2

2

3 4

5

5

4 3

1

3 2

1

1

2

˙. 5

3

2

1

1

3 2

1

4

3 2

2

3

1

2

3

4

1

1

3

2

1

2

3

4

5

• • RH: 1 2 3 1 2 3 5 • • LH: 5 4 2 1 4 2 1

œ

5

˙.

œ

1

1

œ

3

œ

2

œ

2

œ 4

œ

1

œ 1

3

œ œ 2

2

œ œ

4

1

˙. ˙. 5


29

S olo Repertoire

Before playing: •Block the LH chords. While playing: •Play the RH a little louder than the LH. •Listen for clear pedal changes.

Song

wordS

without

2-11

Louis Köhler (1820–1886)

Andantino

¸ ¸ ¸ ¸ B ¸ ¸ ¸ & B 3

5

legato

9

B ¸ 0 B 1

17

B ¸ 0 B 3

5

25

B ¸ O B 3

5

30

¸

¸

cresc.

¸

¸

5

¸

¸ B

¸

¸

5

5

5

¸

4

4

2

M¸ 1

&

¸ ¸


5

5

¸

5

2

5

2

¸

4

5

¸ 2

3

1

¸

5

¸

¸

Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.

Reading

thE chASE (ExcErpt)

2-12

Grazioso

1.

5

& ¢ 1

5

1

2

1

5

1

3

EtudE 2-13

Andantino

2.

O 5 :

I*

4

1 2 4

1 2

5

1

2

5 2 1

1 3 5

1 3 5

in

5 3 1

* *

¢

¢

I I

¢

¢

4 2 1

5 2 1

*

A Minor

(ExcErpt)

3

2

5

5 3 1

& *

¢

x

5

* *

x

0 ¢ 5

1

2

1

¢

3

5

5

5 3 1

Cornelius Gurlitt (1820–1901)

1 2 5

1 3 5

5

Henri-Jérôme Bertini (1798–1876) Op. 137, No. 81

1

1 3 5

z

2

*Play the grace note just before the beat. Triads and Inversions ■ Unit 2

31

Reading (continued)

chorAlE 2-14

Adagio 5 3 1

3.

&

5 3 1

5

5

5

4 2 1

¸¸ ¸

¸¸ ¸

¸

¸

5

4 2 1

¸¸ ¸

¸

¸

¸¸¸

5 3 1

5 3 1

4 2 1

¸¸¸

¸¸¸

¸

Joachim Neander (1650–1680)

¸

5 2 1

VV V

VV V

¸

V

¸

5

Harmonize each melody that follows in two ways:

Harmonization

•Using the bottom note of each triad and inversion. •Using the indicated triads and inversions.

2-15

Allegretto

B 0 B 1

1.

i

iv6 4

5

B B

VI

iv6

V6

i

V

i  Transpose to C minor.

32


2-16

Moderato G

&

2

2.

5

¸

G

5

Em/G

¸

Bm/F

1

Am

¸

*

Am/C

¸

D

D/F 1

2

1

¸

¸

G

*

4

 Transpose to F major.

SonAtA (ExcErpt

in

froM

A MAjor

firSt MovEMEnt)

2-17

Andante grazioso A

&

*

3

3.

5

A

*

E 7/G

E 7/G

*

*

F m

A

Wolfgang Amadeus Mozart (1756–1791) K. 331 E 7/G

I

*

*

*

E 7/G

A

E 7/G

*

A

*


33

Improvise a RH melody for each of the chord progressions below while the LH plays the bottom note of the indicated chords. Begin and end each phrase with the given notes. You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.

Improvisation from Chord Symbols

2-18

Key of F Major

1.

I B &I B

I

IV

I

I6

5

V

IV

V

I6 4

I

Improvise a RH melody for the chord progression below while the LH plays the indicated triads and their inversions. Begin and end each phrase with the given notes. Notate your favorite improvisation. 2-19

Key of E Harmonic Minor Em

2. & Em 5

34

I


C /E

Am /E

¸

B/D

¸

B/D

Em

¸

¸

Em

V

V

Using the indicated chords, create a two-hand accompaniment for the following melody by continuing the pattern given in the first three measures.

Harmonization with Two-Hand Accompaniment

BlAck iS

2-20

United States

Andante Em

&

Em 1

¢ * 0 V 1

5 3

2

5 :

Am

¸

9 :

¸ 3

¢*

¢ I

¸

¸

1

2

¸

¸

¢*

5 3

1

V

D

1

2

Em 1

Am

Em/G

3

1

5 3

¸ Am

Em

4

C

¢ * 1

Bm

1

color

thE

Em

I ¸

5

Em

G/D C

1

¢ I 5 3 1

5 3 1

¸

Bm

Em 1

Em

4

rit.

1

rit.

V

¢ * ¬ ¸

¸

8va


35

Score Reading and Transposing Instruments

The process of reading instrumental and choral scores must be developed systematically. The musician should learn to hear the score and transfer it to the keyboard. Difficulties include reading from several staffs and clefs simultaneously. In addition, instrumental scores often include music for transposing instruments that sound in a different key or octave from the notation. To develop this skill, one begins with simple exercises and gradually acquires the ability to play more complex scores.

Choral Score Reading for 2-Part Voices

Practice the choral score in the following ways: •Part 1 (RH) alone. •Part 2 (RH) alone. •Parts 1 and 2 (RH) together.

A child

of

Song

(AdAptEd ExcErpt) 2-21

& B

Derryl Herring and Andy Beck

Jazz waltz

1

2

&If B

there

If

there

is

mu

is

mu

-

sic

-

¸

a

sic

a

¸

-

round

me,

-

¸

¸

round

me,

5

1

B I

2

B I

will

be

danc

will

be

danc

-

ing

-

ing

all

¸

day,

¸

¸

¸

all

day,

for

for

9

1

2

B I

am

I

¸

B

a

am

a

child

child

of

¸

song.

¸

¸

¸

of

song.

“A Child of Song” by Derryl Herring and Andy Beck from ALFRED CHORAL DESIGNS Copyright © MMV by Alfred Publishing Co., Inc.

36


The B  clarinet and B  trumpet sound a major second below the written note.

Transposing Instruments: B  Clarinet and B  Trumpet

When these intruments play

B B

they sound the concert pitch

¸

¸

Transpose the melodies for B  clarinet and B  trumpet to concert pitch. 1. B  Clarinet

MErry widow wAltz

2-22

Franz Lehár (1870–1948) Arr. John Kinyon and John O’Reilly

I I * * 0 12 * * * Moderato

23

2. B  Trumpet

* I * *

thEME

froM

* * *

* *

I ¢¢

hAydn’S truMpEt concErto Franz Joseph Haydn (1732–1809) Arr. John Kinyon and John O’Reilly

2-23

Andante

*

I ¸ ¸ ¸ O legato

I 9



* = Breath mark

I I O &

3

¸

“Merry Widow Waltz” from YAMAHA CLARINET STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc. “Theme from Haydn’s Trumpet Concerto” from YAMAHA TRUMPET STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc.


37

nsemble Repertoire E

i lovE

2-24

A

piAno

Allegro moderato 3 1

Part 1

C 0

Part 3

1

M I

3

E E

9 :

1

I love a

I M

3

3

38

I love to

I M

pian - o,

2

pian - o,

5 3 1

B


It simply

B

5 3 1

x

¬

I

play

car - ries

upon a

¸

I ¢

¬

B

5 4 1

I 1

me a

B

¸

3

5

hear some - bod- y

M

4

4

A grand pi - an - o,

2

M

3

3

B

1

3

3

x

3

pian - o,

2

5 4 1

I M

3

¢ I I love E a ¬

4

5

5 :

5 1

4 2

M

¸¸

2

Play one octave higher than written throughout

C 0 C ¬ 0 C 3

Part 2

5 1

Irving Berlin (1888–1989)

-

VV

way.

¬

2

B

:

4 1

13

1

I

2 1

¬

21 :

3

M I

3

2

I love to

3 1

run

my

4 1

fin - gers

M

o’er

-

way,

¬

5 4 1

5

2 1

3 1

I the i - vor - ies, And with the 3

the keys,

M

Not only

Stein

3

¬

¸

4

5

1

5

x

a

¸¸

5 4 1

3

I

¸

¸

I¢

¬

M

med - dle.

treat

B 4 1

¸¸

4

¬

5 1

to

I M

3

way

3

pedal

2

to

4

1

love

5 3 1

3

1

I

2

4 1

¸¸

fine

M

17 :

1

a

¸ ¸

3

5 4 1

3

know

4

2

5 1

mu - sic

5

from Broad - way,

I’m so de -

B 5 4 1


39

25 :

1

I M

I M 3

3

light - ed,

If I’m in -

3

2

3

29 :

1

keep

5 2

5 1

M

B

your

fid - dle

3

5 4 1

¬

3

3

right

3

40


and your bow, Give me a

M 5

¸

Up - right,

¸¸

play.

5 1

high - toned

4 2

O,

oh,

M B M 4 2

¬ 1

1

I 4 2

Ba - by

3

2

oh, I love to 3

M

3

3 1

3 1

3

I M B ¢

4 2

M 3

¬

-

x 1

So you can

4 2

M B

M

B

3 1

4 2

5 3

2

Or a

3 1

P - I - A - N

4 2

5 3

B 2

B

¢ M I M B 2 1

M be - side an

I

B

step

3

5 3

1

long - haired gen - ius

B

33 :

2

To hear a

1

vit- ed

I ¢

3

2

M 4

3

4

5 1

V V

Grand.

¸ x ¸

Unit 3

Objectives

Sonata Form Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Perform solo repertoire in sonata form. 2. Play major and parallel harmonic minor scales and arpeggios beginning on D, using traditional fingerings. 3. Sight-read music from easy standard piano repertoire. 4. Harmonize melodies with triads and inversions. 5. Accompany a B b trumpet solo. 6. Play a two-part choral score.

Sonata Form

The word sonata was first used as the title of a piece to be “sounded” (played on a music instrument). A short sonata is called a sonatina. By the late 1700s, the sonata had become a formal composition, usually containing three or four contrasting movements. The first movement is usually in sonata form (sometimes called sonata-allegro form) which consists of three parts: Part 1: In the exposition, the themes of the movement are stated. The first theme is in the tonic key and the second theme is usually in the dominant key. The section often ends with a coda or codetta. Part 2: In the development, the themes are altered. Part 3: In the recapitulation, the themes are restated. Both the first and second themes appear in the tonic key. The movement may close with a coda or codetta. The Clementi Sonatina in C Major on pages 354–355 is an example of a sonatina movement in sonata form. Sonata Form ■ Unit 3

41

S olo Repertoire

Before playing: •Block the RH triads and inversions in measures 1–2 and 5–6. •Tap the rhythm hands together. While playing: •Listen for a steady tempo throughout. •Listen carefully for slurs and staccato notes.

Sonatina

in

C Major

(FirSt MoveMent)

3-1

Allegro

Frank Lynes (1858–1913) Op. 39, No. 1

Exposition 1st theme

O ¸ ¸ 3

5

3

2

5

1

5

1

3

2

1

1

1

¸

¸

5

: 5

3

5

3

1

3

5

1

¸

¸

10 : M 3

3

42

*

Unit 3 ■ Sonata Form

1

* ¢ & I 2nd theme

¸ 3

1

¸

3

¢ *

3

I

3

2

M ¢ *

* ¢

M * ¢

14 :

1

5

2

3

*

*

M ¢ * dim. * 3

2

1

O cresc. ¸ ¸ ¸

Development 3

2

1

3

1

3

Recapitulation

:

M O ¸ ¸ 1

18

22 :

2

2

1

¸

&

5

3

I

1

¸

¢ M ¢ * *

3

3

*

3

*

*

dim.

1

2

Coda 1

3

1

2

3

1

1

1

3

5

36 : 1 3 1 2

¸

¸

2

M M * ¢ * ¢ * ¢ I

1

1

¸

¸

3

2

5

¸

M * ¢ O & *

32 :

5

: 3 2nd theme

5

3

3

2

27

1st theme

I ¢ ¢ * 3

5 2 1

I I ¢ ¢

¸¸ ¸

2

1

3

O

1

Sonata Form ■ Unit 3

43


• • • • RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 • • • • LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1

D Major

¸ ¸ 3-2

1

2 3

4

3 2

1 3

2

1 2

3

4

5

3

2

2

1

4 3

2 1

3 2

B B

2

1

3 2

3

1

2

3

1

4

5

3

1

4 3 2

1

3 2 1

2

2

3 4 5

3

1

2

1

1

2

3

1

D Harmonic Minor 3-4

3

• • RH: 1 2 3 1 2 3 5 • • LH: 5 3 2 1 3 2 1

¸

2

3

1 2

5

1

5 4

1

¸

3

2

1

2

3

5

3

1

¸ ¸

5 3 4

2

3-3

1

1

2

1

¸

3

1

•• RH: 1 2 3 1 2 3 4 •• LH: 5 4 3 2 1 3 2

2

¸

3

5

•• 12312345 •• 14321321

¸ ¸ ¸ ¸ 1

2

3

1

2

5

4

3

2

1

3 4

3

2

1

2

3

1

4

3

1

2

3 4

5

2

1

3 2

1

5

1

4

2

3

2

1

3

2

1

3

1

2

3

4

1

4

3

2

1

3

2

1

2

3

1

2

3

4

5

RH: 1 2 3 1 2 3 5 3-5

B B

1

5

44

2

4

3

2


1

1

2

4

3

2

¸ 5

LH: 5 4 2 1 4 2 1

5

¸

1

1

3

2

2

4

1

1

3

2

2

4

1

¸ ¸ 5

Technique 3-6

V &

V

Allegretto

1.

5 1

1 5

7

V

¬

¸ V ¸ Continue upward on V

¸¸ ¬

V

V

white keys until…

V

5 1

1 5

V

¸¸ ¬

3-6

2. Repeat #1 two octaves lower with the LH, using the fingering below the staff.

3-7

5 2 1

¢ & ¢ Moderato

3.

5

5

I6

3

1

¢ ¢

vi6

¢

5

IV

3

1

4.

5

5

i6

3

1

¢ ¢

VI6

¢

¢ ¢

5

¢

vii o6

ii

V6

5 2 1

¢ & ¢

3-8

Moderato

5 3 1

5

¢ iv

3

1

¢ ¢

ii o

1

¢

¢ ¢

5 3 1

¢

3

5 2 1

5

iii

1

3

¢

¢

3

1

¢

¢ I

5 2 1

¢ ¢

VII 6

¢

 Transpose to B

5

5 3 1

 major and D major. 5 3 1

5

¢

¢ ¢

III

3

1

¢

¢

v6 i  Transpose to B natural minor and G natural minor. Sonata Form ■ Unit 3

45


Reading

DanCe

(exCerpt

FroM

For Children)

3-9

Poco allegretto

& dolce 5

1.

1 3 5

5

0

Béla Bartók (1881–1945)

5

5

etuDe (exCerpt)

Louis Köhler (1820–1886) Op. 190, No. 31

3-10

¸ & Allegro 1

2.

1

1

3

5

5

5 :

¸

46


3-11

Andante moderato

¸¸ & ¸ ¸

3 1

3 1

3.

M ¸¸ ¸¸

1 5

5

¸¸

¸¸

¸¸

¸¸

¸¸

M

5 3

¸¸

5 3

5 3

¸¸

V V

¸

¸

Harmonize each melody below in two ways:

Harmonization

•Using the bottom note of each triad and inversion. •Using the indicated triads and inversions.

3-12

Switzerland

B & B Allegretto 1

1.

B

2

ii6

ii6

I ¸

2

V7

5

I

5

I

B

4 2

¸

¸

4 2

5 3

I 2

V7

1

I

I  Transpose to G major.

Sonata Form ■ Unit 3

47

Harmonization (continued) 3-13

D 7/F

Lively G

0 3

2.

5

3

3

3

1

1

D 7/F

¸

1

G

¸

1

¸

D7

G

¸

G

¸


Sweet BetSy

3-14

Vivace

B & B

F

1

3.

Dm

B 6

5

B

11

BB

B B

48

C 7/E


C 7/E

F

¸

1

¸

FroM

pike United States

F

Dm

C 7/E

¸

F

2

1

A m/C

4

B B/F

3

1

2

F

¸

 Transpose to D major.

1. Transpose the line for B  trumpet to concert pitch.

Instrumental Accompaniment

2. Work out appropriate fingerings for the accompaniment. 3. Play the accompaniment while the teacher or other class member plays the B  trumpet line transposed to concert pitch.

aura Lee

3-15

B@ Trpt.

Piano

5 :

B

9 :

¸ B ¸ ¸

&

B ¸ & B

¸ ¸ ¸

¸ ¸ ¸

¸ *

O B ¸ O B ¸ ¸

13 :

I

Andante O B O¸ B ¸ ¸

Traditional Arr. John Kinyon and John O’Reilly

¸

I

¸ *

MV V

¸

¸ ¸ ¸

V

¸ ¸ ¸

I

V

¸

¸

V

¸ ¸

I 3 V

B¸ ¸ ¸

3

¸

3

¸

“Aura Lee” from YAMAHA TRUMPET STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc. Sonata Form ■ Unit 3

49

Practice the choral score in the following ways:

Choral Score Reading for 2-Part Voices

•Part 1 (RH) alone. •Part 2 (RH) alone. •Parts 1 and 2 (RH) together.

uBi CaritaS

et

aMor

(aDapteD exCerpt)

3-16

&

Sally K. Albrecht

Gently

1

U

2

¾

-

&

bi

-

ca

U

ri

-

tas

-

bi

et

ca

3

1

u - bi

2

ca - ri - tas

u - bi

ca - ri - tas

6

1

2

U

-

bi

et

a

et

a

-

mor.

-

¸

-

ri

mor,

-

tas

et

U

mor.

¸

-

a

¸

-

bi


a - mor,

ca - ri - tas

¾

-

¸

mor.

¾

¸

ca - ri - tas

et

et

a

a

-

mor.

“Ubi Caritas et Amor” by Sally Albrecht from ALFRED CHORAL DESIGNS Copyright © MCMXCIII by Alfred Publishing Co., Inc. Copyright © MMVII by Alfred Publishing Co., Inc.

50

Unit 4

Objectives

Primary Chords Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play I–IV–I–V7–I chord progressions in all major keys. 2. Play i–iv–i–V7–i chord progressions in all harmonic minor keys. 3. Play major and parallel harmonic minor scales and arpeggios beginning on A, using traditional fingerings. 4. Improvise melodies using the blues scale over a 12bar blues accompaniment. 5. Perform solo repertoire that uses tonic, dominant and subdominant harmonies. 6. Sight-read and transpose music that uses tonic, dominant and subdominant chords. 7. Harmonize and transpose music with tonic, dominant and subdominant chords. 8. Improvise melodies over tonic, dominant and subdominant chords. 9. Play a two-part instrumental score for B  clarinet and bassoon. 10. Play a two-part choral score (ST).

Primary Chords ■ Unit 4

51

Tonic, Dominant and Subdominant

The primary triads in a key are I, IV and V. In the key of C major, the I chord (tonic) is the C triad. The V chord (dominant) is the G triad. The IV chord (subdominant) is the F triad.

? www

1 I Tonic

w 2

ww w

w

w

w

4 5 6 IV V Subdominant Dominant

7

8

w

w ww

3

In the key of A harmonic minor, the i chord (tonic) is the A minor triad. The V chord (dominant) is the E triad. The iv chord (subdominant) is the D minor triad.

? ww w

1 i Tonic

The V7 Chord

w 2

# www

w

#w

w

4 5 6 iv V Subdominant Dominant

7

8

w 3

w ww

In many pieces a V7 chord is used instead of a V triad. To make a V7 chord, a note an interval of a minor 7th above the root is added to the V triad.

V7 built on the 5th note of the C SCALE:

V

V

V

V

7th 5th 3rd root

52

Unit 4 ■ Primary Chords

V

V

TRIAD

V7 Dominant seventh

V7 built on the 5th note of the A HARMONIC MINOR SCALE:

V

VVV V

V

7th 5th 3rd root

VVVV

TRIAD

V7 Dominant seventh

Inversions of Dominant Seventh Chords

Four-note dominant seventh chords may be played in the following positions. All note names are the same in each position, but in a different order! Numbers to the right of the Roman numerals indicate the intervals between the lowest note and each of the other notes of the chord. Numbers in parentheses are usually omitted.

ROOT FIRST SECOND THIRD POSITION INVERSION INVERSION INVERSION Key of C MAJOR: G7

VVV ROOT V G7/B

VVV ROOT V

V7

V6

5 (3)

ROOT FIRST SECOND THIRD POSITION INVERSION INVERSION INVERSION

G7/F

Key of A HARMONIC MINOR: E7

V(6)

V7

VV VV ROOT

VVVV ROOT G7/D

V(6)

E7/B

E7/D

V6

V(6)

V(6)

V VV ROOT VVVV ROOT VVV ROOT V V

VVV ROOT V

4 2

4 3

E7/G

5 (3)

4 2

4 3

The first, second and third inversions are easily recognized by the interval of a 2nd in each chord. The top note of the 2nd is always the root!

Play the I–IV–I–V7–I chord progression exercise.

Playing the I–IV–I–V7–I Chord Progression in Major Keys 4-1

Key of C Major

¸¸¸ ¸¸¸ 5 3 1

1 3 5

I

5 3 1

1 2 5

¸¸ ¸ ¸¸ ¸

¸¸¸ ¸¸¸

IV6 4

I

5 4 1

¸¸¸ ¸¸¸

¸¸¸ ¸¸¸

V6

I

1 2 5

5

¬ ¬

Key of D@ Major 5 3 1

B¸ B B ¸¸¸ B ¸¸ B¸ B B ¸¸¸ B ¸¸ 1 3 5

5 3 1

1 2 5

5 4 1

B B ¸¸¸ B ¸¸¸ B B ¸¸¸ B ¸¸¸ 1 2 5

I

IV6

I

¸¸¸ ¸¸ ¸

¸¸ ¸ ¸¸ ¸

¸¸¸ ¸¸ ¸

¸¸ ¸ ¸¸¸

¸¸¸ ¸¸ ¸

I

IV6

I

V6

I

4

Key of C Major

Continue upward by half steps until…

4

¬

B B ¸¸¸ B B ¸¸¸

V6

¬

I

5

5

¬ ¬

Play the chord progression above with only roots of the chords in the LH.

? 44 ˙

5

˙

˙

˙

˙

Ó

etc.


53

Playing the I–IV–I–V 7–I Chord Progression in Major Keys (continued)

Play the I–IV–I–V7–I chord progression exercise. The LH plays only the root of each chord.

4-2

Key of C Major 5 2 1

5 3 1

¸

¸

¸¸¸

¸¸ ¸

5

I

¸¸ ¸

7

¸

¸¸ ¸ 5 3 1

¸

5

2

I

IV

4 2 1

¸¸ ¸

2

¸

IV

I

Key of G Major 5 2 1

Key of F Major

¸¸ ¸

1

¸ 5

V7

I

¸

¸¸ ¸¸ ¸ ¸ 4 2 1

¸

¸¸¸

¸

¸¸ ¸

¸

1

I

V7

¸¸ ¸ 5 2 1

¬

¸

¬

¸ B ¸¸

¸¸ ¸¸ ¸ B¸ ¸ ¸

5 3 1

B¸

5

2

I

IV

¸¸ ¸

4 2 1

¸

1

5

V7

I


¬

I

Key of C Major

¬ ¬

¸¸ ¸

¸¸ ¸

¸¸ ¸

¸¸¸

¸¸ ¸

I

IV

I

V7

I

¸

I

¸

¸

¸

¸

Practice the above exercise in the following major keys:

54

¬

4-3

1.

D

G

A

D

4-4

2.

E

A

B

E

4-5

3.

D

G

A

D

4-6

4.

E

A

B

E

¬ ¬

Play the i–iv–i–V7–i chord progression exercise.

Playing the i–iv–i–V7–i Chord Progression in Harmonic Minor Keys 4-7

Key of B@ Harmonic Minor

Key of A Harmonic Minor

¸¸ ¸ ¸¸ ¸ 5 3 1

5 3 1

1 3 5

1 2 5

i

¸¸ ¸ ¸¸ ¸

5 4 1

¸¸¸ ¸¸¸

iv6

1 2 5

i

4

¬

¸¸¸ ¸¸¸

¸ ¸ ¸ ¸ ¸¸ V6

¸¸¸ B B ¸¸¸ B B B ¸¸ ¸ B B ¸ B¸ ¸

¬

1 3 5

i

5

5 3 1

5 3 1

5 4 1

B ¸¸¸

¸ B B ¸¸

B B ¸¸¸

1 2 5

1 2 5

i

B ¸¸¸

B B ¸¸¸

i

iv6

¸¸¸ ¸¸¸

¸¸ ¸ ¸¸ ¸

¸¸¸ ¸¸ ¸ ¸¸¸ ¸¸ ¸

¸¸¸ ¸¸¸

i

iv6

i

i

4

V6


4

¬

i

5


¬

¸ B B ¸¸

V6 5

¬ ¬

Play the chord progression above with only roots of the chords in the LH.

? 44

5

˙

˙

Ó

˙

etc.

Play the i–iv–i–V7–i chord progression exercise. Notice that the LH plays only the root of each chord.

4-8

Key of A Harmonic Minor 5 2 1

5 3 1

5

¸

i

iv

¸¸ ¸ ¸

˙

˙

¸¸ ¸ 2

4 2 1

¸¸ ¸

¸¸¸

i

1 V7

¸

¸

¸¸ ¸ ¸ i

¬ ¬

Key of B @ Harmonic Minor 5 3 1

5 3 1

B¸ ¸ B ¸¸ B B ¸¸ B¸

B¸

¸¸ ¸

¸¸¸

5

i

2

iv

4 2 1

B¸ B ¸¸ B ¸¸¸ ¸ B¸

B¸ B ¸¸ B¸

¬

¸¸ ¸¸¸ ¸ ¸ ¸

¸¸ ¸

¬

V7

i

i

1 V7



¸ i

¸ iv

i

¸

¬

i

¬

Primary Chords ■ Unit 4 7

55


### 4 œœ œ & 4 œ œ œ œœœœ ? # # # 44 œ œ œ œ œ œ œœœœ 4-9

1 2

3 1

3 2 5 4

5 3 4

5 4 3 2

1 3 2

2 1 1 3

4

3 2

1 2 3 1

2

5

3

1

2

˙.

œ œ œ 1

3

2

1

3

1

• RH: 1 2 3 • LH: 5 3 2 5

˙.

¸ ¸ 5

2 4 3

2 3

4

1

2 3 1

1 3

2

1

4 3

2

2

3

4 5

1

3

2 1

2

1

2 3 1 2

3

4

5

3

2

3

2

1

˙.

œ œ œ 1

2

˙.

3

5

• 12312345 • 14321321

• LH: 5 4 3 2 1 3 2

2 3 1

3

œ œ œ

•

1

1

1

2

A Harmonic Minor RH: 1 2 3 1 2 3 4 4-11

4 3 2

• 1235 • 1321

3

1

1

4 1

œ œ œ

1

2

3

œ œ œ

5

3

œ œ œ

2

3

˙ œœœœ œœ œœ œœœœ œœœœ œœ ˙ ˙ œœœœ œœ œœ œœœœ œœœœ œœ ˙

2 3 1 2

### 3 & 4 œ œ œ ? # # # 43 œ œ œ 2

• •• 12312345 • •• 14321321

1 2 3 4

4-10

1

• •• RH: 1 2 3 1 2 3 4 • •• LH: 5 4 3 2 1 3 2

A Major

¸ ¸ 5

4

3 2

1

2

3

1

4

3 2

3 4 1

2

3

1 3 2

1

2

1

3

2

1

1 2

3

4

5

RH: 1 2 3 1 2 3 5

¸

4-12

1

5

56

2

4

1

3

2


1

2

4

3

2

LH: 5 4 2 1 4 2 1

¸

1

1

5

5

3

2

2

4

1

1

3

2

1

¸

¸

2

4

5

The blues accompaniment follows a strict 12-bar pattern. Using block chords, play the 12-bar blues pattern with the left hand.

12-Bar Blues Improvisation

4 4

Letter name

D I

D I

D I

D I

G IV

G IV

D I

D I

A V

G IV

D I

D I

Roman numeral

 Transpose

The blues scale may be used to improvise melodies over the blues pattern.

M 1

4-13

3

B

3

M B M M & ¬ 2

1

B M M M B ¬ 2

1

1

2

3 4

1 5

B M M ¸ ¸

9 :

1

2

1 2 3 3

3

1 5

V

4

5

4

3

2

B

1

M 2

1

¸

M B M 5

4

3

2

1

2

I I 1

1 5

* * M 5

1 5

IV

M 5

5

1 5

5 :

5

* * M

3 4

I

4

Using the 12-bar blues progression, continue the RH melodic sequence, alternating ascending and descending blues scale patterns while the LH plays the interval sequence.

I Relaxed ( = ) 2

¸

M M

2

1

2

1

to A major and E major.

1 5

1 5

M B M 5 4

¸¸ 1 5

IV

3

3 2 1

3

2

I

B 1

I

* * 1 5


57

S olo Repertoire

Before playing: •Practice the RH alone, being aware of the cross-overs and cross-unders in the fingering. •Find the I, IV and V chords. While playing: •Play the RH a little louder than the LH. •Listen for even eighth notes throughout.

A PleAsAnt Morning Jean Louis Streabbog (1835–1886) Op. 63, No. 1

4-14

Allegro moderato

O C VVV

C

1

3

¸

1

¸

1 3 5

VVV 1

1 2 5

10 :

¸ ¸¸ ¸

3

¸¸ ¸

1 2

¸ 2

1 2 5

58

¸

1 3 5

3


¸ ¸¸ 1 3 5

1 3 5

VV

1

3

1 2

E ¸¸ ¸¸ ¸ ¸

7 :

1

3

1

3

VV V

1 2 4

1

1 3 5

4 :

1

¸

¸¸ ¸

¸ O¸ ¸¸ 3

1 2 5

¸ &¸¸ ¸ 3

14 

œ œ œ œ & ˙ 3

˙˙ .. ? ˙. 17 

œ œ œ œ œ œ œ œ f ww w 1

3

œœ œ

& œ œ œ œ œ œ œ œ p ? www 1

3

˙

1

&

˙

? Œ

œœœ 1 3 5

œ œœœ

œ œ œ œ & f ˙˙ ? ˙

23 

1 2 5

26 

ww w 1 3 5

Œ œœœ

www

ww

1

1

3

1

3

1 2

œ œ œ œ ˙˙ ˙ 1 3 5

3

1

œ œ œ œ œ œ œ œ

? œ œ œ œ œ œ œ œ 1

3


5 2 1

5

3


Œ

1 2 4

1

& www

1

1

Œ œœœ œœœ œœœ

1 3 5

20 

œ

œ œ œ œ œ œ œ œ œœ œ Œ Ó 2

3

˙ 3

˙˙ ˙

œ œœ 1 2

˙˙˙ ...

œœœ

œ œ œ œ œ œ 5

4 2 1

Œ

www

Œ

œ œ œ œ œ œ œ œ 5

1

3

˙˙ ˙

œœ œ

œœ œ

œœ œ

Œ

Ó

1

œ

œ

œ

Œ

Ó

˙


59


Reading

4-15

* & Allegretto

1.

5

1

3

*

5

3

5 :

1

5

1

2

¸

2

 Transpose

to G major.

etude (excerPt)

4-16

Allegretto

¢ & I ¢ 5 3 1

2.

5

¢ O I ¢

5 :

¢ ¢ * ¢

5 3 1

¢

1 2 5

¢ ¢ * ¢

¢

¢ 5 3 1

¢ I ¢ ¢ * 5 2 1

¢ ¢

1 3 5

¢

¢ I ¢ ¢ *

¢ ¢

¢

¢ I ¢ ¢ * ¢ ¢ ¢ 5 3

5 3

I ¢ *

¢ * *

Henry Lemoine (1786–1854)

¢

5 1

¢

4 1

3 1

I ¢ *


1 2 5

5

I ¢ ¢ & * ¢ ¢ 3 1

1 3

 Transpose

60

2 1

to D major.

4-17

Allegro moderato

B & B 1

3.

5

B 1

1

3

B

¸

1

3

3

5

¸

¸

1

5

2

3

1

5

¸

1

2

2

1

¸

¸¸

 Transpose

Using tonic (I), dominant (V7 or V6) and subdominant (IV or IV6) 5 4 chords, harmonize the following melodies with the indicated accompaniment style. Write the Roman numeral name of each chord on the line below the staff.

Harmonization

? b 4 ˙˙˙ b 4

1. Block Chord Accompaniment

Andante

B B 0 N.C. 1

10 :

BB

B

B

˙˙˙

KuMbAyA

4-18

5 :

to E minor.

2

I ¸

¸

5

Spiritual

I ¸

4

¸ V

¸

V

¸ 1

¸

V 3

¸

¸ 2

N.C.

N.C.

4

2

3

1

I ¸

2

V  Transpose

¸ to C major.


61

Harmonization

2. Broken Chord Accompaniment

(continued)

shAll We gAther

At the

? ## 4 ˙ 4

˙˙

river?

4-19

Moderato

& 3

Robert Lowry (1826–1899)

¸

¸

¸

9 :

¸

13 :

¸

5 :

1

2

¸

¸ V

I ¸

3

1

2

3




¸ V

Transpose to E  major.

¸¸¸

¸¸ ¸

4-20

& Moderato 1

5 :

5

2

2

Israel

¸ ¸

¸

¸

1

1

4

4



62


Transpose to D minor.

Using the chord progressions below, improvise RH melodies while the LH plays the suggested accompaniment style. (First play the LH chord progression using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.


Rules for improvisation: 1. When the tonic chord is used, play mostly scale tones 1, 3 and 5 in the melody. 2. When the subdominant chord is used, play mostly scale tones 1, 4 and 6 in the melody. 3. When the dominant chord is used, play mostly scale tones 2, 4, 5 and 7 in the melody. 4. Most improvisations begin and end on tonic. 5. The ear should always be the final guide in determining which melody notes to play.

? 3 œ œœ œœ b4

1. Waltz Style Accompaniment

4-21

Key of F Major

B

B

I

5 :

V6

I

V6

IV6 4

4-22

Key of E Harmonic Minor

Am/E 5 :

Em

I

5


Am/E

¸

V6

5

Em

¸

I

5

I I

B/D

?#6 œ œ œ œ œ œ 8

B/D

Em

I

Em

¸


63


1. Transpose the line for B  clarinet to concert pitch.

2. Play the line for B  clarinet in concert pitch with the line for bassoon, which is notated in concert pitch.

the erie cAnAl

Bsn.

B@ Cl. Bsn.

¸

B@ Cl.

B ¸ & M B¸ ¸ B BB & Moderato

5 :

B BB

B

O O

¸

¸

¸ ¸

¸

United States Arr. John Kinyon and John O’Reilly

¸ ¸

¸ ¸

4-23

¸

Fine

Fine

D. C. al Fine

¸

M¸

D. C. al Fine

“The Erie Canal” adapted from YAMAHA CLARINET STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc.

Playing by Ear

64


Play the following melodies. If you are unfamiliar with a melody, learn it by listening to the audio file or MIDI file. Then harmonize the melodies using I, IV and V7 chords in block style. 4-24

When the Saints Go Marching In (Key of D, start on D)

4-25

Marine’s Hymn (Key of C, start on C)

The tenor voice sounds one octave lower than written. Practice the choral score in the following ways:

Choral Score Reading for Soprano and Tenor (ST)

1. Soprano (RH) alone. 2. Tenor (LH) alone (one octave lower than written). 3. Soprano (RH) and tenor (LH) together.

AutuMn

(excerPt

froM

The SeaSonS)

4-26

Adagio

S

T

5 :

E E

* *

S

T

9 :

S

¸

T

¸

*

I I *

x

x

B¸

B¸

* * * * * *

I * *

*

Franz Joseph Haydn (1732–1809)

¸

B¸

B¸

B

I B


65

Unit 5

Objectives

Review Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play major, minor, augmented and diminished chords beginning on any key. 2. Play triads in root position, first inversion and second inversion. 3. Play major and parallel harmonic minor scales and arpeggios beginning on E, using traditional fingerings. 4. Perform solo repertoire that uses tonic, dominant and subdominant harmonies. 5. Sight-read and transpose music that uses tonic, dominant and subdominant harmonies. 6. Harmonize and transpose music with tonic, dominant and subdominant chords. 7. Create a two-hand accompaniment from letter symbols.

66 Unit 5 ■ Review

Playing Major, Augmented, Minor and Diminished Chords

Play the following exercise that uses major (M), augmented (A), minor (m) and diminished (d) chords.

5-1

M B M A M m M B 5 3 1

B B ¸¸¸ ¬ M M ¸¸¸ ¬ 5 3 1

B B ¸¸¸ d

1 3 5

1 3 5

1 3 5

1 3 5

1 3 5

5 3 1

5 3 1

5 3 1

Playing Triads of the Key and Inversions

¬

M M ¸¸¸

M B

Continue downward by M A M m half steps until…

M B

¬

5 2 1

œœ 4 œ Œ & 4 œœœ œœ œ ? 44 w 5

I

5 3 1

˙˙˙ Ó 5 3 1

˙ Ó

¸¸¸ ¬

M

Play the following exercise that uses triads of the key and inversions.

5-2 5 3 1

¸¸ ¬ ¸

5 2 1

Œ œœ œœœ œœœ œ 5 3 1

w 4

5 3 1

˙˙˙ Ó 5 3 1

˙ Ó

Continue upward diatonically until…

ii

œœ œ œ œ œ Œ œœ œ w 1

˙˙˙ ˙

Ó Ó

I

Practice the above exercise in the following keys: 5-3

1. G major

5-4

2. A natural minor

5-5

3. E natural minor

Review ■ Unit 5 67

Technique

ExErcisE No. 1 (The VirTuoso PianisT)

Charles-Louis Hanon (1819–1900)

5-6

& 24

œœœœ œœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœ œœ œ œ œ œœœ ? 24 œ œ œ œ œœ œœ œ œœœœ œœœœœœœ œœœœ œœœ œœœ œ œ œ œ œ 6 

Ascending

1 2 3 4 5

1 2 3 4 5

1 2

1 2

1 2

5 4 3 2 1

5 4 3 2 1

5 4

5 4

5 4

œœœœœœ œœœœœœœœ ? œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœœœ œœœœœœœ œ œ œ œ œ œœœœ œœœœœœœœ œ œ œ œ

œœœœ œ œ œ œ œ œœœœ œœœ

œ œœœœ œœœ œ œœœœ œœœ

5 4

5 4

œœœœ œœœœœœœœ œ œ œ &œ œœœœ œœœœœœœœ œ œ œ ?œ

œœœœ œœœœ œœœ œ œ œ œ œ œ œ œœœœ œœœ œœœœœœœ

œœœœ œœœ œ œœœœ œœœ œ

œœœœ œœœ œ œœœœ œœœ œ

1 2 3 4 5

1 2

&

12 

18 

1 2

1 2

5 4

5 4

1 2

1 2

5 4

5 4

5 4

œœœ

5 4

1 2

1 2

& œœœœœ œœœœœœœœ œœœ œœœœœ œœœœœœœœ ?

1 2

1 2

5 4

5 4

Descending

1 2

5 4 3 2 1

5 4

1 2 3 4 5

5 4

œœœœ œœœ œ œœœ œœœœœ 1 2

5 4

œœœœ œœœ œ œœœœ œœœ œ 1 2

1 2

5 4 3 2 1

5 4

œœœœ œœœ œ œœœœ œœœ œ 1 2

24 

&

5 4

œœœœ œœœ ? œœœ œ œœ œœœ 1 2


5 4

œœœ œœ œ œ œ œœ œ œœ œ œ œ 1 2

5 4

œœœ œœ œœœœœœœœ œœœ 1 2

5 4

œœœ œœ œ œ œ œœ œ œœ œ œ œ 1 2

5 4

œœœ œœ œœœœœœœœ œœœ 1 2

1 2

5 4

5 4

œœœ

œœ œ œ œ œœœ œœœœœ 1 2

.. 5 4

œœœœ œœœ . ˙ œœœ œ œœ . œœœ ˙ 1 2

Playing Major Scales and Arpeggios

•• •• RH: 1 2 3 1 2 3 4 •• •• LH: 5 4 3 2 1 3 2

E Major

•• •• 12312345 •• •• 14321321

¸ ¸ ¸ ¸ 5-7

1 1 2 3

5 4

3 2

2 3 4 1

1 2 2 3

1 3

4 3 2

2 1

2

3

5

¸

3

• RH: 1 2 3 • LH: 5 3 2

2 3 4

5

3

1

¸ ¸ 1

2

3

1

5

4

3

2

2

3

1

3

4

1

2

2

1

4

3

3

2

3

1

3

4

2

5

1

5

1

4

2

3

2 1

3 1 2

3

4 5

2

2

3

1

¸

3

2

1

•

¸

3

5

• • 12312345 • • 14321321

• • LH: 5 4 3 2 1 3 2

2

2

1

•

1

1

3 2

2

1

4

• 1235 • 1321

E Harmonic Minor RH: 1 2 3 1 2 3 4 5-9

1

¸

2

1 3 2 1

1 2 3 1

5

1

5 4 3 2

3 2 1

3

2

1

2

3

1

5-8

1

5 3 4

¸ ¸ 3

3

2

1

3

2

1

4

1

2

3

4

1

2

3

2

1

3

2

1

3

1

2

3

4

5

RH: 1 2 3 1 2 3 5 5-10

1

5

2

4

3

2

1

1

2

4

3

2

¸ 5

LH: 5 4 2 1 4 2 1

5

¸

1

1

3

2

2

4

1

1

3

2

2

4

1

¸ ¸ 5


S olo Repertoire

Before playing: •Find the I, IV and V chords in the RH. While playing: •Play the LH a little louder than the RH. •Clearly define the LH phrase structure in your performance.

study 5-11

Moderato

O & 5 3 1

5 :

9 :

1

13 :

1

*

5

¸

¸

2

M

2

*

4

5 4 1

5 4 1

*


*

1

5 3 1

Ludvig Schytte (1848–1909) Op. 108, No. 12

*

rit.


Reading

soNg

without

(ExcErpt)

words

5-12

Moderato

1.

O cantabile 5

5

3

5

1

3

Fritz Spindler (1817–1905)

1

2

1

¢

¢

 Transpose to G minor.

scalE study (ExcErpt)

5-13

Cornelius Gurlitt (1820–1901) Op. 117, No. 19

Con moto

2.

¢ O

1

¢

M 1

5

5

¢

1

¢

1

3

¢

B

1

¢

¢

M

&

¢ ¢

 Transpose to D major. Review ■ Unit 5 71

Reading (continued)

russiaN Folk soNg (ExcErpt)

5-14

Ludwig van Beethoven (1770–1827)

Moderato

& 24 œœ pœ ?2 œ 4 3 1

3.

œœ œœ

œœ œœ

œ˙ ˙˙

œœ œœ

œ

œ

œ

1 3

 5

& œœ ? œœ

2 1

œœ œœ

# œœ œœ

œœ œœ

# œœ . œ œœ ..

œœ œœ

œ

œœ œœJ œ J

1 2

œœ œœ

œœ œœ

œœ . œ œœ ..

œœ œœ

œ

œœ J œœ J

# œœ

œ œ 2 5

œ œ œ œ

1 2 5

4 2

œ œ œ œ

5 2 1

Œ

œœ œ

œœ œ œ

Œ

œ 5

Harmonize with an Alberti bass accompaniment.

Harmonization

?4 œ œ œ œ 4

1. Alberti Bass Accompaniment

hE’s got

thE

wholE world

iN

his haNds

5-15

Spiritual

Moderately and rhythmically

4 j &4 œ œ œ F 4

4 

j œ œ

j œ œ.

˙

4

1

I

j j & œ œ œ œ œ œ œ ˙ 4

I

j œ œ. 1

j œ œ œ œ œ

3

˙

V6 5

j j j œ œ œ œ œ œ œ œ œ œ œ. 4

2

5

V6 5

j œ œ. 2

1

˙

I

j œ



Using tonic (I), dominant (V7 or V65) and subdominant (IV or IV64) chords, harmonize the following melodies with the indicated accompaniment style. Write the Roman numeral name of each chord on the line below the staff.


BurlEskE 5-16

& Allegro 1

4

¸

4

N.C.

¸ O 4

4

1

N.C.

Leopold Mozart (1719–1787)

4

¸ 4

4



¸ B B

¸¸

5-17

B B E Allegro 1

B B 5

3

1

3

4

1

Russia

5

 Transpose to A minor. Review ■ Unit 5 73

Using the indicated chords, create a two-hand accompaniment for the following melody by continuing the pattern given in the first two measures.


o solE Mio! 5-18

Moderately slow

* E ¢ 5

¢ 5 :

I 1

3

I

G

E RH 1

LH

5

5 3

5 4

RH 1

2 LH

1

LH 5

¸

D7

1

I ¸

2 LH

Eduardo di Capua

B

¢ * B ¸ 2

G

Cm

11 :

2

5

G

¸

D7

G

LH


I

¸

RH

LH

¢ I

Review Worksheet

Unit 5

Date _____________________

Name ________________________

1. Identify the quality of each chord by writing M for major, A for augmented, m for minor or d for diminished on the lines below the staff.

# www

? # # www

b b ∫ www

# www

b www

www

b # www

# # www

2. Using whole notes, write the indicated chord in root position, first inversion and second inversion.

B@ Major

Root

1st

E Minor

2nd

Root

1st

F Diminished

2nd

Root

1st

2nd

D Augmented

A@ Major

Root

Root

1st

2nd

1st

2nd

3. Using whole notes, write the appropriate inversion of each dominant seventh chord in the indicated major key.

?# V2

bb

V7

###

V4 3

bbbb

V6 5


4. Identify each major key by writing its name on the line above the staff. Using whole notes on the staff, write the triad indicated by each Roman numeral.

B B

ii

B

IV

iii

BBBBB

vii o

V

I

vi

iii

5. Identify each harmonic minor key by writing its name on the line above the staff. Using whole notes on the staff, write the triad indicated by each Roman numeral.

BB

iv

III+

B VI

ii o

vii o

V

BBBB III+

ii o

6. Transpose the following melody for B  trumpet to concert pitch and write it on the staff below with the appropriate key signature.

bb 3 j b & 4 œ. œ œ & 76 Unit 5 ■ Review

œ œ œ

˙ œ

˙ œ

œ. œ œ J

œ œ œ

œ œ œ

˙.

Unit 6

Objectives

Secondary Chords Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Sight-read and transpose music that uses secondary chords. 2. Harmonize and transpose music with secondary chords. 3. Play major and parallel harmonic minor scales and arpeggios beginning on F, using traditional fingerings. 4. Play I–ii6–I64–V7–I chord progressions in all major and minor keys. 5. Play I–vi–IV–ii6–I64–V7–I chord progressions in all major and minor keys. 6. Play solo repertoire that uses secondary harmonies. 7. Transpose melodies for E  alto saxophone to concert pitch. 8. Accompany a vocal solo. 9. Play two-part choral scores (ST and TB). 10. Perform a three-part ensemble with partners. 11. Improvise melodies from chord symbols.

Supertonic, Mediant and Submediant

The secondary triads in a key are ii, iii and vi. In the key of C major, the ii chord (supertonic) is the D minor triad, the ii chord (mediant) is the E minor triad, and the vi chord (submediant) is the A minor triad.

V 1

VV V

VVV

V

2 3 4 ii iii Supertonic Mediant

V 5

VVV

V

V

6 7 vi Submediant

8

In the key of A harmonic minor, the ii o chord (supertonic) is the B diminished triad, the III+ chord (mediant) is the C augmented triad, and the VI chord (submediant) is the F major triad.

V 1

VV VVV V

2 3 ii o III+ Supertonic Mediant

V 4

V 5

VVV V

6 7 VI Submediant

V 8

Secondary Chords ■ Unit 6

77

The ii Chord Key of C Major:

The ii chord (supertonic) is often substituted for the IV chord since the chords have two notes in common. It is frequently used in the first inversion (ii6).

VVV

VV V

F

Dm/F

IV

ii6

Key of A Harmonic Minor:

Dance

6-1

Allegretto

3

(excerpt)

*

*

5

*

E

O

B o/D

iv

iio6

VV V

VVV

Identify the key of the example. Use the indicated tempo, dynamics and articulation as you play the exercise.

Reading

5 :

Dm

2

5

3

1

ii6

*

3

5

cresc.

1

*

*

Carl Czerny (1791–1857) Op. 777, No. 8

¢

O

dim.

1

2

5

5

3

¢

1

 Transpose

to A major.

Using I, V7 and ii chords, harmonize with a waltz style accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

Harmonization

Waltz Style Accompaniment

? # # 34 œ œœ œœ

When Love Is KInD

6-2

¸ &

Ireland

Allegretto 1

9

78

5

5

4

Unit 6 ■ Secondary Chords

5

5

4

4

5

4

4

 Transpose

¸

to C major.

The iii Chord Key of C Major:

The iii chord (mediant) is sometimes substituted for the V chord since the chords have two notes in common.

www

Em

G

iii

V

www

&

Grazioso

5

1

1 3

I¢ ¢ * ¢ ¢

In

5

¢ ¢ * * ¢ ¢

5

2

1

2

¸

1

¸

2 5

I¢ ¢

3

¢

¢ ¢ *

¢

1 3

iii

B B

6-4

B B 0

* ¢ ¢ * ¢ ¢

Using I, V7, IV and iii chords, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff. Broken Chord Accompaniment

Allegretto

Ludwig Schytte (1848–1909) Op. 160, No. 14

1 5

Harmonization

B B ¸

V

c Major

I¢ ¢ ¢ ¢ * ¢ ¢ *

5

1 3

9

# www

& # www

(excerpt)

¢ ¢ * * ¢ ¢

* ¢ ¢ O * ¢ ¢ 1

E

III+

etuDe

6-3 1

C+


Reading

5


¸

¸ ¸

1

2

1

1

3

1

¸¸

¸

England

¸

2

¸

¸


79

The vi Chord Key of C Major:

&

The vi chord (submediant) is often substituted for the I chord since the chords have two notes in common.

ww w

ww w

Am

C

vi

I


ww w

www

&

F

Am

VI

i


Reading 6-5

Andante

B 0 B ¸ 5 2 1

5

5 :

B B ¸ 5 3 1

1

4 2 1

¸ 5 2 1

5

¸

¸

5 3 1

4 2 1

¸

¸

1

2

5 2 1

¸¸ ¸ ¸

 Transpose

Harmonization

Harmonize with a block chord accompaniment. Block Chord Accompaniment

6-6

Moderato E

bb 2 b & 4 œ œ œ œ f 2

b &b b œ œ œ œ Cm 2

A /E 

œœœœœ

Fm/C

œn œ œ œ œ

? b 2 œœœ bb4

B 7/D

œ œ œ œ

B 7

œ œ œ œ


to G major.

œœœ

E

Russia

œœœœœ

E

œœœœœ

 Transpose

80

1

vi

5 

5 3 1

to F major.

Playing Major Scales and Arpeggios F Major

¸ B ¸ B 6-7

1

2

3 4

1

5

4

3

1

2

2

3

1

3

2

1

B 1

3

4

4 3

2

1

3 2

4

1

B B BB BBBB

3

1

2

5

1

1 2 3 4

1

2

4 3 2

1

3 2

5

6-10

BB B B 1

2

3

B B B B 5

4

2

3 1

1

1

1

4 3 2

1

1

2

3

1

4

2

2

3

3 4

2 1

¸ 5

¸ 1

1

3

4

1

3

2

2

3

2

1

3 2

1 4

3 2 1

3 4

1

2

1 2

3 4 5

4

1

2

1

• RH: 1 2 3 • LH: 5 4 2

1

¸

4

2

1

¸

4

5

•• • 12341234 •• • 14321321

4 3 2

1

3 2 1 4

3

2

1

2 3 4

1

2

1 2

3

4

5

3

2

2

3

• 1235 • 1421

1

2

3

M ¸ M ¸

3 2 1

2 3 1

5

3

1235 1421

•• • RH: 1 2 3 4 1 2 3 •• • LH: 5 4 3 2 1 3 2

M ¸ M M M ¸ M M 4 2 3

2

F Harmonic Minor 6-9

4

¸

2

• 12341234 • 14321321

¸ ¸

RH: 1 2 3 LH: 5 4 2

5

2

1

¸

3

2

1

B 5

3

4 2 3

1

6-8 2

2

4

• RH: 1 2 3 4 1 2 3 • LH: 5 4 3 2 1 3 2

4

1

3

2

1

2

4

1

¸ ¸ 5


81

Playing the I–ii6–I64 –V7–I Chord Progression

Play the I–ii6–I6 –V7–I chord progression exercise: 4

6-11

Key of F Major

Key of C Major

5 2 1

¸ 5

¸¸ ¸ ¸

¸¸ ¸ ¸

ii6

I6 4

¸¸ ¸ ¸

5 2 1

I

¸¸ ¸

V7

I

1

ii6

I6

¸¸ ¸ ¸

¬

1

ii6

I6 4

Key of C Major

¬

¸

¸¸ B ¸¸¸ ¸ ¸ ¸

¬

V7

I

¸¸ ¸ ¸

¸¸ ¸ ¸

¸¸¸ ¸

¸¸ ¸

I

ii6

I6

V7

I

4

¬

¸

¸¸ ¸ ¸

I

¸¸ ¸

4 2 1

2

5

I

¸¸ ¸

V7

4

¸¸ B¸ B¸ 5 2 1

5 2 1

¬

¸

4 2 1

2

5

¸¸¸ ¸

¸¸ ¸¸ ¸ ¸ ¸ ¸

Key of G Major 5 2 1

4 2 1

1

2

I

¸¸ ¸ ¸

7

¸¸ ¸

5 2 1

¬ ¬

¬

¸


1. D

G

A

D

major

6-16

5. A

D

6-13

2. E

A

B

E

major

6-17

6. B

E

6-18

7. C

F

3. D 

6-14

4. E 

6-15

G A

A  D  major B

E  major

8. B 

6-19

9. C 

6-20

E

F

E

F

A

harmonic minor

B

harmonic minor

C

F

B

harmonic minor

G

harmonic minor

G  C  harmonic minor

Technique 6-21

5 2 1

¢ & ¢ Moderato

5

5

3

¢

1

82

¢ ¢

5

3

1

5 3 1

¢ ¢

¢

¢

5

3

1

5 2 1

¢

¢ ¢  Transpose


¢

5 3 1

¢

¢

¢

5

3

1

to B  major and D major.

Playing the I–vi–IV–ii6 –I 64 –V7–I Chord Progression

Play the I–vi–IV–ii6–I6 –V7–I chord progression exercise: 4

6-22

Key of C Major 5 2 1

5 3 1

¸¸¸ ¸¸¸ ¸ ¸ 1

Key of G Major

¸¸ ¸ ¸

9

¸¸ ¸ ¸

5 2 1

5 3 1

1

3

I

¸ ¸

¸¸ ¸¸ ¸ ¸ ¸ ¸

¸¸ ¬ ¸

IV

I6

1

5

5

vi

vi

Key of F Major

4 2 1

5 2 1

¸¸ ¸¸ ¸ ¸

3

I

5 2 1

5 3 1

2

ii6

¸¸ ¸¸ ¸ ¸ 5 2 1

¸ ¬

V7

4

¸ ¸

¸¸ ¸ ¬

5

1

5

5 2 1

2

IV

ii6

4 2 1

I6

¸ ¬

V7

4

I

¸ B ¸¸¸ ¸¸

¸¸ ¸ ¸ 5 3 1

1

I

¸¸ ¸¸ ¸ ¸ ¸ ¸

5 3 1

¸¸ ¸ ¸

5 2 1

5

vi

2

IV

¸¸ B ¸¸¸ ¸ ¸ ¸

¸¸ ¬ ¸

1

5

5 2 1

B¸ ¸

3

I

5 2 1

5 3 1

ii6

I6 4

Key of C Major

4 2 1

¸ ¬

V7

I

¸¸ ¸ ¸

¸¸ ¸ ¸

¸¸ ¸¸ ¸ ¸ ¸ ¸

¸¸ ¸¸ ¸ ¸ ¸ ¸

¸¸ ¸

I

vi

IV

I6

I

ii6

¬

¸

V7

4

¬


1. D

G A

D

major

6-27

5. A

D E

6-24

2. E

A B

E

major

6-28

6. B

E

6-29

7. C

F

6-25 6-26

3. D  G  A  D  major 4. E  A  B  E  major

A

harmonic minor

F B

harmonic minor

G

8. B  E  F

6-30

C

harmonic minor

B  harmonic minor

9. C  F  G  C  harmonic minor

6-31

Technique 6-32

5 2 1

Moderato

¢ & ¢ 5

5

3

¢ ¢

1

¢ ¢

5 3 1

5

3

¢ ¢

1

¢ ¢

5 2 1

5

3

¢

1

¢

 Transpose

5 3 1

¢ ¢ 5

3

1

¢

¢

to B natural minor and G natural minor. Secondary Chords ■ Unit 6

83

S olo Repertoire

Before playing: •Find the RH measures that have broken chords. •Block and name these chords. While playing: •Listen for an even sound on the RH sixteenth notes.

MInuet

6-33

& * Moderato

4

6 :

*

1

12 :

E

5

I 3

B 1

*

4

3

I cresc.

3

5

1

1

3

3

L

3


* 1

2

3

1

3

5

2

& *

1

1

4

84

1

2

1

1

2

2

1

3

:

23 :

*

1

*

B & O & I * M B * * 2

1

18

*

2

Domenico Scarlatti (1685–1757) K. 73b; L. 217

1

1

I 1

c Major

* 1

1

In

B B *

O * 5

1

2

cresc.

I

4

2

1

1

*

1

1

5

* 1

E 1

2

3

2

The E  alto saxophone sounds a major sixth below the written note.

Transposing Instrument: E  Alto Saxophone

When these instruments play


&

44 œ œ œ œ ˙

b & b b 44 œ œ œ œ ˙

Transpose the melodies for E  alto saxophone to concert pitch.

LuLLaby

6-34

1. 0 Andante

9 :

John Kinyon and John O’Reilly

“Lullaby” from YAMAHA SAXOPHONE STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc.

poMp 6-35

C ¸ 2. E

Andante

6

¸ E

¸

¸

¸

1.

anD

¸ V * *

cIrcuMstance

¸

2.

¸

Edward Elgar (1857–1934) Arr. John O’Reilly and Mark Williams

V

¸ &

I ¸¸ *

div.

* * I ´

“Pomp and Circumstance” from ACCENT ON ACHIEVEMENT E  Alto Saxophone Book 1 by John O’Reilly and Mark Williams Copyright © MCMXCVII by Alfred Publishing Co., Inc.


85

1. Play the vocal line.

Vocal Accompaniment

2. Play the accompaniment while the teacher or other class member sings or plays the vocal line.

It’s autuMn, aLL rIght (excerpt)

6-36

Marti Lunn and Lois Brownsey

Gently

x

C

¸

O

chill

(There’s a chill)

C

¸ ¸

¸

9 :

¸

green

¸ ¸ 86

(Fields of green)

¸

in

the

Dm

¸¸

¸

¸

air.

(in the air.)

But - ton

¸¸

¸

turn to

gold

up

(turn

to

gold)

¸

and

¸

and take

(But - ton up)

care.

Fields of

(and take care.)

¸

¸¸

I the sto - ry’s

told.

G

I ¸

C

¸

¸

so

¸

V

“It’s Autumn, All Right” from THE BIG YELLOW SCHOOL BUS by Marti Lunn and Lois Brownsey Copyright © MCMXCI by Alfred Publishing Co., Inc.


C

Dm

¸¸

¸¸

¸¸

C

G

¸ ¸

Dm

G

¸

¸

¬

There’s a

¸ ¸ 0 ¸ 5 :

x

x

0

¸


Choral Score Reading for Soprano and Tenor (ST)

1. Soprano (RH) alone. 2. Tenor (LH) alone (one octave lower than written). 3. Soprano (RH) and tenor (LH) together.

song

Majestically, in two

S

T

$ ¸ & $ &

¸

T

¸

5 :

S

¸

¸

¸

& ¸ B

Yo

¸

¸

¬ ¬

1. Tenor (RH) alone (one octave lower than written). 2. Baritone (LH) alone. 3. Tenor (RH) and Baritone (LH) together.

¸

Yo - ho - ho!

¸

¸

Yo - ho!

Yo

-

ho!

I

Mary Donnelly and George L. O. Strid

I

-

py as

can

be.

Hap

-

py as

can

be.

¸

Hap

¸

excerpt)

¸

Yo - ho - ho!

ho!

¸

¸

-

5

B


Yo - ho - ho!

B

V

(aDapteD

& B

B

¸

the pIrate’s LIfe

Spirited

T

Jay Althouse

¸

“Song of Joy” by Jay Althouse from ALFRED CHORAL DESIGNS Copyright © MCMXCIII by Alfred Publishing Co., Inc.

6-38

B

¸

¸

V

Choral Score Reading for Tenor and Baritone (TB)

T

of joy

(excerpt)

6-37

¸

V

Yo - ho - ho!

The

pi - rate’s

life

for

me.

Yo

The

pi - rate’s

life

for

me.

¸

-

ho!

V

“The Pirate’s Life” by Mary Donnelly and George L. O. Strid from ALFRED CHORAL DESIGNS Copyright © MMVII by Alfred Publishing Co., Inc. Secondary Chords ■ Unit 6

87


Play the three-part ensemble using the indicated chords to complete part 3. Part 1: Part 2: Part 3:

battLe hyMn

Melody Countermelody Two-hand accompaniment

of the

repubLIc

6-39

United States

Slow march tempo

b œ . œœ . œ œ œ . œ . . œ œ . œ œ . & b 44 œ œ . œœ . œ œ . œ œ . œ œ œ . œœ . œœ œ . œ œ œœ F 3

Part 1

1

23


b4 & b 4 Œ œ . œœ œ œ ˙ F 1

Part 2

œ œ Œ œ

2

3

B

b & b 44 Œ Œ œœ Fœ ? b b 44 Œ œ Œ

Part 3

5 3 1

5

5 

1

2

3

&

bb

b &b

œ. œ œ. œ œ. ˙ œ. œ œ œ œ 3

b &b ? bb 88


œ . œœ œ œ ˙ 5 3 1

Œ œ œœ œ Œ

Ó

œœ œœ œ œ

œ

œ

œ œ

B

Ó

2

. œ œ. œ œ. œ œ œ œ œ

1

3

œœœ œœœ

2 3

œ Œ œ œ

1

E

3

˙.

œ œ œ œ

Œ (5) 2 1

œ œ œ œ œ œ ˙ . œœ œœ Œ Œ 5

1

3

Cm/E 

B /F F 7 5 3 1

œœœ œœœ œœ œœ œ œ œ œ œ œ

5 3 1

5 4 1

B

Œ œ œ Œ œœ œœ œ Œ Ó

9 

1

2

3

& œ . œj œ . œ œ . œ ˙ f &

2

3

bb

&b

b

? bb

13 

1

bb

&

bb

b &b &b

b

? bb

3

˙ f

œ. œ œ œ œ ˙

˙

j œ. . œ œ œ. œ ˙ œ

˙

2 3

3

1

˙

3

˙

˙ œ. œ œ œ œ

˙

1

3

E

B

f

˙ . œ . œj œ . œ œ œ 3

˙

œ œ

2 3

˙

œ. œ œ œ œ œ œ 3

˙.

œ œ œ œ rit.

œ œ œ œ œ œ ˙Œ . œœ œœ rit. 1

3

Cm/E 

B /F F 7

rit.

B

˙˙˙ ...

œ œ œ


89

Using the chord progressions below, improvise RH melodies while the LH plays the suggested accompaniment style. (First play the LH chord progression using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.


Rules for improvisation: 1. When the tonic chord is used, play mostly scale tones 1, 3 and 5 in the melody. 2. When the dominant chord is used, play mostly scale tones 2, 4, 5 and 7 in the melody. 3. When the subdominant chord is used, play mostly scale tones 1, 4 and 6 in the melody. 4. When the supertonic chord is used, play mostly scale tones 2, 4 and 6 in the melody. 5. When the submediant chord is used, play mostly scale tones 1, 3 and 6 in the melody. 6. When the mediant chord is used, play mostly scale tones 3, 5 and 7 in the melody. 7. Most improvisations begin and end on tonic. 8. The ear should always be the final guide in determining which melody notes to play.

? b 43 œ œ œ


6-40

Key of D Harmonic Minor

B

B

¸

III+

i

¸

5

¸

iv

ii o6

iv

I

V7

2. Alberti Bass Accompaniment

6-41

¸ V

¸ i

œ œ œ ? # 44 œ

Key of G Major

5

90

G

C/G

¸


Am/C

G

¸

¸

D7

D7/F

G

G

V

¸

Unit 7

Objectives

Seventh Chords Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play five types of seventh chords and inversions. 2. Play diatonic seventh chords in major and natural minor keys. 3. Play major and parallel harmonic minor scales and arpeggios beginning on B, using traditional fingerings. 4. Perform solo repertoire that uses seventh chords. 5. Sight-read music that uses seventh chords. 6. Harmonize melodies with seventh chords. 7. Improvise melodies from chord symbols. 8. Transpose melodies for E  alto saxophone to concert pitch. 9. Play two-part choral scores.

Seventh Chords ■ Unit 7

91

Seventh Chord Review

A seventh chord may be formed by adding to the root position triad a note that is a seventh above the root. Seventh chords in root position look like this:

www w

LINE LINE LINE LINE

7th 5th 3rd ROOT

www w

SPACE SPACE SPACE SPACE

OR

7th 5th 3rd ROOT

There are five types of seventh chords: Major Seventh

Dominant Seventh

? wwww

? b wwww

Cmaj7

Minor Seventh

Half-Diminished Seventh

Diminished Seventh

? bb wwww

? bbb wwww

Cdim7 or Co7

Major Triad Major Seventh

Minor Triad Minor Seventh

Major Triad Minor Seventh

Playing Five Types of Seventh Chords

Cm7(  5)

Cm7

C7

? b b∫ wwww

Diminished Triad Minor Seventh

Diminished Triad Diminished Seventh

Play the following seventh chord exercise hands separately. Use fingers 1 2 3 5 for the RH and fingers 5 3 2 1 for the LH. Then, play this exercise starting on other keys.

7-1

Cmaj7

1

5

7

Cm7(@5)

2

3

3

¸¸ ¸¸ ¸¸ ¸¸

5

2

1

B B B B B B 1

5

92

2

3

3

2

Unit 7 ■ Seventh Chords

5

1

¬ ¬

B BB ¸¸¸¸ B BB ¸¸¸ ¸

C7

B B ¸¸¸ ¸ B B ¸¸¸ ¸ 1

5

2

3

¬ ¬

3

2

Cm7

B BB ¸¸¸ B ¸ B BB ¸¸¸ B ¸

¬

5

1

¬

1

5

Co7

{ B B B { B 1

5

2

3

3

2

5

1

2

3

3

2

5

1

B B{ ¸¸¸¸

B B{ ¸¸¸ ¸

¬ ¬

¬ ¬

Playing Seventh Chords and Inversions

Play these seventh chords with the RH. Then play one octave lower with the LH.

7-2

1.

F maj 7

¸¸ ¬ ¸¸

RH

1

5

LH

2

3

3

2

5

1

7-3

2. RH

1

5

LH

2

3

3

5

2

1

7-4

¸¸¸ ¬ ¸

Dm 7

¸¸¸¸ ¬

RH

3.

G7

1

5

LH

2

3

5

3

2

1

7-5

Bm7( @ 5)

¸¸ ¸¸ ¬ 4. RH

1

5

LH

2

3

3

2

5

1

7-6

1

5

2

3

4

5

2

1

F maj7/A

¸¸¸ ¬ ¸

G 7/B

¸ ¸¸¸ ¬ 1

5

2

4

5

3

2

1

1

2

4

5

5

3

2

1

1

2

5

3

4

5

2

1

Dm 7/F

¸¸¸¸ ¬

Bm7( @ 5)/D

¸¸¸ ¸ ¬

¸ ¸¸¸ ¬

¸¸¸ ¸ ¬

G /F ¸ ¸¸¸ ¬

1

5

2

3

3

2

1

2

3

5

3

2

5

F maj7/C

1

5

G7/D

1

Dm 7/A

¸ ¸¸¸ ¬ 1

2

3

5

5

3

2

1

Bm7( @ 5)/F

¸ ¸¸¸ 1

5

2

3

3

2

5

1

¬

E o 7/B @

1

2

5

4

1

2

5

4

3

2

3

2

5

1

5

¸¸ ¸¸ ¬

F maj7/E

7

1

Dm 7/C

¸¸¸ ¸ ¬ 1

2

3

5

4

2

5

1

1

2

5

4

3

2

5

Bm7( @ 5)/A

¸¸ ¸¸

1

¬

E o 7/D @

B B ¸¸¸ ¸ ¸ ¸ B BB¸¸ ¬ B B B B¸¸ ¬ B B B B¸¸ ¬ B B¸ ¬ B 5. ¸ ¸ ¸ RH

LH

Eo7

1

2

5

3

3

2

E o 7/G

5

1

1

5

2

3

4

5

2

1

1

5

2

3

3

2

5

1

1

2

5

4

3

2

5

1


93

Playing Diatonic Seventh Chords of the Key

Seventh chords may be built on any note of any scale. The sharps or flats in the key signature must be used when playing these chords. Play diatonic seventh chords of the key in C major.

7-7 5 3 2 1

1.

VVV V

C maj7 I7

5 3 2 1

VV VV

Dm7 ii7

5 3 2 1

VV VV

2.

1 2 3 5

VV VV 1 2 3 5

VVV V

VV VV

VVV V

VVV V

Em7 iii7

F maj7 IV7

G7 V7

Am7 vi7

Bm7( @5) vii o7

C maj7 I7

VV VV

VV VV

VV VV

VVV V

VVV V

VV VV

7-7

VV VV

VV VV

etc.

etc.

1 2 3 5

 Transpose to F major and G major.

Play diatonic seventh chords of the key in A natural minor. 7-8 5 3 2 1

1.

VVV V

Am7 i7

7-8

2.

VVV V 1 2 3 5

5 3 2 1

5 3 2 1

etc.

Bm7( @5) ii o7

C maj7 III7

Dm7 iv7

Em7 v7

VVV V

VV VV

VVV V

VVV V

VV VV

1 2 3 5

VV VV

1 2 3 5

VV VV

etc.

VV VV

VVV V

VV VV

F maj7 VI7

G7 VII7

Am7 i7

VVV V

VVV V

VVV V

VVV V

 Transpose to D natural minor and E natural minor.

94



•• ••• RH: 1 2 3 1 2 3 4 •• ••• LH: 4 3 2 1 4 3 2

B Major

•• ••• 12312345 •• ••• 13214321

¸ ¸ ¸ ¸

7-9

1 2

3 1

1

2 4 3

2 3 4 1

2

4 3 2

3

7-10

1

2

5 4 3 2

2

1

4

3 2 1

1 2 3

¸

3

1

1

4

1 2

2 1

4

3 1

2 3 4 1

5

¸

2

3

1 3

3 2 1

3 2 1

2 3 4

•• •• RH: 1 2 3 1 2 3 5 •• •• LH: 5 3 2 1 3 2 1

5

3

2

2

3

5

1

5 3 4

3 1 2

3

2

1

1

1

2

•

2

1

¸

1

3

•

3

•

2

¸

3

5

• • • 12312345 • • • 13214321

B Harmonic Minor RH: 1 2 3 1 2 3 4 • • • LH: 4 3 2 1 4 3 2

¸ ¸ ¸ ¸

7-11

1

2 3

1

2 3 4

1

2

2

1

2

1

3

3

4

4

3

7-12

1

5

2

4

3

2

1

1

2

4

3

1

2

3 4

5

5

4

3

2

1

3

2

1

4

3

2

1

3

2

1

2

1

4

3 2

1

1

2

3

4

1 2

3

1

2

3

4

1

2

3

4

3

2

¸ 5

• RH: 1 2 3 • LH: 5 4 2

5

¸

1

1

3

2

• 1235 • 1421

2

4

1

1

3

2

2

4

1

¸ ¸ 5


95

Before playing:

S olo Repertoire

•Name the seventh chords in the first three measures. While playing: •Listen for clear pedal changes. •Play the RH a little louder than the LH.

Seventh Street BlueS 7-13

Martha Mier Slowly, wistfully (B = 88) (even eighths)

3 1

3 1

1 3

1 3

a tempo

3

¸¸

9

3

1 3

¸ ¸

3 1

V 0 B VV

B

V

¸¸

¸¸

V

1 3

¸

B ¸¸

¸¸

B ¸¸

¸¸

B

B ¸¸

¸¸

B B ¸¸

&V VV

B VVV

2 3

2

5

VV

13 3

V S poco rit. V3V

1 3

¸

1 5

B

1

¸ VV V


1

¸¸

O ¸ B ¸

3

“Seventh Street Blues” from JAZZ, RAGS & BLUES, Book 1, by Martha Mier Copyright © MCMXCIII by Alfred Publishing Co., Inc.

96

3

3 1

¸¸ ¸¸

1 5

1 5

3 1

¸¸ ¸¸

¸¸ ¸¸

¸¸ O ¸¸

5

3 1

¸ B ¸¸ B B ¸¸ ¸ B¸

17

0V VV

21

a tempo

3

& ¸¸

1 5

25

3

¸¸

29

1

¸ ¸

5

B B VVV

¸

B ¸¸

¸¸

¸ B¸

¸ ¸

¸ ¸

¸ ¸

1

¸

1

¸ VVV

5 2

¸¸ rit. ¸¸ ¸¸ ¸ 2 4

¸

B

B ¸¸

¸¸

V

¸¸

¸¸

V

5

B B ¸¸

2

B¸ B¸

B

B

VV

¸

rit.

¸¸

B B ¸¸

¸¸

¸¸

¸¸

3

¸¸ O 3¸ ¸ 3 1

1 3


97


Reading

7-14

Moderato

& ¸¸ ¸¸ 2

1

1.

3

5

3

¸

¸

1

* 1

4

1

5

1

¸¸¸ ¸

1 2 3 5

¸¸¸ ¸ 2

1

1

4

¸¸¸ ¸

1 2 3 5

5 :

*

5

2

¸¸ ¸¸

¸¸¸ ¸

Chorale (exCerpt)

7-15

Ludvig Schytte (1848–1909)

Lento

¸ ¸ 0 ¸¸ 3 1

2.

2 4

5 :

5 3

¸¸

¸ ¸ 1 5

98


3 1

¸¸ ¸¸

3 1

2 1

¸¸ ¸¸

4 1

¸¸ ¸ ¸

1 5

¸ ¸ ¸¸

¸¸

¸¸ ¸ ¸

¸¸

VV VV

V VV 2 4

7-16

Moderately slow

C O¸ C ¸¸ 5

3.

¸

1 3 5

5 :

¸¸ ¸

¸

5

1 3 5

¸¸ ¸

¸¸ ¸

¸¸ ¸

¸

¸

5

5

1 3 5

5

¸¸ ¸

rit.

5

¸ ¸¸

¸

V ¸ ¸¸

¸

œ œ œ œ ? # 24 œœ œœ œœ œœ

1. Harmonize with a block chord accompaniment.

Harmonization

Block Chord Accompaniment

rondo

a

CapriCCio

Rage OveR a LOst Penny (adapted exCerpt)

7-17

Allegro vivace G

E 1

2

4

D 7/F

D 7/F

* ¢ 5

Ludwig van Beethoven (1770–1827) Op. 129 G

* ¢

4

2

1

B 7/D

*¢ *¢ & Em A D G 13 : E

7 :

G

Em 5

3 1

7

5

19 :

D 7/F

M 5

3

5

1

1

G

1

2

4

1

D 7/F

2

4

5

G

 Transpose to F major. Seventh Chords ■ Unit 7

99

Harmonize each melody below in two ways:

Harmonization

• Using the bottom note of each indicated seventh chord or inversion.

(continued)

•Using the indicated seventh chords or inversions. 7-18

Jazz waltz

Cdim7

C m7

B B ¸ 0 BB

2.

: 5

¸

1

C m7

BB

1

¸

¸

¸

1

G7/B

¸

B @maj7

F7/C

2

BB

B @maj7

1

¸

¸

7-19

Lilting

G maj7

& 4

3.

5 :

100

*

G maj7

E m7 1

I

E m7


A m7/C

A m7/C

*

D7

D7

G maj7

I

Using the chord progressions below, improvise RH melodies while the LH plays the suggested accompaniment style. (First play the LH chord progressions using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.


œ ? ## 6 œ œ œ œ œ 8

1. Broken Chord Accompaniment 7-20

Key of D Major D maj 7

5 :

D maj 7

I

F m7

I

Em7

Em7

A 7/C

A 7/C

D maj7

¸

œ œ œ ? b 4 œœœ œœœ œœœ b 4


œœœ œ

7-21

Key of B@ Major

B B 5 :

B

B

E @maj7

D @ dim 7

E @m 7

I

Cm 7

¸

¸

Dm7

F 7/C

I

D m 7 ( @ 5)

¸

¸

B @maj 7

V


101

The E  alto saxophone sounds a major sixth below the written note (see page 85).

Transposing Instrument: E  Alto Saxophone

Transpose the melodies for E  alto saxophone to concert pitch.

MarCh 7-22

Moderato

1. C 5

E

&

´ * E 9

of the

toreadorS

¸

Georges Bizet (1838–1875) Arr. John O’Reilly and Mark Williams

¸

¸

V

´ *

¸ ´ *

¸

¸

haBa~ nera (froM CaRmen)

Georges Bizet (1838–1875) Arr. John O’Reilly and Mark Williams

7-23

B 0 Moderato

2.

I 5

I I M I M

I B *

¸ O

B

I ´

“March of the Toreadors” and “Haba~ nera” from ACCENT ON ACHIEVEMENT E  Alto Saxophone Book 2 by John O’Reilly and Mark Williams Copyright © MCMXCVIII by Alfred Publishing Co., Inc.

102


The tenor voice sounds one octave lower than written.

Choral Score Reading for Tenor and Bass (TB)

T

B

1. Tenor (RH) alone (one octave lower than written). 2. Bass (LH) alone. 3. Tenor (RH) and bass (LH) together.

Sieh,

7-24

1.

Practice the choral scores in the following ways:

O¸ B B B O¸ BBB Grazioso

froM

¸

B B ¸ ¸ ¸ B ¸ M¸ B¸ B BB

B

2. T

0 B B B B ¢ *

4

T

(adapted

I’m goin’ to heav - en, want to

BBBB

B

x

BBBB

dressed in

¸

¸

¸

¸

¸

¸ M

¸

WitneSS?

I

it

¸

¸

exCerpt)

I

do

a

¸

¸

¸

¸

right.

x

Traditional Spiritual arr. Donald Moore

x

0 B ¢ *

I’m goin’ to heav - en, I’ll be

E ¢ ¢ * * Who’ll be there to meet me? Who’ll be there to greet me? EWho cresc. ¸ M¸ B¸ M ¢ *

x

B B BB *

B¸

¸ B

With a driving beat

B

¸

Who Will Be

7-25

Johannes Brahms (1833–1897) Op. 52, No. 14

¸ B B¸

¸

9 :

T

LiebesLiedeR WaLtzes)

¸

¸

Welle Klar

Wie iSt die

(exCerpt

cresc.

*

white.

Who?

Who

7

T

B B BB B B BB will

B

will

be

be

a

a

wit

wit

-

-

¸

¸

V

ness,

O

my

Lord?

ness,

¸

¸

Lord?

O

“Who Will Be a Witness?” by Donald Moore from ALFRED CHORAL DESIGNS Copyright © MMVII by Alfred Publishing Co., Inc.

my

V


103

Unit 8

Objectives

The V7/V and V7/IV Chords Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play and resolve V7/IV and V7/V chords. 2. Play I–V7/IV–IV–V7–I chord progressions in selected major keys. 3. Play I–V7/V–IV–V7–I chord progressions in selected major keys. 4. Play C7, F7 and G7 arpeggios. 5. Play major and parallel harmonic minor scales and arpeggios beginning on G  (F ), using traditional fingerings. 6. Perform solo repertoire that uses the V7/IV and V7/V chords. 7. Sight-read and transpose music that uses the V7/IV and V7/V chords. 8. Harmonize and transpose melodies with V7/IV and V7/V chords. 9. Create a two-hand accompaniment from letter symbols. 10. Improvise melodies from chord symbols. 11. Transpose a melody for B  clarinet to concert pitch. 12. Play a two-part instrumental score for flute and E  alto saxophone. 13. Play a three-part choral score (SSA). 104 Unit 8 ■ The V7/V and V7/IV Chords

Secondary Dominants

A dominant seventh chord (major triad with a minor seventh) built on a scale degree other than the fifth (dominant) is called a secondary dominant. It resolves to the triad a perfect fourth higher or a perfect fifth lower. Play the following exercises that use secondary dominants.

Key of C Major

B ¸¸¸¸

8-1

V7

1.

C7

of IV

1 2 3 5

8-2

¸¸¸¸

D7

V7 of V

1 2 3 5

2.

V7/IV

V7/V

¬

1 3 5

¬

¸¸¸ ¸

1 3 5

IV

¸¸ ¸

¬

V

¸¸¸

B ¸¸ ¸

¸¸¸

C 7/E

F

1 2 5

IV

F

V6 /IV

IV

D 7/F 5

¸¸ ¸

G

1 2 5

V

¸¸ ¸

¸¸ ¸

G

V6 /V

V

5

¬ ¬

Play the I–V7/IV–IV–V7–I chord progression.

C

5 2 1

¬

G

Playing the I–V7/IV–IV–V7–I Chord Progression 8-3

¸¸¸

F

C7

5 4 1

F

B ¸¸¸

5 3 1

¸

5

I

V7 /IV

¸¸¸ ¸

G7

4 2 1

IV

M ¸¸¸ ¸

C 5 2 1

VV V V

V7

I

Practice the above progression in the following keys:

¸¸¸ ¸ C

5 2 1

5

I

1. G major

8-6

8-5

2. D major

8-7

3. B  major 4. E  major

Play the I–IV–V7/V–V7–I chord progression.

Playing the I–IV–V7/V–V7–I Chord Progression 8-8

8-4

F 5 3 1

¸¸¸ ¸

D7

5 3 1

¸¸¸ ¸

IV

V7/V

G7

4 2 1

M ¸¸¸ ¸ V7

C 5 2 1

VV V V I

Practice the above progression in the following keys: 8-9

1. G major

8-11

8-10

2. D major

8-12

3. B  major 4. E  major

The V7/V and V7/IV Chords ■ Unit 8 105

Playing Dominant Seventh Arpeggios

bœ œ œ œ

8-13

& 44 œ œ œ b œ ?4 4 bœ œ œ œ

C7

1.

1

3

2

4

1

1

bœ 4 œ œ &4 œ

2.

2

1

? 44

3

1

4

4

3

2

3

1

2

8-15

& 44

G7

3.

? 44

1

5

3

2

3

4

3

2

3

1

2

4

3

w

4

5

w

4

3

1

w

1

2

3

5

w

4

3

1

4

1

œ bœ œ œ 1

w

œ œ œ œ

5

5

w

2

3

4

3

1

2

3

1

w

2

3

w

4

5

4

3

2

1

w

œ bœ œ œ

4

1

2

1

4

3

w

4

5

œ œ œ œ

2

œ œ œ œ

1

2

œ bœ œ œ

2

1

3

4

œ bœ œ œ

œ bœ œ œ

5

2

œ bœ œ œ

2

œ bœ œ œ

1

2

4

œ bœ œ œ

5

2

œ œ œ œ

œ œ œ œ 3

4

œ œ œ œ 1

4

œ œ œ œ 4

4

bœ œ œ œ

bœ œ œ œ 5

3

bœ œ œ œ

8-14

F7

2

bœ œ œ œ

2

3

4

5

Practice the dominant seventh arpeggios hands separately.

3

2

1

w

œ œ œ œ

4

1

2

3

w

4

5

Technique 8-16

Lively

0 9 : 1

1.

1

5

3

5

3

4

1

1

5

4

5

1

3

5

1

4

5

B

 Transpose

8-16

to A harmonic minor.

B 2. & 9 : Lively

5

5

3

5

1

3

1

5

1

2

2

5

3

1

5

2

1

1

106 Unit 8 ■ The V7/V and V7/IV Chords

 Transpose

to A harmonic minor.

G  Major (enharmonic to F  Major)


••• •• RH: 2 3 4 1 2 3 1 ••• •• LH: 4 3 2 1 3 2 1

8-17

••• •• • 23412312 ••• •• • 43213214

œœ˙ œœœœ œœ œ œ œ œœ œœ œœ œ œ œ œœ œœ˙ œ œœœ ? bb b b 4 œœ˙ œœœœ œœ œ œ œ 4 œœ œœœ bb œœ œ œ œ œ œ œœ˙ œœœ bbb4 b & bb 4

2 3 4 1

2 1 4 3

2 3 1 2

3 4 1 2

2 3 1

2 1 3 2

1 4 3 2

1 4 3 2

3 2 1

2 1 4

4 1 2 3

1 2 3 4

3

••• RH: 1 2 3 ••• LH: 5 3 2

8-18

b & b b b b b 43 ? bbb3 bbb 4

1

2

œ œ œ 5

2

˙.

3

1

2

2

œ œ œ 3

2

œ œ œ

1

1

3

2

F  Harmonic Minor

•• • RH: 3 4 1 2 3 1 2 •• • LH: 4 3 2 1 3 2 1

### 4 & 4 ? ### 4 4 8-19

4

3

2

1 2 3 1

2

3

4

•• •• 1235 •• •• 1321

5

5

3

œ œ œ

œ œ œ 3

˙.

œ œ œ 1

3

1 3 2 1

1

œ œ œ 3

2

œ œ œ 1

2

3

1

˙. ˙. 5

•• • • 34123123 •• • • 43213214

#œ ˙ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œœ # œ œ œ œœ œœ˙ œœœœ #œ ˙ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ # œ œ œœœ œ œ œ˙ œœœœ 1 3 4 2

3

4 3 2 1

3

### 3 & 4 œ œ œ ? # # # 43 œ œ œ 8-20

4

2

1

1

2

4

3

1

2

2

1 4

3 1 2

4

3 2

1

3

œ œ œ 4

1

2

œ œ œ

2

1

4

1

2

2

1

˙. 4

˙. 2

3

4

3

2

4

1

1

2

• • RH: 4 1 2 • • LH: 2 1 4

3

2 1 4 3

1 2 3 4

3

2

1

œ œ œ 2

1 4 3

1 2 3 1

2 3 4

• •• 4124 • •• 2142

œ œ œ 4

2 1 3 2

4

1

œ œ œ 4

2

1

œ œ œ

2

4

1

4

˙. ˙. 2


Before playing:

S olo Repertoire

•Determine which hand should be prominent in each measure. •Practice the LH ornaments in measures 9–11. While playing: •Keep the tempo the same (without slowing down) in measure 14. •Clearly define the phrase structure in your performance.

Prelude

in

C Major

(Twelve liTTle Preludes)

Johann Sebastian Bach (1685–1750) BWV 939

8-21

Moderato

4 2 1

5 3 1

¸¸ I C B ¢ ¸ E & I C V ¢ V V V V V 1

3

5

2

3

2

1

2

3

5

4 2

4

V7/IV

4 3 1

5 :

¸¸¸

3

4 2 1

5 2

* ¸

1

5

3

* ¸

2

2

¸

5 3 1

V7/V

3

4

2

M ¸¸¸ cresc. E -( - - - ( ( M

9 :

1

2

2

3

2

3

2

etc.

4

2

4

1

B

13 :

1

2

3

2

5

4

1 4

V 4

3–1


3

1

5 2

¸¸

4 1

V V

5–2

V


Reading

8-22

Moderato

¸ &

¸

2

1.

5

5 :

¸

5

1 3

¸

¸

¸

1

5

5

5

¸

1 3

¸

V

V7/V

2

¸

4

1

5

1 2

1 3

5

V

¸¸

5

 Transpose

to F major.

jingle Bells (exCerPt)

8-23

B B E B B

Merrily 3

2.

5

6 :

1

James Pierpont (1822–1893)

¸

3

B B BB

5

1.

M 5

V7/V

2

5

1

2

2.

1

¸

2

 Transpose

to C major.


Reading (continued) 8-24

Andante

I

B B B &¸ ¸¸ B BB 3

3.

¸¸ ¸

B ¸¸ ¸ 1 3 5

1 3 5

¸

¸ ¸¸ ¸

1 2 5

5

V7/IV 5 :

BB B ¸¸¸ B BB 4

4

1

¸¸ ¸

1

2

1

¸ ¸¸¸

¸ ¸¸¸

1 2 5

 Transpose

to D major.

1. Using I, V7 and V7/V chords, harmonize with a broken chord accompaniment. Write the Roman numeral name of each chord on the line below the staff.

Harmonization

Broken Chord Accompaniment

? # 44 ˙

˙˙

8-25

Vivace

&

3

1

5 :

3

1

1

2

England

5

3

I 2

1

I

2

¸

¸

 Transpose


1

to A major.

2. Harmonize with a broken chord accompaniment.

? # 34 œ œ œ

Broken Chord Accompaniment 8-26

Lively

& 1

5 :

I

I

9 :

V/V7

¸

V6

V7

¸

I

¸

I

I

4

V7 /IV

¸ ¸

I

¸

3

2

¸

4

I

1

IV6

13 :

I

5

4

1

I

Mexico

¸

 Transpose

to E major.

3. Using I, V7, IV and V7/IV chords, harmonize with a block chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

? b c ˙˙ ˙ b


red river valley

8-27

Allegro

B B C E 1

5 :

B B

˙˙ ˙

3

¸

¸

5

5

¸

1

2

B

1

United States

1

2

¸

 Transpose

to C major.


Using the indicated chords, create a two-hand accompaniment for the following melody by continuing the pattern given in the first measure.

Harmonization with Two-Hand Accompaniment 8-28

Andante

B & B

F

1

: 5

B

D m7

4

¢* ¢* & 1

5 3

5

Dm

G m7

I 2

I 1

B

F

auld lang syne

3

C7

C7

9 :

B

I

1

I 2

Dm

4

Gm

C7

I

F

5

B@

Scotland

¸

I 8va ¢

B@

C7

: 13

B

Dm

I 2

3

1

G m7

A7

¸

5

I 8va ¢

F7

I

I

4

B B


Dm

B@

I 2

F

B

LH

LH

¸

I 8va ¢

C7

B@

B F

I 2

B D m7

F7

B F

F

I

I

4

1

Gm

LH

F

¸

I 8va ¢

LH



? b 2 ˙˙˙ b 4

1. Block Chord Accompaniment 8-29

Key of B @ Major B@

B B 5 :

B

E @/B @

B

F 7/A

Cm/E @

B@

B @/F

2. Waltz Style Accompaniment

B @7

B@

F7

¸

œ œ ? # 34 œ œ œ

8-30

Key of G Major

5 :

I

vi

V

vi

¸

V6 /V

V

5

V6 5

¸

¸ I


Transposing Instrument: B  Clarinet

The B  clarinet sounds a major second below the written note (see page 37). Transpose the melody for B  clarinet to concert pitch.

Colonel Bogey

8-31

Kenneth Alford (1881–1945) Arr. John O’Reilly and Mark Williams

¸to Coda® ´ *

´ ¸ * E Allegro

* ¸ ´ * ´ * ´ * ´ 5

D.C. al Coda

®

¸ * ´ ´ * ´ * ´ * Coda



“Colonel Bogey” from ACCENT ON ACHIEVEMENT B Clarinet Book 2 by John O’Reilly and Mark Williams Copyright © MCMXCVIII by Alfred Publishing Co., Inc.


A. Sx.

Fl. E@ A. Sx.

the

day is over

B ¸ ¸ B C O C O 5 : ¸ ¸ B * B & * & Andante

E@

2. Play the line for E  alto saxophone in concert pitch with the line for flute, which is notated in concert pitch.

now

8-32

Fl.

1. Transpose the line for E  alto saxophone to concert pitch.

Spiritual Arr. John Kinyon and John O’Reilly

¸

¸

¸

¸

*

*

3V

O 3 V O

“Now the Day Is Over” adapted from YAMAHA SAXOPHONE STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc.


Choral Score Reading for Soprano 1, Soprano 2 and Alto (SSA)

Practice the choral score in the following ways: 1. 2. 3. 4. 5. 6. 7.

Soprano 1 (RH) alone. Soprano 2 (RH) alone. Soprano 1 (RH) and soprano 2 (RH) together. Alto (LH) alone. Soprano 1 (RH) and alto (LH) together. Soprano 2 (RH) and alto (LH) together. Soprano 1 (RH), soprano 2 (RH) and alto (LH) together.

danny Boy (exCerPt)

Old Irish Air Arr. Julie Knowles

8-33

0 & I * 0 & I * 0 & I I Expressively

S1

S2

A

5 :

S1

S2

A

*

I

I

rit.

rit.

* ¸

* I

¸

rit.

¸

¸

I

¸

I

¸

I

“Danny Boy” arranged by Julie Knowles from ALFRED CHORAL DESIGNS Copyright © MCMLXXXIX by Alfred Publishing Co., Inc.


Unit 9

Objectives

The V7/ii, V7/iii and V7/vi Chords Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play and resolve V7/ii, V7/iii and V7/vi chords. 2. Play I–V7/vi–vi–V7/IV–IV– V7/ii–ii–ii o6–I64 –V7–I chord progressions in selected major keys. 3. Play I–V7/ii–ii–V7–I chord progressions in selected major keys. 4. Play I–V7/iii–iii–V7–I chord progressions in selected major keys. 5. Play I–V7/vi–vi–V7–I chord progressions in selected major keys. 6. Play major and parallel harmonic minor scales and arpeggios beginning on D  (C #), using traditional fingerings. 7. Play D7, A7, E7 and B7 arpeggios. 8. Perform solo repertoire that uses a V7/ii chord. 9. Sight-read and transpose music that uses the V7/ii, V7/iii and V7/vi chords. 10. Harmonize and transpose music that uses the V7/ii, V7/iii and V7/vi chords. 11. Improvise melodies from chord symbols. 12. Play a three-part instrumental score for B clarinet, E  alto saxophone and trombone. 13. Perform a four-part ensemble with partners. 14. Play a three-part choral score (SSA).

116 Unit 9 ■ The V7/ii, V7/iii and V7/vi Chords

Secondary Dominants

Play the following exercise that uses secondary dominants.

Key of C Major 9-1

V7

of vi 1 2 3 5

1.

¸¸¸¸

E7

9-2

¬

V7/vi

¸¸¸¸

A7

V7 of ii 1 2 3 5

2.

1 3 5

V7 of iii

3.

¬

¸¸ ¸

1 3 5

¸¸¸¸

1 3 5

V7/iii

vi

V6 /vi

vi

A 7/C

Dm

V6 /ii

ii

¸¸ ¸

¬

¸¸ ¸

¸¸ ¸

5

1 2 5

¸¸¸

iii

1 2 5

iii

¬

¸¸ ¸

5

Em

¬

¸¸¸

Am

1 2 5

ii

Em

¬

E 7/G ¸ ¸ ¸

Dm

ii

B7

1 2 3 5

vi

¸¸¸

Am

¬

Dm

V7/ii

9-3

¸¸¸

Am

7 ¸B¸/D ¸

¬

¸¸ ¸

Em

¬

iii

V6 /iii 5

Play the I–V7/vi–vi–V7/IV–IV–V7/ii–ii–ii o6–I6 –V7–I chord progression.

Playing the I–V7/vi–vi– V7/IV–IV–V7/ii–ii–ii o6–I6 – 4 V7–I Chord Progression

4

9-4

C

˙ & 44 ˙˙ ˙ ?4 4 5 3 1

1

I

E7

˙ # ˙˙

5 2 1

˙ 5

V7/vi

Am 5 3 1

C7 5 2 1

F

A7

5 3 1

5 2 1

˙

1

˙˙ ˙ ˙

b˙ ˙˙

1

5

vi

˙˙ ˙ ˙

V7/IV

IV

˙ # ˙˙ ˙

5 V7/ii

D o/F

C/G

G7

C

˙˙ ˙ ˙

˙ b ˙˙ ˙

5 3 1

˙˙ ( ˙) ˙

5 2 1

˙ ˙˙

5 3 1

2

1

ii

ii o6

I6

Dm 5 3 1

3

5 3 1

4

˙ 5

V7

ww w w 2

I


1. G major

9-8

9-6

2. D major

9-9

9-7

3. A major

9-10

4. F major 5. B  major 6. E  major

The V7/ii, V7/iii and V7/vi Chords ■ Unit 9 117

Playing the I–V7/ii–ii–V7–I Chord Progression 9-11

C

& 44 ˙˙˙ ?4 ˙ 4 5 2 1

Play the I–V7/ii–ii–V7–I chord progression.

A7

4 2 1

Dm

# ˙˙˙

˙˙ ˙

5 2 1

˙

5

1

˙

I

V7/ii

ii

G7 4 2 1

4

˙˙˙ ˙

C 5 2 1

ww w

1

w

V7

I


Playing the I–V7/iii–iii–V7–I Chord Progression 9-16

C

& 44 ˙˙˙ ?4 ˙ 4

1. G major

9-14

9-13

2. F major

9-15

Em

˙ # ˙˙

˙˙˙

5 3 1

5 4 1

4

G7

˙˙˙ ˙

4 2 1

˙

˙

I

3. D major

4. E  major

Play the I–V7/iii–iii–V7–I chord progression.

B7

5 2 1

9-12

2

V7/iii

iii

C 5 2 1

ww w

1

w

V7

I

5


Playing the I–V7/vi–vi–V7–I Chord Progression

9-17

1. G major

9-19

9-18

2. F major

9-20

3. D major

4. E  major

Play the I–V7/vi–vi–V7–I chord progression.

9-21

C

¸¸¸ ¸ 5 2 1

5

I

E7

5 2 1

Am

¸ ¸¸

C

¸¸ ¸ ¸

M ¸¸¸

1

2

V

vi

V7

I

5 3 1

¸

V7/vi

G7

4 2 1

¸

5 2 1

VV V 5



9-22

1. G major

9-24

9-23

2. F major

9-25

3. D major

4. E  major

D  Major (enharmonic to C # Major)

Playing Scales and Arpeggios 9-26

bb 4 b & b b4 ? bb b 4 b b4

•• • •• RH: 2 3 1 2 3 4 1 •• ••• LH: 3 2 1 4 3 2 1

œ˙ œœœœ œ œ œ œ œœœ œ œ œœ œ œ œœœ œ œ œ œ œ œ˙ œ œ˙ œœœœ œ œ œ œ œœœ œœ œ œœ œ œ œ œœ œœ˙ œœœœ 2 3 1 2

3 4 1 2

2 3 3 1

1 4 3 2

3 2 1

2 1 4 3

9-27

bb 3 b & bb4 œ œ œ ? bb 3 bbb4 œ œ œ 4

1

2

4

1

2

3

2 4 1

2 1 4 3

2 1 3

3 1 2

• • RH: 4 1 2 • • LH: 2 1 4

4

2

1

4

˙.

œ œ œ 4

2

1

3

2

4 1 2 3

1 2 3 4

1

2

3

1

œ œ œ 2

2

4

•• •• RH: 3 4 1 2 3 1 2 •• •• LH: 3 2 1 4 3 2 1

#### 4 4 & ? #### 4 4

1 4 3 2

œ œ œ

4

2

2 1 3 2

• •• 4124 • •• 2142

˙.

œ œ œ 1

3

C # Harmonic Minor

9-28

•• • •• • 23123412 •• ••• • 32143213

1

œ œ œ 4

2

1

4

˙.

œ œ œ 2

4

˙.

1

2

•• •• • 34123123 •• •• • 32143213

#œ ˙ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ # œ œ œœœ œ œ œ˙ œœœœ #œ ˙ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œœ # œ œ œœœ œœ œ œ œ œ œ ˙ 3 4 1 2

1 4 3 2

3 1 2 3

3 4 1 2

1

2 3

3

3 2

4 3 2 1

2

1 3

3

#### 3 4 & œ œ œ ? # # # # 43 œ œ œ 9-29

4

2

1

1

2

4

1 3

œ œ œ 4

1

2

œ œ œ 2

1

4

2 1 3

1 2 3

• • RH: 4 1 2 • • LH: 2 1 4

˙. 4

˙. 2

2 1 4 3

2 1 3 2

1

4

3

3

1 2 3 4

1

2

3

4 1 2

• •• 4124 • •• 2142

œ œ œ 4

2

1

œ œ œ 2

4

1

œ œ œ 4

2

1

œ œ œ 2

4

1

4

˙. ˙. 2


Playing Dominant Seventh Arpeggios 9-30

& 44 œ # œ œ œ ?4 4 #œ œ œ œ

D7

1.

1

5

2

4

3

3

4

2

9-31

& 44

A7

2.

?4 4

4

œ œ # œ œ 1

2

3

œ œ # œ œ 5

4

3

2

9-32

& 44 œ # œ œ œ ?4 4 œ #œ œ œ

E7

3.

1

5

2

4

3

3

4

2

9-33

4 &4

B7

4.

?4 4

4

#œ œ # œ œ 1

2

3

#œ œ # œ œ 5

4

3

2


œ œ # œ œ 1

2

3

4

œ œ # œ œ 1

4

3

2

œ œ # œ œ 1

2

3

4

œ œ # œ œ 1

4

3

2

œ œ # œ œ 1

2

3

4

œ œ # œ œ 1

4

3

2

#œ œ # œ œ 1

2

3

4

#œ œ # œ œ 1

4

3


2

w 5

w 1

w 5

w 1

w 5

w

œ œ œ #œ 5

4

3

2

œ œ œ #œ 1

2

3

4

œ œ œ #œ 5

4

3

2

œ œ œ #œ 1

2

3

4

œ œ œ #œ 5

4

3

2

œ œ œ #œ

1

1

w

œ œ #œ #œ

5

w 1

5

2

4

3

3

4

2

œ œ #œ #œ 1

2

3

4

œ œ œ #œ 1

4

3

2

œ œ œ #œ 1

1

2

3

4

œ œ œ #œ 4

3

2

œ œ œ #œ 1

2

3

4

œ œ œ #œ 1

4

3

2

œ œ œ #œ 1

2

3

4

œ œ #œ #œ 1

4

3

2

œ œ #œ #œ 1

2

3

4

1

w w 5

1

w w 5

1

w w 5

1

w w 5

Before playing:

S olo Repertoire

•Tap the rhythm hands together. •Practice hands separately, observing the contractions and expansions in the fingering. While playing: •Play the RH a little louder than the LH. •Listen carefully for slurs and staccato notes.

Minuet

in

G Major Franz Joseph Haydn (1732–1809)

9-34

Andante moderato

3

1

&

4 :

2

0

9 :

1

13 :

3

cresc.

1

3

2

O

3

2

3

2

2

1

1

1

3

5

3

1

5 3

4 2

3

E (rit. 2nd time) 3

1

5 3

3

1

V7/ii

2

5

1

1

5

4

2

2

3

1

2

¸ ¸



Reading

9-35

Allegro

BB ¸ B & BB B 5

1.

5

B BB ¸

BB B

5

3

1

5

1

¸ 3

M

5

¸

2

4

1

¸

1

2

V7/ii

¸

1

3

V

V

V

5

 Transpose

to D major.

9-36

Moderato

B &¸ ¸¸ B 1

2.

I

1 3 5

5 :

B ¸ M ¸¸¸ B 1

1 3 5

I

¸¸¸

*

¸

¸¸ ¸ 1 2 5

V7/iii


¸¸ ¸

1 2 5

5

¸¸¸ 1 2 4

¸¸¸

¸

¸ ¸¸¸

1 2 5

 Transpose

to G major.

9-37

Andante

E

3.

3

5

1 2

V7/vi

1 3

5

1

5

5 :

3

5

1 2

4

¸

1 2

4

1

4

¸

1 3 5

1 3 5

1 2

1

2

¸¸  Transpose

Harmonization

to C major.



? # # # 12 œœ .. œœ .. œœ .. œœ .. 8 œ. œ. œ. œ.

9-38

Vivace A

E 1

E 7/G

I I ¸

A

Virgin Islands

* * * 3

4

E 7/G B m / F A F 7 Bm /F E 7/G A 5 : 4 2 1 4 2 I I ¢ * * * * * * * *

V7/ii

 Transpose

to G major.


2. Harmonize with a waltz style accompaniment.

Harmonization

œ œ ? b 43 œ œ œ

(continued)


tell Me Why

9-39

Andante

B 0 I

1

2

5 :

B

2

vi

3

1

B

I

13 :

V7/ii

V7/V

IV

¸

¸

IV

V7

United States

I

V7

¸

¸

2

V7/V

I

4

1

¸

I

1

3

I

9 :

B

1

I

1

V7/vi

¸ I

 Transpose

to G major.

3. Using i, V7, VI, III and V7/III, harmonize with a block chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

? # C ˙˙˙


ShaloM, Chaverin

9-40

Slowly

$ 5 :

3

1

&

˙˙˙

3

1

4

1

5

3

2

4

¸

¸

¸

¸

¸

 Transpose


Israel

to C minor.



? # # 3 œœœ ... 8


Key of D Major D

Em 5 :

A/C

Em/G

D

I

D/A

A7


B 7/D

I

D

? b 6 œœœœœœ b b8

9-42

Key of E B Major

BB B 5 :

B B B

vi

I

IV6

* I

4

I

I

ii 6 4

I

V6 /vi 5

¸

V7

I


1. Transpose the line for B  clarinet to concert pitch.


2. Transpose the line for E  alto saxophone to concert pitch. 3. Play the score using the following combinations: a. B  clarinet and trombone (notated in concert pitch). b. E  alto saxophone and trombone. c. B  clarinet and E  alto saxophone. d. All three parts.

Waltz Germany Arr. John O’Reilly and John Kinyon

9-43

B@ Cl. E@ A. Sx.

E@ A. Sx.

Trb.

&

&

I

BB ¸ &

Trb.

B@ Cl.

Moderato

5 :

I

BB ¸


¸

¸

¸

¸

¸

¸

¸

B@ Cl. E@ A. Sx.

9 :

E@ A. Sx.

Trb.

¸ B B

Trb.

B@ Cl.

13 :

BB ¸

¸

¸

I

¸

¸

¸

¢ *

M

¸

¢ *

¸

I ¢

“German Waltz” adapted from YAmAHA BAND ENSEmBLES, Book 1 by John o’Reilly and John kinyon Copyright © mCmXC by Alfred Publishing Co., Inc.


nsemble Repertoire E old joe Clark 9-44

Boisterously

Part 1

Part 2

Part 3

$

3

E

$ E

¸ $ E $ ¸ E

Part 4

2

6 :

1

2

3

4

¸

American Folk Song Arr. Robert D. Vandall

V

x

¸

¸

¸

B ¸

¸

1

5

V

x ¸

legato

2

0

0

¸

¸

¸

¸ ¸

¸

¸ ¸

¸

¸

¸

“old Joe Clark” arr. by Robert D. Vandall Copyright © mCmLXXIX by myklas music Press Copyright © assigned mmIV to Alfred Publishing Co., Inc.


¸

¸

¸ ¸

¸

¸

¸

¸ ¸

¸ 0 ¸

legato

¸ ¸

3

¸

¸

¸

¸ ¸

&

¸

11 :

1

V

2

¸

¸

¸

3

4

16 :

1

2

3

4

V

¸ ¸ ¸

¸

3

0

0

&

4

&

1

¸

¸

¸

¸

0

3

B

¸

¸

¸¸

¸

V

5

¸

1

3 1

V

8va 21 :

1

x

marcato

2

3

4

¸ E

¸

&

¸

& 1

x

x ¸ ¸

¸

x

¸

¸

V

¸

marcato

E

¸

¸

¸

1


1

2

26 : ¸

3

4

1

2

31 : B¸

3

1

2

3

4

¸

¸

¸

V

¸

¸

¸

¸

¸

4

B¸

¸

&

0

¸ 0 legato

¸

¸

¸

5

0

B¸

¸

¸

V

1

¸

¸

¸

V

¸

1

¸

¸

V

¸

¸

4

B¸

¸

36 : V

¬

V

¬

V

¸

¸

¸

marcato

¸

¸

¸

marcato

E

E marcato ¸ E marcato

E

¸


¸

B¸

¸

¸

¸

¸

¸

V V

¸ ¸ ¸

41 :

1

¬

2

¬

3

4

1

2

3

4

¸

¸

¸

¸

¸

51 :

¸

¸

4

¸

¸

¸

¸

V V

¸ ¸

5

E

E

¸

¸

¸

¸

¸

4

2

¸

46 : ¸

3

1

E

E

1

V

V

5

¸

&

B 0

¸

¸ 0

E ¸ &

¸ &

¸ &

1

5

¸

¬

¸

¬

¸

¬

1

¸

¸

¸

¸ 0

¸

¸

¸

¸

¸ ¸ ¸ 1



Choral Score Reading for Soprano, Alto and Bass (SAB)

1. 2. 3. 4. 5. 6. 7.

Soprano (RH) alone. Alto (RH) alone. Soprano (RH) and alto (RH) together. Bass (LH) alone. Soprano (RH) and bass (LH) together. Alto (RH) and bass (LH) together. Soprano (RH), alto (RH) and bass (LH) together.

Ein KlEinEr, HübscHEr VogEl (ExcErpt

9-45

Grazioso

S

A

B

S

A

B

¢ I I I O ¢ * * * O

¢ * * *

¢ * * *

¢ * * *

I ¢ * * O

5 :

from


LiebesLieder WaLtzes)


¸

¸

¸

¸

¸

¸

¸

¸

¸

Unit 10

Objectives

Review Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play exercises that use major scales and diatonic seventh chords of the key. 2. Play five types of seventh chords. 3. Play major and parallel harmonic minor scales and arpeggios beginning on A (G), using traditional fingerings. 4. Perform solo repertoire that uses the V7/ii chord. 5. Sight-read music that uses seventh chords. 6. Harmonize and transpose music that uses the V7/V, V7/IV and other seventh chords.

Review ■ Unit 10

133

Playing Major Scales and Diatonic Seventh Chords of the Key

Play the following exercises that use major scales and diatonic seventh chords.

10-1

Moderato C maj7

1.

¸

5

I 1

2

3

5

5 :

I

G7

¸

D m7

¸ A m7

¸

5

I 1

2

3

I

E m7

¸ Bm7( @ 5)

¸

I

*

F maj7

¸ C maj7

¸

I

*

3

1

10-2

Moderato

Both hands 8va higher throughout C maj 7 Bm7( @ 5)

¸ 5

2.

I 5

3

2

1

5 F maj 7 :

¸

134

I 5

3

2

1

E m7

1

¸

A m7

3

I

Unit 10 ■ Review

¸

I

¸

G7

I

¸

I

D m7

C maj 7

¸

¸

I

I

Playing Five Types of Seventh Chords

Play the following seventh chord exercise hands separately. Use fingers 1 2 3 5 for the RH and fingers 5 3 2 1 for the LH. Then, play this exercise starting on other keys.

10-3

1.

C maj 7

¸¸ ¸¸ ¸¸¸ ¸

5 3 2 1

C7

1 2 3 5

5 3 2 1 1 2 3 5

C m7

B ¸¸ ¸¸ B ¸¸¸ ¸

5 3 2 1 1 2 3 5

BB ¸¸¸¸ BB ¸¸¸¸

10-4

¸¸¸ ¸ ¸¸¸ ¸

B maj 7

2.

B7

M ¸¸¸ ¸ M ¸¸¸ ¸

5 3 2 1

1 2 3 5

Cm7( @ 5) 5 3 2 1

1 2 3 5

B ¸¸¸¸

5 3 2 1

B ¸¸¸¸

B m7

Bm7( @ 5)

¸¸¸¸

M ¸¸¸¸

¸¸¸¸

Co7

1 2 3 5

B B{ ¸¸¸¸ B B{ ¸¸¸¸

B o7

M ¸¸¸¸

¬ ¬

B ¸¸¸ ¸ B ¸¸¸ ¸

¬ ¬

Technique 10-5

Allegro

4 w 1. & 4 Œ œ ˙ F 5

1

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

w Œ œ ˙

5

1

5

1

5

1

10-5

w ? 4 œ ˙ 2. 4 Œ F Allegro

1

5

1

5

1

5

1

5

Review ■ Unit 10

135

A  Major


•• •• RH: 3 4 1 2 3 1 2 •• •• LH: 3 2 1 4 3 2 1

•• •• • 34123123 •• •• • 32143213

¸ ¸ ¸ B B BB ¸

BB B B 10-6

3 4 1 2

3 2

1 4

3 1 2 3

4 1 2

1 3 3 2

2 1

BBBB

3 2 1 3

2 1 4

4 3

2 1 3

3 1 2 3

4

3

2 1 3 2

1 2 3

1 2 3 4

1

4

3

1 2

3

• • • •• RH: 4 1 2 4 1 2 4 • • • •• LH: 2 1 4 2 1 4 2

10-7

B B B B

3 1 2

3

4

1

2

1

4

2

¸

2

4

1

¸

4

2

1

4

2

1

2

2

4

4

1

4

2

1

2

4

1

4

¸ ¸ 2

G Harmonic Minor (enharmonic with A  Minor)

#### 4 & #4

•• •• RH: 3 4 1 2 3 1 2 •• •• LH: 3 2 1 4 3 2 1

•• •• • 34123123 •• •• • 32143213

œ ‹œ ˙ œ ‹œ œ œ œ œ œ œ œ œ œ ‹œ œ ‹œ œ œ œ œ œœ œœ˙ œ œœœ ‹œ ˙ œ ‹œ œ œ œ œ ? #### 4 œ œ œ œ 4 # œ œ ‹œ œ œ ‹œ œ œ œ œ œ œ œœ˙ œœœ 10-8

3 4 1 2

1 4 3 2

#### 3 & #4

3 1

3 2

10-9

? # # # # 43 #

4

2

œ œ œ œ œ œ 2

136

1

Unit 10 ■ Review

1

4

2 3

4 1 2 3

1

2 3

3

2 1 3

2 1 4 3

1 3

2 1 4

2

1 3

3

1 2 3

4 1 2 3

3

œ œ œ 4

1

2

œ œ œ 2

1

4

• • RH: 4 1 2 • • LH: 2 1 4

˙. 4

˙. 2

2 1 3 2

1

4

3

1 2 3 4

1

2

3

• •• 4124 • •• 2142

œ œ œ 4

2

1

œ œ œ

2

4

1

œ œ œ 4

2

1

œ œ œ 2

4

1

4

˙. ˙. 2

Before playing:

S olo Repertoire

•Practice hands separately, observing the contractions and expansions in the fingering. •Map the piece using first endings, second endings and repeat signs. While playing: •Play the LH quarter notes slightly detached unless otherwise indicated. •Observe the dynamic changes between forte and piano.

Minuet

in

G Major

10-10

Moderato

I E

4

2

3

5 :

Wilhelm Friedemann Bach (1710–1784)

2

I E 1

1.

1

3

1– 5

2

3

2.

3

3

4

I O

1

1

3

5

1

2

1

I I M * O

10 :

3

4

3

1

1

3

3

1

1

V7 /ii

15 :

1

3

1

I E 1

1

2

3

1

3

1

4

3

4

1

1

5

1

1

3

1.

¸

3

2.

¸

¸ 3

1

4

Review ■ Unit 10

137

Technique

exercise no. 2 (The VirTuoso PianisT)


10-11

ascending 1

2

5

4

3

4

3

2

1

2

5

4

3

4

3

2

5

3

1

2

3

2

3

4

5

3

1

2

3

2

3

4

1

2

5

3

4 :

1

2

3

5

7 :

1

5

2

3

1

5

2

3

1

2

1

2

1

2

1

2

5

3

5

3

5

3

5

3

11 :

1

5

138

2

3

Unit 10 ■ Review

1

2

1

2

1

2

5

3

5

3

5

3

descending

15  œ5 œ2 1 œ2 œ3 œ2 œ3 œ4 œ &

18 

3

5

4

3

4

3


1

1

5

œ œ œ œ œ œ œ œ ? 1


1

2

3

2

3

4


2

3

5

4

3

4

3

2

5

2


5

2

5

2

5

2

5

2

1

3

1

3

1

3

1

3

5

2

5

& œœœœœœœœ œœœœœœœœ œœœœœœœœ œœ œœœœœ œ œ ? œœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ

22 

& œœ œœœœœ œœ œ 2

œ œœœœœœœœ œœ œœœœœ œ œ œ œ œ œ ? œœœœœœœ œœ œœœœœ œœ œœœ œ œœ œ œ œ œ œ œ œ œœ œ 1

3

1

3

5

2

5

2

1

3

1

3

26 

&

? œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5

2

1

3

œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ 5

2

1

3

.. œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ . ˙ œ ˙ 5

2

1

3

Review ■ Unit 10

139


Reading 10-12

Relaxed

& b 44 1.

1 2 3 5

œœ p ? b 44 ˙ 3

œœœ 3

œœœ

&b ?b

œœ œœœ œ œ œ œ œ œ œ œ œœœ œ œœœœœ œœœœœ œ œœ œœœ œ œ bœ œ ˙

˙

5

5 

œœœ

1 2 3 5

1 2 3 5

1 2 3 5

1 2 3 5

˙

˙

˙

2

b˙

1

˙

5

bœ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ œ œ œœ œ˙ b˙

1 2

˙

2

b˙

3

3 5

1 2 3 5

1 2 3 5

˙

˙

œ

1

w

œ

2

5

MorninG GreetinG (excerpt)


10-13

I I O ¢ ¢ ¢ ¢ Moderato 3

2.

1 3

2 4

5 :

3

2 4

140

Unit 10 ■ Review

3

1 3

1

1 5

2

1

1 5

¢

¢

¢

1 5

1 5

I I ¢ ¢ ¢ ¢

4

3

4

5 2

* 1 5

3

2 4

¢

chorale (excerpt)

Henri-Jérôme Bertini (1798–1876)

10-14

Lento

#c & ˙˙ P ? # c ˙˙ 4 1

3.

1 3

5 

#

3 2 1

dim.

˙

5 3 1

˙˙ ˙

˙˙ ˙

2

1

˙

˙

just

10-15

¸

9 :

5

¸

C7 5

V7/IV

13 :

C/G

¸

w w P ww

a

¸

œœ

closer Walk

Spiritual

MV

G7

? 4 œ ˙˙ 4

G 7/B

5 1

˙

Moderato

5 :

˙

˙

1


3

˙˙ ˙


Harmonization

¸ 0

˙˙ ˙

˙

4 2 1

˙˙ ˙

˙˙˙

˙

C

4 2 1

simile

˙˙ ˙

2

5 2 1

˙˙ ˙

˙˙˙ ˙˙

˙˙ ˙˙

2 5

˙˙˙ F ?# ˙ &

˙˙ cresc. ˙˙

˙˙ ˙˙

4 2 1

3 1

C

¸ ¸

F

V

C

¸

¸

¸

5

¸

 Transpose

to B  major.

Review ■ Unit 10

141

2. Using I, V7 and V7/V, harmonize with a broken chord accompaniment. Write the Roman numeral name of each chord on the line below the staff.


? bbC bb ˙


˙˙

the Muffin Man 10-16

Moderato

England

j bbb C j j . œ j b œ œ œ œ œ . œ œ . œ & œ œ . œ œ œ œ œ œ J F 1

5 

&

bbbb

2

3

3

œ

œ

œ

œ J

œ.

œ

j œ œ

œ.

œ

2

œ

1

œ

1

‰

˙.

Transpose

to G major.

3. Harmonize the melody below in two ways: • Using the bottom note of each indicated seventh chord or inversion. • Using the indicated seventh chords or inversions. 10-17

Presto

## 4 & 4 œ f &

142

##

G maj7 1

œ

3

2

1

5 

œ

œ

G maj7

œ 2

Unit 10 ■ Review

œ 3

œ 5

œ 5

F m 7

œ 4

F m 7

œ 4

œ 2

œ 2

1

œ 1

œ

Em7 2

œ

1

œ Em7

2

œ

1

œ

2

œ œ 5

œ 3

A 7/C 

œ 2

œ

D maj7

˙

5

œ

D

w

˙

Review Worksheet

Unit 10

Date _____________________

Name ________________________

1. Identify each seventh chord by writing its letter name on the line below the staff followed by maj7 for a major seventh, 7 for a dominant seventh, m7 for a minor seventh, m7( 5) for a half-diminished seventh, or dim7 for a diminished seventh.

VVV B BV

VV VV

V VVV

B VVVV

B BB VVVV

B B {B VVVV

BB VVVV

B B VVVV

2. Using whole notes, write each seventh chord on the staff in root position.

&

Dm7(  5)

A 7

Gm7

Am7(  5)

E dim7

B maj7

Cdim7

Bm7

D 7

3. Transpose the following melody for E  alto saxophone to concert pitch and write it on the staff below with the appropriate key signature.

### 2 & 4 œ œ

œ œ

œ œ œ œ ˙

œ œ

œ œ

œ œ œ œ ˙

& Review ■ Unit 10

143

4. Draw a line to connect the secondary dominant chord on the right with its key and Roman numeral analysis on the left.

144

Key of D Major: V7/V

•

•

A7

Key of B Harmonic Minor: V7/iv

•

•

D7

Key of E  Major: V7/ii

•

•

F7

Key of B  Major: V7/iii

•

•

E7

Key of A Major: V7/vi

•

•

D 7

Key of C Harmonic Minor: V7/V

•

•

B7

Key of F Harmonic Minor: V7/iv

•

•

G7

Key of F Major: V7/V

•

•

C7

Key of B  Harmonic Minor: V7/VI

•

•

C7

Unit 10 ■ Review

Unit 11

Objectives

Musical Style Periods Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Identify characteristics of Baroque, Classical, Romantic and Contemporary style periods. 2. Sight-read and transpose music from the four style periods. 3. Play major and parallel harmonic minor scales and arpeggios beginning on E b, using traditional fingerings. 4. Play Db7, Ab7 and Eb7 arpeggios. 5. Perform solo repertoire in an American popular style. 6. Harmonize and transpose music that uses the III and V7/ii chords. 7. Create a two-hand accompaniment from chord symbols. 8. Transpose melodies for F Horn to concert pitch. 9. Play a three-part choral score (SSB).

Musical Style Periods ■ Unit 11

145

Musical Style Periods

The manner in which one performs keyboard music varies according to the musical style period. A basic knowledge of the characteristics of the four major style periods aids in stylistic performance. A brief summary of the characteristics of each period follows.

• The dance suite, prelude, fugue, toccata, and theme and variations were the prevalent musical forms. • Two or more lines are played simultaneously to create counterpoint. • The harpsichord, clavichord and organ were the keyboard instruments of the period. • Strong beats, upbeats and fast changing rhythmic motion are emphasized. • Composers did not use phrase, dynamic or articulation marks. Slower notes are often played detached while faster notes are played legato. Ornamentation is used freely for expressive performance. • Well-known composers are Johann Sebastian Bach, Domenico Scarlatti, Jean-Philippe Rameau and Antonio Vivaldi.

The Baroque Period (1600–1750)


Reading

Arioso (excerpt)

Daniel Gottlob Türk (1756–1813)

11-1

Adagio

B E ¸ B 2

¸

¸

2

5 :

B B

4

1

x

3

I

¢

¢

*

1

¸

 Transpose

146

Unit 11 ■ Musical Style Periods

to G major.

The Classical Period (1750–1820)

• Sonata-allegro, minuet and trio, rondo, and theme and variations were the prevalent musical forms. • Single line melodies with accompaniment are common. Music makes use of slow harmonic rhythm and clearly defined cadences. • The fortepiano, harpsichord and organ were the keyboard instruments of the period. • Composers began notating dynamic contrasts, phrasing and precise articulation. • Well-known composers were Franz Joseph Haydn, Wolfgang Amadeus Mozart, Muzio Clementi and Ludwig van Beethoven.


Reading

GermAn DAnce (excerpt)


11-2

Vivo

E 5 :

1

5

¸ 1 3

3

3

5

1 2 4

3

¸

1 2

5

3

1

5

1 3

1 2

1 3

 Transpose

to D major.


147

The Romantic Period (1820–1900)

• Etudes, concertos, character pieces, dances and variations were the prevalent musical forms. • Harmony is more complex with the use of accidentals, chromaticism, diminished and dominant seventh chords and modulations to unrelated keys. • The pianoforte (piano) was the principal keyboard instrument of the Romantic period. • Romantic music makes use of complex rhythmic patterns featuring hemiola and syncopation. • Expression is achieved at the piano by use of the damper pedal, cantabile melodic lines, various accompaniment patterns, asymmetrical phrases, and numerous tempi and dynamic shadings. • Well-known composers are Frédéric Chopin, Johannes Brahms, Robert Schumann and Franz Liszt.


Reading

sonG (excerpt)

11-3

Moderato

O VV 1

Anton Diabelli (1781–1858)

5

&

¸

VV

¸

VV

3 5

5 :

¸

¸

¸ 5

¸ ¸ 2

 Transpose

148


¸

VV

VV

¬ ¬ to D major.

The Contemporary Period (1900–present)

• Traditional serious music continues to develop based on the innovations of Claude Debussy and Maurice Ravel. Their compositions, primarily impressionistic, moved away from traditional styles and techniques and laid the foundation for further advances in 20thcentury music. • Dissonance, prepared instruments and 20th-century notation combine to create a variety of new sounds. • Much of the music from this period has no real feeling of tonal center, and employs modal, pentatonic and 12-tone scales. Dissonance is created through the use of intervals such as 2nds, 7ths, 9ths and 11ths. • Multiple meters, polyrhythms and minimalistic techniques are used. • Character pieces, dances, preludes, toccatas, variations and aleatoric music are the prevalent musical forms in the 20th century. • The piano continues to be the principal instrument for serious musical styles. • Jazz, ragtime and other popular musical styles have emerged as truly American idioms. (See Over the Rainbow, pages 152–153.) • Electronic keyboards, digital pianos and synthesizers are used in popular styles. • Well-known composers are Béla Bartók, John Cage, Aaron Copland, Sergei Prokofiev, Dmitri Kabalevsky, Scott Joplin and George Gershwin.


Reading

scherzo (excerpt)

11-4

O scherzando Allegretto 3

1 5

5 :

¢ ¢ ¢ ¢ ¢

¢ ¢

¢

¢ M ¢

Béla Bartók (1881–1945) Sz. 52:82

I¢ ¢

M 2

1

2

I¢ ¢ * * ¢ ¢ © Transpose

to F major.


149

E b Major


11-5

B B B B B B

• •• RH: 3 1 2 3 4 1 2 • •• LH: 3 2 1 4 3 2 1

• •• • 31234123 • •• • 32143213

¸ ¸ ¸ ¸ 3 1 2 3

4

1 4 3 2

3 2

3 4 1 2

1 2 3

2 1 4 3

1 3

3 1 2

2 1 3

3 2 1 4

3

3 1 2 3

4 1 2 3

2 1 3

3

2 1

3

2 3 4

1 2

3

2 1 4

1

• • • •• RH: 4 1 2 4 1 2 4 • • • •• LH: 2 1 4 2 1 4 2

B B B 1

4

2

2

11-7

b b b4 b & bb4 ? bb b b4 bb4

4

2

1

4

2

2

4

1

2

1

4

2

1

E b Harmonic Minor (enharmonic with D# Minor) • ••• RH: 3 1 2 3 4 1 2 • ••• LH: 2 1 4 3 2 1 3

4

¸ ¸ 2

• ••• • 31234123 • ••• • 21432132

œ nœ ˙ œ nœ œ œ œ œ œ œ œ œ œ nœ œ nœ œ œ œ œ œœ œœ œ œœœ ˙ ˙ œ nœ œ œ n œ œ œ œ œœœœ œ œ œ n œ nœ œ œ œ œ œ œ œ œœ˙ œ œ 3 1 2 3

4 1 2 3

3 4 1 2

4 3 2 1

2 1

1 4 3 2

11-8

bbb3 b & bb 4 œ œ œ ? bbb3 bbb 4 œ œ œ 1

5

150

1

2

4

¸

4

4

2

1

4

BBB 1

¸

11-6

2

3

3

2


3 2

œ œ œ 1

2

3

œ œ œ

1

3

2

1

1

2 3

3 2

3

2 3 1 2

••• RH: 1 2 3 ••• LH: 5 3 2

˙. 5

˙. 1

2 1 4

3 2 1 3

2 1 4 3

2

1

3

3 4 1 2

3

1 2 3

4

1

2

••• • 1235 ••• • 1321

œ œ œ 5

3

2

œ œ œ 1

2

3

œ œ œ 1

3

2

œ œ œ 1

2

3

1

˙. ˙. 5

Technique 11-9

Allegro

$ V 0 5

1.

1

1

5

1

5

1

5

11-9

V 5

1

5

1

5

1


5

V ¸

V

2. Repeat #1 two octaves lower with the LH, using the fingering below the staff. 11-10

V $ 0

Allegro 5

3.

1

1

1

1

5

5

5

11-10

V 5

1

1

1

1

5

5

5

Continue downward on white keys until…

V

V ¸

4. Repeat #3 two octaves higher with the RH, using the fingering above the staff.

Playing Dominant Seventh Arpeggios 11-11

bœ b œ œ & 44 b œ œ b œ b œ b œ bœ b œ ?4 œ bœ bœ 4 b œ œ bœ

Db7

1.

4

2

Ab7

2.

1

1

2

4

3

3

4

2

1

1

2

4

3

3

11-12

bœ b œ 4 œ &4 bœ bœ bœ œ bœ bœ ?4 b œ œ 4 bœ bœ b œ œ bœ 4

2

1

1

2

4

3

3

4

2

1

1

2

4

3

3

bœ bœ œ 4 bœ bœ b œ & 4 bœ œ bœ b œ œ ?4 4 bœ œ bœ bœ bœ

Eb7

3.


11-13

4

2

1

1

2

4

3

3

4

2

1

1

2

4

3

3

bw 4

bw 2

bw 4

bw 2

bw 4

bw 2

bœ bœ bœ œ bœ bœ bœ œ bœ bœ bœ œ bœ bœ bœ œ 4

2

3

3

2

4

1

1

4

2

3

3

2

4

1

1


2

3

3

2

4

1

1

4

2

3

3

2

4

1

1


2

3

3

2

4

1

1

4

3

2

3

2

1

4

1

4

bw bw 2

4

bw bw 2

4

bw bw 2


151

S olo Repertoire

Before playing: •Practice hands separately, observing the moves and the contractions and expansions in the fingering. While playing: •Listen for clear pedal changes. •Play the RH a little louder than the LH.

over

the

rAinbow

(from The Wizard of oz)

11-14

Music by Harold Arlen Lyric by E. Y. Harburg Arr. E. L. Lancaster

Moderately, with expression

¸ ¸ ¸ 0 Some - where 5 1

1

5

2

2

o - ver the rain - bow B ¸

¸ ¸ ¸ way up

VV

1

3

5

B

high,

1

5

4 2 1

5 3

1

¸¸

¸

B

there’s

a

2

5

9

1

2

B land that I heard of ¸ ¸ 1

¸ ¸

o - ver the rain - bow ¸ B

5 1

¸ Some & 1

-

where

1

2

5

B once in a lul - la ¸¸ M

2

5

4 2 1

4 1

3 1

1 2

-

3

2

1

B

blue,

1

¸¸

¸

and

152

B the

5

2

1

2

B B dreams that you dare to dream real - ly do come ¸ ¸¸ M ¸ 1

1 2

2

5

4 2 1

5

2

1 2

VV

5

13

by.

¸ ¸ ¸ skies are 3

¬

¸¸¸

1

5

2

5

5

4 2 1

¸¸¸ true.

¢ I 0 Some 4

5

2

1

2

© 1938 (Renewed) METRO-GOLDWYN-MAYER INC. © 1939 (Renewed) EMI FEIST CATALOG INC. All Rights Controlled by EMI FEIST CATALOG INC. (Publishing) and ALFRED PUBLISHING CO., INC. (Print) This Arrangement © 2008 METRO-GOLDWYN-MAYER INC. and EMI FEIST CATALOG INC. All Rights Reserved Unit 11 ■ Musical Style Periods

17

¸

day I’ll wish up

on

wake up where the clouds are far be ¸

a

star and

5

5 2

¸¸

- hind

2

¸¸ me,

1

2

20

¸

¸

1

23

where trou - bles melt like lem - on drops, a - way a - bove the chim-ney tops, that’s & ¸ ¸ B

2

¸¸

where

26

-

5 4 1

you’ll

B

¸ o

5

¸¸

5 3

B

ver the rain - bow

5

¸ ¸ M¸

find

1

¸

blue

-

3

1

B

5

¸ ¸

birds

o - ver the rain - bow,

¸ 1

¸

why

¸¸

1 2

¸ ESome

5

5

then, oh why

can’t

M 5

2

-

where

VV

B

fly,

2

4 2 1

VVV I? 0

5

2

1

2

¸ birds &

2

5

2

1

5

rit. B

¸ ¸

5 1

1

2

a tempo

¸¸ me. rit.

30

2

3

¸¸

B fly

5

¸¸¸ O

2

1

2

¸ ¸

V


153


Harmonization

œ œ ? # # # 3 œ œœ œœ 4


preluDe

in

A mAjor Frédéric Chopin (1810–1849) Op. 28, No. 7 E7

11-15

Andantino

O

E7

1

6 : ¸5

3

4

A

1

F 7

A

4 11 : 1 2

¸

5

V7/ii

4

1

2

3

A

¸

2

2

1

5

5

2

E7

¸

4

1

3

4

4

¸ 1

2

A 2

1

2

3

3

4

Bm 1

¸

4

E7

¸

4

˙˙˙ Œ

¸

2. Using i, V7 and III, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

?2 4 œ


œœ

11-16

Russia

Allegro

2 & 4 œ. F

j œ œ œ #œ œ œ 5

1

2

8 

3

154


& œ

Œ

œ. 3

j œ œ. 1

1

œ j œ œ.

3

œ

5

œ

œ.

j œ œ œ #œ œ œ

j œ œ œ œ #œ œ #œ œ œ 1

3

œ ˙



11-17

Lively C

¸ & &

5

1

9 :

C/G

G7

G 7/D

2

to the

1

5 2 1

tAke me out

A7

¸ 5

25 :

C

Dm/A

¸

¸ 5

¸

1

¸

¸

D7

¸ 2

¸

G7

1

3

V7 /V

C/G

G 7/D

5

¸

C/G

5

¸

V7 /ii 17 :

C

Albert von Tilzer (1878–1956) G 7/D G7

Dm

5

bAll GAme

1

F

C

¸

C7

¸

F

¸

1

3

5

o

¸ 4

¸

5

G7

C/G

A7 1

2

1

V7 /ii

D7

G7

¸

¸

V7 /V

C

5 3 1

¸

1

¸ ¸¸ ¸ ¸


155

The F horn sounds a perfect fifth below the written note.

Transposing Instrument: F Horn



œ œ ˙ œ 4 œ & 4 & b 44 œ œ œ œ ˙

Transpose the melodies for F horn to concert pitch.

theme

from

mArch slAv

11-18

Maestoso

1.

C ¸ E

I¸

Peter Ilyich Tchaikovsky (1840–1893) Arr. John O’Reilly and Mark Williams

¸

¸ ¸

9 :

M ¸ I * ¸ M ¸

¸

I

¸ ¸

V

¸ ¸ I V

“Theme from March Slav” adapted from YAMAHA TRUMPET STUDENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc.

theme

from

unfinisheD symphony

11-19

B B 0

Moderato

2.

6

B B M

*

*

M *

M *

Franz Schubert (1797–1828) Arr. John O’Reilly and Mark Williams

¸

*

¸ O

“Theme from Unfinished Symphony” from ACCENT ON ACHIEVEMENT Horn in F Book 2 by John O’Reilly and Mark Williams Copyright © MCMXCVIII by Alfred Publishing Co., Inc.

156



Choral Score Reading for Soprano 1, Soprano 2 and Bass (SSB)

1. 2. 3. 4. 5. 6. 7.

Soprano 1 (RH) alone. Soprano 2 (RH) alone. Soprano 1 (RH) and soprano 2 (RH) together. Bass (LH) alone. Soprano 1 (RH) and bass (LH) together. Soprano 2 (RH) and bass (LH) together. Soprano 1 (RH), soprano 2 (RH) and bass (LH) together.

hArk, DAmon, hArk (excerpt)

11-20

Moderato

S1

S2

E

4 :

S2

B

7 :

S1

S2

B

B

S1

x I

E

E

M

¸

M

rit.

rit.

rit.

x

x

George Frideric Handel (1685–1759)

I

¸

¸

*

¸


157

Unit 12

Objectives

Theme and Variations Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play major and parallel harmonic minor scales and arpeggios beginning on B , using traditional fingerings. 2. Play F7 and B 7 arpeggios. 3. Perform solo repertoire in theme and variation form. 4. Sight-read music from easy piano repertoire. 5. Harmonize and transpose music that uses the ii and V7/IV chords. 6. Transpose a melody for F horn to concert pitch. 7. Play a two-part instrumental score for F horn and oboe. 8. Play a three-part choral score. 9. Accompany a vocal solo. 10. Perform a three-part ensemble with partners.

Theme and Variation Form

158 Unit 12 ■ Theme and Variations

In theme and variation form, a theme is followed by a series of pieces that have a similar structure. Some elements of the theme remain the same in each variation while others change. The elements that frequently vary include melody, harmony, meter, rhythm and texture. The changes in the variations depend on style period considerations and whether the theme and variations is a separate piece or a part of a multi-movement work such as a sonata.

B  Major

Playing Major Scales and Arpeggios

• • RH: 4 1 2 3 1 2 3 • • LH: 3 2 1 4 3 2 1

• • • 41231234 • • • 32143213

œœ˙ œœœœ œœ œ œ b œ 4 œœ œœœ œœ œ &b 4 œ œ œ œ œœ˙ œœœ œœ˙ œœœœ œœ ? bb 4 œ œ œ œœ œœ œ œ 4 œ œ œ œœ œœ œ œœœ ˙ 12-1

b & b 43 12-2

? b3 b 4

4

1 2

3

3

4 2 1

4

1

1 2 3 4

1 2 3 1

3 2 1 3

2

4

œ œ œ 3

3

1

3 2 1

3 2 1 4

3 2 1

4 1 2 3

1 2

œ œ œ 2

3

1

• •• • RH: 4 1 2 3 1 2 3 • •• • LH: 2 1 3 2 1 4 3

œnœ ˙ œ œ œ œ

b 4 & b bbb 4 œ œ œ œ nœ œ œœ nœ ˙ œ œ ? bb b 4 œ b b 4 œ œ œ œ nœ œ œ œ œœ 4

1 2 3

3 2 2 1

12-4

bb b & bb ? bb bbb

1 2

1 4

43 œ œ œ 3 4 œ œ œ 2

3

3

2

1

1

3 4

1 2 3 1

3 2

1

3 2

1

œ œ œ 2

3

1

œ œ œ 3

2

1

4 2 3

4 3 2

œ nœ œ œ 4

œ nœ œ œ 2 3 4 1

•• RH: 2 3 1 •• LH: 3 2 1

˙. 2

˙. 3

3 2 1

2

4

1 4

3 4

1

2 3

1

œ œ œ 3

2

B  Harmonic Minor 12-3

2

œ œ œ

1

œ œ œ

3

3

• • 4124 • • 3213 4

˙.

1

2

3 1 2 3

4

œ œ œ

œ œ œ

2 1 3

˙.

2

1

4

• RH: 4 1 2 • LH: 3 2 1

œ œ œ

2

2

3 1 4

4 2 3

1

2

4

˙. ˙. 3

• •• • • 41231234 • •• • • 21321432

œœœœ 3 2 1 4

œœœœ

2 3

1 2

nœ œ œ œ

3 2 1 3

2

1

4

œœ˙

nœ œ œ œ œ œ˙ 3 4 1 2

3

1

2

•• • 2312 •• • 3213

œ œ œ 2

1

3

œ œ œ

3

1

2

œ œ œ 2

1

3

œ œ œ 3

1

2

2

˙. ˙. 3

Theme and Variations ■ Unit 12 159

Playing Dominant Seventh Arpeggios F7

1.

12-5

#w

#œ œ # œ #œ œ #œ # œ #œ ? 44 #œ œ # œ œ #œ # œ # œ #œ & 44

2

3

3

4

B7

2.


4

2

1

2

4

1

3

3

4

2

2

1

#w 4

1

12-6

bw

bœ œ œ 4 bœ b œ &4 œ bœ œ bœ ? 44 œ œ bœ b œ œ bœ œ 4

1

2

3

2

1

3

4

4

3

1

2

2

1

4

3

bw

4

3

#œ œ #œ #œ #œ œ #œ #œ #w #œ œ #œ #œ #œ œ #œ #œ #w 2

1

4

3

4

1

2

3

2

1

4

1

4

2

3

3

bœ bœ œ œ bœ bœ œ œ bœ bœ œ œ bœ bœ œ œ 4

3

3

4

2

1

1

2

4

3

3

4

2

1

1

2

2

4

4

bw bw 3

Technique

12-7

Allegro

& 44 Œw œ ˙ F 1

1.

5

Œ œ ˙ w 1

5

Œ œ ˙ w 1

5

Œ œ ˙ w 1

5

Œ œ ˙ w

Œ œ ˙ w

Œ œ ˙ w

 Transpose

Œ œ ˙ w

to E major and F major.

12-7

Allegro

Œ œ ˙ ? 4 2. 4 w F 5

1

Œ œ ˙ w 5

1


Œ œ ˙ w 5

1

Œ œ ˙ w 5

1

Œ œ ˙ w

Œ œ ˙ w

Œ œ ˙ w

 Transpose

to G major and A major.

Œ œ ˙ w

12-8

$ V 0

V

$ 0V

V

Allegro 1

3.

5

5

5

1

12-8

Allegro

4.

1

1

1

5

5

12-9

$ V 0 Allegro

5

5.

5

5

1

$ V 0

Allegro

6.

5

1

1

1

1

5

1


V

¸ V


V

¸ V

V

¸ V

V

¸ V

5

1

V


V


1

12-9

5

5

5

1

5

1

5

1

12-10

Moderato

¸¸ ¸ E 5 3 1

7.

1 3 5

¸¸¸

5 3 1

1 3 5


5

5

Moderato 5 3 1

8.

1 3 5

Transpose

12-11

¸¸¸

¸¸ ¸

5 3 1

5

¸¸¸ 1 3 5

5


¸¸ ¸

to A natural minor.

 Transpose

¸¸¸

¸¸ ¸

to A natural minor.


Before playing:

S olo Repertoire

•Observe the similarities and differences in articulation among the melodies of the variations. •Tap the rhythm of Variation 4 hands together, being aware of the syncopation in the RH. While playing: •Play each variation in a distinctly different style. •Keep the quarter-note pulse steady as the meter changes in Variation 3.

Theme

(Based

12-12

Theme

Allegro moderato

& ¸¸¸

5

and

VariaTions

J. s. Bach’s Menuet in G Major)

on

¸

3

¸

E. L. Lancaster Kenon D. Renfrow

¸

1 3 5

5 :

4

¸

2

¸

2

1

3

2

1

¸ 1

¸ 1

Variation 1: Classical Style

¸ ¸ ¸ ¸ & 0

9 :

Allegro

3

5

5

1

3

5

13 :

1

2

M M ¸ rit. ¸ 4

2

2

4

5

1


5

1

3

1

4

Variation 2: Romantic Style

Largo ¸ O cresc.

17 :

5

1 3 5

21 :

¸ & B 4

1 3 5

1 3 5

1 3 5

¸

¸ dim.

1 3 5

Allegro

5

1 3 5

1 3 5

O¸ subito ¸ ¸

29 :

M ¸¸¸

4

¸

3

Variation 3: Contemporary Style

E¸¸ ¸

: 25

¸

1 2 4 5

1 2 5

¸ ¸ rit. O¸ ¸ ¸¸ ¸ 5

1 2 5

¸

1 2

1 3 5

BB

¸¸ ¸ 3

1 2 5

2

M

¸ M ¸¸

cresc.

¸ E ¸¸¸ 1

Variation 4: Ragtime Style

¸ ¸ M &

: 33

Not too fast

2

5

3

1 2

1

5

5

3

5

5

¸ M M ¸ ¸

37 :

1

2

3

5

3

5

2

4

5

1 3

5

1 3

1

2

1 2

1

5 1



Reading

a LiTTLe BLues 12-13

Gayle Kowalchyk E. L. Lancaster

Slowly

¸ O 2

1.

¸ 0 2

1 5

9 :

B

1 5

1 5

1 5

5 :

¸

3

1 5

¸

B 1 5

¸ &

¸ O 2

¸

2

1 5

13 :

¸

1 5

B

¸

¸

B

¸

¸ B

¸ 0 B

¸

2

1 5

rit.

B

V ¸ ¸

¸

8va “A Little Blues” from BOOGIE ’N’ BLUES, Book 2, by Gayle Kowalchyk and E. L. Lancaster Copyright © MCMXCIII by Alfred Publishing Co., Inc.


choraLe (excerpT)

Cornelius Gurlitt (1820-–1901)

12-14

Andante

0 5 3 1

2.

5 3 1

5

9

5 3 1

M O

5

13

5 3 1

5

5 3 1

¸¸¸ ¸

5

5

4 2 1

2

1

¸¸¸ ¸

5

M

2

1

¸

5 2 1

¸¸ ¸ ¸

¸¸¸ ¸

¸¸¸

5

M

5 3 1

4 2 1

4 2 1

4 2 1

2

3

¸¸ ¸

3

¸


1. Using I, V7, IV and ii, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

Harmonization

?6 œ œ œ œ œ œ 8


Lento

6 j &8 œ f

œ. œ œ œ œ œ

4

5 

& œ. œ œ œ. œ œ 1

j œ œ. œ œ œ œ œ

œ.

Œ œj

j œ œ. œ œ œ œ œ

œ.

œ

œ. œ œ œ 5

2

œ œ œ œ

2

Holland 2

Transpose

to B  major.

2. Using I, V7, IV and V7/IV, harmonize with a waltz style accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

? # # 34 œ œœ œœ


my home’s

12-16

Allegretto

## 3 & 4 œ F 5

5 

&

9 

&

13 

&

## ## ##

œ 2

œ. œ. 2

j œ œ

œ. 4

œ

œ j œ œ j œ œ 4

œ

œ

œ

5

œ œ

j œ œ

œ. œ

3

œ

œ

œ

5

œ

˙ œ

œ

œ ˙

Transpose


œ

œ

œ j œ

œ.

1

1

United States

j œ œ

œ.

œ

1

œ

œ

œ

monTana 5

œ

œ

œ

in

to E major.

Transposing Instrument: F Horn

aria

The F horn sounds a perfect fifth below the written note (see page 56). Transpose the melody for F horn to concert pitch.

from

The marriage

of

figaro

Wolfgang Amadeus Mozart (1756–1791) Arr. John O’Reilly and Mark Williams

12-17

Allegretto

B C 0 5

1.

2.

B ¸ E 0

¸

I ¢

“Aria from The Marriage of Figaro” from ACCENT ON ACHIEVEMENT Horn in F Book 2 by John O’Reilly and Mark Williams Copyright © MCMXCVIII by Alfred Publishing Co., Inc.

1. Transpose the line for F horn to concert pitch. 2. Play the line for F horn in concert pitch with the line for oboe which is notated in concert pitch.


Lonesome road BLues 12-18

Ob.

F Hn.

# Andante & c œ F ## c Œ & 5 

Ob.

F Hn.

& &

# ##

˙. Œ

˙. œ

John Kinyon and John O’Reilly

œ F œ

œ

œ

˙.

œ

œ

œ n˙

Œ

˙

œ

˙.

œ

œ

œ

œ

œ

˙.

rit.

œ nœ

rit.

˙

˙

œ b˙

œ

˙

˙

bœ

˙

œ 

œ

œ

œ œ œ

œ bœ

œ

œ



œ

“Lonesome Road Blues” adapted from YAMAHA TRUMPET STUdENT by John Kinyon and John O’Reilly Copyright © MCMXCIII by Alfred Publishing Co., Inc. Theme and Variations ■ Unit 12 167

Choral Score Reading for 3-Part Mixed Voices

Practice the choral score in the following ways: 1. Part 1 (RH) alone. 2. Part 2 (RH) alone. 3. Parts 1 (RH) and 2 (RH) together. 4. Part 3 (LH) alone. 5. Parts 1 (RH) and 3 (LH) together. 6. Parts 2 (RH) and 3 (LH) together. 7. Parts 1 (RH), 2 (RH) and 3 (LH) together.

gLoria TiBi (excerpT)

12-19

Mary Donnelly and George L. O. Strid

0

Moderato

1

O,

2

0 O,

3

5 :

1

Let

2

Let

3

Let

¸

lift

up

¸

lift

0

up

Lift

up

the val

-

leys and the

the val

-

leys and the

the val

-

leys and the

I

¸

I

¸

your

your

*

your

voic - es!

voic - es!

¸

¸

¸

¸

moun - tain - tops

¸

moun - tain - tops

I

¸

Sing

out

loud

and

strong.

¸

I

¸

Sing

out

voic - es!

moun - tain - tops

Sing

loud

and

*

loud

and

ech - o

ech - o

ech - o

with

with

with

your

your

your

strong.

¸

strong.

¸

song.

¸

song.

song.

“Gloria Tibi” by Mary donnelly and George L. O. Strid from ALFREd CHORAL dESIGNS Copyright © MMVII by Alfred Publishing Co., Inc.


*


Vocal Accompaniment

2. Play the accompaniment while the teacher or other class member sings or plays the vocal line.

heidenrösLein

Franz Schubert (1797–1828) D. 257; Op. 3, No. 3

12-20

Lieblich (lovely, melodious)

Voice

* * * *

Sah ein Knab’ ein Kna- be sprach: ich Und der wil - de

Piano

Rös - lein bre - che Kna - be

I I ¢ ¢ ¢ z ¢ ¢ * * *

6 :

mor - gen- schön, ste - che dich, sich und stach,

steh’n, dich, brach’s

Rös- lein auf der Rös- lein auf der Rös- lein auf der

lief er schnell, es nah zu seh’n, daß du e - wig denkst an mich, half ihr doch kein Weh und Ach,

I rit.I M 3 * * *

Rös- lein,Rös- lein, Rös- lein rot, Rös- lein,Rös- lein, Rös- lein rot, Rös- lein,Rös- lein, Rös- lein rot,

Hei Hei Hei -

den, den. den;

* * * *

war so jung und Rös- lein sprach: ich Rös- lein wehr - te

3

* * * *®

11 :

* ¢

I I I I I I I ¢ ¢ ¢ ¢ ¢ ¢ ¢ I ¢ * ¢ * ¢ I ¢ I ¢ I ¢ * ¢ * ¢

I I ¢ ¢ ¢ * ¢ * ¢ ¢ ¢ ¢ * * * *

sah’s mit und ich mußt’ es

vie - len will’s nicht e - ben

I I ¢ ¢ ¢ ¢ * * cresc. * ¢ * ¢ * ¢ * ¢

* * * *

a tempo

Rös- lein auf der Rös- lein auf der Rös- lein auf der

I ¢ I I 3I I I ¢ ¢ ¢ ¢ ¢ a tempo z rit. I¢ ¢ ¢ M I ¢ I ¢ 3 * *

I I * *

Hei - den. Hei - den. Hei - den.

x

¹ I

Freu - den. lei - den. lei - den.

I 3I ¢ ¢ ¢ 3¢ * * x



Play the three-part ensemble using the indicated chords to complete parts 2 and 3. Part 1: Melody Part 2: Ascending five-finger patterns Part 3: Two-hand accompaniment repeating the rhythm of measures 1–4 in each four-measure group that follows.

We gaTher TogeTher 12-21

Flowing

## 3 & 4 œ F 4

Part 1

Part 2

Part 3

## 3 & 4 Œ ## 3 & 4 Œ ? # # 34 Œ

&

##

&

##

&

##

5 

1

2

3

œ. 1

œ œ J

œ.

œ œ œ œ œ

D

1

F D

‰ j œœ œ F œ Œ 1

œ

Œ

2

œ œ J

œ.

A

Bm

A/C 

Bm7

? ##


œ œ

œ Bm

Bm7

œ.

j œ œ

˙

œ

3

5 3 2

‰ j œœ œ œ œ 1

œ

œ J œ

Œ Œ

Em

Œ ˙

#œ 2

E7

œœ œ

œ

œ œ œ œ D

Œ

œœœ œ

œ

4

1

A 7/C 

5 2 1

j œ œ

œ.

Netherlands

˙.

˙ 5 2 1

˙˙ ˙

˙ œ A

˙

œ P

9 :

1

2

3

13 :

1

2

3

*

A

1

D

0

4

*

¸

¸

3

D/F

A 7/G

1

2

A 7/C

2

1

&

D

0

I

¸

3

3

& G/D

&

I 2

rit.

¸

A 7/C

B 7/D

4

rit.

I

0 A 7/C

Em rit.

¸ 0

D

0


Unit 13

Objectives

Review Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Perform solo repertoire in Baroque style. 2. Sight-read and transpose music from easy standard piano repertoire. 3. Play various combinations of instrumental parts from a band score and perform it as a multiple piano ensemble. 4. Harmonize and transpose music that uses secondary chords and the V7/V chord.


Major Scale Review

Practice two-octave major scales in all 12 keys. One of the challenges in playing scales is remembering the starting finger for each scale. Study the keyboard charts below to help you remember the starting finger for each scale. LH Major Scale Starting Finger

3 5

3 5

4 5

5

RH Major Scale Starting Finger

3 5

3 5

2 4

1

3 1

2 1

1

3 1

4 1

1

Answer the following questions: 1. The RH starting finger for all major scales beginning on a white key is _____ . 2. The LH starting finger for major scales beginning on a white keyMexcept B is _____ . I D D L E

3. The LH starting finger for the B major scale is _____ .

C

4. The LH starting finger for all major scales beginning on a black key except G b (F#) is _____ . 5. The LH starting finger for the G b (F#) major scale is _____ .

6. Name the starting finger for the RH major scales built on the notes in the groups of two black keys. Starting finger for D b _____ Starting finger for E b _____

7. Name the starting finger for the RH major scales built on the notes in the groups of three black keys. Starting finger for G b (F #) _____ Starting finger for A b _____ Starting finger for B b _____

Harmonic Minor Scale Review

Practice two-octave harmonic minor scales in all 12 keys. Study the keyboard charts below to help you remember the starting finger for each scale. LH Harmonic Minor Scale Starting Finger

3 5

2 5

4 5

5

3 5

RH Harmonic Minor Scale Starting Finger

2 5

3 4

1

3 1

3 1

1

3 1

4 1

1

Answer the following questions: 1. The RH starting finger for all harmonic minor scales beginning on a white key is _____ . 2. The LH starting finger for harmonic minor scales beginning on aMwhite key except B is _____ . 3. The LH starting finger for the B harmonic minor scale is _____ .

I D D L E

C

4. The RH starting finger for all harmonic minor scales beginning on a black key except B b (A#) is _____ . 5. The RH starting finger for the B b (A#) major scale is _____ .

6. Name the starting finger for the RH harmonic minor scales built on the notes in the groups of two black keys. Starting finger for C # _____ Starting finger for D # (E b) _____

7. Name the starting finger for the RH harmonic minor scales built on the notes in the groups of three black keys. Starting finger for F # _____ Starting finger for G # (A b) _____ Starting finger for B b (A#) _____


Before playing:

S olo Repertoire

•Tap the rhythm first hands separately, then hands together. •Name the chords in measures 17–18. While playing: •Observe the mordent and the fermata in the last measure the second time only. •Listen for even eighth notes throughout.

GiGa George Peter Tingley

13-1

Vivace JBML

B * 0 B ¢

5

B

2

* 5

1

B

8

B

B

I O ¢ 2

2

4

2

M * & * 4

1

3

2

I 3

3

I

*

*

*

“Giga” from miNiATuRE FRENCH SuiTE iN F mAjOR by George Peter Tingley Copyright © mmV by Alfred Publishing Co., inc.


1

I

* I 0 ¢

11

B

1

3

2

B

2

I & ¢

B 0 B 1

3

2

4

2

2

3

18

B

1

4

2

B 5

22

B

5

B

2

2

E

2

*

2

M *

*

1

2

& 2

14

2

5

rit. 2nd time only

1

2

*

I

4

1

5

*

5

1

5

5

3

3

3 2

2

B


identify the key of each example. use the indicated tempo, dynamics and articulation as you play these exercises.

Reading

the Chase (exCerpt)

13-2

E

Allegro vivace 5

1.

5 : 5

2 5

O

1 4

1 3

1 2

2 5

¸¸<

1

2

2

1 4

1 2

2 5

Johann Burgmüller (1806–1874) Op. 100, No. 9

¢

¢

5

1 4

1 3

BaGatelle Daniel Gottlob Türk (1756–1813)

13-3

Moderato

&bc œ œ œ œ œ œ F ?b c ˙ Ó 3

2.

2

5 

&b œ F ? ˙ b 3

3

œ

œ œ œ œ ˙

œ

œ

˙

˙ Ó

œ œ œ œ œ œ P ˙ Ó 1

œ

œ

˙

œ

œ

œ

˙

œ

5

1

œ œ 3

œ

1

œ

˙ ˙

 Transpose


˙

Ó

˙

œ œ œ œ

œ

œ

3

Ó ˙ to G major.

the shepherd pipes 13-4

Tat’iana Salutrinskaya

Gently

¸ O VV 5

3.

1

VV 9 :

3

z VV

1

2

2

¸

VV

1 5

5 :

2

B

3

rit.

VV

3

¸

¸

VV

2

1

3

VV

1

VV

VV

2

¸

VV V ¸¸

¸¸

3V

V

3

V V


Play the band score in the following ways:

Band Score

1. Each single line transposing the B b clarinet, E b alto saxophone, B b cornet and F horn to concert pitch. 2

Combinations of two parts as follows: a. Flute/oboe and B b clarinet. b. Flute/oboe and E b alto saxophone. c. B b cornet and low brass & woodwinds. d. F horn and low brass & woodwinds.

3. Combinations of three parts as follows: a. Flute/oboe, B b clarinet and E b alto saxophone. b. B b cornet, F horn and low brass & woodwinds. 4. The piano accompaniment.

5. As a multiple piano ensemble with class members playing one, two or three parts each.

Mozart serenade (exCerpt)

and

Wolfgang Amadeus Mozart (1756–1791) Arr. John O’Reilly

13-5 Andante

Flute Oboe

B@ Clarinet

E@ Alto Saxophone

B@ Cornet

F Horn

Low Brass & Woodwinds

Snare Drum Bass Drum

B B ¸ 0 ¸ 0 ¸ 0 ¸ 0 B ¸ 0 BB ¸ 0¸

@

B B ¸ 0¸ B B ¸ B

Piano Accompaniment

danCe

¸

¸

I ¸ I ¸

I ¢ ¸

¸ * ¢

I ¸

¢ ¸ *

¸ ¸

¸ ¸

¸

¸

¸ ¸

¸ ¸

¸ x

¸¸ ¸

¸

¸¸ ¸

x

¸ ¸

¸

¸ ¸

F7

¸

V V

x

Cm

B

@

V

¸ *

I ¸ x I ¸¸

¸ * ¢ I ¢ ¸ ¸ I ¢ ¸¸ ¸ * ¢

Gm

“mozart Serenade and Dance” from ALFRED’S YAmAHA BAND SERiES arranged by john O’Reilly Copyright © mCmXCi by Alfred Publishing Co., inc.


¸ * ¢

x

F

I ¢ ¸

I ¢ ¸

I ¸ I ¸

I ¸ I ¸

6 : B * ¢ ¸ Fl. B Ob. Cl.

A. Sax.

Cor.

Hn.

¢ ¸ *

¢ ¸ * I B B ¢ ¸¸

B

Low Br. & W. W.

S. D. B. D.

12 : B Fl. B Ob. Cl.

A. Sax.

Cor.

Hn.

Pno. Accomp.

B

BB

x

Dm

¸ *

x

Cm

B

¸

¸

¸

¸ ¸

¸

¸

¸

¸ ¸

¸ ¸

¸ ¸

B

¸

¸¸ ¸

¸

x

@

¸¸ ¸

¸ ¸

¸ ¸ x

Cm 7

¸

F7

¸

V

¸

V

¸

V

¸ ¸

¸ ¸

V V

I ¸

¸ ¸ ¸

¸ ¸

x

¸

¸ ¸ Cm

¸

x

¸

¸

B

@

¸ ¸

F7

x

¸

¸

x

¸¸ ¸

I ¸¸

V B B

@

B

¸

¸

I ¸¸

V

¸

¸

x

F

¸

x

@

I ¸

V V

I ¸ I ¸

V BB V

Low Br. & W. W.

S. D. B. D.

B I B ¢ ¸¸ B B * ¢ ¸ E

Pno. Accomp.

@

¸ *

V

V

B

@

x

V V V


? 3 œ œœ œœ b4


Harmonization


Waltz

13-6

Moderate waltz

B &

5 :

B@

B

9 :

B 1

13 :

F

1

F

5

F

B

C 7/E

C 7/E

4

3

5

in

F Major

3

C 7/E

F

Gm

1

1

Franz Schubert (1797–1828) Op. 77, No. 10 Dm

C 7/E 4

5

F

¸

4

Dm

4

¸

1

F

 Transpose

to G major.

2. using I, V7, IV, ii and V7/V, harmonize with a broken chord accompaniment. use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff. Broken Chord Accompaniment

My Bonnie

13-7

Lilting

b3 b & 4 œ F

œ.

5 

b . &b œ

9 

&

13 

5

b &b œ

œ œ J

œ


œ œ

œ

2

œ

˙

˙. 1

œ œ

H. J. Fuller 1

œ

œ

5

œ

œ

5

œ

3

œ

œ

3

œ œ J

5

bb œ .

œ œ J

5

1

œ œ

? b3 œ œ œ b 4

œ œ

Œ

2

˙

œ ˙.

Œ

Œ

1

œ 1

œ 1

œ

˙  Transpose

to C major.

Unit 13

Review Worksheet Date _____________________

Name ________________________

1. Label each statement with the musical style period that it describes best. Write B for Baroque, CL for Classical, R for Romantic or CO for Contemporary.

a. ______ Composers began notating dynamic contrasts, phrasing and precise articulation.

g. ______ Sonata-allegro, sonatina, minuet and trio, rondo, and theme and variations were the prevalent musical forms.

b. ______ Dissonance, prepared instruments and new notation combine to create a variety of new sounds.

h. ______ Two or more lines are played simultaneously to create counterpoint.

c. ______ Strong beats, upbeats and fast changing rhythmic motion are emphasized.

i. ______ Well-known composers are Frédéric Chopin, johannes Brahms, Robert Schumann and Franz Liszt.

d. ______ Etudes, concertos, character pieces, dances and variations were the prevalent musical forms.

j. ______ much of the music from this period has no real feeling of tonal center, and employs modal, pentatonic and 12-tone scales.

e. ______ Well-known composers are johann Sebastian Bach, Domenico Scarlatti, jean-Philippe Rameau and Antonio Vivaldi.

k. ______ Well-known composers are Franz joseph Haydn, Wolfgang Amadeus mozart, muzio Clementi and Ludwig van Beethoven.

f. ______ multiple meters, polyrhythms and minimalistic techniques are used.

l. ______ Harmony is more complex with the use of accidentals, chromaticism, diminished and dominant seventh chords, and modulations to unrelated keys.

2. Transpose the following melody for F horn to concert pitch and write it on the staff below with the appropriate key signature.

#3 œ œ œ & 8

œ

œ J

œ œ œ

œ.

œ œ œ

œ œ œ

œ œ œ

œ.

&


3. identify each major and harmonic minor scale below by writing its name on the indicated line. Write the correct RH fingering on the lines above the staff and the correct LH fingering on the line below the staff. Major Scale

Major Scale

BB B

Harmonic Minor Scale


BB

4. identify each dominant seventh arpeggio below by writing its name on the indicated line. Write the correct RH fingering on the lines above the staff and the correct LH fingering on the lines below the staff. Dominant Seventh Arpeggio

B

B B B

B

Dominant Seventh Arpeggio

B

B B B


Unit 14

Objectives

Modulation to Dominant Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play a chord progression that modulates to the dominant in selected major keys. 2. Play major scales and arpeggios in Group 1 keys, using traditional fingerings. 3. Perform solo repertoire that modulates to the dominant. 4. Sight-read and transpose music that modulates to the dominant. 5. Improvise a melody in Baroque style over a bass line. 6. Harmonize and transpose music that uses the V7/III chord and modulates to the dominant. 7. Play a three-part choral score (SAT). 8. Play a melody for viola written in alto clef. 9. Play a three-part instrumental score for B  trumpet, F horn and trombone. 10. Play a vocal warm-up that modulates upward by half steps.

Modulation to Dominant ■ Unit 14

183

Modulation

Modulation is the process of changing from one key to another in a logical manner so that a new tonal center is established. From a musical standpoint, modulation adds momentum to music and facilitates many formal structures, such as sonata form, that are dependent upon it. The two most prevalent types of modulation are common chord (pivot) modulation and direct (phrase) modulation. Common chord modulation uses a chord found in both keys to move to the new tonal center either diatonically, chromatically or enharmonically. Direct modulation occurs when a phrase ends in one key and the next phrase immediately begins in the new key.

Playing a Chord Progression That Modulates to the Dominant

Play the chord progression that modulates to the dominant.

14-1

C

G7

C

5 2 1

4 2 1

5 2 1

5 3 1

5 3 1

5

˙ 2

˙

˙

V7

I

vi6

& 44 ˙˙˙ ? 44 ˙ 2

Key of C:

I

˙˙˙ ˙

Am/C

˙˙ ˙

˙˙ ˙ 2

Key of G: ii6

G/D

˙˙ ˙ 1

I6 4

D7

G

5 3 1

5 2 1

# ˙˙˙

ww w

˙ 1

w

V7

I

5


Practicing Major Scales (Group 1 Keys): C, G, D, A and E

14-2

1. G major

14-4

3. D major

14-3

2. F major

14-5

4. B  major

Play two-octave major scales in Group 1 keys. See pages 14, 29, 44, 56, and 69. The following principles will help you remember the fingering for the Group 1 major scales: 1. All five scales use the same fingering. RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2. The fourth finger plays only once per octave in each scale. 3. Thumbs play on the tonic of each scale. (Note: Thumb must be substituted for finger 5 at the beginning and end of the scale.) 4. When playing hands together, finger 3 in each hand plays at the same time.

184

Unit 14 ■ Modulation to Dominant

Practicing Major Arpeggios (Group 1 Keys): C, G, D, A and E

Play two-octave major arpeggios in Group 1 keys. See pages 14, 29, 44, 56, and 69. The following principles will help you remember the fingering for the Group 1 major arpeggios: 1. All five arpeggios use the same fingering in the RH. RH: 1 2 3 1 2 3 5 2. When playing the LH arpeggio, use finger 4 when there is one white key between the root and third of the broken chord. Use finger 3 when there are two white keys between the root and third of the broken chord. LH (C, G): 5 4 2 1 4 2 1 LH (D, A, E): 5 3 2 1 3 2 1

Technique 14-6

Allegretto

& 44 œ œ œ œ œ œ œ œ œ œ œ Œ  F 1

1.

&

1

2


 œ Œ œ œ œ œ œ œ œ œ œ œ   1

1

2

œ œ œ Œ


14-7

Allegretto

2.

& 1

1

2

1

1

2

Continue downward on white keys until… 14-8

Moderato

¸¸¸ E ¸¸¸ 5 3 1

3.

1 3 5

¸¸ ¸

¸¸

¸

VV V

8va

VVV

5 3 1

¸¸¸ ¸¸¸ 1 3 5

¸¸¸ ¸¸

¸

VVV

8va

VVV

¸¸¸

5 3 1

¸¸¸ ¸¸ ¸ 1 3 5

 Transpose

¸¸ ¸

VVV

8va

VV V

to B  major and D major.


185

Before playing:

S olo Repertoire

•Notice that both hands begin in the treble clef. •Circle the clef changes. While playing: •Play grace notes quickly before the beat. •Listen carefully for slurs and staccato notes.

Bagatelle 14-9

O Allegretto 3

5 : 3

3 5

3 5

9 : 3

3 5

O

3 5

186

3 5


3 5

1 5

4

E

1 2

1 5

2

I 4 M

5

1 5

3 5

Anton Diabelli (1781–1858) Op. 125, No. 10

1 5

2 5

1 5

¢

I ¢ *

¢

1 5

1 5

2 5

2

*

4 2

I 4 M

5

I ¢

1 5

¢ *

2

1 5

3

I ¢ 2

13 : 3

3 5

E 3 5

21 :

O

3 5

29 : 3

3 5

1 2

1 5

3

1 5

* ¢

2 5

4

E 1 3 5

1 5

1 2 5

5

1 5

¢

I ¢ 3

I 4 M

5

3

1 3

3

1

3 5

2

1

1 5

*

3 5

2

3 5

O

3 25 :

E

5

4 2

4

1

1

5

17 :

*

2

1 5

I ¢ 2

¢ * I ¢ 5 1

1 3

¢

5


187


Reading

14-10

Allegretto

bb 3 b & 8 œ F ? b b 38 œ b

j œ

1

1.

1

3

5 

bb œ b & ? bb

œ

œ œ

1

3

5

2

œ J œ

œ

œ.

œ œ

œ

œ œ

œ

œ

nœ 3

5

œ

œ.

1

1 2

œ

œœ .. 

Sonatina

in

œ

œ

œ

1

2

5

œ J œ

œ

œ

b

œ

œ

œ

œ J œ

5

œ

œ

5

œ

Transpose to F major.

C Major

(exCerpt)

William Duncombe (18th century)

14-11

Moderato

œ œ œ

& 24 œ f˙ ?2 4 1

2.

3

œ ˙

œ œ œ 3

œ œ œ œ

4

œ œ œ œ

1

˙

œ 1

1

5 

& œ 3

? œ

œ

œ œ œ

œ

œ œ œ

œ

œ

œ

œ

œ

1

3

3

œ 1

œ 3

œ 5

œ

˙ ˙ 2

 Transpose

188


to D major.

danCe (exCerpt)

14-12

Moderato

& 34 œœ F ? 34 œ 5 1

3.

œœ & 2 1

cresc.

? œ

œ œ

œ

5

5 

œ œ

˙ œ ˙ œ  œ #œ œ œ œ

œœ

œœ

5

œ

2

œœ

œ

1

Improvisation in Baroque Style

4 2

œœ

œœ  œ

œ

œ

˙˙ œœ  œ œ œ œ œ

5

œœ

˙˙

œ

œ

3 1

4 1

œ

Ignaz J. Pleyel (1757–1831)

œœ

œœ

4 2

f œ

œ

œ

œœ

˙˙

2 1

œœ

4 2

# œ

œ #œ œ œ œ

Following the given bass line, complete the melody for the Bourrée by continuing in a similar manner.

Bourrée

(adapted

exCerpt)

Georg Philipp Telemann (1681–1767)

14-13

Allegro

$ & $ 3

¸

1

¸

5

¸

¸

2

¸

¸

1

5 :

¸

¸

2

1

cresc.

¸

¸ 5

¸ 2


189


Harmonization


? 2 œ b4

œœ

14-14

Moderato F

& b 24 œ F 3

G 7/F

œ #œ œ œ œ

œ

C7

 6

& b œ #œ œ œ œ G 7/B

 12

&b

2

œ

5

œ œ nœ œ 2

œ

œ œ œ œ

2

5

C Fine

˙

œ œ œ

3

2

F 2

œ #œ œ nœ F

1

C

1

C 7/E

œ D 7/C

œ

1

œ #œ œ œ œ

œ 1

œ #œ œ œ œ

C7 1

2

2

3

œ #œ œ nœ

G 7/B

œ

œ

1

2

œ œ nœ œ



D. C. al Fine

bœ

œ

 Transpose

to G major.

2. Using i, V7, iv, III and V7/III, harmonize with a block chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff. Block Chord Accompaniment

? # 38 œœœ ...

We three KingS (exCerpt)

John Henry Hopkins (1820–1891)

14-15

Moderato

#3 œ & 8 P 5

9 

&

#

1

œ

j œ œ

j œ œ œ œ

j œ

j œ

œ

œ

œ J

œ.

œ

œ œ œ

j œ œ

j œ œ œ œ

œ œ œ

1

œ

j œ 2

 Transpose

190


œ

‰

1

œ. to D minor.


Choral Score Reading for Soprano, Alto and Tenor (SAT)

1. 2. 3. 4. 5. 6. 7.

Soprano (RH) alone. Alto (RH) alone. Soprano (RH) and alto (RH) together. Tenor (LH) alone (one octave lower than written). Soprano (RH) and tenor (LH) together. Alto (RH) and tenor (LH) together. Soprano (RH), alto (RH) and tenor (LH) together.

glory

(exCerpt

to

froM

god

The Messiah)

14-16

# # cPœ &

Allegro

S

A

T

# # cP œ & # # cPœ &

## f j œ œ Œ œ œ . J & # # f j ˚j Œ & œ œ. œ œ # # fœ œ . œ & J J œ Œ

5 

S

A

T

œ. œ J J œ j œ œ. J œ  œ. œ J J œ

Œ

œ

Œ

œ

Œ

œ

œ . Jœ œ J  j œ . Jœ œ  j ˚j œ œ. œ

œ œ . œJ œ Œ J  j œ˚j œ Œ œ œ. j ˚ œ œ . œj œ Œ

œ œ J J


w

˙

j j w œ œ

Ó

˙

Ó

œ œ J J

w

œ œ. œ œ J J j ˚j œ œ. œœ œ œ. œ œ J J

˙

œ œ J J

Ó

˙

j j œ œ ˙ œ œ J J

˙

˙ ˙ ˙


191

Viola parts are usually written in alto clef. Middle C in alto clef is located on the third line of the staff.

Viola and Alto Clef


they sound

B 44 œ œ œ œ ˙ 4 &4 œ œ œ œ ˙

Play the viola part.

pilgriM’S ChoruS (froM Tannhäuser)

14-17

r #

Andante maestoso

6 :

# ¸

11 :

¸

Richard Wagner (1813–1883) Arr. Jacquelyn Dillon, James Kjelland and John O’Reilly

r 3

#

¸

¸ r

3

¸

simile

3

¸

¸

r ¸ * o

“Pilgrim’s Chorus” adapted from STRICTLy STRINGS, Book 2 by Jacquelyn Dillon, James kjelland and John o’Reilly Copyright © MCMXCIII by Highland/Etling Publishing, a division of Alfred Publishing Co., Inc.

192


1. Transpose the line for B  trumpet to concert pitch. 2. Transpose the line for F horn to concert pitch. 3. Play the score using the following combination: a. B  trumpet and trombone. c. B  trumpet and F horn. b. F horn and trombone. d. All three parts.


the Carnival

14-18

O B O B B O

B@ Trpt F Hn. Trb.

B@ Trpt

Allegro

9 :

¸

¸

¸

¸

BB ¸

¸

¸

¸

¸

¸

B

Trb.

¸

¸

F Hn.

¸

¸ ¸

¸ ¸ ¸

of

veniCe Arr. John O’Reilly and John Kinyon

¸

¸

¸

¸

¸

¸

¸ ¸ ¸

¸

¸

¸

¸

¸

¸

¸

¸

¸

¸

¸

¸

“The Carnival of Venice” adapted from yAMAHA BAND ENSEMBLES, Book 1 by John o’Reilly and John kinyon Copyright © MCMXC by Alfred Publishing Co., Inc.

Vocal Warm-Ups

The pattern that follows is often used as a vocal warm-up. It modulates upward by half steps using a common tone in the bass. Practice the exercise continuing upward by half steps until you have played it in all 12 major keys.

14-19

V & ¸¸ B B ¸¸ ¸¸¸ ¸¸¸ ¸ ¸

1

1

1 3 5

5

1 2 5

1 2 5

¸¸¸ ¸¸¸

V ¸¸¸ B B ¸¸¸

BBBBB V ¸¸¸ M M ¸¸ ¸¸ BB BB ¸¸¸ ¸ ¸ B

Moderato

1 3 5

BBB

BBB

V MMM

Continue upward until…

MMM ¸ ¸¸

¸¸ ¸

V VV


193

Unit 15

Objectives

Modulation to Subdominant Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play a chord progression that modulates to the subdominant in selected major keys. 2. Improvise a melody in Classical style over a chord progression. 3. Perform solo repertoire that modulates to the subdominant. 4. Play major scales and arpeggios in Group 2 keys, using traditional fingerings. 5. Sight-read easy piano repertoire and music that modulates to the subdominant. 6. Harmonize and transpose music that modulates to the subdominant. 7. Play a three-part choral score (SAT). 8. Play melodies for viola written in alto clef. 9. Perform a four-part ensemble with partners.

194 Unit 15 ■ Modulation to Subdominant

Playing a Chord Progression That Modulates to the Subdominant 15-1

Play the chord progression that modulates to the subdominant.

C

G7

C

C7

& 44 ˙˙˙

˙˙˙

˙˙ ˙

b ˙˙ ˙

5 2 1

4 2 1

?4 ˙ 4

˙

1

5 2 1

˙

V7

F

C

F

˙˙ ˙

˙˙˙

ww w w

5 3 1

˙

1

4

Key of C: I

5 2 1

5

˙

I

V

˙

1

I Key of F: V

5 3 1

V7

5 2 1

2

1

I


1. G major

15-4

15-3

2. F major

15-5

3. D major

4. B  major

Using the suggested harmonies, complete the Sonatina in G Major by continuing in a similar style.

Improvisation in Classical Style

Sonatina

in

G Major

(excerpt)

15-6


Andantino cantabile

#3 œ œ ‰ œ œ & 4 œ. œ œ J P œœœœœœœ œœ œœ œœ œ œ ? # 34 Œ œ œ œ 1

3

3

3

&

sempre legato I

#

3

3

5 3

4 2

5 

3

V6

V6

I

Œ

œ

?# I6

˙

IV

œ

ii6

˙

I6 4

œ

V7

œ œ œ œ ‰ J I

3

Modulation to Subdominant ■ Unit 15 195

Before playing:

S olo Repertoire

•In measures 1–16, identify the harmonic intervals in the RH and the melodic intervals in the lH. •Tap the rhythm hands together. While playing: •lift hands for rests. •listen carefully for slurs and staccato notes.

the pioneer Spirit 15-7

Randall Hartsell

Lively

E 5 1

1

5

5 :

9 :

5

13 :

5 1

3 1

1

5 1

5 2

“The Pioneer Spirit” from SomeTHInG SPeCIAl, Book 2 by Randall Hartsell Copyright © mCmXC by Alfred Publishing Co., Inc.


¸ ¸ ¸

¸¸ ¸

¸¸ ¸

¸¸ ¸

17 

& Œ #œ F ? w 4

œ œ œ

1

21 

& Œ ?

œ

25 

œ œ œ

& Œ #œ F ? w 4

Œ œ

& Œ œ œ f ? œ œ

33 

& Œ f ? œ

œ œ œ

˙

Œ

œœ  œ

œ

œ œ œ

#œ

Œ

Œ

1

29 

#œ

œœ  œ

œ Œ œ

˙

œ œœ  œ

Œ œ

œ

œ

œœ  œ

Œ

œ

œ

œœ  œ

Œ

˙

Œ

Œ œ

˙ Œ

œœ  œ

œ

œ

œ

˙

œœ  œ

œ

œ

˙˙  ˙

œ œ œ

œ

œ

œ

œ

Œ

Œ

Œ

œœ  œ

Œ

œœ  œ

p œ

œœ  œ

Œ

œ

Œ œ w

œœ  œ

œ

œ œ œ

œ œ œ

œ

œ

˙

œ

w

œœ  œ

œ

œœ  œ

Œ

œ

œ œ œ

w w

più

œ œ

œ

f

Œ

œœ  œ

˙

œ

œ œ

8va

Œ

˙

œ w w ww


Practicing Major Scales (Group 2 Keys): F, B, G  (F ) and D 

Play two-octave major scales in Group 2 keys. See pages 81, 95, 107, and 119. The following principles will help you remember the fingering for the Group 2 major scales: 1. Fingers 2 and 3 play the two-black-key groups (or white-key equivalents). • In the key of F major, fingers 2 and 3 play D and e. • In the keys of G-flat and D-flat major, fingers 2 and 3 play D and e . • In the keys of B and F-sharp major, fingers 2 and 3 play C and D . 2. Fingers 2, 3 and 4 play the three-black-key groups (or whitekey equivalents). • In the key of F major, fingers 2, 3 and 4 play G, A and B . • In the keys of G-flat and D-flat major, fingers 2, 3 and 4 play Gb, Ab and Bb. • In the keys of B and F-sharp major, fingers 2, 3 and 4 play F , G and A . 3. When playing scales hands together, thumbs play at the same time on white keys (except on the first and last notes of F and B).









 

Practicing Major Arpeggios (Group 2 Keys): F, B, G  (F ) and D 





Play two-octave major arpeggios in Group 2 keys. See pages 81, 95, 107, and 119. The following principles will help you remember the fingering for the Group 2 major arpeggios: 1. Arpeggios in the keys of F, B and G-flat major use the same fingering in the right hand. RH: 1 2 3 1 2 3 5 When playing the lH arpeggios, use finger 4 when there is one white key between the root and third of the broken chord. Use finger 3 when there are two white keys between the root and third of the broken chord. lH: (F) 5 4 2 1 4 2 1 lH: (B, G ) 5 3 2 1 3 2 1





2. For the D major arpeggio: • Thumbs play the white keys. In addition to the thumbs, only fingers 2 and 4 are used. • In the right hand, the fourth finger plays the root. RH: 4 1 2 4 1 2 4 • In the left hand, the second finger plays the root. lH: 2 1 4 2 1 4 2



Reading

15-8

Flowing

& 24 œ . P ?2 œ œ 4

œ J

3

1.

5

j œ 3

& œ. ?

œ

1

2

5

5 

œ

œ

1

œ

œ

œ

œ

1

2

5

œ

œ

œ

œ

2

˙

œ

1

œ

˙

œ

bœ

œ

œ

œ

2

5

œ

1

œ bœ œ

bœ

œ

œ

œ

œ

œ

2

˙ ˙˙

œ 3

2 4

Minuet (excerpt)

Georg Philipp Telemann (1681–1767)

15-9

Allegretto

& ¸ 2

2.

¸

1

5

¸

¸

1

¸

4

1

¸

¸

¸

¸

1

2

¸

1

4

3

1

1

2

1


Reading (continued)

prelude (excerpt)

15-10

Allegro

E ¸¸¸

3.

2

1

1 3 5

5 :

¸¸ ¸

1 3 5

2

1

¸¸ ¸

¸ ¸¸

1

2

Harmonization

3

¸¸ ¸

1 3 5

2

¸¸ ¸

1

2

¸¸

1

1 2 5

1

1

1 3 5

Samuel Maykapar (1867–1938)

1 2

2

¸ ¸ ¸

1 3


? b 43 œ œœ œœ


eMperor Waltz 15-11

Allegro

¸ B &I 3

9 :

B

¸ 3

¸

ii6

¸

ii6

¸

¸

¸ 1

Johann Strauss (1825–1899)

2

V7

¸

I

¸ * * 5

1

V7/vi

vi

5

V7

 Transpose


¸

¸ I

to G major.

2. Harmonize with a broken chord accompaniment. Broken Chord Accompaniment

? bb3 œ œ bb 8 œ

15-12

Moderato A@

B B B B 0 5

E @7/G

A@

A @7

D@

I B I

A @7/C

D@

I

I

 Transpose

to D  major.

3. Using I, V7, IV and V7/IV, harmonize with a waltz style accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

? # # 3 œ œœ œœ 4


15-13

0

Lively

3

1

5 :

9 :

13 :

4

2

5

1

2

M

*

¸ 1

*

M

¸

¸

1

2

England

¸

3

 Transpose

to e major.



Choral Score Reading for Soprano, Alto and Tenor (SAT)

1. 2. 3. 4. 5. 6. 7.

Soprano (RH) alone. Alto (RH and lH) alone. Soprano (RH) and alto (RH and lH) together. Tenor (lH) alone (one octave lower than written). Soprano (RH) and tenor (lH) together. Alto (RH and lH) and tenor (lH) together. Soprano (RH), alto (RH and lH) and tenor (lH) together.

dieS irae

(adapted

excerpt froM

Requiem)

15-14

Allegro assai

S

f b 4 &b b 4 ˙ f b 4 &b b 4 ˙ RH

A

T

f b & b b 44 ˙

˙

Wolfgang Amadeus Mozart (1756–1791)

œ

A

T

&

˙

˙

œ

œ

Œ

œ œ

œ

œ

Ó

˙

˙

œ

œ

Œ

œ œ

˙

œ

œ

Ó

n˙

˙

œ

œ

Œ

œ œ

œ nœ

Ó

œ

œ

Ó

œ

œ

b & b b nœ œ Œ œ œ bbb

Ó

˙

5 

S

œ

œ œ Œ œ œ

œ œ œ.

œ J

œ œ Œ œ œ

b œ œ Œ œ œ nœ œ Œ œ bœ &b b


œ œ œ œ LH

RH

œ œ nœ œ œ œ œ œ

Ó

Viola and Alto Clef

middle C in alto clef is located on the third line of the staff. (See page 192.) Play the viola parts.

rondeau 15-15

s s B 1. # B sempre E Allegro

2

s # BB 5

Jean-Joseph Mouret (1682–1738) Arr. Jacquelyn Dillon, James Kjelland and John O’Reilly

r r

3 s 2. rit.

r 1.

4

“Rondeau” from STRInG eXPloReR, Viola Book 2, by Andrew Dabczynski, Richard meyer and Bob Phillips Copyright © mmIII by Alfred Publishing Co., Inc.

over

the

river (and throuGh

15-16

the

American Folk Song Arr. Jacquelyn Dillon, James Kjelland and John O’Reilly

s * * * 2. # E Allegretto

4

4

# * * 6

WoodS)

4

r r * *

( )

s * * 4

r

s * * * # * * * * ¢

11

“over the River (and Through the Woods)” from STRICTly STRInGS, Viola Book 2, by Jacquelyn Dillon, James kjelland and John o’Reilly Copyright © mCmXCIII by Highland/etling Publishing, a division of Alfred Publishing Co., Inc. Modulation to Subdominant ■ Unit 15 203

Ensemble Repertoire in

the

Good old SuMMer tiMe

15-17

George Evans (1870–1915)

Moderate waltz tempo

¸ &In the good old ¸ & ¸ & play & 2

Part 1

Part 2

1

3

2

Part 3

5 3 1

Part 4

5

9

¸ 1

1

¸ 2

3

Stroll - ing through

2

3

4

1

¸

¸

¸

¸

4

the

¸ In the good old

¸ ¸

¸

¸ 1

¸

¸

1

sum - mer time,

¸

5

¸

¸

¸

5

5

sum - mer time,

¸

5

3

one octave lower than written throughout

1

2

5 3 1

RH

¸ shad

¸ -

¸

y

¸

¸

lanes

with

your

4

¸

¸

¸

3

¸

¸

ba

¸ -

by

¸

mine;

You

¸

3

¸

2

M¸

M ¸

¸

2

2

4

5 4 1

5 3 1

¸¸ ¸


¸ 4

1

2

17

¸ 1

1

hold

2

3

1

¸

¸

¸

¸ 2

3

her

hand

and

¸

holds yours,

And thatʼs

3

she

¸

¸ 1

4

¸

¸

a

ver - y good

¸

¸

¸

2

1

5

2

3

¸

¸

2

¸

sign

That

2

3

¸

5

3

1

2

4

1

5

25

¸ 1

1

sheʼs

2

3

4

¸

¸

2

your

3

toot

¸

-

sey

¸ woot -

¸

¸

sey

In

3

¸

¸

3

¸

the

good old

¸

¸

2

¸

¸

1

5 3 1

¸ sum -

¸

mer

time.

¸

M

¸

¸

M

¸

2

5 4 1


Unit 16

Objectives

Three-Part Form Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play major scales and arpeggios in Group 3 keys, using traditional fingerings. 2. Play Cdim7, Gdim7 and Ddim7 arpeggios. 3. Perform solo repertoire in three-part form. 4. Sight-read music from easy piano repertoire and music that uses the diminished seventh chord. 5. Harmonize and transpose melodies with secondary dominants and the iio chord. 6. Perform duet repertoire with a partner. 7. Improvise melodies from chord symbols. 8. Play a two-part instrumental score for violin and viola. 9. Accompany an F horn solo. 10. Play a three-part choral score (SAT).

Practicing Major Scales (Group 3 Keys): B , E  and A 

206 Unit 16 ■ Three-Part Form

Play two-octave major scales in Group 3 keys. See pages 136, 150, and 159. The following principles will help you remember the fingering for the Group 3 major scales: 1. All three scales use the same LH fingering. LH: 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 2. The fourth finger in the RH always plays B.

Practicing Major Arpeggios (Group 3 Keys): B , E  and A 

Play two-octave major arpeggios in Group 3 keys. See pages 136, 150, and 159. The following principles will help you remember the fingering for the Group 3 major arpeggios:







1. For the E and A major arpeggios (same as D from Group 2): • Thumbs play the white keys. In addition to the thumbs, only fingers 2 and 4 are used. • In the right hand, the fourth finger plays the root. RH: 4 1 2 4 1 2 4 • In the left hand, the second finger plays the root. LH: 2 1 4 2 1 4 2



 



2. For the B major arpeggios: • The right hand fingering is the same as D , A and E . RH: 4 1 2 4 1 2 4 • The left hand has its own unique fingering. LH: 3 2 1 3 2 1 3 Practice the diminished seventh arpeggios hands separately.

Playing Diminished Seventh Arpeggios 16-1

& 44 œ b œ b œ ∫ œ

Cdim7

1.

? 44

2

3

4

1

∫œ b œ b œ œ 5

4

3

2


3

4

1


4

3

2

w 2

w 1

œ ∫œ bœ bœ 2

1

4

3

œ ∫œ bœ bœ 1

2

3

4

œ ∫œ bœ bœ 2

1

4

3

œ ∫œ bœ bœ 1

2

3

4

2

w w 5

16-2

Gdim7

2.

& 44 ?4 4

2

3

4

1

bœ bœ b œ œ bœ b œ b œ œ 5

4

3

2

16-3

Ddim7

3.

4 & 4 œ œ bœ bœ ?4 4

2

3

4

1

bœ b œ œ œ 2

1

4

3

bœ b œ b œ œ 2

3

4

1

bœ bœ b œ œ 1

4

3

2

bœ b œ œ œ 2

3

4

1

bœ b œ œ œ 2

1

4

3

w 2

w 1

w 2

w 2

œ bœ bœ bœ 2

1

4

3

œ bœ bœ bœ 1

2

3

4

œ bœ bœ œ 2

1

4

3

œ bœ bœ œ 2

3

4

1

2

œ bœ bœ bœ 1

4

3

œ bœ bœ bœ 1

2

3

4

œ bœ bœ œ 2

1

4

3

œ bœ bœ œ 2

3

4

1

2

w w 5

2

w w 2

Three-Part Form ■ Unit 16 207

Three-Part Form (Ternary)

Three-part form is divided into three sections symbolized by the letters ABA. The first section is called A; the second section is called B. The second section contrasts with the first section while the third section is usually an exact or similar repeat of the first section. This form is often used in the second movements of sonatinas as well as in minuets and scherzos that have contrasting trio sections. Before playing:

S olo Repertoire

•Map the piece using the D.C. al Fine and Fine. •Name the chords in the LH of measures 1–2 and 13–14. While playing: •Play the quarter notes slightly detached unless otherwise indicated. •Observe the terraced-dynamic changes between forte and piano.

Minuet

16-4

Andante moderato

B O ¸¸¸ ¸¸ ¸ B 2

1 3 5

1 3 5

B O x B

6 :

4

B

11 :

1

4

B 3

x

¸¸ ¸

1

16 :

B B 1

2

Fine

E ¸ ¸¸


2

¸ ¸

x

2

¸ ¸

2

3

O

E B

x

4

1

1 3 5

2

x

¸¸¸

E

2

1

M O¸ ¸¸ 1 3 5

x

2

O

Leopold Mozart (1719–1789)

3

E 5 2 1

D Minor

in

D. C. al Fine

M 1

¸ ¸

4

1

1

3

1

2


Reading 16-5

Walking

& b 44 ˙˙ P ? b 44 w w 3 1

1.

2 1

œ

nœ

˙˙ cresc. bw bw

2 1

&b ˙ ˙ F ? b ww

w w

œ

˙ ˙ dim. ww

1 5

œ

ww w w

œ

w w P ww

1 5

4 1

œ

3

œ

˙˙

1 5

1 5

5 

œ

nœ

5

œ

2 1

œ

œ

˙˙ ww

1 4

Dance

(excerpt

froM

For Children)


16-6

Poco allegretto

& 24 œ  F ? 24 Œ 2

2.

œ œœ

˙ ? ˙˙ 1 2 4

œ p Œ

˙˙

1 3

6 

& œ

˙

œ

œ

œ p

œ

œ ∑

œ

œ œœ

œ

4

œ œ F

˙ ˙˙

œ ∑

2 5

œ ˙˙ ˙

1 2 5

œ

4 2

œœ œ

œœ

poco ritard.

1

œ 5

œ

˙ ˙˙ ˙ 1 2 3


Reading (continued)

chorale (excerpt)

16-7

Moderato

3.

Robert Schumann (1810–1856) Op. 68, No. 4

3 1

$ ¸¸ O $ ¸¸

¸¸

4 1

¸

¸¸

4 1

¸¸

¸¸

¸

Harmonization

5 (1)

¸ ¸

¸¸

¸

¸¸

16-8

Moderate waltz tempo 3

9 :

17 :

25 :

1

3

¸

¸ M

¸

I

V6 /vi

1

1

5

¸ I

3

¸

in

1

¸

1

¸

¸¸

S

3

V V

3 V

V

œœ

?3 œ 4

œœ

St. louiS, louiS Kerry Mills (1869–1948)

¸

¸


Meet Me

¸ &I

4 1

2

¸¸


1

¸¸ ¸ ¸

¸ ¸

4 1

5 2

¸ ¸

¸¸

3

¸¸ ¸¸

3

3 2

4 1

ped. simile

¸¸

¸ ¸

¸ ¸

¸

1 3

1 2

5 :

¸ ¸

¸ ¸

5 2

¸ ¸ 5

vi

¸

¸ 3

¸

¸

¸ 5

N.C.

V6 /V

¸

¸

3

V7/V 1

¸

IV6 1

¸

4

3

2

1

3

5

2

V7/V

¸

V6 /V

I

¸

V6 5

2

V

5

¸

¸

V7

¸

¸

V

¸ I

N.C.

¸

4

N.C.

 Transpose


to B  major.


˙ ? # c ˙˙


˙ ˙˙

careleSS love 16-9

United States

Moderato G

D7

C &

I

5

G

G7

5 :

*

1

G

V7/IV

* 4

C/G

5

2

V

*

G

I 4

1

D 7/F

D7

I

V

G

V

 Transpose

to A major.

o

3. Using i, V7 and ii , harmonize with a waltz style accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

? b 43 œ œœ œœ


tuM Balalaika 16-10

Fast

3 œ œ . œj œ œ . œj œ b & 4 œ œ f 5

9 

&b

3

œ œ œ 2

˙ œ 5

3

œ œ œ

˙. 1

3

˙ œ

Israel

j j . . œ œ œ œ œ œ œ œ œ

˙ œ

œ œ œ

˙

1

2

˙ œ

œ œ œ  Transpose

Œ

to C minor.


uet Repertoire D

allegro

in

e Minor

(Melodious PieCes) SeconDo

16-11

Allegro

C O C 5 3 1

¬

2

4 :

: 7

5

< <

1

3

11 :

14 :

E


3

2

2

3

1

¬

3

5 4 2

3

5

5 2 1

1

5

cresc.

I¢ I¢ I¢ I¢

O

¢ ¢ ¢ ¢ * * * *

5 4 2

O

< <


E

1

5

cresc.

< <

allegro

in

e Minor

(Melodious PieCes) priMo

16-11

   œ  # c œ œ œ œ Œ & p #c œ Œ œ œ œ œœ & œ     Allegro 1

4 

& &

7 

&

  # œ œ œ œ œ #

œ

Œ

ƒ   & œ œ . œ œ œ 11 

& &

14 

& &

Œ

œ

p œ œ œ œ œ  

œ œ œ œ œ œ œ œ œ

Œ

˙.

Sf ˙.

œ œ œ œ œ œ œ œ 

 œ œ œ œ œ œ œ œ œ

 j‰ ‰ œ œ œ œ œ œ 3

œ œ œ œ œ œ œ œ

#

œ œ œ œ

Œ


4

 œ œ œ œ œ   œ œ œ

  # œ œ œ œ œ œ œ œ œ

Œ

œ œ œ œ œ œ œ œ œ œ Œ .. .. Œ Œ p Œ .. .. œœœ Œ œ œ œ œ œ Œ œ œ œ œ     

  # œ œ œ œ œ œ œ œ #

œ œ œ œ œ 2

Œ

f cresc.  j‰ ‰ œ œ œ œ œ œ œ œ œ œ

 # œ œ . œ œ œ

#

œ œ œ œ œ

5

1 3 5


œ

 œ œ œ.

ƒ  œ œ . œ œ


f

 œ œ œ œ œ œ œ œ œ cresc.

œ œ œ œ œ

œ

œ

œ œ œ œ œ 

œœœ 

œœœ 

Œ  Œ 




œ œ œ ? bb3 bb 4


Key of A @ Major

A@

¸

BBB B

BBB B

B @m /F

I

Fm 5 :

A @7

D @/A @

¸

E @7

A@

¸

A@

¸

˙ ? # # # 2 ˙˙ 4


Key of A Major

5 :

I

IV6

ii


ii6

I

4

I

V7

V6 /ii 5

¸ I

1. Play the violin part with the RH. 2. Play the viola part with the LH. 3. Play the violin part (RH) and the viola part (LH) together.

Two-Part String Score

rainy Day Song 16-14

Jacquelyn Dillon, James Kjelland and John O’Reilly

## 3 ≥ & 4 ˙ p ≥ B # # 34 ˙ p

Moderato

Violin

Viola

7 

Vln

Vla

&

Vla

œ

˙.

B ## ˙ . 13 

Vln

##

1.

œ

&

##

œ œ œ

B ## œ œ œ

≥ ˙ ≥˙

˙

œ

˙ Œ Œ p ˙. ˙.


œ ,

.. ˙ 2.

.. ˙ ≥ ˙ p ≥˙ p

Œ Œ

œ œ

˙. ˙.

≥ œ œ œ f ≥œ œ œ f œ œ œ œ œ œ

≥ ˙ ≥˙

œ œ

œ œ œ œ œ œ

≥ œ œ œ

˙.

œ œ œ œ

≥ ˙.

≥œ œ œ

œ œ œ œ

˙.

≥˙ .

“Rainy Day Song” adapted from STRICTLY STRINGS, BOOk 1 by Jacquelyn Dillon, James kjelland and John O’Reilly Copyright © MCMXCII by Highland/Etling Publishing, a division of Alfred Publishing Co., Inc.


1. Transpose the line for F horn to concert pitch.


2. Work out appropriate fingerings for the accompaniment. 3. Play the accompaniment while the teacher or other class member plays the F horn line transposed to concert pitch.

Dawn

of a

(aDapteD

new Day

excerpt)

16-15

Andante

F Horn

Piano

B

Steve Bach John O’Reilly

x

x

B@

E @/B @

B B 0 BB ¸

x

x

B@

¸

¸

F/B @

¸

¸

simile

5 :

B ¸ 0 B@

B B

B B ¸

¸ E @/B @

¸

B@

¸

¸

F/B @

“Dawn of a New Day” adapted from YAMAHA POP-STYLE SOLOS, Piano Accompaniment/Book 1 and YAMAHA POP-STYLE SOLOS, Horn in F/Book 1 by Steve Bach and John O’Reilly Copyright © MCMXCIV by Alfred Publishing Co., Inc.


9 

&b

œ

œ

œ

B

b Œ b &

œœ œ ? bb œ œ ˙

13 

&b

&b

Œ œ

˙.

B

E /B 


&b

E /B 

˙.

b Œ b &

17 

œ

œ

B

b Œ

œ

œ


Œ œ

œ E /B 

Œ

œ

œ

œ

œœ œ œ ˙

B

œ

œ

œœ œ œ ˙

Œ

œœ œ œ œ ˙

B

œ

œœ œ œ ˙

œ

F/B 

Œ

œ

œ

œ œ œ

Œ

œ

œ

œ œ ˙

œ

˙.

F/B 

Œ

œ œœ œ œ ˙

œ œ

˙

œ œ ˙

œ

œ œ ˙

œ

˙.

F/B 

Œ œ

˙.

..

Œ

..

B

œœ œ œ œ ˙

..


Choral Score Reading for Alto, Tenor and Bass (ATB)

Practice the choral score in the following ways: 1. 2. 3. 4. 5. 6. 7.

Alto (RH) alone. Tenor (RH) alone (one octave lower than written). Alto (RH) and tenor (RH) together. Bass (LH) alone. Alto (RH) and bass (LH) together. Tenor (RH) and bass (LH) together. Alto (RH), tenor (RH) and bass (LH) together.

celeStial MuSic (excerpt)

16-16

&


Moderato

A

T

& &

B

5 :

A

T

B


I

*

*

I

* *

I I

¸ ¸ ¸

* *

I

*

¸

I

¸

¸

Unit 17

Objectives

Review Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play harmonic minor scales and arpeggios in Group 1 keys, using traditional fingerings. 2. Play a chord progression that modulates to the dominant in selected major keys. 3. Play a chord progression that modulates to the subdominant in selected major keys. 4. Perform solo repertoire that modulates to the dominant. 5. Sight-read and transpose music from easy piano repertoire. 6. Harmonize and transpose music that uses primary chords, secondary chords and secondary dominants.

Practicing Minor Scales (Group 1 Keys): A, E, D, G and C

Play two-octave harmonic minor scales in Group 1 keys. See pages 14, 29, 44, 56, and 69. The following principles will help you remember the fingering for the Group 1 minor scales: 1. All five scales use the same fingering. RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2. The fourth finger plays only once per octave in each scale. 3. Thumbs play on the tonic of each scale. (Note: Thumb must be substituted for finger 5 at the beginning and end of the scale.) 4. When playing hands together, finger 3 in each hand plays at the same time. Review ■ Unit 17

219

Practicing Minor Arpeggios (Group 1 Keys): A, E, D, G and C

Play two-octave minor arpeggios in Group 1 keys. See pages 14, 29, 44, 56, and 69. The following principle will help you remember the fingering for the Group 1 minor arpeggios:

Playing a Chord Progression That Modulates to the Dominant

Play the chord progression that modulates to the dominant.

All five arpeggios use the same fingering in the RH. RH: 1 2 3 1 2 3 5 LH: 5 4 2 1 4 2 1

17-1

C

G7

C

Am/C

G/D

D7

G

& 44 Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ # œ œ Œ ˙˙ œ ?4 w w w w w 4 w w 1

2

1

5

2

2

4

5

Key of C: I

V7

1

2

5

1

2

2

I

vi6

3

5

Key of G: ii6

1

3

1

5

3

5

1

1

1

5

I6

V7

I

4

5 2


Playing a Chord Progression That Modulates to the Subdominant

17-2

1. G major

17-4

17-3

2. F major

17-5

3. D major

4. B  major

Play the chord progression that modulates to the subdominant.

17-6

C

G7

C

C7

F

C

F

4 & 4 Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ b œ Œ œ œ œ Œ œ œ œ Œ ˙˙ œ ? 44 w w w w w w w 1

2

5

1

Key of C: I

1

2

4

1

4

1

V7

I

2

Key of F: V

5

1

2

1

5

3

5

1

3

5

1

1

5

2

1

V7

I

V

I


220

Unit 17 ■ Review

17-7

1. G major

17-9

17-8

2. F major

17-10

3. D major

4. B  major

5 2

Before playing:

S olo Repertoire

•Block the broken chords and inversions in the RH of measures 1–2 and the LH of measures 2–3. •Practice hands separately, observing the contractions and expansions in the fingering. While playing: •Slightly emphasize beats one and four of each measure to create the rhythmic feel of a dance.

GiGue Georg Philipp Telemann (1681–1767)

17-11

& E * * Allegro

5

2

1

5

1

5 :

5

E * 9 :

3

2

1

13 :

5

2

cresc.

1

2

1

3

2

1

3

5

2

5

1

4

1

2

1

3

1

4

2

4

*

3

* 2

3

1

1

2

E I * 1

1

1

1

4

5

1

3

2

& 3

3

1

5

1

3

2

Review ■ Unit 17

221


Reading

German Dance (excerpt)

17-12

O

Allegro moderato

3

1

1.

5 :

1 5

1 3

5

2

1

1 2

4

2

1

1 5

1


5

1 3

1 2

 Transpose

to G major.

German Dance (excerpt)

17-13

Andante

E 5

2.


5

¸

¸ 5

5 :

¸

¸

¸

¸

¸

5

¸

¸

5

5

5

5

¸

¸

O

 Transpose

222

Unit 17 ■ Review

5

1

to D major.

etuDe (excerpt)

17-14

Allegretto

& 5

1

1

3.

I ¢

3

M ¢

5 :

1

1

I * ¢

¢

2

¢

3 5


¢

*

I ¢ * ¢ ¢ *

3

3

2

1 2

1 2 5

1 3

 Transpose

to G minor.


Harmonization

B


Waltz

F major

in


17-15

I I I B * 0 Allegretto 3

4

I

V6

3

2

2

1

I

V6

I

5

5

1

V7/ ii ii

V6 5

V6 5

a tempo M I B rit. 6

3

I

1

1

I

IV6

4

V7/ V

2

1 4

4

1

V7

5

4

I

V6

3

2

1

V6

I

5

I B *

5

11

2

I

V6 5

1

3

V7 / ii ii

V6 5

I

3

1

IV6

4

I

V6 5

I

 Transpose

to G major.

Review ■ Unit 17

223

2. Using i and V7, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.



17-16

Brightly

E

3

2

5

5

Sweden

5

3

2

5

5

1

3

1

3

3

3

¢



17-17

Andantino E A/E

0

2

6

12

224

F 7

1

E

Unit 17 ■ Review

1

2

B 7/F

F 7

B 7/D

¸

3

A/E

5

1

2

2

Sicily

E

B 7/F

A/E

1

1

E

3

B 7/D

E

3

2

E

¸

Unit 17

Review Worksheet

Name ________________________

Date _____________________

1. Draw a line to connect the major scale(s) on the right with their correct fingering on the left.

123 1234 123 12345

RH for G B major

321 4321 321 43213

LH for B major

234 123 1234 123 12

LH for D B, E B, A B and B B major

4321 4321 321 4321

LH for G B major

23 1234 123 1234 12

RH for C, D, E, G, A and B major

4 123 1234 123 1234

RH for F major

4321 321 4321 321 4

RH for A B major

34 123 1234 123 123

LH for C, D, E, F, G and A major

54321 321 4321 321

RH for B B major

1234 123 1234 1234

RH for E B major

3 1234 123 1234 123

RH for D B major

Review ■ Unit 17

225

2. Complete the chart by naming the subdominant and dominant for each tonic.

Tonic

Subdominant

Dominant

F Major

__________

__________

A  Major

__________

__________

B Harmonic Minor

__________

__________

D Major

F  Major

__________

__________

__________

__________

G Harmonic Minor

__________

__________

3. Write the following melody for viola on the staff below in treble clef.

ViVe l’amour

# * & 5

#

5

226

Unit 17 ■ Review

* *

French Folk Song

¢ * *

Unit 18

Objectives

Modulation to the Relative Major and Relative Minor Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play a chord progression that modulates to the relative minor. 2. Play a chord progression that modulates to the relative major. 3. Play Adim7, Edim7 and Bdim7 arpeggios. 4. Play C7, F7 and G 7 arpeggios. 5. Perform solo repertoire that modulates to the relative major. 6. Play harmonic minor scales and arpeggios in Group 2 keys, using traditional fingerings. 7. Sight-read music that modulates to the relative major and relative minor. 8. Harmonize and transpose melodies that modulate to the relative major and relative minor. 9. Create a two-hand accompaniment from chord symbols. 10. Improvise melodies over chords that modulate to the relative major and relative minor. 11. Play a three-part choral score (STB). 12. Perform a three-part ensemble with partners. 13. Play a three-part instrumental score for viola, cello I, and cello II & double bass. Modulation to the Relative Major and Relative Minor ■ Unit 18

227

Playing a Chord Progression That Modulates to the Relative Minor

Play the chord progression that modulates to the relative minor.

18-1

C

G7

C

Am

Dm

E

Am

5 2 1

& 44 ˙˙˙ ?4 ˙ 4

4 2 1

5 2 1

5 3 1

5 2 1

5 3 1

5 2 1

5

˙

Key of C: I

V7

I

2

˙˙ ˙

˙˙˙ ˙

˙˙ ˙

# ˙˙˙

2

1

w

iv

V

i

˙

˙ 5

3

˙˙ ˙

ww w

˙

5

vi

Key of Am: i


Playing a Chord Progression That Modulates to the Relative Major

18-2

1. G major

18-4

18-3

2. F major

18-5

3. D major

4. B  major

Play the chord progression that modulates to the relative major.

18-6

& 44 ?4 4

Am

E7

5 3 1

5 2 1

5 3 1

˙ 2

˙

V7

i6

˙˙ ˙ ˙ 3

Key of Am: i

˙ # ˙˙

Am/C

˙˙ ˙ 1

Key of C: vi6

Dm/F

G7

C

5 2 1

C/G 5 2 1

4 2 1

5 2 1

˙ 5

˙

˙

ii6

I6

˙˙ ˙

˙˙ ˙ 4

4

˙˙˙

ww w

4

w 1

V7

I


228

18-7

1. E minor

18-9

3. B minor

18-8

2. D minor

18-10

4. G minor

Unit 18 ■ Modulation to the Relative Major and Relative Minor

Playing Diminished Seventh Arpeggios 18-11

& 44

Adim7

1.

? 44

4

bœ bœ œ œ 1

2

3

bœ bœ œ œ 2

1

4

3

18-12

& 44 œ œ b œ b œ ? 44 bœ b œ œ œ

Edim7

2.

1

2

2

1

3

4

4

3

18-13

& 44

Bdim7

3.

? 44

4

bœ œ œ œ 1

2

3

bœ œ œ œ 3

2

1

4

Practice the diminished seventh arpeggios hands separately.

bœ b œ œ œ

w

2

2

1

2

3

4

3

1

3

1

4

3

bœ œ œ œ 1

2

3


2

1

4

2

3

4

1

4

3

2

œ bœ bœ œ

2

2

w

œ bœ œ œ 5

w

bœ œ œ œ 3

5

5

4

3

œ bœ bœ œ

w

bœ b œ œ œ 2

2

5

4

4

œ bœ bœ œ

w

bœ b œ œ œ 2

5

w

bœ bœ œ œ 1

œ bœ bœ œ

5

4

3

4

4

3

1

2

œ bœ œ œ

3

3

4

1

2

1

œ bœ bœ œ 4

3

2

œ bœ bœ œ 2

3

4

1

œ bœ bœ œ 1

4

3

2

œ bœ bœ œ 2

3

4

1

œ bœ œ œ 1

4

3

2

œ bœ œ œ 3

4

1

2

1

w w 2

1

w w 2

1

w w 3

Using the fingering below, practice dominant seventh arpeggios (C7, F7 and G7) hands separately. See page 106. Note: A dot (•) above a fingering indicates a black key. C7

RH: LH:

• 1234 • 5432

• 12345 • 14321

F7

RH: LH:

• 1234 • 5432

• 12345 • 14321

G7

RH: LH:

1234 5432

12345 14321

Modulation to the Relative Major and Relative Minor ■ Unit 18

229

S olo Repertoire

Before playing: •Practice the RH alone, being aware of the cross-overs and cross unders in the fingering. •Notice where the LH changes to treble clef.

While playing: •Listen for a steady eighth-note pulse throughout. •Shape the musical line by observing the crescendos and diminuendos.

Scherzo

18-14

Allegretto

1

E 5

2

5 :

& 5

1

1

2

2

1

I

5

1 3 5

Carl Maria von Weber (1786–1826)

1 2 4 5

E

*

1 2 5

9 :

O I FF

13 :

¢

4

5

230

5

& 2

1

1

¢ 1

1

1

1 2 5


¢

¢

5

5

5

1

I

E

*

¢

¢

B

Fine

B

: 17

Trio

5 2 1

4 2 1

B O B ¢

¢

5

4 2 1

21 :

B ¢

B & B 1 3 5

B 1

B

3

3

B ¢ M

¢

B

3

1 2 5

1

¢

1

*

¢

¢

¢

*

O ¢

1 2 3 5

5

4 2 1

x

1

¢

5 1

4

M

4

x

2

¢

M

I

4 1

B

x

35 :

B

¢

1

30 :

¢

B

25 :

I

5 2 1

4 2 1

¢

¢

¢ M

¢

¢ M

D. C. al Fine


M 231

Technique 18-15

Allegretto

1.

0 5

1

1

1

5

1

5

1

1

5

5

5

1

5

1

5

Continue upward on white keys until… 18-15

2. Repeat #1 one octave lower with the LH, using the fingering below the staff. 18-16

Moderato

¸¸ ¸

5 3 1

3.

¸¸¸ E ¸¸¸ 1 3 5

VV V

¸

18-17

Moderato 5 3 1

4.

¸¸ E¸ ¸¸ ¸ 5 3 1

¸¸¸

5.

&V 1

232

5 3 1

1 3 5

5 2 1

¸¸ ¸ ¸¸ ¸

¸ ¸¸ ¸ ¸¸

VVV

8va

5 3 1

¸¸¸ ¸¸¸

1 3 5

VV V

5 3 1

¸¸¸

8va

VV V

¸¸¸

V 5



5 3 1

¸¸¸ V

1 3 5

5 3 1

¸¸¸

V

VVV

8va

VVV

¸¸¸

VVV

¸¸

¸ ¸¸¸

5 2 1

VVV

5 3 1

¸¸ ¸

V 5

1

¸¸¸

¸¸¸

5 3 1

VVV

¸¸¸

5 2 1

VVV

1 3 5

Andante

1 3 5

VVV

¸¸¸ ¸¸¸

18-18

¸¸¸ ¸¸¸

VVV

¸¸

¸¸¸

5 3 1

8va

V

¸¸¸

 Transpose to A minor.

18-19

V

Andante 5

6.

& ¸¸ ¸ 1 3 5

1 2 5

V 5

V 1

¸ ¸¸ 1 3 5

1 3 5

V

V

1

¸¸¸ 1 3 5

1 2 5

¸ ¸¸ 1 3 5

Continue downward on white keys until. . .

¸¸ ¸

1 3 5

V

¸ ¸¸

 Transpose to A natural minor.

18-20

¬ ¸ & ¸ ¬ Moderato

7.

1

3 1

1

3 1

4

4

1

3 1

1 3

1

1

3 1

1 3

1

4

4

1 3

1 3

 Transpose to D major and E major.

Practicing Harmonic Minor Scales (Group 2 Keys): B and F

Play two-octave harmonic minor scales in Group 2 keys. See pages 81 and 95. The following principles will help you remember the fingering for the Group 2 minor scales:

Practicing Minor Arpeggios (Group 2 Keys): B and F

Play two-octave minor arpeggios in Group 2 keys. See pages 81 and 95. The following principle will help you remember the fingering for the Group 2 minor arpeggios:

1. The RH fingering for B minor is the same as the Group 1 minor keys. RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 2. The LH fingering for F minor is the same as the Group 1 minor keys. LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 3. The fourth finger plays only once per octave in each scale (except for the first note of B minor in the LH and the last note of F minor in the RH).

The fingering for both hands is the same as the Group 1 minor arpeggios. RH: 1 2 3 1 2 3 5 LH: 5 4 2 1 4 2 1 Modulation to the Relative Major and Relative Minor ■ Unit 18

233


Reading 18-21

¸

Allegretto

B ¸ B & B B 3

1.

5 :

B B

BB

1 3

5

1 3

5

5

¸

¸

5

1 3

5

V

1 2

5

1

¸

¸

5

¸

V

¸

5

etude (excerpt)

18-22


Allegretto

E 5

1

2.

1

2 4

3

¢

234

1

1

3

2

¢

5 :

* ¢

1 3

¢

*

* ¢

¢

*

I ¢ * ¢ ¢ * 3


2

1 2 5

1 3

SpaniSh dance (excerpt)

Theodore Oesten (1813–1870) Op. 61, No. 10

18-23

Moderato

E 3

3.

1 2

¸ ¢ * 1

1 3 5

5 :

3

1

1

¸

1

1

M 1 2 5

2 4

*

¢

1

2

1

3

1 3 5

2

2

3

1

1 2

3

4

1 2

18-24

Largo

& O 1

4.

¸¸ ¸

1 3 5

5 :

1 3 5

I 2

¸¸ ¸

1

1 2 5

*

1

1 3 5

¸¸ ¸

¸ ¸¸

I

¸

2

1 3 5

¸

¸¸¸

¸¸¸

¸

¸¸ ¸

¸

¸¸¸


235


Harmonization


Sailor’S Song

18-25

E@

Allegretto

B I B B I & 5 : I B B B 1

9 :

BB B

Cm

13 :

I

I

B B B

I

Cm

Cm

I I ¢

G 7/B

E@

* 1

I¢

G 7/B

I

1

3

1

Cm

3

G 7/B

I

I

Traditional

B @7/D

3

? b 6 œœœœœœ b b8

2

I ¢ Fine

I¢ I 3

B @7

I 3

3

3

D. C. al Fine



? b 43 œ œœ œœ


roSeS

18-26

South

from the

Johann Strauss (1825–1899)

Tempo di valse

& b 34 . ˙ FI

4

1



˙.

˙.

œ œ œ

˙.

V6 5

9

& b ˙.

17 

I

& b ˙. 1

I

 25

& b ˙. 1

I

˙. ˙. ˙. 3

˙.

˙.

˙.

˙.

˙. V7/vi

œ œ œ V7/ii

œ

V7/iii

j œœ

3

œ

œ œ œ

V6

œ œ œ

5

ii6

œ œ œ

˙. ˙.

œ

iii

˙. ˙ V7

˙ 5

1

œ

˙.

œ œ œ 3

V6

œ œ œ ˙. I

5

˙.

œ Œ Œ

 Transpose to G major.

236



œ ?3 œ œ ≈ ‰ 8


für eliSe

18-27

Poco moto

z 5

5 :

* &

14 :

4

2

C

I

Am

18 :

4

2

Am

4

M

I

M 2

I

Am

1

E

*

2. Am

N.C.

*

5

5

1. Am

1

N.C.

*

4

*

4

2

1

z

E

Am

1

1

N.C.

I

E

Am

5

1

*

1

4

1. Am

*

1

5

Am

4

2

1

2

*

*

5

1

E

4

E

*

2

1

1

G7

5

1

Am

4

2

M

10 :

I

M

N.C.


N.C.

5

1

2. Am

I N.C. 1

Transpose to G minor.

4. Using I, V7, ii and V7/ii, harmonize with a waltz style accompaniment. Write the Roman numeral name of each chord on the line below the staff. Waltz Style Accompaniment

Blow

18-28

Presto

B B B & 4

9 :

*

B B B * 3

2

2

1

1

the

man down

*

*

¸

¸

¸

5

? b b 34 œ œœ œœ b

¸ ¸

I I

Traditional

¸ ¸

Transpose to D major. Modulation to the Relative Major and Relative Minor ■ Unit 18

237


Using the indicated chords, create a two-hand accompaniment for the following melody by continuing the pattern given in the first measure.

let uS Break Bread together 18-29

Andante

$

D 4

1

D

A7

I I

3

¸

0 $ ¬ $

G

¢ ¢ 0 1

¬

5 3

D

V

Bm7

I

:

E7

A

V

D/A

11 :

A

N.C.

¸

1

G/D

C7

¸

1

¸

F m 7

I ¸ 3

¸¸ ¬ ¬

Am/C

B7

¸

4

¬

¸

238

2

D/A Bm 1

N.C.

¬

¸ Em

D

¸¸¸

D

¸

5

6

G

Spiritual


¸

Em7

A7

I

D

V

G

D

¸ ¸¸ ¸



¸ ¸¸


18-30

Key of E Harmonic Minor Em

Em 5 :

Am/C

G/D

¸

Em

B 7/D

¸

D7

G

¸

B 7/D

G

¸ @

? b 4 œ œœ œœ b 4 œ


Key of B @ Major

B B

: 5

BB

B@

B@

I

F 7/A

Gm/B @

I

B@

B@

¸

Cm

¸

D7

Gm

¸

I F 7/A

B@

¸

¸

Gm

V


239


Choral Score Reading for Soprano, Tenor and Bass (STB)

1. 2. 3. 4. 5. 6. 7.

Soprano (RH) alone. Tenor (LH) alone (one octave lower than written). Soprano (RH) and tenor (LH) together. Bass (LH) alone. Soprano (RH) and bass (LH) together. Tenor (LH) and bass (LH) together. Soprano (RH), tenor (LH) and bass (LH) together.

die himmel erzählen (adapted

excerpt from

die

ehre gotteS

The CreaTion)

18-32

Allegro

S

T

B

&C Ó &C Ó ?C Ó 6 

p Œ œ

& Ó

Œ

T

& Ó

Œ

? Ó 10 

S

T

B

˙

pœ Œ

S

B

˙

p Œ œ

Œ

˙.

œ

œ œ œ œ

œ œ

˙.

œ

˙

œ œ

œ œ œ œ

œ œ

˙

b˙

œ

œ

˙ ˙

Œ

bœ

b˙

œ

œ

˙

Œ

œ

˙

œ

œ

& b˙

Œ œ

b˙

œ

œ

˙

? b˙

Œ bœ

b˙

œ

œ

& ˙

240

Œ œ

Œ

bœ

˙

œ

œ

Œ


˙

Ó

˙

œ œ œ œ

Ó

˙

Ó

bœ

œ

œ

œ œ

œ

œ

œ

˙

œ

˙

œ œ

œ œ Ó

˙

œ

Œ œ

˙

œ

œ

˙ ˙

˙

Œ œ

˙

œ

œ

Ó

˙

Ó


˙

œ

œ


Play the three-part ensemble using the indicated chords to complete part 3. Part 1: Melody Part 2: Countermelody Part 3: Two-hand accompaniment

AlexAnder’s rAgtime BAnd 18-33

Irving Berlin (1888–1989)

Moderately

I B ¸ &

¢ I ¸

2

Part 1

I M ¢ & F &

M 5

I M ¢


Part 2

B ¢ B ¢

Part 3

B ¢

5 :

5 3

5 3 1

2

1

¸ B

¢ ¸ *

2

B * ¢ 4 2

3

B B

B@

5

¢ *

¬

1

C7

2

2

¸

5

¢ *

3

1

F

¸

2

¬ 2

5 3 1

¬


241

9 

1

œ œ œ œ œ œ œ Œ œ &b œ œ œ œ

2

& b œœ

Œ

Ó

?

Œ

Ó

5 3

3

?

b

5 3 1

œœœ

F

Œ

b œ 2

13 

1

2 1

œœ œœœ

Ó

œ

?

b

242

œœ Œ

Ó

Œ

œ

Ó

œœ œœ

Ó Ó

œ

œ œ œ Ó

œœœ

5 4 1

5 4 1

b

œCœœ

7

1

5

œ #œ œ œ œ œ

j œ œ Œ œ # n œœ œ ‰ Œ

F

b Unit 18 ■ Modulation to the Relative Major and Relative Minor

Œ

Œ œœ

Œ

Œ

œ œ œ œ 5

C7

1

Œ œœœ

œ

Œ

œœœ Œ

Œ

Œ

Œ œ

œ Œ

Ó

2

b ‰ # œj œ œ ˙

Œ

œ œ œ ‰ # œj œ œ

w w

C

j œ œ & b Œ œ # n œœ œ ‰ Œ ?

œœ Œ

G7

&b ˙

? 3

Œ

œ nœ œ œ

5 3

2

Ó

œ œ & b Œ nœ œ

17 

1

Œ

œœ

? 3

Ó

n œœ œœ œœ œœ

& b œœ ˙˙ 2

2

Œ

œ œ œ œ œ œ œ œ œ œ œ Œ 3

˙

‰ # œJ œ œ

œ œ œ Ó F

2

21 :

¢ * ¸

1

B ¸

2

B * ¢ 4 2

B

3

B

F

5 3 1

¸

¸

M

B@

5 3 1

G o/B

M

M

2

B ¸

¢ M *

I B M ¢ B F

B

¬

¸

5

I M ¢

F o

¬

M

¢ M * 2

¬ ¬ ¬

3

4

Gm

C7

¬

¸

E

5 3

3

¸

F7

29 :

2

¬

2

2

B E B

I ¢ M 2

B E

3

1

B

2

2

¸

5

¢ *

B@

25 :

1

F

1

2

* * * I 5 1

5 1


5

243

1. Play the viola part with the RH.

Three-Part String Score

2. Play the cello I part with the RH. 3. Play the cello II & double bass part with the LH. 4. Play the score using the following combinations: 1. 2. 3. 4.

Viola (RH) and cello I (RH). Viola (RH) and cello II & double bass (LH). Cello I (RH) and cello II & double bass (LH). All three parts.

Symphony no. 7 (excerpt)

Ludwig van Beethoven (1770–1827) Op. 92

18-34

Allegretto

Viola

Cello I

Cello II & Double Bass

6 :

Vla

Vcl I

#

M

Vcl II & DB

12 :

#

Vla

ten. # O ten. O ten. O

Vcl I

Vcl II & DB

244

M

O–z O–z O–z


M

Unit 19

Objectives

Rondo Form Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Perform solo repertoire in Rondo form. 2. Play E dim7, B dim7 and Fdim7 arpeggios. 3. Play D7, A7, E7 and B7 arpeggios. 4. Play harmonic minor scales and arpeggios in Group 3 keys, using traditional fingerings. 5. Sight-read music from easy piano repertoire. 6. Harmonize and transpose melodies with vi, iii, V7/V and V7/vi chords. 7. Play an instrumental score for string quartet. 8. Accompany a vocal solo. 9. Play a four-part choral score (SATB).

Rondo Form ■ Unit 19

245

Rondo Form

In rondo form, the theme (A or refrain) alternates with secondary sections (B, C, D, etc.) or episodes. The A section is usually in the tonic key. Typical rondo forms are illustrated by the following letter symbols: ABACA ABACADA

ABACABA ABACBA

The last movement of many sonatas and sonatinas is in rondo form.

Before playing:

S olo Repertoire

•Tap the rhythm hands together. •Find and label each occurrence of section A. While playing: •lift hands for rests. •listen for an even sound on the eighth notes. Commissioned by the hattiesburg Piano teaCher’s League

rondo CaPriCCio

19-1

Lynn Freeman Olson (1938–1987)

Very lively

E 3 1

1 5

5 :

9 :

¸ & ¸ 3

3

¸

¸

¸

¸

¬

¬

¬

x

x

x

x

¸

“Rondo Capriccio” from AuDIEnCE PlEASERS, Book 2, by lynn Freeman olson Copyright © MCMXCI by Alfred Publishing Co., Inc.

246

Unit 19 ■ Rondo Form

x

13 :

¸

¸

¸

17 :

¬

¸

¸

¸

3 1

E

21 :

¸ 0

29 :

¸

1

B¸

x

x

B 1

B¸

¸

cresc.

x

¸ B 5

B

dim.

1

5

B B B B B B 1

¸

x

5

B¸

x

x

B¸

x

¬

x

5

B¸ E

¬

5

x

1 5

25 :

x

B

1

B B 0 B B 5

1

B¸


247

33 

3 1

& Œ œ Œ œ œ œ f ? nœ Œ œ Œ n œ œ

Œ

37 

& Œ œ Œ œ œ œ ? œ Œ œ Œ œ œ

&

˙ 5

F ? Ó

45 

& ?

Œ

n˙ .

Ó

˙. œ

œ œ 3

œ œ ∑

œ

œ

w Ó


Œ œ œ Œ 

∑

Œ

b˙

Œ

Ó

b˙

5

œ œ

œ

Œ

˙.

Œ bœ bœ 3

˙.

Œ

œ b œ b œ  

Œ

œ œ

Ó

cresc.

3

248

œ œ œ œ œ œ  

w Œ

∑

∑

œœ Œ œœ Œ  

˙ Œ

œœ 

Œ œ œ œ  

œ œ œ œ œ  œ

œœ Œ œœ Œ  

1 5

41 

œœ 

Ó

œ

œ

œ

œ

Œ

ƒ œ œ

Œ Œ

Playing Diminished Seventh Arpeggios


19-2

Edim7

1.

∫œ ∫œ bw

4

3

1

2

2

1

3

4

4

3

2

3

2

1

∫œ b œ b œ 4 & 4 bœ bœ ∫œ bœ bœ ∫œ ? 44 b œ b œ bœ ∫ œ b œ bœ bœ

bw

∫œ b œ b œ œ

w

Bdim7

3

4

4

3

1

2

2

1

19-4

∫œ 4 b œ b œ &4 œ

Fdim7

3.

? 44

3

4

1

2

bœ ∫œ b œ œ 5

4

3

2

3

4

3

4

3

4

1

2

1

4


3

4

3

4

4

3

w

2

1

2

bœ bœ ∫œ ∫œ 4

3

2

1

4

bœ

bœ bœ ∫œ ∫œ bœ 3

2

1

1

2

4

3

œ ∫œ bœ bœ

3

2

1

4

1

2

3

bœ ∫œ bœ bœ bœ ∫œ bœ bœ bœ ∫œ bœ bœ bœ ∫œ bœ bœ

bw

1

2

bœ ∫œ ∫œ

3

2


3

4

19-3

2.

bœ ∫œ ∫œ

bœ b œ ∫ œ 4 & 4 bœ bœ ∫œ ∫œ bw ∫ œ bœ ?4 4 bœ ∫œ ∫œ bœ bœ 3

4

1

2

1

4

œ ∫œ bœ bœ

1

1

2

3

4

3

4

2

1

1

2

4

3

œ ∫œ bœ bœ 3

2

1

4

œ ∫œ bœ bœ 1

2

3

4

3

bw bw 4

3

bw bw 4

3

w w 5

using the fingering below, practice dominant seventh arpeggios (D7, A7, E7 and B7) hands separately. See page 120.

D7

RH: LH:

• 1234 • 5432

• 12345 • 14321

A7

RH: LH:

• 1234 • 5432

• 12345 • 14321

E7

RH: LH:

• 1234 • 5432

• 12345 • 14321

B7

RH: LH:

•• 1234 •• 5432

•• 12345 •• 14321 Rondo Form ■ Unit 19

249

Practicing Harmonic Minor Scales (Group 3 Keys): F#, C#, G#, Bb and Eb

Play two-octave harmonic minor scales in Group 3 keys. See pages 107, 119, 136, 150, and 159. The following principles will help you remember the fingering for the Group 3 minor scales: 1. use fingers 2, 3 and 4 on black keys. 2. F #, C # and G # harmonic minor scales use the same fingering in the RH. RH: 3 4 1 2 3 1 2 3 4 1 2 3 1 2 3 3. C # and G # harmonic minor scales use the same fingering in the lH. lH: 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 4. The right hand fingering of Bb minor is the same as Bb major. RH: 4 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5. The right hand fingering of E b minor is the same as E b major. RH: 3 1 2 3 4 1 2 3 1 2 3 4 1 2 3

Practicing Minor Arpeggios (Group 3 Keys): F#, C#, G#, Bb and Eb

Play two-octave minor arpeggios in Group 3 keys. See pages 107, 119, 136, 150, and 159. The following principles will help you remember the fingering for the Group 3 minor arpeggios: 1. For the F #, C # and G # minor arpeggios • Thumbs play the white keys. In addition to the thumbs, only fingers 2 and 4 are used. • All three arpeggios use the same fingering. RH: 4 1 2 4 1 2 4 lH: 2 1 4 2 1 4 2 2. For the Bb minor arpeggio • The left hand fingering is the same as Bb major. lH: 3 2 1 3 2 1 3 • The right hand has its own unique fingering. RH: 2 3 1 2 3 1 2 3. For the E b minor arpeggio The fingering is the same as E major. RH: 1 2 3 1 2 3 5 lH: 5 3 2 1 3 2 1 Identify the key of each example. use the indicated tempo, dynamics and articulation as you play these exercises.

Reading

moderato

19-5

& x Moderato 3

1.

5

250

¸


¸

2

3

1

¸

Ferdinand Beyer (1803–1863) Op. 101, No. 75

¸

2

3

2

1

¸

2

¸

3

1

andantino

(exCerPt

from

Les Cinq Doigts)

Igor Stravinsky (1882–1971)

19-6

Andantino

O 3

2.

1

6 :

¸

¸ ¸

Pyrenees meLody (exCerPt)

19-7

Allegretto

¸ : ¢ I 5

3.

3

: ¢ * 5

2

4

5

5 :

* O * 1

* O * 1

¢ ¢ ¢ ¢

I ¢

I ¢ I ¢

I ¢ * ¢

* *

I ¢ 4 1

4

3 1

1

5 2

4 2

5

¢ ¢

Muzio Clementi (1752–1832)

I ¢ 4 1

*

¢

I ¢ * ¢ 5 1

1

5 1

3 1


251


Harmonization

œ œ ? # 34 œ œ œ


We Wish you

a

merry Christmas

19-8

Merrily

#3 & 4 œ F 6 

&

12 

&

# #

D

Am/C

D7

1

1

G

œ

3

œ

˙

œ œ œ œ

2

N.C .

G

˙

B 7/D #

D

œ œ œ œ œ

Fine

Bm

œ œ œ

œ f

Bm

œ

5

1

G

1

œ

œ œ

œ

A 7/C #

Em

˙ Am/C

Traditional

4


1

2

œ œ œ œ œ œ œ 2

A 7/C #

C


1

Em

G

œ œ œ

œ œ

D7

G D. C. al Fine

˙

œ  Transpose

to A major.

2. using I, V7, IV, vi and iii, harmonize with a broken chord accompaniment. use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

? b 3 œ bb4


˙˙

19-9

Vivace

b 3 &b b 4 œ F 1

9 

&

252

bbb ˙

˙

˙ œ œ œ 4


2

1

œ œ œ œ ˙

œ œ œ ˙ 5

˙

œ

˙

2

œ

5

1

˙

5

˙

˙

œ ˙ œ

œ œ œ

˙

Practice the string quartet in the following ways:

String Quartet

1. 2. 3. 4. 5. 6. 7. 8.

Violin I (RH) alone. Violin II (RH) alone. Violin I (RH) and violin II (RH) together. Viola (lH) alone. Cello (lH) alone. Viola (lH) and cello (lH) together. Violin I (RH) and cello (lH) together. Violin I (RH), violin II (RH), viola (lH) and cello (lH) together.

Quartet no. 17

(exCerPt)

in

f major Franz Joseph Haydn (1732–1809) Op. 3, No. 5

19-10

Presto

 3 œ b & 8 J p & b 38 ‰

Violin I

œ

œ œ œ œ ∑

‰

Viola

B b 38 ‰

∑

‰

Cello

? 3 ‰ b8

∑

‰

Violin II

5 

Vln I

Vln II

Vla

Vcl

&b &b

‰

∑

j œ f ‰ œJ f ‰ œJ f

‰

œ

œ

œ

œ J

j œ œ.

œ.

œ

œ

œ

œ J

j œ œ.

œ

œ

B b œ.

œ

?

œ

b œ.

œ œ

œ

œ

‰

œ J f ‰

œ

œ œ œ

œ œ

‰

œ

œ œ œ

œ

‰

œ

œ.

‰

œ œ œ

œ œ

œ

œ

œ J

‰

œ

j œ

‰

œ J

œ J

‰

œ

œ J

‰


253

1. Play the vocal line. 2. Play the accompaniment while the teacher or another class member sings or plays the vocal line.

Vocal Accompaniment

sehnsuCht

naCh dem

frühLinge

19-11

Wolfgang Amadeus Mozart (1756–1791) K. 596

I I B *

II * * * Komm, lie - ber Mai, und ma - che die Bäu - me wie - der grün, I I I ¸ B * O ¢ B Fröhlich (Joyful)

I I *

I I

M B * *

I

I

6 :

B

I I *

I I * und laß mir an

I I *

dem

IM *¢*

IM ¢ I I I * * ¸ B Ba

B

-

che die

klei - nen Veil - chen blühn!

11 :

Wie möcht

ich doch so

ger

-

ne

ein

I¹ I * * *

¹I I M I * * B B M B Veil - chen wie - der - sehn,

16 :

ach,

lie - ber Mai,

wie

ger

-

ne

ein - mal

spa - zie - ren

¢ ¢ x x M B gehn! * *¢ M *¢ B * I I ¢ B * B

254

¢

¢


x

Choral Score Reading for Soprano, Alto, Tenor and Bass (SATB)

Practice the choral score in the following ways: 1. 2. 3. 4. 5. 6. 7. 8. 9.

Wenn

Soprano (RH) alone. Alto (RH) alone. Soprano (RH) and alto (RH) together. Tenor (lH and RH) alone (one octave lower than written). Bass (lH) alone. Tenor (lH and RH) and bass (lH) together. Soprano (RH), alto (RH) and bass (lH) together. Soprano (RH), alto (RH) and tenor (lH and RH) together. Soprano (RH), alto (RH), tenor (lH and RH), and bass (lH) together.

so Lind dein

(exCerPt

from

auge

LiebesLieDer WaLtzes)

mir

19-12


Im ländler tempo (In slow waltz tempo)

S

A

T

B

p b 3 b &b b 4 Œ œ œ p b 3 b &b b 4 Œ œ œ pœ œ b 3 b &b b 4 Œ p ? b b b 34 Œ œ œ b

9 

S

A

T

B

bbb Œ œ œ b & bbb Œ b œ œ & bbb Œ œ œ b & ? bb b Œ œ œ b

˙ œ

˙ œ

˙ œ

Œ œ œ

˙ œ

œ ˙

˙ œ

˙ œ

˙ œ

˙.

Œ

˙.

œ œ

Œ œ œ

˙.

œ ˙

˙ œ

˙ œ

˙ œ

˙.

Œ œ œ

˙.

˙.

˙ œ

˙ œ

˙ œ

˙ œ

œ ˙

˙ œ

˙ œ

˙ œ

˙ œ

œ Œ œ

˙ œ

œ n˙

˙ Œ ..

˙ œ

˙ œ

˙ nœ

Œ œ œ

˙ œ

˙.

˙ Œ ..

˙.

Œ œ œ

˙ œ ˙ œ

˙ œ

RH

˙ œ

˙ œ

Œ œ œ n˙ œ

RH

˙

œ

œ ˙

RH

˙.

˙ Œ .. ˙ Œ ..


255

Unit 20

Objectives

Review Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play a chord progression that modulates to the relative minor. 2. Play a chord progression that modulates to the relative major. 3. Play major scales and arpeggios in Group 1 keys, using traditional fingerings. 4. Play Db7, Ab7 and Eb7 arpeggios. 5. Perform a solo from intermediate piano repertoire. 6. Sight-read music from easy piano repertoire. 7. Harmonize and transpose melodies with vi, ii, iii and V7/V chords. 8. Create a two-hand accompaniment from chord symbols.


Playing a Chord Progression That Modulates to the Relative Minor

Play the chord progression that modulates to the relative minor.

20-1

C

G7

C

Am

Dm

E

Am

¸¸ V V V V V V V 1

2

5

2

4

2

1

5

5

3

5

V7

I

vi

2

Key of C: I

1

1

3

1

5

Key of Am: i

2

1

5

3

5

1

2

1

5

iv

V

i

5 2


Playing a Chord Progression That Modulates to the Relative Major

20-2

1. G major

20-4

20-3

2. F major

20-5

3. D major

4. B b major

Play the chord progression that modulates to the relative major.

20-6

Am

E7

Am/C

Dm/F

C/G

G7

C

5 2

¸¸ 1

V

3

5

1

2

5

1

3

V 2

V

Key of Am: i

V7

i6

3

1

Key of C: vi 6

5

1

2

5

1

2

5

1

V 5

V

V

ii6

I6

V7

4

4

2

4

1

V 1

4

I


1. E minor

20-9

3. B minor

20-8

2. D minor

20-10

4. G minor


Technique



20-11

ascending 1

5

4

5

3

4

2

3

5

1

2

1

3

2

4

3

1

5

4

5

3

4

2

3

5

1

2

1

3

2

4

3

4 :

5

1

5

5

1

1

5

7 :

5

1

1

5

5

1

1

5

1

1

5

1

5

1

5

1

5

5

1

5

1

5

1

5

1

11 :

1

5

5

1


1

5

1

5

1

5

1

5

1

5

5

1

œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ ?

15 

descending 1

2

5

18 

4

1

5

3

3

2

4

4

2

5

3

3



5

5

1

2

1

3

2

4

3

5


1

4

5

3

4

2

3

1

1

2


& œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ ? œœœœœœœœ œœœœœœœœ œœœœœœœœ

22 

&

1

2

1

2

1

2

1

2

5

4

5

4

5

4

5

4

œ œœœœœœœ œœœœœœœœ œ œ œ œ œ œ œœœœœ œ œ œ œ œ ? œœœœœœœœ œ œœœœœœœ œœœœœœœœ œœœœœœœœ 1

5

2

4

1

5

2

4

1

2

5

4

26 

&

œ ? œ œ œ œ œ œœ œ œ œ œ œ œ œ œ 1

2

5

4

œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ 1

2

5

4

1

2

5

4

.. œ œ œ œ œ œœ œ œœ .. ˙ œ œ œ œ œ œ ˙ 1

2

5

4


Practicing Major Scales (Group 1 Keys): C, G, D, A and E

Play two-octave major scales in Group 1 keys. See pages 14, 29, 44, 56, and 69. The following principles will help you remember the fingering for the Group 1 major scales:

Practicing Major Arpeggios (Group 1 Keys): C, G, D, A and E

Play two-octave major arpeggios in Group 1 keys. See pages 14, 29, 44, 56, and 59. The following principles will help you remember the fingering for the Group 1 major arpeggios:


Using the fingering below, practice dominant seventh arpeggios (D 7, A 7 and E 7) hands separately. See page 151.


1. All five scales use the same fingering. RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2. The fourth finger plays only once per octave in each scale. 3. Thumbs play on the tonic of each scale. (Note: Thumb must be substituted for finger 5 at the beginning and end of the scale.) 4. When playing hands together, finger 3 in each hand plays at the same time.

1. All five arpeggios use the same fingering in the RH. RH: 1 2 3 1 2 3 5 2. When playing the LH arpeggio, use finger 4 when there is one white key between the root and third of the broken chord. Use finger 3 when there are two white keys between the root and third of the broken chord. LH (C, G): 5 4 2 1 4 2 1 LH (D, A, E): 5 3 2 1 3 2 1

b

b

b

D @7 (C 7) RH: LH:

• • 4123 • • 2143

• • • 41234 • • • 21432

A @7

RH: LH:

• •• 4123 • •• 2143

• ••• 41234 • ••• 21432

E @7

RH: LH:

• •• 4123 • •• 2143

• ••• 41234 • ••• 21432

Before playing: •Notice that both hands begin in the bass clef. •Circle the clef changes.

S olo Repertoire

While playing: •Shape the musical line by observing the crescendos and diminuendos.

sEascapE

20-12

BBB ¢ z BBB ¬ soft pedal

BBB ¢ B ¢

In a stormy mood J;ML

5

5

5 4 2

BB B 9

13

B

release soft pedal

BB B ¢ O BB B

5 3 1

¬

BB B BB B

M

¬

x

5 2 1

¬

¢ ¢ ¬

M

¢

¬

¢

O

M

¬

x

¢ ¢ M

3 1

B

¢ ¢

E

M ¢ ¢ B ¬ B I 3Tempo ¢ O 8va 3 ¬

BB B ¢ M 5 2 1

BB B 17

¬

¢ 4 1

x

William L. Gillock (1917–1993)

4 3 1

¬

¢

¢

¢

E x

M ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ 5 3 1

8va

I

I

VV V V

“Seascape” from LYRIC PRELUDES IN ROMANTIC STYLE by William L. Gillock Copyright © 1994 SUMMY-BIRCHARD MUSIC, a Division of SUMMY-BIRCHARD, INC. Exclusive Worldwide Print Rights Administered by ALFRED PUBLISHING CO., INC. All Rights Reserved

I

riten.

¢ I 2

z

x ¬



Reading

EtudE (ExcErpt)

Ludvig Schytte (1848–1909)

20-13

Allegro moderato

1.

x

1

E

x

5

1 3

5

1

1 3 5

5

5 :

5 2 1

2 1

1 2

x

1

LuLLaby (ExcErpt)

César Franck (1822–1890)

20-14

I 0 Andantino 3

2.

5

5


I

* 4

¸

1. Harmonize with an Alberti bass accompaniment.

Harmonization

Alberti Bass Accompaniment

? b 24 œ œ œ œ

20-15

Allegro F

C 7/E

& b 24 œ œ œ œ œ œ œ œ œ œ œ œ œ œ F 5

9 

Dm

&b œ œ œ œ œ œ 5

Gm

C 7/E

œ œœ œ œœ 5

F

Denmark F

C 7/E

œ œœ œœœœ œœœ œ Œ œ

F

C 7/E

F

œ œœ œœœœ œœœ œ œ Œ 5

Transpose

to E major.

2. Using I, V7, IV, vi, iii and V7/V, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.


œœ

? # 24 œ

JoLLy oLd saiNt NichoLas 20-16

Traditional

Happily

#2 œœœœ œ œœ & 4 f 3

# œœ œœ œ œ œ & p

9 

œœœœ ˙ œœ œœ ˙

2

œœœœ œ œœ

F

4

œœ œœ œ œ œ 2

1

œœœœ ˙ 3

1

œœ œœ ˙ Transpose

to F major.


Using the indicated chords, create a two-hand accompaniment for the following melody by continuing the pattern given in the second and third measures.


MorNiNg has brokEN

20-17

Moderato

& x 3

1

7 :

x

2

1

Em

¸

¢* & * ¢

:

G

¸

¢ * 5

D

G

¸

2

¸

2

simile D

Bm

¸

A

2

x D

¸

¸

¸

¢ I *

¸¸ ¸ E

Bm

1

3

19

A

1

2

¸

x

5 2

1

4

¢*

5 2

F m

2

¸

4

5

13 :

D

1

Gaelic Folk Melody D

3

¸

¸

simile A 2


D

G

¸

¸ 5

A 1

rit.

rit.

D 3

¸

¸¸ ¸

Unit 20


Name ________________________

1. Complete the chart by naming the relative minor for each tonic.

Tonic

Relative Minor

F Major

____________

A b Major

____________

D Major

____________

2. Complete the chart by naming the relative major for each tonic.

Tonic

Relative Major

B Harmonic Minor

____________

E b Harmonic Minor

____________

G Harmonic Minor

____________

3. Label each statement with the musical form that it describes best. Write S for sonatina, TV for theme and variations, R for rondo or TPF for three-part form. a. ________ The form used in second movements of sonatinas as well as in minuets and scherzos that have contrasting trio sections. b. ________ The elements that frequently vary include melody, harmony, meter, rhythm and texture. c. ________ The theme alternates with secondary sections or episodes. d. ________ A form divided into sections symbolized by letters ABA. e. ________ The form used in the last movement of many sonatinas and sonatas. f. ________ The first theme is in the tonic key and the second theme is usually in the dominant key. g. ________ The theme is followed by a series of pieces that have a similar structure. h. ________ In the development, the themes are altered. Review ■ Unit 20 265

4. Identify each diminished seventh arpeggio below by writing its name on the indicated line. Write the correct RH fingering on the lines above the staff and the correct LH fingering on the lines below the staff.

_________ Diminished Seventh Arpeggio

BB B BB BB B B B B B BB B B B BB B B B B BB _________ Diminished Seventh Arpeggio

B B

B B

B B

B B

B B

B B

_________ Diminished Seventh Arpeggio

B B

B B

5. Write the following melody in treble clef.

# 266 Unit 20 ■ Review

¸ *

¸

¸

¸

Unit 21

Objectives

The German Sixth Chord and The Italian Sixth Chord Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play a chord progression that uses a German sixth chord in selected major keys. 2. Play a chord progression that uses an Italian sixth chord in selected major keys. 3. Sight-read music that uses a German sixth chord and an Italian sixth chord. 4. Harmonize and transpose melodies with German sixth and Italian sixth chords. 5. Improvise melodies over German sixth and Italian sixth chords. 6. Play F#dim7, C#dim7 and G#dim7 arpeggios. 7. Play F#7 and Bb7 arpeggios. 8. Play two-octave major scales and arpeggios in Group 2 keys, using traditional fingerings. 9. Perform solo repertoire that uses a German sixth chord. 10. Play a four-part choral score (SATB). 11. Play an instrumental score for string quartet. 12. Perform a three-part ensemble with partners.

The German Sixth Chord and The Italian Sixth Chord ■ Unit 21

267

Augmented Sixth Chords

Three chromatically altered sixth chords are found in tonal music: the German sixth, Italian sixth and French sixth. These chords are characterized by the interval of an augmented sixth above the lowest sounding pitch of the chord. The bottom note of the augmented sixth interval is often the lowered sixth scale degree and the top note is often the raised fourth scale degree. Augmented sixth chords usually resolve to I6 or V chords. 4

6#

The German Sixth Chord

The German sixth (iv53 ) sounds like a dominant seventh chord. Its origin is a minor seventh chord built on the subdominant, with a raised root. To find a German sixth chord, build a dominant seventh chord on the lowered sixth scale degree. Then respell the top note of the chord enharmonically to form the interval of an augmented sixth. While the German sixth sounds like a dominant seventh chord, it is spelled differently to reflect the interval of an augmented sixth. The interval of the augmented sixth usually resolves to the dominant.

&

Key of C:

b bb wwww

b # www & b w

Gr 6

Top note respelled as augmented sixth, resolving to dominant

Dominant seventh chord built on lowered sixth

Playing a Chord Progression That Uses a German Sixth Chord

Play the chord progression that uses a German sixth chord.

21-1

C

F

C

5 2 1

5 3 1

5 2 1

& 44 ˙˙˙ ? 44 ˙ 5

I

˙˙˙ ˙

Gr 6

˙˙ ˙

( A b 7) 5 2 1

˙˙ # b ˙ b˙

C/G 5 2 1

˙˙ ˙ ˙

G7

C

4 2 1

5 2 1

ww w

˙˙˙ ˙

2

˙ 5

1

2

1

w

IV

I

iv 53

I6

V7

I

6#

4

5


268

21-2

1. G major

21-4

3. D major

21-3

2. F major

21-5

4. B b major

Unit 21 ■ The German Sixth Chord and The Italian Sixth Chord

w w


Reading 21-6

Flowing

I O ¸ ¸

Gr 6

2 1

2 1

¸¸

1 5

1 5

¸ ¸

1 5

## 4 & 4 œ. P D

1

D 1

œ.

A 7/C #

j œ œ

A 7/C #

j œ œ

D

œ

œ. 2

D

œ

œ. 2

B :

B

F

I C /E

F

7

I C /E 7

¸¸

1 5

¸¸

? ## 4 œ œ œ œ œ œ œ œ 4

œ œ ˙

B b7 (Gr 6 )

œ. 3

œ œ nœ

B b7 (Gr 6 )

Bm

œ.

œ œ ˙

3

A7

˙

œ

nœ œ J

A7

˙

D

w

œ

to C major.

B


¸ ¸

Using the chord progression below, improvise a RH melody while the LH plays the suggested accompaniment style. (First play the LH chord progression using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.

21-8

Key of F Major F

¸ ¸

Transpose


5

1 5

5 1

4 1

¸ ¸

Alberti Bass Accompaniment

Allegro

&

1 3

I 0 ¸ ¸ 4 1

Harmonize with an Alberti bass accompaniment.

21-7

##

¸¸ B B ¸¸

¸ ¸

Harmonization

5 

5 1

F

I I

D @ 7 (Gr 6 )

D @ 7 (Gr 6 )

I

C7

I

F

C7

¸


269

The Italian sixth (iv6 #) sounds like a dominant seventh chord with the fifth omitted. Its origin is a minor chord built on the subdominant, with a raised root. To find an Italian sixth chord, build a dominant seventh chord on the lowered sixth scale degree and remove the fifth from the chord. (The tonic is often doubled.) Then respell the top note of the chord enharmonically to form the interval of an augmented sixth. The interval of the augmented sixth usually resolves to the dominant.

The Italian Sixth Chord

Key of C:

BV B VV

ItVV BV

6

Top note respelled as augmented sixth, resolving to dominant

Dominant seventh chord built on lowered sixth (5th omitted)

Playing a Chord Progression That Uses an Italian Sixth Chord

V V

Play the chord progression that uses an Italian sixth chord.

21-9

C

F

C

It 6

C/G

G7

C

5 2 1

5 3 1

5 2 1

5 2 1

5 2 1

4 2 1

5 2 1

& 44 ˙˙˙ ?4 ˙ 4 5

I

˙˙˙ ˙ 2

IV

˙˙ ˙

# ˙˙˙ b˙

5

1

˙ I

˙˙ ˙ ˙

iv6#

˙˙˙ ˙

ww w

2

1

w 5

I6

V7

I

4


270

21-10

1. G major

21-12

21-11

2. F major

21-13


3. D major

4. B b major


Reading 21-14

Moderate waltz

B B * 0 B B

¸

4

4

5

5

1 2

¸

1

1 2

5

5

It 6

3

Sonata

(adapted exerpt

B b7

b &b b c Fœ 5 

&

5

œ

2

1

œ

B b7/D

œ

œ bbb

œ

5

2

œ

5

1 3

2 3

5

1 4

œ

˙

˙

Ludwig van Beethoven (1770–1827) Op. 13 A b/C It 6 Bb

˙

˙

A b/E b

B b7/D

˙

n˙

3

˙.

n˙

2

4

It 6

œ 1

Eb

˙.

˙

to F major.

Using the chord progression below, improvise a RH melody while the LH plays the suggested accompaniment style. (First play the LH chord progression using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.


1 2 3

third MoveMent)

 Transpose

Key of G Major G

1 3

¸ ¸¸ ¸

? b c wwww bb

C Minor

Eb

œ

21-16

:

in

froM

E b7


5

5


Allegro

4

Harmonize with a block chord accompaniment.

Harmonization

21-15

1

D 7/F

D7

G

G

I

D 7/F

G


271

Technique 21-17

 œ œ œ œ  œ Œ 4 œ œ œ œ œ œ &4 P Allegretto 1

1.

&

œ

5

5

5

1

œ

Continue downward on white keys until . . .

œ

œ œ œ œ œ œ œ

5

1

œ


œ œ Œ

1

œ

œ

Œ

21-17

Allegretto

2.

? 44 œ œ œ œ œ œ œ œ œ œ œ Œ   P 1

1

5

?

œ

5

Continue downward on white keys until . . .

œ

1

 œ œ œ œ œ œ œ œ œ œ Œ 1

5

5

œ


œ

œ

Œ

21-18

œ œ œœœœœ œ œ œ œ œ œ œœœ #4 œ œ œ œ œ œ œœœ ˙ Ó & 4 œ œœ F ?# 4 œ œœœœ œ ˙ Ó œ œ œ 4 œœ œ œœ œœ œœœœ œ œœœœœœ œ Moderato 1

3.

1

3

1

4

1

3 1

4

1

3 1

3 1

1 3

1 3

1

4

1

4

1 3

1 3

Transpose

272


to A major.

Practicing Major Scales (Group 2 Keys): F, B, G b (F #) and D b

Play two-octave major scales in Group 2 keys. See pages 81, 95, 107, and 119. The following principles will help you remember the fingering for the Group 2 major scales: 1. Fingers 2 and 3 play the two-black-key groups (or white-key equivalents). • In the key of F major, fingers 2 and 3 play D and E. • In the keys of G-flat and D-flat major, fingers 2 and 3 play D and E . • In the keys of B and F-sharp major, fingers 2 and 3 play C and D . 2. Fingers 2, 3 and 4 play the three-black-key groups (or whitekey equivalents). • In the key of F major, fingers 2, 3 and 4 play G, A and B . • In the keys of G-flat and D-flat major, fingers 2, 3 and 4 play Gb, Ab and Bb. • In the keys of B and F-sharp major, fingers 2, 3 and 4 play F , G and A . 3. When playing scales hands together, thumbs play at the same time on white keys (except on the first and last notes of F and B).

b

b

#

#

# #

Practicing Major Arpeggios (Group 2 Keys): F, B, G b (F #) and D b

b

#

Play two-octave major arpeggios in Group 2 keys. See pages 81, 95, 107, and 119. The following principles will help you remember the fingering for the Group 2 major arpeggios: 1. Arpeggios in the keys of F, B and G-flat major use the same fingering in the right hand. RH: 1 2 3 1 2 3 5 When playing the LH arpeggios, use finger 4 when there is one white key between the root and third of the broken chord. Use finger 3 when there are two white keys between the root and third of the broken chord. LH: (F) 5 4 2 1 4 2 1 LH: (B, G ) 5 3 2 1 3 2 1

b

b

2. For the D major arpeggio: • Thumbs play the white keys. In addition to the thumbs, only fingers 2 and 4 are used. • In the right hand, the fourth finger plays the root. RH: 4 1 2 4 1 2 4 • In the left hand, the second finger plays the root. LH: 2 1 4 2 1 4 2


273



21-19

F# dim7

1.

bœ œ œ bœ #œ œ œ #œ ? 44 bœ œ œ #œ b œ œ #œ œ & 44

4

3

1

2

2

1

3

4

4

3

1

2

2

3

1

bœ œ œ 4 & 4 œ œ bœ #œ #œ bœ œ ? 44 œ bœ #œ œ œ #œ

2.

4

3

1

2

2

1

3

4

4

3

1

2

3

2

1

4

21-21

G # dim7

3.

œ œ 4 œ &4 #œ œ œ #œ œ œ ?4 œ œ 4 #œ œ œ #œ œ 4

4

1

3

2

2

3

1

4

4

1

3


3

2

#

3

3

#w

3

4

2

1

1

2

4

3

3

4

2

1

1

2

#œ bœ œ œ #œ bœ œ œ #œ bœ œ œ #œ bœ œ œ

4

4

#w 3

3

#w

3

4

2

1

1

2

4

3

3

4

2

1

1

2

#œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ

4

4

#w 4

4

b

3

1

2

2

1

3

4

4

3

1

2

2

1

3

4

#w #w 3

4

#w #w 3

4

#w #w 4

Using the fingering below, practice dominant seventh arpeggios (F 7 and B 7) hands separately. See page 160. F7 B @7

274

4

#w

1

2

#œ bœ œ œ #œ bœ œ œ #œ bœ œ œ #œ bœ œ œ

4

4

21-20

C#dim7

#w

RH: LH:

••• 2341 ••• 4321

••• • 23412 ••• • 43214

RH: LH:

• • 4123 • • 3214

• •• 41234 • •• 32143


Before playing: •Block the broken chords with the appropriate hand. •Circle the clef changes.

S olo Repertoire

While playing: •Shape the music by following the rise and fall of the line and observing the crescendos and diminuendos. •Play legato so that the notes divided between the hands sound like one line. •Slightly accent the first sixteenth note of each beat to feel the pulse.

Solfeggio

21-22

in

C Minor

Carl Philipp Emanuel Bach (1714–1788) 4

1

¹I M M B ¹I B B M E ¹I M BBB Presto

4

2

4

RH 2

5

5

5 LH

1

3

¹I M M ¹ M I B B ¹I B 2

3 :

BBB

4

4

4

5

5

5

¹ ¹I ¹I ¹I : I B B B *® O *® *® *® BBB 5

5

2

1 3

1

1

2

4

BB

5

4

1

4

2

2

3

BBB

1

2

M 5

3

1

4

¹I ¹ I M BBB E

1

3

1

4

2

5

5

2

4

5

5

2

1

2

¹I B B B

9 :

3

1

3

1

B M M M 3

2

1

5

5

7 :

2

3

3

2

1

5

3

2

1

M M M 4

4

5


275

1



b & b b ˚j œ œ œ œ ? bb ≈ b 11

3

˚j œ œ n œ œ œ œ #œ nœ œ ˚j œ œ œ œ nœ œ œ nœ œ #œ œ œ œ œ œ œ œ œ œ 1

3

1

4

4

2

4

5

5

5

b b œ œ œ œ œ œ ≈ œ œ nœ œ œ œ ≈ œ ≈ œ ≈ œ ≈ œ b œ œ œ œ œ œ œ œ & œ œ œ p ? œ ? bb œ œ Œ Œ n œ œ & œœ b œ œ œ œ œ 

13 

2

1

2

3

1 4

1 5

1 4

1 5

œœ œœ œ œ œ œ œ œ œ œ œ n œ œ b œ œ≈ œ ≈œ œ≈œ œ≈œ œ≈œ œ &b b œ fœ p    œ œ œ n œ œ ? ? bb œ Œ Œ œ œ œ & œ œ b

15 

4

1

2

3

œ b J &b b  œ œ œ œ œ œ nœ œ œ œ œœ ˚j f ˚ œ œ œ n œj œ œ œ œ œ œ œ œ œ œ ? bb ≈ œ œ b œœœ

17 

RH 2

5

b & b b ˚j œ ? bb ≈ œ œ œ b

3

4

1

3

4

4

4

5

5

19 

1

œ œ œ œ œ nœ ˚j œ ˚ œœœœ j œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ 4

2

4

5

5

5

5

œ œ Ó œ œ œ œ œ œ œ & b œ œ J œ œ œ œ œ J J J ? bb bw b

 21

bb

2 LH

4

1

4

2

5

4

3

276


4

œ œ nœ œ œ œ œ œ

23 :

BB ¬ B O BBB V

-

M ¬ E MV 4

2

1

2

3

5

4

2

3

4

2

B M B B B O E B M M B B

26 :

1 4

1 5

1 2

1 5

Gr B B B B O E O E B B B 30 : ¹I B M B ¹I B M & M BBB 28 :

6

1 4

1 2

1 5

1

2

3

5

5

3

1 5

2

4

2

5

5

¹I ¹ ¹ I I M M M B

32 :

1

BB

BBB

4

2

4

4

5

5

5

¹I ¹I 34 : M BB B *® BBB 2

5

5

1

¹I ¢

¬


277



Soprano (RH) alone. Alto (RH) alone. Soprano (RH) and alto (RH) together. Tenor (LH and RH) alone (one octave lower than written). Bass (LH) alone. Tenor (LH and RH) and bass (LH) together. Soprano (RH), alto (RH) and bass (LH) together. Soprano (RH), alto (RH) and tenor (LH and RH) together. Soprano (RH), alto (RH), tenor (LH and RH) and bass (LH) together.

agnuS dei

(exCerpt

froM

Requiem)


21-23

Larghetto

S

A

T

B

3 &b4 Œ & b 34 Œ & b 34 Œ ? b 34 Œ

f œ f œ f œ f œ

œ

˙.

œ

Œ

œ

#˙ .

œ

˙.

œ

Œ

œ

˙.

œ

˙.

˙.

œ

RH

œ

Œ

œ

#˙ .

œ

Œ

S

œ &b

Œ

œ

˙

œ

˙.

A

&b œ

Œ

œ

˙

œ

n˙ .

&b œ

Œ

œ

˙

œ

˙.

?

b

Œ

œ

˙

œ

#˙ .

5 

T

B

278

œ


œ

˙.

œ œ

#œ œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ


String Quartet

1. 2. 3. 4. 5. 6. 7. 8.

Violin I (RH) alone. Violin II (RH) alone. Violin I (RH) and violin II (RH) together. Viola (RH and LH) alone. Cello (LH) alone. Viola (RH and LH) and cello (LH) together. Violin I (RH) and cello (LH) together. Violin I (RH), violin II (RH), viola (RH and LH) and cello (LH) together.

Quartet no. 17

(exCerpt)

21-24

f Major Franz Joseph Haydn (1732–1809) Op. 3, No. 5

 & b 24 œJ p & b 24 ‰

œ ‰ ‰ Jœ J

œ ‰ ‰ œ J J

œ œ œ œ


œ œ œ œ

œ œ

Cello

? 2 ‰ b4

‰ œ p  ‰ œ p

‰ œ œ ‰

Viola

B b 24 ‰

‰ œ œ ‰ p

Scherzando

Violin I

Violin II

LH

Vln I

 & b œJ

‰

‰

Vln II

&b ‰

œ

Vla

Bb ‰

œ

5 

Vcl

in

?

b ‰

œ

LH

œ

œ œ

œ ‰

‰ œ œ ‰ RH

œ ‰

œ J

œ J

‰

‰

‰

‰

‰

‰

‰

œ œ

œ

œ

œ

œ

LH

‰

œ

RH

‰

œ œ œ

œ

œ

œ

œ

œ

œ

‰

œ

œ

œ

‰

œ

RH

œ

œ œ

‰ ‰

œ

œ

‰

œ

œ

‰

LH

Œ Œ

œ

‰

œ

œ

‰

‰ œ

œ

RH

œ

œ œ œ


279

nsemble Repertoire E By

the

light

of the

Silvery Moon

21-25

Rhythmic, but not too fast

* 1

VV & * & C & 3

Part 1

3 1

Part 2

5 2 1

Part 3

5

5 :

1

2

VV

3 1

G7

3

¬

¬

1

¬ ¬

4 1

¸ ¸ 5 3

C

2 1

5

¬ 5 3

F

5 3

C dim 7/E

D7

¬ ¬

4 1

3 1

¸ ¸ VV B¸ M¸ 8va ¬ * ¢ 5 3

C dim 7/E

¬

3 1

G7

¬ ¬

*Play pairs of eighth notes a bit unevenly (long-short) to create a jazz swing feel.

280

V

¢ ¢ ¬ * * 8va

3

3

3 2

Gus Edwards (1879–1945)


C

10 :

1

2

V

3

5 3

F

¬ 3

¬

B

¬

5 2 1

¬

3

*¢ ¬

5 3

C dim 7/E

Dm

¬

5 3 1

¬

B

¬

5

15 :

1

V

2.

5 1

¬

¬

M

4 2 1

¬

5

3 1

¬

V V

2

3

1.

¬

1. M

2 1

2

3

3 1

2

5 2 1

1

2

1

3

1

3 1

4 2 1

5

5

M 1

5 1

2

1.

5

2.

5 1

2

2.

2

1

8va


5

281

Unit 22

Objectives

The French Sixth Chord and The Neapolitan Sixth Chord Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play major scales and arpeggios in Group 3 keys, using traditional fingerings. 2. Play Cdim7, Gdim7 and Ddim7 arpeggios. 3. Play a chord progression that uses a French sixth chord in selected major keys. 4. Play a chord progression that uses a Neapolitan sixth chord in selected major keys. 5. Sight-read music that uses a French sixth chord and a Neapolitan sixth chord. 6. Harmonize and transpose music with French sixth and Neapolitan sixth chords. 7. Perform solo repertoire that uses a Neapolitan sixth chord. 8. Improvise a melody in Romantic style over a chord progression. 9. Improvise a melody in mixed meter over a chord progression. 10. Create a two-hand accompaniment from chord symbols. 11. Play a four-part choral score (SATB). 12. Accompany a cello solo.

282 Unit 22 ■ The French Sixth Chord and The Neapolitan Sixth Chord

Practicing Major Scales (Group 3 Keys): B , E  and A 

Play two-octave major scales in Group 3 keys. See pages 136, 150, and 159. The following principles will help you remember the fingering for the Group 3 major scales:

Practicing Major Arpeggios (Group 3 Keys): B , E  and A 

Play two-octave major arpeggios in Group 3 keys. See pages 136, 150, and 159. The following principles will help you remember the fingering for the Group 3 major arpeggios:


1. All three scales use the same LH fingering. LH: 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 2. The fourth finger in the RH always plays B.







1. For the E and A major arpeggios (same as D from Group 2): • Thumbs play the white keys. In addition to the thumbs, only fingers 2 and 4 are used. • In the right hand, the fourth finger plays the root. RH: 4 1 2 4 1 2 4 • In the left hand, the second finger plays the root. LH: 2 1 4 2 1 4 2

2. For the B major arpeggios: • The right hand fingering is the same as D , A and E . RH: 4 1 2 4 1 2 4 • The left hand has its own unique fingering. LH: 3 2 1 3 2 1 3



 



Using the fingering below, practice diminished seventh arpeggios (Cdim7, Gdim7, Ddim7) hands separately. See page 207. Note: A dot (•) above a fingering indicates a black key. Cdim7

RH: LH:

•• 2341 •• 5432

•• 23412 •• 14321

Gdim7

RH: LH:

•• 2341 •• 5432

•• 23412 •• 14321

Ddim7

RH: LH:

• 2341 • 2143

• 23412 • 21432

The French Sixth Chord and The Neapolitan Sixth Chord ■ Unit 22 283

6

The French Sixth Chord

The French sixth (II43 ) sounds like a dominant seventh chord with a lowered fifth ( 5) above the lowest note of the chord. Its origin is a dominant seventh chord built on the supertonic, with a lowered fifth. To find a French sixth chord, build a dominant seventh on the lowered sixth scale degree and lower the fifth ( 5) one half step. Then respell the lowered fifth to form the interval of an augmented fourth and respell the top note of the chord enharmonically to form the interval of an augmented sixth. The interval of the augmented sixth usually resolves to the dominant.

Key of C:

BB B VVV BV

VFrVV B V

6

Fifth respelled as augmented fourth and top note respelled as augmented sixth, resolving to dominant

Dominant seventh chord (with lowered fifth) built on lowered sixth

Play the chord progression that uses a French sixth chord.

Playing a Chord Progression That Uses a French Sixth Chord 22-1

C

F

C

Fr 6

5 2 1

5 3 1

5 2 1

5 2 1

& 44 ˙˙˙ ?4 ˙ 4 5

I

˙˙˙ ˙ 2

IV

˙˙ ˙

# ˙˙˙ b˙

5

1

˙

C/G 5 2 1

˙˙ ˙ ˙

6 II 43

I

G7

C

4 2 1

5 2 1

˙˙˙ ˙

ww w

2

1

w 5

I6

V7

I

4


1. G major

22-4

3. D major

22-3

2. F major

22-5

4. B  major


V V


Reading 22-6

Largo

¸¸ 0 ¸ ¸

5 2

2 1

2 1

5 2

1 5

1 5

¸¸

¸¸ ¸¸

1 5

1 2

¸¸

1 5

1 5

¸ ¸ ¸¸

¸¸ ¸ ¸

1 5

1 5

5 :

¸¸ ¸ ¸

1 4

¸¸ ¸¸

¸¸ ¸¸

1 5

1 5

3 1

1 2

1 5

Fr 6 4 1

VV

VV VV

VV

˙˙  ˙˙  ? b b6 ˙ ˙ b b 4


Harmonization


Liebestraum No. 3 22-7

Poco allegro, con affetto (slightly fast, with feeling)

B B B B O

1

5 :

9 :

BBBB

A@

¸ 5

¸

E @7

¸

F7

B B BB ¸

¸

C 7/G

¸

A@

¸

B @7

¸

¸

F7

¸

¸

4

1

¸ 5

1

E @7

B @7

¸

C 7/G

¸

¸

Franz Liszt (1811–1886)

Fr 6

¸

¸

A@

¸

2

¸

Transpose to G major. The French Sixth Chord and The Neapolitan Sixth Chord ■ Unit 22 285

The Neapolitan Sixth Chord

The Neapolitan sixth chord is a major triad built on the lowered second scale degree. It usually occurs in first inversion and resolves to I6 or V7. 4

Key of C:

D@

B B VVV

D@/F

B B VVV

Major triad built on lowered second

N6

Play the chord progression that uses a Neapolitan sixth chord.

Playing a Chord Progression That Uses a Neapolitan Sixth Chord

22-8

C

F

C

5 2 1

5 3 1

5 2 1

& 44 ˙˙˙ ? 44 ˙ 5

I

˙˙˙ ˙ 2

IV

D /F

˙˙ ˙

bb ˙˙˙

5 2 1

5

2

˙

5 2 1

C/G

˙

I

N6

˙˙ ˙ ˙

G7

C

4 2 1

5 2 1

˙˙˙ ˙

ww w

1

1

w 5

I6

V7

I

4


22-9

1. G major

22-11

3. D major

22-10

2. F major

22-12

4. B  major



Reading

NocturNe

iN

(adapted

F miNor

excerpt)

Frédéric Chopin (1810–1849) Op. 55, No. 1

22-13

Andante

¸ B B B C M ¸ B M O M M BBBB C 5

2

5 1 2

5 1 3

5 :

B B BB

5 1 3

5

5

5

¸

N6

5

5

1

1 3

5

3

5

5

1 2


Harmonization

œ ? # 44 œœœ œœ #˙˙˙


22-14

Allegretto Em

C/E

B 7/D

England Em

& 4

C/E

B 7/D

5 :

5

¸ ¸ B M B B BB 5

5

5

5 1 2

4

3

4

3

Em

4

F/A

Em/B

M N6

F/A

Em/B

M N6

B7

Em

¸ B7

Em

¸

 Transpose to F minor.


Before playing: •Practice the RH alone, observing the contractions and expansions in the fingering. •Name the chords in the LH.

S olo Repertoire

While playing: •Clearly define the phrase structure in your performance. •Play the RH a little louder than the LH.

bagateLLe

22-15

Vivace moderato 1

¢ O 5

5

2

4

1

a miNor

¸

5

2

3

1 3

iN

5

1

3

1

1

3

5

¢

4

2

5

1

1 3

5

1

1

4

1

2

1 2

¢ O 1

17 :

4

1

2

2

3

2

5

1

5

¢

¸

2

5

1

5


¸¸ M¸ O M 2 1

1 2

5

4 2 1

5

3

B

B ¸¸ M E B M

5

5

2

1 3

5

13 :

5

2

4

1

¸ B 2

5

¢ 9 : ¢ ¢ & 5 :

Ludwig van Beethoven (1770–1827) Op. 119, No. 9 5

1 2 5

¸ 2

B

B

1 2

O ¢

3 3

¸¸ M¸ O M

5 2 1

5

B ¸¸ M E B M 4 2 1

1 2 5

O

Using the suggested harmonies, complete the Waltz in A Minor by continuing in a similar style.

Improvisation in Romantic Style

Waltz

22-16

Moderato Am

& 5 3

5 :

Dm/A

5 3

a Minor Franz Schubert (1797–1828) Op. 91a, No. 9 Am

E7

A/C

A

in

(excerpt)

E7

A

¸ ¸

He’s Got

tHe

WHole World

in

His Hands

Lively

¸ ¸ & x 4

5

9 :

Music that uses two different time signatures within the same composition is called mixed meter. Continuing the pattern shown in the first three measures, write the melody of He’s Got the Whole World in 2 3 His Hands, dividing each measure of the original piece into 4 and 4 time to create a composition in mixed meter. If you are unfamiliar with the melody, learn it by listening to the audio file or MIDI file. Play the melody with the given accompaniment.

Improvisation in Contemporary Style (Mixed Meter)

22-17

5

1 3

5

Spiritual

¸¸ The French Sixth Chord and The Neapolitan Sixth Chord ■ Unit 22

289



amaziNg grace 22-18

United States

Smooth and relaxed G

&

¸

1

&

12 :

5

A7

¸ 3

1

1

2

D7

¸

C

¸

G

3

¸

¸

*

Em

¸

G 7/B 1–4

¸

5

3

C

C o 7

I

¢ IB * ¢ 1

5

3

A7

D7

C/G

G

¸

¸

¸

¢

I M

¢ *


1

¸

Em7

G/D

¢ I M ¢ *

x ¸

¸

G 2

¸

5 2

¢ I ¢ *

6 :

3

G7

rit.

rit.

¸¸ ¸ ¸



1. 2. 3. 4. 5. 6. 7. 8. 9.

Soprano (RH) alone. Alto (RH) alone. Soprano (RH) and alto (RH) together. Tenor (RH and LH) alone (one octave lower than written). Bass (LH) alone. Tenor (RH and LH) and bass (LH) together. Soprano (RH), alto (RH) and bass (LH) together. Soprano (RH), alto (RH) and tenor (RH and LH) together. Soprano (RH), alto (RH), tenor (RH and LH) and bass (LH) together.

WeicHe gräser (excerpt

22-19

p dolce b  3 &b b4 ˙ Œ

Ruhig (quiet)

S

A

p dolce b 3 & b b 4 ˙ Œ p dolce b b 3 ˙ Œ b & 4 RH

T

B

p dolce ? b 3 ˙ Œ bb4 9 

S

A

T

B

&

 b ˙ bb

Œ

im

revier

LiebesLieder WaLtzes)


˙ Œ

˙ Œ

˙ Œ

˙ Œ

˙ Œ

˙.

œ Œ Œ

˙ Œ

˙ Œ

˙ Œ

˙ Œ

˙ Œ

˙.

œ Œ Œ

 ˙ Œ

œ Œ Œ

˙ Œ

 ˙ Œ

˙.

˙ Œ

˙ Œ

˙.

Œ

˙

Œ

˙

Œ

˙

Œ

 n˙

Œ

˙

Œ

˙

˙ Œ

˙

bb

 & b ˙

Œ

 n˙

b b ˙ b &

Œ

˙

? b bb

Œ

˙

From

 ˙

Œ

˙ Œ

˙

˙ Œ

Œ

 ˙

˙ Œ

LH

˙ Œ

Œ

˙

Œ

˙ nœ

Œ

˙

Œ

˙.

œ

œ

œ Œ Œ

œ

˙

˙ nœ

˙

˙

˙

RH

˙.

œ

Œ Œ

˙

Œ

˙

Œ

LH



marcH

22-20

C

Moderato

Cello

Piano

C

r r E E

¬

¬

s¸ & ¸ ¸ &

16

¸

x

x

& C

6

11

iN

(excerpt)

¸¸ ¸

s

¬

¸ s¸

& ¸¸¸ & ¬ ¸

s¸

O

Johann Sebastian Bach (1685–1750) Arr. Richard Meyer

s¸

¸¸ ¸

¸¸ ¸ ¸

¸

¸¸¸

¸

¬

¸

¸

& ¸ ¸¸ & ¸

x ¸¸ ¸

¸

g

s¸ 0

¸ ¸¸ ¸

¸ ¸¸ ¸

¸

1.

E

¸

¬

¬

¬ ¸ E 2.

¬ ¸¸ ¸¸ E¸ E¸ ¸ 1.

r r E E

¸ ¸¸ ¸ O 0 ¬

2.

¬ ¬ ¬

“March in G” from STRING ExPLoRER Cello Book 1 by Andrew Dubczynski, Richard Meyer and Bob Phillips Copyright © MMIII by Alfred Publishing Co., Inc.


Unit 23

Objectives

Review Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play a chord progression that uses a German sixth chord, an Italian sixth chord, a French sixth chord and a Neapolitan sixth chord in selected major keys. 2. Play harmonic minor scales and arpeggios in Group 1 keys, using traditional fingerings. 3. Play Adim7, Edim7 and Bdim7 arpeggios. 4. Perform a solo from intermediate piano repertoire. 5. Sight-read and transpose music from easy piano repertoire. 6. Harmonize and transpose music with ii, III and VI chords.

Review ■ Unit 23

293

Playing a Chord Progression That Uses a German Sixth Chord Play the chord progression that uses a German sixth chord. 23-1

& 44 ? 44

Gr 6 ( A  7) 5 2 1

˙˙ # b ˙ b˙ 2

6 iv 53

C/G 5 2 1

˙˙ n˙ ˙ 1

I6 4

G7

C

˙˙˙ ˙

˙˙ ˙

4 2 1

Practice the progression in the following keys:

5 2 1

1

˙

V7

I

23-2

1. G major

23-3

2. F major

23-4

3. D major

23-5

5

4. B  major

Playing a Chord Progression That Uses an Italian Sixth Chord Play the chord progression that uses an Italian sixth chord. 23-6

It 6

& 44 ? 44

5 2 1

˙ # ˙˙ b˙ 2

iv6

C/G 5 2 1

˙˙ ˙ ˙

G7 4 2 1

˙˙˙ ˙

C 5 2 1

˙˙ ˙

1

1

˙

I6

V7

I

4

Practice the progression in the following keys: 23-7

1. G major

23-8

2. F major

23-9

3. D major

23-10

5

4. B  major

Playing a Chord Progression That Uses a French Sixth Chord Play the chord progression that uses a French sixth chord. 23-11

Fr 6

& 44 ?4 4

5 2 1

˙ # ˙˙ b˙ 2

6 II 43

C/G 5 2 1

˙˙ ˙ ˙ 1

I6 4

G7 4 2 1

˙˙˙ ˙

Practice the progression in the following keys:

C 5 2 1

˙˙ ˙

1

˙

V7

I

23-12

1. G major

23-13

2. F major

23-14

3. D major

23-15

5

4. B  major

Playing a Chord Progression That Uses a Neapolitan Sixth Chord Play the chord progression that uses a Neapolitan sixth chord. 23-16

4 &4 ?4 4 294

D /F 5 2 1

b b ˙˙˙ ˙

C/G 5 2 1

˙˙ ˙ ˙

2

1

N6

I6

Unit 23 ■ Review

4

G7

C

˙˙˙ ˙

˙˙ ˙

4 2 1

5 2 1

1

˙

V7

I

5

Practice the progression in the following keys: 23-17

1. G major

23-18

2. F major

23-19

3. D major

23-20

4. B  major

Practicing Harmonic Minor Scales (Group 1 Keys): A, E, D, G and C

Play two-octave harmonic minor scales in Group 1 keys. See pages 14, 29, 44, 56, and 69. The following principles will help you remember the fingering for the Group 1 minor scales:

Practicing Minor Arpeggios (Group 1 Keys): A, E, D, G and C

Play two-octave minor arpeggios in Group 1 keys. See pages 14, 29, 44, 56, and 69. The following principle will help you remember the fingering for the Group 1 minor arpeggios:


Using the fingering below, practice diminished seventh arpeggios (Adim7, Edim7, Bdim7) hands separately. See page 229.

1. All five scales use the same fingering. RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2. The fourth finger plays only once per octave in each scale. 3. Thumbs play on the tonic of each scale. (Note: Thumb must be substituted for finger 5 at the beginning and end of the scale.) 4. When playing hands together, finger 3 in each hand plays at the same time.

All five arpeggios use the same fingering in the RH. RH: 1 2 3 1 2 3 5 LH: 5 4 2 1 4 2 1

Adim7

RH: LH:

•• 1234 •• 2143

•• 12345 •• 21432

Edim7

RH: LH:

•• 1234 •• 2143

•• 12345 •• 21432

Bdim7

RH: LH:

• 1234 • 3214

• 12345 • 32143

Review ■ Unit 23

295

Technique



23-21

ascending 1

3

2

4

3

5

4

3

5

3

4

2

3

1

3

4

1

3

2

4

3

5

4

3

5

3

4

2

3

1

3

4

3

4

5

3

3

1

4 :

7 :

1

3

4

5

3

3

1

3

4

5

3

3

1

3

4

5

3

3

1

3

4

1

3

4

1

3

4

1

3

4

3

3

5

3

3

5

3

3

5

3

3

5

11 :

296

1

3

4

5

3

3

Unit 23 ■ Review

1

3

4

1

3

4

1

3

3

5

3

3

5

3

3

5

3

3

descending 15  œ5 œ3 œ4 œ2 œ3 1 œ3 œ4 œ &

?

18 

5

3

3

2

4

3

5

4


1

1

5



3


3

3

4

5

3

3


4

œ & œœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœ œœ œœœ œ œ œ œœœ œœœœœœœœ œœœœœœœœ ?

22 

3

5

3

3

5

3

3

5

3

1

3

4

1

3

4

1

3

4

3

5

5

3

3

1

3

4

1

3

4

5

3

3

& œœœœœœœœ œœœœœ œœ œœœ œ œ œ 5

3

3

3

3

œœœœœœœœ œ œ œ œ ? œœœœœœœ œœœœœœœœ œœœœœ œœ œœœ œ œ œ œœœ 1

3

1

4

3

1

4

3

4

26 

&

5

3

1

3

? œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

4

5

3

1

3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

4

5

3

1

3

..

œ œ œ œ œ œ œ . œ œ œ œ œ œœ œ œ . ˙ ˙ 3

3

Review ■ Unit 23

297

Before playing: •Name the intervals in the RH of measures 1–5. •Name the five-finger patterns and arpeggios in the LH of measures 1–4.

S olo Repertoire

While playing: •Listen for even sixteenth notes throughout. •Be sure that the hands play exactly together in measure 9.

PrEludE

iN

G MiNor Giuseppe Concone (1801–1861) Op. 37, No. 6

23-22

Allegro

˙ .. œ ˙. œ ˙. b ˙ œ 4 ˙. œ ˙. &b 4 F   œ œ   ? b 44 œ œ œ œ œ œ œ œ œnœ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œœ œ œ   5 1

b b & ? bb

7 

&

bb

2

4

5

4 

1

3

5

2

4 1

1

5

œ œ 5 1

œ œ 2

4

œ nœ œ #œ œ œ # œ œ # œ ˙˙ .. œœ œœ ‰ œ n œ œ‰œ œ # œ œ n œ œ œ # œ J J œ œ nœ œ #œ p cresc.  Œ œ œ Œ œœ  œœ œœ œœ œœ œ œ œ  œ œ œ œ œ  œ œ w w œ œ 5 3

3 2

4

5

œ

Œ

2

Ó

1 3 1

5

Unit 23 ■ Review

1

3 1

3 1 3 1

1 2

Ó

1 3 1 3 1

1 3 1 3 1

1 1 3

f œ bœ œ b œ œ œ bœ œ bœ œ bœ œ ˙ ? b œœœ b 298

5 1

4 1

4 2 1



5 2 1

# ˙˙˙

˙˙ ˙

˙

˙˙



1

1



œœœœœœœœ w 

œœœœœœœœ w

1


Reading

AllEGro (ExcErPt)


23-23

Allegro

*

B O B ¢ 2

1.

5 :

B *

¢ * 1

¢

1

Allegro

* B O 23-24 * Vivace B ¢ ¢ ¢ E ¸¸ 2

1.

1

2.

1 3

1

1

4 2

*

¢

5

*

¢

I * * E cossAisE ( ) ¢ * ¢ ¢ ¢ ¢ * ¢ * *¢ & 2

2

1

ExcErPt

5

5

1

1 5

1 5

1 2 5

2

1

¢ *

2 4

1

5

¢

2 4

1 5

2

¢

I

* ¢ ¢ *

¢

5

*

*

¢ *

¢

1

B ¢

* 2

1

I

*

* * * I Johann Nepomuk Hummel (1778–1837) * ¢ ¢ ¢* ¢ ¢ * 2

1

4 2 5

1

1

¸¸

5

Transpose

to D major.

Review ■ Unit 23

299


Harmonization

? b 6œœœœœœ b b8


chArliE is My dArliNG

23-25

Moderato Cm

b & b b 68 œ P 1

 5

&

bbb

œ G 7/B

9 

bb nœ b &

13 

&

j œ œ j œ œ

1

A

bbb œ

j œ 1

3

j nœ œ œ œ J

Cm/G

j œ œ. 4

œ J 3

œ J 4

3

œ 1

E

œ œ J j œ œ

œ

2

3

1

G7

œ

G 7/B

œ J nœ 1

3

3

œ œ

œ.

œ J 4

œ œ

œ

3

G 7/B

j œ œ

‰

Fine

œ.

œ J

Cm

œ

œ

Cm

j nœ œ

Fm

œ

œ.

Cm

œ J

England

Cm

j œ

œ

œ. œ.

œ J

œ

1

Cm

j œ

œ

œ.

Fm/C

D. C. al Fine

j œ œ.

‰

œ

 Transpose

to B minor.

2. Using I, V7, IV and ii, harmonize with a block chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff. Block Chord Accompaniment

œœœ

o christMAs trEE

23-26

Moderato

3 &b 4 œ f

1

3

œ. œ œ

& b ‰ Jœ 4

300

˙ ? b 43 ˙˙

5 

œ œ œ.

Unit 23 ■ Review

œ œ J

œ. œ œ.

j œ œ œ œ

œ œ œ.

œ J

4

3

œ œ œ.

Traditional 1

œ

œ J

3

œ

œ

..

Fine

D. C. al Fine

œ œ œ

 Transpose

to G major.

Unit 23


Name ________________________

1. Draw a line to match each description on the left with the appropriate chord on the right.

6

# www w

iv 53 in the key of C major

•

• &

iv6 in the key of B  major

•

• & bb # wwww

•

• & b # wwww

iv 53 in the key of F major

•

•

w & b b ww

iv6 in the key of D major

•

• & b b wwww

N6 in the key of G major

•

• & b # www

II 43 in the key of G major

•

• &

N6 in the key of E major

•

• & b b www

(German sixth)

(Italian sixth)

6

II 43 in the key of A major

6

(French sixth)

(German sixth)

(Italian sixth)

(Neapolitan sixth)

6

(French sixth)

(Neapolitan sixth)

ww w

Review ■ Unit 23

301

2. Draw a line to match each instrument with the appropriate notation needed to play the following:

•

F Horn

& b 44 œ œ œ œ ˙

•

Viola

B  Trumpet/ Clarinet E  Alto

Saxophone

• •

•

# & 44 œ œ œ œ ˙

•

## 4 œ œ œ œ ˙ & 4

•

4 œ œ œ œ ˙ &4

•

œœœ˙ œ 4 Bb 4

3. Identify each major scale below by writing its name on the indicated line. Write the correct RH fingering on the lines above the staff and the correct LH fingering on the line below the staff. Major Scale

&b œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Major Scale

&

#

œ

œ

œ

œ

œ

œ

œ

œ

Major Scale

bb b &

œ

œ

œ

œ

œ

œ

œ

œ

Major Scale

b & b bbbb 302

œ

Unit 23 ■ Review

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Unit 24

Objectives

The ii–V7–I Chord Progression Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play ii7–V7–I7 chord progressions in selected major keys. 2. Play E dim7, B dim7 and Fdim7 arpeggios. 3. Play harmonic minor scales and arpeggios in Group 2 keys, using traditional fingerings. 4. Perform solo repertoire that uses the ii–V7–I chord progression. 5. Sight-read and transpose music that uses the ii–V7–I chord progression and music from easy piano repertoire. 6. Harmonize and transpose music with ii and V7/IV chords. 7. Improvise melodies over ii–V7–I chords. 8. Play an instrumental score for string quartet. 9. Play a four-part choral score (SATB). 10. Perform a three-part ensemble with partners.

The ii–V7–I Chord Progression ■ Unit 24

303

The ii–V7–I Chord Progression

The ii–V7–I chord progression occurs frequently in both classical and popular music. In this context, the supertonic (ii chord) serves as a substitute for the subdominant (IV chord). In jazz, the seventh is often added to all three chords of the progression (ii7–V7–I7).

Play the following exercise that uses the ii7–V7–I7 chord progression.

Playing the ii7–V7–I7 Chord Progression 24-1

Key of C: D m7

& 44 ˙ ˙ ? 44 ˙ 4

ii7

& b˙ b˙ ? b˙

ii7

C maj7

5 1

4 1

1

˙

˙˙ ˙

5 2

Key of A : B m7

G7

E 7

˙˙ b˙

V7


Ó

˙˙

b b ˙˙

A maj7

˙˙

b˙

I7

4

Continue downward by whole steps until…

Ó

˙˙

˙˙ ˙

5

I7

G7

˙˙ ˙

ii7 V7 Both hands 8va lower



Ó Ó

b˙

V7 Key of C: D m7

Ó

4 1

1

ii7



C maj7

˙˙ ˙

I7

Ó Ó

Using the fingering below, practice diminished seventh arpeggios (E dim7, B dim7, Fdim7) hands separately. See page 249. E @dim7

RH: LH:

•• 3412 •• 4321

•• • 34123 •• • 43214

B @dim7

RH: LH:

•• 3412 •• 4321

•• • 34123 •• • 43214

RH: LH:

• 3412 • 5432

• 34123 • 14321

Fdim7

304

˙˙ ˙

5 1

˙

I7

B maj7

F7

5 2

Ó

5

V7

Key of B : C m7

Unit 24 ■ The ii–V7–I Chord Progression

Practicing Harmonic Minor Scales (Group 2 Keys): B and F

Play two-octave harmonic minor scales in Group 2 keys. See pages 81 and 95. The following principles will help you remember the fingering for the Group 2 minor scales:

Practicing Minor Arpeggios (Group 2 Keys): B and F

Play two-octave minor arpeggios in Group 2 keys. See pages 81 and 95. The following principle will help you remember the fingering for the Group 2 minor arpeggios:

1. The RH fingering for B minor is the same as the Group 1 minor keys. RH: 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 2. The LH fingering for F minor is the same as the Group 1 minor keys. LH: 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 3. The fourth finger plays only once per octave in each scale (except for the first note of B minor in the LH and the last note of F minor in the RH).

The fingering for both hands is the same as the Group 1 minor arpeggios. RH: 1 2 3 1 2 3 5 LH: 5 4 2 1 4 2 1

Technique 24-2

& Moderato 1

1

3 1

3 1

4

4

1

1

3 1

3 1

¸ ¬ 1 3

1

4

1 3

¸ ¬ 1 3

1

4

Transpose

1 3

to G harmonic minor.


305

Before playing: •Tap the rhythm first hands separately, then hands together. •Practice each hand alone, observing the contractions and expansions in the fingering.

S olo Repertoire

While playing: •Listen for even eighth notes. •Project the eighth-note motive as it moves between the hands.

Menuet

in

G Major

(Notebook for ANNA MAgdAleNA)

24-3

Animato

E ¸ 1

2

3

5

1

5 :

3

9 :

13 :

1

¸ 5

3

306

3

4

5

5

4


1

4

¸ 3

3

ii6

2

¸

4

1

4

¸

2

1

2

3

4

1

Johann Sebastian Bach (1685–1750)

V7

¸ I

2

O

17 :

3

21 :

2

1

5

5

3

O

26 :

4

4

1

4

3

5

5

2

1

4

3

4

3

&

¸

1

M

3

2

1

2

2

2

3

5

1

2

E ¸ ¸

¸

31 :

4

36 :

4

5

5

3

4

4

rit. (2nd time)

¸

¸


307


Reading

alleMande (excerpt)

24-4

Allegretto

* O ¢

1

3

1.

5 :

1 2

¢

¢

1 2

1

1

1 3 5

¢

¢

ii6

¸

5

Carl Czerny (1791–1857)

3

¢

¢

4

¸

V7

2 4

1 2

I

Transpose

to D major.

24-5

Lilting

2.

& 5 :

3 1

4 1

1 5

1 4

308

3 1

2 1

1 5

2 5

B


B

B 3 1

1 5

3 1

I 4

1 3

prayer (excerpt)

24-6

Adagio

C ¸ ¸ O¸ C ¸

¸ ¸ ¸

2 1

3.

¸¸ ¸

2 5

¸ ¸ ¸ ¸

5 :

¸ ¸ ¸

2 1

¸¸ ¸

2 5

2 1

¸¸ ¸

¸¸ ¸

2

1

4 2

¸¸ ¸

¸¸ ¸

2

1

¸¸ ¸¸

¸¸ ¸

2 1

Cornelius Gurlitt (1820–1901)

¬

¬

1 3

4 2

¸¸ ¸ ¸

VV VV 1 3

1 5


Harmonization

B


24-7

Andantino

B I 0 1

2

5

I

V6

3

5

5

B 2

I

5

V6 5

3

I

I

I

I

V6 5

I

4

5

ii 6

I

*

I

I

V7

England

I

2

I

I

Transpose

1

to G major.


309

2. Using I, V7 and ii, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.


œ œ œ ? # 44 œ œ œ œ


Moderato

#4 œ œ œ œ œ & 4 œ F 3

5 

&

œ œœ œœ œœ œ œ œ œ

1

# œ

œ

œ

1

œ

4

2

œ #œ œ œ œ 2

3

1

2

2

œ œ

œ

œ

œ

œ œœ œœ œœ 1

œ

2

˙.

Transpose

to A major.

3. Using I, V7, IV, ii and V7/IV, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff. Broken Chord Accompaniment

? b 6œœœœœœ b b8

24-9

Allegretto

b 6 & b b 8 œ. P 2

5 

b & b b œ. 3

œ. bœ .

œ. œ

œ. œ J œ

œ.

œ. j œ 1

2

œ.

œ. œ.

œ.

˙. Transpose

310


to D major.




? # # # 4 œœ œœ œœ 4œ

24-10

Key of A Major

: 5

A

A/E

I

I

F m/A

Bm

¸

Bm7

¸

E 7/B

I

I

Bm/D

¸

A maj 7

V

? 2 ˙˙˙ b4


Key of F Major F

B : 5

B

C 7/E

Dm/F

Gm/B @

B @/F

C7

C 7/E

¸

F

¸


311


String Quartet

1. 2. 3. 4. 5. 6. 7. 8.

Violin I (RH) alone. Violin II (RH) alone. Violin I (RH) and violin II (RH) together. Viola (LH and RH) alone. Cello (LH) alone. Viola (LH and RH) and cello (LH) together. Violin I (RH) and cello (LH) together. Violin I (RH), violin II (RH), viola (LH and RH) and cello (LH) together.

Quartet no. 4

in

d Minor

24-12

Allegro

Violin I

Violin II

Viola

Cello

C I O I C O #C V O C O

5 :

Vln I

Vln II

¸

Vla

# ¸

Vcl

312

*

RH

¸

¬


I

¸ RH

I

V

¸

Wolfgang Amadeus Mozart (1756–1791) K. 157

¸

¬

¬

¬ x

¬



1. 2. 3. 4. 5. 6. 7. 8. 9.

Soprano (RH) alone. Alto (RH) alone. Soprano (RH) and alto (RH) together. Tenor (RH and LH) alone (one octave lower than written). Bass (LH) alone. Tenor (RH and LH) and bass (LH) together. Soprano (RH), alto (RH) and bass (LH) together. Soprano (RH), alto (RH) and tenor (RH and LH) together. Soprano (RH), alto (RH), tenor (RH and LH), and bass (LH) together.

dies irae

(excerpt

froM

requieM)


24-13

f &bc ˙

Allegro assai

S

A

T

B

˙

f &bc ˙ &bc LH

? c b

˙

f˙

f˙

5 

œ œ

˙

œ

˙

œ

Ó

˙

œ

Ó

œ

Ó

˙ ˙

˙

˙

#˙

˙

œ

Œ

œ œ J J

œ

œ

Œ

j j œ œ

œ

œ

œ

œ

Œ

œ œ J J

Œ

œ œ J J

RH

œ.

œ

œ

œ

œ

œ #œ

Ó

Œ

j j œ œ œ

œ

œ

œ

œ

œ

œ

Ó

Œ

j j œ œ œ

Œ œj œj œ

œ

œ

œ

œ

Ó

Œ Jœ œJ # œ

œ

œ

œ

œ

Ó

S

Œ Jœ œJ

A

&b œ

œ

œ b &

œ

?

œ

B

œ

œ

œ

œ

b œ

˙

œ

& b #œ

T

œ

Ó

RH

œ J

Œ Jœ Jœ œ nœ Œ J J

œ

œ #œ

œ

œ

œ

RH


313


Give My reGards

to

Broadway

24-14

George M. Cohan (1878–1942)

Brightly

4 & 4 œœ F 4 w &4 F ? 44 Œ F ? 44 ˙ 2 1

Part 1

5 1

œœ

˙˙

Part 3

œœ Œ œœ ˙

5 

1

& œœ

œœ

2

& œ

œ

1

3

? Œ ?

314

˙

œœ 3 1

œœ

œœ

3

1

œ Œ ˙ 1

œ œœ

5 1

˙˙

˙ #˙

˙ Œ

#˙

œœ

˙ 4


ww

˙˙ ..

w

w

˙

˙

ww

˙

˙

œœ 2 1

Œ ˙

˙

ww

˙

˙

4 1

˙

3 1

Œ

œ

œ œ Œ œ Œ œ

5 1

Œ œœ

2

2

œœ œœ Œ Œ

˙

˙

4 1

4 1

1

Œ œœ Œ œœ

2 1

5

5

w

5

Part 2

˙

˙ ˙

4 1

œ #œ n˙

œœ

Œ ˙ 3

œœ

Œ ˙ 1

œœ

9 :

1

2

V

¸

¸¸

¸

4 1

1

3

5 3

¸ 17 :

2

3

2 1

V

2

¸

1

1

¸ 13 :

2

¸¸

5

3

1

2 1

4

¸¸

5

¸ 5

2 1

¸

¸ ¸

¸

V

V

¸

¸

¸

¸

¸

V V

¸

¸

2

5 3 1

4 2

¸

¸

¸

¸

¸¸

V

V

¸

1

¸

M¸

1

4

V V

¸

¸

4 2 1

¸ ¸

¸

¸

V

V V

¸ 5

¸

¸

¸

¸ 5 1

2

5 1

V

¸

2

2

5 1

¸

¸

4 1

¸


315

21 

1

2

3

& œœ

œœ

1

œ

& œ

? Œ ? 25 

1

2

3

2

3

œœ

3

1

œœ 3 1

&

4

˙

˙

˙

˙

˙

˙

˙

˙

#˙

˙

˙

˙

Œ œœœ

Œ œœœ

Œ œœœ

Œ

œ Œ œœ

Œ

˙

˙

˙

˙

˙

˙

œ

w 4

2

˙ & ˙ 5

3

&

5 1

316

˙ 2

œœ œ 5 3 1

˙ ˙

˙

4

˙

5 1

˙

˙

˙

3

˙

? Œ ?

5

Œ ˙

1

œœ œ

Œ ˙


œœ œ 5 3 1

Œ ˙ 2

œœ

œ #œ n˙

˙

5

˙

œœ

˙

˙

#˙

ww

Œ

Œ

1

4 3 1

ww

Œ œœ

˙

? Œ œœœ ?

˙

œœ

Œ

˙

˙ #˙

˙˙

œ

œ

œ #˙ &

29 

1

œœ

3 1

5 1

2 1

œœœ 5 3 1

Œ

w w

œœ

Œ

4 1

˙ 4 2 1

œœœ

˙

ww w ˙ 1

œœ

˙

˙

œ nœ

œ

2

œœ

4

œ

#˙ œœ

Œ # œœ #˙ 3

w w w w ww w

˙

Œ

w 5

Unit 25

Objectives

Modes Related to Major and Minor Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play Lydian, Mixolydian, Dorian and Phrygian scales built on any note. 2. Play triads of the key in Lydian, Mixolydian, Dorian and Phrygian modes. 3. Harmonize melodies in Lydian, Mixolydian, Dorian and Phrygian modes. 4. Improvise melodies from chord symbols in Lydian, Mixolydian, Dorian and Phrygian modes. 5. Perform repertoire in Lydian and Dorian modes. 6. Accompany a vocal solo. 7. Play a four-part choral score (SATB). 8. Play an instrumental score for string quartet.

Ionian Mode

Any scale of eight neighboring white keys is a modal scale. The scale using eight white keys beginning and ending on C, which is called the C major scale, may also be called the Ionian scale.

Aeolian Mode

The scale using eight white keys, beginning and ending on A, which is called the A natural minor scale, may also be called the Aeolian scale.

Modes Related to Major and Minor ■ Unit 25

317

Lydian Mode

The scale using eight white keys, beginning and ending on F, is called the Lydian scale. The Lydian scale is like a major scale with the 4th tone raised one half-step. Using tetrachord position, play the Lydian scale.

& 44 œ

œ

œ

œ

œ

œ

5

4

3

œ

œ

œ

œ

2

3

4

5 LH

œ

œ

RH 2

œ

œ 3

2 LH

Transpose

Playing Triads and Inversions in Lydian Mode

œ 4

9 :

1

LH

5

RH

LH

3

3

5

1

1

5

3

3

5

1

F

¸¸¸ I

G

¸¸ ¸ II

5

to C Lydian, G Lydian, B  Lydian and E  Lydian.

Play triads and inversions in the key of F Lydian with the RH. Then play two octaves lower with the LH.

25-1

RH

œ

1

5

2

3

5

1

1

5

2

3

5

1

F/A

¸¸ ¸

I6

G/B

¸¸ ¸

II6

¸¸ ¸

F/C

5

I6

1

3

2

5

1

1

5

3

3

5

1

4

1

5

3

2

5

1

¸¸ ¸

G/D

II 6

1

5

3

3

5

1

4

¸¸¸

F

I

¸¸¸

G

II

Continue upward diatonically until . . .

17 :

RH

LH

5

1

3

3

5

1

Em

¸¸¸

vii

1

5

2

3

5

1

¸¸ ¸

Em/G

vii6

1

5

3

2

5

1

¸¸ ¸

Em/B

vii 6 4

Transpose

318

Unit 25 ■ Modes Related to Major and Minor

1

5

3

3

5

1

¸¸¸

Em

vii

to C Lydian and B  Lydian.


Harmonization in Lydian Mode

? b 44 www


Simple GiftS (adapted)

25-2

Andante

B@

C

B 0 1

B@

:

4

2

1

3

B 5

2

4

2

4

C

2

Shaker Hymn

2

B@

F/A

3

1

3

Using the chord progression below, improvise a RH melody in the indicated mode while the LH plays the suggested accompaniment style. (First play the LH chord progression using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.

Improvisation from Chord Symbols in Lydian Mode

Broken Chord Accompaniment ■

F/A

F Lydian: Begin and end your melody on F. 25-3

F

F 5 :

G

G

I

I

F

F

I

C/E

¸

C/E

F


319

Before playing: •Circle the treble clefs where the LH crosses over the RH in measures 11–18. •Notice that the tonal center is similar to F major, but all B’s are played as naturals.

S olo Repertoire

While playing: •Play the RH a little louder than the LH. •Listen for clear pedal changes.

lydian nocturne

25-4

Moderately slow; freely, expressively

x

O ¸ 5

5

¸

1

5

3

¸ 3

1

x

Robert D. Vandall

¸

¸

1

¸

2

¸

0 ¸

¸ cantabile

¸

¸

¸

5

¸

¸

5

¸ ¸ 1

2

¸

3

¸ 1

¸

9

V

V

3

¸

1

¸

¸ ¸

&¸

5

¸

¸ ¸ 5

13

¸ ¸ ¸ ¸ ¸ 3

1

2

¸

¸ ¸ 4

“Lydian Nocturne” from MODES AND MOODS by Robert D. Vandall Copyright © MCMLXXXIX by Myklas Music Press Copyright © assigned MMIV to Alfred Publishing Co., Inc.

320


¸

1

¸ ¸

17

V

V

¸

¸ ¸ E 8va ¸ ¬ 20

8va

¬

1

¸

¸ ¸ O 8va ¸ ¬ 1

a tempo

¸ 0

32

¸

¸

¸

¸ ¸

VV

VV

¸

¸

3 1

3 1

¬ &

¸

dim.

V

3

¸

¬

V

1

4

28

4

V

8va

¬

cresc.

3

1

4

24

1

¬

¸

3

¬ O

3

rit.

¸ 3

1

rit. 5

1

5

¸

2

¸ ¬

¸

1

¸ 3

VV 3 V V


321

Mixolydian Mode

The scale using eight white keys, beginning and ending on G, is called the Mixolydian scale. The Mixolydian scale is like a major scale with the 7th tone lowered one half-step. Using tetrachord position, play the Mixolydian scale.

4 &4 œ

œ

œ

œ

œ

œ

5

4

3

œ

œ

œ

œ

2

3

4

5 LH

œ

œ

RH 2

œ

œ

2 LH

œ

œ

4

3

5

 Transpose

to C Mixolydian, F Mixolydian, D Mixolydian and A Mixolydian.

Playing Triads and Inversions in Mixolydian Mode

Play triads and inversion in the key of G Mixolydian with the RH. Then play two octaves lower with the LH.

25-5

9 :

RH

1

LH

5

RH

LH

3

3

5

1

5

3

3

¸¸¸ I

1

G

5

1

Am

¸¸ ¸ ii

1

5

2

3

5

1

5

¸¸ ¸

1

5

3

2

5

1

I6

1

G/B

2

3

5

1

¸¸ ¸

Am/C

ii6

¸¸ ¸

G/D

1

5

3

3

5

1

I6

I

4

1

5

3

2

5

1

¸¸¸

G

¸¸ ¸

Am/E

1

5

ii 6

3

3

5

1

4

¸¸¸

Am

ii


17 :

RH

LH

5

1

3

3

5

1

F

¸¸¸

VII

1

5

2

3

5

1

¸¸ ¸

F/A

VII6

1

5

3

2

5

1


VII6 4

Transpose

322

¸¸ ¸

F/C

1

5

3

3

5

1

¸¸ ¸

F

VII

to C Mixolydian and D Mixolydian.


Harmonization in Mixolydian Mode

www ? ## 4 4



25-6

A

G

Em

0 Andante

4

1

: 5

1

2

A

4

2

Em

2

3

1

A

3

Using the chord progression below, improvise a RH melody in the indicated mode while the LH plays the suggested accompaniment style. (First play the LH chord progression using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation. ¸

Improvisation from Chord Symbols in Mixolydian Mode

¸¸


■

2

4

G

3

2

Shaker Hymn

G Mixolydian: Begin and end your melody on G. 25-7

G

: 5

G

F

F

G

G

Dm/F

Dm/F

G

¸


323

Dorian Mode

The scale using eight white keys, beginning and ending on D, is called the Dorian scale. The Dorian scale is like a natural minor scale with the 6th tone raised one half-step. Using tetrachord position, play the Dorian scale.

& 44 œ

œ

œ

œ

œ

œ

œ

5

4

3

œ

œ

œ

œ

2

3

4

5 LH

œ

RH 2

 Transpose

Playing Triads and Inversions in Dorian Mode

œ

œ

2 LH

œ

3

œ

4

5

to A Dorian, E Dorian, G Dorian and C Dorian.

Play triads and inversions in the key of D Dorian with the RH. Then play two octaves lower with the LH.

25-8

9 :

RH

1

LH

5

3

3

5

1

Dm

¸¸¸ i

Em RH

LH

1

3

5

3

5

1

¸¸¸ ii

1

5

2

3

5

1

1

5

2

3

5

1

Dm/F

¸¸ ¸ i6

Em/G

¸¸ ¸

ii6

1

5

3

5

2

1

Dm/A

¸¸ ¸

i6

1

3

5

3

5

1

4

1

5

3

2

5

1

Em/B

¸¸ ¸

1

5

ii 6

3

3

5

1

4

¸¸¸

Dm

i

¸¸¸

Em

ii


17 :

RH

LH

1

5

3

3

5

1

C

¸¸¸

VII

1

5

2

3

5

1

C/E

¸¸ ¸

VII6

1

5

3

2

5

1

¸¸ ¸

C/G

1

VII 6 4

 Transpose

324


5

3

3

5

1

¸¸ ¸

C

VII

to A Dorian and G Dorian.


Harmonization in Dorian Mode

VVV



25-9

F m

Em

0 Andante 1

5 :

4

2

1

Em

4

D

2

3

2

A/E Em 2

4

2

1

Bm

3

Em

3


Improvisation from Chord Symbols in Dorian Mode

Waltz Style Accompaniment ■

Shaker Hymn

Bm

D Dorian: Begin and end your melody on D. 25-10

Dm

Dm 5 :

C

C

Dm

Dm

G

¸

Dm

¸


325

Before playing: •Notice that the tonal center is similar to D minor, but all B’s are played as naturals. •Tap the rhythm hands together.

S olo Repertoire

While playing: •Slightly emphasize beats one and four of each measure to create the rhythmic feel of a dance. •Play legato so that the notes divided between the hands sound like one line.

dorian tarantella 25-11

Vivace

O cresc. RH 1

O cresc. ¢ ¢ O 9

3

1 3

13

O 3

1 3

¢ ¢

I

1 2

5

5

E 4

E

1 2

LH

Robert D. Vandall

I

I I

¢

I

¢ ¢

3

¢ ¢

¸ ¸

¢ ¢

¢

¸¸

¢

¢

2 4

“Dorian Tarantella” from MODAL EXPRESSIONS by Robert D. Vandall Copyright © MM by Myklas Music Press Copyright © assigned MMIV to Alfred Publishing Co., Inc.

326

¢


¢

17

E dim. 5

21

cresc.

¢ ¢ O 25

3

1 3

29

O 3

1 3

¢ ¢

33

O cresc.

¢

5

O

E

¢

¢

¢ ¢

¸ ¸

¢ ¢

¢

¸¸

¢

¢

E 3 LH

¢

¢ O

RH 3


¢ 327

Phrygian Mode

The scale using eight white keys, beginning and ending on E, is called the Phrygian scale. The Phrygian scale is like a natural minor scale with the 2nd tone lowered one half-step. Using tetrachord position, play the Phrygian scale.

& 44 œ

œ

œ

œ

œ

œ

5

4

3

œ

œ

œ

œ

œ

 Transpose

Playing Triads and Inversions in Phrygian Mode

9 :

1

3

LH

5

3

5

1

LH

1

5

3

3

5

1

œ

4

3

5

Play triads and inversion in the key of E Phrygian with the RH. Then play two octaves lower with the LH.

Em

¸¸¸ i

F RH

œ

to A Phrygian, D Phrygian, B Phrygian and F  Phrygian.

25-12 RH

œ

2 LH

2

3

4

5 LH

œ

œ

RH 2

¸¸¸ II

1

5

2

3

5

1

1

5

2

3

5

1

Em/G

¸¸ ¸ i6

F/A

¸¸ ¸

II6

1

5

3

2

5

1

Em/B

¸¸ ¸

1

5

3

3

5

1

i6

i

4

1

5

3

2

5

1

¸¸¸

Em

¸¸ ¸

F/C

1

5

II6

3

3

5

1

4

¸¸¸

F

II


17 :

RH

LH

1

3

5

3

5

1

Dm

¸¸¸

vii

1

5

2

3

5

1

Dm/F

¸¸ ¸

vii6

1

5

3

2

5

1

¸¸ ¸

Dm/A

vii 6 4

 Transpose

328


1

5

3

3

5

1

¸¸¸

Dm

vii

to A Phrygian and B Phrygian.


Harmonization in Phrygian Mode

? b 4 www b 4



25-13

Andante

B B

Dm

E @/B @

F/C

F/A

0

5 :

B B

1

4

2

1

E@

Dm 2

4

3

Dm

2

E@ 2

2

4

1

3

Cm 3

Dm


Improvisation from Chord Symbols in Phrygian Mode

VVV

Block Chord Accompaniment ■

Shaker Hymn

VVV

E Phrygian: Begin and end your melody on E. 25-14

Em

Em 5 :

Em

¸

F

¸

Dm

Dm

Em

¸

Em

V


329


Vocal Accompaniment

2. Play the accompaniment while the teacher or another class member sings or plays the vocal line.

ich Grolle nicht (excerpt

from

Die Dichterliebe)

25-15

Robert Schumann (1810–1856) Op. 48, No. 7

Nicht zu schnell (Not too fast)

& ¢ I I ¹I ¸

C ¬

Ich grol - le nicht,

C & C ¬ ¸ ¸ 4 :

¬

¸

bricht.

e

¸ ¸ ¸ ¸ I I

7 :

e

-

wig ver- lor’

-

*

nes

330

¸ ¸

¸ ¸

und wenn das

-

I I

wig ver- lor’

¸ ¸

¸ ¸

¸

Lieb!

auch

I ¸

-

nes

*

ich


Herz

B ¸ ¸ ¸ ¸ ¸ ¸ ¸ ¸

¸ ¸

I I

¢ I I I B ¸

¸ ¸

¬

Lieb,

¸ ¸

¸ ¸

¸

grol

-

-

-

-

*

le

V V

10 

& ˙

‰ œj ˙

Œ

nicht,

ich

grol

& œœœ œœœ œœœ œœœ n œœ œœ œœ œœ œœ œ œ œ œ # œœ  ? ˙ #˙ ˙ ˙ #˙ ˙ 13  

-

œœ œœ

-

œœ œœ

‰ œj œj. œ˚j œj. œ˚j œ

& ˙

strahlst

in

-

-

# œœœœ

? ˙ ˙

˙ ˙ f

‰ œj œj œj

Wie du auch

Strahl

‰ # œj œj œj in dei- nes

œœ œœ œœ œœ # œ œ œ œ # œœœ œœ œœœ œœœ œ œ œ œ œ # # œœ œœ œœ œœ œ œ œ œ # # œœ œœ œœ œœ  #˙ #˙ ˙ ˙ #˙ #˙ ˙ ˙ f

& # œœœ œœœ œœœ œœœ œœ n œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œ œ œ œ œœœœœœœœ 

das weiss ich

nicht.

es fällt kein

˙

Her - zens Nacht,

le

‰ # œj œj œj ˙

‰ œj œj œj w

˚j . œ & J #œ œ

j œ ˙

œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ n œœ œœ œœ œœ œœ œœ œœ œœ ˙ ˙ ˙ ˙ ˙ ˙ f

Di - a - man - ten- pracht,

& œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ œœ ? ˙ ˙ ˙ ˙ f 16 

œ.

längst.

ritard.

˙ ˙

˙ ˙

#˙ #˙

Ó œœœ œ

œœœ œ

œœœ œ

∑

œœœ œœœ œœœ œœœ œœ œœ œœ œœ ˙˙ œœœœ œ œ œ œ ˙ f ˙ ˙ ˙ ˙ ˙ ˙


331



Soprano (RH) alone. Alto (RH) alone. Soprano (RH) and alto (RH) together. Tenor (RH and LH) alone (one octave lower than written). Bass (LH) alone. Tenor (RH and LH) and bass (LH) together. Soprano (RH), alto (RH) and bass (LH) together. Soprano (RH), alto (RH) and tenor (RH and LH) together. Soprano (RH), alto (RH), tenor (RH and LH) and bass (LH) together.

credo

(excerpt

from

Mass in G)

25-16

Franz Schubert (1797–1828) D. 167

Allegro moderato

S

A

$z¸ ¸ V $z ¸ ¸ V z V ¸ ¸ $ z $ ¸ V ¸ RH

T

B

A

T

¸

¸ ¸

V

V

¸ ¸

V

M¸

¸ ¸

V

V

¸ ¸

V

V

¸ ¸

V V

¸

LH

¸ ¸

RH

¸ ¸

V

V

¸ ¸

V

V

¸ ¸ ¸ ¸

V

¸

¸ ¸

¸ ¸

V

V

V

M¸ ¸ ¸ ¸

V

¸ ¸

¸ ¸

V

¸ ¸

V

11 :

S

V

B

332

V

V

V V

¸ ¸ ¸ ¸

LH

RH

¸ ¸ ¸ ¸


V V

¸

LH

¸ ¸

RH

¸ ¸

¸ ¸

V


String Quartet

1. 2. 3. 4. 5. 6. 7. 8.

Violin I (RH) alone. Violin II (RH) alone. Violin I (RH) and violin II (RH) together. Viola (LH and RH) alone. Cello (LH) alone. Viola (LH and RH) and cello (LH) together. Violin I (RH) and cello (LH) together. Violin I (RH), violin II (RH), viola (LH and RH) and cello (LH) together.

Quartet (excerpt

from

in

d minor

Death anD the MaiDen)

25-17

Franz Schubert (1797–1828) D. 810

Andante

Violin I

Violin II

Viola

Cello

B$ B ¸ z B$ B ¸ z # BB $ ¸ z ¸ BB $ z

5 :

Vln I

B

Vln II

B

B B

¸

Vcl

BB

¸

¸

¸

¸

¸

¸

¸

¸

¸

Vla

¸

# BB ¸

¸

¸

¸

¸

¸

¸

¸

¸ ¸

¸¸

¸

¸

¸

¸

¸

¸

¸

¸

RH

¸ ¸

¬

¬

¬

¬


333

Review

Unit 26

Objectives

Assignments

Week of __________


Upon completion of this unit the student will be able to: 1. Play ii7–V7–I7 chord progressions in selected major keys. 2. Perform a solo from intermediate piano repertoire. 3. Play various combinations of instrumental parts from a band score and perform it as a multiple piano ensemble. 4. Play harmonic minor scales and arpeggios in Group 3 keys, using traditional fingerings. 5. Play F#dim7, C#dim7 and G#dim7 arpeggios. 6. Sight-read and transpose music from easy piano repertoire. 7. Harmonize music with ii, vi, V7/V and V7/IV chords.

Play the following exercise that uses the ii7–V7–I7 chord progression.

Playing the ii7–V7–I7 Chord Progression 26-1

Key of C: D m7

I ¢

¸ ¸ ¸

G7

5 2

1

2

ii7

B @maj7

¢ I 4 1

¸¸

B B¸ 2

I7


4 1

5

V7

¢ I

C maj7

5 1

2

¸¸ ¸

Key of B@: C m7

I7

2

¢ I

¸ ¸ ¸

G7

ii7 V7 Both hands 8va lower

B¸ ¸ ¸

F7

ii7 Key of C: D m7

Continue downward by whole steps until…

¢ B I B 5 2

1

¢ I

I7

5

V7 C maj7

5 1

¸¸ ¸

Before playing: •Tap the rhythm hands together. •Map the piece using D.C. al Coda and Coda.

S olo Repertoire

While playing: •Listen for crisp staccato notes and strong accents, always being aware of the dynamic level. •Be sure that measures 29–31 and 33–35 contrast with the rest of the piece.

ToccaTina

26-2

Spirited

5 3 1

() ¢ ¢ ¢ &staccato ¢ ¢ ¢ ¢ * ¢ () 1

¢ I B * ¢ ¬ LH 5

4 :

3

7 :

1

¢ B ¢ ¢ B ¢ ¢ ¢ ¢ * ¢ B ¢ poco a poco cresc. ¢ ¢ ¢¢

¢

¢ ¢ ¢ B ¢ ¢ ¢ ¢ ¢ *

¢ ¢ ¢ ¢ ¢ * ¢

¢ ¢ ¢ ¢ ¢ ¢ ¢ *

2

¢ I B B B ¬ * ¢ LH

¢ ¢ B ¢ B ¢ ¢ ¢ *¢

¢ I *¢ ¬

:

¢

¢ ¢ ¢ ¢ ¢ ¢ ¢ *

¢ B 0 ¢

2nd time to Coda

10 :

14

¢ &

Susan Ogilvy

¢ ¢*

B ¢ IB ¢ B * ¢ ¬ LH

I I *

¢

¢

¢ ¢ ¢ ¢ ¢ * ¢

¢ E

¢ ¢¢

¢ ¢ ¢ *

¢

RH

LH

RH

I * * RH

2

¢ & B M ¢ * 4

“Toccatina” by Susan Ogilvy from THe ALFred SIGnATure SerIeS Copyright © MCMLXXXIX by Alfred Publishing Co., Inc.

¢ ¢ ¢ ¢¢*¢


18 :

¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ * ¢ B ¢ ¢ ¢

22 :

¢ ¢ ¢ ¢ ¢ ¢ ¢ *

¢ ¢ ¢ I & B ¢ ¢*¢ *¢ ¬ LH

¢ B ¢ ¢ B ¢ ¢ ¢ ¢¢ *

B ¢ I ¢ IB B 0 B ¢ ¬ ¢ *¢ ¬ *

RH

1

LH 2

¸

¸

34 B : B

¸

¸


M M ¸ M M ¸

¸ ¸

¢ *¢

LH

I 26 : I ¢ * ¢ I I B * & E B ¢ ¬ * *¢ ¬ 30 B : B

¢ ¢¢¢

¢ ¢ ¢ ¢ sub. O

¢ ¢ ¢ ¢ sub. O

5

E ¸

¸

5

E

¸ ¢ ¢ ¢ ¢

¸ rit.

38  ‰ œœ œœ ‰ œœ œœ ‰ œœ ‰ b œœ œœ ‰ œœ œœ ‰ œœ & œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ

?

‰ ‰

‰ ‰ J ‰

P a tempo

‰ ‰

 poco a poco cresc.

‰ ‰ J ‰

j j œ œ œ œ œ & b œ ‰ ‰ œ ‰ ‰ Jœ ‰ œ œ œ J   J   f ?

41  ‰ b œœ œœ ‰ œœ œœ ‰ œœ œ œ œ œ œ

fi

‰ b œœ œ ‰œ 

œœœ ‰ œœœ œœœ ‰ œœœ ‰ œ ‰ ‰ Jœ ‰ 

‰ Œ ‰ œj j œ œ œ œ œ bœ œ ‰ J J ‰ Œ

D. C. al Coda

‰ œœ œœ ‰ & ‰ œœœ œœœ ‰ œœœ œœœ ‰ œœœ ‰ œœœ œœœ ‰ œœœ œœœ ‰ œœœ œ œ‰ ‰œ œ f  cresc.    ? œ ‰ ‰ œ ‰ ‰ œJ ‰ œ ‰ ‰ œ ‰ ‰ œJ ‰

?

œœœ œœœ ‰ ‰ ‰ œJ 

œœœ ‰

œœœ ‰ œœœ œœœ ‰ œœœ œœœ ‰ ‰ œ ‰ ‰ œ ‰ ‰ Jœ  

œœœ ‰

Coda

47  ‰ œœ œœ ‰ œœ & œ œ‰ ‰œ œ œ‰



‰ œœœ ‰ œœœ œ ‰ Jœ ‰  

j œ 8va œ œ œ  J ‰ Œ & Jœ  ƒ ? 50

∑

LH

w

œœœ ‰

œœœ ‰ œœœ œœœ ‰ ‰ œ ‰ ‰ Jœ  bœ b œ w

fi

œ œ œ œ œ

nw Ó

w

˙

 w

P

LH 5

www 1 2 4

w 


Play the band score in the following ways:

Band Score

1. each single line transposing the B  clarinet, e  alto saxophone, B  cornet and F horn to concert pitch. 2

Combinations of two parts as follows: a. Flute/oboe and B  clarinet. b. Flute/oboe and e  alto saxophone. c. B  cornet and low brass & woodwinds. d. F horn and low brass & woodwinds.

3. Combinations of three parts as follows: a. Flute/oboe, B  clarinet and e  alto saxophone. b. B  cornet, F horn and low brass & woodwinds. 4. The piano accompaniment.

5. As a multiple piano ensemble with class members playing one, two or three parts each.

counTry Gardens (excerpT)

26-3

B

B

¸ ¸

B B B

Dm

F7

B

Allegro moderato

Flute Oboe B@ Clarinet E@ Alto Saxophone B@ Cornet F Horn


Woodblock Tambourine

B B & & & & B & BB &

Tamb.

B

Piano Accompaniment

@

B B & B B

¸ ¸

E

@

¸

@

¸

B B B

B

@7

B

¬ Cm

@

E m

B

England Arr. John O’Reilly

B

@

*

I

I

F7

B

@

I

“Country Gardens” from TWO enGLISH dAnCeS (ALFred’S YAMAHA BAnd SerIeS) arranged by John O’reilly Copyright © MCMXCII by Alfred Publishing Co., Inc.


Fl. Ob.

5 : B B

B

Cl.

A. Sax.

Cor.

Hn.

B

Low Br & W.W.

W.B. Tamb.

BB

B

Pno. Accomp.

@

B B B B

¸ ¸

E

@

¸

¸ ¸

Dm

F7

B

@

¸

*

B

B

B B

B

¬

@7

Cm

B

B

B B

@

E m

B

B

@

I I

F7

B

@

I


Practicing Minor Scales (Group 3 Keys): F#, C#, G#, Bb and Eb

Play two-octave harmonic minor scales in Group 3 keys. See pages 107, 119, 136, 150, and 159. The following principles will help you remember the fingering for the Group 3 minor scales: 1. use fingers 2, 3 and 4 on black keys. 2. F #, C # and G # harmonic minor scales use the same fingering in the rH. rH: 3 4 1 2 3 1 2 3 4 1 2 3 1 2 3 3. C # and G # harmonic minor scales use the same fingering in the LH. LH: 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 4. The right hand fingering of Bb minor is the same as Bb major. rH: 4 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5. The right hand fingering of eb minor is the same as eb major. rH: 3 1 2 3 4 1 2 3 1 2 3 4 1 2 3

Practicing Minor Arpeggios (Group 3 Keys): F#, C#, G#, Bb and Eb

Play two-octave minor arpeggios in Group 3 keys. See pages 107, 119, 136, 150, and 159. The following principles will help you remember the fingering for the Group 3 minor arpeggios: 1. For the F #, C # and G # minor arpeggios • Thumbs play the white keys. In addition to the thumbs, only fingers 2 and 4 are used. • All three arpeggios use the same fingering. rH: 4 1 2 4 1 2 4 LH: 2 1 4 2 1 4 2 2. For the Bb minor arpeggio • The left hand fingering is the same as Bb major. LH: 3 2 1 3 2 1 3 • The right hand has its own unique fingering. rH: 2 3 1 2 3 1 2 3. For the e b minor arpeggio The fingering is the same as e major. rH: 1 2 3 1 2 3 5 LH: 5 3 2 1 3 2 1


using the fingering below, practice diminished seventh arpeggios (F#dim7, C#dim7, G#dim7) hands separately. See page 274.


F dim7

RH: LH:

• • 4123 • • 3214

• •• 41234 • •• 32143

C dim7

RH: LH:

• • 4123 • • 3214

• •• 41234 • •• 32143

G dim7 RH: LH:

• 4123 • 4321

• • 41234 • • 43214

Identify the key of each example. use the indicated tempo, dynamics and articulation as you play these exercises.

Reading

russian Folk sonG (excerpT)

26-4

E

Vivace 2

1.

5 :

3

1

3

1

1

Ludwig van Beethoven (1770–1827) Op. 107, No. 7

2

4

2

¸  Transpose

to F major.

German dance (excerpT)

26-5

O Allegro 2

2.


M 1

¸¸¸

4

1 3 5

¸¸¸

¸¸¸

5

1 2 3 5

3

1 3 5

1 3 5

E ¸¸ ¸

5 :

1

M¸

 Transpose

1

¸¸ 1 3

to C major.



Harmonization

?# 2 œ 4


œœ

passinG By (adapTed)

26-6

Andante con moto

D/F #

G

#2 & 4 œ œ œ F

œ œ

3

 9

&

#

G

G 7/B

œ œ œ

œ œ

3

G

œ œ

œ œ

D/F #

G

œ œ œ

˙

C

œ.

j œ œ œ

Henry Purcell (1659–1695) D7

A 7/C #

œ œ

œ œ œ

Am/C A7/C #

5

œ œ

2

3

1

˙

D7

G

2

˙

œ œ

2. using I, V7, IV, ii and vi, harmonize with a broken chord accompaniment. use inversions to improve sound and for ease in performance. Write the roman numeral name of each chord on the line below the staff.

? #### 3 œ œ œ 8


26-7

Moderato

#### 3 œ & 8 J p 4

9 

&

####

2

œ

j œ œ œ œ J

œ œJ

j œ œ

j œ œ.

2

j œ œ


United States

œ.

j œ. j œ œj œ œ œ œ 1

œ œ œ

1

œ

œ J 5

œ 4

j œ œ 2

1

Unit 26


Name ________________________

1. Complete the ii7–V7–I chord progression for each major key in the chart.

ii7

V7

I

__________

A7 __________

__________

Bm7 __________

__________

__________

__________

__________

e __________

__________

d7 __________

__________

F #m7 __________

__________

__________

2. draw a line to match each description on the left with its modal scale name on the right.

Natural minor scale with 2nd tone lowered

•

•

Ionian

Major scale with 4th tone raised

•

•

Dorian

Major scale

•

•

Phrygian

Natural minor scale with 6th tone raised

•

•

Lydian

Natural minor scale

•

•

Mixolydian

Major scale with 7th tone lowered

•

•

Aeolian


3. Write the notes for each modal scale on the staff, using whole notes. Add accidentals where needed. A Lydian Scale

& E  Mixolydian Scale

&

F Dorian Scale

& C Phrygian Scale

& 4. Identify each harmonic minor scale below by writing its name on the indicated line. Write the correct rH fingering on the lines above the staff and the correct LH fingering on the lines below the staff. Harmonic Minor Scale

M

M

M


BBBB


M



B B B B BB

Supplementary Solo Repertoire Before playing: •Practice the RH alone, observing the contractions and expansions in the fingering. •Notice the similarities between measures 1–8 and 17–24. While playing: •Slightly emphasize beat one of each measure to create the rhythmic feel of a dance.

Minuet

in

A Minor

S-1

Moderato

¸

0 ¸¸ 4

13 :

2

2

19 :

1

2

4

¸

4

1

1

5

*

¸

1

3

3

¸

3

¸

1

4

* ¸ 3

*

1

1

0

¸

1

2

*

2

¸

3

1

¸

4

¸

1

3

5

3

* 1

& ¸

¸

¸

3

5

¸

¸

¸

1 2

7 :

Johann Krieger (1651–1735)

¸

¸ 2

5

1

2

¸

¸

Supplementary Solo Repertoire ■

345

Before playing: •Map the piece using first and second endings and D.C. al Fine and Fine. •Tap the rhythm hands together. While playing: •Listen for an even sound on the eighth and sixteenth notes throughout.

the FiFers S-2

Allegro

I E ¢ 4

5 :

5

¢

3

1

*

4

3

¸

4

M

5

¢

¸

¢

5

Jean François Dandrieu (1682–1738)

3

1

I

1.

2.

5

1

Fine

2

* & ¢ ¢ * ¸ ¢ * ¸ ¢ I 5

10 :

2

I ¸ 2

3

¸

5

¢

4

cresc. ¢

3

¸ 1

2

■ Supplementary Solo Repertoire

1

3

5

¢

4

4

E * 3

1

3

D. C. al Fine

2

1

4

5 1

1

1

346

5

3 1 3

3

5

4

21 :

5

1 2

2

2

16 :

3

2

5

2

Before playing: •Tap the rhythm hands together. •Block the broken chords in measures 1–8 with the appropriate hands. While playing: •Slightly emphasize beats one and four of each measure to create the rhythmic feel of a dance. •Shape the musical line by observing the crescendos and diminuendos.

FAnFAre Johann Philipp Kirnberger (1721–1783)

S-3

Andante moderato

B I O B ¢ 1

4 :

B

B

* & ¢

B

15 :

B ¸ B 2

5

1

1

2

4

¢ 4

I

5

*

5

4

1

*

¢

1

2

1

5

2

4

11 :

1

1

4

2

B ¢

B

I ¢ ¸ 1

4

5

4

5

B ¢

2

2

1

¸

8 :

4

2

I O ¢ ¢ 1

1

¢

rit.


347

Before playing: •Tap the rhythm hands together. •Practice the leaps between measures 2–3, 4–5, 8–9 and similar places. While playing: •Listen for an even sound on the eighth and sixteenth notes throughout. •Listen carefully for slurs and staccato notes.

Musette

in

D MAjor

(Notebook for ANNA MAgdAleNA)

S-4

Moderato

E

5

4 :

7 :

5

5

3

3

2

5

10 :

348

5


4

&

3

3


3

5

# # œ # œ nœ & œ p cresc. poco a poco ? ## œ œ œ œ

13 

4

5

œ

œ

œ

œ

œ # œ

œ # œ

œ

œ

5

2

œ œ

## œ #œ œ œ œ œ œ œ &

17 

4

? ## 20 

&

##

œ

œ

œ

œ œ œ

œ

3

&

##

œ

œ

œ œ œ 3

œ œ

? ## œ œ œ 3

œ

œ œ

1

œ

œ

œ

œ

œ

5

œ œ

œ œ

&

## œ

? ##

œ

œ œ œ œ œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ œ

œ

œ œ œ œ œ œ

œ œ

œ œ

5

œ œ

4

œ œ

œ

œ œ œ œ œ

œ

œ œ œ œ

5

3

3

œ

œ

5

26 

œ 3

œ

œ

œ œ

œ # œ

œ œ œ f œ

4

œ œ œ œ

œ œ œ

# œ 2

œ

5

? ## œ œ œ 23 

œ

œ

nœ

2

4

œ œ œ

œ

œ œ œ

œ œ


.. .. 349

Before playing: •Block each LH interval and RH sixteenth-note chord figure. While playing: •Listen for clear pedal changes.

PreluDe

in

C MAjor

(the Well-teMpered ClAvier, book 1)

S-5


Andante con moto

¢ ¢ ¢ C ¢ I I I & I ¸ ¸ ¸ ¸ C 1

3

5

1

3

3

5

ped. simile

¢ ¢ I I ¸ ¸ 3

4

¢ ¢ I I ¸ ¸ 1

3

5

3

¢ ¢ ¢ ¢ O I I I I ¸ ¸ ¸ ¸ 5

1

3

5

1

2

5

2

7

¢ 0 I ¸ 1

3

350

3

¢ ¢ ¢ O I I I ¸ ¸ ¸ 5

1


1

2

1

2

5

9

¢ ¢ I I ¸ ¸ 3

1

¢ ¢ I I ¸ ¸ 1

3

3

5

1

¢ ¢ I I M¸ ¸ 1

3

5

2

15

2

2

5

¢ poco cresc. I B I ¸ ¸

¢

3

13

4

¢ I I ¸ ¸

¢

5

11

5

1

1

2

1

¢ B I dim. I ¸ ¸

¢ 3

1

2

5

1

¢ ¢ ¢ ¢ z I I I I ¸ ¸ ¸ ¸ 1

4

2

3

5

1

2

2

5

1


351

17

¢

¢ poco cresc. I I ¸ ¸ 3

19

¢ I I ¸ ¸ 1

2

5

1

5

¢

¢ ¢ ¢ B O I dim. I I I ¸ ¸ ¸ ¸ 1

3

5

1

3

21

¢

¢

1

2

4

3

¢ ¢ ¢ B poco cresc. I I I I ¸ ¸ ¸ ¸ 1

2

4

1

2

4

2

5

23

5

¢

¢ M I I B¸ ¸ 1

1

4

25

¢

352

¢ I I ¸ ¸ 1

3

5


¢ cresc. poco a poco I I ¸ ¸

¢

1

2

4

¢ I I ¸ ¸

¢

1

2

5

27

¢

¢

¢

¢ E M I I ¸ ¸

¢

1

2

5

I ¸

29

¢

31

¢

33

1

2

I ¸

1

¢ I ¸

2

5

B I ¸

¢ dim. poco a poco I I ¸ ¸

5

1

2

5

1

¢ ¢ ¢ B O I I I I ¸ ¸ ¸ ¸ 1

2

5

1

2

5

3 VV ¢ ¢ V 1

2

3

I ¸

4

¸ ¸

1

4

2

1

1

2

3

5

5 3 2

3

poco rit.

I ¸

¸ ¸

2

1

5

1

3

3

V V


353

Before playing: •Tap the rhythm hands together. •Practice hands separately, observing the contractions and expansions in the fingering. While playing: •Lift hands for rests. •Listen carefully for slurs and staccato notes.

sonAtinA

S-6

Allegro

Exposition 1st theme (tonic)

$ E $ ¬ 2

4

2

:

4

1

4

1

4

1

2

5

4

2

5

1

E ¬ 1

1

5

1

1

1

5

1

4

2

2

3

1

2nd theme (dominant) 1

1

¬

3

2

5

5

2

Muzio Clementi (1753–1832) Op. 36, No. 1

O ¬ 9

C MAjor

1

2

5 :

in

(First MoveMent)

¬

4

¸ ¬ ¬

12 :

2

3

5

1

1

2

3

1

Development 16 : 4 2

OV 1

354

5

2


4

1

5

5

1

B BV 2

4

5

B

1

¸

¸

4

3

4

2

1

2

¸

5

¬

20 : 5

E

1

28 :

2

4

2

2

1

2

1

4

¬

2nd theme (tonic) 5

1

5

1

O ¬

B

2

32 :

Recapitulation 24 1st theme (tonic)

:

B ¬

5

2

cresc.

3

3

3 1

1

¬

1

E ¬ 1

4 2

1

1

5

3 1

4

4 2

5

5 1

1

1

¬

2

2

2

2

2

5

1

5

1

¬

4

¬ poco rit. ¬

35 :

1

2

3

5

5

1

4

1

4

2

3

1

4

2

3

1

5


355

Before playing: •Block the LH chords in measures 1–6. •Tap the rhythm hands together. While playing: •Play the RH a little louder than the LH. •Shape the music by following the rise and fall of the line and observing the crescendos and diminuendos.

sonAtinA

in

G MAjor

(First MoveMent)

Thomas Attwood (1765–1838)

S-7

¸ & Allegro

2

3

1

5

4

3 2

Q 3

2

¸

5

7

3

¬

2 4

10

3

2

1 5

4

2

356

1

1

5

5

2

5

E 5

¸ ¸ 2

5

1

3


¸ 5

O

¸

1 3

5

4

3

1

5

1

5

1

5

13

16

cresc.

¸

x

x

3

M 19

4

x

22

¸

5

2

¸

&

Q 3

5

3

5

25

a tempo

3

poco rit.

1

5

4

1

E

4

1

5

1

4

2

¸

¬

2 4

1

3

2

E

¸ ¸

2

1 5


357

Before playing: •Practice the RH alone in measures 3–26 observing the slurs, staccatos and accents, always being aware of the dynamic level. •Tap the rhythm hands together. While playing: •Play the RH a little louder than the LH in measures 3–26 and 43–82. •Project the LH melody in measures 27–42.

sPinninG sonG

Albert Ellmenreich (1816–1905) Op. 14, No. 4

S-8

Allegretto

B

O

x

x

B

1

5

6 :

4 2 1

B

1

B

4 2

3 1

5 1

B

18 :

5 3

4 2

3 1

B ¢ * M B O poco rit. B 4 2

1

24 :

5 3

B

358

1

2

3

4 1

a tempo

B

1

2 1

5 1

5 3

5 2 1

1

1

4 2 1

¢ I ¢ B I 3 1

2 1

cresc.

3 1

5 2 1

4 2

4 2 1

4 2 1

5 2 1

5 5 3

1

I I I I ¢ ¢ B ¢ M ¢ M O cresc. 2 1


I M ¢ E 4 1

5 2 1

1

4 2 1

2 1

5 3

I I B ¢ M ¢ M

12 :

5 3

4 1

4 1

5 1

1

detached

3 1

1

4 2

3 1

5 3

5 1

I¢ B B O * ¢ I ¢

3 2

1

29 

3 1

& b œœ œœ œœ œœ 2

34 

4 2

?

œ b J ‰ Œ

& b œœ œœ b œœ œœ

œ .

& b # œJ ‰  # œ œ ?b œ 1 2

. b n & œ 4

Œ

œœ œœ

5 2 1

4 2

œœ œœ n œœ œœ œ œ

 nœ . 4

œ

#œ    n œœ œœ œœ 1 2

5

# œ œ œ œ ‰ œœ œœ œœ # œœ b œ n ?b œ J ‰ bœ J 5

3

1 2

3 1

3 2

1

1

1

4 2

1

#œ œ œ ‰ œ J

44 

49 

2

œœ œœ œœ œœ b œœ œœ œœ b œœ b œœ œœ œœ œœ œœ œœ œœ œœ p œ . œ . n œ œ œJ œ œ œ ‰ Œ J ‰ Œ

4 2 1

5

1

4 2

3 2

& b # œœœ œœœ œœœ œœœ ?b

3 1

œœ œœ œœ œœ b œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ œ . œ œ œ œ œ œ œ œ œ œ œJ ‰ Œ ‰ Œ J

 ? b œ.

39 

3 2

4 2

3 2

2

1

œœ œœ œœ œœ # œœ œ œ œ p œ #œ œ ‰ Œ J 2

4

j ‰ œ œ # œœ œ 5

b œ J

3

Œ

œœ œœ

1 2

‰ n œj ‰ n œ J  j nœ ‰ nœ ‰ nœ ‰ nœ J

3

5 1

œ. . œ

1 3

5

œ nœ #œ J  œ œ œ œ #œ œ œ œ 1 3

4

 œ œ œ œ #œ œ œ

œ. . œ 5

œ nœ

5

‰ Œ

# œœ œœ œœ 1 2

∑

∑

œ œ œ œ

œ œ œ  œ 

p


359

54 

&b

5 3

4 1

5 1

œ œ

œœ œ œ œ œ œ œœ  œ œ   ?b œ œ œ œ  œ  œ 



1

5 2 1

60

&b

1

œœ œ œ œ œ œ  œ ?b œ œ œ  œ 

œ œ 

œœœ œœœ  

3 1

4 2

œ œ œ  œ 

?b 72 

&b

œ

œ

œ

œ

œ 5 2 1

1

œ œ œ œ œ œ œœ  ?b œ œ œ  œ 

77 

4 2 1

& b œœ œœ œœ œ œ œ  ? b œ œ œ œ  

360

3 1

4 2

3 1

2 1

œ

œ

œ

1

5

œ œœ œ

5 3

œ

4 2 1

œœœ 

3 1

4 2

œ

œ

œ

œ

œ

œ

5 3

œ

1

œœ œ

œ

œœ œ Œ ‰ J nœ bœ Œ

œ œœ œ œ œœ œ ˙ œ œ ˙

œ œ œ  œ 

œ œ œ  œ 

œ œ œ 1

œ œ

œ œ 

j œœ n œœ œ œœœ ‰   f 4 2 1

2 1

œ œ  œ œ  4 1

5 1

5 3

5 3

5 2 1

1

œ œ œ œ œ œ œœ  œ œ œ  œ 

œ œ œ  œ 

rit. e dim.

œ

œ

œ œœ œœ œ 

3 2

œœ œœ œ œ œ œ


4 1

5 1

œ

5 3

œœ œ œ œ œ  œ œ œ œ œ œ œ  p œ œ œ œ œ  œ  œ  œ 

poco rit.

œ

œ

1

2

3

3 1

4 2

œ

2 1

a tempo

4 2

1

5 3

œ

œ

œ œ œ œ œ œ œ  œ œ œ  œ 

œ œ œ  œ  5 3 2 4 1

œœ œ œ œ œ œ œœ  œ œ   œ œ œ œ  œ  œ 

3 1

cresc.

4 1

5 1

1

j  œœ œœ œœ œœ n œœ   

‰ œœj ‰ b œœj ‰# n œœj ‰    2 1

j œ  j j j & b ‰ œœ ‰ b œœ ‰# n œœ ‰ œœ œ œœ œœ n œœ  p cresc.

66 

4 2 1

œ œ œ œ œ œ œ œ œœ œœ œœ œ œœ  œ œ œ œ œ  œ  œ  œ 

4 2 1

œœ œ

5 2 1

1

˙ ˙

œ œ œ œ 2

1

4

œ œ œ

Œ Œ

Before playing: •Block and name the chords in each measure of the LH. •Tap the rhythm hands together. While playing: •Play the RH a little louder than the LH. •Listen carefully for RH slurs and staccato notes.

russiAn PolkA Mikhail Ivanovich Glinka (1804–1857)

S-9

Allegretto

B E B

¢ *

1

5

1 3

5

B E B

1 3

B O B

13 :

3

5

5

1

4

3

4

5

4

5

¢ *

2

1 3

2

4

4

M

5

2

1 2

5

5

3

5

1 2

1

5

9 :

sempre stacc.

B 0 B

5 :

¢ *

M

5

2

5

2

5

4

1

2

1 2 3

¢ * E

4

5


361

Before playing: •Practice the RH alone, observing the contractions and expansions in the fingering. •Tap the rhythm hands together. While playing: •Lift hands for rests. •Listen carefully for slurs and staccato notes.

ArAbesque S-10

Allegro scherzando

x

O

I ¢ O leggiero

1

13 :

362

¢ *

3

1 2 5

1.

* *

1

1 2

I

* ¢

5

¢ * O

1 2 5

9 :

* ¢

1

* ¢

* ¢

5 :

x

Johann Burgmüller (1806–1874) Op. 100, No. 2

¢ ¢

5

3

*

¢ * 3


* ¢

2.

1 3 5

¢

* E * ¢ 5

3

I

* ¢ 5

5

*

* ¢ 3

17 :

*

* ¢

* ¢

5

21 :

25 :

* ¢

1

* ¢ 1

30 : 1

I ¢

1.

¸

1

2

1

I ¢ O a tempo

5

dim. e poco rit.

1

2

3

2.

* ¢

¢ * O dolce 2

* ¢ 1

1

¢ I E risoluto I ¢ 5

3¸

¸

3 3¸ ¸

1


363

Before playing: •Notice that both hands play in the treble clef. •Practice RH alone, listening for slurs of different lengths. While playing: •Lift LH for rests. •Play the RH a little louder than the LH.

sonG

(for ChildreN, voluMe 1)

S-11

Andante moderato

1

O dolce

¸¸

¸

z 2 5

364

¸

smorzando

1 3

¸¸

¸

¸¸

13 :

19 :

<

1 3

2 5

7 :


¸¸

¸¸

¸¸

dim.

2 3

1 5

M

¸

¸


2 5

<

¸¸ 1 4

¸

¸

¸

¸¸

¸¸

¸¸

Before playing: •Tap the rhythm hands together. •Play parallel sixths up and down the keyboard, hands separately. While playing: •Play the RH a little louder than the LH. •Listen for crisp staccato notes and strong accents, always being aware of the dynamic level.

Minuet

S-12

(the first terM At the piANo)

Andante

* O grazioso ¢ 5 1

5 1

¢ *

4 :

9 :

¸

13 :

¢ *

18 :

¢ *

¸

5 1

1

¸

¸

¢ *

¢ *

¢ *

¸

¸

& ¸

¸


¢ * O

¢ *

cresc.

4 3

poco marcato O ¢ *

¢ * 5 1

2

1 5

¸

1 5

1 5


¢ ¢ 365

Before playing: •Tap the rhythm hands together. While playing: •Play the RH a little louder than the LH. •Listen for slurs, crisp staccato notes and strong accents, always being aware of the dynamic level.

sneAky business S-13

Allegro

Martha Mier

JBM L

x

x

0

5

¢ I 3

¸

¸

5

4

4

3

5 1

VV V

11

¢ I 0 VV 3

1 2

¸

VV 1 5

5 1

¸

¸ 0


V V V

¢ I VV

¸¸

5 1

4

“Sneaky Business” from Jazz, RagS & BLueS, Book 1, by Martha Mier Copyright © MCMXCIII by alfred Publishing Co., Inc.

366

1

I ¢ &

8

VVV

¸ &

5

¸¸

¸

1

3

1

3

VV

¸

¢ * & VV 15

3

VV

V V

¸

19

¸ 0

22

¸ &

4

I ¢ 5

25

¸

VVV

¸¸

¸ 4

3

4

1

¢ I

I ¢ B ¸

¸

¸

¸

VVV

¸¸

I ¢ E ¸

3

¸ 0

¸

¸ ¸ ¸

¬


367

Before playing: •Tap the rhythm hands together. •Practice the LH leaps between measures 17–18 and similar places. •Find where the LH crosses over the right and plays one octave higher than written. While playing: •Play the RH a little louder than the LH. •Listen for clear pedal changes.

reMeMber When S-14

Andante cantabile

&

¸

¸

I 2

1

Dennis Alexander

1

5

5

¸

¸

¸

9

0 B 1

1

4

B

¸

B¸

5 2

¸

¸ ¸

I B B

5

13

2

B¸

1

I 2

B 4

B¸

B¸

¸

B 2

1

B B¸

¸

*


1

¸

¸

B

¸

¸

“Remember When” from SIMPLY SeNSaTIONaL, Book 2, by Dennis alexander Copyright © MCMXCI by alfred Publishing Co., Inc.

368

¸

5 1

¸

I 2

1

¸¸ ¸ E

¸¸ ¸

5 3 1

17

5

¸¸ ¸ &

3

25

0

29

¸

8va

x

x

1

¸ ¸ 1 5

rit.

I

¸¸ ¸

x

I

¸¸ ¸

5

I

¸¸ ¸

¸¸ ¸

¸¸ ¸

21

I

¸¸ ¸

5 2

¸¸ ¸¸

I

x

¸¸ ¸

8va


369

Before playing: •Block the broken chords with the appropriate hand. •Practice the RH leaps between beats 1–2 of measures 1, 3 and similar places. While playing: •Listen for clear pedal changes. •Shape the music by following the rise and fall of the line.

the GreAt sMoky MountAins David Carr Glover (1925–1988)

S-15

Moderato

E VVV VV

5

3

3 1

LH 1 3 5

5 RH 3 1

3

RH

1 5

5 RH 2 1

3

1 3 5

VVV VV

LH

VV VV V

1 3 5

1 3 5

a tempo

VVV VV 5 3 1

1 5

5

1

5 2 1

1 3 5

5 2 1

5 2 1

VVV V V

3

3

5

9

3


1 2 5

¸ ¸ ¸ ¸

rit.

Copyright © 1968 (Renewed) BeLWIN-MILLS PuBLISHINg CORP. all Rights Controlled and administered by aLFReD PuBLISHINg CO., INC. all Rights Reserved

370

5 3 1

3

4 2 1

13

VV VV V

5 4 1

rit.

¸ LH

4 2

17

a tempo

B ¸¸ B ¸¸

0 B ¸ ¸¸ 2 1

1 5

B 4 2

0 B ¸ ¸¸ 2 1

1 5

2 1

1 5

1 5

21

B ¸ O ¸ ¸

4 2

B 4 2

B

B ¸¸ ¸¸

¸ ¸

B ¸ ¸

& ¸ ¸

O ¸ ¸

1 5

B ¸ ¸

B ¸¸ ¸ ¸

1 5

gradually faster

24

B ¸¸ ¸ ¸

4 2

B ¸¸¸ V V

¸ ¸

5 2 1

3

B 5 2 1

3

¸¸ ¸

V V


371

3

¸ 8va

28

RH

a tempo

O

5

RH 1

5

3

LH

LH

rit.

1

3

31

VVV V V

VVV VV a tempo

VVV VV

372


E VVV V V 5 3 1

5

1

5

1 5

34

38

a tempo

VV VV V

¸ ¸ ¸ ¸

rit.

4 2 1

42

VVV VV

45

rit.

a tempo

gradually faster O B

B B B

48 B B E 8va

5

Both hands 8va

Slowly

50

5

3 2 1

¸ RH

8va

B VVV & V V 1 5

4 2

VV 0 VV

V V V V O

5 1

1 5


373

Before playing: •Tap the rhythm hands together. •Identify the ledger line notes in the LH of measures 10 and 19. While playing: •Listen for clear pedal changes. •Play expressively, observing ritardandos, fermatas and other tempo indications, avoiding a metronomic feel.

A sonG

S-16

For

you

Flowing forward expressively

I 0 ¢

1

3 :

5 :

4

4

7 :

¸ 5

2

5

1

2

5

1

2

¸ 1

5

¸

linger slightly

¸

& poco rit.e dim. B 5

4

1

2

“a Song for You” from LYRIC MOMeNTS, Book 1, by Catherine Rollin. Copyright © MCMXCV by alfred Publishing Co., Inc.

374


1

¸

5

2

1

2

Catherine Rollin

¸

4

¸¸ 1 3

1

a tempo

0 1

 œ4 œ œ 9

&

œ œ ? œ 5

12 

& ?

&

˙.

œ

più rit.

œ œ #˙˙ œ œ

œ 4

1

œ

& ?

3

œ

4

œ 5

œ

œ œ

œ

œ

5

œ

3

1

2

œ

œ œ

œ œ œ œ

œ

œ œ

œ

1

cresc.

œ

œ

meno mosso

bœ J

poco rit.

œ

œ œ

4

1

2

œ œ 1

œ œ œ œ œ 2

1

2

œ œ F P œ œ œ œ œ œ œ



1

œ ..

˙˙

più meno mosso 5 3

F

1

œ œ ˙

œ œ ˙. 5

œ

2

œ œ ˙

5

œ œ œ œ œ œ œ œ œ

f

œ

4

œ œ

4

1



œœ .

4

œ


a tempo

œ œ P  œ œ

rit. e cresc.

œ

4

œ

1

5

œ œ œ

œ P



4 2

1

2

a tempo

2 4

rit.

œ

œ

1

œ œ

œ 5

#œ œ œ # œ œ œ

5



2

˙

œ

œ

œ œ œ

1

œ ? œ œ

18 

œ

3

5

15 

2

œ œ œ

4

œ

p molto rit. e dim. π b œ  œ .. œ œ b œ bœ œ œ b œ œ œ bœ œ œ 5

rit. e dim.

2

1

5

2

4

1

2

2

5

1

5

1 3


375

Before playing: •Practice the RH alone, observing the contractions and expansions in the fingering. •Label the LH chords in measures 9–16. While playing: •Play the RH a little louder than the LH. •Play the LH slightly detached except where otherwise indicated. •Be careful not to play too fast.

MAPle leAF rAG

Scott Joplin (1868–1917) Arr. E. L. Lancaster Kenon D. Renfrow

S-17

Tempo di marcia

$

1

E $

1

3

5

1 2

3

5

¢ IB B ¢ ¢ ¢ IB B ¢ * * 1

1 2

4

1 2

LH detached 4 :

¢ I I *

¢ I I ¸ * 2

B¸

5

B¸

O

8va B B & B 1

:

1

5

5

12 :

376

1 2 5

1

1

1 2 5

5

1

B

5

B M * *

* * 3

1

B 5

8

4

4

5

1 2

BB 1 2 4

M

I IM I * * B 5

3

B 1 2 5


1 2 5

1

1

B B

1 2 4

M

5

¢ * E

16 :

1.

2.

1

4

5

5

1

5

5

¢ * * *

24 :

5

1

1

5

4

1

1 2

3

2

1

3

4

5

31 :

1

¢ *

5

4

3

4

I ¢ 1

3

2

5

1 2

3

3

5

5

3

2

5

1

1 2

*

5

5

¢ I

2

3

4

2

1

1.

5 3

*

5

1 2

I I I 2 1

1

2

1 2

3

4

5

5

4

5

M ¢ M * * * M

27 :

5

5

3

4

4

¢ * * *

2

1 2

3

4

1 2

3

¢ * * *

20 :

* M * 2

4

2

3

2.

4

3

1

3 2

2


5 1

5

377

Supplementary Instrumental and Vocal Accompaniments 1. Transpose the line for Bb clarinet to concert pitch. 2. Work out appropriate fingerings for the accompaniment. 3. Play the accompaniment while the teacher or other class member plays the Bb clarinet line transposed to concert pitch.

to S-18

B

B Clarinet

Piano

A

WilD rose

(WooDlAnD sketChes)

Andante

Edward McDowell (1860–1908) Arr. John O’Reilly and Mark Williams

x

x

BB

0 BB

B ¢ I ¢ I ¢ I¢ I B ¢ I M ¸ 0 I I I I ¸ BB F7

F 7/A

Gm

7

B ¢ I ¢ I B ¢ I BB * * Cm

14

Dm

B B/F

F7

¸

Dm

BB

BB

¸

I

¸

&

¢ I

B B ¢ M I ¢ I ¢ I ¢ I ¢ I BB * * C7

F7

¢ I

BB

¢ I ¸

¢ I

F 7/A

F 7/A

C7

Gm

¢ I

I

I E B/G

& ¸ ¸

“To a Wild Rose” from aCCeNT ON aCHIeVeMeNT Bb Clarinet Book 1 by John O’Reilly and Mark Williams Copyright © MCMXCVII by alfred Publishing Co., Inc.

378

■ Supplementary Instrumental and Vocal Accompaniments

I

21

¸

F N 7 B B/F BB BB ¸ M¸

¸ N

N

BB

E 7

¸¸¸

E 7

BB BB

¸¸¸ ¸

B M ¸¸¸

0 BB ¢ I 0

35

B ¢ I ¢ I B ¢ I BB * * Cm

Dm

F7

43

F N 7 B B/F B ¢ I B ¢ I ¸ M BB

B E

M ¸¸¸

M¸

¸

F7

B M ¸¸¸

M¸

28

E

¢ I

F 7/A

I

I

¸

I M

¸

BB

¢ I

¸ G m/E

¸¸ ¸ M¸

¢ M I ¢ I

Gm

¢ I

C7

I

F EB F N 7 B B/F ¢ I ¢ I ¢ I ¢ I I ¸ M¸ * ¸

rit.

F7

¸¸¸

rit.

¸

I

3

¢

¸¸ ¸

¸

3

BB

I

3

¸

Supplementary Instrumental and Vocal Accompaniments ■

379

1. Transpose the line for Horn in F to concert pitch. 2. Work out appropriate fingerings for the accompaniment. 3. Play the accompaniment while the teacher or other class member plays the Horn in F transposed to concert pitch.

When johnny CoMes MArChinG hoMe S-19

B

Allegro

F Horn

x

x

B

I I I

&

I E I D I G mI BB ¢ ¢ * * & ¸ ¸¸¸ ¸ ¸ BB ¸ * ¢ ¢ Gm

Piano

7

B

x

Traditional Arr. John O’Reilly and Mark Williams

BB

BB

7

I I

I I I I I

I I

BB

F

¸¸¸

I

BB

I I I I I

Gm

I I

I ¸¸¸ ¸ D7

¸

I I B I I I E

13

B I B ¢ ¢ E BB I ¢ ¢ Gm

I¢ ¢ I¢ ¢

F

I ¢ ¢ I¢ ¢

Gm

D7

¸¸¸ ¸ ¸

Gm

F

EB

D

“When Johnny Comes Marching Home” from aCCeNT ON aCHIeVeMeNT Horn in F Book 2 by John O’Reilly and Mark Williams Copyright © MCMXCVIII by alfred Publishing Co., Inc.

380


19

B

I ¸

BB G mI ¢ ¢ BB I ¢ ¢

¸

I *

25

B & BB BB I BB ¢ ¢ ¢ ¢ * *

I B E Gm F I BB ¢ ¢ ¢ * E BB * ¢ ¢ *¢

37

B ¸

E Bmaj7

B B BB

x

Gm I I ¢ ¢ ¢ ¢ * ¢ ¢ * ¢ ¢ * *

31

¸

B

B I * * ¢ ¢ ¢ ¢ * * * ¢ ¢ * ¢ ¢

I I I I ¸ EB D Gm I I ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ * * * ¸

D7

I I I ¢ ¢ ¢ * ¢ ¢ ¢ ¢ * *

Gm I I & * ¢ ¢ *¢

x

I ¢ ¢ I ¢ ¢

Gm

x

x

¸

¸

¸¸

D

¢ ¢ ¢ ¢ * * ¸

F

¢ ¢ *

I I ¢ ¢ ¢ ¢ I * * I * * *¢¢¢¢ *


381

1. Transpose the line for e b alto saxophone to concert pitch. 2. Work out appropriate fingerings for the accompaniment. 3. Play the accompaniment while the teacher or other class member plays the e b alto saxophone line transposed to concert pitch.

S-20

A touCh

Moderato

Eb A. Sx.

Piano

5 

&

##

&b ?b 9 

&

?b &

œ œ œ

œ

œ

b œœœ  œ Œ

œœ œ Œ

Œ

˙˙˙

œ

Œ

˙.

œœœ

?b

Œ ˙.

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382

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383


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387

Practice the band score in the following ways:

Band Score

1. each single line transposing the B b clarinets, e b alto saxophone, B b trumpets and F horn to concert pitch. 2. Combinations of two parts as follows: a. Flute/oboe and B b clarinets. b. Flute/oboe and e b alto saxophone. c. B b trumpets and low brass & woodwinds. d. F horn and low brass & woodwinds.

3. Combinations of three parts as follows: a. Flute/oboe, B b clarinets and e b alto saxophone. b. B b trumpets, F horn and low brass & woodwinds. 4. The piano accompaniment.

5. as a multiple piano ensemble with class members playing one, two or three parts each.

WooDlAnD overture (exCerPt)

S-25

b 4 œ. b & 4 f 44 & œ. f # 4 œ. & 4 f 4 & 4 œ. f 4 & b 4 œ. f ? b b 44 œ . œ. f 44 /

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Flute Oboe B b Clarinets

1 2

E b Alto Saxophone B b Trumpets 1 2 F Horn


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388


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389

Appendix A Scale and Arpeggio Fingering Charts Note: A dot (•) above a fingering indicates a black key.

Major Scales Key C G D A E B

Fingering

RH: LH: RH: LH: RH: LH: RH: LH: RH: LH: RH: LH:

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

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

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

Key   G (F ) RH: LH: D  (C ) RH: LH:  A RH: LH:  E B  F

RH: LH: RH: LH: RH: LH:

Fingering • • • • • • • • • • • 2 3 4 1 2 3 1 2 3 4 1 2 3 1 2 4 3 2 1 3 2 1 4 3 2 1 3 2 1 4 • • • • • • • • • • • 2 3 1 2 3 4 1 2 3 1 2 3 4 1 2 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 • • • • • • • • • 3 4 1 2 3 1 2 3 4 1 2 3 1 2 3 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 • • • • • • • 3 1 2 3 4 1 2 3 1 2 3 4 1 2 3 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 • • • • • 4 1 2 3 1 2 3 4 1 2 3 1 2 3 4 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 • • 1 2 3 4 1 2 3 1 2 3 4 1 2 3 4 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1

Major Arpeggios Key C G D A E B

Fingering

RH: LH:

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

RH: LH: RH: LH: RH: LH: RH: LH: RH: LH:

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

390 ■ Appendix A

• • 1 2 3 1 2 3 5 5 3 2 1 3 2 1

Key   G (F ) RH: LH: D  (C ) RH: LH:  A RH: LH:

• • 1 2 3 1 2 3 5 5 3 2 1 3 2 1

 E B 

RH: LH: RH: LH:

• • • • 1 2 3 1 2 3 5 5 3 2 1 3 2 1

F

RH: LH:

• • 1 2 3 1 2 3 5 5 3 2 1 3 2 1

Fingering • • • • • • • 1 2 3 1 2 3 5 5 3 2 1 3 2 1 • • • • • 4 1 2 4 1 2 4 2 1 4 2 1 4 2 • • • • • 4 1 2 4 1 2 4 2 1 4 2 1 4 2 • • • • 4 1 2 4 1 2 4 2 1 4 2 1 4 2 • • • 4 1 2 4 1 2 4 3 2 1 3 2 1 3 1 2 3 1 2 3 5 5 4 2 1 4 2 1

Harmonic Minor Scales Key a e b f  c  g  (a )


Fingering • 1 2 3 1 2 3 4 5 4 3 2 1 3 2 • • 1 2 3 1 2 3 4 5 4 3 2 1 3 2

Key e  (d ) b  (a ) f


c g d


Key e  (d ) b  (a ) f


• • • • • 4 1 2 4 1 2 4 2 1 4 2 1 4 2

c g

RH: LH: RH: LH:

• • • • • 4 1 2 4 1 2 4 2 1 4 2 1 4 2

d

RH: LH:

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

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

Fingering • • • • • • • • • 3 1 2 3 4 1 2 3 1 2 3 4 1 2 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3 2 • • • • • • • • • 4 1 2 3 1 2 3 4 1 2 3 1 2 3 4 2 1 3 2 1 4 3 2 1 3 2 1 4 3 2 • • • • • • 1 2 3 4 1 2 3 1 2 3 4 1 2 3 4 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 • • • • 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 • • • • • • 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 • • • • 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1

Minor Arpeggios Key a e b f  c  g  (a )

Fingering

RH: LH:

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


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

Fingering • • • • • • • 1 2 3 1 2 3 5 5 3 2 1 3 2 1 • • • • • 2 3 1 2 3 1 2 3 2 1 3 2 1 3 • • 1 2 3 1 2 3 5 5 4 2 1 4 2 1 • • 1 2 3 1 2 3 5 5 4 2 1 4 2 1 • • 1 2 3 1 2 3 5 5 4 2 1 4 2 1 1 2 3 1 2 3 5 5 4 2 1 4 2 1

Appendix A ■ 391

Appendix B Dominant and Diminished Seventh Arpeggio Fingering Charts Note: A dot (•) above a fingering indicates a black key.

Dominant Seventh Arpeggios Chord

Fingering

7 C G7 D7 A7 E7 B7

RH: LH:

• 1 2 3 4 5 4 3 2


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

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

Chord G 7 (F  7) RH: LH:   7 7 D (C ) RH: LH: A 7 RH: LH: E 7 B 7 F7


Fingering • • • 2 3 4 1 4 3 2 1

• • • • 2 3 4 1 2 4 3 2 1 4

• • 4 1 2 3 2 1 4 3

• • • 4 1 2 3 4 2 1 4 3 2

• • • 4 1 2 3 2 1 4 3

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

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

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

Diminished Seventh Arpeggios Chord Cdim7 Gdim7 Ddim7 Adim7 Edim7 Bdim7


Fingering • • 2 3 4 1 5 4 3 2 • • 2 3 4 1 5 4 3 2 • 2 3 4 1 2 1 4 3 • • 1 2 3 4 2 1 4 3 • • 1 2 3 4 2 1 4 3 • 1 2 3 4 3 2 1 4

392 ■ Appendix B

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

Chord  7 G dim RH: (F  dim7) LH: D dim7 RH: (C dim7) LH:  7 A dim RH: (G dim7) LH: E dim7 B dim7 Fdim7


Fingering • • 4 1 2 3 3 2 1 4

• • • 4 1 2 3 4 3 2 1 4 3

• • 4 1 2 3 3 2 1 4

• • • 4 1 2 3 4 3 2 1 4 3

• 4 1 2 3 4 3 2 1

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

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

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

Appendix C Glossary



Accent sign ( ) . . . . . . placed over or under a note that gets special emphasis; play that note louder . Adagio . . . . . . . . . . . . . slowly . Affetto . . . . . . . . . . . . . feeling .

Alla breve (  ) . . . . . . . cut time or

22 time .

Alla marcia . . . . . . . . . in march style .

Allegretto . . . . . . . . . . moderately fast . Allegro . . . . . . . . . . . . quickly, happily . Allegro non troppo . . . quickly, but not too much . Andante . . . . . . . . . . . moving along (the word actually means “walking”) . Andantino . . . . . . . . . . slightly faster than andante . Animato . . . . . . . . . . . animated, lively . Assai . . . . . . . . . . . . . . much, very . A tempo . . . . . . . . . . . resume original speed . Cantabile . . . . . . . . . . . in a singing style . Chromatic scale . . . . . made up entirely of half steps; it goes up and down, using every key, black and white .



Coda . . . . . . . . . . . . . . an added ending . Coda sign ( ) . . . . . . . indication to proceed to coda . Common time (  ) . . . same as

44 time .

Comodo . . . . . . . . . . . . comfortable, easy . Con . . . . . . . . . . . . . . . with . Crescendo (<) . . . . . gradually louder .

2

Cut time ( ) . . . . . . . . . same as 2 time; alla breve .

D. C. al Coda . . . . . . . . repeat from the beginning to , then skip to Coda . D. C. al Fine . . . . . . . . repeat from the beginning to the word “Fine .” Decrescendo ( >) . . . gradually softer . Development . . . . . . . . the second section in sonata form where the themes are altered . Diatonic . . . . . . . . . . . using only notes in the given key, with no alterations . Diminuendo ( >) . . . gradually softer . Dominant . . . . . . . . . . the fifth scale degree .



Double flat ( ) . . . . . . lowers a flatted note another half step or a natural note one whole step .



Double sharp ( ) . . . . . raises a sharped note another half step or a natural note one whole step . Enharmonic . . . . . . . . notes that are spelled (written) differently but are identical in sound . Exposition . . . . . . . . . . the first section in sonata form where the themes are stated . Fermata (  ) . . . . . . . . hold the note under the sign longer than its full value . Fine . . . . . . . . . . . . . . . the end . First ending ( 1.



) . . play first time only .

Flat sign ( ) . . . . . . . . lowers a note one half step; play the next key to the left, whether black or white . Appendix C ■

393

Glossary (continued)

Forte (  ) . . . . . . . . . . loud .

Fortissimo ( ff ) . . . . . very loud . Fröhlich . . . . . . . . . . . joyful .

Giocoso . . . . . . . . . . . . humorous . Grand staff . . . . . . . . . the bass staff and the treble staff joined together by a brace . Grazioso . . . . . . . . . . . gracefully . Harmonic intervals . . distances between notes or keys that are played together . Incomplete measure . . a measure at the beginning of a piece with fewer counts than indicated in the time signature . The missing beats are usually found in the last measure . Intenzionato . . . . . . . . amiable . Intervals . . . . . . . . . . . distances between notes or keys . Key signature . . . . . . . the number of sharps or flats in any key, written at the beginning of each line . Ländler . . . . . . . . . . . . a dance similar to a slow waltz . Larghetto . . . . . . . . . . . not quite as slow as largo . Largo . . . . . . . . . . . . . . very slow . Leading tone . . . . . . . . the seventh scale degree . Ledger line . . . . . . . . . used above or below the staff to extend its range . Legato . . . . . . . . . . . . . smoothly connected . Leggiero . . . . . . . . . . . lightly . Lento . . . . . . . . . . . . . . slow . Lieblich . . . . . . . . . . . . lovely, melodious . Maestoso . . . . . . . . . . . majestically . Marcato . . . . . . . . . . . . marked, stressed . Mediant . . . . . . . . . . . . the third scale degree . Melodic intervals . . . . distance between notes or keys that are played separately . Mezzo forte () . . . . . moderately loud . Mezzo piano () . . . . moderately soft . Misterioso . . . . . . . . . . mysteriously . Moderato . . . . . . . . . . moderately . Molto . . . . . . . . . . . . . . much . Moto, con . . . . . . . . . . somewhat lively .

Natural sign ( ) . . . . . . cancels a sharp or flat . Nicht zu schnell . . . . . not too fast .

Non troppo . . . . . . . . . not too much . Octave . . . . . . . . . . . . . the distance from one key on the keyboard to the next key (lower or higher) with the same letter name . Octave sign (8va) . . . . . play eight scale tones (one octave) higher when the sign is above the notes; eight scale tones lower when the sign is below the notes . Pedal mark (

) . . press the damper, hold it, and release it .

Pesante . . . . . . . . . . . . heavy, with emphasis . Phrase . . . . . . . . . . . . . musical thought or sentence . Pianissimo () . . . . . . very soft . Piano () . . . . . . . . . . . soft .

Poco . . . . . . . . . . . . . . . little .

394

■ Appendix C

Presto . . . . . . . . . . . . . fast . Recapitulation . . . . . . the third section in sonata-allegro form where the themes are restated . Repeat sign (  ) . . . . . . repeat from the beginning, or from the first repeat (  ) . Rests . . . . . . . . . . . . . . signs for silence . Ritardando (rit. or ritard.) . . . . . . . gradually slowing . Rondo form . . . . . . . . . a theme (A or refrain) alternates with secondary sections (B, C, D, etc . or episodes) . Ruhig . . . . . . . . . . . . . . quiet . Scherzando . . . . . . . . . playful . Second ending ( 2.

) play second time only .

Secondary dominant . a major chord with a minor seventh, built on a scale degree other than the fifth . Sequence . . . . . . . . . . . a short musical motive stated successively, beginning on different pitches .



Sharp sign ( ) . . . . . . . raises a note one half step; play the next key to the right, whether black or white . Simile . . . . . . . . . . . . . continue in the same manner . Slur . . . . . . . . . . . . . . . curved line over or under notes on different lines or spaces . Slurs mean to play legato . Sonata form . . . . . . . . the musical form consisting of three parts (exposition, development and recapitulation) . Staccato . . . . . . . . . . . dots over or under notes meaning to play short, detached . Staccatissimo . . . . . . . an extreme form of staccato . Subdominant . . . . . . . the fourth scale degree . Subito (sub.) . . . . . . . . suddenly . Submediant . . . . . . . . the sixth scale degree . Supertonic . . . . . . . . . the second scale degree . Syncopated notes . . . . notes played between the main beats of a measure and held across the beat . Tempo . . . . . . . . . . . . . rate of speed .



Tenuto ( ) . . . . . . . . . . hold the note for its full value . Tetrachord . . . . . . . . . a series of four notes having a pattern of whole step, whole step, half step . Theme & variation form a theme followed by a series of pieces having a similar structure . Some elements of the theme remain the same in each variation while others change . Tied notes . . . . . . . . . . notes on the same line or space joined by a curved line and held for the combined values of both notes . Time signatures . . . . . numbers found at the beginning of a piece or section of a piece . The top number shows the number of beats in each measure . The bottom ( , , , , ) number shows the kind of note that gets one beat . Tonic . . . . . . . . . . . . . . the first scale degree . Tranquillo . . . . . . . . . . tranquil, calm . Transpose . . . . . . . . . . perform in a key other than the original . Each pitch must be raised or lowered by precisely the same interval, which results in the change of key . Triad . . . . . . . . . . . . . . three-note chord . Vivace . . . . . . . . . . . . . lively . Vivo . . . . . . . . . . . . . . . lively . Whole step . . . . . . . . . equal to two half steps; skip one key (black or white) .

Appendix C ■

395

Appendix D List of Compositions (Alphabetical by Composer) S olo Repertoire

Duet Repertoire 396 ■ Appendix D

Adams, Bret . . . . . . . . . . . . . . . . . . . . . . . . . . Gypsy EarrinGs . . . . . . . . . . . . . . . . . . . . . .18 Alexander, Dennis . . . . . . . . . . . . . . . . . . . . . rEmEmbEr WhEn . . . . . . . . . . . . . . . . . . . . .368 Arlen, Harold and E . Y . Harburg . . . . . . . . . OvEr thE rainbOW (frOm thE m-G-m mOtiOn picturE The Wizard of oz) . . . . . .152 Attwood, Thomas . . . . . . . . . . . . . . . . . . . . . sOnatina in G majOr (first mOvEmEnt) . . .356 Bach, Carl Philipp Emanuel . . . . . . . . . . . . . sOlfEGGiO in c minOr . . . . . . . . . . . . . . . .275 Bach, Johann Sebastian . . . . . . . . . . . . . . . . . mEnuEt in G majOr (nOtEbOOk fOr anna maGdalEna) . . . . . . .306 musEttE in d majOr (nOtEbOOk fOr anna maGdalEna) . . . . . . .348 prEludE in c majOr (tWElvE littlE prEludEs), bWv 939 . . . . . .108 prEludE in c majOr (thE WEll-tEmpErEd claviEr, bOOk 1) . . . . .350 Bach, Wilhelm Friedemann . . . . . . . . . . . . . minuEt in G majOr . . . . . . . . . . . . . . . . . .137 Bartók, Béla . . . . . . . . . . . . . . . . . . . . . . . . . . minuEt (thE first tErm at thE pianO) . . . . .365 sOnG (fOr childrEn, vOlumE 1) . . . . . . . . . .364 Beethoven, Ludwig van . . . . . . . . . . . . . . . . . baGatEllE in a minOr, Op. 119, nO. 9 . . . .288 Burgmüller, Johann . . . . . . . . . . . . . . . . . . . . arabEsquE, Op. 100, nO. 2 . . . . . . . . . . . . . .362 Clementi, Muzio . . . . . . . . . . . . . . . . . . . . . . sOnatina in c majOr, Op. 36, nO. 1 (first mOvEmEnt) . . . . . . . . . . . . . . . . . . .354 Concone, Giuseppe . . . . . . . . . . . . . . . . . . . . prEludE in G minOr, Op. 37, nO. 6 . . . . . . .298 Dandrieu, Jean François . . . . . . . . . . . . . . . . thE fifErs . . . . . . . . . . . . . . . . . . . . . . . . .346 Diabelli, Anton . . . . . . . . . . . . . . . . . . . . . . . . baGatEllE, Op. 125, nO. 10 . . . . . . . . . . . . .186 Ellmenreich, Albert . . . . . . . . . . . . . . . . . . . . spinninG sOnG, Op. 14, nO. 4 . . . . . . . . . . . .358 Gillock, William L . . . . . . . . . . . . . . . . . . . . . sEascapE . . . . . . . . . . . . . . . . . . . . . . . . . . .261 Glinka, Mikhail Ivanovich . . . . . . . . . . . . . . russian pOlka . . . . . . . . . . . . . . . . . . . . . .361 Glover, David Carr . . . . . . . . . . . . . . . . . . . . . thE GrEat smOky mOuntains . . . . . . . . . .370 Hartsell, Randall . . . . . . . . . . . . . . . . . . . . . . thE piOnEEr spirit . . . . . . . . . . . . . . . . . . .196 Haydn, Franz Joseph . . . . . . . . . . . . . . . . . . . minuEt in G majOr . . . . . . . . . . . . . . . . . .121 Joplin, Scott (arr . Lancaster/Renfrow) . . . . . maplE lEaf raG . . . . . . . . . . . . . . . . . . . . .376 Kirnberger, Johann Philipp . . . . . . . . . . . . . . fanfarE . . . . . . . . . . . . . . . . . . . . . . . . . . .347 Köhler, Louis . . . . . . . . . . . . . . . . . . . . . . . . . sOnG WithOut WOrds . . . . . . . . . . . . . . . . .30 Krieger, Johann . . . . . . . . . . . . . . . . . . . . . . . . minuEt in a minOr . . . . . . . . . . . . . . . . . .345 Lancaster, E . L . and Kenon D . Renfrow . . . . thEmE and variatiOns (basEd On j. s. bach’s mEnuEt in G majOr) . . . . . . . . .162 Lynes, Frank . . . . . . . . . . . . . . . . . . . . . . . . . . sOnatina in c majOr, Op. 39, nO. 1 (first mOvEmEnt) . . . . . . . . . . . . . . . . . . . .42 Mier, Martha . . . . . . . . . . . . . . . . . . . . . . . . . . sEvEnth strEEt bluEs . . . . . . . . . . . . . . . . .96 snEaky businEss . . . . . . . . . . . . . . . . . . . .366 Mozart, Leopold . . . . . . . . . . . . . . . . . . . . . . . minuEt in d minOr . . . . . . . . . . . . . . . . . .208 Ogilvy, Susan . . . . . . . . . . . . . . . . . . . . . . . . . Toccatina . . . . . . . . . . . . . . . . . . . . . . . . . .335 Olson, Lynn Freeman . . . . . . . . . . . . . . . . . . rOndO capricciO . . . . . . . . . . . . . . . . . . . .246 Rollin, Catherine . . . . . . . . . . . . . . . . . . . . . . a sOnG fOr yOu . . . . . . . . . . . . . . . . . . . . .374 Scarlatti, Domenico . . . . . . . . . . . . . . . . . . . . minuEt in c majOr, k. 73b; l. 217 . . . . . . . .84 Schytte, Ludvig . . . . . . . . . . . . . . . . . . . . . . . study, Op. 108, nO. 12 . . . . . . . . . . . . . . . . . .70 Streabbog, Jean Louis . . . . . . . . . . . . . . . . . . a plEasant mOrninG, Op. 63, nO. 1 . . . . . . .58 Telemann, Georg Philipp . . . . . . . . . . . . . . . GiGuE . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221 Tingley, George Peter . . . . . . . . . . . . . . . . . . . GiGa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174 Vandall, Robert D . . . . . . . . . . . . . . . . . . . . . . dOrian tarantElla . . . . . . . . . . . . . . . . . .326 lydian nOcturnE . . . . . . . . . . . . . . . . . . . .320 Weber, Carl Maria von . . . . . . . . . . . . . . . . . . schErzO . . . . . . . . . . . . . . . . . . . . . . . . . . .230

Diabelli, Anton . . . . . . . . . . . . . . . . . . . . . . allEGrO in E minOr, Op. 149, nO. 28 (mElOdiOus piEcEs) . . . . . . . . . . . . . . . . . 212

E nsemble Repertoire

Technical Exercises

Harmonizations (Titled)

Reading (Titled)

American Folk Song (arr . Vandall) . . . . . . . Old jOE clark . . . . . . . . . . . . . . . . . . . . . 128 Berlin, Irving . . . . . . . . . . . . . . . . . . . . . . . . alExandEr’s raGtimE band . . . . . . . . . . 241 i lOvE a pianO . . . . . . . . . . . . . . . . . . . . . 38 Cohan, George M . . . . . . . . . . . . . . . . . . . . . GivE my rEGards tO brOadWay . . . . . . . 314 Edwards, Gus . . . . . . . . . . . . . . . . . . . . . . . by thE liGht Of thE silvEry mOOn . . . . 280 Evans, George . . . . . . . . . . . . . . . . . . . . . . . in thE GOOd Old summEr timE . . . . . . . . 204 Netherlands . . . . . . . . . . . . . . . . . . . . . . . . WE GathEr tOGEthEr . . . . . . . . . . . . . . . 170 United States . . . . . . . . . . . . . . . . . . . . . . . battlE hymn Of thE rEpublic . . . . . . . . . 88 Hanon, Charles-Louis . . . . . . . . . . . . . . . . . thE virtuOsO pianist ExErcisE nO. 1 . . . . . . . . . . . . . . . . . . . . . 68 ExErcisE nO. 2 . . . . . . . . . . . . . . . . . . . . 138 ExErcisE nO. 5 . . . . . . . . . . . . . . . . . . . . 258 ExErcisE nO. 7 . . . . . . . . . . . . . . . . . . . . 296 Beethoven, Ludwig van . . . . . . . . . . . . . . . für ElisE . . . . . . . . . . . . . . . . . . . . . . . . . 237 rOndO a capricciO (raGE OvEr a lOst pEnny), Op. 129 (adaptEd ExcErpt) . . . . . . 99 sOnata in c minOr, Op. 13 (adaptEd ExcErpt frOm third mOvEmEnt) . . . . . . . . . . . . . . 271 Capua, Eduardo di . . . . . . . . . . . . . . . . . . . O sOlE miO! . . . . . . . . . . . . . . . . . . . . . . . 74 Chopin, Frédéric . . . . . . . . . . . . . . . . . . . . . nOcturnE in f minOr (adaptEd ExcErpt) . . 287 prEludE in a majOr, Op. 28, nO. 7 . . . . . . 154 England . . . . . . . . . . . . . . . . . . . . . . . . . . . . charliE is my darlinG . . . . . . . . . . . . . . 300 thE muffin man . . . . . . . . . . . . . . . . . . 142 Fuller, H . J . . . . . . . . . . . . . . . . . . . . . . . . . . my bOnniE . . . . . . . . . . . . . . . . . . . . . . . 180 Gaelic Folk Melody . . . . . . . . . . . . . . . . . . mOrninG has brOkEn . . . . . . . . . . . . . . . 264 Haydn, Franz Joseph . . . . . . . . . . . . . . . . . Waltz in f majOr . . . . . . . . . . . . . . . . . . 223 Hopkins, John Henry . . . . . . . . . . . . . . . . . WE thrEE kinGs (ExcErpt) . . . . . . . . . . . . 190 Ireland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WhEn lOvE is kind . . . . . . . . . . . . . . . . . . 78 Israel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . shalOm, chavErin . . . . . . . . . . . . . . . . . 124 tum balalaika . . . . . . . . . . . . . . . . . . . . 211 Liszt, Franz . . . . . . . . . . . . . . . . . . . . . . . . . liEbEstraum nO. 3 . . . . . . . . . . . . . . . . . 285 Lowrey, Robert . . . . . . . . . . . . . . . . . . . . . . shall WE GathEr at thE rivEr? . . . . . . . . 62 Mills, Kerry . . . . . . . . . . . . . . . . . . . . . . . . . mEEt mE in st. lOuis, lOuis . . . . . . . . . 210 Mozart, Leopold . . . . . . . . . . . . . . . . . . . . . burlEskE . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Mozart, Wolfgang Amadeus . . . . . . . . . . . . sOnata in a majOr, k. 311 (ExcErpt) . . . . . 33 Purcell, Henry . . . . . . . . . . . . . . . . . . . . . . . passinG by (adaptEd) . . . . . . . . . . . . . . . . 342 Schubert, Franz . . . . . . . . . . . . . . . . . . . . . Waltz in f majOr, Op. 77, nO. 10 . . . . . . 180 Scotland . . . . . . . . . . . . . . . . . . . . . . . . . . . auld lanG synE . . . . . . . . . . . . . . . . . . . 112 Shaker Hymn . . . . . . . . . . . . . . . . . . . . . . . simplE Gifts (adaptEd) . . . 319, 323, 325, 329 Spiritual . . . . . . . . . . . . . . . . . . . . . . . . . . . hE’s GOt thE WhOlE WOrld in his hands . . . . . . . . . . . . . . . . . . . . . 72 just a clOsEr Walk . . . . . . . . . . . . . . . . 141 kumbaya . . . . . . . . . . . . . . . . . . . . . . . . . . 61 lEt us brEak brEad tOGEthEr . . . . . . . . 238 Strauss, Johann . . . . . . . . . . . . . . . . . . . . . . EmpErOr Waltz . . . . . . . . . . . . . . . . . . . 200 rOsEs frOm thE sOuth . . . . . . . . . . . . . . 236 Tilzer, Albert von . . . . . . . . . . . . . . . . . . . . takE mE Out tO thE ball GamE . . . . . . 155 Traditional . . . . . . . . . . . . . . . . . . . . . . . . . blOW thE man dOWn . . . . . . . . . . . . . . . 237 jOlly Old saint nichOlas . . . . . . . . . . . 263 O christmas trEE . . . . . . . . . . . . . . . . . . 300 sailOr’s sOnG . . . . . . . . . . . . . . . . . . . . . 236 WE Wish yOu a mErry chistmas . . . . . . 252 United States . . . . . . . . . . . . . . . . . . . . . . . amazinG GracE . . . . . . . . . . . . . . . . . . . . 290 black is thE cOlOr . . . . . . . . . . . . . . . . . . 35 carElEss lOvE . . . . . . . . . . . . . . . . . . . . 211 i’m On my Way . . . . . . . . . . . . . . . . . . . . . 21 my hOmE’s in mOntana . . . . . . . . . . . . . 166 rEd rivEr vallEy . . . . . . . . . . . . . . . . . . 111 sWEEt bEtsy frOm pikE . . . . . . . . . . . . . . . 48 tEll mE Why . . . . . . . . . . . . . . . . . . . . . 124 Bach, Johann Christian . . . . . . . . . . . . . . . . andantE (ExcErpt) . . . . . . . . . . . . . . . . . . . 20 Bartók, Béla . . . . . . . . . . . . . . . . . . . . . . . . . dancE (ExcErpt frOm fOr childrEn) . . . . . . . 46 dancE (ExcErpt frOm fOr childrEn) . . . . . . 209 schErzO, sz. 52:82 (ExcErpt) . . . . . . . . . . . 149 Beethoven, Ludwig van . . . . . . . . . . . . . . . GErman dancE (ExcErpt) . . . . . . . . . . . . . 147 GErman dancE (ExcErpt) . . . . . . . . . . . . . 222 Appendix D ■ 397

List of Compositions (Alphabetical by Composer), continued

Score Reading (Choral)

Beethoven, Ludwig van (cont’d) . . . . . . . . GErman dancE (ExcErpt) . . . . . . . . . . . . . 341 russian fOlk sOnG (ExcErpt) . . . . . . . . . . . 72 russian fOlk sOnG, Op. 107, nO. 7 (ExcErpt) . . . . . . . . . . . . . 341 Bertini, Henri-Jérôme . . . . . . . . . . . . . . . . . chOralE (ExcErpt) . . . . . . . . . . . . . . . . . . 141 EtudE in a minOr, Op. 137, nO. 81 (ExcErpt) . . . . . . . . . . . . . 31 Beyer, Ferdinand . . . . . . . . . . . . . . . . . . . . mOdEratO, Op. 101, nO. 70 . . . . . . . . . . . . . 20 mOdEratO, Op. 101, nO. 75 . . . . . . . . . . . . 250 Burgmüller, Johann . . . . . . . . . . . . . . . . . . thE chasE, Op. 100, nO. 9 (ExcErpt) . . . . . 176 Chopin, Frédéric . . . . . . . . . . . . . . . . . . . . . nOcturnE in f minOr, Op. 55, nO. 1 (adaptEd ExcErpt) . . . . . . . . 287 Clementi, Muzio . . . . . . . . . . . . . . . . . . . . . pyrEnEEs mElOdy (ExcErpt) . . . . . . . . . . . 251 Czerny, Carl . . . . . . . . . . . . . . . . . . . . . . . . allEmandE (ExcErpt) . . . . . . . . . . . . . . . . 308 dancE, Op. 777, nO. 8 (ExcErpt) . . . . . . . . . . 78 Diabelli, Anton . . . . . . . . . . . . . . . . . . . . . . sOnG (ExcErpt) . . . . . . . . . . . . . . . . . . . . . 148 Duncombe, William . . . . . . . . . . . . . . . . . . sOnatina in c majOr (ExcErpt) . . . . . . . . 188 Franck, César . . . . . . . . . . . . . . . . . . . . . . . lullaby (ExcErpt) . . . . . . . . . . . . . . . . . . 262 Gurlitt, Cornelius . . . . . . . . . . . . . . . . . . . . allEGrO, Op. 117, nO. 18 (ExcErpt) . . . . . . 299 thE chasE (ExcErpt) . . . . . . . . . . . . . . . . . . 31 chOralE (ExcErpt) . . . . . . . . . . . . . . . . . . 165 EtudE, Op. 82, nO. 52 (ExcErpt) . . . . . . . . . 223 EtudE, Op. 82, nO. 52 (ExcErpt) . . . . . . . . . 234 mOrninG GrEEtinG, Op. 130, nO. 1 (ExcErpt) . 140 prayEr (ExcErpt) . . . . . . . . . . . . . . . . . . . . 309 scalE study, Op. 117, nO. 19 (ExcErpt) . . . . 71 Haydn, Franz Joseph . . . . . . . . . . . . . . . . . GErman dancE (ExcErpt) . . . . . . . . . . . . . 222 Hummel, Johann Nepomuk . . . . . . . . . . . . EcOssaisE (ExcErpt) . . . . . . . . . . . . . . . . . 299 Köhler, Louis . . . . . . . . . . . . . . . . . . . . . . . EtudE, Op. 190, nO. 31 (ExcErpt) . . . . . . . . . 46 Kowalchyk, Gayle and E . L . Lancaster . . . a littlE bluEs . . . . . . . . . . . . . . . . . . . . 164 Lemoine, Henry . . . . . . . . . . . . . . . . . . . . . EtudE (ExcErpt) . . . . . . . . . . . . . . . . . . . . . 60 Maykapar, Samuel . . . . . . . . . . . . . . . . . . . prEludE (ExcErpt) . . . . . . . . . . . . . . . . . . . 200 Neander, Joachim . . . . . . . . . . . . . . . . . . . . chOralE . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Oesten, Theodore . . . . . . . . . . . . . . . . . . . . spanish dancE, Op. 61, nO. 10 (ExcErpt) . . 235 Pierpont, James . . . . . . . . . . . . . . . . . . . . . . jinGlE bElls (ExcErpt) . . . . . . . . . . . . . . . 109 Pleyel, Ignaz J . . . . . . . . . . . . . . . . . . . . . . . dancE (ExcErpt) . . . . . . . . . . . . . . . . . . . . 189 Purcell, Henry . . . . . . . . . . . . . . . . . . . . . . . passinG by (adaptEd) . . . . . . . . . . . . . . . . 342 Salutrinskaya, Tat’iana . . . . . . . . . . . . . . . . thE shEphErd pipEs . . . . . . . . . . . . . . . . . 177 Schumann, Robert . . . . . . . . . . . . . . . . . . . chOralE, Op. 68, nO. 4 (ExcErpt) . . . . . . . . 210 Schytte, Ludvig . . . . . . . . . . . . . . . . . . . . . . chOralE (ExcErpt) . . . . . . . . . . . . . . . . . . . 98 EtudE in c majOr, Op. 160, nO. 14 (ExcErpt) . 79 EtudE (ExcErpt) . . . . . . . . . . . . . . . . . . . . 262 Spindler, Fritz . . . . . . . . . . . . . . . . . . . . . . . sOnG WithOut WOrds (ExcErpt) . . . . . . . . . 71 Stravinsky, Igor . . . . . . . . . . . . . . . . . . . . . . andantinO (ExcErpt frOm lEs cinq dOiGts) 251 Telemann, Georg Philipp . . . . . . . . . . . . . . minuEt (ExcErpt) . . . . . . . . . . . . . . . . . . . 199 Türk, Daniel Gottlob . . . . . . . . . . . . . . . . . . ariOsO (ExcErpt) . . . . . . . . . . . . . . . . . . . 146 baGatEllE . . . . . . . . . . . . . . . . . . . . . . . . 176

Two-Part

Albrecht, Sally K . . . . . . . . . . . . . . . . . . . . . ubi caritas Et amOr (adaptEd ExcErpt) . . . 50 Althouse, Jay . . . . . . . . . . . . . . . . . . . . . . . . sOnG Of jOy (ExcErpt) . . . . . . . . . . . . . . . . . 87 Brahms, Johannes . . . . . . . . . . . . . . . . . . . . siEh, WiE ist diE WEllE klar, Op. 52, nO. 14 (ExcErpt frOm liEbEsliEdEr WaltzEs) . . . . 103 Donnelly, Mary and George L . O . Strid . . . thE piratE’s lifE (adaptEd ExcErpt) . . . . . . 87 Haydn, Franz Joseph . . . . . . . . . . . . . . . . . autumn (ExcErpt frOm thE sEasOns) . . . . . . 65 Herring, Derryl and Andy Beck . . . . . . . . . a child Of sOnG (adaptEd ExcErpt) . . . . . . 36 Traditional Spiritual (arr . Moore) . . . . . . . WhO Will bE a WitnEss? (adaptEd ExcErpt) . 103

Three-Part

Brahms, Johannes . . . . . . . . . . . . . . . . . . . . Ein klEinEr, hübschEr vOGEl, Op. 52, nO. 6 (ExcErpt frOm liEbEsliEdEr WaltzEs) . . . . 132 Donnelly, Mary and George L . O . Strid . . . GlOria tibi (ExcErpt) . . . . . . . . . . . . . . . . 168 Handel, George Frideric . . . . . . . . . . . . . . . cElEstial music (ExcErpt) . . . . . . . . . . . . 218 GlOry tO GOd (ExcErpt frOm thE mEssiah) 191 hark, damOn, hark (ExcErpt) . . . . . . . . . 157 Haydn, Franz Joseph . . . . . . . . . . . . . . . . . diE himmEl ErzählEn diE EhrE GOttEs (adaptEd ExcErpt frOm thE crEatiOn) . . . . 240 Mozart, Wolfgang Amadeus . . . . . . . . . . . . diEs iraE (adaptEd ExcErpt frOm rEquiEm) . 202 Old Irish Air (arr . Knowles) . . . . . . . . . . . . danny bOy (ExcErpt) . . . . . . . . . . . . . . . . 115

398 ■ Appendix D

Four-Part

Brahms, Johannes . . . . . . . . . . . . . . . . . . . . WEichE GräsEr im rEviEr, Op. 65, nO. 8 (ExcErpt frOm liEbEsliEdEr WaltzEs) . . . . 291 WEnn sO lind dEin auGE mir, Op. 52, nO. 8 (ExcErpt frOm liEbEsliEdEr WaltzEs) . . . . 255 Mozart, Wolfgang Amadeus . . . . . . . . . . . . aGnus dEi (ExcErpt frOm rEquiEm) . . . . . . 278 diEs iraE (ExcErpt frOm rEquiEm) . . . . . . . 313 Schubert, Franz . . . . . . . . . . . . . . . . . . . . . crEdO, d. 167 (ExcErpt frOm mass in G) . . . 332

Score Reading (Instrumental)

One Line

Alford, Kenneth . . . . . . . . . . . . . . . . . . . . . cOlOnEl bOGEy . . . . . . . . . . . . . . . . . . . . 114 American Folk Song . . . . . . . . . . . . . . . . . . OvEr thE rivEr (and thrOuGh thE WOOds) 203 Bizet, Georges . . . . . . . . . . . . . . . . . . . . . . . haba~ nEra (frOm carmEn) . . . . . . . . . . . . . 102 March of the Toreadors . . . . . . . . . . . . . 102 Elgar, Edward . . . . . . . . . . . . . . . . . . . . . . . pOmp and circumstancE . . . . . . . . . . . . . . 85 Haydn, Franz Joseph . . . . . . . . . . . . . . . . . thEmE frOm haydn’s trumpEt cOncErtO 37 Kinyon, John and John O’Reilly . . . . . . . . lullaby . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Lehár, Franz . . . . . . . . . . . . . . . . . . . . . . . . mErry WidOW Waltz . . . . . . . . . . . . . . . . 37 Mouret, Jean-Joseph . . . . . . . . . . . . . . . . . . rOndEau . . . . . . . . . . . . . . . . . . . . . . . . . 203 Mozart, Wolfgang Amadeus . . . . . . . . . . . . aria frOm thE marriaGE Of fiGarO . . . . 167 Schubert, Franz . . . . . . . . . . . . . . . . . . . . . thEmE frOm unfinishEd symphOny . . . . 156 Tchaikovsky, Peter Ilyich . . . . . . . . . . . . . . thEmE frOm march slav . . . . . . . . . . . . 156 Wagner, Richard . . . . . . . . . . . . . . . . . . . . . pilGrim’s chOrus (frOm tannhäusEr) . . . . 192

Two Lines

Dillon, Jacquelyn, James Kjelland and John O’Reilly . . . . . . . . . . . . . . . . . . Kinyon, John and John O’Reilly . . . . . . . . Spiritual . . . . . . . . . . . . . . . . . . . . . . . . . . . . United States . . . . . . . . . . . . . . . . . . . . . . . .

rainy day sOnG . . . . . . . . . . . . . . . . . . . 215 lOnEsOmE rOad bluEs . . . . . . . . . . . . . . 167 nOW thE day is OvEr . . . . . . . . . . . . . . . 114 thE EriE canal . . . . . . . . . . . . . . . . . . . . . 64

Three Lines

Beethoven, Ludwig van . . . . . . . . . . . . . . . symphOny nO. 7, Op. 92 (ExcErpt) . . . . . . 244 Germany . . . . . . . . . . . . . . . . . . . . . . . . . . . Waltz . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 O’Reilly, John and John Kinyon, arrs . . . . . thE carnival Of vEnicE . . . . . . . . . . . . . 193

String Quartets

Haydn, Franz Joseph . . . . . . . . . . . . . . . . . quartEt nO. 17 in f majOr, Op. 3, nO. 5 (ExcErpt frOm prEstO) . . . . . . . . . . . . . . . 253 quartEt nO. 17 in f majOr, Op. 3, nO. 5 (ExcErpt frOm schErzandO) . . . . . . . . . . . 279 Mozart, Wolfgang Amadeus . . . . . . . . . . . . quartEt nO. 4 in d minOr, k. 157 (ExcErpt) . . . . . . . . . . . . . . . . . . . 312 Schubert, Franz . . . . . . . . . . . . . . . . . . . . . quartEt in d minOr, d. 810 (ExcErpt frOm dEath and thE maidEn) . . . 333

Band

England (arr . O’Reilly) . . . . . . . . . . . . . . . . cOuntry GardEns (ExcErpt) . . . . . . . . . . . 338 Mozart, Wolfgang Amadeus (arr . O’Reilly) . . mOzart sErEnadE and dancE (ExcErpt) . . . . . . . . . . . . . . . . . . . . . . . . 178 O’Reilly, John . . . . . . . . . . . . . . . . . . . . . . . WOOdland OvErturE (ExcErpt) . . . . . . . . 388

Accompaniments

Instrumental

Bach, Johann Sebastian . . . . . . . . . . . . . . . Bach, Steve and John O’Reilly . . . . . . . . . . Kinyon, John and John O’Reilly . . . . . . . . MacDowell, Edward . . . . . . . . . . . . . . . . . .

march in G (cEllO) . . . . . . . . . . . . . . . . . 292 daWn Of a nEW day (f hOrn) . . . . . . . . . 216 a tOuch Of bluE (E  altO saxOphOnE) . . . 382 tO a Wild rOsE frOm WOOdland skEtchEs (b  clarinEt) . . . . 378 Traditional . . . . . . . . . . . . . . . . . . . . . . . . . . aura lEE (b  trumpEt) . . . . . . . . . . . . . . . . 49 WhEn jOhnny cOmEs marchinG hOmE (f hOrn) . . . . . . . . . . . . . . . . . . . . . . . . 380

Vocal

Albrecht, Sally K . and Jay Althouse . . . . . turn arOund . . . . . . . . . . . . . . . . . . . . . 384 Barden, Christine H . . . . . . . . . . . . . . . . . . . listEn and sinG nO. 4 . . . . . . . . . . . . . . 383 Concone, Guiseppe . . . . . . . . . . . . . . . . . . . daily vOcal ExErcisE, Op. 11, nO. 2 . . . . 386 vOcal lEssOn, Op. 9, nO. 2 . . . . . . . . . . . 387 Lunn, Marti and Lois Brownsey . . . . . . . . it’s autumn, all riGht (ExcErpt) . . . . . . . 86 Mozart, Wolfgang Amadeus . . . . . . . . . . . . sEhnsucht nach dEm frühlinGE, k. 596 . . 254 Schubert, Franz . . . . . . . . . . . . . . . . . . . . . hEidEnröslEin, d. 257; Op. 3, nO. 3 . . . . . . 169 Schumann, Robert . . . . . . . . . . . . . . . . . . . ich GrOllE nicht, Op. 48, nO. 7 (ExcErpt frOm diE dichtErliEbE) . . . . . . . . 330 Appendix D ■ 399

List of Compositions (Alphabetical by Title) S olo Repertoire

arabEsquE, Op. 100, nO. 2 . . . . . . . . . . . . . . baGatEllE, Op. 125, nO. 10 . . . . . . . . . . . . . . baGatEllE in a minOr, Op. 119, nO. 9 . . . . . dOrian tarantElla . . . . . . . . . . . . . . . . . . . fanfarE . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifErs, thE . . . . . . . . . . . . . . . . . . . . . . . . . . GiGa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GiGuE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GrEat smOky mOuntains, thE . . . . . . . . . . Gypsy EarrinGs . . . . . . . . . . . . . . . . . . . . . . lydian nOcturnE . . . . . . . . . . . . . . . . . . . . maplE lEaf raG . . . . . . . . . . . . . . . . . . . . .

Burgmüller, Johann . . . . . . . . . . . . . . . . 362 Diabelli, Anton . . . . . . . . . . . . . . . . . . . . 186 Beethoven, Ludwig van . . . . . . . . . . . . . 288 Vandall, Robert D . . . . . . . . . . . . . . . . . . 326 Kirnberger, Johann Philipp . . . . . . . . . . 347 Dandrieu, Jean François . . . . . . . . . . . . 346 Tingley, George Peter . . . . . . . . . . . . . . . 174 Telemann, Georg Philipp . . . . . . . . . . . . 221 Glover, David Carr . . . . . . . . . . . . . . . . . 370 Adams, Bret . . . . . . . . . . . . . . . . . . . . . . . 18 Vandall, Robert D . . . . . . . . . . . . . . . . . . 320 Joplin, Scott (arr . Lancaster/Renfrow) . . . . . . . . . . . 376

mEnuEt in G majOr (nOtEbOOk fOr anna maGdalEna) . . . . . . . . Bach, Johann Sebastian . . . . . . . . . . . . . 306 minuEt (thE first tErm at thE pianO) . . . . . . Bartók, Béla . . . . . . . . . . . . . . . . . . . . . . 365 minuEt in a minOr . . . . . . . . . . . . . . . . . . . Krieger, Johann . . . . . . . . . . . . . . . . . . . . 345 minuEt in c majOr, k. 73b; l. 217 . . . . . . . . Scarlatti, Domenico . . . . . . . . . . . . . . . . . 84 minuEt in d minOr . . . . . . . . . . . . . . . . . . . Mozart, Leopold . . . . . . . . . . . . . . . . . . . 208 minuEt in G majOr . . . . . . . . . . . . . . . . . . . Bach, Wilhelm Friedemann . . . . . . . . . 137 minuEt in G majOr . . . . . . . . . . . . . . . . . . . Haydn, Franz Joseph . . . . . . . . . . . . . . . 121 musEttE in d majOr (nOtEbOOk fOr anna maGdalEna) . . . . . . . . Bach, Johann Sebastian . . . . . . . . . . . . . 348 OvEr thE rainbOW (frOm thE m-G-m mOtiOn picturE The Wizard of oz) . . . . . . . . . . . . . Arlen, Harold and E . Y . Harburg . . . . . . 152 piOnEEr spirit, thE . . . . . . . . . . . . . . . . . . . Hartsell, Randall . . . . . . . . . . . . . . . . . . 196 plEasant mOrninG, a, Op. 63, nO. 1 . . . . . . Streabbog, Jean Louis . . . . . . . . . . . . . . . . 58 prEludE in c majOr (tWElvE littlE prEludEs), bWv 939 . . . . . . . Bach, Johann Sebastian . . . . . . . . . . . . . 108 prEludE in c majOr (thE WEll-tEmpErEd claviEr, bOOk 1) . . . . . Bach, Johann Sebastian . . . . . . . . . . . . . 350 prEludE in G minOr, Op. 37, nO. 6 . . . . . . . . Concone, Giuseppe . . . . . . . . . . . . . . . . 298 rEmEmbEr WhEn . . . . . . . . . . . . . . . . . . . . . Alexander, Dennis . . . . . . . . . . . . . . . . . 368 rOndO capricciO . . . . . . . . . . . . . . . . . . . . . Olson, Lynn Freeman . . . . . . . . . . . . . . 246 russian pOlka . . . . . . . . . . . . . . . . . . . . . . . Glinka, Mikhail Ivanovich . . . . . . . . . . . 361 sEascapE . . . . . . . . . . . . . . . . . . . . . . . . . . . Gillock, William L . . . . . . . . . . . . . . . . . 261 schErzO . . . . . . . . . . . . . . . . . . . . . . . . . . . . Weber, Carl Maria von . . . . . . . . . . . . . . 230 sEvEnth strEEt bluEs . . . . . . . . . . . . . . . . . Mier, Martha . . . . . . . . . . . . . . . . . . . . . . . 96 snEaky businEss . . . . . . . . . . . . . . . . . . . . . Mier, Martha . . . . . . . . . . . . . . . . . . . . . . 366 sOlfEGGiO in c minOr . . . . . . . . . . . . . . . . . Bach, Carl Philipp Emanuel . . . . . . . . . 275 sOnatina in c majOr, Op. 36, nO. 1 . . . . . . . . . Clementi, Muzio (first mOvEmEnt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 sOnatina in c majOr, Op. 39, nO. 1 (first mOvEmEnt) . . . . . . . . . . . . . . . . . . . . Lynes, Frank . . . . . . . . . . . . . . . . . . . . . . . 42 sOnatina in G majOr (first mOvEmEnt) . . . . Attwood, Thomas . . . . . . . . . . . . . . . . . 356 sOnG (fOr childrEn, vOlumE 1) . . . . . . . . . . . Bartók, Béla . . . . . . . . . . . . . . . . . . . . . . 364 sOnG fOr yOu, a . . . . . . . . . . . . . . . . . . . . . Rollin, Catherine . . . . . . . . . . . . . . . . . . 374 sOnG WithOut WOrds . . . . . . . . . . . . . . . . . Köhler, Louis . . . . . . . . . . . . . . . . . . . . . . 30 spinninG sOnG, Op. 14, nO. 4 . . . . . . . . . . . . Ellmenreich, Albert . . . . . . . . . . . . . . . . 358 study, Op. 108, nO. 12 . . . . . . . . . . . . . . . . . Schytte, Ludvig . . . . . . . . . . . . . . . . . . . . 70 thEmE and variatiOns (basEd On j. s. bach’s mEnuEt in G majOr) . . Lancaster, E . L . and Kenon D . Renfrow . . . . . . . . . . . . 162 tOccatina . . . . . . . . . . . . . . . . . . . . . . . . . . Ogilvy, Susan . . . . . . . . . . . . . . . . . . . . . 335

Duet Repertoire 400 ■ Appendix D

allEGrO in E minOr, Op. 149, nO. 28 (mElOdiOus piEcEs) . . . . . . . . . . . . . . . . . . . Diabelli, Anton . . . . . . . . . . . . . . . . . . . . 212

E nsemble Repertoire

Technical Exercises

Harmonizations (Titled)

Reading (Titled)

alExandEr’s raGtimE band . . . . . . . . . . . . battlE hymn Of thE rEpublic . . . . . . . . . . . by thE liGht Of thE silvEry mOOn . . . . . . . GivE my rEGards tO brOadWay . . . . . . . . . i lOvE a pianO . . . . . . . . . . . . . . . . . . . . . . . in thE GOOd Old summEr timE . . . . . . . . . . Old jOE clark . . . . . . . . . . . . . . . . . . . . . . . WE GathEr tOGEthEr . . . . . . . . . . . . . . . . .

Berlin, Irving . . . . . . . . . . . . . . . . . . . . . 241 United States . . . . . . . . . . . . . . . . . . . . . . 88 Edwards, Gus . . . . . . . . . . . . . . . . . . . . . 280 Cohan, George M . . . . . . . . . . . . . . . . . . 314 Berlin, Irving . . . . . . . . . . . . . . . . . . . . . . 38 Evans, George . . . . . . . . . . . . . . . . . . . . . 204 American Folk Song (arr . Vandall) . . . . 128 Netherlands . . . . . . . . . . . . . . . . . . . . . . 170

ExErcisE nO. 1 (thE virtuOsO pianist) . . . . . . ExErcisE nO. 2 (thE virtuOsO pianist) . . . . . . ExErcisE nO. 5 (thE virtuOsO pianist) . . . . . . ExErcisE nO. 7 (thE virtuOsO pianist) . . . . . .

Hanon, Charles-Louis Hanon, Charles-Louis Hanon, Charles-Louis Hanon, Charles-Louis

amazinG GracE . . . . . . . . . . . . . . . . . . . . . . auld lanG synE . . . . . . . . . . . . . . . . . . . . . black is thE cOlOr . . . . . . . . . . . . . . . . . . . blOW thE man dOWn . . . . . . . . . . . . . . . . . burlEskE . . . . . . . . . . . . . . . . . . . . . . . . . . . carElEss lOvE . . . . . . . . . . . . . . . . . . . . . . . charliE is my darlinG . . . . . . . . . . . . . . . . EmpErOr Waltz . . . . . . . . . . . . . . . . . . . . . . für ElisE . . . . . . . . . . . . . . . . . . . . . . . . . . . hE’s GOt thE WhOlE WOrld in his hands . i’m On my Way . . . . . . . . . . . . . . . . . . . . . . jOlly Old saint nichOlas . . . . . . . . . . . . . . just a clOsEr Walk . . . . . . . . . . . . . . . . . . kumbaya . . . . . . . . . . . . . . . . . . . . . . . . . . . lEt us brEak brEad tOGEthEr . . . . . . . . . . liEbEstraum nO. 3 . . . . . . . . . . . . . . . . . . . . mEEt mE in st. lOuis, lOuis . . . . . . . . . . . . mOrninG has brOkEn . . . . . . . . . . . . . . . . . muffin man, thE . . . . . . . . . . . . . . . . . . . . my bOnniE . . . . . . . . . . . . . . . . . . . . . . . . . . my hOmE’s in mOntana . . . . . . . . . . . . . . . O christmas trEE . . . . . . . . . . . . . . . . . . . . O sOlE miO! . . . . . . . . . . . . . . . . . . . . . . . . . passinG by (adaptEd) . . . . . . . . . . . . . . . . . . prEludE in a majOr, Op. 28, nO. 7 . . . . . . . . rEd rivEr vallEy . . . . . . . . . . . . . . . . . . . . rOndO a capricciO (raGE OvEr a lOst pEnny), Op. 129 (adaptEd ExcErpt) . . . . . . . rOsEs frOm thE sOuth . . . . . . . . . . . . . . . . sailOr’s sOnG . . . . . . . . . . . . . . . . . . . . . . . shall WE GathEr at thE rivEr? . . . . . . . . . shalOm, chavErin . . . . . . . . . . . . . . . . . . . . simplE Gifts (adaptEd) . . . . . . . . . . . . . . . . . sOnata in a majOr, k. 311 (ExcErpt) . . . . . . sOnata in c minOr, Op. 13 (adaptEd ExcErpt frOm third mOvEmEnt) . . . sWEEt bEtsy frOm pikE . . . . . . . . . . . . . . . . takE mE Out tO thE ball GamE . . . . . . . . . tEll mE Why . . . . . . . . . . . . . . . . . . . . . . . . tum balalaika . . . . . . . . . . . . . . . . . . . . . . Waltz in f majOr . . . . . . . . . . . . . . . . . . . . Waltz in f majOr, Op. 77, nO. 10 . . . . . . . . . WE thrEE kinGs (ExcErpt) . . . . . . . . . . . . . . . WE Wish yOu a mErry chistmas . . . . . . . . WhEn lOvE is kind . . . . . . . . . . . . . . . . . . .

United States . . . . . . . . . . . . . . . . . . . . . 290 Scotland . . . . . . . . . . . . . . . . . . . . . . . . . 112 United States . . . . . . . . . . . . . . . . . . . . . . 35 Traditional . . . . . . . . . . . . . . . . . . . . . . . 237 Mozart, Leopold . . . . . . . . . . . . . . . . . . . . 73 United States . . . . . . . . . . . . . . . . . . . . . 211 England . . . . . . . . . . . . . . . . . . . . . . . . . 300 Strauss, Johann . . . . . . . . . . . . . . . . . . . 200 Beethoven, Ludwig van . . . . . . . . . . . . . 237 Spiritual . . . . . . . . . . . . . . . . . . . . . . . . . . 72 United States . . . . . . . . . . . . . . . . . . . . . . 21 Traditional . . . . . . . . . . . . . . . . . . . . . . . 263 Spiritual . . . . . . . . . . . . . . . . . . . . . . . . . 141 Spiritual . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Spiritual . . . . . . . . . . . . . . . . . . . . . . . . . 238 Liszt, Franz . . . . . . . . . . . . . . . . . . . . . . . 285 Mills, Kerry . . . . . . . . . . . . . . . . . . . . . . 210 Gaelic Folk Melody . . . . . . . . . . . . . . . . 264 England . . . . . . . . . . . . . . . . . . . . . . . . . 142 Fuller, H . J . . . . . . . . . . . . . . . . . . . . . . . . 180 United States . . . . . . . . . . . . . . . . . . . . . 166 Traditional . . . . . . . . . . . . . . . . . . . . . . . 300 Capua, Eduardo di . . . . . . . . . . . . . . . . . . 74 Purcell, Henry . . . . . . . . . . . . . . . . . . . . 342 Chopin, Frédéric . . . . . . . . . . . . . . . . . . 154 United States . . . . . . . . . . . . . . . . . . . . . 111

allEGrO, Op. 117, nO. 18 (ExcErpt) . . . . . . . . allEmandE (ExcErpt) . . . . . . . . . . . . . . . . . . andantE (ExcErpt) . . . . . . . . . . . . . . . . . . . . andantinO (ExcErpt frOm lEs cinq dOiGts) . . . ariOsO (ExcErpt) . . . . . . . . . . . . . . . . . . . . . . baGatEllE . . . . . . . . . . . . . . . . . . . . . . . . . .

Gurlitt, Cornelius . . . . . . . . . . . . . . . . . . 299 Czerny, Carl . . . . . . . . . . . . . . . . . . . . . . 308 Bach, Johann Christian . . . . . . . . . . . . . . 20 Stravinsky, Igor . . . . . . . . . . . . . . . . . . . 251 Türk, Daniel Gottlob . . . . . . . . . . . . . . . 146 Türk, Daniel Gottlob . . . . . . . . . . . . . . . 176

. . . . . . . . . . . . . . . 68 . . . . . . . . . . . . . . 138 . . . . . . . . . . . . . . 258 . . . . . . . . . . . . . . 296

Beethoven, Ludwig van . . . . . . . . . . . . . . 99 Strauss, Johann . . . . . . . . . . . . . . . . . . . 236 Traditional . . . . . . . . . . . . . . . . . . . . . . . 236 Lowry, Robert . . . . . . . . . . . . . . . . . . . . . . 62 Israel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Shaker Hymn . . . . . . . . . 319, 323, 325, 329 Mozart, Wolfgang Amadeus . . . . . . . . . . 33 Beethoven, Ludwig van . . . . . . . . . . . . . 271 United States . . . . . . . . . . . . . . . . . . . . . . 48 Tilzer, Albert von . . . . . . . . . . . . . . . . . . 155 United States . . . . . . . . . . . . . . . . . . . . . 124 Israel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 Haydn, Franz Joseph . . . . . . . . . . . . . . . 223 Schubert, Franz . . . . . . . . . . . . . . . . . . . 180 Hopkins, John Henry . . . . . . . . . . . . . . . 190 Traditional . . . . . . . . . . . . . . . . . . . . . . . 252 Ireland . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Appendix D ■ 401

List of Compositions (Alphabetical by Title), continued

Score Reading (Choral)

chasE, thE Op. 100, nO. 9 (ExcErpt) . . . . . . . . chasE, thE (ExcErpt) . . . . . . . . . . . . . . . . . . . chOralE (ExcErpt) . . . . . . . . . . . . . . . . . . . . . chOralE (ExcErpt) . . . . . . . . . . . . . . . . . . . . . chOralE . . . . . . . . . . . . . . . . . . . . . . . . . . . . chOralE, Op. 68, nO. 4 (ExcErpt) . . . . . . . . . . chOralE (ExcErpt) . . . . . . . . . . . . . . . . . . . . . dancE (ExcErpt frOm fOr childrEn) . . . . . . . . dancE (ExcErpt frOm fOr childrEn) . . . . . . . . dancE, Op. 777, nO. 8 (ExcErpt) . . . . . . . . . . . dancE (ExcErpt) . . . . . . . . . . . . . . . . . . . . . . EcOssaisE (ExcErpt) . . . . . . . . . . . . . . . . . . . . EtudE, Op. 82, nO. 52 (ExcErpt) . . . . . . . . . . . EtudE, Op. 82, nO. 52 (ExcErpt) . . . . . . . . . . . EtudE, Op. 190, nO. 31 (ExcErpt) . . . . . . . . . . EtudE (ExcErpt) . . . . . . . . . . . . . . . . . . . . . . . EtudE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EtudE in a minOr, Op. 137, nO. 81 (ExcErpt) . EtudE in c majOr, Op. 160, nO. 14 (ExcErpt) . GErman dancE (ExcErpt) . . . . . . . . . . . . . . . GErman dancE (ExcErpt) . . . . . . . . . . . . . . . GErman dancE (ExcErpt) . . . . . . . . . . . . . . . GErman dancE (ExcErpt) . . . . . . . . . . . . . . . jinGlE bElls (ExcErpt) . . . . . . . . . . . . . . . . . . littlE bluEs, a . . . . . . . . . . . . . . . . . . . . . . lullaby (ExcErpt) . . . . . . . . . . . . . . . . . . . . . minuEt (ExcErpt) . . . . . . . . . . . . . . . . . . . . . . mOdEratO, Op. 101, nO. 70 . . . . . . . . . . . . . . mOdEratO, Op. 101, nO. 75 . . . . . . . . . . . . . . mOrninG GrEEtinG, Op. 130, nO. 1 (ExcErpt) . nOcturnE in f minOr, Op. 55, nO. 1 (adaptEd ExcErpt) . . . . . . . . . . . . . . . . . . . . prayEr (ExcErpt) . . . . . . . . . . . . . . . . . . . . . . prEludE (ExcErpt) . . . . . . . . . . . . . . . . . . . . . pyrEnEEs mElOdy (ExcErpt) . . . . . . . . . . . . . russian fOlk sOnG (ExcErpt) . . . . . . . . . . . . russian fOlk sOnG, Op. 107, nO. 7 (ExcErpt) . scalE study, Op. 117, nO. 19 (ExcErpt) . . . . . schErzO, sz. 52:82 (ExcErpt) . . . . . . . . . . . . . shEphErd pipEs, thE . . . . . . . . . . . . . . . . . . sOnatina in c majOr (ExcErpt) . . . . . . . . . . . sOnG (ExcErpt) . . . . . . . . . . . . . . . . . . . . . . . sOnG WithOut WOrds (ExcErpt) . . . . . . . . . . spanish dancE, Op. 61, nO. 10 (ExcErpt) . . . .

Burgmüller, Johann . . . . . . . . . . . . . . . . 176 Gurlitt, Cornelius . . . . . . . . . . . . . . . . . . . 31 Bertini, Henri-Jérôme . . . . . . . . . . . . . . . 141 Gurlitt, Cornelius . . . . . . . . . . . . . . . . . . 165 Neander, Joachim . . . . . . . . . . . . . . . . . . . 32 Schumann, Robert . . . . . . . . . . . . . . . . . 210 Schytte, Ludvig . . . . . . . . . . . . . . . . . . . . 98 Bartók, Béla . . . . . . . . . . . . . . . . . . . . . . . 46 Bartók, Béla . . . . . . . . . . . . . . . . . . . . . . 209 Czerny, Carl . . . . . . . . . . . . . . . . . . . . . . . 78 Pleyel, Ignaz J . . . . . . . . . . . . . . . . . . . . . 189 Hummel, Johann Nepomuk . . . . . . . . . . 299 Gurlitt, Cornelius . . . . . . . . . . . . . . . . . . 223 Gurlitt, Cornelius . . . . . . . . . . . . . . . . . . 234 Köhler, Louis . . . . . . . . . . . . . . . . . . . . . . 46 Lemoine, Henry . . . . . . . . . . . . . . . . . . . . 60 Schytte, Ludvig . . . . . . . . . . . . . . . . . . . 262 Bertini, Henri-Jérôme . . . . . . . . . . . . . . . . 31 Schytte, Ludvig . . . . . . . . . . . . . . . . . . . . 79 Beethoven, Ludwig van . . . . . . . . . . . . . 147 Beethoven, Ludwig van . . . . . . . . . . . . . 222 Beethoven, Ludwig van . . . . . . . . . . . . . 341 Haydn, Franz Joseph . . . . . . . . . . . . . . . 222 Pierpont, James . . . . . . . . . . . . . . . . . . . 109 Kowalchyk, Gayle and E . L . Lancaster . 164 Franck, César . . . . . . . . . . . . . . . . . . . . . 262 Telemann, Georg Philipp . . . . . . . . . . . . 199 Beyer, Ferdinand . . . . . . . . . . . . . . . . . . . 20 Beyer, Ferdinand . . . . . . . . . . . . . . . . . . 250 Gurlitt, Cornelius . . . . . . . . . . . . . . . . . . 140 Chopin, Frédéric . . . . . . . . . . . . . . . . . . 287 Gurlitt, Cornelius . . . . . . . . . . . . . . . . . . 309 Maykapar, Samuel . . . . . . . . . . . . . . . . . 200 Clementi, Muzio . . . . . . . . . . . . . . . . . . 251 Beethoven, Ludwig van . . . . . . . . . . . . . . 72 Beethoven, Ludwig van . . . . . . . . . . . . . 341 Gurlitt, Cornelius . . . . . . . . . . . . . . . . . . . 71 Bartók, Béla . . . . . . . . . . . . . . . . . . . . . . 149 Salutrinskaya, Tat’iana . . . . . . . . . . . . . 177 Duncombe, William . . . . . . . . . . . . . . . . 188 Diabelli, Anton . . . . . . . . . . . . . . . . . . . . 148 Spindler, Fritz . . . . . . . . . . . . . . . . . . . . . 71 Oesten, Theodore . . . . . . . . . . . . . . . . . . 235

Two-Part autumn (ExcErpt frOm thE sEasOns) . . . . . . . a child Of sOnG (adaptEd ExcErpt) . . . . . . . . piratE’s lifE, thE (adaptEd ExcErpt) . . . . . . . siEh, WiE ist diE WEllE klar, Op. 52, nO. 14 (ExcErpt frOm liEbEsliEdEr WaltzEs) . . . . . . sOnG Of jOy (ExcErpt) . . . . . . . . . . . . . . . . . . ubi caritas Et amOr (adaptEd ExcErpt) . . . . WhO Will bE a WitnEss? (adaptEd ExcErpt) .

Haydn, Franz Joseph . . . . . . . . . . . . . . . . 65 Herring, Derryl and Andy Beck . . . . . . . . 36 Donnelly, Mary and George L . O . Strid . . . 87 Brahms, Johannes . . . . . . . . . . . . . . . . . 103 Althouse, Jay . . . . . . . . . . . . . . . . . . . . . . 87 Albrecht, Sally K . . . . . . . . . . . . . . . . . . . 50 Traditional Spiritual (arr . Moore) . . . . . 103

Three-Part cElEstial music (ExcErpt) . . . . . . . . . . . . . . danny bOy (ExcErpt) . . . . . . . . . . . . . . . . . . diE himmEl ErzählEn diE EhrE GOttEs (adaptEd ExcErpt frOm thE crEatiOn) . . . . . . diEs iraE (adaptEd ExcErpt frOm rEquiEm) . . . . Ein klEinEr, hübschEr vOGEl, Op. 52, nO. 6 (ExcErpt frOm liEbEsliEdEr WaltzEs) . . . . . . GlOria tibi (ExcErpt) . . . . . . . . . . . . . . . . . . GlOry tO GOd (ExcErpt frOm Messiah) . . . . . . hark, damOn, hark (ExcErpt) . . . . . . . . . . .

402 ■ Appendix D

Handel, George Frideric . . . . . . . . . . . . 218 Old Irish Air (arr . Knowles) . . . . . . . . . . 115 Haydn, Franz Joseph . . . . . . . . . . . . . . . 240 Mozart, Wolfgang Amadeus . . . . . . . . . 202 Brahms, Johannes . . . . . . . . . . . . . . . . . 132 Donnelly, Mary and George L . O . Strid . . 168 Handel, George Frideric . . . . . . . . . . . . 191 Handel, George Frideric . . . . . . . . . . . . 157

Four-Part aGnus dEi (ExcErpt frOm rEquiEm) . . . . . . . . . crEdO, d. 167 (ExcErpt frOm mass in G) . . . . diEs iraE (ExcErpt frOm rEquiEm) . . . . . . . . . . WEichE GräsEr im rEviEr, Op. 65, nO. 8 (ExcErpt frOm liEbEsliEdEr WaltzEs) . . . . . . WEnn sO lind dEin auGE mir, Op. 52, nO. 8 (ExcErpt frOm liEbEsliEdEr WaltzEs) . . . . . .

Score Reading (Instrumental)

Mozart, Wolfgang Amadeus . . . . . . . . . 278 Schubert, Franz . . . . . . . . . . . . . . . . . . . 332 Mozart, Wolfgang Amadeus . . . . . . . . . 313 Brahms, Johannes . . . . . . . . . . . . . . . . . 291 Brahms, Johannes . . . . . . . . . . . . . . . . . 255

One Line aria frOm thE marriaGE Of fiGarO . . . . . . cOlOnEl bOGEy . . . . . . . . . . . . . . . . . . . . . . haba~ nEra (frOm carmEn) . . . . . . . . . . . . . . lullaby . . . . . . . . . . . . . . . . . . . . . . . . . . . . march Of thE tOrEadOrs . . . . . . . . . . . . . . mErry WidOW Waltz . . . . . . . . . . . . . . . . . OvEr thE rivEr (and thrOuGh thE WOOds) . . . pilGrim’s chOrus (frOm tannhäusEr) . . . . . . pOmp and circumstancE . . . . . . . . . . . . . . . rOndEau . . . . . . . . . . . . . . . . . . . . . . . . . . . thEmE frOm haydn’s trumpEt cOncErtO . . thEmE frOm march slav . . . . . . . . . . . . . . thEmE frOm unfinishEd symphOny . . . . . . .

Mozart, Wolfgang Amadeus . . . . . . . . . 167 Alford, Kenneth . . . . . . . . . . . . . . . . . . . 114 Bizet, Georges . . . . . . . . . . . . . . . . . . . . . 102 Kinyon, John and John O’Reilly . . . . . . . 85 Bizet, Georges . . . . . . . . . . . . . . . . . . . . . 102 Lehár, Franz . . . . . . . . . . . . . . . . . . . . . . . 37 American Folk Song . . . . . . . . . . . . . . . 203 Wagner, Richard . . . . . . . . . . . . . . . . . . . 192 Elgar, Edward . . . . . . . . . . . . . . . . . . . . . . 85 Mouret, Jean-Joseph . . . . . . . . . . . . . . . . 203 Haydn, Franz Joseph . . . . . . . . . . . . . . . . 37 Tchaikovsky, Peter Ilyich . . . . . . . . . . . . 156 Schubert, Franz . . . . . . . . . . . . . . . . . . . 156

Two Lines EriE canal, thE . . . . . . . . . . . . . . . . . . . . . . lOnEsOmE rOad bluEs . . . . . . . . . . . . . . . . . nOW thE day is OvEr . . . . . . . . . . . . . . . . . rainy day sOnG . . . . . . . . . . . . . . . . . . . . .

Three Lines

United States . . . . . . . . . . . . . . . . . . . . . . 64 Kinyon, John and John O’Reilly . . . . . . 167 Spiritual . . . . . . . . . . . . . . . . . . . . . . . . . 114 Dillon, Jacquelyn, James Kjelland and John O’Reilly . . . . . . . . . . . . . . . . 215

carnival Of vEnicE, thE . . . . . . . . . . . . . . . O’Reilly, John and John Kinyon, arrs . . . 193 symphOny nO. 7, Op. 92 (ExcErpt) . . . . . . . . . Beethoven, Ludwig van . . . . . . . . . . . . . 244 Waltz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Germany . . . . . . . . . . . . . . . . . . . . . . . . . 126

String Quartets quartEt in d minOr, d. 810 (ExcErpt frOm dEath and thE maidEn) . . . quartEt nO. 4 in d minOr, k. 157 (ExcErpt) . . . . . . . . . . . . . . . . . . . . . . . . . . quartEt nO. 17 in f majOr, Op. 3, nO. 5 (ExcErpt frOm prEstO) . . . . . . . . . . . . . . . . . quartEt nO. 17 in f majOr, Op. 3, nO. 5 (ExcErpt frOm schErzandO) . . . . . . . . . . . . .

Schubert, Franz . . . . . . . . . . . . . . . . . . . 333 Mozart, Wolfgang Amadeus . . . . . . . . . 312 Haydn, Franz Joseph . . . . . . . . . . . . . . . 253 Haydn, Franz Joseph . . . . . . . . . . . . . . . 279

Band cOuntry GardEns (ExcErpt) . . . . . . . . . . . . . England (arr . O’Reilly) . . . . . . . . . . . . . . 338 mOzart sErEnadE and dancE (ExcErpt) . . . . Mozart, Wolfgang Amadeus (arr . O’Reilly) 178 WOOdland OvErturE (ExcErpt) . . . . . . . . . . O’Reilly, John . . . . . . . . . . . . . . . . . . . . . 388

Accompaniments

Instrumental

aura lEE (b trumpEt) . . . . . . . . . . . . . . . . . Traditional . . . . . . . . . . . . . . . . . . . . . . . . 49 daWn Of a nEW day (f hOrn) . . . . . . . . . . . Bach, Steve and John O’Reilly . . . . . . . 216 march in G (cEllO) . . . . . . . . . . . . . . . . . . . Bach, Johann Sebastian . . . . . . . . . . . . . 292 tO a Wild rOsE frOm WOOdland skEtchEs (b trumpEt) . . . . . . . . . . . . . . . . . . . . . . . McDowell, Edward . . . . . . . . . . . . . . . . 378 tOuch Of bluE, a (E  altO saxOphOnE) . . . . . Kinyon, John and John O’Reilly . . . . . . 382 WhEn jOhnny cOmEs marchinG hOmE (f hOrn) Traditional . . . . . . . . . . . . . . . . . . . . . . . 380

Vocal daily vOcal ExErcisEs, Op. 11, nO. 2 . . . . . . hEidEnröslEin, d. 257; Op. 3, nO. 3 . . . . . . . . ich GrOllE nicht (ExcErpt frOm diE dichtErliEbE) it’s autumn, all riGht (ExcErpt) . . . . . . . . listEn and sinG nO. 4 . . . . . . . . . . . . . . . . . sEhnsucht nach dEm frühlinGE, k. 596 . . . turn arOund . . . . . . . . . . . . . . . . . . . . . . . vOcal lEssOn, Op. 9 nO. 2 . . . . . . . . . . . . . .

Concone, Guiseppe . . . . . . . . . . . . . . . . 386 Schubert, Franz . . . . . . . . . . . . . . . . . . . 169 Schumann, Robert . . . . . . . . . . . . . . . . . 330 Lunn, Marti and Lois Brownsey . . . . . . . 86 Barden, Christine H . . . . . . . . . . . . . . . . 383 Mozart, Wolfgang Amadeus . . . . . . . . . 254 Albrecht, Sally K . and Jay Althouse . . . 384 Concone, Guiseppe . . . . . . . . . . . . . . . . 387 Appendix D ■ 403

Index Accompaniments Instrumental �� 49, 216, 292, 378, 380, 382 Vocal �� 86, 169, 254, 330, 383, 384, 386, 387 Accompaniment Patterns Alberti bass �� 46, 60, 72, 90, 109, 122, 262, 263, 269 Block chord �� 61, 62, 73, 98, 99, 100, 101, 110, 111, 113, 122, 123, 124, 125, 190, 200, 211, 214, 223, 224, 235, 239, 271, 285, 287, 300, 308, 309, 311, 319, 323, 325, 329, 341 Broken chord �� 61, 62, 63, 71, 73, 78, 79, 90, 101, 109, 110, 111, 123, 125, 140, 141, 142, 154, 166, 180, 188, 190, 201, 214, 224, 234, 236, 237, 239, 252, 263, 269, 271, 287, 300, 308, 310, 311, 319, 342 Waltz bass �� 63, 78, 113, 124, 147, 154, 166, 180, 200, 201, 210, 211, 222, 236, 237, 252, 271, 325 Alto clef �� 192 Arpeggio Diminished seventh groups �� 283, 295, 304, 340 Dominant seventh groups �� 229, 249, 260, 274 Fingering (major) �� 14, 29, 44, 56, 69, 81, 95, 107, 119, 136, 150, 159, 390 Fingering (minor) �� 14, 29, 44, 56, 69, 81, 95, 107, 119, 136, 150, 159, 391 Fingering (diminished seventh) �� 207, 229, 249, 274, 392 Fingering (dominant seventh) �� 106, 120, 151, 160, 392 Major (Group 1) �� 185, 260 Major (Group 2) �� 198, 273 Major (Group 3) �� 207, 283 Minor (Group 1) �� 220, 295 Minor (Group 2) �� 233, 305 Minor (Group 3) �� 250, 340 Baroque period �� 146

Modulation to relative minor �� 228, 257 Modulation to subdominant �� 195, 220 Neapolitan sixth �� 286, 294 i–iv–i–V7–i (harmonic minor keys) �� 55 I–IV–I–V7–I (major keys) �� 53–54 I–IV–V7/V–V7–I �� 105 I–V7/IV–IV–V7–I �� 105 I–ii6–I64–V7–I �� 82 I–vi–IV–ii6–I64–V7–I �� 83

I–V7/ii–ii–V7–I �� 118 I–V7/iii–iii–V7–I �� 118 I–V7/vi–vi–V7–I �� 118 I–V7/vi–vi–V7/IV–IV– V7/ii–ii–iio6–I64–V7–I �� 117 ii7–V7–I �� 304, 334

Chords Augmented �� 9–10 Augmented sixth �� 268 Diatonic seventh chords �� 94, 134 Diatonic triads �� 15 Diatonic triads and inversions �� 27 Diminished �� 9–10 Dominant seventh chords �� 52, 92 Dominant seventh chords and inversions �� 53 First inversion (triads) �� 26 French sixth �� 284 German sixth �� 268 Italian sixth �� 270 Letter names �� 26 Major �� 9–10 Minor �� 9–10 Neapolitan sixth �� 286 Primary �� 52 Roman numerals �� 26 Secondary dominant �� 105, 117 Second inversion (triads)�� 26 Secondary �� 77 Seventh �� 92–94, 135 Triads �� 9

Chorales �� 21, 32, 80, 98, 141, 165, 210, 285, 309

Classical period �� 147

Chord Progressions French sixth �� 284, 294 German sixth �� 268, 294 Italian sixth �� 270, 294 Major-augmented-major- minor-diminished �� 10, 67 Modulation to dominant �� 184, 220 Modulation to relative major �� 228, 257

Dominant �� 15, 52 Forms Rondo �� 246 Sonata �� 41 Theme and variation �� 158 Three-part form (ternary) �� 208

404 ■ Index

Contemporary period �� 149

Glossary �� 393–395

Hanon exercises �� 68, 138–139, 258–259, 296–297 Harmonization Dorian mode �� 325 Lydian mode �� 319 Mixolydian mode �� 323 Phrygian mode �� 329 Seventh chords �� 100, 142 Single tone �� 21–22, 32–33, 47–48, 100, 142 Tonic and dominant �� 72, 224 Tonic, dominant and subdominant �� 61–62, 73 Tonic, dominant and supertonic �� 78, 211, 309, 310 Tonic, dominant and mediant �� 154 Tonic, dominant, subdominant and supertonic �� 154, 166, 300 Tonic, dominant, subdominant and mediant �� 79 Tonic, dominant, subdominant, supertonic and submediant �� 80, 180, 342 Tonic, dominant, subdominant, submediant and mediant �� 252, 300 Tonic, dominant, supertonic and submediant �� 263 Tonic, dominant and V7/V �� 110, 142 Tonic, dominant and V7/IV �� 141 Tonic, dominant, V7/V and V7/ii �� 190 Tonic, dominant, subdominant and V7/V �� 224 Tonic, dominant, subdominant and V7/IV �� 111, 141, 166, 201, 211 Tonic, dominant, subdominant, V7/V and V7/IV �� 111 Tonic, dominant, subdominant, supertonic and V7/V �� 180 Tonic, dominant, subdominant, supertonic and V7/IV �� 310 Tonic, dominant, subdominant, supertonic, V7/V and V7/ii �� 223 Tonic, dominant, subdominant, submediant, V7/V and V7/vi �� 210 Tonic, dominant, subdominant, mediant and V7/III �� 190 Tonic, dominant, subdominant, supertonic, submediant, mediant, V7/V and V7/vi �� 252 Tonic, dominant, supertonic and V7/ii �� 123, 154, 237 Tonic, dominant, supertonic, V7/V and V7/IV �� 342

Tonic, dominant, supertonic, submediant and V7/vi �� 200 Tonic, dominant, supertonic, mediant, V7/ii, V7/vi and V7/iii �� 236 Tonic, dominant, subdominant, submediant, V7/V, V7/vi and V7/ii �� 124 Tonic, dominant, subdominant, submediant, mediant and V7/V �� 263 Tonic, dominant, submediant and V7/V �� 99 Tonic, dominant, submediant and V7/vi �� 236 Tonic, dominant, submediant, mediant and V7/III �� 124 Tonic, dominant, mediant and V7/III �� 237 Tonic, dominant, submediant and German sixth �� 269 Tonic, dominant, submediant and Neapolitan sixth �� 287 Tonic, dominant, V7/V, V7/ii, V7/vi and French sixth �� 285 Tonic, dominant, subdominant, V7/IV and Italian sixth �� 271 Triads and inversions �� 32–33, 47–48 Two-hand accompaniment �� 35, 74, 112, 155, 238, 264, 290

Improvisation Baroque style �� 189 Chord symbols �� 34, 63, 90, 101, 113, 125, 214, 239, 269, 271, 311 Classical style �� 195 Contemporary style �� 289 Dorian mode �� 325 Lydian mode �� 319 Mixolydian mode �� 323 Phrygian mode �� 329 Romantic style �� 289 Twelve-bar blues �� 57 Intervals Altered �� 16 Augmented �� 16–17 Diminished �� 16–17 Major �� 16–17 Minor �� 16–17 Perfect �� 16–17 Key signatures Major �� 11 Minor �� 12 Leading tone �� 15 List of compositions �� 396–403 Mediant �� 15, 77, 79

Modes Aeolian �� 317 Dorian �� 324–327 Ionian �� 317 Lydian �� 318–321 Mixolydian �� 322–323 Phrygian �� 328–329 Modulation �� 184 Playing by Ear �� 64 Reading �� 20–21, 31–32, 46–47, 60–61, 71–72, 78–80, 98–99, 109–110, 122–123, 140–141, 146–149, 164–165, 176–177, 188–189, 199–200, 209–210, 222–223, 234–235, 250–251, 262, 269, 271, 285, 287, 299, 308–309, 341

One-line (instrumental) �� 37, 85, 102, 114, 156, 167, 192 String quartet �� 253, 279, 312, 333 Two-lines (choral) �� 36, 50, 65, 87, 103 Two-lines (instrumental) �� 64, 114, 167, 215 Three-lines (choral) �� 115, 132, 157, 168, 191, 202, 218, 240 Three-lines (instrumental) �� 126–127, 193, 244

Secondary dominants �� 105, 117 Sonata form �� 41 Subdominant �� 15, 52 Submediant �� 15, 77

Relative minor �� 12 Review worksheets �� 23–24, 75–76, 143–144, 181–182, 225–226, 265–266, 301–302, 343–344 Romantic period �� 148 Rondo form �� 246 Scales Blues �� 57 Fingering (harmonic minor) �� 14, 29, 44, 56, 69, 81, 95, 107, 119, 136, 150, 159, 391 Fingering (major) �� 14, 29, 44, 56, 69, 81, 95, 107, 119, 136, 150, 159, 390 Harmonic minor �� 13, 173 Harmonic minor (Group 1) �� 219, 295 Harmonic minor (Group 2) �� 233, 305 Harmonic minor (Group 3) �� 250, 340 Harmonic minor (Review) �� 173 Major �� 12, 173 Major (Group 1) �� 184, 260 Major (Group 2) �� 198, 273 Major (Group 3) �� 206, 283 Major (Review) �� 173 Melodic minor �� 13 Natural minor �� 13 Relative minor �� 13 Tetrachord �� 12 Score reading Band �� 178–179, 338–339, 388–389 Four-lines (choral) �� 255, 278, 291, 313, 332

Supertonic �� 15, 77, 78 Style periods �� 146 Technique �� 28, 45, 68, 82–83, 106, 135, 138–139, 151, 160–161, 185, 232–233, 258–259, 272, 296–297, 305 Theme and variation form �� 158 Three-part form (ternary) �� 208 Tonic �� 15, 52 Transposing Instruments B  clarinet �� 37, 64, 114, 126, 378 B  trumpet �� 37, 49, 193 E  alto saxophone �� 85, 102, 114, 126, 382 F horn �� 156, 167, 193, 216, 380–381 Viola (alto clef) �� 192, 203, 215, 244, 253, 279, 312, 333 Triads of the key Dorian mode �� 324 Harmonic minor keys �� 15 Harmonic minor keys (inversions) �� 27 Inversions �� 67 Lydian mode �� 318 Major keys �� 15 Major keys (inversions) �� 27 Mixolydian mode �� 322 Phrygian mode �� 328 Twelve-bar blues �� 57 Vocal Exercises �� 193, 386, 387 Index ■ 405

Alfred's Group Piano Book 2

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