ALEX BENSON

THE KEYBOARD METHOD FOR ALL ONE MANUAL MODELS

WITH AUTOMATIC ACCOMPANIMENT AND RHTTHM FACILITr
AN INTRODUCTION TO PLAYING KEYBOARDS
FOR TEACHING AND PRÍVATE STUDY

ED 7712

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Alex Benson

The keyboard method

for all one-manual models
with automatic accompaniment
and rhythm facility
an introduction to playing keyboards
for teaching and prívate study
Volume ED 7712

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112014ÓOÍ85
FSCHOTT
Mainz . London . New York . París . Tokyo
Contents

F major.......................................... 6 The fermata .................................... 35

Syncopation .................................... 10 Test4............................................ 36
Testl ............................................ 12 Fill-ins ........................................... 41
Tempo .......................................... 13 Intro/Ending/theswing style ................. 45
The tango ....................................... 16 TestS ............................................ 46
Portato .......................................... 16 The melodic minar scale ..................... 48
Test2............................................ 18 The bass clef ................................... 48
Intervals ......................................... 19 6/8 time ........................................ 52
Ñames of intervals ............................ 20 Testó............................................ 58
The D minar scales ........................... 24 SFC Chord Tables ............................. 59
Test3 ............................................ 30 índex of Songs and Pieces .................... 61
Dotted notes ................................... 32 Solutions to the tests .......................... 62
 ÍS^'^^

Bei mir bist du schoen Sholom Secunda

(Means That You're Grand)

Swing
Am E7 % Am
^ ^

'Am
E7 3-
T 2, 1

33:

E7

?-^
^^
Dm

Dm
E7
5-
i 1 .%
^
¿
IX ^^^¿ XE

D. S. al

A3"- E7
J:i >

i a 5
a ^=,
iffl-
^ -<
L 3
<

r^- ir

Am
3-
^ 1

ft> " 3X IX:

-e-
r
© 193SHarms]nc., USA
Reproduced by permisslon of Warner Chappell Music Ltd.
and Internaiioiial Music Publications
© !964WARNERBROS. INC.
A11 Rlghts Reserved. Used By Permission.

The rhythm has been simplified in some places

4
. Exercises

Repeat this exercise

a) 3^ ^
r f==^ several times, making
sure to pass the thumb
under.

b)^^ 33:
¿ Add the note a', keepin^
r F=T it held down with the
third finger.

c) ,, ^ ] ^JJ ;3 11_U^J ; ^ ^--=^=^

^ J ^^J J J l^ J JTJ J J J á ^f
"^ ' L<* ~ i o^ ~ l^e^ XE

Plaisir d amour French folk song

Waltz
F C7 Bl,
3 3, 2
^s 1 |J. U J ^^ ^ ^
^
^
G7 CT_ Bb C7
1 2

^ F-^ ^

Fine

Bb Bl, C7
1.^-3~ 3 1 3 43

r- ir ir
G7 Am Dm G7
2. ~í-a 3 1 3 C7 i %

y^- ir "r 11 ^^-^ ^=^

D. S. al Fine

Points to watch: key signature - accidentáis - the natural sign

F major

A new scale: a new key.

Let's go back over whatwe leamed in Volume 2.

Eachwhite note can be used as the first note of a different major or minar scale.
The vital thing to remember is how these scales are constructed.
If you remember the pattem of whole tones and semitones, then it's easy.

First, here s the white-note scale starting from the note f.

Play these notes in ascendingarder:

IE -0-
31 -0-
~ss: ^
^
IE
-f
This note doesn't sound right.

We need a semitone step between the third and fourth notes.

In other words, the fourth note must be lower.
Ifwe put a flat sign1>in front of the note b', we get the note b' flat.
This note is the black note immediately to the left ofb' (natural).

b'

Because the accidental\i is repeatedly used in the key of F majar, it is placed right at the beginning of
the stave, to indícate that it applies throughout the piece, in all octaves.
As we explained in Volume 2, when an accidental is placed at the beginning of the stave in this way,
it is called a key signatura.

XE -e-
~TV~ -e-
^
^ XE
33L
Where Have All the Flowers Gone? Pete Seeger

Rumba
Am
Am G7 3*3 2 12

1. ^t
^

G7
Am G7

í^
G7
Am 5, 3 2

Fr ^
r' ^rj J

Dm Dm
F 33- Bt 1 ll 2, 1
2 lL 2

í A: ff^»
^ £ i
^ s

Whereverthe note b is written, play b fíat

Dm B!. C7
C7 4
Bb
^
^^
^-
? ¿JT^IJ1^ f

C7
Bk Bb
sT . 2
¿f ^ -Í-s-
^E¥ ? XE

©1961Sanga Music inc. Assigned to Harmony Music Ltd for the territories ofthe UK, Eire & Bntish Commünwcalth excludlng Canadá.
Words 6 MLISIC by Pete Seeger
© [961, 1962 FaltRiverMusiclnc.
All rights reserved. Used by permission.

Transposition

During this piece there is a change of key: the melody begins on a new note. The transposition helps
to keep up the listeners interest. It's a device often used in popular music.

8
Notes and suggestions:
There are two important rhythmic patterns at the start ofthe piece: we've marked them (a) and (b).
The following exercises will help you master them.
At first, play the rhythms on a single note.

(a)
Notation e ^ 7T T ~J "JT JY ^^

Beats 1 2+ 34 + 1 +2 +34
(count:)

Note duration í . . . .

(b)
Notation e ? T 7" 7J~ 77 \^/
Beats
1 23 4 1 +2 +3 4
(count:)

Note duration ^ . .

The first two bars of the melody need a special fingering.

Begin by playing the notes in arder, but ignoring the rhythm.
Keep strictly to the fingering given.

-e^ 3T -e- 31 ^
~fS~

When you are sure of the fingering, play the melody with the correct rhythm.

ad lib. (short for the Latin 'ad libitum') means 'at your will' or 'as you wish'.

This marking is used when the player has a choice.

Here, you can decide either to play the notes in question or, if theyre still a bit too difficult, leave
them out.

New chord: Bl»

Syncopation

Syncopation is a fascinating element of rhythm.

lt's a vital ingredient of jazz and popular music.
Syncopation happens when an accent is shifted from a strong beat to a weak beat.
In 4/4 time, the strong beats are beats 1 and 3.

4J J J J
4 > _ >
1234

Ifbeats 2 and 3 are connected by a tie, the key is struck only on beat 2 and is held on beat 3.
The accent which would normally have occured on beat 3 therefore comes one beat early.

J ^ JJ
4 > >>
1234

There are many different forms of syncopation.

Auld Lang Syne Scottish folk song

Fairly steady F7
Dm Gm C7
-1 3
^4=S
^

Bt Dm Gm Dm
C7 a_a -i 2

10
 Dm Gm
C7
Bl. 1

s
^^ a ^

F? Bk
C7

^^ ^ ^

rit.
Dm Gm C7 F
3i Bt 4 Bl, F
^ ^
t

Notes and suegestions:

rit. = ritardando = reduce the speed

F7 chord

Gm chord

Suggestedaccompaniment: switch the Rhythm to Waltz, reduce the Percussion volume to a

mínimum, and set the 'Auto Bass Chord' at médium volume.
\f the choras are played using Rhythm and SFC, you'11 get a form of piano accompaniment in
broken chords.

11
 ^
í!
How many accidentáis are there in the key signature of F majon

How long does a key signature apply: for the whole piece, or only for a single
bar?
The key signature applies for

adlib.=

Which are the strong beats in 4/4 time? Beats and

How is syncopation produced?

Syncopation is produced by theaccentft'oma.

beat to a _ beat.

12
Tempo
Note valúes do not, in themselves, indicate how long the notes last in absolute terms, that is in terms
ofseconds. How long a note lasts is determined, broadly speaking, by the tempo.

Composers and arrangers usually give a tempo marking, since the tempo ofa piece is a vital factor
in creating its style and mood.
Over the centuries, Italian terms have become gradually adopted as tempo markings.

Andante, literally 'at a walking pace', represents an average, intermediate speed (compared with the
human pulse rate).

Other common lempo markings are:

prestissimo - as fast as possible

vivacissimo - as fast as possible
presto - (very) fast
vivace - lively, fast
allegro - fast, cheerful
allegretto - less fast than allegro; faster than andante
modéralo - modérate speed
andantino - fairly steady; faster than andante
andante - steady, gentle pace
grave - heavy, solemn
adagio - slow
lento - slow
larghetto - less slow than largo
largo - very slow
larghissimo - extremely slow

In jazz and popular music, English terms are commonly used:

'médium', slowly, fast', etc.

'médium' = moderato
'slowly' = adagio
'fast' = presto, etc.

13
Muss i denn zum Stadtele hinaus? Germán folk song

Rock
Introduction without Percussion

Introduction L. H. sets Rhythm

on Synchro Start
Médium
F Dm C7
Gm C7 243
^ ¿ í
^=^

2.
F Dm _. Gm C7 p T

r Cj-J ! ir ü-L-^rr^T4^DTi
C7
2
a 342 3 453
1, It. 21 1,_li 2k 3| 1|

^ J: .t'3 i
D7 Gm C7
?
.
5 ±
9 i
í 33 5" 44425
4 2_S_ 3
1;-: 1

ni,,,mi,
fy fffs
n
IEll-'
rp
^
\i -

=t=^2£:
<ii
Exercises
After the second-time bar, a lower part can be added to the tune.
Use the fingerings given for the top part whether you are playing the top part on its own or adding
the lower part.
Begin by practising small sections, ignoring the rhythm. This will help you develop a sense of the
fingering.

® ® a a
^ a ^ a

follow this fingering exactly

3 :;

^^ ^
I-^ ® ff ^ a

change of finger

14
When you are sure of the fingerings for these small sections, play the piece in the correct rhythm -
but not befare.
A lower part can be added to the last three bars of the tune.
Similar practice exercises can be used here too.

La Cumparsita Rodríguez Matos

Tango
Andante
E7 E7
'i J; á a 12131

' J r r^ F^
Dm Am
1 4, 3 1 4|

r J I .? jn,, i J I i3JJ l^fflJ J I J 3J J

^ 'é^^ ' .' ' ' ~ ' *^é^^ 1^ - tt- - I (+-:-r- ^ I .I -f+- -

E7 Am E 7 Am
1 2.
Í-E^
?mTTj77-J Fine

Dm Am E7 r>_3 Am
1^3 1 ji 1 -^tí« 2_1 2 1,
-^
-f-
r i. -r. wr
f D. Cal Fine
© 1927 C. Ricordi&C. SpA, Milano.
reprinted by kind permission of the copyright owner.

New chord: A

15
 The tango

'La Cumparsita' is a tango. The tango is an Argentine song and dance form, originally notated in 2/4
time You should makea point oflistening to some recordings oftangos, playea by a good tango
band. The tango is quite unlike anything else.

Pórtate

Phrasingandarticulation areparticularly important in this piece, and have therefore beenvery

carefully marked. The dashes above and below the notes indicate a method of articulation called
'portato' Ccarried').

Other methods of articulation include:

legato - 'bound', i. e. without breaks between the notes

non legato - with breaks between the notes

staccato - short, detached

Portato is halfwaybetween legato and staccato: not completely smooth, but not short either. Each
note is held for a fairly full proportion ofits valué, but is clearly separated from the following note.

Sharp signs
The sharp sign (tt) in front ofthe notes C and D turns these notes into C sharp and D sharp: i. e.
play the black keys immediately to the right of G and D.

Roses from the South Johann Strauss

Waltz

Modéralo
F 4 C7
^T^
ss-
^
±
<t
0-*-
E . .-
y
c » a.

E7 Am
4,
^ ii
. L-U
w-

16
 C7
I»

tí^
.

D7 Gm c?

^ Í^A., ^" J. ^
s

i Notes and suggestions:

Modéralo= modératespeed

The first two bars are an introduction: use just the F majar chord with SFC.

For the accompaniment, use Waltz Rhythm. Turn the Percussion volume right down and set Auto
Bass Chord at no more than médium volume.
This will give the effect of a piano, guitar and bass accompaniment.
Percussion effects are not particularly suitable with this piece.

Use a String voice for the melodic line.

Two parts in the right hand.

From the second stave onwards there are two-part passages in the right hand.
Once again, first practise these passages ignoring the proper rhythm, until you are confident about
the fingering.

The top part in the right hand contains the melody.

If necessary, this part can again be playea on its own, using the fingering given for the top part.

a) ^ -0-
^t- ^
5
i
ü
2-
~TV~ ~TT TT TT
fes -e-
',0 ^ ^Q- -e- XE
-e»- ^ -el^

d) -a.
-^ ^^ a .

-0-
a.
9 n -e-
-n-
a
-e-

17
 ^

Who usually provides the tempo markings in a score?

The _ or the

Whatare the English equivalents of the following terms?

andante =

vivace ==

allegro =
modéralo

adagio
presto =

Can you ñame a popular Argentine song and dance form?

Whatdoes 'portato' mean?

Ñame three other methods of articulation:

(a)
(b)
(c)

18
Intervals

The term interval' in music means the distance between two notes.

Ifthe two notes occur one after the other, as in a melody, the interval is called a melodic interval.

^
Ifthe notes occur simultaneously - as, for example, in the two-part passages we have just been
looking at - the interval is called a harmonic interval. Harmonies, or choras, are the result of playing
or singingmore than one note at the same time, at different inter/als.

Why learn the different intervals?

This question is like asking why we need to know how to tell the time. Without a dock or watch
you can certainly tell if it s morning, noon or night - but it's very important to be able to divide up
the time more precisely than that. So we need smaller units. lt's the same in music. Without knowin^
anything about the intervals, we can probably tell whether a chord is a majar or minor one. But to
form chords ourselves, or transpuse melodies from one key to another, we need to know what the
different intervals are, and this means that we have to practise hearingand identifying them.

19
Ñames of intervals

You'11 remember the term 'step from our discussions of scales in Volume 2. A scale is like a ladder,
consisting of a series of steps.
The ñames of the intervals indícate the number of steps between the two notes in question. If, for
example,thenotec' isthelowernote,thentheintervalofasecondistheintervalformedbetween
c' andthesecondstepofthescale;thethirdisformedbyc' andthethirdstepofthescale;andso
on. Two notes on the same step ofthe scale arein unisón;and the interval formed between the
bottom and top steps ofthe scale is an octave.

-Q-
Xt
s Xt
^ ^»ET -s^ -e-

unisón second third fourth fifth sixth seventh octave

Intervals can be formed using any note as the lower note, not just c1.

It will take some time befare you fully master the intervals. But don't worry: we'11 set regular
exercises from now on.

Intervals

Intervals to be practised : unisón second, third

1 2 3 4 5 6 7 8

Interval
~8-' 00 ^KS~ -8- -e"- -8- 00 ^- ~»»y

Ñame

Enter your answers in the boxes.

20
 The Entertainer Scott Joplin

Swing
(Set Rhythm on Synchro Start befare you begin playing)

Introduction
Médium i a

R. H. £

i a l, a 3 l 2 3 4

L. H. B
^ ^ ^^^

1 3

After playing the repeat,

switch offAutomatic
accompanimenthere.

t}
D. S. al

shwer (rít.)

R. H. I E
3 2 141

^ I ?
L. H.
F-^
21
 ^
i Notes and suggestions:
Tempo
This piece is oft:en played too fast. Take it at a gentle, relaxed pace.

Registration
The melody works well in Piano or Clarinet.

Notation
There are two staves, one for the right hand and the other for the left.
This is a very common form of notation, and we'11often come across it again.

' Exercises for the Introduction

Left hand

5 3 231 234

E^ ^ í
Like scale fingering for the left hand

Exercises for the main section of the piece

First practise the fingering.
Then play the proper rhythm, which contains a lot of syncopation.

Right hand

TT ~n~ TV =^=^ e»- IE

TT'
IE
-e-
-e- TT'

^^ -e- -e- -e-

XE -e- -e-
XX: X3L 32:
XE 3X TT
-e- tEE
^-^ -e- -e- ^

Last section of piece

There are three ways ofplaying this section:

(a) Right hand only

(b) Left hand only

(c) Both hands together

First practise the left hand by itself: then play with both hands together.
You 11already know the notes in the right hand, from the main section of the piece.

To get a clear idea of the rhythm, you should try and listen to a recording of the piece. One hearing
is worth ten pages of explanation!

22
Midnight in Moscow Seday

Set Rhythm to modérate tempo (Swin;

Adagio
Dm Bt C7
1
Gm A7 Dm

¿ ^ ^^
É^
-0~ J rnr rr
E7 A7 Dm Gm 5 í.
3 3|-^2i
^
^ ^ ^ ?=^ m
Dm A7 E7 A7 Dm
3 Dm 3

3
1 31
i ¿
s
*=í ~CT
^8 ^ 3X

Gm A7 Rhythm on (Swing)
/. 3 4 Dm Dm
^T^T-T~~^l 3|^
31 4 3 i 1 3

^ J 3:^ ^ m
-t

^
a
'V ^iif
D. C. al

Dm A7
;i í)
Dm
ll 2; 1

^a m i
30 TO;

Notes and suggestions:

Adagio = slow, peaceful

Chord: A;

Key
The key signature, one flat, looks like F major. But ifyou play the chord sequences, you 11hear that
the piece is clearly in a minor key.
This key is callea D minar.
Think ofthe relation between A minor and C majar, which both have the same key signature
(that is, no sharps and flats).
F majar and D minar are related in the same way: they too have the same key signature, one flat.

23
The D minar scales

'Puré' minar (Aeolian)

1 31
^
33: IE ^
IE a -^
^ 31
^
IE -0- TT
~rr

Harmonic minar
1 3
ÍÉ EE ^ ir ^
IE IE -0-
:<B- 3E 3CE -^
-o-<^ ~cr

Play each scale severa! times, paying special attention to the key signatures and accidentáis.

Two-part passages
You should, of course, practise these very slowly at first.
Ignore the actual rhythm of the melody.
Take special care with the chord sequence E7 - A7 - Dm.

Dm
E7 A7

i ^¿
M^- S^=| 3X f
Top part (note the accidentáis)
IE ^
Q:
^ IE

Lower part
y,l,lll IJ^
ftl^O t]0 xc Sí.

24
Camptown Races Stephen C. Foster

Swing, not too fast

G7
(- J I J J ^ ^ ¿ i

Dm G7
1 3 4
¿ í
^

5. 3
2 3

^-^ -©-

Dm . . G7
1 3 4

J J JJ J ^^ í

¿ ¿ ^

_u_ D 3^ a
1
a
E
r rJ r ir r i F3I j 32

5
D a
1

¿
?
-^
31
s

D D3 D a

^ rf <
^ ɧ^ 22

25
Notes and suggestions:
The two-part passages shouldn'1 pose problems now. If they do, you know how to practise them.

Transposing
The second half of this arrangement is a repeat of the whole melody, transposed to F major.
(NB key signatura!)

Try to transpose the chords from the first half of the song, in C majar, to their counterparts in
F major.

The notes C and F are separated by four steps in the scale, i. e. by the interval of a fourth. So each
chord from the C majar section of the piece has to be transposed four steps higher to become the
corresponding chord in the key of F majar.

Forexample: C becomes F
Dm becomes Gm
F becomes Bb etc.

Enter the ñames of the transposed choras in the boxes.

Londonderry Air Irish Folk Song

Rumba

L. H. sets accompaniment
Introduction on Synchro Start
Modéralo
43 4
i, i a 3 I 2 1 ^,1
í ^ rs ^y

r v ^TZJ- r
tí:, 4
^ i
2 1 "3 ''I
^ ^ ^^
1 3 I I 1

F7 H>
3i 1. 3 1 1 2
^ J 1^ rr J^ ^ 1
^
Dm G7
Am 1 8 c?

r r ir ¿ É -^ i

26
 F7 B!>
8. 1, 3
^ Ji3 r r J^ ^ ^

^ ^
Gm

í
F Bt
¡=^
? ^
Bb

3 i|3J J iM
^
Dm Bh F
51 G7 C7
i=¿ > 3
¡tí==^
N
5

» «p r "p 'F
F7 Bl.
51 Bt
^ i I ^ j ^ i!^ Dm i a.

^ ^ ¿ ^

Gm
Am , 1,
1. 3 1 F Bb
^ r J i^ J ¿ ¿

Notes and suggestions:

Moderato = modérate speed, not too fast

Introduction
This introduction isnt easyby any means.
The upper part in the right hand makes a satisfying introduction on its own.
Playing both parts together in the right hand produces a more interesting sound.
The left-hand part is really for more advanced players - ifyou've learnt the piano, or at least dabbled
atit.

The left-hand part isn't difficult in itself. lt's combining the two hands together that takes practice, and
patience. But stick at it - it's worth it!

In the main section of the piece the chiefproblem is changingthe chords quickly and accurately.
So it's a good idea to start by practising the choras on their own, without the melody, but using
Percussion.
Try to sing the melody while you play the choras.

27
Intervals

Intervals to be practised: unisón, second, third, founh

3 4 5 6 7 8
1 2

-0-
Interval
1^ -e^r 00 .
e- ~e¡^ -s-
XE
-e- ^

Ñame

Annie Laurie Scottish folk song

C major section without Percussion

F majorsectionwithPercussion,andAutoBassChordifdesired(Rock)
Andantino

D . a D a
1^^. - »
^ ^É
^
<y

28
Notes and suggestions:
Andantino = fairly steady

The tempo should be midwaybetween moderato and andante.

Play the piece gently, but with feeling.

The two-part passages should be fairly plain sailing by now.

In the last bar of the second line, though (marked*), there s an important fingeringyou should note.

means: ¿ ¿
21.
^-/
3 1'

The second finger plays a1. But while the third and fourth fingers continué with the melody, the first
finger replaces the second finger on the note a' - the first finger is depressed on the key befare the
second finger is released. This kind of finger change is called 'silent' finger change.

Practise silent finger changes with this exercise:

12 13

-0- 33: ^
-e^ 3T ~EE ^
~S3~ ~CT
21 21
21

Transposing

For this piece, again, the chords in the second halfneed to be transposed.
As in 'Camptown Races', the music moves from C majar to F majar, so you will have to transpose
each chord a fourth higher. By all means look at the keys of the keyboard if that makes it easier.

Don t forget the F major key signature in the second half of the piece.

Intervals

Intervals to be practised: unisón, second, third, fourth, fift;h

1 2 3 4 5 6 7 8

Interval 31: -^ IE
-^ ~SXf- -8- -e- 00 -e- ~s^- -§-

Ñame

29
 The distance between two notes is callea an

What is the ñame of the inten/al C - F?

What is the ñame ofthe interval C - B?
What is the ñame of the interval C - D?
What is the ñame ofthe interval C - C?
What is the ñame of the interval C - A?
What is the ñame ofthe interval C' - C2?
What is the ñame ofthe interval C - E?

Adagio =

Ifyou want to play a piece in a different key,

you must it.

30
Dark Eyes Russian folk song

Waltz

Modéralo
A7
2. 1

;<fr la.1 ^ If ^'^ |ÉÍ ^

Dm Gm Dm

Í ^ TT^TüJ
^

A7
A7 Dm 3, 4 3. 4
¿ ¿ s
^
r-
A7 Dm
Dm
5, 4 2. 3
», 4
1 2. - 3 ^-J-
^-'r
Gm Dm A7
4.
ll 4 il "
4

^ 4J ^ ,^ ^1
3 ,1

~ff ?

Dm A7 Dm

g s
4
1.
3
1 1, 3
í
^
^- r- r'
Gm

Dm

31
> Notes and suggestions:

Modéralo = modérate speed

Registration
String or Accordion; Mandolín is also possible.

Rhythm
Waltz, with Auto Bass Chord if required.

Key
The piece is in D minor, like 'Midnight in Moscow'.
The Harmonies aren't difficult: the only choras used are Dm, Cm and A7.

Melody
Observe the rests carefully.

Two-part passages
Practise these beforehand in the usual way, keeping to the fingerings.

Slide fingering
In the fourth bar ofthe fourth line ofthe piece you'11 see the fingering 2-2.
This means that the second finger slides from the g' sharp to the a'.

Dotted notes

There isa new kind ofnotation in the very firstbarof'Love's Oíd SweetSong' (p. 34).
lt's another kind of dotted note.

When you first met the dotted crotchet notation, you learned the rule: a dot after a note lengthens it
by halfits valué. Let's look at this table again:

Semibreve o

Minim J J
Crotchet J J J J
Quaver j~^ j~^ r^ r~^
Semiquaver ¿TT^ f77^ f7T^ JST7^

32
The table shows clearly the valúes of the different notes relative to one another.
As you can see, one quaver is equivalent to two semiquavers.

Semiquavers have two tails or beams.

^ or
T^
r~3
The notation J ^ corresponds to the semiquavers of a crotchet as follows:

Count a regular beat ofquavers and add a quick 'a' for the semiquaver, like this:

1 and -a 2 and -a GtC.

The words of 'Love's Oíd Sweet Song will also help. Speak them to yourself a few times, and you II
soon find yourself slipping into the right rhythm:

rñ r -^ ^
Just a song at twi - light

And sing or speak the words while leaming to play the melody as well.

The next interval practice involves a new interval, the sixth.

Play the intervals and sing the notes, first starting with the lower note and then starting with the
higher note. Ñamethe intervals, using the keyboard as help if you want to.

Intervals

Intervals to be practised: unisón, second, third, fourth, fifth, sixth

1 2 3 4 5 6 7 8

-e-
-e»^t- -0- ^
^ 31:
«ir XE
.^ 33: -^

Ñame

33
 |. L. Molloy
Love's Oíd Sweet Song
Playthe accompaniment in thefirst half
without using Rhythm, but pre-set the
Rhythm to Waltz, in the righttempo,
for the second half.

Am

c
D7
s
1 5 s
.
1 9 "2 1. >-
E o-í 9-
a -?
^
^

Rhythm with Synchro Start

-Í1 ^

34
Notes and suggestions:

Tempo
Allegretto = with some movement; less fast than allegro

Registration
Clarinet, Organ or Piano (with Sustain) work very well with this piece.
If you like, you can changethe tone colour in the second half (for example, first halfClarinet, second
halfOrgan).

Ritardando
rit. = ritardando = reduce the tempo

The fermata

/~\ This sign is called the fermata. In Italian 'fermata' means 'held'.
The fermata is a pause sign. It tells the player that the note (or notes) below the sign should be held
longer than their actual written valué. lt's difficult to give rules laying down exactly how long the
note should be held; it depends very much on the tempo and on the players sense of what seems
right. In 'Love's Oíd Sweet Song' there is a fermata sign above the C7 chord at the end of the third
line. The chord should be held in arder to créate a sense of tensión befare the transition to the
F majar section ofthe piece.

Transposing
For the second halfof the piece, the chords must be transposed a fourth higher.

35
 Whatisthe ñameofthis kind offingering: 2-2
It is called a
fingering.

A dot after a note the note by

its

Ñamethe following note valúes:

o

J J

J J JJ
J.
n nn n

Notes with two tails or beams yjm

are called

How would you count the following rhythm:

n Í^J ^, J F3J H|J 73J í
4 t 2 and

What is the ñame of the interval c' - a'?

I
36
Humoresque A. Dvorak

March (or Swing)

Allegretto

F Dm Gm C7 |l., 2^
i a 2. i 2 ~F l a
^
§ Fine

A' Bb D Gm C
5 4 5

¿^ 3 35
1 3
1
3
5 4
3 Ji
a i 3
1 2.

~ff P ?lf EJT

Bb p A7 D'
a /1 Dl 4 Gm 3234 3
2 '2 3 44 , 53 1 '\. ai

^ ^
^
D. C. al Fine

Notes and suggestions:

Tempo
Allegretto = with some movement; less fast than allegro

Rhythm
Either (a) March - set to very slow speed
or (b) Swing - set to slow speed, turn down Percussion volume and set
Auto Bass Chord at half volume.

Melody
The third and fourth lines contain new rhythmic patterns. Count the beats as follows:

4 <T3 J n
4
1 and 2and 3and 4 and

írni J. ^
1 and 2 and -a 3 and 4 and

37
Fingering
. foilowthe fmgering exactly, you should have no problems^ ^^ , _. _,__ ":_:.
Lookcarefullyatttelastlwobars, wherethere¿sa [Link] youPlaythe¿ni"lm^
but it's the the notes
re gato^'ou:Íi'fee¡ certaín a tensión in the hand. This may not seem natural, way

should be played.

Intervals

Intervals to bepractised:unisón,second,third,fourth, fifth, sixth

El Cóndor Pasa Robles/Milchberg

Rumba

Modéralo

[Link] B. Marks MUSÍL- Corp.

38
' Notes and suggestions:

Tempo
Modéralo= modératespeed. Don'tgo too fast!
Registration
Panpipes if possible; otherwise Flute.

Rhythm
Rumba (simple style) or Rock.

4^T3_J J
Count: 1 and 2and 3and 4 and

4 j n j. 3j. j
I 2 .a3 ^a4 ^a

This second rhythm is another way of counting 2 and-a 3 and-a, etc.

Its an easierwayofcounting a dotted rhythm in quickertempos.
When you come to the melodic figure

^i
be sure to play it very gently. Frequently it's taken much too fast.

Intervals

Intervals to be practised: fifth, sixth, seventh,i, octave

1 2 3 4 5 6 7 8

IE 31: 33: ^ -e-

Interval
^^ 33: ^ XE
^ 33: -0- IX.
-^
fy

Ñame

39
 S. de Yradier
La Paloma
Rumba (or Beguine)
Introduction
Allegretto
G

1. |2.3

í^í
3 Í

® É^ §
-ff
D
B i4

b
i
»-. »-
^
2 1 4-^
T-- *
f- .-
A(-
f- »-
1
^
-^
I 1 ±

=^E ^=

40
Notes and suggestions:

Tempo
Allegretto

Registration
For this piece you can give your imagination a free mn.
Try out different tone colours and see which ones work best.

Rhythm
Rumba or Beguine.

Articulation
Pay careful attention to the staccato markings: keep these notes very short.
In section B, articúlate this passage exactly as marked:

Lr7 P r r i cJ
long - short

spoken: baa-dab

Fill-ins

When there is a long held note in the melodic part, a second parí can be added, below or above the
held note, which keeps the rhythm of the piece going. This extra part is called a fill-in.

There are three types of fill-in: (a) melodic

(b) rhythmic
(c) harmonio

In section B of 'La Paloma', bar 3, there is a melodic fill-in.

Intervals

Intervals to be practised: fifth, sixth, seventh,, octave

1 2 3 4 5 6 7 8

». ^ n.
.

TV
.
3CE
xs. -^
Interval e
^
^ 3X
IE XE 1S.
.^

Ñame

41
 Romance de amor Spanish folk song

Set Rhythm to Waltz for section B

R. H.

L. H.

-s
D. C. al Fine

Choras: A

42
i Notes and suggestions:

Tempo
Andante = steady, gentle pace

Registraban
Use Cuitar. If you can combine voices. Cuitar and String form an effective blend.

Rhythm
No Percussion in section A, but use Synchro Start in section B to add Percussion (Waltz).
Auto Bass Chord is also effective here.
When repeating the first section (da capo), play a single-fingerleft-hand accompaniment, usingthe
chord symbols.

Left hand
The left-hand accompaniment must, of course, be practised separately. But it's not as hard as it looks
at first sight. Pay special heed to the accidentáis.
Don t play with hands together until the left-hand accompaniment is quite secare.

Right hand
The fingering in section B looks complicated, but you'11 see it makes sense once you've practised it.

Keys
Section A is in A minor.
Section B is in A majar.
The overall form ofthe piece, then, is minar - majar - minar.
This is an interesting pattern, and worth remembering.

Key signatures
A majar has three sharps:
F becomes F sharp
C becomes C sharp
C becomes C sharp

At the end ofthe A majar section, the three sharps are cancelled with the natural signs:

Practise the A majar scale:

^ -0- -0- -e-

-^ 33: 31: -^
33: -^
-e- 31 33:

43
Oh When the Saints Traditional

Swing
Intro without Percussion
Intro
Médium
5
1 2
3 2_!_ 2
G

1S.
R. H. ^ ^ ^ r
4 3 2 1 123
t---
L. H.
^ i ^
Rhythm Start
4.
D Dm
-Q. -Q-

I ^-h-e

Fm C A7 D7 G7 CF
0-

trrmr- r ST

n.n 4_5

Fm

í-rrrr&ri torrrfnrrrrrrrrirrrrrrrr
tT

114 32141212

D' C F C
ÍE
^
44
Notes and suggestions:

Tempo
Don t take it too fast, or you won t be able to handle the improvisation written out in section B.

Registration
Section A Organ
Section B Clarinet

Rhythm
Use Swing (Synchro Start)

Intro/Ending/The swing style

Intro
Here the left hand has a melodic role again. Don't use the Rhythm and SFC accompaniment until
the start of section A.

Section A
You learned this melody in Volume 1, but here it is again so that you can see how a simple melody
can be made more interesting by being packaged' with different harmonies.

Section B
This section is an improvisation, which has been written out.
It's not so easy to play, but if you've made good progress you can give it a try. Crace notes (see bars
6 and 8) will be explained when we come to Loch Lomond' (p. 50 below).

Ending
In classical music the section added at the end of the piece is callea the Coda.

The swing style

lt's almost impossibleto describe the swing style in words. For example, although the notation uses
simple pairs of quavers, each pair should sound more like a dotted quaver followed by a
semiquaver:

rj°r3
Whatever you do, don't play smooth, regular quavers!

45
 Write the sign meaning fermata

Nótate the rhythm corresponding to these counted beats:

I and 2 and 3 4 I landla 12and|a 13and)a |4and|a t 2 and 3 4 and

What are the three possible types of fill-in?

(a)

(b)

(c)

What is the key signature of A major?

Write out a scale ofA majar, using a Rey signature:

XE

What is the term used for 'ending' in classical music?

46
 Love is Blue A. Popp
Rock

Intro without Percussion

Intro
Modéralo

¿
^
S¥ ¿
H:
R. H.
EiiS ^ ^
3 1 3 1

L. H. ^^
^ ^

Rhythm Start
Am D7 Am
% I, 3

MI f pir ^
Am D G Am

P¥ i ¿
^
D
4 D D
2.
^ a H:
1

p f ir: L^ ^

© 1c)57SháftesburyMusicLt(. t., LondonWIYiFA D. S. al

Reproduced by permisslon ofChappell Music Ltd.
and Intcrnational Music Publications. without repeat

Notes and suggestions:

Tempo
Modéralo

Registration
There are several possible voices you can use with this piece:
e. g. Organ, String, Tmmpet or Clarinet.
It's advisable to have a change of voices between A and B.

Rhythm
Rock or lazz Rock

47
B^thhandshavea [Link]^Tte
^rt"o'f"w'riting"'usingmore'thanoneindependent part,iscalledpolyphony, fromtheCreek'
polyphonos' (many voices).

:^el^'shouídbe"no [Link],which
must be done cleanly and exactly to time.

The melodic minar scale

Section A of 'Love is Blue' is in A minar.

Section B is in A majar. . (^ ^ ^ 1
Have a look at the notes in the lastbarof section A:

Wevealreadyseenthatthere aretwoforms ofthe minor scale: puré'andharmomc minar.

Theres alsoa third type of minor scale, calledthe melodic minar.

Step: 1. 2.

Thedifi-erencebetweenthisminarscaleandtheothertwoisthatthesixthandseventh stepsare
sharpenedintheascendingscaleandflattenedinthedescendingscale
Ás'youcansee,thedescending melodic minor scaleisidentical tothe puré'minar.

The bass clef

lt's now time to learn a new clef for the left hand.
Sf
This is calleó the bass clef: ^ i

ItisalsoknownastheF-clef,becausethetwodotsoftheclefenclosethelinenumbers
ofthestaveforthe ^
ntote"f'Thebasscíef'is usedforwriting lower-pitched notes. Otherwise, large ofleger I
would be needed, making it much harder to read the notes.
On the electronic keyboard the bass notes are in the Accompaniment área or tne Keyooaru.
Music forinstruments like the piano or organ, which cover a wide pitch range, isalways wntten
usingthe treble and bass clef.
48
 *l: o
The note f, then, is:

The notes above f are:

£»- -e- ^-
_Q_
.

e-
T»~

f ga b c'd' e'f'

The notes below f are:

3 O t» -0- XE
O tt -e- <->

f e d c A C F

This is how the notes on the two clefs correspond to the keys ofthe keyboard:

F C A B

49
 Scottish folk song
Loch Lomond
Pre-select jazz Rock for section B

R. H.

L. H.

Switch Rhythm on
Synchro Start

Dm 3 4 Gm (;7

Notes and suggestions:

Tempo
Modéralo

Registration
Try'to imítate thebagpipesound,perhapsusingClarinetor Irumpet.
50
Rhythm
)azz, or JazzRock, for section B. Select the tempo befare starting.

Grace notes
The bass notes in this piece are c and g. When played simultaneously they come cióse to a bagpipe
sound. But to get an even more lifelike effect, play the note f sharp with the second finger a fraction
earlier, so that it slides into the c-g sound, as it were. It works - try it!

This kind of note is called a grace note, and is written:

^ef
^

The diagonal stroke through the stem of the note indicates that the grace note should be played a
fraction befare the main note.

Use this practice exercise, gradually quickening the fsharp:

Section B
Note the 'rit.' just befare section B. Slow down the tempo at this point.
The third beat of the last bar of section A has a fermata ^.
Hold the c2 in the right hand a little longer than written, while quickly switching on SFC and Rhythm
Synchro Start with the left hand. You re now ready to play section B.

Intervals

Intervals to be practised: unisón, second, third, fourth, fifth, sixth, seventh, octave

33C -e-
-TfC^ -e- ® a.
Interval -^ ~n~
00
-u. -e-

Ñame

51
 6/8 time

The next piece 'Creensleeves', is in a new time, 6/8.

The basic unit in 6/8 time is the quaver.

e8 >m
~ >
m
123 456
Thestrongbeatsarebeats 1 and4. 6/8time isknownasa compound time, consisting of3/8 + 3/8.
Count the beats in the melody as follows:

^ u ^m u ^J~^
6 123 45and6 123 45and6
The melody isverywell known, sothatwill helpyou to mastertherhythm.

Greensleeves Traditional English

Pre-set Slow Rock for section B

A | Andante
1

R. Hl

L. H.

B 4 2 ' 2

52
 Dm Am
2---T- a 5 3 ^--B-.. 1

r rírr J. ¿ J 1^ ^ J. JJ U ^ ¿
rit.
Dm A7 Dm
r) 433 1
^ 2, 12

^ ^
f-^

Notes and suggestions:

Tempo
Andante

Registration
Flute, String or Clarinet are all effective.

Rhythm
Play section A without Percussion. For section B, pre-select Slow Rock, choose a fairly slow tempo,
turn down the Percussion volume and set Auto Bass Chord to halfvolume. Then simply press
Synchro Start and SFC at the start of section B.

Section A
Again, the left-hand part is written in the bass clef.
The notes used are: a -g- f sharp - e.
The dotted [Link] 6/8 is equivalent to three (quaver) beats.

IJ-. . J-. J. J.
123 456 23456

Here are the left;-hand notes, on the keyboard in the bass clef:

e fsharp g

53
 Section B
This is in D minar, whereas section A was in A minar. The change of key adds a new source
interest. AddingRhythm (without Percussion) to créateanarpeggio (broken-chord) accompaniment
heightens the difference between the two sections.

A. Rubinstein
Melody in F
Pre-set lazz Rock for section B

R. H.

L. H.

4_ _3
^^-^-
1 a
1 3 /-S- 1

/EÍ: B:
í:
@ ^ ^ < a ^

^w
o

©-
5 3
^-
4 1
^
5 2
4= 2

f >
\\^=^ ^ I^¿.

Rhythm Synchro Start

rjjjj ¿

Fine

54
 G
5 4 3434 r! 3 4 3 4 5
i ¿ i ai 1 3 5 1 ¿ 1_2 1|
i a 1 2

^ j^J ^

D. S. al Fine

Notes and suggestions:

Tempo
Modérate = not too fast

Registration

Section A Piano
Section B Violin or String
Section C Clarinet or Oboe

Rhythm
Rhythm isn't used until section B.
Select jazz Rock, or Rock, at a slow tempo and turn down the Percussion volume.
Set the tempo carefully befare you start.

Section A
Theleft-handpartiswritten [Link]:c- d - f-g.

f g

Section B
Make sure you know all the chords.
At the marking + Auto Bass Chord', increase the Auto Bass Chord volume to about halfway.
At - Auto Bass Chord', tum the volume right down again.
Practise separately the two-part passages in the right hand.

55
Intervals

Internáisto be practised: unisónto octave

1 2 3 4 5 6 7 8

-^
Si.
-e-
^= XE
^s-^ 31:
TV
Interval 3X: ^EE
~ssr -CT
-e-

Ñame

Fascination F. D. Marchetti

Waltz

AUegretto I
^

J^-3-
s^ ^
a 3 s 5 4
3
'S' e- 9- 9- 9-
+
-^
) 4 . -^ Ji

3_ 2_ 3
2 1 ~2 "a
^.m u ^
s
5.
^i
i. 2^.
2*: .f

^
.^

E7 Am 4 3
4 5 A_ 3 3

2^T2__3.
^
3
,
-i/\
^ ^^
2 J.

s-

© 1904 F. D. Marchetti
© 1936 ]. Líber, London
® 1954 Liber-Southern, Ltd.. 8. Dcnrnark St. London, WC. 2,

56
Notes and suggestions:

Tempo
Allegretto = not too fast

Registration
Violin or String; or either of these combined with Harpsichord or Piano.

Rhythm
Waltz, with unobtrusive Percussion.

Fingering
This piece looks quite straightforward, but there are a few possible traps for the unwary. Make sure
you keep strictly to the fingerings given.
The piece is a real test of concentration and precise finger work.

Intervals

Intervals to be practised: unisónto octave

1 2 3 4 5 6 7 8

ja. -e-
Tf' ~n~ -e-
Interval -^^

:w -^ ~w
-TTO- *-.

Ñame

57