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bokjoy scow bokjoy scaw MICHAEL AARON ADULT PIANO. COURSE The rtdult approach to plano study ‘et. i lishing Corp. CONTENTS Page 5 6 INTRODUCTION TO MUSIC RIGHT HAND POSITION , ‘TIME SIGNATURES, NOTES and RHYTHMIC PATTERNS . bop ODE TO JOY—Beethoven ............. a LEFT HAND POSITION .......... 8 SONG OF THE CELLO . 9 BOTH HANDS , ALPINE MELODY ....., INTERMEZZO — Schubert ., HOW CAN I LEAVE THEE? .. RESTS and NEW POSITIONS OF LEFT HAND 13 PROGRESS INTRODUCING 3rd SPACE C , LULLABY |. 5 SLURS and TIED NOTES . THE THREE C's... THE C MAJOR SCALE , CO-ORDINATION OF THE HANDS |... |... 17 AROUND AND AROUND . EXPRESSION MARKS . , SOFT, SOFT, MUSIC IS STEALING .. CONTRARY MOTION G POSITION . EIGHTH NOTES . HUNTING SONG and RHYTHMIC PATTERN, , 22 DOUBLE NOTE STUDIES OLD ENGLISH DANCE SIGHT READING ....... UP AND DOWN GROUPS (Line Notes) . UP AND DOWN GROUPS (Space Notes) , SIXEIGHT RHYTHM and THREE BLIND MICE 27 ‘THE HALF STEP (Sharps and Flats) , THE WHOLE STEP and MAJOR SCALE 7 PATTERN eo... eee eeee eee LEGER LINES AND SPACES . THOUGHTS AT TWILIGHT — Aaron , FINGER DRILLS . pegEoR0 SCALE AND KEY OF G MAJOR . HE'S A JOLLY GOOD FELLOW ., FINGER DRILL . THE DAMPER PEDAL ............... DRINK TO ME ONLY WITH THINE EYES ., 36 SCALE AND KEY OF F MAJOR . sees 38 CARNIVAL TIME—Aaron . . 38 TRIADS ..... THE THREE MAJOR TRIADS SONG OF HAPPINESS , INVERSION OF TRIADS FANFARE Sagpanon—00 THE DOMINANT-SEVENTH CHORD . DOTTED QUARTERS |... 22.22.04 CRADLE SONG — Brahms . . SCALE AND KEY OF B FLAT MAJOR . ROMANCE — Rubinstein , CHORD STUDIES .......... THE ROSE OF TRALEE — Glover ..... ALOUETTE cece eee eee MB MARCHE SLAVE — Tschaikowsky .......... 49 HOME ON THE RANGE ......... SCALE AND KEY OF D MAJOR A HUNDRED PIPERS ....,.... SWEET AND LOW — Barby . STACCATO . STRUMMIN’ ON THE OLD BANJO — Aaron .. 54 SCALE AND KEY OF E FLAT MAJOR ...... 55 DOWN ON THE DELTA — Aaron LA CUCARACHA , LIEBESTRAUME — List ......,, WAVES OF THE DANUBE — IWanovici THE MAJOR SCALES AND CHORDS DICTIONARY OF MUSICAL TERMS 60 seteeeee 4 Introduction to Music NOTE a A symbol used to express a musical sound of tone. STAFF Sip Line — gan gpace a Line —3d Space ive lines and four spaces to indicate the pitch (high or low) of a musical 2nd Line 23" Space ___ tone. 1st Line 18 Space __ LINE NOTE So called when the line runs through the middle of the note. So called when the note is between the lines on a space. TREBLE CLEF Right The treble clef sign ( 6 ) indicates the right hal€ of the piano key- ad board (usually played with the® right hand). BASS CLEF Left Bee ‘The bass clef sign ( §)* ) indicates the left half of the piano keyboard Hand (usually played with the left hand). MEASURES ‘Music is divided into MEASURES, each usually containing a similar number of beats or counts. Each ‘measure is separated by a BAR LINE. A DOUBLE BAR LINE shows the end of a piece. 11006 Copyright © 1947 by Mils Music, In, New York, N.Y. International Copyright Secued YM age aa A “Al Rights Reserved Place your RIGHT HAND in the position shown below. Play five notes UP the scale. Start on MIDDLE C, which is the first white key to the left of the TWO BLACK KEY GROUP near the middle of the keyboard below the piano maker's name. Treble up_THE SCALE” Right He i, FIRST Now play five notes DOWN the scale, starting on G. DOWN THE sca; Right Hand Grr, SECOND sl fe D Play the five notes UP and DOWN as follows: Right Hand Middle C =D ‘THIRD tacle Gore Repeat each exercise several times, oo RHYTHMIC PATTERN a Upper 4 means count four to each measure Fon ad foun “ODE TO JOY" = 1 count mt Add dddeddddiddd HALF NOTE et Counti2834°1284 1234 1234 Clap bands for each note and count aloud. WHOLE NOTE © = 4 counts lap ont the rhythm of the entre piece in the above manner. "Tu following piece “Ode To Joy” is composed of the five notes in the RIGHT HAND which you have just learned. Study the notes carefully, so that you will recognize their names and positions on the staff, the next time you see them. Ode To Joy (from Ninth Symphony) Right Hand 11006 Place your LEFT HAND in the position shown below. Play five notes UP the scale, starting on F. FIRST mon , G Left Hand up THE SCALE Now play five notes DOWN the scale, starting on MIDDLE C. do SECOND Middle C Left Hand DOWN THE SCALE—» Play the five notes DOWN and UP the scale, starting on MIDDLE C. THIRD Left Hand RHYTHMIC PATTERN FOR “SONG OF THE CELLO” old de, dts Clap hands for each note and count aloud. Clap out the rhythm of the entire piece in the above manner. Tt following piece “Song of the Cello” is composed of the five notes in the LEFT HAND which you have just learned. Study these notes carefully, s0 that you will recognize their names and positions on the staff, the next time you see them. Song of the Cello Left Hand 11006 10 Place BOTH HANDS in the position shown below. Now play “Alpine Melody” at the bottom of the page, which is composed of notes in both the TREBLE and BASS staffs. Treble Clef Right Hand 2G A 8 Left Hand Bass Clef Alpine Melody RHYTHMIC PATTERN FOR “INTERMEZZO” 41d ddid d jddddjo | Countti2 34 1234 1284 12384 Clap bands for each note and count aloud. Clap out the rhythm of the entire piece in the above manner. Scarupert's great melodic gift is evidenced inthis beautifal melody from “Rosamond.” Play with expression and strive for a good singing tone. Intermezzo (from “Rosamond”) ih RR > 3 7 3 s St = = + 4 == = + = = z e- es == " 2 = + z = RHYTHMIC PATTERN FOR “HOW CAN I LEAVE THEE?” tld ddid J jd ddjddd | Count 2.34 7.2, ae 7,1 Clap hands for each note and count aloud. Clap ous the rhythm of the entire piece in the above manner. How Can I Leave Thee? THURINGIAN FOLK SONG Moderato ae t + UI 13 RESTS RESTS are PERIODS of SILENCE. Here are various rests and their time values, Whole Half Quarter Rest Rest Rest Comt1 2 3 4 1 2 3 4 NEW POSITIONS OF THE LEFT HAND So far, we have always played MIDDLE C of the bass staff with the thumb of the left hand. Now wwe are going to change hand positions, thus: Thumb on“MiddieC” Thumb on B Thumb on A Thumb on G | Middle C 1 Progress 14 HAND POSITION FOR “LULLABY” (Introducing 3rd SPACE C in the BASS POSITION of the LEFT HAND) Treble Clef Right Hand ( Left ) Hand Bass Clef Notice the new position of the left hand. The fifth finger of the left hand is placed on 3rd SPACE C which is the first C to the left of MIDDLE C on the keyboard. Think of this C as the third space from the top of the Bass staff (counting downwards) 15 NOTE VALUES RHYTHMIC PATTERN FOR “LULLABY” QUARTER NOTE = 1 count ‘ i 31d. E pees Mate NOTE J = 2 com cots IF ag ag le, | lap bands for each note and count aloud. Dorrep aur Nore d- = 2 coat Clap out the rhythm of the entire piece in the above manner. The SLUR—~1s a mark of legato and means that all notes under it are to be played in a smooth and connected manner. Lullaby Moderato (Not too fast) Plsoftly) 5, Count 1 2 «TIED NOTES 3 ‘*When two notes of the SAME PITCH are joined by a SLUR a_d. PLAY FIRST NOTE ONLY and hold for a combined value of both. These are called TIED NOTES. bal The Three C’s re MIDDLE C -@ RIGHT HAND 0 woman Onroo-z, ibd 34 SPACE C MIDDLE C LEFT HAND 36 SPACE C (Counting down) Do Mi Sol The C Major Scale Play stems up with right hand. Play stems down with left hand. 4 RIGHT HAND a HT HAND ‘RiGl : bis? \ 4 3 8) EET HAND [per BAND RIGHT HAND 4 IGHT HAND 4. a a4 s LEFT HAND 7 CO-ORDINATION OF THE HANDS (Playing hands together) ‘You will notice that whenever the hands play together, the same fingers of each hand are used. Around and Around Allegretto 4 11006 18 EXPRESSION MARKS Word Abbreviation Meaning Tue words of this piece are the guide to its expression. PIANO: e means play softly ‘When you sing “Soft, soft” etc., play softly. When you sing pete eeees Pela “Loud, loud” etc., play loudly. Soft, Soft, Music Is Stealing ‘Assanged by Moderato MICHAEL AARON Yes, | yes, | yes, yes, |Wak- ing the [ech-oes a - 19 CONTRARY means in an opposite direction. When the notes of the RIGHT HAND move downwards, the notes of the LEFT HAND move upwards and vice versa. + FOR EXAMPLE ir eee Contrary Motion (Study in Co-ordination of the Hands) 11006 G POSITION Treble Clef Right Hand Left Hand Bass Clef LEFT RIGHT HAND HAND In this new position of the hands, the thumb of the right hand is placed on the first G to the RIGHT of MIDDLE G, while the fifth finger of the left hand is placed on the first G to the LEFT of MIDDLE C. a EIGHTH NOTES EIGHTH NOTES RHYTHMIC PATTERN Quarter note d= J) d)=two eighth notes SSE Usually written thus do eter ee acre ale Clap hands for each note and count aloud. Glap out the rhythm of the entire piece in the above manner. In counting pronounce the syllable “a” lightly in the following manner: ONE-UH, TWO-UH, THREE-UH. Allegretto a ee eee ee ee 11006 RHYTHMIC PATTERN FOR “HUNTING SONG” id Od sidssu.am Count 4a la2adasa La2asada tatadasa tazaga Clap bands for each note and cound aloud. Clap out the rhythms of the entire piece in the above manner. In “Hunting Song” the first measute begins on the FOURTH BEAT and the last measure ends on the THIRD BEAT. These two measures, although incomplete in themselves, equal one complete measure. Hunting Song Allegro (Fast) ————~ . mh 23 DOUBLE NOTE STUDY (For Left Handy Sound both tones exactly together in measures 2,4,6 and 8. In order to do this, you must keep the fingers firm at first joints 3 —~s 5 > z — ——+ as 7 -—4 = == Coust1 a 2 a ta 2 a 40 a 2 a taga 2 +2. = tet ip = = DOUBLE NOTE STUDY (Sntervals) (For Right Hand) 24 SIGHT READING In order to become a good SIGHT READER, one should develop the habit of reading notes in GROUPS, rather than singly. a ad Middle C ‘The above group of notes is composed of LINE NOTES and SPACE NOTES in succession. DO NOT READ CDEFG FOR EXAMPLE DO READ Five notes moving UP the keyboard (to your right) stacting at C. LINE NOTES EXAMPLE E - skip-skip-skip- skip ‘The above group is composed of five LINE NOTES in succession. This means you will have to skip four spaces. DO NOT READ EG-BDF DO READ Five notes moring UP the keyboard, starting on E with four skips. SPACE NOTES F - skip- skip - skip ‘The above group is composed of four SPACE NOTES in succession This means you must skip three lines. DO NOT READ F-ACE DO READ Four notes moving UP the keyboard, starting on F with three skips. ‘Apply this same method when reading the BASS NOTES— EXAMPLE LINE NOTES ‘SPACE NOTES 25 A ~ skip - skip - skip - skip G - skip- skip - skip 2 =: j The above notes are all moving DOWN the keyboard (to your left). UP AND DOWN GROUPS (Line Notes) 3 = = } ye -o-| = = = = -s re aay (sa eta ; f a= ae f = =e: : 11006 UP AND DOWN GROUPS (Space Notes) MIXED GROUPS (Line and Space Notes) 27 TIME SIGNATURE RHYTHMIC PATTERNS IN SIX-EIGHT RHYTHM Upper 6 means count six to each measure Lower 8 means 8] d d. EIGHTH NOTE @ = 1 comt Count 1 23 45 6 3, oo. QUARTER NOTE d = 2 counts § 8} i | DOTTED QUARTER NOTE #+= 3 counts Count te eee : ee ‘Clap bands for each note and count aloud. Clap out the rhythm of the entire piece in she above manner. Three Blind Mice Allegretto Count 4 2 3 4 5 6 128456 1 23 4 5 6 123456 5, Conti 2 3 4 5 6 128456 12 34 5 6 128456 = Conti 23 4 5 68 123 456 123456 123 456 Count1 2 3 4 5 6 12 3 45 6 123 4 5 6 123456 THE HALF STEP (Sharps and Flats) A HALF STEP or HALF TONE is the smallest difference in pitch (high or low) between two tones on the piano. SHARPS A SHARP (#) placed before a note RAISES it a half step. cat ‘*E Sharp is played on the same white key as F. *B Sharp is played on the same white key a5 C. FLATS A FLAT (b) placed before a note LOWERS it a half step. re 4 ¥ te ‘°C Flat is played on the same white key as B. ‘*F Flat is played on the same white key as E. * NATURAL A NATURAL (4) before a note cancels any previous sharp or flat. EXAMPLE _0 tone" Phang sone on pia, a F Fsharp Fnatural E Eflat Enatural THE WHOLE STEP A WHOLE STEP or WHOLE TONE is the same distance as TWO HALF STEPS. For example: C to #C is a half step; #C to D is a half step. 4C to D isa half step; D to #D isa half step. Therefore C to D is a whole step. Therefore #C to #D is a whole step. ' WHOLE a STEP — Cc 7 is WHOLE ‘STEP MAJOR SCALE PATTERN Every MAJOR SCALE is composed of WHOLE STEPS and HALF STEPS. Here is the order: WUOLE -WHOLE + mur -WHOLE-WHOLE-WHOLE> wus STEP + STEP > smtp STEP+ STEP= STEP> su Pili All A A A A A (eels ca 7 — 30 LEGER LINES AND SPACES Extra lines and spaces are used to show notes above and below the staves. These are called LEGER LINES and SPACES. These Treble and Bass notes are played on the High same keys of the piano. * 3 4 Bg = F é peas ee ov aA pc DE ae ft ft £ £ _LowC + FED i Thoughts At Twilight (Introducting Sharps and Flats) Moderato e cantando . rr ar ery aa ‘When the ev-ning | shad-ows fall, |Mem-Yries dear do | I re - call, 4 2 2 Hf b: ‘Thoughts of you come | back to me, | Prec-ious days that | use to be t 4 22 2 H 5 4a, yt 2 s =) = SES Ss ts ts Tho you left me | all a - lone, |Ther's no time to weep or moan, 1 ‘ 2 if b a : $_ts—_¢ —| x ar = <— 4 11006 BL *FINGER DRILLS ‘The importance of FINGER DRILLS for the beginner cannot be ovecemphasized. However, lengthy sustained exercises at the outset can be more harmful than beneficial. Therefore, in order to avoid any tightening of the muscles, these exercises have been written in short groups, with rest periods following each group. Practice hands alone at first, then together. 12345 Baa 2 1 5 (é Legg ® =e pee E a f E fees, steht efter ‘*These FINGER DRILLS should be practiced daily throughout this book. 11006 32 SCALE AND KEY OF G MAJOR ‘We learned the MAJOR SCALE PATTERN on Page 29. The following chart will show you why the F's are SHARPED in the Scale or Key of G MAJOR. G MAJOR SCALE PATTERN ‘WHOLE WHOLE ‘WHOLE WHOLE WHOLE HAL) STEP STRP 52uF STEP STEP STEP sta? SNS ol BEET G MAJOR SCALE Practice hands separately THUMB THIRD FINGER UNDER. OVER peere ae ome THIRD FINGER THUMB ‘OVER UNDER 33 He’s A Jolly Good Fellow (Key ‘of G Major) Allegretto =. He's a jol-ly good] fel - tow, He's a jol-ly good | fel - low, ip: . te: 2 . 7 : £ jol-ly good] fel - low, That| no-bod-y can de - : ie a a 9 no one can jol-ly good | fel - low, jol-ly good | fel - tow, jol-ly good |fel - tow, That} no-bod-y can . * : 1 34 FINGER DRILL Practice this FINGER DRILL daily throughout this book. Play hands separately at first, then together. 4 5, 4a 53 4 35 THE DAMPER PEDAL Look at the strings of your piano and you will notice the FELT BLOCKS (DAMPERS) lying against them. = Now suike + key on the pismo Release the key and you will see Look at the PEDALS of your _ Now release the DAMPER sand observe how its DAMPER isthe DAMPER fall bac into place piano, The one on the RIGHT is PEDAL and all the DAMPERS ‘ised. This permits the sting 12 agaist the sting, thereby stopping called the DAMPER PEDAL. Press fall back into their proper places vibrate and the tone to continue the sound this pedal down with your foot. arsist the string. sounding. Notice how ths action tises ALL the DAMPERS off the strings Press the DAMPER PEDAL down and play the following notes. LH. Press Baad Pedal Mark iS Hold the pedal down and you will hear this chord. This blending of tones enriches your piano playing. The DAMPER PEDAL may also be used to connect tones as in the following: 1 8) & S| 5 8) iv 5) i 3] Count 1 2 84 1 4 a4 1 a B 4 1% 8 4 1 Es a4 Press the damper pedal DOWN on the numeral 2 and UP on numeral 1. Pedaling after the key has been struck is known as SYNCOPATED PEDALING and is used to give clarity to your playing and to avoid a sloppy effect of overlapping tones. 36 AFTER learning this piece thoroughly, practice using pedal as marked, Notice how the pedal enriches your playing and brings out the harmonies, Drink To Me Only With Thine Eyes “Arcanged by A MICHAEL -AARON Moderato cantabile pledge 37 that | from the rise, —— , t + 3 rs = —- a == But might 1 of Jove's [nea - tar |sip___ sa DSe -— ; T Bs z a 11006 38 SCALE OF F MAJOR Notice the Bp’s in this scale. 2 3 ‘When the Bb is written in the Key Signature, all the B's must be flatted even though they are not marked. BN Poe ht A en he Bb Carnival Time (Key of F Major) Allegretto MICHAEL AARON Le 4a 2 4a 2 £ mP e legato ae TRIADS A triad is a chord composed of three tones formed in the following manner: 1, Play a succession of five tones in the scale, thus: a ¢ fst 2nd 3rd 4th Sth 2. Omit 2nd and 4th tones, thus: i ard Sth 3. Serike the three tones together on the piano, thus: Foot 39 TRIADS OF THE MAJOR SCALE Form a triad on each note of the scale Play hands separately at first. THE THREE MAJOR TRIADS SUB-DOMINANT “ONIC Tey Ga) DOMINANT (sol) 41 ONLY three chords are used to harmonize this piece. They are Tonic, ‘Sub-Dominant and Dominant triads, which you have just leamed on the pre- ceding page. Song Of Happiness Allegretto — a when youre feel~ing | sad and blue, | Just can't think of |what to do, a 1 TONIC SUB-DOMINANT DOMINANT (dod (fay (sol) eo Gloom and cares will ]melt to - day, If you sing your |blues a - way. Ha! Ha! Ha! Can't you see, Gloom and I just |don't a - gree peat 4 2, 38 Ha! Ha! Ha! ‘Can't you see, Hap - pi- ness for you and me. 11006 a2 INVERSIONS OF TRIADS ‘The word INVERSION means a contrary change of order or position. MAJOR TRIAD On page 39 we studied the first or ROOT POSITION C the ROOT, at BOTTOM Now place C the ROOT of the rd bs on top. and you have FIRST INVERSION € the ROOT, on TOP Place E the 3rd of the chord on top, and you have SECOND INVERSION C the ROOT, in the MIDDLE Here are the three positions of the Tonic, Sub-Dominant and Dominant triads in the Key of C Major. C MAJOR TONIC TRIAD SUB-DOMINANT DOMINANT TRIAD Root First Second Root First Second Root First Second position Invers. Invers. pos. Invers. Invers. pos. Invers. Invers. CHORD STUDY IN INVERSIONS Root Position First Inversion Second Inversion Practice the Sub-Dominant and Dominant triads in the same manner as the above example. 2 "THE word “FANEARE” means a flourish of trumpets. This piece is composed of TRIADS and INVERSIONS of TRIADS. See if you can identify the different positions of the chords. Fanfare Moderato Chord Study (For Left Hand) 11006 THE DOMINANT-SEVENTH CHORD Next to the TONIC CHORD (I) the DOMINANT-SEVENTH (v7) is the most important chord in harmoniz- jing music. The three chords, TONIC, SUBDOMINANT and DOMINANT-SEVENTH harmonize or form the ac- companiment to many well known melodies and songs. See “Cradle Song” on the next page. HOW TO FORM A DOMINANT-SEVENTH , =~ ——added 7h aot mote Dominant 7th Count UP seven letters of scale from lowest note G. y W thus: GABCDEF 1234367 Here are the four positions of the DOMINANT-SEVENTH Here is the First Inversion of the Root First Second Third DOMINANT-SEVENTH with the D omitted. position Inversion Inversion Inversion SS — a 7 7 7 w vr vi vi CHORD STUDY IN C MAJOR (Introducing Dominant-Seventh Chord) SUB-DOMINANT TONIC CHORD (Second Inversion) DOMINANT-SEVENTH (First Inversion) “3 DOTTED QUARTERS A Dotted Quarter d= d (Quarter tied to an Eighth) RHYTHMIC PATTERN FOR “CRADLE SONG” RI. did Td ob Coutt3 a 1a2a 3a 1a2a83a ta2a3a taza Clap bands for each note and count aloud. Clap out the rbythm of the entire piece in the above manner, Cradle Song BRAHMS Arranged by Michael Aaron iaasees a> Moderato SCALE OF B FLAT MAJOR ‘Notice the Bp's and Ep’s in this scale ere ‘When the two flats, Bb and Eb are written in the key signature, 1, all the B’s and E's must be flatted even though not marked. i feeteee ae oey Key Signature ph pl Romance RUBINSTEIN ‘Arranged by Michael Aaron aS Andante con moto Pe legato 7 CHORD STUDIES The Rose of Tralee GLOVER Moderato ss wa = s BEF a = The yer shades of eve-ning their] man - tle were |spread-ing, And SSS 1 smil - ing was | list’- ning to 1 1 moon through the | val - ley her |pale rays was | shed - ding, When 4 11006 Practice this LEFT HAND study several times before playing “Alouette.” Notice the harmony which is composed of the following chords. Alouette FRENCH CANADIAN FOLK SONG Allegretto 2 Arranged by Michael Aaron etto —— mf A - ou-et - te, | gen-tile A-lou-et \te, A - lou-et - te, Je te plu-mer-ai. | Je te plumer-ai Ia tete, | Je te plu-mer-ai la tete, 2 — Et le tete, Et le fete, Et le tete, Oh! 2 1. ————_—— gen-tile A-lou- et \te A - lou-et - te, Je te plu-mer-ai. 2 11008 49 PLay this piece with strongly marked rhythm and accent 1st and th beats of each measure. Marche Slave TSCHAIKOWSKY Arranged by Michael Aaron 5 — Home On The Range Arranged by MICHAEL AARON 5 _—_—_—_—_—__—_ . Moderato espressivo ( home, Where tne [buf - fa-to |roam, Where the 4 heard = A dis -|cour- ag - ing | word, 4 1 CHORUS the - te - lope | play. 5 zB 5—F 3 = : = sel - dom is heard, A dis -| cour - ag-ing | word And the 11006 32 Key Signature SCALE OF D MAJOR Notice the F¥'s and Cy s in tus scale. a, a epee ad ‘When the two sharps F# and G# are written in the Key Signature, Picg all F's and C’s must be sharped even though they ae not marked. aft a 8 aos 3 A Hundred Pipers (Key of D Major) Allegretto of Arranged by MICHAEL AARON 23 5 3 Sweet and Low BARNBY Moderato e espressivo Arranged by Michael Aaron 5 ——~5 —t . Sweet and tow, Sweet and low, [Wind of the west-ern Blow, the roll - i Come from the dy - and blow, | Blow him a - gain 34 STACCATO ‘The dot above or below a note fd means that note is to be played in a short and sharp manner. Just imagine you are plucking the strings of banjo, Release the piano key at the instant of sound. Practice the following exercise. LEGATO (conneced) STACCATO (shore and sharp) 5. 3 a aa! Strumming On The Old Banjo MICHAEL AARON Allegretto 5 nt . 55 SCALE OF E FLAT MAJOR Notice the Bb's, Eb’s and Ab’s in this scale. When the three flats Bb, Eb and Ab are written in the Key Signature, all the B's, E's and A's aust be fated even though they are not marked, 2 2 Down On The Delta Andante con espressivo MICHAEL AARON mark out melody ae T? 35 ~~? 235 i te a little faster —— 12 a5 11006 56 Pay this Mexican folk song with a well marked sense of rhythm. Be sure to observe all marks of legato and staccato. They add interest and character to the piece. La Cucaracha MEXICAN FOLK SONG Allegretto Asranged by Michael Aaron a2 a5 a5 = aad oan teen a la guitar p ¢ staccato 11006 37 Tits beautiful melody by Franz Liset should be played wih a good SING- ING TONE Be sure to shade the accompaniment as well as the melody. Liebestratime (Dream of Love) LISZT Cantando e poco allegro Arranged by Michael Aaron 39 poco agitato <<< <_ === poco rit. 4 ber) oo ALTHOUGH this piece was written many years ago, itis still a favorite of music lovers. Play with expression. Waves Of The Danube {VANOVICI Arranged by Michael Aaron Moderato es fees = ~—=S=—rsrU t= 4 Con eapressione ‘ Pp ¢ legato 1 bigs | aid | 6 11006 THE MAJOR SCALES AND CHORDS Major Major Major Major Major Major Major Bb Major Eb Major Major Db Major G Major 63 THE MAJOR SCALES AND CHORDS 11006 DICTIONARY OF MUSICAL TERMS ABBREVIATION MEANING or SIGN, . A tempo . Merrily (fairly rapid) Fast Slowly In a singing or vocal style With spirit » Gradually louder . Rerum to the beginning Gradually softer To be played by the left hand . The melody + Smooth and connected ‘Light and airy « Play with emphasis Moderately loud Moderately soft “ln a mysterious manner ‘Moderate rate of speed (not too fast) » Soft PP. + Poco a poco. Presto... Same as indicated previously Sustain . Detached, shore « Rate of + With tender emotion -Teneramente . Tranguillo « Vivace... - Qui . Fase and lively

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