lntroducing Dotted Quarter Notes

A DOT IFICREASES THE LENGTH OF A NOTE BY ONE HALF lTS VALUE.

A dotted half note is equalto a

half note tied to a quarter note.

A dotted quaer note is equalto a

quaer note tied to an eighth note.

Jt--,)
.

1
'/,
couNT + coUNT

)
11/z

couNTS

Clap (or tap) the following

rhythm. Clap ONCE for
each note, counting aloud.

The only difference in the

following two measures and

those directly above them

"one
COUNT:
is the way they are written.
or: "quar
They are played the same.

'"

",

two,
dot,

ft ti**, the DOTTEE QUARTER NOTE is aimost AIWAY followed by an E|GHTH NOTE!

j**

MEASURES FROM FAM|LIAR SONGS US|NG DOTTED QUARTEH NOTES

1. Count & clap (or tap) the

notes.

2. Play

Inoz,, A;

?o7"}
M|DDLE D PoslTloN

1";

&

3. Play

d
be

& sing the words.

b; lW

MlDDLEcPoslTloN

l. Dck the halb wirl

2. 'Tis tha sea - son

count.

hol - ly,

iol -

ly,

Fa-h-la-la-h -

la

M|DDLE D PoslTloN

Lo$/ G poslTloN

"u{

rr^

h .,t*ro* YL<e

; ; *S;

lp

o,1*,

!;bi

b;L

-t

l\louette
c PoslTloN
^
PK"w
KEY OF C MAJOR
key Signature: no fi'", no

h.
French Folk Song

You are now ready to begin TECHNIC BOOK, Level 2,

Ode

ter

Joy

Theme from 9th Symphony

ln the 2nd measure of line 3, the LH
moves to a position with 3 on G.

Ludwig van Beethoven

__-------

o,

aj
at

l!

al

Move 3 to SAME G

a-j
.

- Da
,

Return

aD
tl

to

C PoslTloN

ll

,d

Measuring 6ths
When you skip 4 white keys, the interval is a th.
6ths are written LlNE-SPACE or SPACE-LINE.
UP a

6th

DOWN a 6th

UP a

6th

DOWN a 6th

5 FINGERS can play 6 NOTES: C D E F G A

il
c

||!]

This is C POS|T|ON plus 1 note (A)

played with RH 5.

RH 5.plays G

orAl

Say the names of these intervals as you play!

HARMoNlc |NTERVALS

MELoDtc |NTERVALS

LH

c |[

ill
|JJ
LH

1,

This is C POS|T|ON plus 1 note (A)

played with LH ,l.

plais G oiAl

Say the names of these intervals as you play!

MELoDlc |NTERVALS

Znd

3rd

4h

HARMoNlc |NTERVALS
sth

2nd 3rd

4th

6th

Practice this WARM-UP before playing LAVENDER'S BLUE.

-l

555
111
l

,
aa

}!

Lavender's Blue
Allegro moderato
15

>

dmf

1, Lav - en - der's
2. Who iold you

Lav -en-der's
Who told you

blue,
SO,

,
a.)

When l
'TWas my

am
own

4,

you shall
That told

hea,

so?

King,

green,

e,

be

Queen!

me

so!

3
5

-l
A

-lv.\llll\1-.1l

.j}

raiaana

laa

--I

SUGGEST|ON:

For a WARM-U practice the first 4 measures with LH alone.

When You Grow Up

Allegro moderato

mfe
.z 1. When you
2.

er or

all the things

ee

fly
win

to

good

the

up, what
up, what

grow
grow

When you

moth

Willard A. Palmer

world - wide

fa - ther

would
would

with

for - tune brings when

moon,

fame,

or
or

per
per

you like
you lke

to

to

fine fam - i
es come

wish -

haps to
haps be

a
a

|y?
true?

You could
you could

star,
star,

Or
Or

sim - ply
sim - p|y

be
be

loved for
loved for

what
what

J,o
eV -

er

eV - er

you
you

OPTIONAL: After playing the piece twice, repeat the last line slowly and softly with both hands 8ya.

QUESTION: What would you like to be?

This piece ,.e. f; and ft time,

changing time signatures in each measure.

cotJNT: 1-2

lr-r-3-4 l*,

KulTl-ba-yah!"
Andante
2nd. tine both hands 8va

2. Some - one's

Kum -

ba

Some - one's

Kum - ba
Some - one's

,
yah,
pray

,
yah,
pray

yah,

my

ing,

Lord,
Lord,

my

ing,

my
pray - ing,

Lord,
Lord,

Lord,
Lord,

Kum Kum -

55
*

Kum-ba-ya means "Corne by here,"

ba
ba

Measuring 6ths
in G position

RH

il

F|NGEH can play 6 NOTE:

,l

lJI c ole

This is G POSIT|ON
plus 1 note (E)
played with RH 5!

RH 5plals D or E!

GABeDE

Say the names of the intervals as you play!

MELoDlc |NTERVALS

HARMoNlc lNTERVALS

LH

lJI ilc

l
D

This is G POSITION plus 1 note (E) played with LH

E
LH

1,

Say the names of the intervals as you play!

MELoDlc lNTERVALS
2nd

54

53

HARMoNlc lNTERVALS
2nd

3rd

1!

'l

8th Century Dance

/,'
1|

Andante moderato

1rl

L_l

2g112
55555
2ndtimebothhandsva-

----

---.l

23
55
Bothhandsva--

.,

This piece uses the positions shown on page 12.

2ndthnebothhandsva- - - -

'^,

------1

When you play in positions that include 6 or more notes,

any ttnger may be required to play 2 notes.

RH-r

LH-t

ll l

D
5 5 4

||'||

5onBorC!

D E F
1
2 3

l,[|

1onCorD!

RH INTERVALS, from A down to C:

2nd

3rd

LH INTERVALS, from G down to B:

2nd

Srd

4th

5th

6th

London Bridge
Allegro

2nd time pla! RH 9va

The original London bridge, about which this song was written, was in danger of falling down
because it was covered with tall, rickety buildings. lt was torn down and rebuilt atter 1757.

RH-l

LH

il
lll
sllg
-r

Glla c
2

5onFfiorG!

D
1

lllll
Gl[alc
tltlzlg
1 on G

RH INTERVALS, from E down to G:

LH INTERVALS, from D down to

Ffi:

Nick Nack Paddy Wack

(This Old Man)

Allegro moderato
2nd time play RH

f-p

_o.

va

D E
4 5

orA!

/b

16

Moving Up & Down the Keyboard in 6ths

ln the following exercises, the hands are no longer confined to one position!
Each hand plays 6ths, moving 1 and 5 up and down the keyboard to neighboring keys.

RH 6ths, MoVlNG FRoM

ur ro H AND BACK.

Begin with RH 1 on M|DDLE C.

LH 6ths, MovlNG FRoM

oow* ro

[Ei

AND BAcK.

Begin with LH 1 on M|DDLE C.

!_one Star Wa|tz

This piece combines the positions used in LONDON BR|DGE
with MOVING UP & DOWN THE KEYBOARD lN 6ths.

Moderato
2nd time both hands 8va

125

4,
I

aa

5,3

2nd time ritard.

*mp

mezzo piano, moderately soft,

/?

ullp

ajl
a

a-

(J

,rl!
A

])a

P3

o-f
l

^a

,a
a

?'

etc.

D. C. gl Fine

Crossing RH 2 over

ln this exercise, each phrase begins with a new hand position,

one key LOWER than the one before.

Begin the 1st phrase with 5 on

the 2nd phrase with 5 on E,
the 3rd phrase with 5 on D, etc.

mf

Crossing LH 2 over

ln this exercise, each phrase begins with a new hand position,

one key H|GHER than the one before,

Begin the 1st phrase with 5 on G,

the 2nd phrase with 5 on A,
the 3rd phrase with 5 on B, etc.

-f'

. r th

ffiri*:i66,,* ,x..o,'1,-l,i'j,}i-}

(sUR LE PaNT D,AvlGNoN)

French Folk Song

p
I

p'

aa

'

aa

This is a song about another rickety bridge, a very wide one, located in the city of Avignon, in France.
Legend has it that so many people once danced on this bridge that it almost collapsed,

Mlatasu,#a
Malaguea, pronounced "mah-lah-GAlN-yah," is a title
given to ceain types of Spanish dances and songs
composed or improvised in a style that originated in the
Spanish region of

Mlaga

There are many malagueas, just as there are many

tangos and waltzes. The melody divided between the
hands at the beginning and end of this piece, as well as
the descending LH and RH patterns in the middle
sections, are characteristic of the style.
ln this piece the LH begins in TREBLE CLEF,
ln measures 7-9, 27-29 and 31-33,
the RH plays in BASS CLEF.

NEW DYNA]tlttc IGNS

(tortisstmo} pp @ianissimo)
means VERY LOUD. mean. VERY SOF[.
1ff

Allegro moderato
RH rest
,l

PP LHl' 13

11

5
1

anl

g,,'
_]

aJ
a

mf kgato
^

lI

,I

E}

?J-

)?

)?

z1

rO

cI

T
lL)

ffi

53

53
\

RH

gl''
_l .t
I

23
11

il

Measuring 7ths
When you skip 5 whie keys, the interval is a'7th.
7ths are written LlNE-LINE or SPACE-SPACE.
UP a

7th

DOWN a 7th

UP a

7th

DOWN a 7th

RH MELoDlc |NTERVALS

7ths (beginning on middle C)

LH MELoDlc INTERVALS

7ths (beginning on low G)

NOTE: Students with hands large enough to reach a 7th may repeat the above exercises,
playing all the intervals harmonically (both notes together).

__{,''}

.i,

$,.l.i*,i.}

ii ;:,

{'W# { ta

Moderato

,JIf

'-f

\_.7
,

--a

--.

-\.-y

Jl

-{

\7,

f-,

REMEMBER!

The MAJOR SCALE is made of TWO TETRACHORDS joined by a WHOLE STEF

The pattern of each tetrachord is: WHOLE STEP-WHOLE,STEP-HALF sTEp.
KEY-NoTE

1t

t st

TETRAcHoRDJ,a'

znd TETRAoHoRD

sTEP
You can play the ASCEND|NG C MAJOR SCALE with the Ll{ ONLY by crossing 3 over 1.

You can play the DESCEND|NG C MAJOR SCALE with the RH ONLY by crossing 3 over

C Major Scale in Contrary Motion

Play hands separately at first, then together. Begin slowly, gradually increasing sPeed.

Both hands play SAME NUMBERED fingers at the SAME TIME!

1.

Andante modrato

Bothhands8va5

---l

D. C. aI Fine

26

Measuring OdaVes (8ths)

When you skip 6 white keys, the interual is an

OCTAVE.

Oetaves are written LlNE-SPACE or SPACE-LINE.

UF an octave

ft I{

up an

DOWN an octave

octave

DowN an octave

RTE!_otrlc INTERVALS

12

2nd

3rd

4th

5ih

6th

7lh

ocTAVE

ocTAVEs

LFt

MELoEffi NrERvAts

2nd

3rd

ocTAVE

ocTAVEs
f

NOTE: Students with hands large enough to reach an octave may repeat the above exercises,
playing all the intervals harmonical[y.

Th &art*Sffirt
Ailegro

,28

Mor,e About the

REMEfiltBERl The

G RIaior,Scale

ptter,n of each tetrachord]is:

WFloLE STEP-WHoLE STEP-HALF STEP.

rEy,re

.*

l,

14

"l3

12

L tst reTRgcnonpJ

,'2nd

TETRActoRnJ

sTEP

You can play the ASCENDING G MAJOR SCALE with the LH ONLY by crossing 3 over 1.

You can play the DESCEND|NG G MAJOR

ftfialon Se]e in

SCALE with the RH ONLY by crossing 3 overl,

Contrary H[otlont
Play hands separately at first, then together.
Begin slowly, gradually increasing speed.

ffiffi
.:'.',

:l:, l_ },

i 2 e,{

The Ga*wey P*per

lrish Folk Tune

Allegro

! z 12:

ffi
;7-E

35

D. C. a]

Fin

,l

art

,;

"$.rm#s
.i iilj;:!i,j

].;i ;ii iJ,i.1l]}l'i:

t.;i]t:li:

The three notes of a triad are:

ffi_

ir*rl
L 5*l

=:ts

ff

ijj::

The ROOT is ihe note from which the triad gets its name. The ROOT of a C triad is C.
Triads in ROCT POS|TION (with ROOT ai the BOTTOM)
always look like this:

LlNE

OR THlS:

|-lNE

LINE

i,.:;

T,$lAn

!.,.i1

l1

l,,':,.

,'

.11i

tN*

Play with RH.

5
3
1

,|

3
J

i"i stai,, c;;"r,=iLliiy t.l

11
3
55
lh. ,s:i,"ii,tl"j i;i

etc,

tilts* ,;;ip:iiie;* r,iads!

sPAcE
SPACE

sPAcE

lffij

ri,

34

["ii,

Allegro
1, Dance, dance,

2. Dance,

dance,

dance with Min dance with Don -

Dance, dance,
Dance, dance,

dy,
ny,

dance with Wen

dance with Ron

mf-p

Dance,
Dance,

dance,
dance,

dance with Cin dance with John -

dy,
ny,

Dance with
Dance with

eV,'ry

eV -'ry

bod
bod

y|

y|

2ntl time 8va

8va-

41

-i-

dy,
ny,

32

cockles and

tvt"sses

32

Before you ply thi piece, say lhe nams of the notes of each
LH tr,iad aloud. Begin with the LOWEST note of each'triad.

Andnte
lin's

ln

girls

are

,
dJ,JJ

pret

first
-

set my

eyes on

sweet

aJ
a

3
5

Mol

ly

She

lone,

A-

^>m l

a:
-,-f a

The Triad "Vocabulary" ot this piece:

CEG DFA EGB FAC

GtsD

|MPORTANT Hoot position triads skip a letter

between each note.

Bo;th hands
"Cock

mus

les

(Bothhands8va)live,

"Cock

a- live -

- les

and

?va---A

--i

A -

o!

.auu,

live,

- sel, ?.' -

a- live -

ol"

Cry

live,

LI

ing

)i
|}

The Primary Triads

The three most important triads in any key are those built on the 1st, 4th & Sth notes of the scale.
These are called the PRIMARY TRIADS of the key.
The chords are identified by the Homan numerals, I, IV & V (1, 4 & 5).
ln the key of C MAJOR, the I CHORD (1 chord) is the C TRIAD.
The fV CHORD (4 chord) is the F TRIAD.
The V CHORD (5 chord) is the G TRIAD.

The KEY SIGNATURE of the key of C MAJOR has no sharps or flats.

The Primary Triads in C

Major

ROOT POS|TION I, IV & V triads in C MAJOR, Play several times.

cF

cG

Ghord Progresions
When we change from one chord to anothe1 we cal| this a "CHORD PROGRESSION,"
When all chords are in root position, the hand must leap from one chord to the next when playing
the primary triads,
To make the chord progressions easier to play and sound better, ihe IV and Y chords may be played
in other positions by moving one or more of the higher chord tones douln an octave,

played

chord
octave,.

The I chord is
The top note of the IY
in ROOT POS|T|ON: is moved down an

The 2 top notes of the V chord

are moved down an octave:

When a triad is not in root position, the ROOT is

ALWAYS the upper note ot the interval of a 4th!
I,

IY & V triads in C MAJOR. Practice this line many times! Compare with the 2nd line above!

cFcGc

36

36

ln many pieces aY7 chord is used instead of a V triad,

To make a v7 chord, a note an interval of a 7th above the root is added to the

triad,

V7 built on the Sth note of the C SCA[_E:

To have a smoother and easier progression with the I and fV triads:

. The sth (D) is omitted.
. The 3rd (B) and 7th (F) are moved down an octave.

The Primary Chords in C Major

The three PR|MAFY CHORDS are now I, IV & V7.

I
The following positions are often
used for smooth progressions:

C Maior Chord Progression with I,'fV & V7 Chords.

LHcFG7

LHCFcG7c

Flay several times each day!

tv

Y7

G7

ot Lotsa Flhythm

- ;

":i |.

";

..

"/

Moderate btues tempo*

2nd ime 'RH $va

ll lz.
l-

|PTIONAL: Eighth notes may

be played in long-short pairs.

(Eya)

38

The Prirnary Chords in G Major

The KEY S|GNATUFiE of the KEY OF G MAJOR is ONE SHnnP (ril.
G MAJoR
The 3 PR|MARY CHOHDS
in the key of G MAJOF are:

The fV and V7 chords are

moved to lower positions,
for smooth and easy
chord progressions:

MAJo

MAJoR

,,#

D7

dl

Y7

Chord Progresions uing I, IV & V7 Chords

Play with LH. Notice that the LH 5th finger plays the KEY-NOTE (G) on the I chord and the IV chord!

f-p

Play with RH. Notice that the RH thumb plays the KEY-NOTE (G) on the I chord and the fV chord!

f-p
Play

witJr

loth hands.

f'\

-)4.L

Moderately slow blues tempo','

Why

am l

Blu -

blue,

Will you tell me? Won't you tell

me?

Why

er than the deep

am

blue,

Will you tell me? Won't you tell me?

l'll be blue as blue can

3

)PTIONAL: Eighth notes may be played in long-sho pairs.

Blu -

er than the

deep

blue

40

Block Chords and Broken Ghords

chords are otten used as follows:
1. BLOCK CHORDS (all notes

Red River
Valley

together).

2.

BHOKEN CHORDS (one note at a time).

HED R|VER VALLEY begins with the accompaniment played in BLOCK

CHORDS. BROKEN CHORDS begin at the end of this page, and are
used through the rest of the piece. Compare the two pages, measure by
measure, before you play. The chords are the same.

Amrican Folk Song

?Ilf

From this

val - ley

they

(BLocK cHoRD)

miss

your

eyes

bright

and

sweei

sun

bright

- ened

our

path - ways

shine

lil']:: :,,

"_

-,

ritardando

l.

42

D M:aior Scale
BEMEMBER! The pattern

of each tetrachord

is: WHOLE STEP-WHOLE STEP-HALF STEP.

L tst

retRcnono'*}6--;6

L 2nd

rrtRRcnoRo -l

sTEP

You can play the ASCENDING D MAJOR SCALE with the LH ONLY by crossing 3 over 1.

You can play the DESCENDING D MAJOH SCALE with the RH ONLY by crossing 3 over 1.

D Major Scale in Contrary Motion

Play hands separately at first, then together.
Begin slowly, gradually increasing speed.

PIay eighth notes evenly.

44

The Primary Ghords in D Maior

The KEY S|GNATUFIE of the l{EY OF D MAJOR is TWO SHARPS

(P#

anO Cfi).

The 3 PR|MARY CHORDS

in the key of D MAJOR are:

The IV and V7 chords are

moved to lower positions,
for smooth and easy
chord progressions:

G MAJoF

Chord Progressions using I, IV & V7 Chords

play with LH. Notice that the LH Sth finger plays the KEY-NOTE (D) on the I chord and the fV chord!
A7

f-p

Play with FtH. Notice that the RH thumb plays the KEY-NOTE (D) on the I chord and the tV chord!

f,P

Play with both hands.

e'
=-_g--__r_

f-p

!_EZ

=o-

1a

A7

(,

(,

-T

-4

rv

Y7

ll)

45,

GilTt

Susanna!

Stephen C" Foster

r1_---ll
goin'

to

sun so

hot

Lou

Znd time

si
l

va

W^1

46

SARASPONDA is an old Duleh gpinn[ng song. A mother sings to her daughter as she teaches hl"'tp
spin. The word9, which imitat various sounds made by the spinning wheel, dre alopart of some m6
'she is supposed to be workig. lf her daughter can spin a long thread, she will get a nice husband.
The piece is fun to sing and play. lt is oftbn perfgrmed beginning slowly and gradually increasing speeq
at each new section, untilihe |ast section is as fast as possible. You may play il that way if you wish, aite;.
you have learned it well.

SarasprTda

Thls piece is in the key of D MAJOF, G MAJOR and C MAJORI

and it uses the I, fv and v7 chords of each of these keys. lt wilj
serue as a review as well as a test piece to help prepare you for
promotion to Level 3.

do

ray- boom- day

i',

ret-set-set!

Aw-say-paw-say'

"h+

52

53

t7

52

D" C,

I Fine