he bi NeJ8. + Bosworth’s «Album * Series * No.79. 1 vouUME |, VOLUME 2. , le dl | ot _ SOLO ALBUM FOR THE ADULT BEGINNER f dh H E wos “y for piano » , Fema by BARBARA KIRKBY-MASON. | | I he ee FOREWORD a a is nity ew approse o quick ening an confident perma. payes ] Nis] on er mo thoaphut a wie compas wht he han aston of eee | passa a Dra nte | synchronisation bewero ends it been avsded throughout this Album ; AT THE PIANO laced immediaely; fie finger groups ae ade use of but she customary } 3 Boge facllty usualy conied tothe centre of de Keyboard for beginners is kept imum. The wider mental grxp of the sult wil quickly abuoeb the stuctral ' ch each piece is based. Verbal sggeions for playing at diferent oxaves 7 te the notaional complications which usualy hinder the beginner. ecrnmended that te teacher should asst with vert guidance for lateral moves "bpinner play o the these moves shouldbe memorked by the payer himel | wil ve spesiyrcogited and leter-names quclyabeobed; bythe means 5 instatcncs. Ue sapping a ft orer wo fel be bch ee _ AREVISION COURSE A SHORT MUSIC COURSE Adait Beginner neo not be deterred from playing these solos because the FOR FOR oR ileal THE YOUNG PIANIST THE STUDENT TEACHER fae erry cn lea and we presente inspec scheme. For the fest regen to eae pay 4 chord of 3 tes Qo a8 a TRIAD) f | | BARBARA KIRKBY-MASON epetion wil ensure FASE and FLUENCY. saded that references made o ‘Notation andthe Keyboard eo be found in DULT BEGINNER’ and in’ MUSICAL BEGINNINGS by B. Kineby-Mason. about Time Signatures, Note values, Rest, Musial Sigas tc are gives abo practice mari wari the been student. The advice of «god tech is aeded e good hand poston and correc finger acti, abo for esssance with tone a ac musical shape BOSWORTH & CC. LTD. BOSWORTH & 60. 17D. es 000N St Rt 5. .oMDON 1 i, Hin ee ane MotN avi ot ‘Regent St., London, W.1- 0 poet Comer Merca 7 VOLUME 1 VOLUME II THE ADULT BEGINNER A Revision Course for the Young Pianist A Short Music Course for the Student-Teacher BY BARBARA KIRKBY-MASON. FOREWORD This book Is designed to help three kinds of students — 1.The Adult Beginner who wants to play pieces which are easy yet sultable, gain some knowledge of theory and lay the foundations of Piano Technique, 2.—The Young Pianist who needs a revision course in order to ensure that the foundations ‘of work already begun are securely laid. This Course will also serve as an introduction to more difficult keys not usually included in the easier Albums. 3.—The Training College Student who will find that these Albums serve as a guide to the Theory ff Music in general. They will also provide a first approach to Piano Technique and will ‘open the way to gaining some facility atthe keyboard. The pieces include Marches, Waltzes, a Country Dance and other tunes in simple fornts useful for young children’s activities In the home and school, BARBARA KIRKBY-MASON, Additional material of similar difieulty may be found in the Kirkby-Mason First Album, parts 1,2 & 3 and in First Album Supplement, “Tuneful Groded Studies" Preparatory Grade by Dorothy Bradley will be found useful ‘as extra material 10 be used in conjunction with this book when the available practice time will permit BOSWORTH & CO. LTD. 14 | 18 Heddon St. Regent St., London. W. I. B, & Co, Ltd. 21989VOL. 1. CONTENTS Notation nd the Keyotrd, The Stave ad poston of Mle C NNotet and rest Time Signatures Simple Ti) “Time Patterns Guide to Fingering Hines on the Position of the Ha Finger Exerc. Ineroduetion Sharps and Fis and Naturale Sele, chord and pieces in the Keys of-= ‘C major (Prelude, Waltz, A Qulet Tune). major (arch, Dante Grocer. 1 major (Country Danes) F pjor (Minuet. The Piper). af oer (A Meld or he Lk nd) Cara ‘Major and Minor Moder and Chords. Relative Minor, How to dnd i Broken Chords... The Chimes (Based on The Stave and Leger Lines, More about the. Signs. ‘ids co Techni eta Hine abou the Gres Save Sight Reading. Hines Teste Saale, chord and Piece in the Keys of “A minor (Seady and Wat). . : for Chee fom Sn in Asia & minor ("Five Loss” Schumana) E major (Minuet—Bach)es eer B minor (Swing-Song). ‘Bmalor(Bagesle—Besthoven) Dinter occur G minor (ners Song Schuman) Eb major (Eectsalse Beethoven E minor (are) ‘Ab major (Wale-Tune). Keay Sgnturen torre order of White Sharps Arpeggion (aj and Hinod). Pedal Exercises essircese (at Semen [NOTE—Pices ether than the Classics are by the composer of these Vols. B.& Co, Led, 21369PRACTICE PLAN . Practise Finger Exercises and Technical Aids (Make up some of your own, when necessary, in various keys. Play Scales already learned, hands separately (later, hands together) . Practise the new scale and chord. Learn the Key Signature, Practise a new piece, hands separately. Play from memory s piece already learned. |Add as much expression and tone colour a you can. hen play it again using the copy. Notice carefully every detail. Practise Major and Minor Arpeggios. Hum the notes of Major and Minor chords after you have played them. 7. Clap Time Patterns—make up some of your own. }. Sight-Read pieces in all Keys beginning with very easy tests at first. ALWAYS :— Practise slowly at first. Be able to begin at any bar. Use the correct fingering. USTEN INTENTLY ALL THE TIME 8.8 Co, Led. 219692 NOTATION AND THE KEYBOARD POSITION OF MIDDLE C ON THE GREAT STAVE TREBLE Middle C has — CLEF Middle C cone sound on <> — the Keyboard but i. BASS is wrlecen ewlee i cee ‘on the book. THE MIDDLE SECTION OF THE KEYBOARD. bower ni Unger Ago aD N.B.—The distance between two notes with the same letter name is called an OCTAVE 6 eg, 2 AN OCTAVE contains 8 notes = Be able to find all the C’s on the Keyboard in every octave (approx. 7) LINES AND SPACES A quick way of finding notes A poke E Middle C © Middle C ee 8D oa ce Copyright MCHL by Bosworth & Co, Led, London Tes drs dexcaton verses 8, Co. Led. 21369 Maden Emad —Impringen hogerNOTES AND RESTS The LENGTH of a musical sound is determined by notes and rests of different values. Nores Semibreve | Minim Crotchet | Quaver Semiquaver |Demi-semiquaver RESTS > REEF Sees RESP Ee SSCL EEE EEE EEEY EEE EEE EES = pep or r+ aay any aa a) A DOT makes a note 0 HALFASLONG AGAIN J" = BB 0 anna BAR LINES divide the music into a regular number of beats IEE TIME SIGNATURES are placed at the beginning of a piece and consist of TWO numbers. The TOP number denotes the number of beats in a bar. ‘The LOWER number denotes the kind of beat, i.e. crotchet or quaver, etc. SOME SIMPLE TIME-SIGNATURES = four crtche beats inabar PPP P three crotchet beats in a bar PPP = two crtchetbeats ina bar PP t : i 2 i $= four quaver beatsinabar BP PP J = three qunerbeatsina bar EPP 2 i ewominim bess inabar PP ‘KCompound Tei included in Vo. 2 B.& Co, Led, 21569,4 TIME-PATTERNS Clap or tap these rhythms making the first beat in every bar the strongest (accented) Count 4 crotchets in a bar Count 3 crotchets ina bar Count 2 crotchets in a bar Count 4 quavers in a bar Count 3 quavers in a bar Count 2 minims in a bar ‘When there are 2 beats in a bar it is called DUPLE TIME ‘When there are 3 beats ina bar it is called TRIPLE TIME When there are 4 beats in a bar it Is called QUADRUPLE TIME. © or COMMON TIME is sometimes used instead of 4 TIME PATTERN containing Dotted Notes common rine (4) Counties 2! Gn aes ue Scud tend ane Tao 8,8 Co, Lu, 21369A GUIDE TO FINGERING b LEFT HAND. RIGHT HAND iy HINTS ON THE POSITION OF THE HANDS |. Use rounded fingers and see that the first joints of the fingers and your knuckles do not collapse inwards. Imagine you are holding a ball in your hand 2. Keep the joints of the thumb bending outwards to avoid stiffening the hand when playing. wor 3. Play on the side of the thumb-nail—nat on the joint of the thumb. 4. Try to have your elbows nicely balanced when playing (never rigid or touching your sides). 5. Pass the thumb under neatly when playing scales. ALWAYS USE THE CORRECT 6. Feel the keys with your fingers; do not hit or flick at chem. FINGERING ; IT ASSURES ACCURACY and will help you play from memory. NOTE.—Ie is not possible here to give mare exact instructions for technique and touch forma- tion. The advice of a good teacher should be sought as soon as the Student feels the need for further help. 8.8 Co, Led, 21369(8) FINGER EXERCISES Repeat each exercise six times: hands separately and together. Coune 4 sy Count 3 Count 2 Exercise for Rotation of the Hands Come T & 2 & 3 & 4 & 5 N.B.—Later these Exercises should also be practised in the keys of G, D, and F major. This is called TRANSPOSING * 3] Noe he REPEAT SIGN. 8. & Co, Led 21369* These are the Notes of the Scale and Chord of C Major. 7 Now PLAY THIS. INTRODUCTION 1 HOW TO GET TO KNOW SOME OF THE VARIOUS TONAL EFFECTS WHICH CAN BE OBTAINED ON THE KEYBOARD When you can play Ex. 2, page 6 easily, beginning on C, then play it from Memory, beginning on any white note on the keyboard. Liscen carefully co the different effects produced, % Chord: ewo or more notes Sounded together. _C major Chord or Triad consists of the Ist, 3rd & Sth, degrees of the scale. When the &th degree is also played, this Is called doubling the root of the chord, 8.8 Co, Led 20698 PLAY C MAJOR SCALE IN ONE OCTAVE (Contrary Motion) T Practise it,hands separately and together, passing the thumb under neatly. Key C PRELUDE IN C st | SOME EXPRESSION MARKS p= soft t= loud (piano) (fore) mp = moderaeely sofe mf = moderately foud (mez20 plano) (mezzo forte) petting touder SSS Laine, N.B.—To play loudly putthe key down more suddenly. Do not PRESS any harder. To play sofly, put the key down slowly and gently. 8.8 co tes.2n09PLAY C MAJOR SCALE IN SIMILAR MOTION 9 N.B.—Practise hands Separately. Hands cogether \s difficult and should not be attempted at first. Key C WALTZ IN C Keep the accompaniment chords softer than the melody, Play the melody as smoothly as you ean. Dots placed in front of the double bar indicate that the piece should be repeated from the beginning 4 This note i Bethe space below the mide Cline HA sembrare rests always ute for whole bar et irepecive ofthe rea Valu ofthe beat In che ar 8. & Co, ut 2106510 THE BLACK NOTES ON THE KEYBOARD ARE CALLED SHARPS AND FLATS These are the Signs used. Sharp Flat Natural # b 4 ASHARP (#) raises a note one semitone™ AFLAT (4) lowers a note one semitone PLAY THESE SHARPS AND FLATS :— F to F shar B to B flat ANATURAL (k) restores a note to its original sound, /.e. It lowers a sharp or ralses a flat, F to FH to F B BB A QUIET TUNE Thoughtfully (Notice the Sharps and Flats) Key ¢ nf P ‘H Asemitoneiethesmslet ditance In coun on che keyboard fram one note toanother B.& Co, Le, 21269This plece should be played LEGATO 1. smoothly —each note comes up ac rhe next gnes down ‘The last three nctes in the Left Hand have dots placed over them and should be played STACCATO, he. shore 4 Toe note ie the pace above mide Cine “1 T dtted nisi (tural) played by the thumb an shld or thre beats whist the cote are beng played B.& Co, Les, 213692 PLAY G MAJOR SCALE WITH F SHARP 5k N.B—LEGER LINES are used for notes not on the Stave, like this: ‘ics nt necesary to rewrite tel agsas eh F note the preceding rae al the Fe ehrouthout the br Pieces in the KEY OF G MAJOR have a KEY SIGNATURE of one F sharp. MARCH IN G key 6 Remember to play Ff Instead of Fk for pieces in this key. 8.8 Coed, 21369TIED NOTE TIED NOTE—The first D is played and then held for the velue of the other D's to which It Is tied by slurs. Practise this piece hands separately as well as together, Use Wrist Touch for the L. H. repeated chords. 8.8 Co Les. 21369uy MORE FINGER EXERCISES Key G Practise 3 times LEGATO (Smoothly) Practise 3 times STACCATO (Short) FOR RHYTHM N.B.—You should algo practice the Finger Exercises on p. 6 In the key of G major. (ie. beginning on Gand remembering F#). Then play them all “Staccato” as well as “Legato”. 8.8 Co. Led 21369NOW PLAY G MAJOR SCALE (one octave lower) 15 (Notice the Leger Lines in the Right Hand) DANSE GROTESQUE S Ata steady pace Ke mp staccao™ ————— t a 7; ott ‘ + ‘ ‘* sacs i indieated by dots being placed over the notes hich mast be played short (not joined) 5 Practise this piece hands separately at first. Keep arms well balanced and hands at flexible as possible never rigid. a BB Co, Led, 21369e D MAJOR SCALE HAS TWO SHARPS (Fé & CH) 5 x % The new sharp Is always to be found on the 7ch degree or Leading Note. KEY SIGNATURE OF D MAJOR (F# & C#) In this piece you learn to move freely about the keyboard COUNTRY DANCE Key With spirit F 5 The Left Hand now plays: in the Treble —» Now the Left Hand plays in the Bass again 8.8 Co, Les 21369"7 Preliminary Exercise:— #4, ae Ps boeh hands octme Sigher loco (in place) both hands in place ast the ‘beginning va = One octave higher > = With an accent 8.8 Co ted. 210816 D MAJOR SCALE HAS TWO SHARPS (F# & CH!) yar 5 fF % The new sharp i always to be found on the 7th degree or Leading Note. KEY SIGNATURE OF D MAJOR (F# & C#) In this plece you learn to move freely about the keyboard COUNTRY DANCE Key with spirit ‘ = The Lefe Hand now plays inthe Treble» plays in the Bass again 8, & Co. Led. 2069w * Preliminary Exercise:— «4, 3 ey loco (im place) both trands in place as at the beginning va = One octave higher > = With an accent 8.8 Co. ted. 2156818 THIS IS F MAJOR SCALE WITH 8 FLAT 23 9 @ N.B.—The 4th finger Is used on Bb and cop F in che Right Hand only. Practise this scale hands Separately. KEY SIGNATURE OF F MAJOR (8 FLAT) Clap and play these RHYTHMIC EXERCISES FOR DOTTED NOTES Key A stately dance MINUE P B& Co, Le, 21369NOW TRANSPOSE THE FINGER EXERCISES ON p. 6, INTO THE KEY OF F MAJOR (ie. Beginning on F and remembering Bb ) Ror F Clear THE PIPERS PB Use Wrist Touch in the L.H. for this plece 8 co. Ld. 213692 Bb MAJOR SCALE HAS TWO FLATS (Bb & Eb ) Practise this scale HANDS SEPARATELY ONLY, Pass the thumbs under neatly. KEY SIGNATURE OF Bb MAJOR (Bb & Eb) keysA MELODY FOR THE LEFT HAND | Play the LH. melody as smoothly as possible with singing tone. Notice the use of slurs to indicate this. Slurs are also used co denote che length of a musical phrase or sentence, 8 & Co, tee, 21969CAROL a This piece is much harder to play. Practise ie hands separately only at first. It isan intro duction to Pant Playing oF Counterpoint. P F ip =— ‘% Note how the several une or parts ae entwined in chi piece by the ute of mieten 8, & Co, Led, 21369MUSIC IS WRITTEN IN TWO MODES. CALLED MAJOR AND MINOR Every Major Key has its RELATIVE MINOR with the same KEY SIGNATURE HOW TO FIND IT * If you count 3 semitones downwards from the Major Keynote you will find the keynote of the Relative Minor. ‘major Aminor_y Gmajor Eminor Fal D minor Cc = = —— RS T Pye So ‘Semitones * ‘Semitones Semitones Build up TRADS on these jor and Minor Keynotes and notice the sadder or more sombre sound of whener Cmajor Aminor 4 SM Eminor __Fmajor D minor PLAY THESE BROKEN CHORDS WITH THE RIGHT HAND (Sometimes called Arpeggios) major Arminor Gmajor Eminor Now play these BROKEN CHORDS one octave lower with the LEFTHAND. Use this fingering s@21205 N.B.—Minor Scales and Pieces in Minor Keys are included in Vol. 2. KA Semitone is ually the dstance froma White key t0 3 Black key, Exception-B to C& Eco F which are semitone Between «wo ‘wie keys with no back hey intervening. 8.8 Co ted. 2106THE CHIMES = (WITH PEDAL) Key € (No sharps or flats) (Based on Major & Minor Chords) eS SSS ® SS eee N.B—The RIGHT PEDAL should be used to hold the semibreves in the bass, whilst the erotchet chords are being played with both hands. ‘The Pedal marks on the copy will help you. LISTEN INTENTLY to avoid a blurred effect. Pedalling is explained more fully in Vol. 2 Bb Co, Led, 21369,24 MORE ABOUT THE STAVE AND LEDGER LINES coeg GSB eo o£ ie} CSB Two notes on the book, xj) te Sound on the keyboard 2) = iS DO YOU KNOW THESE SIGNS? Slur = legato or joined (the second note of a slur should be played softly) Tied Note With an accent Staccato or short Dotted note (Half as long again) Repeat BY? = an octave higher TY = pause DO YOU KNOW THE MEANING OF? (2) Transposition (®) Semicone (Q Modes (2) Relative keys Can you clap any rhythm in Simple Time? Can you sing or hum the notes of a scale or chord? BB Co Ld. 21369f ff Fores, very loud P Pano, st pp “Plaisimo, very st pop “As sats pose MP cpevso fore moderly loud mip mess plano, moderately of Bp fore plino,fovs shen sok F Soreandl yaar sr sec iL irene | with a sxe Mecerando Getting quicker hisgaiaDecrenng the sped, broadening Alla Mery. ely se finde "Moun slowly slong Ginaie "Ina singing syle Genin With movernene Gan Spires Wek spine on flor pede “With the peda Creendo Getting louder Brice "Sot and fweety Bimisends "Geng ster ean Espresso _ With expression Gocero Gal, ocoely Grane “Graceful tigger Lghely tet n pace MD. one dein With the righ hand MMS. or man sits" Withshe lee ne Marexo "Marked Meo Moss sss moved slower Madero at's noserste pace tat Much Morendo" Dying away Perpencst Lossing tel Paco Pid f Louder Presto Quick falenardod ecing slower fisato Body Sostenuto Sustained Sato ace ‘In tubdued manne. under the vlee Temp Prin Inte same time 9 3 fst, Ten. or tenuto Held Vivo "With ite 8.8 Co Led. 21388 ct treMODERN PIANO COURSE by BARBARA KIRKBY-MASON {A SPECIALISED COURSE FOR TEACHING PUPILS OF ALL AGES, PLANNED TO GIVE FEACHERS FREEDOM TO USE THER OWN IDEAS AND AT THE SAME TIME TO PROVIDE THE RIGHT MATERIAL FOR EACH PUPIL AT THE APPROPRIATE TIME FIRST ALBUM PART 1 FOR THE YOUNGEST BEGINNER MY FIRST CHORD BOOK FIRST DUET ALBUM VERY Fins STEP PUPPY DOG TUNES MY NEXT STEP FIRST ALBUM PART IL TOM THUMB TUNES FIRST ALBUM SUPPLEMENT he ot at Bremer FIRST ALBUM PART IT My FIRST KEY BOOK SECOND ALBUM MY SECOND CHORD & KEY BOOK SECOND DUET ALBUM THIRD ALBUM GAMES FOR TWO FOR OLDER PUPILS~ (DUET ALBUM) THE ADULT BEGINNER FOURTH ALBUM BOOKS 1 & 2 ‘The hone ole indestathe main cure ‘whe ue the speci bok wick ‘al her important pets of nate earn cm ce [AT CHRISTMASTIDE MUSICAL BEGINNINGS FOR ALL IN NURSERY-RHYME LAND Fe Pag 13 Ca Coe Fy Pe es ry ty ce rb lo nei ih rd ORT eee FOR YOUR DELIGHT Et Ped Pes fr Pao ADDITIONAL MATERIAL FOR PIANO BY BARBARA KIRKBY-MASON AVAILABLE IN ALL GRADES IN ALBUMS AND AS SEPARATE SOLOS BOSWORTH & CO. LTD, 14:18 rtson street, Regen Street, London, W.1. MAZURKA (omg: er © com MLA Bs a “tacos an oon banIN SUMMER FIELDS DANS LES CHAMPS, LETE — SOMMERSZETT ‘Barter Kirby MasonTHE GIPSY DANCER BARBARA KIRKBY-MASON‘MUSICAL BEGINNINGS FOR ALL BARBARA. KIRKBY-MASON FOR YOUR DELIGHT th BOSWORTH & CO., LTD. M-I8 HEDDON STREET. REGENT STREET, LONDON, W.)