Music Lessons - Introduction to Piano/Keyboard
Lesson 11
Welcome to lesson eleven. This lesson features sight reading, gesture, reading treble lines and chord symbols, technical work, theory, aural.
Sight Reading
Sight reading is a skill which can be developed, and it opens up an opportunity of being able to read more challenging music. It is a good knowledge of key, reading the span of the notes, rhythm, and reading intervals. It is conditioned spacial reflexes, processing, knowing the treble and bass notes, and knowledge of chords.
Conditioned spacial reflexes is the distances between the notes (i.e. the intervals) being instantly transferred by the reader to the fingers, which should play on the keyboard. If you keep a good five finger position you will know which finger to play without looking down at the keyboard.
Although there is not the time on this course to do much sight reading, I have given three examples of sight reading exercises in three different keys, E major, F major and E flat major. Some fingering is usually included, but in this class I like to give students an opportunity to work it out. Please insert some fingering before you play the exercise. Just insert, with a pencil, about three finger numbers in the exercise, at handy spots. If a lot of fingering plus letter names of notes are inserted, one will never learn to read music.
The only harmony I will use in these three pieces is the tonic, dominant or dominant seventh, and subdominant chords. These three chords are the three primary triads of any key and the order of importance is 1 tonic, 2 dominant or dominant seventh, 3 subdominant. The dominant seventh chord is the dominant chord with one extra note a third higher than the top note of the dominant chord.
It is a worthwhile skill to have a knowledge of what the underlying harmony would be, when you are just reading a treble line. This is an aid in sight reading. For instance if you were playing a piece in the key of C Major, and the first notes in the melody were C E, the underlying harmony would probably be C Chord which contains the notes 'C', 'E' and 'G'.
The tonic chord is the triad (or three note chord) built on the tonic or first degree (note) of the scale. In the scale of C major, which is all on the white keys of C D E F G A B C, C is the tonic and the tonic chord or C chord consists of the notes C E G (just skip one note to work out the next note of the chord). All three notes always belong to the scale of C major, in this case. The lowest note 'C' is the root of the chord, and when the chord is played in root position, the C is played as the lowest note. If the C is played one octave higher and the chord is played as E (lowest note) G C(highest note), the chord is in first inversion. If the chord is played as G (lowest note) C and E (highest note), the chord is in second inversion.
The dominant chord is the triad (or three note chord) built on the dominant or fifth degree of the scale. In the scale of C major, G is the dominant and the dominant chord or G chord consists of the notes G B D. The dominant seventh chord is a four note chord with F added at the top i.e. G B D F. The F is a seventh from the root G, and therefore it is called a dominant seventh chord.
The subdominant chord is the triad built on the subdominant or fourth degree of the scale. In the scale of C major, F is the subdominant and the subdominant chord or F chord consists of the notes F A C.
Sight Reading Test A
The above piece uses intervals of steps (seconds) and skips (thirds). Try to read the harmony as this will be a great help when there are notes in the bass staff to read. The harmony will be either the tonic (the one chord), the dominant or dominant seventh (the five chord or the five seven chord), or the subdominant chord (the four chord). In the key of E major, these chords are as follows:
Tonic - E G sharp B.
Dominant - B D sharp F sharp.
Or Dominant Seventh - B D sharp F sharp A.
Subdominant - A C sharp E.
In the above piece Bar 1 - Tonic harmony i.e. E chord symbol.
Bar 2 - Dominant Seventh harmony i.e. B7 chord symbol.
Bar 3 - Tonic harmony i.e. E chord symbol. (F sharp is a passing note).
Bar 4 - Dominant Seventh harmony i.e. B7 chord symbol.
Bar 5 - Tonic harmony i.e. E chord symbol.
Bar 6 - Subdominant harmony i.e. A chord symbol. (B is a passing note).
Bar 7 - Dominant Seventh harmony i.e. B7 chord symbol.
Bar 8 - Tonic harmony i.e. E chord symbol.
A passing note is a note between two harmony notes. For example, say in C chord which is C E G, a passing note could be D or F.
Sight Reading Test B
Tonic - E G sharp B.
Dominant - B D sharp F sharp.
Or Dominant Seventh - B D sharp F sharp A.
Subdominant - A C sharp E.
In the above piece Bar 1 - Tonic harmony i.e. E chord symbol.
Bar 2 - Dominant Seventh harmony i.e. B7 chord symbol.
Bar 3 - Tonic harmony i.e. E chord symbol. (F sharp is a passing note).
Bar 4 - Dominant Seventh harmony i.e. B7 chord symbol.
Bar 5 - Tonic harmony i.e. E chord symbol.
Bar 6 - Subdominant harmony i.e. A chord symbol. (B is a passing note).
Bar 7 - Dominant Seventh harmony i.e. B7 chord symbol.
Bar 8 - Tonic harmony i.e. E chord symbol.
A passing note is a note between two harmony notes. For example, say in C chord which is C E G, a passing note could be D or F.
Sight Reading Test B
Some of the intervals in the above piece, are fourths (skip plus one) and fifths (double skip). See if you can work out the harmony, as this is a great aid to sight reading. The first and last bars will nearly always be tonic harmony. The second last bar will nearly always be dominant or dominant seventh harmony.
Sight Reading Test C
Sight Reading Test C
Try to find, in the above piece, intervals of seconds, thirds, fourths, fifths and sixths. This will be included as a quiz question i.e. the number of each interval in the piece. Don't forget to go across a bar line, and also across a rest sign. Repeats do not count as an interval.
Gesture
Ideally, we should use more of the anatomy than fingers, when we play the keyboard. Go away from the keyboard, stand up and pretend you are bouncing a big rubber ball. There's the flowing movements of the arm which coincides with phrasing.
Flowing Along
Gesture
Ideally, we should use more of the anatomy than fingers, when we play the keyboard. Go away from the keyboard, stand up and pretend you are bouncing a big rubber ball. There's the flowing movements of the arm which coincides with phrasing.
Flowing Along
Commence with the right arm slightly above the keys, then play the first phrase. Slightly clip the last note 'F' of the first phrase and get your right arm to begin to float away above the keys. Play the second phrase similarly. Exaggerate the movement.
When there is no gesture, the playing can look and sound stilted.
Also have a flowing movement of the arm when changing hand position.
Reading Treble Line and Chord symbols
Music sometimes consists of a treble line and chord symbols. Hereunder is an example. An explanation of harmony was made in the sight reading section. The following eight bars, is an example of a treble line with chord symbols above. The C chord symbol stands for the C major tonic triad C E G. This harmony lasts for the duration of the first bar i.e. three beats. The root note 'C' of the chord is usually played on the first beat and the C chord is played on the second and third beats. It can be played in many different ways, but it is best to keep it simple at first. The G7 chord symbol stands for the dominant seventh chord of G B D F. The F chord symbol stands for the subdominant chord F A C.
Treble Line and Chord Symbols
When there is no gesture, the playing can look and sound stilted.
Also have a flowing movement of the arm when changing hand position.
Reading Treble Line and Chord symbols
Music sometimes consists of a treble line and chord symbols. Hereunder is an example. An explanation of harmony was made in the sight reading section. The following eight bars, is an example of a treble line with chord symbols above. The C chord symbol stands for the C major tonic triad C E G. This harmony lasts for the duration of the first bar i.e. three beats. The root note 'C' of the chord is usually played on the first beat and the C chord is played on the second and third beats. It can be played in many different ways, but it is best to keep it simple at first. The G7 chord symbol stands for the dominant seventh chord of G B D F. The F chord symbol stands for the subdominant chord F A C.
Treble Line and Chord Symbols
Three Four Time is a good time to start with, as there is a change of harmony in each bar. Insert a finger number as this will help in reading. Only have a finger number at about three places in the piece.
STEP 1 Listen to the piece.
STEP 2 Left Hand plays three note chords for three beats. When you have had plenty of practice doing this, then use the left hand chord in three different ways.
(1) For the first bar (C Chord) play C on the first beat, then E & G together on the second and third beats.
(2) Play C on the first beat, E on the second beat, and G on the third beat.
(3) Play double octave C on the first beat, then play E G & C together (this is the first inversion of the C chord) with finger numbers 5 3 & 1, on the second and third beats.
STEP 3 Right Hand plays double octaves.
Finally, with the right hand you can try to arpeggio (quickly play each note of the chord, ascending), do broken octaves, and fill ins using the notes of the chord.
Week 4 Pieces with added Bass
Hereunder are the week 4 pieces in six eight time with an added bass part. In each piece, insert a finger number at about three places in the treble and three places in the bass. Working out finger numbers is another beneficial skill. A piece can never be learnt properly, and played smoothly, without good fingering. Slipshod fingering goes with bad playing.
If you have a sustaining pedal this would aid in obtaining a smooth bass line when playing 'Skipping'. Pedal twice each bar. Of course, it would not be necessary to pedal in the first bar. Count 'one' for each dotted crotchet beat, i.e;. 'two' counts in each bar. The left hand is playing the two counts in each bar. Listen for a steady left hand playing on counts 'one' 'two'.
Skipping
STEP 1 Listen to the piece.
STEP 2 Left Hand plays three note chords for three beats. When you have had plenty of practice doing this, then use the left hand chord in three different ways.
(1) For the first bar (C Chord) play C on the first beat, then E & G together on the second and third beats.
(2) Play C on the first beat, E on the second beat, and G on the third beat.
(3) Play double octave C on the first beat, then play E G & C together (this is the first inversion of the C chord) with finger numbers 5 3 & 1, on the second and third beats.
STEP 3 Right Hand plays double octaves.
Finally, with the right hand you can try to arpeggio (quickly play each note of the chord, ascending), do broken octaves, and fill ins using the notes of the chord.
Week 4 Pieces with added Bass
Hereunder are the week 4 pieces in six eight time with an added bass part. In each piece, insert a finger number at about three places in the treble and three places in the bass. Working out finger numbers is another beneficial skill. A piece can never be learnt properly, and played smoothly, without good fingering. Slipshod fingering goes with bad playing.
If you have a sustaining pedal this would aid in obtaining a smooth bass line when playing 'Skipping'. Pedal twice each bar. Of course, it would not be necessary to pedal in the first bar. Count 'one' for each dotted crotchet beat, i.e;. 'two' counts in each bar. The left hand is playing the two counts in each bar. Listen for a steady left hand playing on counts 'one' 'two'.
Skipping
Frolic
In the above piece 'Frolic' there is no need to use the sustaining pedal.
Up and Down
Up and Down
In the above piece 'Up and Down' it is not necessary to use the sustaining pedal. Please send a query to me if you would like my assistance in inserting finger numbers in any of the pieces.
Technical Work
At this level the technical work I recommend is as hereunder:
1 - Evenness, independence and mobility of the fingers. Make up any five finger exercises of your own, in any key major or minor. Listen for evenness of sound by each finger, and keep all the points of correct finger actions in mind. Also, do not tilt the hand towards the little finger side.
2 - Passing under of the thumb - Scales and Arpeggios.
Play 1 2 1 2 etc up and down the keyboard using right hand then left hand. Play 1 2 3 1 2 3 etc up and down the keyboard using right hand and left hand.
3 - The technique of double notes and polyphonic playing. Will include in week 6.
4 - The technique of extensions. Will include in week 6.
5 - The technique of the wrist - The execution of chords. Will include in week 6.
If you are having difficulty with some parts of a piece you are learning you could do the following:-
Let's assume you are having trouble at bar five, circle the notes and practise them four times. Then play bars four, five and six. By doing this, you are going into and out of the bar where you are having difficulty.
How to Find the Tonic Minor Scale
To find the tonic minor scale, lower two notes, the 3rd and the 6th degrees of the major scale, down a half step. For example the scale of C major is comprised of the notes C D E F G A B C. The scale of C minor is C D E flat F G A flat B C.
How to Find the Related Minor Scale
Every major scale has a related minor scale. They both have the same key signature. To find the related minor scale to C major, count down three half steps from the key note 'C', and you have A harmonic minor. The scale of A harmonic minor has the same key signature (no sharps or flats) as C major. However every harmonic minor scale has the 7th note raised a half step (semitone) outside the key signature. Therefore the scale of A harmonic minor is comprised of the notes A B C D E F G sharp A.
Playing All Major & Minor Tonic Triads
Play all twelve major and twelve minor tonic chords, left hand in the bass, then right hand in the treble. The only note of the major chord to change, is the middle note of the chord. Lower it half a step (a semitone) to play the minor chord. Always use finger numbers 1 3 5 right hand, and 5 3 1 left hand. Each time you play a chord, check that you have a good hand formation (i.e. rounded fingers, and play on the corner of the thumb near the nail). Before you play the blocked chord, play the broken chord (i.e. C major would be C E G E C), and when you are ready, play both hands together.
Theory
Write the key signature for D major, and write the scale of D 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 D 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 D major, one octave ascending and descending in the treble.
Play and sing the arpeggio of D major in the treble.
B Play and sing the scale of D major, one octave ascending and descending in the bass.
Play and sing the arpeggio D major in the bass.
Technical Work
At this level the technical work I recommend is as hereunder:
1 - Evenness, independence and mobility of the fingers. Make up any five finger exercises of your own, in any key major or minor. Listen for evenness of sound by each finger, and keep all the points of correct finger actions in mind. Also, do not tilt the hand towards the little finger side.
2 - Passing under of the thumb - Scales and Arpeggios.
Play 1 2 1 2 etc up and down the keyboard using right hand then left hand. Play 1 2 3 1 2 3 etc up and down the keyboard using right hand and left hand.
3 - The technique of double notes and polyphonic playing. Will include in week 6.
4 - The technique of extensions. Will include in week 6.
5 - The technique of the wrist - The execution of chords. Will include in week 6.
If you are having difficulty with some parts of a piece you are learning you could do the following:-
Let's assume you are having trouble at bar five, circle the notes and practise them four times. Then play bars four, five and six. By doing this, you are going into and out of the bar where you are having difficulty.
How to Find the Tonic Minor Scale
To find the tonic minor scale, lower two notes, the 3rd and the 6th degrees of the major scale, down a half step. For example the scale of C major is comprised of the notes C D E F G A B C. The scale of C minor is C D E flat F G A flat B C.
How to Find the Related Minor Scale
Every major scale has a related minor scale. They both have the same key signature. To find the related minor scale to C major, count down three half steps from the key note 'C', and you have A harmonic minor. The scale of A harmonic minor has the same key signature (no sharps or flats) as C major. However every harmonic minor scale has the 7th note raised a half step (semitone) outside the key signature. Therefore the scale of A harmonic minor is comprised of the notes A B C D E F G sharp A.
Playing All Major & Minor Tonic Triads
Play all twelve major and twelve minor tonic chords, left hand in the bass, then right hand in the treble. The only note of the major chord to change, is the middle note of the chord. Lower it half a step (a semitone) to play the minor chord. Always use finger numbers 1 3 5 right hand, and 5 3 1 left hand. Each time you play a chord, check that you have a good hand formation (i.e. rounded fingers, and play on the corner of the thumb near the nail). Before you play the blocked chord, play the broken chord (i.e. C major would be C E G E C), and when you are ready, play both hands together.
Theory
Write the key signature for D major, and write the scale of D 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 D 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 D major, one octave ascending and descending in the treble.
Play and sing the arpeggio of D major in the treble.
B Play and sing the scale of D major, one octave ascending and descending in the bass.
Play and sing the arpeggio D major in the bass.
Please complete the quiz, have fun while learning, and I will see you next lesson.
