Music lessons - Introduction to Piano/Keyboard
Lesson 12
Welcome to the final lesson in this course. This lesson features a course overview, challenging pieces, theory and aural.
Overview - Lessons seven to eleven
Lesson seven covered the four four time signature, the minim note and minim rest, legato, two note slurs, theory and aural work.
Lesson eight covered the three four time signature, the dot after a note, quaver note, semibreve note, crotchet quaver and semibreve rests, staccato, and three note slurs.
Lesson nine featured the two four time signature, tie, phrase, metronome, dynamics, expression and articulation, theory and aural work.
Lesson ten included the six eight time signature, five finger exercises and finger independence, solving rhythm problems - make each beat into a mini bar, theory and aural work.
Lesson eleven featured sight reading, gesture, reading treble lines and chord symbols, technical work, theory and aural work.
Technical Work from Lesson 11
Following is the technical work that I did not cover in lesson 11.
The technique of double notes and polyphonic playing. At this level I have kept this work very simple.
Double Notes
Right Hand Thirds
When playing the above exercise, keep fingers curved and close to the keys.
Left Hand Thirds
Left Hand Thirds
Keep the fingers of the left hand curved and close to the keys, when playing this exercise.
Polyphonic Playing
The exercise for polyphonic, or part playing is below. Polyphonic music is when the parts move in apparent independence and freedom though fitting together harmonically. Bach wrote a lot of Polyphonic music.
Part Playing
Polyphonic Playing
The exercise for polyphonic, or part playing is below. Polyphonic music is when the parts move in apparent independence and freedom though fitting together harmonically. Bach wrote a lot of Polyphonic music.
Part Playing
When playing the above piece, hold the semibreve notes for their full time value and connect the sound to the next semibreve. Play the semibreves a little louder than the crotchets.
Play the same exercise one octave lower, with the left hand.
The Technique of Extensions
Right Hand Extensions
Play the same exercise one octave lower, with the left hand.
The Technique of Extensions
Right Hand Extensions
Place your left hand thumb on middle C and your left hand second finger on A, and play the same exercise (on different notes) with the left hand.
The Technique of the Wrist - The execution of Chords
The wrist dips only slightly when you play each note or chord. The arm weight should always be behind the finger/s when they play.
Chord Preparation Right Hand
The Technique of the Wrist - The execution of Chords
The wrist dips only slightly when you play each note or chord. The arm weight should always be behind the finger/s when they play.
Chord Preparation Right Hand
Prepare fingers over the notes just before playing.
Chord Preparation Left Hand
Chord Preparation Left Hand
Triplet
This week you will be playing triplets. In fact you played them in the two chord preparation exercises above where there is a fairly large number 3. A triplet is three notes played in the time of two of the same value. There is also a triplet on the first beat of the first bar of the piece named 'Waltz in G'. A triplet should be played gracefully, with the first note of the triplet receiving slightly more weight than the second note (slightly less weight), and the third note (slightly less weight again).
Challenging Pieces
The following four pieces are little challenges for you. I have not included tempo, phrasing or dynamic markings. As you become familiar with the pieces, choose your own tempo, and dynamics where you think appropriate. Dynamics can often be felt with the rise and fall of the music. Also, see if you can mark in the phrasing.
Little Prelude
This week you will be playing triplets. In fact you played them in the two chord preparation exercises above where there is a fairly large number 3. A triplet is three notes played in the time of two of the same value. There is also a triplet on the first beat of the first bar of the piece named 'Waltz in G'. A triplet should be played gracefully, with the first note of the triplet receiving slightly more weight than the second note (slightly less weight), and the third note (slightly less weight again).
Challenging Pieces
The following four pieces are little challenges for you. I have not included tempo, phrasing or dynamic markings. As you become familiar with the pieces, choose your own tempo, and dynamics where you think appropriate. Dynamics can often be felt with the rise and fall of the music. Also, see if you can mark in the phrasing.
Little Prelude
Little Fugue
In the above piece 'Little Fugue', at bar two try to imitate the main subject which commenced in bar one. Likewise, at bars four and six with the left hand, try to imitate the way the right hand played in the previous bar. Try to make it sound as though the two voices are speaking to one another.
Little Sonatina
Little Sonatina
The time signature for 'Little Sonatina' is a C with a vertical line through it. this is called alla breve time, and it means you must feel two minim beats in each bar. The quaver notes would need to be played at a fairly fast pace.
The above piece 'Little Sonatina' has an Alberti bass. The Alberti bass is a form of accompaniment to a melody. This bass consists of 'broken chords'. It takes its name from the Italian composer Domenico Alberti (1710-40), in whose popular harpsichord sonatas it is frequent. The Alberti bass must be played artistically. The notes played by the thumb must be played softly. As these notes are played on the second half of the crotchet beats, they should not sound too prominent.
Waltz in G
The above piece 'Little Sonatina' has an Alberti bass. The Alberti bass is a form of accompaniment to a melody. This bass consists of 'broken chords'. It takes its name from the Italian composer Domenico Alberti (1710-40), in whose popular harpsichord sonatas it is frequent. The Alberti bass must be played artistically. The notes played by the thumb must be played softly. As these notes are played on the second half of the crotchet beats, they should not sound too prominent.
Waltz in G
'Waltz in G' commences with a triplet.
Theory
Write the key signature for E flat major, and write the scale of E flat major, for one octave ascending and descending using minims, in the treble and bass staff.
Using a key signature, write the arpeggio of E flat major in the treble and bass, with crotchets, 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 E flat major, one octave ascending and descending in the treble.
Play and sing the arpeggio of E flat major in the treble.
B - Play and sing the scale of E flat major, one octave ascending and descending in the bass.
I did not select any questions for this lesson's quiz from lesson six. This lesson's quiz is a review, and is based mainly on questions dealing with chords such as the sub-dominant, dominant, dominant seventh, and line or space notes of the treble and bass staff.
Theory
Write the key signature for E flat major, and write the scale of E flat major, for one octave ascending and descending using minims, in the treble and bass staff.
Using a key signature, write the arpeggio of E flat major in the treble and bass, with crotchets, 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 E flat major, one octave ascending and descending in the treble.
Play and sing the arpeggio of E flat major in the treble.
B - Play and sing the scale of E flat major, one octave ascending and descending in the bass.
I did not select any questions for this lesson's quiz from lesson six. This lesson's quiz is a review, and is based mainly on questions dealing with chords such as the sub-dominant, dominant, dominant seventh, and line or space notes of the treble and bass staff.
Please complete the quiz, have fun while learning, and I do hope you enjoyed this course. Best wishes in your future piano/keyboard playing.