Ne Voce ed BOOK Jone JO) SINUS (OO NRO PO RWAIN@© COURSE FROM THE AUTHOR OF DM eee ae COL THE WILLIS MUSIC COMPANYOrchestrated Accompaniments by Eric Baumgartner | Audio Track List rageintook “Tunesol "Panos Th Papen Book ie a 7 Lightly Row ” 7 0 7 3 4 Drill (A Majoe) 6 ~ 20 m 7 5 6 ‘Air(Mozart) 45 81 a v 9 7 8 Etude (Thompson) 46 83 a4 'V.Song ofthe Volga Boatmen ° 9 10 Moccasin Dance a 85 86 Vi.chimes ° n 2 Etude (F Major Scale) 48 87 88 vu n 3 14 ‘The Dancing Lesson “8 89 90 vu n 5 16 Wrist staccato (Hanon) 50 3 2 1% n 7 18 tude (Wrist Staccato) 52 93 94 x n 19 20 ‘The Woodpecker 32 95 96 XL Petite Valse B a n Drink to Me Only with Thine Eyes 54 7 98 XIU The Bee 3 23 24 tude (Staccato and Legato) ss 99 100 XIt Blue Bells of Scotland 8 2s 26 ‘The Cuckoo Clock 55 101 102 XIV. Down South 15 7 28 tude (Wrist Staccato Double Notes) 56 103, 104 XV.Comin' Round the Mountain. 15 2» 30 Valse 56 105 106 XVI.Home on the Range 0 31 32 brill B-flat Major) 58 107 108 The Phrase 21 33 Er Noctume 58 108 no Musical Form a 35 36 tude in Eflat Major 59 Mm 1m Swanson the Lake 2 37 38 Onan trish Green 60 3 na Stepping tones 25 38 0 Silent Night a ns 16 Inthe Swing 26 a a Rain Dance ea nz 1s Phrasing in Twos (Hanon) 28 “a “4 [Aspanish Fiesta 6 nn 120 Swaying Silver Birches 30 45 46 Drill (& Major) 6 120 2 Phrasing in Fours (Hanon) Py a 48 Peasant Dance oo 123 1 Dutch Dance 32 ” 50 ‘The Lonesome Pine 6s 18 126 Etude (C Maion) 34 51 52 Long Long Ago 66 127 128 Church Bells 34 33 54 Forearm Staccato (Hanon) o 129 130 tude (G Major) 35 5s 56 ‘Twilight Song 6s at 132 Lullaby 35 37 58 Drill (flat Major) 10 133, ise Arpeggio Drill 37 59 «0 ‘Toa Skyscraper 70 135 136 tude (Broken Chords) 37 o a Air Dvorak) n 137 138 Drill (& Major) 38 6 ot tude (€ Major) ™ 139 140 tude (F Major Chords) 38 6 66 Dublin Town ” 141 12 Marche Slav 39 o7 68 John Feel 6 143 144 Finger Legato (Hanon) 0 cc) 70 prude (the Till) n 14s 146 Dil (riplets) a n n Sweet and Low 8 7 us Forest Dawn 2 B " Under the Leaves ” 149 150 Drill © Ma “4 8 16 ‘Audio Access Instructions Visit www.halleonard.com/mylibrary and enter the unique access code found on page 1. This will grant you instant online access to both the audio and MID! files. The audio tracks are available for download or streaming, and MIDI files are available for download only. For technical support please email support@halleonard.com.Tr Meh YVPeT Te) BOOK | ONE JOHN THOMPSON’S 5 Ula eae WNpemmeue lp usu BUN eo Rou a Mlle Coe eee MEM Mette coe bole ia Re UM RM ees sts Enter Code §339-6178-7949-4533 Caen) Un TTT TS ys ce alcoCONTENTS PREFACE... — 3 INTRODUCTORY SECTION... see AD Rudiments / Elements of Notation MAIN SECTION....... —— 20 Hints on How to Practice.. e sve 20 ‘The Phrase—Musical Form and Patterns a “Swans on the Lake”—Tonal Shading/Dynamics 2 Half Steps and Whole Step von 4 “Stepping Stones"—Study in Half Steps and Whole Steps...25 Drill for Left Hand—Leger Lines. - a 26 “In the Swing” Hanon Exercise—Phrasing in TWOSnnsemnnnnnnnnee 28 “swaying Silver Bitches" ecnnnn 30 Hanon Exercise—Phrasing in Fours i “Dutch Dance"—Dance Forms. : 32 “The Major Scale. zi 33 Etude~Ascending € Major Scale Figure se 34 “church Bells”—Descending C Major Scale Figur Etude—G Major Scale Figures. . 38 “Lullaby” (Brahms) Chord Building / inversions / Triads... sn 36 Arpeggio Drill ——— 37 Etude—Broken Chords Drill—F Major Scale and Arpeggio. 38 Etude in F Major—Chords and Broken Chords “Marche Slav" (Tchaikovsky) n.ssnnnmnnnnenns 39 Hanon Exercise—Finger Legato seve 40 Drill—Broken Chords with inversions / Triplets... 42 “Forest Dawn"—Trills and Broken Chords Drill—D Major Scale and Arpeggio. or} “Lightly Row"—Folk Tune DrillA Major Scale and Arpeggio. soe 5 Ar from “Sonata in A Major” (Mozart) Etude—Five-finger Legato Groups 46 “Moccasin Dance"—Minor Mode... 47 tude—F Major Scale and Chord Figures “The Dancing Lesson” —Leger Lines tude—Wrist Staccato, “The Woodpecker” «prink to Me only with Thine Eyes’—8 Time... Etude—staccato and Legato in fr, The cuckoo Clock"—Two-note Phrasing in tude-Wrist Staccato in DOUbIe NOt nen 56 *valse” rill B-flat Major Scale and Arpegsio.. f *Nocturne” rill E-flat Major Scale and ArpeggiO nn 59 “Etude in E-flat Major” on an irish Green” —Cr0ss-haNd nnn 0 “silent Night” (Graber), Rain Dance"—Etude for Left Hand Alone... “A Spanish Fiesta"—Syncopé Drill—E Major Scale and Arpeggi 64 “Peasant Dance” “The Lonesome Pine”—Extended Broken Chords... 65 “Long, Long Ago” (Bayly)—Broken Chords as ‘Accompaniment, oat Hanon ExerciseForearm ATSDR. “twilight Song’—Forearm Chord Playing... 66 a Drill—A flat Major Scale and Arpeggio... “Toa Skyscraper” Air from “New World symphony” (Dvorak)... Etude—Scales and Chords...... “Dublin Town'—Gigue in “John Peel”~Sixteenth Notes. = Etude—The Trill “Sweet and Low" Barnby), “Under the Leaves" (Thomé) ao) (GLOSSARY cero er 80v PREFACE be +e Music is composed of three equally important parts: Melody, Harmony and Rhythm. Vivien ty Briefly, Melody isthe “ait” or “tune” of the piece. Harmony is the accompaniment or background that supports the melody. for] fot Rhythm is the “swing” or “lle” of the piece as a whole MELODY APPROACH Any of the three factors (melody, harmony, rhythm) may be used effectively as an approach to the study ‘of music, and this isa point upon which authorities differ. The author has chosen the Melody Approach for very solid—old fashioned, if you like—but conclusive reasons! In the first place, all music is identified by its “tune” or melody. This is equally true of a simple lullaby or a great symphony. The melody, therefore, would seem to be the very first essential. Secondly, by using the Melody Approach the student is enabled co “make music,” or in other words, play a tune, in the very firs lesson. Thus interest, appreciation, and use of the ear are fostered from the very beginning. Rhythm and harmony are approached in proper order as soon as the student is able to digest them. ‘Music isa great art and an exact science. By using the Melody Approach, the student is led to think of music first as an arc, Later, as harmony and rhythm are introduced, the student becomes acquainted with the scientific side of music study. IMPORTANCE OF ENSEMBLE PLAYING ‘The Introductory S¢ of this book is arranged in the form of duets. The accompaniments “dress up” the simple melodies. They also offer certain advantages of ensemble playing by which the teacher can control the tempo, influence the rhythm, and encourage ronal contrast—all of which form the basis of interpretation. IMPORTANCE OF FINGERING Strict attention to correct fingering is of great importance. In fact, one can safely say that correct fingering is ust as essential as correct notes in the early stages of piano playing, It will be found later that choice of fingering forms one of the basic principles of technical proficiency. READING DRILLS “The alert student will quickly discover chat the melodies in the Introductory Section of the book can more casily be played by observing the finger signs, or even “by ear.” This should nor be discouraged; on the contrary, anything which tends to help the student play musically and expressively should be welcomed and encouraged. Independence, however, is not attained until che student can Play By Note (or, sight-read). To develop this the student should be required to read the little cunes and melodie phrases away from the keyboard. The teacher should treat each example as a Reading Drill. This is accomplished by clapping and reciting. The scudent gives one clap to each count in the bar and names the notes in time to the clapping. By clapping and reciting daily, the ability to read “by note” will quickly overtake the tendency to play “by ear” or by finger numbers. PREPARATORY BOOK “This book is a preparatory book for piano playing, It is designed specially for the adult, and its purpose is to lead the student quickly but thoroughly through the elements of piano study. At its conclusion the student may proceed to John Thompson's Adult Course Book 2 and continue with succeeding books in the Modern Course for the Piano. bs :INTRODUCTORY SECTION THE KEYBOARD dean Clwee ) MIDDLE C Note that the black keys on the piano are arranged in groups of two's and three’. ‘The C under the maker's name on your piano is known as Middle C. Middle C is the logical key to leaen frst, for reasons apparent later on. Icis easily located as i lies immediately below che two-black-key group. First, locate it on the keyboard, Then find all the other C’s, using the two-black-key groups as a guide. Next, mark the letter name ofall the C’s on the keyboard above. SHOWING A, B, C SHOWING C, D, E t Comic TIDE, Using C as a guide, locate all the A's, B's, and C’son the keyboard. Then write the letter names of the new keys in their proper places on the keyboard at the top of the page. Again, using C as a guide, locate all che C's, Ys, and E's on the keyboard. Then write the leeer names of the new keys on the keyboard at the top of the page. SHOWING E, F, G Using E as a guide, locate all the B's, F's, and Gis on the keyboard and, as before, mark the new keys on the keyboard chart above, You have now learned and located all the white keys on the piano. “The names of the black keys will be presented in a later lesson.whe ELEMENTS OF NOTATION For the purposes of convenience, music is divided by BAR LINES into BARS. Bars are also called “measures.” i] Double Bor Line BAR BAR BAR FINAL LINE BAR LINE. ‘Always placed PNY] teen BAR sroaoe aennn- attheend ofa Piece of mi NOTES open-headed symbols (4 d etc.) placed on the lines or in the spaces are called NOTES. “The position of the notes (on various lines or spaces) indicates the piano keys to be played. “The shape or design of the note determines its time value. Forexample: @ isa QUARTER NOTE and is held for one count It is also called a crotchet. isa HALF NOTE and is held fortwo counts, Its also called a minim. © isa WHOLE NOTE and is held for four counts. It is also called a semibreve. TIME SIGNATURES ‘TIME SIGNATURES, shown at the beginning of a piece, tell how to count in each bar. Upper figure means that there are TWO cours to bar THREE counts roa bar. Quarter note gets one count, Lower figure’means that each quarter note gets one count FOUR counts to a bar. < Feoine 1 Quarter note gets NOTE TO TEACHERS “To facilitate reading the teacher should insist that all examples, particularly in the Introductory Section, be treated as Reading Drills, This is accomplished by having the student frst announce the time signature, then follow by clapping the time (one clap to each quarter note, two claps to each half note, ete.) while reciting the letter names of the notes. This should be done before each example is played on the piano,TEACHER'S PAGE (This page is for the teacher only.) ‘The Teacher's Page contains accompaniments to be played together with the student's melodies on the opposite page, ‘thus presenting the runes in the form of duets. ‘The importance of ensemble playing cannot be overemphasized. Not only does it make the litte melodies more attractive, but it enables the teacher to control the tempo, influence the rhythm (accents, etc.) and encourage tonal variation, thus adding expression from the very beginning, ‘Accompaniment to No. I (on opposite page) 3 ‘Accompaniment to No. II (on opposite page) : 5 =— |— | =|" Accompaniment to No. III (on opposite page) ILyy u © pervt @ fog’ ‘and B below Middle C D and E above Middle C a Lag Wess ad ¢ First, use as a Reading Drill (clapping and reciting). Then play as written, counting aloud as directed by the teacher. ne nckes Play with the Right Hand, Hor: 3 Dn 13 2 READING DRILL (Not to be played) ‘Add bar lines, then clap and recite. Play with the Left Hand. + 2 5 2 3 READING DRILL (Not wo be played) ‘Ad bar lines, then clap and recite, Right Hand 123 aesTEACHER pits Are combing of cts ( At this point, explain the meaning and importance of RHYTHM, ‘ACCENTS, and TEMPO. arts ‘often called the Sou! of Music. The first step in setting the rhythm is by means of the accent, ACCENT is a special emphasis placed upon certain beats in a bar—at present on the fist beat TEMPO means time. A steady, even tempo is necessary to preserve the rhythmical “swing.” This means there will be no time to stop and hunt for notes, key, or ingen ‘After apiece has been learned ic should be reviewed une ican be played fluently and easily, without stops or hesitation. Song of the Volga Boatmen Russian Folk Song TEACHER'S NOTE = Be insistent in the matter of clapping and reciting. Iis the only way to ensure playing by note. ‘Now that the student has learned what 5 accent means, it would be a good plan ee to include itn the Reading Drills by requiring an accented clap on the fist beat of each bar while reciting the letter names of the notes.New notes F and G below Middle C (LH. Group) STUDENT New notes F and G above Middle C (RH. Group) ‘THE DOTTED HALE NOTE a5 ‘adot after a pote locrenses i time valle by one hale ‘A dotted half note therefore gets three counts. 123s 4 no 3 counts 1234 4 REST SIGNS Song of the Volga Boatmen (QUARTER NOTE HALF NOTE WHOLE NOTE Russian Folk Song, Rest REST REST 2 2 RESTS Relative all note ist] ‘whole nore rest nom. |) ° vd) ate Be] 3 FY count value BEATS (Coun) 4 a2 12.38 ‘The REST sign in music notation is a sign | eo ? a3 of silence. All notes have their equivalents 2, ; Repeat ad lb, Tn rest signs. Each beat of a bar must be accounted for either in notes orsests.‘The “whole note rest is used co indicate a full bar's silence regardless of the number of beats it contains. ChimesTEACHER Vu TEACHER'S NOTE Since the sade encounters the shar ign fr dhe isc in Example X it wuld be wel this pine o teach the names of the five black keys, using the sharp names only (C# D# F# G# A#), The flat names will be taken up later.STUDENT oes qenver ‘The time value of an eighth note g) is half as long as that of a quarter note. Play TWO eighth noves od to ONE count tas e 2A Sertfore The sign # is called a sharp. In the following example, the sharp indicates that the black key above (to the right of) F should be played. F sharp READING DRILL (Not to be played) (Clap and recite. ueTEACHER Petite Valse In Waltz tempo c 4 The Bee Blue Bells of Scotland 32 Old Scottish Air XISTUDENT ‘When the sharp sign (8) is placed here, it becomes the KEY SIGNATURE. In this piece all the F's must be sharp. Petite Valse The TIE ind held for its full value without Blue Bells of Scotland Repeat Sign 1 XII Old Scottish Air 42TEACHER No book in itself can take the place ofthe teacher. This is particularly teue in teaching su posture and general technique. ich matters as hand Tn che early examples the wise teacher is no to insistent about technical principles. Rather, every effort is made to have the seudent chink and fel musically, even if i a the expense of ideal paying conditions. hing bad habits. Stare with the Finger Pethaps the real est ofa teacher is to know how lenient ro be without establis correct action, etc. Drill on page 15; however, attention should be given to hand position, finger curve, dual ideas of presenting technique, and they ‘This procedure is left entirely to the teacher since each will have indivi will vary somewhat with each student. ‘TEACHER'S NOTE “Teach the fat names of the five black keys (D? EP GP AP BP). Show how the natural sign cancels sharps and Hats, Down South (Strain from “Dixie”) Comin’ Round the Mountain As lively as possible Southern Mountain Song mf sempre sacs 9 Repeat ad fiSTUDENT READING AND FINGER DRILL CDEFG pa ey ‘The FLAT sign => ee" black key below ‘The NATURAL sign = 4 (to the left of) A. Down South cancels all previous sharps or flats 1234 5 4 5 Rasa 2 7 A flat In this piece all Fe : BYs must be flat Comin’ Round the Mountain ‘As lively as possible 1 Southern Mountain Song 5 1 Repeat ad ib,TEACHER Home on the Range Cowboy Ballad Slowly, with much expression oa |. ——_ } . 5 .STUDENT First, each hand separately. Then) FINGER DRILL hands together, one octave apart RH, 12 23 34 ce LHS * a8 5 ° : Clep ond recta In this piece both hands a play in the Treble Clef Home on the Range Cowboy Ballad Slowly, with much expression 1a og 4 s 118 STUDENT SEVEN READING DRILLS Draw bar lines as indicated by the time signatures Then clap the chychm and recite the leter names ofthe notes, (Not to be played) Ee aSS= f. x TEACHER'S NOTE “The above drills contain all the notes, rests, time values, and time signatures learned so far. Ifthe student is able to clap and recite each dill with accuracy and a fair amounc of fluency, they are ready to proceed with the next section of the book. Otherwise, the Introductory Section should be reviewed as often as necessary until the ability to read well is assured,19 INTRODUCTORY SECTION REVIEW If the Introductory Section has been carefully studied, the student is now familiar with the following: Keyboard —The names of all keys, black and white, on the keyboard. Bars and Bar lines—What they are and what they mean. Treble and Bass Clef Signs—Their effect on the lines and spaces of the staff Time Values—The Whole Note, Half Note, Dotted Half Note, Quarter Note, Eighth Note and their equivalents in Rest. Time Signatures an a4 aa Notes in the Treble eres Notes in the Bass Accidentals—Sharp (#), Flac (»), and Natural (t) signs. The Tie The Repeat Sign F 4 Reading—By consistent practice of clapping and reciting, the student should have acquired facility in reading the notes learned so far. Melody and Rhythm—The musical experiences gained by this time have developed a sense of chychm. and melodic flow. Harmony—Hearing the teacher's accompaniments will instill a “listening acquaintance” with harmony. In short, the student is now fully prepared to enter the Main Section of the book. From this point on, the hands will be requited to play together. The examples will expand gradually in all directions, making more demands both musically and technically. TEACHER'S NOTE Quite often, in the case of students who have had preliminary training in music, it will be unnecessary to go through the Introductory Section. This is solely for the teacher to decide.JOHN THOMPSON’S ADULT PIANO COURSE MAIN SECTION HOW TO STUDY One of the most important aids to pi dy is chat of ki ‘ow to practice. aids to piano study is that of knowing how to pi Mastery is not gained through monotonous repetition. ‘Practice makes perfect” isan old saw which has proven to be fallacy. To be effective it would have to be qualified as follows: (Correct) practice (if repeated often enough) makes perfect.” IMPORTANCE OF ACCURACY ‘The importance of accuracy, therefore, becomes at once apparent. Never play anything faster than it can be played correctly. Each time a mistake is made, some of the previous practice is undone. ‘The wise student naturally studies first each hand separately—later putting the hands together. IMPORTANCE OF REVIEW. ‘While studying the new lesson, don't overlook the importance of reviewing the work covered in previous lessons. Ic isin repeating examples afier they are learned that the greatest benefits are derived, especially those having to do with the technique of piano playing. FINGER DRILLS Don't neglect the Finger Drills. They are designed to develop independence, strength, and fluency of finger action. Daily repetition of the drills will provide a “short-cut” to piano technique, READING If chere isthe slightese doube about the student’ ability to read the notes fluently, the practice of elapping and reciting should be continued. In general, practice each hand separately from this point on.2 Hand Position THE PHRASE ‘Music, like language, is expressed in phrases. Single notes by themselves mean nothing. Only when the notes are arranged into musical phrases do they take on a definite meaning. Learn to think of your music phrase by phrase. Notice how the first phrase is answered by the second phrase in each of the following examples. 2nd Phrase FINGER DRILL First play each hand separately, Then play hands together an octave higher. as) 2 MUSICAL FORM Because it is built up of many well-ordered patterns, music is often compared to architecture. We have in music: Melody Patterns, Rhythmical Patterns, Harmony Patterns, and, in piano music, Finger Patterns. The ability to recognize patterns is very important. It makes for easier sight reading, quicker memorizing, and more intelligent interpretation. Note the repeated melodie pattern in this example, Ist Phrase 2 1 Same pattern one Same pattern another ‘The Melody Pattern ite key higher white key higher2 FINGER DRILL TONAL SHADING “Contrast is the fits law of Ar.” One ofthe first steps in securing contrast is by means of ronal shading, Be sure to learn the meaning of the expression indicated i ie re explained ar the bo ee pression marks indicated in the following piece. They are explained at the bottom T plese ;ferm ABBA, posse Swans on the Lake Moderato John Thompmoa Sym doe mf legato‘The Meaning of the Expression Marks used in this Piece MODERATO—At a moderate speed. LEGATO—Bound together, smoothly connected. mf = MEZZO FORTE—Moderately loud. p= PIANO—Sofily. f= FORTE—Loud. pp = PIANISSIMO—Very soft. mp = MEZZO PIANO—Moderately soft. rit, = RITARDANDO—Gradual slowing up of tempo.HALF STEPS AHALE STEP isthe distance between any key and the next nearest key We find most of the HALF STEPS are from a WHITE to a BLACK key. There are, however, ‘TWO white half steps—one between B and C and the other between E and F. Study them on this chart and locate them on the keyboard of your piano until chey can be quickly recognized. WHOLE STEPS A WHOLE STEP is twice the distance of a half step. Therefore, there will always be ONE key—either black or white—lying between.WHOLE AND HALF STEPS a ‘Write the name of cach INTERVAL (distance) below the following examples. From to isa From to isa From to isa Hand Position tases Both hands in joderato John Thompson 2 1 \t “The melody in the right hand of “Stepping Stones" passes through 16 half steps of which 8 are white key half steps. Can you locate all of them? 326 DRILL FOR THE LEFT HAND ae g ol wasdhy ge bok te A df orsectin roger fe ef ving @ pH, ike oll the se In the Swing i 4) John Thomps [Z)\, Andantino | S 1728 PHRASING ‘What bowing is to the violinist, breathing to the singe, efunciation to the speaker, phrasing is to the pianist. Tn SieL 4, pronownce words or ports words cy A simple, ewo-note phrase propery executed, not only breathes and is separated from the next phrase, but produces ‘onal inflection that adds to the beauty and interpretation of the music. My Fe te ‘The proper attack for a two-note phrase is very easy to accomplish, Simply remember the words, DROP-ROLL, and the effect comes naturally. In the following example, play the fist nore ofeach phrase with a gentle drop ofthe arm, ‘The second note is played with a rolling motian of the arm and hand in an inward and upward movement, using ng Finger action and releasing the nore on the upward rol Mealy? Relax Drop Roll First practice cach PHRASING IN TWOS hand separacely. (Charles-Louis Hanon 1819-1900 Moderato a Drop Roll‘This study (and all other Hanon Studies in this book) should be reviewed daily. »30 In this piece observe the following: 1. The melody lies in the left hand. 2. Melody progresses by half steps and whole steps. Analyze. rop-Rol. 3. The accompaniment in the right hand isa series of two-note phrases. Use Drop Swaying Silver Birches (Petite Valse) John Thompson AndantinoPHRASING IN FOURS Forearm Drop Finger legato Connect Finger legato Connect Arm Release Roll Hanon 317 DANCE FORMS ak ingles ; ».Itis dl In mi, RHYTHM isa wp, Tis pay rue when plying dee frm he hy that gives the dance its distinctive character. In a Dutch dance the accent i vety heavy one The fis eat is usually phrased into the second and tossed off sharply. Imagine Dutch children dancing in their wooden shoes and see ifyou can evoke a land of canals and culips in lang + 1d clip % ocemcks x AR x w ky sipesting @) Tie Bytes Dutch Dance John Thompson REVIEW “The Hanon studies on pages 28 and 31 should be reviewed daily.3 THE MAJOR SCALE Yost "ALE is a succession of eight notes bearing letter names in alphabetical order, the last nore having the same letter as the first. The figures 1, 2, 3, 4, 5, 6, 7, 8 are called the degrees of the scale. A MAJOR SCALE js a succession of WHOLE STEPS and HALF STEPS. ‘The half steps occur between 3 and 4 and between 7 and 8 as follows: Second 1 achord Ss [ Rmtendod ft} EO | Ho ga ead Tobe Qik 3 a ote 5k 6 vier 7 hit 8 ‘The above chart shows how a MAJOR SCALE is composed of TWO TETRACHORDS, cach fettathord separated by a WHOLE STEP. cI totes seal THTS Scale of C Major Play the scale of C MAJOR as follows, using the fingers indicated. Right Hand 24 4 (ae a moe 's Left Hand Scale of G Major wip 3 tay 4 te Sua 6 MG 7 kB ' RH Second Texachord 2 ae 3 4s ‘ 1 5 3? 2 3 4 5 ie ay LH Fis Teaches Noteto Teachers Duringthe progres in his ook, iis advise adr tthe above gneve beeen the ands scale constuction inal keys ha been thoroughly mastered. This oblate the neceaity of psig the thumb under and the hand ovr—a procedure whch is comprehensively aken up and Ht by examples in Book 2.Pr ETUDE Scale of C Major (Ascending) Allegro — —) 2 S432 ci Z — Church Bells Scale of C Major (Descending) John Thompson35 ETUDE Scale of G Major FIRST AND SECOND ENDINGS ‘After the repetition, do not play the First Ending, but skip instead to the Second Ending Allegro moderato S432 Lullaby (Intermezzo, Op. 117, No. 1) Showii jowing the Scale used as Melody ageaas Andante moderato 1833-1897 2 erCHORD BUILDING ACHORD is a group of three or more notes. If we take the Ist, 3rd and Sth ‘And sound notes of the scale of C Major: ZA them together == : = i? chus tet Gis the 5th. ‘We have played the C Major TRIAD of which E is the 3rd. Cis the root. Triads can be buile upon all degrees of the seale. Every triad is named for its root. Example G Major triad —-F Major eriad CHORD INVERSIONS ‘We have learned that a triad contains a root, a 3rd and a Sth. The order of these notes may change without changing the name of the chord. ‘When the lowest note is the root, the triad is in the ROOT POSITION. ‘When the lowest note is nor the root, the triad is said to be INVERTED. C MAJOR TRIAD Example: Root in middle = or ah OP = Root Position First Inversion, Second Inversion, Roor at bottom Root on top Root in middle BROKEN CHORD or ARPEGGIO When the notes of a chord are separated and played in the following manner, i is known asa broken chord or arpeggio. ARPEGGIO is an Italian word meaning in the style of a harp.37 ARPEGGIO DRILL Play all notes under this sign fone octave higher than wrtte Moderato of broken chords. Broken Chords38 DRILL F Major Scale and Arpeggio Moderato ETUDE Chords and Broken ChordsMarche Slav Pyotr Ilyich Tchaikovsky oon 1840-1893 $ «32 @ tf While the actual study of minor scales and modes is not presented until the student has reached Book 2, a few examples in minor mode are included in this book. They provide additional study in ear training and offer material for teachers who prefer to teach minor scales early. The above example is in the key of A Minor, 3940 FINGER LEGATO d arm perfectly quiet. Raise and drop the fingers with military precision. Keep the hand an Passage playing. lence and strength in the ind produces clean, articulated depend id roduces clean, articul playing igth in the fingers, and ge playin, Hanon Moderato 12 gato ‘ ae 8 a412 DRILL Broken Chord with Inversions a 71H. LH. 3 LH. 3 LH. Root Position oe Root Position 1st Inversion 2nd Inversion ee rs 3 3 7a JT7D = TRIPLET Three notes played in the time of two Forest Dawn John Thompson Moderato FIRST THEME 4SSECOND THEME 4344 DRILL D Major Scale and Arpeggio Moderato 8°") = Play all the notes under this sign one octave higher than written. ‘Traditional Melody Moderato6 DRILL A Major Scale and Arpeggio Moderato Air DOTTED QUARTER NOTE | (From Sonata in A Major) 4. equals 1% counts Wolfgang Amadeus Mozart 1756-1791 Played — OD Moderato46 Sharp thychm, Smooth finger legato. Observe phrasing. ETUDE John Thompson” Moccasin Dance ‘Thompson Very lively Caiuiiaicl 3 - a4 2 5 nf Fe Another example in the minor mode: “Moccasin Dance” is in the key of A Minor. Jrogueis = portheast native Arancan [dew8 ETUDE F Major Scale and Chord Figures The Dancing Lesson A Study in Leger Lines a With rhythmical swing John Thompson 4 2 34950 WRIST STACCATO id bounces up and dy cd and the han n, In this attack the wrist acts as a hinge, No finger action is use 7 ys and noron the up-stroke, Be sure the effort is given in the motion toward the key’ stroke). This touch produc: AA stiff wrist is usually the result of raising the hand too high (on the uP = crisp, percussive staccat = RELEASE PREPARATION First practice each 4 a hand separately. Hanon Moderato 15,St2 Moderato mp stacato 1 3 4 i ETUDE Wrist Staccato ‘The Woodpecker Wrist Staccato cighth nore rest John Thompson 13i 4 §TIME In§ time there are SIX counts to the bar and am eighth note gets one count, falling on the FIRST “There are two accents to the bar, the primary accent count and the secondary accent on the FOURTH count. Time Values in § Time d = One count d = Two cous d = Fourcouns aden Three couse dhe = Six counts Drink to Me Only with Thine Eyes Old English Air Andantino 3 4 Pp espressivoj Allegretto 53 ETUDE Staccato and Legato The Cuckoo Clock ‘Two-note Phrasing 3 John Thompson 2 3 5856 2 i ETUDE ‘Wrist Staccato in Double Notes Valse 2. D.C. al Fine ae 5 John Thompson738 DRILL B-flat Major Scale and Arpeggio Moderato A nocturne isa night song. Ic isa composition written in lyri style suggesting the peace of evening, In the following «example the melody should be played with a smooth, singing tone. Make the phrases “breathe” on the second and fourth lines, and play the left hand throughout with a light couch so as not to obscure the right-hand melody. Nocturne _ John Thompson” DRILL ‘Transpose the drill on the previous page to the key of E-flat Major. or fermata Etude in E-flat Major John Thompson Andante moderato a mp60 Emphasize the drone effect of the bass in imication of Irish bagpipes. Sharp and rhythmic ETUDE On an Irish Green Finger Legato, Phrasing and Melody Playing John Thompson VAS ge wa =61 Silent Night (Be att of fingering. ) Franz Griiber Andante 3 a3a ETUDE Alefc-hand study. Rain Dance Make distinction between seca and soenute For Left Hand Alone John Thompson ExpressivelySYNCOPATION ‘Tying over the last half ofthe frst beat into the first half of the second beat results in a rhythmic effect known as SYNCOPATION. The effect will be aided by giving a slight emphasis to the notes marked: ) A Spanish Fiesta John Thompson Allegretto 1a is 3 ; 2 7 564 DRILL E Major Scale and Arpeggio . 5 Moderato ‘The lefe- hand pare represents the drone of the bass viols which ‘were often used to make the ‘music to which the peasants danced on the village green. John Thompson Oa6 ETUDE Keep an unbroken legato The Lonesome Pine and play with as much expression as possible, Extended Broken Chords John Thompson Molto legato i i66 NEW FORM OF THE BROKEN CHORD i it. This example employs another form of the broken chord used as accompanimen ‘The HARMONY PATTERNS should be practiced first like this ‘Then in broken form like this SRS A=e= | Albuti Bar Long, Long Ago “Thomas H. Bayly 1797-1839 Andante ere Piz atoa FOREARM STACCATO For this touch the elbow is the hin, i rh ie. When in mid-air the hand hangs loosely from the wrist. At the Peymenc of impact with the keys, the wrist drops to normal (level) position. swith more depth of tone, Ic is used mies : : \ccato ‘This couch makes more use of thecreighs Principle, rather than wrist staccato, and the result is a sta Tiostly forhordSnd @ctaves, PREPARATION | ATTACK (First practice each hhand separately. Hanon Moderato ee 3 ori staccato68 Twilight Song Forearm Chord Playing John Th Expressively ‘en onren 3 1 ° 7 5 5 5697 DRILL A-flat Major Scale and Arpeggio 5, 2 nos To a Skyscraper f aK John Thompsonan Air from “New World” Symphony (No. 9) Antonin Dvotile 1841-1904Bm4 ETUDE Dublin Town Gigue John Thompson2B ve a Play one octave lower than wri 676 SIXTEENTH NOTES The value of sixteenth notes is HALF that of eighth notes. There are TWO sixteenth notes to ONE eighth note: / "and FOUR sixteenth notes to one quarter nore: as John Peel D’ye ken John Peel with his coat so gay? D’ye ken John Peel at the break of day? D’ye ken John Peel when he’s far away ‘With his hounds and his horn in the morning? Folk Song 3THE TRILL78 Sweet and Low Joseph Barby 1838-1396Andantino Under the Leaves (Sous la feuillée, Op. 29) Francis Thomé 1850-1909 ”80 GLOSSARY Signs or Abbreviations Terms Meaning = | acon ‘To emphasize or stress a certain nore or beat allegretto Light and lively allegro Fast andante Slow andantino Slow—but nor as slow as andante animato With animation arpeggio In the style of a harp—broken chord atempo Resume original tempo —= | crescendo ‘A gradual increase in the tone DC. | DaCapo Return to the beginning Da Capo al Fine Return to the beginning and play to Fine =—— | diminuendo A gradual decrease in the tone espressive Expressively Fine | Finale “The end f forte Loud Df | fortissimo Very Loud largo Very slowly legato Connected, bound together nf | mezzo forte Moderately loud mp | mezzo piano Moderately soft moderato ‘Aca moderate tempo molto Much nocturne Night song 8°71 (8%4) | octave above (lower) | Play all notes under this sign one octave higher (lower) than written > | pause, fermata To hold or pause, according to taste Pp | piano Sofily pp | pianissimo Very softly poco Lite fit ritardando A gradual slowing of the tempo 7 | sostenuto Sustained—with singing quality | staccato Detached tempo Time—rate of speed triplet ‘Three notes to be played in che time normally given to twoJohn Thompson (1889-1963) was born in Williamstown, Pennsylvania, the eldest of four children. He began music study at the age of five, and studied piano with Maurits, Leefson at the Leefson-Hille Conservatory (Philadelphia), ‘and composition with Dr. Hugh Clark at the University of Pennsylvania. In his early twenties, Thompson toured the United States and Europeasa concert pianist, performing with several prominent European orchestras. Upon his return he began a distinguished career as a pedagogue, heading music conservatories in indianapolis, Philadelphia, and Kansas City. Today his legacy lies in the continued popularity of his remarkable method books, Teaching Little Fingers to Play, Modern Course, and Easiest Piano Course, used by teachers in the United States and abroad.BOOK ] ONE SVN se Nac tc oodse sia u Cy evr makes) especially for the adult, and its purpose is to lead the pupil quickly but Socorro eX cn tueLog ore at eh << fob. Proform METHOD BOOK 1 POP BOOK 1 METHOD BOOk 2 [xela=ioe ar) Corea ey Corot Cree recy rr tea Crd so i Pee ooo 81480) ui i ji HL.00122297