ALL IN ONE ASSIGNMENT BOOK (Technic and Dictionary Sections)

Transcription

1 ALL IN ONE ASSIGNMENT BOOK (Technic and Dictionary Sections) Student Music Dictionary Fingerings for Arpeggios Technical Exercises for Chords Theory & Fingerings for Chords Technical Exercises for Major & minor Scales Theory & Fingerings for Major & minor Scales Fingering Rules Chart for Major & minor Scales Technical Exercises for Major & minor 5 Finger Patterns Theory and Fingerings for Major & minor 5 Finger Patterns Chart of the Relationship of Grand Staff Notation to the Piano Keyboard Parent by LeAnn Halvorson Teacher

2 TABLE OF CONTENTS Technic Section 5 Finger Patterns & Chords page 1 5 Finger Pattern Exercises #1 & #2 pages 2-3 Different Chord Qualities; Root Position Chords & Inversions page 4 Major & Minor Root Position Arpeggios page 5 Finding the Root note of chords, reading chord labels; Primary Chord Progressions page 6 Four Note Chords; Different Types (Qualities) of 7th Chords page 7 Chord Exercises page 8 Circle of 5ths page 9 Scale Fingering Rules page 10 C Major & a minor scales page 11 G Major & e minor scales page 12 D Major & b minor scales page 13 A Major & f sharp minor scales page 14 E Major & c sharp minor scales page 15 B Major & g sharp minor scales page 16 F Sharp Major & d sharp minor scales page 17 C Sharp Major & a sharp minor scales page 18 C Flat Major & a flat minor scales page 19 G Flat Major & e flat minor scales page 20 D Flat Major & b flat minor scales page 21 A Flat Major & f minor scales page 22 E Flat Major & c minor scales page 23 B Flat Major & g minor scales page 24 F Major & d minor scales page 25 Scale Exercises page 26 Staff Paper page 27 Music Dictionary Section Staff Terms; Change of Pitch Terms; Pedaling Terms page 28 Pedaling Terms (continued); Phasing Terms; Dynamic Terms page 29 Ornamentation; Common Meters page 30 Rhythmic Notation page 31 Common Rhythm Stresses; Note Value Tables page 32 Tempo Terms; Change of Tempo Terms, Expression Terms page 33 Miscellaneous Music Terms Section A Cappella Baroque Period page 34 Bass Celesta page 35 Cembalo Clavierübung page 36 Close Harmony Double Fugue page 37 Down Beat Gavotte page 38 Gigue Images page 39 Imitation Keyboard Instruments page 40 Kinderscenen Military Polonaise page 41 Military Polonaise (continued) Musette page 42 Nationalism Orchestra page 43 Orchestra (continued) Pentatonic Scale page 44 Percussion Instruments Program Music page 45 Progression Rhythm page 46 Rhythm and Blues Secondary Chords page 47 Secondary Dominant Syncopation page 48 Synthesizer Twelve Tone Row page 49 Twelve Tone Row Woodwind Instruments; Grand Staff Note Placement Chart page 50

3 * 5 Finger Patterns & Chords what to know before you play: chord: It is built from the 1st, 3rd and 5th notes of a 5 finger pattern. Minor: It is the same as major, except the 3rd (middle) note is played a half step (one key) lower. = Enharmonic 5 finger patterns: Two 5 finger patterns sound the same because they use the same keys, but look different when written on the staff, ex. c sharp and d flat, (look for shaded boxes with an * below). = Flat: Play a half step (one key) lower. Lower a flat with a double flat. = Double flat: Play a whole step (two keys) lower. = Sharp: Play a half step (one key) higher. Lower a sharp with a natural sign,, or plain note. W= Whole step: Two keys with neighboring alphabet letters that have one key between them. H= Half step: Two keys with neighboring alphabet letters that are right next to each other. C D E F G C E G G A B C D G B D F G A B C F A C Practice the assigned 5 Finger Pattern exercises every day to improve finger strength, and mobility. Group #1 White Key Major Chords Page 1 - Technic Directions: 1. Draw in the flats or sharps needed on the right side to make minor 5 finger patterns and tonic chords. The major 5 finger patterns & tonic chords on the left side are done. Minor 5 finger patterns & tonic chords use the same notes as major, except the 3rd (middle)note, it is a half step lower. Don t change anything that is already minor. Double check your answers with the minor whole step/half step pattern. 2. All major and minor 5 finger patterns and tonic chords use the same fingering. R.H L.H Major 5 finger pattern Major chord minor 5 finger pattern minor chord 1 W 2 W 3 H 4 W W 2 H 3 W4 W c d e f g c e g g a b c d g b d f g a b c f a c D E F G A D F A A B C D E A C E E F G A B E G B * C * D D E E F F G G A * C * D E F G A A B C D E A C E E F G A B E G B * G * F A G B A C B D C * G * F B A D C B C D E F B D F * C D E F G C E G * B C D E F B D F Group #2 White, Black, White Key Major Chords Group #3 Black, White, Black Key Major Chords Group #4 Black Key, & Opposites Major Chords d e f g a d f a a b c d e a c e e f g a b e g b c d e f g c e g * g a b c d * g b d * a b c d e * a c e * e f g a b * e g b * d e f g a * d f a f g a b c f a c * b c d e f * b d f * a b c d e * a c e b c d e f b d f

4 Page 2 - Technic 5 Finger Pattern Exercises #1 R.H L.H You may be assigned to practice 5 finger patterns using: any exercises on this page; and hand assignments a, b, or c. Play the keys with your fingertips, keeping finger joints firm (no caving). Hand assignments A. Play each hand alone (E.H.A.). B. Play hands together (H.T.). C. Play hands together as shown in the exercise, then reverse the instructions for the right and left hands. Exercises 1. Place fingers on the assigned 5 finger pattern. All other fingertips must be touching a key while each finger lifts and plays its key four times. 2. Practice the assigned 5 Finger Pattern exercises every day to improve finger strength, and mobility Dominant 7th ½ step ½ step 7. Dominant 7th 8. Dominant 7th Dominant 7th Play all 5 finger patterns in chromatic order, ½ steps, (c, c sharp, d, etc.).

5 Page 3 - Technic Practice the assigned 5 Finger Pattern exercises every day to improve finger strength, and mobility. 5 Finger Pattern Exercises #2 R.H L.H You may be assigned to practice 5 Finger Patterns using any combination of: Hand Assignments A, B, or C; and Practice Steps 1-7 for any of the exercises on this page. Practice Tips Play the keys with your fingertips, keeping finger joints firm (no caving). Let your hand freely move in the direction of each key that you play, this is especially important when playing fingers: 1-5, 1-4, 1-3, and 1-2. Moving your wrist in a circular motion on the exercises helps your arm stay relaxed. Hand Assignments A. Play Each Hand Alone (E.H.A.). Use the R.H. on the top, then bottom line of fingering. Use L.H. On the top, then bottom line of fingering. B. Play Hands Together (H.T. - Contrary Motion). Use the top line of fingering, then the bottom line of fingering. C. Play Hands Together (H.T. - Parallel Motion). Use the top line of fingering for the R.H., and the bottom line of fingering for the L.H. Practice Steps 1. Legato touch (connect each note) 5. Two note slurs (drop, connect, lift, off). 2. Staccato touch (detach each note) 6. Three note slurs (drop, connect, lift, off). 3. R.H. Legato/L.H. Staccato. 7. Four note slurs (drop, connect, lift, off). 4. L.H. Legato/R.H. Staccato. Exercises

6 Technic - Page 4 Highlight all Root notes of chords. Practice the assigned Chords every day to improve chord knowledge, flexibility, and mobility. 1. Different Chord Types (Qualities) in Root Position Change and play all Major Root position chords on page 1 into other chord types as in example 1 below. Major Chord (1st, 3rd, 5th) = 1st, 3rd and 5th scale notes of a Major 5 Finger Pattern or Scale, and labeled with a letter symbol, (ex. C = C E G) Minor Chord (1st, -3rd, 5th) = It is the same as the Major Chord except the 3rd (middle) note is lowered one key (half step). It can also be made from the 1st, 3rd and 5th scale notes of a Minor 5 Finger Pattern or Scale, and labeled (ex. Cm or Cmi = C E G ). Diminished Chord (1st, -3rd, -5th) = It is the same as a Major Chord except the 3rd (middle), and 5th (top) notes are one key (half step) lower, and labeled (ex. Cdim. or C = C E G ). Augmented Chord (1st, 3rd, +5th) = It is the same as a Major Chord except the 5th (top) note of the chord is one key (half step) higher, and labeled (ex. Caug. or C+ = C E G ). Root Position Chords in different Chord Types - Use fingers 1, 3, and 5 in root position. Major (1, 3, 5) Minor (1, -3, 5) Diminished (1, -3, -5) Root Position Chords and Inversions Augmented (1, 3, +5) Change and play all Root Position chords on page 1 into 1st Inversion, and 2nd Inversion as in examples 2 & 3. R = The Root note names the chord; 1st note (tonic) of a Major 5 Finger Pattern or Scale. 3rd = The 3rd note (mediant) of a Major 5 Finger Pattern, or Scale. 5th = T he 5th note (dominant) of a Major 5 Finger Pattern, or Scale. R.H. = Right Hand Fingering. L.H. = Left Hand Fingering. Inversion = The same chord notes are used, but the order of play (R, 3rd, 5th) is scrambled. Root Position First Inversion Second Inversion R 3rd 5th 3rd 5th R 5th R 3rd R.H R.H R.H ex. C E G E G C G C E L.H L.H L.H Blocked Chords in Root, 1st, and 2nd Inversion - Use fingers 1, 2, and 5 only where it is marked. 2. R.H Root 1st 2nd Root Root 2nd 1st Root Inversion Inversion Inversion Inversion 3. L.H Broken Chords in Root, 1st, and 2nd Inversion - Use fingers 1, 2, and 5 only where it is marked. R.H Root 1st Inversion 2nd Inversion Root Root 2nd Inversion 1st Inversion Root L.H

7 Page 5 - Technic Root notes are in bold print. Practice the assigned Root Position Arpeggios every day to improve chord knowledge,& flexibility. Root Position Arpeggios (broken chords with thumb under turns) What to know before you play: 1. All fingerings will be for a 1 octave Arpeggio. You can also use this fingering for more than 1 octave Arpeggios. 2. The 5th finger may be substituted at the top and bottom of the arpeggio when there is a ( ) around a number. 3. In the L.H. you may substitute the 4th finger for the 3rd finger if it is more comfortable for you to do so on any White/Black/White, B Major, or C Major Arpeggios. 4. While playing the Arpeggio, listen for steady rhythm, legato and a nice solid tone. 5. Let your wrist have a flexible side to side motion to help the hand with smooth, relaxed finger crossings. 6. Watch your elbow so it doesn t have any excessive up and down motions when there are finger crossings. R.H. = Right Hand Fingering L.H. = Left Hand Fingering Arpeggio s Root Note is in bold print = Enharmonic Major Arpeggio minor Arpeggio R.H. = (1) C E G C G B D G F A C F L.H. = (1) All White Keys * R.H. = (1) d f a d a c e a e g b e L.H. = (1) R.H. = (1) D F A D A C E A E G B E L.H. = (1) White/Black White Keys R.H. = (1) c e g c g b d g f a c f L.H. = (1) R.H. = R.H. = * C E G C c e g c * D F A D A C E A E G B E L.H. = Black/White Black Keys f a c f * g b d g * a c e a L.H. = R.H. = (1) R.H. = (1) * G B D G All * e g b e * F A C F Black Keys * d f a d L.H. = (1) L.H. = (1) R.H. = (1) R.H. = (1) * B D F B b d f b Opposite * C E G C L.H. = (1) L.H. = (1) Colored Keys R.H. = R.H. = * b d f b B D F B * a c e a L.H. = L.H. =

8 Technic - Page 10 GROUP ONE SCALE FINGERING RULES 4th finger placement on scales starting on white keys. 1. Thumbs: Play the, Keynote, of the scale, plus the 4th scale note in the R.H. and the 5th scale note in the L.H. 2. R.H. 4th finger: Plays only once in each octave and it plays the 7th scale note. 3. L.H. 4th finger: Plays only once in each octave and it plays the 2nd scale note. Use the Group One Scale Fingering Rules on the following scales: R.H. Major Scales: C, G, D, A, E and B (C flat). R.H. minor scales: a, e, b, d, g and c. L.H. Major Scales: C, G, D, A, E and F. L.H. minor scales: a, e, g, c, d and f. GROUP TWO SCALE FINGERING RULES Finger placement on groups of two and three black keys. 1. Thumbs: Play the first white keys between the groups of two and three black keys. 2. Groups of two black keys: Play fingers 2 and 3 in both the R.H. and L.H. 3. Groups of three black keys: Play fingers 2, 3 and 4 in both the R.H. and L.H. Use the Group Two Scale Fingering Rules on the following scales: R.H. Major: F sharp (G flat), C sharp (D flat), B flat, E flat and A flat. L.H. Major: F sharp (G flat), C sharp (D flat). In B (C flat) Major, but start with the 4th finger. R.H. minor: g sharp (a flat), d sharp (e flat) and a sharp (b flat). L.H. minor: f sharp, c sharp, d sharp (e flat), a sharp (b flat). In B Minor, but start with the 4th finger. g sharp (a flat) Minor, but only when playing the Natural Minor Scale. GROUP THREE SCALE FINGERING RULES 4th finger placement for scales starting on black keys. 1. Thumbs: Play only on the white keys. 2. R.H. 4th finger: Plays only once in each octave and it plays the A# or Bb. 3. L.H. 4th finger: Plays only once in each octave and it plays the 4th scale note. Use the Group Three Scale Fingering Rules on the following scales: R.H. Major: F sharp (G flat), C sharp (D flat), F, B flat, E flat and A flat. L.H. Major: C sharp (D flat), B flat, E flat and A flat. R.H. minor: f, g sharp (a flat), d sharp (e flat) and a sharp (bflat). L.H. minor: g sharp (a flat), but only when playing the Harmonic & Melodic Ascending Minor Scales. Directions: Scale Pages The most important scale fingering is provided on the alphabet scales (Fingering for: 1 s, 3 s, and 4 s). Alternate fingering is in light gray. The fingering provided in black print works for single or multiple octaves. Highlight the 4th finger numbers (use one color throughout the scale pages). Highlight Right Hand fingering in a 2nd color, and Left Hand fingering in a 3rd color. Use this scale fingering for as many octaves as you need, playing the note only at the top. 2. Read and follow all of the directions for drawing the sharps or flats in each alphabet scale, and draw in the Key Signature (use order of sharps, & order of flats for Key Signatures, pg. 9). Answer all of the questions. 3. Hands Together Scales: Draw a box around every place where the same finger of each hand plays the same alphabet key name at the same time. When playing Hands Together scales, it is helpful at first, to put fermatas on every 4th note of the scale and repeat each note of the scale. The fermatas allow you to double check your fingering.

9 Technic - Page 12 G Major & e minor scales Directions: Page 10 G Major & e natural minor = One sharp Draw a sharp after the 7th scale note of G Major. The e natural minor scale uses the same Key Signature as G Major, draw in the sharp for e natural minor. The arrows under the 5th scale notes, Dominant, of these scales name the scales with 2 sharps. (5) (5) R.H R.H G A B C D E F G e f g a b c d e L.H L.H (5) (5) Write the rest of the fingering for the G Major Scale below. Draw the G Major Key Signature. R.H. 1 L.H. 1 (5) Write the rest of the fingering for the e natural minor scale below. R.H. 1 Draw the e minor Key Signature. L.H. 1 (5) e harmonic minor Same as e natural minor, but the 7th scale note is played a half step higher. What is the 7th scale note of e harmonic minor? e melodic minor (ascending ) Same as e natural minor, but the 6th and 7th scale notes are played a half step higher. What are the 6th and 7th scale notes of e melodic minor (ascending)? e melodic minor (descending ) Is exactly the same scale as e natural minor. chord & Inversions: Page 4 or play the row of scale degrees going across from Chord. Primary chord progression: Page 6 or play the row of scale degrees going down from each Position in this order: (I, IV, I V7, I). The minor chord progression uses notes from the Harmonic Minor Scale. Root Position 1st Position 2nd Position I = Chord(1): use scale degrees 1, 3, 5 3, 5, 1 5, 1, 3 IV = Subdominant Chord(4): use scale degrees 1, 4, 6 4, 6, 1 6, 1, 4 V7 = Dominant 7th Chord(5): use scale degrees 7, 4, 5 4, 5, 7 5, 7, 4

10 Technic - Page 20 G Flat Major & e flat minor scales (Enharmonic Scales = F Sharp Major & d sharp minor) Directions: Page 10 G Flat Major & e flat natural minor = Six flats Draw flat signs after the same scale notes that were flatted in C Flat Major, except the 7th note of G Flat Major, leave it natural. The e flat natural minor scale uses the same flats as G Flat Major, draw in the flats. The arrows under the 5th scale notes, Dominant, of these scales name the scales with 5 flats. R.H R.H G A B C D E F G e f g a b c d e L.H L.H Write the rest of the fingering on the G Flat Major Scale below. R.H. 2 Draw the G Flat Major Key Signature. L.H. 4 Write the rest of the fingering on the e flat natural minor scale below. R.H. 3 Draw the e flat minor Key Signature. L.H. 2 e flat harmonic minor Same as e flat natural minor, but the 7th scale note is played a half step higher. What is the 7th scale note of e flat harmonic minor? e flat melodic minor (ascending ) Same as e flat natural minor, but the 6th and 7th scale notes are played a half step higher. What are the 6th and 7th scale notes of e flat melodic minor (ascending)? e flat melodic minor (descending ) Is exactly the same scale as e flat natural minor. chord & Inversions: Page 4 or play the row of scale degrees going across from Chord. Primary chord progression: Page 6 or play the row of scale degrees going down from each Position in this order: (I, IV, I V7, I). The minor chord progression uses notes from the Harmonic Minor Scale. Root Position 1st Position 2nd Position I = Chord(1): use scale degrees 1, 3, 5 3, 5, 1 5, 1, 3 IV = Subdominant Chord(4): use scale degrees 1, 4, 6 4, 6, 1 6, 1, 4 V7 = Dominant 7th Chord(5): use scale degrees 7, 4, 5 4, 5, 7 5, 7, 4

11 Music Dictionary - 28 Staff Terms Staff The 5 lines and 4 spaces on which music is written. Bar Line The line that divides music into a certain number of beats which is determined by the time signature. The distance between two bar lines is called a measure. Double Bar Line Used to show the end of a song or piece of music. Ledger Lines The short lines added above or below the staff for the notes that exist above and below the staff. Octave Signs These signs show where to play the music higher or lower than it is written on the staff. When you see loco or the dashes of the octave sign end, play the notes as they are normally played. The number of notes to move higher or lower depends on the number used in the octave sign. 8va tells you to play an octave (interval of an eighth) higher or lower. 15ma tells you to play two octaves higher or lower. Treble Clef Used to notate middle to high sounds. It is sometimes called the G Clef because the lower part of the clef sign circles the second line of staff that names the G above middle C. Bass Clef Used to notate middle to low sounds. It is sometimes called the F Clef because the fourth line of the staff is between the two dots of the clef sign which names the F below middle C. Grand Staff This term is used when both the treble clef staff and the bass clef staff are used and are joined by a bar line and a brace. Repeat Sign Play the section of music that is written before the repeat sign again before ending the song or going on to a new section of music. Repeat Sign Repeat the previous measure of music before playing the next measure. First and Second Ending The first time, play the music and the measures under the 1st ending, then repeat the previous section of music. The second time, play the measures under the 2nd ending instead of playing the measures under the 1st ending. Coda Sign Coda means tail or end, it is placed at the ending section of the music. Segno Sign This sign is used to show where to repeat a section of music from if the words Dal Segno al Fine or D.S. al Fine are used. Change Of Pitch Terms Sharp Sign The note following a sharp sign is played a half step higher. Double Sharp Sign The note following a double sharp sign is played a whole step higher. Flat Sign The note following a flat sign is played a half step lower. Double Flat Sign The note following a double flat sign is played a whole step lower. Natural Sign Play the note following a natural sign as you normally would. The natural sign cancels the effect of sharp, flat, double sharp or double flat signs. Pedaling Terms Damper Pedal Signs The damper pedal is the pedal to the right. Pedal signs instruct you to depress or lift the damper pedal to change sustained tones on the piano.

12 Music Dictionary - 50 a different octave range, inversion of the row, retrograde of the row, transposition of the row, and different rhythmic or chordal groupings of the row. Twentieth Century Music The styles, characteristics and developments of music which have occurred during the 20th Century and include: Atonality, Neoclassicism, Neoromanticism, Impressionistic styles, Expressionism, Twelve Tone Row, Prepared Piano, Chance Music (Aleatory Music), Jazz, Blues, Ragtime, use of sounds created from sources other than musical instruments (ex. train or car), use of newly developed recording technics and use of newly developed electronic instruments and computers. Una corde See page 28. Unison Two or more voice parts which play the same pitches of a melody (sometimes in different octave ranges). Upbeat A note or group of notes on a weak beat that creates the beginning of a phrase or motive. The group of notes occurs before the first complete measure of a composition. Waltz A dance in moderate tempo with a broken chord bass. Well Tempered Clavier A group of famous compositions by J.S. Bach consisting of forty-eight preludes and fugues. This collection was the first complete usage of the equal temperament tuning system (12 tones between an octave, all a half step apart). He used both Major and Minor key systems in the collection with a prelude and fugue in a Major key followed by a different prelude and fugue in a Minor key. Whole Step Two consecutive notes (ex. A, B) with one note between them (ex. A, A sharp, B). Whole Tone Scale A scale that consists entirely of whole steps. Wind Instruments Instruments that create sound by the blowing of air. Woodwind Instruments The grouping of instruments that includes: (Breath tone) Flute, Piccolo; (Single Reed) Clarinet, Saxophone; (Double Reed) Oboe, Bassoon, and English Horn. Using highlighters, color: Very Low orange, Low blue, Middle green, High pink, and Very High yellow.