Alfred's Basic Adult Piano Course

147 Pages·2006·8.63 MB·English

ADULT ALL-IN-ONE COURSE .

LESSON: THEORY +s

Willard A. Pulmer
Morton Manus ‘atrea
Amenda Vick Lethco lop |
ADULT ALL-IN-ONE COURSE

LESSON+s THEORY*s TECHNIC

FOREWORD

Altrod's Basic Adult Allin-One Courso, Lovol 4, is designca for the baginnar looking for a truly
complete piano course that includes lesson, theory, technic and sopular repertoire in one
Convenient, al-r-one book, This course has @ number of features that make it particularly
‘suovesyul in achieving this gol.

1. Ieprogresse vory smagthy, leaving na gaps tat might cause the student o slp alficut sectons,

2. Because it teaches enord.playlng in both hands, songs are more musical, and playing
becomes a richer, more rewarding experiance.

8, Also taught is the understand ng of how chords are formed. Instead of memorizing chords,
students leam tow to derive them regardless of wat key they are playing in,

4. ‘The choke of song material is outstanding, with some popular and faritiar favortes mixed
wal tuneful orlg ras, all acing tg the fun and enjoyinant of makirg ‘music,

6. For the fist time, an adult coursa has combined Lesson, Theary and Technic sactions with:
in one book. This combined appreach offers baginnars @ unified course of instruction,

A. Lesson pages are designed to provide & basic course of instruction that contains all the
concepts and fundamentels rede to perform,

B. Theory pages give haginners an addad understanding af musle whic eannat be tausgh:
any other way. Evary concept and principe ineducod in the Lesson pages is rainforced.
‘Addtionar drills in note recognition maka this a valuable sid in developing reading ski
Important fips are presented that make leaming chard progressions easier.

©. Technic pages otter suggestiuns for he proper care of your hanes. Mast adult hayianers
fea, awkward atthe kayboard because a! silfnassin ihe Tinga, hands and wrists, They
hhave trouble with coordination, and they feel they could play much better f the muscular
agility and flexbilly of their hands could somahawy bo mada to keep paca with their come
prehension. The Technic pages included have been developed to make allthis passibl,

[At the completion of this course, the stuclent will have learsed 0 play suine of the most popular
‘music evar wien and wl have gained! 4 thorough understanding ofthe basia concepts of must
‘The student wil hen ba ready to beg Alfrad’s Base Adult Al-n-Ona Course, Level 2 (414512),

Willard A. Patmer

Morton Manus ial |
Amanda Vick Letheo ED
sen exces ncaa wane Ai gucktones nee JS
2

Contents

INTRODUCTION TO PLAYING

Preliminary Exercises.
How to Sit at he Piano.

Fingar Numbers. Plano Tones.
Tha Kayboara,

Name That Koy!

Isomettic Exerciea

A Beneficial Hand Massage.
Four Good Reasons far Playing
with Curved Fingers.

@POSETION

1%

18

“
18
a
8

Right Hand G Position.
RIGHT HAND WARM-UP,

‘Quarter Notes & Hall Notes,

Measure, Bar Line, Double Bar. ODE TO JOY,
‘Tha Treble Cle Sign.

Loft Hand C Position. LEFT HAND WARMUP.
‘Tha Whole Note. AURA LEE.

‘The Bass Clot Sign

‘THE GRAND STAFF

20

‘The Grand Staff. Time Signature. Whole
Rest
PLAYING ON THE GRAND STAFF.

PLAYING © G ON ‘THE GRAND STAFF

zt
22
23
24

8
26

a
2a
Ey

20
st

ROCK-ALONG, MEXICAN HAT DANCE.
Quater Rest

‘tng in # Te

LIGHTLY ROW. AUNT RHODE.

oldie tervals. Dynamic Signs, pf

AU CLAIRE DE LALUNE. TISKETATASKET
Moasuring Melodie anos & rds

Harmonic Intervals. 7. ROCKIN
INTERVALS

Measuring Harmonic nds & rcs
HARMONICA HOCK.

Matode sine & ths

GOOD KING WENCESLAS, MY FIFTH,
Maceutng Melodic ahs & she

Marmoni ne & ste. JINGLE BELLS
Wessunng Harmonics & Shs

DUELING HARMONICS

UVIROBUCTION TO CHORDS

92
38

3a

38

‘The G Major Chord.
Hall Rest. BROTHER JOHN,

HERE'S A HAPPY SONG!

Introducing B for Lett Hand,

Two Important Ghords—C Major, G7

Tied Notes. MERRILY WE ROLL ALONG.
LARGO.

Irivoaucing 8 for Right Hand
8 G7 Chords for Right Hand

MARY ANN.

The G? Chord for Lot Hand, Chord Symbos
‘The G? Chord fr Fight Hand

New Time Signature, f, Dotted Hal Note
ROCKETS,

Wrilagin Timo. Roviowing Dynamics.
Slurs & Legato Playing

WHAT CAN I SHARE?

DAY IS DONE, Sirs & Tes.

trroucing Afr Left Hane

Intoducing the F Major Chore.

‘Warm-Lp using C, G7 & F Chords (LH).
thoompeto Moastro,

WHEN THE SAINTS GO MARCHING IN
Introducing for Right Hand.

GF Chords for Fight Hand

Warm-Up using C, G7 & F Chords (RH).
WHEN THE SAINTS GO MARCHING IN
“The F Maier Chord for Left Hand

TM GONNA LAY MY BURDEN DOWN,
“Tho F Major Chord for Right Hand
WALTZING CHORDS.

G POSITION

65

a

Position, Intervals In G Position.
LOVE SOMEBODY! 4 FRIEND LIKE YOU.
‘Wrting in G Position, THE BANDLEADER,
Melodic Imervals in G Postion

‘Harmonic Intervals in G Position

‘The Shap Sign.

MONEY CAN'T BUY EV'RYTHING!
Writing the Sharp Sign.

The Problem of Developing Equal Skis
with all Fingers,

A Leschatizky Solution.

‘The & Major & [)” Chords for Left Hand,
THE CUCKOO,

‘The G Major & D7 Chords for Right Hand,
Block Chores & Broken Chords.

‘The Damper Pedel. HARP SONG.

‘Wing the @ Major & D? Chords for LH.
LIZA JANE

Weiting the G Major & D? Chords for FH.
Block Chords & Broken Chords,
Inveoducing E for Loft Hand.

‘A New Position of te © Major Chord.
‘Warm-Up using G, D’ & C Chords.
BEAUTIFLIL BROWN EVES.

‘Writing E (or Left Hand,

\Writlng the G Major Chord Position for LH.
68. Inlroducing E for Right Hand,

New C Major Chord Postion for Right Hand.

68. Warm-Up using G, D&C Chords.
ALPINE MELODY.

70. Wing E for igh Hana

7g the © Major Chord Postion for Pe

MINDLE € POSCTION

72. Midde C Postion. THUMBS ON CI

73 Cresceneo, Cininvendo. WALTZ TIME,

74 Fermata, GOOD MORNING TO YOU!

75. Eig Notes, HAPPY BIRTHDAY TO YOU!

78. Wore on Eigth Notes. SHO, FLY, SHO!
Counting Bohn Notes, SKIP TO MY LOU

77 B.C. Fino
STANDING IN THE NEED OF PRAYER

78. The Amazing Aarobies of Haron

0 Invoducng Dated Quaror Notes

# ALQUETTE

EXPANDING THE 5-FINGER POSITION

82 Mentuing he

4 LAVENDER BLUE.

8S New Tne Signture. KUM-BAYAR:

35 Wing Sts

87 Heron's Aerobic Sint

86 LONDON BRIDGE.
MICHAEL, ROW THE BOAT ASHORE

29. SLOW THE MAN DOWN!

80. Moving Up & Down the Keyboard in she
LONE STAR WALTZ

or Siacoato

82 Measuring Ths & Octaves.

£0. wing 7h & Octaves,

84 CAFE VIENNA.

95 LULLABY.

85. The Flat Sign. ROCK IT AWAY!

57 Wing tha Fat Sign

$8 Measuiing Hot Stops & Wale Steps

88. Witing Hal Stepe & Whole Stepe
Tarachorcs

SCALBS & CHORDS —THE KEY OF C MAJOR

(20. The Major Sale, The © Major Seale.

101 Wrang tne Major Seale,

102 These Hends Were Mad for Paying,
Playing the © Major Seale

102. ff. JOY TO THE WORLD,

102 More About Chor.

105. COCKLES AND MUSSELS.

108. The Primary Chords iC Major
Chera Prograssions

107 About the Buss. GOT THOSE BLUES!

105 Choris and the Blues Progression, The

Nalurai Sign. CHASING THE BLUES AWAY.

109. BLUES FOR WYNTON MARSALIS.
190 RH: An Extended Postion
ON TOF OF OLD SMOKY.
{THE KKY OF G MAJOR
112THe G Major Scale. The Key of G Major.
418 Changing Fingers on the Same Note.
THE CAN-CAN.
414 Whiting inthe Key of G Malar.
418 The Primary Chords in G Major.
THE MARINES’ HYMN.
116 Syncopatod Notes. WHY AM 1 BLUE?
117 G Bluas Scala Performance Piaca
GOOD PEOPLE.
THE KEY OF F MAJOR
‘118The F Major Seale.
118 Elghth Hest. Accent Sign,
LITTLE BROWN JUG.
120. The Primary Choris in F Major,
CHIAPANECAS,
4122 Wating in tha Kay of F Major
128 AULD LANG SYNE.
124 ANew Style of Bass, © SOLE MIO!
125. Ampeggiated Chords.
‘THE KEY OF A MINOR,
326. The Key of A Minor (Relative of G Major).
‘The AHarmonio Minor Sesie,
127 More Syncopated Notes, JERICHO.
128. Whiting in the Key of A Minor
elative of C Majon,
123. An A Minor Chord Progression
THE STRANGER.
199 Inweducing “Overlapping Pedal"
‘amp. GREENSLEEVES,
492. Mare About Triads,
‘The Primary Chords In A Mlnar.
193 GO DOWN, MOSES,
‘THE KEY OF D MINOR
124 The Koy of D Minor (Relative of F Major.
‘The B Harmonic Minor Scale.
495 pp. SCARBOROUGH FAIP.
498. Tho Primary Chords in D Minor.
RAISINS AND ALMONDS.
REVIEW
198 HE'S GOT THE WHOLE WORLD IN
HIS HANDS.
440. LH Warm-Up. THE ENTERTAINER,
142 Elghth-Note Triplets. AMAZING GRACE.
144 The Most Frequently Used Keys,
and Thele Primary Chords.
4

Preliminary Exercises

BE KIND TO YOUR HANDS!

No att ofthe body takes more abuse thar the hands. We wear shoes on our feet to protect them agains
the rough surfaces they walk on. Our hands are a'rnost constantly exposed to the elements and to the
rough Inings we do to tham. Gloves are usually worn only to keep the hands warm in cald weather.

It you want to keep your hands in playing condition, is best to Wear gloves when you are iting large
heavy objacts, az well as wien you are working with tools such as screwdrivers, pliers, wrenches
spades and pruning shears.

USE ALITTLE WARM WATER

Before practicing, itis yood to soak the hands for a few minutes in warm water. This promotes circu
latlon. Many concert pianists use very warm water on thelr hands before beginning to play. Towel the
hands vigorously until they are dry, then hold your arms out with the hands dangling from the wrist, and
shake out your hands rapidly for a few momerts.

No. 1

DANGLE FROM
WRISTS

SHAKE OUT
HANDS.

8), Holding your arms in playing position, palms downward, clench beth hands tightly,
making two fists. Hold while you count "ONE-TWO,

i)
MaKe TIGHT ]

} PALMS.
FISTS 4

DOWN

b) SNAP the fingers quickly outward, opening both hands. Do this with great vigor.
Hole this position with all fingers extended. Count "THREE-FOUR.”

SNAP FINGERS
OPEN
No. 2 a} Repeat the beginning of the previous exarcisa, with PALMS UPWARD. Clench bath
hands, making twa fists. Hold and count “ONE-TWO”

MAKE TIGHT ALI

FISTS

PALMS.
uP

b) SNAP the fingers outward (palms up|, opening both hands,
Hold fingers outward as you count *|HREE-FOUR.”

ee snuss

ae
ioe

sume ed
“yy

©) Tum hands aver, palms down, hands dangling fram the wrists, and shake out.
Count “ONE-TWO-THREE-FOU!

uP

DANGLE FROM
WRISTS

SHAKE OUT
HANDS

No. 3 ‘Combir

ing DEEP-BREATHING with Preliminary Exercise No. 1

cated a the piano, repeat step a) of Preliminary Exercise No. 1, clanching tha fists wth palms down-
vat, wile breathing IN (ha later absoman moves auiward). Mentally count “ONE-TWO”

tepeat step b, snapping the fingers outwarg, cxpeling the air wile mentally counting

THREE-FOUR

repeat step 6), shaking out your hands 8s you inhale, mentally courting “ONE-TWO-THREE-FOUR"
nine 25 You exhale, counting “ONE-TWO-THREE-FOUR.

0 avoid possible dizziness due to hyperventilation, this exercise should not be repeated more than two
three times at frst,

No. 4 Combining DEEP-BREATHING with Preliminary Exercise No. 2

ollow the procedure described just above, clenching the hands and snapping the fingers outward with
”ALMS UP. Turn hands over, palms down, hands dangling from the wrists, and shake out
cea: oa

SIT TALL! \

_+ Lean slightly forward,

Let arms hang loosely from shoulders.
ee Elboous slightly highor than keys.

oa Bonich must face the keyboard equaraly.

_- Knees slightly under keyboard,
7

ae _, Feet flat onthe floor.

/, Pit foot may be slightly fomard
Finger Numbers

‘THe THUNE
‘OFEACH HAKD
1

LEFT Han nei Hane
fi oy

Response to reading finger numbers should be automatic. Before you
begin to play, practice moving each finger as you say its number aloud.

Piano Tones

When you play a key, a hammer inside yaur piano touchas a string to make a tone.
When you drop into a key with a LITTLE weight, you make a SOFT tone. Sting

When you use MORE welcht. you make a LOUDER tone. meee
owner

Cee ramecren re
Pretend you have a bubble in your hand ya
Hold he bubble ge, 6 It dove break

1, Play any white key with the 3rd finger of either hand, softly,
2. See how many times you can repeat the same key, making each tone a litle lauder

Before you play any key, you should always decide how solt or loud you want it to sound.

For the first pieces in this book, olay with a MODERATELY LOUD tone.
8
The Keyboard

‘The keyboard is mace up of white keys and black keys.
‘The black keys are in groups of fwos and threes.

Bblacks Ablaccs 2blacks Sblacks blacks 3 blacks

AA AA A A

Low SOUNDS <C DOWN (owen UP (Higher) > HIGH SOUNDS

(On the keyboarc’, DOWN is to the LEFT, and UP is to the RIGHT.
‘As you move LEFT, ihe tones sour LOWER, As you move RIGIIT, the tones sound HIGHER,

Play the 2-BLACK-KEY groups!

LH aH
1. Using LH 2 3, begin at the middle | 2. Using RH 2 2, begin atthe midle
andnay al the 2tlacekoy groups | andeley au he Zbiock key groups
going <QQBOWNT] the keyboard | gong [DUPE >> the keyboard
(both keys at once). {both koys al ona)

Play the 3-BLACK-KEY groups!

LH RH
Using LH 23 4, oegin at 4, Using RH 23 4, begin at
Ihe middle and play all the the middle and play al she
black-key groups going S-black-key groups going

the keyboard [ERED > che keyboard

{all three keys at once). {Gil three keys at once),
Name That Key!
Piano <eys are named for the fist soven 'etters ofthe alphabet, beginning with A.

ABCDEFG

Each white koy is recognizad by ts position n or nex! io a olack-key group!
For cxample: A's are found between the TOP TWO KEYS at each 3-BLACK-KEY GROUP.

Play the fulfowing. Use LH 3 for keys below the middle of the keyboard
Use FH 3 for keys agove the riddle of the keyboard,
Say the name of each key aloudl as you play!

Pay all the A’s
an your piano. Play allthe B's Play all the C's.
A] iB Ie,
Play al the D's. Play al the E's Play all the F's. Play allthe Gis

‘You can now name ovary white key on your piano!
The key names are AB CD E F G, used aver and over!

t t

‘The lowest key The C nearest the
‘on your plano middle of the piano is
isa. called MIDDLE C.

Gaing UP the keyboard, the potas sound HIGHER and HIGHER!

Play and name every white key beginning with bottom A.
Use LH 3 for keys below riddle G, and RH 3 for keys above middle ©,

You are now ready to begin ADULT FLASHCARDS.