The Modern Aproach to Piano Study - Level 3 [BOOK]

7/29/2019 The Modern Aproach to Piano Study - Level 3 [BOOK]

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86

T HIS piece is one of the most popular in a

group of country dances composed by the

great master Beethoven. It should be played in

a gay and humorous spirit.

Country Dance

Allegro con brio

mp

3

.2 1

. .3 2

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poco rit. .P a tempo

;::- __----1.

. .

Spinning Song

This composition is composed almost entirely of one leading motive or musical pattern .

.Fm.rJ,J1J(count 1 a & a 2 & 1 & 2.) Clap hands for each note.

A. ELLMENREICH4 [.

Allegretto 1 3

5 5

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32

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" .51 3

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V

•·

••.



Etude In E Flat

A well developed left hand is essential, if you wish to be a good pianist. How often do you hear the

following, "I can play with my right hand but can't seem to do anything with my left". The answer is more

studies for the left hand, "Practice makes perfect".

Allegro

3 25 1 3 2

1 2 3 1 2 32 1 2 3 1 2 3 3 25 1

3 21 3 2

1

21

2 3 1 2 32 1 3 1 2 3 1 3 25 5

. "cresco

1 2 3 1 2 3 3 2 1 2 3 1 2 I} 3 2 1 3 2 I}

2 1 2 1 2 3 3 2 1 2 3 1 21 3 2 1 3 25 5

3

11003



41

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1 3 2 1 3 25 5 5

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11003



42

T HE practice of changing fingers on repeated

notes is very helpful in developing sensi-

tivity and control at the finger tips. Practice very

slowly at first and gradually increase the tempo,

employing a light touch.

April Shower(Study in Repeated Notes)

BURGMULLER

5

•

1

5

5

P /eggiero1 •

2 1 •

4 1 2 1

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f1

cresco

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leggiero

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- -

44

PETER TSCHAIKOWSKY (B. 1840 - D. 1893)

Tschaikowsky, the Great Russian Composer was originally a graduate of

law. However, his intense love for music superseded all else, and he devoted

himself entirely to composing. His music can best be described as sad, melan

choly and soulful. He composed six symphonies and several Piano Concertos,

the most popular of which are the Sixth Symphony and The Piano Concerto in

B Flat Minor. The delightful "Nutcracker Suite" although written in one of his

rare lighter moods, is a constant favorite among music lovers.

Waltz Of The FlowersThis waltz from the "Nutcracker Suite" by Tschaikowsky has a graceful,

melodic charm and should be played with much expression and tonal shading.

P. TSCHAIKOWSKY

A11egretto 1 ~ 4 I) ---...if f

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b..;.. - .:. .:. ..:. ..:.. ..:.. ..------ • - : . ilIi.. . : . : . . . ilIi.. ilIi..-.

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45

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p:.j a tempo : : : : - ~ --

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2 4 2 4 3 1 2 3 1 2 4 2 4 3

:

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cresco poco a poco

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JJ 4 5 ::::-..... 4 5 4 5-!. 2 132

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11003



46

FRANZ JOSEPH HAYDN (8. 1732 - D. 1809)

Haydn, affectionately referred to as "Papa Haydn" was one of a large

family of twelve children. Although his parents were quite poor he managed

to get a musical education and later was fortunate enough to have the patron

age of the Esterhazys, which enabled him to do a tremendous amount of com

posing. Teacher of Beethoven and Mozart, he also enjoys the distinction of be

ing one of the world's great composers. His "Surprise Symphony" and many

shorter works are full of charm, humor and light hearted gayety.

AllegroHaydn's music possesses a gay, light quality which is aptly described in

this composition. Observe fingering, phrasing and staccato marks carefully.HAYDN

5 4 3 2. . . .

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3 1; ,j ,-

1f: f:- f:. t: . ~ ~ ! . : . ---..

1 2 .;. ..:. 1'! .1 ~ 1 5

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f cresco ff- ,.. ,....... . -... .

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11003

2



Prelude

Study the chords on this page very carefully, as they are repeated on the next page in broken form.

I

f

BERENS

u ModeratoI'.:

-"

i-EJ. ..... 1 Co. 1-6 1-6 ~ ~ ~

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49

I) I)

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5

tW t W ~ -:;,;;_ ....• • 111 ... . ...... ... ...' - ---- ' " ~ ' -----" '"

I -.-T. . .

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4 5 5

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1 ~ ' - - 1 ~ ' = = = ! ! .. .. 1... :

"T

1lill

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.,' ......

1° 5

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4 51 ~ 5 _ 1 2 45 _ 1 2 4 5- - .

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I)



••

50

THIS favorite composition by Heller requires

a crisp staccato touch and a well defined

rhythmic accent.

Curious Story

STEPHEN HELLERMolto vivace

9 1 ~ 2 4_ 4: :::,8 4

\t .

4

',.. . ...

9'fnf

.... "T"'!' "- --....

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mf9

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4_ 4_ 4 3A

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51

••

3 3

mf dim .>-•

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•

•

1fz .(.2

-3

/1 1 _ .5 5..--.. 1 1..-..·

55 , - J -.

--:;. ,,-,.1 1 .2.43 2 .(. 8 4,, --- .

) . - - "':' - ":' - . ....... -

(P cresco f it

. -

43• - . . 4 !l 4 1

.(. 3 1 __3 1 .(. 8 • ...:.

1 ft :J f!..jL :t.,..--.. :J"'-;' : t l - : - : ~1-1-1....

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1 ! . ; : : e ~!.. ·.- - "":' ....... ~ - j ! i :p

if ;,. I. _. r\ .I;' t- . . .

11003



52

1 1 5 ~ 4, 3 2

=

motto rlt.4, 3 2 1

--------------faagitatoL.N.

tL.N.

a tempo 3 2 13 2 1

1 3 2 1

4, 5 4, 3 4,1

Vz'vo

5

rit. dim.

11003



53

KEYBOARD HARMONY

The following chord driUs are a review of the various chords you have learned.

Play hands separately

@ jJ &i i j Ij !iliiII

lit jJ i j~ i j

i j I j t iI

MAJ. DIM. MAJ. AUG. MIN. DOM MAJ. MAJ. DIM. MAJ. AUG. MAJ. DOM. MAJ.

9 ~ ~ I ~ ~ q ~ ~ I Tf II 9 ! P ~ q ~ ~ I r r FII

t - q ~ I t II ' ~ i q - ~ -, I II '-it b1 g ~ , H, 1ft f 9-tt kbt 991H, I i i i i

I

t ~ f t l j ijhi "qj Hi I j f 1 1 ' ~ ~ f j ~ § . Hj I! = 51ml , r, fIh, I r 1" tJ$t, r, ~ , ~ , Irf, II

II

II

t t. Ipj ~ ~ . Hj I; t I t. ~ ~ . Hi I! II ' ~ I ' ~ b , ~ , " , If f I II ' ~ f ' ~ b , q S , ~ , If , §

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tW bl j _ ~ i -i 1= 1j I ¥t i & ~ ~ i q q ~ i -. Ij ; ; II

90j,t !,bk, q ~ ~ 9, If1 f I 9wtt' ~ k ! 9, IF fFI11003



• •• •

----

54

I N order to connect the double notes in this

composition it is necessary to observe the

correct fingering. Play in a graceful manner

and with much expression. Try to picture a

scene in the grand Ballroom of Louis theSixteenth.

Minuet in GLUDWIG VAN BEETHOVEN

B. 1770 - D. 1827Moderat.:.o___ __

5 4 5. 5I:J 2 1. 1 1 ! r-:

•.1 • •

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All

Il- I 1 1 1 ~ 1......

P -=::::........ ..I

4 12 11 .. 5I -. l I

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I

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l"" .

.

----

;; 7

---"'1 ,.....-.

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mf -....-

--- t-..

•- .4 12 11 2 11 -,J

5

Ii

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.\.

2r. 5. 4 _ 5. 551 4 ~ ! 2 1 4 'I - I .......-!5

n !; a •• .• '" • •-

1 1" I . 1-.. ..........-

f -Il-l t .. t .. t •

I.

· -.

· - I.J

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---

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55

II

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I, • . - . • • •I u,..

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l • • . . 1"•• 1...... 1..~ c ; . - 1 "'iI 1-6 .4 !!..

Ii 111sfz

f dlm. Finer-

. •

-... ·

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\ 4-=,511

... ... ... ... - ...

5i 5'i I I I IL-..I L--J L-- i l I

L- . J I,

2 1 2 3 43.1~ ~ 5 ~ 5 J J, I I I

rr ...., .-.. .. -" •. - .! - ,.........---.-.

.........---.-. r:. ,. *"I0." IW

po.

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12 3 12£

4 12 4

TRIO 3 5 2 4 1 4 3 5 2 4 1 2

2 3 4 3 21 3 2 1 2 4

1 4 5 3 2 1 ..,I .1 I J

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..- -- ft ... 1i v --...,... r-......1 --......

..

·'5 •---- ----

" I •..-/ I ....

" - ........--1.,

13 1 3 12 5

5

1

t

<

\

1 2 4 5 4 3

4 I I I i ---.! } 1 I I I

/If

•3

.:> • Q q v

3 2

mf:;bj I - ~ J ! - :::::>-~ k _ :::::>---- _ 61 _ 61

-.....

·!'"

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I - 1 2 4 2 3 2 1 2 4 2 3 2u

/

I

<

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3 5 2 4, 1 51.

I2 4 1 2 3 4 5 4 5, 41

. l ' \ 1'\

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-----:: ::::::= t J ~ i l l e P POCOJit. 11 I J ~ _

---61

-.........

21 31 2

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•/' • . •

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5 15

11003



--

56

THIS Hungarian dance by Brahms is a fine

example of Gypsy Folk music. It is to be

played with much spirit, strong rhythm and

feeling.

Ifungarian Dance

JOHANNES BRAHMS

B. 1833 - D. 1897Allegro

•

"1t, r "1 "1

•lr , rIt , r t tf sfz sfzifzfz

. . .13 ~ 1 ... 1

235

1

3

.1 2

3 2 ~ 3

11003



4 • . . . ----. . . . .

!:~ ; ; ft 1 :;;;-.1. loa

...-\

1

Tl • 2 I' 3 • 2 • 35 5 5

3 2 3 2 32 ,...---;:;-... •

•

s f

3 1 4 25 3 5 1

111-. 3. -.Ai_

•-L ""

I

mf ..

t l I I I. ....~ - - .

-

5 5 5

;; a 4. . - - - . 5 i t 4 ~ 3.-----. 4:: t l 3fj.1 tl I .J4_, • "'r .I.- •

.p poco rit.f' Irit .

I 1.1..

\

1 1 1: j 1 • 'I I 1 :; 1 11 1 t ... 3 5

A

;; a 1.1!: •1 ') • ;:""-.l.L 1 ! 3 • .!ou l • ...;. 2;:,... :1 2 5 : 1 . 1 ~ ;:,...

" _0r- ._r-;.

• ••

f tt4!' t1 ":, I).

a tempo;:,...

.. k .,..:.. . .•

s' :{ "' ..•

. J

1 ...

,2 :1 _I'

;:::...

t

4

. . Students with small ha.nds may omit 01" release the notes D, C# and G# as indicated by the a.sterisks.

11003



58

Allegretto

31IIf1

2

5

4

5

1

5 5..___.

Happy-Go-Lucky

The name of this piece is the key to its interpretation. Study the bass chords carefully before playing

hands together.

_--__ 3

11003



59

MAJOR TONIC CHORD ARPEGGIOS53

C

MAJOR

GMAJOR

DMAJOR

EMAJOR

BMAJOR

I)

Bb

MAJOR

Eb

MAJOR

tmJ3 2 3 _--

lj, 2 t 2

5 lj, 2

2 t 4:

3

2

11003



60

MINOR TONIC CHORD ARPEGGIOS

A DMINOR

MINOR

5

MINOR

F#MINOR

c#MINOR

G#MINOR

..

5 4:

G

MINOR

5 4 : 2 4:5

2 i 4: 224 :1 2

i 2 4:

Eb

... MINOR

ti 2 4: t

2 5 4: '"

11003

•



61

*MINOR SCALES AND MINOR TRIADS

AMINOR

EMINOR

B

MINOR

F# MINOR

c# MINOR

G# MINOR

11003

1 1 3

"* All the minor scales on this page are written in the Harmonic Form.

4

1

1 41 3

RootPos.

First SecondInver. Inver.

t

-e :a:

1 3 31 4 4 13

1 3

3

This is the form most commonly used.



62

*MINOR SCALES AND MINOR TRIADS

- - -

3 ·1 ....1 3 Root Irst SecondPos. Inver. Inver.r:dJ,' Im . l 4:. ! - !f j 1 3 1 ,..,... I I .t LJ T I ...L3, .A c : ~ .

t.. -

MINOR. - . ~ .

{

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*' All the minor scales uil this page ar e written in the Harmonic Form. This is the form most commonly used.

11003



DICTIONARY OF MUSICAL TERMS

MUSICAL TERM ABBREVIATION MEANINGor SIGN

A Tempo . . . . . . . . . . . . . A tempo . . . . . . . . . . . . On time Accelerando. . . . . . . . . . . Accel. . . . . . . . . . . . . . . Increase speed gradually Accent Mark... . . . . . . .. ;::... . . . . . . . . . . . . . . . . Accent note Agitato. . . . . . . . . . . . . . . Agllato . . . . . . . . . . . . Agitated

Alla marcia . . . . . . . . . . . Alia .arcta. . . . . . . . . . In march style Allegretto . . . . . . . . . . . . .Allell"'etto . . . . . . . . . . .Merrily (fairly rapid) Allegro . . • . . . . . . . . . . . .Aile11"'0 •••••••••••••Fast Andante . . . . . . . . . . . . . . Antlante . . . . . . . . . . . . Slowly

Animato. . . . . . . . . . . . . • A.i.alo . . . . . . . . . . . . With spirit, lively Cantabile. . . . . . . . . . . . . Canta6ile . • . . . . . . . . . In a singing or vocal style Con brio. . . . . . . . . . . . . COB brio • . • . . . . . . . . . .With spirit

Crescendo . . . . . . . . . . . . .Greac. : : . . . . . . .Gradually louder

Da Capo . . . . . . . . . . . . . D. C. . . . . . . . . . . . . . . . . Rerum to the beginning

Decrescendo . . . • . . . . . . .Decre8c. :::::::=-- . . . . .Gradually softer

Diminuendo . . . . . . . . . . .Di1& . . • . . • . . . . . . . . . . Softer by degrees Dolce . . . . . . . . . . . . . . . . Dolce. . . . . . •• . . . . •• . Sweetly Espressivo. . • . . . . . . . . . Eapre8aifJo . . . • . .•• . . With expression Fine. . . . . . . . . . . . . . . . . Fin" . • . . • . . . . . . . . • . .The end Forte . . • • . . . . . . . • • . . . .f ..................Loud Fortissimo. . . . . . . . • • . . ff .................Very loud Grazioso . . . . . . . . . . . . . .Oruioao . . . • . . . . . . . .Gracefully Hold . . . . . . . . . . . . . . . . . 1":\ ................. Sound note longer than its aaual value 11 canto. . . . . . . . . . . . . . n Canto . . . . . . . . . . . . . The melody Left Hand . . . . . . . • . . . . L. H. . . . •• .•••••. . . . . To be played by the left hand La Melodia . . . . . . . . . . . La lIe/odia • . . . . . . . . . The melody Legato . . . . . . . . . . . . . . . Legato . • • . . . . . . . . .. .smooth and connected

· d'

Legglero . . . . . . . . . . . . .. Lih

g tanLegl!uro. . . . . . .• . . .. aJry Lento . . . . . . . . . . . . . . . . L,.to, . . . . . . . . . . . . . . A little slower than andante Marcato . . . . . • . . . . • . • • Marcato . . . . . . . . . . . . . Play with emphasis Me:zzo..forte. . . . . . . . . . . "1/'... . . . . . . . . . . . . . . Moderately loud Mezzo-piano. . . . . . . . . . . •p . . . . . . . . . . . . . . . . Moderately soft MisteriOIO . . . • . . . . . • . . Niateri080 . • . . . . . . . . . .In a mysterious manner Moderato. . . . . . . • . . • . . Mod.era to . . . . . . . . . . . . Moderate rate of speed (not too fast) Molto vivace . . . . . . . . . .Molto Vi"ace .. . . . . . . . Very lively Piano . . . . . . . . . . • . . . . . p . . . . . . . . . . . . . . . . . . Soft Pianissimo. . . . . . . . • . . . .pp . . . . . . . . . . . . . . . . . Very soft Poco. . . . . . . . . . . . . . . . Poco.. . . . . . . . . . . . . . . Little Poco poco . . . . . • . . . . Pocn a poco . . . . . . . . . .By degrees

Poco moto . . . . . . . . . . . . Poco Noto . . . . . . . . . . . A little motion Presto. . . . . . . . . . . . . . . .Presto . . . . . . . . . • . . . . Very fast

Repeat Sign . . . . . . . . . . .III .11. .......Repeat

Right Hand . . . . . . . . . . .R. H. . . • . . . • . . . . . • . . .To be played with the right hand Ricard. . . . . . . . . . . . . . . "t. . . . . . . . . . . . . . . . . . .Gradually slower Scherzando. . . . . . . . • . . 8clurzando . . . . . . . . • • In a playful manner Sempre . . . . . . . . . . . . . . .8empre . . . . . . . . . . • . . Always

The Modern Aproach to Piano Study - Level 3 [BOOK]

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