Review of Keyboard Basics  ■  Unit 1      �

Triads(Chords) A triad is a three-note chord. The three notes of a triad are the root (1), the third (3), and the fifth (5). The root is the note from which the triad gets its name. The root of a C triad is C. Triads in root position (with the root at the bottom) always look like this:

ROOT3rd5th

SPACESPACESPACEor

ROOT3rd5th

LINELINELINE

LH chords are fingered 5 3 1. RH chords are fingered 1 3 5.

135RH

531LH

TriadFingering

There are four types of triads.

Major

Minor (Third lowered a halfstep from major)

Diminished (Fifth lowereda half step from minor)

Augmented (Fifth raiseda half step from major)

TriadTypes

Order of example within the unitUnit

1-1

Each example in the text identified by the following icon is fully supported by an audio file and MIDI file on the CD-ROM included with this book. Anyone who has purchased the book has permis-sion to download the audio files to an MP3 player or burn a CD for personal use. Likewise, MIDI files can be downloaded to play back in a computer or digital keyboard. The first number after the icon denotes the unit; the second number is the order of the example within the unit.

The MIDI accompaniments were created using the sound set from the Yamaha Clavinova CVP 407. These files were then converted to audio files using the USB Audio Recorder function on the CVP 407.

The V7/V and V7/IV Chords  ■  Unit 8      109

Reading Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.

1.

2

5 13

1

5

4

5 12 5

52 1

5 5 13 5

13

5

Moderato

V7/V

8-22

2.

3

5 1 3 5 1 2

6

1.

5 2 5 1 2

2.

Merrily

James Pierpont(1822–1893)

V7/V

8-23

jingle Bells(exCerPt)

Transpose to F major.

Transpose to C major.

The V7/V and V7/IV Chords  ■  Unit 8      113

ImprovisationfromChordSymbols

Using the chord progressions below, improvise RH melodies while the LH plays the suggested accompaniment style. (First play the LH chord progressions using the suggested accompaniment style and observing the indicated meter.) You can use the suggested rhythm for your improvisation or create your own rhythm to complement the accompaniment. Notate your favorite improvisation.

1. Block Chord Accompaniment?

b

b

4

2 ˙

˙˙

B

Key of B Major

F7/A B B 7

E /B Cm/E B /F F7 B5

8-29

2. Waltz Style Accompaniment? #

4

3 œ

œœœœ

Key of G Major

I vi V65

V

V vi V65

I

/V

5

8-30

164      Unit 12  ■  Theme and Variations

Reading Identify the key of each example. Use the indicated tempo, dynamics and articulation as you play these exercises.

a LiTTLe BLues

1.

2 3

15

15

15

52

15

15

15

9 2

15

2

15

132

15

rit.

8va

Gayle KowalchykE. L. LancasterSlowly

12-13

“A Little Blues” from BOOGIE ’N’ BLUES, Book 2, by Gayle Kowalchyk and E. L. LancasterCopyright © MCMXCIII by Alfred Publishing Co., Inc.

232 Unit 18 ■ Modulation to the Relative Major and Relative Minor

Technique

5.

135

135

1 5

135

1 5

Andante

135

125

135

125

135

4.

135

135

1

52

135

8va135

135

Moderato

18-18

18-17

TransposetoAminor.

Continuedownwardonwhitekeysuntil…

1.

1

1 1 1 1

5

5 5

1 5 1 5

5 5

1 5

Allegretto18-15

Continueupwardonwhitekeysuntil…

3.

135

135

8va1

53

135

8va135

135

8vaModerato18-16

2.Repeat#1oneoctavelowerwiththeLH,usingthefingeringbelowthestaff.18-15

300 Unit 23 ■ Review

Harmonization

23-25

Transpose to B minor.

1. Harmonize with a broken chord accompaniment.

Broken Chord Accompaniment ?

b

b

b 8

6

œœœ

œœœ

&b

b

b 8

6

P

Cm

œ

1

j

œ œ

3j

œ

1

œ .œ

j

œ

Fm/C

œ .œ

j

œ

Cm

œ .œ ‰

&b

b

b

5

œ

1

j

œ œ

j

œ

4Cm/G

œ .

1

G7

œ

3

J

œ

Cm

œ . œ

J

œ

Fineœ . œ

J

œ

4

&b

b

b

9G7/B

œn

j

œ œn

J

œ

3

Cm

œ

1

J

œ œ

J

œ

1

G7/B

œn

3j

œ œn

J

œ

Cm

œ . œ œ

3œ

&b

b

b

13A

œ

J

œ œ

J

œ

4

E

œ

3j

œ

2

œ

1

œ

3

œ

Fm

œ

j

œ

Cm

œ

j

œ

D. C. al FineG7/B

œ .

œ‰

Moderato England

23-26

Transpose to G major.

2. Using I, V7, IV and ii, harmonize with a block chord accom-paniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

Block Chord Accompaniment?

b 4

3

˙

˙˙

œ

œ

œ

&b4

3 ..

f

œ

1

œ .

3

œ œ œ œ . œ œ .

j

œ

4

œ œœ

œ

1 Fine

œ

3

œ

&b ‰

J

œ

45

œœ

œ .

J

œ œ œ œ .

J

œ

3

œœ

œ .

J

œ

D. C. al Fine

œ œ œ

ModeratoTraditional

chArliE is My dArliNG

o christMAs trEE

Review ■ Unit 23 301

Review WorksheetUnit23

Name ________________________ Date _____________________

1. Draw a line to match each description on the left with the appropriate chord on the right.

&

&

&

&

&

&

&

&

w

w

ww#

w

w

ww#

b

b

w

w

ww#

b

w

wwb

w

w

wwb

b

w

w

w

#

b

w

w

w

w

w

w

b

b

in the key of C major •

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

iv653

in the key of B major

in the key of A major

in the key of F majoriv653

in the key of D major

in the key of G major

in the key of G major

in the key of E major

iv6

iv6

II643

II643

N6

N6

(German sixth)

(German sixth)

(French sixth)

(French sixth)

(Italian sixth)

(Italian sixth)

(Neapolitan sixth)

(Neapolitan sixth)

b

310 Unit 24 ■ The ii–V7–I Chord Progression

Harmonization(continued)

24-8

Transpose to A major.

2. Using I, V7 and ii, harmonize with a broken chord accom-paniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

Broken Chord Accompaniment? #

4

4 œ

œœœœœœ

&

#

4

4

F

œ

3œ œ

œ œ œ

1

œ

2

œ œœ œ

4

œ

2

œ œœ œ œ

2

œ

1

œ

2

œ œœ œ œ

&

#

5

œœ œ œ

1

œ

3

œ#

2

œ

1

œ œœ œ œ œ

œ

œ

Moderato

˙ .

24-9

Transpose to D major.

3. Using I, V7, IV, ii and V7/IV, harmonize with a broken chord accompaniment. Use inversions to improve sound and for ease in performance. Write the Roman numeral name of each chord on the line below the staff.

Broken Chord Accompaniment?

b

b

b 8

6 œœœ

œœœ

&b

b

b 8

6

P

œ .

2œ .

œ . œ . œ .œ .

œ . œ .

&b

b

b

5

œ .

3œ .b œ

J

œ œ

j

œ

1

œ .

2

œ .

˙ .

Allegretto

Objectives Assignments Week of __________

Write your assignments for the week in the space below.

ReviewUnit26

Upon completion of this unit the student will be able to:

1. Play ii7–V7–I7 chord progres-sions in selected major keys.

2. Perform a solo from interme-diate piano repertoire.

3. Play various combinations of instrumental parts from a band score and perform it as a multiple piano ensemble.

4. Play harmonic minor scales and arpeggios in Group 3 keys, using traditional fingerings.

5. Play F#dim7, C#dim7 and G#dim7 arpeggios.

6. Sight-read and transpose music from easy piano repertoire.

7. Harmonize music with ii, vi, V7/V and V7/IV chords.

334      Unit 26  ■  Review

Playingtheii7–V7–I7ChordProgression

Play the following exercise that uses the ii7–V7–I7 chord progression.

Dm7

ii72

G7

V71 5

Cmaj7

I72

Cm7

ii72

F7

V71 5

B maj7

I72

Dm7

Both hands 8va lowerii7

G7

V7

Cmaj7

I7

Key of C: Key of B :

Key of C:

25 1

5

14 2

515

14

26-1

Continue downward by whole steps

until…

388 ■ Supplementary Instrumental and Vocal Accompaniments

FluteOboe

B b Clarinets

E b AltoSaxophone

B b Trumpets

F Horn

Low Brass &Woodwinds

Percussion(Tambourine,

Bass Drum)

PianoAccompaniment

&

&

&

&

&

?

/

&

?

b

b

#

b

b

b

b

b

b

b

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

f

f

f

f

f

f

f

œ .

J

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j

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œ œœ

F7

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˙ ˙

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rit.

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John O’ReillyMaestoso

12

12

Band Score Practice the band score in the following ways:

1. each single line transposing the Bb clarinets, eb alto saxophone, Bb trumpets and F horn to concert pitch.

2. Combinations of two parts as follows: a. Flute/oboe and Bb clarinets. b. Flute/oboe and eb alto saxophone. c. Bb trumpets and low brass & woodwinds. d. F horn and low brass & woodwinds.

3. Combinations of three parts as follows: a. Flute/oboe, Bb clarinets and eb alto saxophone. b. Bb trumpets, F horn and low brass & woodwinds.

4. The piano accompaniment.

5. as a multiple piano ensemble with class members playing one, two or three parts each.

WooDlAnD overture(exCerPt)

S-25

“Woodland Overture” from aLFReD’S YaMaHa BaND SeRIeS by John O’ReillyCopyright © MCMXCV by alfred Publishing Co., Inc.