Terms of use By purchasing The Rocket Piano series - you agree to the following following You will use The Rocket Piano series, Chordinator, Keycelerator, Perfect Your Your Pitch Pro, Jayde Musica, Advanced Learning Techniques for Piano and other Rock Star Recipes Ltd products and services for your personal and private use only. The Rocket Piano series, Chordinator, Jayde Musica, Advanced Learning Techniques for Piano remain the property of Rock Star Recipes Ltd. and may not be resold, repackaged or otherwise transferred. Course and bonus product materials may not be duplicated or distributed in any way without expressed, written permission from Rock Star Recipes Ltd. Rock Star Recipes Ltd. retains all rights to these products. Copyright, © 2004 Rock Star Recipes Ltd. Acknowledgments. The Rocket Piano series was created on behalf of Rock Star Recipes LTD. Author & Music: Ashleigh Southam. Edit & Graphic Design: Unica Design LTD Multimedia Content: Rock Star Recipes Studios Publisher: Rock Star Recipes LTD
Terms of use By purchasing The Rocket Piano series - you agree to the following following You will use The Rocket Piano series, Chordinator, Keycelerator, Perfect Your Your Pitch Pro, Jayde Musica, Advanced Learning Techniques for Piano and other Rock Star Recipes Ltd products and services for your personal and private use only. The Rocket Piano series, Chordinator, Jayde Musica, Advanced Learning Techniques for Piano remain the property of Rock Star Recipes Ltd. and may not be resold, repackaged or otherwise transferred. Course and bonus product materials may not be duplicated or distributed in any way without expressed, written permission from Rock Star Recipes Ltd. Rock Star Recipes Ltd. retains all rights to these products. Copyright, © 2004 Rock Star Recipes Ltd. Acknowledgments. The Rocket Piano series was created on behalf of Rock Star Recipes LTD. Author & Music: Ashleigh Southam. Edit & Graphic Design: Unica Design LTD Multimedia Content: Rock Star Recipes Studios Publisher: Rock Star Recipes LTD
Welcome to Rocket Piano’s Intermediate Piano Course! A Personal Message from Me Welcome back to Rocket Piano! In this book you’re going to learn more about chord progressions, new key and time signatures, dynamic signs, and much, much more! You’ll learn how to reach those tricky notes with ease using my hand positioning techniques. You’ll also have over fteen original compositions to play, as well as popular songs like “Amazing Grace” and “House of the Rising Sun.” Don’t forget to listen to the nearly 30 audio tracks included. This book also continues on with all new Jam Tracks for you to play along with a real band! I’ve also included the New Rocket Piano Pia no Progress Tracker so that you can have a checklist of all the techniques you can expect to learn in the course. It is also a Record of Learning for when you nish whether you want to revise your skills or just show off to your friends all the amazing skills and techniques that you have learned! Once you have mastered a lesson or skill tick t ick it off on the Progr Progress ess Tracker, Tracker, and move on to the next lesson! Commit yourself to ticking off the skills you learn as you go and see your improvement instantly!
Are you ready?
R�t�
01
23 Listen to a personal message from Ruth
01
Every time you see one of these buttons, play the relevant video or track!
Page 3
Table Contents Welcome!................................................................. 3 A Personal Message from Me ................................. 3 Rocket Piano Progress Tracker ............................... 5 Chapter One ...........................................................6 Review of Chord Progressions ................................ 6 She’ll be Comin’ Round the Mountain ..................... 6 Shifting Inversions ...................................................7 New Hand Technique: 2nd Finger Over Thumb ...... 8 Re-cap of Rhythmic Notation................................... 9 8th Note Triplets ....................................................10 Counting 8th Note Triplets .....................................10 Jam Track Six ........................................................ 14
Chapter Four ........................................................37 Seventh Chords..................................................... 37 Dominant 7th Chords.............................................39 Minor 7th Chords ...................................................40 Minor 7 Flat 5 Chords ............................................ 41 Recap of 7th Chords..............................................41 7th Chords in I, IV, V Progressions ........................ 42 Non Troppo Allegretto............................................ 43 Sforzando ..............................................................45 Jam Track Nine......................................................46
Chapter Five ........................................................48 Three-note 7th Chords ..........................................48 Adding Inversions .................................................. 50 Dominant Chords in Four Keys .............................51 Andantino .............................................................. 52 Chapter Two .........................................................16 Jam Track Ten ....................................................... 54 A New Time Signature ...........................................17 Another Key Signature: B Flat Major ..................... 18 Chapter Six...........................................................56 Primary Triads in B Flat Major ............................... 19 Key of E Minor .......................................................56 Amazing Grace ...................................................... 20 E Harmonic Minor Scale ........................................57 The A Major Scale .................................................21 E Melodic minor scale ...........................................57 Primary Triads in A major.......................................22 Primary Triads in E Harmonic Minor ...................... 58 Play it Faster: Vivace.............................................23 Revision Test: Part Four ........................................ 62 Revision Test: Part Three ...................................... 24 Revision Test: Part Four continued.. ...................... 63 Revision Test: Part Three continued...................... 25 Revision Test: Part Four Answers.......................... 64 Revision Test: Part Three Answers........................ 26 So Long! ................................................................65 Jam Track Seven ................................................... 27 Chapter Three ......................................................28 More Signs that Modify Notes ...............................28 The E Flat Major Scale ..........................................30 Primary Triads in E Flat Major ............................... 31 Play it Slower: Largo..............................................32 Playing the Scales over Two Octaves ................... 33 Arpeggios over Two Octaves................................. 34 Pedal Practice .......................................................35 Jam Track Eight ..................................................... 36
Page 4
Rocket Piano Progress Tracker Lesson or Skill
Page # Date Signature
Shifting inversions New Hand technique: 2 Finger Over Thumb 8th note triplets A New Time Signature: 6/8 Key Signature: B at major Primary triads in B at major The A major scale Primary triads in A major Performance direction: Vivace Accents Staccato & Staccatissimo Playing in unison The E at major scale Primary triads in E at major
............ ............ ............ ............ ............ ............ ............ ............ ............ ............ ............ ............ ............ ............
Performance direction: Largo Playing scales over two octaves Playing arpeggios over two octaves
............ ............ ............
Pedal practice: Ped___ Seventh chords Dominant 7th chords 7th chords in a I IV V progression Three note 7th chords 7th chord inversions Dominant chords in:G In: F In: D In: Bb Performance direction: Andantino Key of E minor E harmonic Minor scale E melodic minor scale Primary chords in E harmonic minor
Page 5
............. ............. ............. ............. ............. ............. ............. ............. ............. ............. ............. ............. ............. .............
......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... .........................
............. ............. ............. ............ .............
......................... ......................... ......................... .........................
............ ............ ............ ............ ............ ............ ............ ............ ............ ............ ............ ............ ............ ............
......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... ......................... .........................
............. ............. ............. ............. ............. ............. ............. ............. ............. ............. ............. ............. ............. .............
Chapter One Review of Chord Progressions In Chapter 17 of the previous Rocket Piano book, you learned about chord progressions; the series of primary triads that begin on the rst, fourth, and fth notes of a scale. In this chapter, you will learn a few more pieces with a I, IV, V progression in order to familiarize yourself with this important sequence.
Exercise:
This piece is a I, IV, V progression in the key of G major. Practice identifying the chords as you play.
She’ll be Comin’ Round the Mountain
01
Allegro
= 126
2
5
1
5
1
3
1 3 5
6
5
3
1 3 5
2
2
3
5
1
3
1 3 5
1 3 5
10
1
5
1 4
4 1 3 5
3
2 1 3 5
Page 6
Shifting Inversions You should be comfortable with chord and chord inversions. Now let’s look at shifting inversions and the difference in sound they can make. You may have noticed that a chord in root position always sounds very grounded and stable, while the same chord played in the various inversions has a very different quality. The more you play chords, the more you’ll notice their tonal qualities . C major in root position and inversions in the right hand
Root position
1st inversion
2nd inversion
Root position
(with the root note C at the top)
(with the 3rd note E at the top)
(now an octave higher)
Here are the same inversions for the left hand.
Root position
Exercise:
2nd inversion
Root position
(with the root note C at the top)
(with the 3rd note E at the top)
(now an octave higher)
Practice chord inversion with the following piece.
Moderato 1
6
1st inversion
3 5 1
1 3 5 1
2 5 1 3
2 5 1 3
02
5 1 3 5
3 1 5 3 4 1 5 1
5 1 3 5
3 1 5 3
Page 7
5 3 2 1
New Hand Technique: 2nd Finger Over Thumb At this stage, the pieces that you’re playing are going to demand more technical ngering and frequent hand position changes. To hit all the notes in a piece more easily, try this technique. When six notes occur in a row in the melody of a piece, let your 2nd nger go over the thumb. 2 finger goes over
24
Exercise:
Practice putting your 2 nger over the thumb with this piece. 03
Allegretto 2 1
1
1 3 5
5
1 3 5
2 1
1
2 1
1
1 2 5
1 3 5
2 1
1
1 2 1
9
1 5
13
1 5
1 4
1 2 1
2 5
1 4
1 2 1
2 5
1 4
Page 8
1 3 5
Re-cap of Rhythmic Notation It was a long, long time ago that you learned about rhythmic notation, so here’s a brief re-cap to refresh your memory. Notice the new names for the quarter, half, whole, etc. notes. They are more difcult to remember but are used often, so it is important to be familiar with both. Whole note or breve (4 beats)
Written as a single note
Half note or minim (2 beats)
Whole note rest
Written as a single note
Quarter note or crotchet (1 beat)
8th note or quaver (½ beat)
16th note or semi-quaver (¼ beat)
Half note rest
Written as a single note
Quarter note rest
Written as a single note
Written as a single note
Page 9
8th note rest
16th note rest
8th Note Triplets Eight note triplets occur when there are three 8th notes played in the time of two 8th notes, or one quarter note. When you play a triplet, then, you will spread the playing of the three notes evenly across the time it would take to play a quarter note. When 8th note triplets are written, a small number ‘3’ appears above or below the group of notes. triplet sign
25 Remember ... three 8th note triplets = one quarter note OR two 8th notes.
=
=
OR
Counting 8th Note Triplets When counting 8th note triplets, you count: one-and-then, two-and-then, three-and-then, four-and-then
Exercise:
Clap the beats and count aloud the rhythm and also try clapping the rhythm and counting aloud the beats.
one-and-then two-and-then three-and-then four-and-then
one
two
three four
one-and-then two three-and-then four
Listen to the following track, which will familiarize you with the sound of triplets.
04
Page 10
Exercise:
Try playing triplets with this piece.
05
Andante moderato 5
3
4 3
1 3
2 1
2 3
4
1 3
2 4
3 5
5
Exercise:
Here’s a small piece just for the L.H to practice 8th note triplets. When notes in the L.H appear like this and have a repetitive pattern, the following can be called a bass line.
06
5
Page 11
Exercise: This piece has a few 8th note triplets, so take it slowly at rst to get your ti ming right. Then, speed up as you get the hang of it.
07
Moderato = 96
5
6
5
11
4
16
5
3
2
5
1
3 2
2
5
5 3
1
3
4
1
2
5
3
2
5
4
5
1
3
5 3
3
Page 12
2
1
4
2
3
5 3
4
5
4
5
2
2
5
3 4
1
Exercise:
This piece also has a bass line in it. The bass line is the repetitive melodic line in the L.H. Again, play slowly at rst until you feel comfortable with the piece. It is a good idea to practice with each hand separately before putting them together. Start by learning how to play the L.H (or bass line), then add the R.H.
08
Andante = 78
3
5 5
1 3 1
5 2
5
5 3
4 1
5 3
4 1
3
5
1
1
9
13
16
1
5
1
5
1
5
5
5 3 1
5 Page 13
WE’RE JAMMIN’! Jam Track Six Exercise:
This Jam Track requires you to use the 2 nger over thumb technique that you have been learning. Practice through your piano part a few times, before jamming it out with the Rocket band!
06 Swing 5
4 3 2 1
1
2
5
3 5
1 2
1
6
11
5
4 3 2
5
5
1
3 4
5
4 2 2
1 2 1
16
1
3 1
5
5
1
4 2 1
1
2
3 3 4
5
3 1
5
continued on next page..
Page 14
2 22
4 2
1 2 3
2
4
3 1
5
4 2
4
1
28
5
4
1
2
5
4 2
3 1
2
3 1
2 32
5 3
3 1
1
2
4
5 5
3 3
5
2 1
3 1
4
5
2
1
Now let’s all try playing together. Listen to this track, and play along on your piano!
Page 15
06x
5 3
Chapter Two A New Time Signature By now you should be able to play time signature: .
,
, and
time. In this chapter, we’ll look at a new
Normal bars and measures are counted by notes that can be divided evenly in half. With time, however, the beat is represented by dotted notes (like ) and thus gets divided evenly into threes. A bar may consist of two dotted quarter notes ( ) or six 8th notes ( ). Basically, the on top means the bar gets divided up into 6, while the means that an 8th note gets one beat.
on the bottom
This means that this time signature is quite different from those we’ve looked at before. All the previous time signatures you’ve seen (with a at the bottom) take the quarter note as the standard for one beat, which makes an eighth note last for half a beat. Now, the eighth note is the standard for one beat. This means that all the other note values change correspondingly. Here is a list of the new values of our notes when played in
=
‘one’ beat instead of a half beat =
‘one-two’ beats instead of one beat =
=
time.
‘one-two-three-four-ve-six’ instead of three beats. The dotted half note now makes up a whole bar in time.
‘one-two-three’ beats now instead of one and a half. This also divides the bar into half, so two dotted quarter notes make up a bar in time.
Exercise:
Clap the beat and count the rhythm of this exercise in
one two three four five six
one two three four five six
one-two
Page 16
three four-five
time. six
one-two-three
four five six
Exercise:
Most pieces in time are played quite fast, but for this piece - as with a lot of others - it is okay to play it slowly when you’re rst learning, then speed up. It’s much more important to get the notes and rhythm correct than to play it fast straight away.
09
Allegro = 120
4
1
5
2
3
5
4
3
1 3 5
1 3 5
6
4
3
5
1 3 5
1 3 5
11
4
2
4
5
3 2 1 3 2 1
5
4
1 3 5
16
2
3
4
5
4
5
3
2
1
2
3
4
1 3 5
19
5
3
2
1
3
5
4
1 3 5
Page 17
5
4
3
1
Another Key Signature: B Flat Major Now, you’re ready to learn another key signature: that of B major. B major has two ats in it, B and E . Below, you can see how this key signature is indicated on the staff. Remember that any major scale can be created by two tetr achords joined by a whole note (Chapter 13 of the previous book). Therefore, the two tetrachords starting on B will make the B major scale. Use the same R.H. ngering to play B major as you do in F major. The R.H ngering will go: 1, 2, 3, 4, 1, 2, 3, 4 , both ascending and descending. The thumb will go under the 4 nger on ascending, and on descending the 4 nger will go over the thumb. Here’s the scale ascending.
R.H. key signature
2
1
1
4
3
W W H first tetrachord
W
3
2
4
W W H second tetrachord
joined
L.H. key signature
5
4
2
3
W W H first tetrachord
2
3
1
1
W
W W H second tetrachord joined
Exercise:
Here is the scales with both hands ascending and descending. Play over it several times slowly to begin with. Pay particular attention to the R.H ngering. 10 1
2
5
4
3
3
4
1
2
3
4
4
3
2
1
4
3
2
1
2
1
3
2
1
1
2
3
1
2
3
4
5
Page 18
Primary Triads in B Flat Major The three primary triads in B major are B , E , and F.
Position 1st note 4th note 5th note
R.H.
Triad B major E major F major
I 3
2
1
IV
V
4
5 F
E
B
Chord I IV V
6
7
8
Here is the I, IV, V chord progression in B major for the L.H, with the chords in the root position.
L.H. I 1
2
3
B
IV
V
4
5
E
F
This time the same progression except now with the inversions we’ve used previously when looking at the primary chords.
L.H.
I 1
2
3
B (root position)
Exercise:
IV
V
4
5
E (1st inversion)
Now play the inversions with both hands.
Page 19
F (2nd inversion)
11
Exercise:
This piece has the same chords as the I, IV, V progression but in a different order than what you’ve been playing. This time, the chord progression goes: I, IV, I, V. Try to identify the chords and their names in reference to their place in the progression.
Amazing Grace
12
Moderato = 88
1
4
5
2
4
1 3 5
1 3 5 5
2
1
1 3 5 9
3
13
1
5
4
4
5
Page 20
2
The A Major Scale Now that you’ve mastered the B at scale, you’re ready for another: the A major scale. The A major scale has three sharps in it: F , C , and G . Take a look at the ascending A major scale for both hands below. Remember that you can create the A major scale yourself by using the two major tetrachords joined by a whole note principle.
R.H. key signature
2
1
3
4
1
2
3
4
W W H W W W H first tetrachord second tetrachord joined L.H. key signature
5
4
3
2
1
3
2
1
W W H W W W H first tetrachord second tetrachord joined
Exercise:
Play through the A major scale with both hands ascending and descending. Use the normal ngering for the major scales.
13
1
2
3
1
2
3
4
5
5
4
3
2
1
3
2
1
5
4
3
2
1
3
2
1
1
2
3
1
2
3
4
5
Page 21
Primary Triads in A major The three primary triads in A major are A, D, and E. Position 1st note 4th note 5th note
Triad A major D major E major
Chord I IV V
R.H. I 3
IV
V
4
5
6
7
8
2 E D A Here is the same progression for the L.H with the chords in the root position. 1
L.H.
I 1
2
3
IV
V
4
5 E
D
A
Again, the same progression, except this time with the inversions.
L.H.
I 1
2
3
IV
V
4
5
A
D
(root position)
E
(1st inversion)
(2nd inversion)
You can vary how you play the I, IV, V progression by using the inversions differently, which will give the progression a different type of quality in the chords. As you already know, a chord that isn’t played in the root position usually has a sense of m ovement about it. On the other hand, a chord played in the root position feels more grounded. If you use the inversions differently, you can shift the progression in terms of the range in which it is played. Look at the example below, in which inversions of the I chord are played. These inversions change what inversions you will use to play the other chords, as well as making the chord type easier to hear. Remember: if a chord is played too low on the keyboard, it loses quality, denition and becomes unclear.
I A
IV
D
V E
I
A
(1st inversion) (2nd inversion) (root position) (1st inversion)
I
IV
A
D
I A
V
E
I A
(1st inversion) (1st inversion) (1st inversion) nd (root position) (2 inversion)
Page 22
Play it Faster: Vivace Vivace is the next tempo indicator you’ll learn. It means to play the piece lively and quick. It is a faster tempo than allegro, so vivace is now the fastest tempo you’ve played.
Exercise:
Try this piece. Remember what the staccato dot means? (If you don’t, refer to Chapter 9 of the Beginner book.)
14
Vivace = 132
5
3
2 1
1
1
4
6
3
5
11
3
5
5
5
1 1
3 5
16
2
2 5
1
1
4
Page 23
2 2
3
2 1
1
5 4
1 3
5
3
4
2 4
5 1
1 3 5
Revision Test: Part Three 1. If the root position of the C chord is made up of C E G in that order, what is the 1st inversion of the C chord made up of? a. C G E b. E G C c. E C G d. G C E
2. How many 8th note triplets t into a measure of 4/4? a. 4 b. 8 c. 12 d. 16
3. What does 6/8 at the beginning of a piece indicate? a. there are eight 6th notes per measure b. there are six 8th notes per stave c. there are six 8th notes per measure d. there are 6 sharps and 8 ats in the key signature.
4. What is in the key signature of Bb major? a. Bb b. Bb and Eb c. A# and D# d. 5 ats
5. What are the sharps in the key of A major? Name them in order of their appearance on the stave from left to right. a. C# F# G# b. C# G# c. F# C# G# d. F# C#
Page 24
Revision Test: Part Three continued.. 6. What does the term vivace mean? a. play lively and quick b. play slow and solemn c. gradually getting faster d. play sweetly 7. What is the dening characteristic of a harmonic minor scale? a. it has no sharps or ats b. the descending scale is different to the ascending scale c. it has a raised 7th note d. it is played with harmony in 3rds
8. What is the dening characteristic of a melodic minor scale? a. it has no sharps or ats b. the descending scale is different to the ascending scale c. it has raised 7th note d. it is the opening melody of the song “House of the Rising Sun” 9. What is the dening characteristic of a natural minor? a. it has no sharps or ats b. it has the same key signature as it’s relative major c. it has the same key signature as E melodic minor d. it played only on black notes
Page 25
Revision Test: Part Three Answers 1. (b) The rst inversion of the C major chord is E G C (pg 7) 2. (c) There are three 8th note triplets for every quarter note, so 3x4=12 (pg 10) 3. (c) The 6/8 time signature indicates that there are six 8th notes to be played in each measure. (pg 14) 4. (b) The key signature of Bb major contains Bb and Eb. (pg 16) 5. (c) The key of A major contains the sharps C# F# and G#. They are written on the stave from left to right as, F#, C#, G#. (Remembering that the sharps are placed on the key signature beginning with F# and going up a 5th each time a sharp is added.) (pg 19) 6. (a) Vivace means to play vivaciously, meaning lively and quick. (pg 21) 7. (c) The Harmonic Minor has a raised 7th in addition to it’s key signature. (pg 142 Beginner book) 8. (b) The Melodic Minor is different descending from ascending. Ascending it has a raised 6th and 7th, and when descending the 6th and 7th become natural again. (pg 142 Beginner Book) 9. (b) The Natural Minor has the same key signature as it’s relative Major which is located a minor 3rd up from the Natural Minor scales root note. (pg 141 Beginner Book)
Page 26
WE’RE JAMMIN’! Jam Track Seven Exercise:
This Jam Track is in the key of B at major, and uses the time signature you’ve been learning about. Practice through your piano part a few times, before jam ming it out with the Rocket band!
07 Slow
3
4
1
5 2
1 2 1
1 5 5
4 2
3 1
3
2 1 2
4
3
4 1
2
1 5 9
13
5
5 3
4
3
1
2
4
2
2
5
1.
1
3
3 1
5
5
2
2.
5 3 1 1 5
3
2
Listen to this track, and play along with us!
Page 27
07x
3
4
Chapter Three 26
More Signs that Modify Notes Here are a few more signs that you should know. They are less frequent than the other signs we’ve looked at but they’re important to know in case they come up in any of the pieces.
Play it Louder: You’ve seen the sign before. It is an accent sign, which tells you that you should play that note louder . You may also see a sign above or an sign below a note. Both mean the same as an accent sign.
Play it a Little Less Staccato:
Dots inside a slur mean that the notes should be played slightly staccato (in other words, a little bit less staccato than when the notes have ordinary staccato dots).
Play it a Lot More Staccato: The sign is a wedge sign. When you see this sign, play the note super staccato. In other words, play the note as briey as possible. This is referred to as staccatissimo.
Play it a Bit Harder:
-
The sign means the note is to be played with slightly more pressure to it.
-
Page 28
Exercise: Note the section below where the R.H and L.H play the same notes and same rhythm, but an octave apart. This is called playing in unison. Vivace
= 128
5
15
5 3 2 1
1
6
5
5 4 3 2
4
1
5
5 4 3 2 1
5 10
4
1
15
5
5
5 4 3 2
4
5 2
5
1 5 19
4
1 2
3 24
1
1
4
1
1
3 5
3
5 1 1 3 2
Page 29
4 1
The E Flat Major Scale The next scale for us to look at is the scale of E
major. E major has three ats:
E , B ,A .
R.H. key signature 1
2
3
4
1
2
3
4
W W H W W W H first tetrachord second tetrachord joined
L.H.
key signature 5
4
1
2
3
1
2
3
W W H W W W H first tetrachord second tetrachord joined
OR written this way, an octave lower
5
4
3
2
1
3
2
1
W W H W W W H first tetrachord second tetrachord joined
Exercise:
Play through the E major scale with both hands ascending and descending.
16 1
2
3
1
2
3
4
5
5
4
3
2
1
3
2
1
5
4
3
2
1
3
2
1
1
2
3
1
2
3
4
5
Page 30
Primary Triads in E Flat Major The three primary triads in E major are E , A , and B .
Position 1st note 4th note 5th note
R.H.
Triad E major A major B major
I
1
3
2
Chord I IV V
IV
V
4
5
6
7
8
B A E Here is the same progression for the L.H. with the chords in the root position.
L.H.
I
1
2
3
E The same progression with the inversions:
L.H.
I
1
2
3
E
IV
V
4
5
A
B
IV
V
4
5 B
A
(root position)
(2nd inversion)
(1st inversion)
This time, when playing the I, IV, V progression, try using different inversions in different hands. It creates a different quality; the sound becomes more full. Try playing the standard inversions in both hands and then the different inversions in different hands and notice the tonal quality difference. 17
I
IV
V
I
I
IV
V
I
(1st inversion)
(root position)
(2nd inversion)
(1st inversion)
(root position)
(2nd inversion)
(1st inversion)
(root position)
V
I
V
I
I
IV
(root position)
(2nd inversion)
(1st inversion) (root position)
I
IV
(2nd inversion)
(1st inversion)
Page 31
(root position) (2nd inversion)
Play it Slower: Largo Now that you’ve learned to play fast ( vivace), it’s time to learn how to play slowly. Largo is another tempo indicator that means to play slower than adagio, or in a slow and stately way. In fact, largo is the slowest tempo you have played thus far.
Exercise:
Practice this tempo with the following piece.
18
Largo = 58
2
1
1
5
4 3
2
13 5 6
1
1 4
5
2
4 3
1
5
13 5 11
2
5
3
5
1
5 16
5
2
1 2
1
4
5 21
4
4
3
1
3
4
1 3 5
5
Page 32
1
Playing the Scales over Two Octaves
27
You’re now ready to try playing scales over not just one octave, but two. You’re going to need a new hand technique for this one. You’ll have to cross your thumb under your 4 nger after playing the rst octave. Once the thumb has been repositioned, it can cover the second octave. Here, the 1 thumb goes under the 4 nger so that the rest of the notes in the two octaves can be reached. 1
1
3
2
2
1
4
3
1
3
2
2
3
4
5
1
3
2
1
Now, on the descending, the 4 nger has to cross over the hand to make all the notes accessible. 5
4
3
2
1
3
4
1
2
3
2
Now, let’s apply the same technique to the left hand. On the ascending L.H scale, the 4 nger goes over the hand, making the rest of the notes accessible. 5
4
3
1
2
3
1
2
4
3
3
1
2
1
2
Finally, on the descending scale, the 1 thumb goes under the hand so that the hand is positioned to get all the notes in both octaves. 3 1
2
3
4
1
2
3
1
2
3
4
5
1
Exercise: Now, try playing the scales in unison with two octaves.
Then go back and play the other scales you’ve learned so far with both hands and two octaves. These exercises are important to learn because they familiarize you with the scales and can also be used to warm up the ngers before playing.
Page 33
Arpeggios over Two Octaves Now that you know how to play scales covering two octaves, you need to know how to play arpeggios covering two octaves. Let’s start with the right hand. This time, the 1 thumb has to go under the 3 nger as the right hand ascends. Upon descending, the 3 nger will have to go over the the 1 thumb. Now the 3 nger goes over the 1 thumb
1 thumb goes under the 3 nger
R.H.
1
2
3
1
2
3
5
3
2
1
3
2
1
The same principle applies to the left hand, except reversed. On ascending, the 3 nger will go over the 1 thumb. Upon descending, the 1 thumb will go under the 3 nger.
3 nger goes over the 1 thumb
L.H.
5
Exercise:
3
2
1
3
2
1
Now the 1 thumb goes under the 3 nger
2
3
1
2
3
5
Now try both hands together. Go slowly until you get the hang of it.
Exercise:
Once you’ve gotten the hang of playing two octave arpeggios in C major, try playing two octave arpeggios in all the other keys, using the same ngering.
Page 34
Pedal Practice
28
In the Chapter 11, of the beginner book, you learned how to use the pedal. The pedal sign may be modied with small upward arrows, as seen above. These tell you to release the pedal then press down again, so that you’re only releasing it for a moment.
Exercise: Practice with the following piece. Note the dynamic sign. Dolce is a performance indicator that means to play sweet and soft. 19
Dolce
5
10
15
19
= 63
5
3 1
3
3 1
3
5
3
5
4
5
3
4
5
5
5
5
1
Page 35
3
5
5
1
WE’RE JAMMIN’! Jam Track 8 Exercise:
This Jam Track is a great opportunity for you to practice accented and stac cato notes within a band context! Practice through your piano part a few times, before jamming it out with the Rocket band!
08 5 1
3
3 5
3 1
9
13
5 3
4 2
1
3
3
1
3 1
5
4
2 4 4
5
1 3
5 2 1
1.
2.
5 3 1
5 3 1
5 2 1
3
Play this track, to jam with the band!
Page 36
5
08x
Chapter Four Seventh Chords All the chords you’ve played so far have had at most three stacked notes. Now, you’re ready to add one more note to create a 7th chord. A 7th chord is created by adding another note to an already existing triad. It gets its name because the additional note is a 7th interval above the root note of the chord.
7th note 5th note 3rd note root note
As you can see, the 7th chord is named because there is a 7th interval in the chord.
Here is the 7th interval without the other chordal notes.
7th chords create a more complex type of harmony within the chord. The additional note adds harmonic complexity as well as making the chord more distinct. Now, let’s take a look at the left hand. The chord below is a C major 7th chord . It is built up from the C note in the root. It has a C major triad in it and a 7th note at the top. 7th note 5th note 3rd note root note
Seventh chords, like triads, can be major or minor. For now, think about the 7th chords that appear in the key of C major. The ngering for playing 7th chords is:
R.H. L.H.
1, 2, 3, 5 5, 3, 2, 1
or or
1, 2, 4, 5. 5, 4, 2, 1.
29
At this stage use the ngering that is most comfortable for you. The ngering that appears on the music is simply a guide. 5 3 2 1
5 3 2 1
1 2 3 5
1 2 3 5
Familiarize yourself with 7th chords by playing through the seventh chords of notes in C major. It is quite a stretch, so don’t worry if you have to go quite slowly to start with.
Page 37
Exercise:
Practice seventh chords with the following piece.
20
Moderato = 84
5
2
1 2 3 5 5
4
5
2
1
5
4 2
1
1 2 3 5 9
13
17
21
5
5
3
1
3
4
5
3
1
4
5
5
4
5
3
5
Page 38
1
1
5
Dominant 7th Chords
30
Before you go further, you need to know about dominant 7th chords. It is when a minor 7th interval is added to the major V chord. It is called the Dominant 7 chord because adding the minor 7th gives it a dominant pull towards the I (1) chord. In the I, IV, V progression that you already know, the V chord will be played as a dominant 7th chord. Below is an example using the C major key. Notice that the V chord (G major) now appears as a dominant 7th chord (V7). The notes in a G major dominant chord are G, B, 7 I V D, F. So...
C
G is the root note. B is the 3rd note. D is the perfect 5th. F is the 7th note.
G
A dominant 7th chord is normally used on the V chord of a progression.
Here are the dominant 7th chords in a few of the major scales: 7
V
I
I
In C major , G is the V chord, so G becomes the dominant 7th chord.
I
V7
In G major , D is the V chord, so D becomes the dominant 7th chord.
I
V7
In F major , C is the V chord, so C becomes the dominant 7th chord.
Page 39
V7
In B major , F is the V chord, so F becomes the dominant 7th chord.
Minor 7th Chords Minor 7th chords are a snap once you understand dominant 7th chords. Basically, a minor 7th chord is a dominant 7th chord with a attened 3rd note. To get a minor 7th chord, take the major 7th chord. Flatten the 7th note (which makes it a dominant 7th). Then, atten the 3rd note. Look at the example below.
C minor 7th chord (root position)
7 5 3 1
● The 7th note, B , is a minor 7th away from C. ● The 5th note, G, is a perfect 5th away from C. ● The 3rd note, E , is a minor 3rd away from C. This gives the chord its minor quality. ● The root note is C. Relative to the root note, a minor 7th chord goes 1, 3, 5, 7. It looks like a minor triad with a minor 7th on top.
Page 40
Minor 7 Flat 5 Chords This is the last 7th chord you’ll learn in this book. With the addition of this chord, you’ll have the vocabulary you need to cover the 7th chords in any major key. Minor 7 at 5 chords are written minor 7 5 for short. To create one of these chords, all you have to do is take the existing minor 7 chord (1, 3, 5, 7) and atten the 5th. In other words, it will look like this: 1, 3, 5, 7 These chords sound quite unusual, and it may take a while to get used to how they sound. Here is an example. This is a C minor 7 5 chord in the root position.
C minor 7 flat 5 (root position)
7 5 3 1
● The 7th note, B , is a minor 7th away from C. ● The 5th note is now attened from G to G . This note gives the chord its unique sound. ● The 3rd note, E , is a minor 3rd away from C. This gives the chord its minor quality. ● The root note is C. Relative to the root note, a minor 7 at 5 chord goes 1, 3, 5, 7. It looks like a regular minor 7 chord with a attened 5th note.
Recap of 7th Chords Here’s a brief recap of the chords you have learned to play so far: ● ● ● ●
Major 7th chord: Dominant 7th chord: Minor 7th chord: Minor 7 5 chord:
1, 3, 5, 7 1, 3, 5, 7 1, 3, 5, 7 1, 3, 5, 7
To learn more about 7th chords go to the Rocket Piano Introduction to Jazz Piano book.
Page 41
7th Chords in I, IV, V Progressions Now that you understand how to create a dominant 7th chord, you can put 7th chords into the I, IV, V chord progression that you already know. This creates a I, IV, V7th chord progression. Let’s try creating this chord progression now in the key of C major.
I
IV
V7
I
I
IV
V7
I
Be careful when playing 7th chords. Because of the new added notes -- and especially if the chords are played lower down the keyboard -- the chords can sound muddy and unclear. To avoid this, play the inversions of the chords. The same inversion principle that you learned with triads will apply, except now that there are more notes, the inversions will be a little more tricky. Here are the inversions of the C major 7th chord for the right hand. Because there are now four notes in every chord, there are also four different inversions to play:
C major 7th chords with all inversions
R.H.
root position
1st inversion
2nd inversion
3rd inversion
• root position • 1st inversion • 2 nd inversion • and now a new position, the 3rd inversion.
Here are the same inversions for the left hand. Notice that the last inversion, the 3rd, has to be played down an octave. This is because it would be too high to play in the L.H.at this stage. The third inversion still has the same notes as a 3rd inversion C major 7 chord, but is simply an octave lower.
L.H.
root position
1st inversion
2nd inversion
3rd inversion
Page 42
(played down an octave)
Non Troppo Allegretto In this next piece, all the chords are inversions of a C major 7th chord. This will get you used to their sounds and shapes. Note the new dynamic sign. Non troppo allegretto is Italian for “not too much allegretto,” or not too fast. (The word troppo means ‘too much,’ while the word non means ‘not.’ So non troppo means, ‘not too much.’)
Exercise:
Play this piece slowly, or adagio, to begin with, then get up to speed.
21
Non troppo allegretto
1
3
1
3
1
mf
1 2 3 5
1 2 3 5
1 2 3 5
6
1
3
1
3
4
5
3
5 3
1
2
1 2 3 5
11
1
5
3
1
2
1
3
5
3
1 2 3 5
Page 43
On the following page, you’ll play a piece with the I, IV, V progression in C major using the seventh chords. You’ll also note that the V 7 chord (G7) is played with an inversion instead of in root position. This is because the root position would be too low and cause the chord to sound muddy and unclear. Study the four positions of the G dominant 7th chord for the left hand below.
L.H.
root position
1st inversion
2nd inversion
3rd inversion
When the G dominant 7 chord appears, play it in the second inversion. This makes the chord more clear and gets all the tonal qualities of the chord.
Exercise:
Play the inversions below until you are familiar with the sound qualities of the
7th chords. 5 3 2 1
1 2 3 5
root position
2nd inversion
Sforzando To play the piece on the next page, you also need to know what sforzando or sforzato means. Whenever you see the abbreviations sfz or sf appear in the musical score, you should play in a forced and accented way. This is considered an expression mark and is similar to playing notes with accents signs (>) over them. It’s just a different way of writing the direction.
Page 44
Non troppo vivace
22
5
1
1
1
2
5
4
mp 1 2 3 5
1 3 5
6
2
1
4
5
4 5
1
1 2 3 5
1 3 5
13
4
2
1
1 3 5
20
5
3
2
4
3
mp 1 2 3 5
25
1
3
3
4 1
1 2 3 5
1 3 5
Page 45
WE’RE JAMMIN’! Jam Track Nine Exercise:
This Jam Track is a great opportunity for you to practice the seventh chords you’ve been learning. Practice through your piano part a few times, before jamming it out with the band!
09 Dolce
1
5 1
5
2
2
4
4
5 1
5
3
2
1
5
1
3 5
9
3
5
2
3
3
5
3
3
1
3
1
continued on the next page..
Page 46
5
5
3
13
5 3 1
5 2 1
5 2 1
5 2 1
5 3 1
4 3 1
5 3
4
2
18
5 3 1
4
4 2
5 3 1
1
3
Play this track to get Jammin’!
Page 47
5 5 2 1
1 5
09x
Chapter Five 31
Three-note 7th Chords
7th chords don’t always come in groups of four. Sometimes, you will omit one of the notes and play only three notes of the chord. But which three? The most important notes of the 7th chord are the 3rd, 7th, and root note. You can usually remove the 5th note in the chord while still maintaining the quality of the 7th chord. This is because the 5th adds no real tonal quality. To hear how this works, play the 7th chords in the C major scale below and listen carefully. The 5th note has been removed from each chord.
R.H.
5 3 1
5 3 1
When you remove the 5th, you’ll nd that 7th chords become easier to play and slightly less cumbersome. Now, try playing the same chords with the left hand.
L.H. 1 3 5
1 3 5
As you play, you’ll notice that the lower chords sound quite muddy and unclear. Do you also hear the change that happens when you remove the 5th note in the 7th chord?
Page 48
Exercise:
Play through this progression slowly to get used to the shape, sound and nger position of the 7th chords with the 5th note omitted.
23 5 3 1
5 3 1
1 3 5
1 3 5 5 3 1
6
1 3 5
Page 49
Adding Inversions Now that you understand how to play 7th chords with the 5th note omitted, you’re ready to look at inversions. Just like the other chords, 7th chords with the omitted 5th note also have inversions. Because there are only three notes, there are only three possible positions. Below are the C major 7th chords in the three positions with their 5th notes omitted. root position
1st inversion
2nd inversion
root position
root position
1st inversion
2nd inversion
root position
Now, see if you can use the same rule with the dominant 7th chord. Below is an example of the G dominant 7 chord in the three positions, omitting the 5th note.
root position
1st inversion
2nd inversion
root position
root position
1st inversion
2nd inversion
root position
Page 50
Dominant Chords in Four Keys Now, it’s time to look at the other dominant chords of the keys you’ve learned so far. Remember that the dominant chord is always the V chord from the 5th note in whatever major scale. Also, note the key signature for each key. key.
Key of G major
1st root position inversion
2nd root inversion position
Here is the D dominant 7 chord omitting the 5th note in three inversions. D is the the V chord in the key of G major. root 1st position inversion
root 1st position inversion
2nd root inversion position
2nd root inversion position
Key of F major
Here is the C dominant 7 chord in the 3 positions omitting the 5th note. C is the V chord in the the key of F major. root 1st position inversion
2nd inversion
root position
Page 51
root 1st position inversion
2nd root inversion position
Here is the A dominant 7 chord in all the 3 positions omitting the 5th note. A is is the V chord in the key of D major.
Key of D major
root 1st position inversion
root 1st position inversion
2nd inversion
2nd inversion
root position
root position
Key of B major
Here is the F dominant 7 chord played in the 3 positions omitting omitting the 5th note. F is the V chord in the key of B major. root 1st position inversion
2nd inversion
root position
Andantino Andantino is another tempo indicator. It’s a bit confusing, as it usually means to play slightly faster than andante, but can also mean to play slightly slower. Be certain by checking the metronome mark (the = 78 below) to make sure that you’re playing the piece at the right tempo.
Page 52
Exercise:
This piece shows the inversion of the dominant V 7th chords with the 5th omitted in context with the I chord relative to it. There are many key changes in this piece, so just go slowly and notice the inversions of each chord.
Andantino
24 = 78
5 3 2
1
1 3 5 6
4 2 1
4 3 1
5
1
1 2 3
3 5 2 1
5 3 2
5 4 1
1 3 5 5 3 2
11
5
1 3 5
1
1 2 5
1 3 5 5 2 1
16
5 4 1
1 2 5 4 2 1
1 3 5
Page 53
5
1 2 3
WE’RE JAMMIN’! Jam Track Ten Exercise:
In this Jam Track you will be able to put to use all that you have learned about 3 note 7th chords in this chapter. Practice through your piano part a few times, before jamming it out with the Rocket band! This song uses a weird looking sign called a ‘Coda’. It means you miss out the middle section when you repeat the song, by skipping to the end part where the Coda is. Listen to this example track to see how it is played.
10
9
4 2
5
1
4
13
3
5
5 3 1
2 1
4
5
4 2
1
1
Continued on next page..
Page 54
2 18
5
23
4
1
5 3
2
1
5
3
5 2 1
5 3
Let’s play it together! Listen to this track and play along.
Page 55
10x
Chapter Six The nal key that you’ll learn in this book is E minor. You learned about minor keys in Chapter 18 of the previous book. You should recall that every minor key is relative to a major key. In fact, the sixth note of every major key is the starting note of its relative minor. Both relative major and minor keys share the same key signature.
Key of E Minor The relative major key of E minor is G major, because E is the 6th note in the G major scale. The notes in E minor are the same as the notes in G major. The key signature for G major tell us that it has one sharp in it, F . 6th note of the scale, E
Key signature
G major
1
2
3
4
5
6
7
8
To create the natural minor key, use the same notes as in G major, but start the scale on the sixth note (in this case, E).
Here is the same scale, down an octave in the L.H.
You may also recall that there are three minor scales: the natural minor, harmonic minor, and melodic minor. The natural minor has all the same notes of the relative major scale. You can see that the E natural minor scale below shares the same notes (and key signature) as the G major scale.
Page 56
E Harmonic Minor Scale In the harmonic minor scale, the seventh note is raised a half step (or up a semi-tone. To create the E harmonic minor scale, the seventh note, D, gets raised to D . E harmonic minor scale
7th note raised by a semi-tone to D
The harmonic minor is the commonly used minor scale. So, when looking at E minor, we will refer to the harmonic minor.
E Melodic minor scale The last minor scale is the melodic minor . The melodic minor scale uses different notes depending on whether the scale is ascending or descending. On ascending scale, the sixth and seventh notes are raised a half step. The sixth note, C, becomes C , while the seventh note, D, becomes D . On the descending scale, you will play the same notes in the natural minor scale. In other words, the sixth note (C) and seventh note (D) will now be played as naturals. E melodic minor scale ascending scale
descending scale
6th and 7th notes 6th and 7th notes raised to C# and D# return to naturals
Page 57
Primary Triads in E Harmonic Minor Now that you understand the scale of E harmonic minor, you can use the same process as before to form the primary chords for this key. The only difference is that you will play the V chord as a dominant 7th chord in the most suitable inversion. The primary chords of E minor are E minor, A minor, and B major.
Position 1st note 4th note 5th note
Triad E minor 7 A minor 7 B dominant 7
R.H 7
i
1
2
3
iv7
V7
4
5
Chord i7 iv7 V7
6
7
8
A minor 7 B dominant 7
E minor 7
The V chord triad in E harmonic minor is B major. Now that we have learned dominant 7th chords, we can add the seventh to turn this V chord into a V7 chord. Here is the same progression for the left hand.
L.H
i7
1
2
3
iv7
V7
4
5
6
7
8
A minor 7 B dominant 7
E minor 7
Here is an example of a i, iv, V chord progression with some inversions and some with the 5th omitted. i minor7 iv minor7
25 V dominant
7
Page 58
Exercise:
Practice chords with the following piece.
26
Moderato = 90
4 5 2 1
3 2 1 1 2 3
1 3 5
1 3 5
1 5
5
5
5
2
1
5 3 1
1 2 3 9
1 3 5
1 3 5
5
5
3 2 1
1 3 5
5 13
5 2 1
5 3 1
1 2 3
5 17
4
5 21
1
1
5
Page 59
Exercise:
Here’s another song for you to practice on.
27
House of the Rising Sun
Moderato = 96 1
5
1 3 5
5 8
1 1 3 5
1 3 5
14
5 1 1 3 4
21
1 3 5
1 3 5
27
5 1 1 3 4
1 3 4
Page 60
Revision Test: Part Four 1. Name all the notes included in the scale of Eb major? a. Eb, F, Gb, Ab, B, C, Db, Eb b. Eb, F, G, Ab, Bb, C, D, Eb c. Eb, Fb, G, A, Bb, C, Db, Eb d. Eb, F, G, A, Bb, C, D, Eb
2. What is the term Largo indicating for you to do? a. Play to the end and repeat from the Largo indication b. Play in a slow, stately way c. Play notes stressed and full d. Largo is the italian term for song-like, indicating to play expressively
3. Name a ngering technique used in playing a scale over two octaves ascending and descending. a. 3 nger over thumb technique b. thumb under 4 nger technique c. thumb under 3 nger technique d. all of the above
4. Which nger is not used when playing an arpeggio over two octaves with the right hand? a. the 2 nger b. the 3 nger c. the 4 nger d. the 5 nger
5. What does the term dolce mean? a. to play soft and sweetly b. to play quietly and dull c. to hold or pause on the note d. to play moderately loud and at a walking pace
Page 62
Revision Test: Part Four continued.. 6. What kind of chord does the symbol V7 indicate? a. Major chord b. Minor 7th chord c. Minor 7 b5 chord d. Dominant 7th chord 7. What does the term non troppo mean? a. no tripping b. not to be played as a triplet c. not too much d. play without repeats 8. Which chord tone is omitted when making three note 7th chords? a. the root b. the third c. the fth d. the seventh 9. What sharps are played in an E harmonic minor scale? a. F# b. F# C# c. F# D# d. F# C# D#
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Revision Test: Part Four Answers 1. (b) The notes in the scale of Eb major are Eb, F, G, Ab, Bb, C, D, Eb. Eb key signature has three ats. (pg 27) 2. (b) Largo is an indication to play in a slow and stately way, ‘largely’. (pg 29) 3. (d) All of these ngering technique are used in playing a scale over two octaves. (pg 30) 4. (c) The 4 nger is not needed to play an arpeggio over two octaves. (pg 31) 5. (a) Dolce is the italian term for sweet, and it indicates to play soft and sweetly. (pg 32) 6. (d) V7 is the chord symbol for the Dominant 7th chord. The dominant 7th chord consists of root, 3rd, 5th and at 7th, a major triad with a minor 7th added. (pg 35) 7. (c) Non troppo means ‘not too much’ and normally precedes another expression - for example, non troppo allegro, means not too fast. (pg 39) 8. (c) The 5th chord tone is usually omitted to create a 3 note 7th chord. This is because it is least important in describing the function of the chord. (pg 42) 9. (a) The key signature is F# and is the same as its relative key G major. Because it is a harmonic minor the 7th note D is also raised or sharpened, but this is written as an accidental beside the note rather then in the actual key signature at the beginning of the stave. (pg 49)
Well done! What score did you get out of 9? If you got less then 5 correct, go back and do the test again and refer to the book to nd your answers. This is a good way to ensure you are familiar with this book before going on to the next.
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