Music Lessons - Introduction to Piano/Keyboard
Lesson 10
Welcome to lesson ten. This lesson features the six eight time signature, five finger exercises and finger independence, solving rhythm problems - make each beat into a mini bar, theory, aural.
Six Eight Time Signature
Six Eight Time Signature
Above is the Six Eight Time Signature. This means six quaver pulses in each measure. This also means two dotted crotchet beats in each measure.
We first learn to count the six quaver pulses in each measure, then later, we learn to count the two dotted crotchet beats in each measure. Six Eight Time is compound time, and in compound time we divide the top number by three to get the number of beats in each measure, and the bottom number by two to get the dotted note value receiving one beat.
Play this exercise with your right hand:
Play this exercise with your right hand:
C D E E F G G F E E D C
Counting aloud 1 2 3 4 5 6 1 2 3 4 5 6 off
Listen to the exercise
Play this exercise with your left hand:
Counting aloud 1 2 3 4 5 6 1 2 3 4 5 6 off
Listen to the exercise
Play this exercise with your left hand:
C D E E F G G F E E D C
Counting aloud 1 2 3 4 5 6 1 2 3 4 5 6 off
The accentuation is strong on the first and fairly strong on the fourth quaver pulse.
Listen to the exercise
A rhythm often used in six eight time is the following:
Counting aloud 1 2 3 4 5 6 1 2 3 4 5 6 off
The accentuation is strong on the first and fairly strong on the fourth quaver pulse.
Listen to the exercise
A rhythm often used in six eight time is the following:
C D E F G F E D C
Counting aloud 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 off
Listen to the exercise
Left Hand one octave lower:
Counting aloud 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 off
Listen to the exercise
Left Hand one octave lower:
C D E F G F E D C
Counting aloud 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 off
Listen to the exercise
In this lesson there will be three pieces, and they will all be in six eight time.
The keys will be B flat major, E flat major and A flat major.
Five Finger Exercises & Finger Independence
I once asked my teacher the following question. "Where does technique start? She said it starts here, and activated her fingers up and down. "If you can't move these you can't do anything much", she said. Make up your own five finger exercises. Whatever you play in your right hand, do likewise in your left hand.
Counting aloud 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 off
Listen to the exercise
In this lesson there will be three pieces, and they will all be in six eight time.
The keys will be B flat major, E flat major and A flat major.
Five Finger Exercises & Finger Independence
I once asked my teacher the following question. "Where does technique start? She said it starts here, and activated her fingers up and down. "If you can't move these you can't do anything much", she said. Make up your own five finger exercises. Whatever you play in your right hand, do likewise in your left hand.
The exercise I have made up, consists of three different rhythms. Try right hand, left hand, then hands together.
C D E F G F E D C DEF GFE DCD EFG F E D C
1 & 2 & 1 & 2 & 1 &u2 &u1 &u2 &u1 & 2 & 1 & 2 & off
First play this exercise in C major.
Play this exercise in C sharp major.
Play this exercise in D major.
Play this exercise in E flat major (It's black, white, white, black, black).
When practising these five finger exercises, have fun but see if your finger actions are correct i.e. straight up and down with a curved finger. Play carefully, listening to your tone, preferably a firm tone with fingers going right down to the key-bed. Also, make sure your fingers are not sluggish in coming up. The finger that has just played, comes up as soon as the next finger reaches the key-bed. Oh, and I nearly forgot, how's the all important thing, your posture? Think of the four key points for posture, i.e. legs, back, wrists, fingers.
Please query me, if you would like to know more about posture. I realize that some students may have not completed the Piano/Keyboard Intro class, where the importance of posture was discussed.
Solving Rhythm Problems - make each beat into a mini-bar If you are having problems with rhythm, make each beat into a mini-bar. For example, you are playing a piece in Four Four time, and having a problem with timing in a bar which has this rhythm:
C D E F G F E D C DEF GFE DCD EFG F E D C
1 & 2 & 1 & 2 & 1 &u2 &u1 &u2 &u1 & 2 & 1 & 2 & off
First play this exercise in C major.
Play this exercise in C sharp major.
Play this exercise in D major.
Play this exercise in E flat major (It's black, white, white, black, black).
When practising these five finger exercises, have fun but see if your finger actions are correct i.e. straight up and down with a curved finger. Play carefully, listening to your tone, preferably a firm tone with fingers going right down to the key-bed. Also, make sure your fingers are not sluggish in coming up. The finger that has just played, comes up as soon as the next finger reaches the key-bed. Oh, and I nearly forgot, how's the all important thing, your posture? Think of the four key points for posture, i.e. legs, back, wrists, fingers.
Please query me, if you would like to know more about posture. I realize that some students may have not completed the Piano/Keyboard Intro class, where the importance of posture was discussed.
Solving Rhythm Problems - make each beat into a mini-bar If you are having problems with rhythm, make each beat into a mini-bar. For example, you are playing a piece in Four Four time, and having a problem with timing in a bar which has this rhythm:
Normally counted 1 & 2 & 3 & 4 &
Slow it right down and count it as though each beat is a mini bar of two crotchet beats i.e.
Slow it right down and count it as though each beat is a mini bar of two crotchet beats i.e.
This is a very simplified example, but can solve a lot of rhythm problems in more advanced music.
The following three pieces are in six eight time. I have not included phrasing marks, tempo indications or dynamics because it is more important to first understand how to play the six eight rhythm. Play with a firm, but not harsh touch. Also aim for fluency. In lesson five I will include the same pieces with a full bass part for left hand.
Skipping
First count aloud the six quaver pulses in each bar. Count evenly.
When this is known, count two beats in each bar, each beat is a dotted crotchet, and contains three quaver pulses.
The following three pieces are in six eight time. I have not included phrasing marks, tempo indications or dynamics because it is more important to first understand how to play the six eight rhythm. Play with a firm, but not harsh touch. Also aim for fluency. In lesson five I will include the same pieces with a full bass part for left hand.
Skipping
First count aloud the six quaver pulses in each bar. Count evenly.
When this is known, count two beats in each bar, each beat is a dotted crotchet, and contains three quaver pulses.
I have left out fingering. For the above piece 'Skipping', commence with the second finger in each hand,and change your right hand position at bar 7 to enable your fifth finger to play A.
Frolic
Frolic
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In the above piece 'Frolic', commence with the third finger in each hand. At bar six, change your right hand position to enable your right hand second finger to play E flat.
Listen to the piece.
Up and Down
In the above piece 'Up and Down', commence with the second finger in each hand. At bar seven move your right hand position to play your second finger on F. At the end of the piece play E flat with your thumb.
Listen to the piece.
Listen to the piece.
Up and Down
In the above piece 'Up and Down', commence with the second finger in each hand. At bar seven move your right hand position to play your second finger on F. At the end of the piece play E flat with your thumb.
Listen to the piece.
The next three pieces for this week, are last week's pieces with a bass part. Much of the left hand fingering is finger number 5 followed by finger number 3 and 1 playing the two note chord. In bar 3 it is finger numbers 3, 2 and 1 on F G B respectively. Do plenty of practice with the left hand only. The notes are staccato, which enables you to move to a new position.
Do not worry if you can not play the pieces hands together. Be satisfied with playing them hands separately for a week or two. Do plenty of separate hand practice with the correct fingering.
Hopping and Running
Do not worry if you can not play the pieces hands together. Be satisfied with playing them hands separately for a week or two. Do plenty of separate hand practice with the correct fingering.
Hopping and Running
Meditation
Left hand fingering along the first line is 4 then 5 with 1, 5 then 3 with 1, 5 then 3 with 1, 4 then 5 with 1.
Left hand fingering along the second line is 5 then 3 with 1, 5 then 4 with 1, 5 then 3 with 1, and the last bar is 5 3 1 together.
March Along
Left hand fingering along the second line is 5 then 3 with 1, 5 then 4 with 1, 5 then 3 with 1, and the last bar is 5 3 1 together.
March Along
Left hand fingering is mainly 5 then 3 with 1.
Theory
Write the key signature for C sharp major, and write the scale of C sharp major, for one octave ascending and descending using semibreves, in the treble and bass staff.
An accidental is a sharp, flat or natural sign.
Using accidentals, write the arpeggio of C sharp major in the treble and bass, putting in the correct finger number under each note.
Aural
A is for higher voices and B is for lower voices.
A Play and sing the scale of C sharp major, one octave ascending and descending in the treble.
Play and sing the arpeggio of C sharp major in the treble.
B Play and sing the scale of C sharp major, one octave ascending and descending in the bass.
Play and sing the arpeggio of C sharp major in the bass.
Quiz
I couldn't find many quiz questions based on this week's lesson, so I have given you a few questions on key signatures. For sharp key signatures, the major key can be worked out by going up half a tone from the last sharp to the right in the key signature. For flat key signatures with two or more flats, the major key can be worked out by looking at the second flat from the right in the key signature, and that note is the key note. There's a couple of questions on intervals, especially fourths and fifths. An interval is the distance from one note to the next. For instance, an interval of a fourth is C to F (C D E F - four letters so it's a fourth). An example of an interval of a fifth is D to A (D E F G A - five letters so it's a fifth).
Theory
Write the key signature for C sharp major, and write the scale of C sharp major, for one octave ascending and descending using semibreves, in the treble and bass staff.
An accidental is a sharp, flat or natural sign.
Using accidentals, write the arpeggio of C sharp major in the treble and bass, putting in the correct finger number under each note.
Aural
A is for higher voices and B is for lower voices.
A Play and sing the scale of C sharp major, one octave ascending and descending in the treble.
Play and sing the arpeggio of C sharp major in the treble.
B Play and sing the scale of C sharp major, one octave ascending and descending in the bass.
Play and sing the arpeggio of C sharp major in the bass.
Quiz
I couldn't find many quiz questions based on this week's lesson, so I have given you a few questions on key signatures. For sharp key signatures, the major key can be worked out by going up half a tone from the last sharp to the right in the key signature. For flat key signatures with two or more flats, the major key can be worked out by looking at the second flat from the right in the key signature, and that note is the key note. There's a couple of questions on intervals, especially fourths and fifths. An interval is the distance from one note to the next. For instance, an interval of a fourth is C to F (C D E F - four letters so it's a fourth). An example of an interval of a fifth is D to A (D E F G A - five letters so it's a fifth).
I look forward to seeing you next lesson.