Learn To Play The Piano

-*""_i"q*_ "rrf tf

t-,ri.,

f f f ryn

to Ptqg the Piono qia Uboord Leqrn

A step-bu-step -puide

NICK FREETH

!

Q

i#Jrr .tur"r*+s

illllllll ffiffiillil 80009955+

tF--

This edition published in 2008 Parragon Queen Street House 4 Queen Street

Bath

BAl lHE, UK

Copyright @ Parcagon Books Ltd 2001 Designed, produced and Packaged bY Stonecastle Graphics Limited Text by Nick Freeth Designed by Paul Turner and Sue Pressley

Edited by Philip de Ste. Croix Diagrams by Malcolm Porter The rights of Nick Freeth to be identified as the

author of this work have been asserted in accordance with Section 77 of the Copyright, Designs and Patents Act of 1988.

rights reserved. No part of this publication may be reproduced, stored rfl a retrieval system,

A11

or transmitted in any way or by afiy means, electronic, inechanical, photocopying, recording or otherwise, without the prior pefinission of the copyright holder.

rsBN

97

8-l

-407 s -397

8-2

Printed in China

Picture Credits photography by Exposure Images Ltd with the exception of the following: O Corbis: Michael Boys 10; Randy Duchaine 11; Alberto Martin/epa 7 .@ istockphoto.com:

A11

Galina Barskaya 6; AndraZ Cerar 51; Compucow 16 (above right); Jon Helgason 13 (above); Kativ 50; Robert Rushton 4; Dustin Steller 18. Pictures on pages 12 and 15 (below)

kindly supplied by Yamaha-Kemble Music (U.K.) Ltd'

Contents Introduction

5 Co-ordinoting Uour hqnds 58 Leading with the left hand 60 An extended bass riff 62 Two-handed workouts 64 Tallis's canon 66

6

1 Choosing o kegboord 8 A brief history of the piano 10 Upright v. grand 12 Acoustic v. electronic l4 Stools and stands 16 Maintenance and technical matters

18

Harmonic minor scales 72 Melodic minor scales 74

2 Getting storted 20 Preparing to play 1 22 Preparing to play - 2 24 Naming the notes 26 FrdreJacques-1 28 FrereJacques-2 30

-

3 Scoles ond chords 32 Covering eight notes with five fingers right hand 34 Covering eight notes with five fingers left hand 36 Your first chords 38 lntroducing the black keys 40 Transposing Frdre Jacques 42

4 lntroducing stoff nototion 44 The treble stave 46 The bass stave - and both staves together 48 Beats and bars 50 How note lengths are shown with staff notation 52 Do Ye Ken John Peel - I 54 Do Ye Ken John Peel - 1 56

6 Mojor ond minor 68 Major and minor chords 70

Greensleeves Greensleeves

-I

-2

16 78

7 Putting on the stgle 80 The sustaining pedal 82 The 'soft'pedal and dynamic control The 'three-chord

-

trick'

84

86

Bluesy chords and syncopated rhythms 88

TheEntertainer-190 TheEntertarner-2 92 Epilogue - taking it further

94

lntroduction The

piano is the most enticing

o.f inslnnnettt.s;

il

we walk irtto o roont contctittirtg one,

.few of'us, whether we are ntusicittrt.s ()t'tt()t. r'(/n /t'.li.\'r pre.ssing its keys, and it responds to even the ntost tmskilfill tottc'lt v'itlt ric'lt, .sotrorous tones that contrast

sharply to the rasps or squav,ks produt'ed

14' (./ot'

exumple) violins or saxophones

when they're tried out b.t' beginners!

This 'user-friendliness'is also reflected in the piano's unrivalled versatility, which is largely the product of its ability to provide rnelodies and backings simultaneously. Though originally created for classical music, it is just as well suited to pop and jazz, and can serve as a selfcontained solo voice. or as an accotnpanitttent

to other instruments and singers, either by itself or as part of a larger group. In shor1, it's a 'bedrock' for all kinds of music-making - perfect

for everything from family sing-songs and parlies to more forrnal onstage perfonnances. It is frequently favoured by cornposers and songwriters to help then.r work out their ideas, and endlessly useful, in both its acoustic and

electronic forrns, in the recording studio.

Unlocking the piono's potentiol Playing the piano is a fascinating and absorbing pastirne that

will bring

a lifetirne of pleasure,

and this book airns to give you a solid

grounding in the techniques

yor"r'11

need to get

to grips with the instrunent. lt will also teach you how to read staffnotation, help you to understand the workings of rnelody, harrnouy and rhythm, and whet your appetite for further

exploration and discovery. Just how far you decide to take your studies will, of course, be up to you; but it's undeniably true that the rnore

effort and commitment you bring to thc piano, and to music in general, the greater the rewards

will

be, both for you and for those with whorrr you share your skills. And while the process

you begin picking out recogtrizablc tr,rnes and

inevitably involves hard work and persistence, it will also be fun as you'll sootr realize when

chords. Tr,rrn the pagc, and let's get startcdl

lcarning how to sLlpport then.r with suitablc

INTITOI)tJ( t-tON

Opposite: The piono is perfect for supplging simpte chordoL bocl
-

but equoltg odept ot tol
prominent musicol roles.

Above: Colc: rocl< nrus c o -s

onstoge

onc

ag s Chr s ,1

-.

Morrin is one of mong leoding

-rol<e britliont use of the piono

:-: s:rd

o

Chopter I

Choosing o kegboord At one time, pionos were regulor items of furniture in mong households, ond white theg're not os ubiquitous os theg once were, gou mog be lucl
to

hove o suitoble instrument olreodg

stonding in gour living room! lf not, gou need to decide whether to bug or hire o trqditionol upright

or grond, or settle insteod for qn e[ectronic l<egboord; most of the lqtter use sgnthesized or sompled sounds, ond ore current[g ovoilqble ot surprisingtg reosonobte prices.This chopter wi[[ help gou to choose the model thqt's right for gou, qnd wiU olso tell Uou cl [ittte qbout rhe historg ond internol worl
CHOOSI\G A KEYBO.{RD

A brief historg of the Piono In the early t 8th century, the h4'o ntost popular keyboard instruments were whose keys the harpsichord, fitted with string-plttcking quills, and the organ, control hinged 'pallets'that allow air into sound-generating pipes

mounted on q windchest.

Harpsichords and organs cannot be made to

play louder or softer by touching their keyboards more heavily or gently, but in about 1709, an ltalian, Bartolomeo Cristofori,

introduced what he called a 'gravicembalo col with ltictno e forte'- literally, a 'harpischord sott and loud'; it replaced the standard harpsichord's quills with hammers that responded to harder or lighter keyboard pressure, enabling performers to produce subtle gradations of volume and tone.

This early type ofpiano (often called a 'fortepiano') provided a smaller range of notes and a less powerful timbre than the modern 'pianoforte', which emerged, in the wake of

various transitional designs, during the 19th century. By the 1850s, sales of the newer instrument (especially in its space-saving 'upright' form) were booming, and cast iron, rather than wood, was being widely used to construct pianos' load-bearing frames' The extra strength supplied by the metal was soon to be essential, as, within a few decades, the heavier, richer sounding strings increasingly favoured by manufacturers were subjecting a typical 8S-note concert grand to tensions

totaling some 20 tons

-

a figure matched, and

sometimes exceeded, by today's pianosl

Above:

Even though this etegont

Opposite: One of the mong mognificent

horpsichord hos two kegboords, enobting

concert grond pionos produced bg the

ptogers to combine different tono[

fqmous firm of Steinwog & Sons' founded

settings, the potette of sounds

it provides

is more limited thon the Piono's.

l0

bg Germon-born NewYorker Henrg Steinwog in 1853.

E'

( IIOOSINC ,,\ KEYI]().\ItI)

CHOOSI\C \ Kt\ BO-\RD

Upright v. grond or Unlike other musicians, who can pltt their t'hosen instrtmtent away in a cupboard space with even a drawer when it isn't being usecl, t'ou'll hut,e to shcu'e yotu" living your piano and traditiortctl (non-elec'tronic') models can be damttingllt lctrge'

-

Grand pianos have their strings and harnmers mounted horizontally in a wooden casing with a lid that can be raised to rnaximize the instrutnent's sonic projection' Most grands are a

little under 1.5m (5ft) wide at their keyboard

encl. br,rt

their length varies considerably.

A 'baby grand' is about I '49-1.68m (4tt I lin to 5fi 6in) long (smaller, pctite' grands are also available),

iihile

a full-size'concefi

grand' t.tteasures uP to 2.75m (9ft).

A good grand will feel, sound and look suPerb, but is verY expensive a new 'baby' may cost well

Above: Grond pionos itlustroted here

even'bobg' gronds like the one

mog be difficutt

to occommodqte

smotler sized homes, but theg ore the undoubted

f5000

and won't be heard to its best advantage unless it's placed in a big roorn'

over

-

-

oristocrots of the kegboord wortd.

t2

in

C

HOOSING A KEYBOARD

A more compoct solution For ntany of us, upright pianos are a bctter bct tbr clolnestic use. Due to the ver-tical positioning of their sh-ings and action. and

the slight ntuf1'ling effect of their.cases. their rcsponse and sound will always be inf-crior

to a grand's, but for Iearning and practice pLlrposes, thesc drawbacks are r.nore than

outweighed by convcnience and relativc affbrdability. An upright,s keyboard is thc same sizc as a grand's. whilc the height of its casing is rypically a little over 1.22m (4ft), though 'stuclio' or .cor.rsole, nroclels

can be flor-rnd that are sontcwhat lowcr.

Above: A troditionol uprighr piono wirh

o

motching stool.The cosing on some modern uprights is more compoct thon

\\a

thot seen on this model.

'

r#.tr.

FffiFr /t I I I tIEIII I I

titt'

Right: Piono srrings ore mode from steel wire: the thicl<er boss ones ore encosed in copper

wroppings, while their higher pitched counterpor$

ore left bore.

i

I

Jlff;ltrr*w

*

C'HOOSI\(, \ Kl \

_- -4___

_",^\

!: -^ - .7**i-s t \ ,\ i.Lr$ fo' -

itta"-

13tl

11111

Acoustic v. electronic

-44'
ct

premium, tltart'ut'a.sat'et'ul t'iable alternatives lo regular,

ctc,ottstic'trtiuuos. One inexpen.sire .solutiort i.s to btr.t'cut all-purpose electronic

keybourd r i t lt

Most of thesc off'er a plcthora of digitally ploduced sounds. including iruitatiorrs of various types of piarto. and also f-eattrrc onboard audio ef-fccts and othcr' 'bells and whistlcs'. Hou'ever. thcir keys arc sotretit.ttes lightiveight and flinrsy. and though all br-rt thc cheapcst nroclcls plor iclc 'touch sensitivity' (responding to hcar ier or urore gentle playing with louder or clurctcr notcs arrd chords). they rarely coue clos..

tc'r

nratching the sLrbtlc l'csponsc that can

hc crokcd

frorl lr lcal

piarro.

i

tt te g r u

I

I ct t

r

cl.s pe o

lie rs.

Thc syuthesizcd piano toucs in sr.tch ttt.tits (olten gcrreratecl artificially fiortt variotts conrbinations clf auclio wavefbrms) tcnd not to be vcry convincing either. and bettet'rcsttlts catt be obtairred u''ith clcctronic kcyboards that

usc

Betow: E-MU's Xboord

49 is o moderotetg priced samples actual rccordiltgs of acottstic etectronic l<egboord pianos. If you have a suitablc colltpLltcr. yotl can prrrchasc soflware cotttainit-ttl thesc sctttt-tds. controtter, designed to

keyboarcl tlrore doing this on pagcs I 8- I 9.

and acccss thent using att extcrnal

ptog sounds supplied from

likc the onc itr our picttrrcs. Therc's

softwore or other

infirrnration aboLrt

outboord devices.

(.IIOOSING A KEYBOARD

el) o) ry)"y," ot

[*\

eer

on

Hou,ever, a dedicated electronic piano, with samples, keyboard, and (usually) a loudspeaker systeur all

built in, rnay be a preferable, though

r.nore expensive, option: Yarnaha, Roland and other cor.npanies t- ake fine, relatively compact

instrur.nents of this type, with keyboards that replicate the feel ofan acoustic grand, and (on some rnodels) elegant finishes sirnilar to a

traditional piano's.

I

Left: Though lightweight, the Xboord 49's kegs ore fullsize, hightg responsive, ond robust enough

to withstqnd

reosonobtg heovg use.

I : I

t

I t

Above: This Yomoho CLP Ctovi novo offers

di

gitoltg

sompled sounds, ond boosts on 88-note kegboord whose touch ctosetg resembles thot of on ocoustic piono.

CHOOSI\G.\ KEYBOARD

Stools ond stonds It's essential to be contfortable at the picuto

a suitable seatfor your instrument

v'ill not

-

and taking time and care over choosing

onb) prevent aches and pains, but help to

ensure that your plaving technique develops correctly'

For most pianists, the traditional stool or bench supplied with rrany standard uprights and grands is ideal, as it's well padded, stable and

A few performers prefer to use a chair at the piano; try this by all n-reans, but make sure you select an uPright,

usually adjustable. Being able to raise or lower the stool is handy because, when sitting down to play, your arrns should be roughly parallel to

dining table-type seat with a substantial frame and,

the floor, and since you can't reposition the keyboard on a regular piano to achieve this,

anns to get in

most crucially, no

your way.

yolr uray need to alter the elevation ofyour seat instead. If you're stuck with a fixed-height stool that's too low, you can, of course, resort to cushions (or even telePhone directories!) to bring yourselfup to the correct level; if it's too high, however, you'll need to rePlace it.

Left:The side-mounted knob on this ctossic-

Above:With its leother-covered seot qnd

stgte stoo[ mokes precise height odiustment

elegonttg shoped tegs, the stool perfectlg

quick ond eosg.

complements the grond Piono.

l6

CHOOSING A KEYBOARD

lf. /" 'i

t*l I

w

,r

iE

Above: Hoving correcttg set ond positioned gour stool, gou'tl be retoxed ond ot eose ot the piono, ond oble to proctise enlogobtg ond without stroin.

If you're playing

a keyboard without legs, such

as the one described and

illustrated on the previous two pages, you should purchase an adjustable stand for it; this

will allow you to

set

the height ofthe unit relative to your chosen

It isn't advisable to try to play standing up until you're a little more experienced. seat.

Above: Metot, X-shoped kegboord stonds ore not exocttg things of beoutg

-

but theg

ore functionol. robust ond inexpensive.

CllOOSl\(i

.\ K[\ BO,\llD

Mointenonce ond technicol motters When calculoting the overall c'ost of ctc'cluiring a piano,

bear in mind thot both upright,s und grands should receive regular maintencrnce b1' 11'"i""d techtticicuts'

lf you purchase your own iustrttt.nent, you'll have to budget for this; if you hire or 'hirc to buy' an instrut.nent, it rnay be possible to arrangc for servicirrg as part of the rer.rtal package.

perfbmrance, and trost t-tratrttfactttret's

Above: A piono tuner ot

rccorlmcnd that hotre pianos shor.rld be tuncd at least cvcry six t'uonths. Kcys. darttpcrs and

work on o concert grond.

othcr

cor.r.rpcrncuts

aIso need occasiotral attcntiotl

though nrany of thc problcrus that afflict thcnl The n.rost frequent adjustment requircd by arl

can bc avoidcd by carcfirlly rcgr'rlating the

acoustic piano is, of course, tttning: a -tlrand irl a major concefi hall will have its strir.rg pitchcs

tcrrperature (which should be bctween about It3 arrd 2l'Cl65 and 70'F) arrd hurt.ridity in thc

cl.recked and corrccted bctbre cvery

room wherc the piano is installed. Itt

All stringed kegboords require foirlg frequent mointenonce to

l<eep

them in peol< condition.

CHOOSING A KEYBOARD

Synthesizers and saurpler-bascd clcctronic

with a computer, as described on pages l4-15.

instrurnents never go out oltune. and rarcly

suffer uechanical breakdou,ns. Hou'cver. their cotnplex circuitry rnay sorretir.nes ntalfunction,

you will necd a MIDI (n.rusical instrulnent digital interfacc) corrnecter to link it to your PC. Your electronic instrurrent's sound source.

and can be severely darlraged by spilled fluids

wl.rethcr built-in or supplied fl'on.r software,

(especially sticky drinks) arrd rough handling.

should have at lcast '12-note polypl.ror.ry'; in other words, it n.rust be capable of playing a

When shopping for an electronic keyboard,

look for one that has a rniniururn of 49 notes. and keys the same size as an acoustic piano's;

of l2 r.rotes sirrultaneously. This figure will be substantially exceeded by more rninir.r.rur.r.r

if

you've decided to use a keyboard in conjunction

expensive keyboards.

Above: The reor ponel of the E-MU Xboord 49 inctudes o 5-pin MlDl socket; this, ond the

odjocent USB port, con be used

to connect the

kegboord to o computen

rl Right: Mong of the 88 notes on o concert grond

ore produced bg groups

h

N

tl

of three or two strings set

to the some pitch.The drift in their tuning thot occurs inevitobtg over

time con eventuoltg, if not corrected bg regulor odjustment, moke even the finest piono sound

lil<e o

cheop'honl
l9

.

Chopter

2

Getting storted Now gou've ocquired o suitoble kegboord, it's time to toke the first steps towords ptoging it. There ore o few conventions ond technicotities to fomiliorize gourself with firsu the next few pqges exploin how pionists idenrifg ond number their fingers, how to ploce gour hqnds correctlg on the instrument, ond how to find ond keep gour musicol beorings when confronted bg its initioltg bewildering qrrog of btqck ond white kegs. Once gou've obsorbed this informotion, gou'll be reodg to leqrn gour first tune - ond to trg performing

it both

qs o solo melodg, qnd with o simple occomponiment provided bg gour left hond.

GETTI\C ST-\RTED

Preporing to ptou Before

you

sit down to play

for the.first

r

I

time, tqke a moment to examine the layout

of

your keyboctrd. Its made up of a continuous line of white keys, with groups of two and three thinner and shorter black keys set between them in ct recurring pattern.

E,very key, when pressed, produces a musical

note to which we give an alphabetical narne.

of

Just for now, we're only concerned with one these notes: C. There are, in fact, quite a

rmrnber of Cs on the keyboard; wherever

thcre's a group of two black keys, the white key inrnrediatel,r: to the left of the first black key is alu avs a C (see dia-erarn).

Pr"rt

your right hand

out. tlnd each ofthe C keys on your keyboard starting at its leti end. and rnoving upwards

-

and press them dorvn, one after the other, with a tinger or thurnb. Those nearest the bottor-n

the keyboard

of

will be lower in pitch, and as you will sound

move upwards, the Cs you play

higher...but they should all closely resemble one another; ifthey don't, check that you've correctly identified the keys producing them!

Now stand about half-way along the keyboard, put your right hand out, and locate the C nearest to you: this note is known as 'rniddle C', and

will

serve as a focal point for rnuch of your

playing. Get your stool or chair, position it more-or-less opposite rniddle C, and sit down.

22

Below: Don't be dqunted bg this exponse of kegs:

once gou're fomitior with

their logout, gou'll be obte to find the notes gou need virtuottg instonttg.

(it: I I I\(i

lw I

sl'.\lt'l l:i)

Left: Middte C, held down here with the right hond thumb, is on essentiol reference point. Hoving locoted it, Uou con begin 'novigoting' oround the rest of the l<egboord.

Below: On on 88-note piono lil<e this one, middle

C is olwogs the 40th

l<eg

from the [eft. lts position differs when the l<egboord is shorter: on o norrower

49-note instrument, for excmple, it witI be the 25th

l<eg

fronr the bottom

GETTI\G STARTED

Preporing to ptou

r2

Study the photographs opposite, and copy the positions they demonstrate to ensure you're seated correctly at the keyboard. As explained on pages 16-17, the height of

your stool or chair shottld be set so that your arms are parallel to the ground.

It's also irnportant to keep your body upright

palms. Holding them like this compensates for

Above: Arching gour

but relaxed, and to rest your feet firmly on the

the differing lengths ofyour fingers and thumbs, minirnizes stress, and produces a

honds

better, tnore even tone. NEVER strike the keys with flat fingers it's a recipe for rnusical and

to gou

muscuiar disasterl

serve os o convenient

floor

not on the piano's Pedalsl

Let's focus now on your hands. Pianists use all ten digits when they play, sometimes fingering successions ofnotes to create a tune, and sometimes making chords by pressing down several keys at once. Whichever you're doing, it's essential that your hands should be arched, as

though you had a ball beneath each ofyour

to

ptog witl soon

become second noture

-

but until it

does, gour knees con

'moutd'for them!

You can fonn your hands into an arched shape by resting thetn on your kneecaps and gripping

slightly; having done this, place them on the keyboard as shown in the photograph, with 24

GETTING STARTF,D your right hand thuntb on nticldL. C. ancl the little finger of your lctt hand on rhe C' cractly

7

white notes below it. Press donrr ntidclle C fairly firmly with your ri-sht hancl thLunb. thcn four white notes itnmediatelv above it, one after the other, with your cun'ed fingcrs. sor,rnd the

Try this several tirres, and then perfbrnt the same exercise with your left hand. starling with

its little finger on C, and then using each of the other digits in tum.

Below: As the teft hond's

Right: Middte C, ond the

littte finger strikes the C

four white kegs obove it,

thot [ies seven white notes

should be eosilg reochobte

beneoth middte C, its

with gour right hond. lf

other digits, ott suitobtg orched, prepore

to

ptog

necessorg, odjust gour

seot bg moving it slighttg

the four odjocent'ivories',

inwords or outwords for

one ot o time.

moximum comfort.

GETTING STARTED

Noming the notes For obvious reasons, patterns of notes like the one you've just played are called 'five finger exercises'. They're useful to help you get thefeel of the keyboard, and itb well worth repeating the routine on pages 24-25 with each hand until it s second nature.

While practising it, try varying the speed and

These patterns of note-names recur all the way

the volume, and reversing the direction of the

along the piano, so we've now identified all its

notes, going downwards (towards C) as well as upwards. Remember to keep your hands arched

white keys. We'll examine the black ones later, but first, let's put all this knowledge to practical

as

use by learning a real tune.

you play the notes.

Havir.rg mastered the exercise, you need to be

able to put names to all the notes comprising it; once vou'\'e done this, you can follow

instnrctions telling yoLr how to combine thern (and other notes you haven't encountered yet) into a proper melody, not rnerely an ascending and descending sequence ofpitches. You're already familiar with C: the white note

immediately above it in the exercise is called D, and the next three white keys are, predictably enough, named E, F and G. Beyond G, however, are two white notes you haven't had to use yet, and the name of the first

of them may cause some confusion: it isn't H, as you might have expected, but A. To its immediate right is (you guessed it!) B; and the following note is, logically enough, C. This won't come as a surprise to you, as you already know, from pages 22-23, that the C key is always found immediately to the left of a group of two black keys.

Right:The key being pressed down here is

E;

it's locoted two white kegs obove middle C, on which the thumb is resting. 26

GETTING STARTED

Left: Here the index finger of the teft hond strikes

F,

rhree whire kegs

(ond four note nomes)

obove C.

Below: The right hond's index finger is poised obove G, while the next finger prepores to plog A, ond the remoining digits

ore in position over (respectivelg) B ond C.

GETTI\G S;\3.]:D

Frdre Jocques

r

I

white ket's are o-ften used to create easy-toThe seven letters representing the pianob tunes. over the nextfew pages, you'll be

read

lists

of the notes that make up simple

learninghowtoplayamelodyfromoneofthese,andalsofindingouthownumbers canbecombinedwithittoshowsuitablefingerings.

The nursery rhyme Frire Jacques has been chosen as our first tune because you're almost certain to know it lthis is important' as setting

t45345 3l 12 31 t2 EFGEFG CD E C CD E C - ques' Dor - mez vous? Dor - mez vous? Frd - re loc - ques, Frd - re loc

the details of an unfamiliar rnelody down on paper is not easy unless we can employ musical

4

u'hicl.t you haven't learrred yet!), and because it falls tairly easily under the fingers' using all but one ofthe notes from A to G to

notation

-

u hich you'l'e just been introduced'

Let's begin with your right hand on its own' on Place it on the keyboard with your thumb middle C, and the other fingers on, respectively' D, E, F and G (see photograph below); these notes are all you'll need to play the first two in lines of Frire Jacqtrcs. Here they are' set out three-decker 'list'. The song's lyrics are at the in bottom, the note-names that go with them are a

the middle, and the top line indicates the fingering you should use to play the notes' the Pianists always use the figure I to represent thurnb, while the other digits (index to little) 3' 4 are assigned in sequence the numbers 2' and 5 (see diagrarn).

play Practise this (slowly at first) until you can it srnoothly and steadily; when you're ready to go on, turn the page and we'll look at what happens in the second part ofthe tune'

first Right:The right hond thumb hos iust ptoged the 2 note (C) in tine one of Frdre Jocques; now finger sounds the D thot follows it'

28

GETTING STARTED Right:

E is used on the

first sgllobte of the word 'Jocques' in the song; here

it's sounded bg finger

3.

Below: We've now reoched the 'vous' of 'Dormez vousl'.The note

for this sgltobte is o G, ossigned

to finger

5.

GETTING STARTED

Frdre Jocques

r2

The second section ofFrdre Jacques involves some new .fingerings,

and (at the end ofthe song) a change of hand position.

The line 'sonnez les rnatines' requires the

following notes -

4 5 4 3 21 G A G F EC Son

-

nez les

mo - ti

- nes,

4 s G A Son

-

4 3 21 G F E C

nez les

mo - ti

G A G F EC Son -

nez les

mo - ti - nes

The song's final line irnitates the sound

of

the bells that Frdre Jacques should be

u'ith 1,our little finger (numbered 5)? The solution is to alter the fingering for this line, sounding the G u ith finger 4, then using your 5th on the

ringing, using rniddle C, and the G three white keys below it - not tl.re higher-pitched G you've played previously. The easiest way to get to this lower note is to strike it with your thumb, and, just for once, assign middle

A (see photograph), your 3rd on F, and your 2nd

C to finger 4 (see photograph at the top of

how is your right hand going to reach the A. ri'hich lies beyond the G you've been playing

-

br,rt

on

E,.

Your thun-rb plays middle C as before.

page 31).

Right: The right hond's digits hove been repositioned, ond finger 4 hos just struck the G for

the'Son-' of 'Sonnez les motines' in Frdre

Jocgues.

Finger 5 now ptogs the next note, A (given to the sgltobte'-nez'). 30

-

nes,

GETTING STARTED

Left: A new hond ond finger ptocement: the right hond's thumb ptogs the

tow G ('Dong'), ond the

4th prepores to sound middte C ('Dong').

Below: The sgttobte 'Dor-' of 'Dormez vousl', performed with two honds

the left's finger 5 provides o C, occomponging the

E

supptied bg finger 3 of the

right hond.

414414 C [owG C

C [owG

Ding, Dong, Dong, Ding, Dong,

It'll

C Dong

take a little timc to get r-rsed to these new

fingerings

-

but keep u,orking at them and

they'll eventually fall into place, and yor.r'll be ready to perform Frire Jacques in full. Here's the con-rplete song: yoll can play it as a solo right hand melody, or col'nbine it with a sirnple accolrpaniment from your left har.rd, which should strike and hold down a C (using finger

5

scc photograph) at the start of each line.

34534 12 3 I 12 3 I EFGEF CD E C C D E C Dor - mez vous? Dor - mez Frd - re Joc - ques, Frd - re Joc - ques, 4 5 4 3 21 G A G F EC Son

-

nez les

mo - ti

- nes,

4 s G A Son

-

nez

4 G les

5

G vous?

321 FEC mo-ti-nes,

C

14 lowG

C

Ding,

Dong,

Dong,

4

C

14 lowG

C

Ding,

Dong,

Dong

4

ffi

I

Chopter

3

Scoles ond chords Over the next few poges, we,l[ be unlocking more of the piono's possibitities, os gou leorn fingering techniques thot wifl enobte gou to move oround the kegboqrd with greoter eose ond ftuencA. We'[[ otso be turning our ottention to chords

-

the combinqtions of notes thqt qre essentio[ for qccomponging melodies ond

enriching the sound of gour ptoging. And, ot the end of this choprer, we begin to moke use of the piono's btqck kegs, in o process thot witl open up brooder musicql horizons,

ottowing gou to get to grips with tunes rooted on notes other thon C.

SCALES AND CHORDS

Covering eight notes with five fingers r right hond TheFrdre Jacques tune used a total of seven notes (including two Gs), and you had to adjust the position o;f'your./ive right hand digits to plalt them all. Letb now look at a way of covering eight note.s smoothly and easily with one hand.

Strike middle C with your right hand thurnb,

secret to achieving a searnless transition from

then sound the adjacent D with {rnger 2,

note to note lies in keeping your fingers fairly

note two (D) of the

followed by E with finger 3. You could now reach F and G with (respectively) digits 4 and but having donc so, there'd be no fingers

close to the keys, and having each digit ready

oscending scqle thot

to play a little before it's needcd, so that you can sound the next note as soon as you release

begon on middle C. Digit

the previous one.

over the

5

available for the notes beyond G, and you'd be obliged to reposition your hand in order to continue up the keyboard. Fortunately, there's simple solution to this problern; instead of

a

For a downward scale ending on middle C,

you'll

need to finger as indicated below:

instead, passing it under finger 3 to do so. After

5

4

3

2

I

3

2

I

completing this manoeuvre, you'll find that

C

B

A

G

F

E

D

c

fingers 2, 3, 4 and 5 are perfectly placed for G, a

As you can sec, the 'crossover'here occurs

little practice, you

should be able to play the eight notes upwards

from middle

C

sequence is a

the technical term for such

scale swiftly and srnoothly.

a

Thc

3 is otreodg in position E

thot witl be

required next.

playing F with your 4th finger, use your thumb

A, B and C, and, with

Above: Finger 2 plogs

bctween F and

E,,

where finger 3 traverses the

thurnb to rcach E; this rnovement brings digits 2 arrd 1 into position for D and C.

SCALES AND CHORDS

Left: When going upwords, the thumb crosses under

finger 3 to sound

F;

the

some monoeuvre occurs in

reverse during the

downwqrd scole, with the 3rd digit possing over rhe thumb onto

E.

Below: A simple left hond occomponiment (the C betow middte C, supplied bg finger 5) odds some

odditionot musicoI interest

to the stroightforword ond-down scoLe of C being ptoged obove it.

I

t\

\-

-rl

up-

SCALES ,\\D

( HORDS

Covering eight notes with five fingers r left hond fhirlv easr tinte o.f it recently, but will need to clevelop the same abilitv as the right to cope with scales and Yottr lefi hand has had a

oth er,succe,r.siors of' notes.

Lct's start putting it through its paccs, using samc C to C excrcise wc featured on the

tl.re

Below: The tronsition

prcvior-rs tu/o pages.

from the fifth to the sixth Pkrcc the'-5th

(little) fingel of your left

note of o rising C scote:

liar.rd orr

thr' C scr en n hite kcys below middlc C. and

the teft hondi finger

plar the t'lrst fivc notes of

posses over the thumb to

atr asccnding scale

(C. D. E. F and C) with digits 5,4.3.2 and (thumb). You t.tow havc no further'spare' fingcrs

-

until yoll

cl-oss

get to A.

I

your 3rd finger over

your thur.r.rb, as shown in thc photograph; strike A with the 3rd, and colt-rplete tl.re scale with B and nTiddle C sourrded, respectively, by your 2nd finger and thumb. Practise the scale until you feel confident; rnasterirrg it r.nay require a good deal

of

rcpetition, as yoLl haven't used yottr left hand in this way befbre. Once tlrc notes are soundir.rg stcady and fluent, try playing the scale in rcvcrse (downwards frorn ntiddle C). beginning

ri'ith your left hand thut't.tb, arrd 2nd and 3rd fingers. then passing your thurllb under the 3rd to reach G (see photograph), and finishing the scquence witl.r your four other fingcrs.

To help you practisc these rising

ar.rd

dcscending scales, l.rere are all the lcft hand firrgerir.rgs for them, set

ollt in table fon.n:

54321321 (up) CDEFGABC (down)

12 312345 CBAGFEDC 3(r

3

SCALES AND CHOI{DS

Left: Going downwords from A to G.As finger

3

strikes the higher note, the thumb prepores to ptoy G,'setting up' the remoining digits to comptete the rest of the scole smoothlg.

Below: Home ogoin

-

but

hoving mode it down to

the C betow middle C, whg not chonge direction ond heod upwords ogoin. using finger 4 (on D),

finger 3 1on E) ond so

on?

SCALES AND CHORDS

Your first chords The ease with which the piano can combine melodies and chords sets

it apart from

most other instruments; let s take advantage of its capabilities by learning two easy, three-note chords (known as 'triads') and using them as a simple accompaniment

Rest the little finger of your left hand on the C below middle C, then place your 3rd finger and

thurnb on, respectively, E and G (see photograph). Now

lift your hand about

for

a scale.

RIGHT HAND: SCALE/LEFT HAND: CHORDS

1 2 31 2 3 4 RHNOTE C D E F G A B RHFINGER

5

C

ttl

a

centimetre above the keyboard, and bring its

LH CHORDS CIEIG

G/B/D

-

three fingers down on these three notes,

-

CIEIG (plog chords with fingers 5,3 ond

sounding them sirnultaneously and with equal

LEFT HAND: SCALE/RIGHT HAND: CHORDS

pressure. Practise this until it feels cornfortable,

RH CHORDS CIEIG

ttt -

then try a second chord

- cornprising G, B and D, as shown on the diagram opposite with the sarne fingers.

fingers to strike the same chords a little higher up the keyboard: the diagram and photographs

will guide you towards the required notes (C-E-G and G-B-D) if you aren't sure where to find them. Once you've become accustomed to the see

-

CIEIG (plag chords with fingers 1,3 and 5)

5 4 3 21 3 2 LHNOTE C D E F G A B C LHFINGER

Next, use your right hand's thumb, 3rd and 5th

unfamiliar sensations of chord-playing,

G/B/D

if

you can play an ascending C to C scale with one hand, while 'backing'it with the C-E-G and G-B-D triads. The tables in the next column set out the fingerings, and tell you where and

when to sound the chords. Good luckl

Right: The left hond ptogs o C triod, fingered bg 5 (on C itsetf),3 (E) ond 1 (G). Keep gour fingers orched os gou strike these three notes! 38

1)

1

SCALES AND CHORDS

Left: The rhree-note chord of G shoutd foll just os eositg under gour left hond digits os the one of

C gou've just mostered.

Below:The right hond tocl
the thumb on G. ond the

notesBondDfingered (respectivelg) bq 3 ond

Right hond scole/left hond chords

! MIDDLE C

Left hond scote/right hond chords

l9

5

SCALES AND CHORDS

lntroducing the block kegs we've focused exclusively on the piano s white keys, but now it s time to investigate the 'ebonies'that separate some of them, and, in the process, learn a little So

far

more about the structure of the scales you've been playing.

As you'll have noticed, there are black keys between each of the piano's white ones, with the exception

ofE

and F and B and C. To hear

the notes they provide, strike middle C with

your right hand thumb, move on to the black note irnmediately to its right, then continue up the keyboard as far as the next C, using the tingering set out below (b1 stands for 'black key'):

3131312 131317 cbtDbtEFbtGbtAbtBc

As the diagram below left reveals, our regular C to C scale has 2-semitone (: I tone) gaps separating its first and second, second and

third, fourth and fifth, fifth and sixth, and sixth and seventh degrees (C to D, D to E, F to G, G to A, and A to B), and spaces of a single semitone between E and F and B and C (notes 3-4 and 7-8). Applying this formula, and deploying the piano's black keys where

Betow: This chromotic

necessary enables us to create S-note scales with identical intervals starting from any note

different to the 8-note

you're

What you've just played is a chromatic scale, and the difference in pitch between each of its

-

steps is a semitone

gou've leorned previoustg.

into familiar tunes...

btock notes.

the narrowest interval

provide. Let's see how this scale relates to a standard S-note one, so that we can discover exactly how the latter is built up.

AlI semitones

nnnnnnnnnnnnnnnn I

2

3

4

sl5

7

B

C D E F GIA B C LJLJLJLJLJLJLJ S/T

T=

tone

scote potterns rooted on C

we choose a procedure which, as about to find out, can help to breathe new life

(distance between notes) that the piano can

I

scote feets ond sounds verg

s/T

S/T = semitone

40

Finger 3 is used for otl its

SCALES AND CHORDS

Left: A tirtle higher

up

our chromotic scole, the right hond's finger

2

strikes F qs the thumb reteoses

E;

the 3rd,

meonwhile, is in ptoce for

the next btock

-i I

fl

{

Right: The tronsition from o btqck to o white note: when the 3rd finger reteoses the 'ebong', the

2nd witt be in position to

soundtheCosemitone obove the B ossigned to the thumb.

keg.

SCALES AND CHORDS

Tronsposing Frdre Jocques The scale

and 'home note'on which a tune is rooted define what musicians call the pieceb key.

The version of Frire Jacclues featured on pages

with a suffix 'sharp'(#) or'flat'(b) denoting

Above:

I was in the key of C - but here we're going to transpose it (to use another new technical term!) to F, and give it a new left

whether the black note is higher or lower than the white one from which it takes its narne. The

step of the scote of

'ebony'we're concerned with lies a semitone below B, and is therefore called B ftat (nb;.

the right hond, white the

28-3

hand accompaniment.

Bb, the

fourth F, is

struck bg the 4th finger ol

thumb moves below the finger into position on C

First, let's master a basic scale starting on F. The piano keys needed to play it, shown in the diagram opposite, are all white except the one producing the scale's fourth note, for which we use the 'ebony' immediately to the right of the

This is a right hand fingering diagrarn for the new scale. It begins on the F located three white notes above middle C; after striking 3b, pass your thun.rb beneath finger 4 to reach the remaining notes.

A that supplies the scale's third step. Black keys, and the notes they provide, share the

1

2

3

4

1

2

3

4

letters of their 'ivory'neighbours, combined

F

G

A

Bb

c

D

E

F

42

(see diogrom betow).

SCALES AND CHORDS Frdre Joques in the keg of

F

Now here's the transposed version of Frire Jtu.elue.s _ also with sorne r.rew fingerings!

12311231345345 FGAFFGAFABbCABbC Frd - re loc - ques, Frd - re Joc - ques, 4 5 4 321 C D C EbN F Son -

*

-

nez les

mo - ti

- nes,

4 s C D Son

-

nez

Dor -

4 C les

mez

vous?

Dor _

321 abn F mo - ti

4 F

mez

vous?

1 c:r

4 F

4 F

- nes, Ding, Dong, Dong, Ding,

14 c,j< Dong,

F

Dong

the C here is 'rniddle C'

To flesh out the rnelody, use your left hand to play a .drone, con.rprising F and C see photograph below. Strike this at the start of each linc, keeping the keys held down to allow the notes to rir.rg.

The structure of the F scole

T TS/TT T T S/T

atr-tnn[tnat

I MIDDLE C

T=

tone

S/T = semitone

Above: A new note for Frdre Jocques. Here,

finger

4 plogs the Bb for the '-mez' of 'Dormez vousl'

t\i

Left: Another

Bb

-

this

one sounded bg rhe right hond's 3rd finger on the sgtloble 'mo-' of 'Sonnez les morines', white the

left hond suppties its F/C boss drone. J1

Chopter

4

lntroducing stoff nototion The diogroms ond lists of notes gou've been using

to ptog so for ore verg limited in whot

theg

con communicote obout o piece of music. ,ii

I

Theg con't, for exqmple, conveg its rhgthm, or even show chords properlg;ond now thot gou've devetoped sufficient technico[ skitls

to perform

more demonding ond comptex moterio[ thon scotes ond nurserg rhgmes, it's essentiol

gou [eorn to reod stoff nototion

-

thot

the stondqrd

method used bg composers to write down ond shqre their work.Accordingtg, this chopter provides o crosh course in whot some musicions

cotl'the dots'. Dont be discouroged if gou struggte with them

to stort with: those initiottg

mgsterious squiggtes qnd sgmbols wi[[ soon give up their secrets!

INTRODUCI\(;

S

I',-\FF NOTATION

The trebte stqve piano is written dov,tt ott llt'o gt"oups o././ive lines called staves. The top stave (sontetintes also spelled 'sta.fJ') can"ies the notes played b),the right hand, while the lower one is used for a piece s le./i hand part. Let s .stort bv.finding out

Mtsic.for

the

how the upper (or treble) stave v'orks.

The lines and spaces on a stave represent rrnsical pitches: we can discovcr whicl.r line or space refers to which note by lookirrg at thc clef synrbol that appears at thc start of each stavc. The upper stavc features a treble (or G) clef,

imr.rrediatcly above the highest (F) linc stands

for G. while thc D one note above middle C appears just below tl.tc bottom (E) line. Middle C itself doesn't fit onto the treble clcf's 'regular' lir.res arrd spaces, ar.rd is writtcr.r

belo'uv

cLrrled round the sccond line of the stave: its

the stave, using a sl.tofi, horizontal line knowt.t

prcsellce tells us that this line stands for the G tbur rihite notcs above middle C. It's now lclatir elr easy to u,ork out the locations of all thc- other notes on tlie stave: the four spaces

as a 'ledgcr

line'. Lcdger lines can also be used

for other notes lyir.rg above or beneath thc stave (see r.rotation).

bets'een its five lines correspond (respectively)

to

F.

A, C (the one

Below: The littte finger of

seven white keys above

middle C) and E. while the five lines reprcsent

the right hond sounds the

E, G, B, D and F (see notatior.r and diagram).

'G ctef G'.The note woutd be written on the stove tine

Musical notes are also placed below the lowest stave line, and beyond its top one: the position

thot is curted oround

bg the trebte clef.

46

INTRODUCING STAFF NOTATIO\

Right:The

E being ptoged

here bg the thumb woutd oPPeor on the lowest line

of the treble stove.

Below:This high-pitched A (the third note from the right in the nototion below right) lies obove the ronge of the five stondord stove [ines, ond is therefore

nototed using o ledger line.

INTRODUC'I\(i

ST-\FF NOTATION

The boss stove r ond both stoves together music hcts the some five lines ond.fbur musical spaces as the Ltpper one - but beccntse it c'crn'ies another c'le/ sign, the pitches these 'stancl .fbr' ctre cluite tli//brent to those on tlte treble statte.

The low,er o/'the

h+,o stcrves usecl.fbr picrno

The clef in questiotl is called a bass (or 'F') clef: it curls around thc second of the fivc lir.rcs on the stave (cor.u.rting downwards), indicating that it rcpresents F - specifically, the F four

niritc notcs belou,r.r.riddle C (sec diagram)' Knou ing the position of this note , wc can tigurc- out that the five lir.res on the bass stave

(coLrnting. once again. fl'orr the top) eqLlate to A. F (obi'iouslyl). D. B and G, and that its spaces correspond to G, E, C and A. The one

point of sirnilarity bctween the clefs lies in their placetnent of rniddle C, as you can see frour the notation opposite...though irr the bass clef, the

I

ledger line standing fbr it appears above the stave rather than below it. as in the treblc' To help you farniliarize yourself with the treble and bass staves. here's an easily recogr.rizable sequence ofpitches - a scalc ofC - set ottt Left: This is the F betow middle C, whose Position on the stove is defined bg

the boss ctef.The [ine on which it is written lies between the two dots on

the ctef (see nototion ot the top of the poge).

INTRODUCINC STAFF NOTATION Lrsing 'the dots'. As you play

it with your left

and right hands, try to relate the keys you press to thc u,ritten notes that correspond to them on the page. The fingerings you need for the scales appeal'above and below the two staves.

Left: The G being struck here bg the left hond

would oppeor on the lowest of the boss stove's five lines.The D on which the thumb [ightlg rests

is

nototed on the middle line of the stove.

I

Above:Two hqnds ond two Cs.The right hond thumb sounds middte C (rhe first trebte stove note shown right), white the

left hond's 5th finger ptogs the lower C

thot oppeors on the boss stove immediotetg ofter the verticol 'bor line'.

Oeulr

CDEFGABC

5432t3 I

2t -C

CD E F G A B C

INTRODUCING STAFF NOTATION

Beots ond bors We've seen how staff notation is used to set down the pitches of the notes we want to

play; now let's look at the v,ay it handles another vital musical ingredient

Nearly all songs and instrutnental pieces have a regular underlying pattem of pulses; a waltz, for exarnple, consists of a recurring cycle of three beats (one strong, two

weak l-2-3,1-2-3),

while a march is often made up of groups of

o+eee 1234

2

You can identify the pulse pattem of a written the top figure of the'tirne

of

signature'that appears at its start. This usually

The time signature's lower figure is a kind

corresponds to the nurrrber of beats in its

'code nurnber', identifying the type of note that

rhythmic

cycle

such as a march and a waltz

so a four-beat composition

will have

an upper figure of 4,

will be prefixed by a 3.

e I

again. on the first of these (l-2-3-4,1-2-3-4). fror.r.r

rhythm.

o+e

fbur beats - with the strongest stress falling, once

piccc of music

-

is going to be used to represent individual beats. Here's a table showing the most

frequently encountered ofthese notes, and also

50

3 I

INTRODUCING STAFF NOTAT

I O:r-

giving their names and the numbers that stand for thern; as you'll see, each successive note is exactly half the length of its predecessor. Of the notes below, the crotchet (value

:

4) is

the one that rnost often 'stands for' a single beat. In a piece with a'414'time signature, the

underlying pulse cycle is rnade up of groups of 4 crotchets, and each ofthese 4-beat sections is

written down on the stave in a bar - a horizontal space marked off with vertical lines.

{>

A composition in 314 time, by contrast, will have 3 crotchets to the bar.

I

a)

J

J

J

4

J

SEMTBREVE (1) I

MrNrM (2)

e

e

e

e

CROTCHET (4)

QUAVER (8)

Right ond opposite: The metronome seen here con

be

set to ctick (ot ong chosen speed) on individuql beots, such qs those represented bg crotchets in

411+

ond 3ll+

time.The cteor, ungielding indicotion of putse it provides con be o verg useful oid

to proctice -

especiollg when

teorning pieces with o strong rhgthmic content, qs the

girl in the photogroph opposite oppeors to be doing! 5l

INTRODUCING ST.\FF \OTATION

How note [engths ore shown with stoff nototion Though it has a basic pulse defined by the number of beats to the bar, most music contains notes of varying durations (shorter and longer than the 'pulse'beat) - all of

which can be written down using the symbols shown on the previous two pages.

In Frire Jacques, for example, the opening syllables all occupy single (crotchet) beats; notation for these, indicating pitch (the first note is middle C in the treble clef), lyrics and rhythrn, appears alongside. Try playing it with

Frb

-

re

Jac-ques,

Frd

re

Jac-ques,

your right hand: as on page 49, fingering numbers are printed above each ofthe notes. The crotchets continue until we reach the 'vous'of 'Dormez vous?', at the end of bars

3

and 4: this lasts for two beats, and is therefore

indicated by a minim.

Dor- mez vous?

Dor - mez vous?

On the next line, the four syllables 'Sonnez les

ma-'have to fit into the first two crotchet beats

ofthe bar. To notate

these we use quavers,

which can either appear with separate tails (as in the example on this page), or 'beamed' together into groups that 'add up'to one or two

Son-nez les ma - ti

nes,

Son-nez les ma - ti

crotchet beats (as on page 53).

For the concluding bars of the song, with its 'bell' sounds, we need a combination of crotchets and minims.

Ding, Dang, Dong,

52

Ding, Dang, Dong,

I\TRODUCINC

STAFF NOT.\TIO\

Left: The left hond storts to plog bor

of

Frdre Jocques,

'1

with the 5th finger on

the first C crotchet, ond the 4th reodg

to sound

D.

Below:We've now reoched bor 5 of the tune, ond the thumb strikes o quover A (the '-nez' of 'Sonnez tes motines').

Left:'Ding' ond'dong'.The Cs (crotchets ond minims) for these'betl' sounds

in

bors 7 ond 8 ore produced bg the teft hond's 2nd finger.

Here's the coulplete tune of Frire Jucque.r again, this time set ottt in the bass clef, so that you can

Frd-

perfonr it with your left

re Jac-ques, Frd-re

Jac-ques, 2

Son-nez les

ma-ti -

ncs,

hand.

Dor-mez

VOUS?

2

Dor-mez vous?

2

Ding. Dang, Dong.

Ding, Dang, Dong,

il

Son-nez les ma-ti - nes,

INTRODUCINC STAFT. NOTATION

DoYe Ken John Pee[ - | Itis now time to use your nsh'-fbund knrtwledge

o/ 'the dots'to learn a new piece:

the traditional British sozg Do Ye Ken John Peel.

You'll be playing it in the key of F, which, as yotr'll rer.nernber from pages 42-43, includes a

This rnethod becot.nes rather repctitious in

black note, B flat. There are two ways of

flattened. A convenient shortcut is to insert a

showing flats and sharps on the stave, one

of

which is simply to place a flat 1b; or sharp (#) synrbol in front of a note. ln the exarnple belou,. the t-irst semibreve is a 'regular'B (sonretinres callcd

a'B natural'), while

the

scctrnd one. prefixed by the flat sign, is a B flat.

a

key like F, in which every B is nomally so-called 'key signature' just after the clef or.r each stave. This consists of one or more flat or sharp syn-rbols. placed on the lirre or spacc

corrcsponding to the

r.rote

they apply to, and

serving as an instruction to play every such note as a flat or sharp.

Left: The second of the

two left hond note poirs shown in the nototion on poge 55.The 4th plogs G, ond the 2nd Bb. lt's

importont to remember thot the ftot sgmbol in the keg signoture oppties to

ott Bbs

-

not just the one

on the second tine from

the bottom on the boss stove where the sgmbol

octuottg oppeors.

I\TRODUCINC

STAFF NOT,\TIO\

We'll bc using the F kcy signatLrrc throughout Joltrt Peel- br-rt bcfbre getting to grips ri ith thc whole tr,rne. lct's fbcus on two of its e'lc-tnents. The flrst is the leti hand accornpanirlcnt. f-eaturing pairs of notes struck sinrultane-ously. Here trrc six of then.r: look closcly at thc notation and photographs indicating their

fingcring, and then practise thcrn slowly.

.loltrt Peel also presents a cl.rallenge to the right hand. which has to play two F notes lying eight notes (an octave) apart. Tlie lower F is struck by the thun.rb, and the upper one by finger 5. Position

your hancl as shown below, arrd get used to the unfauriliar scnsatior.r (and the stretch!) as you soturd the two Fs. one atler the other.

Above: On the first crotchet of the second bor opposite,the left honds 5th ond 3rd fingers stril<e (respectivelg) C ond

E,

os the 4th ond 2nd prepore

for the next notes (D ond

Right: This right hond leop from F

to

F is the

widest gou've hod

to

deol

with so for: it mog be eosier to monoge if gou move gour fingers to the edge of the kegs, os

demonstroted here.

F).

INTRODUCING STAFF NOTATION

DoYe Ken John Pee[ r

2

These two pages c'otttctitt the contplete ntelody

and accorrtpcutintent.fbr Do Ye Ken John Peel.

You rnay initially be a little daunted by the

proliferation of notes and bars but take a closer look at the music, ref-er-ring back, where necessary, to the explanations provided earlier

in this chapter, and you'll soon begin to make sense of it. As lou can see. the staves on which the notatiorl appears carry treble and bass cleft, lblloued by a key sigr.raturc (showing that all Bs should be f'lattened), and a 4/4 tirne signature indicating that the piece has an underlyir.rg pulse corresponding to a crotchet, and that there are four crotchet beats in every Above: On beot one of the second bor of Do Ken John Peel,

Ye

the right

hond's 5th finger stril<es o

C crotchet, occomponied bg

F ond

A from the left

hond's 5th ond 3rd.

Left: Bqr

four. beot two: o

Bh in the treble, ond D

ond F in the boss. Note

how both honds ore olreodg moving into position

to plog the next

notes (G in the right hond, C ond E in the teft). 56

INTRODUCING STAFF NOTATION bar. The clef-s and key sigr.ratures recur at the

start of every new line, but the tirne signature written only once, at the start of the piece.

is

Suggested fingerings are given by the small nurnbers above the notes; between the staves are larger figures

(1,2,3,4) rerninding

yor"r

where the beats fall within the bars. The first three beats ofthe opening bar are actually

silent, as the tune begins on its 4th beat. The

little squiggly signs in the treble clef

are

crotchet 'rests'indicating that the right hand is silent during three-quarters ofthe first bar while the thick bar in the bass clef is

a

sernibreve 'rest', indicating that the left hand is

silent for the whole bar. But be sure to count

'l-2-3'prior to starting the piece, in order to get the coffect feel and establish a steady pulse. Above: On beots three ond four of bor six (ot the stort

Crotchet

Semibreve

of the second [ine of the nototion beLow), the right hond

Quover

hotds down o minim

F,

white the left provides A ond

middte C with the 3rd finger ond chumb.

Above: Notes ond their equivotent rests.

t2

34

23

I

2). 45 e

3 5

4

3

4

t2 rl 34

3;.s s:e

tt

t2

3 5

tt

12 3

34 2

4

3 5

3

5

I

1

2.34 I

3

5

J

e

t234

1234

t2

4\

31

32

).

34 1

3

2

5

4

3 5

4

\

Chopter 5

Co-ordinoting Uour honds ln mong piono pieces, including DoYe Ken John Peel,

the right hond supplies the metodg while the left hond tqkes o supporting rote bg providing on qccomponiment. Over the next few poges, though,

we'[t be exploring the musicol possibitities qnd technicol chollenges thot orise when gour two honds ore given more equol responsibilities. Being obte

to cope with comporotivelg comptex

trebte ond bqss pqssoges simultqneouslg is qn essentiql port of ptoging the piono, qnd mostering

the moteriql in this chopter wi[[ give o vqluqble boost to Uour ski[[ qnd confidence - qnd prepore gou for the more demonding pieces thot ore sti[[

to

come!

CO-ORDINATING \'OUR HANDS

Leoding with the left hond Many melodies, as the great songwriter Ric'hctrd Rodgers dentonstrated in Do-Re-Mi .front The Sound of Music, are sintplv notes of a scale, reordered into ntore interesting patterns - and the same is true of the le./i hand bass fig,u"e (iazz or pop ntttsic'ians ntight call it a rtff) on which the.following exercise is based.

It's in tlre key of F, already familiar front Frire Jatque.s and Jolur Peel. Back in Clrapter

3

(pages 42-43), you leamed the right hand

vcrsion of a scale of F; try it now with your left hand, using the fingering shown herc.

Next. we'rc going to select five notes frorn the

scale therr

the two Fs, A, C and

ir.rto the sequence set

D

and br-rild

olrt in the notation

opposite. Each of its eight'steps'is a crotclret, and is fingered just as it was in the

full

scale.

Left: The left hond's 3rd finger crosses over the thumb

to reqch the sixth

note (D) of on oscending F

mojor scote.The roised

index finger is heoding for

the odjocent ploged next.

60

E

thot wi[[ be

CO-ORDINATING YOUR HA\DS

Left: stril<es

Here, the 3rd finger

the D from our ott-

crotchet riff (F-A-C-D-FD-C-A).As E isn't required, the thumb moves into position on

F.

Keep the notes sounding smooth by holding

down the keys you strike for as long

as

possible, releasing each of them only just before you rrove on to the next one. Once you can perfonn the figure steadily, and at a reasonable speed (with each crotchet beat

lasting about a second or less), you'll be ready to add an accompaniment provided, for change, by the right hand. lt consists

a

ofa three-

note. semibreve chord which is sustained for bar at a time, helping to

'fill

a

in the gaps' left

by the faster-moving left hand. 5 3

-5

Above: This photogroph shows the

3 I

finger positions for beot three in bor

1

of the two-honded exercise nototed

a)

€>

{E}

€>

opposite.The right hond is sustoining o semibreve C-F-A chord with its thumb,

.531.

131,3

5

3rd qnd 5th digits, white the left hond thumb plogs o C.

Having got the feel of this, tum the page, and we'll

try taking your left-hand riffing a stage furlher!

CO-ORDINATING YOUR HANDS

An extended boss riff The bass.figLtre yolt've.jLtst learned begins on

F

the so-called root ofthe scale

of'F

to which it gives its name. It then skips up to A and C: each of'these leaps, F-to-Gto-A and A-to-B.flat-to-C, spans three note-nomes, and the intervuls (to use a technical term) between them are there.fbre know'rt as thit'ds.

F scole structure The next intcrval (C to D) is just or.re scale-step,

whilc reacl.ring the upper F fior.r.r D involves anothcr 'jump' of a third before the pattern is re-r'crscd as we hcad back down to the lower F.

Lct's

sce-

u hat happcns when we apply this

cr clc of intcrvals to diff-crent starling-notes. In

thc tbllori in-e excrcise, our riff cot.nmeltccs not on F but on B flat; whcn playing it, use the samc leti-hand fingerings as you did for the

original figure.

Riff on Bb

Next, try the sat.ne riff, shifted a step r'rpwards to start on C. Again, the fingerings are unchanged.

Riff on C

third

third tone third

r-lr--__-l

Above: The teft hond's thumb reoches the higher of the

t*o

Bbs in the'shifted' riff whose nototion oppeors in

the middte of the column next to the picture. 62

(.O-ORDINATINC YOUR HANDS Playing the F. B f'lat and C versions of the riff onc atter the othcr as shown belou and then returning to a variation ofthe F pattern at the end. clcatcs a plcasing progrcssiorr espccially whcrr you cornbine it wirlr the riglrt harrd .l,rurd. indicatcd in the notation. Likc the ones on thc prcviot-ts two pa_qcs. they're each n.radc up of thrce notcs; practise thent on thcir own flrst. and thcn add the left hand when you feel confident!

Right: The fingerings seen here could be used

for beot 2 of either bor or bor 8 of our nine-bor riff (shown obove).The left hond 3rd finger sounds o D,white its

thumb is positioned on the C immediotelg below. Meonwhile, the

right hond provides o chordol bocl
2

Left: The third, C-bosed version of the riff ctimbs

to middle C, which

is

strucl< bg the rhumb.

CO-ORDINATI\(i

\.OUR HANDS

Two-honded workouts yottr let'i hantl finger"s v'ill be t'beting supple (ond ntat,be.iust a little tirecl!) a.t'ier theit' exertiorts over the last.few pages'

The reuaining cxercises and rlrusic in this chapter are going to t.nake additional deuarrds on thct.t.t, though the tcchnical challcngcs they present will be shared rnore eqr'rally lvith the

right hand. The 'br.rsy' bass ir.r our earlier riffir.rg seqttence was linked to a comparatively static treble - but you'll also be frequerrtly confronted with picces

featuring sirnttltaneous rapid tnoveuent in both tl.reir upper and lower parts. The best way to get your fingers ar.rd brair.r accttstoured to these is to

Above: Here left ond

practise two-har.rd, scale-bascd passages so here. to start with. is a bass-and-treble scale of

honded C scote nototed

C: son-rethirtg yott've played before with scparatc hands, though it's rruch harder whcn you combinc therl-r. Take it slowly at first and

thumb. en route

gradually br'rilcl up speed as you gain confidence'

finger 2 in the left hond

right honds plog the third step (E) of the two-

betow.The right hond

to

F,

finger; simultoneoustg,

heoding towords the

thot

64

hos

just possed under the 3rd

is

F

ties on octove betow.

CO-ORDINATING YOUR HANDS Now let's try the same scale in what's called contrary motion: initially, the right hand goes up the keyboard while the left descends; then the movement is reversed, with the right heading back down, and the left corning up. The fingerings are unaltered, and at the start and

finish both thurnbs meet on middle C.

Above: Moving gour two honds olong the kegboord in opposire directions wil[ initiottg feel o littte stronge

-

but the sensotion is otso

rother enjogobte! This photogroph shows the second note of the

controrg motion scote whose nototion oppeors opposite.

Lastly, we have an exercise in u,hich both hands 'share'parts ofa scale; it looks easier than the previous ones, but the airn is to produce seamless

a

flow of notes, unaffected by the

changeover ofhands that occurs between

middle C and D. Take it slowly at first, then see if you can speed it up without sacrificing clarity and articulation.

Left: ln our'shored'

exercise, the right hond thumb

sounds o D, toking up where the left (which hos just ptoged middte C) leoves off.This hond-to-hond switchover shoutd be qs smooth ond unobtrusive os possibte.

65

CO-ORDINATING YOUR HANDS

To[[is's conon To

put your hand-to-hand co-ordination to the test, here's an

ingeniously constructed and beautiful melody v,ritten in the l6th century by the

English musician Thomas Tallis.

It's a canon

-

a type of composition in which a

tune is designed to 'overlap'with itself.

Nursery rhymes, such as London's Bunting and our old favourite, Frire Jacques, can also be performed as canons, with one singer starting

off. another taking up the opening line of the son,q as the first vocalist begins the second lir.re, and so on. ..but Tttllis's Ccuron is somewhat rnore sophisticated than either ofthese, and the time you spend leaming to play it will be well worthwhile.

A single shorp The piece is in the key of G, which we haven't used before. As you can see from the diagrarn

and photograph opposite, the G scale is made up ofseven white notes, and one black one the F sharp that supplies its seventh, penultimate step. Consequently, the key signature for

Tallis's Canon is a single sharp syrnbol (#) on the 'F' lines of the treble and bass clefs. rerninding us to use F sharp, and not the white F natural key, throughout. Above rightl On beot 2 of the second full bor of lollis! Conon,the right hond strikes on A while the teft, which hos just begun its rendition of the tune, ptogs on Ff.

Right:The lost beot of the conon's fifth full bor, feoturing o D from the left hond thumb, ond o B from

finger 3 on the right hond.

66

CO.ORDINATING YOUR HANDS

The canon's rhythrn is very simple: all the notes, cxcept the final one, are crotchets (of

Above: Here we've orrived ot the end of full bor The right hond hos reoched its tost few notes (it.s

which there are four to a bar, as the 4/4 time signature tells us); but the fingering required is not always straightforward, especially in the

currentlg ploging the B on beot 4). bur the tefr, on D still hos some wog to gol

left hand. Practise the tune slowly, with one hand at a tirne, and then cornbine the two strands of rnelody as indicatecl by the notation.

1, Q)

4 "

I)tt

7.

4

3 l

443^)-)

3

2, 2,

I

4

33

,ll

l

lSzl

!!s?

I

{&r

W1# 4",.

I

\

su."') ffi

,*{

m&

'*'t

ya

'1t

t

:J

t

,

tr'], ;i.

{\t

,t,

,

t

,.

}

l't \b

;

tt

\

Chopter

t I

5

Moior ond mrnor

i

Att the scoles ond chords feotured so for in this book hqve been so-cqiled'mojor' ones

- but this

chopter introduces gou to their'minor' cousins, which ore differenttg constructed, ond generqte

o distinctive, often metoncholg, musicol otmosphere. Their notes con be combined to creote striking melodies qnd effects,
to [eorn more obout whot one greot

songwriter, Cole Porter, fomouslg described in

the lgrics to Ev'rgTimeWe Sog Goodbge os 'the chonge from mojor to minor...'

MAJOR AND

N,IINOR

Moior ond minor chords principal di/Jbrence betw,een 'major'and 'ntinor'scales lies in the spacing of the third of their eight 'steps': in a ntajor scale, the third step is two semitones The

(:

atone) above the second one, while the minor has a'third'only a semitone higher than its 'second'(see diagrant).

The effect ofthis change can be heard clearly

As yor-r can see, the pitch of the altered note in

when we play chords incorporating the two

the second chord is indicated by a

different intervals. The notation shown below

Flats and sharps placed in front of individual

right displays a two-handed C rnajor chord of a kind you've encountered several times before; it's followed by one of C rninor, containing an

notes are known as 'accidentals'. and unlike the

E flat (see photograph) instead ofthe regular (E natural) featured in its predecessor. Scole steps:

1t2 2t3

MAJOR

I ]t TT

MINOR

I ]LJ T

I

S/T

Right: This is the twohonded C minor chord thot

oppeors in the nototion obove the picture.The left ptogs o C ond G,while the

right sounds o second C with the 5th finger, ptus the Eb

thot gives the chord its

'minor'stotus.

T = tone S/T = semitone

E

'flat'sign

1b1

syn,bols shown in key signatures (which apply

'universally' throughout an entire piece), they only affect pitches of specific notes within the bar where they appear.

MAJOR AND MINOR

Left: A four-note chord of F minor, os

written on the

stoves betow. F qnd

lt comprises

Ab (teft hond) ond

F

ond C (right hond).

Below: Here, G minor

-

the second of the three chords in the occomponging nototion

-

is being ploged,with G

ond

B, in the right

hond,

ond G ond D in the tefr.

Let's try out some other rnajors and minors. Below is a chord of F rnajor, siurilar to the ones yolr played in Do Ye Ketr John Perl (see pages 54-57): it's followed by one of F rninor, whose 'active ingredient' is the A flat n-rarked out by the accidental.

To finish, we have a bar containing both C

major and G minor chords. The first of these is a major, with an unaltered B; the second is a G

minor, with a B flat accidental; and the final chord is another G majoq in which the B flat

sign is cancelled by a 'natural' symbol (f ) ttrat instructs us to play the B in its regular, 'white

note'fonn once again. 7t

MAJOR A\D \II\OR

Hormonic minor scoles Minor keys have other unique characteristics in addition to theirflattened thirds. Their scales, unlike those of majors, exist in two distinct.forms, 'harmonic'and 'melodic', and we'll focus first on

the

former.

The distances between the eight notes in a

harmonic minor scale, and how they compare to a standard major's, are displayed in the

following diagram. Scole steps:

112

2t3 3t4 4t5 5t6 6t7

7t8

MtNoR I;- |l;i tt r tt r tuL_JU s/r 3s/rs S/r MAJOR I II ILJI ILJLJU TTS/TTTTS/T HARMON|C

T = tone S/T = semitone

Here now is the notation for a two-handed

harmonic scale of A minor. Practise it with left and right hands separately before you try

combining them.

Above: The most striking feoture of the hormonic

minor scole is the threesemitone intervoi betweer its 5th ond 7th steps

5

4.

3, 2

1

3,.2

\,,2

3

1

2

3,

4,

5

-

F

ond G# in A hormonic minor, fingered here bg

fingers 3 ond

1+

(right

hond) ond 3 ond 2 (teft).

Seven of this scale's eight notes are shared with

that of C major; its one altered pitch is the sharpened penultirnate step

-

a G#. Rather

curiously, this ebony is always notated with an accidental, and not indicated in the key signature for A minor, which, like C major's, contains no sharps or flats. 72

MAJOR AND MINOR The same convention applies to the 'sevenths' of all other rrinors, including the E hannonic minor shown below. This one is closely related to G rnajor: both scales leature an F#, which appears in their key signatures, but the E rrinor scale's sharpened seventh (D#) is, once again,

displayed only as an accidental.

Above: At the'summit' of E hormonic minor:

the teft

hond thumb ond right hond 5th finger eoch ptog on

E,

while the 4th (right)

ond 2nd (left) position themselves on the D# o

semitone below.

The final harr.nonic lninor scale on these pages is one of D rninor. It bears the sarne key

signatllre as F major (a single 3hy, but uses an accidental for its raised seventh step, C#.

Above: Step five (A) on on oscending scote of D hormonic minor.The next note wit[ be Bb, struck bg

the 3rd finger on eoch hond: the left hond's 3rd

finger hos to cross over the thumb to reoch it.

MAJOR AND MINOR

Melodic minor scoles Harntonic minor scales produce a distinctive, rather angulor musical e/./bc't, but their 'melodic'variants are a little easier on the ear'- though this pleoscutt sound contes ot the expense oJ'some technical contplicatiorts, involvittg both the constntc'tion o.f'the scales and the w,av they're notated.

As you can see frorn the diagram below, the

first five notes of a melodic and hannonic r.r.rinor are identical. The pitches of a melodic rninor's sixtl.r and seventh dcgrees depend on u'hcthcr the scale is rising or falling: on its rupuard path, there's a gap of a tone between thc-

tltth and sirth, and sixth and seventlr

steps,

lnd

then

a gap

as with the hannonic rninor

-

of a sernitone separating its seventh and eighth notes. Scole steps

-

oscending

112 213 314 t+15 516 617

718

MELODIC L-J LJ LJ I ] L-J LJ U MINOR T S/T T T T TS/T HARMONIC

MINOR

I ILJI ILJL_-Jt I1._-.1 T S/T T T S/T 3S/Ts S/T Above: Sounding C# in o rising scole of

T=

tone

E metodic

S/T = semitone

When the scale descends, however, the distance

minor (see nototion ot the top

-

noturol (its 7th step), ond ore reodg

two octoves.

to continue to C noturot.

and while the seventh and

sixth degrees also have a tone between

ther.t.r,

tlre sixth and filth are just a sernitone apar1. The rer.r-raining spaces are unaltered.

Scole steps

-

descending

8t7 7t6 6ts st4 4t3 3t2 2t1 MELoDrc L___J L__J U LJ t tL_J t MINOR T T S/T T T S/TT HARMONIC MINOR (some when oscending or

U L-J U L_Jt tLJt S/T 3S/Ts S/T

T

TS/T

r

I

T

descending)

T=

tone

S/T

downwords: both honds strike D

of poge 75), with the honds seporoted bg

between its top note and the seventh step widens to a tone

Below: The some scote, going

= semitone 74

MAJOR AND MINOR

5432y32123,

Accidentals are constantly required when writing out r.nelodic rrinors on the stave. Above is shown a scale of E rnelodic rninor for you to play; like its harmonic cousin, it has a single F#

|

',

2

3

4

D melodic rninor (whose han-nonic version, like E minor's, you learned on pages 12-73) has a B flat in its key signature: this has to be made

natural on the scale's upward path, and

in its key signature, but in its rising forrn, its

subsequently reinstated as B flat in the

sixth and seventh degrees (C# and D#) have to be prefixed with sharp signs - which rnust then

descending scale. C# and

be cancelled with naturals on the wav down.

5

Cf

accidentals are

also needed to give the correct pitches for the scale's rising and lalling secrions.

Left: The tronsirion from Bf to C# during the oscending hotf of the scole

of D metodic minor.The Bs

ore ploged bg the 3rd

finger of eoch hond, while the C#s witl be sounded bg finger 2 (left) ond

finger 4 (right).

75

MAJOR AND MINOR

Greensleeves

r

I

Though nrusical theoreticians make hard and.t'itst distinctions between ntelodic and

harmonic minors, elentents of both can often beJbund in a single piece.

A classic example of this tendency to rnix and rnatch notes frour the two types of scale is the celebrated old English t:une Greensleeyes, whose elegant twists and tums present us with a succession ofaccidentals, and whose riccor.npanirnent features a piquant cornbination

of nrinor and r.najor chords. The versior.r of Greertsleetes on the next few pagcs is in A

rninor

a key which, as explained

on pases 72-73. has nrany notes in cornrnon

u'ith its related major, C. Both C rnajor and A tninor share the same 'blank' key signature, with no sharps or flats; the Greensleeves melody, however, includes sharpened, as rvell as natural, Fs and Gs (respectively, the sixth

and seventh steps of the A minor scale).

Here's its first, l6-bar section: it's in 3/4 time, with three crotchet beats to every bar. Begin by playing the right hand part by itself(because of

Above: The second beot of the second futl bor of Greensleeyes,

the layout ofthe tune, the fingerings are not qr.rite

the salre as those you've previously used

for the A harmonic rninor scale), then add the lefl hand 'backing' - a mixture of single bass r.rotes and two- and three-par1 chords.

Right: We've now reoched beot three of the piece's seventh ful[ bor: the

left hqnd ptogs D (5th finger) ond B (thumb) to occompong the G# sounding in the melodg. 76

with the right hond's 5th finger sounding

F

MAJOR AND MINOR

Left: ln rhe penulrimote fut[ bor, the left hond begins o rising sequence

of notes storting on A; this is hetd down bg its 5th finger, while the 3rd ond

2nd position themselves on (respectivetg) C ond

E.

Meonwhile, the right hond ptogs o minim A.

a)

I

I .5

2

3

a

I

I

4

+

?

5

121

2

I

I 2

3

4

.5

I

3

5

.5

I

5l

I

2

5

I 2

2

l

5

4

-5

a

4

O

3

I

77

2

3

5

3

2

I

I

2

MAJOR A\D

\1

I\OR

Greens[eeves r 2 lf you're fantiliar with other versions o/'Greensleeves, -yo,r 'll probabl.v have realized that the rhythm of the opening part o/'the ntelodv, as show'rt on pages 76-77, has been slightly sitnplified to place each of its rttoving notes directly on one of the three underlying crotchet'pulses'.

Most standard arrangemenls of Greensleeves, however, position some of these notes 'off the

beat'

Exomple

1

halfofa bar's second crotchet pulse. First. to reurind yourselfofthe on the second

simplcr rhythm, try playing Example

1

with your

risht hand. counting out the beats as indicated.

a

J

Exomple

2

454

ln Eran.rple 2. by contrast, the two quavers (E and F) in bar 2 subdivide the secor.rd bcat, with

thc F fhlling

-

as

it should exactly half way

2

betu'een beat 2 and beat 3. The E immediately

before it, though, sounds wrong: instead of

striking il as a separate quaver note. as we just

Exompte

3

Exomple

4

did, we need to lengthen the previous crotchet E so that it 'carries over' frot.t.t beat one onto the first half of beat two. Such an 'extension' can be notated in two ways: either, as in Exarnple 3, by joining the extra quaver to thc preceding crotchet with a tie (which warns the

perfonner to treat the new note as a continuation of its predecessor, and not to strike it afresh)...or by placing a dot (musical shorlhand for au instr-uctiorr to extend any note

by halfits original duration) after the crotchet, as in E,xample 4.

Right:The F# in bor 2 of the Greensleeves nototion opposite is ploged bg the

right hond's 4th finger; the left supports it with the notes of G ond C. 78

elc.

MAJOR AND MINOR The sccond section of Greensleet e.r. set ollt below in its two-handed fonl, uses dottcd

th\?,\"rt,

crotchets, cornbined with quavels, to convey tlre tune's correct rhythrn; accustomed to these. and

you'll soon become will then be able to

focus on synchronising your right and left hands, both of which face further challenges

in the piece's final l6 bars!

Right: Bor 10 involves something of o stretch for the left hond, os it sounds two Cs, with o G 'sondwiched' between them. Simultoneoustg, the right hond's little finger strikes G, white its 4th prepores for the F# thot comes next.

3

2 5

3 5

2

I

4

3

I 5

3

5

e'

I

I

I

3

2

5

e'

I

.5

e'

5

5

3

2

7

I

5

l

3

5

5

79

3

1

2

5

\ \r

Chopter 7

Putti ng on the stgle During the eortiest stoges of getting to grips

with the kegboord, the emphosis is inevitoblg on the bosics - finding ond fingering the notes, co-ordinqting gour broin ond gour honds, ond developing gour obititg

to reqd stoff nototion.

However, gou've now reoched the point where

gou shoutd be thinking o little more obout how gou plou,ond storting to exptoit Uour skills - ond the copobilities of gour instrument - in wogs thot wit[ increose Uour musicol sqtisfoction. According[g, this chopter exptoins how gou con

vorg the sounds gou moke, expond the foirlg limited polette of chords ond rhgthms gou've so

fqr been restricted to, ond begin exptoring the piono's qtmost unlimited stgtistic copobilities.

PUTTING O\ THE STYLE

The sustoining pedol Except when thev're ac'tuallv being struck b1t their hammers, a piano's strings are ttsttallv prevented.fi"otn vibrating bt,.fblt-covered dampers. These lit'i clear as the

instrttments

ke1,s are

pressed dow,tt to procluce notes, but norntally.fall backinto

place, deadening the strings again, once the kelts are released.

You can modify the action of the dan-rpers via

Press the sustaining pcdal down immediately

Above: The pedol unit of o

the sustaining pedal (frequently. but

afier striking thc notes or chords you want to sustain: it will opcn r.rp all the piano's darupers,

grond piono.The sustoining

adding an impressive alnotlnt of extra

it ore the

lesonancc. but also blurrir.rg the notcs you've already sounded into any othcrs that are played

uno cordo pedols, whose

functions ore described

while it's depressed. This can n.ruddy the

on poges 84 ond 85.

inappropriately, nicknarned the'loud' pedal). the farlhest to thc right of the two (occasionally three) pedals fitted to an acoustic piano. Sorne

digital keyboards offer an electrotric simulation of the eflect it providcs. thor,rgh on cheapcr rnodels the pedal unit itself may be a plug-in. optiorral cxtra.

overall texture. and causc Lrndesirable discords, so as a gencral rulc. it's bcst to lifi off the pedal

pedot is on the right; beside sostenuto ond

PUT'IING ON 'I'HE ST\ LF

Left: This is the chord for the first beot of the opening bor of our exercise. The sustoining

pedol con remoin down

throughout beots 1 ond

2,

os the notes theg contoin

wit[ sound good when btended together bg the

roised dompers.

Below: Bg lifting off the sustoining pedol ot the precise moment when the

fingers move to new notes, then pressing it down immediotetg ofterwords, we smooth over the inevitoble

interruption coused when the digits ore roised, but ovoid'smudging' the sound.

at the rrolncltt yoLr shift to tl'esh chords or ltotes. and thcn very qLrickly activatc it again straight

aflcr striking these 'rrcw' keys. Here's a sinrple cxcrcisc to help you gct used to this tcchniquc: thc 'Pccl.'syn.rbol and astcrisk displaycd bcneath thc bass stave indicatc wherc you should press dou,n and rclcase thc pcdal.

Thc sLrstairring pedal is undeniably valLrablc. but many pianists don't appreciatc how ntuclt it con.tpromises thc clarity of their tone .,r,hen it's ovcr-used. Always ask yourself nccd to dcploy

it

il you rcally

and never allow it to bcconrc

a substitLrtc fbr srnoothness oltouch.

3/,5 I-5

1

a

(, .5

'JLo

4

'X''Jizd.

3

'X''iizo.

U

I a

5

.'.

-X-'Xa.

c[g

'.F.\s.0. lJl

5

PUTTING ON THE STYLE

The 'soflt' pedol ond dgnomic control On pianos

with three pedals, the centre one serves as a 'selective'sustaining device;

when activated after one or ntore keys are depressed, it keeps their associated string dampers raised.for as long as the pedal is held down, but leaves all other notes unalfected. Named /fte sostenuto pedal, and invented in the l9th centtu'y,

it is now rarely

used.

The remaining pedal, rnounted to the left of the

regular sustaining pedal discussed earlieq is

a

rnore valuable tool. Popularly known as the

'soft'pedal, it's designed to facilitate quiet playing, and does so in one of two ways. On a grand piano, it shifts the instrunent's hammers to one side, realigning thern relative to the rnultiple strings that provide rnany of the

instrunent's notes, so that only two of a group ofthree strings, or one ofa pair, are sounded. (This method of operation affects both volume and tone, and explains the pedal's original

Italian name, 'una

corda'

single string.)

Upright pianos achieve sirnilar results more simply: their soft pedals move the hammers closer to the strings, reducing the arrount

of

Above ond left: When

power that even vigorous keyboard work can

the uno cordo pedol

generate, but don't alter the overall sound as

depressed on o grond

much as a true una cordu.

is

piono, the instrument's

string-striking hommers

The short piece shown opposite gives you the

move sidewogs.

opportunity to practise your control of what

do its kegs,which,of

musicians call dynarnics: it starts and ends with

course, qre linked to

sorne soft-pedalled chords, and builds to a loud

them.The centre picture

climax at its half-way point. The changes in

shows the top (trebte) end

volume it incorporates are indicated by a series

of the kegboord in its

.

.

ond so

of notational symbols, which are explained in

normot position, without

the table opposite.

the pedol in operotion. Note the gop between the top C keg ond the instrument's edge, which

norrows noticeobtg (see lower photogroph) once the uno cordo is octivoted.

PUTTING ON THE STYI-E

I

I

2

I

4

3

p

pp

nf=

I

)

-5

r1

-)r

Una corda 5

2 I

5 2

5

I

3

5 2 1

I

tr

f

f-

2y)

mp-

p

3

321

2

I

5

5 2

Thbte of Dgnomics

I

a-)

mJ

gp

pp - pionissimo (verg quiet)

fie'

pp I

5

1 p-piono(quiet)

I -5 I

Una corda

ntlp

mp - mezzo piono (moderotelg quiet)

mf

mt

-

mezzo

forte (moderotetg toud)

yP f -forte(loud)

flP

ff - fortissimo (verg [oud)

diminuendo (get quieter)

Left: The 4-note D minor chord (D ond A in the left hond, F ond

D in the right) from bor

I

of the notqtion

obove.While using the uno cordo os indicoted bg the morkings beneoth the boss srove, trg experimenting with

the sustoining pedoI os well

-

its corefuI opplicotion wit[

odd to the impoct of gour chonges in volume. 85

PUTTING ON THE STYLE

The'three-chord trick' One oJ'the most useJill skills a budding pianist can acquire is a practical

understanding of the 'three-chortl

trick'-

an elementarv piec'e o.f'theorv that provides

a valuable insight into the \uav manv itents of'ruusic (especialll, populat'sortgs) ure constructecl.

Oncc you've grasped it,

you'll find it

n.rucl.r

easier to locate chords. and cornbine them with rnelodies. in any key you choose. To understand the three-chord concept, take

deolr

a

a

look at the scale of C major (right), and the

9,

chords set out beneath it. They arc all rr.rajors, and their root notes are. respectively, the first

(or cighth). fburth and fifth steps of the scale: C. F. and G.

FGC

C

tonic

subdominant

dominant

tonic

These three chords, officiatly terrned the tonic,

subdominant and dominant. are the most extensively used

olall hannonic acconrpanirlcrtts

to simple rnelodies

-

and now you know the

steps of the scale on which they're built, it's

comparatively straightfor-ward to find their equivalents in other keys. ln F rnajor, for example, the tonic is F, the subdon'rinant B[ and the don.rinant C; and chords with these roots

Bflat

F

tonic

subdominant dominant

perform exactly the sarne function for tunes in F major as C, F and G do in C r.najor. The most perennially popular three-chord trickbased rnusical fon.r-r is the 12-bar blues

-

-

a

standard sequence of tonic, subdor.ninant and

dominant hannonies, with a rnelody above it. Here's a blues in G rnajor, where the three cl.rords in question are, of course, G, C and D.

It's relatively plain and sirnple

-

but we'll soon

C

\

l

be looking at ways in which it can be spiced up!

Right: Beot two of bor one in the blues nototed opposite, with o tow G semibreve in the boss, ond o

crotchet B sounded bg the right hond's 2nd finger. 86

F

tonic

PUTTING ON THE STYLE

2

a)

3?

5) ))CU

arll i i

2 5

<>

Above ond left: Bors 1-4 of this btues ore lorgelg rooted on the tonic (home keg) chord of G mojor. ln bors 5 ond 6, the hormonic'feet' shifts

to the subdominont, C mojor, but returns to G for bors 7 ond 8.The chordol centre moves

to D (the dominont) in bor 9, qnd to C in bor

10.The fottowing bors ore bosed qround G (bor 11) ond D (bor 12), before the piece comes

to rest on its tonic chord.

tr 12-Bor Blues (i): ln bor four,the left hond strikes G ond

l2-Bor Blues (ii): On the third

E on the

beot of bor 11, the left hond's thumb

third beqt, while the right hond (sitent ot this point) prepores for the

ond 2nd sound C ond D together, producing o tostg'ctosh'.The right

C in the next bor.

hond sustoins o D with the 5th finger. 8'7

PUTTING ON THE STYLE

Bluesg chords ond suncopoted rhgthms One of the important features missing from the I2-bar blues on the previous two pages zs syncopation - the shifting of rhythmical emphasis away from the I -2-3-4 of the underlying crotchet pulse, and onto normally 'weaker'beats, that s an essential element of lfro-American music.

Let's introduce some syncopated rhythms the opening four bars ofour blues. A

into

track of the 'displaced' accents, you may find it

combination helpful to count out the quaver subdivisions of

pages 78-19, is used to notate them - and to keep

ofdots and ties, like those first seen on

the four crotchets in each bar as you play the passage below.

Bors 1-4 4

a)

!-. iWe'll now ' jazz lp'bars 5 to 8 with a little

major subdominant chord in bar

5

r aih and then,

more syncopation (whose workings should

be

clear enough from the notation below) and

some

during the next bar, the substitution of C rninor for C rnajor, as we replace the latter's E! with

extra harmonic interest. The latter involves

the

an Eb. Both these changes are regular tricks

addition of a slight discord (a Bb) to the

C

the trade among

jazz

of

and blues arlists.

Bors 5-8 2

14 ;t

1

-.t

1

,5

2

1

-l

3 5

[,.e

e'

+

i -. 'i.. 88

L, L'-.

PUTTING ON THE ST\'LE Left: ln bor

5, os

the left hond hotds down o C mojor

chord combined with o Bb, the right hond begins o sequence of crotchets ond quovers (storting on C) thot

witl toke it to the veru top of our 49-note kegboord!

Below: At the stort of bor 9 (the first bor in the line morked'finol bors' thot oppeqrs betow), the two honds produce q dominont chord of D mojor, with on odded C

from the left's 2nd finger.

The fun continlres during the last four bars, in which sorne further new notes find their way into tl.re regular chords, and the bass line develops a life ol its own!

Afler practising the three 4-bar segrnents separately, try runr]ing thern together to make

a

colnplete 12-bar blues.

Finql bors 3 l

4-

lr?

!t

f

V

7

1

2

4

4|

2t

51 r*J

I

Right: An exciting leop in the penultimote bor of the 'finol bors' section of our sgncopoted btues. Hoving just struck q low D with its little finger, the left hond heods

for the C# neorlg on octove qbove.The right is reodg for the three-note finot chord, due in two beots' time. 89

5

PUTTING ON THE STYLE

The Entertoiner The 'ragtime' music of Scott Joplin

(1

-

I

868- 1 9 1 7) predates blues and j azz, but shares

some o.f their rhythmic and harmonic characteristics elegance and sophistication that are

-

all

though it has a poise, its own.

We're going to conclude this chapter, and this

key, which includes two sharpened notes, F#

book, with part of one of Joplin's best-loved

(its third step) and C# (its seventh); as usual,

compositions, The Entertainer, presented in

these are displayed in its key signature. Here's

a

it

slightly simplified form.

a two-handed scale of D, and beside

The piece has four crotchets to the bar, and is in

(subdominant) and A (dominant) that provide

D rnajor: it's the first time we've featured this

the harmonic 'bedrock' for Joplin's rag.

The right hand is responsible for The Entertainer's

placed upon the hands are equal, but rather

syncopated melody, while the left hand mostly

different; the left has to remain clear and steady,

'three-chord trick'chords

supplies harmonic accompaniment in the form

of

crotchet chords and bass notes. The demands

are the

ofD (tonic), G

even when it's confronted with leaps like the ones shown below;

Meanwhile, the right hand needs to sound crisp and phrase smoothly as it picks out Joplin's famous tune:

90

PUTTING ON THE ST\-LF

Right: The teft hond

s

thumb ond [ittle finger negotiote the distinctive Bb

to D intervol in

beots

3 ond 4 of the second bor

of the short excerpt from

Ihe Entertoiner's boss port thot oppeors on poge 90.

Left: The right hond tocktes fhe Entertoine r's moin theme: our

photogroph ittustrotes the lost beot from the first full bor of the line of nototion ot the botrom of the opposite poge,

in

which the thumb stril<es F#, ond the 5th

These examples

will

serve as useful wamr-up

exercises; once yoll've rnastered the fir.rgerings

for then.r, turn the page. and prepare to tackle corrplete, 20-bar section of Tlte Etttertuitter.

a

Right: Another chorocteristic port of Scott Joptin's metodg.The right hond's 2nd finger hos just sounded the E quover on the

fourth beot of bor 2 in the poge 90

nototioni its 3rd now ptogs F noturol, while its 4th moves

onto the F# thot forms the first note of the next bon

9l

finger

D.

PUTTING ON THE STYLE

The Entertoiner

-2

The Entertainer begins with a single-bar phrase played twice (in dif/brent octaves) by the right hand, and'answered'bv a left-hand.figure that takes in an exotic-sounding

'alien'note, Bb, on

its way down to

a

bass A.

Next cotnes a two-handed chord of A major (the dorninant of the piece's key of D), preparing us for the main theme that's about

to follow. 4

3

OLr'rt'l

Right hand

(Left hand)

ttl/^-C

-l

214

5

The tune itself consists of four phrases, each

Left: Bor

3 of the

lasting approxin.rately four bars (see brackets

introduction to fhe

above notation). Notice how, after the first

Entertoine r, printed obove.

phrase ends with the tonic chord of D, the

The left hond tokes up the

second one concludes on the dorninant A. The

phrose

thoti

otreodg been

slightly unsettled,'up-in-the-air' atmosphere

ploged, twice, bg the right;

this creates is resolved by a retun.r to the l.rorne key in the final two phrases, and throughout the

its 2nd finger sounds o quover

n.relody Scott Joplin subtly varies his

otreodg in position over

harmonies, using altered chords quite sirnilar to

the following Ff.

the ones we encountered in our 12-bar blues on pages 88-89. Right: The piece's short

Lean.ring Tlte Entertoitter

will take

a good deal

opening section conctudes

of persistence; take it very slowly at first, and avoid using the sustaining pedal until you can

with o four-noteA chord

finger the tune and backing reasonably

on this poge).After

(see lost bor of nototion

srnoothly. The piece doesn't require very much

stril
variation in volurne, though a few crescenclos and tlinrinuerlrlos (the Italian tenns r.rsed by

fingers obruptlg off the

musicians as instructions to louden and soften

whot musicions cotl o

the sound) are indicated. As you play, strive for

stoccoto effect.

steadiness, balance and clarity, and

you'll

kegs in order

to produce

be

sure to satisfy your listeners as well as yor,rrself. 92

E,

ond its thumb

is

PUTTING ON THE ST\'LE Phrase

Phrase 2

1

tzt3^ u!t23,^

ry

.I

1

,2

sE+

3

,Inf

I cresc. s I I L 3

1

5153

3

5

(Phrase 2 cont.)

Phrase 3 5-:--

a)

4

I

h*

cresc.

,f

i4

,2

J

s 3 3.4

-

4

5

dim.

23 ) 5 e a

)

+

*f br

Phrase 4

t2

f ibl

cresc.

Rightr The lost beot of fut[ bor 7 is shown here.The quover D (right hond,3rd finger) is supported bg o

three-note left hond chord comprising G#, D ond

E.

dim.

) I

r1

PUTTiNG ON THE STYLE

Epitogue

- toking it further

with the progress you've made with vour piano playing so .far and having reached the end of this book, it's time to plan the next stages inyour

You should be pleased

-

f

ott rne.v

borrow. Initially. it will take sor.ne tirne to

When doing so, it's worlh considering what styles of

pianisrn

and music in general

-

of' nttts ica I d iscovery.

most

lnaster even a colnparatively straightforward

appeal to you. Do you have a favourite

piece

composer or songwriter? Is there a specific

scrutiny ofthe dots and (ofcourse) painstaking practice will eventually pay dividends.

keyboardist you particularly admirc?

lf

so, try

-

but the cor.nbination of listening, careful

studying recordings of their work while

following the notation for it, then select one or two of the simpler items on your playlist to learn yourself. In rnany cascs, you'll be able to

find books conlaining easy piano arrangernents of the compositions that interest you: Intemetbascd stores offer the urost extensive stocks

of

If this

seems too daunting, you may prefer to

seek out a syrnpathetic teacher who can guide you towards your goals, and help you overcolne

the technical challenges you encounter along tl.re way.

Consult your local music shop, or

check out advertisements online and in the

these, and your local library rray also have a

press, to find sorneone suitable: a good starting

collection of printed music frorn wl.rich you can

point is the Iist of British piano teachers, sorted Left: Proctice

ond

commitment witt help gou ochieve gour musicol

gools

-

ond eventuoltg

enobte gou

to untock the

mgsteries of comptex, quover-fi lled pieces tike

the one on the stqnd of this grond piono!

94

PLTTING ON THE STYLF

Left: A gcod leccner - o. o more experienced fr end

or retotive witling to provide musicol ond technicq( odvice

-

con be

o source of inspirotion to budding pionists.

by county, provided on the Association of Blind

steady growtl.r of your playing skills.

Piano Tuners' U K Picuto website (http://www.uk-piano. org/piano_teachers/).

Meanwhile. for neu.s on thc latest in electronic keyboards, MIDI. and otlier cuttir.rg-edge aspects of rrusical technolo_ev. keep an eye on

It's essential to develop your knowledge of musical theory as well as the practicalities of

the articles and ads in rrasazines such as Soand ort Sound. rvhich are full of useful infonnation.

keyboard technique; several excellent beginners' guides to this subject are available, and, with

Have fun as you leam and practise. and you'll

their assistance, your grasp ofthe finer points of hannony and rhythm will keep pace with the

be sure to derive years ofpleasure froul your piano or keyboard! 95

lndex acconrpaniment 6, 21, 56,

3

l,

35, 36, 42, 55,

58,60,76,86

harrnonic scales 72, 73.74.16.86, 87, 88, 90

Association of Blind Piano Tuners 95

harpsichord l0

backing 6, 7, 38, 63, 76, 92

interval 40, 62, 70, 72, 90 ja22 6, 60, 69, 88, 90

bar 49, 50-51, 52, 55, 56, 57, 61, 63, 66, 67, 70,

7

t, 75, 76, 78. 79, 81, 85, 86,

87, 88, 89, 90, 9t , 92, 93 bass

clef48, 53, 56, 57. 66 89,91,93

rhythrn 6, 45, 50, 51, 52, 67, 78, 79, 81, 88-89. 90, 95

6. I0. 14. 15. 18. 1s.21.22.24.25.

26,28,30.33,34.36,

beat 50-51, 52, 56, 57, 61, 63. 66, 67, 76, 78, 83, 86, 87,

93. 94

ragtime 90

Joplin, Scott 90.91,92 keys

40, 42. 43, 46. 47.

s5. 60, 72, 82, 83, 84, 86, 92

riff60,6l, 62-63,64 Rodgers, Richard 60

Roland l5

key signature 54, 55, 56. 66. 70, 72, 73, 75,

black keys 21, 22, 26, 33, 40, 42

pulse 50, 51, 52. 56, 57, 78, 88 quaver 50, 51, 52, 57,78,79, 88,91,92,

76.90

root rlotes 33, 40,42,62,86,87 sample 9, 14, 15,

19

blues 69, 86, 87, 88, 89, 90. 92

ledger line 47, 49

canon 66,67

loudspeaker 14, l5

semibreve 50, 54,57. 61, 86

chord 6, 14, 24, 33-43, 45, 61, 63, 69-'79,

lyrics 28, 52,69

sernitone 40. 41. 42. 43.70.72,73. 74

scales 32-43, 45, 46, 68-79

maintenance 16. l8

shary 42, 54,

chrornatic scale 40, 4l

major chord 60. 68-79. 86, 88. 89, 90, 92

sostenuto pedal 82, 84

classical music 6

melodic scales 72,

Sound of Music', The 58

computer 14, l9

rnelody 6, 21, 26.28, 31, 33, 38, 43, 56, 59,

86-89

contrary rnotion 65

60. 66,

67

7

4-7 5

, 69, 7 6, 78. 86, 90, 91.

crescendo 85.92

mezzo forte 85

Cristofori, Bartolonreo I 0

rr-rezzo

crossover 34

middle C 22, 23, 25, 26, 28, 30,

crotchet 51, 52, 53, 55, 56, 57, 60, 61, 66,

3

l,

34, 35,

36. 37, 38, 39, 40, 42. 43, 46. 48, 49, 52,

19.95

dot 45, 48, 49, 54,78,79, 88, 94

n.rinor chord 68-79. 85, 88

Do

natural 54, 66. 70.

stool, nrusic 13, 16-17,22,24

7

l.

sustaining pedal 82-83 74,

syncopated rtrythrn 88-89, 90 7

5, 76, 9l

synthesized sounds

9, 14, l9

dynamics 84, 85

organ l0

Tallisis Canon 66-67

electronic keyboard 6, 9, 14, 15, 19, 82, 95

pedal 24, 82, 83, 84, 85, 92

thirds 62,72

E-mu Xboard 14. 19

pianissirno 85

'three-chord trick' 86. 90

Entertainer. The 90-93

piano

tie 78, 88

Ev'r.t'Tinre We

Sa1, Q666l11ys

69

exercise 25, 26, 36, 60, 61, 62, 64, 65,

83.9r fingering 24,28,30,31, 32,36,38, 40, 42, 43. 49, 52, 53, 55, 60, 62, 63. 65, 67, 76. 81.

9l

tlat 42, 54, 62, 63, 70,

7

l,

7

5, 7 6

fbrte 85 fortissimo 85

Frire JocEres 28-31,34, 42-43, 52, 53, 60.66

acoustic 6, 14, 15, 18,82 concert grand 10, 12, 18, l9

tirre signature 50, 51, 56, 57,67 tone 6, 10, 14,24,40,68, 74, 83. 84 tonic 86,87,90,92

electlonic l5

transposing a ttrne 42, 43

forle l0 grand 9, 10, 12, 13, 16. 18,82,84,94 upright 9, 10, 12. 13. 16, 18,24,84

treble ctef46, 52.57

baby grand l2

ll, 13, 18, 19,82,84 pitch I 3, 18. 19.22.26, 30, 40, 46, 47, 48, piano strings 10.

50, 52, 70, 7 4.

l.

83,85

subdominant 86, 87, 88

rninirn 51, 52, 57,75

Ken John Peel 54-5'7, 59,71

stave 46-47, 48-49, 51, 54, 56, 57,7

Steinway, Henry E. (& Sons) 10

65

don.rinant 86, 87, 88, 89, 92

Ye

staccato 92 stand, keyboard 16-17, 94

MIDI (rnusical instrument digital interface)

dirninuendo 85. 92

Soturcl on Somtd nagazine 95

staff notation 6, 44-57, 8l

piano 85

57 61

76.'.l8, 79, 86, 88, 89, 90 dampers 18,82,83,84

92

66,70,72,75,76,90

7

5

tune

6, 18, 19, 21, 24, 26, 28, 33, 34, 40,

53, 55, 57, 66. 67, 69, 76. 79. 86. 90. 92

tuner 18,95 tuning 18, l9 utra c'orda pedal 82, 84, 85

polyphony l6

white keys 21, 22. 24, 26, 27, 30, 36, 40, 16

Greensleeves 69,76-79

pop music 6, 58

Yan-raha 15

hamnrers 10, 12,82,84

Porter. Cole 69

Yarnaha CLP Clavinova

l5

l.t,

ry tf '.>

I S BN 978-1-4075-3978-2

r1l.li.ll,tlpi1:t ilil

ltlljltilltlllilll[ ill